genre hiphop
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Usher‘s mid-concert antics narrowly avoided a health concern while in London, with the singer attempting to feed cherries to an audience member with an allergy to the fruit. Explore Explore See latest videos, charts and news See latest videos, charts and news Fans of Usher and his live shows have undoubtedly found themselves more than […]
John Legend is opening up the “descent” of his former friend Ye.
In a new interview with The Times, published on Saturday (May 10), the 46-year-old R&B singer expressed shock over the dramatic changes in Ye (formerly Kanye West) after their close personal and professional bond in the early 2000s.
“Back then Kanye was very passionate, very gifted, and he had big dreams not only for himself but also for all the people around him,” Legend said, reflecting on how West helped launch his career after collaborating on the rapper’s 2004 album, The College Dropout. “He had so much optimism, so much creativity. It does feel sad, sometimes shocking, to see where he is now.”
The EGOT winner signed with West’s G.O.O.D. Music after releasing a pair of self-produced albums early in his career. The two artists collaborated on numerous projects over the years, but their friendship began to fray after West, 47, voiced support for Donald Trump’s 2016 presidential campaign. Their relationship ultimately ended in the aftermath of West’s unsuccessful 2020 presidential bid.
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“I didn’t see a hint of what we’re seeing now, his obsessions with antisemitism, anti-blackness, and it is sad to see his devolution,” Legend told The Times.
Ye has faced backlash in recent months for his hate-filled, antisemitic rants on social media. The rapper has also expressed support for Diddy, who is currently on trial for sex trafficking charges.
Legend admits he’s not qualified to “psychoanalyze” West, but offers a guess as to why the embattled rapper has changed so much in recent years.
“After his mother passed in 2007 there was definitely a difference,” the singer said. “His descent started then and seems to have accelerated recently.”
West’s mother, Donda, died of a heart attack at age 58 in 2007 following complications from multiple cosmetic procedures. After her death, the rapper released two albums bearing her name: Donda (2021), which debuted at No. 1 on the Billboard 200, and Donda 2 (2022), which was initially available exclusively on the Stem Player before being released on streaming services in late April.
Elsewhere in The Times interview, Legend reflected on West’s undeniable impact in launching his career.
“Kanye blew up after producing Jay-Z’s album The Blueprint in 2001,” he said. “Then he experienced a buzz as a solo artist and the whole time I was traveling with him, doing shows with him, getting exposure not only as his singer and keyboard player but also as an artist myself. I had been turned down by labels everywhere. Then The College Dropout sold 400,000 copies in its first week, everyone wanted to know what was happening in our camp.”
The singer added, “All those people who turned me down suddenly decided that my music sounded a lot better than it did the first time round.”
A 100-degree day in the desert was the scene to kick off the After Hours Til Dawn Tour in Arizona on Friday night (May 9). The Weeknd and Playboi Carti matched the heat and brought the fire to the State Farm Stadium stage, setting the tone for the 43-date North American trek. 60,000 of the […]
It’s been more than a year since Kendrick Lamar upended the rap game and significantly altered the course of popular culture with “Not Like Us,” the five-time Grammy-winning, Billboard Hot 100-topping knockout punch in his monthslong battle against Drake. If the feverish crowd at New Jersey’s MetLife Stadium on Friday night (May 10) was anything to go by, K.Dot’s ongoing domination isn’t likely to subside anytime soon.
Lamar and SZA, former TDE labelmates and both global superstars in their own rights, graced the NYC-area venue for their second of two shows in East Rutherford, N.J., on their blockbuster Grand National Tour. One of the most ambitious treks in hip-hop history, the Grand National Tour is a towering achievement.
From mainstream-conquering smashes (“Luther,” “Humble,” “DNA”) to headier deep cuts from his latest Billboard 200 chart-topper (“Man at the Garden,” “Reincarnated”), Lamar meticulously presented hip-hop as stadium-sized theater. He didn’t do so by relying on flashy production or set design; instead, he stripped hip-hop down to its five founding pillars, laying bare the incomparable art form that is emceeing on a hot mic.
