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Cactus Jack was always meant for the desert. Travis Scott told Complex he always wanted to headline Coachella — he even rapped about the decorated festival on ASTROWORLD’s “SKELETONS” and he took full advantage of the spotlight on Saturday night (April 12).
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La Flame was tasked with designing the desert, and he continued to push the envelope with his innovative world-building when it comes to his performances, which are simply unmatched in hip-hop at the moment.
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A 60-plus person marching band combining brass members from Jackson State’s Sonic Boom and Florida A&M University’s Marching 100 gave Scott’s “4×4” and anthems like “SICKO MODE” and “FE!N” a renewed texture and shelf life.
Scott had wrung about as much as he could out of the UTOPIA era and delivered on his promise of Coachella marking a “new chapter” for the Houston rapper.
La Flame previewed a pair of unreleased songs with the first being a lucid track that’s tentatively titled “She Goin Dumb.” “You getting wasted, just don’t waste mine,” he sings on the chorus. While the second finds Scott in a fun pocket on the smokey tune seemingly titled “On Jacques.” “We brought magic to the stu because it get tricky,” Trav raps.
It’s unclear if they’re intended to kick off Scott’s next solo effort or will end up on the JACKBOYS 2 compilation project, but it’s a welcome sign for where La Flame is headed sonically.
Scott is always looking for new ways to test the limits of what’s possible with his shows. He had dancers suspended in mid-air like the cover of NSYNC’s No Strings Attached album. They were flipped upside down like a pack of bats in the midst of the ethereal “Stargazing.” Tate McRae, a potent dancer in her own right, appreciated the theatrics and lent her stamp of approval on her IG Story from the crowd.
In a shoulder pad vest equipped with sunglasses and a Nike headband, Scott himself got in on the action to scale the stage’s stanchion wall while rappelling down and performing “Skyfall.”
The 33-year-old isn’t shy about how much Kanye West has meant to his career. Being a branch on the West artistic family tree, Scott having a model strut down the catwalk as the muse for “90210″ felt like something out of Ye’s “Runaway” playbook.
An interesting moment and perhaps olive branch to mend the fences with Drake came when Scott performed a mash-up of “Modern Jam” and Drizzy’s “NOKIA,” which comes on the heels of a “Modern Jam” and “NOKIA” blend that went viral on X from user Spectre earlier this year. It seemed to make it onto La Flame’s radar and he messed with it so much, it made the cut for his Coachella set.
The HBCU-led marching band gave Scott another avenue of creativity to explore as an orchestrator and made his performance art feel that much richer. Catalog anthems like “SICKO MODE” and “FE!N” felt like they received a fresh coat of paint with the brass band’s involvement in the arrangement meshing with Scott’s AutoTune-laced vocals. Of course, in typical Trav and DJ Chase B fashion, they had to run back the chaos of “FE!N” a few times.
The thrilling 70-minute solo set took fans on a rollercoaster ride through Scott’s career from when he was couchsurfing in the early 2010s looking for his break to becoming one of the most lucrative brands in all of music. Whether it was “Mamacita,” “Goosebumps,” the dreamy “My Eyes,” or his verses on Playboi Carti’s MUSIC, there was something representing every era of La Flame.
“That was a great set,” a fan was heard saying as “TELEKINESIS” and a firework show ended the night, while another attendee looked visibly emotional when the lights came on.
And perhaps the best part after everything? He’s still not satisfied, as the hunger for greatness remains. A photo emerged on social media shortly after Scott’s set of the Cactus Jack honcho back in the studio, tweaking tracks with the Coachella euphoria fueling him.
While Scott’s called arenas home for the majority of his past two U.S. treks, La Flame’s creativity thrives when the stakes are highest and venues are biggest. Buckle up, the next chapter is here.
When asked where he was most excited to perform after finally regaining his freedom following a 13-year prison stint, Vybz Kartel responded, “The entire Caribbean and New York — that’s Jamaica outside of Jamaica!”
