As part of BLACKPINK, JISOO is one of four. Now, the same goes for her latest campaign with fashion house Self-Portrait, in which she’s set to star as a quartet of “cinematic characters” in a series of short films, which Billboard can exclusively announce.
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The campaign begins with JISOO — who in 2024 became the first musician to be the face of the London fashion house — in “The Enigma,” the first of the four videos. Shot in the style of an audition tape by Oliver Hadlee Pearch, it shows the performer modeling Self-Portrait’s faux leather skirt and checkered knit blazer, appearing bubbly and confident in herself in front of the camera.
“Maybe we’re not supposed to have everything figured out,” JISOO muses in the clip. “I always liked wandering.”
For the partnership, JISOO worked closely with the brand’s founder and creative director, Han Chong. In a statement, the K-pop star said, “I was so excited to star in this new series of short films … it allowed me to try something completely new, and each character I played required something different from me.”
“The evolution of the character’s wardrobe was how I found the nuance in each performance, and it was a real collaboration with Han and I on finding the subtlety in each role I was going to be playing,” she continued. “I have worn Self-Portrait for many years, and the pieces make me feel like I can do anything — this time, they let me dream that I could be anyone.”
Chong also praised the global star in a statement. “Having worked with JISOO for a few years now, she really has become a big part of our brand’s story and fabric. For this latest project together, we wanted to do something that meets JISOO where she is today; an incredible artist with range and a chameleonic edge as a performer,” he said. “We always talk about the Self-Portrait woman as being multifaceted, and JISOO really brings that to life through her performance in these short films.”
JISOO’s latest fashion campaign comes as she’s embarking on a new solo era musically. On Friday (Sept. 4), she released single “Click.”
Watch JISOO’s first of four Self-Portrait films below.
Radiohead are returning to Australia for the first time in 15 years, announcing a 16-show arena tour for 2027 — part of a run that will be the band’s only concerts anywhere in the world next year.
The tour opens with a four-night stand at Perth’s RAC Arena from May 3, before six-show residencies at Melbourne’s Rod Laver Arena and Sydney’s Afterpay Arena, wrapping June 1. Rather than a traditional national run, Thom Yorke, Jonny Greenwood, Colin Greenwood, Philip Selway and Ed O’Brien will settle into each city for multiple nights.
The Australian dates, presented by Frontier Touring, will be followed by five shows in Saitama, Japan, and the band has confirmed there will be no additional 2027 concerts elsewhere.
The run marks Radiohead’s first Australian tour since 2012 and follows a series of European residency shows in late 2025 — the band’s first performances after several years away from the road, during which its members pursued solo and side projects. Speculation about a return had been building for months, stoked in part by O’Brien, who told Rolling Stone earlier this year that the band hoped to make it back. “We’d love to come to Australia,” he said. “It’s just a question of when.”
Given the anticipated demand, tickets will be distributed through a registration system covering both general and accessible tickets rather than a conventional first-come sale. Registration is open now and closes at 5 p.m. AEST on Thursday, Sept. 10, with Frontier Touring saying every entry submitted during the window will be treated equally. Each ticket will include a $2 donation directed to Greenpeace Australia Pacific and the Australian Marine Conservation Society.
One of the most acclaimed and influential rock bands of the past three decades, the Oxford, England, group broke through in 1993 with “Creep,” which remains their highest-charting Billboard Hot 100 single at No. 34 and was later certified platinum in the U.S. Though the band has only three times reached the Hot 100 — the others being “High and Dry” and “Nude” — they have been a dominant force on the album chart. Radiohead have scored four No. 1 albums on the Billboard 200 with Hail to the Thief (2003), In Rainbows (2007), The King of Limbs‘ successor era and 2016’s A Moon Shaped Pool, their most recent studio album, alongside landmark records including OK Computer and Kid A. Six-time Grammy winners, they were inducted into the Rock and Roll Hall of Fame in 2019.
RADIOHEAD — AUSTRALIA TOUR 2027
May 3, 4, 6, 7 — Perth — RAC Arena
May 13, 14, 16, 17, 19, 20 — Melbourne — Rod Laver Arena
May 25, 26, 28, 29, 31, June 1 — Sydney — Afterpay Arena
Carrie Underwood surprised the crowd at Iowa’s Velocity Festival on Saturday (Sept. 5) with a run of nu-metal covers spanning Limp Bizkit, Linkin Park and Papa Roach, capping her headlining set at the Field of Dreams Movie Site in Dyersville with a costume change to match.
Underwood worked through Collective Soul’s “Shine,” Papa Roach’s “Scars” and Linkin Park’s “One Step Closer” before closing the block with Limp Bizkit’s 1999 hit “Break Stuff,” for which she donned a backward red baseball cap in a nod to frontman Fred Durst.
