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From the final Dreamville Fest to a beautiful, memory lane-traversing headlining set from J. Cole, this weekend belonged to North Carolina. And after Duke’s devastating loss on Saturday (April 5), that’s the least the universe could do.
In addition to Cole, Dreamville Fest 2025 headliners included Lil Wayne (with Hot Boys and Big Tymers), 21 Savage and Erykah Badu. Tems, Coco Jones, Wale, and GloRilla all delivered stellar sets, while Dreamville stars Ari Lennox, JID, Earthgang, Omen, Cozz, Lute and Bas paid tribute to the label’s history and legacy with each of their performances. Although Cole did not drop new music from his highly anticipated The Fall Off album, two other stars confirmed forthcoming LPs. DJ Swamp Izzo revealed that Playboi Carti’s Baby Boi album is finished, and Ab-Soul spoke to Billboard about Soul Burger: The Odyssey, a separate project from his 2022 LP that continues his tribute to the late Doaeburger.
On the charts, Drake is up to No. 3 on the Hot 100 with “Nokia” following the release of its official IMAX music video. On the Billboard 200, Ariana Grande’s Eternal Sunshine: Brighter Days Ahead deluxe album returned to No. 1, besting Carti’s Music (No. 2) and Lil Durk’s newly released Deep Thoughts (No. 3).
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from a poignant gospel-infused duet to Jai’Len Josey’s bouncy new single. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Eric Roberson feat. BJ the Chicago Kid, “Where You Gonna Go”
Grammy-nominated crooners Eric Roberson and BJ the Chicago Kid for a gorgeous, soulful new single. Produced by Rodney Jones, the Detroit hip-hop-inflected and gospel-infused track explores moving with life when you’re supposed to instead of forcing harmony where there is only dissonance. “Sometimes you gotta go where love will find you/ I’m not saying leave what you love behind you/ But listen to life and move when it’s time to/ ‘Cause you don’t know nothing of who you were yesterday, but everything of who you are today,” he preaches in the first verse. Marking his first musical release of 2025, “Where You Gonna Go” is a promising start to Roberson’s year. — KYLE DENIS
Ray Vaughn, “DOLLAR Menu”
Ray Vaughn has boldly compared his upcoming album to being his version of good kid, m.A.A.d city, and Kendrick Lamar’s influence can be felt on gripping singles like “DOLLAR Menu.” The TDE rapper recalls the days of starving because “last night I had sleep for dinner.” Vaughn narrates his come-up and reflects on navigating the stresses of his relationships with his parents. He even uses a threatening voice note from his mom to close out the track as she urges her son to pay back some cash he owes. Look for the Long Beach native to paint a picture of his life’s story with The Good The Bad The Dollar Menu when it arrives on April 18. — MICHAEL SAPONARA
Ab-Soul, “Untitled”
Produced by none other than Roc Marciano, Soulo couldn’t wait to share this song dedicated to his late friend Armon “Doeburger” Stringer that will more than likely be appearing on his upcoming project Soulburger: The Odyssey. It’s not available on streaming yet, so the only way to listen to it is on his Instagram account and YouTube for now. Soul’s fans like the track so much, they’re in the comments clamoring for an entire tape from the Carson wordsmith and the Long Island producer on some West meets East sh—t. RIP Doe Burger. — ANGEL DIAZ
Destin Conrad & Teezo Touchdown, “The Last Time”
Destin Conrad & Teezo Touchdown was an unexpected collaboration but based on this new track this won’t be “the last time” they link up. The duo lay their emotions bare with their slow-burning reflection on love that just won’t let go. Over a moody beat, they trace the highs and lows of a relationship stuck on repeat, where every ending feels like déjà vu. The chorus’ aching “D–n, d–n, d–n” says it all —frustration, regret and the weight of knowing things won’t change. Even as they acknowledge the cycle, the pull remains too strong to resist. Their voices glide effortlessly, blending pain with melody in a way that lingers long after the song fades — a sad effect of a relationship gone sour. — CHRISTOPHER CLAXTON
Jai’Len Josey, “New Girl”
To introduce her Tricky Stewart-helmed debut studio album, Serial Romantic, rising R&B star Jai’Len Josey has unleashed its lead single, “New Girl.” Produced by Josey, Herothaproducer, Madness & Michael Barney, “New Girl” blends the bouncy piano chords of ballroom and house with flashes of U.K. garage to decorate the track’s R&B foundation. “Don’t be afraid of my loving, boy/ Giving all of my might / You’re liking what you’re seeing/ So come on, baby, put the fire deep in,” she sings, expertly curating a vibe for the thrill of a new connection this summer. — K.D.
