genre rb
Page: 15
Teddy Swims and GIVĒON take over the No. 1 spot on Billboard’s Adult R&B Airplay chart with their collaboration “Are You Even Real” leading the list dated April 26. The single ascends from No. 3 after a 17% jump in plays that made it the most-played song on U.S. panel-contributing adult R&B radio stations in the tracking week of April 11 – 17, according to Luminate. Thanks to its gain, “Are You Even Real” wins the weekly Greatest Gainer prize, awarded to the song with the largest increase in plays.
“Are You Even Real,” released and promoted through Swims INT/Warner, trades places with last week’s champ, Muni Long’s “Superpowers,” which drops 1-3 after backtracking 23% in plays for the week.
With the new leader, Teddy Swims nabs his second No. 1 on Adult R&B Airplay. His breakthrough hit, “Lose Control,” ruled the chart for three weeks in June 2024. Radio triumphs have been instrumental to its ongoing, historic success: beyond Adult R&B Airplay, other “Lose Control” No. 1 ranks included Pop Airplay and the overall Radio Songs chart, helping it clinch the year-end Hot 100 No. 1 title for 2024 and a record-breaking 58 weeks in the Hot 100’s top 10.
Trending on Billboard
Plus, with “Lose Control” and “Are You Even Real,” Teddy Swims becomes the fourth artist thus far in the 2020s decade to top Adult R&B Airplay with each of his first two appearances. He joins:
The Bonfyre (“Automatic” in March 2019 and “U Say,” feat. 6lack, in February 2020)Tems (a featured role on Wizkid’s “Essence” in October 2021- January 2022 and her own “Free Mind” in February – April 2023)October London (“Back to Your Place” in August – October 2023 and “Mulholland Drive,” feat. Snoop Dogg and Latoiya Williams, in August 2024)
[embedded content]
For GIVĒON, “Are You Even Real” awards him a first No. 1 on Adult R&B Airplay with his fifth charting title. His prior best was a No. 7 result for “Like I Want You” in February 2021. The incumbent champ, however, isn’t his only current hit. The singer’s “Twenties” repeats at its No. 9 high on this week’s chart with a 4% jump in plays in the latest tracking week.
Elsewhere, “Are You Even Real” climbs 10-9 on the Rhythmic Airplay chart through a 7% increase in plays at the format and rises 18-16 on the Mainstream R&B/Hip-Hop Airplay chart (up 8%). Gains at the two formats, as well as adult R&B, power the song’s 44-41 improvement on the all-genre Radio Songs chart. There, “Are You Even Real” ascends to 16.7 million audience impressions across all formats, a 4% boost from the prior week.
Actor/singer Teyana Taylor will join producer/actor La La Anthony and SNL star Ego Nwodim on the 2025 Met Gala red carpet livestream on May 5. The three women will be joined by podcaster/influencer Emma Chamberlain, who is marking her return as Vogue‘s special correspondent, interviewing some of the biggest stars walking the carpet at the […]
Miguel is a firm believer in divine timing. Though he wrote his song “Sure Thing” at 18 and waited nearly seven years for its initial release, the precocious songwriter wasn’t flummoxed. At 25, he watched the song bloom and catapult his career as one of the premier R&B artists. At 40, the song, glittering in TikTok gold, reemerged and became a top 15 record nearly a decade and a half later, solidifying his pen and status as a songwriting marksman.
“I believe in signs, and for whatever reason, all of those variables didn’t come together for ‘Sure Thing’ at the time,” says Miguel in his new Billboard News In-Conversation interview. “I wrote that song at 18, 19, and years before Mark [Pitts] heard it. And then it took years for the song to be released. So there were a good six-plus years before writing the song and before anyone actually heard it. The game was so different.”
He continues: “‘Sure Thing’ went No. 1 on R&B and never went anywhere else. So it was really my core fans — the ones who were with me, gave me my flowers and gave the music a place to be and exist. I’m so grateful for that. Fast-forward two years, and new fans, younger fans, discovering the music is a testament to why I do this.”
Peaking at No. 11 on the Billboard Hot 100 in 2023, “Sure Thing” resided on his debut album, All I Want You Is You, which turns 15 later this year and marked Miguel’s entry into the R&B game at a time where Usher, Chris Brown and Ne-Yo reigned supreme.
