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Amid his 2023 tour El Amor 30 Años Después del Amor — which celebrates the 30-year anniversary of the seminal album El Amor Después del Amor — Fito Páez made a stop to headline Viña del Mar International Song Festival on Wednesday (Feb. 22).
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The Argentine artist arrived on stage with buoyant energy and colors that brought instant cheer. He sported a lemon yellow coat, turtleneck and lime green scarf combo; his scruffy salt-and-pepper curls looked splendidly unruly, and wore red-tinted glasses to boot.
This was the fifth time the legendary composer rocked the stage at the Quinta Vergara amphitheater; the last time he performed at the festival was in 2014. This time, he was honored with two trophies, a Gaviota de Plata and a Gaviota de Oro. The multi-Latin Grammy-winning artist performed nearly 90 minutes of all killer, no filler hits from Después del Amor and more like “Al Lado del Campo,” “Ciudad de Pobres Corazones,” and “Circo Beat.”
Above all, he testified why the celebrated Amor… became the best-selling album in the history of Argentine rock — it’s simply loaded with timeless hits. Although he had plenty of material to choose from, with close to 30 studio albums under his belt, all the songs from the iconic record were greatly received with fans singing along, and some with tears.
On its fourth night. Here are some highlights from the 64th annual installment of Viña del Mar.
His Genuine Songwriting
He opened the show with the iconic “El Amor Después del Amor,” which made for a grand entrance that needed no elaborate dancers, no smoke effects, no pyrotechnics — just him and his band. His impeccable songwriting was centerfold, highlighting introspective themes about finding love after love (of course), nomadic lives, magic and rock ‘n’ roll. With over 15,000 attendees present, Fito created a kind of bond with the audience that felt intimate and always genuine. Even from my screen, it’s clear how the amphitheater resonated with seemingly each attendee knowing every lyric.
His Piano-Playing Prowess
At any given moment when Páez pounded the keys to his grand piano, the energy instantly amplified. He demonstrated his piano-playing mastery. Although he left many of the album’s songs intact, he did present riveting brass-powered arrangements to a handful of tunes with the help of his live band, which resulted in a livelier Viña. He gave a lot more shine to his main instrument on the piano ballad “Un Vestido y Un Amor,” which inspired a massive singalong.
Genuineness And Flamboyance
There’s a charming quality about his flamboyant swagger that draws us in. Whether he’s pounding away at the piano, strumming his Gibson guitar, or showcasing that rocker flair, his every move captured our attention. He has a unique demeanor; that mixed with his genuineness creates a very beloved rock star that spans generations. Grandmothers, couples, and fellow Argentine newcomer Nicki Nicole was among the crowd.
“Lo que yo necesitaba en esa época cuando era joven y sin ningún tipo de norte, igual que ahora, era irse lejos para reconocer a otra realidad, a uno propio, hay que llegar ser, y en eso apareció esta canción,” he said before playing the stunning “Tumbas de la Gloria.” (“What I needed at that time when I was young and without any kind of direction, was to go far away to recognize another truth, and one’s self. That’s when this song appeared.”)
LONG LIVE LATIN ROCK
Fito showcased heavier rock riffs on a mustard-colored Gibson guitar when performing “Ciudad de Pobres Corazones,” boasting his instrument versatility. With distorted strumming, he turned the night into a Latin rock affair. Yet, in the 60-minute mark of the show, Páez’s lead guitarist — who was clad in black leather pants and a slick blazer — took the spotlight for a riveting three-minute rock solo. Armed with frenetic fretwork and screeching riffs, the man impressed with every improvisational note, and the crowd loved it.
Towards the end of his solo, he kneeled to the floor, and raised his guitar high, thus resurrecting the glory days of hard rock for the current times.
For the first time in its more than six-decade history, the Viña del Mar International Song Festival is being livestreamed in the United States, exclusively on Billboard.com, Billboard’s YouTube channel, and via Twitter @Billboard. The six-day festival continues Christina Aguilera on Feb. 23; and ending with Camilo on Feb. 24. All headliners will perform at 8 p.m. ET.
Find the rest of the week’s schedule below:
Thursday, Feb. 23: Christina Aguilera
Friday, Feb. 24: Camilo
The Weeknd and Ariana Grande’s anticipated remix of his song ‘Die For You’ off his 2016 album ‘Starboy’ which has found new popularity in the past year due to TikTok. BlackPink’s Rosé tops the Hot Trending Songs chart powered by Twitter, R&B legend Mario sings his hit ‘Let Me Love You’ during our interview with him, SZA is on our Billboard cover talking all about what it feels like to be Woman Of the Year and more!
