Author: djfrosty
Page: 50
HipHopWired Featured Video
Source: @TheRealKahlel / iOne
Trinidad James is back with a powerful new single, “My Biggest Hater. ” The track dives deep into self-reflection and perseverance.
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Hip-Hop Wired caught up with the ATL native to discuss the inspiration behind the song, and the conversation was as real as the record itself. When asked who his biggest hater is, Trinidad didn’t name names—he pointed inward. “The only person that can be my biggest hater is myself,” he said. “So in theory, my biggest hater is me.” That honest answer sets the tone for a track centered around battling self-doubt, staying focused, and continuing to evolve despite outside noise.
Known for breaking out with the hit “All Gold Everything,” many critics were quick to box James in as a one-hit wonder. But he’s never stopped creating. With “My Biggest Hater,” Trinidad shows he’s not only still here—he’s thriving. “I’ve hit multiple primes in my career,” he told us. “But this right now? This is the most polished version of me, artist, songwriter, entrepreneur… all of it.”
James also shared wisdom for artists coming up or struggling with expectations: “Don’t dwell on the past. Don’t anticipate the future. Just be present. That’s where the power is.” “My Biggest Hater” is more than a track—it’s a statement. DAD’s got another one, and it’s a reminder that even when the world doubts you, self-belief is undefeated.
Check out Trinidad James’ exclusive Hip-Hop Wired performance of his newest single “My Biggest Hater”:
Junior H is set to take the stage at Coachella, just a year after debuting at the event as a guest of his friend Peso Pluma. One of the most important exponents of new regional Mexican music today, Junior, known for global hits such as “Lady Gaga,” ‘Ella,” and “Tres Botellas,” will debut his own set on April 13 and 20.
“It’s a pride, it’s very nice to represent Mexico, represent the genre and share with people who like my music — although the goal is to go and win new fans,” Junior H tells Billboard Español ahead of the festival’s first weekend. “Coachella is a stage where artists from many countries perform. So, I’m very excited and of course it’s a challenge and a great opportunity.”
Although he said that he will not have guests and that his show will be shorter than what he normally presents in his concerts, the artist behind Hot 100 hits such as “Y Lloro”, “Fin de Semana” and “Bipolar” promises to give “the best of my repertoire.”
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Over the past five years, Junior H (whose real name is Antonio Herrera) has been carving a steady path since the days when he was discovered by the Los Angeles-based independent record label Rancho Humilde. Today, he has his own label, Sad Boyz Entertainment.
“La Letra Muda”, as he is also known, knows what it is like to be in front of large crowds. In May 2023, he twice packed the Plaza Mexico in Mexico City, with its 50,000 capacity — a long way from his early days of having a mostly social media-based following.
“That moment was really the beginning, where we realized we have real fans — not followers. It was awesome,” he says. “Then we jumped to the Foro Sol and it was beautiful. Later we came to the United States to very big places, so I’m infinitely grateful.”
With the concept of his 2023 album Sad Boyz 4 Life II, which reached No. 2 on the Billboard Top Latin Albums and Top Regional Mexican Albums charts, Junior H had a quick connection with young people — who had known him as a performer of corridos tumbados, but found his new style to have deeper, more sentimental themes. The 23-year-old singer was born in Guanajuato, also the land of singer-songwriter José Alfredo Jiménez, so ranchera music was part of his childhood. And as a teenager, thanks to his sisters, he listened to Edén Muñoz — with whom he collaborated on “Abcdario” a couple of years ago, fulfilling a longtime dream in the process.
More recently, the group Máximo Grado, considered a standard-bearer in corridos, released his Somos Leyenda album, on which Junior H made an appearance. “Since I was a kid I’ve been a fan of theirs. The song I participated with, ‘El Hombre del Equipo,’ I used to sing it when I was doing lives during the pandemic,” he recalls. “[The group’s leader] Christian Felix used to see them, and that’s why he invited me. I’m fortunate to have accomplished things I never imagined. That’s why now I want to help other artists who are starting out with my record label.”
