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Metro Boomin’s Billboard Charts Journey: ‘We Don’t Trust You’ & More | Billboard Explains

Narrator:
Will Metro Boomin earn another No. 1 album? In anticipation of Metro Boomin and Future’s second collaboration project We Still Don’t Trust You, let’s look back at Metro’s Billboard chart achievements.

This is Billboard Explains: Metro Boomin’s Journey on the Charts.

In the past decade, Metro has become one of the hottest producers and songwriters in hip-hop. His Hot 100 breakthrough as a producer came with Future’s “Honest,” which hit No. 55 in 2013. Over the next three years, he produced 23 more Hot 100 hits. He earned his first No. 1 on the Hot 100 for his work on Migos and Lil Uzi Vert’s collab “Bad and Boujee,” which topped the chart for three weeks in 2017.

Metro has produced 16 top 10 hits on the Hot 100, including The Weeknd’s “Heartless,” which ruled for one week in 2019, and his collab with Future and Kendrick Lamar’s “Like That,” which currently holds the No. 1 spot.

Metro is no stranger to collaborations. The Billboard chart topper worked with some of rap’s biggest artists for some huge albums. In fact, he has seven top 10s on the Billboard 200, including Double or Nothing with Big Sean, which peaked at No. 6 in 2017, Savage Mode II with 21 Savage that reached No. 1 in 2020, and his Heroes and Villains, which topped the chart in 2022. Fun fact: Heroes and Villains went on to claim 18 weeks at No. 1 on the Top Rap Albums chart, the third most of any album in the chart’s history.

2024 is already starting off strong for Metro. His album with Future, We Don’t Trust You, debuted at No. 1 on the Billboard 200, and 17 of its songs hit the Hot 100, including “Like That” with Future and Kendrick, earning Metro his first No. 1 as an artist.

Can We Still Don’t Trust You become Metro’s fifth No. 1 album on the Billboard 200? We can’t wait to find out!

Watch the full video above!

Record Label Market Share Q1 2024: Warner Records Posts Huge Gains While Universal Enters a New Era

What a difference a year — or a couple of months with a massive label shakeup — can make.

The reorganization of the Universal Music Group that occurred in February — which loosely divided the music giant’s labels under two umbrellas, Republic Corps and the Interscope Capitol Labels Group (ICLG) — has created a new hegemony that effectively splits its industry-leading market share in half, meaning that Republic Corps’ Monte Lipman and ICLG’s John Janick sit atop label empires that, in a given week, can rival the Warner Music Group as a whole in terms of market share. (For Republic, given its partnership with Big Loud for Morgan Wallen and the eye-popping success of Taylor Swift and others, that was already the case at times last year.) In the first quarter of 2024, for example, both Republic Corps (13.69%) and ICLG (13.81%) put up current market share figures that are more than double the next-highest label from any other company.

Yet for comparison’s sake — and to get a sense of the trends in the market — we’ll set that reorganization aside for now, particularly as it happened in the midst of a quarter and thus doesn’t reflect the totality of the first three months of 2024. And even under the old alignment, Republic (which, even prior to the shift, encompassed Island, Big Loud, Mercury and Imperial) and Interscope (which similarly already included Geffen and Verve Label Group) still lead the pack for releases through the end of March.

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Republic, on the strength of enduring hit albums by Wallen, Swift, Drake and Noah Kahan, as well as the huge success of the new Ariana Grande album eternal sunshine, posted a 12.84% current market share (defined as albums released within the past 18 months), only marginally coming down to earth from the eye-popping 13.47% full-year current share it posted in 2023, and a slight uptick over the 12.45% first quarter it enjoyed last year. Meanwhile, Interscope’s 9.10% current share is a big jump from the 7.75% it posted in the first quarter of 2023, and up from the full-year 8.80% it posted last year, with the enduring success of Olivia Rodrigo and breakout singles from Xavi (“La Diabla” and “La Victima”), among others, helping boost its position.

