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Ken Carson became the third artist to earn their first Billboard 200 No. 1 album in 2025 when his More Chaos LP topped the chart on Sunday (April 20). Carson notched his best week to date, as the set earned 59,500 equivalent album units in the United States in the week ending April 18, according to […]
Billboard JAPAN’s “MONTHLY FEATURE” series highlights standout artists and works making an impact. This month’s spotlight is on LiSA, who is approaching the 14th anniversary of her debut.
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In January, she released her new song, “ReawakeR (feat. Felix of Stray Kids),” the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow, which also began airing in January. On the song, she was joined by guest vocalist Felix from Stray Kids, a group that has gained global popularity beyond its home country of Korea. The song was written and arranged by renowned producer Hiroyuki SAWANO known for his musical work on hit anime such as Attack on Titan and Mobile Suit Gundam UC.
Fueled by the growing popularity of anime, which continues to make waves worldwide, “ReawakeR (feat. Felix of Stray Kids)” once again took the No. 1 spot on the “Global Japan Songs Excl. Japan” chart, which ranks the most popular Japanese music outside of Japan. This made it the seventh week that it has ruled the chart.
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On March 5, LiSA released a CD single with “ReawakeR (feat. Felix of Stray Kids)” as its title track. Billboard JAPAN caught up with her to discuss the release and the new territory she explored on the single’s three songs.
Your new song, “ReawakeR (feat. Felix of Stray Kids),” is the opening theme of the anime Solo Leveling Season 2 – Arise from the Shadow. What did you think when they first reached out to you about the tie-in?
It was before Season 1 had even started airing, so first I read the manhwa (Korean comics). Then the show started, and, to put it simply, it was like new life had been blown into the manhwa It was like the anime depicted all kinds of things, like the personalities of the characters and their strengths, in even greater depth.
When you read the manhwa, what part of it drew you in?
The main character, Shun Mizushino, isn’t a hunter because it’s fun. There’s a bit more of a sense of desperation to him, a feeling that this is a job he has to do. He starts out as a weak hunter, and he faces all kinds of struggles before he’s reawakened and takes on a new destiny. It depicts a world that has a very different feel than what you usually see in Japan.
Were there any parts that resonated with you personally?
Yes, actually. The way he gets stronger because of the scars he bears. That sense that he has to keep pushing forward because of his difficult circumstances. I feel like, in my music, I’m also trying to reach that level of resolve.
The song was written and arranged by Hiroyuki SAWANO, and Felix from Stray Kids does guest vocals. Stray Kids’ first Japanese EP includes “Social Path (feat. LiSA),” which you performed on. What led to the idea for this collaboration?
I always had the idea of working with the two of them again, but I didn’t have any specific timing in mind. Hiroyuki was responsible for the theme song and the soundtrack for Season 1, too, so I wanted to take the baton for Season 2 without damaging the aesthetic that Hiroyuki had created.
And what about Felix?
For Season 1, Hiroyuki worked with TOMORROW X TOGETHER (SawanoHiroyuki[nZk]:TOMORROW X TOGETHER “LEveL”), the anime is based on a Korean comic, and Stray Kids had invited me to work with them in the past, so I thought if there was ever a time to return the invitation, this just might be it. My upper register vocals and Felix’s deep bass vocals created a wonderful contrast that gave the song just the right flavor.
How do you see Hiroyuki as a music producer?
When I worked with him for the first time on “narrative” (SawanoHiroyuki[nZk]:LiSA), he used real instruments to create dark rock with a heavy sound. Now, seven years later, I feel like he’s started using dance music and digital sounds in his music, and it feels very natural. He’s evolved a lot. At the same time, he carefully tailors his music to the spirit of the works he’s writing for. In a sense, he’s actually shaping those works.
So he’s a creator with his own signature sound. “ReawakeR (feat. Felix of Stray Kids)” also combines heavy bass with a danceable beat, so it’s a bit of a departure for a LiSA song.
Rock is an important, fundamental part of Hiroyuki’s music. He doesn’t just slap in digital elements, but instead creates dance music that could only come from someone who has the spirit of rock in his heart. I think Hiroyuki’s great at taking music in that direction.
