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Focus Wales has shared the next wave of its lineup for 2025, with an additional 104 acts added to the bill.
The festival, which takes place across multiple venues in Wrexham, north Wales, will return in May (8-10) with support from the Arts Council of Wales, the Welsh Government and PRS Foundation’s Talent Development Network.
The event will bring together talent from the U.K., Europe, Asia, Australia and North America.
Among the new names announced include French synth-pop band eat-girls, Seoul’s Hynopsis Therapy and Brussels jazz collective Tukan. View the lineup in full below.
In partnership with APRA and the British Council NZ, meanwhile, three New Zealand artists will be featured in a special Māori reception and showcase: Jordyn With a Why, MĀ and MOHI.
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The additions join previously announced acts like Irish rockers Sprints, the Mercury Prize-nominated Nova Twins, Welsh songwriter Gruff Rhys and rapper Lemfreck, the recipient of the 2024 Welsh Music Prize.
Tickets for Focus Wales 2025 are on sale now. Festival passes begin at £80 ($99), or those working in the music industry can acquire delegate passes for £160 ($198). Day tickets are also available for purchase.
Earlier this month, Focus Wales held a showcase at ESNS in Groningen, the Netherlands, featuring Welsh bands CVC and The Family Battenburg. Speaking to Billboard UK, Focus Wales co-founder and booker Andy Jones explained that the festival’s presence at ESNS “ensures that Focus Wales and, more broadly, Wales as a music market, is part of the wider conversation with the European music community.”
In 2024, Focus Wales played host to performances from Spiritualized, The Mysterines and Antony Szmierek, among others. For more information, visit the festival’s official website.
Thanks to A-list stars such as JENNIE, The Weeknd and Morgan Wallen, the last week of January is particularly stacked with big new music releases. First, the BLACKPINK star brought fans one step closer to her debut solo album, Ruby — which arrives March 7 — by dropping new single “Love Hangover,” a laidback daydream […]
Between Vybz Kartel‘s blockbuster Freedom Street homecoming concert, Machel Montano‘s historic NPR Tiny Desk set and the slow-burning crossover of new soca anthems like Kes‘ “Cocoa Tea” and Yung Bredda’s “The Greatest Bend Over,” Caribbean music has gotten off to an excellent start in 2025.
On Sunday (Feb. 2), music’s biggest stars will convene in Los Angeles for the 67th Annual Grammy Awards, which will be turned into a fundraiser for relief efforts in the wake of several devastating fires in the greater Los Angeles area. At this year’s ceremony, Kartel (Party With Me), Shenseea (Never Gets Late Here), The Wailers (Evolution), the Bob Marley: One Love soundtrack, and Collie Buddz (Take It Easy) are the nominees for best reggae album. Kehlani‘s “After Hours,” which samples Codell “Skatta” Burrell’s Coolie Dance riddim, is nominated for best R&B song. Just three weeks later, Popcaan, Shenseea, Skillibeng, Spice, Valiant and YG Marley will duke it out for best Caribbean music act at the MOBO Awards (Feb. 18), while the Bob Marley: One Love film will compete in six categories at the NAACP Image Awards (Feb. 22).
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As these ceremonies celebrate the best of 2024, the new year is already heating up with new earworms to soundtrack the forthcoming Carnival season. Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Kranium & Masicka, “Cut the Link”
“You give dem everything dem ask for/ And dem end up turn dem back yeah/ Now I know/ Mankind, you can’t tame them/ Dem wah you die, mi realize/ Dem wah fi own di place where you reside/ Mi cut the link, I know the deal,” Kranium croons in the opening verse of “Cut the Link,” a somber rumination on overcoming leeches and detractors. Produced by TJ Records and featuring an assist from Masicka, “Cut the Link” delivers a dancehall track that deals with raw emotion and real-life struggles, topics that are always welcome and cherished in a sea of gun and gyal chunes. “Cut The Link” marks the third collaboration between Kranium and Masicka, following 2016’s “Beach House” and 2017’s “Fire in the Rain.”