PinkPantheress, “Tonight”
PinkPantheress launches into her next era with an addictive bop. The singer’s first attempt at using a U.K. bassline is a successful one. She even takes a more mature approach while talking about her carnal desires and exploring more explicit themes surrounding romance. “Tonight” boasts a sly Panic at the Disco sample and PinkPantheress takes it back to Bridgerton for a royal party in the visual, which features everything from sweaty makeouts to pillow fights and more. Her upcoming Fancy That mixtape drops on May 9. — M.S.
Sauce Walka & That Mexican OT, “Samsung Screenz”
Produced by Big Duke, Sauce Walka and That Mexican OT deliver another great song that makes me wonder what a collab project from them would sound like. “Samsung Screenz” features that signature smooth Texas sound along with a catchy hook with Sauce and OT in rare form as they continue to show off their chemistry like they did on songs like “Now & Later” and “Check Please.” — A.D.
SAILORR, “Down Bad”
SAILORR dives deep into emotional uncertainty on “Down Bad,” a raw and intimate take on unreciprocated love. She paints a picture of late-night calls, fleeting intimacy, and the lingering ache of being someone’s second choice. The verses mix frustration with longing, capturing the push-and-pull of a relationship that never quite feels secure. All SAILORR wants is matching tattoos, stolen moments, and rides with no destination. Her list of “something that can last” adds weight to the heartbreak, making each lyric hit even harder. “Down Bad” is a bittersweet anthem for anyone caught between holding on and letting go. — C.C.
Joe Kay, Arin Ray & Blackway, “Frontin & Crushin”
Joe Kay, DJ and founder of Soulection, unveiled his debut EP — If Not Now, Then When? — last week (April 4), and it’s stacked with collaborations with several ascendant voices in R&B. Cincinnati singer Arin Ray and Ghanian-American rapper Blackway team up with Kay for “Frontin & Crushin,” a sonic encapsulation of the beginning stages of a crush. Not quite infatuation or obsession, the feeling these three artists sing of is something a bit more innocent, surprising and fleeting. “I saw you comin’/ She got an aura ’bout her something I respect/ We was frontin’, then crushin’ bad/ It was a feeling that I never would forget,” they sing in the intro over Kenzo Slice, Koko and UNKWN’s Afrobeats-indebted production. — K.D.
BigXthaPlug & Bailey Zimmerman, “All the Way”
In a time of division, BigXthaPlug wants to bring us all together. The Dallas native gives fans a taste of country trap with the arrival of his Bailey Zimmerman-assisted “All the Way” single. BigX and Zimmerman might seem like an unlikely duo, but it’s a clean mesh as they ruminate about fractured relationships over guitar strings and kicking drums. BigX has long teased his foray into country and the upcoming EP is set to feature some of his superstar friends, like Morgan Wallen, Post Malone, Shaboozey and Luke Combs. — M.S.
SiR & Maeta, “Out of My Hands”
SiR and Maeta explore love, regret, and the weight of fate on “Out of My Hands,” a soulful duet about a relationship slipping through their fingers. SiR is wrestling with emotional uncertainty, admitting, “maybe one day or someday, [he] won’t wanna run.” Maeta’s perspective adds to the heartbreak, reflecting on love that once felt limitless but now feels out of reach. With dreamy production and emotionally rich vocals, “Out of My Hands” is a stirring ballad about the struggle to hold on when the relationship becomes just a series of chances, and love alone isn’t enough. — C.C.
Ravyn Lenae is officially a Billboard Hot 100-charting artist, as she scores her first career entry on the April 12, 2025-dated survey with “Love Me Not.”
