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Kendrick Lamar remains untouchable at the top of the ARIA Singles Chart, extending his reign at No. 1 with ‘Not Like Us’ while securing another major win as ‘Luther‘ climbs to a new peak at No. 2.
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The latest chart, published Friday (Feb. 21), reflects the ongoing global dominance of Lamar, who has owned 2025 so far—from his record-breaking Super Bowl halftime performance to five Grammy wins, including Record and Song of the Year for ‘Not Like Us.’
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The Drake diss track, which has fueled one of the most publicized rap rivalries in recent memory, continues to drive massive streaming numbers, keeping it firmly at No. 1 in Australia for a second week. Meanwhile, ‘Luther,’ a standout from GNX, leaps from No. 8 to No. 2, further tightening Lamar’s grip on the chart.
He’s not done there—his 2018 Black Panther soundtrack hit ‘All The Stars’ with SZA makes a surprise resurgence, soaring from No. 22 to No. 8, re-entering the top 10 after the Grammy spotlight. Additionally, GNX track ‘tv off’ is on the move, climbing from No. 16 to No. 12 as Lamar maintains four songs in the top 20.
While Lamar dominates the chart, Rosé and Bruno Mars’ ‘APT.’ maintains a strong presence in the top three, slipping from No. 2 to No. 3 after previously peaking at No. 1 on the ARIA Chart last month.
On the homegrown front, Dom Dolla remains the highest-charting Australian artist this week, with ‘Dreamin’,’ though the club anthem takes a hit, sliding from No. 33 to No. 43. Despite the drop, the track has been a festival favorite, keeping him in the ARIA mix.
With multiple songs holding top positions across streaming platforms and radio airplay, Kendrick Lamar’s grip on 2025 remains unshaken. ‘Not Like Us’ continues to be one of the most talked-about hip-hop tracks of the decade, and as GNX builds momentum, it’s clear Lamar is set for an unstoppable run this year.
Over on the ARIA Albums Chart, Sabrina Carpenter’s Short n’ Sweet returns to No. 1, rebounding from No. 4. The pop star’s breakout album has been a global success, ranking as the third-biggest release of 2024 behind albums from Taylor Swift and Billie Eilish. The album’s deluxe edition, released on Feb. 14, helped boost its performance, alongside the debut of ‘Busy Woman’ at No. 22 on the singles chart.
Drake and PARTYNEXTDOOR, who’ve been lighting up Australia on the Anita Max Win Tour, land at No. 2 on the albums chart with their collaborative LP, $ome $exy $ongs 4 U, which dropped on Valentine’s Day.
Three tracks from the album make an impact on the singles chart, with Drake’s solo cut ‘Nokia’ entering at No. 28. The project follows Drake’s streak of No. 1 albums in Australia, including Views (2016), Scorpion (2018), Dark Lane Demo Tapes (2020), Certified Lover Boy (2021), and For All the Dogs (2023).
Brisbane artist Mallrat earns a top 40 debut with Light Hit My Face Like A Straight Right, entering at No. 35. It marks her third ARIA-charting project following Driving Music (No. 10 in 2019) and Butterfly Blue (No. 6 in 2022). Close behind, Canberra rock band Hands Like Houses enters at No. 36 with their fifth studio album, Atmospherics.
South Korean boy band PLAVE debut four songs on the Feb. 22-dated Billboard Global Excl. U.S. chart. And while K-pop acts regularly flood the global rankings with material from new EPs and albums, PLAVE sticks out by being a virtual group in its presentation.
PLAVE has five members — Bamby, Eunho, Hamin, Noah and Yejun — who sing, rap, write and choreograph. But for music videos, livestreams and performances, the collective uses motion capture technology to broadcast animated visuals.
Variations on this practice have been more common among Japanese artists, such as Ado, who reached No. 8 on Global Excl. U.S. in 2022 with “New Genesis,” among 12 entries on the chart to date. Plus, Korea’s K/DA hit No. 93 in 2020 with “More,” co-billed with a mix of American, Chinese and fellow Korean artists, both “real” (Madison Beer, [G]I-DLE, Lexie Liu and Jaira Burns) and virtual (Seraphine).
