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Source: Marvel Studios / Thunderbolts*
Word on the streets is that Marvel Studios is back (even though they never left), according to reactions from those who saw the latest entry in the MCU, Thunderbolts*.
Fans and critics, including our very own Bernard “Beanz” Smalls, got to see Thunderbolts* ahead of its May 2 release, and the consensus is that the movie is a return to the top-tier comic book movie form we have come to expect from Kevin Feige and Marvel Studios.
Most reactions praise the film for its surprisingly emotional tone, a quality often lacking in Marvel flicks. Others are praising Florence Pugh’s performance as Yelena, who is now headlining her first film since her debut in the underrated Black Widow film and a guest appearance in the Disney+ series Hawkeye.
Pugh’s performance is being hailed as “superb,” with Beanz adding in his first reaction that she was the film’s “MVP.”
“#Thunderbolts was awesome. Tons of implications on how the MCU is moving forward. The team works well together, plenty of emotion. Yelena is my MVP. Definitely a super fun movie,” Beanz’s full reaction read.
Another reaction read, “#Thunderbolts is A24 meets Superhero character study. Raw. Fresh. Hilarious at times. Sad at others. It has you rooting for this scrappy ensemble on the edge of your seat. Big implications, but still it’s own thing. If this is how the MCU is doing films now, BRAVA.”
We couldn’t have said it any better ourselves.
Film writer Emily Murray described Thunderbolts* as “easily one of the best MCU movies in a long time,” adding it “Has so much spark, charisma, and tells a genuinely emotional story you connect with. A tear was shed. Florence Pugh in particular superb, just walks away with it.”
“Biggest compliment I can pay #Thunderbolts is that it felt like Infinity era MCU. A focus on the characters and story, rather than fan service or future set-up (until lengthy post-credit scene). Terrific cast, led by the always-excellent Florence Pugh,” said another user on X.
Hit the #Thunderbolts hashtag on X, and you will be hard-pressed to find a negative reaction. We shall see if the critics all agree when reviews drop next week.
Until then, hit the gallery for more reactions.
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Travis Hunter’s story is already legendary, and it’s about to hit another level.
The Colorado State phenom, fresh off a Heisman-winning season, is headed to the NFL Draft with the spotlight all on him. But what’s making headlines just as much as his game? His dad, Travis Hunter Sr., just got court permission to stand beside his son on draft night, despite being on a three-year probation. After being on house arrest for a year following charges in 2023, the court gave him the green light to be there for the biggest moment of his son’s life. That’s real.
Hunter’s draft stock? Sky high. Projected top five, with serious buzz about the Titans possibly making a power move and snatching him or Cam Ward at No. 1. And let’s be real, Hunter’s the type of generational talent teams build dynasties around. Whether it’s locking down receivers, or torching DBs on offense, this man does it all.
His last season at Colorado State? Straight heat. 57 catches, 721 yards, 5 touchdowns on offense. On defense, 31 tackles, 3 picks, and 5 breakups. The man was everywhere. And the Heisman voters took notice, making him the second defensive player ever to win it.So come draft night, when Travis walks across that stage, he won’t just be stepping into the league, he’ll be bringing his whole story with him. From setbacks, to stardom, and now with his dad right there with him, it’s a moment built different.
Universal Music Group Nashville is undergoing a rebranding under CEO Mike Harris and chief creative officer Dave Cobb. The company will now be known as Music Corporation of America (MCA).
Harris and Cobb came aboard in early February following the departure of UMGN CEO/chairman Cindy Mabe in January. For Harris, it marked a return as he had served as COO/executive VP at UMGN until his departure last September.
“With the popularity of country music and the tremendous impact that it continues to make in popular culture, we recognize the importance of Nashville and the impact it has always made in America,” Harris said in a statement.
Cobb adds “I want to let the art lead, embrace community, and approach the business with intention. We show up, work hard, and put artists, songwriters, community, and fans first. We want to get this right for them. That’s what this is all about.”
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A number of staffing changes have also been made that reflect the changes. Katie McCartney, former GM of the recently shuttered Sony joint venture Monument Records, has been named EVP/General Manager and Tom LaScola is head of artist and audience strategy, through an expanded alliance with his company, The Trenches. The digital promotion and marketing firm formed a partnership with Republic Collective last October.
Under Cobb, the company has also formed a creative strategic alliance with award-winning songwriter Jessie Jo Dillon as the newly minted Song Buddy, a position that highlights the company’s commitment to the vital role songwriters play in the Nashville’s creative ecosystem.
MCA will continue to operate is frontline labels, Mercury Nashville, EMI Nashville, Capitol Nashville and MCA Nashville along with the newly launched Lucille Records, founded by Cobb.
Lucille Records will be lead by Cobb and Austin Jenkins, senior vp of A&R for MCA and Head of Lucille. Its diverse inaugural roster includes Lamont Landers, Landon Smith, Isabel Dumas, and Sons of Habit.