Shenseea, “Puni Police”
In a few days, Shenseea could become a first-time Grammy winner, but her current focus is lambasting the “Puni Police.” “Hot gyal a nuh fi everybody, my yute/ Comment pon mi picture dem, a that a mad you/ You too insecure, so you lose/ That’s why I’mma need you to/ Gimme some room to breathe,” she spits over Di Genius’ siren-evoking riddim. Her self-assured lyrics of self-respect in the face of an overly possessive partner add beautiful color to the ever-evolving portrait of woman-helmed dancehall songwriting. Shenyeng and Di Genius last linked up for two Never Gets Late Here tracks: “Neva Neva” and the Masicka-assisted global hit “Hit & Run.” Clearly, the two artists have A1 chemistry.
Lu City & Didi B, “Petit Bonon”
St. Lucia’s Lu City and the Dominican Republic’s Didi B are a match made in heaven on their sultry “Petit Bonbon” single. A slinky mélange of Afrobeats-inflected dancehall and slight notes of soca drums, “Petit Bonbon” finds the cross-Caribbean collaborators joining forces to tribute an eye-catching young lady who’s reigning over the club on a given night. With a greater emphasis on melody and feeling over rapid-fire wordplay, “Petit Bonbon” is a nice conduit to bring the evening into a slower, more seductive place.
Hector Roots Lewis featuring Johnny Cosmic, “Celebration”
After spending last year basking in the success of the box office-topping Bob Marley: One Love soundtrack, Hector Roots Lewis is back with a brand new single. A modern roots reggae tune produced by Johnny Classic, “Celebration” serves as the fifth single from Lewis’ forth-coming project. “To my brothers in the streets/ To my sisters in the streets/ Leave the guns and leave the knives/ We don’t want no fuss or fight,” he implores over the easy-rocking reggae guitars and breezy percussion, maintaining the peaceful proclamations that decorated Marley’s catalog. Lewis’ voice is incredibly charismatic on “Celebration,” seamlessly switching from warm sustained notes in the verses to more staccato delivery in the outro.
Machel Montano, “Pardy”
After making history by bringing soca music to NPR’s Tiny Desk concert series for the first time ever, Machel Montano hopped on a few more riddims in anticipation of Carnival season. Among his new drops is “Pardy,” a reminder that we all work hard, so we all deserve to party. “All work and no play/ Mi seh, ‘No way’/ We don’t want no part of that/ I need a stress reliever, two drinks in mi hand a gyal in the middle,” he sings in the opening verse, expertly setting the scene for an explosive release in the chorus soundtracked by Badjohn Republic and XplicitMevon’s high-octane drums. Packaged with a music video suitable for all ages and generations, “Pardy” is primed to take over the season in due time.
Lyrikal, “Road Anthem”
At this point, is it really a surprise when Lyrikal drops off another road march anthem? With some help from KesKeyz, the Trinidadian artist debuted “Road Anthem,” a song that accomplishes exactly what its title suggests. “Like the government, we go on di road/ Dem go talk about we for centuries/ There’s no other place that is on this Earth/ There’s no other place, there’s no other place/ I never want to miss this feeling again!” he sings, effortlessly invoking the inimitable energy and rejoiceful spirit of the road during Carnival. Like any great soca artist, Lyrikal is a master at pacing, always allowing the verses enough breathing room to stretch out the song’s ascent into a bombastic chorus.
Foreign Dan, Yung Bredda & Venumm, “Cocoa She Want”
After topping Trinidad & Tobaga’s Apple Music chart with his runaway hit “The Greatest Bend Over” late last year (Dec. 30, 2024), Yung Bredda found some time to link with Foreign Dan and Venumm for “Cocoa She Want.” “She don’t want no Lipton, she don’t want no Milo/ All she askin for is the pure cocoa,” Venumm croons over Foreign Dan’s jaunty production. When the soundscape opts for a sparser percussion line halfway, Yung Bredda flaunts his versatility, weaving in and out of harmony with Venumm as he delivers his own promises to share his “cocoa.”
