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On Wednesday night (Apr. 2), Fake Shore Drive‘s Andrew Barber tweeted out a leaked song titled “Take the Soul” and claimed that the track was “Playboi Carti and A$AP Nast over Alchemist production.” Explore See latest videos, charts and news See latest videos, charts and news Naturally, fans went into a frenzy on X, with […]
In an increasingly global music world, stars are popping up from every corner of the planet. But rising Colombian star Venesti may be the first to come from Guapi, a small, remote town near Colombia’s Pacific coast where there is nothing resembling a music industry.
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“This is a place with maybe 25,000 people or less. People who come from a place like Guapi, don’t think they can be successful at this level,” says Venesti, who at 14 years old move to nearby Cali, known as a capital of salsa and a breeding ground for new rhythms.
Venesti, real name Faiber Stiven Caicedo Castro, carved out the artistic name Venesti from a play on words on his middle names, and began to do a mix of tropical and pop informed by the Afrobeats of his hometown. Last year, he won his first Billboard Latin Music Award, for Best Latin pop song for “No Es Normal,” alongside Nacho and Maffio.
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Building on the song’s mix of pop beats with Afro roots and sensibility, Venesti released his sophomore album Origen on March 28 — a 12-track set that incorporates traditional Afro Caribbean rhythms with Afrobeats, reggaetón and ultimately pop for broad appeal.
“I wanted to find my roots, my culture,” says Venesti. “This is an evolution of my sound. I’ve gone through salsa, bachata, and I’ve rescued many sounds from each genre, I’ve encountered a lot of folklore, fused with Afro culture.”
The album features many collaborators, from known names like Guaynaa and Nacho to rising Colombian DJs and artists. Some may not be as known to mainstream Latin audiences but they’re part of Venesti’s journey from small town boy with big dreams to his arrival in Cali, and later, Bogotá, Medellín and Cartagena, all places whose music informs this album.
Below, Venesti gives us his picks of five tracks to begin his journey with.
“Taca Tu Tacu”
This came from a session with Gangsta, who is one of the most incredible producers today. We’d been talking forever and finally met in Miami. We chatted at home and set it up. I told I wanted to create a fusion of ancestral sounds, and he brought up currulao, a genre from the Pacific coast that’s set in five beats, and we put it inside the chorus. There’s like a currulao in the Afrobeat, and it may be my favorite song. [In terms of the lyrics] I began my career writing poetry, but I wanted a chorus here that you could feel rather than sing. The “Taca Tu Tacu” is the beat of my heart. The poem is recited by my heart.
“Tamo Ahí” (with DJ Pope)
This is the song that has that danceable rhythm, but the song is all about courtship, and you’re there, almost there. DJ Pope is Balvin’s longtime DJ and he’s also someone who’s come up to me and congratulated me for getting to where I am coming from a place like Guapi.
“Felina” (with Nacho)
I worked with Nacho in “No es normal” and I had that personal goa lof having him sing Afro. We agreed to do something else after “No es normal” and he had wanted to do another merengue. I said, bro, if you allow me, let me show you this other rhythm. And he fell in love. We did several songs, but in the end, we stayed with “Felina.”
“Me vas a extrañar” (with Jeivy Dance & Andy Alaska)
This is a heartbreak song. It’s sad to remember happy moments that are over, but it’s also about realizing it’s time to let go of the people who’ve hurt you. It’s about putting it all out there. I worked on this one with Jeivy Dance, this huge talent from Cartagena, and Andy Alaska, a DJ who’s going through a great moment. I hadn’t realized that Afro was being done like this in other parts of Colombia and the Pacific. The four DJs that are in this album are here based purely on friendship.
“Number 1”
This is the guy who is winning over the girl every day with little gestures. And when I say “gestures,” I don’t mean gifts; I mean a look, a call, those little things that matter, that are subtle. It’s a very romantic song and I think people will really connect with it.
CBS is set to present the MTV Video Music Awards (VMAs) for the first time this year. The three-hour broadcast will also simulcast on MTV, which launched the show in 1984. A one-hour live pre-show will air across Paramount Media Networks. This year’s show is set to air live on Sunday, Sept. 7 starting at […]
Young Thug’s attorneys fired back Thursday (April 3) at a push by Atlanta prosecutors to revoke his probation, strongly denying that he violated his release terms merely by posting to social media that a government investigator was the “biggest liar.”
