Interview
Turning 40 led Natalia Lafourcade to discover CANCIONERA, the vein of the message that fuels her new musical project, the character that brings her alter ego to life, and the concept of a tour that will take her around the world for more than a year to perform her artistic creation live. A year later, with the release of her new album on Thursday (April 24), the acclaimed Mexican singer-songwriter says that this work reaffirmed her role in life and the path she wanted to follow.
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“I feel that CANCIONERA came to remind me of that message as a songstress, but it also made me feel very inspired by songs from around the world, at a moment in my life when I said to yourself, ‘I’m 40 now, what’s next?’” Lafourcade tells Billboard Español in an interview in Mexico City.
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The LP follows De Todas Las Flores, her celebrated 2022 album that earned her a Grammy Award and three Latin Grammys and marked a creative partnership with her friend and colleague, Franco-Mexican producer, musician, actor, and director Adán Jodorowsky. Again, they collaborate on CANCIONERA, which was entirely recorded on analog tape in Mexico.
The album also features contributions from El David Aguilar, Hermanos Gutiérrez, Israel Fernández, Diego del Morao and Gordon Hamilton, who enrich the set with nuances and textures ranging from bolero to son jarocho, with hints of tropical and ranchera music. Additionally, the work of Soundwalk Collective adds a sound design that complements the album’s depth, integrating natural sounds as part of the musical landscape.
The repertoire of CANCIONERA, Lafourcade’s 12th album, includes original compositions and a couple of reinterpretations of traditional Mexican music, such as the son jarocho songs “El Coconito” and “La Bruja,” which establish a dialogue with the essence of the project. Released by Sony Music, the album consists of 14 tracks, including an acoustic version of “Cancionera,” where she explores sounds like bolero, son jarocho, tropical music, and ranchera, very much in the style of the iconic Chavela Vargas. Other titles on this production are “Amor Clandestino,” “Mascaritas de Cristal,” “El Palomo y La Negra,” “Luna Creciente,” “Lágrimas Cancioneras” and “Cariñito de Acapulco.”
The four-time Grammy and 18-time Latin Grammy winner — recently highlighted among Billboard’s Best 50 Female Latin Pop Artists of All Time — admits that her alter ego in this new project pushed her to do things she, as Natalia Lafourcade, wouldn’t have done. “This songstress soul cornered me into maximum creativity through dance, exploration of movement, exploration of painting, many things I love and had perhaps kept locked away in a drawer,” she says. “It shows that this is a new facet, a stage that taught me about the capacity I have to transform, and not just me, but everyone.”
And unintentionally, she confesses, Mexico — through its traditional rhythms, lyrics, and songbooks — once again permeated her work, just as it did in her previous albums Un Canto por México (2020), Un Canto por México II (2021), and De Todas las Flores (2022).
“I think the album has a lot of Veracruz in it, a lot of our way of speaking, our wit. And again, without seeking it, without forcing it, all the influences of those involved and that sense of Mexican identity came through,” Lafourcade explains. “Just as Emiliano Dorantes brought the influence of Agustín Lara, ranchera Mexico came through, tropical Mexico with Toña La Negra, the Mexico embodied by Chavela Vargas. All those glimpses manifested in the process. I loved that because it shows that we’re all here and we exude that Mexican spirit.”
Additionally, she points out, the new songs conveyed fantasy and a surreal touch, “what happens as if in a dream.” Without hesitation, she knew her new album needed to feature Jodorowsky as co-producer, whose critical and sensitive ear would help her direct her creations.
“Creating with Adán is one of the most beautiful things. Besides Adán, there was David Aguilar, Emiliano Dorantes, Alfredo Pino, my lifelong musicians, people I love and admire, all gathered in a studio, playing, making music — some of the happiest moments of my life creating,” she says. “And Adán, I really appreciate his philosophy of life, his way of working, his friendship, the way he loves me. I’ve found in him a producer who understands both my roles: as a producer and as an artist.”
The singer of “Hasta la Raíz” notes that with Jodorowsky — son of the renowned Chilean-born filmmaker, theater director, psychomagician, writer, and producer Alejandro Jodorowsky — she knows she can fulfill her role as a producer and songwriter without losing focus. “When you go into the recording studio, you’re so vulnerable; everything happens — there’s joy, and there’s also confrontation. There are days when you’re having a terrible time, when you’re very fragile and need a sensitive person. That’s Adán.”
Lafourcade shared that before CANCIONERA became a conceptual album, it was initially envisioned as a tour with just her voice and guitar on stage. “That was the first spark that led us to create an entire album.” Thus, a series of intimate concerts in Mexico, produced by Ocesa to promote the album, began on Wednesday (April 23) in Xalapa, Veracruz, and will arrive at the Teatro Metropólitan in Mexico City on May 2, before returning in September to the Auditorio Nacional. With stops in several cities across the country, the United States and Latin America, the CANCIONERA Tour is shaping up to be one of Lafourcade’s most ambitious ones.
With Mexico as one of her greatest inspirations, and after having elevated the country’s name with her music, Lafourcade applauded the government initiative México Canta, announced on April 7 by president Claudia Sheinbaum to promote songs free of violence glorification. “I agree that it’s time to analyze a little and open our eyes, to be aware that music has a lot of power,” Lafourcade says. “Sung words have an even greater power; they truly affect us, transform us, for better or worse. It’s a transformation on a level we don’t even realize. I think a constructive perspective is always a great contribution.”
Some artists break through with their very first single; others go their entire careers unheard. Trinidad Killa, who’s been in the music industry for a quarter-century now, got his long-overdue break nine years ago, but a recent career-shifting collaboration with Billboard’s No. 1 Greatest Female Rapper of All Time sent an entirely new – and infinitely stronger – wave of momentum his way.
Hailing from Arima in Trinidad & Tobago and currently residing in Flatbush, Brooklyn, Killa has always followed wherever his creative inclinations led him. In the early-mid ‘10s, Killa frequently entered music competitions – from Soca Star and Digicel Rising Stars to more local street showdowns. In those clashes, Killa’s near-perfect victory streak earned him his nickname, and he continued honing those skills on Basilon Street, the area of the island that would give way to a popular subgenre of Trinbagonian dancehall called “zess.”
As one of the self-proclaimed pioneers of zess, Killa scored one of the style’s earliest hits with 2019’s “Gun Man in Yuh Hole,” which he’s since parlayed into his first three nominations at the Caribbean Music Awards. As exclusively revealed by Billboard, Killa earned nods for zess-steam artist of the year, best new soca artist and the soca impact award.