Jahshii & Pop Style, “E.G.Y.G. (Every Ghetto Yout Great)”
With his new Pop Style-helmed single, Jahshii uses the gritty template of trap dancehall to craft an uplifting anthem for Jamaica’s ghetto yutes. When his impassioned, Auto-Tuned voice creeps into its upper register to proclaim that “every ghetto yout great,” Jahshii reaches an emotional apex rarely visited by his trap dancehall contemporaries. On this track, perhaps more than any of his previous efforts, Jahshii intricately understands how to find the emotion and humanity in an expressly digitized landscape, and he fills those pockets with the kind of gut-wrenching wails that demand not just attention, but close listening too.
Adam O & ARK Productions, “Ms. Masquerader”
With “Ms. Masquerader,” a tribute to the countless beauties on the road, Adam O makes himself at home in the role of ultimate ladies’ man. The St. Vincent and the Grenadines-born artist incorporates more Haitian and Dominican musical influences than your typical soca anthem, but between his raspy vocal performance and live instrumentation by Chryston Floyd (guitar), Konata (percussion) and Geremi Webb (bass), “Ms. Masquerader” stands as a smashing success. It’s a Carnival jam to keep your waistline moving and facilitate a steamy dance or two on the road.
Nailah Blackman & Skinny Fabulous, “Forever”
Both Nailah Blackman and Skinny Fabulous are likely to have yet another dominant year in 2025, and their new “Forever” collaboration is a reminder of why that’s the case. “Carnival, it is my time/ I wanna catch the spirit, it is high time/ Twice is not enough, I need it five times/ For a lifetime,” they plead in unison on the pre-chorus, personifying Carnival as a being that holds the key to a very special kind of unfettered joy and celebration. With CMungal Music, Keiron “Ogoshhoyte” Hoyte, Anson Pro, David “Millbeatz” Millien, Evolution the Band and Johnny Q all contributing to production, “Forever” has notes of all the different traditional and innovative elements that made 2016 such a beloved soca year.
More African artists are coming for the global spotlight in 2025.
Qing Madi, who was featured on Billboard‘s 21 Under 21 list last year and has been featured on Spotify and Genius‘ 2025 Artists to Watch lists, readied fans for her debut album I Am the Blueprint, which dropped Friday (Jan. 31) with her romantic single “Akanchawa” arriving right in time for Valentine’s Day. Darkoo pays homage to P-Square and late 2000s Afrobeats on her new club jam “Focus on Me (All the Sexy Girls in the Club).” And Teni and Black Sherif get in their introspective bag with their new singles “Money” and “Lord I’m Amazed,” respectively.
We’ve also changed the name of our column from “Afrobeats Fresh Picks” to “African Fresh Picks,” to be more inclusive of artists coming out of the continent whose music exists beyond the borders of “Afrobeats.” While we’ve always featured African artists who’ve made alté, amapiano, highlife and more styles of music, we want that to be reflected in the title, too.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and get the new year started with our Spotify playlist below.
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Darkoo, “Focus on Me (All the Sexy Girls in the Club)”
Following her frothy summer banger “Favourite Girl” — which is nominated for song of the year at the 2025 MOBO Awards — British-Nigerian singer Darkoo gets the new year and all the parties started with “Focus on Me (All the Sexy Girls in the Club.)” The infectious waist-whining anthem samples P-Square’s 2009 hit “Gimmie Dat” for a nostalgic Afrobeats vibe, while the accompanying music video pays homage to the iconic Nigerian duo’s 2007 “Do Me” visual.
Qing Madi, “Akanchawa”
Qing Madi is giving all her love to someone special on “Akanchawa,” which arrived before she released her debut album I Am the Blueprint today via JTON Music. “Akanchawa” is an Igbo word meaning “good hands” or “hands that bring good things,” and she’s beyond grateful to have this love come into her life. And Marvey’s mellifluous production enhances the sweetness of the song.
Nasty C, “For Certain”
Nasty C gave his fans “a little gift” at the end of 2024: the sizzling single “For Certain.” The South African rapper touts his cool factor while reflecting on the importance of legacy when he asks, “What is your reason for breathin’?” and “What you go leave when you leavin’?” in the first verse.
