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14 Oct 2022

Drake’s Spotify Success To Be Honored During FC Barcelona Vs. Real Madrid ‘El Clásico’ Clash

Drake’s enormous Spotify success will be on full display during this weekend’s “El Clásico,” one of the biggest fixtures in the global soccer calendar.

In January 2021, it was reported that the OVO hitmaker had amassed an astonishing 50 billion streams on Spotify across all credits, becoming the first artist to reach the milestone.

Now, almost two years later, Drake’s historic achievement will be honored when Spanish soccer giants FC Barcelona and Real Madrid face off against each other at the Santiago Bernabéu on Sunday (October 16).

Barça, whose main kit sponsor is Spotify, announced on Friday (October 14) that their players’ jerseys will be adorned with Drake’s OVO owl logo to commemorate his streaming record.

It’ll make the first time the iconic club, who famously bucked the trend of having a jersey sponsor for decades until 2006, has replaced their sponsor’s logo with an artist’s logo.

“To celebrate being the first artist with 50 billion streams on @spotify @FCBarcelona will wear the OVO owl at El Clasico on Sunday,” Drake wrote on Instagram while sharing a photo of holding up Barca’s special edition OVO jersey. “this doesn’t feel real but it is.”

Drake is no stranger to the world of soccer having attended games and repped the attire of clubs like Manchester United, Chelsea and Juventus (although his multi-team fandom has been a source of amusement amongst fiercely loyal European soccer fans).

The Toronto native has also name-dropped ballers like Cristiano Ronaldo, Lionel Messi and David Beckham in his music. “Take her to see Cristiano, fuck her in that Benz Viano / Champions League shit, there’ll be a driver for you on arrival,” he bragged on Future’s I Never Liked You track “I’m On One.”

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Similarly, Barcelona has flirted with Hip Hop in the past. In July, the club booked Pusha T — ironically, Drake’s former fierce rival — to perform at an event in Miami celebrating their partnership with Spotify, which was attended by a number of the team’s first-team stars.

The Clipse MC was photographed holding up a custom “Pusha T #36” jersey while rubbing shoulders with veteran defender Gerard Piqué and hotshot forward Ansu Fati.

“El Clásico” — a fixture regularly watched by hundreds of millions around the globe — kicks off at 10:15 a.m. ET on Sunday. The game will be broadcast live on ESPN.

This weekend’s showdown is especially tantalizing with Barcelona and Real Madrid sitting in first and second place, respectively, in La Liga with 22 points apiece. Whoever wins will take a three-point lead atop the table.

14 Oct 2022

How Omar Apollo Found Clarity While Writing ‘Evergreen’

With his debut studio album Ivory, Omar Apollo shows listeners exactly who he is.

The previously elusive singer from Indiana leaned into all aspects of his identity throughout the 16-track effort — from raw, genre-defying cuts like “Invincible,” alongside Daniel Caesar, to Spanglish trap banger “Tamagotchi,” which reveals a refreshingly playful Apollo. But it was “Evergreen,” a soulful, R&B-tinged deep cut, that captured the hearts of fans and catapulted Apollo onto the Billboard Hot 100 for the first time, through what every artists hopes for in 2022: a viral TikTok moment.

It took a few tries for the bridge to take off, with Apollo’s own trendsetting efforts on the platform with “Evergreen” proving futile. “I remember my day-to-day [manager] showed me a TikTok, and it was the same part that I had already been posting, but someone else did it,” explains Apollo from his sunny Los Angeles home. “And then it started going and going. I didn’t expect that at all.”

An influx of users began posting compilations of a hardship soon after — be it depression, body image issues or heartbreak — followed by their post-struggle glow up, to the track’s climactic bridge. To date, “Evergreen” has soundtracked more than 370,000 TikTok videos, also clocking in at over 65.8 million plays across streaming platforms.

It’s proof that the 25-year-old singer’s vulnerability paid off, showing that the longtime alt artist with a cult following is fully equipped for a mainstream breakthrough. The sonically cohesive Ivory‘s popularity on the charts prove as much: after debuting atop Billboard‘s Heatseekers Albums chart in April, it returns to No. 1 for a third week on the chart dated Oct. 15. (“Evergreen” also reaches a new No. 51 high on the Hot 100 this week, after debuting on the Oct. 1-dated chart.)

Below, Omar tells Billboard about the making of “Evergreen,” leaning into his cultural identity, what pushed him to get active on TikTok and more.

What were your intentions while making Ivory?

I knew that it was definitely gonna be something that I put all my effort into. I knew I was going to be proud of it. In terms of how it was received, honestly, I wasn’t really sure. But when I was done, I knew I gave it all that I had. That made me [secure] about what happened after.

The project wasn’t heavy on features, but the two you had, Kali Uchis and Daniel Caesar, fit so beautifully. Tell me a bit about “Invincible.”

