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Taylor Swift claimed the title for youngest self-made woman billionaire in the world in 2023 when Forbes first reported the pop superstar’s billionaire status. Two years later, she’s been dethroned by Lucy Guo, the 30-year-old co-founder of Scale AI, Forbes recently reported. Guo co-founded the San Francisco-based artificial intelligence company Scale AI in 2016 when she […]
Lil Uzi Vert was reportedly hospitalized in New York City on Monday (April 21) after falling ill at a Manhattan hotel. Billboard has reached out to the rapper’s reps for confirmation. According to TMZ, paramedics responded to a call for Uzi — who identifies as nonbinary — during the afternoon and transported them to a […]
Wiz Khalifa seems to believe that the Earth is flat. The Pittsburgh rapper is rolling out his latest album Kush + Orange Juice 2 and stopped by The Joe Budden Podcast to discuss a variety of topics — one of which is the age-old (and centuries-ago-answered) question: Is the Earth flat or round? There’s clip […]
In the span of little more than a year, Tucker Wetmore has quickly positioned himself as an artist whose songs like “Wine into Whiskey” and “Wind Up Missin’ You” are connecting with fans, but the title track to his new album What Not To captures a life story he initially thought was too personal to sing about.
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“I was like, ‘No, I’m not going to share this, I’m not going to talk about this,’” he tells Billboard.
The song finds Wetmore shedding light on a childhood with a father battling against alcohol and pills, and Wetmore’s resulting desire and determination to forge a different path. Now, “What Not To” is the title track of his debut full-length album, out Friday (April 25) on UMG’s EMI Records Nashville, in partnership with Back Blocks Music.
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“When I started thinking more about it, I got excited to open up in that sense,” Tucker says of the song. “It’s a thing a lot more people go through or went through. When I think of why I started playing music 10, 15 years ago, it made me feel something. It saved me, it helped me, it was my therapy. This is one of those songs that could be that for somebody else. I feel like every day there’s instance where you’re presented with choices — some big some small, some life changing. I feel like when I get to that crossroad, having that ‘What Not To’ mindset, that’s the first thing that pops in my head.”
He teamed with his producer Chris LaCorte, who co-wrote the song with Wetmore, Chase McGill and Jameson Rogers, and the song spilled out during a four-day writing retreat at a rented lake house in Lynchburg, Tennessee.
“It was the last day and we were all just mentally tired,” Wetmore recalls. “We had just eaten breakfast and Chase started talking about his dad, and then I started talking about mine, and we all just talked real life — like buddies do. It was probably one of the toughest, but also easiest, writes of my life, because talking about that stuff is not easy for me. But it was a bunch of guys wearing our hearts on our sleeves, and the song came from that.”
The rest of the album finds Wetmore looking at other hard-earned lessons in love and life, blending elements of the country, gospel, rock and reggae music that Wetmore heard at home in Kamala, Washington, as he was growing up — though, throughout high school and college, his primary passion was sports, as a multi-sport athlete successful in football and track & field.
When Wetmore was sidelined by a football injury in college, he funneled his former athletic determination into his passion for music and writing songs.
“Wine Into Whiskey” became his first to chart on both the Hot Country Songs chart and the all-genre Hot 100, setting this hitmaking machine into motion and followed with “Wind Up Missing You,” which rose to No 2. on the Country Airplay chart. The songs have become back-to-back RIAA-certified Platinum hits for Wetmore and were both included on his debut EP, Waves on a Sunset.
His new album is poised to be a star-maker for Wetmore, who has amassed over 7 million monthly listeners on Spotify alone. Throughout What Not To, he distills lessons learned by both his own experiences and close observation of those around him.
Wetmore and his team narrowed down potential songs to around three dozen before deciding on the album’s final 19 tracks. “We had a lower number of songs and then we’d go back and think, ‘No, this song has to be on it,’” Wetmore says.
A couple of those last-minute adds were “3, 2, 1” (which is in the top 40 on the Country Airplay chart), and “Takes One to Break One,” which Wetmore calls “kind of the centerpiece of the record. It’s talking about bad luck, bad habits, all of those things. I’m a very album-based listener and that’s what I want to create as an artist, so it had to be on there.”