Kicking things off with GNX opener “Wacced Out Murals,” Lamar launched the nearly three-hour extravaganza all on his lonesome. Lamar and SZA traded sets bridged by beloved duets like “Doves in the Wind,” “All the Stars” and the more recent “30 for 30 Freestyle.” Though both artists sourced the bulk of their sets from their most recent releases (GNX for Lamar and SOS Deluxe: LANA for SZA), they also held space for their respective catalogs. Lamar rapped the opening verse of “Swimming Pools” completely a cappella for his “day ones”; SZA frequently shouted out her “Ctrl babies” before performing cuts like “Garden (Say It Like Dat)” and “Broken Clocks,” and she pulled Zacari‘s weight for a sweet rendition of Lamar’s “Love.”
SZA performs on the opening night of the Grand National Tour with Kendrick Lamar on April 19, 2025 in Minneapolis, Minnesota.
Cassidy Meyers
Across a stage reminiscent of the video game controller setup of Lamar’s landmark Super Bowl LIX halftime show, the Grand National Tour’s set design is largely minimalistic, save for a stair platform placed at the center of the stage. Despite a few levitating mini-platforms and a flying fairy moment for SZA, the true centerpiece of the Grand National stage was the literal GNX that helped the set transition between each set. When Kendrick first hit the stage, the black GNX stood as it does on the album cover, but by the time SZA hit her set, the vehicle transformed into a grassy, fauna-laden ride that nodded to the insect aesthetic of the LANA era. At the show’s close (“Gloria”), Lamar opened the passenger door for SZA like a consummate gentleman and joined her in the car as they wished the packed stadium safe travels home.
Both a wildly impressive victory lap and the progeny of over a decade of grueling work from both Lamar and SZA, the Grand National Tour saw two of the most defining artists of the 2010s operating at the height of their powers while ensuring hip-hop always remains at the center.
Here are the 10 best moments from their Grand National Tour stop at MetLife Stadium.
Prince Easter Eggs
It was a 00XO party in the desert. The Weeknd kicked off his 2025 After Hours Til Dawn Tour on a balmy Friday night (May 9) with Playboi Carti at State Farm Stadium in Glendale, Arizona.
The “Timeless” collaborators, alongside Mike Dean, are set to invade stadiums across North America throughout the summer, and it could be the singer’s final trek under his The Weeknd stage alias.
Glendale had the honor of batting lead-off on Friday before the tour takes a two-week break, which could be tied to Abel’s Hurry Up Tomorrow film arriving next week.
Playboi Carti isn’t your average tour opener, and King Vamp brought his star power to the stage at 8 p.m. PT. Carti ended up running through a tight 15-track set in about 45 minutes. The Atlanta native said it was his first time back in the Phoenix area since 2015, and he told the crowd it “feels good to be home.”
The “Magnolia” rapper was very engaged throughout the set and wasn’t shy about showing his appreciation for being on a stadium tour compared to his typical mysterious self. He’d come back for seconds during The Weeknd’s set to perform collabs like “Rather Lie” and “Timeless.”
The main event kicked off when Abel appeared flanked by red-hooded dancers with a haunting entrance just shy of 9:30 p.m. PT. Rocking a black Christian cordella with golden glitter splattered across, a masked Weeknd sent the sold-out State Farm Stadium into a frenzy with “The Abyss.”
“The first night’s always the best night,” the Canadian hitmaker said, much to the delight of the XO faithful. The stage boasts burning buildings around the city, which mirrors his 2022 tour, then the catwalk extends to a giant Sorayama statue that could double as a sexy Golden Globe Award. Side stages featuring neon-lit oval rings make Abel look like he’s performing in a clear tunnel during portions of the show.
Proving he’s still one of the 21st century’s premier live acts, Abel bounced around much of his decorated discography, outside of Kiss Land, while keeping the crowd in the palm of his hand throughout the two-hour set, which consisted of 37 tracks in total to feed even the most starved XO fan’s appetite.
Here’s every song that Playboi Carti and The Weeknd performed on night one of the 2025 After Hours Til Dawn Tour in Arizona.
