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This is partner content. Victoria Monét gives fans a glimpse at the making of her look for Billboard Women in Music 2025 with some help from Sol de Janeiro. See below for a list of products used during filming. Victoria Monét: What’s up, you guys? It’s your girl Victoria Monét here. Come get ready with […]
Olivia Wilde has chimed in on the controversial all-female space expedition helmed by Jeff Bezos‘ space exploration company Blue Origin. The Don’t Worry Darling actress took to her Instagram Stories on Monday (April 14), shortly after the NS-31 rocket completed its 11-minute journey. She shared a meme featuring two photos of passenger Katy Perry exiting […]
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On Friday, April 11, a jury found Tay-K guilty of murder in connection to the 2017 killing of Mark Saldivar, according to XXL.
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The trial went down in Bexar County, Texas, and after two weeks of back-and-forth and a day of deliberation, the jury decided Tay-K, real name Taymor McIntyre, was guilty of murder, but not capital murder, which would’ve automatically landed him life without parole.
Back in April 2017, Saldivar got robbed and shot in a San Antonio Chick-fil-A parking lot. Tay-K was on the run at the time, already wanted for the 2016 murder of Ethan Walker. While ducking the law, he famously dropped “The Race,” a track that blew up and went viral but also ended up being used as evidence against him in court.
The capital murder charge would’ve been the worst-case scenario, but the jury hit him with the lesser murder charge instead. Still, it’s not light. Tay-K is already doing 55 years for the Walker case, and now with this second murder conviction, his chances of seeing the outside any time soon are slim to none. Tay-K’s rise and fall has been wild, going from viral for his song “The Race” to a cautionary tale in just a few years.
His story’s been at the center of debates about how the streets and music mix, especially when real-life crimes end up getting glorified in songs. Now, with another body on his record, the rap game might be hearing less and less from Tay-K as the years go on.
Coi Leray has announced the sex of her baby with Trippie Redd, sharing the exciting news on Instagram. Sporting a cute pink outfit on Tuesday (April 15) that perfectly showcased her baby bump, Coi Leray announced to the world that she is having a girl with her ex-boyfriend Trippie Redd. “GIRL MOM,” Coi wrote in […]
Sean Kingston will soon be out on bond after getting hit with a guilty verdict last month related to a fraud scheme alongside his mother. On Tuesday (April 15), Kingston posted $100,000 bond. The agreement stated if the “Beautiful Girls” singer paid the bond, he could spend the months leading up to his July 11 […]
April 12 will remain etched in the memory of El Malilla, the reggaetón mexa star who brought the Sonora stage at Coachella to a thrilling close on Saturday night.
Representing urban music, Fernando Hernández Flores (real name) — currently one of Mexico’s most influential artists in the genre with 8.7 million monthly Spotify listeners — turned the stage into a vibrant party with dancers, choreography and infectious energy.
“It’s very exciting, it’s crazy, I can’t believe it,” he tells Billboard Español from his backstage dressing room at the festival after a successful night performing hits like “Beiby,” “Mami Tú,” and “Vaquero,” which the crowd sang along to from start to finish. “Where I grew up, my neighbors were mechanics and construction workers, anything but artists. It’s a point of pride for me to come from there and have made it.
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“For this first performance, I wanted to showcase my music and what I know how to do. It was a night for my fans, but also for people to discover what I’m all about. For next Saturday, April 19, I’ll have two surprise guests,” adds the 25-year-old star, who will also perform two days prior at the legendary Roxy Theater in West Hollywood.
Born in Valle de Chalco, a neighborhood notorious for its high crime rates in the metropolitan area of Mexico City, El Malilla always dreamed of being a singer. But not even in his wildest dreams did he imagine making it to Coachella, let alone closing out a stage like Sonora.
His career began 10 years ago when, inspired by Puerto Rican urbano stars Arcángel and Farruko, he decided to write his own songs. By 2023, having earned a reputation in the underground scene, he started being invited to major festivals in Mexico City, such as La Santa Fiesta at Foro Sol, Axe Ceremonia and Flow Fest, as part of the mexa movement (Mexican reggaetón). Since then, he’s collaborated with stars like Yeri Mua, Dani Flow, El Bogueto, Uzielito Mix, Bellakath, and Blessd, as well as J Balvin, who, drawn to the booming urban scene in Mexico, worked with all of them on “Glow Kitty Remix” in 2024.
