Rosé has a new trick.

The superstar BLACKPINK singer drops her latest single, “New Trick,” which arrives with an official music video directed by Dave Meyers (Taylor Swift, Harry Styles and Kendrick Lamar) and filmed entirely on Apple’s newly unveiled iPhone 18 Pro.

Rosé gave BLINKS a tease of the track earlier this month, by way of Apple’s latest “Shot on iPhone” campaign, which has previously recruited some of pop’s biggest names, including The Weeknd (“Dancing in the Flames”) Olivia Rodrigo (“Get Him Back!”) and Lady Gaga (“Stupid Love”).

With “New Trick,” Rosé dives headlong into pop-punk territory. On it, she sings: “Maybe I’m emotional, I lay my dreams out on the table, love is unconditional, it disappears just like a rainbow.” Our sassy hero has more energy than the rest of us, as she kicks dents in a car door, and kicks back with a full band for rehearsals in a gym. Rosé lives the California dream, as her buddies drop into empty swimming pools on skateboards, bounce on mattresses and get up to good, clean fun.

Forget Rosé the K-pop star. This is Rosé the rock star.

In a recent interview published in Vogue, Rosé described “New Trick” as “possibly the cutest thing [she and songwriter Amy Allen] have ever made together.”

The record-smashing singer is enjoying a major run as a solo artist, including a top 10 hit with her 2024 single “APT.,” a collaboration with Bruno Mars. “APT.” peaked at No. 3 on the Billboard Hot 100 and logged 45 weeks on the chart. The track appeared on her debut album, Rosie, which debuted at No. 3 on the Billboard in December 2024.

Born in New Zealand and raised in Melbourne, Rosé ranks as Australia’s most famous musician and most famous person, boasting a global social media audience of more than 156 million followers and “strong online visibility worldwide,” according to research published by Rocket Agency.

A followup to Rosie ought to boost that sizeable following, and it isn’t that far away. “I’ve been working on new music for quite some time now, and I’m still in the process of finding the perfect fine line between the world I want to create,” Rosé tells Vogue, “how much of that expresses who I am today, and who I, personally and as a musician, am evolving into. I’m excited to see where this journey continues to take me, what sort of sound resonates [with] me, and to introduce a new era of my music next year.”

Watch the music video for “New Trick” below.

Maroon 5 calls up 1 billion views on YouTube with “Payphone,” the pop-rock band’s collaboration with rapper Wiz Khalifa.

Released back in April 2012 with an official music video directed by Samuel Bayer, “Payphone” (via A&M/Octone Records) becomes Maroon 5’s sixth entry into the streaming giant’s Billion Views Club.

A payphone was already a thing of the past when Maroon 5 dropped the single, but that didn’t stop it from ringing up new sales records.

The cinematic video finds Levine in a miserable mood. At the top, he sings: “I’m at a payphone trying to call home, all of my change I spent on you.”

Misery loves company, as we know. In its opening week, “Payphone” shifted some 493,000 digital downloads — remember them? — for a No. 3 entry on the Billboard Hot 100, and a No. 1 start on the Digital Songs chart. That hot opening was, for its time, the best digital sales frame by a group, bettering the 465,000 sold by the Black Eyed Peas’ “Boom Boom Pow” from three years earlier.

“Payphone” got its premiere on that year on NBC’s The Voice, where Maroon 5 frontman Adam Levine had a second gig as a coach. The song was housed on the band’s fourth studio album, Overexposed, which was executive produced by Max Martin, with additional cuts produced by OneRepublic’s Ryan Tedder. Overexposed peaked at No. 2 on the Billboard 200. Shellback and Benny Blanco produced “Payphone,” which also reached No. 2 on the national singles chart, one of the band’s 15 top 10 hits.

Maroon 5 has also enjoyed entry into YouTube’s Billion Views Club with “Sugar,” “Memories,” “One More Night,” “Girls Like You (Volume 2),” and “Girls Like You.” The band’s eighth and most recent album, Love Is Like, dropped in 2025.

Watch the music video for “Payphone” below.

Miley Cyrus is cranking the volume up to its fullest. The Grammy-winning pop star — now known simply as Miley — has officially released her 10th studio album, Bass Persuades, on Friday (Sept. 18).

The 10-track set comes after Miley kicked off the album’s rollout earlier this month with its electrifying title track, a synth-driven pop song that finds the singer inviting listeners to give in to the music and “surrender to the night.” The song debuted on the Billboard Hot 100, giving the singer the spot of No. 35. The accompanying music video put Miley squarely in pop-star mode, with the singer dancing her way through a bustling city and delivering some hypnotizing choreography.