Playboi Carti – “Evil J0rdan”
Kendrick Lamar gave Lefty Gunplay and JasonMartin their flowers after the release of their new album Can’t Get Right. On Friday (May 9), Gunplay and the rapper formerly known as Problem released their joint LP Can’t Get Right. Both artists had appeared on K-Dot’s latest release GNX, with JasonMartin showing up on the title track […]
Akon has chimed in on the tension between 50 Cent and Black Mafia Family co-founder Demetrius “Big Meech” Flenory.
During a recent appearance on the BagFuel podcast, he talked about his relationship with BMF and Jeezy during the mid-2000s, and was eventually asked about Meech falling out with his business partner 50 Cent once he got out of prison. “Actually, me and Meech had some talks about that,” Akon revealed. “He does feel slighted ’cause he felt that, you know, him and 50 should’ve sat down and had a real conversation as men because he’s been in [prison] for 20 years. He don’t know the feud that’s going on with 50 and whoever else. All he know is that, when he got out, [Rick] Ross came through, showed some love. While he was locked up, Ross made a big ass song that was, you know, ‘They think I’m Big Meech, Larry Hoover.’ In his mind, Ross is just paying homage.”
He added that the former music executive and drug kingpin wasn’t fully aware of the music business politics that would “warrant what Fif’ did.”
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The “big ass song” Akon is referring to Rick Ross’ 2010 street anthem “B.M.F. (Blowin’ Money Fast)” featuring Styles P, which peaked at No. 60 on the Hot 100. The same song Rick Ross once told Billboard that he would clear for the show if 50 agreed to help promote Ross’ Wingstop franchises after the G-Unit boss expressed interest in using the track in another Billboard interview.
50 Cent and Big Meech have been in business together with the former producing a docuseries and a TV series for Starz about the latter’s rise to power alongside his brother Terry “Southwest T” Flenory in the Detroit underworld during the late ’80s, eventually turning BMF into a national crime syndicate and influential record label that was instrumental in breaking Jeezy’s solo career.
However, things turned sour when Meech and Rick Ross were seen together on social media, causing a back and forth between the Miami rapper, 50 and Meech’s son, Demetrius “Lil Meech” Flenory Jr., who plays his father in the BMF series.
The fourth season of BMF is set to premiere on June 6.
Ye (formerly Kanye West) continues to be in hot water after attempting to release his highly controversial song “Heil Hitler.” After being yanked down by streaming services and DSPs on Thursday (May 8), CEO of Simon Wiesenthal Center, Jim Berk, shared a statement to Billboard, voicing his dismay and disappointment in the mercurial MC.
“Kanye West’s release of a song entitled ‘Heil Hitler’ on VE Day, the anniversary of the defeat of the Nazi regime, is hate speech, pure and simple—totally in line with the despicable messages we now expect from West,” said Berk.
Berk’s frustration didn’t stop there, as he directed his attention to Elon Musk’s social media platform X, for enabling such vitriol to be spewed by Ye and others.
“But his partner in spreading dangerous vitriol against Jews is X, which is allowing flagrant violation of its own rules reading, ‘You may not directly attack other people on the basis of race, ethnicity, national origin, caste, sexual orientation, gender, gender identity, religious affiliation, age, disability, or serious disease.’”
He continued: “We call on X to remove West from its platform and for other platforms and distributors to refuse to host or monetize this song. There must be a clear line when it comes to glorification of genocidal regimes, particularly to millions of young people.”
After experiencing failed attempts on DSPs, West uploaded the song to SoundCloud, where it was later pulled down as well. This prompted Ye to share his thoughts on X.
“Heil Hitler by Ye has been banned by all digital streaming platforms,” Ye wrote. “While Rednecks by Randy Newman remains streamable They’re literally keeping the n—-s down.” Previously teased by Ye, “Heil Hitler” had terse subject matter ranging from the rapper’s nitrous usage to custody issues over his four children with ex-wife Kim Kardashian.
Billboard reached out to Ye’s camp for comment.