Fan-filmed footage of the performance circulated widely online, drawing a mixed reaction: some praised the detour into late-’90s rock, while others pushed back on the song choice given its explicit lyrics, which Underwood largely sang around, letting the crowd fill in the words instead.
Underwood topped Saturday’s bill at the 2026 Velocity Festival, a three-day event that expanded this year following the success of its 2025 debut. She was joined on the day’s lineup by Default, Maggie Rose and Danny Worsnop, while Shinedown headlined Friday alongside Lynyrd Skynyrd, and Creed closed the weekend Sunday with Nate Smith and Filter.
The genre-blending, rock-heavy bill tracks with the festival’s identity since its inaugural year, when Tim McGraw and Nickelback headlined its first two-day run at the same site — the 193-acre Iowa farm made famous by the 1989 film Field of Dreams.
The covers aren’t a new direction for Underwood, who has repeatedly leaned into her rock and metal influences over the years, previously sharing stages with acts including Guns N’ Roses and Papa Roach. Earlier this year, during the May 11 finale of American Idol — where she serves as a judge — Underwood joined Mötley Crüe for performances of “Home Sweet Home” and “Kickstart My Heart,” earning a standing ovation from the studio audience.
“Home Sweet Home” carries added history for Underwood, who recorded her own version of the Mötley Crüe ballad in 2009 for use as the farewell song during American Idol Season 8.
The ARIA Award for Best Music Festival will return for a second year, the Australian Recording Industry Association announced Monday, with entries opening the same day and closing at 5 p.m. AEST on Friday, Sept. 18.
Developed jointly with the Australian Festival Association (AFA), the award recognizes festivals that put Australian artists in front of the audiences that build their careers, along with the programmers who back local talent on their lineups.
To be eligible, a festival must feature an Australian headline act or a lineup that’s at least 50% Australian artists, and must hold AFA membership.
Laneway Festival won the inaugural award in 2025, beating out nominees Ability Fest, Beyond the Valley, Bluesfest Byron Bay and Yours and Owls Festival. The category’s debut year drew attention as one of the first ARIA honors specifically tied to festival programming decisions rather than individual artist or record achievements.
“Festivals are where Australian artists meet the audiences that change their careers,” ARIA CEO Annabelle Herd said in a statement.
“Programming Australian talent is a deliberate decision and has a huge impact on the careers of local artists. It is a delight to continue celebrating those who go above and beyond to do this.” AFA chair Adelle Robinson — who also leads Australian promoter Fuzzy — added that festivals are “a key part of the music industry’s eco system,” having “platformed many Australian artists at the beginning of their career,” and called the award a recognition of “the link between Australian music, fans and a unique live experience.”
The category’s return lands amid a milestone year for the organization. The 2026 ARIA Awards will mark the ceremony’s 40th anniversary on Wednesday, Nov. 18, at Sydney’s Hordern Pavilion — the sixth consecutive year the venue has hosted the event, and the same site where ARIA held a standalone Hall of Fame anniversary celebration earlier this year, inducting six artists into its Hall of Fame in June.
The 2026 ceremony, presented in partnership with Spotify and broadcast on Network 10 and Paramount+, will look back at four decades of Australian music while highlighting current stars. Nominations for the main ARIA Awards will be announced Thursday, Sept. 24.
Gavin Brivik and Andrew Bird were giant-slayers on Sunday (Sept. 6) – night two of what were formerly known as the Creative Arts Emmys, which were held at the Peacock Theater at L.A. Live in Los Angeles. The songwriters beat both Lady Gaga and South Park creator Trey Parker to win outstanding original music and lyrics for a song (“Need Someone”) they wrote for the hit drama series The Pitt.
Gaga was nominated for “The Dead Dance,” which she co-wrote with Andrew Watt and Henry Walter Russell (Cirkut) for Wednesday. Parker was nominated for “Christian Woman,” which he wrote for South Park.
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Widow’s Boy won in two of the seven music categories. David Fleming won outstanding music composition for a series (original dramatic score) for the Apple TV hit. It’s his second Primetime Emmy. He won two years ago for Jim Henson Idea Man, which was voted outstanding music composition for a documentary series or special (original dramatic score). Toko Nagata won outstanding music supervision for her work on the show. It’s her first Primetime Emmy.
Dave Porter won two Primetime Emmys for the Apple TV hit Pluribus. He won outstanding original main title theme music and outstanding sound mixing for a comedy or drama series (one hour) as a scoring mixer on the show. These are his first Primetime Emmys.