Just a day after the Fulton County District Attorney’s Office told a Georgia judge that Thug should be imprisoned over the X post criticizing Marissa Viverito, the star’s attorneys said the government motion was filled with “baseless assertions” and ought to be denied.
“Mr. Williams did not violate any term of probation,” lawyer Brian Steel wrote in the filing. “There is no violation of Mr. Williams’ probation by reposting an image on social media and opining that Investigator Viverito is untruthful.”
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After sitting in jail for more than two years on felony gang accusations over his “YSL” group, Thug pleaded guilty last year and was sentenced to serve only probation — a stunning end to a legal saga that could have seen him face a life sentence. While he avoided prison, Thug was hit with strict release terms from the judge, who warned him that “there better be no violations.”
The current dispute started on Tuesday (April 1), when Thug posted an image of Viverito to X (formerly Twitter) with the caption that read: “Marissa Viverito is the biggest liar in the DA’s office.” The post, apparently a reference to her testimony in an unrelated gang case, quickly spread across social media.
A day later, the DA’s office went to court, saying Thug had shown “a blatant disregard for the law, the safety of witnesses, and the integrity of judicial proceedings.” Prosecutors argued that the tweet had been part of “a calculated campaign of intimidation” and had led to subsequent posts by others revealing Viverito’s home address and making death threats against DA Fani Willis.
“The escalation from targeting a testifying witness to making a direct death threat against the elected District Attorney of Fulton County is a grave and unprecedented attack on the justice system,” prosecutors wrote in the Wednesday (April 2) filing.
But in Thursday’s response, Steel said Thug was legally entitled to voice his opinion about Viverito’s credibility even while living under the terms of his probation: “Mr. Williams can admit to all of the allegations alleged and still not have violated any term of his probationary sentence.”
Steel also argued that Thug himself was clearly not responsible for later posts by other users: “Mr. Williams, undersigned counsel and all moral persons do not condone threatening another without justification. However, these comments on social media by unknown persons cannot be attributed to Mr. Williams in order to support a violation of his probationary sentence.”
A judge will weigh the arguments from both sides and potentially order a hearing to decide whether to revoke probation. In Thursday’s response, Steel said that the judge could deny the request without a hearing — but that his client would be ready for one: “If a hearing is needed, Mr. Williams will be prepared.”
A mammoth first quarter of 2025 saw Interscope Geffen A&M (IGA) surge into first place in the current market share rankings of U.S. record labels so far this year.
Big records from the likes of Kendrick Lamar, Gracie Abrams, Billie Eilish and Lady Gaga propelled IGA to a 12.67% current share, up from 9.10% over the same period in 2024. That’s just enough to edge out longtime leader REPUBLIC, which rode a wave of releases by The Weeknd and Morgan Wallen and continued success from Sabrina Carpenter and Chappell Roan to a 12.52% current share of the market through March 27, 2025, down slightly from the industry-leading 12.84% it held after the first three months of 2024.
Those two labels — IGA’s share also includes Verve Label Group, while REPUBLIC’s includes Island, Mercury, Big Loud and indie distributor Imperial — helped parent company the Universal Music Group (UMG) boost its year over year market share by nearly three percentage points, to a 36.82% current share so far in 2025 from 2024’s 33.90%. In doing so, UMG widened its lead over No. 2 label group Sony Music Group, which increased its own share year over year to 27.37%, up from 26.91% this time last year. That growth from those two companies largely came at the expense of the indie sector, which fell to a 19.92% current share by distribution ownership this year, down from 23.21% in 2024. (By label ownership, the indies are the biggest sector; see below.) Meanwhile, the third major label group, the Warner Music Group (WMG), largely remained static at 15.89% current share this year, down slightly from 15.98% last year.