Rosé’s cover of Stephen Sanchez’s “Until I Found You” crowns Billboard’s Hot Trending Songs chart dated Feb. 25.
Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Feb. 10-16.
The BLACKPINK member’s cover of Sanchez’s original was released on YouTube Feb. 10 to coincide with Rosé’s 26th birthday the next day, Feb. 11.
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Though it’s Rosé’s first solo No. 1 on the chart, which began in 2021, she boasts a pair of leaders via BLACKPINK: “Pink Venom” and “Shut Down,” both in 2022.
“You,” Sanchez’s breakthrough hit, concurrently lifts 8% in official U.S. streams in the Feb. 10-16 tracking week, garnering 9.4 million streams in all, according to Luminate.
Rosé is followed on the latest Hot Trending Songs chart by $uicideboy$ and Shakewell’s new collaboration “Big Shot Cream Soda,” which bows at No. 2. The song premiered Feb. 15.
Skrillex’s “Ratata,” featuring Missy Elliott and Mr. Oizo, follows at No. 3; it was released Feb. 15 as a final taste of the producer’s new album, Quest for Fire, which was released Feb. 17. (More Skrillex entries are possible on the Hot Trending Songs chart dated March 4 after the release of Quest and its immediate successor, Don’t Get Too Close, on Feb. 18.)
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
After hosting a string of shows in January as part of his One Big Party Tour that showcased acts such as Lil Durk, Kodak Black, Jeezy, and more, Future looks to extend the festivities this March with 11 more concerts.
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Beginning March 9, he will touch down in a bevy of cities for his arena tour, including New Orleans, Dallas, Milwaukee and more. Presented by AG Entertainment, The Future and Friends One Big Party Tour will boast a star-studded lineup with Don Toliver, G Herbo, Mariah the Scientist and Dess Dior hitting the road alongside the hip-hop polymath.
“The One Big Party Tour has been life-changing,” Future tells Billboard. “It helps me connect with my fans in ways that are unimaginable. The success and energy from the shows brought such excitement that I want to continue this tour for my fans in more cities. I want to create an experience that forever stays in their memories. I will continue to expand by touring for all my fans around the world and elevate my shows across the globe each time I go out. I’m thankful to my fans for their priceless love and unconditional support! Let’s win again together as ONE.”
Future is coming off a successful run with his ninth studio album, I NEVER LIKED U. The album debuted at No. 1 on the Billboard 200 last year, anchored by its Billboard Hot 100 chart-topper “Wait for U” featuring Drake and Tems. The record also scored a Grammy for best rap/sung collaboration at this year’s ceremony.
Check out the tour dates below. Tickets can be purchased on the One Big Party Tour website, while media outlets can reach out Abesi PR Media & Marketing: abesi@7thandlotus.com for inquires about the tour.
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3/9 New Orleans, LA — Smoothie King Center
3/12 Dallas, TX — American Airlines Center
3/17 Fort Lauderdale, FL –Fla Live Arena
3/19 Jacksonville, FL — Vystar Veterans Memorial Arena
3/24 Philadelphia, PA — Wells Fargo Center
3/25 Columbus, OH — Nationwide Arena
3/26 Milwaukee, WI — Fiserv Forum
4/1 Oakland, CA — Oakland Arena
4/6 Indianapolis, IN — Gainbridge Fieldhouse
4/7 Kansas City, KS — T-Mobile Center
4/8 Minneapolis, MS — Target Center
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Pink is back in business with Trustfall, an album that’s at or en route to the top of the charts around the globe. And when she hits the road in support of it, you’ll know about it.
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Everything in Alecia Moore’s world, it seems, is shiny and large, colorful. Pink, even. The Philly native is a total drawcard.
Her ninth and latest album, however, explores some of the tougher angles of life.
On Tuesday night (Feb. 21), Pink stopped by The Late Show With Stephen Colbert, for an exploration of her music, family, courage and more.
Of her new LP and its title, she explains: “I feel like all of us are walking around sort of with this low level of trauma in our bodies and it takes a lot of trust to be human being these days, to get out of bed in the morning, go to work, and drop your kids off at school, and go to public places and participate in elections and have a vagina. It just takes a lot of trust.”