With this week’s debuts, PLAVE breaks new ground for Korean Vtubers (virtual YouTubers). “Dash” starts on Global Excl. U.S. at No. 89, while also hitting the Billboard Global 200 at No. 195. Plus, “Rizz,” “Chroma Drift” and “Island” debut on the former list at Nos. 111, 115 and 128, respectively.
All four tracks come from PLAVE’s third EP, Caligo Pt. 1, released Feb. 3. The group previously charted on Global Excl. U.S. with “Pump Up the Volume!” and “Way 4 Luv” last September.
“Dash” drew 11 million streams outside the U.S. in its first full tracking week (Feb. 7-13), according to Luminate, while PLAVE’s four chart entries combined for nearly 40 million in that span. Of those, 39.7 million, or 99.4%, were from outside the U.S. PLAVE’s home-country appeal is reflected on Billboard’s South Korea Songs chart. There, the group infuses the entire top five, led by “Dash” at No. 1 and rounded out by “12:32 (A T to T)” at No. 5.
Drake’s Anita Max Win Tour in Australia continues to deliver viral moments—this time, with the rapper handing out $30,000 to a pregnant fan at his Sydney show at Qudos Bank Arena on Wednesday night (Feb. 19).
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During a break in his set, Drake was scanning the crowd for signs when he spotted one that read: “I’m 20 weeks pregnant.” In a video circulating social media, the “Hotline Bling” rapper immediately reacted with disbelief.
“Are you 20 weeks pregnant? Get out of the pit. Get outta there,” Drake told the fan, later identified as Tiana Henderson, before instructing security to move her to VIP seating. “Give her some VIP tickets immediately and like $30,000,” he added before jokingly asking, “Who the f—brings a baby to a mosh pit?”
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Henderson and her friend were then escorted out of the packed general admission area to a more comfortable spot in VIP.
Drake’s latest giveaway is just one of many on his Anita Max Win Tour, where he has been handing out cash to fans throughout Australia. At his Melbourne show earlier this month, he reportedly gifted a fan $25,000 after noticing a sign referencing his son, Adonis, and another $20,000 to a concertgoer celebrating her birthday. While performing in Perth, he handed out $40,000 to two fans, including one waving the Canadian flag.
Earlier this week, he made headlines again by giving $30,000 to a fan in Sydney who held up a sign asking for help to quit their job at McDonald’s. The rapper played into the Australian slang, repeating the request in an exaggerated Aussie accent: “Help us quit Maccas, mate.”
In addition to his on-stage giveaways, Drake has been using the tour to promote $ome $exy $ongs 4 U, his newly released joint album with longtime collaborator PARTYNEXTDOOR, who has joined him on-stage during his Australian tour.
Released on Feb. 14, the project has been a commercial success, earning over 56.6 million first-day streams on Spotify—making it the second-highest debut of the year. $ome $exy $ongs 4 U also broke the record for the biggest R&B/Soul album in Apple Music’s history by first-day streams worldwide.
Drake and Party are set to headline the first day of this year’s Wireless Festival in London with special guest Summer Walker in July. Drake will also headline the next two days with “The Mandem,” Burna Boy, and the Worl’ Boss Vybz Kartel by his side.
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Touring can bring its fair share of unexpected adventures, but for British rockers The Wombats, a night out in Rio de Janeiro took an unnerving turn when an argument with the wrong person led to a high-stakes chase back to their hotel.
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Frontman Matthew “Murph” Murphy explained the incident to The Daily Star’s Wired column, revealing that drama unfolded during a night out when tensions escalated between someone in the band’s group and a local they had unknowingly crossed paths with.
“We got chased in Rio by a gang. We were out, someone said the wrong thing, we were doing the wrong thing,” Murphy told the newspaper as per Music-News. “Somebody – I won’t say who got into an argument with this other guy, and didn’t realise who he was, or what he was in.”