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Much of Killa’s recent motion has come off the back of “Eskimo,” a song that nearly disappeared into the ether after it was initially recorded in late 2024 over an unauthorized use of Full Blown’s “Big Links” riddim, which has spun out massive hits for Yung Bredda (“The Greatest Bend Over”), Machel Montano (“The Truth”) and Full Blown themselves (“Good Spirits”) this carnival season. Once Killa smartly (and quickly) cut “Eskimo” over a different riddim, he successfully shot his shot and secured Trinidadian-American rap icon Nicki Minaj for the remix, which lifted to song to No. 2 on World Digital Song Sales this spring (chart dated March 15).
“I always try to show people that music is a mission, not a competition,” Killa tells Billboard. “In order for soca music to reach where it’s supposed to reach, everybody must get a fair chance and a fair opportunity – and that’s what Nicki gave me.”
In a sprawling conversation with Billboard, Trinidad Killa breaks down how Nicki Minaj got on the “Eskimo” remix, his rocky relationship with the Trinbagonian music industry and the true origins of zess.
What are some of your earliest musical memories?
Trinidad Killa: I grew up going to church every Saturday with my mom and my brothers and sisters, just listening to the music and vibing. I’ve always loved music – from winning school competitions to chanting on the streets. I remember when I was in Soca Star back home in Trinidad and Tobago, and I came in seventh place. That was my first competition, and Digicel Rising Stars came after.
Where were you when you found out about your Caribbean Music Awards nominations?
I was at home, and somebody sent me a message on Instagram saying that they voted for me. I does be so busy that I ain’t really paying attention to social media. When I saw that in my inbox, I went to the [website] and saw I was really nominated in three categories. I’m one of the people who created zess music, so I feel very good within myself knowing that something I helped create is being recognized by the Caribbean Music Awards today.
What do you love most about zess?
People back home in Trinidad & Tobago give zess a bad [name], but zess is about enjoying yourself. I want to get that clear, because [some] people feel zess is about men doing the wrong things. The word “zess” comes from a spot where we used to party back in Trinidad & Tobago named Basilon Street. People would come on Friday and catch themselves still there on Tuesday and Wednesday with the party still going on. Everybody would say, “We goin’ down in the zess” because when you pulled up, that’s where the party was happening. Down in the zess, you have plenty men with big chains, men smoking weed and drinking and just having a good time. Zess is a form of enjoyment.
How do you assess the 2025 soca scene?
Back home, I is a real ground man. I built myself up from the ground, and there’s plenty [people trying to] fight me down in the music industry because I is a real talented person. In the music industry in Trinidad and Tobago, it’s about who knows who. So, I decided to leave and come to America and ended up doing a soca song this year on Full Blown’s “Big Links” riddim. When I first heard the riddim, I thought it was real bad and I wanted to be on it; I reached out to the producers and let them know that.
I am so feared in the music industry in Trinidad and Tobago that they don’t want my music to go through the right channels, so they was denying me the rights to [record] on the riddim. That riddim used samples from my song, “Gun Man in Yuh Hole,” so I feel like I had a part to play in that whole thing. It’s only right that if you use something to create something new, you should bring those [original] creators along. They used [our] thing to make something else and then put other artists on it.
How did Nicki Minaj end up on “Eskimo?”
I decided to jump on the riddim and pen a song, because I was in New York and couldn’t go back home for Carnival. I was going through so much in my career — they weren’t playing my music on the radio, and I was just fed up. I didn’t come to America with a visa, so being here and knowing I couldn’t go back home was very depressing. My producer and I [channeled those feelings] into a new tune, and that’s how we came up with “Eskimo.”
When we put out “Eskimo,” it was getting so much traction that they ended up pulling down the track [due to its unauthorized use of the “Big Links” riddim] – even after it hit 100,000 views in [two days]. That was very heartbreaking. I sat and prayed on it and decided to build a different riddim and put “Eskimo” over it. The day we were going to put out the new version [on the “Bigger Links” riddim], Nicki Minaj hit me up and said, “Nice track, [this is] wonderful.” So, I went into her inbox and asked her to be a part of the track, and we ended up putting it out together. That was one of the biggest achievements in my entire career.
What was your reaction when you saw “Eskimo” hit No. 2 on Billboard’s World Digital Song Sales chart?
I was speechless. Everything I put my mind to as a yute, I achieved it – from entertaining to owning a restaurant to coming to America. I had to pinch myself because I felt like I was still dreaming.
What exactly did Machel Montana mean when he asked you and Nicki to “stop fighting him down?”
Me and all entertainers in Trinidad are good. I was young, mashing up the stage with Machel and them at the age of 16-17 – and these fellows never really gave me an opportunity or a stage-front. Really and truly, Machel and them just want everything in the music industry. They want to be the face of soca, and that is why I fight for other artists and for the common yutes to get an opportunity.
I was the first man to even put Yung Bredda in the studio, and gave him his first hit song. Lady Lava, all of them, I have history behind me. When I get blessed, I always like to bless somebody else — that’s how I will continue reaching different heights. When Machel saw I did a song with Nicki Minaj, he felt a type of way, knowing that he is the King of Soca and he never took an opportunity to give me that platform, [despite] knowing that I’m a good artist. And Nicki came and did it! While on stage, in the hype of the moment, he said something he wanted to say all this time — but he thought nobody would pick up on it.
Have you met Nicki yet? Has she given you any advice as you navigated this next stage of your career?
I haven’t met her yet, but soon. She always tells me to stay focused and gives me positive [affirmations] for my daily life and career. Everybody looks up to Nicki; to have a collaboration with the queen of rap music is a huge accomplishment [for] me.
When did you decide to start going by Trinidad Killa and why?
They used to call me “Killa” because I was involved in plenty song clash. 99% of the time, I won those competitions, so [I got the name]. When I got my first hit in the industry, I tried to change my name 20 times, but “Killa” stuck. I [decided] to put “Trinidad” in front of the “Killa” because that’s what people know me as, especially because there’s already Bounty Killer, Mr. Killa, etc. I also put the “Trinidad” in front so when people hear “Killa,” they don’t feel like it’s anything negative.
“Gun Man in Yuh Hole” or “Good Hole?”
I was in the venue freestyling “Gun Man in Yuh Hole,” and somebody uploaded it online and it went viral on social media. Someone took the vocals from that clip and put it on a riddim, and that’s how I got my break in the industry. I never went to a studio to record “Gun Man in Yuh Hole,” so it will always be one of my favorite tunes. That’s a foundational tune. It brought me to BBC 1Xtra and around the whole Caribbean.
When can we expect your next album?
I hope I finish in time, but I want to put out the album the same night as my next show on May 24. I’m not just a soca artist, I have reggae, dancehall and Afrobeats tracks. But I love soca, that’s my culture, and that’s where I come from.
Where is the oddest place you’ve heard one of your songs?
Dubai. Someone tagged me in a post, and in a club in Dubai – a real rich party – people were dancing to “Gun Man in Yuh Hole.”
Who’s the greatest rapper of all time?
Nicki Minaj.
What’s your favorite meal?