“It’s a journey,” he reflects. “You think about how much time it took to get that album out and what it took to get there in terms of cycles, growth, challenges, failures and learning experiences. To have all of the blessings between that point and this point in my career is beautiful. It’s a trip.”
Along with “Sure Thing,” Miguel also had his debut record, “All I Want Is You,” featuring a young and flashy J. Cole. The chemistry between the two then-rookies was palpable and sparked two more instant classics later on in their careers, including Cole’s “Power Trip” and the singer’s “Come Through and Chill.”
“I come from underground hip-hop, which is a big part of my development and career,” says Miguel. “A lot of that started with my education, love for hip-hop and deep, true lyricism. Those things, I think, informed how easy it was for Cole and me to make music, and I think with the grace of everything, I look forward to many, many more because he’s not going anymore, and I’m not going anywhere.”
“We’ve definitely talked about going back and forth on production and fun concepts. That just feels like timing,” adds Miguel about a possible EP with Cole.
While Miguel enjoys reminiscing about his past successes, he’s moving forward and in a new direction, especially on his upcoming album. Earlier this year, he released “Always Time,” a sharp contrast from “Sure Thing,” where his relationship turmoil drowns him in regret.
“I am the most reliable, most unpredictable homie. I am deep into a lot of conspiracy theories. I listen to metal music. I grew up in a punk city. Punk is a huge part of my upbringing. My father is Mexican, so I love all of the traditional things that I heard growing up. He also loved Black women. So I got to listen to all the great soul music in his car when we took rides. Where I take my fans will be about the truths I’m finally comfortable sharing with you.”
Watch Miguel’s Billboard News In-Conversation interview, in which he speaks about also working with j-hope on “Sweet Dreams” and diving more into his Mexican roots musically.
Kevin Hart is set to host the 2025 BET Awards.
Airing live on BET on the East Coast (and tape-delayed on the West Coast) on Monday, June 9, at 8 p.m. ET/PT, the show will again be held at the Peacock Theater at L.A. Live in Los Angeles. It will be Hart’s second time hosting the show. He previously hosted in 2011. And it’s the 25th anniversary of what BET likes to call “Culture’s Biggest Night.”
“I love a celebration!,” Hart said in a statement. “I’m truly honored to host the 25th BET Awards and celebrate the culture’s biggest night. This year marks the 25th anniversary, and my partners at Hartbeat, BET, and JCE are pulling out all the stops to make it a night to remember. It’s a Black-Tie affair, and you’re all invited. Tune in live on June 9th, only on BET.”
Hart has received four Primetime Emmy nominations and two Grammy nominations. In 2023, he topped Billboard Boxscore’s list of top 10 highest-grossing comedy tours of the year.
Trending on Billboard
In 2024, he received the Mark Twain Prize for American Humor. Those who turned out to honor Hart included Jerry Seinfeld, Dave Chappelle, Chris Rock, Jimmy Fallon, J.B. Smoove, Tiffany Haddish, Regina Hall, Chelsea Handler, Nick Cannon and Keith Robinson.
Hart has a robust history with BET, beginning as host of stand-up comedy showcase Comic View: One Night Stand in 2008. Hart also executive produced and starred in Real Husbands of Hollywood, the scripted parody series that premiered in 2013. On March 6, BET+ launched Lil Kev, the streamer’s first adult animated comedy series, based on Hart’s childhood and family, and produced by Hart’s entertainment company, Hartbeat.
“Kevin Hart is a powerhouse of an entertainer,” said Connie Orlando, EVP, specials, music programming & music strategy at BET. “His impact spans comedy, film, television, and beyond. As we celebrate 25 years of the BET Awards, we couldn’t think of a more dynamic host to lead this historic night. Kevin’s unmatched charisma, comedic brilliance, and deep-rooted connection to our culture make him the perfect choice to commemorate this milestone event.”
“For over a decade, Kevin Hart has been a beloved part of the BET family, and we couldn’t be more excited to have him return to host the 25th anniversary BET Awards,” said Scott Mills, president and CEO of BET. “His unparalleled talent, infectious energy, and deep connection to our audience make him the perfect host for this historic celebration.”
