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28 Mar 2023

What Does Coi Leray’s ‘Players’ Hitting the Top 10 Mean for Her Career?

Coi Leray was already one of the bigger rap success stories of the 2020s, scoring top 40 Billboard Hot 100 hits alongside Lil Durk (“No More Parties”) and Nicki Minaj (“Blick Blick!”) while also becoming a social media sensation. But her crossover success hits a new level this week, as her viral smash “Players” climbs to No. 9 on the Hot 100.

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The single marks both her first top 10 hit on the chart, and her first to come without any co-credited artists — though the song does get a spiritual lift from the legendary rap outfit Grandmaster Flash & The Furious Five, as “Players” lifts the instrumental hook to the group’s 1982 classic “The Message.” It also has benefited from a couple popular bootleg remixes, including a Jersey Club remix from DJ Smallz 732 which Leray has since released an official music video for.

How did “Players” bring Leray to this new level? And what does it mean for her career from here? Billboard staffers discuss these questions and more below.

1. “Players” moves 12-9 this week to reach the top 10 in its 12th week on the listing. What do you think the song owes its consistent growth to? 

Rania Aniftos: Besides that insanely catchy hook? The initial success of the song has led to getting to know Coi a lot more, as she’s been doing more interviews and appearances. Turns out, she’s super cool and funny, which has surely grown her fanbase even more and has encouraged people to want to support her and listen to her music. She reminds me a lot of Cardi B or Doja Cat in the sense that her personality amplifies her music.  

Elias Leight: The initial growth of “Players” took place at the intersection of social media and streaming. Leray teased the track early. (“F–k it, I wanted to leak music,” she told Billboard. “I like being [a] little rebellious sometimes.”) A pair of bootleg remixes subsequently became popular on TikTok. The fleet-footed Jersey Club rework from DJ Smallz 732 has been used in more than 1.8 million TikTok videos, while a mash-up with the Busta Rhymes classic “Put Your Hands Where My Eyes Could See” has been incorporated in nearly 450,000 clips; both helped drive listeners to the original. As we’ve seen with other hits, radio started to kick in after a couple months of robust streaming: The airplay audience for “Players” has roughly doubled in the last two months. 

Jason Lipshutz: This is a slam-dunk radio success story: “Players” broke through online and has performed well at streaming, but Coi Leray’s breakthrough smash has crashed the top 10 thanks to a No. 1 posting on the Rhythmic chart, as well as a No. 4 peak at Hot R&B/Hip-Hop Songs and No. 10 at Mainstream Top 40. Hip-hop and pop programmers have embraced the track, and “Players” works well at both formats; it’s an old-school approach to hit-making, but one that’s paid off in this instance.

Neena Rouhani: A combination of continued TikTok hype, the Jersey Club remix, radio play and overall catchiness from Coi.

Andrew Unterberger: It’s following the path most non-immediate hits do in 2023: viral success converting to streaming prominence converting to radio play. It makes sense, because the song has all the ingredients needed for each of those three kinds of popularity: It’s catchy, it’s novel, it’s genre-blending and it feels both familiar and distinctly modern.

2. Like Latto’s breakout hit “Big Energy” last year, “Players” is a top 10 breakthrough that rides a recreated sample from the early ’80s (Grandmaster Flash & The Furious Five’s “The Message”) that was already notably revived by a mid-’90s Hot 100-topper (Puff Daddy and Mase’s “Can’t Nobody Hold Me Down”). Does the lift feel more fresh or recycled to you? 

Rania Aniftos: I don’t know if it’s because I personally love these ’80s revival hits in general, but it’s fresh to me! Coi has such a unique style to her rap flow that makes it feel modern, despite the clear throwback melody. Also, the themes about girls being players too is playful and feels very 2023. 

Elias Leight: Variations on this approach feel ubiquitous at the moment: “Players” is also in the top 10 with “Creepin’,” which reworks Mario Winans’ and Diddy’s “I Don’t Wanna Know,” while Nicki Minaj’s last two singles mined Rick James’ “Super Freak” and Lumidee’s “Never Leave You (Uh Oooh, Uh Oooh),” respectively, for source material. There’s a probably apocryphal story about Jam & Lewis saying there are only three kinds of music – good music, bad music and hits. These lifts, whether they’re fresh or recycled, appear to be a steady conduit for hits right now. 