I’m a cook as well, so I cook for myself. I had a restaurant, but I had to ease off and focus on the music when I came to America. I used to sell [food] on [Eastern] Parkway, and we would have people lining up by the hundreds. In Trinidad, I had a big restaurant, and I cooked anything – you name it, and I make it.
What do you hope to achieve by the end of 2025?
Getting my own restaurant in New York City.
At the age of 10, Melody became a precocious phenomenon in Spanish pop with “El Baile del Gorila,” the lead single from her album De Pata Negra, which led her to embark on an international tour. Twenty-four years later, the singer and songwriter is facing the challenge of representing Spain at the 2025 Eurovision Song Contest, which will be held on May 17 in Basel, Switzerland.
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The song she will perform is “Esa Diva,” a pop track that’s both a vocal challenge and a manifesto of empowerment. “A diva is brave, powerful/ Her life is a garden full of thorns and roses/ She rises up dancing/ Stronger than a hurricane,” goes part of the chorus, in Spanish. With an intense performance and dynamic staging, Melody is aiming for more than just a show — a story with purpose and soul.
“I didn’t want to go with an empty dance song. I wanted it to have a message, strength, to speak about something that happens to all of us,” the artist explains in an interview with Billboard Español.
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The song has been widely embraced since its debut at the Benidorm Fest, evolving with new versions. The original was co-written by Melody and Alberto Fuentes Lorite and produced by Joy Deb, Peter Boström, and Thomas G:son. On March 13, a symphonic version was released, arranged by Borja Arias and performed by Melody alongside the RTVE Orchestra and Choir, adding a more cinematic and emotional dimension to the track.
“I wanted to show it in a different way. I’m a fan of soundtracks, and this song called for an orchestral treatment,” Melody says. “If a rhythmic song works as a ballad, it’s a great song.”
Beyond the music, “Esa Diva” has become a symbol. “The diva isn’t just the one who shines on stage –she’s the one who fights, the one who falls and gets back up. The one who supports other women. The one who is strong, but also humble,” Melody notes. And many people have found comfort and inspiration in this message. One of the anecdotes that has moved her most is about a young woman undergoing cancer treatment who listens to the song daily to gather strength.
Although this is not the first time Melody has tried to represent Spain at Eurovision — she did so in 2009 with “Amante de la Luna” — she feels that now is the right time. “If I didn’t do it now, I was never going to do it. It was the moment,” she adds. “I feel it, and I’m enjoying it like never before.”
Her victory at Benidorm Fest 2025 confirms this: She was the audience favorite, earning first place in the tele-vote with a solid 39%. Although the jury placed her third, the combination of both votes secured her direct pass to Eurovision.
With six albums released, tours across Latin America and roles in series like Cuéntame Cómo Pasó and Arde Madrid, the singer and actress has navigated genres and formats with ease. “It’s been many years. And here we are, with a good attitude, eager to sing and keep making the audience happy. What more could you ask for?” the performer of “Parapapá” and “Rúmbame” says with a laugh.
Meanwhile, she continues to bring her music across Europe as part of her pre-Eurovision tour, TheDIVAXperience. In recent days, she has performed in Amsterdam and London, presenting the new version of “Esa Diva” to specialized media and Eurovision fans. On April 7, the artist was welcomed in Dos Hermanas, her hometown, where she performed the song from the balcony of City Hall before a crowd. “The love from my hometown moves me. When you’re recognized at home, it feels different,” she says.
This week, she will participate in the PrePartyES in Madrid (April 18-19), where she will share the stage with representatives from various European delegations. Then, on April 23, she will headline a special farewell event organized by RTVE at Teatro Barceló before heading to Basel for the contest.
The staging for Eurovision promises a significant evolution compared to what was seen at the Benidorm Fest. Melody has indicated that the set design will include new visual and choreographic elements, aiming to make the most of the technical possibilities of the stage. “There will be new ingredients. It won’t just be a song; it’s a story I want to tell,” she says, making it clear that her proposal seeks to move audiences beyond the visual spectacle.
Recently becoming a mother, Melody, an independent artist and an advocate for meaningful lyrics, acknowledges that balancing it all is not easy: “I organize myself however I can. But my son recharges my batteries, and when I need grounding, I go back home.” Participating in Eurovision involves much more than stepping onto a big stage — it means enduring a level of media exposure, artistic pressure, and public scrutiny that is hard to match.
Regarding the flood of opinions surrounding this experience, Melody maintains a firm stance. “I value constructive criticism; there’s always room to learn. But destructive criticism doesn’t affect me. I’m not driven by that. I sing from the heart, and that’s why I’m here,” she says.
Her approach is not casual. Eurovision generates a massive volume of social media conversations every year, with millions of interactions, according to data from the EBU (European Broadcasting Union). The contest’s global audience exceeds 160 million viewers across its three shows, making it one of the most-watched musical events in the world. For any artist, the exposure is as immense as the challenge.
After the festival, Melody already has plans: a new single, a tour across Spain and a strong desire to reconnect with her Latin American audience. “I’ve always felt so much love from Latin America,” she says. “This is a new chapter, and I’m thrilled to bring my music there again. They’re so heartfelt, so close. I want to dance and enjoy together.”
Wiz Khalifa delivered.
15 years after he dropped his classic Blog Era mixtape Kush & Orange Juice, the multi-platinum rapper decided to go back to his roots on its sequel tape and tap back into the sound that made him one of stoner rap’s most important rappers. He also brought the gang back together as Cardo, Sledgren and his stoner-in-crime Curren$y all contributed like they did during that first cypher back in April of 2010.
Kush & Orange Juice 2 also features the likes of Gunna, Mike WiLL Made-It, Ty Dolla $ign, Don Toliver, Larry June, Conductor Williams, and legends in Juicy J, DJ Quik, and Max B, among others. And while those acts are diverse in terms of their own individual sounds, Wiz was able to have them fit the story he wanted to tell and he did a pretty good job. It’s rare if not damn near impossible for a sequel to be as good as a classic, but Wiz did a pretty good job. Clocking in at 23 tracks and 77 minutes long, the Kush & OJ sequel is the perfect soundtrack for that cousin walk on Easter Sunday — as you and your family celebrate not only the resurrection, but 4/20 as well.
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And as he rolled out the much anticipated project, Khalifa went on an already-memorable run of freestyles that started last November with “First YN Freestyle.” Hopefully more rappers will hop on that wave, and give fans more music that feels fun and low-stakes.
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Billboard talked with Wiz about why he decided to take that approach, and about a bunch of other things. Check out our chat below and be sure to go run up that Kush + Orange Juice 2 this weekend.
You’ve been on a crazy run lately with these freestyles. Can you talk about why you decided to go that route?
Really just by seeing the reaction of my fans and the people who support me when I started to get into the mode of promoting Kush & Orange Juice 2, and really visualizing what that was going to feel like for everybody else. I wanted to make it an experience, and not something that just dropped overnight and then went away. So, me doing the freestyles was kind of a way to write that narrative and to get everybody on board so they understand what to expect and it got a great reaction. So, naturally, I just kept going. And it’s something that I like to do just for fun.