Orlando serves as the executive producer for the 2025 BET Awards, in tandem with Jamal Noisette, SVP of tentpoles & music community engagement, for BET. Jesse Collins Entertainment is the production company for the show, with Jesse Collins, Dionne Harmon, and Jeannae Rouzan-Clay also serving as executive producers.
As previously reported, The BET Experience 2025 (BETX) returns June 5–8 in Los Angeles with four days of immersive fan events, leading up to the BET Awards on June 9.
Durand Jones & The Indications – the trio of Durand Jones, Aaron Frazer and Blake Rhein – have announced their most extensive tour to date. Following a successful opening slot on Lenny Kravitz’s European tour, the band will hit their biggest headlining shows yet, with stops at Stubb’s Waller Creek Amphitheater in Austin and The Greek Theatre in Los Angeles.
The tour will kick off Sept. 11 at The Van Buren in Phoenix and run through some of North America’s most iconic venues, including Webster Hall in New York, Tipitina’s in New Orleans, First Avenue in Minneapolis and The 9:30 Club in Washington, D.C. The 37-date trek will come to a close on Nov. 16 at House of Blues in Dallas.
In addition to announcing their fall tour, Durand Jones & The Indications have released the second single from their upcoming album Flowers, due June 27 on Dead Oceans. The new single “Flower Moon” puts Frazer’s signature falsetto front and center as the group waxes poetic about love in springtime. The band draws from their extensive knowledge of soul and R&B history to deliver one of their most irresistible dancefloor tracks yet.
Trending on Billboard
“It felt right to release ‘Flower Moon’ with this record. Spring is here and the flowers are blooming everywhere. We really wanted to catch that essence of the song and bring it to life for the listener,” Jones said in a release. “Also the Flower Moon is happening in a few weeks, so everything just seemed aligned to bring this song to our fans. It’s a feel-good tune to enjoy with friends or a loved one.”
Check out the video for “Flower Moon,” directed by Alec Basse, below.
Flowers will mark Durand Jones & The Indication’s fourth studio album and a return to the band’s roots with a mixture of gritty funk and Southern soul that inspired their 2016 self-titled debut. The album was self-produced in Rhein’s Chicago home studio and reflects the “ups and downs in our personal lives and professional lives,” Frazer said when the album was announced, adding, “and flowers are a sign of maturity, growth, spring, productivity.” The new song follows lead single “Been So Long,” which was released last month.
Check out a full list of tour dates below.
Sept. 11 – Phoenix, AZ @ The Van Buren Sept. 12 – Flagstaff, AZ @ Orpheum Theater Sept. 13 – Abiquiú, NM @ Blossoms & Bones Sept. 15 – San Antonio, TX @ The Aztec Theatre Sept. 16 – Austin, TX @ Stubb’s Waller Creek Amphitheater Sept. 18 – Atlanta, GA @ Variety Playhouse Sept. 19 – Nashville, TN @ Brooklyn Bowl Sept. 21 – Washington, DC @ 9:30 Club Sept. 23 – Philadelphia, PA @ UnionTransfer Sept. 26 – Boston, MA @ Citizens House of Blues Sept. 27 – New York, NY @ Webster Hall Sept. 30 – Indianapolis, IN @ Hi-Fi Annex Oct. 1 – Chicago, IL @ The Salt Shed Oct. 3 – Englewood, CO @ Gothic Theatre Oct 4 – Fort Collins, CO @ Washington’s Oct. 5 – Salt Lake City, UT @ The Depot Oct. 7 – Oakland, CA @ Fox Theater Oct 10 – Los Angeles, CA @ The Greek Theatre Oct. 11 – Las Vegas, NV @ Brooklyn Bowl Oct. 23 – Del Mar, CA @ The Sound Oct. 24 – Sacramento, CA @ Channel 24 Oct. 27 – Portland, OR @ McMenamins Crystal Ballroom Oct. 28 – Vancouver, BC @ Commodore Ballroom Oct. 29 – Seattle, WA @ Showbox SODO Oct. 31 – Boise, ID @ Knitting Factory Concert House Nov. 1 – Bozeman, MT @ The ELM Nov 3 – Minneapolis, MN @ First Avenue Nov 4 – Milwaukee, WI @ Turner Hall Ballroom Nov 5 – Detroit, MI @ St. Andrew’s Hall Nov. 7 – Toronto, ON @ The Concert Hall Nov. 8 – Montreal, QC @ Beanfield Theatre Nov. 9 – South Burlington, VT @ HIgher Ground Ballroom Nov 11 – Columbus, OH @ Newport Music Hall Nov. 12 – Asheville, NC @ The Orange Peel Nov. 14 – New Orleans, LA @ Tipitina’s Nov. 15 – Houston, TX @ Heights Theater Nov. 16 – Dallas, TX @ House of Blues
Rock the Bells returns this summer with the Class of 2025: Summer’s Kool. Standing at the head of the class when the festival makes its New Jersey debut at Newark’s Prudential Center on June 28 will be Busta Rhymes, Redman, Remy Ma, Too $hort and Scarface, among others. The one-night affair is being presented in partnership with the Black Promoters Collective.