Junior H will now add CEO of Sad Boyz Entertainment to his career resumé. His first signed talent is the artist Gael Valenzuela, on whose new song (“El Chore,” released Apr. 10) he also appeared. Find that below.
Duo Soft Palms has returned with new single “Radio” from their upcoming sophomore album. The track marks the first new music from the wife and husband pair of Julia Kugel (The Coathangers, Julia Julia) and Scott Montoya (former member of The Growlers) since their debut self-titled album in 2020.
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“Radio” kicks off with Montoya on the drums before Kugel joins in a boisterous guitar riff that drives the track. The song is about the divisive nature of media and the alienation that results from the echo chamber of negativity, hearing secondhand information and the perception of persecution.
The track’s release is accompanied by a music video featuring the duo in night vision and serves as a reflection of the lyrics’ sentiment with surveillance cameras and projected messages that reflect the idea of being watched and judged.
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The Southern California couple have been making music together and separately for decades, and have decided to take their careers to what Montoya calls the “next logical step” of attempting to win a Grammy.
“Julia and I have over 40 years combined experience in music. ‘Radio’ will be our combined 352nd track on our combined 46th release, but it’s the first time we’ve ever thought to submit our work to the Recording Academy for Grammy consideration,” Montoya tells Billboard. Coming from the independent side of the music industry, he explains, the Grammys have “a stigma of being specifically for pop artists and for mainstream music, but it’s really not the case.”
The duo has also spent years strengthening their local music scene through their free annual festival, Happy Sundays, in Long Beach, Calif. The three-day event is scheduled to return this summer to several locations in the city between Aug. 23-25.
They also run non-profit Studios for Schools that provides equipment and funding for building recording/production studios in schools.
“Radio” was recorded and mixed by Kugel and Montoya at their home studio Centre of Mental Arts (COMA) in Long Beach, Calif., and mastered by BAFTA winner Mick Boggis. The entirety of the record is expected out later this year via Everloving Records.
Check out the video below.
Mariah Carey fans have been waiting for the moment the chanteuse will unveil Someone’s Ugly Daughter, the alt-rock LP she worked on with her band in 1995 while simultaneously recording her album Daydream. Now that the superstar is nominated for a Rock and Roll Hall of Fame induction, it seems fitting for her grunge album to see the light of day.
“I mean, I really want to [release it], but I want to do videos, and I have just so many ideas for that,” she told Associated Press in a new interview. “I don’t think I’ll be able to pull it together by the summer (before the Rock Hall ceremony) but maybe, maybe I’ll release a few songs from it.”
As for her Rock Hall nomination, she gushed, “That’s a huge honor. I don’t know if I’m going to win it, so I don’t want to get too excited about it. So, I just want to say that, again, it’s a huge honor and I guess I didn’t expect it. I wasn’t really thinking about it. And here we are.”
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The Grammy-winning singer detailed in her 2020 memoir, The Meaning of Mariah Carey, that she and her band wrote and recorded Someone’s Ugly Daughter to blow off steam while working on Daydream. She initially wanted to drop it as it was, but ended up releasing it under the pseudonym Chick with her friend Clarissa Dane on lead vocals.
Carey later confirmed to Rolling Stone Music Now in 2020 that she’d uncovered the original version of the record with her voice at the forefront. “I think this unearthed version will become something that, yes, we should hear,” she said at the time. “But also, I’m working on a version of something where there’ll be another artist working on this with me as well … Possibly something built around the album. I’m just full of surprises.”
The Rock and Roll Hall of Fame’s The Class of 2025 will be revealed in late April, and the induction ceremony will take place in Los Angeles this fall, with more details to be announced in the coming months.
Canadian music is good for more than just the economy — it’s central to the country’s national identity.
That’s the crux of a new open letter written by Erin Benjamin, president/CEO of the Canadian Live Music Association. The letter anticipates the Canadian federal election on April 28 and advocates for elected officials to understand the cultural significance of music to the country. Liberal leader Mark Carney recently became Prime Minister of Canada after Justin Trudeau’s resignation, while Pierre Poilievre is running for the Conservative party and Jagmeet Singh for the New Democratic Party (NDP).