Did the freestyles help spark something creatively in you?
I was already pretty much done with the album by the time I did the freestyles. But I think anytime I’m able to just play around and see what people enjoy, it gives me a sense of what to do next or what to continue doing. So, it definitely served its purpose when it comes to that.
You and other Blog Era peers like J. Cole, Kendrick Lamar and Drake have crossed over into the mainstream. So, now that you’ve achieved a certain level of success, does that mean that you plan on still playing the major-label game, or are you gonna go back to just making what you feel like making?
I think it all just kind of comes together, and it’s really about the fans and what they want and what people are are tuning into, and just me knowing that people digest my music for the way that I do it. It allows me to be free, but it also opens up a lot of different opportunities for me to put that in other places. So, it’s a beginning of a wave that could, you know, go on for however long.
Why do you think rappers have moved away from doing freestyles and stuff like that?
I think because clearances and a lot of people want their their stuff on the biggest platform. It’s hard to monetize a freestyle and if you put a lot of energy into it, a lot of people want it to go far, so that value has been missing. It takes certain artists to push it and to show that the value of it isn’t gone. It’s not really where you’re aiming to put these at. The people and the listeners, and their ears are there, and they’re going to discover it. I think people have to re-understand that and reimagine that.
So much has changed since you came in the game. If you were an up and coming rapper today, how would you approach your career?
I would approach it the same way. A lot of the younger artists or personalities, they know who their fan base is. They know who they’re talking to, and they reach out to them, and that’s what dictates what they do or what their next moves are. And a lot of artists are afraid of that, but there’s a lot of power and a lot of value in knowing who your consumers are and the people who want the best from you and aiming what you do towards them. And that would be my advice, or that would be what I would do. That’s what I’m doing now, is just focusing on the people who I know support and are expecting this, and really just making the experience for them.
One person that’s carving out a unique lane for themselves is streamer and producer PlaqueBoyMax. You were on his stream recently. How was that experience?
Yeah, it was cool working with Max, and that was the first time I had made a song live on somebody else’s stream. And even just with that platform of him being, you know, with FaZe and them having the reach that they do. That’s a whole different fanbase than the people who are used to me, and it was good to be able to win those people over, show them what my talent actually is, and work with somebody for the first time and create something in front of everybody that’s just super fun and super cool to me.
You floated the idea of doing a full tape with him towards the end. Do you think that can happen down the line?
I wanted to do it, but I feel like he’s already doing it, and he’s doing it in his way, where he’ll benefit off of it, which is cool with me. I’m always down anytime. If he needs me, then he’ll hit me.
What can fans expect from Kush & Orange Juice 2?
They can expect good smokin’ music, good chillin’ music, good motivational music, and good ridin’ around with the homies music. It’s definitely for the people who understand it. And it’s not just about the music, it’s about the experiences that you have with it. So, the more you listen to it and live with it, or even if it’s your first time, when you listen to it and live with it, it’s gonna change a lot. I’m really happy with that. I’m really confident in that, and I’m just really excited for everybody to experience that.
Are you performing anywhere on 4/20?
Yeah, I’m gonna be performing at Red Rocks in Colorado.
I interviewed Curren$y a couple months ago, and I had asked him if he has any 420 rituals and he said he doesn’t really have any because he’s always working. I’m assuming that’s the same for you.
Yeah, pretty much, especially at this point. A lot of people come out and visit us on those days, even if it’s family from the East Coast or an artist or whatever. They usually want to come kick it with us, so that’s usually fun. I get to see a lot of people who I just really enjoy smoking with, like Berner. It is work, but for me personally, I try to roll at least an abnormally big joint or two, and I usually smoke more dabs that day than I normally do as well.
I wanted to ask you what your favorite strains were, but on Club Shay Shay, you said you’ve been smoking your own strain exclusively for about 10 years now.
Oh yeah, it’s definitely Khalifa Kush always for like almost 12 now.
What is that like, though — having your own strain and not really having to pay for it anymore?
It’s a blessing. I don’t know if I necessarily knew that it was going to be this way. We always hoped and wished that it would be this way — and knew that it was, you know, beneficial for everybody — but to actually live in an era where we can do this… It’s awesome. I’m grateful and I’m taking full advantage.
You also mentioned the Smoke Olympics. What would be some of the events if you were to put that together?
There would be a rolling competition. I’m bringing the origami, I’m bringing the samurai skills. What else? You have to hit, like, a bong. You’ll have to make a bong out of something. You could choose what you have to make a bong out of. You have to last a certain amount of rounds, too — so as we keep smoking, there’s no tapping out. Yeah, we’ll start there.
I ran into Conductor Williams recently and he was beaming about the way you approached “Billionaires” with Ty Dolla $ign. What was it about that particular beat that caught your attention out of the pack of beats that he sent?
I appreciate it. I feel like I always gravitated towards his production because of how soulful it is and just how musically inclined he is. You could tell he knows a lot about music in general. My approach is very specific to what I know my people are gonna f—k with. And I think when I got into that pocket, it was nostalgic, but it was also something that people never expected, or ever knew that they would enjoy.
I think that combination right there kind of makes discovering some new music worth it — and that’s what people need now, and to be able to do that with people who I’m cool with, and got in my phone and I can hit at whatever time, and be like, “Yo, send me some beats,” and we could just come up with something legendary off the bat. That’s real fun for me.
You’ve gotten into martial arts like over the years like Muay Thai and Jiu Jitsu. How important has that been for you?
It’s part of my everyday life as much as music is and I’m passionate about it the same way I am about my music, and I’ve been doing it for seven years now, and I feel like I’m still learning a lot of new things, and it’s still fun and it’s interesting. It’s not a chore or a job or I don’t even have a real end goal when it comes to it, so it’s fun to be on a journey and have something that I that I enjoy and that challenges me and also makes me better.
Has it helped your lungs be stronger too?
Yeah, 100 percent. My cardio is crazy, and it helped me learn how to control my breathing better and just being in good shape in general. Being able to function and and move athletically as I get older, because I’m 37 now, so I’m moving into my 40s. The older that we get the less athletic some of us get. But for me, it’s a lifetime thing of I’m always going to have this type of movement.
At the end of last year, Bobby Pulido announced his retirement from music to pursue a career in politics starting in 2026. But the norteño-tejano music icon still has much to offer.
In an exclusive interview with Billboard Español, Pulido reveals that he has signed with Fonovisa/Universal for a double album and an additional new project he’ll release before officially closing his chapter as a singer.
“I wanted something special with my friends, something where I could invite the people I admired and respected,” Pulido explains about Bobby Pulido & Friends – Una Tuya y Una Mía, the title of the set that will kick off this partnership. “Normally, it’s customary for guests to sing the other person’s songs, but in this case, I wanted it to be one of mine and one of theirs.”