Also knows as El Chamako de Valle (The Kid from Valley), El Malilla is preparing for a new phase in his career. “I, Fernando, am a big fan of romantic salsa from legends like Willie Colón and Maelo Ruiz, so I’m already working on creating beautiful reggaetón, more commercial stuff, and later on, I’d love to make cumbias,” he explains. “The genre doesn’t matter as long as the music comes from the heart.”
Just a few days ago, the Mexican singer who now basks in his success at Coachella experienced a disappointing moment at Lollapalooza Chile, where his performance saw very low attendance.
“I take it as a learning experience… Rome wasn’t built in a day,” he says. “Just like I started in Mexico singing for ten people, then came a hundred, then thousands, I want the same to happen in Chile in two or three years. That’s how the best stories are told.”
Anyma surprised fans at Coachella by joining Yeat during his set, and we had the opportunity to sit down with the DJ as he shared his excitement about the conclusion of the Genesys trilogy with the release of his album End of Genesys in May, the inspiration behind his Coachella set, and more!
Tetris Kelly:
So from Sphere to Coachella, Anyma, bro, I don’t think people are ready for you to come out joining Yeat, even though you guys have the track together. So how was that whole vibe?
Yeah, no sh*t. I wasn’t ready for it. Like, honestly, like, it’s been just, like, surreal working with him. Like, so talented and like, we just, like, directly went for it, made the song in a few weeks, studied the visual, the whole universe we wanted to make collide, you know? My world, his world, his world’s crazy, like the energy was insane, like it was, for sure, an experience and some crossover even I didn’t expect I would have done this in my life, you know.
And I mean, you have, obviously, through your career, created a really awesome world which people saw at Sphere. So how do you come into like his world and like do your own thing?
Well, I feel like artists such as me, and yet we have such strong vision for our brands and our art and what it means to be an artist into this contemporary world that when, when two universes like that collide, it or works very well, or is it like a disaster, you know, like, because it’s not obviously something we did for necessary, for commercial purposes, or just to make it happen, you know, we really wanted to see if we can, like, do something next level and sort of like, you know, makes, you know, make people say, Like, what is this?
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Six months ago, a stadium-concert headliner decided to create tens of thousands of high-end T-shirts and hoodies to “rival any streetwear brand and be able to sell it for less than Sabrina Carpenter or Billie Eilish,” says Billy Candler, CEO/co-founder of Absolute Merch, a 13-year-old company that works with 30 artists. Candler arranged to purchase the shirts from China, then ship them on April 9, two weeks before a new U.S. tour.
But on April 2, President Trump imposed an 84% tariff on Chinese imports. Then, in the next few days, he boosted them to 104%, then 125%, then 145%. With each increase, Candler says, “I almost had a heart attack. It’s just exploded our plan.” As of Saturday (April 12), the company’s freight order has been “literally sitting in Customs waiting to be cleared,” with new tariffs imposed.
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As with industries that manufacture and ship smartphones, aluminum foil, car parts and toasters, artist-merch companies like Absolute are scrambling to predict the Trump administration’s final number on Chinese tariffs and figure out how to transfer production to alternative countries. Ideally, Absolute Merch would simply cancel its China order and restart in the U.S., but the deadline is too tight for the stadium-level act’s upcoming tour and, as Candler says, “You can’t do it in America. We really don’t make fabric here.” It may eventually be possible to shift to Vietnam or elsewhere, but Chinese prices for blank shirts tend to be cheapest, music-merch sources say, and nobody knows whether Trump will reimpose tariffs on other countries in July, after his 90-day respite period.
Even if every company in the $13.4 billion global music-merch business, as MIDiA Research estimated, pulls out of China, demand will spike in other countries, and merch manufacturers will likely raise their prices. “Costs will go up because of capacity shortages once China is not an option,” says Barry Drinkwater, executive chairman of Global Merchandising Services, which works with Iron Maiden, Guns N’ Roses and others.
Will artists and their merch companies pass the additional costs stemming from tariffs to their customers? They may have no choice but to raise prices, Candler says, speculating that hoodies could rise to $150 and T-shirts to $65 if the trade war continues. “I have a client manufacturing a cut-and-sew bomber jacket,” adds Pat Dagle, owner of Terminal Merchandise, which works with 20 artists. “That jacket jumped from a price point of $35 to $80, on our side, because of the tariffs. The cost falls onto us, so it’s negating a lot of our profit.”