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Given the reorganization of UMG last year — in which Capitol Music Group also reports through IGA’s chairman/CEO John Janick, while Def Jam reports through REPUBLIC CEO Monte Lipman — Interscope Capitol’s combined share would grow even further, to 17.23%, which would best WMG’s mark for the quarter. REPUBLIC’s share, in addition to Def Jam, would be 13.07%. Most notable among the labels under the REPUBLIC umbrella is Island’s continued growth. After a year in which Carpenter and Roan broke out as superstars, the likes of Lola Young and Gigi Perez are helping Island to continue to bloom: At 2.94% current share this year, Island would have been the eighth-biggest label if broken out on its own, and its share is up significantly from the 0.71% it posted in the first three months of 2024, when it would have ranked 20th.
Below the top two labels come a pair of WMG companies in Warner Records (6.17%, which includes Warner Nashville, Warner Latin and Rhino) and Atlantic Records (5.58%, inclusive of 300 Elektra Entertainment and 10K Projects). Warner’s mark is down from the 6.41% it enjoyed in Q1 2024, when it kicked off the year with breakout singles from Benson Boone and Teddy Swims; while Atlantic’s number is up from last year’s 5.14%, as it shifts into a new era following a leadership shakeup last September.
In fifth, sixth and seventh, respectively, are a trio of labels separated by just over a half a percentage in market share: RCA (4.83%, down from 5.13% last year), Capitol (4.56%, down from last year’s 4.71%) and Columbia (4.25%, up big from last year’s 3.71%). Capitol’s market share includes Virgin Music, Motown/Quality Control, Capitol Christian Music Group, Astralwerks and Blue Note; Columbia’s includes some labels from indie distributor RED.
Following Columbia, in eighth place, is the other big story of the year so far: Alamo Records, which posted a 2.91% current share, up significantly from its 2024 mark of 1.53%, driven by the success of Drake and PartyNextDoor’s Some Sexy Songs 4 You album, among other releases. (Alamo also operates an indie distributor, Santa Anna.) Another trio of Sony labels follows: Sony Latin in ninth (1.89%, down from 2.38%), Sony Nashville in 10th (1.83%, down from 2.08%) and Epic Records just outside the top 10 (1.56%, down from 2.99%).
In overall market share — which combines all of a label’s output in the marketplace, whereas current refers to music from the most recent 18 months — Interscope’s deep catalog and current surge sees it secure first place, at 10.81%, up from last year’s 9.84%. REPUBLIC slipped to second, despite slightly increasing its overall market share to 9.95% from last year’s 9.94%, while Atlantic’s formidable catalog sees it leapfrog Warner Records up to third in overall share, at 7.67%, relatively steady from last year’s 7.65%. Warner, similarly, is almost the same as last year, as its fourth place showing of 6.73% is in line with last year’s 6.72%; Capitol and Columbia, in fifth and sixth, are down a small amount year over year (6.05% from 6.14% for Capitol; 5.38% from 5.79% for Columba), while RCA in seventh is also essentially static, at 5.19% from 5.20%. Epic, meanwhile, jumps to eighth (2.42%, down from 2.81%), while Sony Nashville (1.95%, down from 1.97%) and Def Jam (1.80%, down from 1.97%) round out the top 10.
In terms of catalog — all titles older than 18 months, which generally favors labels with a lengthy history of hits — the top eight are the same as in overall market share, with IGA, REPUBLIC and Atlantic leading the way. In ninth, Def Jam’s 2.19% sees it move up, while Concord’s 2.05% moves it into the top 10, with Sony Nashville (1.98%) dropping down to 11th. Concord and Sony Nashville grew their shares year over year, while Def Jam’s is down slightly.
Those figures are all by distribution ownership, whereby Universal, Sony and Warner also receive market share credit from their owned independent label distributors. By label ownership, however, the independent community is by far the largest sector of the business, racking up a 37.87% current market share so far this year, down from 38.25% in 2024; and a 36.03% overall market share this year, down from 36.82% last year.
From concert films and documentaries to biopics, we review 10 other Bob Dylan movies available to stream online right now.
As springtime settles into its groove, Chicago-bred R&B darling Ravyn Lenae is on the precipice of a moment thousands of fans have dreamed of for nearly ten years. At press time, “Love Me Not,” the jaunty lead single from 2024’s acclaimed Bird’s Eye LP, sits at No. 5 on the Billboard Bubbling Under Hot 100 — just a heartbeat away from becoming her first Billboard Hot 100 entry.
