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Bailey Zimmerman currently has a hot hit collab with BigXThaPlug on “All The Way,” which debuted at No. 4 on the all-genre Billboard Hot 100, but that’s not the only monster collaboration he’s got up his sleeve.
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Zimmerman and stadium headliner Luke Combs will soon team up to release a new track called “Backup Plan.”
They gave fans a sneak peek at the track on Monday (April 21) with a video of the two artists singing the song together, and the new track seems to be an ode to ambitious dreamers everywhere.
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“You gotta fire, don’t lose it/ If you got a do-or-die dream, do it,” Zimmerman sings in the clip, as Combs then takes the lead, singing, “If you’ve got somethin’ to prove, go on and prove it.” They join forces on the verse: “Don’t let nobody clip your wings.”
Careening rock guitars surge as they continue their defiant, uplifting anthem on the lines, “Close out the doubters/ All the closed-minders” before deadpanning, “Gettin’ back up is the only backup plan you need.”
The pair did not reveal when the collab would arrive, teasing in the caption only that it is “coming soon.”
Combs is slated to be a headliner during this weekend’s Stagecoach Country Music Festival in Indio, Calif., while Zimmerman’s next show is May 3 at the Moody Center in Austin, Texas. Zimmerman is also slated to play during Morgan Wallen’s upcoming Sand in My Boots festival in May, and at June’s CMA Fest in Nashville, while Combs is slated to perform at upcoming festivals including the Bonnaroo Music and Arts Festival in Manchester, Tenn., and Newport Folk Festival in Rhode Island.
See their teaser video below:
Anjula Acharia remembers when the one person who had set her up for success told her she was going to fail. And Jay-Z was there, too.
In 2008, Acharia and Interscope Geffen A&M’s then chairman, Jimmy Iovine, were sharing breakfast at a New York hotel. Iovine — who had partnered with Acharia’s South Asian music/news hub, Desi Hits, to develop a Universal Music Group-backed imprint — remembered her previously telling him how much “Beware of the Boys,” Jay-Z’s 2003 remix of Panjabi MC’s bhangra single, had meant to her as the kind of cross-continental exchange that she hoped Desi Hits would foster. So when Acharia stood up to leave the breakfast, Iovine asked her to stick around for a few more minutes… at which point Jay made his surprise entrance.
Acharia, who was in her 30s at the time, geeked out, gushing about her love of “Beware of the Boys” and asking the rap superstar about how the remix had come together. Then Iovine pulled the rug out from under her. “While I was sitting with him and Jay-Z, Jimmy told me that Desi Hits was going to fail,” she recalls. “His words were, ‘I know pop culture, I know a visionary, and this is just way too early. This would be right in 10 to 15 years.’ ”
Anjula Acharia. Styling by Kristina Askerova. Hair and Makeup by Shayli Nayak. Versace dress and jewelry, Paris Texas shoes.
Harsh Jani
A Punjabi kid and die-hard music fan born to South Asian immigrants, Acharia grew up in Buckinghamshire, England, devouring music that fused styles from around the world and dreaming of creating a platform that spoke to both Eastern and Western demographics. She was a senior partner at a London-based executive search firm who co-founded Desi Hits Radio as a popular early podcast in the mid-2000s; then Iovine backed Desi Hits in 2007 as a stateside label for South Asian artists after she moved to New York. The pair helped engineer a crossover hit in 2009 with “Jai Ho,” A.R. Rahman’s Academy Award-winning Slumdog Millionaire theme that was remade for U.S. listeners with The Pussycat Dolls added to it.
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“She was so talented and passionate about the music,” Iovine reflects today, “but sometimes things just don’t come together.” And by the early 2010s, Acharia admitted her mentor had been correct: The world wasn’t ready. “We didn’t have streaming platforms, social sharing or an ecosystem to support the industry,” she explains. “It was just very segmented back then and really hard for things to travel.” She wondered aloud why Iovine had invested in Desi Hits if he had doubted the idea. “And he says, ‘Because you’re an album, not a single.’ ”
On roughly the timeline Iovine predicted, the industry has changed drastically — and Acharia, who spent that intervening time outside of music, is returning to it with an entirely new album, so to speak. She and Warner Music Group exclusively tell Billboard that they have launched 5 Junction Records, a joint-venture label under WMG, as a pipeline for South Asian artists to reach North American listeners, much like a modern Desi Hits but with significantly more established talent and infrastructure. That talent includes its flagship pair of artists: Bollywood mainstay and pop triple-threat Nora Fatehi and ascendant Indian singer-rapper King. Both already have multiple hits and millions of streams overseas, giving them the ideal foundation to take the first crack at establishing North American footholds.