“It’s going to affect everybody,” says Kevin Meehan, a 30-year artist-merch manufacturer in Costa Mesa, Calif. “Because 90% of the trims in the world are made in China — your zippers, your buttons, your snaps, your drawcords, your eyelets, all that stuff for apparel.”
Andy Stensrud, a veteran Nashville music merchandiser who works with Bad Bunny, IU and other Latin and K-pop stars, adds of China: “When it comes to the custom apparel, they are so far ahead of everybody else with turnaround times and pricing. We just made some custom hockey jerseys for a band, and they cranked them out in 10 days. No one can touch that.”
For now, many in music merch are remaining calm as the U.S.-Chinese tariff situation fluctuates. Dov Charney, the American Apparel founder who created Los Angeles Apparel in 2016, stands to benefit from artists and others seeking merch items not made in China. He says most touring artists source T-shirts and other clothing products from Honduras, El Salvador and Central America, which haven’t had to contend with high tariffs. Even China-made products are unlikely to increase by more than $5 or $10 for a T-shirt, he adds, because wholesale shirt costs are low and the high expenses come from things like transportation and design, which are unlikely to change due to tariffs. “OK, boo-hoo,” Charney tells Billboard. “It’s not going to have a profound effect as much as people are saying.”
Brent Rambler, guitarist for hard-rock band August Burns Red, which runs its own merch operation, is avoiding the tariff uncertainty, refusing to “proactively raise our prices” and risk turning off fans in the long term. The band’s T-shirts come from Bangladesh, and while its coffee mugs are made in China, a manufacturing increase of $1.50 to $2 per unit is unlikely to lead to a consumer price bump: “You don’t want to turn people away,” Rambler says.
Steve Culver, president of Nashville-based merch company Dreamer Media, adds that the tariffs are a political issue likely to be resolved before consumer costs rise too dramatically. “It’s too early to understand how it’s going to play out,” he says. “I’m not panicking.”
For now, tariff stress has spread to all levels of the touring business, which relies on merch, especially artists who can’t make a living on streaming revenues. Reached by phone while driving from St. Louis to Kansas City in a van stuffed with cardboard merch boxes, Evan Thomas Weiss, frontman of Pet Symmetry, says the emo band pays $13 to $15 to print a T-shirt, plus more on transportation and other expenses, then sells it for $30 at a show in order to make a small profit. If tariffs cause production prices to rise by even 20%, a fan could pay as much as $40.
“I don’t know how anybody’s going to be able to afford that,” he says.
Pet Symmetry was lucky — its latest order of 300 to 400 shirts and other merch items arrived two weeks ago, in time for its current club tour.
“But if something happens over the summer, and tariffs go into effect, we have to do some real reflection, and decide whether to order more now or wait,” Weiss says. “Which is such a difficult position for a small band to be in.” From the van, guitarist Erik Czaja adds: “If it came to it, one of us would learn how to screen-print.”
Chris Eggertsen contributed to this report.
Janelle Monáe, RAYE and The Roots are all headed to Rhode Island this summer, with the musicians set to join dozens of other acts in holding down the 2025 Newport Jazz Festival taking place in the first few days of August.
As announced Tuesday (April 15), this year’s iteration of the iconic jazz music celebration will feature the above artists as well as Jacob Collier, Jorja Smith, Esperanza Spalding, Willow, Thee Sacred Souls, De La Soul, The Yussef Dayes Experience, Rachael & Vilray, Cécile McLorin Salvant, Dianne Reeves and Sofi Tukker. The Christian McBride Big Band, Preservation Hall Jazz Band, Knower, Samm Henshaw, Cymande, Hiromi’s Sonicwonder, Kenny Garrett, Carrtoons and many more are also on the billing.
Taking place on three back-to-back days Aug. 1-3 at Fort Adams State Park, this year’s iteration of the festival will mark its 71st edition. Specially priced three-day passes became available for online purchase on a first come, first serve basis Tuesday, and on Thursday (April 17), more ticket packages will go on sale at 1 p.m. ET via DICE.