Explore
See latest videos, charts and news
See latest videos, charts and news
Spanning generations, genres and regions, the lofty lineup also includes Eric B. & Rakim, KRS-One, Big Daddy Kane, Plies, Boosie, Fabolous, Lil’ Mo and Capone-N-Noreaga. Representing the underground will be M.O.P. and Coast Contra. There will also be a special Uptown Records Celebration. Curated by DJ Eddie F, the salute will feature performances by Al B. Sure!, Donell Jones, Christopher Williams, Monifah, Soul for Real and more. The entire evening will be hosted by recently minted Grammy Lifetime Achievement Award honoree and rap pioneer Roxanne Shanté and soundtracked by the legendary DJ Kid Capri.
In a statement announcing this year’s festival, Rock the Bells founder LL Cool J said, “Rock the Bells has always been about the elevation, preservation and innovation of hip-hop. Class of 2025: Summer’s Kool is more than a festival — it’s a cultural homecoming. We’re celebrating the artists who built the foundation and the new voices pushing it forward, all in one night. This is hip-hop in its full glory — past, present and future.”
Trending on Billboard
Noted Shelby Joyner, president of the Black Promoters Collective, “Partnering with LL Cool J and the Rock the Bells festival is an extension of our shared commitment to celebrating Black culture through powerful live experiences. This isn’t just an event — it’s a cultural movement. We’re proud to help bring together generations of fans and legends to honor hip-hop’s impact and ensure its legacy continues to thrive on the biggest stages.”
Additional artists will be announced in the coming week. For more information about tickets, visit the Rock the Bells website.
Rock The Bells 2025
Courtesy Photo
On the latest Billboard 200 albums chart (dated April 26), SZA’s SOS surpasses Adele’s 21 for the most weeks spent in the top 10 among albums by women.
SOS, released in 2022, garners its 85th nonconsecutive week in the top 10 on the chart, where it climbs 4-3. Adele’s 21, released in 2011, was last in the top 10 for its 84th and final (nonconsecutive) week in the region on the Jan. 9, 2016-dated chart.
The new April 26, 2025-dated chart will be posted in full on Billboard‘s website April 22.
Trending on Billboard
Both SOS and 21 are former No. 1s, with SOS having spent 12 weeks atop the tally and 21 having logged 24 weeks at No. 1 (a record among albums by women). SOS collected its two most recent weeks at No. 1 in January following its SOS Deluxe: LANA reissue with additional songs.
Further, SOS now ties Peter, Paul and Mary’s self-titled album for the third-most weeks in the top 10 among albums by a singular artist. They both trail two albums by Morgan Wallen (Dangerous: The Double Album, with 158; and One Thing at a Time, with 106).
Since the Billboard 200 began publishing on a regular weekly basis, with the March 24, 1956-dated chart, the album with the most weeks in the top 10 is the original cast recording of stage musical My Fair Lady, with 173 weeks in the top 10 between 1956-60.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Albums With the Most Weeks in the Top 10 on the Billboard 200 Chart:Weeks in Top 10, Artist, Title, Year First Reached Top 10173, Original Cast, My Fair Lady, 1956158, Morgan Wallen, Dangerous: The Double Album, 2023109, Soundtrack, The Sound of Music, 1965106, Morgan Wallen, One Thing at a Time, 2023106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Original Cast, Oklahoma!, 195685, SZA, SOS, 202285, Peter, Paul and Mary, Peter, Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(From March 24, 1956, through the April 26, 2025-dated chart)
Because of how the Billboard 200 chart is now compiled, where streaming activity is blended with album sales and track sales, albums tend to spend a longer time on the list thanks to continued streaming activity. The chart only began utilizing streaming information in its methodology in December 2014. Before then, the chart was based solely on traditional album sales.