“It’s always been in our mind to promote this music to the world,” King says. “That has always been the fight, but now, I feel like we are at the right time and right spot. The next five years are looking bright.”
King. Styling by Nikita Jaisinghani. Hair by Javed Sheikh and Makeup by Swapnil Haldankar. Versace jacket and shirt, Brune & Bareskin shoes, Amrapali necklace.
Harsh Jani
Nora Fatehi. Styling by Meagan Concessio. Hair and Makeup by Marianna Mukuchyan. David Koma dress, tights and shoes.
Harsh Jani
Acharia believes that a cultural wave is about to crash down on the U.S. mainstream, similar to how Korean pop, Latin music and Afrobeats all made an impact on top 40 radio beginning in the late 2010s. Based on the South Asian market boom over the past decade — by the end of 2023, India had become the second-largest on-demand streaming market in the world, behind only the United States — and the English-language artists who have made overtures in the hemisphere through touring and studio team-ups, she’s not alone in that prediction.
“The best way to think about it is, what are your next billion-user markets?” WMG CEO Robert Kyncl says. He notes that the South Asian industry has been top of mind for him for over a decade: As vp of content at Netflix in the early 2000s, Kyncl saw firsthand the scope of demand for Hindi shows, and as YouTube’s chief business officer in the 2010s, he spent every year in the region, developing partnerships that he believes are paying off today. “You have to invest,” he says. “If you don’t, you’ll wake up five, 10 years from now and realize you just missed this whole new growth era.”
Kyncl has been friends with Acharia since his Netflix days (when he first discovered Desi Hits in the course of researching Hindi shows) and has followed her career closely. After leaving Desi Hits in 2014, Acharia stayed in the entertainment space by managing Priyanka Chopra Jonas, whom she originally signed as a Bollywood star trying to kick-start a music career and now helps steer as a global superstar. Acharia also joined the venture capital company Trinity Ventures before launching her own fund, A-Series Management and Investments, where she was an early investor in companies like ClassPass and Bumble.
Yet unfinished business gnawed at her. “Music is a place that makes me feel like I’m home, and fusion music makes me feel like I’m being seen,” she says. Acharia spoke to other labels last year about the idea for 5 Junction, but Kyncl personally convinced her to bring the project to WMG. She will work closely with Warner Records CEO Aaron Bay-Schuck and COO Tom Corson, as well as GM Jurgen Grebner, who steered international marketing at Interscope for over 20 years, and Alfonso Perez-Soto, who served as WMG’s emerging markets leader before recently becoming executive vp of corporate development.
Although Acharia was removed from the major-label world for years, some of its most prominent executives believe she’s the perfect steward for this ocean-spanning endeavor. Corson describes her as “a powerful force who is extremely well-connected across the world. We hit it off from the jump, and we’re thrilled to be in business with her.” Kyncl says that, if he were to describe the “ideal entrepreneur,” that person would resemble Acharia. “You have a vision, you’re strategic about it and you won’t stop until you win,” he says. “She has it. It makes absolute sense for us to partner with her, and she’ll make us better by pushing us.”
From left: Fatehi, Acharia and King.
Harsh Jani
Her ties to Kyncl aside, Acharia says that WMG made the most sense as a home for 5 Junction because the label group is “way ahead” in the scene. Since WMG created Warner Music India five years ago, the label has partnered with Diljit Dosanjh, a Bollywood superstar with 25 million Instagram followers who has headlined North American arenas; Karan Aujla, a former songwriter turned singer/rapper/YouTube behemoth; and Kushagra, a 20-year-old indie-pop newcomer whose single “Finding Her” is currently one of India’s biggest streaming hits.
When Jay Mehta became managing director of Warner Music India in April 2020, he was a team of one; now, the label has 34 employees. Part of that growth had to do with timing, as the market quickly expanded globally. Last decade, “India was dominated by Indian streaming services, which did not have a global footprint,” Mehta explains. “Spotify launched in India in 2018, and it took until 2021, 2022 for them to become the leaders [in the country]. We needed Spotify and YouTube to have massive presences in India in order to take artists global.”