From my understanding, rock is an important part of your own roots, too. With the musical approach you’ve taken on the new single, you’ve added other elements, as well. What led you to go in this direction?
Of course, trends are one part of it, but speaking for myself, I love rock. I love the sound of rock, and I’m confident in the rock music I’ve been creating for the past 13 years. In a sense, I’ve already created the “ultimate” rock, so instead of trying to discover rock that goes above and beyond that, I wanted to apply that spirit of rock to the creation of something a little different. That budding ambition was a big factor in taking this new approach.
What kinds of new experiences and discoveries did you have during the course of the collaboration?
I rediscovered how well it works to have a male voice mixed in. On top of that, Felix is more of a rapper than a singer, and this was my first time doing this kind of collaboration on a song I put out under my own name. But I discovered that even with rap, you can feel that rock vibe, and that you can make a song that really matches the anime itself.
I’d imagine you envisioned Felix’s vocal parts when you were doing the recording. Did you use any different approaches than usual, and were there any areas where you took special care?
It wasn’t so much that I paid special care to something in particular, but I’m usually a solo singer, so having another vocalist by my side to perform together with me was very reassuring.
You’ve also released a music video, which you shot in Korea, right?
Felix is really beautiful in it. He’s like an angel. When the cameras weren’t rolling, he was like this cute young kid. He’s cheerful and friendly, and very considerate of others. He was also very respectful, calling me “LiSA sempai.” But he has a deep voice, so when he starts singing, the impression he makes totally changes. I think part of his appeal is in that gap.
The song has performed really well in the charts, too. As of March 27, it’s been number one on Billboard JAPAN’s “Global Japan Songs Excl. Japan” chart for four consecutive weeks. What has the overseas response been like?
The overseas reaction has been very strong starting back when Solo Leveling was first announced. I’ve performed overseas quite a few times myself, and Hiroyuki and Stray Kids are also very internationally active, so it feels like we’ve really reached the rest of the world.
I’d like to ask you about the B-sides. The second song, “RED ZONE,” is also credited to TOMOKO IDA and TSUGUMI. TOMOKO IDA performed on Tainy’s debut album, DATA, which was nominated for the Best Música Urbana Album at the 66th Grammy Awards. What led to your collaboration with her?
One of the things I wanted to explore was the power of women. I was looking around for someone who could help me with that when I met TOMOKO. TSUGUMI was also one of the artists in SOULHEAD, so when I was doing my vocals, it really felt like I had this passion passed on to me by these artists who had gone before me.
I know you were once in a band and performed mainly at small concert venues. I’m sure it was a primarily male-oriented scene at the time. How did you fit into it, or did you take it head on?
Back when I was a little kid, I found femininity to be kind of oppressive. I was more drawn to women who had a hidden coolness and sexiness, like Avril Lavigne. But when I finally accepted myself as a woman, I found it so much fun to express the power that women have, though I didn’t go out of my way to show it off. Those feelings grew stronger the more I performed. That’s one of the things I talked to TOMOKO about.
How did you make this song, including the rap part, a part of yourself as an artist?
Whenever I take on new challenges, I focus less on putting myself out there than on going out there to soak in new influences. For example, when I started my solo career, I debuted with a mini-album (Letters to U) which I made with a Vocaloid producer. I had my own core essence, and I tried to put that essence into that music. That process shaped a new facet of me. Looking back on it, this is something I’d been experiencing since my time in Girls Dead Monster, and “RED ZONE” was a lot like that.
So it’s not like you’re completely adopting a new character, but more like you’re letting your voice ring out in a world that’s not your usual world.
Yes, but as a vocalist, no matter what I do, it’s always my own voice, and no matter what I sing, it always becomes a LiSA song, so I have faith in that. I believe in my own voice, so when I sing on a song, I feel like I’m laying myself bare and jumping right in.
All three songs, including the other B-side, “Witchcraft,” are very challenging, and I feel that with this single, listeners will discover a new LiSA. 2025 is also the 14th anniversary of your solo debut, and I hear that you’ve decided the theme for the year is “PATCHWORK.”
This is the 14th anniversary, which means next year will be the 15th. That’s a big occasion, so as it draws near, I plan to spend this year meeting more new people and taking on more new challenges, stitching them together in a patchwork.