Miley first announced Bass Persuades on Sept. 1 after a week of cryptic teases, including a billboard and a social media post simply reading “Miley”; she also dropped “Cyrus” from her Instagram handle and began referring to herself mononymously as Miley as she prepared to enter the new era.

“Music takes hold of us,” she wrote when announcing the album. “We feel it, sing it, sometimes dance to it, let it out and carry on. It is powerful, vulnerable, sweet and strong.”

“Heart full, heartache, every part of life in between,” she continued. “That’s what the title means to me. Thank you for being a part of making my wildest dreams come true. I sincerely hope you love this album.”

The project’s release trails after Miley’s 2025 album Something Beautiful, which debuted at No. 4 on the Billboard 200. Before that, she released 2023’s Endless Summer Vacation, which spawned “Flowers” — her eight-week Billboard Hot 100 No. 1 and Grammy-winning song of the year.

The superstar is also set to headline two rare shows at Los Angeles’ Hollywood Bowl on Oct. 16 and 18 in celebration of the new album. The dates mark her first major public performances since her 2022 Attention Tour.

The new album also comes at a somewhat emotional time for Miley. At the beginning of the Bass Persuades rollout, tragedy struck with the passing of her godmother and country music legend Dolly Parton. Following Parton’s death, Miley shared an emotional tribute to her longtime family figure, writing, “I have an angel by my side. I always have.”

With Bass Persuades officially out in the world, Miley is allowing herself to feel the bitterness of heartache and blissfulness of love.

Listen to Bass Persuades below.

For Zara Larsson, the Midnight Sun era still has some daylight left.

Although the Swedish pop star already has plenty of new music on the horizon, she’s not ready to move on from her latest album just yet, especially when there’s still a song she feels deserves its moment.

“I really want to push ‘Blue Moon’ because I feel like it’s ‘Midnight Sun’s’ sister,” Larsson told Billboard backstage Wednesday night at her Apple Music x Chase Sapphire Experience concert and Q&A. “And it deserves a video and it deserves love.”

That doesn’t mean Larsson isn’t thinking about what comes after the Midnight Sun wave comes to a halt. If anything, the massive year she’s having has only made her more eager to keep going. The album reached a peak of No. 36 on the Billboard 200, and the project’s title track peaked at No. 13 on the Billboard Hot 100. As she’s taken the album around the world, she’s watched fans turn her live shows into their own kind of spectacle — from viral drone footage of a festival crowd to a fan joining her onstage at Lollapalooza and an audience being lifted into the air at a show in Belgium. Those moments are impossible to manufacture, Larsson says, and that’s exactly what makes them so special.

“It’s something that can’t be planned. And it’s something that the fans bring,” she says. “It’s really something that I can’t do from stage by myself.”

The people on the other side of the barricade are an essential part of the performance for Larsson. She wants every single show to feel like its own experience, regardless of the country or festival.

“I really want people, wherever they are, in whatever festival or country, to have that experience and to be together to create special memories,” she says. “I really do feel like every show is different and every audience brings something different.”

And there are still plenty of stages Larsson aims to reach. When asked whether fans could someday see her headline Coachella, she had a very quick answer: “That’s my dream.”

Larsson has attended the festival for years, and she says it’s one of the places where she feels extremely inspired by the artists and musicians around her. But she knows she’s not ready to take the top spot just yet.

“I’m not quite there yet, but I definitely want to perform,” she says. “And then for headlining, I want it to be so mega and big and amazing that everyone’s like, ‘Well, now she has to headline.’”

In the meantime, Larsson has become extremely hands-on with the career that could potentially get her there. After years in the music industry, she says she’s only recently started feeling like she’s truly taking control of her artistry, whether it’s her music or the business decisions surrounding it.

“It’s weird how long I’ve been in the industry but yet just now feel like I am taking control over my artistry and what I do and how involved I am,” she says. “There’s so much for me to still get to know and work on, and I will do so.”

To her, this meant being open about the things she believes in, something that Larsson says she hopes to maintain as her career continues to skyrocket.

During the interview, Larsson was asked about the support Macklemore has received from fans after taking public stances that could potentially alienate some listeners. For Larsson, seeing people rally around an artist who is willing to speak honestly is more powerful than anything.

“I respect that so much,” she says. “It is so powerful to see how everyone can come together and make a difference.”