Not everything is shiny and colorful. “I know a lot of teenagers, also, I think a lot of people have anxiety, a lot of kids have anxiety, and a lot of us feel like we’re falling backwards. And we don’t know where the ground is now,” she says. “That’s a trustfall…you have to ask yourself, what’s worth falling for and who’s supposed to catch you, can you catch yourself.”
The pop superstar also discussed reuniting with Chris Stapleton on “Just Say I’m Sorry” (“it sounds dumb, but I just called him up. I am a fan”), collaborating with her own kids (no, they don’t want to follow her lead into showbiz), and the music industry (“I hate people who gave advice”).
And she shared her origin tale of the music biz, which began in the 1990s when Moore signed as a 16-year-old as part of an “absolutely terrible” group. The band was eventually shelved, but the fearless singer stepped up and out, signed a new contract at 17 and eventually released her own music to the world at age 20. “The business is very different now,” she explains.
Pink also performed “When I Get There,” lifted from Trustfall (Feb. 17), which dropped last Friday through RCA. Her Summer Carnival 2023 jaunt kicking off in late July followed by the TRUSTFALL arena tour starting Oct. 12 at the Golden 1 Center in Sacramento, Calif.
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Following the inaugural edition of Bésame Mucho in Los Angeles last December, the music festival announced on Tuesday (Feb. 21) the lineup for its second edition.
With headliners Maná, Los Bukis and Gloria Trevi, Bésame will return to Dodger Stadium as a one-day event on Dec. 2. Like last year, it will consist of stages representing different genres. Rock, classics and pop will get their own stage again.
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The “Rockero Stage” will feature sets by artists such as Natalia Lafourcade, La Ley, Ska-P, Aterciopelados and Maldita Vecindad. The “Las Clásicas Stage” roster includes Alejandro Fernández, Pepe Aguilar, Los Tucanes de Tijuana and Conjunto Primavera. Meanwhile, the “Te Gusta El Pop?” stage’s lineup includes Reik, Camila, Belinda, Emmanuel and Jesse & Joy. Returning artists from last year include Café Tacvba, Hombres G, Enanitos Verdes, Ramon Ayala and Banda El Recodo.
Last year, the inaugural Bésame Mucho festival edition sold out in 12 minutes, according to sources, when the 2000s-inspired lineup was announced. At the actual event, thousands of fans had to sprint across the stadium’s parking lot to catch whichever act was on their must-see list. The literal back-to-back sets were 35-50 minutes in length, which fans weren’t too crazy about, especially with technical difficulties that impacted the sound leaving artists to deal with the situation onstage and, ultimately, left them with a shorter set. This year’s lineup isn’t as packed as last year, which could lead to more efficient set transitions and overall production quality.
Tickets for Bésame Mucho 2023 will go on sale Friday, Feb. 24 at 10am PT.
The Kid LAROI closed out the final day of NBA All-Star Weekend Sunday night (Feb. 19) with an unforgettable headlining performance at the AT&T NBA All-Star Pre-Game Concert. However, it’s his two new singles, “Kids Are Growing Up” and “Love Again,” that have fans most excited for his upcoming debut studio album, The First Time.
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“I’m super happy, man. I’m happy to be putting stuff out again and thrilled to be going on tour again,” LAROI tells Billboard about returning to the music scene after a two-year absence. “Believe it or not, I feel like a lot of artists don’t enjoy touring — but I went on my first one last year, and that shit was so f–king fun.”
During the conversation with the 19-year-old artist, it’s clear that he has an unwavering desire to achieve greatness and create music that deeply resonates with his fans. Citing the late Kobe Bryant as one of his favorite basketball players, the Lakers legend’s strong work ethic has profoundly impacted the young Australian’s approach to his craft.
“I’ve been making [the album] over the past two years,” LAROI explains. “Not two years of every day working towards this album, but two years in between other stuff. Making little ideas, and the stuff that I started with at the beginning that I’m going to see through to the end with this [album]. And then the stuff that I made three days ago that I feel needs to be on the f–king thing. So, it’s just been a slow process.”
The young prodigy says that he’s really buckled down the past three or four months to complete the much-anticipated musical release. His last project, the Billboard 200 chart-topper F–k Love 3, was something that he confessed he’s not particularly proud of from a messaging perspective.
