Riley Green is heading to The Voice.

The 37-year-old country star announced on social media Saturday (May 9) that he will join as a coach for season 30 of the NBC music competition series.

Green shared the news ahead of his concert at Ameris Bank Amphitheatre in Alpharetta, Georgia, on Saturday. He is currently on his Cowboy As It Gets arena tour across North America.

“I guess y’all can start calling me coach… see ya this fall. @nbcthevoice #thevoice,” Green captioned the announcement on his Instagram account.

The “Worst Way” singer joins previously announced coaches Kelly Clarkson and Adam Levine for the upcoming season of The Voice, which airs this fall on NBC and streams on Peacock. Levine’s contestant, singer Alexia Jayy, was crowned the winner of Season 29 in April 2025.

Green’s announcement post features a clip of him listening to voicemail on his phone left by Clarkson, who politely greets him using her full name and addresses him by his.

“That is officially the last time we’re gonna use each other’s full name ’cause we’re not tools,” she says in the message, which has her welcoming him to The Voice. “But we’ve never officially met. I’m super stoked to coach alongside you.”

Clarkson also kindly tells him she’s a “superfan” in the message — a “big fan, but needless to say, fan and all it’s a competition.” So she’s sent him a special gift: his personalized The Voice coach chair, adorned with duck calls. “I think you’re gonna need the practice because Kelly’s gonna whoop that ass,” she quips.

Comments on Green’s post include a friendly congrats from host Carson Daly, who wrote, “Welcome to the fam!! Can’t wait to hang! You drink right? Pls God say yes.”

Green has been on a winning streak of his own. The singer-songwriter has scored four No. 1 hits on Billboard‘s Country Airplay chart, including “Worst Way” and the Ella Langley collaboration “You Look Like You Love Me,” and has earned multiple CMA and ACM Awards to date.

He is also set to perform at the upcoming ACM Awards on May 17, where he is nominated for male artist of the year, album of the year [for Don’t Mind If I Do (Deluxe)], artist-songwriter of the year, and music event of the year for “Don’t Mind If I Do,” featuring Langley.

In April, Green made his acting debut on the CBS series Marshals, in which he plays Garrett, a former Navy SEAL who arrives in Montana while carrying personal demons he needs to put to rest.

See the announcement of Green joining The Voice below.

Janet Jackson elected not to perform, but she showed up to accept the award, along with her co-producer Jimmy Jam. “I’m so grateful and honored that Rhythm Nation is being recognized tonight in this wonderful, wonderful way,” Jackson said. “It’s beautiful to relive the memories attached to this project that’s so, so precious to me tonight.

“Rhythm Nation still resonates on a deep and profound level. It’s an ongoing force that fights bigotry and promotes understanding. It cannot be stopped. It’s simply too strong, too positive. Rhythm Nation is a movement of people of all ages and backgrounds, seeking to give and receive love free of judgment. As we celebrate tonight, let’s remember that it transcends all borders, nationalities and faiths.

“I hope you hear my heart’s desire when we first created this suite of songs. More than ever, my hope is that we might live in a world free of fear and despair. The prayer driving this remains exactly the same — that peace prevail. Peace the world over, peace among nations, peace in our neighborhoods, peace in our homes. May the music of Rhythm Nation continue to bring us together in peace, and may that peace allow us to celebrate this precious gift of life that God has given us all.”

Jam, who co-produced the album with Terry Lewis and Jackson, said “It’s an honor to be here tonight, particularly as we recognize an album it means so much to us.

“When my partner, Terry Lewis, and I started working on Rhythm Nation with Janet, we weren’t trying to make a political statement. We were simply responding to a world around us. We were watching the news and seeing all the pain and injustice and the tragedy, and we asked ourselves, ‘What could we do?’ We felt a responsibility to use our voices. So this album, it was a big commercial success, but even better than that, it changed lives, and so did Janet. So much of what we see in music today, especially when it comes to female empowerment, traces back to her influence.

“I always tell people, you don’t have to worry about ever interviewing Janet because everything that you want to know about her is on each one of those albums. The whole idea of, you know, being vulnerable on albums, don’t worry about having to be perfect on albums, and just express yourself. I think that’s the thing that makes those albums so special. And I’ve heard stories of young people actually going back to school because of that album [Rhythm Nation]. And nearly 40 years later, the message still resonates. It’s a reminder that music can heal, unite and inspire us to change. But also, unfortunately, there’s still a lot of work to still be done. So, I want to say thank you to the Recording Academy for this award, but I really want to say thank you to Janet for trusting us to bring your vision to life.”