Released in May 2024 on Atlantic Records, the song debuts at No. 81 almost entirely from its 6.3 million official U.S. streams (up 17% week-over-week) March 28-April 3, according to Luminate. The song was the lead single from Lenae’s sophomore album, Bird’s Eye, which she released last August.
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The Chicago native released a remix of the song, featuring Rex Orange County, in October. (Both versions of the song are combined into one listing on Billboard’s charts.)
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“Love Me Not” hits the Hot 100 nearly a year after its release after going viral on TikTok. The song picked up steam on the platform in January after users began making mashups of it with Solange’s “Losing You.” TikTokers also checked out the original “Love Me Not,” which has now soundtracked over 320,000 clips on the platform to date.
“Love Me Not” is also growing globally, rising 135-95 on the latest Billboard Global 200 chart and 200-149 on Global Excl. U.S.
“Love Me Not” was produced by DJ DaHi, Craig Balmoris and Ritz Reynolds. It earns DJ DaHi his 25th production credit on the Hot 100. He first charted via Drake’s “Worst Behavior” in 2013 and has since produced hits by acts including Kendrick Lamar, Mac Miller, Big Sean, 21 Savage and J. Cole. Two of his entries have reached the top 10: Lamar, BLXST and Amanda Reifer’s “Die Hard” (No. 5 peak, 2022) and Lamar’s “Wacced Out Murals” (No. 4, 2024).
Balmoris adds his sixth production credit on the Hot 100 with “Love Me Not,” following four recorded by Lamar (including “Wacced Out Murals” and the No. 9-peaking “Man at the Garden” last year) and one by Hozier (“Empire Now,” 2024). Ritz Reynolds scores his first production billing on the chart.
Lenae first appeared on Billboard’s charts nearly two and a half years ago with “Skin Tight,” featuring Stevy Lacy. The track debuted on Adult R&B Airplay in November 2022 and climbed to No. 1 the following May, becoming her first leader on any list. It also reached No. 21 on R&B/Hip-Hop Airplay. She also posted her first entry on Hot R&B Songs last August with the No. 21-peaking “One Wish,” featuring Childish Gambino.
Billie Eilish re-enters the top 10 of the Hot 100. Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated April 12. “Birds of a Feather” is back in the top 10, as is Morgan Wallen’s “I’m the Problem.” His “Just In Case” falls to eight. “APT.” is up to seven, while […]
One year after J. Cole rocked the hip-hop world by apologizing and pulling out of the somehow still-unfurling Drake-Kendrick Lamar beef, the Grammy-winning rapper’s Dreamville Festival graced North Carolina for its fifth and final (sort of) edition from April 5-6 in Raleigh’s Dorothea Dix Park. The Thursday preceding the festival (April 3), via a press conference, the city’s festival organizers revealed that Dreamville Fest will return in the future under a new iteration, still in close collaboration with Cole.
Despite the surprising update, this year’s Dreamville Fest comfortably sat in a feeling of finality. The two-day festival’s star-studded lineup featured 21 Savage, Partynextdoor and Lil Wayne (with Hot Boys and Big Tymers) on Saturday (Apr. 5), and Cole, Tems and Erykah Badu on Sunday (Apr. 6). Additional performers included Keyshia Cole, Ab-Soul, Young Nudy, Chief Keef, Ari Lennox, Lute, Omen, Kai Ca$h & Niko Brim, Bas, Ludacris, Coco Jones, GloRilla, Wale, BigXthaPlug, JID, Anycia, Earthgang, Cozz and Akia.
With a general ambiance akin to a younger relative of Roots Picnic, Dreamville Fest 2025 offered attendees a strong selection of hip-hop and R&B’s biggest names peppered with the label’s own robust talent. Bas and Lute were two Dreamville stars who held it down for the whole team on Saturday, delivering equally poignant and high-energy sets that celebrated Dreamville’s history and legacy. On the festival’s first day, Chief Keef gave fans a fine set bookmarked by classics like “Faneto” and “I Don’t Like,” Kai Ca$h & Niko Brim won over new fans with their barred-up set, and Ludacris fired off several of his generation-bridging classes, managing to get the “Move B—h” hook to echo across the park. Keyshia Cole threw it back to 2005 with a special set celebrating her The Way It Is album, which housed massive sing-along hits like “Love” and “I Should’ve Cheated.” With choreography and costumes (for the backup dancers) straight out of the early ’00s, the R&B icon’s set was a beautiful celebratory moment for an incredibly impactful LP — despite her spotty vocal performance.