“I kind of don’t like that project, man,” he chuckles. “To be honest, I don’t really agree with a lot of the stuff on there anymore. I mean, I don’t agree with the message of the album in general. ‘F–k Love,’ I think it was an immature statement to make. I think it was like a heat of the moment statement.”
In recent years, LAROI’s home country Australia has made an undeniable impact in producing a diverse range of talents in sports and entertainment, including NBA players Ben Simmons, Josh Giddey and Patty Mills. Simmons, in particular, was thrust into the public eye at a young age, an experience that LAROI can relate to — acknowledging that navigating personal growth in the public eye has been a process of trial and error. However, this unique vulnerability and outlook have helped him build a devoted base early in his career, and as The First Time approaches its release date, fans can anticipate more of his exceptional vulnerability and perspective that have propelled him to early fame.
“For me, I think I look at it [as] a big blessing. It’s also a bit of a curse,” LAROI says about his global success at a young age. “I signed my record deal with Columbia when I was 15 … at 15, you don’t know anything. You really don’t. You’re like a literal child, even if you don’t understand that at the time. I’m about to be 20 this year, and I f–king look back at 15, and I feel like I was a literal child and a baby.”
Fans can expect a fresh outlook from LAROI on this up-and-coming LP — but the young star still puts everything in appropriate perspective when it comes to his past efforts.
“The cool thing about music and putting stuff out is it’s like a time capsule, right?” he says. “So, it’s like, ‘Whatever, that’s how I felt at the time.’ And it’s cool that I get to look back, cringe at it, and be proud of the next stuff I’m about to put out.”
Korean music company HYBE is more than getting by with its primary artist, BTS, on hiatus and its members pursuing solo projects and preparing for military duty. In 2022, HYBE’s revenue grew 41.6% to 1.78 trillion won ($1.41 billion at the Dec. 31, 2022 exchange rate), the company announced Tuesday (Feb. 21).
Adjusted earnings before interest, taxes, depreciation and amortization rose 23.9% to 328.8 billion won ($260.5 million). Margins were thinner that in previous years, however. Last year’s operating margin (as a percent of revenue) fell to 13.4% from 15.1% in 2021 and 18.3% in 2020. Adjusted EBITDA margin dropped to 18.5% from 21.1% in 2021 and 20.2% in 2020.
HYBE breaks revenue into two main categories: artist direct-involvement and artist indirect-involvement. Direct involvement revenues cover such things as recorded music, touring and management. Recorded music sales improved 47% to 553.9 billion won ($438.9 million) and was the largest single revenue source. Concert revenue jumped 470.1% to 258.2 billion won ($204.6 million) as artists returned to touring after scaling back performances during the pandemic.
BTS may be taking a break but it’s still HYBE’s sales leader in album-loving Korea. Four HYBE artists were in the top 10 of Korea’s year-end album tally: BTS was No. 1 with 5.75 million units, Seventeen was No. 3 with 5.56 million units, Tomorrow X Together was No. 5 with 2.78 million units and ENHYPEN was No. 8 with 2.64 million units. Le Sserafim was the No. 15 artist with 1.29 million units. As a point of comparison, the top album in the U.S. last year, Taylor Swift’s Midnights, sold the equivalent of 1.8 million units.
Artist indirect involvement revenue grew only 9.7% in the calendar year. Merchandising and licensing improved 24.8% to 395.6 billion won ($313.5 million) and fan club revenue grew 47.1% to 67.1 billion won ($53.2 million).
In the fourth quarter, HYBE’s revenue grew 16.9% to 535.3 billion won ($424.2 million) in the fourth quarter of 2022. Recorded music revenue jumped 76.4% to 149.1 billion won ($118.2 million) and was the largest single source of revenue.
BTS’s global success has allowed HYBE to diversify itself and rely less on the K-pop super group. In 2017, Korea accounted for 72% of HYBE’s revenues compared to 14% for Japan and 9% for North America. In 2022, HYBE had grown 19-fold from 2017 and had almost evenly balanced business between its three main markets: Korea (33% of revenue), North America (32%) and Japan (28%). The rest of the world contributed just 7% of HYBE’s 2022 revenue — but that could change if the company’s newest investment works as expected.