—This interview by Takuto Ueda first appeared on Billboard Japan
Some artists break through with their very first single; others go their entire careers unheard. Trinidad Killa, who’s been in the music industry for a quarter-century now, got his long-overdue break nine years ago, but a recent career-shifting collaboration with Billboard’s No. 1 Greatest Female Rapper of All Time sent an entirely new – and infinitely stronger – wave of momentum his way.
Hailing from Arima in Trinidad & Tobago and currently residing in Flatbush, Brooklyn, Killa has always followed wherever his creative inclinations led him. In the early-mid ‘10s, Killa frequently entered music competitions – from Soca Star and Digicel Rising Stars to more local street showdowns. In those clashes, Killa’s near-perfect victory streak earned him his nickname, and he continued honing those skills on Basilon Street, the area of the island that would give way to a popular subgenre of Trinbagonian dancehall called “zess.”
As one of the self-proclaimed pioneers of zess, Killa scored one of the style’s earliest hits with 2019’s “Gun Man in Yuh Hole,” which he’s since parlayed into his first three nominations at the Caribbean Music Awards. As exclusively revealed by Billboard, Killa earned nods for zess-steam artist of the year, best new soca artist and the soca impact award.
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Much of Killa’s recent motion has come off the back of “Eskimo,” a song that nearly disappeared into the ether after it was initially recorded in late 2024 over an unauthorized use of Full Blown’s “Big Links” riddim, which has spun out massive hits for Yung Bredda (“The Greatest Bend Over”), Machel Montano (“The Truth”) and Full Blown themselves (“Good Spirits”) this carnival season. Once Killa smartly (and quickly) cut “Eskimo” over a different riddim, he successfully shot his shot and secured Trinidadian-American rap icon Nicki Minaj for the remix, which lifted to song to No. 2 on World Digital Song Sales this spring (chart dated March 15).
“I always try to show people that music is a mission, not a competition,” Killa tells Billboard. “In order for soca music to reach where it’s supposed to reach, everybody must get a fair chance and a fair opportunity – and that’s what Nicki gave me.”
In a sprawling conversation with Billboard, Trinidad Killa breaks down how Nicki Minaj got on the “Eskimo” remix, his rocky relationship with the Trinbagonian music industry and the true origins of zess.
What are some of your earliest musical memories?
Trinidad Killa: I grew up going to church every Saturday with my mom and my brothers and sisters, just listening to the music and vibing. I’ve always loved music – from winning school competitions to chanting on the streets. I remember when I was in Soca Star back home in Trinidad and Tobago, and I came in seventh place. That was my first competition, and Digicel Rising Stars came after.
Where were you when you found out about your Caribbean Music Awards nominations?
I was at home, and somebody sent me a message on Instagram saying that they voted for me. I does be so busy that I ain’t really paying attention to social media. When I saw that in my inbox, I went to the [website] and saw I was really nominated in three categories. I’m one of the people who created zess music, so I feel very good within myself knowing that something I helped create is being recognized by the Caribbean Music Awards today.
What do you love most about zess?
People back home in Trinidad & Tobago give zess a bad [name], but zess is about enjoying yourself. I want to get that clear, because [some] people feel zess is about men doing the wrong things. The word “zess” comes from a spot where we used to party back in Trinidad & Tobago named Basilon Street. People would come on Friday and catch themselves still there on Tuesday and Wednesday with the party still going on. Everybody would say, “We goin’ down in the zess” because when you pulled up, that’s where the party was happening. Down in the zess, you have plenty men with big chains, men smoking weed and drinking and just having a good time. Zess is a form of enjoyment.
How do you assess the 2025 soca scene?
Back home, I is a real ground man. I built myself up from the ground, and there’s plenty [people trying to] fight me down in the music industry because I is a real talented person. In the music industry in Trinidad and Tobago, it’s about who knows who. So, I decided to leave and come to America and ended up doing a soca song this year on Full Blown’s “Big Links” riddim. When I first heard the riddim, I thought it was real bad and I wanted to be on it; I reached out to the producers and let them know that.