But perhaps the biggest story of the first quarter of 2024 has been the smash success of Warner Records, which surged from seventh place in Q1 2023 (5.23% current share) all the way to third in Q1 2024 (6.41%), reflecting the remarkable success the label has had on the Hot 100 so far this year. Benson Boone’s “Beautiful Things,” Teddy Swims’ Hot 100 No. 1 “Lose Control” and Zach Bryan’s “I Remember Everything” feat. Kacey Musgraves are all among the top five songs of the year so far, while Bryan’s 2023 self-titled album and his 2022 album American Heartbreak are both among the top 20 albums of the first quarter. Warner — whose market share includes catalog label Rhino as well as Warner Latin and parts of Warner Nashville — continued to build on its 2023 trajectory, when it finished with a full-year current share of 5.96%.

That surge pushed Atlantic Records down into fourth place, at 5.14% current share, a drop of more than 2% from the 7.22% it maintained in Q1 2023. Atlantic — which includes 300 Elektra Entertainment in its market share — did have a big hit from Jack Harlow, whose single “Lovin’ On Me” topped the Hot 100 for five weeks in the first few months of the year. Atlantic’s hold on fourth, however, was only 0.01% above RCA Records, which came in at 5.13%, as the enduring strength of singles by SZA, Doja Cat and Tate McRae, combined with a viral smash from Flo Milli (“Cruel Summer”), kept the label in fifth place, despite dropping from 5.76% in Q1 2023, when the SZA album had a lock on the top of the Billboard 200.

Sticking in sixth place is Capitol Music Group — whose market share still contains indie distributor Virgin, as well as Quality Control/Motown, Capitol Christian, Astralwerks and Blue Note — which posted a 4.71% current share, down from 5.56% in the first three months of 2023. Dropping to seventh is Columbia, which includes some labels from indie distributor RED in its market share, at 3.71%, down from 5.85% a year ago. Though, in this particular ranking, Columbia is an unfortunate casualty of the end-of-March cutoff date; Beyoncé’s Cowboy Carter debuted the week after with the biggest first week of the year, which will be reflected in the second quarter. In eighth, Epic Records saw a big boost, posting a 2.99% share (up from 2.06% last year), though that also seems like it will be trending higher in Q2, with the twin Future/Metro Boomin albums still growing. Sony Latin (2.38%, up from 1.92%) and Sony Nashville (2.08%, down from 2.30%) round out the top 10 in current market share.

Among the label groups, UMG’s dominance continued, with its 33.90% current share ticking up slightly from 33.59% in the first quarter of 2023, while Sony Music Group’s 26.91% came in lower than last year’s 28.46% — again, likely a quirk of the calendar. Still, despite Warner Records’ individual surge, the Warner Music Group’s overall current share slipped to 15.98%, down from 16.81% in Q1 last year. (WMG’s market share still contains 1.09% from BMG, despite the latter announcing that it would be ending its distribution arrangement with Warner; projects that were in the works prior to the agreement ending are still going through the Warner system, a BMG spokesperson says.) The big beneficiary in current market share is the independent sector, which grew its mark from 21.15% in Q1 last year to 23.21% this year by distribution ownership, a significant increase. Both the independent release of the chart-topping Ye and Ty Dolla $ign album Vultures 1 and the huge success of Mitski‘s “My Love Mine All Mine” contributed to the boost.

The numbers are more static when looking at overall market share, which includes back catalog, though the trends are still there: Universal (38.23%, up from 37.65%) and the indies (16.28%, up from 16.18%) both were up over Q1 2023, while Sony (27.23%, down from 27.62%) and WMG (18.26%, down from 18.55%) dipped. By label ownership, the independent sector remains larger than any individual major, accounting for 36.09% in overall market share, albeit down from the 37.38% it had in Q1 2023.

Among the individual labels, Republic’s huge current numbers pushed its overall market share above Interscope’s for first place, at 9.94%, up from 9.16% last year, while Interscope’s second-place showing at 9.85% still represented growth from its leading 9.44% last year. Atlantic’s strong catalog numbers meant that in overall share it remained in third place, at 7.65%, besting Warner Records, which jumped into fourth at 6.72%. Interscope, meanwhile, retained its top spot in catalog market share, at 10.09%, with Republic (9.03%) and Atlantic (8.43%) behind.

