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Normani teaches Olympic gymnast, Jordan Chiles her dance routine and what it takes for her to be a star on stage.
Normani
So today I’m swapping spaces. I have a special guest.
Dondraico Johnson
Can they dance though?
Normani
Absolutely.
Jordan Chiles
I mean, the entrance might have seemed I was really hype, but I’m actually really nervous
Normani
Okay I mean, nervous is okay.
Jordan Chiles
Yeah, yeah, I guess.
Dondraico Johnson
You’re in a safe space this is the best place.
Jordan Chiles
I feel. I feel it. I feel the energy.
Normani
And you have a dance background.
Jordan Chiles
I do. I do. I was dancing until I was about five years old, tap, hip hop and ballet, believe it. Then gymnastics took over so.
Normani
Great foundation.
Dondraico Johnson
See the greats across the board. We good. You got this.
Jordan Chiles
Are you sure? I ain’t trying to embarrass myself?
Dondraico Johnson
Trust me
Normani
And you won’t, we wouldn’t have you go out there like that.
Jordan Chiles
Yeah, I do. I do. I did put you on a beam today.
Normani
She did. Had me doing aerials and cartwheels.
Jordan Chiles
So I guess, since I’m in her space, she was in mine.
Dondraico Johnson
You trying to kill my friend?
Jordan Chiles
I didn’t mean too.
Normani
We’re gonna get even.
Jordan Chiles
This is her getting even.
Normani
Let’s do it.
Jordan Chiles
Let’s do it. Let’s go.
Normani
Okay, so I’m gonna call my vocal coach, because we got to get warm vocally to make sure that that aligns with what we’re doing in terms of the movement, okay, okay, okay.
Jordan Chiles
See ya. Thanks. Bye. Don’t leave me, but thanks.
Watch the full video above!
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This decade alone, Jekalyn Carr became the first gospel artist inducted into the Women Songwriters’ Hall of Fame, won her first Grammy (best gospel performance/song for “One Hallelujah”) and topped Gospel Airplay nine times — and she did it all before turning 30.
Carr, 28, is one of contemporary gospel music’s leading talents, and with her forthcoming album, Jekalyn x The Legends, the Memphis-born singer-songwriter is fully realizing her unique status as a bridge between generations. Set for release on Nov. 7 via WayNorth Music, Jekalyn’s new collaborative project will feature gospel music pillars including Pastor Shirley Caesar, Karen Clark Sheard, Yolanda Adams, Kim Burrell, John P. Kee, Bebe Winans, Dorinda Clark-Cole, Dottie Peoples, Harvey Watkins Jr., Lisa Page Brooks, The Williams Brothers and Dr. Bobby Jones.
“I think it’s our duty to continue to make sure that our generation, and the generations after, know about these artists,” Carr tells Billboard. “These aren’t just people whose songs we sang growing up in church — we still sing their songs, and they’re still putting out amazing music! I want to show the world the unity and the togetherness of the gospel industry.”
Jekalyn x The Legends arrives amid a precarious period for gospel music, especially considering five-time Grammy winner Chandler Moore’s bombshell exit from Maverick City Music and the top-selling group’s co-founder’s recent controversial comments. Earlier this year (July 25), Norman Gyamfi, who previously managed Moore, joined an Isaac Carree Show episode, saying, “Choir music would’ve never died if people wanted to listen to it… The gospel norms wasn’t working no more. Y’all sing too hard. Y’all oversing. Stop doing that. Nobody wants to hear no runs.”
With her new record, Carr, a powerhouse vocalist in her own right, reminds the world of the vitality of traditional gospel vocal stylings and its undeniable legacy across musical genres. Packed with inspirational anthems of gratitude, Jekalyn x Legends offers solace and wisdom as much as it edifies. Carr shared the record’s lead single, a Kee-assisted version of March’s “Don’t Faint,” in September, and with a second collaborative album in the works, she’s executing her role as gospel’s generational bridge with absolute precision.
Below, Carr speaks with Billboard about her new album, her favorite recording sessions, and the tense dynamic between traditional gospel and white Christian contemporary music.
How did you come up with the concept of Jekalyn x The Legends?
My dad pitched it to me! Anybody who knows me knows that I love the legends; I always mention them. This is the first time that I get to have a lot of the artists I’ve always wanted to work with on an actual album, from Pastor Shirley Caesar to Bebe Winans to Yolanda Adams. This album is about making sure the gap is being bridged. It’s about honoring these people who have made history not just in gospel, but in music in general. A lot of them have really crossed over mainstream and held onto their core values, which I think is very inspiring.