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The moment of confrontation quickly turned into something more sinister. As the band piled into a taxi, they realized they were being followed. “Our taxi was chased back to the hotel by these two Land Rovers,” Murphy revealed. “I ran up to my hotel room, and our tour manager had to diffuse the situation.”
He added, “Apparently, it was pretty freaky.”
While the Rio incident might have been their most alarming encounter, it wasn’t the only dramatic moment the band faced while touring in Brazil. Just days earlier, The Wombats had to cut their set short in São Paulo after a cyclone wreaked havoc mid-performance.
“When we played in São Paulo, a freak cyclone hit the stage in the middle of our third track and completely soaked us,” Murphy told NME in Oct. “Wrote off all the gear. Some steel split, and the stage we were on had folded down.”
Despite the mayhem, the festival carried on, with The Strokes headlining later that night under far-from-ideal conditions.
Murphy explained, “We were on the other stage, but it was facing the main stage where The Strokes were headlining. They went on that night, but all the drapes had come off, there was no screen, they were just playing against scaffolding. It was pretty ridiculous.”
The Wombats will soon kick off their upcoming arena run across the U.K. in March 2025. The band will take the stage in cities including London, Nottingham, Cardiff, and Manchester, with additional festival appearances lined up later in the year, following the release of their sixth studio album, Oh! The Ocean.
Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Feb. 19, adding another week to its record atop the chart.
The single was digitally released on April 12, 2024 and hit No. 1 for the first time on the chart dated July 17. This week, it rises a notch to rule the tally for the sixth time after hovering for three weeks in the top 3.
Streaming and downloads for the Oblivion Battery opener remain largely unchanged compared to the week before, while karaoke increased by 15%. The track hits No. 1 for streaming, video views, and karaoke, while coming in at No. 4 for downloads.
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The three-man band dominates the top two slots on the Japan Hot 100 this week, with “Darling” rising 3-2. Video for the track gained 10% and downloads 28% from last week.
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Rosé & Bruno Mars’ “APT.” climbs 5-3. The global hit is slowing down in most metrics except karaoke, which increased by 14%. The track comes in at No. 9 for downloads, No. 3 for streaming, No. 26 for radio airplay, No. 9 for video, and No. 24 for karaoke. The catchy pop-punk single has been charting for 16 consecutive weeks on the Billboard Global 200 and is at No. 3 on the chart dated Feb. 22.
BE:FIRST’s “Spacecraft” is at No. 4 after debuting atop the chart last week. The single sold 5,664 copies on the second week after its release and hit No. 9 for sales, No. 2 for video (down by 27%), and No. 18 for streaming (down by 24%).
Kenshi Yonezu’s “Plazma” slips to No. 5. The Mobile Suit Gundam GQuuuuuuX -Beginning- theme song topped downloads for the first time in three weeks with figures down by 22% compared to the previous week, a smaller decrease than the 37% drop the week before.
Takanori Iwata’s “Phone Number,” the EXILE member’s first release after transferring to Universal Music, bowed at No. 11 on the Japan Hot 100 after launching with 51,209 CDs to top sales, while coming in at No. 46 for downloads.
In other news, Kendrick Lamar’s “Not Like Us” makes its debut on the Japan Hot 100, coming in at No. 86. This is due to a surge in radio airplay after the single won five Grammys — including Song of the Year and Record of the Year — and was featured in the Compton rapper’s electrifying Super Bowl halftime show performance. The track is also back atop the Billboard Hot 100 for the first time in 29 weeks, logging its third week at No. 1.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
02/18/2025
The BLACKPINK superstar delivers sonic surprises, confident vocals and radio-ready tracks to prove her global pop star status.
02/18/2025
Billboard has announced the launch of its first French edition. The new venture is licensed by So Press. Billboard France marks the 12th global edition of Billboard.
