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A new executive order from President Donald Trump is aimed at ending funding for Smithsonian museums, including the National Museum of African American History and Culture.
On Thursday (March 27), President Donald Trump issued a new executive order that squarely targets the Smithsonian Institution—specifically funding for it that promotes programs that advance “improper ideology” and “divisive narratives”. The executive order, entitled “Restoring Truth and Sanity to American History”, places Vice President JD Vance in charge of the effort to revamp all areas of the Smithsonian, including the National Zoo. Vance has a position on the Smithsonian Board of Regents. The news left many on social media incensed, with some calling it “whitewashing”.
The order explicitly names the National Museum of African American History and Culture, which was completed in 2016 under the administration of former President Barack Obama, the nation’s first Black president. Trump’s order claims that the NMAAHC “has proclaimed that ‘hard work,’ ‘individualism,’ and ‘the nuclear family’ are aspects of ‘White culture’.” It also re-establishes his 1776 Commission which was shelved by former President Joe Biden in 2021, along with a separate order creating a “Task Force 250” focused on creating a “grand celebration” for the nation’s 250th anniversary. Secretary of The Interior Doug Burgm
The order also signals that Trump aims to reinstall and adjust statues and monuments honoring figures from the Confederate Army of the Civil War that were changed or removed before January 1, 2020, to “perpetuate a false reconstruction of American history, inappropriately minimize the value of certain historical events or figures, or include any other improper partisan ideology.” Those statues were removed in the wake of protests over the murder of George Floyd in 2020.
The Smithsonian Institution is the world’s largest museum complex, which is composed of 21 museums – eleven are situated along the National Mall in Washington, D.C. as well as in Virginia and New York. The chief spokesperson for the Smithsonian Institution, Linda St. Thomas, said “We have no comment for now,” in an email to AP News. Former museum executive Laura Raicovich blasted the move in an interview with the New York Times: “The order itself is a clear example of the weaponization of language by the administration to undo the necessary historical correctives undertaken by knowledge institutions in recent years.”
New details have emerged in the legal case between Departure and Canadian Music Week’s former owner Neill Dixon.
In an updated statement of claim filed with the Ontario Superior Court of Justice on March 25, Dixon expands on his initial lawsuit. In addition to the approximately $485,000 in damages in that earlier March 18 filing, the new statement also seeks the removal of Dixon’s non-compete and non-solicitation clauses.
Those clauses – referred to in the statement as the Restrictive Covenants Agreement – were part of the sale agreement in June 2024, when Dixon sold the company to Oak View Group and Loft Entertainment for $2 million. Now, he claims the new owners of Departure (who changed the festival’s name from Canadian Music Week after buying it last year) have not lived up to their end of the agreement.
“Announcing my retirement was predicated on getting the full sale price,” Dixon tells Billboard Canada. “Retirement in this economy is not cheap. Not getting paid the final payment threw me for a loop. I now realized I couldn’t even work in the industry I love because of a non-compete clause.”
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A spokesperson for Departure says they have not yet seen the new statement of claim and can’t comment on it.
After Billboard Canada broke the news of the lawsuit last week, The Canadian Press reported that Loft Entertainment co-founder Randy Lennox (a former head of Bell Media and Universal Music Canada) sent an email to his staff referring to Dixon’s legal action.
“We see things very differently,” he wrote in the memo, according to CP. “We stand firm in our position of integrity, beliefs and values.”
Dixon’s new legal filing claims that in the sale of Canadian Music Week, he agreed to a three-year non-competition and non-solicitation clause, which would be effective until June 1, 2027. That would effectively prevent him from working in the music industry in the province of Ontario during that time.
“The plaintiff [Dixon] states that the defendants [the owners of Departure] were opportunistic and took advantage of the plaintiffs’ goodwill and trust when they unilaterally decided to avoid their legitimate payment obligations…” Dixon’s lawyers write in the statement. “Specifically, the defendants knew or ought to have known that the plaintiff was retiring, after having spent his career building the brand and goodwill of CMW.”
The claim further states that the new owners “deliberately prevent[ed]” Dixon from earning income during his retirement.
There are also new details on the financials of the deal and the outstanding payment Dixon claims is allegedly still owed.
In 2024, it says, CMW incurred a loss of $121,072. An earlier draft of CMW’s 2024 financials showed a smaller loss of $14,640, the claim states, and the first $500,000 installment was paid on November 7, 2024.