Which studio session was your favorite?
All of them are great, but one that was very different for me was with Pastor Shirley Caesar. We actually recorded her part a cappella. We had music ready to go, but I was like, “Pastor Shirley, I want you to just go for it and do your thing! I want to take the music out.” And when I tell you… it was just such an amazing [experience].
What did God put on your heart and mind during these recording sessions?
Each song carries its own weight and message. One of my favorite songs is “I Break,” where I’m talking about breaking negative cycles, generational curses, and all these things from the root. Because at the end of the day, you cannot live freely or thrive if you’re weighted down. A lot of people feel like they can’t be free. A lot of people feel like they were held hostage for a long time. But this song reminds you that it doesn’t matter how long you’ve been in it; you can get up from it.
Why did you introduce this album with “Don’t Faint?” Why did John P. Kee feel like the right voice to add to that song?
I always sit back and receive what it is that [I’m] supposed to release for the year — and “Don’t Faint” was that. So many people have heard, “This is going to happen for you! You’re going to see this and that!” And they have not seen it yet. [“Don’t Faint” reminds] you that just because you haven’t seen it, doesn’t mean it’s not going to be your portion. Sometimes you have to push and fight a little harder, but you can’t give up. And John P. Kee, I mean… he’s John P. Kee! I heard his voice on it, and I just felt like he would be the perfect fit for this song. When I reached out to him, it was an automatic yes. It was a wonderful experience having his timeless, classic voice [on my record].
How did you approach arranging a song like “I Love You,” which features three vocal powerhouses between Kim Burrell, Lisa Page Brooks and yourself?
The beauty of this song is that you have three different ladies with three different styles and textures of voices, but we all have the same message: God has been good to us, and we love Jesus! I wanted to mix it up a little bit, so each person has a verse that tells the history of different seasons in our lives that made us love God even more. And it just goes higher and higher. We recorded [our parts for] that song individually, but it felt like we were there together. For each album, I always have a song that just signifies thanksgiving, and “I Love You” is that song [Jekalyn x The Legends].
What did you think of Maverick City Music co-founder Norman Gyamfi’s recent comments about gospel music?
I think we all understand [that] everybody is not the same. If we all were the same, the industry would be boring. What I had to realize is that [I] may not be for every audience, but I’m assigned to somebody. I had to learn how to love what I have to offer. You should never feel like you have to convert to something else because it’s “working.” Be yourself because maybe [those people] are graced for that and that’s what they’re supposed to do. It’s a lot of things I can do. I believe if I really put my mind to it, I could do a little jazz. However, I’m confident in who I am and what I have to offer. We have to learn how to embrace everybody’s style.
There’s been lots of talk about different types of faith-based music, especially Christian contemporary music, thriving in the marketplace, seemingly at the expense of more traditional styles of gospel. Where do you fall on that?
We have to stop looking at it as two different things. The message is the same; it’s just different styles. You have some Black artists who are strictly worship, does that make them not gospel? No. The message is what really matters. As long as the message hasn’t changed and people are still blessed and inspired, that’s all that matters.
How do you hope to translate Jekalyn x The Legends to a live setting?
We’re working on a documentary about the album! I want to show the before, the in-between, and make it a very well-rounded documentary. There may [also] be a tour. I want the legends on the stage — and this is just chapter one. I couldn’t get everybody on this one album, but we’ve already made phone calls, and I still have people to reach out to. It’s very important that this doesn’t stop at an album, and [people] actually see it live in person too.
Trending on Billboard Summer Walker looks like she has the post-wedding blues on the album artwork for Finally Over It, which she unveiled on Wednesday (Nov. 5). While being showered with white rose petals, the R&B superstar poses with an elderly white man she’s taken as her husband, drawing inspiration from then-26-year-old model and actress […]
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Daniel Caesar attains his first No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart as Son of Spergy begins atop the list dated Nov. 8. The set, released on Oct. 24 through Hollace/Republic Records, opens with 43,000 equivalent album units earned in the United States in the week of Oct. 24-30, according to Luminate.