Also, a lengthy tracklist with multiple popular songs can help accrue large streaming totals, so albums like SOS, One Thing at a Time and Dangerous — each with more than 30 songs apiece — benefit from the continued weekly streams of their long tracklists.
Further, older albums (known as catalog albums; generally defined today as titles at least 18 months old) were mostly restricted from charting on the Billboard 200 from May 25, 1991, through Nov. 28, 2009. After that, catalog and current (new/recently released) albums have charted together on the Billboard 200. In turn, older albums now regularly spend hundreds of weeks on the chart. On the April 26, 2025-dated list, for example, there are more than 30 albums with least 400 total weeks on the chart. Before the rule change in December 2009, allowing catalog albums back onto the chart, only three albums had spent more than 400 weeks on the list – led by Pink Floyd’s chart-topping The Dark Side of the Moon. Today, it continues to hold the record for the most weeks on the list, with 990.
It may have been Easter Weekend, but Kendrick Lamar didn’t wait until the third day for his return. After rocking the Super Bowl LIX halftime show with a visually striking set built around his Billboard 200-topping GNX LP, the Pulitzer Prize-winning Compton MC mounted the first show of his sprawling, SZA-assisted Grand National stadium tour. Kicking off the trek in Minneapolis, Minn., K.Dot and SZA treated fans to a nearly three-hour show packed with hit collaborations like their Billboard Hot 100-topping “Luther” and fan favorites from their respective catalogs.
As if launching a stadium tour wasn’t impressive enough, Lamar began the weekend as the first musician featured in a Gatorade commercial (April 18). He ended it as Chanel’s new brand ambassador (April 21). Talk about a victory lap!
Trending on Billboard
Outside of Kung Fu Kenny, the hip-hop and R&B worlds enjoyed winning returns to form from Wiz Khalifa and Keri Hilson, and Ryan Coogler’s Michael B. Jordan-led Sinners — which includes a new original song from Rod Wave — packed theaters across the country.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Leon Thomas and Halle’s heart-wrenching new duet to Sault’s latest inspirational offering. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Leon Thomas & Halle, “Rather Be Alone”
With “Mutt” continuing to scale the Hot 100, Leon Thomas’s foot remains squarely planted on the gas pedal. For his latest single, the Grammy-winning multihyphenate tapped Grammy-nominated singer and actress Halle, whose bright, ethereal tone provides the perfect complement to his bluesy timbre. “I’d rather be alone, rather be alone/ Than in a broken home/ I’d rather be alone/ Tryin’ to do this for the both of us on my own,” they harmoniously croon in the song’s chorus. Deepening Leon’s bag of sultry, soulful, rock-infused R&B, “Rather Be Alone” trades specifically on psychedelic influences; the hazy mix accentuates the emotional turmoil both vocalists embody in their retelling of the monumental choice of personal peace over past traumas. — KYLE DENIS
Naomi Sharon, “The Only Love We Know”
Naomi Sharon is coming to grips that true self-love comes from within. “The Only Love We Know” finds the First Lady of OVO exploring that journey with an ethereal island-tinged tune, which serves as the title track of her upcoming EP. Sharon’s seductive vocals are amplified by a powerful choir. “All I got is pride, do it better/ But this love is a lie/ We can’t hold together,” she sings with clarity. When things don’t work out, the 30-year-old says it’s okay to let go and see the other side. A soothing outro feels like water washing over listeners, getting a new lease on life. — MICHAEL SAPONARA
Estee Nack & al.divino feat. ???, “American Graffiti”
Repping Lawrence and Lynn, Massachusetts, respectively, Estee Nack and al.divino let off their first single from their collab tape Coldest Combo Ever with producer Grubby Pawz, and they brought along ??? (aka The Hidden Character) along for the ride. All three of them of go crazy over Grubby’s production as they spit stream-of-consciousness street raps. — ANGEL DIAZ
Davido feat. Victoria Monét, “Offa Me”
Davido and Victoria Monét link up on “Offa Me” to deliver a sultry, hypnotic Afro-fusion track that blends romantic tension, desire, and emotional openness. It’s a flirtatious conversation between two lovers who want to explore each other on a deeper level, both physically and emotionally. Victoria leads with vulnerability and seduction, singing, “Come and show me what it is that you’ve got to offer me.” She’s asking for more than just surface-level energy, she wants her lover to be fully present. The repeated line “take this off of me” is a metaphor for emotional layers and a literal request for intimacy. The chemistry between Davido and Victoria Monét is heavy, the beat is breezy, and the vibes are all about mutual love, respect, and attraction—a perfect track for the impending warm weather. — CHRISTOPHER CLAXTON
Statik Selektah feat. Westside Gunn, Joey Bada$$, Stove God Cooks, & Rome Streetz, “The Louvre”
Westside Gunn and his Griselda imprint have made posse cuts a thing again, so we can thank him for this Statik Selektah cut, essentially featuring three of the Buffalo label’s artists and Brooklyn’s Joey Bada$$, who has been getting back to rapping more consistently as his acting career has taken off. And shout out Lawrence, Massachusetts, once again, because they’re getting a lot of love on Fresh Picks today with Statik hailing from there as well. This cut is expected to be on the producer’s upcoming project Expensive Taste, due out later this year. — A.D.