The recording took place in December 2024 during the Mexican-American singer’s performances at the Auditorio Cumbres in Monterrey, Nuevo León, Mexico, where he was joined by guests such as Alicia Villarreal, Bronco, Kinky, Caloncho, Majo Aguilar and David Bisbal, among other stars.
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The concept will begin to unfold on April 22 with the release of Pulido’s hit “Desvelado” in a duet with Bisbal. Two days later, a norteño-tejano version of the Bisbal’s song “Dígale” will be available on streaming platforms.
Antonio Silva, managing director of Fonovisa Disa US & México, tells Billboard Español: “For the team and personally for me, having worked with him at the start of his career, it’s very emotional to reunite at such a special moment, working on a product that represents the legacy of a lifetime of success.”
The first part of Bobby Pulido & Friends – Una Tuya y Una Mía includes 14 songs that will be released in pairs on a weekly basis, starting on April 22 and continuing until May 30. Starting June 17, the 16 songs of the second set will begin to launch, concluding on Aug. 7.
L to R: Antonio Silva (managing director Fonovisa-Disa US/México), Bobby Pulido, Alfredo Delgadillo (CEO & president, Universal Music México/US), José Luis Cornejo (manager Bobby Pulido)
Fonovisa/Universal
Born in Edinburg, Texas, Pulido — the performer of hits like “Se Murió de Amor,” “Le Pediré” and “Ojalá Te Animes” — belongs to a successful subgenre of regional Mexican music that emerged in the mid-’90s and includes groups like Intocable, La Firma, El Plan, and Duelo — all U.S.-born with Mexican roots. “We made our own music by blending cultures. I feel very honored to have represented this movement for so many years and to mentor new generations,” Pulido adds. “I’m happy with what I’ve achieved in my career. I never wanted to be just the artist of the moment.”
In addition to the double set, Pulido is preparing a studio album for next year, aiming to leave new music for his fans before running for an unspecified public office in Texas.
Fans will still have the chance to see Pulido live throughout 2025 during his Por La Puerta Grande Tour, which kicks off on April 25 in San Antonio, Texas. The trek includes a show on Aug. 9 at the Auditorio Nacional in Mexico City. For more dates and details, click here.
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Dee-1 has always been positioned as a Hip-Hop artist with a message, and few have shown the level of conviction and criticism that he has for the music and culture of Hip-Hop. While attending Dreamville Festival last weekend, Dee-1 graciously gave us a few minutes of his time and shared details of his upcoming album, Hypocritical Hop.
While backstage at the Dreamville Festival, Dee-1’s towering frame and his always observant stance stood out, and as we approached him for questions, we asked what brought him to the festival.
“One of the things I’ve learned as an artist is the power of networking,” he began. “Getting out there helps because people can see my face and hold a conversation with me, and that helps in turn with the other work that I do.”
The former schoolteacher turned musical artist then explained the similarities of leading the youth in the position of guidance and leadership, and how that translates into his current role as a front-facing media figure.
“It’s very similar. As an artist and teacher, you have an audience that you can either pour positivity and light into them, or pour negativity and destruction into them,” he explained. “In both roles, I recognized that early on.”
In recent times, Dee-1 has been an unspoken critic of Hip-Hop music and culture, with some supporting his views while others find his critiques too harsh. When asked about the state of things, the L.O.A.D.E.D. artist did not mince his words.
“Whenever I see a problem, I feel compelled to be part of the solution,” he said. “It’s a huge problem in Hip-Hop, and I don’t even call it Hip-Hop anymore. I call it ‘hypocritical hop.’ What some of the culture has turned into with the glorification of murdering each other, the glorification of selling dope, or being a drug addict, that ain’t Hip-Hop!”
Dee-1 added that to support this line of thought, his latest album will be titled Hypocritical Hop, and he intends to release the project on Juneteenth of this year.
In closing, we asked Dee-1 to share a message with our readers as we came to the end of our interview.
“Don’t allow the distractions of the world, which are delicious distractions; they taste good, they look good, they smell good, but don’t allow those things to deter you from your God-given purpose,” he stated. “We were put here by God for God’s glory, and it’s that simple. Because God loves us, he gives us free will and autonomy, but don’t fall in love with any of these creations more than you love the creator.”
To learn more about Dee-1 and follow his journey, click here.
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Photo: Paras Griffin / Getty
For the first time during her Las Mujeres Ya No Lloran World Tour, Shakira shared the stage with special guests. On Tuesday (March 25), during her fourth night at the iconic GNP Seguros Stadium in Mexico City, the Colombian superstar was joined by Grupo Frontera for a live performance of “(Entre Paréntesis),” a song from her 2024 album that gives its name to the tour.
“I really wanted to give you all a surprise,” Shakira told Billboard Español in an interview following the show. “Every day, I strive to give you something more because the Mexican audience has been so loyal, so loving, and has lifted me up every time I needed it. I wanted to surprise you with something that would fill your hearts. Having them on stage today was a true privilege.”
“(Entre Paréntesis)” joins “Ciega, Sordomuda” and “El Jefe” as songs Shakira has added to her extensive repertoire as a heartfelt tribute to Mexico, where she continues her historic seven-night residency at the GNP Seguros Stadium (formerly known as Foro Sol), which will conclude on Sunday (March 30). This milestone makes her the first female artist to perform this many shows at the venue, previously filled by artists like Paul McCartney, Taylor Swift, Coldplay and Metallica. In total, the residency will gather 455,000 attendees, according to promoter OCESA.
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But Grupo Frontera wasn’t the only guest of the night: Lili Melgar, nanny to Shakira’s sons Milan and Sasha, made a surprise appearance while the singer performed “El Jefe,” her collaboration with Fuerza Regida, in which Melgar is immortalized in one of the final verses. “Lili Melgar, this song is for you, for not being paid your severance,” Shakira shouted to the thunderous roar of her Mexican pack, undeterred by the rain during their reunion with the She Wolf.
Still emotional from the warm reception from her Mexico audience, the 48-year-old star revealed that there will be more surprises for the U.S. leg of the Las Mujeres Ya No Lloran trek, which kicks off May 13 in Charlotte, North Carolina.
“For the first part of the tour, I wanted the show to stay as it was, for the fans to experience the songs just as I conceived them,” she told Billboard Español. “But now I’ll be incorporating some surprises and special guests that you’ll see in the United States. It will be very exciting to share the stage with friends and colleagues.”
One year after the release of Las Mujeres Ya No Lloran — the Grammy-winning album that marked her triumphant first album in seven years — Shakira reflected on what this project has meant to her. The set reached No. 1 on Billboard’s Top Latin Albums chart and No. 13 on the all-genre Billboard 200. Last Friday (March 21), the Colombian singer premiered the video for “Última,” her latest single from the album, filmed in the New York City subway and directed by close friend and photographer Jaume de Laiguana.