For most Lenae fans, 2017 was when she first captivated their attention. After signing to Atlantic Records the year prior, Lenae churned out a beloved feature on Smino‘s “Glass Flows,” opened for SZA‘s Ctrl Tour, and released “Sticky” — a single from her 2018 Crush EP, which helped streamline the aesthetics of her first two EPs into a swirling mixture of funky, Steve Lacy-blessed guitar, Dilla-esque beats, and a devastatingly vast vocal range whose uppermost parts echo Solange‘s fluttery falsetto. Eight years later, Lenae gave “Sticky” its crowning moment midway through her fourth and final sold-out show at New York’s legendary Blue Note Jazz Club on Wednesday night (April 2).
Built around her majestic sophomore album, Bird’s Eye, which Billboard‘s editorial staff named the No. 3 best R&B album of 2024, Lenae’s Blue Note set focused on her most recent album, weaving in selected older tracks to underscore her message of maturation and coming home to yourself while navigating your twenty-somethings.
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Beginning with “Sattelites” — a cut from Hypnos, her 2022 debut album — Lenae quickly constructed the live world of Bird’s Eye with “1 of 1” and vinyl-exclusive bonus track “Goodbye 2 You.” Backed by just a drummer and a six-string bassist (who deftly transferred his skills to acoustic guitar when necessary), Lenae slinked around the stage like a forest nymph; her fiery deep-red tresses flowed behind her like a carefully contained flame, adding a striking flourish to the pose she hit at the end of each song.
Although she didn’t hit high-octane combinations — after all, the Blue Note is a dinner club! — she refused to remain stationed behind the microphone stand. Whether she was accentuating each snare hit with a funky shoulder pop, recalling early Motown-era Diana Ross with her animated facial expressions and neck movements, or ethereally painting the space with her oft-outstretched arms — Lenae left no doubt that not only does she know how to work a stage, but she also is more comfortable than ever both in the booth and onstage.
Lenae got so comfortable that she choked herself up — and moved several audience members to silent tears — with her heartbreaking true-to-life anecdotes. In one particularly beautiful moment in which time seemed to stop, Lenae recounted the incredibly painful memory that inspired her Childish Gambino-assisted “One Wish.” Before she dove into a breathtaking rendition of the Bird’s Eye single — her vocals were virtually flawless the entire night, and she frequently hit new (and even more impressive) riffs and harmonies — Lenae explained, as she has in previous shows, that “One Wish” was born out of her father ghosting her after promising to show up to her 10th birthday party. She sucked all the air of the club with that story, and breathed it right back into the space with her stunning performance.
A similar moment happened before she launched into “Pilot,” the reflective, penultimate track on Bird’s Eye. Through recounting her own 20s journey, Lenae, 26, urged the audience to “talk to their moms and grandmas” to help remember “what made [them] excited to wake up in the morning when they were 15.” Near the end of the song, she switched the “I just know I’m twenty-four/ Small to the world I’m in” to different ages, underscoring the song’s universality.
By the time the show came to a close, Lenae played every song on the standard version of Bird’s Eye (barring “Bad Idea”), as well as fan-favorites like “Xtasy,” “Venom” and “The Night Song.” To send her final Blue Note crowd back to the streets of Greenwich Village, Lenae blazed through “Love Me Not,” leading the crowd a sing-along that truly underscored the weight of the moment. Surrounded by a crop of listeners clearly comprised of mostly longtime fans, Lenae got to bask in the chords of her current breakthrough hit just before midnight struck in one of NYC’s most iconic venues.
Ahead of her stint as an opener for the final leg of Sabrina Carpenter‘s sprawling Short n’ Sweet tour later this year, Ravyn Lenae delivered an outstanding show that somehow improved on an already-terrific sophomore LP.
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Reality star Demi Blanco, known from Baddies on Zeus Network, is speaking out after her 911 call led police to the spot where Young Scooter was at, ending in a chase that cost him his life.
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Fans have been dragging her online, blaming her for the rapper’s death, but Demi hit Instagram Live on Tuesday, claiming she’s being unfairly attacked and that people don’t know the real story. She says she called 911 to “protect herself,” but that’s not what she originally told police. On March 28, Demi called Atlanta Emergency Services, telling them a naked woman was getting beat outside a house and that cops needed to pull up.