Of its starting sum, Son of Spergy generated 26,000 units from streaming activity, equaling 34.1 million official audio and video streams of the album’s tracks. 17,000 units derive from traditional album sales, with minimal activity from the third contributing metric, track-equivalent units from song sales. Thanks to its activity in the relevant metrics, Son of Spergy arrives at No. 4 on the Top Album Sales chart and No. 11 on the Top Streaming Albums ranking.
Son of Spergy — the title is a nod to the nickname of Caesar’s father, gospel singer Norwill Simmonds — is the fourth album by the singer-songwriter. It follows his breakthrough, 2017’s Freudian, which peaked at No. 16 on the Top R&B/Hip-Hop Albums chart, 2019’s Case Study 01 (No. 10), and 2023’s Never Enough (No. 6).
In addition to its triumph on Top R&B/Hip-Hop Albums, Son of Spergy likewise starts at No. 1 on the Top R&B Albums chart and is Caesar’s first leader there. Breakthroughs continue with its No. 4 launch on the all-genre Billboard 200, where the singer scores his first top 10 visit.
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Ten of the album’s tracks reach the 50-position Hot R&B/Hip-Hop Songs chart, led by the No. 23 debut of “Who Knows.” The entrance gives Caesar his best result as a lead artist. He previously scored two No. 1s in featured capacities: on Justin Bieber’s seven-week champ “Peaches,” also featuring Giveon, in 2021, and by supporting Tyler, The Creator on last year’s “St. Chroma,” which ruled for one week. He likewise assisted Tyler, The Creator on the No. 16-peaking “Take Your Mask Off,” also featuring Latoiya Williams.
Two previous releases, “Have a Baby (With Me)” and “Call on Me” return for their second weeks on Hot R&B/Hip-Hop Songs. The former reaches a new peak of No. 31 after it debuted at No. 36 in August, while the latter matches its No. 40 high.
Plus, Caesar notches his first No. 1 on the Hot Gospel Songs chart, as “Rain Down,” featuring Sampha, blasts in at the top. The track owes its start to 3 million U.S. streams, with negligible amounts of radio airplay or sales.
Here’s a rundown of Daniel Caesar’s Son of Spergy tracks on this week’s Hot R&B/Hip-Hop Songs chart:
No. 23, “Who Knows”
No. 28, “Root of All Evil”
No. 31, “Have a Baby (With Me)”
No. 37, “Baby Blue,” feat. Norwill Simmonds
No. 38, “Rain Down,” feat. Sampha
No. 39, “Emily’s Song”
No. 40, “Call on Me”
No. 41, “Moon,” feat. Bon Iver
No. 46, “Touching God,” feat. Yebba & Blood Orange
No. 49, “Sign of the Times”
Trending on Billboard Kehlani celebrated a new career milestone when her R&B smash “Folded” reached No. 7 on the Billboard Hot 100 this week (chart dated Nov. 8). “First top 10 on Billboard. lucky #7 gratitude is endless,” they wrote on Instagram Monday (Nov. 3) prior to performing “Folded” on Jimmy Kimmel Live! that night. Following its […]
Trending on Billboard
Kehlani bags her first No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Folded” snags the summit on the list dated Nov. 8. The single advances after five weeks in the runner-up spot and likewise captures the crown on the Hot R&B Songs list.
“Folded,” released on Atlantic Records, traces its coronation week on the multi-metric Hot R&B/Hip-Hop Songs chart to a combination of 13 million streams, 32.9 million in airplay audience and 3,000 sold in the United States for the tracking week of Oct. 24-30, according to Luminate, gains of 35%, 11% and 74%, respectively.
Streaming and sales improvements were aided by the release of the six-song “Homage Pack,” which remixed “Folded” with different R&B singers. The collection features individual remixes for the song with Brandy, Toni Braxton, JoJo, Mario, Ne-Yo and Tank, respectively. The first five versions all combine with the original “Folded” entry for charting and data purposes; the Tank edition, which recasts Kehlani’s vocals in a less-prominent way, is tracked separately. As the original “Folded” contributes most of the chart activity, no featured artists were added to the song’s billing.
Kehlani claims their first No. 1 on Hot R&B/Hip-Hop Songs with their 19th career appearance, stretching back to 2016’s “Gangsta,” which debuted at No. 20 in August 2016 and peaked at No. 13 the following month. That rank remained Kehlani’s best result until this year; in addition to the “Folded” rise, they came close to the top slot via a feature on Cardi B’s “Safe,” which peaked at No. 3 last month.