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In the Parisian night, an imposing entourage makes its way to the photo studio. About 10 people – assistants, photographers, and collaborators – orbit around a familiar silhouette. The studio door opens to reveal Burna Boy, accompanied by his sister Ronami, an inseparable figure in his success, who combines the roles of manager, stylist and advisor with unwavering conviction. There’s an obvious quality to his charisma – the kind that shifts the energy of a place as soon as the person enters.In recent years, Burna Boy has been particularly prolific, allowing himself few moments of respite. Born in Port Harcourt, Nigeria, he comes from a family deeply rooted in music (his grandfather was the manager of legend Fela Kuti).
From promising beginnings in 2012 with the single “Like To Party” to a noteworthy first album, L.I.F.E, released in 2013. However, it was from 2017 that his career took on an international dimension. Mainstream global audiences discovered him during a collaboration with Drake on “More Life” in 2017. He followed with three major albums (Outside, African Giant, and Twice as Tall) while delivering well-chosen features like “Jerusalema” with Master KG and Nomcebo Zikode, and “Be Honest” and “Location” with British artists Jorja Smith and Dave, respectively.
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After filling La Défense Arena and its 40,000 seats in May 2023, the Nigerian artist is preparing to take on a new challenge: the Stade de France, on April 18, 2025, the starting point of a European tour of about 10 dates.
France holds a special place in Burna Boy’s career. It’s the third country where he’s most listened to, behind the United States and the United Kingdom. According to the SNEP (Syndicat national de l’édition phonographique, in English National Syndicate of Phonographic Publishing), the has 11 certified singles in France and has already been streamed more than 700 million times there.
“It’s a celebration of African excellence and proof that our music knows no boundaries,” he confides, showing pride in being the first non-French-speaking African artist to perform in the legendary venue. ” It’s not just about me as an artist but about representing a continent, a culture, and a people whose stories deserve to be heard on the biggest stages in the world.”
Figurehead of Nigerian Music
In 2019, he proclaimed himself African Giant. Today, the title seems trivial compared to the scale of his triumph. Burna Boy’s journey illustrates that of an outsider, a meteoric rise from Port Harcourt to the heights of international music. Initially an English-speaking breakthrough that today knows no boundaries.
More than a decade after Burna Boy’s rise with L.I.F.E, Nigerian music has established itself as a major force in global popular culture. Afrobeats, a genre of which he has become the most respected ambassador, transcends geographical, linguistic and cultural boundaries. Vevo even reported that in 2023, views of Afrobeats and Amapiano tracks increased by 61%, exceeding four billion. As reported by IFPI, Sub-Saharan Africa is the region with the fastest-growing music industry (the only one exceeding 20% growth in 2023).
Burna Boy’s Grammy Award, which he keeps on a dedicated table at home, also demonstrates a new American appetite for the Nigerian sound. “It’s not just about recognition—it’s what it symbolizes. It represents the power of staying true to yourself, breaking boundaries, and proving that African music belongs on the global stage. It’s a reminder that our culture and art are worthy of the highest honors.”
He returns this new American recognition well by inviting GZA for a feature on the title track of his latest album, I Told Them. On this album, he openly samples great American artists (Toni Braxton, Brandy, Jeremih, among others). “Yes, it’s intentional. Sampling is a way to pay homage to the sounds that shaped me while creating something new. It’s about bridging cultures and showing that music is a universal language. I’ll continue to experiment because growth and creativity go hand in hand.”
Burna Boy
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The Anglo-Saxon World As a Leitmotif
Having studied in London during high school, then briefly at Oxford Brookes during university, the English scene opened its doors to him first, and he’s always known how to reciprocate. He looks fondly on this ecosystem whose Nigerian roots are also illustrated in music (he mentions J Hus, Dave, NSG, and Not3s). “They’re carrying the torch in their own way. The UK has always had a deep connection with African music, and these artists are blending their experiences with Afrobeats influences to create something unique. It’s a beautiful exchange of cultures, and it shows how far-reaching Afrobeats’ impact is.”