Larsson has found herself on the receiving end of that same kind of support. After showing support for Macklemore, she was included near the top of an online list of artists that fans considered trustworthy, which is something that Larsson says she appreciated, but doesn’t necessarily view as a title she’s trying to earn.

“I just try to be a good person,” she says. “I genuinely believe that most people out here — I don’t think that there are many evil people in the world. I do think everyone is good in their souls.”

As the stakes get higher, Larsson’s goal is to keep making decisions that feel honest.

“I want to feel like everything that I do is clear and it comes from a place of love,” she says.

That philosophy seems to extend to how she approaches her music as while. Though Larsson admits she does have “so much new music” she wants to work on and release, she’s more interested in giving Midnight Sun her time to shine rather than rushing toward whatever comes next.

“People are still discovering so much about you every day,” she says. “So there’s so much space to be held still for the whole Midnight Sun album.”

That includes “Blue Moon,” which Larsson plans to keep pushing through TikTok and, eventually, the visuals she has in mind for the song.

“I really want to make sure that people aren’t forgetting her,” she says. “or maybe they haven’t even discovered ‘Blue Moon.’”

Have no fear, Drake has re-uploaded FOMO back onto his YouTube page.

The short film had been temporarily removed following its premiere on Tuesday (Sept. 15), but returned for all to view on Thursday (Sept. 17).

Running for about an hour, Fear of Missing Out is filled with visuals from Drake’s HABIBTI and MAID OF HONOUR albums, as well as new collaborations with Yeat, PartyNextDoor and Don Toliver.

“This is self funded surrealism A story about making the absolute most of it all in one summer Credit to nobody but the members,” Drake wrote. “Here’s some life advice before you watch Nobody is coming to save you You must use each day to decipher who you love and trust and march forward with them.”

He continued his caption: “I hope this serves as motivation to make that call, take that trip, drop that song, open that shop, see your parents, leave that relationship or stay in it forever, spend the bread, get some more etc. They keep saying our genre is dying Videos don’t matter Nobody is watching nobody is listening I still care. As much as I did on the set of Best I Ever Had. So be kind and rewind.”

There were plenty of guest appearances mixed in throughout the clip, featuring cameos from Sexyy Red, Stunna Sandy, Sandra Graham, NBA star Kevin Durant, model Winnie Harlow, Lena the Plug, his “goth baddie” and others.

Drake also premiered his interpolation of Ella Langley’s 22-week Billboard Hot 100 No. 1 smash “Choosin’ Texas,” which enlists Don Toliver on the anticipated track.

“Miss My Dawgs” is set to be the first of the unreleased cuts to make it onto streaming services, as the song will be part of Yeat’s COCOON EP arriving on Friday (Sept. 18).

Drake revealed in an interview following FOMO‘s premiere that he’s hitting the road for a 2027 world tour, which will be his first North American trek since 2023.

“Obviously, tour is coming and there’s other things on the horizon, some big shows,” he said. “We’ll be out 2027 to see everybody again across the world… We’ll see you on tour soon.”

FOMO arrives after Drake’s trifecta of albums in May, which included ICEMAN, HABIBTI and MAID OF HONOUR. The trio made Drizzy the first artist to simultaneously hold the top three slots of the Billboard 200.

Watch FOMO below.

“The Culture built us. We build it back.” That’s the credo for Ruffnation Entertainment, headed by hip-hop pioneer and CEO Chris Schwartz. Of late, the full-service manufacturing and distribution company has been specializing in releasing classic and new repertoire underground hip-hop albums on traditional vinyl in partnership with distributor Virgin Music Group. Schwartz has since taken that to the next level … and beyond.

Beginning last year on Record Store Day (April 12) with the release of the Wu-Tang Clan and Mathematics’ album Black Samson, the Bastard Swordsman, followed by Ice Cube’s Man Up in December, Ruffnation began offering vinyl albums in audiophile-grade, collector quality, limited editions featuring one-of-a-kind artwork. This year’s slate thus far includes RZA’s Bobby Digital Presents: The Juice Crew and Man with the Iron Fists (a reissue of the 2012 film soundtrack), both released on Record Store Day 2026 (April 18). Schwartz claims the Philadelphia-based Ruffnation “is the first and only label to implement this high-end vinyl concept” in a competitive market that includes Fat Beats and Get On Down.