Songs like “Casino” and “Bad Luck Looks Good On Me” nod to the win-some, lose-some gambles inherent in betting on love, while songs such as “Whatcha Think Is Gonna Happen,” “Silverado Blue” and “Whiskey Again” touch on a time-honored coping mechanism. “Brunette” and “3, 2, 1” continue spiraling back to themes of heartbreak and attempts at moving on.
Tucker says “All of It” is inspired by his real life. “It’s just telling my truth — and there’s metaphors as well, like, ‘Is he really talking about the girl, or is he talking about whiskey, or his relationship with family?’ There’s some weird metaphor things and Easter eggs in the record, which I think is really cool, and it’s going to be cool to see people dissect the whole thing.”
In addition to the writers’ retreat, Wetmore wrote for the album with such top writers as Thomas Archer, Corey Crowder and Justin Ebach, and he says he poured that same passion he held for bettering his skill on the ballfield into elevating his craft as a writer.
“I try to just always be a sponge in the writing room and try to learn something every day,” he says. “Yesterday, I wrote a song with Chris [LaCorte], Jessie Jo Dillon and Jessi Alexander. The coolest thing is to just be able to sit in a room with them, learning from them about how they structure things, and how they work creatively. I’m fortunate enough to call them good friends and blessed to have the people around me that I have.”
When he goes to the ACM Awards next month and vies for a win in the new male artist of the year category, he’ll be bringing his mom with him as his date on the red carpet.
“It’s going to be awesome,” he says. “She’s happy she gets to watch her son do what he loves and she’s always supported me. She’s one the biggest reasons why I’m in Nashville and chasing my dream of music.”
In May, he’ll also headline his first show at Ryman Auditorium—the same stage where he previewed “What Not To” in February before an audience of veteran country radio executives during the UMG Nashville showcase at Country Radio Seminar.
“I was terrified,” he recalls of that CRS performance. “It was just me fighting an internal battle, but I’m very happy that I did it. And I’m so excited to headline the Ryman. I don’t think the feelings are really going to hit me until I walk in and I’m like, ‘Oh, wow, this is my show.”
Songs from the new album like “Casino” and “Brunette” have already connected with fans when he slips them into his set. “It’s probably the craziest song in our set,” he says of the latter track. “It’s just creating a buzz. I love these songs, and they are fun to play.”
He’ll bring his new music to broader audiences on Thomas Rhett’s Better in Boots Tour this year, and as he takes the songs to his fans, he’ll take forward a bit of advice he learned while opening shows for Jon Pardi.
“He said, ‘Just take it in and enjoy it all, even the smallest things,’” Wetmore says of Pardi. “He also said to, every night, take a second or two onstage to remind yourself that this is one of the coolest things in the world.”
While he may have racked up career milestones at an impressive clip already, Wetmore says future music will continue revealing more of himself.
“It feels like we’re scratching the surface to telling my story and letting people in on who I am as a person,” he says. “And as an artist, as a songwriter, as a son, as a brother, as a friend — just me.”
Jonathan Davis is doing more than just throwing a dog a bone — he’s launching a new capsule collection for his Freak on a Leash pet line to help pooches everywhere be a little more rock n’ roll. The Korn frontman announced on Tuesday (April 22) that he has teamed up with designer Ashton Michael […]
Tayme Thapthimthong and LISA are close both on and offscreen — but before the pair met for the first time to shoot White Lotus, the actor says he was “so nervous” to meet the BLACKPINK star.
While guesting on The Jennifer Hudson Show on Tuesday (April 22), Thapthimthong opened up about the first time he interacted with LISA, who played his love interest on season 3 of Mike White’s hit HBO/Max series. “It was amazing,” he began. “She was so nice, friendly, kind.”
“The first time I met her, I was so nervous,” Thapthimthong continued. “Before actually getting to know her, I knew her from my daughter. She was 4 at the time, I went to see her at her mom’s house, and she had BLACKPINK on YouTube … I really enjoyed it. I was like, ‘Oh damn, this is good. LISA, her rap — it was like, good flow.’”
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The Skin Trade star went on to say how the Thai rapper’s casting as Mook was one of the last to be revealed to the rest of the season’s actors, noting he only learned who would be playing his primary scene partner with just a month left to go before filming started — and only after he signed NDAs. After getting to know LISA, he says the “Rockstar” artist invited him and his daughter out to lunch.