The agreement requires Dixon to cover any losses, it continues, and the updated amount has been deducted from the remaining $500,000. The statement says no notice or objection was claimed within 30 days, as per the terms of the agreement. Dixon is also claiming unpaid consulting fees and damages, which contributes to Dixon’s $485,428 claim.
Read more here. – Richard Trapunski
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The Indigenous Music Office Brings Inaugural Cultural Cadence Mentorship Participants to 2025 Juno Awards
The Indigenous Music Office (IMO) is introducing the 10 participants in its inaugural Cultural Cadence Mentorship.
The cohort of First Nation, Inuit and Métis musicians and entrepreneurs includes singer-songwriter Cassidy Mann, funk artist Curtis Clearsky and poet and sound artist January Rogers.
The group is set to head to Vancouver this weekend, as the mentorship culminates at the 2025 Juno Awards on March 30, marking the conclusion of a four-month professional development program launched in 2024.
The Indigenous Music Office is a new organization in the national music landscape, with the Cultural Cadence Mentorship serving as its flagship initiative. The program was designed with the goal of bolstering Indigenous expertise in the music industry, where Indigenous professionals are especially under-represented behind the scenes.
“The majority of Indigenous artists in Canada don’t have managers or teams,” says Alan Greyeyes, IMO chairperson. “I’m excited about this project because it supports the development of managers and administrative talent who know just how daunting the road travelled by Indigenous artists is because they’ve had to walk it too.”
Mentors and presenters from the program will be joining the cohort in Vancouver, including Margaret McGuffin of Music Publishers Canada, multi-disciplinary artist Tessa Balaz, folk musician Jason Burnstick and founder of the International Indigenous Music Summit and Ishkōdé Records, ShoShona Kish, among others.
Find the full list of participants here. –Rosie Long Decter
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Universal Music Canada Names Amanda Kingsland and Shawn Marino Co-Heads of A&R
Universal Music Canada is bolstering its talent development team, announcing Amanda Kingsland and Shawn Marino as co-heads of A&R.
Kingsland moves up within the company to a new role as vp of A&R, and will work alongside Marino — VP of A&R operations — to lead the team.
The announcement follows Julie Adam’s recent ascent to president & CEO of UMC, succeeding Jeffrey Remedios.
Kingsland and Marino will have a renewed mandate for signing and developing talent, UMC says. Kingsland has already led the rebuilding of UMC’s country roster — which includes major breakouts Josh Ross (who co-leads nominations for this weekend’s Juno Awards) and Owen Riegling — and now she’ll focus on big picture strategy for UMC’s full roster.
Marino will continue to oversee UMC’s recording facility 80A Studios as well as performance space The Academy and working with artists like The Tragically Hip and Anne Murray who are seeking to revitalize their catalogues.
They will report directly to Adam and are actively seeking new signings.
In addition to Ross and Riegling, UMC breakouts include pop singer Preston Pablo, rock band Valley, and comedian-turned-singer-songwriter Mae Martin, all of whom are currently charting on Canadian radio. UMC also recently signed prominent Punjabi Wave artist AP Dhillon in partnership with Republic Records.
The UMC A&R team is rounded out by Kwaku Agyemang, Widney Bonfils, Natassha Cuachon-Cruz, Ivan Evidente, Morgan “MJ” James, Shirley Ichkhanian, and Shannen Serrano, and supported by UMC’s venue and studio team Don Kitchen, Lisa Lorenz, and sound engineer Phil Hotz. –RLD
Harry Styles made his cab driver do a double take during a recent drive to London.
A private pink taxi service owner named Paula shared on Instagram March 23 that she’d given the pop star a ride to the English capital without even realizing who her famous passenger was at first. Sharing a selfie she took with Styles after the fact, the driver wrote, “Picked up this young fella on my way home tonight.”
“We got chatting, and I said, ‘You really sound like Harry Styles,’” she added. “He said ‘That’s because I am Harry Styles.’ He was such a friendly young chap!”
In the snap, Paula leans out her driver’s-side window as the “Watermelon Sugar” singer — sporting a trim mustache, baseball cap and blue button-down — smiles politely at the camera. On Friday (March 28), Paula reshared the picture onto her Story and wrote, “I drove Harry Styles in One Direction all the way to LONDON.”