In the eight months since he walked out of prison, the King of Dancehall has barely taken a minute to sit down. To ring in the new year, Kartel mounted Freedom Street on Dec. 31, 2024, marking Jamaica’s largest live music event in almost 50 years. The stadium-sized event featured appearances by dancehall giants like Skeng and Popcaan, as well as Kartel’s sons — both recording artists in their own right — Likkle Vybz and Likke Addi. Freedom Street kicked off a global comeback tour for Kartel that has since included an appearance at February’s Grammy Awards (where he enjoyed his first nomination for best reggae album, thanks to his 2024 Party With Me EP), a performance at the U.K.’s MOBO Awards (where he was honored with the impact award), and the announcement of a set at Wireless in support of Drake‘s three-night takeover of the Finsbury Park festival.
In 2025, any Worl’ Boss performance is a special one, but the Billboard cover star wasn’t joking when he called New York “Jamaica outside of Jamaica.” On Friday (April 11), Kartel played his first of two sold-out shows at Brooklyn’s Barclays Center — his first Stateside headlining concert in over 20 years, organized by Reggae Fest. Brooklyn, which has an incredibly high population of first, second and even third-generation Caribbean-Americans, was the perfect host borough for Kartel’s return. For every BK neighborhood the DJ shouted out (Flatbush, Canarsie and Utica rightfully got a lot of love), a different island got the same amount of shine (Grenada, Trinidad, St. Vincent and, of course, Jamaica were among the most mentioned isles of the night). Kartel didn’t hit the stage until shortly after 10 p.m. E.T., but DJ Milan primed the crowd with over two hours’ worths of reggae and dancehall classics, spinning anthems by everyone from Buju Banton and Shenseea to Elephant Man and Teejay.
Kartel made his triumphant return to the stage with his legendary remix of Akon‘s “Locked Up.” “Look! 13 years inna prison, and mi come out a general!” he declared, sauntering across the stage and soaking up the rabid screams from the 19,000-capacity arena.
Worl’ Boss then launched into his litany of hits, tearing through “Dumpa Truck,” “Benz Punany,” “It Bend Like Banana,” “You and Him Deh,” “Street Vybz,” “Come Breed Me” and “Turn Up the F–k.” Kartel, who is currently dealing with Graves’ disease and a heart condition, smartly split up his set with cameos from several surprise guests, allowing him ample time to catch his breath and pace himself throughout the show.
Early in the night, Kartel brought out two former Portmore Empire affiliates, Jah Vinci and Black Ryno, both of whom helped amp the energy in the room. In fact, Black Ryno had so much energy, he got a little ahead of himself and wiped out while walking down the stage’s catwalk. Other special guests throughout the night included Latin Grammy-nominated producer Rvssian, Queen of Dancehall Spice and rap legend Busta Rhymes (who effortlessly rapped his entire “Look at Me Now” verse). Almost more impressive than Kartel’s stamina was just how much power he held over the crowd. If anyone sat down during his two-hour set, it was only for a brief minute to find their bearings after a particularly wicked wine. Kartel’s catalog isn’t littered with Billboard Hot 100 top 10 hits or U.S. radio smashes, but none of that mattered on Friday night. When a catalog is so beloved that fans are rapping deep cuts that dropped before they were even born, there’s something very special taking place.
To close out his set, Kartel fired off his biggest crossover smashes, including “Summertime,” “Clarks,” “Fever” and, of course, “Brooklyn Anthem,” gifting Kings County one of the most memorable nights of live music in the borough’s storied history.
Here are the five best moments from Vybz Kartel’s first U.S. headlining show in over 20 years.
Rvssian Hits the Stage for ‘Straight Jeans & Fitted’
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Ester Dean is responding after Keri Hilson expressed regret over her Dean-co-written “Turnin Me On (Remix)” aimed at Beyoncé.
The songwriter hopped on Instagram Thursday to clear the air after Hilson said during an interview with The Breakfast Club that the decision to shade Queen Bey on “Turnin’ Me On” negatively impacted her career. “It’s a regret,” Hilson said at the time, denying that she wrote the song and pointing to Dean’s pen instead.