I am so feared in the music industry in Trinidad and Tobago that they don’t want my music to go through the right channels, so they was denying me the rights to [record] on the riddim. That riddim used samples from my song, “Gun Man in Yuh Hole,” so I feel like I had a part to play in that whole thing. It’s only right that if you use something to create something new, you should bring those [original] creators along. They used [our] thing to make something else and then put other artists on it.
How did Nicki Minaj end up on “Eskimo?”
I decided to jump on the riddim and pen a song, because I was in New York and couldn’t go back home for Carnival. I was going through so much in my career — they weren’t playing my music on the radio, and I was just fed up. I didn’t come to America with a visa, so being here and knowing I couldn’t go back home was very depressing. My producer and I [channeled those feelings] into a new tune, and that’s how we came up with “Eskimo.”
When we put out “Eskimo,” it was getting so much traction that they ended up pulling down the track [due to its unauthorized use of the “Big Links” riddim] – even after it hit 100,000 views in [two days]. That was very heartbreaking. I sat and prayed on it and decided to build a different riddim and put “Eskimo” over it. The day we were going to put out the new version [on the “Bigger Links” riddim], Nicki Minaj hit me up and said, “Nice track, [this is] wonderful.” So, I went into her inbox and asked her to be a part of the track, and we ended up putting it out together. That was one of the biggest achievements in my entire career.
What was your reaction when you saw “Eskimo” hit No. 2 on Billboard’s World Digital Song Sales chart?
I was speechless. Everything I put my mind to as a yute, I achieved it – from entertaining to owning a restaurant to coming to America. I had to pinch myself because I felt like I was still dreaming.
What exactly did Machel Montana mean when he asked you and Nicki to “stop fighting him down?”
Me and all entertainers in Trinidad are good. I was young, mashing up the stage with Machel and them at the age of 16-17 – and these fellows never really gave me an opportunity or a stage-front. Really and truly, Machel and them just want everything in the music industry. They want to be the face of soca, and that is why I fight for other artists and for the common yutes to get an opportunity.
I was the first man to even put Yung Bredda in the studio, and gave him his first hit song. Lady Lava, all of them, I have history behind me. When I get blessed, I always like to bless somebody else — that’s how I will continue reaching different heights. When Machel saw I did a song with Nicki Minaj, he felt a type of way, knowing that he is the King of Soca and he never took an opportunity to give me that platform, [despite] knowing that I’m a good artist. And Nicki came and did it! While on stage, in the hype of the moment, he said something he wanted to say all this time — but he thought nobody would pick up on it.
Have you met Nicki yet? Has she given you any advice as you navigated this next stage of your career?
I haven’t met her yet, but soon. She always tells me to stay focused and gives me positive [affirmations] for my daily life and career. Everybody looks up to Nicki; to have a collaboration with the queen of rap music is a huge accomplishment [for] me.
When did you decide to start going by Trinidad Killa and why?
They used to call me “Killa” because I was involved in plenty song clash. 99% of the time, I won those competitions, so [I got the name]. When I got my first hit in the industry, I tried to change my name 20 times, but “Killa” stuck. I [decided] to put “Trinidad” in front of the “Killa” because that’s what people know me as, especially because there’s already Bounty Killer, Mr. Killa, etc. I also put the “Trinidad” in front so when people hear “Killa,” they don’t feel like it’s anything negative.
“Gun Man in Yuh Hole” or “Good Hole?”
I was in the venue freestyling “Gun Man in Yuh Hole,” and somebody uploaded it online and it went viral on social media. Someone took the vocals from that clip and put it on a riddim, and that’s how I got my break in the industry. I never went to a studio to record “Gun Man in Yuh Hole,” so it will always be one of my favorite tunes. That’s a foundational tune. It brought me to BBC 1Xtra and around the whole Caribbean.
When can we expect your next album?
I hope I finish in time, but I want to put out the album the same night as my next show on May 24. I’m not just a soca artist, I have reggae, dancehall and Afrobeats tracks. But I love soca, that’s my culture, and that’s where I come from.
Where is the oddest place you’ve heard one of your songs?
Dubai. Someone tagged me in a post, and in a club in Dubai – a real rich party – people were dancing to “Gun Man in Yuh Hole.”
Who’s the greatest rapper of all time?
Nicki Minaj.
What’s your favorite meal?