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Based on his serendipitous taxi ride, it seems that Styles is back in his home country after spending time in Japan earlier this month. The Grammy winner participated in the Tokyo marathon March 2, finishing in 6,010th place out of a group of more than 37,000 runners, and averaging about 7:47 per mile.
From Tokyo to London, Styles is all over the map, but one place he isn’t headed anytime soon is Las Vegas. At least, he isn’t setting up shop in Sin City for a 2025 residency at The Sphere, as was widely rumored up until March 13, when a rep for the venue shut down the speculation via a statement shared exclusively with Billboard.
“To set the record straight, there has never been plans for Harry Styles to perform at Sphere,” the spokesperson said at the time.
Styles hasn’t toured since 2023, when he closed out his global Love On Tour after two years on the road. His last album, Harry’s House, arrived in 2022. In addition to spawning 15-week Billboard Hot 100 No. 1 single “As It Was” and spending two weeks atop the Billboard 200, the LP won album of the year at the following year’s Grammys.
Once considered a quiet season for the music industry, Ramadan is now a full-blown musical phenomenon. As Firas Abou Fakher, the vp of audience growth and strategy at Universal Music Middle East, puts it, “Ramadan is no longer a ‘break period’ for the music scene like it used to be.”
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In recent years, Ramadan has become a prime time for music releases, fueled by the rise of TV series, commercial campaigns and a growing appetite for nostalgia. But music has always been an essential part of Ramadan’s artistic memory. From the golden voices of Ammar El Sherei and Sayed Mekawy to legendary lyricists like Salah Jaheen, Sayed Hegab and Abdelrahman El-Abnoudi, paired with artistic talents like Nelly and Sherihan, Ali Al Hajjar and Assala, music has long set the stage for unforgettable Ramadan moments.
However, nothing compares to today’s musical boom, where TV series soundtracks and brand-backed anthems dominate streaming charts, transforming the Holy Month into a dynamic season for artists and production houses alike.
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So, how did we get here? Billboard Arabia sat down with top industry insiders and traced the evolution of Ramadan’s soundscape since the ’80s.
More Than Just TV Soundtracks: Music as Part of the Storyline
Lately, Ramadan has become a launchpad for hit songs, with artists strategically linking their releases to trending TV series. According to Wissam Chartouni, co-founder of Glava Holding (home to Watary and Music Is My Life), “artists now have a higher chance of success when their songs are tied to popular TV shows. Additionally, old classics are getting a fresh revival when featured in pivotal scenes.”
A perfect example? This year, Sherine Abdel Wahab’s 2018 album Nassay saw a massive resurgence after its tracks were featured in the Ramadan series Ekhawati (My Sisters), propelling her back to the top of the Billboard Arabia Hot 100 chart.
Karima Damir, the vp of artist development and repertoire growth at Universal Music Middle East, also notes a shift in how artists engage with Ramadan series: “Singers are becoming integral to the storyline itself. We’re even seeing rappers take on acting roles.” Take, for example, Abyusif, who joined Ahmed Mekky in El Ghaoui during the current season, or Shahin, who starred in Lunchbox last year. Arabic music and drama have never been more intertwined.
From Fawazeer to Viral Ads
For decades, Ramadan’s “fawazeer” (riddle-based variety shows) ruled the entertainment scene, with stars like Nelly and Sherihan leading the stage. Nelly dazzled audiences with standout performances in works like Al Khatba (The Matchmaker) and Arousati (My Doll), where she collaborated with iconic poet, lyricist and playwright Salah Jahin. Meanwhile, Samir Ghanem brought to life the beloved character Fatoota, accompanied by a long, comedic opening theme composed by Sayed Mekawy—one that still lingers in memory today.
In the ’90s, Sherihan reigned supreme with productions like “Hagat W Mehtagat” (Needs and Wants), penned by Egyptian songwriter Sayed Hegab and set to music by composer Moudy El Imam, who blended fast-paced rhythms with vibrant orchestral arrangements.
These productions were packed with elaborate song-and-dance numbers composed by musical giants. But as the 2000s rolled in, fawazeer faded, making room for a new powerhouse: Ramadan commercials. In recent years, brands have gone beyond simple jingles. Instead, they have invested in cinematic-style music videos with chart-topping stars, sometimes downplaying their product’s presence to ensure the song has standalone appeal.