Dean noted that her post is an “open letter” to Hilson and other creatives. “Back in July 2008, I started working with [producer] Polow Da Don in Atlanta,” she began. “Later, I moved to Los Angeles to write for Polow’s artist over at Interscope. I wasn’t famous. I wasn’t chasing clout. I was in the studio – day and night – writing 3 to 4 songs a day. No friends. No family. Just work.”
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She went on to rewrite some of the lyrics off the “Turnin’ Me On (Remix)”: “Your vision cloudy if you think that you’re the best/ You can dance, she can sing/ But she need to move it to the …,” which many believed to be in reference to Beyoncé’s 2006 hit “Irreplaceable.”
Those lyrics, Dean admitted in her open letter, were “tacky,” but not forced. “No. That was me. I wasn’t in the room with Keri writing this together,” she continued. “I didn’t know her personally. She was already a star. I was just a writer trying to earn my place. I did my job and left. Keri came in another time and wrote her own verse – her pen, her voice.”
Dean went on to clarify, “I didn’t work with Beyoncé until years later when I signed to Roc Nation as a writer. There was no ‘plot’ no ‘beef squad’. No secret industry mission. Just writers writing.”
She added: “Keri was already massive. She didn’t need saving. She was out here making history. Why Speak Now? Keri was speaking on big platforms I didn’t have access to – and it was her story to tell, not mine. I stayed writing. No hate. No shade. Just truth.”
Dean concluded her letter by noting that what Hilson went through was unfortunate. “She’s a great artist, a beautiful spirit, and she deserves grace,” the songwriter wrote. “She took her lessons. I’ll take mine.”
In Hilson’s aforementioned interview with The Breakfast Club, she said part of the blame belonged to Polow.
“I tried to fight him on it and I began writing my own,” the singer said. “The mistake that I made was not continuing to fight. But I was in tears, I was crying, I was adamant that I did not want to do that.”
Dean had previously come forward and issued her own apology on Wednesday (April 9) after Hilson’s interview, claiming the verse was “childish.” She wrote in what appears to be a now-deleted post: “I see how it hurt people, especially women, and I take full accountability.”
Check out Dean’s full response shared April 10 below.
On Thursday night (April 10), Mary J. Blige, Mario and Ne-Yo reigned over New York City’s Madison Square Garden with three decades’ worth of R&B classics, heartbreak anthems and street hits.
Launched in support of her 2024 Gratitude album, Mary J. Blige’s For My Fans tour was a career-spanning dedication to her ride-or-die fanbase — an especially pertinent theme, given Thursday night marked Mary’s very first headlining show in her hometown’s most iconic venue. Before the nine-time Grammy winner and two-time Oscar nominee graced the stage, DJ Funk Flex primed the packed crowd — many of whom sported their sexiest boots and finest furs and fittest in honor of Mary’s iconic Misa Hylton-helmed style — with a set of New York ’90s and ’00s classics, including the obligatory phone-flashlight tributes to Biggie and DMX. Flex appeared throughout the night to soundtrack the transition between the artists’ sets, and kill time for production delays.
Mario, the night’s first opener, charmed The Garden with a brief set that included high-energy renditions of “Here I Go Again,” “Just A Friend 2002” and his Billboard Hot 100-topper “Let Me Love You.” Deftly working the stage and wooing the crowd, Mario helped the crowd begin their celebratory walk down memory lane — even though he’s fresh off the release of a new album, 2024’s Glad You Came, which houses “Keep Going (Aaaaahhhhh),” his first Adult R&B Airplay top 10 hit in 20 years. Later this month (April 24), Mario will head to the U.K. and Europe for his Glad You Came Tour, with special guest Eric Bellinger. The duo will hit intimate venues in key cities like London, Paris and Dublin, before concluding in Stockholm, Sweden, on May 17.
