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Awards

Kylie Minogue Thanks the ‘Terrible Times’ in Billboard Women in Music Speech: ‘It’s How We Navigate Them’

"Shout-out to all the times that were not peak moments," said the pop star while accepting the Icon Award.

Kylie Minogue

Kylie Minogue

Billboard

Kylie Minogue may have been a star for nearly 40 years now, but the Billboard Women in Music Awards on Wednesday evening (March 6) nonetheless represented a first for the generations-spanning pop idol.

After successfully scaling the stairs leading up to the YouTube Theater stage (sideways, thanks to a tight-fitting dress) to accept the Icon Award from presenter Bebe Rexha at the ceremony, Minogue kicked off her speech by noting the unusual nature of the evening in the scope of her decades-long career.


“I love being in this room, and it’s ridiculous to say, but I’ve never been in a room like this — a pure and vital celebration of women in music, and I’ve been one for 37 years,” she said. “So it is especially nice to be here and so wonderful to be in your company.”

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While the award came amid the success of Minogue’s smash single “Padam Padam” — which marks her biggest hit in the United States in more than two decades — the singer aptly kept the focus on her status as a long-running icon, beginning with her 1987 hit “The Loco-Motion” (still her highest charting single on the Billboard Hot 100 at No. 3) to her No. 7-charting Hot 100 smash “Can’t Get You Out of My Head” in 2001 and her latest chart success.

“On the one hand, it seems completely surreal. Like, ‘Is this really happening? How did I get here?'” she said of receiving the honor. “And then on the other hand, simultaneously, I know the steps it took to get here physically and mentally. Navigating the highs, the lows, and then trying to never lose sight of the in-between, the terra firma. I also know there’s luck, fate, a calling and help — a lot of help from a lot of people over a very long time in my case.”

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Speaking of the lows, in ending her speech, Minogue made a special “shout-out to all the times that were not peak moments. They were no fun. But those challenges, the lows, the stuff we’ve gotta get through sometimes, I wanted to give a big shout-out to all the terrible times. Thank you for teaching us. They were horrendous in the moment, but they happen, and it’s how we navigate them and what we do with them. I’m not looking forward to the next one, but it will come.”

This article first appeared on Billboard U.S.

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Kneecap Blasts Norwegian Government at Oslo Festival, Accusing It of Funding ‘Genocide’ Against Palestinians
Matt Cardy/Getty Images

Mo Chara, DJ Provaí and Móglaí Bap of Kneecap performs on the West Holts Stage during during day four of Glastonbury Festival 2025 at Worthy Farm, Pilton on June 28, 2025 in Glastonbury, England.

Music News

Kneecap Blasts Norwegian Government at Oslo Festival, Accusing It of Funding ‘Genocide’ Against Palestinians

The Irish rap trio went after the Norwegian government over its investments, which are currently under scrutiny, at Øyafestivalen.

Irish rap group Kneecap – which has drawn a storm of criticism, support, attention and legal action over the past half-year – continued to speak out about the war in Gaza during an afternoon set at the Øyafestivalen in Oslo, Norway, on Friday (Aug. 8).

Right before the trio of Mo Chara, Móglaí Bap and DJ Próvaí took the stage, an English-language white-text-on-black-background message played on a video screen, accusing the Norwegian government of “enabling” the “genocide” against the Palestinian people via investments held in the county’s sovereign wealth fund (referenced as “oil pension fund” in the message). “Over 80,000 people have been murdered by Israel in 21 months,” the band’s message continued. “Free Palestine.” The message was greeted readily by a cheering audience. Most estimates (including those from health officials in the area) place the Palestinian death toll at more than 60,000. That number does not distinguish between civilians and Hamas militants. An estimated 18,500 of those killed were children.

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