Some of these ad songs have become cultural hits, such as “Asmar Oyonoh Samrah” (Brown-skinned, brown-eyed) and “Ramadan Fi Masr Haga Tanya” (Ramadan in Egypt is something else), performed by Hussein Al Jassmi, a staple on Billboard Arabia’s charts.
This year alone, A-list artists like Al Jassmi, Sherine, Elissa, Tamer Hosny, Angham, Wegz and Ahmed Saad (who led an impressive seven different ad campaigns) dominated Ramadan’s musical space.
Mohamed Jaber, vice president of Mazzika Group, explains this shift: “Brands are now creating songs that can live beyond Ramadan. The goal is for people to play these tracks at gatherings and celebrations, making them more than just an ad—they become part of our culture.”
The Soundtrack Lives On
Despite all these shifts, one thing remains unchanged—TV series intro songs still reign supreme. Since the 1980s, Ramadan drama intros have been a gateway for timeless hits. Legendary collaborations like Sayed Hegab and Ammar El Sherei set the foundation for this genre, creating unforgettable classics. This is evident in the iconic Layali El Helmeya (Al-Hilmiya Nights) theme song, written by Hegab, composed by Michel El Masry and performed by Mohamed El Helou in 1987.
The 1990s ushered in the golden era of intro soundtracks in both Egyptian and Syrian drama. In Egypt, poets like Ahmed Fouad Negm in Zizinia and Abdelrahman El Abnoudi with Ze’ab El Gabal penned lyrics for TV dramas, while Ali El Haggar’s performances of the songs “Bawabat El Halawani” and “El Mal wel Banoon” became iconic.
Meanwhile, in Syria, the 1994 series Nihayat Rajol Shujaa (The End of a Brave Man) marked a turning point. Featuring a fully composed original score by Tarek Al Nasser, its theme, “Ya Rouh La Tahzani,” became an integral part of the show’s identity.
Syrian drama also saw a flourishing partnership between director Hatem Ali and composer Taher Mamelli, who infused an epic musical approach into productions like “Al Fosoul Al Arbaa,” “Boqaat Daw” and “Thikrayat Az Zaman Al Qaadem.” Mamelli often unearthed local voices, adding authenticity to his scores.
The Rise of Pop Stars and the Evolution of Ramadan’s TV Theme Songs
TV series like Salah Ad Din Al Ayyubi (2002), Qasim Amin (2003) and Nizar Qabbani (2005) marked a turning point. Following their success, production companies began recruiting top pop stars for theme songs. Pop star Assala lent her voice to all three, bringing celebrated poets’ words to life and leaving a deep impression on Arab audiences. These songs transcended their series, taking on national and emotional significance.
During this era, Egypt’s Ramadan TV season changed, with more channels and bigger productions. Some lyricists preserved the ‘90s spirit, like Ayman Bahgat Kamar’s “Abbas Al-Abyad fi Al-Yawm Al-Aswad” (2004), composed by Mahmoud Talaat and performed by Medhat Saleh. However, commercial pressures meant lyricists often wrote intros based solely on show titles, leading to more generic hooks, as seen in the show El Kaboos.
New voices emerged in theme songs. Hisham Abbas performed “Yetrebba Fi Ezo” (2007), composed by Talaat. In 2010, Ahmed Mekky broke new ground by writing and performing his own hip-hop intro, a massive success in rural Egyptian dialect.
In the Gulf, Nawal Al Kuwaitia became a staple Ramadan drama voice, singing for Al Raha, Al Dereesha and Damat Omr, while Asma Lamnawar mastered Khaleeji music with Oyun Al Hob, Sara and Ahbabtak Mundhu Al Sighar.
Meanwhile, historical Syrian dramas grew in popularity. The iconic show Bab Al Hara (2006–2017) featured a legendary theme song, “Elli Beddo Yetahadda,” performed by Adnan Al Hallaq with lyrics by Osama Al Saud and music by Saad Al Husseini.
Pop stars continue to shape TV intros, making them more like standalone hits designed for viral success. This year, Syrian dramas introduced fresh voices like Ziad Bourji, Nassif Zeytoun, Rahma Riad and Abir Nehme. Rising star Al Shami debuted with Taht Sabe’ Ard, marking a strategic shift as producers capitalized on his recent fame.