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Elsewhere, as “Folded” tops Hot R&B/Hip-Hop Songs, it repeats its rise from runner-up to top dog on the Hot R&B Songs chart, dethroning Leon Thomas’ “Mutt” on both rankings. It likewise is the Kehlani’s first No. 1 entry there; the singer-songwriter previously reached a No. 4 best via the Ty Dolla $ign-featuring “Nights Like This” in 2019 and the Tory Lanez-assisted “Can I” the next year.
In addition to its new crowns, “Folded” continues to unwrap new career milestones across other charts. This week, it becomes Kehlani’s first top 10 hit on the all-genre Billboard Hot 100, where it darts 14-7, and marks their first top 10 visit on both the Streaming Songs (28-10) and Radio Songs (11-8) charts.
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Chris Brown doubles up on Billboard’s R&B/Hip-Hop Airplay chart by occupying the top two spots of the radio ranking dated Nov. 8. The singer’s “It Depends,” featuring Bryson Tiller, rises 2-1, while former champ “Residuals” rebounds 3-2. With the pair, Brown pulls the double play for the third time in his career, and first instance since 2014.
“It Depends,” released on Brown’s CBE imprint and RCA Records, becomes Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne’s count for the third-most among all acts. Tiller, meanwhile, nabs his third champ after his two-week No. 1 “Don’t” in 2016 and via he and Rihanna’s featured spots on DJ Khaled’s “Wild Thoughts,” a five-week leader the following year.
“It Depends” ascends from the runner-up spot to rule R&B/Hip-Hop Airplay, which ranks songs by combined audience totals from panel-contributing adult R&B and mainstream R&B/hip-hop radio stations. There, the single jumped to 22.4 million audience impressions in the United States for the week of Oct. 24-30, according to Luminate, up 15% from the prior week’s total of 19.4 million. The nearly 3 million audience upsurge secures “It Depends” the Greatest Gainer award, given weekly to the song with the largest increase in audience.
Plus, Brown’s nine-week leader “Residuals,” which ruled at various times between February and August, rallies 3-2. In its 65th week on the chart, the single improved 6% to 20 million in audience for the tracking week.
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With “It Depends” and “Residuals,” Brown links a fifth occasion of appearing on the Nos. 1 and 2 songs on R&B/Hip-Hop Airplay. It’s the first time, however, he is the lead act on both tracks. He previously was on the top two titles simultaneously:
On the Nov. 25, 2006, chart with his own No. 1 “Say Goodbye,” and he and Johnta Austin’s features on the runner-up, Bow Wow’s “Shortie Like Mine.”
For three weeks of Nov. 15 – Nov. 29, 2014 charts via he, August Alsina, Future and Jeremih’s featured appearances on DJ Khaled’s No. 1 “Hold You Down” and his own No. 2, “New Flame,” featuring Usher and Rick Ross
Moreover, “It Depends” is Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne for the third-most among all artists since the chart began in April 1992. The pair trail only Drake (29) and Usher (16) on the leaderboard. As Brown makes it to a dozen leaders, here’s a review of the chart-topping collection:
“Say Goodbye,” six weeks at No. 1, beginning Oct. 14, 2006
“Deuces,” feat. Tyga and Kevin McCall; nine, Sept. 11, 2010
“Look at Me Now,” feat. Lil Wayne and Busta Rhymes; eight, April 2, 2011
“Loyal,” feat. Lil Wayne and French Montana or Too $hort or Tyga; eight, June 7, 2014
“New Flame,” feat. Usher and Rick Ross; four, Oct. 25, 2014
“Hold You Down,” DJ Khaled feat. Chris Brown, August Alsina, Future and Jeremih; five, Nov. 15, 2014
“All Eyes on You,” Meek Mill feat. Chris Brown and Nicki Minaj; one, Sept. 26, 2015
“No Guidance,” feat. Drake; 27, Aug. 24, 2019
“Go Crazy,” with Young Thug; 29, Aug. 22, 2020
“Under the Influence,” two, March 25, 2023
“Residuals,” nine, Feb. 15, 2025
“It Depends,” feat. Bryson Tiller; one (to date), Nov. 8, 2025
Elsewhere, “It Depends” lands a fifth week at No. 1 on the plays-based Mainstream R&B/Hip-Hop Airplay chart, where it improved 5% in plays for the week and repeats, at its No. 8 high, on Adult R&B Airplay (up 14% in plays). After three weeks atop the Rhythmic Airplay chart, the song surrenders the summit to Cardi B’s “Safe,” feat. Kehlani, and slides to No. 2 with a 5% decrease in plays.