That song has a special place with me because the structure is really weird. That’s why I really loved it. [Daniel] told me come to the studio, so I pulled up and started playing a guitar riff. And then we made an eight-minute demo of “Invincible” and it had all the parts in it, but they weren’t structured. Then three or four months later, I opened it back up, added drums, restructured it and sent it to him.

“Tamagotchi” is a Tyler, the Creator-approved hit. It also felt like the song more likely to go viral on TikTok — but it ended up being “Evergreen.” Did you expect that?

When I wrote it, definitely not. It was kind of like a post-rationalize thing. I was like, I”‘m on TikTok all the time. I feel like this would be something that would work.” I tried to make a few TikToks and they didn’t really go up. I was like, “I guess I was wrong, whatever.” Then I remember my day-to-day [manager] Jake showed me a TikTok, and it was the same part that I had already been posting, but someone else did it. And then it started going and going. I didn’t expect that at all.

Tell us about the process of writing “Evergreen.”

I rented a house in Idyllwild [Calif.] to make music with my engineer and my childhood best friend [Manuel Barajas] who plays bass in my band. It felt like how I [made] music in the beginning. I made “Evergreen” and “Endlessly” in the same day. It was so simple. Being far away from everybody, not having access to do things, things become clear.

[For] the part people use on TikTok, I had another song called “How Do You Live in Your Skin” — I was like, “I’ll take [those lyrics] and put [them] on my bridge.” Then I brought in my friend Tao Halm, we got a studio a couple months later — Larrabee Studios — and we hired a band. We focused on [the bridge] so much. There are so many textures — if you listen to background vocals, even Teo [Halm, producer] is singing on that part. It’s beautiful to see that all the effort I put in with Teo, Manny and my engineer Nathan [Phillips] is the part that’s blowing up. That literally makes me so happy.

When you earned your first Hot 100 entry, you tweeted out, “my first hot 100 entry, b–ch. Wow.”

[Laughs.] You already know that was a real reaction in real time, as soon as I got the news.

How did you find out about it?

Like four texts from my manager Jake, my A&R, everyone. I was with Manny. I’ve known him since I was 11. This is like my brother. He’s the one that wrote the chords on the bridge. He’s the one that told me “Evergreen” should have a bridge, and I don’t really do bridges. It was just so crazy being with him. It’s very surreal. It’s bizarre, the feeling of, “Oh, my God. I did this.” I worked with a lot of great people in my life, but it really mattered for my career when I did it with my best friend. That’s why it was so cool.

Before Ivory, you had a pretty low public profile, but it seems that has changed. What inspired you to be more active on socials?

These damn numbers got me over here making TikTok videos! Before the pandemic, I was just touring, I wouldn’t really be on the internet like that. I was like, “I want to make music, I don’t want to be on the internet.” And then it just started popping off. I’m like, “Let me let me get these TikToks together. What we doing? What’s the vibe today?”

Your Twitter followers are loving it.

Literally, please don’t ever take anything I say on my Twitter seriously. [Laughs.] My Twitter is a place for empty thoughts. There’s no there’s no backbone to the thought.

Did you ever consider that singing in Spanish would impede your mainstream growth?

When I was very young, I think so. I thought that people weren’t gonna take me seriously because I didn’t see any Mexican artists that were buzzing at the time [in the mainstream]. I also wasn’t around the music industry, I was in Indiana. And now it’s funny because it’s like, oh, “first-generation Mexican artist!” It’s like, “Well, I was wrong.”

Now, it’s clear you’re leaning into your cultural identity more. In your recent NPR Tiny Desk Concert, you had a mariachi of all women. What has inspired you to make the change?

I started off [making] traditional Mexican music. That’s how I started dancing — I was in ballet folklórico, which is like Mexican folk ballet. My culture was traditional Mexican, Juan Gabriel type of thing. You grew up on that, you take it for granted. And I lived in Indiana, so I really fell in love with R&B music: Aretha Franklin, Lauryn Hill, Sly and the Family Stone, Bootsy Collins. As I got older, I found a new love for the corridos. It was healing for me. Especially that all my songs are about longing, that’s what all that music is about. And I wanted to start the Tiny Desk like that because I love the Mariachi Lindas Mexicanas — I literally hired them to sing at my brother’s birthday. That is something you’re definitely going to hear [more] in the future. It just feels like home.

A version of this story originally appeared in the Oct. 8, 2022, issue of Billboard.

14 Oct 2022

Ed Sheeran’s Lawyers Ask Judge to Reconsider Decision to Send Pop Star to Trial in Copyright Case

Ed Sheeran’s lawyers want a federal judge to rethink a recent decision that said the star must face a trial over whether “Thinking Out Loud” infringes Marvin Gaye‘s “Let’s Get It On,” warning that such rulings threaten to “strangle creation” by future songwriters.

Two weeks after Judge Louis Stanton refused to toss the case out, Sheeran’s attorneys respectfully told the judge Thursday (Oct. 13) that he was wrong – and that the only overlap between the two songs were simple musical elements that have “been used in music for centuries.”