Jason Lipshutz: It’s a little bit of both, and that’s why “Players” works! Like the “Big Energy” production, the sample here is obviously iconic enough to power both a ‘90s revival and a 2020s revival of that revival — the “Message” hook immediately catches your ear when identified on a playlist or radio station, but then Leray twists it into an engaging new shape. Attempting to pull this off with a tired sample or the wrong approach wouldn’t work, but the marriage of an undeniable foundation and a cool new structure built upon it has yielded a top 10 hit.

Neena Rouhani: I actually really like both lifts, “Big Energy” and “Players.” Interpolations and samples have felt overdone lately – I think there’s a fixation on replicating a certain feeling from the past that often fails to translate – but Coi’s “Players” does it right, especially with the Jersey Club Remix. Many artists are flipping radio hits from 20 years ago (which in reality isn’t that old), but it’s another to successfully reimagine a song like “The Message,” which is embedded in the fabric of hip-hop, in such a fun way.

Andrew Unterberger: Fresher than I’d expect, partially because Leray’s vocal interplay with the sample is so playful and fun — though it’s definitely dancing on the borderline. (Then again, so was Puff Daddy and Mase’s use of it a quarter-century ago.)

3. Leray has already made a handful of visits to the Hot 100, but this is both her first top 10 hit and her first unaccompanied solo charting effort. Does reaching this level of success with “Players” establish/validate her as a star? 

Rania Aniftos: One hundred percent, especially given that it’s her first solo charting effort. “Players” proves that Coi has what it takes to be a well-respected artist on her own, and that she’s a lot more than a fun collaborator. She’s introducing herself as a force to be reckoned with in the hip-hop world, and “Players” is helping rest her case. 

Elias Leight: It certainly helps. But there’s a lot of confusion around the music industry right now about what it means to break an artist and become a star. Are heaps of streams and social media followers enough? Is a star an artist who receives consistent pop radio play across multiple singles, or one who is able to sell lots of tickets outside of New York and Los Angeles, or some combination of all these things? Is thinking about superstars now outdated at a time when fandom is increasingly fragmented and prominent record company executives are talking publicly about “reduc[ing] our dependency” on these acts? 

Jason Lipshutz: The chart rise of “Players” has been unexpected, and it will be interesting to see how Leray harnesses the attention it brings to push her career forward. The history of pop music is littered with artists who have turned a strong sample, interpolation or cover into momentary fame, and while a flare-up like “Players” draws interest in the voice leading the hit, Leray needs to transcend the sample and present her own artistry to the masses. Fortunately, the multi-talented Leray has demonstrated a gift for rhythmic pop as a singer and rapper, and should enjoy a prolonged career from here.

Neena Rouhani: She’s absolutely well on her way; reaching the top 10 as a solo artist is no easy feat for any burgeoning star, so it says a lot about how she’s being received and the strategy of her team. She definitely has star quality, especially from her pretty unwavering sense of self. Now let’s see if she remains consistent, which I think will be the true tell.

Andrew Unterberger: It’ll certainly open all kinds of doors for her — TV appearances, pop festivals, award show consideration — though I don’t know if it’ll necessarily translate to star-level consumption for her next project, at least not on its own. It’s the kind of foot in the door that only a handful of artists get in a year, though, and she has the talent to properly take advantage of it.

4. “Players” has already benefited from a couple bootleg remixes, but we haven’t gotten an official remix commissioned from Leray’s camp yet. If she was going to try to get one final chart boost out of an official remix, who do you think would be the smartest guest for her to recruit for it?  

Rania Aniftos: OK, this might sound a little random, but I’m thinking Miley Cyrus. She’s the perfect fit for the female empowerment theme in the wake of her divorce, and she’s been topping the Hot 100 for eight weeks with her own don’t-need-no-man anthem, “Flowers.” I also just think Miley’s husky voice would sound so good with Coi’s flow. 

Elias Leight: Getting Diddy on it would be a cute nod to the sample’s previous history. Mase is a pastor now, but it wouldn’t hurt to ask him as well.

Jason Lipshutz: It’s hard not to imagine Cardi B demolishing this beat — adding a minute and about a dozen different quotable lines — on a “Players” remix. The wait for Cardi’s sophomore LP continues, but she’s popped up as a guest artist on a few tracks over the past year… and if she can conjure the same magic that she brought next to GloRilla on “Tomorrow 2,” we could see “Players” rise from its current No. 9 peak towards something even bigger.