African Music Conquering the World
The resonance of Burna Boy’s music is part of a larger movement. Since 2020, Afrobeat has spread westward thanks to crossover hits like CKay’s “Love Nwantiti (Ah Ah Ah)” or Rema’s “Calm Down,” which have exceeded a billion streams on Spotify. Nigeria is now the sixth best music-exporting country, and Burna Boy serves as the figurehead of a scene that has definitively conquered the world.
He enthusiastically discusses this new generation of Nigerian artists who are breaking codes. “[They’re] fearless,” he states. “They are experimenting with sounds and taking risks. It’s interesting to see how they’re building on the foundation. They’re proof that Nigerian & indeed African music has no limits.” As the genre gained popularity abroad, more Afrobeats artists began their first U.S. tours after lockdown.
Among all of them, Burna has performed on the biggest stages – where real superstars are born. But this consecration can be frightening too, as Western stars have almost immediately embraced Nigerian sounds. An observation that doesn’t scare Burna Boy: “In 10 years, if we are mindful to keep putting in the work, Afrobeats will be even more global, influencing every corner of the music industry. It will evolve, incorporating new sounds and ideas, but its essence—our African roots—will remain intact. I see it being a dominant force in shaping global pop culture.”
His view isn’t limited to Nigeria. He observes with interest the emergence of French-speaking West African scenes: “[They] are incredibly vibrant and full of talent. Artists from Ivory Coast, Senegal and Mali are creating something powerful by mixing their musical traditions with modern sounds.”We take the opportunity to ask his view on French artists in general. The answer will surprise many: “I’ve always admired artists like Stromae, Matt Pokora, Tayc & Aya to mention a few. Their ability to tell stories and push creative boundaries resonates with me. French music has a unique depth, and it’s influenced how I approach my own storytelling.”
Refocusing on Raw Emotions
“When you’re honest in your music, people feel it, no matter where they’re from.” His extraordinary ability to transform personal experiences into anthems, as exemplified by “Last Last,” born from a romantic breakup, has indeed played a crucial role in Burna Boy’s rise. His tracks are imbued with raw emotions of universal dimensions, explaining his global success.
His next project (perhaps named “No Sign of Weakness” if we believe some cryptic messages sent to his fans before Christmas), promises to explore new horizons and unprecedented spirituality in his music. “It’s extrospective,” he reveals. “It’s not just about me but about looking outward, reflecting on the world, and how my experiences connect to the bigger picture. It’s about growth, understanding, and challenging perceptions while staying true to who I am.”
The Pillars of His Life
He supports organizations like R.E.A.C.Hng that work with disadvantaged communities in Nigeria and created the ProjectPROTECT fund which helps those wrongfully detained in cases of police violence. “I’ve been blessed,” he acknowledges, “and I believe it’s my responsibility to use my platform to uplift others.” Politics permeates Burna Boy’s tracks, particularly through his songs “Wetin Man Go Do” and “Another Story.”
This social consciousness comes with a deep sense of family. His mother Bose and sister Ronami play crucial roles in his career. “They’re my pillar,” he affirms. “They understand me not just as an artist but as a person, and they push me to be the best version of myself. Working with them is natural because we share a bond and a vision that goes beyond business. It also has its headaches as do all relationships but I’m the better for it.”
As his French fans await a historic show at the Stade de France, Burna Boy more than ever embodies an era where African music dictates global trends. But it’s almost carried by an uncontrollable wave that his eighth album arrives, to once again redefine the limits of the genre.
Burna Boy
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Kendrick Lamar has officially dominated the ARIA Charts this week, reclaiming the No. 1 spot on both the Albums and Singles rankings.
Following his GRAMMY wins and a high-profile Super Bowl LIX performance, GNX vaults from No. 15 back to the top, while “Not Like Us” returns to No. 1 on the Singles Chart. This marks the first time Lamar has held both positions simultaneously in Australia.
The Compton rapper now boasts three No. 1 albums in the country, with To Pimp A Butterfly (2015) and Mr. Morale & The Big Steppers (2022) also reaching the top.