Acharia also points out that subtle cultural shifts in North America helped fuel opportunities. “Think about all the foreign-language content on Netflix and other streaming platforms that people have watched — especially during COVID, where people were stuck at home,” she says. “And then, with vertical video, people are watching things with subtitles all the time … Everything affects each other. We’re more used to hearing foreign languages, so we’re more OK to listen to it in our music.”
Harsh Jani
Harsh Jani
At 5 Junction, Acharia will work closely with Mehta’s Warner Music India team, which has utilized streaming data to identify artists who can transcend international borders and songwriting camps to supply them with global hits. Fatehi, a Toronto native of Moroccan descent who moved to India and became a marquee Bollywood act, signed a deal with WMG in early 2024 to help her level up as a singer, dancer and actor. “The larger goal was always to go global, to let the whole world know my story,” she says. When she met Acharia, Fatehi told her that she wanted to become a cross-cultural entertainer along the lines of Jennifer Lopez, and Acharia told her, “Yes, let’s do it together.”
Fatehi says she has never met anyone more persuasive than Acharia. “I feel like our hungers align,” she says. “It’s hard to take a vision and sell it to someone else, because most people don’t have an attention span to listen to you for more than five minutes. But when [Anjula] opens her mouth and starts her pitch, you somehow have FOMO — you feel like you’re going to miss out if you’re not paying attention.”
In January, Fatehi released the Jason Derulo collaboration “Snake,” a thumping dance track built around East Asian melodies. It has earned 18.5 million official on-demand streams globally, according to Luminate; one month after its release, Aujla was featured on “Tell Me,” a OneRepublic collaboration that has earned 28.8 million global streams.
More than two decades after Jay-Z and Panjabi MC linked up, Acharia still believes these types of collaborations are key for breaking South Asian artists in North America. “The strategy that I had 15 years ago was cross-pollination, but we didn’t have the infrastructure to support that,” she says. Now creative borders are easier to cross. For instance, Fatehi and Derulo met up in Morocco to film a music video for “Snake” that combined hip-hop and Bollywood choreography. And after King recruited Nick Jonas for a new version of the former’s smash “Maan Meri Jaan” in 2023, King made a surprise appearance during the Jonas Brothers’ performance at Lollapalooza India in 2024 to perform it, a “cinematic” moment that he says he still can’t believe actually happened.
Harsh Jani
At the same time that Western artists are paying more attention to India as a touring market — Coldplay performed in the country for the first time in January, grossing $30.5 million across five shows in Mumbai and Ahmedabad, according to Billboard Boxscore — South Asian artists are more clearly identifying North American territories where thousands of fans will show up to their shows. Acharia name-checks New York, Los Angeles, San Francisco and Austin, but also says that Canadian cities have demonstrated “huge” ticket demand. After Dosanjh scored his first top 10 album in Canada with 2023’s Ghost, his Dil-Luminati tour last year became the highest-grossing North American tour by a Punjabi music artist in history, thanks in part to sold-out stadium shows at Vancouver’s BC Place and Toronto’s Rogers Centre.
Perez-Soto sees Toronto, where the metro area had a South Asian population of more than 1.1 million as of 2021, as a crucial gateway for the rest of North America. “South Asian music through Toronto, like Latin music was through Miami, has established an important bridge between the local origin of the music and the second generation,” he says. “They have this hybrid vision of culture, where things are getting mixed up and mutually enriched.”
Kyncl has kept WMG focused on these macro-trends for years. “It’s not like we’re just starting,” he says. “It’s just that Anjula is adding an additional element, which is bringing talent here.” Under her guidance, Fatehi is spending most of April in the recording studio and will issue the follow-up to “Snake” by the end of the month, with a mix of releases aimed at Eastern and Western markets throughout the year. Meanwhile, King says he is “working on an EP and some collaborations” to follow his January single “Stay,” in addition to multiple Bollywood projects.
Mehta believes that an Indian artist will make an impact on the U.S. mainstream charts in 2025. “We saw it with Hanumankind, on the back of a viral moment,” he says, referencing the Indian rapper’s 2024 track “Big Dawgs,” which exploded on TikTok and peaked at No. 23 on the Billboard Hot 100. “But we want to make a consistent way of bringing a lot of these artists onto the charts. The U.S. is extremely competitive, but if we get the right sound representing the culture and the right artist, with Anjula’s strengths, we should be able to make something big happen.”