Mabel & King Promise, “All Over You”
After collaborating with Afroswing king Kojo Funds and Ghanaian rapper Black Sherif last year, Mabel teams up with Ghanian singer-songwriter King Promise on the tantalizing record “All Over You.” The duo craves an intimate exploration of one another, as Mabel sings, “That pillow talk is talking, please tell me some more/ Hands on mine, skin to skin, eye to eye.” As a fan of Asake’s right-hand producer Magicsticks, Mabel traveled to Lagos to make the song with him, according to a press release, and he makes his signature log drum-infused percussion and compelling crowd vocals loud and clear on “All Over You.”
DeJ Loaf, Runtown & Libianca, “Up Or Down”
Def Loaf recruits Nigerian singer-songwriter Runtown and Cameroonian-American artist Libianca for “Up Or Down.” Producer Cheekychizzy’s pulsating rhythm sets the tone for the topsy-turvy tune, as the Detroit rapper sings about loyally waiting for someone to come back around. Meanwhile, Runtown wants a girl for a good time but not a long time, and Libianca croons about loving someone with commitment issues.
Teni, “Money”
“They say money don’t buy you happiness/ Money can’t buy you love/ Money don’t fill this emptiness/ But I want all the money in the world,” Teni croons on her latest single, a piano ballad that’s a departure from the bops on her fantastic last album, Tears of the Sun. But the stripped-down song instead serves as a showcase for her vocals and songwriting, a simple yet deeply affecting entry into her growing catalog.
Black Sherif, “Lord I’m Amazed”
The Ghanaian MC continues sketching the story of his life through his latest string of fantastic singles — many of which have appeared in this column — and “Lord I’m Amazed” is the latest in that lineage. This is more contemplative than some of his higher-energy cuts, but it’s exactly that that sets it apart, as Sherif takes a moment to step back and reflect on the blessings in his life and how far he’s come. Even when he departs from his usual flow, no one sounds like him right now, which is the highest praise for an artist of his caliber.
Andy S feat. Sarahmée, “Dracula”
The sheer ferocity that storms through from Côte d’Ivorian rapper Andy S. on this track spans languages — she raps primarily in French — and cultures, as she and Senegalese-Canadian MC Sarahmée rip through this track, bringing high drill energy over an understated beat. The song appears on Andy S.’s brand new EP Born Ready, which is six explosive tracks of all different vibes, and is a fascinating introduction to a bright and promising artist.
Krizbeatz & Tekno feat. taves & Adewale Ayuba, “The Roof”
Veteran producer Krizbeatz took a turn as artist with his new album Daddy Daycare, and he tapped longtime collaborator Tekno to helm this track alongside saves and Adewale Ayuba. The simple hook dominates, but, perhaps unsurprisingly, it’s the production that really takes center stage, pulling from traditional Afrobeats drums, R&B stylings, amapiano log drum accents and electro undertones to craft a constantly-mutating beat that provides the perfect platform for the vocalists to groove over.
Carter Efe & Khaid, “PRAY”
Carter Eye may be best known as a comedian — certainly that’s where much of his social media energy lies — but his forays into music have borne fruit, too, first with the Berri Tiga-assisted “Machala” a few years ago and now most recently with this new cut with Khaid, one of the best young vocalists and hitmakers to emerge in the past two years. There’s not much that Khaid touches that doesn’t become an immediate earworm, and “PRAY” is no different — the rising singer is destined for greatness sooner rather than later, as his catalog keeps growing with hit after hit.
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The Weeknd’s latest album ‘Hurry Up Tomorrow’ offers a rollercoaster of styles, moments of brilliance, and a few missteps. From the jump, the intro gives a clear nod to Michael Jackson with a “Thriller”-esque switch-up, setting the tone for what’s to come: an eclectic blend of R&B, drill, and even a little bit of trolling.
The second track, “Cry For Me”, introduces a unique R&B drill sound. The Weeknd croons over the hard-hitting drill beat, expressing his hopes that she’ll cry for him the way he once cried for her. It’s emotionally raw, but the heavy rhythm creates a bit of distance from the sentiment, adding an interesting juxtaposition. “I Can’t F**g Sing” is an unapologetic 10-second interlude that serves as The Weeknd’s playful response to critics who’ve questioned his vocal abilities. It’s a brief but sharp moment of self-aware trolling, letting fans know he’s confident in his talent.