Neena Rouhani: I think the most obvious choice would be Nicki Minaj. The duo have collabed before in the past on “Blick! Blick!” and show a lot of love to each other. I also think they have pretty similar energy and Nicki is a New York native, which could pay homage to the Grandmaster Flash & The Furious Five flip. If she wants to enlist another rising rap phenom and fellow TikTok cult favorite, Ice Spice would be a natural choice. But I also could see her going totally left field and bringing in someone unexpected, genre or language-wise. 

Andrew Unterberger: Where’s Joe at these days? He didn’t want to be a player no more 25 years ago, but if Coi Leray could convince him to temporarily play the part on the song’s revamped hook, it’d probably go over with Mario Winans-in-the-“Creepin’”-video-level excitement.

5. If you were part of Coi Leray’s team and she asked you how best to capitalize on her “Players” success once the song’s chart cycle was essentially through, what would you tell her? 

Rania Aniftos: Don’t wait too long before putting out another song. What’s tough about today’s music industry is that viral success seems like just a blink of an eye before fans move onto the next hit. Those who stay on the charts and turn a viral hit into a long-term career are the ones who have planned the rest of their music rollout in some way. I’m sure she has plenty of great tracks in progress, and I’d love to see her take advantage of being in the news and her upcoming festival performances by putting out another fun single.

Elias Leight: What are we sampling next?

Jason Lipshutz: My advice would be, “Stay away from another classic sample.” She doesn’t need it! Leray has been one of the more interesting voices bubbling up in popular hip-hop in recent years, and instead of being pigeonholed as a sample vulture (to mix my bird metaphors), she has more than enough inherent talent and sonic ideas to stand on her own two feet. “Players” brought her into the game, and now, she can go wherever she wants.

Neena Rouhani: Drop another single, and continue boosting “Players” through the release cycle of the follow-up. Sort of how Latto is doing with “Big Energy” and “Lottery.” Also, remixes. A lot of them.

Andrew Unterberger: Don’t try to chase pop radio. Top 40 is more fickle than ever in the TikTok era, and if songs don’t post good streaming numbers, they’re not likely to embrace your new single regardless of how radio-ready it sounds (or how closely it follows the formula of your last radio success). Leray would be better off using the added exposure to make the kind of music she wants to make and that comes most natural to her, whatever that ends up being, and focusing her attention on cultivating the kind of sustained streaming fanbase that can ultimately launch additional “Players”-type successes without needing radio’s assistance.

28 Mar 2023

Japan’s 10-FEET on Their Smash Hit ‘Dai Zero Kan,’ Their Latest Tour & Hopes for 2023: Interview

The animated film THE FIRST SLAM DUNK has become a smashing success in Japan, bringing in over 12.2 billion yen in box office revenue (as of March 21, 2023). Fueled by its success, the ending theme of the film, “Dai Zero Kan” by 10-FEET has remained in the top 10 on the Billboard JAPAN’s Hot 100 song chart for 12 consecutive weeks. 

Billboard Japan spoke with TAKUMA, vocalist and guitarist of 10-FEET, about the thought he put into creating the film’s theme song and incidental music, his experience working with director Takehiko Inoue, his music co-writer Satoshi Takebe, and more, as part of its Monthly Feature series, focusing on today’s standout artists and works.

Your “10-FEET ‘Collins’ TOUR 2023” began on January 16. How excited are the fans, and how motivated is the band feeling?

For about three years, entertainment wasn’t really what it should have been, so now it feels like all that pent-up excitement has really come to the fore. I think there are fans out there who are having fun, wrapping their heads around the fact that live shows are possible again, and there are others who are coming to the shows with more of a passionate spirit — more impulsively. It feels like the live show scene is making a comeback.

Have there been any changes in how you feel about live shows, or how you approach them, because of the pandemic?

It’s been three years since people could really be packed shoulder to shoulder at a show. I’m sure there are some people out there who are like, “Is this really okay?” So we need to play music and put on really powerful shows that sweep away those fears and tension. I think if we succeed in doing that, we can turn those fears and tension into drive and excitement.

It’s been about three months since the film THE FIRST SLAM DUNK came out. What’s the reaction around you been like?