Acharia knows this will take time, but for her, the personal stakes are worth the investment. She was once told that Desi Hits wouldn’t last; now, 5 Junction could define her legacy. “It’s something that I started, and I want to finish it,” she says. And for his part, Iovine is proud that the world has finally caught up to her vision.
“I’m not surprised at all at any of her success,” Iovine says, “and I’m glad she’s doing this now.”
This story appears in the April 19, 2025, issue of Billboard.
Billboard
Anjula Acharia remembers when the one person who had set her up for success told her she was going to fail. And Jay-Z was there, too. In 2008, Acharia and Interscope Geffen A&M’s then chairman, Jimmy Iovine, were sharing breakfast at a New York hotel. Iovine — who had partnered with Acharia’s South Asian music/news […]
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Shannon Sharpe found his name trending this week after the former NFL star was hit with a $50 million lawsuit from a woman who alleges that Sharpe sexually assaulted her. In response, Shannon Sharpe’s legal team shared a series of explicit texts and framed the lawsuit as an orchestrated shakedown attempt by her legal counsel.
We would like to warn readers that the details described in this report might be disturbing to some. Do proceed carefully.
As seen on NBC Sports’ Pro Football Talk site, Shannon Sharpe was hit with the lawsuit on Sunday (April 20) that was filed in Nevada, with the complaint from a Jane Doe alleging sexual assault, battery, and inflicting emotional distress. Jane Doe said in the filing that she and Sharpe were in a “rocky consensual relationship” that lasted almost two years, according to reports. The woman also said that Sharpe recorded their encounters without her consent and that he shared the footage without her approval to do so.
The complaint added that when an allegedly leaked sexual encounter with another unnamed woman and Sharpe went viral, she took steps to dissolve their relationship. In October of last year, Jane Doe added that Sharpe came into contact with her after she attempted to end their relationship and that he allegedly forced himself on the woman. At the top of the year, Jane Doe said that during an encounter with Sharpe, she tried to get. him to use protection during sex, which he seemingly refused.
As this is a civil case and not a criminal matter, there would be just financial damages to be paid and no time behind bars for Sharpe, who currently runs a successful podcast and is part of ESPN’s First Take morning show team. Jane Doe is represented by Tony Buzbee and Michah Nash.
Sharpe’s attorney, Lanny Davis, issued a statement firing back at Jane Doe and named the woman who is accusing the Hall of Fame tight end. A portion of Davis’ statment read that the lawsuit is a “blatant and cynical attempt to shake down Mr. Sharpe for millions of dollars. It is filled with lies, distortions, and misrepresentations — and it will not succeed.”
The statement also included the explicit messages that Jane Doe allegedly exchanged between Sharpe and the woman, although the validity of the messages cannot be confirmed at this time.
Shannon Sharpe’s name is still trending on the X platform in the wake of the news. We’ve got reactions from all sides below.
If you or someone you know is contending with sexual abuse or partner violence, please visit the RAINN resources page here to get further assistance.
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Photo: Kaitlyn Morris / Getty
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Carmelo Anthony continues to stay close to Hip-Hop culture. He recently gave his take on whether or not J. Cole is a top 10 MC of all time and his answer got a lot of people talking.
As per Complex the NBA legend is an avid listener of Rap music. On the latest episode of his 7PM in Brooklyn podcast he and his crew discussed who should be included in the top 10 greatest of all time rapper conversation. When J. Cole’s name came up, Carmelo had a very thoughtful take. “We never seen anybody bookend their career and be very serious and intentional about it,” Anthony said. “So to that point, where we’re bookending careers, then yeah, J. Cole is definitely a top 10 rapper.” He added, “Also, he’s smart. He realized that we’ve never seen the bookends of somebody’s career.”
Carmelo went on to theorize that J. Cole will most likely have his hand in sports once he does retire from Rap. “I think we’ll see him back in sports — documenting sports, content wise, telling stories through his eyes. I think we’re gonna see a lot of that.” Carmelo also defended J. Cole’s decision to back out of the beef with Kendrick Lamar. “When you’re at peace, there’s nothing that can disturb your peace,” he explained. “I’m not willing to allow this bullshit ’cause that’s too much work, and if I got to put that much work in to deal with that, then I’m losing my balance.”
You can see Carmelo Anthony discuss J. Cole’s place in the top 10 of all time list below.