The letter doesn’t mention the U.S. President by name or refer explicitly to tariffs or talk of Canada as the “51st state,” but it situates the country in a moment of national uncertainty, reflecting on what it means to live in Canada and what the country will look like going forward.
Within that context, Benjamin writes, it’s crucial that policymakers understand both the economic and cultural benefits of Canada’s live music sector.
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“In the face of today’s generational challenges, on the doorstep of our nation’s future, the time has come to fully integrate and interlace this formidable industry into the systems and policies that shape our society, for the benefit of all Canadians,” Benjamin writes.
The letter cites CLMA’s recent Hear and Now study, the first-ever economic impact assessment of live music in Canada, which found that live music contributed $10.92 billion to Canada’s GDP in 2023 and supported more than 100,000 jobs. But music’s impact can’t just be measured monetarily, Benjamin writes.
“It’s central to our cultural fabric, shaping how we connect and define ourselves as Canadian,” the letter continues. “As we face growing uncertainty and instability — we risk losing not just critical economic opportunities but the very essence of our national identity.”
“Who are we if our artists can’t continue to create and perform due to financial pressures brought on by the cost of touring, access to performance opportunities, and shrinking resources and supports? What happens to our sense of community, our shared experiences, if we lose our cultural infrastructure…the venues, festivals, and spaces that live music provides?”
Benjamin’s letter is part of a broader conversation happening amidst a swell in national pride in the face of threats from the U.S. The music industry has tapped into that pride, which was on display at the 2025 Junos.
Beyond hockey slogans and beer ads, Canadian cultural leaders are emphasizing the importance of the arts and culture sector in maintaining Canadian sovereignty.
Read more here. — Rosie Long Decter
Billboard Canada Partners with Music Managers Forum
Billboard Canada is teaming up with Music Managers Forum (MMF Canada) to highlight vital, yet often under-recognized, drivers of the music industry.
Behind many great artists is a dedicated and strategic music manager working tirelessly. For nearly three decades, MMF Canada has been the voice of music managers and self-managed artists in the country. The organization builds community and empowers managers with opportunities and mentorship.
MMF Canada also presents the Honour Roll, an annual celebration of outstanding Canadian music managers and self-managed artists. This award acknowledges the critical role managers play in shaping the success of Canadian artists and celebrates those who have made a lasting impact. This year, the honour will be presented during NXNE, the longstanding and well-loved music festival that is also beginning a strategic partnership with Billboard Canada.
“We are excited about this partnership with Billboard Canada and NXNE,” says MMF Canada executive director Amie Therrien. “One of our goals at MMF Canada is to ensure that the work managers do, largely behind the scenes, is recognized and celebrated. As the artist’s representative and support system, the contributions of managers is crucial for a thriving and sustainable music industry. To have a partner that understands and champions that work is invaluable.”
The organization has a thriving network and community of managers representing some of the biggest success stories in Canadian music, and some artists who are well on their way to joining them.
“At Billboard Canada, we recognized a significant gap in the industry: a lack of industry-wide support and recognition for the vital work that music managers do every day,” says Mo Ghoneim, president of Billboard Canada and Artshouse Media Group, the co-owner of NXNE. “Understanding their role as the foundation of the music industry, we felt a responsibility to fill that gap by creating a space to tell their stories, highlight their contributions and provide them with the recognition they deserve.”
The MMF Honour Roll has been presented annually since 2007, though this is the first year it will move to NXNE. The award is given to a Canadian music manager for outstanding career achievements.
Previous recipients have included industry legends and current stalwarts, from Bernie Finklestein, Bruce Allen and Ray Danniels to Jake Gold, Chris Smith, Susan de Cartier, Sandy Pandya and Lascelles Stephens. Whether or not you know their names, you do know the results of their work. Together, they’ve guided the careers of artists including Nelly Furtado, Bruce Cockburn, Bachman Turner Overdrive, Bryan Adams, Rush, Colin James, Sarah MacLachlan, kd lang, The Tragically Hip, Haviah Mighty and many more.
Read more here. — Richard Trapunski
Neil Young Will Play a Rare Solo Concert Near His Hometown in Lakefield, Ontario
Neil Young‘s status as a hometown hero in the Peterborough/Lakefield region in Ontario just took another giant leap forward.