HYBE’s recent acquisition of a leading stake in competing K-pop company SM Entertainment is an opportunity to develop in markets where it currently has little presence. CEO Park Jiwon explained during Tuesday’s earnings call that HYBE artists can benefit from SM Entertainment’s strong network and infrastructure in China and Southeast Asia. Likewise, HYBE believes it can help SM Entertainment in the North American market.
HYBE latest acquisition didn’t impact 2022 results but will help expand its presence outside of Korea in 2023. On Feb. 8, HYBE purchased QC Media Holdings, the parent company of Atlanta-based hip-hop label Quality Control Music, the home of Migos and Lil Baby, for $300 million. Quality Control will sit under HYBE America and the leadership of CEO Scooter Braun, whose Ithaca Projects was acquired by HYBE in 2021.
The 2023 NAACP Image Awards is announcing winners in several non-televised categories via streaming presentations all week long leading up to the live ceremony.
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During night one, hosted by actor Khleo Thomas, the NAACP presented a number of awards in the outstanding recording categories. Presenters included Crystal Renee Hayslett, Echo Kellum and Jotaka Eaddy.
On Monday night, Beyoncé took home the most awards, including outstanding female artist, outstanding soul/R&B song for “Cuff It” and outstanding album for Renaissance. The next top winner was Chris Brown with two awards for outstanding male artist and outstanding duo, group or collaboration (contemporary) with Wizkid for “Call Me Every Day” from his album Breezy.
Rihanna also picked up a win for outstanding music video/visual album for her song “Lift Me Up” from the film Black Panther: Wakanda Forever.
Other notable winners include Silk Sonic for outstanding duo, group or collaboration (Traditional) for “Love’s Train,” Black Panther: Wakanda Forever for outstanding soundtrack/compilation album, Quavo and Takeoff for outstanding hip hop/rap song for “Hotel Lobby,” and Erica Campbell for outstanding gospel/Christian song for “Positive.”
Beyoncé and Kendrick Lamar tied for the most nominations in the music recording categories, with five, respectively. RCA Records/RCA Inspiration also received the most nominations across record labels, with 11 noms.
The NAACP will continue to recognize winners in non-televised categories virtually at 5 p.m. PT through Thursday, and at an awards dinner and program on Friday. Then on Saturday at 8 p.m. ET, the 54th NAACP Image Awards will air live on BET from the Pasadena Civic Auditorium.
The NAACP Image Awards recognizes the achievements and performances of people of color across more than 80 categories. Find the full list of nominees here.
A complete list of the awards handed out the first night follows.
Outstanding International Song“Bad To Me” – Wizkid (RCA Records/Starboy/Sony Music International)Diana feat. Shenseea – Fireboy DML, Chris Brown (YBNL Nation / EMPIRE)“Last Last” – Burna Boy (Atlantic Records)“No Woman No Cry” – Tems (Def Jam Recordings) (WINNER)“Stand Strong” – Davido feat. Sunday Service Choir (RCA Records/Sony Music UK)
Outstanding Jazz Album – InstrumentalDetour – Boney James (Concord Records)Henry Franklin: Jazz Is Dead 014 – Henry Franklin, Ali Shaheed Muhammad, Adrian Younge (WINNER)The Funk Will Prevail – Kaelin Ellis (NCH Music)The Gospel According to Nikki Giovanni – Javon Jackson (Solid Jackson Records)Thrill Ride – Ragan Whiteside (Randis Music)
Outstanding Gospel/Christian Song“All in Your Hands” – Marvin Sapp (Elev8 Media & Entertainment LLC)“Fly (Y.M.M.F.)” – Tennessee State University (TSU/Tymple)“Positive” – Erica Campbell (My Block Inc.) (WINNER)“Whole World In His Hands” – MAJOR. (MNRK Music Group)“Your World” – Jonathan McReynolds (MNRK Music Group)