“The incredible staff of these labels will operate with a sense of independence and autonomy, but with a pursuit of excellence and healthy competition as a shared agenda,” Harris said.
In addition to the full resources provided by the Nashville headquarters, MCA artists also leverage the support of the REPUBLIC Collective in the U.S. and UMG globally.
The newly rebranded MCA’s roster includes Alan Jackson, Brothers Osborne, Carrie Underwood, Chris Stapleton, Darius Rucker, Dierks Bentley, Eric Church, George Strait, Jon Pardi, Jordan Davis, Keith Urban, Little Big Town, Luke Bryan, Maddie & Tae, Parker McCollum, Priscilla Block, Reba McEntire, Sam Hunt, Tyler Hubbard and Vince Gill.
Selena Gomez sings and dances to the beat of her own drum in the award-winning musical thriller Emilia Pérez, starring as Jessi Del Monte, a rebellious woman on a journey of radical transformation. Her compelling performance, both raw and refreshing, unlocked a new side of the 32-year-old star on the big screen. And that’s just one of her latest career milestones. In an industry that often aims to box you into categories, Gomez is a shapeshifter, constantly redefining what it means to be a global powerhouse today. In the last 12 months, Gomez, who has meticulously crafted a blueprint for her multi-hyphenate standing, garnered a Golden Globe best supporting actress nomination for Emilia Pérez; won a Screen Actors Guild Award for her role in Only Murders in the Building; the LP I Said I Love You First, which she released in March with fiancé Benny Blanco, debuted at No. 1 on Billboard’s Top Album Sales chart, becoming Gomez’s fourth leader on the chart; and through her Rare Impact Fund, Gomez continues to work to increase access to mental health for young people.
Now, on April 24, she will be honored at Billboard and Telemundo’s annual Latin Women in Music gala with the Woman of the Year award.
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“I think anytime as women we show up and support each other, it truly is so beautiful and important,” Gomez tells Billboard. “I will say being honored at Latin Women in Music is incredibly special to me though. My Mexican heritage is something that has influenced me my entire life and it’s not lost on me how representation matters. Throughout the years I’ve been doing this, some of the most supportive women in the entertainment business I have met have been other Latin women. I love the bond we all have.”
Named after fellow Texan, the legendary Selena Quintanilla, Gomez — whose paternal grandparents are Mexican — catapulted to fame as a child actor in Barney & Friends at 10 years old and subsequently starred on the Disney Channel show Wizards of Waverly Place as the ultra-cool and spunky teenage wizard Alex Russo. But it’s perhaps her career as a recording artist that solidified her pop icon status boasting of 42 entries on the all-genre Billboard Hot 100, and seven top 10 LPs on the Billboard 200, including three leaders on that tally. While she has mainly recorded in English, Gomez has always stayed close to her roots, and recording in Spanish felt almost inevitable.
Her first big splash in Latin music came in 2019, thanks to a feature on DJ Snake’s “Taki Taki,” alongside hitmakers Ozuna and Cardi B. The track debuted at No. 1 on the Hot Latin Songs chart in 2018, ruling for 13 weeks. Since then, Gomez has achieved three additional top 10 hits on the ranking, among them “Baila Conmigo,” her collaboration with Rauw Alejandro, which peaked at No. 4 on Hot Latin Songs in 2021 and topped the Latin Airplay chart for a week. That collab is part of her first-ever Spanish-language project: Revelación. It debuted at No. 1 on the Top Latin Albums chart, making history as the first album by a female artist to achieve the feat since Shakira’s El Dorado.
“I never really focus on stats and charts, but when I hear something like that, all I can feel is pride. Shakira is an icon and someone I’ve always looked up to and I love her so much,” says Gomez. “Making a Spanish album was something I had wanted to do for a long time. Over the years, I’d release a Spanish version of one of the songs off an album but having an all-Spanish project was something that meant a lot to me. I worked hard on making sure I paid homage to my Latin roots, through the music as well as the aesthetics of all the visuals.”
Navigating a bicultural identity, especially one that has a double standard (you should assimilate and learn English but also be fluent in Spanish), is one that even Selena Quintanilla faced in her early days. Then, Quintanilla had to learn to speak and sing in Spanish to be accepted in Mexico.
Gomez recently faced similar scrutiny when critics questioned her Spanish-speaking skills on Emilia Pérez, even though she plays the role of an American who lives in Mexico and who is not meant to be fluent in the role. Gomez — who alongside her co-stars Zoe Saldaña, Karla Sofía Gascón and Adriana Paz won best actress award for the ensemble cast at the 2024 Cannes Film Festival — says Emilia Pérez is a film she’ll “hold dear forever.”