Before Lil Wayne rocked the stage, Partynextdoor played his most recent tour set, sprinkled with three cuts from his Billboard 200-topping Drake collab album $ome $exy $ongs 4 U — “Somebody Loves Me,” Drake’s “Nokia” and his own “Deeper” — none of which he actually sang. Instead, the DJ played the studio tracks, with the crowd singing along to a few particularly viral lines.
On Sunday, R&B newcomer Akia impressed with a set that included cuts from her newly-released debut EP (“Nobody”) and covers of ’00s R&B hits (Destiny’s Child’s “Cater 2 U”). “Back Outside” rapper Anycia only performed the first 30 seconds of her biggest hit — because she was going over her set time — but she still delivered one of the fest’s more enjoyable sets, anchored by bubbling hits like “Never Need” and her own irresistible charisma. At one point, the ATL rapper cracked that she could see the “reflection of her a–” in the seemingly crystal-clear skin of one particular audience member. GloRrilla and JID each mounted high-octane sets, while BigXthaPlug’s latest country crossover offering — the Bailey Zimmerman-assisted “All The Way” — landed favorably with the N.C. crowd.
Here are the seven best moments of Dreamville Fest 2025.
Coco Jones Cooks Up Some Heat
Scooter Braun and Jermaine Dupri are together again.
On Monday (April 7), HYBE America, where Braun serves as CEO, announced it had struck a distribution partnership with Dupri’s legendary So So Def Recordings, serving as a full-circle moment for both music executives.
“Everything I learned about the music business started with Jermaine,” said Braun in a statement. “He gave me my first shot when I was just a kid with a dream. I was blessed to witness genius up close — and now, years later, it’s an honor to return to where it all began and stand beside him as a partner.”
Braun’s legendary career started when he was a 19-year-old club promoter working under Dupri’s tutelage. In the years since, he has risen to become one of the biggest names in the music business, previously managing A-list artists like Justin Bieber, Ye (formerly Kanye West) and Ariana Grande.
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The deal will give So So Def full access to HYBE America’s marketing infrastructure, allowing the label to expand its artists’ global reach.
As one of the biggest powerhouse labels of the ’90s and early 2000s, So So Def’s roster has included superstars like Usher, Janet Jackson and Mariah Carey. It also recently launched rising star Muni Long.
“Jermaine Dupri isn’t just a legend — he’s one of the greatest producers and executives of all time,” Braun continued. “He changed the sound of a generation. This deal is about giving him the modern tools and reach his legacy deserves, and making sure the next generation hears what the last one already knows: Jermaine Dupri is a giant.”
Dupri echoed this sentiment in his own statement. “This isn’t just a business move — this is family,” he said. “Watching Scooter build what he has built has made me incredibly proud. He learned the game inside So So Def, and now he’s in a position to open doors the way I once opened them for him. That’s what legacy is about.”
So So Def and HYBE America will begin rolling out new music in the coming months.
Leon Thomas checks off a chart milestone as his breakthrough single, “Mutt,” roars into the top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart (dated April 5), jumping 37-10. The song, a steady gainer in recent weeks, enjoys an added boost on the chart, which blends streaming, radio airplay and sales data, in the first chart week since its remix with Chris Brown dropped on March 21.
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For the tracking week of March 21 – 27, “Mutt,” released on EZMNY/Motown/ICLG, earned 12.6 million official U.S. streams, up 63% from 7.7 million in the previous week, according to Luminate. Thanks to the haul, the track re-enters the R&B/Hip-Hop Streaming Songs chart at No. 8, eclipsing its previous No. 17 best rank, from two weeks ago. Shifting to the sales market, “Mutt” pounces 11-5 on R&B/Hip-Hop Digital Song Sales for its first week at the summit, with 2,000 downloads in the tracking period, up 113%.
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All versions of the song are combined into one entry for data tracking and chart purposes. As the original version of “Mutt” generated more streaming and overall activity than the remix, Brown is not added as a featured artist to the song on streaming and “Hot” charts, but is added to the sales-specific charts, where the remix outperformed the original.