That call sent police straight to the location where Scooter (real name Kenneth Edward Bailey) was staying. When they got there, things went left fast, leading to a chase that ended with Scooter losing his life. Since then, Scooter’s fans have been demanding answers for what actually happened the night of his untimely passing. Now that she’s switching up her story, people are questioning her even more. Why say one thing to 911 and something completely different now?
Scooter was a respected rapper, heavily connected to Future’s Freebandz camp, and his death has left a lot of people heated. Demi’s involvement is still a big question mark, and no matter what her intentions were, her call started something that can’t be undone. The ATL rapper was known for working with Future and being part of Freebandz. His untimely death has shocked everyone, leaving the streets are mourning his loss. More news to come as the story develops.
Long Live Young Scooter
Billboard Women in Music 2025 was packed with unforgettable moments, but one highlight that stood out was JENNIE, Ángela Aguilar, aespa and other stars adorably signing the camera lens during the special night. Keep watching to see your favorites leave their mark and share inspiring advice. Rania Aniftos & Jazzy: Welcome to Women in Music, […]
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UFC goes back home to “Sin City” for their latest fight. Two top-tier featherweights are set to match in the octagon as the main event for UFC Fight Night. Josh Emmett (19-4-0) faces off against Lerone Murphy (15-0-1) in a match on Saturday (April 5).
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UFC Fight Night: Emmett vs. Murphy takes place at UFC APEX in Las Vegas, Nevada, with a start time of 6 p.m. ET/3 p.m. PT. The main card is expected to begin at 9 p.m. ET/6 p.m. PT.
If you want to watch UFC Fight Night: Emmett vs. Murphy (also known as UFC on ESPN 65) online, the MMA event livestreams on ESPN+ for subscribers only.
Not a subscriber? A monthly subscription to ESPN+ goes for $11.99 per month. However, you can go with an ESPN+ annual subscription for $119.99. This saves you 15% compared to the month-to-month subscription price.
While subscribers to ESPN+ can livestream the entire UFC Fight Night: Emmett vs. Murphy for free, the main and prelims cards air on ESPN, so it’s streamable on Fubo. The cable network is also available with Hulu + Live TV, which comes with Hulu, ESPN+ and Disney+.
Check out the complete UFC Fight Night: Emmett vs. Murphy fight card below:
Main Card, 9 p.m. ET/6 p.m. PT — ESPN+
Josh Emmett vs. Lerone Murphy (Featherweight) — Main Event
Pat Sabatini vs. Joanderson Brito (Featherweight)
Cortavious Romious vs. Lee Chang-ho (Bantamweight)
Kennedy Nzechukwu vs. Martin Buday (Heavyweight)
Brad Tavares vs. Gerald Meerschaert (Middleweight)
Torrez Finney vs. Robert Valentin (Middleweight)
Prelims Card, 6 p.m. ET/3 p.m. PT — ESPN+
Ode’ Osbourne vs. Luis Gurule (Flyweight)
Davey Grant vs. Daniel Santos (Bantamweight)
Diana Belbiţă vs. Dione Barbosa (Women’s Flyweight)
Rhys McKee vs. Daniel Frunza (Welterweight)
Loma Lookboonmee vs. Istela Nunes (Women’s Strawweight)
Victor Henry vs. Pedro Falcão (Bantamweight)
Vanessa Demopoulos vs. Talita Alencar (Women’s Strawweight)
In addition, you can get the Disney Trio — which comes with ESPN+, Hulu and Disney+ — starting at just $16.99 per month for both services in one package.
What Is Emmett vs. Murphy Walkout Music for UFC Fight Night?
While UFC has yet to announce each fighter’s walkout music for the main event of UFC Fight Night, the fighters usually go out to the octagon to the same songs during their matches. Josh Emmett typically walks out to “Sky’s the Limit” by Rebelution, while Lerone Murphy prefers to walk out to “Ambitionz Az a Ridah” by 2Pac. So these songs will likely make an appearance during the MMA event.
UFC Fight Night: Emmett vs. Murphy is streaming on ESPN+ on Saturday (April 5), starting at 6 p.m. ET/3 p.m. PT. The main card begins around at 9 p.m. ET/6 p.m. PT on ESPN+.
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