Tini Drops New Album ‘Un Mechón de Pelo’ & More New Music Latin

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

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TINI, un mechón de pelo (5020 Records)

It’s clear that TINI had a lot to get off her chest, and her new album was the perfect platform to bare it all, giving listeners insight into what she’s been going through personally over the past few years. The Argentine star’s most personal project yet, TINI kicks off with “pa,” where she shares the fear she felt after nearly losing her father, who has also been her longtime manager. In the song, she pleads for “un ratito más,” or a little while longer with her dad. Mostly produced by Andrés Torres and Mauricio Rengifo, the stripped-down, lyrically strong set follows TINI on moments of vulnerability, pain, resilience, renewal and growth.

In “posta,” TINI recites powerful statements where she clarifies who she is and isn’t. But perhaps the most striking track on un mechón de pelo is “miedo,” which reads like a diary entry as TINI looks inward tracing the ups and downs of her career and personal life. “Wanting to turn back time and start over/ I escaped from my reality, I locked myself in my solitude/ And starting all over again when I can’t even start,” she confesses.

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Following a handful of songs that serve as an ultimate release, a seemingly cagey and resentful TINI begins the healing process. In the last three songs, “ellas,” “bien” and “me voy,” she embraces her battle wounds and has a more optimistic outlook of the future. “Now I’m chill, nothing is personal/ My friends I want to call/ It feels good to be able to forgive,” she sings in “bien.” Wrapping the album is the piano-led “me voy,” which serves as the perfect closer. — GRISELDA FLORES

Víctor Manuelle, Retromántico (Sony Music Latin)

Víctor Manuelle released a concept album inspired by the salsa romántica era featuring 10 songs, including “Otra Noche Más,” with a samples of Frankie Ruiz’s “Deseándote” in the voice of the late singer. And a new version of the classic “Cosas del Amor,” made popular in the 90s by Ana Gabriel and Vicky Carr, which Víctor Manuelle performs with passion alongside Tito Nieves.

All the tracks except “Cosas del amor” are new, although “Deseándote” is not the only sample. “Me Fallaron Los Dos” with Maelo Ruiz, about the double betrayal of one’s love with one’s best friend, includes some verses from Alejandro Sanz’s anthem “Corazón Partío.” Among other exciting collaborations are “Casi Perfecta” with Johnny Rivera, “No Quería Menti” with Willie González, and the song that closes the set, “Vamos a Romper la Noche,” with the Gilberto Santa Rosa, known as the “Gentleman of Salsa,” who invite listeners to drown their sorrows while partying with friends.

“Each friend who accompanied me on this album brought their own style and energy to the songs, creating a diverse and exciting album,” says Víctor Manuelle in a press release. “This production is going back to when I started, while celebrating the genre that I love and have always stood by. Every song on this album is infused with emotions and memories that I hope resonate in the hearts of those who listen to it.” With songs about love and heartbreak that also include titles like “En 4 Días” and “Los Hombres También Lloran,” Retroromántico is, in short, a classic salsa work — one that will take you dancing to another era. — SIGAL RATNER-ARIAS

Danna Paola, CHILDSTAR (Universal Music Group México)

Danna Paola has entered a no-holds-barred musical era. She’s no longer the telenovela sweetheart, the good girl next door, the pop princess. Now, she’s a fierce and unapologetic vixen who has evolved into the child star. Home to 13 bilingual tracks, Paola’s latest studio album, CHILDSTAR, marks her debut credit as producer, where she takes control over her craft and chooses her own musical destiny. Far from the signature pop-urban sound that made Danna a household name, her new set is injected with edgy, synth-pop beats (“ATARI,” “VTR3,” “1TRAGO”), as well as provocative lyrics about fantasy, the party life and sexual encounters (“222,” “XT4S1S,” and “PLATONIK”).