In the radio world, “Mutt” registered 12.4 million audience impressions across all formats for the week, up 28% from last week’s 9.7 million count. Three formats continue to provide most of its radio support: It pushes 8-7 on the Adult R&B Airplay chart following a 10% increase in plays for the tracking week compared with the week prior, jumps 18-15 on Mainstream R&B/Hip-Hop Airplay (up 18%) and holds at No. 38 for a second week on Rhythmic Airplay (though up 42%).
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With across-the-board improvements, “Mutt” wins the week’s Streaming Gainer, Airplay Gainer and Sales Gainer awards on Hot R&B/Hip-Hop Songs for the largest increases in each metric. It’s the first song to score the triple play since Eminem’s “Houdini” took all three on the chart dated July 27, 2024.
Elsewhere, “Mutt” climbs 5-3 on the Hot R&B Songs chart and leaps 77-28 on the all-genre Billboard Hot 100, giving Thomas his top 40 visit on the latter list.
“Mutt” is the title track to Thomas’ second studio album, which was released in September 2024. Thanks to its namesake’s success, Mutt springs 25-10 on the Top R&B Albums chart and debuts at No. 33 on Top R&B/Hip-Hop Albums with 12,000 equivalent album units in the tracking week, its first time breaking the five-figure mark.
As springtime settles into its groove, Chicago-bred R&B darling Ravyn Lenae is on the precipice of a moment thousands of fans have dreamed of for nearly ten years. At press time, “Love Me Not,” the jaunty lead single from 2024’s acclaimed Bird’s Eye LP, sits at No. 5 on the Billboard Bubbling Under Hot 100 — just a heartbeat away from becoming her first Billboard Hot 100 entry.
For most Lenae fans, 2017 was when she first captivated their attention. After signing to Atlantic Records the year prior, Lenae churned out a beloved feature on Smino‘s “Glass Flows,” opened for SZA‘s Ctrl Tour, and released “Sticky” — a single from her 2018 Crush EP, which helped streamline the aesthetics of her first two EPs into a swirling mixture of funky, Steve Lacy-blessed guitar, Dilla-esque beats, and a devastatingly vast vocal range whose uppermost parts echo Solange‘s fluttery falsetto. Eight years later, Lenae gave “Sticky” its crowning moment midway through her fourth and final sold-out show at New York’s legendary Blue Note Jazz Club on Wednesday night (April 2).
Built around her majestic sophomore album, Bird’s Eye, which Billboard‘s editorial staff named the No. 3 best R&B album of 2024, Lenae’s Blue Note set focused on her most recent album, weaving in selected older tracks to underscore her message of maturation and coming home to yourself while navigating your twenty-somethings.
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Beginning with “Sattelites” — a cut from Hypnos, her 2022 debut album — Lenae quickly constructed the live world of Bird’s Eye with “1 of 1” and vinyl-exclusive bonus track “Goodbye 2 You.” Backed by just a drummer and a six-string bassist (who deftly transferred his skills to acoustic guitar when necessary), Lenae slinked around the stage like a forest nymph; her fiery deep-red tresses flowed behind her like a carefully contained flame, adding a striking flourish to the pose she hit at the end of each song.
Although she didn’t hit high-octane combinations — after all, the Blue Note is a dinner club! — she refused to remain stationed behind the microphone stand. Whether she was accentuating each snare hit with a funky shoulder pop, recalling early Motown-era Diana Ross with her animated facial expressions and neck movements, or ethereally painting the space with her oft-outstretched arms — Lenae left no doubt that not only does she know how to work a stage, but she also is more comfortable than ever both in the booth and onstage.
Lenae got so comfortable that she choked herself up — and moved several audience members to silent tears — with her heartbreaking true-to-life anecdotes. In one particularly beautiful moment in which time seemed to stop, Lenae recounted the incredibly painful memory that inspired her Childish Gambino-assisted “One Wish.” Before she dove into a breathtaking rendition of the Bird’s Eye single — her vocals were virtually flawless the entire night, and she frequently hit new (and even more impressive) riffs and harmonies — Lenae explained, as she has in previous shows, that “One Wish” was born out of her father ghosting her after promising to show up to her 10th birthday party. She sucked all the air of the club with that story, and breathed it right back into the space with her stunning performance.