Some friends from way back got in touch with me again, which was great.

Looking at the comments on the music video, it seems like there are listeners all around the world. What do you think about the fact that your music has extended beyond Japan’s borders and is reaching people worldwide?

The lyrics are almost entirely in Japanese, so it seems strange to me that people are listening to it outside Japan.

It’s been in the top 10 in the Billboard JAPAN charts for several weeks. I think that shows that it’s brought you a lot of new listeners.

I’ve been hearing a lot of people saying they’d never heard of us before, or that it was the first time they’d heard one of our songs, which is a real honor. We’ve been playing music all this time in the hope that lots of people would hear and enjoy our music.

You had a few other potential theme songs, like “SLAM,” “Blind Man,” and “Shinkaigyo.” What made you feel that “Dai Zero Kan” was the best fit for the theme song?

Personally, I think they’d all have been great. We presented like eight or ten songs to the movie production team as potential theme songs. However, each time, the director and the music director said that the song didn’t fit their image for the movie. Then, one day the music staff asked us for music for one of Rukawa’s scenes. So we renamed “Odanshi” (the song that later became “Dai Zero Kan”) as “Rukawa Odanshi” and sent it in. (laughs) The director, Inoue, said that “Rukawa Odanshi” was like a bolt from the blue. It seems like both the music director and the music producer were also both like, “This is it.” We made some additional changes to the arrangement of “Rukawa Odanshi,” and that’s how it became the “Dai Zero Kan” we have now. Initially, I hadn’t planned for “Dai Zero Kan” to be performed by 10-FEET or as a solo song, so I just wrote it how I felt, without giving it any additional thought. I wrote it just after the pandemic started, and I just wanted something really danceable and hard.

For a while, it was in the Billboard JAPAN “TikTok Weekly Top 20” top 20 for weeks on end. Looking back, what do you think about how it was received?

We were lucky that, thanks to the film, the catchy melody got popular on TikTok. I think the key part of the chorus’s melody is its rhythm. For example, in “Scatman,” the melody and rhythm of the “ski-ba-bop-ba-dop-bop” part are really unique, right? Since I first started playing in a band, I’ve always liked those rhythms and melodies where, if you hear them all day, you’ll remember them for the rest of your life. That’s why I was able to take those kinds of rhythmic sensibilities from Western music, write lyrics in Japanese, and create more original-feeling music with 10-FEET. I think the rhythm, together with the pacing of the lyrics, make up like 90%, and melodic elements make up the other 10%.

I see. I’d also like to ask you a little bit about the incidental music. When you wrote the music, did you intend it to express the feelings of the members of the Shohoku and Sannoh teams, or to convey the feel of the game itself from a more objective perspective?

For the incidental music, I thought about how I would express Inoue’s film concepts in the form of music. For example, when Inoue asked me to write music for use when Kohoku was on the ropes, I wrote what I envisioned as music that embodied being in the middle of a crisis. Then, when I played it for Inoue, he’d expand on his concept for the scene, saying, “The feeling of Kohoku being in a crisis really comes across well, but this scene is also one where Sannoh is going on the offensive. Sannoh aren’t just villains, they’re a really powerful, cool team. So this scene is also an exciting scene in which Sannoh has gotten into the zone in their offense, going all out.” So then I’d come back later with new music and be like, “I think this has the feel you’re going for. What do you think?”

In “Slash Snake,” the snare sound felt reminiscent of dribbling.

The sound designer, Koji Kasamatsu, edited the incidental music I provided. For example, drum snares often occupy the same frequencies as people’s voices — the lines characters are saying. I think he paid a lot of attention to where the snares would be heard and to adjusting their volume, levels, equalization, range, and the like. In rock and music like ours, you’ll often hear the snares going the whole time, but he did a great job on making adjustments and editing elements like that. If there were scenes where it felt like the snare was synching with the dribbling, that would have to be Kasamatsu working his magic.

In the climax of the movie, the scene where “Double crutch ZERO” is used stands out for how it uses “stillness” and “movement” to different effects.

I guess there needs to be a lot of switching between times when the instrumentation is really packed and when it’s sparse, where the sound really pushes down on you and when it’s more open, when it’s quiet and when it creates a dramatic, soaring impression. It was my first time making this kind of music, but no matter how much time it took, it never felt like a chore. It was time-intensive, but also extremely rewarding, so I created and submitted a lot of music.