“I believe this has been a healing process for me and for many people — not just women, men too. I think together we’ve learned that you grow from setbacks, and that together we heal when we support each other,” she said. “That’s what the audience has done for me. They’ve given me strength when I felt weak, and I know I’ve done the same for them.”
On her historic current stadium tour — which began on Feb. 11 in Rio de Janeiro, Brazil, and will still visit the Dominican Republic, Chile and Colombia before arriving in the U.S.— Shakira says that this series of shows has become something deeper and more intimate.
“These are more than just concerts. They’re very profound gatherings where healing happens,” she stated. “With each show, I feel stronger and happier.”
One is a Broadway veteran; the other a debutante. Natalie Venetia Belcon and Isa Antonetti are the stars playing legendary singer Omara Portuondo at different stages of her life in BUENA VISTA SOCIAL CLUB, the new Broadway musical about the Cuban artists who brought the acclaimed Grammy-winning album of 1997 to the world.
With Broadway credits including Matilda (Mrs. Phelps) and Rent (Joanne), Belcon is a Trinitarian-American actress and singer best known for originating the role of former child television star Gary Coleman in the Tony Award-winning Broadway musical Avenue Q. She had already played the Cuban icon knows as “La Novia del Filin” (“The Bride of Feeling”) during the BUENA VISTA SOCIAL CLUB off-Broadway run, receiving the 2024 Lucille Lortel Award for Outstanding Lead Performer in a Musical and a nomination for a Drama Desk Award for the role.
Meanwhile, Antonetti is a “Latinx, indigenous, mixed race LGBTQIA+ actress and singer from the Greater Rochester, New York area,” as stated in the show’s playbill, and is currently completing her BFA in Musical Theatre at Carnegie Mellon University. With credits including Evita (NYCC), Macbeth (CMU), and A Chorus Line (OFC Creations), she recently made her film debut in Gift of Fear, and is excited to make her Broadway debut in BUENA VISTA SOCIAL CLUB — “as it reflects her own experiences growing up performing with her father’s Latin band, Orquesta Antonetti.”
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Buena Vista Social Club was formed in Cuba in 1996, as a project organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González, who named the group after a popular music venue in Havana in the 1940s. To showcase popular styles of the time, such as son, bolero, and danzón, they recruited a dozen veteran musicians, some of whom had been retired for years.
The group’s eponymous debut album was released in September 1997 and quickly became an international sensation. On the Billboard charts, it reached No. 1 on Tropical Albums, where it stayed at the top for 24 weeks and spent a total of 266 weeks on the chart. It also reached No. 1 on Top Latin Albums and World Albums, and spent 19 weeks on the Billboard 200. In 1998, it won the Grammy for Best Tropical Latin Album, and the Billboard Latin Music Award for Tropical/Salsa Album of the Year by a Group. The Buena Vista Social Club album was also voted into the National Recording Registry in 2022 and the Grammy Hall of Fame last year.
With a book by Marco Ramirez, the Saheem Ali-directed Broadway show is inspired by true events, and features a band of international musicians to narrate the legendary story of the artists who brought the original album to life, going back and forth between the mid-90s and the 1950s. The company also features Julio Monge as Compay Segundo, Mel Semé as Ibrahim Ferrer and Jainardo Batista Sterling as Rubén González — with Da’von Moody, Wesley Wray and Leonardo Reyna as their younger versions, respectively. Renesito Avich plays Eliades Ochoa, and Ashley De La Rosa a young Haydee. Also performing are Angélica Beliard, Carlos Falú, Hector Juan Maisonet, Ilda Mason, Marielys Molina, and Sophia Ramos, among others.
Last Tuesday afternoon (March 19), dressed to the nines for the musical’s official Broadway premiere, Belcon and Antonetti sat with Billboard Español to share their experience giving life to one of the most beloved singers of Cuba. (Hours later, Omara Portuondo herself, now 94, would pay the cast a visit at the Gerald Schoenfeld Theater in New York City ahead of opening night. She was not available for press).
What did you know about Buena Vista Social Club before joining this musical?
Natalie Venetia Belcon: I have musicians for parents, and they introduced me to Buena Vista Social Club, the album. I was 26, 27, something like that.
Isa Antonetti: I also have musicians for parents, and they would play the music [with their band] or the music would play it in the background and I would never know what I was listening to, until my dad told me: “You should do some more research on this on this Cuban band that we love to play sometimes.” And I was like, “Okay.” So I heard [the song] “Chan Chan” and I heard a couple of their songs and I was just humming them all over the place. And then they kind of just stayed in my Spotify and I would listen to them once in a while.
In the musical, you speak in English but sing in perfect Spanish. Are you fluent? How did you achieve the accent?
Antonetti: I’m not fluent, but I do speak.
Belcon: My father’s side of the family is Spanish, [but] I don’t speak Spanish. When we moved up to this country, we moved to the South Bronx, which is, you know… [heavily Puerto Rican]. So I am used to hearing it. I just never had to speak it. But I treat languages like I would music — I go off of the sounds and the dialect coach, so I’m good like that, just repeating and recording and putting my earphones in and you know, listening to it all the time is how I learned, anyway.
Antonetti: I always think musicians have the ear. You could give me some sheet music and I could make my way around it, but I learned best by our dialect coach, you know, speaking it and sending us voice memos, making sure I’m pronouncing it the way that is authentic to this show.
Beyond the Spanish, how did you both prepare to play Omara at these two stages in her life?
Belcon: I’m lucky in the sense that the stuff that you see of her is of her older. And so I watched “Adiós” quite a few times and listened to the stuff a lot. I mean, I can’t even help it now, it’s just kind of, you know, on repeat, basically.
How about you, Isa? There’s not so much of Omara from that era.
Antonetti: It’s so funny because I was thinking about it and I remember in the rehearsal room when they had the pictures up, it’s just like one picture of Omara when she was younger. I would do some research, I would look to see if there’s some videos of her when she was younger with like her sister and with her quad. And so I would use that, and I would also talk to [Associate Music Director] David Oquendo and ask what is the essence of someone who’s 19 in Cuba? You know, and I would try and bring that to her as well.
What was the biggest challenge of portraying a vocalist known as “La Novia del Filin” [The Bride of Feeling]?
Belcon: Well, today, it’s going to be [hard] to not pass out when I meet her. I hope my understudy is ready, ’cause I might be in the ER with IV (Laughs). The challenge is, even though this is a fable, to make sure that we are still being respectful and not making up somebody entirely. And to have a semblance of who she is, to have it resemble her as much as possible.
Antonetti: Absolutely. I could just quote what she said. All of it!
But this is your Broadway debut so, for you, what was the biggest challenge?