A similar moment happened before she launched into “Pilot,” the reflective, penultimate track on Bird’s Eye. Through recounting her own 20s journey, Lenae, 26, urged the audience to “talk to their moms and grandmas” to help remember “what made [them] excited to wake up in the morning when they were 15.” Near the end of the song, she switched the “I just know I’m twenty-four/ Small to the world I’m in” to different ages, underscoring the song’s universality.
By the time the show came to a close, Lenae played every song on the standard version of Bird’s Eye (barring “Bad Idea”), as well as fan-favorites like “Xtasy,” “Venom” and “The Night Song.” To send her final Blue Note crowd back to the streets of Greenwich Village, Lenae blazed through “Love Me Not,” leading the crowd a sing-along that truly underscored the weight of the moment. Surrounded by a crop of listeners clearly comprised of mostly longtime fans, Lenae got to bask in the chords of her current breakthrough hit just before midnight struck in one of NYC’s most iconic venues.
Ahead of her stint as an opener for the final leg of Sabrina Carpenter‘s sprawling Short n’ Sweet tour later this year, Ravyn Lenae delivered an outstanding show that somehow improved on an already-terrific sophomore LP.
Jon Batiste will receive the inaugural Ray Charles “Architect of Sound” Award at the annual Grammy Hall of Fame Gala, which is set for May 16 at The Beverly Hilton Hotel in Beverly Hills, CA. The award is to be presented annually at this event, which is presented jointly by the Grammy Museum and the Recording Academy.
The “Architect of Sound” Award recognizes an artist whose impact on music echoes Charles’ pioneering spirit. A 17-time Grammy winner, Charles is widely-regarded one of the most influential artists of all time. He was in the inaugural class of Rock and Roll Hall of Fame recipients in 1986 and also received the Kennedy Center Honors that year. He received the Recording Academy’s Lifetime Achievement Award in 1987 and has 10 recordings in the Grammy Hall of Fame. Jamie Foxx won an Oscar for portraying Charles in the 2004 biopic Ray. The film remains one of the top 10 top-grossing musical biopics.
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“Ray Charles is a beacon for me, a blueprint,” Batiste said in a statement. “He is a singular example of musical genius, artistic freedom and craft of the highest level that will continue to inspire humanity for generations and stand the test of time. I am honored to receive this award. It is vitally important to me to carry on our cultural legacy of true artistic greatness and lead the way for generations to come.”
Michael Sticka, Grammy Museum president/CEO, said, “Ray Charles was a trailblazing artist whose influence knows no bounds, and Jon Batiste is a true reflection of that legacy. Beyond his immense talent, Jon has been a dedicated partner in advancing the Grammy Museum’s mission to make music education more accessible. Honoring him with the inaugural Ray Charles ‘Architect of Sound’ Award is not just fitting — it’s a celebration of two artists who have shaped the sound of generations.”
Valerie Ervin, president of The Ray Charles Foundation, added, “Ray Charles was always pushing music forward — blending genres, breaking barriers, and inspiring generations. He would be deeply honored to have his name attached to an award that celebrates artists who share his fearless creativity and dedication to their craft. Jon Batiste embodies that spirit.”
Batiste has won seven Grammys, including album of the year for We Are, and an Oscar for best original score for Soul (in tandem with Trent Reznor and Atticus Ross). His latest album, Beethoven Blues (Batiste Piano Series, Vol. 1), is the first in his solo piano series, reimagining classical works through a fresh lens.
Batiste will take the stage for two performances at the Gala, which will also feature musical moments from a lineup of artists to be announced soon. The event will additionally honor this year’s label honoree, Republic Records.
The show will be produced by former Grammy Awards executive producer Ken Ehrlich, alongside Ron Basile, Lindsay Saunders Carl and Lynne Sheridan, with musical direction by Cheche Alara, a Grammy- and Latin Grammy Award-winning composer, producer and conductor. CBS News journalist Anthony Mason returns as host.