“She’s got so much going on at the same time,” Thapthimthong told Hudson. “I never wanted to impose, but she was so kind. She even bought [my daughter] a little Labubu doll for her birthday. She still talks about it — but now she calls me Gaitok all the time. She doesn’t call me dad anymore.”
As for whether or not he would ever get in the studio with LISA, Thapthimthong — who also sings and showed off his chops for Hudson on the talk show — said he would “absolutely love” to work with the K-pop idol. “That would be really cool to do,” he added, doubling down on what he previously said about teaming up with his costar on music. (For a taste of what their potential future collab might sound like, check out the pair’s impromptu “No Diggity” duet.)
Watch Thamthimthong gush about LISA on The Jennifer Hudson Show above.
Eminem’s publisher is dropping a lawsuit that claimed a Detroit-area Ford dealership stole “Lose Yourself” for TikTok videos that warned viewers they “only get one shot” to buy a special edition truck.
Less than three months after Eight Mile Style sued LaFontaine Ford St. Clair for copyright infringement over the social media ads, the music company told a judge Tuesday (April 22) that it would voluntarily dismiss the case permanently.
Court documents did not offer any explanation for the move, giving no indication whether a settlement had been reached or if the case was simply being dropped. Neither side immediately returned requests for comment.
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Eight Mile, which owns the copyrights to “Lose Yourself” and other Eminem songs, filed the case in January, accusing LaFontaine Ford — which owns several dealerships near Eminem’s hometown — of blasting the song in the social media videos even though “at no time” did it get a license to do so.
“This is an action for willful copyright infringement … against LaFontaine for its unauthorized use of the composition in online advertisements for one or more car dealerships in blatant disregard of the exclusive rights vested in Eight Mile,” the company’s attorneys wrote.
The lawsuit claimed the videos, which allegedly appeared on TikTok, Instagram and Facebook in September and October, used “Lose Yourself” to boost a special Detroit Lions-themed Ford truck, telling viewers: “With only 800 produced, you only get one shot to own a Special Edition Detroit Lions 2024 PowerBoost Hybrid F-150.”
Eminem doesn’t own Eight Mile Style and was not involved in the lawsuit.
Social media platforms like TikTok and Instagram provide huge libraries of licensed music for users to easily add to their videos. But there’s a key exception: The songs can’t be used for commercial or promotional videos posted by brands. That kind of content requires a separate “synch” license, just like any conventional advertisement on TV.
That crucial distinction has led to numerous lawsuits in recent years. The restaurant chain Chili’s has been sued twice for using copyrighted songs in social videos, once by the Beastie Boys over “Sabotage” and again by Universal Music Group for allegedly using more than 60 songs from Ariana Grande, Justin Bieber and many others. The hotel chain Marriott and more than a dozen NBA teams have also recently faced copyright lawsuits over the same thing.
After reclaiming it for a third total week, Playboi Carti’s Music vacates the top spot of the Billboard 200 albums chart this week. But Carti likely won’t be too mad about the album replacing his at No. 1: More Chaos, the latest LP from his Opium imprint signee Ken Carson.
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The rising rapper’s 21-track new set becomes his first album to top the Billboard 200, following predecessor A Great Chaos peaking at No. 11 in 2023. The album takes advantage of a relatively slow week for new albums, as its 59,500 first-week units (according to Luminate) marks the lowest total for a No. 1 album since Pusha T’s It’s Almost Dry bested the chart with just under 55,000 units in May 2022.
How meaningful is the bow for Ken Carson? And which rapper could be next to score their first No. 1 album? Billboard staffers answer those questions and more below.
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1. Ken Carson’s More Chaos debuts at No. 1 this week with 59,000 equivalent album units moved. On a scale from 1-10, how big a deal do you think this is for the young rapper’s career?
Mackenzie Cummings-Grady: Definitely a 9 or 10. A No. 1 album is a massive accomplishment in its own right, but Ken’s debut I think surprised a good amount of people. His supporters have been devout for years, but I don’t think the uninitiated expected those supporters to come through in such high numbers like they did. For someone who at the beginning of his career was written off as a Carti clone, moving 59,000 units I think officially puts that criticism to rest. To see a fanbase grow this big in just two years is a serious accomplishment. We know a lot of that was the music, but a lot of it was because of his last tour. Ken developed a similar reputation to Carti for putting on explosive live performances, and I think the atmosphere he cultivated at his shows last year really shifted his supporters to a more cult-like level.