“Affording copyright protection to a combination of only two unprotectable basic musical building blocks, such as the ones at issue here, would undermine a central purpose of copyright law – which is to encourage the creation of new works – and would instead strangle creation,” wrote Sheeran’s lead counsel Don Zakarin, an attorney at the firm Pryor Cashman.

In technical terms, Sheeran’s lawyers are asking the judge to reconsider his own ruling. If he does, it would be a rare step, typically only taken when it’s clear a judge has gotten something wrong. In the alternative, they’re asking for permission to file a fast-track appeal; if granted, it could delay any trial by at least a year.

Sheeran has long been dogged by questions of whether “Thinking Out Loud” (which spent 51 weeks on the Billboard Hot 100 after it was released in 2014) borrowed too much from “Let’s Get It On.” He did himself no favors in late 2014, when he was filmed on stage at a concert toggling between the two songs.

The singer was hit with the current lawsuit in 2018 – filed not by Gaye’s heirs but by an entity owned by industry executive David Pullman called Structured Asset Sales. That group owns a one-third stake in the copyrights of Ed Townsend, who co-wrote “Let’s Get It On” with Gaye.

Faced with the accusations, Sheeran’s lawyers argued that the elements he allegedly took from the Gaye’s song – a chord progression and the harmonic rhythm – were too commonplace to be the exclusive property of any one songwriter. They cited a number of other songs, including “Since I Lost My Baby” by The Temptations, that featured similar aspects.

For their part, Sheeran’s accusers admit that those elements, by themselves, are “commonplace and unprotectable.” But they say that when they were combined together in Gaye’s famous song, they became something more original and worthy of copyright protection.

In late September, Judge Stanton refused to side with either argument. He said there was “no bright-line rule” for deciding such questions, and that the pop star would need to make his arguments before a jury of his peers. The decision set the stage for a blockbuster trial at a Manhattan federal courthouse at some point in the future, though a date has not yet been set.

Thursday’s new motion, if granted, would avoid that trial entirely, or push it back if the judge approves the fast-track (“interlocutory”) appeal. In it, Sheeran’s attorneys argued that the court was correct about the lack of a “bright line,” but that the case against Sheeran still fell well short of the mark.

“No one can or should be able to claim the exclusive right to a chord progression and the unremarkable and unprotectable manner in which it is performed,” Sheeran’s lawyers wrote. “Defendants respectfully submit that the order overlooked these critically important legal considerations.”

The arguments from Sheeran’s lawyers sound quite a bit like comments the star himself has made about copyright litigation in the music industry. In April, after he defeated a similar case over “Shape of You,” Sheeran said “baseless” cases were taking a personal toll on him, and that he now films all of his recording sessions to disprove potential claims of infringement.

“It’s really damaging to the songwriting industry,” Sheeran said at the time. “There’s only so many notes and very few chords used in pop music. Coincidence is bound to happen if 60,000 songs are being released every day on Spotify.”

14 Oct 2022

How to Watch BTS’ Live ‘Yet to Come’ World Expo 2030 Busan Korea Concert

Heads up, ARMY: BTS is performing in concert this weekend, and you’re all invited to watch.

The guys of the world’s biggest boy band — Jin, Suga, J-Hope, RM, Jimin, V, and Jung Kook — have partnered with Weverse to livestream a festival-style show for millions of fans, who are invited to attend virtually from all over the world. Keep reading to see all the details on how to tune in.

What Is the Concert?

in Busan is a global livestreamed BTS concert, planned to showcase the boyband’s support of Busan’s bid to host the 2030 World Expo. Busan is one of four cities in the running to host the event — a world’s fair proposed to take place in 2030 — with Rome; Odesa, Ukraine; and
Riyadh, Saudi Arabia also being considered. The Bureau International des Expositions will vote on the winning host country next year.

In July, the BTS boys were appointed honorary ambassadors for Busan’s World Expo 2030 bid. The band was chosen “because they understand the importance of the World Expo and share the same values,” according to a statement from BTS’ record label, Big Hit.

When and Where Will the Concert Take Place?

BTS is scheduled to perform at 6 p.m. KST (5 a.m. ET) this Saturday (Oct. 15). They’ll take the stage in Busan Asiad Main Stadium in Busan, South Korea.

The concert’s venue was originally planned to be Ilgwang Special Stage, but Big Hit later announced in a September press release that the location had been changed to Busan Asiad Main Stadium “to preserve the main purpose of the concert and for the audience to have a smooth, enjoyable and accessible viewing experience.”

How to Watch on Weverse

First, you’ll need to make a free account on Weverse using your email.

Then, come concert time, all you’ll need to do to watch BTS perform on your computer is click this link. Alternatively, stream the concert on the mobile Weverse app or on the Weverse Smart TV app.

The livestream will have eight different languages available for subtitles to help ensure that ARMY from around the world can enjoy the show. The languages are Korean, Japanese, Chinese, Spanish, Indonesian, Vietnamese and Thai.