Leading rock label Better Noise Music has announced a raft of new signings, including iconic pop-rock band Yellowcard, which will release its new album on the label later this year.
The as-yet untitled LP, which will be produced by Travis Barker, who also played drums on the album, marks something of a comeback for Yellowcard, which hasn’t released an album of new material since its self-titled set dropped in 2016 via Hopeless Records. The group is known for mid-aughts hits including “Ocean Avenue” and “Lights and Sounds” — the title tracks off the group’s two most successful albums, released in 2003 and 2006, respectively.
Also signing to Better Noise is Swedish power metal band Sabaton, which has racked up 4 billion streams on Spotify alone, according to a press release. The group has released a total of 10 studio albums, most recently on Nuclear Blast with its 2022 LP The War to End All Wars. Sabaton has landed four albums on the Billboard 200.
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Better Noise additionally signed American rock band In This Moment, which is currently in the studio working on a new album and set to drop new tracks later this year. The band has scored four entries on the Billboard 200, with its 2014 set, Black Widow, peaking at No. 8.
Finally, Better Noise signed The Rasmus, the popular Finnish rock band that has a new album set to drop in 2025.
“We are beyond excited to welcome Yellowcard, Sabaton, The Rasmus, and In This Moment to the Better Noise family,” said Better Noise president/COO Steve Kline in a statement. “These exceptional bands showcase the diversity and creativity that define our rich roster of rock and alternative artists. Each brings a proven global track record and a distinctive approach to rock music. We look forward to partnering with them and taking each band to the next level and beyond.”
The Better Noise roster also includes Five Finger Death Punch, The Funeral Portrait, Asking Alexandria and The Hu, among many others.
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Looks like 50 Cent and Joe Budden finally put the drama to rest after months of trading shots online.
The two New York rap vets had been going at it over 50’s jokes about Irv Gotti’s death, with Budden firing back and keeping the heat going. Both known for being hard-headed and speaking their minds, it didn’t seem like either one was gonna back down anytime soon. Leave it to a Knicks playoff game to bring some peace. During the Knicks vs. Pistons matchup, 50 was sitting courtside next to Fat Joe when the arena’s jumbotron caught them. Fans with sharp eyes noticed Budden was sitting just a row behind them, and it didn’t take long for the moment to go viral.
50 posted the pic on Instagram with the caption, “I ran into Joe at the game he said I don’t need Therapy No MORE,” clearly poking fun at the situation and hinting that everything’s cool now.
In a game where rap beefs can drag on for years, this was a refreshing switch-up. Two stars from NY (with real egos) bump into each other in the most New York setting possible, and instead of letting it escalate, they laughed it off. It’s a rare moment of grown man energy in Hip-Hop, and fans were here for it. Whether the peace holds or not, that courtside run-in showed the culture something different, and sometimes, that’s all it takes.
In 2019, pop star Belinda earned her first Billboard top 10 hit. That rarified chart milestone didn’t come from a pop hit, but rather, from “Amor a Primera Vista,” a cumbia sonidera with Los Ángeles Azules, Lalo Ebratt and Horacio Palencia that peaked at No. 2 on the Regional Mexican Airplay chart. It was the first time that Belinda entered the chart, a feat that underscores not just the artist’s versatility but her resilience.
Co-written by Belinda, Descemer Bueno and Palencia, the track that fuses traditional Mexican cumbia sounds with soft hints of reggaetón not only marked the Spain-born, Mexican-raised star’s return to the Billboard charts after four years, but it also introduced a bold new sound that she had never done before, and ultimately the música mexicana era she’s in today.
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Thanks to that capacity for continuous reinvention, the singer and actress is receiving the Evolution Award at the 2025 Billboard Latin Women in Music gala on Thursday, April 24.
“Life has been a journey full of learning, growth, and constant evolution — both personally and artistically,” she tells Billboard. “This recognition not only celebrates my career, but also the power of reinvention and continuing to explore new chapters. I feel more inspired than ever and excited to share this new musical era. Being honored on a night that celebrates such powerful and talented women makes this moment even more special.”
Though the artist born Belinda Peregrín Schüll has a trajectory that spans 25 years, she admits she hasn’t had time to stop and truly reflect on the moment she became a bonafide Latin star.