“On this new album I leave behind the mold of me created by others and for the first time I take control of my art, boldly reclaiming my stage name and defining my sound as a singer,” the Mexican songstress says in a press statement. “A synth-pop fantasy that storylines a weekend of partying, booze, sex and fantasy where I explore my darker side and find the light in freedom of expression.” — JESSICA ROIZ  

Los Mesoneros & Caloncho, “Nuestro Año” (SR Records)



Los Mesoneros recruit Caloncho for “Nuestro Año,” the lead single from their new album of the same title — their first in five years. With their signature contemporary rock sound, the band’s leading voice, Luis Jiménez, sings in unison with the Mexican artist about hoping for better times: “Because this is our year, even though sometimes it doesn’t seem like that/ Because this is our year always and when you are here.” The cinematic music video, directed by Gaby Noya, shows the artists repeating the chorus like a mantra after taking a few good hits, literally. The band is preparing to hit the road with Nuestro Año Tour, which begins on May 4 in Mexico and also includes stops in the United States. — LUISA CALLE

Joss Favela & Gera MX, “Cuando Llegue El Día” (Sony Music Latin)



Embracing the ephemeral dance of existence, Joss Favela and Gera MX intertwine their talents in “Cuando Llegue El Día,” a profound bolero-rap fusion that contemplates life’s fleetingness and the surety of death. The duo finds solace in the enduring power of music, “Sigo vivo en mis canciones todavía” (“I’m still alive in my songs”) they croon. The track, a part of Favela’s upcoming EP, Mis Compas, Vol. 1 out in May, is an homage to the human spirit, living on through shared memories, backed by beautiful accordion riffs and nylon arpeggios. “At the end of the day, it’s nice to have moved on, having met many people, having family, friends who love you and who will remember you in a positive way,” Joss Favela says in a statement. The music video, directed by Abelardo Báez and produced by Pavel Nordahl, is set against a stunning Día de Los Muertos backdrop filmed in Jalisco, Mexico. — ISABELA RAYGOZA

Listen to more editors’ Latin recommendations in the playlist below:

Watch Eric Church Honor Jimmy Buffett by Leading an All-Star Rendition of ‘Margaritaville’

The late Jimmy Buffett got a star-packed tribute on Thursday night (April 11) at the Hollywood Bowl in Los Angeles as artists including Kenny Chesney, the Eagles, Jon Bon Jovi, Jackson Browne, Brandi Carlile, Paul McCartney, Sheryl Crow, Vince Gill and Jake Owen honored Buffett during Keep the Party Going: A Tribute to Jimmy Buffett.

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In one of the concert’s most memorable moments, Eric Church led an all-star cast in honoring the late Buffett, by way of kicking off the first verse of Buffett’s signature song “Margaritaville,” while Crow led the second verse.

Throughout the evening, artists performed songs to honor Buffett’s life and music. McCartney and the Eagles performed the Beatles’ classic “Let It Be,” while Carlile delivered “Tin Cup Chalice.” Dave Grohl teamed with Zac Brown for “Brown Eyed Girl.” Crow, who served as a backup singer for Buffett early in her career, also led Buffett’s “Fins.” Meanwhile, Caroline Jones and Jack Johnson collaborated on Buffett’s “A Pirate Looks at 40.”

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Helming the more than three-hour show that evening was Buffett’s The Coral Reefer Band, which had backed Buffett since the 1970s.

Buffett, whose tropical lifestyle and vivid songwriting style led to five decades of inspiring fans as a skilled musician, performer and business entrepreneur, died on Sept. 1, 2023, at age 76, following a battle with skin cancer. “Jimmy passed away on the night of September 1st surrounded by his family, friends, music and dogs,” a statement on the singer-songwriter’s website read. “He lived his life like a song till the very last breath and will be missed beyond measure by so many.”

During his career, Buffett notched 13 Billboard Hot 100 charting singles, including seven top 40 hits and one top 10, as well as 40 entries on the Billboard 200 album chart.