Kyle Denis: Absolutely a 10. You can be a fan (or not), you can say that this was a weak chart week, whatever. The fact of the matter is that Ken Carson has the No. 1 album in America with a style of rap that’s far more niche than other hip-hop chart-toppers. And he’s only 25. This is a massive deal for him.
Angel Diaz: I think I’ll go with a 6? Having an album go No. 1 is always an achievement to be proud of, but those numbers are a bit disappointing, especially when you consider the hype around Ken and his Opium labelmates Destroy Lonely and Playboi Carti. I was expecting a bigger debut.
Jason Lipshutz: A 7. While the equivalent album units total isn’t high enough to suggest a huge swell of popularity compared to Carson’s previous projects, a No. 1 album is a No. 1 album, and may be the type of headline-grabbing achievement that will turn more casual rap fans toward the Atlanta native. For most music fans, a chart-topping project does not come with an asterisk that denotes a quiet release week and relatively low units total; More Chaos was the biggest album of the past week, and for a rising artists like Carson, that statement is all that matters.
Andrew Unterberger: Maybe a 9? Obviously the number is low by No. 1 standards, but scoring a No. 1 album (or even a top five album really) as a young rapper without much crossover success is not something easily done in 2025. Lots of folks are talking about Ken Carson this week whose radar he might not have otherwise been on, and that’s always a big W.
2. Ken Carson has basically seen exponential growth with his album-to-album performance on the Billboard 200 – from a No. 115 peak on 2022’s X to No. 11 with A Great Chaos in 2023 now to No. 1. What do you think the biggest reason for that rapid growth is?
Mackenzie Cummings-Grady: The most important reason is the music has objectively gotten a lot better. Like, we can all admit X wasn’t a good introduction to who Ken was as a rapper or how he’d stand out amongst the other Carti clones popping up online. A Great Chaos was that introduction: The beats were interesting, and Ken’s voice and flow sounded unique. I think A Great Chaos satiated rage rap fans really well just on its face, but also had a lot of moments where you could tell this was a different kind of record compared to everything else coming out of Opium. Another equally-as-important reason I think is the live shows: We’re seeing that if you can bring the energy in interesting ways to your performances, it can draw in a ton of new, young fans. It’s been an instrumental factor in Carti’s and Travis Scott’s staying power, and I think Ken knows that and is tapping into that.
Kyle Denis: I think the dedication of the Opium fanbase and the continued glow of being one of Carti’s protégés have helped with his rapid growth. In addition to his own headlining tours, Carson has also been a regular on the festival circuit, playing lively sets at Coachella (2024), Rolling Loud (several times over) and Lollapalooza (2023) that frequently spin viral moments out of raucous mosh pits.
Angel Diaz: We have to thank Carti’s influential 2020 album Whole Lotta Red for laying down the foundation for Carson’s rage rap sound. Many young fans from diverse backgrounds listen to his music and have been at shows moshing to their music. Some feel like Opium’s sound is the next big thing in rap, so it’s no surprise that his stock is rising. His next album will be the one that could define his career.
Jason Lipshutz: Carson is the right artist at the right moment in hip-hop — a compelling, mainstream-friendly MC who trades in the blown-out rage rap that continues to dominate commercially. More Chaos takes over at the top of the Billboard 200 from Music, Playboi Carti’s long-awaited opus which spent three of the past four weeks at No. 1 (and is featured on Carson’s track “Off the Meter”); Carti is Carson’s label leader, and Music shares its sonic DNA with More Chaos, with both artists whipping through grinding production and shifting their flows across their respective sprawling projects. Hip-hop fans are unquestionably hungry for artists and projects like this, and Carson is the latest beneficiary of the trend.
Andrew Unterberger: Stronger craft and good timing.
3. While Carson is becoming a formidable force on the Billboard 200, his presence on the Billboard Hot 100 has been fairly muted – and none of the 21 songs on this album make the chart this week. Do you see hit songs in Carson’s future, or do you think it makes sense that his success be mostly album-focused?
Mackenzie Cummings-Grady: I think what we’re seeing with a lot of these rage rap guys, with the exception of Carti, is that album really is God. Yeat is a good example of this. His biggest Hot 100 hit was Drake’s “IDGAF,” but outside of that his single’s have never done insanely well compared to his albums. I think with Ken, we’re likely gonna see the same sort of trajectory. Fans of this kind of music also tend to enjoy full length albums more because they appreciate the enveloping sound of these kinds of rappers. It’s become a vital part of the experience, which is kinda cool because it goes against the algorithmic focus on quick, catchy singles that major labels have pushed for in recent years via TikTok and other apps.