I’m a cook as well, so I cook for myself. I had a restaurant, but I had to ease off and focus on the music when I came to America. I used to sell [food] on [Eastern] Parkway, and we would have people lining up by the hundreds. In Trinidad, I had a big restaurant, and I cooked anything – you name it, and I make it.
What do you hope to achieve by the end of 2025?
Getting my own restaurant in New York City.
Tyla caused quite the uproar online after denying claims that her Coachella outfit was inspired by Britney Spears‘ iconic 2001 MTV VMAs look. Her stylist Katie Qian said on Instagram Sunday (April 20), two days after Tyla’s Coachella performance, that she sourced “archive and custom Dolce Gabbana” for the star’s weekend two ensemble, including a […]
It may have been Easter Weekend, but Kendrick Lamar didn’t wait until the third day for his return. After rocking the Super Bowl LIX halftime show with a visually striking set built around his Billboard 200-topping GNX LP, the Pulitzer Prize-winning Compton MC mounted the first show of his sprawling, SZA-assisted Grand National stadium tour. Kicking off the trek in Minneapolis, Minn., K.Dot and SZA treated fans to a nearly three-hour show packed with hit collaborations like their Billboard Hot 100-topping “Luther” and fan favorites from their respective catalogs.
As if launching a stadium tour wasn’t impressive enough, Lamar began the weekend as the first musician featured in a Gatorade commercial (April 18). He ended it as Chanel’s new brand ambassador (April 21). Talk about a victory lap!
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Outside of Kung Fu Kenny, the hip-hop and R&B worlds enjoyed winning returns to form from Wiz Khalifa and Keri Hilson, and Ryan Coogler’s Michael B. Jordan-led Sinners — which includes a new original song from Rod Wave — packed theaters across the country.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Leon Thomas and Halle’s heart-wrenching new duet to Sault’s latest inspirational offering. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Leon Thomas & Halle, “Rather Be Alone”
With “Mutt” continuing to scale the Hot 100, Leon Thomas’s foot remains squarely planted on the gas pedal. For his latest single, the Grammy-winning multihyphenate tapped Grammy-nominated singer and actress Halle, whose bright, ethereal tone provides the perfect complement to his bluesy timbre. “I’d rather be alone, rather be alone/ Than in a broken home/ I’d rather be alone/ Tryin’ to do this for the both of us on my own,” they harmoniously croon in the song’s chorus. Deepening Leon’s bag of sultry, soulful, rock-infused R&B, “Rather Be Alone” trades specifically on psychedelic influences; the hazy mix accentuates the emotional turmoil both vocalists embody in their retelling of the monumental choice of personal peace over past traumas. — KYLE DENIS
Naomi Sharon, “The Only Love We Know”
Naomi Sharon is coming to grips that true self-love comes from within. “The Only Love We Know” finds the First Lady of OVO exploring that journey with an ethereal island-tinged tune, which serves as the title track of her upcoming EP. Sharon’s seductive vocals are amplified by a powerful choir. “All I got is pride, do it better/ But this love is a lie/ We can’t hold together,” she sings with clarity. When things don’t work out, the 30-year-old says it’s okay to let go and see the other side. A soothing outro feels like water washing over listeners, getting a new lease on life. — MICHAEL SAPONARA
Estee Nack & al.divino feat. ???, “American Graffiti”
Repping Lawrence and Lynn, Massachusetts, respectively, Estee Nack and al.divino let off their first single from their collab tape Coldest Combo Ever with producer Grubby Pawz, and they brought along ??? (aka The Hidden Character) along for the ride. All three of them of go crazy over Grubby’s production as they spit stream-of-consciousness street raps. — ANGEL DIAZ
Davido feat. Victoria Monét, “Offa Me”
Davido and Victoria Monét link up on “Offa Me” to deliver a sultry, hypnotic Afro-fusion track that blends romantic tension, desire, and emotional openness. It’s a flirtatious conversation between two lovers who want to explore each other on a deeper level, both physically and emotionally. Victoria leads with vulnerability and seduction, singing, “Come and show me what it is that you’ve got to offer me.” She’s asking for more than just surface-level energy, she wants her lover to be fully present. The repeated line “take this off of me” is a metaphor for emotional layers and a literal request for intimacy. The chemistry between Davido and Victoria Monét is heavy, the beat is breezy, and the vibes are all about mutual love, respect, and attraction—a perfect track for the impending warm weather. — CHRISTOPHER CLAXTON
Statik Selektah feat. Westside Gunn, Joey Bada$$, Stove God Cooks, & Rome Streetz, “The Louvre”
Westside Gunn and his Griselda imprint have made posse cuts a thing again, so we can thank him for this Statik Selektah cut, essentially featuring three of the Buffalo label’s artists and Brooklyn’s Joey Bada$$, who has been getting back to rapping more consistently as his acting career has taken off. And shout out Lawrence, Massachusetts, once again, because they’re getting a lot of love on Fresh Picks today with Statik hailing from there as well. This cut is expected to be on the producer’s upcoming project Expensive Taste, due out later this year. — A.D.