See the all-star performance of “Margaritaville” — captured by a concert attendee — below:



Here’s Why Fans Believe A$AP Rocky & The Weeknd Dissed Drake on Future & Metro Boomin’s ‘We Still Don’t Trust You’

The shots are coming from all different directions, with many looking to snipe at Drake’s throne these days. Metro Boomin and Future’s We Still Don’t Trust You arrived on Friday (April 12), and they recruited more guests — A$AP Rocky and The Weeknd, who fans think took aim at Drake on separate tracks.

Rocky popped out for a fiery assist on disc No. 2 standout “Show of Hands.” He appears to jab the 6 God about his For All the Dogs album not hitting, which is a bold move considering the Mob frontman hasn’t released a project since 2018.

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The Harlem native brags about being intimate with a certain woman, which sounds like Flacko talking about Drake’s baby mama, Sophie Brussaux, whom A$AP rumored to be romantically involved with prior to her relationship with Drizzy.

“N—-s in they feelings over women, what, you hurt or something/ I smash before you birthed, son, Flacko hit it first, son/ Still don’ trust you, it’s always us, never them/ Heard you dropped your latest s–t/ Funny how it just came and went,” Rocky raps.

“Rocky hit Sophie then proceeded to have kids with Rihanna. Drake absolutely despises him,” one fan tweeted.

Another chimed in: “I thought everyone knew that. he hit Sophie but Drake ended up getting her pregnant. while Rocky got Aubrey’s dream girl pregnant lmao.”

Rocky and Drake have had an icy relationship since the days of working together on “F–kin’ Problems” and touring over a decade ago. However, fans believed that Drizzy had smoke for RiRi and Rocky throughout For All The Dogs last year. (In the “Fear of Heights” intro, for example, Drake repeatedly says the word “Anti,” the title of Rihanna’s 2016 album. Another comes on “Another Late Night,” where Drake seems to have A$AP Rocky in his crosshairs. “I ain’t Pretty Flacko,” he rhymes in a nod to Rocky’s nickname, “B—h this s–t get really Rocky.”)

As for The Weeknd, the Canadian crooner makes appearances on multiple tracks. One of the early fan-favorites “All to Myself” is where speculation lies about Abel possibly digging at Drake while being thankful he never signed to OVO.

“As a former devout OVO XO til we Overdose girl, seeing The Weeknd diss Drake is kinda poking at a very tender string in my body,” a conflicted fan wrote to X.

Another claimed, “Ask your self what has Drake done for his own artist on OVO? He just a signed a female act, and I haven’t heard anything from her. All he got is Party that’s it. Bryson and The Weeknd made the best decisions in their entire life.”

“They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shooters makin’ TikToks,” The Weeknd sings with the last part being a shot at Baka Not Nice, who has compiled a following on TikTok while serving as OVO’s muscle.

The Weeknd passed up on signing to OVO in the early 2010s to land with Republic Records in 2012, which has been a lucrative partnership where he also launched XO Records.

Listen to both tracks below.

Every Madonna Album Cover, Ranked

As evidenced by Madonna’s 2023-2024 Celebration Tour, the Queen of Pop’s reign has given her subjects an embarrassment of riches when it comes to iconic imagery.

From her thrift-store bride on the cover of 1984’s Like a Virgin to the image of a worldly multi-hyphenate on the cover of 2019’s Madame X, Madonna has endlessly reinvented herself – and in the process, raised the bar for what it means to be a pop star for four decades.

On her album covers, Madonna has been many things: a cowgirl, an earth mother, a disco dancer, a religious figure, a sex siren and more. One thing she’s never been, however, is boring.

As the Queen of Pop’s reign continues, we’re taking a look back through her discography and ranking her album covers. What follows is not a ranked list of the music — we’re just talking about artwork here. Does the cover art effectively convey the mood of the album? Does it grab your attention? Does it leave a lasting impression? Does it inspire you?

Many of these aren’t just album covers – they’re iconic pieces of pop culture history, influencing musicians, moviemakers and fashionistas who followed in her footsteps.