Moving to “São Paulo”, this track feels overloaded with too many ideas. There’s an ambitious mix of sounds, but it ends up feeling disjointed and hard to follow. “Baptized in Fear” suffers the same fate—it’s forgettable and doesn’t make much of an impact. On “Open Hearts”, The Weeknd tries to recapture the magic of “A Lonely Night”, but the result feels like a knockoff. It’s good, but not quite up to par. Meanwhile, “Reflections Laughing” stands out with its raw honesty about mental struggles, featuring a surprise verse from Travis Scott.
The track “Enjoy the Night” would’ve been lackluster if not for Future’s guest verse, which brings a vintage Pluto energy to the song, elevating it significantly. Similarly, “Given Up On Me” is enhanced by Future’s backing vocals, as The Weeknd reflects on his self-doubt and the woman who refuses to leave him.“Timeless” is easily one of the album’s highlights, featuring Playboi Carti. It’s a nearly flawless track, rich in sound and melody, perfectly crafted to be a single. “Niagra Falls” will please longtime fans with its throwback feel, tapping into the “old Weeknd” vibe that made him a star.
The production on “Big Sleep” is undeniably amazing, making it one of the album’s standout tracks. However, “Hurry Up Tomorrow”, the outro, feels like the weakest point of the entire project—forgettable and lacking the emotional punch that usually defines his closers. Overall, Hurry Up Tomorrow is a mixed bag with flashes of brilliance but also a few bumps along the way.
Check out the overall score for The Weeknd’s latest album ‘Hurry Up Tomorrow’ below.
1. Wake Me Up – 7/10
2. Cry For Me – 8.5/10
3. I Can’t F****g Sing – Ten second Interlude
4. São Paulo – 4/10
5. Until We’re Skin & Bones – Another ten second interlude
6. Baptized In Fear – 4.5/10
7. Open Hearts – 4.5/10
8. Opening Night – 5.5/10
9. Reflections Laughing ft. Travis Scott – 6/10
10. Enjoy The Show ft Future – 6.5/10
11. Given Up On Me ft Future (again) – 7/10
12. I Can’t Wait to Get There – 6/10
13. Timeless – 9/10
14. Niagra Falls – 7/10
15. Take Me Back to LA – 6.5/10
16. Big Sleep – 7.5/10
17. Give Me Mercy – 6.5/10
18. Drive – 5/10
19. The Abyss – 6.5/10
20. Red Terror – 5/10
21. Without a Warning – 5/10
22. (Outro) Hurry Up Tomorrow – 4.5/10
23. The Weeknd’s ‘Hurry Up Tomorrow’ Overall Rating: 6
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TDE, also known as Top Dawg Entertainment and the label Kendrick Lamar was once signed to, is the target of sexual misconduct allegations after two women filed a lawsuit against the label. The lawsuit claims that TDE executives and other connected officials allegedly harassed, sexually assaulted, and breached contracts.
Via a report from Newsweek, a pair of unnamed women shared in the lawsuit filed in Los Angeles Superior Court that Top Dawg Entertainment (TDE) executives and staff members carried out the aforementioned alleged acts and that those in charge ignored their concerns and neglected to address them. The Jane Does wrote in the suit that a “pervasive culture of sexual harassment within TDE, implicating some of its highest-ranking executives.”
The first Jane Doe says she was employed by the label in 2019 and accused chief marketing officer Brandon Tiffith, also known as Big B The Chef, of sexual battery along with making undesirable sexual advances. Jane Doe added that TDE president Anthony Tiffith, Jr., also known as Moosa, and is the son of the label’s father “Top Dawg,” sexually harassed her. Beyond those claims, Jane Doe says the label neglected to honor her contract for services rendered.
The second Jane Doe wrote that she endured several moments of sexual harassment and assault from label staff members while working on site. Jane Doe also claimed she was made to drink alcohol while under the legal age with the aim of “sexual exploitation.”