Combined strength across formats is enough to advance “It Depends” 8-7 on the all-genre Radio Songs chart, where it added 10% in audience to reach 35.9 million in listenership for the tracking week.
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Kehlani makes her top 10 debut with “Folded,” while Justin Bieber’s “Daisies” and Olivia Dean’s “Man I Need” continue to rise. Billboard‘s chart experts break down the new contender and whether Mariah Carey will come flying in to No. 1 anytime soon. We also took to the streets of L.A. and asked fans what they thought about the top 10 for this week.
Tetris Kelly: The battle between “Golden” and Taylor Swift stays tight as a new contender enters the top 10. It’s time, well, according to Mariah Carey and KATSEYE, but maybe not quite yet on the charts. More on that moment a little bit later. But for now, let’s jump into the top 10. This is the Billboard Hot 100 top 10 for the week dated Nov. 8. Still at 10 is Leon Thomas with “Mutt.”
Guest 1: So, “Mutt,” man, I feel like it’s so, like, relatable to our culture. I love it. It’s got, like, a lot of flavor in it. And the women, I love the women. So it gets you, you know, it gets you in there.
Tetris Kelly: Morgan also stays at No. 9.
Guest 2: I mean, I live in Texas, so everyone’s obsessed with Morgan Wallen. I kind of stay away from what everyone’s obsessed with.
Guest 3: I don’t listen to him. I’ve never been a country girl, but I know he’s big. I don’t actually think I’ve ever listened to a single song by him.
Guest 4: I never even heard of him. You wilding because I don’t know Morgan.
Tetris Kelly: “Elizabeth Taylor” falls to eight.
Guest 4: Music swiftly goes right by me. Oh, hey, she cute. Though, I bet if I heard it, I probably would like it, though.
Tetris Kelly: So not a lot of movement in the bottom of the chart, but I am happy to see Leon Thomas still hanging in there. How we feeling about the chart this week, guys?
Delisa Shannon: I mean, y’all know this, I love me some Leon Thomas, so to see him holding on, I mean, it’s just truly a testament to really pushing a song. I think that’s what we’ve seen time and time again on these charts, where we see a song that not only that the artist is really strong behind, but their fandom is really strong behind.
Keep watching for more!
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Max Chambers charged into the Knockout Round on The Voice on Monday night (Nov. 3) and proceeded to blow the coaches away with his high-energy, preternaturally soulful cover of Stevie Wonder’s 1972 classic “Don’t You Worry ‘Bout a Thing.” The 14-year-old Shreveport, Louisiana student came in to do battle with fellow Team Bublé member Max Cooper III, who also held his own with a cover of Djo’s “End of Beginning.”
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But Chambers’ poised, powerful performance had Snoop Dogg jumping out of his seat, howling and singing along, as the teen swung and smiled his way through the soul-funk jam with such ease, confidence and swagger that he earned the show’s first-ever Mic Drop award.
The new wrinkle introduced for season 28 of the show — there are no more steals or saves left in the knockout rounds — allows each coach to select one of their acts for the honor bestowed on a performance that is simply undeniable. Even better, after the Droppers are chosen, fans at home get to vote on which one of them will represent the show at the Jan. 1 Rose Parade; voting for the Mic Drop winner will take place on the Nov. 24th episode.
“Max, for my money, is a frontrunner to win The Voice this year,” said coach Bublé. “He could be the youngest winner in Voice history. I really think that Max Chambers could be the reason I am a three-peat winner.” After hitting his Mic Drop button, Bublé added, “I was so excited. I felt like I was doing millions of people a favor. I do hope you’ll vote for him because I do feel he deserves to be there.”
Snoop’s praise climbed even higher. “Precious lord, take my hand, lead me on and let me stand! I got to take my glasses off!…A star is born, man,” the Doggfather enthused.
So far, Team Reba’s Aubrey Nicole, Team Niall’s Ava Nat and Team Snoop’s Ralph Edwards have all won their Knockout rounds so far and are moving on to the playoffs. The Voice airs on Monday night at 8 p.m. ET on NBC and streams the next day on Peacock.
Watch Chambers’ performance below.