“I pushed myself into uncomfortable spaces which as an actress are the most rewarding. It was a magical time and working with [director] Jacques [Audiard] was one of my best experiences,” she says. “I am taking my time to find the right role and director to work with next because I want it to be a challenge and unexpected.”
Gomez’s Latin heritage is constantly present in her work. She plays Mabel Mora in Hulu’s Only Murders in the Building. And in I Said I Love You First, she includes “Ojos Tristes” with The Marías, a reimagination of Jeanette’s 1981 classic ballad “El Muchacho De Los Ojos Tristes.” The track entered the top five of the Hot Latin Songs chart (dated April 5).
“Benny and I went and saw The Marías in concert last summer. I was mesmerized by them and knew I wanted to have them on our album,” Gomez shares. “ ’El Muchacho De Los Ojos Tristes’ to me is one of those cross generational songs that brings people together no matter how old you are. You either knew as an adult or something your mother or abuela listened to so it conjures up nostalgic memories. I loved seeing all the posts about the song and the feeling it reminds people of. I might have teared up a few times. I am very proud of this song.”
Gomez is equally proud of her work in activism as a leading voice in advocating for mental health and social justice for underrepresented communities. In 2019, she executive produced Living Undocumented, a Netflix docuseries that poignantly tackled the immigration crisis in the U.S. She has also transformed the youth mental health landscape by mobilizing over $20 million in funds with philanthropic partners across five continents.
“At the end of the day I believe it matters to be vocal about issues that matter to you, whether you are famous or not. It’s not for the faint of heart, because you are putting yourself out there and trust me there will be a lot of opinions that come at you for even having the nerve to say anything at all,” Gomez says. “I remember when I decided to be open about my own personal mental health, it was scary to be that vulnerable and I didn’t ever want anyone to think I am a victim. I thought [that] by sharing my own story I could help others, and I will take any negative opinions that come with that because I see the bigger picture of how the conversations have changed around mental health.”
Eight years after being named Billboard’s Woman of the Year, Gomez’s influence in music and beyond is even more tangible today, a testament to her impact and legacy. Her advice for the new generation of artists?
“Blocking out the noise and being true to yourself,” she says. “The noise can be overwhelming, and I am not saying it’s easy but by doing that and not compromising who you are, it goes a long way.”
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
Haim have given their two-month notice. The sister trio revealed the title of their upcoming fourth album during an underplay gig at L.A.’s The Bellwether theater on Wednesday night (April 23), flashing the phrase I Quit on the screen behind them at their first full show in nearly two years. They posted a photo of the moment on Instagram, as well as a video in which the phrase appeared amid a jumble of flashing boxes, followed by a robotic female voice reading the phrase “I quite what does not serve me.”
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A cascade of other quits followed, including “I quit overthinking, I quit shame, I quit nicotine, I quit fear, I quit d–k, I quit judgement, I quit avoiding emotional intimacy, I quit my job, I quit caring about what you think, I quit waiting for an apology, I quit f–king around, I quit f–king everything, I quit f–king you, I quit wondering if someone will save me.”
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The barrage of loud quitting ended with the phrase “I quit new haim album coming June 20th.” The follow-up to 2020’s Women in Music Pt. III has been previewed so far with the first single, “Relationships,” as well as “Everybody’s Trying to Figure Me Out.”
According to Setlist.fm, the show opened with the second new single, followed by a run of classics including “The Wire,” “Want You Back” and “Forever,” and the live debut of new tracks “Down To Be Wrong” and “Blood in the Streets,” with the latter featuring a surprise appearance by Addison Rae, who rolled around provocatively on stage in a long white tank top and sunglasses during the performance. The show ended with an encore run through “Relationships.”
The 1970s pop anthem “Down To Be Wrong” is due out on Thursday (April 24), with a video slated to drop on Friday (April 25). Haim will be back at Bellwether on Thursday night for a second show.
Watch Haim’s album title announce and “Down To Be Wrong” preview below.
Sammy Hagar‘s guitar playing on his upcoming single “Encore. Thank You. Goodnight.” was divinely inspired. That is, if you are one of the many who believe that his late Van Halen bandmate Eddie Van Halen was our greatest six-string god.
“About two months ago, I had this dream and Eddie came. We were in a room like this, [with] a bunch of people around. It was just like he’d been gone. It was not like he was passed, but he had just been out of my life and we hadn’t seen each other for a while,” Hagar told Ultimate Classic Rock about the inspiration for the song back in 2022. “He’s going, ‘Man, let’s write some music!’ I said, ‘Yeah, f–k it, man. Here, let’s go!’”
Hagar described huddling in a corner of a room with Van Halen — who died in Oct. 2020 due to complications from throat cancer at age 65 — and watching the guitar guru play him a lick that sounded just like “the last lick that Eddie Van Halen showed me, when I went back for the [2004] reunion tour and when he was a mess. I said, ‘Eddie, show me your newest s–t,’ because every time I’d be around him I’d say, ‘Show me your newest s–t.’ He’d say, ‘Oh, check this out!’”