Jae Stephens, “SMH”
Ahead of her stint as an opener for FLO’s Access All Areas Tour next month, rising R&B-pop star Jae Stephens has finally shared her highly anticipated “SMH” single. Building on the funky, percussive, Neptunes-evoking sonic template she opted for on 2024’s “Body Favors,” Stephens delivers an anthem for everyone juggling a roster as the summer approaches. “I got Chris, I met online/ Sean ain’t s–t but he so fine/ I might be theirs, but they ain’t mine/ I got so so so so, so many/ Hoes” she sings, nimbly moving from falsetto to conversational talk-singing cadence. Accompanied by a video featuring fellow R&B darlings Maeta and TA Thomas, Jae Stephens is ready for her takeover. — K.D.
Mozzy & Polo G, “Who Want War”
After Mozzy’s “Sleep Walkin” played a role in Black Panther, it’s fitting that the Sacramento native’s Intrusive Thoughts album arrived the same weekend Ryan Coogler released his Sinners blockbuster. A standout from Mozzy’s set narrating his street tales came in the form of a collaboration with Polo G titled “Who Want War,” which found the Chicago resident turning back to the clock with his cinematic assist. Polo gets candid about how even with his lucrative career changing his surroundings, he still can’t escape loss. “Thirty M’s in, still paying for these funerals,” he raps. — M.S.
Planta Industrial, “Oi”
This blew my mind the first time I heard it. Hailing from the Bronx, Planta Industrial is a couple of Dominicans mixing rap with punk rock, and it sounds different and refreshing. The one thing that stands out to me about their music is how Saso and AKA the Dark Knight go from rapping in English to Spanish, so effortlessly. They’re definitely carving out a lane all to themselves. Check out their other bangers “That’s My B—ch” and “Anormales.” — A.D.
Sleepy Hallow, “Girls Like Girls”
Sleepy Hallow’s “Girls Like Girls” dives into the emotional confusion, trust issues, and miscommunication that often come with modern relationships. In the pre-chorus, he admits he bottles up his feelings: “I might tell her I’m not okay but never tell her what’s wrong.” It’s a relatable moment of emotional distancing, fearful that if he opens up, he’ll be judged or misunderstood. Meanwhile, the girl finds her escape by partying with friends, using music and sisterhood as her coping mechanism. “Girls Like Girls” is a moody reflection on how people cope with emotional pain — some through withdrawal, others through escape. It’s a commentary on love in a time where trust is fragile, communication breaks down easily, and the healing process is often messy and personal. — C.C.
Sault, “K.T.Y.W.S.”
Four months after Mercury Prize winner Little Simz sued Grammy-nominated producer and longtime studio collaborator Dean “Inflo” Cover — which she opened up about in a recent Billboard profile — Sault (led by Cover and his wife, Cleo Sol) unleashed their 12th studio album, 10. Released just in time for Easter, the 10-track set is a sumptuous fusion of soul and Christian music, delivering heartfelt affirmations and words of inspiration at every turn. With a blend of disco, gospel and R&B on “K.T.Y.W.S” (a backronym for “Known That You Will Survive”) that recalls Kirk Franklin and the Clark Sisters’ most dancefloor-leaning offerings, 10 certainly isn’t lacking in the bop department. — K.D.
