(Photo credit: Olen Quinn)
Today, Canadian artist bbno$ (pronounced “baby no money”) releases his self-titled ninth studio album via Broke Records/CMG. LISTEN HERE.
The 21-track project is a testament to bbno$’s ability to work across different sounds, while delivering on his widely enjoyed, energetic rap style. The Canadian artist weaves through different pockets, from dance-heavy records like the Sammy Virji co-produced ‘yezzir’; to the soft, mellow serenade ‘main squeeze’. The focus track of the album, ‘bing bong‘, features prominent social media creator Vanilla Mace first ever musical endeavour as VNLLA. The accompanying music video is pure entertainment gold, featuring Mace in a lavish role reversal where bbno$ transforms into her impeccably dressed, devoted butler within the opulent walls of a sprawling mansion. It’s visual storytelling that perfectly captures the track’s playful energy and bbno$ knack for turning expectations upside down.
WATCH “BING BONG” MUSIC VIDEO HERE
The album] also includes some of the internet’s most popular earworms of 2025, including ‘1-800’ with V-Tuber Ironmouse, ‘two’, and ‘it boy’. The project sees production credits from Diamond Pistols (DJ Snake, Rich Brian), Pink Slip (Katseye, Jason Derulo, Ty Dolla $ign, Lauv) and Y2K (Doja Cat, Young Gravy), plus assists on the pen from Jesse Saint John (Charli XCX, Brooke Candy, The Neighbourhood) and JBACH (LE SSERAFIM, Anitta, Ava Max).
This release is the culmination of a phenomenal year for bbno$, where he more than doubled his audience adding over 14 million new followers across his channels. It also comes on the heels of an ambitious 6-week album rollout campaign with 6 single releases, and a slew of content featuring cameos from the internet’s most recognizable faces, including jschlatt, Vanilla Mace, Jake Webber, Brandon Rogers, TheAnimeMen, Leeda Dong, Smosh, CG5, and The Content Machine. At this time, the campaign generated over 150M impressions on content across all platforms, not including user-generated content.
In the next few weeks, bbno$ will embark on his biggest global tour yet starting October 31st in Sydney, Australia. The tour will cover over 65 dates throughout Q2 of 2026, with venue capacities exceeding 7,000 in some of the major markets across North America, Europe, Asia and Oceania. The tour will be landing at iconic venues in North America and Europe, including the O2 Academy Brixton in London, and it’s guaranteed to be a real rager of a party.
ALBUM TRACK LIST
1. bag TF up
2. bing bong (feat. vnlla)
3. gigolo
4. eat slay love (feat. Käärijä)
5. it boy
6. estrella
7. come to brazil
8. check
9. hot topic
10. yezzir
11. rich sexy ugly
12. 1-800 (feat. Ironmouse)
13. pump it
14. NSFW
15. F.U.N.K.
16. main squeeze
17. ADD
18. like this like that
19. two
20. boom
21. finally up
TOUR DATES
| 10/31/2025 | Australia | Sydney | Hordern |
| 11/2/2025 | Australia | Sydney | Hordern |
| 11/3/2025 | Australia | Melbourne | Festival Hall |
| 11/4/2025 | Australia | Melbourne | Festival Hall |
| 11/5/2025 | Australia | Brisbane | Fortitude Music Hall |
| 11/6/2025 | Australia | Adelaide | Hindley Street Music Hall |
| 11/8/2025 | New Zealand | Auckland | Power Station |
| 11/9/2025 | New Zealand | Wellington | Meow Nui |
| 11/11/2025 | Australia | Perth | Metro City |
| 11/12/2025 | Singapore | Singapore | SCAPE Theater |
| 11/13/2025 | Hong Kong | Hong Kong | TIDES |
| 11/14/2025 | Taiwan | Taipei | Clapper Studio |
| 11/16/2025 | South Korea | Seoul | Musinsa Garage |
| 11/17/2025 | Japan | Tokyo | WWWX |
| 11/22/2025 | Brazil | Sao Paulo | Cine Joia |
| 11/29/2025 | Mexico | CDMX | Pabellón Oeste |
| 2/14/2026 | US | San Francisco, CA | The Warfield |
| 2/18/2026 | US | Los Angeles, CA | Palladium |
| 2/19/2026 | US | Anaheim, CA | House of Blues |
| 2/20/2026 | US | Anaheim, CA | House of Blues |
| 2/21/2026 | US | Phoenix, AZ | Arizona Financial Theatre |
| 2/23/2026 | US | San Diego, CA | SOMA |
| 2/25/2026 | US | Albuquerque, NM | The Revel |
| 2/27/2026 | US | Dallas, TX | The Bomb Factory |
| 2/28/2026 | US | Austin, TX | Stubb’s |
| 3/1/2026 | US | San Antonio, TX | The Aztec Theatre |
| 3/4/2026 | US | St. Petersburg, FL | Jannus Live |