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In the dream, Hagar said Van Halen showed him “this harmonic thing… he slid up to a chord, like a slide guitar. We wrote a song with that lick.” The next morning, the veteran rock singer and guitarist said he got up and wrote the new song, which he titled, in part, “Thank You” because he’d used “the f–kin’ lick that he showed me in the song.”
And while the track came together too late to be included on Hagar’s 2022 Crazy Times album with his band the Circle, on Instagram earlier this week Hagar said he “can’t wait” for the world to finally hear his tribute to his late bandmate. Hagar took over as VH’s lead vocalist from 1985-1996 and again from 2003-2005, and like his predecessor, original VH singer David Lee Roth, had a sometimes contentious relationship with EVH. “I can’t wait for the world to hear this very special song Joe [Satriani] and I wrote as a long overdue thank you to Eddie Van Halen for the music, the good times, and the dream that inspired this track, ‘Encore, Thank You, Goodnight.’”
The post describes the song that also features Satriani, drummer Kenny Aronoff and former VH bassist Michael Anthony as “inspired by a dream and brought to reality through introspective lyrics, powerful chords and rhythmic guitar and drums.”
Save this storySaveSave this storySaveBroken Social Scene have announced a new covers album that celebrates their 2003 breakout full-length You Forgot It in People. Out June 6 via Arts & Crafts, Anthems: A Celebration of Broken Social Scene’s You Forgot It in People invites over a dozen artists—including Toro y Moi, Mdou Moctar, the Weather Station, and more—to reimagine a song from the LP. First up is Maggie Rogers and Sylvan Esso’s joint take on “Anthems for a Seventeen Year-Old Girl,” which you can listen to below.“‘Anthems’ is one of those songs that fundamentally changed my life,” Rogers said in a statement. “There’s something about the lyrical repetition that functions as a sort of mantra within the song and it made me understand at a very early point in my creative life that music could be a form of meditation. Broken Social Scene has long been one of my all-time favorite bands and covering it with my dear friends Nick and Amelia from Sylvan Esso was an absolute joy beam dream.”Sylvan Esso added, “It was a joy to cover this beautiful song with Maggie—we all grew up loving this record—to be asked to cover ’Anthems…’ together was an honor and led to a truly lovely time.”On the 20th anniversary of You Forgot It in People, Broken Social Scene once again performed the album in full on a North American tour. During one of those shows, the long list of people who’ve covered “Anthems for a Seventeen Year-Old Girl” expanded to include Meryl Streep and Tracey Ullman, who joined the Toronto indie-rock band onstage in New York to sing along.Last year, the new documentary It’s All Gonna Break, directed by Stephen Chung, premiered at Woodstock Film Festival. Drawing its title from the closing track on their self-titled album, the film documents the early years of Broken Social Scene and the creation of their first three albums.Revisit Ryan Dombal’s interview “Broken Social Scene Are (Somehow) Still Friends After All These Years.”Anthems: A Celebration of Broken Social Scene’s You Forgot It in People:01. Ouri: “Capture the Flag”02. Hovvdy: “KC Accidental”03. Toro y Moi: “Stars and Sons”04. Miya Folick & Hand Habits: “Almost Crimes”05. The Weather Station: “Looks Just Like the Sun”06. Mdou Moctar: “Pacific Theme”07. Maggie Rogers & Sylvan Esso: “Anthems for a Seventeen Year-Old Girl”08. Middle Kids: “Cause = Time”09. Benny Sings: “Late Nineties Bedroom Rock for the Missionaries”10. Spirit of the Beehive: “Shampoo Suicide”11. Serpentwithfeet: “Lover’s Spit”12. Sessa: “Ainda Sou Seu Moleque”13. Babygirl: “Pitter Patter Goes My Heart”
Northern Irish hip-hop group Kneecap have responded to calls from Sharon Osbourne to have their U.S. work visas revoked following their airing of anti-Israel messages during the trio’s second Coachella weekend appearance. In an email to Rolling Stone, group member Mo Chara (born Liam Óg Ó hAnnaidh) said that the messaging was in keeping with their career-long views on Palestine.
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He said the group have talked about Palestine “at every single gig since the band’s formation, long before [the deadly Hamas attack on Israeli civilians] October 2023 as the oppression and brutal occupation of Palestine has been ongoing for 77 years.”
Kneecap claim that their anti-Israel messages were censored on the livestream of their set during the first weekend of Coachella, but at the end of their show last Friday (April 18) they closed by projecting the phrases: “Israel is committing genocide against the Palestinian people… It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.” The audience then reportedly broke into a “Free Palestine” chant.
“Not the only thing that was cut – our messaging on the US-backed genocide in Gaza somehow never appeared on screens either,” Kneecap wrote on their social feeds in response to reports about the first weekend feed cut. “Back next Friday Coachella and it’ll be sorted,” they promised before the controversial second weekend set.