Jae Stephens, “SMH”
Ahead of her stint as an opener for FLO’s Access All Areas Tour next month, rising R&B-pop star Jae Stephens has finally shared her highly anticipated “SMH” single. Building on the funky, percussive, Neptunes-evoking sonic template she opted for on 2024’s “Body Favors,” Stephens delivers an anthem for everyone juggling a roster as the summer approaches. “I got Chris, I met online/ Sean ain’t s–t but he so fine/ I might be theirs, but they ain’t mine/ I got so so so so, so many/ Hoes” she sings, nimbly moving from falsetto to conversational talk-singing cadence. Accompanied by a video featuring fellow R&B darlings Maeta and TA Thomas, Jae Stephens is ready for her takeover. — K.D.
Mozzy & Polo G, “Who Want War”
After Mozzy’s “Sleep Walkin” played a role in Black Panther, it’s fitting that the Sacramento native’s Intrusive Thoughts album arrived the same weekend Ryan Coogler released his Sinners blockbuster. A standout from Mozzy’s set narrating his street tales came in the form of a collaboration with Polo G titled “Who Want War,” which found the Chicago resident turning back to the clock with his cinematic assist. Polo gets candid about how even with his lucrative career changing his surroundings, he still can’t escape loss. “Thirty M’s in, still paying for these funerals,” he raps. — M.S.
Planta Industrial, “Oi”
This blew my mind the first time I heard it. Hailing from the Bronx, Planta Industrial is a couple of Dominicans mixing rap with punk rock, and it sounds different and refreshing. The one thing that stands out to me about their music is how Saso and AKA the Dark Knight go from rapping in English to Spanish, so effortlessly. They’re definitely carving out a lane all to themselves. Check out their other bangers “That’s My B—ch” and “Anormales.” — A.D.
Sleepy Hallow, “Girls Like Girls”
Sleepy Hallow’s “Girls Like Girls” dives into the emotional confusion, trust issues, and miscommunication that often come with modern relationships. In the pre-chorus, he admits he bottles up his feelings: “I might tell her I’m not okay but never tell her what’s wrong.” It’s a relatable moment of emotional distancing, fearful that if he opens up, he’ll be judged or misunderstood. Meanwhile, the girl finds her escape by partying with friends, using music and sisterhood as her coping mechanism. “Girls Like Girls” is a moody reflection on how people cope with emotional pain — some through withdrawal, others through escape. It’s a commentary on love in a time where trust is fragile, communication breaks down easily, and the healing process is often messy and personal. — C.C.
Sault, “K.T.Y.W.S.”
Four months after Mercury Prize winner Little Simz sued Grammy-nominated producer and longtime studio collaborator Dean “Inflo” Cover — which she opened up about in a recent Billboard profile — Sault (led by Cover and his wife, Cleo Sol) unleashed their 12th studio album, 10. Released just in time for Easter, the 10-track set is a sumptuous fusion of soul and Christian music, delivering heartfelt affirmations and words of inspiration at every turn. With a blend of disco, gospel and R&B on “K.T.Y.W.S” (a backronym for “Known That You Will Survive”) that recalls Kirk Franklin and the Clark Sisters’ most dancefloor-leaning offerings, 10 certainly isn’t lacking in the bop department. — K.D.