Jackson Wang shares what fans can expect with MAGIC MAN 2, the creative process behind “GBAD,” his collaboration with Ciara at Coachella, and working with Pharrell on Joopiter. He also hints at upcoming projects with Pharrell’s Billionaire Boys Club (BBC), teases a tour for MAGIC MAN 2, and more!
Are you excited for MAGIC MAN 2? Let us know in the comments!
Tetris Kelly:
Jackson, Tetris with Billboard News ready to get in conversation with Jackson Wang, what’s up man? Thanks for coming.
Jackson Wang:
Hey, thank you for having me.
Of course, you got a lot going on, my friend. So we’re gonna start with the music. Of course. MAGIC MAN 2 you’ve been teasing. You’ve been telling everybody about it, but MAGIC MAN, the first one, debuted at 15 on our Billboard 200 charts.
Thank you. Thank you. Please make me top five.
There you go. See he’s already said what he wants. What made you decide you want to follow up the 2022 project with a second version of MAGIC MAN?
I’ve been working on stop for over 11 years, and I was just like, hey, I need to recharge. I need to refresh and be inspired again. So I took a year off, and I was like, hey, you know what? I haven’t actually made a song for myself. You know, when I was in my youth, I’ve always, you know, wrote songs or produced songs, trying to show everyone, hey, I can do this, I can dance, I can sing, I can perform. But what about me? What do I want to say as a person? So I took that year off and I just started writing diaries and converted them into music.
What was something during that year that you felt like when you look back like you’re like, I’m so happy I took this year off because I had this moment.
Keep watching for more!
When John Cena dropped his 2005 debut album, You Can’t See Me, critics wondered if the wrestling powerhouse had more brawn than bars. What began as a perceived gimmick evolved into a two-decade-long run, marked by unfiltered charisma, sharp wit and unshakeable confidence. Sure, his popularity and in-ring dominance made him box office gold, but when he unleashed his mic skills — especially over Jake One’s soulful beats — Cena cemented himself as the godfather of the rap-wrestling crossover.
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Released on May 10, 2005, You Can’t See Me — a collaboration with his cousin, fellow rapper TradeMarc — debuted at No. 15 on the Billboard 200, also reaching No. 3 on Top Rap Albums — proof Cena had real appeal on the mic. Even while locking up with heavyweights like Triple H, Randy Orton, and The Undertaker each week, Cena carried that same grit and resilience into the booth. On tracks like “Just Another Day” and “If It All Ended Tomorrow,” Cena’s raw candor and introspection made him surprisingly easy to root for. As he raps on the latter: “You the new kid, now you gettin’ some shine/ When every vet sayin’ that it’s not yo’ time/ My hustle is non-stop and it’s not yo’ grind/ Plus I hear very clear, I’m not so blind.”
And though Cena was dubbed WWE’s Superman, his rap heroics on You Can’t See Me became every critic’s kryptonite. His bravado and swagger leglocked the doubters into submission. The album’s title track became his armor — its hook both a taunt and a shield — as he swatted away skepticism with a single phrase: “You can’t see me.” The song became both a gift and a curse: a champion’s anthem and rallying cry, but also a punchline for detractors who turned it into an easy jab, diminishing Cena even as he continued to dominate.
Now on his final lap as a professional wrestler, Cena’s recent partnership with Travis Scott — rap’s latest generational leader — speaks volumes about his influence across both arenas. WWE is in the midst of a renaissance, with pop culture once again reinvigorated by its presence. Hip-hop’s footprint in the ring is larger than ever: WaleMania just celebrated its 10th anniversary at WrestleMania, while wrestlers like Montez Ford and Trick Williams proudly showcase their rap chops with original music, and genre superstars like Drake, Metro Boomin, Lil Yachty, and Quavo now flood wrestling arenas with the same fervor and excitement as the everyday diehards beside them. Much of this stems from Cena’s early efforts to meld both worlds — what began as a desperate bid to save his WWE career ended up bridging a gap between music and wrestling, one that remains tightly connected to this day.
And while we may never get another album from the 48-year-old multi-hyphenate, You Can’t See Me still deserves a spin — for everything it gave to hip-hop, wrestling, and pop culture at large.