So, it was your first time writing incidental music.

This time, I was writing incidental music for SLAM DUNK, which is a manga that I really loved. If I got an offer to create incidental music for an adaptation of a work that I wasn’t already familiar with, I’d want to check out the original it was based on, movie adaptations, TV adaptations, anime adaptations, and the like. I’d want to really internalize that story — make it part of myself — before writing music for it. I don’t have any experience yet with starting from ground zero along with the production team and creating output using my own sensibilities. If any opportunities to do that present themselves, I’d love to give it a shot.

When you wrote music with Satoshi Takebe, was there any direction or were there any discussions that stick in your memory?

He was truly a wonderful teacher. I was a bit nervous going in, thinking that if I got too excited and passionate in answering, I could come across as rude, and I’d annoy or upset him. But Takebe took the lead, saying “You’ve got to speak up more.” He started out by creating this environment where I felt free to speak, and from then on we were able to really exchange ideas.

In closing, what kind of year do you hope to make 2023?

In 2023, I want to go back to the basics and study music from the ground up again, retraining myself musically. If you’re always working with music, you can lose sight of that passion and impulsiveness. I want to really bring those feelings to the fore again.

—This interview by Tatsuya Tanami first appeared on Billboard Japan

28 Mar 2023

BLACKPINK’s Jisoo Serves Fierce Floral Fashion in ‘Flowers’ Music Video Teaser

Jisoo of BLACKPINK unveiled a new look at the upcoming music video for her debut solo single “Flowers” on Tuesday (March 28).

The snippet finds the BLACKPINK member donning a stunning array of colorful, floral-inspired looks that fit perfectly in line with the title of the song, which is due out March 31 via YG Entertainment as part of her debut solo release ME.

After gazing in a bathroom mirror in a casual pink top, the screen cuts to the Seoul native alternately strutting through a ballroom in a brocade gown embroidered with pink flowers and wearing a lacy black top with a matching rosette around her neck. Other high-fashion moments in the clip include Jisoo in a midnight blue crop top of velvet and sequins (with another matching rosette in hand!), a strappy cerulean dress made of small, sculptural flowers and a monochromatic purple look with ribbons wrapped around her arms.

Despite the runway’s worth of eye-popping ensembles, the teaser only gives BLINKs a few seconds of the actual song to devour, with Jisoo uttering a single line in her native Korean before the track abruptly cuts off to reveal her name and the song title against a black screen.

With the eagerly anticipated release, Jisoo will become the fourth and final member of BLACKPINK to debut solo music following Jennie’s 2018 track “SOLO” and Rosé’s record-breaking solo single album R and Lisa’s LALISA in 2021. Meanwhile, the girl group is just weeks away from headlining Coachella 2023 along with Bad Bunny and Frank Ocean.

Watch the teaser for Jisoo’s “Flowers” above.

28 Mar 2023

Don Omar, Tego Calderón, Ozuna & More to Headline Baja Beach Fest 2023

Baja Beach Fest turns five this year! Taking place Aug. 11-13 in Rosarito, the Mexican beachside festival continues to showcase the most exhilarating acts of reggaeton, Latin trap and a splash of corridos with Grupo Firma for a special premiere showcase. 

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Returning as headliners are Wisin & Yandel, who is scheduled to appear the first night, along with Nicky Jam. Billboard’s March cover star Feid will bring his Colombian reggaeton vibes on day two alongside Puerto Rican hitmaker Ozuna. 

“We’re really excited about supporting Feid in this amazing explosion of a journey he’s been having — this being his first time at the festival, but also as a headliner,” co-founder Chris Den Uijl tells Billboard Español. “This is his first major festival headlining in North America and Mexico, so we’re really happy to be a part of that story. Wisin & Yandel [are] doing their final tour in Mexico, and this being one of their stops is also super exciting.”

About half of this year’s lineup is performing for the first time at Baja Beach Fest. That includes reggaeton legends Don Omar and Tego Calderón, who will take the Baja Beach Fest stage on day three.

The “Danza Kuduro” icon recently spoke about releasing his long-awaited album Forever King. Calderón, whose timeless and influential El Abayarde album turned 20 last year, is launching his farewell tour, and his BBF appearance is one of the two Mexico stops he will be making.