No RSVP is required to watch the show.

14 Oct 2022

Azealia Banks Says Nicki Minaj Needs ‘Serious Help’ Following Latto Beef

Azealia Banks has said Nicki Minaj needs “serious help” following her online beef with Latto earlier this week.

Latto and Nicki had exchanged words on Twitter on Thursday (October 13) after the latter scolded the 2023 Grammy Awards for placing her “Super Freaky Girl” single in the category of Best Pop Solo Performance rather than in any rap categories.

“I have no prob being moved out the RAP category as long as we r ALL being treated FAIRLY, If [‘Super Freaky Girl’] has [2 billion views] moved out RAP then so does Big Energy,” the Queen rapper tweeted, referring to Latto’s Billboard-topping single.

“ANY1 who says diff is simply a Nicki hater or a troll. I’d actually LUV 2 c a more street record win- male OR female! IJS rightIsRight.”

Latto ultimately responded by tweeting: “Damn I can’t win for losing… all these awards/noms I can’t even celebrate,” which led to the two taking personal shots at each other.

Azealia Banks took to Instagram to share her thoughts on the public scuffle and said Nicki needs “serious help” for the way she’s treated Latto online.

“The Barbs need to petition to get Nicki Minaj some rehab and mental health services through the Grammys music cars program,” she wrote. “It’s becoming painstakingly clear that this woman needs serious help, because this level of anger is not normal at all.”

She continued: “It’s getting scary watching her spiral like this with a child in tow… Like imagine how lonely and confused her kid feels hearing her scream and rage 24/7. There’s no way he’s getting the attention/love he needs from her when she is this consumed with anger. I feel really really bad for the kid. Clearly other women are more important to her than he is.”

Azealia went on to say Nicki’s Twitter feuds ultimately fed money into the pockets of the “men invested” in women rappers like Latto, and that she should “go to rehab” for the sake of her son.

“The girls are stunting on you with the lavish birthday parties, magazine covers with their kids,” she wrote. “All you have for papa bear is a bag of frozen wingettes and a can of crisco. Get it together sis you look extremely low class. boring ass crybaby… shut up. Go on love and hip hop with all this weak shit. For fucks sake.”

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Azealia Banks then elaborated more on her stance in a video posted to her Instagram Story.

“And like as far as Nicki, like c’mon, alright, alright Black community…it’s fun to laugh at each other but we gotta like really pay attention cause like, Whitney Houston was suffering,” Azealia said.

She added: “And we didn’t step in to help her. We let her suffer, like Chaka Khan is suffering and we’re not stepping in to like fix it or try. This woman Nicki Minaj is suffering and it’s like c’mon what are we gonna do? Just like laugh at her?”

The feud between Latto and Nicki became especially ugly once the pair started direct messaging each other, with the former referring to the latter as a “Karen.”

“This Karen has probably mentioned my name in over 100 interviews. She waited in line for Pink Friday w|her Barbie chain on, bangs, pink hair,” Nicki Minaj wrote on Twitter, “but today, scratch off decides to be silent; rather than speak up for the black woman she called her biggest inspiration.”

She then shared a DM from Latto in response to her initial Grammys complaint that read: “I agree w you however because of where we left off ion think u need to bring my name/song up to prove ur point,” referencing a recent phone call between the two of them.

Latto replied to Nicki Minaj’s tweet by calling her out for her “ongoing subtweets” while branding her a “bully” who’s “older than my mom.”

She added: “I’ve ignored countless subtweets since March and instead addressed u in the dm. You’re asking why I didn’t speak up in ur defense… it’s the same answer I gave u when u asked why I didn’t congratulate you. Ur literally older than my mom tryna be a bully @NICKIMINAJ.”

14 Oct 2022

GloRilla Gifts Cardi B With Some Serious Bling: ‘I Don’t Even Got No Words!’

GloRilla and Cardi B are back in the studio, but this time, to show off some major gifts the “F.N.F.” MC gave the “Hot Shit” rapper.

The Bronx native uploaded a video to Instagram on Thursday (Oct. 14) of herself and GloRilla, ecstatic at what her fellow artist just gifted her. (Cardi celebrated her big 30th birthday on Oct. 11.)

“So I’m in the studio with GloRilla, and she … I don’t even got no words to say, like …,” Cardi gushes breathlessly in the clip. “OK, so, look. She gave me some Van Cleef earrings, but she also gave me a f–king Patek, bro! Like, what the f–k! Like nobody ever does something so beautiful like that but my man! Now you’re my woman! If that’s my man, you’re woman!”

“I love you, cousin,” GloRilla says while hugging her pal.

The following slide is a photo of the luxury items: Van Cleef & Arpels earrings that look to be the $2,450 Sweet Alhambra gold and onyx studs, and a Patek Philippe watch that appears to be the $21,050 5267/200A Aquanaut. The timepiece features blackened gold numerals and 48 diamonds that add up to about 1.11 carats. (Cardi also received a rare Richard Mille watch for her birthday from husband Offset.)