“I keep working while having many goals, and to be honest, I don’t think I’ve ever, at any point in my life, thought ‘Wow, I made it!,’ which is something I should do,” she says. “I’m always thinking about new ideas, new songs, new challenges, new projects, but I’ve never taken the time to think, ‘Okay, I’ve achieved all this.’ ”
But she has achieved a lot, and along the way, rightfully earned her place in the Latin pop realm.
Belinda was only 10 years old when she was cast as the lead in the Mexican children’s telenovela Amigos x Siempre in 2000, but it was her self-titled debut album that catapulted her into the musical spotlight three years later. The set — home to her timeless pop tune “Ángel” — earned her a first top 10 entry on a Billboard chart, reaching No. 6 on the Top Latin Pop Albums chart in 2003. Her four studio albums since, including Utopia (2006), Carpe Diem (2011), and Catarsis (2013), have also entered the top 10 on the chart.
Meanwhile, hits such as “Bella Traición,” the Pitbull-assisted “Egoísta,” and “Amor a Primera Vista,” have displayed her ease to navigate different genres from rock to EDM to reggaetón to cumbia. Never one to shy away from experimentation, Belinda has now branched out into música mexicana, tagging her new fare as “Beli Bélica” in a wink to the genre’s corridos bélicos. However, Belinda’s songs steer away from drug dealer exploits and rather focus on lyrics about heartbreak and being coquettish.
“The first corrido tumbado artist I heard was Natanael Cano. He was the first one who made me say, ‘Wow, Mexican music sounds different. It doesn’t sound like it used to,’ ” she recalls. “At that time, someone also told me: ‘You’re a woman, you’ll never be able to sing corridos or regional music, because it doesn’t suit you.’ They told me I couldn’t sing it because it was for men and that I would look ridiculous. And a couple of years later, here I am singing that style.”
Defying all odds, Belinda officially evolved into her corridos era with the release of “Cactus” in Jan. 2024, which also marked her debut single with Warner Music México after signing an exclusive record deal in Aug. 2023.
“I’d been thinking about doing corridos tumbados for a couple of years, but it just sort of happened,” she explains. “ ‘Cactus’ was a song that started out written in a notebook; it didn’t really have a melody because it was a feeling I had to express, and suddenly we turned it into music. We knew it was the right song at that moment, and that it would represent a new musical phase in my life.”
That new phase was shortly followed by her first collaborative effort with Natanael Cano in “300 Noches,” which she coined as a “corrido coquette” because of its dreamy pop undertones; “La Mala,” an unapologetic trap-corrido; and her team-up with Tito Double P on “La Cuadrada,” which secured a No. 23 spot on the Regional Mexican Airplay chart in March.
“I know there are many who don’t like it,” she says of her Beli Bélica era, but if there’s anything that her música mexicana collaborators have taught her, it’s to “go with the flow.”
“I’ve learned not to take everything so personally and to listen to myself,” she elaborates. “To listen to what I feel, what I think, and what I like, because no one is going to agree with you 100% and no one is going to have your vision 100%, and as long as you’re happy with what you’re doing and writing, the audience will accept it well because you’re doing it from the heart.”
Belinda & Tito Double P
Bri Diez
And even though she found a new sound — while also being active on social media and connecting with new and loyal fans — Belinda remains true to her pop essence. Her single, “Jackpot,” with Kenia Os, peaked at No. 10 on the Latin Pop Airplay in February.
“Belinda isn’t a musical genre,” she emphasizes. “I’ve been through all the musical eras, and my favorite word to describe my career is versatile. It’s the perfect word to define my style. Now, with Mexican music, we’re going back to the basics. It reminds me a lot of how music used to be. I love that I can go back to what it was like to make a song with real instruments and not rely on a computer program. It feels like I’m going back to what music used to be.”
Now, with her new “go with the flow” mentality, Belinda says a new studio album is on the horizon, one that she’s creating specifically for those “independent women who are completely irreverent but at the same time strong, sexy, fun.”
But first, she’s taking it easy.
“I’m trying to rest because in 2024 I didn’t rest at all. I spent almost all my time writing the album. It was a lot of emotions in one year. This year I’m going to take the time I need to finish my album. I just want to enjoy every moment, every stage, every project,” she concludes.