The Gala will celebrate the 2025 Grammy Hall of Fame inducted recordings, which include iconic recordings such as JAY-Z’s Reasonable Doubt, Cat Stevens’ Tea for the Tillerman, Santana’s Supernatural, and recordings from Big Star, Clara Ward, Eddie Floyd, Emmylou Harris, Fela Kuti & Afrika 70, Geeshie Wiley, Gloria Estefan & Miami Sound Machine, J.D. Crowe & The New South, Linda Martell, and Luther Vandross.
The Grammy Hall of Fame was established by the Recording Academy’s National Trustees in 1973. The inducted recordings are selected annually by a committee, with final ratification by the Recording Academy’s National Board of Trustees. With 13 new titles, the Grammy Hall of Fame currently totals 1,165 inducted recordings. Eligible recipients will receive an official certificate from the Recording Academy.
Tickets for the Grammy Hall of Fame Gala are on sale now. For more information, visit the Grammy Museum website.
In today’s episode of Billboard Unfiltered, Billboard staffers Carl Lamarre, Trevor Anderson, and Kyle Denis are joined by Peter Rosenberg dive into Drake’s “Nokia” music video where he references Kendrick Lamar’s “Not Like Us” music video, Ye’s interview with DJ Akademiks where he makes statements surrounding Kim Kardashian, Playboi Carti, Beyonce & Jay-Z and others, and the current state of Summer Jam.
What do you want to hear more of? Drop your suggestion in the chat!
Carl Lamarre:
I’m curious to get your thoughts as far as, like, what were your thoughts on the video? Did Drake deliver, underperform? We’ll start with Mr. Rosenberg on his thoughts.
Peter Rosenberg:
Listen, I appreciate you guys very much. So I’m not gonna hold back here. I only watched highlights of the video. That’s not disrespect. Music videos for me these days. Like I probably watched, “Not Like Us” one time when it came out, was like, cool, right? I just don’t live currently in the space where, like, breaking down music videos is part of my thing. But I saw, like, the little connections people were drawing, yeah, and I it felt like a reach. Like, I’m not saying that it wasn’t little stuff, but it wasn’t enough to, like, honestly, warrant major conversation to me. But again, I’m not like, captain break it down to that degree. I’m like, is it on the surface, then to me, it’s something worth talking about? Like the 50 other- when people broke down the Super Bowl, like, by day two, I was like, All right, no, no, I get it. I don’t need, like, 50 different versions. Yeah, if it takes that long to figure out what we’re talking about, while it’s neat for like, the hardcore nerds,I’m too busy. I’m sorry I got no time. But, yeah, no, it was cool. I’m just, if I’m Drake, I’m just happy I have that big a hit. Like, what’s what’s happened? That’s more interesting to me than whether or not he took subtleties at Kendrick in the video.
Keep watching for more!
Billboard Women in Music 2025
Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the United States.
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Let’s open the latest mailbag.
Hi Gary,
Remember when you, myself and another Billboard reader went over music acts with the longest streaks of gaining a new Billboard Hot 100 top 10 year after year? We had come to the consensus that, with 12 years apiece, Mariah Carey (1990-2001) and Prince (1983-94) were the two front-runners in that club. Well, now we have a third.
Thanks to his “Rather Lie,” with Playboi Carti, which debuted on the March 29 chart, The Weeknd has now put a new song in the Hot 100’s top 10 for a 12th consecutive year.
Here’s a rundown of all of his top 10s, in chronological order of their peaks:
2014: “Love Me Harder,” with Ariana Grande (No. 7 peak)
2015: “Earned It (Fifty Shades of Grey)” (No. 3); “Can’t Feel My Face” (No. 1, three weeks); “The Hills” (No. 1, six weeks)
2016: “Starboy,” feat. Daft Punk (entered the tier that October at No. 3, on its way toward topping the first Hot 100 of 2017)
2017: “I Feel It Coming,” feat. Daft Punk (No. 4)
2018: “Pray for Me,” with Kendrick Lamar (No. 7); “Call Out My Name” (No. 4)
2019: “Heartless” (No. 1, one week)
2020: “Blinding Lights” (No. 1, four weeks, eventually earing the honor of the Hot 100’s all-time biggest hit); “Smile,” with Juice WRLD (No. 8)
2021: “Save Your Tears,” with Ariana Grande (No. 1, two weeks); “Take My Breath” (No. 6); “One Right Now,” with Post Malone (No. 6)
2022: “Creepin’,” with Metro Boomin & 21 Savage (debuted at No. 5 that December and then hit a No. 3 high in 2023)
2023: “Die for You,” with Ariana Grande (No. 1, one week); “K-POP,” with Travis Scott & Bad Bunny (No. 7)
2024: “Young Metro,” with Future & Metro Boomin (No. 9); “Timeless,” with Playboi Carti (No. 3)
2025: “Rather Lie,” with Playboi Carti (No. 4, as this email is being typed)
Who else to tie such a historic streak than The Weeknd, right? Someone who happens to be: A, one of my favorite popular music acts of all time, and B, known for citing Prince as an influence.