Wiz Khalifa & RMR, “Just to See You Smile”
It’s rare Wiz Khalifa gets vulnerable on melodic tracks, and he wears his heart on his sleeve with the poignant “Just to See You Smile.” Wiz dedicates the first verse to his mother as he opens up about her working two jobs to provide and the times he had to hide dealing weed from her. They’ve come a long way from the days of her driving him to his first shows. Pieced together by a sparkling chorus from RMR, Khalifa then moves into a tribute to his late older sister, who passed away in 2017. “You always showed me love, plus made me tougher/ And now that you gone, I realize I won’t get another,” Khalifa raps. While it won’t gain the mainstream acclaim of Ye’s “Hey Mama” or 2Pac’s “Dear Mama,” it’s one of the most powerful songs in Wiz’s Hall-of-Fame career, and speaks to his maturity and perspective as an artist who’s stood the test of time. — M.S.
Ovrkst. feat Samara Cyn, “Small Talk”
Two of rap’s youngest shining stars, Ovrkast. and Samara Cyn come through with a banger produced by the Bay Area MC himself. “Small Talk” puts their talents on full display as they both bring their unique flows and perspective to Ovrkast.’s laid back production in anticipation of the rapper slash producer’s upcoming project, which some are speculating is entitled While the Iron Is Hot. — A.D.
bLAck pARty, “Distant Lover”
On “Distant Lover,” bLAck pARty delivers a dreamy, nostalgic ode to a long-distance romance that’s heavy on longing and light on drama. The track floats with smooth vocals, as he tries to bridge the gap between himself and someone who’s physically far but emotionally close. In the first verse, pARty paints the picture of an ideal connection — white wine, slow moments, and affection. “Distant lover” is both a term of endearment and a signal that this connection hasn’t fully blossomed because of the space. “Distant Lover” is about that almost-love, that “what if” connection you can’t quite shake. The track wraps that feeling of wanting someone who feels just out of reach into something beautiful and soothing. — C.C.
Alex Warren moves up in the top 10. Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated April 26. Morgan Wallen falls to 10, while Benson bounces to No. 9 after Coachella. BigXthaPlug’s country collab slips to eight. Teddy Swims is up to seven. Shaboozey is locked at No. 6. Alex […]
“I’m free … I had to give up music for a while. I thought it would just be for a year. I realize now I’m grateful for all of those years because I have built myself back up. It is kind of a comeback.”
Explore
See latest videos, charts and news
See latest videos, charts and news
So declares Keri Hilson in “Grateful,” the track that introduces We Need to Talk: Love — her first album in 15 years since 2010’s sophomore set No Boys Allowed. Released April 18 on her own imprint Audible Art Club via Create Music Group, the nine-track Love finds the Grammy-nominated singer-songwriter back in true form after a memorable run of multigenre-fused hits such as the platinum singles “Knock You Down” and “Pretty Girl Rock,” “Energy,” “Turnin Me On” with Lil Wayne and her vocal feature on Timbaland’s “The Way I Are,” which she co-wrote with the artist-producer.
This time around, Hilson collaborated with songwriters and producers like Tiffany Red, Danja (who, she says, “has worked on every project I’ve had”) and Needlz and Donut. Prefaced by lead single “Bae,” the album’s other notable tracks include the raw “Naked,” “Say That” (“It’s like a soft rock song… It’s different for me”), “Whatever” (“It’s going to touch people”) and “Somethin (Bout U)” (“I couldn’t stop ad libbing in the booth”). Hilson also notes this album is the first in a three-project arc — Love. Drama. Redemption. — that chronicles her 15-year break from the solo career she launched in 2009 with debut album In a Perfect World.
Trending on Billboard
“‘Grateful’ is actually an excerpt from an interview I did with [psychic medium] Reginald Lewis that aired on Steve Harvey’s show,” recalls Hilson. “It was a real and special moment; I was in tears. So we decided to put that on to help explain as I’ve got several albums’ worth of music and want to tell a cohesive story — love, drama, redemption — like a movie. I realized I had a thread that would weave this tapestry together.”