“Y’all, look what @glorillapimp just gave me !!!!! I love her for f– ever …I wanna cry but imma Gangsta!!!!” Cardi B captioned the post.

The artists are in high spirits in the video for a good reason. GlorRilla’s “Tomorrow 2” remix featuring Cardi B debuted at No. 3 on Hot R&B/Hip-Hop Songs Chart on Thursday (Oct.6). The rappers’ team-up also arrived at No. 9 on the Billboard Hot 100.

Check out Cardi B’s post below:

14 Oct 2022

New Music Friday – New Albums From Lil Baby, Central Cee, Tee Grizzley, Mavi + More

HipHopDX – Canadian rapper Tory Lanez recently set a new precedent with the debut of his chart-topping, independently released SORRY 4 WHAT album, which notched his first Top 10 Billboard 200 Albums Chart appearance in two years.

However, with a new day comes a fresh opportunity for all artists alike, and this week’s edition of HipHopDX’s New Music Friday Albums coverage is littered with potential blockbuster releases from superstars such as Lil Baby, who is finally unleashing his highly anticipated, star-studded It’s Only Me album. Additional highlighted projects arrive from across the pond by way of U.K. rapper Central Cee’s surprise NO MORE LEAKS EP, Detroit lyricist Tee Grizzley’s storytelling masterpiece Chapters Of The Trenches, and 2022 DX Rising star Mavi’s sophomore album Laughing So Hard, It Hurts.

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Check out the rest of the albums released on Friday (October 14) below.

Lil Baby – It’s Only Me

In the two years since the release of his chart-topping debut album My Turn, it’s almost as if Lil Baby found a glitch in The Matrix and figured out how to exploit it to his benefit.

Along with adding numerous high-value accolades to his evolving portfolio, which includes eight Grammy Nominations, and mega-hits such as his 5x multi-platinum single “Close Friends,” Wham has become a global rap icon. Lil Baby’s 2022 moves alone are highlighted by lucrative name and likeness promotional campaign deals with brands such as Rap Snacks, Axe and Amazon Prime Video, who premiered his viral documentary Untrapped: The Story of Lil Baby.

Now, the 4PF general is truly ready to prove he is in a league of his own with his colossal 23-track It’s Only Me album. Home to the breakout single “Heyy,” Lil Baby’s latest LP includes guest appearances from artists such as Young Thug, Future, Nardo Wick, Pooh Shiesty and EST Gee, among others.

Central Cee – No More Leaks

West London-bred rapper Central Cee is having a full-blown moment right now.

On the heels of the release of his breakout Wild West album, the “Loading” MC harnessed the momentum he created thus far and channeled it into his smash single “Doja,” which has been streamed over 250 million times since its July release. The single, which has over 2.5B views on its TikTok and Doja Cat’s personal stamp of approval, may only be overshadowed by his recent viral L.A. Leakers freestyle.

Further harnessing the organic traction he’s creating with each release, Central Cee is extending an olive branch to eager fans awaiting his next full-fledged project with the release of his four-song No More Leaks EP.

Tee Grizzley – Chapters Of The Trenches

Tee Grizzley is clearly a man of his own, however, he is elevating the tradition of storytelling rap in 2022 with the same sort of intensity and raw skill that Hip Hop Pioneer Slick Rick did in 1988 with his classic “Children’s Story” lyrical epic.

Kicked off with the release of his action-packed “Robbery Part 4” visual single, the Detroit rapper’s Chapters Of The Trenches project immediately established the elite level of wordplay he has to offer throughout the audio drama. The album’s subsequent single “Jay & Twan 1” adds yet another undeniable layer of lyrical grit and cunning songwriting to the “First Day Out” rapper’s repertoire for the release.

In total, Tee Grizzley’s Chapters Of The Trenches album includes 13-tracks intricately woven together to narrate a treacherous story where desperation meets opportunity, leading to ill fates for the fictional figures personified throughout the tracklist.

Mavi – Laughing So Hard, It Hurts

Howard University neuroscience major Mavi is closing out 2022 with a bang.

Along with earning co-signs from artists like Jack Harlow, IDK, and Earl Sweatshirt, the 2022 DX Rising Star candidate racked up millions of streams independently, which have culminated into his massive fan base of four million-plus Spotify monthly listeners.

The North Carolina native quantifies his prolific pen game, while also championing the disembodied voices of his ancestors, upon the release of his 16-track Laughing So Hard, It Hurts album.

Jared Evan – B.B.3

Multi-hyphenate rapper-producer Jared Evan is bringing the story of his illustrious career to life on his trifecta-completing B.B.3 album.

Since inking his first record deal with notorious record label executive Jimmy Iovine and Interscope records in 2010, the New York native has gone on to carve out a lane of his own with hallmark projects, such as his beloved Boom Bap & Blues album, which he originally collaborated with producer extraordinaire DJ Statik Selektah on.