Antonetti: Besides the genuine general things about Broadway being exhausting through the rehearsals and the previews — you know, that it’s challenging in its own way. I think for the show specifically, it’s keeping making sure the time period stays in your body when you step on stage. I’m playing someone in the 1950s, so that’s different than how I would play someone else. I think the challenging part is remembering when you step on stage that you are a different person and you’re being respectful and you’re bringing life to something. It’s challenging and rewarding and all of the above.
At some points during the musical, your characters meet, creating really emotional moments. Any favorites for you?
Belcon: I think it might be [Ibrahim Ferrer and Portuondo’s duet] “Silencio,” when the younger two are up top on the malecón (pier) and Ibrahim comes in and then I’m having all the memories of things. That and, not necessarily my favorite but I think in my head the most important, which is how it all starts when she — again, it’s a “Do I go left or right?” It’s a crossroads: “Do I make the album or not?” Then she chooses and it’s a butterfly effect; it kind of affects everything and everybody else.
Antonetti: I would say “Chan Chan” — it’s had different iterations since we started rehearsal and I’m so grateful that I get to be a part of that number even longer because it’s so emotionally devastating, but I love the moment and I only get to see it from behind the stage of the malecón. I get to see Natalie come in and Angélica [Beliard] do this beautiful dance move where she transfers the trauma into Natalie. Just remembering it, that moment, I’m telling you, I need like three hours to recoup.
Belcon: I need three drinks! (Laughs)
What did you both learn from Omara Portuondo in this process, as a person and as an artist?
Belcon: I mean, to say that she’s strong is an understatement. There needs to be a better word — maybe it needs to be “I am Omara,” right? You know, she’s been through a lot, just a lot, and came through it all and succeeded. More than succeeded. Just the time period, what was happening [in Cuba], and she not only survived that, she thrived regardless.
Antonetti: As a person, as an artist… She is more than just those words. Whenever I think of her, it’s like what you said, strong is an understatement. She is just this powerful being that can take my breath away.
After months of rehearsals, how does it feel to see the whole show finally come together on Broadway?
Belcon: I had a little bit of a heads-up cause I’ve done it once before [off-Broadway.] I think it is different in the bigger space, definitely, but that’s always a fantastic payoff moment. All the hard work and the not sleeping and all the rest of it, when you see everything fall into place, you know, those moments when you see the younger and the older [characters together], it’s always the payoff. They’re emotional moments. They are.
Antonetti: There are moments where I just have to hold myself back because I am an emotional person. And I was like, “This is a dream and it’s coming true and I have to be grounded in that or I’ll freak out.” It’s like what I told someone else outside: It has been exhausting, but it is worth every inch and ounce of that exhaustion. Absolutely.
Actors Natalie Venetia Belcon and Isa Antonetti on the red carpet as they arrive to the Buena Vista Social Club musical opening night on Broadway on March 19, 2025, in New York City.
Andy Henderson
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Source: Kendrick Sampson / Kendrick Sampson
Many people recognize Kendrick Sampson, 37, as a talented, charismatic TV and film actor—with leading roles in Issa Rae’s cultural phenomenon Insecure, and 2022’s meet-cute romcom, Something from Tiffany’s, among others. But alongside and intertwined with building a prolific career in Hollywood, the multi-hyphenate entertainer is building something else: Black Power.
Source: @LuvByDre / De’Andre Silas
Through his organization BLD PWR, Kendrick Sampson is laying the foundation for a movement that centers joy, art, pleasure, and creativity—all Black birthrights to claim—while also walking through the fire this time.
“I started BLD PWR to give radical changemakers a place to belong—building solid, grounded relationships between grassroots movements and the entertainment industry,” Sampson tells CASSIUSLife in an exclusive interview. “We wanted to create a safe space where we could navigate the messiness of community-building, work through our differences, and create new art and pop culture movements that support true freedom and health.”
“BLD PWR is for the misfits like me,” Sampson continues. “The ones who want to change the world and are willing to get our hands dirty, make mistakes, and do the real work needed to create beautiful art that shifts culture toward the healthiest and freest version of our story.”
Yes, there is power in the wells of revolutionary storytelling and radical truth-telling—a people power rooted in Black freedom and liberation. Movement elders often teach us that if we allow the machinations of white supremacy to steal our joy, what beloved poet and ancestor Amiri Baraka calls in Wise I our “oom boom ba boom,” then they’ve already won. If we buy into the narrative that Black bodies, steeped in generations of trauma, only have the right to bleed, not dance, then our enemies have won. If we fall victim to the lie that we can only use our voices to wail in grief, not sing, then our enemies have already won.
As this capitalist system cracks and splinters, fault lines exposing themselves before it all comes tumbling down, it will be the misfits, the time-travelers, who reach into the past to see the future. It will be the artists and teachers, dancers and musicians, healers and apothecaries, poets and storytellers, who will remind us that a new world is not only possible but that it already is and already was.
“Storytelling, like civilization, originated as an Indigenous practice in Africa,” says Sampson. “Story is at the core of community-building—it’s how we build civilization, culture, and belonging. The more control we have over our story, the more control we have over our health.”
“Hollywood has done an effective job convincing us that storytelling and art are ‘just for entertainment,’ but stories shape movements, shift perspectives, and inspire change,” he continues. “That’s why people manipulate and twist narratives—it’s a tool of control. Abusive systems use stories to justify harm and maintain power.”
BLD PWR disrupts that narrative by not only making the connections plain but also by providing insights into the film industry that can shape movement building.
“At BLD PWR, we recognize that everything needed to build a film is the same thing needed to build a healthy community,” Sampson explains. “Think about it—storytelling requires:
• Carpenters
• Medical staff
• Consultants
• Legal teams
• Food & water services
• Educators
• Housing & infrastructure
• Electrical & tech crews
• Transportation
• Performers, artists, and camera operators
• Managers, government support, payroll, and community organizers
“It’s literally community-building.”
Sampson went on to say, “Some films require thousands of people to come together to bring a vision to life. That’s not different from activism. I used to think that acting and organizing were separate, but they’re not—they’re the same thing. Storytelling is activism. For so long, I was told ‘It’s just acting’—but it’s never just acting. Stories are powerful, and those who claim they aren’t are the same people using stories to manipulate, control, and shape minds. They just don’t want you to tell the truth because it messes up their game.”
So, what do we do about it?
“More than ever, we must reclaim our stories—protect them, heal them, and nourish them,” Sampson says fiercely. “Right now, we’re seeing book bans, attacks on Black history, and AI being weaponized to rewrite truth. Social media is controlled by some of the most disconnected, dishonest, and abusive people, making it even more critical to get back to the basics: talking to each other, passing down truth, and keeping our stories alive.”