Sean Callery and Sara Barone won outstanding music composition for a limited or anthology series, movie or special (original dramatic score) for their work on Netflix’s The Beast in Me. This is Callery’s fifth Primetime Emmy, following three wins for 24 and one for Marvel’s Jessica Jones. This is Barone’s first win.
Two of the seven music categories were presented on Saturday (Sept. 5) – night one of the 2026 Primetime Emmys. Miguel Gandelman won outstanding music direction for The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny. Tyler Strickland won outstanding music composition for a documentary/nonfiction or reality program for John Candy: I Like Me.
Gandelman is the third person to win outstanding music direction for work on a Super Bowl Halftime Show. Adam Blackstone won four years ago for The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar. Kendrick Lamar and Tony Russell won last year for The Apple Music Super Bowl LIX Halftime Show Starring Kendrick Lamar.
Here’s a complete list of nominees in the seven music categories across the two nights of the pre-telecast primetime Emmys, with winners marked.
Outstanding Music Direction
WINNER: The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny • NBC • Roc Nation, Rimas, Jesse Collins Entertainment and DPS; Miguel Gandelman, music director
The Late Show With Stephen Colbert • “Series Finale” • CBS • CBS Studios; Louis Cato, music director
The Oscars • ABC • Academy of Motion Picture Arts and Sciences; Michael Bearden, music director
Saturday Night Live • “Host: Jack Black” • NBC • SNL Studios in association with Universal Television and Broadway Video; Lenny Pickett, Leon Pendarvis, Eli Brueggemann and Maddie Rice, music directors
Wicked: One Wonderful Night • NBC • Fulwell Entertainment; Stephen Oremus, music director
Outstanding Music Composition for a Documentary/Nonfiction or Reality Program (Original Dramatic Score)
High Horse: The Black Cowboy • “F*ck Westerns” • Peacock • Peacock Original, Universal Television Alternative Studio, Resurgent Pictures, Monkeypaw Productions; Raphael Saadiq, composer
WINNER: John Candy: I Like Me • Prime Video • Amazon MGM Studios, El Bear Productions; Tyler Strickland, composer
Kingdom • “Episode 2” • BBC America • A BBC Studios Natural History Unit production co-produced with BBC America; Segun Akinola, composer
Mel Brooks: The 99 Year Old Man! • HBO Max • HBO Documentary Films presents an Apatow Production; Jeff Morrow, composer
Ocean With David Attenborough • National Geographic • National Geographic Presents a Silverback Films & Open Planet Studios Production in association with Altitude, All3Media International and Minderoo Pictures, co-produced with Arksen & 10% For The Ocean, Don Quixote Foundation, National Geographic Society and Pristine Seas, Prince Albert II of Monaco Foundation, Revive Our Ocean; Steven Price, composer
Prehistoric Planet: Ice Age • “The Big Freeze” • Apple TV • BBC Studios in association with Apple; Kara Talve, Anže Rozman and Hans Zimmer, composers
Outstanding Original Music and Lyrics
The Boys • “The Frenchman, The Female, and the Man Called Mother’s Milk” / Song Title: “Raise Him Up” • Prime Video • Amazon; MGM Studios, Sony Pictures Television with Kripke Enterprises, Original Film, and Point Grey Pictures; Christopher Lennertz, music & lyrics; Daveed Diggs, lyrics
Hacks • “EGOT” / Song Title: “Mis Figuritas” • HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment; Carlos Rafael Rivera and David Stal, music & lyrics
WINNER: The Pitt • “12:00 P.M.” / Song Title: “Need Someone” • HBO Max • HBO Max in association with John Wells Productions, R. Scott Gemmill Productions, and Warner Bros. Television; Gavin Brivik, Music; Andrew Bird, music & lyrics
South Park • “The Crap Out” / Song Title: “Christian Woman” • Comedy Central • Comedy Central; Trey Parker, music & lyrics
Spider-Noir • “A Mistake I’ll Never Make Again” / Song Title: “The Devil You Know” • MGM+/Prime Video • Sony Pictures Television, Amazon MGM Studios, Marvel Studios; Warren Oak Felder, Sebastian Kole, Daniel Pemberton, music & lyrics
Wednesday • “Woe Me the Money” / Song Title: “The Dead Dance” • Netflix • A Netflix Series / An MGM Television Production; Lady Gaga, Andrew Watt, Henry Walter Russell, music & lyrics
Outstanding Music Supervision
The Boys • “Blood and Bone” • Prime Video • Amazon MGM Studios, Sony Pictures Television with Kripke Enterprises, Original Film, and Point Grey Pictures; Michelle Johnson and Yvette Metoyer, music supervisors