Both Jane Does retained the services of attorney Shounak Dharap of Arns Davis Law, who offered a statement regarding the matter.
“This lawsuit presents a glaring example of the systemic abuse and exploitation in the entertainment industry,” Dharap said to the outlet. “Our clients trusted TDE to act with integrity and professionalism. Instead, their trust was betrayed in profoundly damaging ways. They’re bringing this lawsuit because they refuse to be silenced, and because they intend to hold TDE accountable in court.”
Newsweek several mentions of artists currently signed to the label and of Kendrick Lamar, who went on to begin his imprint, pgLang, with Dave Free in 2020. The lawsuit filing is a curious one considering Lamar has made several unfounded allegations regarding his rival Drake that include sexual harassment and targeting young women.
There has not been an official statement from the label as of yet.
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There is no slowing down Jelly Roll. The singer-songwriter-entertainer is set for an acting role in the CBS series Fire Country, with Jelly Roll’s episode set to air April 11. Jelly Roll previously made a cameo as himself in the series Tulsa King, but in this new Fire Country role, the Tennessee native will be […]
The Recording Academy awarded Jack Antonoff one additional 2025 Grammy nomination this week – as one of 11 engineers on Sabrina Carpenter’s Short n’ Sweet, which is nominated for best engineered album, non-classical. This is Antonoff’s first nomination in an engineering category and brings his career nominations total to an even 30.
Final-round Grammy voting ended on Jan. 3, so Antonoff’s name didn’t appear on the ballot in that category, but he will take home a Grammy on Sunday (Feb. 2) if the album wins in that category.
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Antonoff has five other nominations this year – record of the year for producing the Taylor Swift/Post Malone collab “Fortnight,” two for song of the year for co-writing “Fortnight” and Carpenter’s “Please Please Please,” and two for album of the year for his contributions to Short N’ Sweet and Swift’s The Tortured Poets Department.
Antonoff’s 2024-25 Grammy season got off to a surprisingly rough start. His failure to land a nomination for producer of the year, non-classical, a category he had won the last three years running, was widely considered the biggest snub in this year’s nominations – and is hard to reconcile with his bounty of nominations in other marquee categories. He’s the only producer with credits on two album of the year nominees this year. It appears that the members of the National Craft Nominating Committee, which selected the five nominees for producer of the year, non-classical, just decided that Antonoff has been rewarded enough in this category, at least for now.
The 67th Grammy Awards Rules & Guidelines handbook says “the first round of voting [in this category] is in the hands of the general voting membership via the first ballot. The second round of voting, however, takes place in a national craft nominating committee. The top 30 selections from the general voting membership…appear on the ballot for the national craft nominating committees, made up of 25-35 voting members representing all the chapters, to vote by confidential ballot to select the five nominations.”
Antonoff’s six nominations this year are evenly split between his work with Swift and Carpenter – three for work with each artist. Over the course of his career, he has received 11 nominations specifically for his work with Swift; six with fun., the pop trio in which he rose to fame; four with Lana Del Rey; three with Carpenter; two with St. Vincent; and one apiece with Lorde and Zayn. (The former One Direction star teamed with Swift for the duet “I Don’t Wanna Live Forever” from Fifty Shades Darker, which was nominated for best song written for visual media.)
By category, Antonoff has received 10 album of the year nominations; six for song of the year; five for producer of the year, non-classical; three for record of the year; two for best pop vocal album; and one each for best new artist, best pop duo/group performance, best song written for visual media, best rock song and best alternative music album.
Antonoff, 40, has won 11 Grammys.
Here’s the updated list of nominations for best engineered album, non-classical. The artist’s name at the end of each listing is shown just for identification purposes.
AlgorithmDernst Emile II, Michael B. Hunter, Jordan Johnson, Stefan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)
Cyan BlueJack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)
Deeper WellCraig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)
EmpathogenBeatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti, Mitch McCarthy, Adam Schoeller & Willow Smith, engineers; Joe LaPorta, mastering engineer (WILLOW)
i/oTchad Blake, Oli Jacobs, Katie May, Dom Shaw & Mark “Spike” Stent, engineers; Matt Colton, mastering engineer (Peter Gabriel)
Short n’ SweetJack Antonoff, Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)
The Game has planted himself on the front lines of Los Angeles looking for ways to help the community and get the city back on its feet ever since the tragic wildfires began blazing through L.A. County earlier in January.