Jared Evan continues to dig deep in his bag with his all-new B.B.3 album, which includes guest verses from artists such as Skyzoo, Ché, Termanology and more.

Khalil Simplis – In Real Life 

YUNG $AKS 5TH – Rahiem Supreme & WifiGawd

Jay Lucci – New Orleanian

Also be sure to check out this week’s New Music Friday singles coverage featuring new songs fromLil Yachty, Doechii, $NOT and more.

Stay up-to-date with the latest Hip Hop and R&B releases here, and peep HipHopDX’s 2022 Rising Stars update, highlighting the achievements of Doechii, Nardo Wick, Coi Leray and others.

14 Oct 2022

Rihanna’s Savage X Fenty Show Vol. 4 Is Coming: Here’s When It’s Airing

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Rihanna is back and better than ever, and Prime Video announced on Friday (Oct. 14) that the highly anticipated Savage X Fenty Show Vol. 4 will be returning on November 9.

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The follow-up to the Emmy-winning Vol. 3 iteration of the fashion show will feature the latest Savage X Fenty styles from the music icon, and will stream exclusively on Prime Video in more than 240 countries and territories. The trailblazing event will include a new all-star lineup of models, actors, some of the biggest names in music and more.

RiRi posted a teaser snippet to Instagram announcing the news, in which she’s seen lounging around in dim, lavender-toned lighting in lacy black lingerie. “VOLUME [clap emoji] MF [clap emoji] FOUR [clap emoji],” she captioned the clip. Rihanna serves as executive producer and creative director of Savage X Fenty Show Vol. 4.

In addition to the show airing on Prime Video, the entire Savage X Fenty Show Vol. 4 collection, which pays tribute to self-expression and personal empowerment, will also be available to shop in the Amazon store and at Savage X Fenty’s website. on November 9. 

In addition to the fashion show, Prime Video lets users access countless hours of content including action and adventure movies, dramas, comedies, documentaries, sci-fi, mysteries and thrillers, and kid-friendly programs. Not signed up for Amazon Prime? Join today under a free 30-day trial ($14.99 a month after the trial ends) and enjoy tons of great perks such as fast and free shipping, exclusive deals on millions of items and a free one-year subscription to GrubHub+. There’s also an option to join Prime Video by itself (free trial included, but you won’t get as many perks as you would with a Prime membership).

14 Oct 2022

First Spin: The Week’s Best New Dance Tracks From David Guetta, Artbat & Idris Elba, SG Lewis & Tove Lo and More

This week in dance music: we were there for the pair of shows Zedd played to honor the ten-year anniversary of his debut Clarity, we caught up with Wreckno about the special meaning behind their Electric Forest set this past June, we went deep with Kerri Chandler on the occasion of his most recent album, and we saw the queen Björk hit Hot Dance/Electronic albums with her latest, Fossora.

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And new music? You know we’ve got it. Let’s dig in.

David Guetta & Artbat feat. Idris Elba, “It’s Ours”

Is it future rave? Melodic techno? A cryptic spoken-word ballad featuring one of the world’s best-known actor/DJs uttering heady musings about “the connection… the absolute purity…” in baritone? “It’s Ours” is in fact all of these things, with the fearsome foursome that produced it — David Guetta, Ukrainian duo ARTBAT and aforementioned multi-platform star and noted good-looking person Idris Elba — tossing their respective skillsets in the mix for the darkly hypnotic heater. The track is fairly experimental output (particularly for the typically melody-centric Guetta), and really excels in the extended eight-minute version, which plays like the soundtrack to an actual movie. — KATIE BAIN

SG Lewis & Tove Lo, “Call On Me”

Ladies and gentlemen, right this way through the holographic door into a dark-lit, dystopian disco where the champagne flows like spilled blood and the only soundtrack is the sinister thump of SG Lewis and Tove Lo’s insanely hard-hitting single, “Call on Me.” There’s just something desperate about this song’s insatiable funk. It seems to promise that if we turn its maximalist production up until it red lines, for three blissful but very-sweaty minutes, we might forget that there’s such a thing as human pain.

“Call on Me” is the latest single from Lewis’ forthcoming double album AudioLust & HigherLove, which he says “explores the differing ways in which we approach love and relationships, and the cyclical nature of those feelings.” It also appears on Lo’s spankin’-new LP Dirt Femme, which sees the Swedish singer peeling back the layers on her personal demons in a way she’s never quite exposed before. Of course, all this over beats that will breathe life into any dance floor. These two can call on us literally any time. – KAT BEIN

Sohmi, “Somebody”

After playing Coachella for the first time earlier in April, Sohmi has entered a new and more high-profile era in her career. The producer-singer-songwriter is back today with her first solo release since last year, “Somebody,” through which she revisits her past. “‘Sit on the floor little darling / know what you’re worth,’ Mama told me,” she begins. She builds upon the premise of working long and hard to become “somebody,” the refrain echoing like a lingering dream across a driving soundscape filled with pummeling drums and fluttering synths. It’s dark yet dreamy, heavy but hopeful and lyrically relatable while also being some of Sohmi’s most personal material yet.