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Two-time Grammy-nominated reggae star Protoje has spent the past 15 years valiantly merging classic reggae with contemporary audiences’ increasingly cross-genre sensibilities — but his newest LP feels like the first album he’s made primarily for himself.

Led by buzzy singles “Feel It” and “Big 45,” The Art of Acceptance arrived on April 17 via Ineffable Records and the singer’s own In.Digg.Nation Collective. Featuring collaborations with Damian “Jr. Gong” Marley, Shenseea, Masicka and Jesse Royal, the new record delivers 13 poignant musical manifestos rooted in Rastafari principles and first-hand experiences of grief and growth. From incisive takedowns of fascism (“The Locusts”) to hard-sought inner peace (“Ten Times Around the Sun”), Acceptance traces an emotional arc that keeps Protoje’s life in tune with more sprawling ruminations and revolutions of all kinds.

“I’ve lived to see people showing love no longer be the default; love is the rebellion,” he proclaims. “Reggae music is about struggle and oppression, but it is always yearning for love and reconciliation. My music balances those things. There cannot be peace without justice, so we have to fight for both. The world is in chaos, and Babylon is falling, but what are we going to do now? What do we build in its place for the next era?”

Protoje’s new album arrives four years after his last solo studio project, 2022’s Third Time’s the Charm, marking his first full-length since parting ways with RCA that same year. Since returning to full-time independent status (In.Digg.Nation exclusively licenses its releases to Ineffable), the St. Elizabeth-hailing star has doubled down on uplifting local contemporary reggae talent, launching his Lost in Time Festival in 2023. Billboard attended this year’s Lost in Time staging at Hope Gardens in Kingston, Jamaica, which featured a set from enigmatic reggae savant Chronixx — his first local live performance in seven years. Protoje’s commitment to bridging generations of reggae lovers is evident throughout The Art of Acceptance, from the Griselda-nodding hip-hop influences peppered across James’ soundscape to the uplifting, anthemic feel of “At We Feet.”

As he wraps the final month of his 46-date Reggae Invasion Tour across Europe, the U.K. and the U.S., Protoje took a moment to chat with Billboard about his Hot 100 goals, an upcoming visual album and how his recent Ethiopian Christmas helped bring The Art of Acceptance to life.

When did it start to feel like you had a new album coming together?

When [producer] Winta [James] sent me the first beat, which was “The Locusts.” I heard that and knew I wanted to write a new album. I have enough songs for multiple albums sitting in my hard drive, but when I heard that beat and those lyrics, something clicked. [The opening lyrics], “Rastafari teach I how to forgive/ I’ve been learning how to live and let live,” were already there because Winta had started fleshing out the idea for the song. And we haven’t been in the studio together since my 2018 album, A Matter of Time. So, that beat was the first sign that we were onto something. Then we did “Big 45,” and I did “Feel It” with my band, and we were on our way.

How did your trip to Ethiopia inspire that song in particular?

“The Locusts” started before my trip to Ethiopia, but it got finished there. “Reference” also got finished there. When we started to work on these songs, I wanted to go to Ethiopia because I saw where the music was taking us. I wanted to go there and see what else I could gather inspiration-wise. We had an Ethiopian Christmas and saw everything: Timkat, Lalibela, Afar, etc. And we documented everything, so now we have dope visuals for every song. Being in Ethiopia grounded me, my spirit and beliefs, and my faith. I felt invincible afterwards; I wasn’t worried about any pressure related to music. I did something to feed my spirit; what higher art can you do? I felt so free and liberated, so whatever else comes from this album is just a bonus.

What makes you and Winta such strong collaborators?

His vision for songs, melodies and beats is so tough. And we connect on the same wavelength; we never have to meet each other anywhere. We first started to bond over our love for Sly & Robbie and Channel One. Even when it comes to hip-hop, we have the same taste. We’re both really into Griselda and what Daringer is doing. You can hear those creepy, minor chords on “Locusts.” There’s no tug of war; both of our favorite album from last year was [Freddie Gibbs & The Alchemist’s] Alfredo II. When you have that type of chemistry musically, it translates into the studio naturally. Between that and his experience, that’s why he’s my main producer.