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Following his inauguration, President Donald Trump paid a visit to California on Jan. 24, but Game took issue with Trump making a quick stop touring the Palisades Fire and not the other areas which were also left devastated.
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“Obviously Trump came to see the Palisades fire and everyone affected needs hearts, but these people are just as important,” Game told TMZ. “I think that President Trump and anybody else that is running the country need to come down here and do their due diligence here as well.”
The Compton native added, per HipHopDX: “I think President Trump went over to the affected areas of Pacific Palisades, but he didn’t make his way to Altadena. I’m not telling President Trump what he has to do or what he should do or nothing like that, but let’s not forget about Altadena.”
Earlier in the month, Game was boots on the ground helping Pasadena firefighters battle the blaze by delivering food, drinks and supplies like blankets.
“Me & my team have been down here with the brave men & women fire fighters on the grown day in & day out assisting anyway I can do make their days a little easier,” he wrote in a heartfelt Instagram post. “The hearts & level of humility in each & every soul down here is a beautiful thing to witness & be a part of. These fighters are coming from all over the city, state & country to help put an end to what has been a long week of catastrophic events caused by these fires.”
Game even shifted his focus to an animal rescue mission where he went around Pasadena and Altadena looking to find pets and reunite them with their owners.
L.A. radio legend Big Boy gave The Game his flowers for being outside during a time like this. “The Game is out there… I was reading the comments and it was so much positivity under that,” Big Boy said. “And if he can get someone else out there — just one more person out there, that’s beautiful.”
L.A.’s FireAid Benefit Concert took place on Thursday night (Jan. 30) with Billie Eilish, Lil Baby, Jelly Roll, Tate McRae, Olivia Rodrigo, Peso Pluma and many more hitting the stages at Intuit Dome and Kia Forum. Los Angeles Clippers owner Steve Balmer matched every dollar donated during the concert.
Those wanting to donate to Los Angeles wildfire relief funds are encouraged to visit fireaidla.org.
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Ever since retiring from the NBA back in 2019, Dwayne Wade has kept a relatively low profile, as he’s been enjoying his post-professional life with his lovely wife Gabrielle Union and his children.
Now, he’s revealing that life took a tumultuous turn in 2023 when he had to have a cancerous tumor removed after doctors found a growth on his right kidney. In a recent episode of his show, The Why With Dwyane Wade, the future NBA Hall of Famer revealed that he felt strange symptoms during that year that included constant cramps and weak urination, which spurred him to seek medical attention, as his father Dwyane Wade Sr. had his own bout with prostate cancer.
After D-Wade’s doctor ordered a full-body scan to see what could be causing the health issues Wade was experiencing, they discovered the tumor. Having sought multiple medical opinions on the matter, Wade learned doctors couldn’t take a biopsy to see if it was cancerous and ultimately decided to go under the knife and have the tumor and 40% of his kidney removed before things could get any worse.
“I had a personal decision to make. And what it was was, if this is cancerous, if this tumor, this cyst, is cancerous on your kidney, you’re 41 years old. You probably need surgery, so it’s something that needs to be removed so it doesn’t spread. I made the decision to have surgery. I had surgery on December 18, 2023.”
The decision proved to be the right one. After the tumor was removed it was examined, and he later learned it was indeed cancerous and deadly.
Telling his co-host Bob Metelus that it was “the weakest point I’ve ever felt in my life,” Wade went on to credit his family for holding him down and being right by his side as he battled his health scare.
“Fortunately for me, my family got in, they jumped in. And what I saw, in the midst of that, and me going through my illness. I saw everybody show up for me and be there for me. In that process, in my weakness, I found strength in my family, in my friends, in my group.”
Thank goodness for modern medicine.
Check out the interview in full below, and let us know your thoughts on the situation in the comments section.