On May 23, the Canadian rock icon will play an outdoor benefit concert at Lakefield College School’s Northcote Campus to raise funds for the restoration of the historic farmhouse on the Northcote property — a project that fits with Young’s commitment to the values of preserving history and community.
Young’s roots in this area run deep, as he spent formative childhood years (from ages 4 to 11) in the small community of Omemee, 20 kilometers west of Peterborough and close to Lakefield. “There is a town in north Ontario,” goes a Young-penned line featured in the Crosby, Stills, Nash & Young classic “Helpless” that was inspired by Omemee.
Young’s journalist/novelist father, Scott Young, bought a family farm there that was in the family until the late 1980s. The Ptbotoday website reports that “Neil’s connection to the area deepened in recent years when he and his wife, actress Daryl Hannah, relocated to a 116-year-old cottage near Lakefield in September 2020. According to updates on his Neil Young Archives website, the couple winterized the property and spent nearly six months there during the pandemic, embracing the solitude of the Kawarthas.”
This is not the first Neil Young benefit concert in the area. In 2017, he played a solo acoustic show at Omemee’s Coronation that was live-streamed worldwide and raised $18,000 for the music program of the town’s Scott Young Public School. He will also perform solo at the upcoming show.
The Lakefield concert, scheduled to begin at 7 p.m., will have a restricted capacity of approximately 2,000 concertgoers.
Read more here. — Kerry Doole
Kendrick Lamar and SZA have dropped off the official music video for their Billboard-chart topper “Luther,” just days before launching their highly anticipated Grand National Tour. The minimalistic video debuted on Friday (April 11). Directed by Karena Evans — who notably helmed Drake’s videos for “God’s Plan,” “Nice for What” and “In My Feelings” — […]
Every year on April 11, the United States observes National Pet Day. And in addition to the millions of people with furry friends to celebrate, countless A-list musicians also have dogs, cats and other animals to honor on the occasion. And much like their famous owners, a lot of those celebrity pets have fanbases of […]
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The popularity of the MGM+ series Godfather of Harlem is undeniable, highlighted by the music under the purview of the iconic Hip-Hop producer and artist, Swizz Beatz which includes its compelling theme song, “Just In Case” featuring Swizz along with Rick Ross and the late DMX. As the show returns for its fourth season, viewers will be heavily tuned in to see the next chapter in the story of famed crime boss Ellsworth “Bumpy” Johnson, played by Academy Award-winner Forest Whitaker.
Seeing Johnson fight the mafia for control of his beloved Harlem takes on new dimensions in the wake of the assassination of his friend Malcolm X, and the presence of an up-and-coming underworld figure in Frank Lucas (played by Emmy Award-winner Rome Flynn). HipHopWired had the opportunity to talk with Swizz Beatz before the premiere of the new season to get his perspective on crafting the tone of the show.HipHopWired: We’re days away from the premiere of this fourth season. What’s the anticipation been like, for you and everyone else involved for the viewers to see the season play out?Swizz Beatz: Man, well, there’s been a lot of anxiety, because people were like, “When is it happening? When is it happening? When is it happening?” And when they see the announcement, people start hitting me up, and they’re like, “Okay, finally, is this going to happen?” Is that going to happen?” But, I don’t watch the show until it comes out. So I love to keep it a surprise, because imagine, you spend all this time doing work on the show. By the time the show comes out, you’ve seen everything. It’s not really a celebration, you know? It’s kind of like spoiling your own party, right? So I do my little clips. I get small scenes and things like that, but I don’t know where they go or how they’re pieced up. And then I score the music around that, and I make the songs around that. And so we had a small premiere here in New York the other day, and it was the opening scene. I had never seen it before. I was like, “Wow. Okay. That’s how they pieced that up.” So it’s been amazing.
“Seeing DMX and Forest Whitaker in the studio together as big fans of each other was pretty awesome.”