Through Ruffnation’s ongoing partnership with a state-of-the-art pressing plant and a company that’s developed the ability to do one-of-one variable printing, several new projects in this configuration are coming down the pipeline by year’s end. That run starts with Juvenile’s Boiling Point. A pre-registration ad for this “super limited edition” starts this weekend (Sept. 18) with the pre-order drop on Oct. 12. Also on tap is Erick Sermon’s Dynamic Duos on Oct. 23. In the meantime, Schwartz is launching another new component to the Ruffnation game plan on Oct. 31 (Halloween) at midnight: Vinyl Societe, billed as “the first hip-hop vinyl subscription service.” Titles comprising that launch will be revealed in the coming weeks.

Just last month, Columbia House announced that it was shutting down its 71-year-old mail order membership music and DVD service. In the wake of that news, Schwartz remains assured of Vinyl Societe’s potential. “You can’t be all things to all people,” he explains. “Look, everybody likes different genres of music. We all know that. But when it comes to people paying money for music, they want to buy the music that they’re into.” 

Schwartz further adds that the subscription service will operate entirely on pre-orders with a monthly fee of $40 to $45. “I think we will do really well,” he predicts. “There are more people out there that are willing to pay for the music they’re into than people realize.” Citing the sellout of the aforementioned double-LP Black Samson vinyl exclusive last year — 5,000 copies priced at $59.90 — Schwartz adds, “We’re at the zenith of collectability right now.”

As for first-year subscriber base goals that he’s aiming to achieve with Vinyl Societe, Schwartz says, “If we get to between 7,000 to 10,000, I’d be thrilled. I just want to manage my expectations because Rome wasn’t built in a day. Anything that’s worth doing, you have to take your time and do it right. It’s all about cultivating your audience and customer service. There’s more to fulfillment than just stuffing a record into a mailer … presentation is 85% of the meal.” Beyond the heightened sound quality and the 1-of-1 cover art, other value-added perks being planned include a bonus CD and a 12” x 24” one-of-one poster.

No stranger to the music business, Schwartz founded Ruffnation predecessor Ruffhouse Records with partner Joe Nicolo. Established in 1989 as a joint venture with Columbia Records, the trailblazing label was home to The Fugees, Ms. Lauryn Hill, Wyclef Jean, Cypress Hill, NAS, Kris Kross, DMX and Jermaine Dupri, among others. 

When Schwartz and Nicolo dissolved their partnership, Schwartz established Ruffnation Records in 1999 via a joint venture with Warner Bros. The label’s artists included the Outsidaz, Major Figgas and DJ Muggs, the founding producer of Cypress Hill. This iteration ended in 2001 following AOL’s acquisition of Time Warner. Schwartz then relaunched Ruffnation Records as Ruffnation Entertainment. He’s also the author of the 2019 memoir Ruffhouse: From the Streets of Philly to the Top of the ’90s Hip-Hop Charts.

Of this latest iteration of Ruffnation and the impending launch of Vinyl Societe, Schwartz  — who started his career as the manager of rapper Schoolly D — says, “We’re doing something really cool at a time when hip-hop has cross-pollinated into every visible indigenous culture throughout the world. The genre isn’t losing its popularity.”

It took Taylor Swift‘s nieces some time to see her as Aunt Taylor instead of, well, Taylor Swift.

On the latest episode of New Heights published Wednesday (Sept. 16), Travis Kelce recalled how the family had to “break [the] habit” Jason Kelce’s daughters had of calling the pop star by her full, ultra famous name. “When they got to meet Aunt Tay Tay, they were calling her ‘Taylor Swift,’” Travis said, noting that he thought it was “adorable.”

“‘Taylor Swift, can I do this? Taylor Swift!’” Jason remembered his girls saying, to which he’d remind them: “You can call her ‘Taylor.’”

The topic arose as the brothers and podcast co-hosts were discussing Tom Cruise, who attended the Kansas City Chiefs game against the Denver Broncos on Monday (Sept. 14). While Travis played on the field, the action film star sat next to Swift in a box suite at Arrowhead Stadium.

“I feel like when somebody gets that famous, you just call the person [their full name],” Jason said of Swift and Cruise.

Jason shares four daughters with Kylie Kelce: Wyatt, Elliotte, Bennett and Finn. When Swift appeared on New Heights last year, she revealed that she loves baking with her nieces. “They love sprinkles,” she said at the time. “We put sprinkles in everything when we hang out.”