A few notes: Some of these albums have multiple covers. In those cases, we decided to focus on the standard edition of the album. And for this list, we’re focusing on her proper studio albums. Some might count 1990’s I’m Breathless as a studio effort and not a soundtrack, but as it was a Dick Tracy film tie-in, we’re considering it more of a soundtrack akin to Evita or Who’s That Girl and not ranking it here. Also out: compilations, which means the instantly recognizable illustration on the cover of The Immaculate Collection isn’t here, nor is GHV2 or You Can Dance.

That still gives us 14 album covers to rank. So let’s see which covers were impressive instants and which ones we’re less than hung up on.

Kendrick Lamar & The Creators Of ‘South Park’ Working On A Comedy Film

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While the world awaits Drake’s Kendrick Lamar diss record to drop (and vice verse), K. Dot continues to move forward with his life outside of rap. He and pgLang co-founder Dave Free will team up with South Park creators Trey Park and Matt Stone for a new live-action comedy film set to drop next Summer.

According to Variety, the aforementioned comedy film is set to release July 4, 2025. Details on the project are being kept under wraps for the time being (such as the title, plot and film cast), but the fact that Kendrick Lamar and the team behind South Park are in is enough to get some big buzz going already. With more than a year to continue to build on that buzz, we expect to learn bits and pieces of what we can expect as time goes by. We’re excited to see what Paramount is cooking up for us Hip-Hop junkies.

Variety reports:

The news came as part of Paramount’s CinemaCon presentation, where the studio also debuted footage and trailers from its sequels to “Smile,” “Sonic the Hedgehog” and “Gladiator.” Paramount also announced it is rebooting the “Scary Movie” franchise.

From the stage, Paramount CEO Brian Robbins said: “This script is one of the funniest and most original scripts we’ve ever read and it’s certain to create some fireworks.” Get the pun?

The live-action comedy was written by Vernon Chatman. The studio didn’t share any details about what the film is about beyond the involvement of its top-shelf talent.

Lamar and PGLang partner Free will produce the project alongside Stone and Parker. The duo launched their company in 2020. Lamar has created such chart-topping hits as “Swimming Pools (Drank),” “Poetic Justice” and “The Blacker the Berry.” He also curated the soundtrack album for “Black Panther.”

By the time next Summer roles around we’ll know what role Kendrick Lamar will play in said film and maybe even know who “won” the battle between him and Drake (if those diss records ever release anyway).

What do y’all think of K. Dot and the South Park team working on a live-action comedy film together? Y’all have high hopes or nah? Let us know in the comments section below.

Drake Dissed By The Weeknd, A$AP Rocky On ‘WE STILL DON’T TRUST YOU’

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Drake Performs At O2 Arena In London

Drake is taking more shots than the height of the COVID-19 vaccine run after catching some bars from Kendrick Lamar earlier this month. On Future and Metro Boomin‘s latest project, WE STILL DON’T TRUST YOU, The Weeknd and A$AP Rocky delivered additional jabs and uppercuts in the direction of Drake.

If it wasn’t clear before, Drake certainly appears to be in an all-out war with several heavy hitters in the industry. As mentioned above, K-Dot didn’t hold back on his feature verse on “Like That” from Future and Metro Boomin’s WE DON’T TRUST YOU album.

The Canadian superstar was targeted once again on the follow-up WE STILL DON’T TRUST YOU by his fellow countryman The Weeknd on the track “All To Myself” which doesn’t name Drizzy but certainly seems to be about him.

“These n*ggas always yappin’, yeah/ I promise that I got your back/ Ooh, look at how we movin’, baby/ They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shooters makin’ TikToks/ Got us laughin’ in the Lambo.”

The lyrics seem to point to the fact The Weeknd never signed to Drake’s OVO Sound label despite being from the same city. The latter portion of the verse seems to be aimed at OVO Sound artist Baka Not Nice.