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After a brief Funk Flex interlude, three-time Grammy winner Ne-Yo hit the stage for a swanky set that felt like a winning audition for a more full-bodied follow-up to his 2024 Las Vegas mini-residency. Opening with 2006’s “Stay,” Ne-Yo ripped through a well-oiled set that featured beloved cuts like “Closer,” “Sexy Love,” “Because of You,” “Miss Independent” and the 2006 Hot 100-topper “So Sick.” Flanked by hard-working backup dancers and assisted by a rotating collection of different hats, Ne-Yo put on a show that sat right in the lineage of sparkly-suited song-and-dance men.
Once Ne-Yo left the stage, Flex returned for a few more minutes of partying before Mary kicked off the second half of Thursday night’s four-hour R&B extravaganza. Sporting an oversized pink fur and platinum blonde inches, Mary opened her set with a poignant rendition of “Take Me As I Am” on the B-stage, eventually using 1997’s “A Dream” to get in a lift that transported her over the crowd and onto the mainstage, in time for “Love No Limit” and “Mary Jane (All Night Long).”
For the first part of her set, Mary prioritized her “day one” fans, clearly happy to be at home in New York with her people. At one point she did a bit of 1999’s “Your Child” a cappella, quizzing the crowd (who passed with flying colors) on the song’s lyrics. Mary spent most of her time on the main stage, which featured a massive structure of kintsugi hands clutching a crown, in front of video backdrops that frequently showcased Mary’s biggest career moments — from her dual 2018 Oscar nominations to her 2022 Super Bowl halftime show appearance.
The Queen of Hip-Hop Soul sauntered across the stage freestyling and hitting choreography with her backup dancers in a seemingly endless collection of gorgeous leotard-centric costumes — most of which came complete with a matching fitted and pair of boots. With 2005’s monster hit “Be Without You” placed in the center of the setlist, Mary smartly spread her biggest hits throughout the setlist, ensuring the show’s energy wasn’t centralized in one section. 2021’s Grammy-nominated “Good Morning Gorgeous” proved one of her set’s early highlights, accented by a passionate, gospel-evoking testimonial that previewed similar moments during “No More Drama” later in the night. Mary’s repeated message of gratitude for her relationship with her fans and their special bond of constant healing and maturation proved the night’s most emotional moments. With the current state of ticket pricing, it’s not often an artist’s crowd so accurately reflects the specific audience they serve and speak to, so it was especially beautiful to feel the love and mutual gratitude in The Garden on Thursday night.
Immediately after “Gorgeous,” Mary sang a pair of songs from her Gratitude album — “Here I Am” and “Don’t F–k Up” — the night’s lone dull moment. Earlier in her set, she performed the album’s lead single, “Breathing,” bringing out Fabolous to perform his guest verse. Soon after, Jadakiss came out for his verse on “Need You More,” which also appears on Gratitude. Unfortunately, both guest appearances were briefly marred by sound issues. Mary also reached out to a younger generation of BX hip-hop titans, tapping A Boogie Wit da Hoodie for a quick “Look Back at It” performance.
To end the night on a high note, Mary tore through some of her most enduring uptempo hits, including “The One,” “Just Fine,” “I Can Love You” — albeit with no Lil’ Kim — “MJB Da MVP” and, of course, her six-week Hot 100-topper, “Family Affair.”
To celebrate her very first MSG show as the lone headliner, Mary teamed up with Veeps to exclusively live-stream the April 10 show around the world. Each ticket included access to the live stream and an unlimited seven-day rewatch period. Veeps All Access members will be able to access the show for free as part of their subscription.
The For My Fans Tour will spend one more night in New York — at Long Island’s UBS Arena (April 11) — before concluding with its original lineup on April 19 in Memphis, Tenn. From April 21 to April 27, Mary will play four solo shows to officially bring the tour to a close.
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Kendrick Lamar had a big night at the 2025 Grammys on Feb. 2, winning in all five categories he was nominated in with his smash single and video “Not Like Us.” Lamar could be headed for another big Grammy night next year. He could become the first solo male rapper to win album of the year, for his sixth solo studio album, GNX. The only rap artists to win in that category to date are Lauryn Hill, in 1999 for The Miseducation of Lauryn Hill, and OutKast, in 2003 for Speakerboxxx/The Love Below.