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Run by the Newport Festivals Foundation — which, in addition to running its iconic annual jazz and folk offerings, is dedicated to supporting music education and artist relief programs — Newport Jazz is one of the world’s longest running music festivals. Last year, the lineup featured André 3000, Laufey, Cory Wong, Nile Rodgers & Chic, Kamasi Washington, Elvis Costello, Brittany Howard, Robert Glasper, Thievery Corporation, Samara Joy, Noname, PJ Morton and more.
See the Newport Jazz Festival announcement and lineup below.
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: DMX’s estate wins a legal battle with his ex-wife over his music catalog; Nelly’s former St. Lunatics bandmate drops a lawsuit over his debut solo album; Soulja Boy is hit with a $4 million civil verdict for assault and sexual battery; and much more.
THE BIG STORY: DMX Estate Battle
Back in 2016, the late great DMX (Earl Simmons) signed a divorce settlement with his then-wife Tashera Simmons, ending a long marriage that had extended through his turn-of-the-century heyday, as he released Billboard Hot 100 hits like “Party Up (Up In Here).”
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Among other provisions, the deal mentioned “intellectual property,” a key marital asset for a chart-topping musician. Tashera says that clause gave her co-ownership of his copyrights and trademarks, but DMX insisted that it only granted her the right to receive royalty payments — an argument his estate has maintained in the years since his 2021 death.
That’s a crucial distinction. Royalties are all well and good, but ownership would give Tashera approval power over the use of DMX’s catalog and name. That would mean an effective veto over potentially lucrative projects, like a biopic about the legendary rapper.
In a ruling last week, a New York judge ruled against Tashera on that question, declaring that DMX’s estate (run by an ex-fiancée and a daughter by another woman) was the “sole owner of all intellectual property rights.” Why that ruling? To find out, go read our full story here, with access to the full decision issued by the judge.
Other top stories this week…
NELLY CASE CLOSED – OR IS IT? – Nelly’s former St. Lunatics bandmate Ali moved to voluntarily dismiss a lawsuit that had accused the rapper of failing to pay him for his alleged work on Nelly’s 2000 debut album Country Grammar. But Nelly’s lawyers quickly opposed the move, arguing that Ali and his lawyers must face sanctions for filing a “ridiculous” case that “should never have been brought.”
SOULJA BOY VERDICT – Following a month-long trial, a Los Angeles jury held Soulja Boy liable for assault, sexual battery and intentional infliction of emotional distress in a civil lawsuit filed by a former personal assistant who claimed that he raped her. Jurors awarded the Jane Doe accuser more than $4 million in damages, and she could win even more in so-called punitive damages in future proceedings.
“PATENTLY FALSE” – Record executive Kevin Liles asked a federal judge to throw out a lawsuit accusing the 300 Entertainment founder of sexual assault in the early 2000s, arguing there’s zero evidence for the “salacious” allegations because they are “entirely false.” His lawyers argued the allegations — that Liles harassed and sexually assaulted an unnamed female employee while serving as the president of Def Jam Records in 2002 — are both “patently false” and were filed far past the statute of limitations.
LIMITATIONS OF STATUE – Former Migos rapper Quavo (Quavious Marshall) was hit with a copyright lawsuit centered on a recent music video he released on TikTok — not over an uncleared sample or a stolen melody, mind you, but a quartz sculpture of a 1961 Ferrari that he used as a prop. The case, filed by sculptor Daniel Arsham, claimed that Quavo “unlawfully exploited” the piece by rapping in front of it during the December social media video: “Mr. Arsham never consented to the artwork being used in the infringing content.”
KAROL G RULING – A court in Colombia ruled that Karol G’s “+57” violated that country’s laws because its lyrics “sexualized” minors, capping off months of controversy over the track. “Sexualizing minors reduces them to becoming objects of desire, and exposes them to risks that can affect their development,” the court wrote in the ruling. The song, also featuring J Balvin, Maluma, Feid, Blessd, Ryan Castro and DFZM, has faced a barrage of criticism after it originally included a line about a woman being a “mamacita” since she was 14 years old.
AI LEGISLATION – A federal law that would ban unauthorized AI deepfake impersonations, known as the NO FAKES Act, was reintroduced in Congress — only this time with public support from AI powerhouses including OpenAI and YouTube. First introduced last year, the bill would create a federal right of publicity for the first time, allowing individuals to police how their name, image and likeness are used by others, an issue that has become far more pressing as AI video generators make it far easier to create uncanny deepfakes.