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
All Things Go festival will return to New York with Doechii, Lucy Dacus and Clairo headlining. For the second edition of the New York festival, which will run the same weekend as the festival’s D.C.-area event, fans can also catch sets from Djo, Remi Wolf, The Marías, The Last Dinner Party, Lola Young and Gigi […]
Durand Jones & The Indications – the trio of Durand Jones, Aaron Frazer and Blake Rhein – have announced their most extensive tour to date. Following a successful opening slot on Lenny Kravitz’s European tour, the band will hit their biggest headlining shows yet, with stops at Stubb’s Waller Creek Amphitheater in Austin and The Greek Theatre in Los Angeles.
The tour will kick off Sept. 11 at The Van Buren in Phoenix and run through some of North America’s most iconic venues, including Webster Hall in New York, Tipitina’s in New Orleans, First Avenue in Minneapolis and The 9:30 Club in Washington, D.C. The 37-date trek will come to a close on Nov. 16 at House of Blues in Dallas.
In addition to announcing their fall tour, Durand Jones & The Indications have released the second single from their upcoming album Flowers, due June 27 on Dead Oceans. The new single “Flower Moon” puts Frazer’s signature falsetto front and center as the group waxes poetic about love in springtime. The band draws from their extensive knowledge of soul and R&B history to deliver one of their most irresistible dancefloor tracks yet.
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“It felt right to release ‘Flower Moon’ with this record. Spring is here and the flowers are blooming everywhere. We really wanted to catch that essence of the song and bring it to life for the listener,” Jones said in a release. “Also the Flower Moon is happening in a few weeks, so everything just seemed aligned to bring this song to our fans. It’s a feel-good tune to enjoy with friends or a loved one.”
Check out the video for “Flower Moon,” directed by Alec Basse, below.
Flowers will mark Durand Jones & The Indication’s fourth studio album and a return to the band’s roots with a mixture of gritty funk and Southern soul that inspired their 2016 self-titled debut. The album was self-produced in Rhein’s Chicago home studio and reflects the “ups and downs in our personal lives and professional lives,” Frazer said when the album was announced, adding, “and flowers are a sign of maturity, growth, spring, productivity.” The new song follows lead single “Been So Long,” which was released last month.
Check out a full list of tour dates below.
Sept. 11 – Phoenix, AZ @ The Van Buren Sept. 12 – Flagstaff, AZ @ Orpheum Theater Sept. 13 – Abiquiú, NM @ Blossoms & Bones Sept. 15 – San Antonio, TX @ The Aztec Theatre Sept. 16 – Austin, TX @ Stubb’s Waller Creek Amphitheater Sept. 18 – Atlanta, GA @ Variety Playhouse Sept. 19 – Nashville, TN @ Brooklyn Bowl Sept. 21 – Washington, DC @ 9:30 Club Sept. 23 – Philadelphia, PA @ UnionTransfer Sept. 26 – Boston, MA @ Citizens House of Blues Sept. 27 – New York, NY @ Webster Hall Sept. 30 – Indianapolis, IN @ Hi-Fi Annex Oct. 1 – Chicago, IL @ The Salt Shed Oct. 3 – Englewood, CO @ Gothic Theatre Oct 4 – Fort Collins, CO @ Washington’s Oct. 5 – Salt Lake City, UT @ The Depot Oct. 7 – Oakland, CA @ Fox Theater Oct 10 – Los Angeles, CA @ The Greek Theatre Oct. 11 – Las Vegas, NV @ Brooklyn Bowl Oct. 23 – Del Mar, CA @ The Sound Oct. 24 – Sacramento, CA @ Channel 24 Oct. 27 – Portland, OR @ McMenamins Crystal Ballroom Oct. 28 – Vancouver, BC @ Commodore Ballroom Oct. 29 – Seattle, WA @ Showbox SODO Oct. 31 – Boise, ID @ Knitting Factory Concert House Nov. 1 – Bozeman, MT @ The ELM Nov 3 – Minneapolis, MN @ First Avenue Nov 4 – Milwaukee, WI @ Turner Hall Ballroom Nov 5 – Detroit, MI @ St. Andrew’s Hall Nov. 7 – Toronto, ON @ The Concert Hall Nov. 8 – Montreal, QC @ Beanfield Theatre Nov. 9 – South Burlington, VT @ HIgher Ground Ballroom Nov 11 – Columbus, OH @ Newport Music Hall Nov. 12 – Asheville, NC @ The Orange Peel Nov. 14 – New Orleans, LA @ Tipitina’s Nov. 15 – Houston, TX @ Heights Theater Nov. 16 – Dallas, TX @ House of Blues