“We believe we have an obligation to use our platform when we can to raise the issue of Palestine, and it was important for us to speak out at Coachella as the USA is the main funder and supplier of weapons to Israel as they commit genocide in Gaza,” Chara told RS. “As I said from the stage, ‘The U.S. government could stop the genocide tomorrow.’ It’s important that young Americans hear and know it.”
He added that the band didn’t initially realize their political statements were not viewed when the YouTube livestream was cut off. “We only heard about it the next day and haven’t heard from anyone officially,” he said. “It’s not surprising, large companies don’t like to hear the truth unless it suits their narrative and pocket.”
Chara said the “Free Palestine” chant is something that “happens at all of our gigs from Spain to Scotland and Ireland to Iceland because people know what’s happening is wrong and are angry about it. The crowd chanting ‘Free Palestine’ at Coachella was a message of solidarity to the people of Gaza from regular Americans who want to see an end to the genocide, despite their government’s arming and funding Israel.”
According to The Hollywood Reporter, insiders claimed Goldenvoice CEO Paul Tollett was “blindsided” by Kneecap’s actions. In lengthy note condemning Kneecap’s actions, Osbourne decried what she called the politicization of Coachella, saying that this year’s shows will be remembered “as a festival that compromised its moral and spiritual integrity… Goldenvoice, the festival organizer, facilitated this by allowing artists to use the Coachella stage as a platform for political expression,” she said of the event, where a number of other acts, including Green Day, Bob Vylan and Blonde Redhead, respectively, altered lyrics to reflect the plight of Palestinian children and displayed Palestinian flags on stage. “At a time when the world is experiencing significant unrest, music should serve as an escape, not a stage for political discourse,” Osbourne said.
“While festivals like Coachella showcase remarkable talent from around the globe, music’s primary purpose is to unite people. It should not be a venue for promoting terrorist organizations or spreading hate,” London-born Osbourne added, ending with a call for the “revocation of Kneecap’s work visa.”
“As someone with both Irish Catholic on my Mothers side and Ashkenazi Jewish heritage on my Fathers side, and extensive experience in the music industry, I understand the complexities involved,” Osbourne, who has managed husband Ozzy Osbourne for more than 45 years, added. “Goldenvoice’s claim of being ‘blindsided’ by Kneecap’s performance seems implausible given the circumstances. I know for a fact that certain people in the industry had written to Goldenvoice, airing their concerns around the booking of Kneecap.”
In the wake of Hamas unprovoked attack on Israeli citizen on Oct. 7, 2023 in which nearly 1,200 mostly civilian Israelis were killed and nearly 250 were taken hostage, Israel has waged a devastating war against the militant group in the Gaza Strip and West Bank in which a reported 50,000 people have been killed and most of the territories’ infrastructure has been decimated. One of the most devastating attacks on Oct. 7 was a raid on the EDM Nova Music Festival celebrating the Jewish holiday of Sukkot, where Hamas militants killed 364 civilians, as well as wounding and sexually assaulting scores more.
Kneecap’s actions at Coachella are in keeping with what has been described as a long-held solidarity between the people of Northern Ireland and Palestinians based on the 800-year British occupation of Ireland that lasted until 1921.
Organizers of the Nova Festival have invited Kneecap to view the Nova Oct. 7 6:29 a.m. – The Moment Music Stood Still: The Nova Music Festival Exhibition in Los Angeles — a chronicle of the Hamas attack on the music fest brought to the U.S. by HYBE America CEO and former Justin Bieber manager Scooter Braun — to “experience firsthand the stories of those who were murdered, those who survived, and those who are still being held hostage,” according to RS, which reported that Chara did not respond to questions about whether they’d accept that offer.
The call from Osbourne to have Kneecap’s visas revoked for their anti-Israel sloganeering comes as the Trump administration has been targeting universities for defunding and revoking the visas and/or deporting students who it says participated in protests against Israel’s war in Gaza.
Kneecap, which also features members Naoise Ó Cairealláin (stage name Móglaí Bap) and JJ Ó Dochartaigh (stage name DJ Próvaí), are slated to launch their largest North American tour to date in October.
Nature abhors a vacuum, and so does stand-up comedy superstar Michelle Wolf. In the wake of the White House Correspondents’ Association’s March decision to hold its annual dinner without a traditional speech by a comedian, Wolf is set to release a 15-minute clip in which she dishes on her unflinching and controversial 2018 set at the event and even throws in a few more jokes.
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The clip, titled Dinner Time, will premiere at 8 pm Eastern / 5 pm Pacific time tonight on Punchup.live, a digital platform for live comedy where Wolf’s weekly podcast Thought Box resides. Although the podcast requires a $5 monthly subscription, Dinner Time will be free.