Hacks • “Finale” • HBO Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment; Matt Biffa, music supervisor
Nobody Wants This • “When Noah Met Joanne” • Netflix • 20th Television in association with Steven Levitan Productions for Netflix; Manish Raval, Tom Wolfe, Jonathan Leahy, music supervisors
Pluribus • “We Is Us” • Apple TV • Sony Pictures Television in association with Apple; Thomas Golubić, music supervisor
Stranger Things • “Chapter Eight: The Rightside Up” • Netflix • Upside Down Pictures & 21 Laps Entertainment for Netflix; Nora Felder, music supervisor
WINNER: Widow’s Bay • “Beach Reads” • Apple TV • Apple Studios / Chum Films; Toko Nagata, music supervisor
Outstanding Music Composition for a Series (Original Dramatic Score)
A Knight of the Seven Kingdoms • “In the Name of the Mother” • HBO Max • HBO in association with GRRM and Friendly Wolf Pictures; Dan Romer, composer
Palm Royale • “Maxine Drinks Martinis Now” • Apple TV • Apple Studios; Jeff Toyne, composer
Pluribus • “We Is Us” • Apple TV • Sony Pictures Television in association with Apple; Dave Porter, composer
Slow Horses • “Missiles” • Apple TV • See-Saw Films in association with Apple; Daniel Pemberton and Toydrum, composers
Spider-Noir • “Step Into My Office” • MGM+/Prime Video • Sony Pictures Television, Amazon MGM Studios, Marvel Studios; Kris Bowers and Michael Dean Parsons, composers
WINNER: Widow’s Bay • “Our History” • Apple TV • Apple Studios / Chum Films; David Fleming, composer
Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)
All Her Fault • “Episode 7” • Peacock • Peacock Original, Universal International Studios, Carnival Films; Jeff Beal, composer
WINNER: The Beast in Me • “The Beast and Me” • Netflix • 20th Television for Netflix; Sean Callery and Sara Barone, composers
Black Rabbit • “Isle of Joy” • Netflix • Netflix / Aggregate Films / Riff Raff Entertainment / Youngblood Pictures / Automatik; Danny Bensi and Saunder Jurriaans, composers
In the Blink of an Eye • Hulu • Mighty Engine, Searchlight Pictures; Thomas Newman, composer
Washington Black • “If You See My Mama, Whisper Her This…” • Hulu • 20th Television; Cameron Moody, composer
Outstanding Original Main Title Theme Music
All Her Fault • Peacock • Peacock Original, Universal International Studios, Carnival Films; Jeff Beal, composer
The Beast in Me • Netflix • 20th Television for Netflix; Sean Callery, composer
The ‘Burbs • Peacock • Peacock Original, UCP, Imagine Entertainment, Out of the Blue Productions, Fuzzy Door; Michael Abels, composer
Murderbot • Apple TV • Paramount Television Studios in association with Apple; Amanda Jones, composer
WINNER: Pluribus • Apple TV • Sony Pictures Television in association with Apple; Dave Porter, composer
Jay-Z has spent his summer making a case for his legacy. In July, he took over New York’s Yankee Stadium for three nights, celebrating 30 years of debut LP Reasonable Doubt, 25 years ofThe Blueprint and the defining hits that have stapled his career. Across the shows, the rapper was joined by an eye-watering selection of hip-hop and pop heavyweights, with Beyoncé, Alicia Keys, Usher, Eminem, Nas, Pharrell Williams, Rihanna and Slick Rick among the guests. Billboard’s Angel Diaz, reporting from the run, called it “a masterclass show” – so the bar for what came next was already sky-high.
London, for its part, is far from unfamiliar territory. Jay first came to the capital in 1989 with his mentor Jaz-O and then rocked a British crowd at Notting Hill Carnival back in 1997; by 2008 he was headlining Glastonbury’s Pyramid Stage, opening with a cover of Oasis “Wonderwall” to answer critics – including one Noel Gallagher – who didn’t think hip-hop “belonged” at the festival. His only U.K. shows of 2026 landed at Tottenham Hotspur Stadium on Sept. 4 and 5, marking his first performances in the market since 2018’s On The Run II tour with wife Beyoncé, and first solo dates here since 2013’s Magna Carta World Tour.
Night one of the double-header set an impressive benchmark: Idris Elba’s spoken-word intro, Lauryn Hill and Wyclef Jean reuniting for a run of Fugees songs, Giggs performing “Talkin’ Da Hardest” and a stadium-wide “Happy Birthday” to Beyoncé, watching on from a private suite. Night two, by comparison, was more subdued, with only Sampha and Dave joining Jay him onstage. Jay proved he didn’t need the spectacle of the night before. He had the songs – and three decades of well-honed performance – to carry the night on their own.
As Jay-Z closed out his London run on Saturday (Sept. 5), these were the nine best moments.