The exclusively all-Latin lineup also features Dominican dembow purveyor El Alfa, rapper Eladio Carrión and Manuel Turizo, as well as Tainy on Friday. The following day will welcome her reggaeton highness Ivy Queen, as well as Becky G, Ryan Castro and Young Miko. And for its closing night, attendees can expect to see Arcángel, Zion y Lennox and Tokischa rocking out the stage. 

“It’s been a super fun journey from when we started with Bad Bunny, Farruko and Yandel being the first headliners in 2018, to growing the venue to a 35,000 cap and doing two weekends [last year],” co-founder Aaron Ampudia tells Billboard Español. “It’s been a roller-coaster ride and an honor to have everyone [in the música urbana scene] come through. We’re only missing a couple of guys from the genre, but hopefully we’ll have them next year. It’s an honor to have a little part in the reggaeton movement that has exploded worldwide. 

Previously, Baja Beach Fest has featured megastars such as Bad Bunny, Daddy Yankee, J Balvin, Farruko, Banda MS and many more. 

“We set out a clear vision for [BBF], and that was to create a festival that could uplift Latin culture and build an event that Latinos could call their own,” says Den Uijl. “It wasn’t just for the fans, but it was also for the artists. Aaron and I continue to push ourselves to try to create the best experience possible from every touch point. As the years have gone on, we’ve been able to continue to find ways to infer into the experience and grow the production footprint, and all the things that make these gatherings really special.” 

“We’re barely on year five, and we have a lot of new things [to bring to the table]. We challenge each other so much to keep it fun and creative,” adds Ampudia. “You’ll start seeing new stuff that we’ve been brainstorming this year and for future years to come.” 

See the full lineup below:

Baja Beach Fest

Courtesy Photo

28 Mar 2023

Old Dominion’s Matthew Ramsey Fractures Pelvis in ATV Accident, Band Postpones Shows

Country music group Old Dominion was forced to postpone three shows on its No Bad Vibes Tour, after lead singer Matthew Ramsey was injured in an ATV riding accident, Ramsey revealed on social media. The group’s trio of shows slated for Coffee Butler Amphitheater in Key West, Fla., this weekend have been postponed to March 22-24, 2024.

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“Well friends – I’m afraid I have some disappointing news,” Ramsey said in a statement posted via Twitter. “I was in an ATV accident that has left my pelvis fractured in three places. The good news is it’s gonna heal just fine. The bad news is I’m gonna have to stay home and recover for a little while. I know we all had plans to sing and dance together in Key West. I was looking forward to that so much! We will make it up to you!”

He added, “I promise we’ll keep up updated on my recovery and any other shows that might be affected. This tour has been such a blast so far this year and before you know it, I’ll be back out there with No Bad Vibes! Love you all. – m”

Old Dominion’s “Memory Lane” is currently at No. 21 on Billboard‘s Country Airplay chart. According to the band’s official website, the group’s next tour dates begin with an East Coast run in April, starting with a show in Redding, Penn., on April 13, followed by shows Albany, N.Y. (April 14), and Bangor, Maine (April 15).

Attendees holding tickets for the three Key West dates will have their tickets honored for the new dates. For any fans unable to attend the new show dates in 2024, full refunds will be available at the point of purchase for the next 30 days.

See Ramsey’s full statement below:

28 Mar 2023

Signed: Melanie C to Various Artists, Rich Amiri to Internet Money

This is Signed, a new biweekly column that rounds up artist signings at labels, agencies, management companies and more.

Melanie Chisholm, better known as Melanie C aka “Sporty Spice” of the Spice Girls, joined the roster of management company Various Artists for global representation; her U.S. agent at the firm is Matt Luxon. According to a press release, Melanie C has co-written a total of 11 No. 1 singles in the U.K. Her booking agent in the U.S. is Marty Diamond of Wasserman Music, while her booking agent in the U.K. is Alex Hardee, also of Wasserman Music.

Boston rapper Rich Amiri (“Walk In,” “Poppin” featuring Lil Tecca) signed with 10K Projects imprint Internet Money Records, which released his new album, EVOLUTION, on March 17. Amiri is represented by manager Nissim Hershkowits at After Life Presents and MAC Agency for booking.