“There might not be a comedian at the Correspondents’ Dinner this year, but the good news is: I have some leftovers!” Wolf says. “I’ve been holding onto this set since 2022, and with everything going on, now felt like the right moment to share it exclusively on Punchup, a platform where comedians can release their own uncensored material without the constraints of any network or streamer.”
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Wolf’s routine sparked a media firestorm after she roasted a number of the political powers who were in the room — including then-White House press secretary Sarah Huckabee Sanders, who is currently the governor of Arkansas, adviser to President Trump Kellyanne Conway and former New Jersey governor Chris Christie – President Trump (who skipped the event) and such talking heads as Fox News’ Sean Hannity and MSNBC’s Rachel Maddow.
Zeroing in on Conway, Wolf, addressing the media, said, “You guys gotta stop putting Kellyanne on your shows. All she does is lie.” She then added, “It’s like that old saying: If a tree falls in the woods, how do we get Kellyanne under that tree? I’m not suggesting she get hurt, just stuck.”
She also pulled no punches with Sanders, who sat just two seats away from the podium where Wolf delivered her jokes. “I think she’s very resourceful,” the comic said of the press secretary before referencing her make-up style. ” Like, she burns facts, and then she uses the ash to create a perfect smoky eye.”
The barbs stuck with Sanders, who recounted the incident in her 2020 memoir, Speaking for Myself: Faith, Freedom, and the Fight of Our Lives Inside the Trump White House. “I debated walking out or perhaps even throwing my wineglass at her,” she wrote. “But ultimately I stayed in my seat and held my head high.”
Clips of the media furor that resulted can be seen in the trailer for Dinner Time, and in the actual clip, Wolf remains unrepentant — a point of pride for ride-or-die stand-up comics. She explains to the receptive crowd that she is a non-partisan comic. “I hate Republicans. I hate Democrats. I hate the media. It’s all bad,” she says. “It’s all a big circle jerk.”
She also says that she hadn’t planned to talk about the White House Correspondents’ Dinner ever again, until Sanders wrote about it in her book. “And I was like, if you’re gonna talk about it…”
Wolf then proceeds to tell more jokes about Sanders, Conway and President Trump.
Check out the official trailer for Wolf’s Dinner Time below:
The shift in Loyle Carner’s persona in recent times is exemplified by the opening songs on his two most recent LPs. On “Hate,” the scorching opener to 2022’s hugo, the south Londoner starts by offering to “let me tell you about what I hate.” He rages against racial profiling, the limited opportunities for young Black men, the pitfalls of his own success and his relationship with his father, concluding: “I fear the color of my skin.”
Now, on his upcoming fourth album, hopefully ! (Island EMI), he strikes a different chord. The opening track — as yet unannounced — is built around a skittish drum beat and soft guitars, and sees Carner, a father of two, singing amid the hum of domesticity. His son plays the xylophone while Carner ponders about his sleeping youngsters, “What language do they speak inside your dreams?” It has the feel of light peeking through the curtains amid the dawn chorus. Let him tell you what he loves.
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When we meet Carner for his first Billboard U.K. cover shoot — and first interview about hopefully ! — he brings that lightness with him. The 30-year-old arrives in London on a break from filming a TV project in Scotland, excited about an upcoming holiday with his girlfriend and two children. hopefully ! (due June 20) is about healing, unconditional love and this new phase of his life; recent double A-side “all i need” and “in my mind” both showcase a sense of serenity and contentment with his lot.
“My relationship with [hopefully !] throughout was quite healthy,” he says in a quiet corner of Shoreditch Studios. “I didn’t have grand expectations and didn’t put loads of pressure on myself. I was able to get to the point where I’m lucky to be able to enjoy it.” In the past, he was “trying to prove something, worrying about what people think” of his music. Now he’s just grateful for the joy these songs give him. He wears a beaming smile as he speaks.
For the past decade, attention has closely followed Carner (born Ben Coyle-Larner) on his journey to becoming a British youth icon. His debut live performance was supporting MF Doom at a show in Dublin, and by age 17, he was on tour with hip-hop don Nas. Debut LP Yesterday’s Gone (2017) was a love letter to the rap that supported him following the death of his stepfather and earned him a nomination for the prestigious Mercury Prize; his sophomore record, Not Waving, But Drowning (2019), spawned a number of streaming hits, including the jazz-tinged “Ottolenghi.”
Throughout his career, he has used his platform to campaign for better awareness of ADHD (attention-deficit/hyperactivity disorder), something that he lives with, and the benefits of cooking to help manage those symptoms. His singular voice is a crucial one for Gen Z at a time when British male stars are lacking, and his live shows attract a wide cross-section of U.K. youth culture.
hugo was a huge leap forward. Across the record, he ruminated on his mixed-race heritage (Carner’s mother is white; his biological father is Guyanese) and his place in British society, enlisting esteemed poet John Agard for a spoken word meditation on “Georgetown,” produced by Madlib. On “Blood on My Nikes,” Carner contemplates the knife crime epidemic among young men — both as victims and perpetrators — in the capital. It’s a socially conscious record, but not overwhelmingly bleak, either; he knows when to pair light with shade in order to document the human experience.