“Somebody” is also the first taste of a new EP due out early next year. “A lot has happened and changed since my last release,” Sohmi says, “and I’ve spent a lot of time diving deeper into my own personal history in order to better understand who I am; why I hurt the way I hurt, why I love the way I love. All of it has been at once challenging and fulfilling at the same time, but most of all, it’s been beautiful to confront who I am as a person and how that’s shaped the artist I am and strive to be today. I think ‘Somebody’ is sort of the first piece of that story, as it takes a step backwards into some personal history of mine while looking ahead and forward, sonically.” — KRYSTAL RODRIGUEZ

Agents Of Time, Universo

After taking a giant step into the mainstream this past January via their killer remix of The Weeknd‘s “Take My Breath,” Italian duo Agents Of Time are closing out the year with their sophomore album, Universo. The 13-track LP melds melodic techno with an expanded pop sensibility (particularly in the vocal-driven tracks), altogether delivering dually sophisticated, hypnotic electronic music you can live with at home or on the dancefloor. Universo is out now via Kompakt. — K. Bain

G Jones & Eprom, “R.A.V.E.”

Have you been to a rave lately? It really does feel like stepping outside of society into a more perfect union of souls. When a rave is done right, it’s like going to church and a bacchanal all at once — which we suppose at certain moments in history is exactly what going to “church” was like. Raves make you feel like a better tomorrow is possible, so maybe that’s why inimitable texture gods G Jones and Eprom named their latest laser attack anthem “R.A.V.E.,’” aka “Realizing Alternative Visions for Earth.” A monster tune that will break your windows and smash your skull, the track is everything we love about these two producers: funky, groovy, an absolute assault of the aural senses — and also just mean, and therefore, so nice. The track comes from Jones’ Illusory Tracks EP, out next month. – K. Bein

Coco & Breezy feat. Baby Sol, “Magic”

Some tracks are made for banging out in the club, and some are meant to be set free in the outdoors. Coco & Breezy’s new single “Magic” falls into the latter group. In an exploration of their Afro-Latina heritage, the twin-duo deliver a track shrouded in mysticism, pairing driving drum rhythms and menacing bass with vocal chants and wolf howls as vocalist Baby Sol teases, “I got that magic.” There’s a communal spirit within “Magic” that evokes images of midnight forest raves, where among the silhouettes of looming trees and nocturnal birds, it might sound right at home.

“We all have that magic when we step into our power,” write Coco & Breezy. “It truly feels like we are tapping into our ancestors with the vocal chants in the background. “Music is healing, and words are powerful. Creating a song for people to dance to, and repeat the affirmation ‘I got that magic,’ is powerful.” — K.R.

14 Oct 2022

First Stream Latin: New Music From Piso 21, Silvestre Dangond, Paty Cantú & More

First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

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Piso 21, 777 (Warner Music Mexico)

Piso 21 has gifted fans their fourth studio album, 777, home to 16 tracks that continue to consolidate their title as Latin music’s most prolific pop group right now. The set kicks off with the Manuel Turizo-assisted “Los Cachos,” which can be considered the sequel to their 2018 banger “Dejala Que Vuelva.” Unlike “Dejala,” which is about a guy convinced his ex will come back, “Los Cachos” is about a girl who has officially moved on from her cheating boyfriend, with no plans of taking him back. From there, the group navigates to “TDQ,” in collaboration with the Puerto Rican duo Gigolo y La Exce. In this hard-hitting reggaetón track, the group talks about a rebellious soul who’s breaking the quarantine rule because she’s single and ready to mingle. That same type of energy is heard in “Nadie La Controla,” a reggaetón-turned-merengue ripiao’ about a girl who’s the center of attention and that can’t be controlled.

In 777, we get Piso 21 in all its creative splendor, where they deliver chill, Afrobeat vibes as heard on “Apaga El Celular,” innovative ranchera as heard on “Que Triste” with Carin Leon, soulful hip-hop as heard in the Santa Fe Klan-assisted “Equivocado,” and even punk rock alternatives as heard in “Elevarte” and “Mató Mi Corazón.” The lyricism throughout the album is as ever witty, heartfelt and relatable, Produced in Miami, Medellin and Mexico, the Colombian group reeled in producers Federico Vindver, Mr. NaisGai, Súbelo NEO and Sky Rompiendo; Piso member Dim also demonstrates his producer skills on the set. Other collaborators include Ñejo, Marc Segui, Totoy El Frio, Khea and Danny Ocean on the focus track “Felices Perdidos.” — JESSICA ROIZ

Farruko, “Viaje” (Sony Music) 