The day Swift recorded that podcast episode, Travis got down on one knee and proposed the the 14-time Grammy winner. They’ve since tied the knot, getting married over Fourth of July weekend at Madison Square Garden in New York City with a reported 1,000 guests in attendance. Jason served as his little brother’s best man.

“It was just so magical, man,” Travis said on the Sept. 2 episode of New Heights. “We wanted to do it somewhere where we could have a very intimate and genuine setting without a lot of distractions, we needed it to be a private feel. MSG went above and beyond to give us that.”

Watch the new episode of New Heights below.

Grammy-nominated singer Duncan Sheik is hospitalized in critical condition while battling an undisclosed ailment, according to a statement posted by his family on Instagram on Wednesday (Sept. 16).

“We would like to share an update with Duncan’s fans and the public,” read the statement. “Duncan is currently receiving medical care and remains in critical but stable condition. Out of respect for Duncan and our family, we will not be sharing any further medical details at this time. We kindly ask for privacy during this incredibly difficult time and will provide updates when appropriate. Thank you for the continued love and support.”

At press time it was unknown why Sheik was in the hospital, but on Sept. 6 the 56-year-old singer posted a selfie on Instagram, reporting, “Sorry for the selfies. But I’m still bored in hospital. Do you like (good) magazines?” It appears as if “Barely Breathing” singer has been in a hospital for nearly a month judging by an Aug. 20 post of Sheik in a medical gown with the caption, “I would prefer to be home making music. But a bit of reflection is not too bad … boring hospital stays have their benefits (outside the obvious.)”

Subsequent posts from Aug. 23 and appeared to show the view from inside a hospital room of a sunrise and, on Aug. 26, a TV mounted on a wall. On Sept. 7 he posted yet another selfie, writing, “out of here in 60 hours.”

A number of fellow musicians sent their best wishes in comments on Wednesday’s post, including Lisa Loeb (“Sending love”), Matt Nathanson (“sending big love”), Broadway star Tyce Green (“Buddy you’ve got this. You’ve got this. !!!!!”) and Lizzo.

At press time a spokesperson for Sheik could not be reached for comment on his condition, but the latest news comes just before the opening of the manga novel adaptation Memoirs of Amorous Gentleman, a musical for which Sheik wrote the score; the off-Broadway show is slated to open on Oct. 15 at the Night Egg at the Culture Club.

Sheik is best known for his Grammy-nominated 1996 Billboard Hot 100 No. 16 debut single, “Barely Breathing,” as well as his Tony Award for best original score and best orchestration for the 2006 coming-of-age rock musical Spring Awakening. In the years since, he wrote the music for Alice By Heart, the 2013 musical adaptation of the Bret Easton Ellis horror novel American Psycho as well as the 2013 musical adaptation of Because of Winn-Dixie. His most recent album was 2022’s Claptrap.

Beloved Dutch trio Noisia are reuniting after seven years apart.

The group — Nik Roos, Martijn van Sonderen and Thijs de Vlieger — announced Thursday (Sept. 17) that they’re reforming the project. A press release about the reunion notes that after spending the last seven years focused on their respective solo projects, the three guys missed “the exchange of ideas between them, and the feedback loop that begins when their music meets a crowd.”

Crowds won’t have to wait too long to see them again, as Noisia will play its first show back on Dec. 4 at Amsterdam’s Melkweg, where they played during their farewell tour, which extended into 2022 due to the pandemic. Information about additional shows will be announced in time.

Additionally, the trio teased their reunion with the Sept. 10 release a 27-minute documentary, Vlucht, directed by Farhad Khodadadzade. Watch the documentary below.

“It’s a risk we’re taking, to put an end to something we’ve built for two decades,” the trio told Billboard in a joint 2019 interview about their breakup. “We’re saying it now, because we have made the final decision only recently. We took time to think about it. It’s painful, but it is absolutely the right thing to do.”

Over the last seven years, Roos continued developing his bass project Sleepnet, then launching Ring Noord with Former, while also working across projects including the house duo Body Ocean, production, scoring and audio technology. De Vlieger continued his work as Thys through collaborations with Amon Tobin, composing for film, contemporary dance and fashion and writing for instrumental ensembles and electronic music projects. Van Sonderen continued with the duo Zonderling, alongside writing and production work across house, melodic techno, pop and hip-hop under his producer name, NSR. The guys will continue working on these respective projects amid the Noisia re-launch.

“What do I want to do? Something I can’t do on my own,” van Sonderen says in a press release about the reunion. “Getting a rough idea from the guys and letting my own ideas loose on it. That already feels exciting again. Maybe exactly because it doesn’t have to feel exciting.”