The Frontmen — a country band comprised of Lonestar‘s Richie McDonald, Little Texas’ Tim Rushlow and Restless Heart‘s Larry Stewart — signed with BMG/BBR Music Group, which will release new music from the band this year in addition to re-recorded versions of the members’ greatest hits outside the group. The trio also signed with Marc Oswald and Charlie Pennachio at Oswald Entertainment Group for management, Kaleb Tooker and Greg Janese at UTA for booking, Don Murry Grubbs at Absolute Publicity and business manager Clyde Bright.

Singer-songwriter Greylan James signed with BMLG Records, which released his brand new track, “Undermine,” on Friday (March 24). He’s also represented by Brandon Morlock, Will Hitchcock and Clinlt Highem at Morrish Highamm Management and Kevin Meads at WME in Nashville.

Lo-fi/R&B/electronica producer/drummer Ian Ewing signed with Nettwerk Music Group, which released his debut EP, Second Summer, on Friday (March 24). Another EP is slated to roll out in April. He’s managed by Paul George at Podwall Entertainment.

Country singer/songwriter Coby Hibbard (“Dying Breed”) signed a development deal with Droptine Recordings, which released his latest song, “Looking Back Now,” in February.

Electronic pop artist Daniel Allan‘s recently launched C-corp Daniel Allan Entertainment — which owns Allan’s IP, streaming, touring and Web3 income — raised a $1 million seed round to support the next stage of his career. The round was led by Coop Records with support from Palm Tree Crew Crypto, Noise DAO, Woodstock DAO and Fire Eyes DAO as well as several angel investors. Allan is represented by manager Delfina Glover and agent Phil Quist at CAA.

Austin-based “swamp-pop”/soul band Shinyribs signed with Hardcharger and Blue Élan Records, which will release the group’s upcoming album, Transit Damage, on July 14. Led by Kevin Russell, the band is represented by manager Rick Pierik at Nine Mile and booking agent Jon Folk at Red 11.

Nashville-based artist Stephen Wilson Jr. signed to Big Loud Records, which released his debut EP, bon aqua. He additionally signed with managers Alicia Jones at ALJ MGMT and Jordy Dettmer at Range Media Partners. His booking agents are Brett Saliba and Lance Roberts at UTA.

Sydney-based producer/multi-instrumentalist Skeleten (born Russell Fitzgibbon) signed to 2MR, which released his latest track, “Teenage of the Year” — a reworking of the song by Lo-Tel. He’s represented by Lucy Beaver of Melange Management; Matthew Thompson is his agent for Australia and New Zealand.

Country singer/songwriter Shelly Fairchild signed with Kill Rock Stars, which released her latest track, a cover of Loretta Lynn‘s “Fist City” with Shamir; she is currently at work on an album. She’s managed by Rochelle Shipman.

Artist/producer Trevor Horn (The Buggles) signed with PPL for the international collection of his neighboring rights royalties. Horn is managed by Paul Crockford at Crockford Management (paul@crockfordmanagement.com).

Australian/English pop artist Mereki signed with BMG, which released her debut solo album, Death of a Cloud, on Friday (March 24). Her project leads at BMG are Cydni Lynott and Ariana Rendon; she’s managed by David Zonshine at DH Systems.

Former The Voice contestant Rachel Mac signed with Capitol Christian Music Group. Mac is managed by Jonathan Sell and Carter Hammond at UEG.

Los Angeles-based artist Lauren Early signed with Danger Collective Records for her debut LP, Don’t Take My Dream Away, which is due out May 10.

28 Mar 2023

Dove Cameron Explains Why She Almost Didn’t Release Her Hit ‘Boyfriend’

Dove Cameron earned her first solo hit on the Billboard Hot 100 with her sizzling track “Boyfriend,” but as it turns out, the song was close to never seeing the light of day. The Disney Channel alum appeared on the Monday (March 27) episode of The Tonight Show Starring Jimmy Fallon and revealed she didn’t think much of the track upon recording it.

According to Cameron, “Boyfriend” was a result of being urged by her label to work on some music.

“I had just done a super small black box theater tour where I was just sort of meeting my fans, traveling around, sort of figuring out what it means to perform live. We ended, my voice was shot and the very next day, my label was like, ‘You have to start working on your album,’” she shared. “So we got into the studio immediately, and we wrote ‘Boyfriend’ in two hours, and was like, ‘This is bad.’ I recorded it in 20 minutes and we just put it away. I didn’t really think anything of it, and then it turned out to be the thing that gave me a surprise second career.”