The Rise of Shaabi and Mahraganat Music
By the mid-2010s, Ramadan’s musical landscape had expanded beyond traditional soundtracks. Enter the street anthems: Mahraganat and traditional hip-hop-infused tracks became regulars in TV series intros, performed by artists such as Hassan Shakosh and Bousy. In 2020, Bi 100 Wish (With a Hundred Faces) became the first show to feature a Mahragan intro song, Millionaire, performed by El Madfaagya and famed actress Nelly Karim.
Fast forward to Ramadan 2024 and 2025. Mahraganat star Essam Sasa achieved record-breaking success with his intro songs, ranking among the few to reach the Billboard Arabia charts. His track “Etnen Be Maqam Malayin” (Two Are Worth Millions), from the series Massar Egbari, landed in the Hot 100’s top 10 last year.
With Ramadan now a season of cultural significance beyond religious observance, its musical phenomenon continues to evolve, marking a unique space where nostalgia, innovation and commercial success intersect.
Dylan Scott’s “This Town’s Been Too Good to Us” jumps three places to No. 1 on Billboard’s Country Airplay chart (dated April 5). During the March 21-27 tracking week, the song increased by 17% to 27.5 million audience impressions, according to Luminate.
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Scott co-wrote the single with John Byron, Ashley Gorley, Taylor Phillips and Ryan Vojtesak.
The fourth Country Airplay leader for 34-year-old Scott from Bastrop, La., follows his duet with Dylan Marlowe, “Boys Back Home,” which hit No. 2 in January. Scott earned his first No. 1, among seven top 10s, with “My Girl,” in July 2017. He led again with “New Truck” in August 2022 and “Can’t Have Mine” in December 2023. All three of his previous chart-toppers ruled for one week each.
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Scott’s two other top 10s both reached No. 2: “Nobody,” in June 2021, and “Hooked,” in September 2018.
Meanwhile, as Scott’s latest leader hits the summit in its 55th chart week, it completes the longest trip to No. 1 since Parmalee’s “Gonna Love You” needed 56 frames to reach the apex in December.
Scott’s next album, Easy Does It, is due May 30.
38’s Special
Blake Shelton claims his 38th Country Airplay top 10 as “Texas” steps 11-10 (16.6 million, up 2%). The song follows his Post Malone collaboration “Pour Me a Drink,” which dominated for three weeks last October, becoming his 29th No. 1 (and Post Malone’s second).
Shelton’s first of 63 Country Airplay entries, “Austin,” dominated for five weeks starting in August 2001.
“Texas” is the lead single from Shelton’s album For Recreational Use Only, expected May 9.
All charts dated April 5 will update Tuesday, April 1, on Billboard.com.
Will Smith is back. The West Philly native returned with his first album since 2005’s Lost and Found on Friday (March 28) as Based on a True Story hit streaming services.
Smith doesn’t hold back on the LP as he confronts topics such as his infamous Oscars slap of Chris Rock in 2022, and the constant chatter surrounding his relationship with his wife, Jada Pinkett-Smith.
“Took a lot, I’m back on top, y’all gon’ have to get acclimatеd/ Won’t stop, my s–t’s still hot even though I won’t get nominatеd/ Personal life with my wife, mind your business, it’s complicated,” he raps on “You Lookin’ For Me?”
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Smith uses the opener “Int. Barbershop — Day” to set the tone for the project, which consists of a conversation between multiple people discussing various narratives that have shaped The Fresh Prince’s career.
“I heard he won the Oscar but he had to give it back/ And you know they only made him do that s–t because he’s Black,” one person says.
Another chimes in with a reference to the Chris Rock slap: “Him and Jada both crazy, girl, what you talkin’ bout/ You better keep his wife’s name out of your mouth.”
The conversation continues to touch on Will Smith being “canceled” temporarily, and how some may never forgive him for his actions. (The actor-rapper ended up receiving a 10-year ban from the Oscars for slapping Rock, which saw him tell the comedian to “keep my wife’s name out of your f—ing mouth” following a G.I. Jane joke about Pinkett-Smith.)
Smith has since resigned from the Academy of Motion Picture Arts and Sciences, and has been apologetic to Rock for slapping him onstage.
Earlier this week, the 56-year-old told the Associated Press that he’s “looking to be the best human I can possibly be, and I’m gonna take what I get with that” regarding his mindset going forward amid the fallout from the Oscars slap.