If Lamar wins three Grammys, he would tie Jay-Z for the most career Grammys won by a rapper (25). If he wins four, he’ll set a new record (unless Jay also adds to his Grammy collection). The standings among rappers are currently: Jay-Z (25), Ye, formerly Kanye West (24) and Lamar (22).
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As we noted in a previous post, if Lamar wins record and/or song of the year for either “Luther” or “Squabble Up,” coming on the heels of his wins in those categories with “Not Like Us,” he’ll make history. He would become the fourth artist to win back-to-back awards for record of the year, following Roberta Flack, U2 and Billie Eilish, and just the second songwriter to win back-to-back awards for song of the year. D’ Mile won in 2021 for co-writing H.E.R.’s “I Can’t Breathe” and in 2022 for co-writing Silk Sonic’s “Leave the Door Open.”
If Lamar wins best rap performance, that would be his eighth victory in that category, extending his lead as the artist with the most wins there.
But Lamar could make history even before the Grammys are presented next year. If GNX is simply nominated for album of the year – which seems almost certain – Lamar would make Grammy history. He would set these records. (The years shown are the years of the Grammy ceremonies.)
First Rapper to Land Five Album of the Year Nods as a Lead Artist
Lamar was nominated for album of the year for good kid. m.A.A.d. city (2014), To Pimp a Butterfly (2016), DAMN.(2018) and Mr. Morale & the Big Steppers (2023). If he is nominated for a fifth time, he would pull ahead of Ye, who has received four album of the year nods as a lead artist – for The College Dropout (2005), Late Registration (2006), Graduation (2008) and Donda (2022).
First Black Male Artist to Land Five Album of the Year Nods as a Lead Artist
If he is nominated for a fifth time, he would become only the second Black artist to receive five album of the year nods as a lead artist. Beyoncé was nominated for I Am…Sasha Fierce (2010), Beyoncé (2015), Lemonade (2017), Renaissance (2023) and Cowboy Carter (2025), winning for the latter album. This would obviously make Lamar the first Black male artist to achieve this feat.
As noted, Ye has received four album of the year nods as a lead artist. Black or biracial artists who have received three album of the year nods as a lead artist are Ray Charles, Stevie Wonder, Michael Jackson, Whitney Houston, Mariah Carey, H.E.R. and André 3000 (counting two albums with OutKast).
First Solo Artist to Be Nominated for Album of the Year With Five Consecutive Studio Albums
Lamar would become the first solo artist – from any genre – to be nominated for album of the year with five consecutive studio albums. Donald Fagen was nominated for album of the year with five consecutive studio albums — but that combined solo albums and albums he recorded as half of Steely Dan. He was nominated with Steely Dan’s Aja (1978) and Gaucho (1982), then his first two solo albums, The Nightfly (1983) and Kamikiriad (1994), and finally Steely Dan’s Two Against Nature (2001), which won. He issued no other studio albums in those years, so these five nominated albums were consecutive releases.
We need to quickly add that album release patterns were very different in the 1960s. Artists often had multiple albums in one year. In that era, it’s best to look at consecutive years with an album of the year nomination instead of consecutive studio albums to be nominated.
The Beatles are the only act in Grammy history to receive a Grammy nomination for album of the year in five consecutive years. They were nominated for the Help! soundtrack (1966), Revolver (1967), Sgt. Pepper’s Lonely Hearts Club Band (1968, which won), the Magical Mystery Tour soundtrack (1969) and Abbey Road (1970).
Barbra Streisand was nominated for album of the year in four consecutive years. She was a contender for The Barbra Streisand Album (1964, which won), People (1965), My Name Is Barbra (1966) and Color Me Barbra (1967). People competed in 1965 with the original cast album from Streisand’s Broadway triumph, Funny Girl. (That nomination went to the composers of the score.)
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