HipHopWired: That leads me to my next question. For the process of creating the soundscape, because if there’s anything that stands out for Godfather of Harlem, it’s your music. I’m curious as to the process that you undergo in creating whatever you have for the scenes. How do you go about it?Swizz Beatz: I have an open door policy at the studio, where we have the writers, directors, songwriters, you know, everybody’s invited that’s involved. A lot of the characters in the show pop up, and it’s good to just feel everybody’s energy and just let everybody feel at home. And then at that same time, I have artists coming in. Some known, some unknown.
But what I do different now is I kind of make it like, my voice is the voice that’s in Bumpy Johnson’s head. So, when you hear my vocals, I’m saying what Bumpy Johnson’s probably thinking at that moment. And then I have B singing vocals from Teddy Sinclair. That’s the vocals for Stella [Gigante], right? And then this other person, that’s the voice for that. So I tried to make the records be the voices in a different character’s head and what they’re thinking and what they’re going through at those particular times, rather than just making songs and just placing them and sending them in. Sometimes I keep the mic on while I’m watching the scene and score the scene with my voice to the actual scene, just so you can really feel how that’s going down. Like the single that’s coming out with me, Jadakiss, and Pusha T called “Danger, Danger.” When you see “Danger, Danger” in the show, you’re gonna know it’s “Danger, danger.” (laughs)
HipHopWired: Comparing the work you’ve done in the past seasons to the music you’ve put together for this season, do you like to have a distinct tonal change reflecting the story for each season?
Swizz Beatz: We’re putting out the record of the soundtrack for the season, for the first time. Before, we were just doing it as one song for each episode. But I felt like it was getting lost in the sauce. And so we said, “You know what? Let’s put it as a body of work. “Swizz Beatz Presents Godfather of Harlem, Season Four,” as a body of work for season four. And I think we’re going to do it going forward. But you know, having that particular mood and that sound…because Godfather does have a sound. When I go back and look at the other season, I wasn’t really thinking of a sound overall. At that point, I was just thinking of and doing the tasks at hand. But now when I go back, it’s a moody sound, we were able to get darker and explore more, because I’m not looking to make a smash hit. I’m looking to make the show a smash hit. So it’s a whole different dynamic that I’m able to play with. Rather than somebody paying me to be in the studio to make a smash hit so they could go on tour and do different things, Godfather is so that we can make the show a smash hit. So it’s two different frequencies, and Godfather is way more freedom.HipHopWired: What’s been among your top experiences working on Godfather of Harlem, just off the top of your head?Swizz Beatz: Seeing DMX and Forest Whitaker in the studio together as big fans of each other was pretty awesome, you know, they both went into their little shell of respect. But wow. I’m looking at [DMX], he’s like, giddy as a kid when Forest walks in. Then I’m seeing Forest do the same thing, and I’m just in the middle, just looking at this whole excellence of celebration unfold in front of me, and…that was a major moment. We may have got that on camera as well. That was one of my major moments. Right then, I was like, “Okay, sh*tt is real.” (laughs)
Season 4 of Godfather of Harlem kicks off April 14.
In early March, a new James Brown recording strutted onto a Billboard chart for the first time in more than three decades. But Brown, the incendiary funk pioneer who died in 2006, wasn’t going viral on TikTok or putting out albums of previously unreleased material. Instead, he had been sampled by the rapper 310babii, who credited the Godfather of Soul as a featured artist on the new track, titled “Bad.” When the single subsequently hit the Rhythmic Airplay chart, Brown came along for the ride.
A prominent credit for a sampled act has the potential to propel an older name back into the conversation for “a whole new, young audience of fans,” says Karla Redding, daughter of Otis Redding. For legacy acts or artist estates, getting such exposure is more valuable than ever: It can frictionlessly translate into consumption at a time when listening to catalog tracks on streaming platforms is as easy as pulling up last week’s releases. And now that artists’ name and likeness rights have become a more desirable commodity for the investor class, a new wave of listeners raises the value of those rights.
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Getting a credit for a sampled vocalist isn’t easy, though. “Most people don’t want to credit samples [in that way],” says Rob Sevier, co-founder of Numero Group, which gets about three sample requests a week.