A$AP Rocky, who probably owed Drake a few more bars than he’s already given him, appears to get at the For All The Dogs star on the track, “Show Of Hands.”

“N*ggas swear they bitch the baddest, I just bagged the worst one/ N*ggas in they feelings over women, what, you hurt or somethin’?/ I smashed before you birthed son, Flacko hit it first, son,” Rocky said, appearing to suggest he slept with the mother of Drake’s child before he did.

Adding to all of this, J. Cole, who was swept in the Rap Royal Rumble but backed out during the Dreamville Festival, is featured on the track “Red Leather” which some fans are looking at sideways.

On X, formerly Twitter, the fans are breaking down the bars while connecting the dots. Check out the reactions below.

Photo: Joseph Okpako / Getty

‘A Different World’ Cast Welcomed At The White House, Leads Theme Song Sing-A-Long

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The cast of A Different World was welcomed at the White House and led the press room in a sing-along of the famed sitcom’s theme song.

On Wednesday (April 10), the cast of the beloved NBC sitcom A Different World was in Washington D.C. on the next stop of their reunion tour which is visiting Historically Black Colleges and Universities (HBCUs) across the nation. They did make a special stop before visiting Howard University – they visited the White House to see Vice President Kamala Harris and White House Press Secretary Karina Jean-Pierre.

The visit was made more memorable as the cast members led the press room in a sing-a-long of the show’s iconic theme song, first done by the legendary Aretha Franklin. Veteran journalist April D. Ryan of The Grio captured part of the moment on video showing Jean-Pierre enthusiastically singing along with the cast members in the front row, which she shared on her Instagram account.

A Different World ran on NBC for six seasons from 1987 to 1993. The current reunion tour’s mission is to raise funds for scholarships at HBCUs. “By leveraging the star power and cultural impact of A Different World, we aim to inspire a new generation to choose HBCUs as their academic homes,” said the statement from the group which was released as the tour began on February 29 in Atlanta, Georgia.

The tour features the core cast members Darryl M. Bell (Ron Johnson); Charnele Brown (Kimberly Reese); Jasmine Guy (Whitley Gilbert-Wayne); Kadeem Hardison (Dwayne Wayne); Dawnn Lewis (Jaleesa Vinson-Taylor); Cree Summer (Winifred Brooks); and Glynn Turman (Col. Bradford Taylor). Sinbad, who played Walter Oakes, has joined in virtually due to his recovery after suffering a stroke a couple of years ago. Producers Debbie Allen and Susan Fales are also on the 10-city tour, which will be announcing tour dates in the fall portion of the year.

Those interested in attending can visit the website for further information.

What’s Your Favorite New Music Release of the Week? Vote!

Coachella 2024 is officially upon us, and whether or not you’re heading out to the desert, there’s a bunch of new music to jam to all weekend long.

Future and Metro Boomin teamed up once again for their second collab album, We Still Don’t Trust You. We Still Don’t Trust You arrives three weeks after We Don’t Trust You, which debuted at No. 1 on the Billboard 200 and featured the Billboard Hot 100 No. 1 single “Like That” with Kendrick Lamar

Dua Lipa, meanwhile, dropped “Illusion,” the third single off her upcoming album Radical Optimism. “‘Illusion’ was the first song Caroline [Ailin], Danny [Harle], Tobias [Jesso Jr.], Kevin [Parker] and I worked on together, and it really broke the ice for the record,” the 28-year-old singer shared in a press statement about the track. “It’s about knowing what you’re getting yourself into, but staying for the hell of it. The joke’s on them, it’s the fun of playing someone at their own game because ultimately you won’t fall for an illusion.”

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Another pop star, Sabrina Carpenter, unveiled a new single called “Espresso,” while Lil Nas X dropped his track, “Right There.” Maggie Rogers also unleashed her new musical era with Don’t Forget Me, the followup to 2022’s Surrender, her second major label effort, which peaked at No. 2 on the Billboard 200.

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With all the great new releases this week, we want to know which one is your favorite. Check out our Friday Music Guide here, and let us know by voting below.