While the rollout of the next two albums is still being determined, Hilson is also starring in a new film: Temptations: Fame. Premiering April 26 on Lifetime, the movie is the latest chapter in an acting career that began with 2012’s Think Like a Man.
During a recent sit-down with Billboard, Hilson shares what she’s learned about Keri the person and Keri the singer-songwriter over the last 15 years: “That I’m pretty freaking courageous… I also learned how important and necessary freedom is as you call your own shots. Those are the two biggest things. It’s been a lot of work, but it’s definitely welcome.”
Was there one moment that sparked your decision to finally release new music?
There was no defining moment. But there was a phase during the last five years where all these serendipitous moments started happening: acting auditions, movie offers, fans walking up and saying, “You helped me leave an unhealthy relationship or marriage” with songs like “Beautiful Mistake.” Then there were happenstance encounters with people that could help me on the business side to structure my label the way that I wanted. So I felt redemption, vindication. Energy in the universe made it so very clear that it’s time. I couldn’t deny it.
What was the deciding factor in choosing midtempo “Bae” as the lead single?
It was the perfect first song for the simple fact that it’s straightforward. You’re hearing me without a lot of heavy arrangement. You’re hearing me just carry on the mic, with no feature. There is a sample [of Hurricane Chris’ 2007 single “A Bay Bay”] that is supportive but not overpowering; we were very intentional on that. It felt like a toe in the water and the perfect tempo to reintroduce myself with. And my partner loves “Bae.”
While recording, I was listening to my repertoire, which includes Bobby Brown, Babyface, Ms. Lauryn Hill: the things that have inspired me are still the same things that always inspire me. I’m also a Bruno Mars fan, and that Silk Sonic collaboration was everything, doing old things in a new way.
Why was Method Man, the only guest on this album, your choice for the song “Searchin’”?
There’s a tribal nature about that song, but there’s also this New York street essence that reminded me of Wu-Tang and only Wu-Tang. And I love Method Man; always been a fan of his cadence, voice and his look, which ain’t bad either [laughs]. Plus I’d just done a film [2021’s A Hip Hop Family Christmas] with his partner in crime, Redman. So I got in touch with Method Mad and he was so gracious, saying “Just let me know when you need me, what you need from me; just tell me and I’m there.” That’s just the energy that you want to have as an artist, especially [when you’re] re-emerging. It’s scary. You want and need the support. And he’s just such brother energy; a good guy.
Looking back on the music industry then vs. now, has it changed for the better or worse?
Starting with the better, artists have more freedom to literally create and carve out their own space, like real estate. And because of social media, people are flipping the channel to find where artists are setting up shop. That’s a great thing. Now we [artists] are in charge of curating our own channels. But while we’re in a new world, there are also some negatives in that it has created a lot of fear for the average artist. You want your music to work. You want the traffic, the sales and streams, to sell out shows. So it creates an environment, a culture of safe music.
Even within your own sphere, you’re like, “This is what I’m known for. I can’t deviate from that. This is what they want from me, and I have to serve that.” Your fans will even say it: “Keep making songs like …” and put you in a box. It’s pressure both internally and externally. And that’s the sad part. I’ve never followed rules, and I don’t plan on starting now. It’s necessary for people to come in and mix this shit up. That’s what I’m aiming to do.
Speaking of social media, you recently experienced a trending moment after sharing your regrets about a Beyoncé diss on the remix to your 2009 hit “Turnin Me On,” which later drew reaction from songwriter Ester Dean.
Obviously, the scope of social media has changed to be very salacious, a lot more than when I was out before. And that can be difficult to navigate. But despite this culture of negativity and click bait, nothing feels better than truth. That’s the best weapon. If you know you’re being honest and truthful, then you can stand up to anything because your authenticity and integrity are all you have at the end of the day. And that’s all I want to say about that.
What role does acting play in satisfying yourself creatively?
It’s a longer escape. Music can be an escape for a day or two. But while I’m creating movies, I get to pause time for much longer periods. It allows me to escape reality, and that’s really part of why I dove head first into it. My father passed in January 2020. I’d done a couple movies prior to that but now it was a departure from my grief, a welcome thing. I realized that I can kind of pause time, step away from myself and these heavy feelings. To smile and laugh because the character’s bubbly. It helped pull me out of that dark space.
Keri Hilson ‘We Need to Talk’
Courtesy Photo