Smith’s Based on a True Story arrived on Friday. Before diving into the project, Smith revealed he called Jay-Z and Kendrick Lamar to solicit their advice on how he should go about getting back into rap.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Ariana Grande’s Eternal Sunshine gets brighter, Lil Durk shares his story and Selena Gomez finally releases a fan favorite. Check out all of this week’s picks below:
Ariana Grande, Eternal Sunshine Deluxe: Brighter Days Ahead
While Ariana Grande’s Eternal Sunshine album already feels like ages ago — thanks in part to a wildly successful Wicked campaign, which netted the pop superstar an Oscar nod — this deluxe edition not only adds six new top-notch cuts to her most recent full-length, but also serves as a reason to revisit one of Ari’s most accomplished artistic statements, one year later.
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Lil Durk, Deep Thoughts
Lil Durk’s ninth studio album exists in a singular context from the rest of his catalog, as the Chicago rap star is currently in prison and awaiting trial while facing murder-for-hire charges, but Deep Thoughts turns that uncertainty into a compelling listen, with Future, Lil Baby and Jhene Aiko all stopping by to support Durk as he works through his fears and doubts behind bars.
Selena Gomez, “Stained”
One week after she and fiancé Benny Blanco unveiled their collaborative album I Said I Love You First, Selena Gomez has given fans a thank-you gift with the studio version of “Stained,” a smoky standout that originally leaked in 2017 during an exciting creative run and, with its echoing harmonies and trap drums swirling around Gomez’s haunted words, still sounds fresh today.
Lucy Dacus, Forever is a Feeling
Lucy Dacus’ personal and professional circumstances have changed since her last full-length — she’s signed to a major label, the success of Boygenius has greatly elevated her profile, and she recently confirmed a relationship with Julien Baker, which serves as the basis of her new album’s romantic slant — but her distinct songwriting flair remains intact, and helps connect Forever is a Feeling to the rest of her oeuvre.
Playboi Carti, Music – Sorry 4 Da Wait
After flooding the Hot 100 with all 30 tracks from his long-awaited new album Music, Playboi Carti has tossed four new songs onto the project as a means of apologizing to fans for the prolonged gap between Whole Lotta Red and its follow-up; the final song, “FOMDJ,” is a tough-as-nails highlight, with the type of juxtaposition between crunchy production and elastic flow that Carti often embraces.
Linkin Park, “Up From the Bottom”
If From Zero, the rock group’s first album in seven years and Emily Armstrong’s debut as co-vocalist, represented a band working towards a new identity last year, the pulse-pounding “Up From the Bottom” may hint at the sound Linkin Park will explore more deeply in the future, as a punk anthem with coiled energy and more natural interplay between Armstrong and Mike Shinoda.
Feid feat. Ty Dolla $ign, “DALLAX”
The flip phones and cassette players featured in the music video to “DALLAX” are not the only retro components to Feid and Ty Dolla $ign’s new collaboration: as the reggaetón and R&B veteran bounce off each other, their styles blend into a sound that harkens back to the rhythmic pop of the turn of the century, with modern flourishes but a nostalgic foundation.
Mumford & Sons, Rushmere
At a moment when folk-rock is back in vogue, Mumford & Sons, perhaps the movement’s biggest breakthrough act in the early 2010s, has returned with an album that gestures toward the band’s past while not abiding by its boundaries. Rushmere is a free-wheeling rock affair that builds upon the confidence that Marcus Mumford demonstrated on his 2022 self-titled solo album.
Jessie Reyez, Paid in Memories
Paid in Memories is the sprawling project that Jessie Reyez has been working towards her entire career, with the singer-songwriter no longer reducing her aesthetic to chase success, writing about her experiences with heightened vulnerability and ultimately producing the best songs of her career. “NYB,” “BEGGIN 4 LUV” and the 6lack team-up “6LESSINGS” are immediate highlights.
Editor’s Pick: Free Range, Lost & Found
As Free Range, Chicago-based singer-songwriter Sofia Jensen writes songs that linger in the air and rattle in your brain long after they’ve dissipated. Lost & Found, their follow-up to 2023’s Practice, contains breathtaking beauty made out of very few production tricks — a testament to Jensen’s disarming delivery, as they yearn for connection and let their voice crack over straightforward yet effective arrangements.
Billie Eilish just revealed which female rapper has her vote for GOAT status — and given the fact that the MC in question is widely regarded as the Queen of Rap, the “Bad Guy” singer’s answer probably won’t be a surprise.