Kyle Denis: I can see Carson getting a hit with a song that explicitly caters to a wider audience – kind of like how “Rather Lie” was the clear radio-ready cut from Carti’s sprawling Music album. I definitely wouldn’t put money on a solo rage rap Carson song making a splash on the Hot 100. I’m almost certain his success will continue to be focused on albums/full-length projects and live shows.
Angel Diaz: That was surprising, but there also isn’t a song that sticks out for me on More Chaos. The album kinda moves like a side-scrolling video game soundtrack and each track represents a different level in the game. The production is moving faster than his raps, which sounds a bit jarring at first. I think he’s going to need a hit record eventually if he wants to be considered a major player in mainstream rap moving forward.
Jason Lipshutz: “Blakk Rokkstar” is a standout from More Chaos, as the type of operatic trap headbanger that Travis Scott has ridden to multiple hits over the years. But considering how scorching-hot Playboi Carti is at the moment, their album-closing collaboration “Off the Meter” (also featuring Destroy Lonely) is probably the safest bet for the song that uses this No. 1 album debut as a springboard for Carson to receive more streams and radio play. With its loping synth melody and a particularly feisty Carti feature, “Off the Meter” definitely has crossover potential.
Andrew Unterberger: You can never rule out the possibility of anyone catching a hit these days off some unexpected viral heat, but in terms of whether he’s ever going to be a reliable hitmaker from a singles perspective… it seems unlikely. The songs aren’t written with pop structure or pop goals in mind, and his fans don’t seem to want that from him anyway.
4. The album Chaos replaces at No. 1, Music, comes from his label boss and partner-in-rage Playboi Carti. Do you think it says something about hip-hop in 2025 that the albums should top the chart in back-to-back weeks, or is it mostly just a timing fluke?
Mackenzie Cummings-Grady: I think it’s too early to say for certain whether this is a definitive moment or not for hip-hop in 2025. Truthfully, it could be just great timing for Opium. I could be wrong, but I think Chaos going number one came as a pleasant surprise for a lot of people, including maybe Ken himself? I certainly didn’t expect it to move 59,000 units.
Kyle Denis: I think it’s mostly a timing fluke, but I also think it further cements that Playboi Carti is one of the biggest pop stars of 2025. Not only is Carti enjoying multiple visits to the top of the Billboard 200 and scoring radio hits (thanks to The Weeknd’s “Timeless”) and concurrent Hot 100 top 10 debuts, but he’s also minting tomorrow’s biggest rap stars through Opium. Now, both Carson’s and Destroy Lonely’s most recent LPs have reached the Billboard 200’s top 10 in back-to-back years. As things currently stand, Carti and Kendrick are two indisputable pillars of 2025 hip-hop’s Big Three.
Angel Diaz: Hip-hop is the most important pop culture phenomenon to come along in the last 50 years and it’s not going anywhere anytime soon. Even the pop girlies like Billie Eilish and Camila Cabello either dress like rappers or try to incorporate their sound in some way or another. I think it’s a pretty safe bet that other rap albums will top the album charts in 2025. Now, if you ask me if that’s a good thing is another conversation. Whenever something that was once counterculture becomes a mainstream staple, it gets watered down. However, Ken did benefit from a quiet week, and he probably wouldn’t have gone No. 1 if he went up against a heavyweight rapper, pop star, or country singer.
Jason Lipshutz: Partially a timing fluke, but while Kendrick Lamar and Drake duke it out in the headlines and at the top of the Hot 100, rage has not-so-quietly swerved to the front of popular rap, the sound du jour of young listeners searching for sound to match their teenage intensity. We’re going to see more months like this in the future, where both A-list rappers and rising genre stars share space at the top of the Billboard 200 to reflect bigger-than-expected fan bases. Playboi Carti’s appeal and influence are undeniable at this point, but more Ken Carsons are coming soon, too.
Andrew Unterberger: The timing is definitely more coincidental than anything, but you’d be pretty silly not to at least take note that this strain of rap is connecting with audiences in a way many other styles — some of which would be thought to be much more conventionally commercial — really aren’t right now.