Outstanding Gospel/Christian AlbumAll Things New – Tye Tribbett (Motown Gospel)Hymns – Tasha Cobbs Leonard (Motown Gospel)Kingdom Book One – Maverick City Music & Kirk Franklin (Tribl Records, Fo Yo Soul Recordings and RCA Inspiration) (WINNER)My Life – James Fortune (FIYA World/MNRK Music Group)The Urban Hymnal – Tennessee State University (TSU/Tymple)
Outstanding Duo, Group or Collaboration (Traditional)Kendrick Lamar feat. Blxst & Amanda Reifer – “Die Hard” (pgLang/Top Dawg Entertainment/Aftermath/Interscope Records)Mary J. Blige feat. H.E.R. – “Good Morning Gorgeous Remix” (300)PJ Morton feat. Alex Isley and Jill Scott – “Still Believe” (Morton Records)Silk Sonic – “Love’s Train” (Atlantic Records) (WINNER)Summer Walker, Cardi B, and SZA – “No Love” (LVRN/Interscope Records)
Outstanding Duo, Group or Collaboration (Contemporary)Beyoncé feat. Grace Jones and Tems – “MOVE” (Columbia Records/Parkwood Entertainment)Chris Brown feat. Wizkid – “Call Me Every Day” (RCA Records/Chris Brown Entertainment) (WINNER)City Girls feat. Usher – “Good Love” (Motown Records/Quality Control Music)Future feat. Drake and Tems – “Wait For U” (Epic Records)Latto feat. Mariah Carey and DJ Khaled – “Big Energy (Remix)” (RCA Records)
Outstanding Music Video/Visual Album“About Damn Time” – Lizzo (Atlantic Records)“Be Alive” – Beyoncé (Columbia Records/ Parkwood Entertainment)“Lift Me Up” – Rihanna (Def Jam Recordings) (WINNER)LORD FORGIVE ME feat. FAT, Pharrell and OLU of EARTHGANG – TOBE NWIGWE (THE GOOD STEWARDS COLLECTIVE)The Heart Part 5 – Kendrick Lamar (pgLang/Top Dawg Entertainment/Aftermath/Interscope Records)
Outstanding Soundtrack/Compilation AlbumBlack Panther: Wakanda Forever – Music From and Inspired By – Ryan Coogler, Ludwig Göransson, Archie Davis and Dave Jordan (Hollywood Records) (WINNER)Bridgerton Season Two (Soundtrack from the Netflix Series) – Kris Bowers (Capitol Records)Entergalactic – Kid Cudi (Republic Records)P-Valley: Season 2 (Music From the Original TV Series) – Various Artists (Lions Gate Records)The Woman King – Terence Blanchard (Milan Records)
Outstanding Male ArtistBrent Faiyaz – Wasteland (Lost Kids)Burna Boy – Love, Damini (Atlantic Records)Chris Brown – Breezy (Deluxe) (RCA Records/Chris Brown Entertainment) (WINNER)Drake – Honestly, Nevermind (OVO/Republic Records)Kendrick Lamar – Mr. Morale & the Big Steppers (pgLang/Top Dawg Entertainment/Aftermath/Interscope Records)
Outstanding Female ArtistAri Lennox – age/sex/location (Dreamville/Interscope Records)Beyoncé – Renaissance (Columbia Records/Parkwood Entertainment) (WINNER)Chlöe – Surprise (Columbia Records/Parkwood Entertainment)Jazmine Sullivan – Hurt Me So Good (RCA Records)SZA – S.O.S. (RCA Records/Top Dawg Entertainment)
Outstanding Soul/R&B Song“About Damn Time” – Lizzo (Atlantic Records)“Cuff It” – Beyoncé (Columbia Record/Parkwood Entertainment) (WINNER)“Good Morning Gorgeous Remix feat. H.E.R.” – Mary J. Blige (300)“Hurt Me So Good” – Jazmine Sullivan (RCA Records)“Lift Me Up” – Rihanna (Def Jam Recordings)
Outstanding Hip Hop/Rap SongBillie Eilish – Armani White (Def Jam Recordings)City of Gods – Fivio Foreign (Columbia Records)Hotel Lobby – Quavo, Takeoff (Motown Records/Quality Control Music) (WINNER)The Heart Part 5 – Kendrick Lamar (pgLang/Top Dawg Entertainment/Aftermath/Interscope Records)Wait for U – Future feat. Drake and Tems (Epic Records)
Outstanding Albumage/sex/location – Ari Lennox (Dreamville/Interscope Records)Breezy (Deluxe) – Chris Brown (RCA Records/Chris Brown Entertainment)Mr. Morale & the Big Steppers – Kendrick Lamar (pgLang/Top Dawg Entertainment/Aftermath/Interscope Records)Renaissance – Beyoncé (Parkwood/Columbia Records) (WINNER)Watch the Sun – PJ Morton (Morton Records)
This article originally appeared in THR.com.