“For me, doing the farewell tour actually planted the seed of the idea that Noisia can be what we want it to be, not what we think it has to be,” adds Roos. “When the subject surfaced again, it felt much lighter and surprisingly fun to talk about. Feeling the others’ excitement about it is what really fuelled that for me.”

“What I’m most excited about,” continues de Vlieger, “is to see what the relationship, what the meeting of minds, can bring creatively again. It’s really exciting to redefine this relationship and this friendship on new terms that align with who we are and who we want to be.”

Roos van Sonderen and de Vlieger met in the late ’90s in the northern Dutch town of Groningen, first as graffiti artists who began working together on electronic music. The trio blew up with their drum & bass productions before expanding into electro, house, pop and beyond, gaining prestige for the complexity and meticulousness of their productions. In 2014, their track “Tommy’s Theme” spent 18 weeks on Hot Dance/Electronic Songs, peaking at No. 44.

They also graced this same chart during their hiatus with “Supersonic (My Existence)” from Skrillex’s 2023 album Quest For Fire. Made by Skrillex (who was mentored by Noisia during his come-up), Josh Pan, Dylan Brady and the trio, the track expands on Pan and Brady’s 2019 song “Supersonic” and spent 11 weeks on the chart, peaking at No. 13.

If life feels like a blur right now for Yes Boone, there’s good reason.

The stage was all set for a triumphant home win when the DJ and producer was shortlisted for breakthrough artist of the year at the 2026 AIR Awards in Adelaide.

It wasn’t to be as Folk Bitch Trio scooped the category, part of a hattrick of wins on the night.

Yes Boone didn’t shed any tears; he has other important matters on his mind. That coveted indie newcomer is now a major label artist with a debut album in the works, thanks to a new record deal struck with Warner Music and Warner Records US.

Now based in Sydney, the electronic music creator’s first release through the partnership is “Nosebleeds,” a hard thump in the chest that he wrote during a stint in London and Paris. Its theme, the infatuation and uncertainty of a relationship’s honeymoon period, its title a discrete nod to his hometown heroes, Hilltop Hoods, the South Australian hip-hop trio that enjoyed a domestic smash with the 2003 song “The Nosebleed Section.”

The rising artist premiered the track last month at WMA’s annual Listen Up Showcase, as he spun a surprise set at the wheels of steel.

On the night, Dan Rosen, president, Warner Music Australasia and Southeast Asia, enthusiastically told the industry gathering that the music company’s latest signing, “we’re going to take him to the world.”

Yes please.

Like so many of his compatriots, Yes Boone isn’t afraid of a long haul.

The Aussie took notes, and inspiration, from a recent, first trip to Europe where he worked with several electronic music producers. “I was a little awestruck at first,” he said of a writing trip in France, an experience that gave him the direction for his first artist album. The work-in-progress captures elements of French house, British post-punk energy and a “timeless sound,” he tells Billboard over Zoom.

Yes Boone is coming off the release of his debut 2025 EP Best I’ve Found and the club weapon “All I Really Want,” which crashed ARIA’s Top 20 Australian Singles Chart and entered the top 10 on AIR’s Independent Singles Chart (peaking at No. 9).

A major label deal isn’t the only big change in his life. “Nosebleeds” features Yes Boone’s own vocals. Expect to hear more from where that came from on his debut LP, which doesn’t yet have a release date. “I’m definitely becoming more comfortable with it,” he says of his singing voice. “It took a little while to find my voice, to sing on my own tracks, and to put my own words to the music for the first time.” He also edited the official video, which was shot and directed by Have You Stopped Growing? and can be seen below.

The Australia festival circuit beckons, and the world awaits. Yes Boone is booked for the Yours & Owls Festival in Wollongong on Oct. 4, then travels with the Split Milk festival for shows in Canberra (Dec. 12), Gold Coast (Dec. 13), Geelong (Dec. 19) and Perth (Dec. 20).

He runs with a world-class Australian electronic and dance music community, a scene that counts Dom Dolla, Confidence Man, VASSY, Ninajirachi, Alison Wonderland, FISHER and labelmates RÜFÜS DU SOL within its ranks.

Looking ahead, building a bridge to the United States is on his wishlist. An invite to a writing camp in the United States in the following months could pave the way for many future trips to the world’s biggest music market. “Next year I hope to get out there and start playing some shows,” he enthuses. “It’s quite exciting.”