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Meanwhile, Taylor Swift makes her presence known with the debut of Lover – Live From Paris at No. 14. The concert recording, initially released as a Valentine’s Day vinyl exclusive in 2023, gets a fresh boost with its reissue on heart-shaped vinyl this month. With 18 albums making the ARIA Charts throughout her career, Swift has landed at No. 1 an impressive 13 times.
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On the Singles Chart, Australian DJ Dom Dolla scores a Top 40 debut at No. 33 with “Dreamin,” featuring Daya. The ARIA Award-winning producer last cracked the Top 10 with “Saving Up” in 2023. Daya, known for her breakout hit “Hide Away” (No. 6 in 2015) and The Chainsmokers collab “Don’t Let Me Down” (No. 3 in 2016), returns to the Australian charts after nearly a decade.
Bruno Mars continues to rewrite streaming records, becoming the first artist to hit 150 million monthly listeners on Spotify. His collaboration with Rosé, “APT.,” holds steady at No. 2, while his Lady Gaga-assisted track “Die With A Smile” lands at No. 6 this week.
Speaking of Lady Gaga, the pop icon makes magic as “Abracadabra” shoots from No. 50 to No. 12. The track is the latest preview of her upcoming album Mayhem, set to drop next month. If it reaches the Top 10, it will be Gaga’s 15th ARIA Top 10 single.
GRAMMY momentum continues to propel Chappell Roan, who now holds two Top 10 ARIA singles. “Pink Pony Club” gallops from No. 22 to No. 7, while “Good Luck, Babe!”—a former No. 4 hit—remains strong at No. 10.
The Prodigy’s Liam Howlett has spoken out about the group’s absence from the Rock and Roll Hall of Fame, urging for their inclusion in the prestigious institution.
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Speaking ahead of the band’s upcoming Disrupta Tour in Australia, Howlett admitted that the Hall of Fame hadn’t been on his radar—until now. “It’s not something I’ve ever thought about, but yeah, as you spoke about it we should be up there. Make it happen!” he told Rolling Stone AU/NZ.
While The Prodigy didn’t make the 2025 class, which features fellow British acts like Oasis, New Order, and Billy Idol, the Essex-born electronic pioneers make a strong case for future recognition. Their 1997 album The Fat of the Land became a landmark moment for electronic music, breaking barriers in the U.S. by debuting at No. 1 on the Billboard 200—an unprecedented achievement for a band in their genre at the time.
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Two of the group’s defining singles, “Firestarter” and “Smack My Bitch Up,” cracked the Billboard Hot 100 in an era when electronic music wasn’t widely embraced by the mainstream American industry.
“I’ve said before, I never gave a f* about the charts,” Howlett recalled. “But somehow Fat of the Land going to No. 1 in the USA felt different. It had an extra ‘f*** you-ness’ about it as only a few British bands had ever done that. So yeah, you could say it gave me a certain cheeky pride for a while.”
In their home country, The Prodigy have dominated the U.K. charts, racking up seven No. 1 albums, including their most recent studio effort, No Tourists, in 2018. Their career tally also includes 11 top 10 hits on the Official U.K. Singles Chart, with “Firestarter” and “Breathe” both reaching No. 1 in 1996.
The Rock and Roll Hall of Fame requires nominees to have released their first single or album at least 25 years before the induction year. The Prodigy, who first hit the U.K. charts in 1991 with “Charly,” easily meet the eligibility criteria, making them potential contenders for future classes.
As the group gears up for their first Australian tour in five years, fans are eager to see Howlett and Maxim back on stage. The Disrupta Tour, which kicks off Feb. 13 in Sydney, is also their first major run since the passing of frontman Keith Flint in 2019.
AJ Tracey and Jorja Smith have linked up once again for an absolute banger. The pair started promoting the Rhythm & Grime song earlier this week with a clip on social media, with Jorja rapping her verse in a driveway with a beautiful money-green BMW E30 and AJ Tracey dipped in a pink Palace and […]