“Boyfriend” made waves on the charts in 2022, making its debut on the Hot 100 in February before peaking at No. 16 by June. The track spent a total of 24 weeks on the chart.

As for what’s in store for the Descendants actress, she had a small update for fans: “I’m actually working on my debut album pretty much every day now,” Cameron shared, noting that she has written nearly 100 songs from the unnamed project and that the next single off the record will feature Diplo.

Watch Cameron talk about the story of “Boyfriend” in the video above.

28 Mar 2023

Suge Knight Looking To Develop A TV Series About His Life

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Suge Knight - Marion

Source: Frederick M. Brown / Getty

Though he wasn’t a rapper or producer, Suge Knight was one of the biggest figures in the music game during Hip-Hop’s golden era of the ’90s. And now he’s ready to tell his story to the world on a televised series.

TMZ is reporting that the most feared man in the rap game during the ’90s wants to bring his life story to a network near you and is currently working with his brother, Brian Brown, to make it happen. There’s a high interest in street legends and icons these days. And Suge feels that the culture would be interested in seeing what his life was like before, during, and maybe even after his Death Row run. Truth be told, he might be right.

From TMZ:

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We’re told the series will have a similar feel to 50 Cent’s hit show “BMF” … with plenty of plot time allotted to tell Suge’s pre-music industry backstory as a kid growing up in Compton who aspired to be a football coach.

Suge, who’s serving a 28-year sentence for the 2015 killing of Terry Carter, has plenty of time to oversee the project behind bars and we’re told he’s very hands-on in the process of selecting a director and actors … especially when it comes to the Tupac Shakur role.

Though they did pretty decent jobs, we don’t know if Suge was particularly fond of either actor’s iteration of his character.

Regardless of who ends up taking on the role of Suge, it should be interesting to see how he’s portrayed in his own series and how he’ll paint the many other famous rappers whose lives he was involved in during his reign at the top of the rap game.

Would you be tuning in to watch a series based on the life of Suge Knight? Let us know in the comments section below.

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Photo: Getty

28 Mar 2023

Photos From the 2023 iHeartRadio Music Awards’ Red Carpet & Backstage

The iHeartRadio Music Awards took over the Dolby Theatre in Los Angeles on Monday night (March 27), celebrating the artists we hear most across the airwaves.

Among some of the big winners of the night were P!nk, who accepted the Icon Award, and Taylor Swift, who was presented with the Innovator Award. “The thing about these exciting nights and moments and especially this award, they’re shining a light on the choices I made that worked out, that turned out to be good ideas,” the superstar, who took a break from her massive The Eras tour to accept the award, told the crowd. “I want everyone to know — especially young people — that the hundreds and thousands of dumb ideas that I had led me to my good ideas. You have to give yourself permission to fail. I try as hard as I can not to fail because it’s embarrassing, but I give myself permission to.

“Make the right choices that make sense for you and someone one day might thing you’re innovative.”

We’ve compiled photos from the 2023 iHeartRadio Music Awards, from the red carpet to backstage and beyond. Check out our gallery below.

28 Mar 2023

Bradley Beal Focus Of Police Investigation After Fan Confrontation

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Sacramento Kings v Washington Wizards

Bradley Beal, the star guard for the Washington Wizards, is at the center of a police investigation after a reported confrontation with a fan in Florida. According to reports, a fan yelled at Beal over losing money in a bet which prompted the St. Louis native to confront the man.

ESPN reports that Bradley Beal, 29, was with the Wizards on March 21 taking on the Orlando Magic in a losing contest. While walking off the court, the fan in question yelled at Beal, using an expletive in the process. Beal reportedly walked over and smacked the hand of the man’s friend, which reportedly knocked off the heckler’s hat.

Video of the footage that was obtained by local police was said to feature beal telling the man that he didn’t care about his lost bet, with some choice adult language dispersed throughout. If the investigation of the footage goes forward, Beal has the potential of seeing a simple battery charge come his way.

The NBA is aware of the incident and is looking into the matter. The Washington Wizards have yet to release any statements related to Bradley Beal.

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Photo: G Fiume / Getty