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Khalid is the latest person to not be able to get Sabrina Carpenter‘s ultra catchy hit “Please Please Please” out of his head, and to rectify that, he posted a buttery smooth cover of the track Wednesday (April 9). In the short clip shared to his TikTok, the R&B-pop star films himself while sitting at […]
Keri Hilson has expressed regret over dissing Beyoncé on 2009’s “Turnin Me On (Remix).” The R&B singer stopped by The Breakfast Club on Wednesday (April 9) when she clarified what exactly went down with the remix to her top 15 hit and reflected on how the detrimental situation impacted her career.
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“It’s a regret,” she said matter-of-factly. “But not in the way people think. That’s a song I actually didn’t write. Those are not my words.”
When Hilson flew in for the studio session with producer Polow Da Don, whom she was signed to in a joint venture with Timbaland through Interscope Records at the time, he already had her impending verse penned by another writer (Ester Dean).
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“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 left, left,” Hilson sings on the 2009 remix while referencing Beyoncé’s “Irreplaceable.”
“Automatically, I was like, ‘I’m not saying that,’” she said when she first heard the Bey-dissing verse. “That was my position. I’m an athlete. I am competitive. But I’m not nasty, I’m a finesse player. I don’t look at things like that.”
Hilson claims that Polow Da Don threatened to sabotage her career as her In A Perfect World.. debut album was yet to be released.
“I tried to fight him on it and I began writing my own,” she added. “But he — I want to be careful with the word I use — it was quite forceful… 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.”
The “Knock You Down” singer continued: “My album wasn’t out yet, I was told it’s not coming out if you don’t do this. I was super young. I felt I had no choice. I’m still protecting everyone involved. I’ve been eating that for years.”
“Turnin Me On” featuring Lil Wayne reached No. 15 on the Billboard Hot 100 as her debut album peaked at No. 4 on the Billboard 200.
Ester Dean came forward and issued an apology on Wednesday (April 9) for penning Hilson’s verse on the “Turnin Me On” remix, which she called “childish.” She wrote: “I see how it hurt people, especially women, and I take full accountability.”
In 2021, Hilson had a weight lifted off her shoulders when the singer revealed that she had a positive conversation with Beyoncé surrounding the track and finally cleared the air.
“I feel like she understood what happened, what had transpired and there was a bit of healing in that moment when we met,” Hilson said to host Persia Nicole. “I take her as a very intuitive kind of soul, as am I. She’s amazing. I’ve always felt that way, that’s the truth of the matter, but no one will believe that.”
Hilson is entering a new era and coming off the release of her “Bae” single. Look for her We Need to Talk album to arrive on April 18.
Watch the Keri Hilson interview below. Talk of the Bey diss begins around the 25-minute mark.
What is Frank Ocean up to? The multi-hyphenate man of mystery recently sent fans into a tizzy with what the kids are calling his supposed finsta account (@kikiboyyyyyyy), which features a profile picture of Michael Jordan holding up three fingers that can be interpreted as Ocean hinting at his third album (and before you react, […]
Leon Thomas’ “Mutt” is the top dog on Billboard’s Hot R&B Songs chart (dated April 12) as it leads the list with a 3-1 jump.
On the multimetric chart, which combines streaming, radio airplay and sales data, the single improves in the former two divisions, a week after reaching new milestones thanks partly to a remix with Chris Brown.
In the tracking week of March 28-April 3, “Mutt,” released on EZMNY/Motown/ICLG, registered 13.1 million official U.S. streams, according to Luminate, a 4% gain from the prior’s week total of 12.6 million. The increase keeps the track at No. 1 on the R&B Streaming Songs chart, for a second week at the summit, while it pushes 22-16 on the all-genre Streaming Songs list. It likewise wins a second term at No. 1 on the R&B Digital Song Sales chart despite a 19% loss in digital downloads to 1,500 for the week.
Turning to the radio market, “Mutt” captured 14.7 million impressions in all-format airplay audience, up 18% from the previous week. (All radio airplay, regardless of format, contributes to a track’s rank on the Hot R&B Songs chart.) Three formats provide most of the single’s radio reach: “Mutt” steps 7-6 on Adult R&B Airplay with a 7% boost in plays for the latest tracking week compared with the week prior, climbs 15-13 on Mainstream R&B/Hip-Hop Airplay (up 16%) and rises 38-36 on Rhythmic Airplay (up 30%). Led by those improvements, the track debuts at No. 47 on the all-genre Radio Songs chart.
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While “Mutt” is Thomas’ first entry as an artist on Hot R&B Songs, the multi-talent has appeared has co-written six previous hits on the chart, including Ella Mai’s “Not Another Love Song” (No. 9 in 2020), Bryson Tiller’s “Ciao” (No. 9, 2024) and SZA’s “Snooze,” which spent 32 weeks at No. 1 in 2023-24 and won Thomas his first Grammy Award, for best R&B song.
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Now with his own material, Thomas, who wrote “Mutt” in 2022, is making inroads across several charts. In addition to conquering the Hot R&B Songs chart, his breakthrough single leaps 10-5 on Hot R&B/Hip-Hop Songs and springs 28-21 on the all-genre Billboard Hot 100. Worldwide activity is up, too, with a 47-40 hop on the Billboard Global 200 and a 191-137 jump on the Billboard Global Excl. U.S. chart.
The song’s parent album of the same name, meanwhile, earns a fourth week on the Top R&B Albums chart, sliding 10-12 with 12,000 equivalent album units for the week (down less than 1%).
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.