Wiz Khalifa & RMR, “Just to See You Smile”
It’s rare Wiz Khalifa gets vulnerable on melodic tracks, and he wears his heart on his sleeve with the poignant “Just to See You Smile.” Wiz dedicates the first verse to his mother as he opens up about her working two jobs to provide and the times he had to hide dealing weed from her. They’ve come a long way from the days of her driving him to his first shows. Pieced together by a sparkling chorus from RMR, Khalifa then moves into a tribute to his late older sister, who passed away in 2017. “You always showed me love, plus made me tougher/ And now that you gone, I realize I won’t get another,” Khalifa raps. While it won’t gain the mainstream acclaim of Ye’s “Hey Mama” or 2Pac’s “Dear Mama,” it’s one of the most powerful songs in Wiz’s Hall-of-Fame career, and speaks to his maturity and perspective as an artist who’s stood the test of time. — M.S.
Ovrkst. feat Samara Cyn, “Small Talk”
Two of rap’s youngest shining stars, Ovrkast. and Samara Cyn come through with a banger produced by the Bay Area MC himself. “Small Talk” puts their talents on full display as they both bring their unique flows and perspective to Ovrkast.’s laid back production in anticipation of the rapper slash producer’s upcoming project, which some are speculating is entitled While the Iron Is Hot. — A.D.
bLAck pARty, “Distant Lover”
On “Distant Lover,” bLAck pARty delivers a dreamy, nostalgic ode to a long-distance romance that’s heavy on longing and light on drama. The track floats with smooth vocals, as he tries to bridge the gap between himself and someone who’s physically far but emotionally close. In the first verse, pARty paints the picture of an ideal connection — white wine, slow moments, and affection. “Distant lover” is both a term of endearment and a signal that this connection hasn’t fully blossomed because of the space. “Distant Lover” is about that almost-love, that “what if” connection you can’t quite shake. The track wraps that feeling of wanting someone who feels just out of reach into something beautiful and soothing. — C.C.
Deadmau5 is acknowledging a weekend two Coachella set where he appeared onstage looking drunk and slurring his words, writing on social media that “I don’t remember a thing” from the performance. The producer’s post from Saturday (April 19) goes on to say that the Friday night (April 18) set was “probably my last Coachella show.” […]
Megan Thee Stallion had to set the record straight. After incorporating a pair of Slim Thug tracks into her weekend one Coachella set, Thug took it as Meg having a “crush” on him, but Thee Stallion cleared the air during her second set in the desert, letting him know that that is indeed not the […]
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Shannon Sharpe is now battling more than just his sports hot takes, as he’s the focus of a new $50 million lawsuit.
According to Variety, Sharpe has been accused in Nevada state court of assault, sexual assault, battery, and sexual battery, and intentional infliction of emotional distress.
The woman, only identified as Jane Doe — who was 30 years younger than him— says the relationship lasted about two years and was “rocky” yet “consensual.”
The complaint alleges that Sharpe recorded the two having sex and later showed it to other people without getting her permission first.
Last September, Sharpe went viral for accidentally going live on Instagram while his followers could hear him having sex in the background. That woman wasn’t Doe, but when that scandal happened, Doe tried to cut ties with him. Still, he reportedly continued to hound her even after she stopped answering his calls.
He persisted, and in October 2024, he met with her in person and allegedly forced her to have sex with him as he “violently sexually assaulted and anally raped Plaintiff two different times in Las Vegas, Nevada.” Then, in January 2025, another incident occurred when he pressured her for unprotected sex while she pleaded with him to stop or wear a condom.
“After many months of manipulating and controlling Plaintiff—a woman more than thirty years younger than he—and repeatedly threatening to brutally choke and violently slap her, Sharpe refused to accept the answer no and raped Plaintiff, despite her sobbing and repeated screams of ‘no,’” reads the complaint, according to NBC Sports.
Jane Doe is represented by Micah Nash and Tony Buzbee, who’s behind dozens of Diddy accusers’ cases and more NFL-specific in representing the woman allegedly abused by NFL quarterback Deshaun Watson.
If the case goes to trial and Doe wins, she will receive the $50 million, but Sharpe will not face criminal charges.
The news comes on the heels of a pending major business deal for Sharpe, who reportedly has a $100 million deal on the table now that his contract with Colin Cowherd’s The Volume podcast network is expiring.
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