What was the last song you added to the track list?

We actually finished “The Locusts” last, but the last songs we added to the tracklist were the Shenseea and Gong [collaborations]. We had 10 songs ready, but we were trying to figure out which song Damian [Marley] would fit on. I was thinking either “The Locusts” or “Sword & Shield,” but when he heard them, he said, “I think these are songs you would want to hear me on instead of what we would sound good doing together.” He wanted to go for something universal and unmistakably reggae.

I went back to the drawing board with Winta, and we came up with “At We Feet” and decided to make that a collaboration. Winta also thought I needed a one-drop rhythm on this project, so we sought out Shenseea for “Goddess.”

Masicka and Shenseea both appear on The Art of Acceptance. Why do you think they’ve become the go-to male and female collaborators, respectively, in contemporary dancehall?

Every time Masicka does a feature, he lifts the song and stays on topic. He listens to the original verse and chorus and shares a perspective on that specific journey. He’s flawless on every feature. With Shenseea, I’ve never heard her on a reggae one-drop like “Goddess.” She’s done reggae before, of course, and that’s what indicated to me that she could get the back-and-forth vibe of “Goddess.” She also lifted the song and added her personality to bring it to the next level.

You also link up with Jesse Royal (“Something I Said”) on the opener. Where did those ‘70s soul influences come from?

That was another Winta idea — and I didn’t even want to do it at first. I didn’t want to talk about what people expected or wanted from me. I was like, “Bro, I don’t care to answer to nobody,” and he was like, “Yeah, because you’re at that point of acceptance now. But you weren’t two years ago, so let’s talk about where you were, and finish the album with where you are now.”

I remember my bass player came to the studio and pointed out how soulful and almost jazzy the chords felt. And Jesse just embodies the energy of the song, and he’s always around — so, of course, I had him jump on the song.

How did you come up with the album title?

It just came to me. I don’t want to give too much away, because it’s a whole thing, but dealing with the stages of grief, there’s denial, acceptance, forgiveness, etc. I didn’t want to focus on denial because I got past that, and it wasn’t helping me at all. I wanted to start a new chapter and journey of acceptance. I want to explore how I dealt with these heavy moments through reasoning, philosophical conversations and therapy. In that journey, I found that forgiveness really is the key to everything, but before I got there, I wanted to focus on acceptance.

What’s changed about your creative process this time around?

A lot less sampling, and mostly live instruments. It was a natural choice, but I wanted to be a bit more mindful and creative. My mom [Jamaican singer and lawyer Lorna Bennett] clears all my samples, and she hates all that anyway. [Laughs]. There are heavy ‘90s Steely & Clevie influences, some Gussie Clarke too, and there will forever be Sly & Robbie across my projects. I wanted that Griselda/Wu-Tang type of sparse, almost out-of-tune keyboard on the album as well. This is the album I wanted to make for a long time. I finally did an album where I’m not focused on the next album.

What would a Grammy mean to you for this particular record?

A Billboard Hot 100 [hit] would mean way more to me. A Grammy is not at the forefront of my goal; it never has been. I know the Grammy system and what it means. But it would mean a lot to my mom. I’m thinking about cultural impact and big songs; I want music to be relevant to elders, the youth and my peers. I want to see conversations and ideas sparked by the messages on my project. A Grammy would not make me feel any more accomplished than I am. But I like for my mother to get what she wants!

What were some of your biggest takeaways from your time in the major label system?

I only went to RCA because of Archie Davis, who helped me set up a label deal for myself and the artists I had at the time, including Sevana and Lila Iké. When he left to work with Tunji [Balogun] at Def Jam, RCA became a very different place for me to exist. I also didn’t have a key man clause [a contractual provision that allows an artist to terminate their agreement if a specific individual, normally the person who signed them, leaves the company] at the time, so it was challenging navigating the label without the person who signed me.

Another issue major labels generally have is that they don’t really know what to do with Caribbean music. But that wasn’t necessarily the case for me because I got to keep my masters and creative control. I learned a lot from being there, but I always knew I was never interested in a major. The deal made sense at the time, and truly naturally ran its course.

What’s next for In.Digg.Nation this year?

I did visuals for every song on the album, and we’ve arranged it as one continuous viewing. I held some screenings in Jamaica, and would love to do a few in America, too. More singles and individual music videos are coming, too. Lots of touring as well.