Loyle Carner
Lily Brown/Billboard UK
It was his depiction of a difficult relationship with his biological father that resonated with listeners. For many years, the pair were estranged, with Carner describing him as “present at times and not present at other times.” hugo was written and recorded as Carner became a father himself, reflecting on the cycle of resentment and anguish, and how to rebuild a parental relationship. The album closed with “HGU,” seeing the pair share a mundane conversation about driving lessons, which Carner took with his father during the pandemic lockdown.
hugo became his highest-charting and best-selling album yet, landing at No. 3 on the Official U.K. Albums Chart and earning him another Mercury Prize nomination. The Guardian called it a “beautiful, blistering masterpiece.” He reimagined the album with an orchestra for a one-off show at London’s Royal Albert Hall, headlined Wembley Arena and then hosted an even bigger performance at London’s All Points East Festival in August 2024. The 35,000-capacity gig cemented his place at British music’s top table, with a supporting cast of OutKast’s André 3000 and, to come full circle, Nas. In June, he’ll headline Glastonbury’s The Other Stage, putting him on a par with Charli xcx and The Prodigy.
“I think that [hugo] was necessary for a lot of people,” he says of the album’s success. “I still have people messaging me saying, ‘Yo, I just heard that album for the first time yesterday, and it made me want to go and connect with my mum, or grandad,’ or whoever. That to me is the beauty of it, that it’s still doing its job.”
hopefully ! is something of a departure for Carner. More in tune with his love for alternative and indie music, his hip-hop stylings make way for inspiration by Irish rockers Fontaines D.C., cult star Mk.gee, Big Thief, Idles and more. The band he assembled for hugo’s live shows followed him into the studio to bring new textures to his compositions.
“It’s a lot of pressure to step out singularly as a rapper. And I’m not even, like, a ‘rapper.’ I just make music, and people like to put me in that box,” he says. “I loved the anonymity of being in a band. I wanted to be around when the magic is happening and to not just be sent a beat after all the fun parts had already happened. I wanted to move away from the words being all that I can contribute.”
Carner’s pen is still mighty, but in a different way. Since his earliest releases, his words have been what has carried him forward and provided renewed inspiration. On 2019’s “Still,” which he described as his “favourite-ever song” during its performance at the Royal Albert Hall, he speaks about his insecurities with a disarming honesty. The rhyming couplets on hugo’s “Nobody Knows (Ladas Road)” and “Homerton” show remarkable dexterity. He knows when to build tension, but also when to let the words breathe. It’s a skill he learned from his poet heroes like Agard and the late, great Benjamin Zephaniah, the man Carner was named after.
As his family has grown, Carner’s techniques and influences have changed. He describes his son as his muse, and his presence is felt throughout the album. hopefully !’s artwork features a snap of Carner and his son, with colorful scrawls and additions only a child can make with such purpose. His voice babbles away throughout the record and his mischievous personality shines. Words could not contain the emotions Carner feels toward him, so the songs became looser, less literal but still emotionally resonant, and with a greater focus on capturing his son’s “melodic” personality in his songwriting structures.
On one album highlight, Carner speaks of the transition of becoming a father and notes that he’s “falling asleep in a chair I used to write in.” Later, he speaks directly to his son, saying, “You give me hope in humankind.” He has learned to embrace sonic imperfections and to capture a feeling, letting broad brushstrokes stand proudly. There’s a childlike wonder to the rawness of these songs; from snatches of phrases to choruses that linger in your head long after music has ended.
“If you try and color around something or touch it up… you always f–k it up,” Carner says. “That’s what I love about my son’s paintings. It might even be just one line across the page, but the simplicity of how he works and moves on. That’s how I feel now.”
Loyle Carner
Lily Brown/Billboard UK
Carner used the opportunity to embrace his role as a producer-curator. “As a rapper, the insecurity is that I don’t have any musical talent or whatever, so I’m like, ‘F–k, I better fill every gap so people know that I was there, too.’ But now I don’t mind people hearing a song and I’m barely on it, because I’m so across from everything else [in the creative process].”
He sings much of what’s on hopefully !; singing with his son on his bike, in the car and at home encouraged him to let his voice shine. “He never says, ‘Dad you’re way out of tune,’ even if I know that I am.” Here, Carner’s voice has an intimate quality, like he’s caught singing under his breath without a thought as to who might hear it.
He adds: “It’s fearless, but I’m not embarrassed about it and I don’t care because that’s the truth of how I felt. It’s that kind of bravery to me that is a reflection of what it was like to be a man. This living, breathing, feeling, flawed, emotional person that is willing to turn over heavy stones and be accountable for failing.”