In a Complex video posted Thursday (March 27), Eilish and best friend/influencer Quen Blackwell discussed their greatest-of-all-time picks for a variety of different subjects. When it came to best female rapper, the nine-time Grammy winner didn’t need to think twice.
“Nicki Minaj is like, obviously …,” Eilish said. “Nicki is GOAT, for sure.”
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The star also shared her GOAT life-anthem songs, revealing, “Honestly, I’ve been listening to a lot of old Gaga — like, ‘Poker Face,’ ‘G.U.Y.,’ ‘Alejandro’ — that is my s–t right now.”
As for her favorite album to cry to, Eilish selected Sufjan Stevens’ Carrie & Lowell. “‘Fourth of July,’ specifically on that album, is so upsetting,” she told Blackwell. “Deeply, deeply upsetting. And so beautiful and just so dark.”
And when it came to GOAT vocalists, the California native had a few different answers. “Off the top of my head, Ella Fitzgerald is, like, my favorite singer,” she said. “Or f–king Tori Kelly. I’ve actually been a Tori Kelly fan since I think I was 11.”
“Beyoncé, I mean, duh,” Eilish added. “That’s duh. [Her voice] is so perfect. Perfect. Unbelievable. I’ve never heard her sing, like, a flat note ever.”
Eilish is currently on a short break from her ongoing Hit Me Hard and Soft Tour, which kicked off in North America in the fall. Following a run of Australian dates earlier this year, the two-time Oscar winner will resume the trek April 23 in Sweden to kick off a European leg lasting through July.
Her third studio album, Hit Me Hard and Soft, dropped in May 2024. The project reached No. 2 on the Billboard 200 and spawned Billboard Hot 100 top 10 hits “Lunch” and “Birds of a Feather.”
Watch Eilish discuss her GOAT choices above.
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Will Smith ain’t duckin’ nothin’. On his new album, “Based on a True Story”, he’s finally speaking on that infamous night at the 2022 Oscars when he slapped the soul out of Chris Rock and he’s doing it with bars.
Instead of running from the hate, Will leans all the way in, firing back at the trolls, the critics, and the whole industry that tried to cancel him. From the jump, he sets the tone. Track one starts with a voice saying, “Will Smith is canceled,” followed by a chaotic back-and-forth of different voices throwing shade.
“Who the f**k Will Smith think he is?” one asks, while another chimes in, “I ain’t never going to forgive him for that sh*t he did.” The track, featuring his day-one DJ Jazzy Jeff and B. Simone, plays like a raw conversation straight from the comments section, nothing held back. Then comes “You Lookin’ for Me?”, where Will really pops his ish.
The Philly legend raps, “Took a lot, I’m back on top/ Y’all gon’ have to get acclimated/ Won’t stop, my sh*t still hot/ Even though I won’t get nominated.” He knows the Academy banned him, but that ain’t stopping the grind. Will’s basically saying, “Y’all thought I was finished? Nah, I’m still here.”
This ain’t no apology tour, it’s a statement. Will Smith is flipping the script, owning his story, and letting the world know he’s still standing. Love him or hate him, he’s talking his talk, and he clearly ain’t worried about who’s mad.
Mumford & Sons announced an extensive summer 2025 North American tour on Friday (March 28) in support of their just-released Rushmere album. To celebrate the folk rockers’ first LP in seven years, Marcus Mumford, Ben Lovett and Ted Dwane will launch a summer tour of arenas and amphitheaters beginning on June 5 at the Hayden Homes Amphitheater in Bend, OR.
The run will feature stops in California, Indiana, Ohio, New York, Ontario, Montana, Colorado, Georgia and Alabama during the summer, before the group return in October for a second string of dates in Illinois, Pennsylvania, Quebec, Tennessee, Texas and Oklahoma, winding down at the CHI Health Center Arena in Omaha, NE on Oct. 26.
The new album — named for the spot in Wimbledon, U.K. where the band members first met — was produced in collaboration with Grammy-winner Dave Cobb and recorded in Nashville, Savannah, GA and Devon, England. The upcoming run of dates will expand on a series of intimate shows the group performed this month in Europe, Australia and the U.S., culminating with a gig on Wednesday (March 26) in Brooklyn.