South Korea’s HYBE launches ABD, a new label dedicated to girl group production.

Leading ABD, short for A Bold Dream, is its inaugural president Jiwon No, who previously served as head of artist planning at PLEDIS and MORE VISION. At ABD, she will oversee the label’s overall management and strategic direction.

The first ABD project will debut in the second half of 2026. Sung Soo Han, widely recognized as the creative mastermind behind such artists as SEVENTEEN, After School, IZ*ONE, and TWS, will lead the girl group’s overall production, from music to concept and performance.

“The creation of ABD aligns with HYBE’s multi-label strategy, which champions creative independence and autonomy within HYBE’s broader support framework,” reads a statement, issued Friday, May 8. “With a distinct focus on girl group development and the introduction of differentiated IP and artistic identity, the launch of ABD marks a strategic step in strengthening HYBE’s multi-label ecosystem as K-pop continues to evolve globally.”

HYBE is on a high, after reporting record-setting revenue at 698.3 billion KRW ($470.2 million), thanks largely to the comeback of BTS and the group’s fifth studio album, ARIRANG, and world tour.

Within the rest of K-pop specialist’s artist portfolio, ENHYPHEN’s seventh mini album, THE SIN: VANISH, became the group’s fourth double-million seller during the period, while CORTIS’ debut album, COLOR OUTSIDE THE LINES, surpassed 2 million copies in cumulative sales.

HYBE America reported strong gains with KATSEYE, the girl group that recently surpassed 32 million monthly listeners on Spotify, while their EPs, SIS (Soft Is Strong) and BEAUTIFUL CHAOS, sold a combined 1 million copies. The quarter also saw the relaunch of BMLG as Blue Highway Records, led by Jake Basden as CEO.

ABD “embodies the label’s creative philosophy of pursuing unconventional, flexible, and playful ideas that push beyond norm,” reads the statement unveiling the new label. “Guided by a deep understanding of both artists and fans, the new label aims to pursue the intrinsic joy of music while exploring new possibilities and expanding the horizons of K-pop.”

MUSIC AWARDS JAPAN 2026, Japan’s biggest international music awards show, has unveiled its nominees across 63 categories ahead of the June 13 ceremony.

MUSIC AWARDS JAPAN (MAJ) is built around the concept of “Connecting with the world, illuminating the future of music.” Now in its second year, this year’s ceremony spans 77 categories across genres and national borders. On March 19, a total of approximately 2,000 entries were revealed.

The newly announced list covers nominees across 63 categories, selected through a preliminary vote by 5,000 music industry professionals from Japan and around the world. In the six major categories — Song of the Year (100 songs), Artist of the Year (100 artists), Album of the Year (100 albums), New Artist of the Year (50 artists), Best Global Hit from Japan (100 songs), and Best Song Asia (21 songs) — five nominees were selected from each category’s entry pool. 

Among those featured are HANA (“Blue Jeans”), Kenshi Yonezu (“IRIS OUT” “JANE DOE”), Sakanaction (“Kaiju”), Aina the End (“Kakumei Douchu – On The Way”), M!LK (“Suki Sugite Metsu!”), Fujii Kaze (‘Prema’), Mrs. GREEN APPLE (“10”), CANDY TUNE, and more — artists and works that have made their mark on the music scene both in Japan and internationally. Nominations also span a wide range of other categories, including Best Dance & Vocal Song (Group/Solo), Best Cross-Border Collaboration Song, Best Digital Culture Artist, and Best of Listeners’ Choice powered by Spotify, the last of which was determined by public vote. The full list of nominated works is available on the official MAJ website.

At the nomination announcement event held in Tokyo on April 30, this year’s MAJ Ambassadors, Kento Nakajima and Mei Hata, took to the stage. Reflecting on the nominations, Nakajima said, “I’m keeping a close eye on the Best J-POP Song Award — it’s stacked with classic hits. And since I’m a big fan of the anime ‘Chainsaw Man,’ I’m really happy to see ‘IRIS OUT’ and ‘JANE DOE’ are included.” Hata added, “The Best K-POP Song Award features tracks I listen to all the time, so I’m really looking forward to seeing which one will be chosen as the winner.” 

Both ambassadors also spoke to the broader appeal of Japanese music on the world stage. “I think the strength of Japanese music lies in its melodies,” Nakajima said. “I hope that through MAJ, the charm of these distinctly Japanese songs can reach audiences overseas.” Hata echoed the sentiment: “I’d love for the beauty of the Japanese language — its lyrics, its wordplay — to reach people around the world too.”