Entering his 30s and becoming a parent for a second time brought Carner an emotional clarity about his relationship with his biological father. His stepfather, Nik, who raised him alongside his mother, Jean, died suddenly in 2014 when he was 19. The forthcoming LP encouraged him to embrace his softer side and the personality traits that Carner wished he had experienced with his biological father.
“Me and my dad are cool now, but he wasn’t really around when I was young,” he says. It was time to take a different approach. “My inner child is getting an experience of fatherhood that I never had, which is crazy. I’m not only being a father to my son, I’m also being a father to myself. I’m a person that I never thought I could become.”
Making the record has given Carner a greater perspective about his role and place in the world and in the family dynamic. “I’m not the main character in the movie any more. It’s my son and daughter’s film, and I’m just some extra in that.”
Carner has long been an advocate for a more healthy relationship with masculinity, having worked with suicide prevention charity CALM (Campaign Against Living Miserably). He gave a passionate speech at Reading & Leeds Festival in August 2023 decrying the “toxic masculine bulls–t” that plagued his childhood. His records and shows have helped unlock certain conversations, but the issue remains prescient. Netflix’s streaming hit Adolescence, which examines the fallout from a misogynistic murder by a 13-year-old boy, has sparked new discussions around the manosphere and its pervasive influence.
Carner saw the intensity of the show — which uses one-shot takes — up close on-set; he’s close friends with actor-creator Stephen Graham and director Philip Barantini. The topics at hand need urgent attention, Carner says. “We’re at an essential need for conversation for young boys to let go of this fear, frustration and anxiety and be able to pass it to someone.
“I’m very glad that my son has my daughter to live with,” he adds. “That’s a huge thing for me, and also for me to be in the presence of someone who is growing up to be a woman. For my son, it’s even crazier, as it’s so natural and safe and understood and demystified.”
Loyle Carner
Lily Brown/Billboard UK
The aforementioned Zephaniah features on hopefully !, a full-circle moment for Carner, given his profound influence on his life and as a male role model. Zephaniah, who died in 2023 at 65, was a towering figure in literature, music and politics, vocalizing the Black experience in post-war Britain. Carner honors his hero by sampling a clip of Zephaniah speaking on the Brixton riots, but also the potential and hope of the youth to change things.
“He articulates something that my brain has always wanted to say about masculinity,” Carner says. “Kids that look like me or are stereotyped are full of feeling and emotion and pain, shame, joy, guilt, hope and naivety. And nobody knows how to deal with it.”
Why that clip? “He’s saying what I’m saying about having pent-up rage and emotion; I’d rather use my pen to express it that way in a palatable and safe way.”
Zephaniah’s work, Carner says, taught him how to be a man who feels secure in himself. “His work shows the joy of not taking life so seriously and realizing that it’s fine to be a bit lighter or softer, and know that it doesn’t discredit my legacy or my story to be silly and to let go.”
Later this year, Carner will head on a mammoth U.K. and Ireland tour that takes in residencies at some of the nation’s most historic venues, like London’s Brixton Academy and Manchester, England’s Victoria Warehouse. Before then, he’ll headline The Other Stage at Glastonbury Festival on the Friday-night lineup (June 27) alongside Charli xcx and The Prodigy; it follows his 2023 top billing on the West Holts stage. Recent headliners on the coveted Other Stage include Megan Thee Stallion and Lana Del Rey — comfortably putting him in the big leagues alongside international superstars.
When the slot is mentioned, he’s speechless for a moment. “It feels like an amazing, monumental part of my career,” Carner eventually says. His whole family will be coming to watch on Friday, and then he can celebrate the rest of the weekend and “go see Doechii” the following night on the West Holts stage.
It’s just one page in this new chapter. In March, it was announced that Carner would star in an acting role for BBC’s upcoming crime drama Mint, directed by Charlotte Regan (Scrapper) alongside Emma Laird (28 Years Later) and Sam Riley (Control). The new disciplines that have come with being on-set have inspired him to write and direct his own upcoming project. He wants to promote poetry workshops in schools to the next generation. There are many strings to Carner’s bow as a complex, charismatic cultural figure.
He’s most excited for hopefully ! to come out and for his children to hear the snapshot of this moment, about this family, and about the man their dad was when they were little. But what about the fans’ reaction to the new sound and what they might take from it? “Honestly, I don’t care. It’s totally up to them. They could take nothing and not find it for 10 or 20 years or even hate it, but…”
Carner throws his arms up and laughs. “I haven’t even thought about it, actually. I hope that people that do find it and that it can be a good friend to them.”
Loyle Carner
Lily Brown/Billboard UK
Shoot production by WMA Studios. Photography by Lily Brown. Styling by Lucas Smith. Grooming by Marina Belfon-Rose. Shot at Shoreditch Studios, London.