To prevail in clearance negotiations, the sampled artist needs leverage and a good lawyer. And negotiations can be charged. “All clearances are emotional,” explains Deborah Mannis-Gardner, president of DMG Clearances. “Someone either wrote this song or they recorded it — it’s their baby. [In many cases,] it’s up to them to decide, do they want it altered by it being incorporated into another song?”
They can benefit by saying yes. Sampled artists who get co-billing raise their profile on streaming services. On Spotify, if an act is credited as a collaborator on both the “product level” (where the artists are listed under the title of the single) and the “track level” (where the artists are listed below and to the right of the “play” button), any plays count towards their “monthly listener” number. For an estate that no longer puts out previously unreleased music, this is a way to pump up an often-cited metric on a popular platform.
And in recent years, many legacy artists have sold part or all of their name, image and likeness rights, including Stevie Nicks, the Beach Boys, Bryan Ferry and Pink Floyd. If a sample clearance is done right, those “NIL rights can get boosted through new audience recognition,” says Jason Boyarski, an entertainment attorney who handles the estates of Donny Hathaway and Antônio Carlos Jobim, among others. That in turn can “help boost brand-related projects like biopics, documentaries and musicals.”
In Mannis-Gardner’s view, though, awarding a sampled singer co-billing is unseemly — the sampler is giving away the farm, paying more than they need to for a license. “When I do sample clearances, I work very hard on behalf of my clients not to grant feature credit,” Mannis-Gardner adds, unless her client directs her otherwise.
Some sampled artists don’t request to have their name in the lights. Kendrick Lamar‘s “luther” borrows a piece of Cheryl Lynn and Luther Vandross‘ “If This World Were Mine,” a tender lover’s duet originally written by Marvin Gaye in 1967. Although Vandross’ voice, glistening like fresh snow, is the first vocal on “luther,” he is not billed as a featured artist on the track.
David Gottlieb, who manages the Vandross estate, says it “didn’t ask for any sort of credit” in exchange for clearing the “If This World Were Mine” sample. “You don’t hear Luther and Cheryl a tremendous amount [on Lamar’s track],” he explains. “It would be obnoxious to ask for a feature.
“There’s always a discussion [internally],” Gottlieb continues. “We have our set of guidelines for samples [called] W.W.L.D. — What Would Luther Do? If someone is using Luther singing ‘Never Too Much’ in the chorus, we would raise our hand and say you need to put a feature in, if that was something we wanted.”
Primary Wave acquired a stake in Vandross’s publishing, master royalties and name and likeness rights in 2021. The company also works with Mark Morrison, the man behind “Return of the Mack,” a thunderous ’90s R&B single that reliably incites sing-alongs.
“In the last week, I’ve seen a license request for ‘Return of the Mack’ come across our desk,” says Justin Shukat, president of publishing at Primary Wave. “When we spoke to Mark, he’s like, ‘Yeah, I definitely want the feature.’”
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50 Cent is once again doing what he does best: trolling his former G-Unit comrade Young Buck.
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The rapper and media mogul took to Instagram to mock Buck following the release of his latest mugshot, which surfaced after Buck’s recent arrest in Tennessee on Monday, April 7. According to TMZ, Young Buck was taken into custody for allegedly missing several meetings with his bond supervisor, a violation that landed him back behind bars.
Fif wasted no time clowning his former ally, zeroing in on Buck’s shaved head in the mugshot. Posting the image online, 50 Cent wrote: “Damn how dat [ninja emoji] head get like that, police must’ve hit him in the head. LOL.” He didn’t stop there. In classic 50 fashion, he doubled down on the joke by posting a gif of the large-foreheaded main character from the animated movie Megamind (often mistakenly referred to as Mastermind), drawing a not-so-subtle comparison to Buck’s mugshot.
“I gotta get back to work, LOL,” Fif added with a grinning emoji, clearly enjoying the moment. The two former G-Unit members have had a rocky history, with years of public jabs and personal digs going back and forth. This latest round of ridicule adds another layer to their ongoing feud, reminding fans that 50 Cent rarely misses a chance to get the last laugh. Whether fans find it hilarious or harsh, Fif continues to prove that his trolling game is as sharp as ever.