Following last year’s wildly successful club tropical banger “Pepas” — which scored four trophies at the 2022 Billboard Music Awards, including Hot Latin Song of the Year and Streaming Song of the Year — is “Viaje,” where Farruko continues his spiritual journey towards enlightenment via his music. At times interpolating Héctor Lavoe’s timeless salsa hit “El Cantante,” the Puerto Rican hitmaker reflects on his past, present and future against an insatiable guaracha rhythm and larger than life choruses. “Love, for life is short and unforgiving,” he soulfully croons in Spanish. “Enjoy, live life because it’s beautiful.” — ISABELA RAYGOZA

Joss Favela, Aclarando la Mente (Sony Music Latin)

A year after releasing Llegando al Rancho, Joss Favela is back with his fourth studio album, Aclarando la Mente. A prolific singer-songwriter and a storyteller at heart, Favela sticks to his signature romantic lyrics with which he narrates heartbreak, lust and love stories. As expected, the Sinaloan artist opts to go solo and doesn’t feature a single artist on the 12-track set. He also wrote the entire album — his most personal one yet, which thrives on direct and raw lyrics. While Favela has dabbled in multiple regional Mexican sub-genres (such as banda and mariachi), Aclarando leans more norteño, with his dad’s accordion heard throughout the LP. — GRISELDA FLORES

Pablo Alborán & Carin Leon, “Viaje a Ningún Lado” (Warner Music Spain)

Pablo Alborán recruits Carin Leon to dip his toes into regional Mexican for this magical collaboration, “Viaje a Ningún Lado,” which will be part of Alborán’s next album La Cuarta Hoja. Accompanied by a beautiful fusion of acoustic guitars, mariachi and flamenco melodies — and the deep power of interpretation of both singer-songwriters — the lyrics wrap around a story of a love that may have already left, and it’s time to let go. “I rather you leave now before I start feeling alone with you, before I learn more about you from the things you don’t say, before doubts raise another wall between us,” they sing in the chorus. — INGRID FAJARDO

Silvestre Dangond, Intruso (Sony Music Latin)

On his new studio album, the 16th of his career, Silvestre Dangond went full experimental, even dubbing the set Intruso — perhaps because he feels like an intruder in the urban realm? On the contrary, Dangond keeps his vallenato and tropical essence alive even while tapping into other rhythms, and in true fashion, all 13 tracks were penned by him. In “Pa Que,” Dangond laces sultry trap beats with his signature accordion sound, while on “No Tenemos La Culpa,” his first collaborative effort with his son MONACO, he opts for an infectious pop-urban melody. And for “Manzana Prohibida,” he reeled in Dominican newcomer La Ross Maria for a heartfelt tropical-reggaetón. 

Intruso is also home to previously released bangers such as the Natti Natasha-assisted “Justicia,” “Vivir Bailando” with Maluma, and the ultimate wedding proposal song “Cásate Conmigo” with Nicky Jam. The set’s focus track, “Se Que Estas Con El,” a collaboration with Reik and Boza, kicks off the album. Other collaborators include Zion y Lennox and Ñengo Flow. “I feel very happy with the result of this new album, I had a lot of fun and I admire each of the artists who collaborated with me, including my son who makes me extremely proud.  I hope you enjoy it and enjoy all the songs,” Dangond explained in a press release. — J.R.

Rosa Pistola & Los Xxxulos, “Ella Me Dijo” feat. Young Miky (La Checkera REC)

Mexico-by-way-of-Colombia DJ Rosa Pistola has been helping spearhead the neoperreo explosion since the mid-2010s, offering a freakier, more digitized take on reggaetón. This round, the tatted alchemist teams up with perreo pesado purveyors Los Xxxulos and producer BrunOG on “Ella Me Dijo,” featuring Mexican rapper Young Miky. The song already sounds like a banger, with incendiary beats and a hyper-tropical transition that collides with maniacal merengue and EDM. It’s the epitome of Mexican reggaetón. — I.R.

Paty Cantú, “Mi Película” (OCESA Seitrack)

Mexican singer-songwriter Paty Cantú is placing all bets on a bubbly and romantic pop song to stand out in a crowded field of release this Friday. Cantú’s sweet vocals take center stage as she sings about finally getting her fairytale ending. “My movie is next to you, you know my movie is next to you, from beginning to end,” she sings. But you’ll have to watch the music video for a plot twist, because it might just really be all in her head? — G.F.

Nino Augustine, “Noche” (SOON COME Entertainment)

Atlanta-based artist Nino Augustine makes music with Panama in his heart — his native country and the home of reggae en español. After releasing a string of delectable singles of an Afropop and reggaetón persuasion, the artist returns with “Noche.” Produced by Capo Musica, the sultry new song bathes in nighttime radiance while bouncing along to a reggae-en-español bop and Augustine’s seductive lilt. The track is from the singer’s upcoming album Champion Nins, out in November; the visual, which takes place in Medellín, is directed by Jimmy Usma and Alejandro Gutierrez. — I.R.