Final voting to determine the winners will be conducted by music industry professionals from April 30 through May 20. Winners will be announced at the awards ceremony on June 13 at TOYOTA ARENA TOKYO and SGC Hall Ariake. The Grand Ceremony, covering the major categories, will be broadcast live on NHK; the red carpet event will air on NHK BS; and the Premiere Ceremony, covering all other categories, will be broadcast on TOKYO MX.

Both the Premiere Ceremony and Grand Ceremony will also be streamed worldwide on YouTube (excluding certain regions), as well as live on Lemino, ABEMA, and radiko.

Nominated works in the six major categories (listed in numerical, alphabetical, and kana order) below. Visit MusicAwardsJapan.com for more.

Song of the Year

HANA “Blue Jeans”

Kenshi Yonezu “IRIS OUT”

Sakanaction “Kaiju”

Aina the End “Kakumei Douchu – On The Way”

M!LK “Suki Sugite Metsu!”

Artist of the Year

Fujii Kaze

HANA

Mrs. GREEN APPLE

Sakanaction

Kenshi Yonezu

New Artist of the Year

CANDY TUNE

HANA

luv

STARGLOW

Brandy Senki

Album of the Year 

Mrs. GREEN APPLE, “10”

Various Artists, “Dear Jubilee -RADWIMPS TRIBUTE-”

Gen Hoshino, “Gen”

Fujii Kaze, “Prema”

Southern All Stars, “THANK YOU SO MUCH”

Best Global Hit from Japan

XG “HYPNOTIZE”

Kenshi Yonezu “IRIS OUT”

Kenshi Yonezu, Hikaru Utada “JANE DOE”

LiSA “ReawakeR (feat. Felix of Stray Kids)”

Ado “Ussewa”

Best Song Asia

Silet Open Up “Tabola Bale” (Indonesia)

Cup of Joe “Multo” (Philippines)

PLAVE “Dash” (South Korea)

WOODZ “Drowning” (South Korea)

HUNTR/X “Golden” (South Korea)

【MUSIC AWARDS JAPAN 2026】

Saturday, June 13, 2026, Tokyo: TOYOTA ARENA TOKYO & SGC Hall Ariake

*Awards Week: Friday, June 5, 2026 – Saturday, June 13, 2026

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Texas and country music are always a winning combination. Some of country music’s biggest stars shone bright in the heart of the Lone Star State over the weekend, when the iHeartCountry Festival Presented by Capital One again descended upon Austin, Texas on Saturday, May 2.

Kane Brown, Luke Bryan and Parker McCollum were a few of the major artists bringing their musical talents to the Moody Center, while this year’s lineup also featured Riley Green, Carly Pearce, Shaboozey, Dylan Scott, Russell Dickerson, and Gretchen Wilson.

The mix of top country artists and a major country music-loving locale resulted in several memorable festival moments. Among them, Shaboozey bringing everyone to their feet with his smash hit “A Bar Song (Tipsy),” while Riley Green closed out the fest with songs including “Worst Way” and welcomed Pearce to join him on “Don’t Mind If I Do.”

Green also joined Pearce earlier in her set to perform their collaboration “If I Don’t Leave,” while Pearce also offered up hits including “Happy Now.” Bryan regaled the crowd with his party anthems including “That’s My Kinda Night,” while Brown kept the festivalgoers’ energy high with songs including “Bury Me in Georgia” and “Famous Friends.” Wilson also showcased her enduring vocal power on songs including “Here For The Party” and her new song, “Redneck Shit.”

Meanwhile, the iHeartCountry Festival’s Daytime Village featured performances from Lauren Alaina, George Birge, Chase Matthew, RaeLynn and Josh Ross.

iHeartRadio top on-air personality Bobby Bones returned to host the event, which was also broadcast on iHeartCountry stations across the country and on the iHeartRadio app. Disney+ and Hulu also livestreamed performances from the festival, further expanding the festival’s reach.

Partners for this year’s fest included Capital One, America250, Bobcat, booking.com, Electric For All, She Rises Studios and St. Jude Children’s Research Hospital.

Below, see a collection of Billboard’s behind-the-scenes photos from the 2026 iHeartCountry Festival.