Regards,
Jake RiveraMashpee, Mass.
Hi Jake,
Thanks for pointing out the update, and congrats to The Weeknd on his record-tying streak of Hot 100 top 10s in 12 consecutive years (or more than 600 weekends).
Notably, another act has joined the mix for potentially matching the mark: Drake is now up to an active streak of 11 years in a row with new Hot 100 top 10s, from 2015 (“Hotline Bling”) through 2025 (“Gimme a Hug” and “Nokia”). He could, thus, tie the record next year — or The Weeknd could claim the honor all to himself with at least one new top 10 in 2026.
Meanwhile, what about the same feat on the Billboard 200 albums chart? On first thought, a lengthy streak of annual new top 10s might seem less likely there, as, compared to singles, acts for the most part don’t release as many as albums, and somewhat rarely every year historically.
Let’s count down the artists, from The Beatles to Taylor Swift, Drake and more, with the most consecutive years of sending at least one new album to the Billboard 200’s top 10 (dating to Aug. 17, 1963, when the chart began combining mono and stereo releases into one ranking). The act atop the list might seem surprising, although perhaps less so once looking into why.
Seven consecutive years with new Billboard 200 top 10s:
Taylor Swift: 2019-25
Future: 2014-20
Pentatonix: 2013-19
Luke Bryan: 2011-17
Kenny Chesney: 2004-10
Dave Matthews/Dave Matthews Band: 2001-07
Earth, Wind & Fire: 1975-81
The Beatles: 1964-70
Andy Williams: 1963-69
Eight consecutive years:
Blake Shelton: 2010-17
Chicago: 1970-77
Nine consecutive years:
Drake — the record-holder among soloists (or groups with largely fixed lineups): 2015-23
And, the act with the longest such streak overall …
12 consecutive years (the same as the Hot 100 record):
The leading group – of rotating members – tallied all 24 of its Billboard 200 top 10s from Kidz Bop 7 through Kidz Bop 32. (In that run, only Kidz Bop 17 and Kidz Bop 30 missed the tier, both reaching No. 12; meanwhile, the collective has hit a No. 2 best with five releases.)
The act scored its record run of consistency in the Billboard 200’s top 10 thanks to its steady stream of all-ages covers of big pop hits. Kidz Bop Kids additionally earned 101 entries, including 42 top 10s, on the Kid Digital Song Sales chart, both bests in the list’s history. Four reached No. 1, led by their family-friendlier take on Meghan Trainor’s former Hot 100 No. 1 “All About That Bass,” which led for six weeks in 2015.
In 2014, Victor Zaraya, then an executive for the ensemble, mused about its win-win nature. “It’s favorable to have your song being sung,” he said. “Maybe a kid heard the Kidz Bop cover of an artist’s song before they heard the actual version. Will they remember it as a Kidz Bop song? Maybe. Will they remember it with the original artist? Maybe. But it’s only furthering that artist’s song.”
Beyond remakes of familiar songs, Zaraya noted that the act’s singers contributed to the enduring appeal of Kidz Bop, which in 2025 celebrates its 25th year, including with tour dates. To date, the troupe has sold 18.7 million albums and drawn 8.1 billion official streams for its songs in the U.S., according to Luminate.
“We want to let kids know that [the Kidz Bop Kids] are real — they sing, dance and perform,” Zaraya said. “They can be brand ambassadors for us. They have personalities. They are stars.”