5. Which other rising rapper who’s yet to score a Billboard 200 No. 1 album do you think is likely to top the chart sooner than later?
Mackenzie Cummings-Grady: I think things are looking promising for BigXThaPlug. His pivot into country is being super well received so far, which historically has been a hard pivot to make. His debut in the top five last week I think is a promising sign for him if he keeps up this momentum. Lil Tecca could also pull it off if he rolls out his album the right way. He’s got a serious record on his hand with “Dark Thoughts,” and I think he has the potential to chart very high if he keeps dropping heat.
Kyle Denis: I’ll keep an eye on Lil Tecca and BigXthaPlug. Neither Megan Thee Stallion nor Doja Cat are rising stars, but I’d be surprised if they both didn’t eventually snag a Billboard 200 No. 1 album.
Angel Diaz: Megan and GloRilla haven’t had a No. 1 album yet. I can see either of them reaching the top of the album charts in the future. As far as rising, though? Cash Cobain is the first name that comes to mind based on the type of music he makes. I know he can be a little too horny at times, but his production is so good the vulgarity can be tolerated.
Jason Lipshutz: BigXThaPlug. After scoring his first top 10 album in October with Take Care, the Dallas rapper cruised into the top 5 of the Hot 100 earlier this month with the Bailey Zimmerman team-up “All the Way.” If that smash leads a new project in the near future, get ready for that project to top the Billboard 200.
Andrew Unterberger: Almost too obvious, but Doechii for sure.
ROSÉ is meeting Coldplay at the “APT.” At the rock band’s concert in Seoul, South Korea, on Tuesday night (April 22), the BLACKPINK star made a surprise guest appearance to perform her smash hit single for thousands of fans at Goyang Stadium. In a clip posted by both ROSÉ and the “Fix You” band, the […]
Teddy Swims and GIVĒON take over the No. 1 spot on Billboard’s Adult R&B Airplay chart with their collaboration “Are You Even Real” leading the list dated April 26. The single ascends from No. 3 after a 17% jump in plays that made it the most-played song on U.S. panel-contributing adult R&B radio stations in the tracking week of April 11 – 17, according to Luminate. Thanks to its gain, “Are You Even Real” wins the weekly Greatest Gainer prize, awarded to the song with the largest increase in plays.
“Are You Even Real,” released and promoted through Swims INT/Warner, trades places with last week’s champ, Muni Long’s “Superpowers,” which drops 1-3 after backtracking 23% in plays for the week.
With the new leader, Teddy Swims nabs his second No. 1 on Adult R&B Airplay. His breakthrough hit, “Lose Control,” ruled the chart for three weeks in June 2024. Radio triumphs have been instrumental to its ongoing, historic success: beyond Adult R&B Airplay, other “Lose Control” No. 1 ranks included Pop Airplay and the overall Radio Songs chart, helping it clinch the year-end Hot 100 No. 1 title for 2024 and a record-breaking 58 weeks in the Hot 100’s top 10.
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Plus, with “Lose Control” and “Are You Even Real,” Teddy Swims becomes the fourth artist thus far in the 2020s decade to top Adult R&B Airplay with each of his first two appearances. He joins:
The Bonfyre (“Automatic” in March 2019 and “U Say,” feat. 6lack, in February 2020)Tems (a featured role on Wizkid’s “Essence” in October 2021- January 2022 and her own “Free Mind” in February – April 2023)October London (“Back to Your Place” in August – October 2023 and “Mulholland Drive,” feat. Snoop Dogg and Latoiya Williams, in August 2024)
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For GIVĒON, “Are You Even Real” awards him a first No. 1 on Adult R&B Airplay with his fifth charting title. His prior best was a No. 7 result for “Like I Want You” in February 2021. The incumbent champ, however, isn’t his only current hit. The singer’s “Twenties” repeats at its No. 9 high on this week’s chart with a 4% jump in plays in the latest tracking week.
Elsewhere, “Are You Even Real” climbs 10-9 on the Rhythmic Airplay chart through a 7% increase in plays at the format and rises 18-16 on the Mainstream R&B/Hip-Hop Airplay chart (up 8%). Gains at the two formats, as well as adult R&B, power the song’s 44-41 improvement on the all-genre Radio Songs chart. There, “Are You Even Real” ascends to 16.7 million audience impressions across all formats, a 4% boost from the prior week.