| 3/5/2026 | US | Orlando, FL | House of Blues |
| 3/7/2026 | US | Atlanta, GA | Coca-Cola Roxy |
| 3/8/2026 | US | Charlotte, NC | The Fillmore |
| 3/10/2026 | US | Philadelphia, PA | Franklin Music Hall |
| 3/11/2026 | US | Boston, MA | MGM Music Hall at Fenway |
| 3/12/2026 | US | Washington D.C. | Anthem |
| 3/13/2026 | US | New York, NY | Terminal 5 |
| 3/16/2026 | US | Detroit, MI | The Fillmore Detroit |
| 3/17/2026 | US | Chicago, IL | Salt Shed |
| 3/19/2026 | US | Cleveland, OH | Agora Theatre |
| 3/21/2026 | CA | Montreal, QC | Place Bell (Laval) |
| 3/22/2026 | US | Milwaukee, WI | The Eagles Ballroom |
| 3/24/2026 | US | St. Louis, MO | The Pageant |
| 3/25/2026 | US | Omaha, NE | Steelhouse Omaha |
| 3/27/2026 | US | Kansas City, MO | Uptown Theater |
| 3/28/2026 | US | Minneapolis, MN | Armory |
| 3/29/2026 | US | Des Moines, IA | Val Air Ballroom |
| 4/2/2026 | US | Salt Lake City | The Union |
| 4/4/2026 | US | Seattle, WA | WAMU |
| 5/4/2026 | Ireland | Dublin | National Stadium |
| 5/5/2026 | Ireland | Dublin | National Stadium |
| 5/7/2026 | United Kingdom | Manchester | O2 Victoria Warehouse |
| 5/8/2026 | United Kingdom | Manchester | O2 Victoria Warehouse |
| 5/10/2026 | United Kingdom | Glasgow | O2 Academy Glasgow |
| 5/11/2026 | United Kingdom | Glasgow | O2 Academy Glasgow |
| 5/13/2026 | United Kingdom | London | O2 Academy Brixton |
| 5/15/2025 | Switzerland | Zurich | Halle 622 |
| 5/16/2026 | Germany | Cologne | E-Werk |
| 5/17/2026 | Germany | Cologne | Palladium |
| 5/19/2026 | Netherlands | Amsterdam | AFAS Live |
| 5/20/2026 | France | Paris | Le Bataclan |
| 5/22/2026 | Italy | Milan | Fabrique |
| 5/24/2026 | Czech Republic | Prague | SaSaZu |
| 5/26/2026 | Germany | Berlin | Columbiahalle |
| 5/28/2026 | Slovakia | Bratislava | Majestic Music Club |
| 6/5/2026 | CA | Toronto | Budweiser Stage |
ABOUT BBNO$:
bbno$ (pronounced “baby no money”) has quietly become one of the most astute observers and architects of digital music culture, operating at the intersection where viral moments evolve into lasting artistic statements. Beneath the irreverent surface lies a sharp understanding of how modern pop culture actually moves, an instinct that has made him one of the most consistently relevant independent artists of the last five years.
That instinct powered his latest breakout, “1-800” featuring VTuber sensation Ironmouse. Released in June 2025, the track quickly became his most daily streamed song to date and one of the year’s biggest independent hits. What could have been a novelty elsewhere became something forward-thinking, cementing bbno$’s role as a cultural translator between internet subcultures and global pop. The momentum now leads into his highly anticipated self-titled album, released on October 17, following a six-week internet-breaking marketing campaign.
bbno$’s career jumpstarted with “Lalala”, a record that didn’t just go viral but rewired TikTok’s musical DNA and ushered in a new era of digital-first pop. He followed with “Edamame” featuring Rich Brian, another multi-Platinum smash that proved his staying power. Since then, bbno$ has built an extensive body of work, from the collaborative “Baby Gravy” albums with Yung Gravy to a relentless stream of singles that, in just the past year, have generated 750 million video views, 1.4 million fan-made creations, 140 million DSP streams, and more than 2.5 million new followers.
His live presence has grown just as rapidly. What began with digital discovery now commands sold-out headline tours across North America, Europe, Australia, and New Zealand. The upcoming world tour supporting his self-titled album will include career-defining performances at London’s O2 Brixton Academy and other legendary North American venues.
What distinguishes bbno$ from his contemporaries is not just his fluency in viral culture, but his ability to bend it toward his own creative vision. Unapologetically independent and irreverently inventive, he continues to redefine how artists build, engage, and entertain in the digital age. Above all, he proves that authentic connection with fans remains the ultimate currency in modern pop culture.