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Tickets for the North American shows will go on sale on April 4; click here for information on pre-sale and on-sales. Mumford & Sons has teamed with PLUS 1 to support War Child, with $1 from every ticket sold going to the organization to help and protect children affected by war.
Check out the tour dates for Mumford & Sons’ 2025 North American tour (and their European swing) below.
June 5: Bend, OR @ Hayden Homes Amphitheater*
June 9: Berkeley, CA @ The Greek Theatre*
June 12: Los Angeles, CA @ Hollywood Bowl†
June 14: West Valley City, UT @ Utah First Credit Union Amphitheatre†
June 17: Noblesville, IN @ Ruoff Music Center†
June 18: Cuyahoga Falls, OH @ Blossom Music Center†
June 20: Mansfield, MA @ Xfinity Center†
June 21: Saratoga Springs, NY @ Saratoga Performing Arts Center‡
June 22: Columbia, MD @ Merriweather Post Pavilion†
June 24: Toronto, ON @ Budweiser Stage†
July 18: Quincy, WA @ The Gorge Amphitheatre§
July 19: Whitefish, MT @ Under The Big Sky Festival
July 21: Morrison, CO @ Red Rocks Amphitheatre^
July 22: Morrison, CO @ Red Rocks Amphitheatre^
July 24: Bonner Springs, KS @ Azura Amphitheater#
July 26: Alpharetta, GA @ Ameris Bank Amphitheatre#
July 27: Charleston, SC @ Credit One Stadium#
July 29: Raleigh, NC @ Coastal Credit Union Music Park||
July 31: Huntsville, AL @ Orion Amphitheater||
August 8: Forest Hills, NY @ Forest Hills Stadium~
Oct. 8: Chicago, IL @ United Center**
Oct. 9: St. Paul, MN @ Xcel Energy Center**
Oct. 11: Milwaukee, WI @ Fiserv Forum**
Oct. 12: Columbus, OH @ Nationwide Arena**
Oct. 14: Philadelphia, PA @ Wells Fargo Center**
Oct. 16: Buffalo, NY @ KeyBank Center**
Oct. 17: Montréal, QC @ Centre Bell**
Oct. 19: Pittsburgh, PA @ PPG Paints Arena**
Oct. 20: Detroit, MI @ Little Caesars Arena**
Oct. 22: Nashville, TN @ Bridgestone Arena††
Oct. 24: Austin, TX @ Moody Center††
Oct. 25: Tulsa, OK @ BOK Center††
Oct. 26: Omaha, NE @ CHI Health Center Arena††
2025 European tour dates
July 4: Dublin, Ireland @ Malahide Castle
July 7: Verona, Italy @ Arena di Verona
Nov. 6: Stockholm, Sweden @ Avicii Arena
Nov. 8: Copenhagen, Denmark @ Royal Arena
Nov. 10: Berlin, Germany @ Uber Arena
Nov. 12: Cologne, Germany @ Lanxess Arena
Nov. 13: Antwerp, Belgium @ Sportpaleis
Nov. 14: Paris, France @ Adidas Arena
Nov. 16: Esch-sur-Alzette, Luxembourg @ Rockhal
Nov. 17: Amsterdam, Netherlands @ Ziggo Dome
Nov. 19: Bologna, Italy @ Unipol Arena
Nov. 20: Zurich, Switzerland @ Hallenstadion
Nov. 21: Milan, Italy @ Unipol Forum
Nov. 23: Barcelona, Spain @ Palau Sant Jordi
Nov. 25: Lisbon, Portugal @ Sagres Campo Pequeno
Nov. 29: Newcastle, U.K. @ Utilita Arena††
Nov. 30: Leeds, U.K. @ First Direct Arena††
Dec. 2: Glasgow, U.K. @ OVO Hyrdo††
Dec. 3: Manchester, U.K. @ Co-op Live††
Dec. 5: Sheffield, U.K. @ Utilita Arena††
Dec. 7: Birmingham, U.K. @ Utilita Arena††
Dec. 8: Cardiff, U.K. @ Utilita Arena††
Dec. 10: London, U.K. @ The O2††
Dec. 11: London, U.K. @ The O2††
*with Divorce
†with Good Neighbours
‡with Gigi Perez
§with Japanese Breakfast
^with Madison Cunningham
#with Gregory Alan Isakov
||with Margo Price
~with Lucius
**with Michael Kiwanuka
††with Sierra Ferrell