ONE TIME FOR THE BIRTHDAY BOY
Source: @LuvByDre / De’Andre Silas
If there’s one thing Sampson is going to do—besides pursue justice with a passion—that’s party with a purpose. A favorite son of Houston, Texas, specifically Missouri City, he’s made it his mission to strengthen the bonds of human connection and community by curating spaces where Black folks can be free to find our rhythm in systems that try to bury us.
To that end, each year, he uses his birthday celebration, “Who All Gon’ Be There”—because Black folks have to know before we even think about planning to leave the house—to pour back into the communities that raised him in H-Town, Mo City, and LA. He also makes certain that it’s a guaranteed back-bone twisting, hip-shaking, soul-stirring, line-dancing, solo cup sipping, Black ass good time.
“‘Our joy is resistance’ has become like a slogan—but it’s not a slogan, a talking point, or a self-help tip,” Sampson tells CASSIUS. “We are in a war for our stories, our freedom, and our people’s futures. America has always functioned as an occupying force—a settler-colonial system designed to keep us controlled through false narratives.
“But joy is a war strategy. It’s our North Star—a reminder of what we deserve, what we fight for, and the world we want to create. People get so caught up in what liberation will look like, but you can feel liberation right now through joy. That’s why the systems we fight against try so hard to strip joy away.”
Years before WAGBT grew into a major annual fundraiser for BLD PWR, Sampson envisioned what it could be.
“When I was 18 years old, I moved to LA alone. I prayed for Black mentors in entertainment, and for a long time, I thought I didn’t have them—but I did. Just not in the way I expected,” he says.
“I met Ben Guillory, who co-founded Robey Theatre Company with Danny Glover, Sampson said. “They led me to the legacy of Paul Robeson, one of my greatest inspirations to this day. Through them, I learned about Toussaint L’Ouverture, the resistance leader of the Haitian Revolution, and why Hollywood actively fights to erase figures like him from our stories.
Sampson added, “I met Richard Lyons, an acting coach who forced me to read The Autobiography of Malcolm X and reenact a scene from Spike Lee’s Malcolm X film. I met Nate Parker, who was developing a short film about Nat Turner at the time. So those became my Black mentors: Paul Robeson, Toussaint L’Ouverture, Nat Turner, and Malcolm X.
“At the same time,” Sampson recalls, “I met Pastor Frank Wilson from Fifth Ward, Texas, who taught me about giving back on birthdays. My first Christmas in LA, he took us to serve at a shelter for unhoused people in the community. I’ll never forget what he said: “How would you like it if someone came to your birthday party and asked for gifts? Well, that’s what people do to Jesus every year—say they’re celebrating his birthday but only asking for things for themselves.”
“That moment transformed my thinking. I left that shelter feeling more whole than ever—rooted, aligned, and connected to something bigger than myself. From that point on, I dedicated my birthday to giving back. What started as small gatherings at shelters grew into an annual tradition—first with foster youth, then assisted living communities, and now full-fledged community fundraisers,” Sampson concludes.
WHO ALL GON’ BE THERE?
Source: @LuvByDre / De’Andre Silas
If you are not familiar with The Session, a monthly R&B jam session in Houston created by the visionary Isaiah Parks, then please rectify that immediately. The live music scene in the city is already second to none, with supernovas like Marium Echo holding court several nights a week in front of mesmerized audiences. What Parks has done, though, is take that intoxicating, vibrant, sexy feeling one gets at the hole-in-the-wall and elevate it into the stratosphere.
By bringing together sangers like Desz, who has a voice that transports listeners to another dimension with its otherworldly power and beauty; Patrice Dominique, whose raspy growl and pitch-perfect tone reaches deep into your heart and your memories with each note; Spud Howard, king of the jukebox, who will one day be mentioned in the same breath as Johnnie Taylor, and Kirk Richmond, whose buttery rich vocals conjure tears and smiles on demand, Parks has created something sacred. The Session is a place of healing, joy, love, laughter, and community. It makes sense, then, that Sampson and Parks have partnered to bring Who All Gon’ Be There (WAGBT) x The Session R&B Jam from the Third Coast to the West Coast.
On March 9, at Axelrad Beer Garden in Houston, Sampson was joined not only by his community, friends, and family but also by his chosen family, including hometown hero and Hip-Hop luminary, Trae the Truth; Issa Rae, who toasted him with her very own Viarae Prosecco; Carl Payne, who was in town directing Je’Caryous Johnson’s Games Women Play; and Amber Riley, who sang a stunning rendition of Lauryn Hill’s “Ex-Factor.”
Source: @LuvByDre / De’Andre Silas
Now, this Sunday, March 23, Who All Gon’ Be There (WAGBT) x The Session R&B Jam touches down in Los Angeles, bringing that sticky, sweet southern heat to the City of Angels.
Lucille Clifton teaches us that we must “celebrate that every day something has tried to kill us and has failed.” Yes, we are living in occupied territory surrounded by people terrified and envious of Black brilliance, power, beauty, ingenuity, creativity, and joy. But they did not create our joy, so it will never be theirs to destroy.
And believing, living, breathing, sharing, and fighting for that truth, collectively and internally? That’s how we build power.
“When we lean into joy, it’s a release, a reminder, and a reunion with our freest selves,” Sampson teaches us. “It’s about building spaces where we can breathe, laugh, and celebrate our power—not just spaces of struggle. That’s what WAGBT is about.”
To support BLD PWR, donate directly at www.bldpwr.com/donate.
This support helps fund:
• Community organizing initiatives
• Programs for Black storytellers and filmmakers
• Grassroots movement-building
• Activism, education, and leadership development
Your contributions fuel real change, ensuring that art, storytelling, and activism remain powerful tools for liberation.
1. Kendrick Sampson BDay Party R&BJams with The Session 4
Source:De’Andre Silas
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2. Kendrick Sampson BDay Party R&BJams with The Session 5
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3. Kendrick Sampson BDay Party R&BJams with The Session 7
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4. Kendrick Sampson BDay Party R&BJams with The Session 8
Source:De’Andre Silas
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5. Kendrick Sampson BDay Party R&BJams with The Session 9
Source:De’Andre Silas
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6. Kendrick Sampson BDay Party R&BJams with The Session 17
Source:De’Andre Silas
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7. Kendrick Sampson BDay Party R&BJams with The Session 16
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8. Kendrick Sampson BDay Party R&BJams with The Session 6
Source:De’Andre Silas
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9. Kendrick Sampson BDay Party R&BJams with The Session 15
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 15 birthday,houston,kendrick sampson,bld pwr
10. Kendrick Sampson BDay Party R&BJams with The Session 14
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 14 birthday,houston,kendrick sampson,bld pwr
11. Kendrick Sampson BDay Party R&BJams with The Session 11
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 11 birthday,houston,kendrick sampson,bld pwr
12. Kendrick Sampson BDay Party R&BJams with The Session 12
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 12 birthday,houston,kendrick sampson,bld pwr
13. Kendrick Sampson BDay Party R&BJams with The Session 4
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 4 birthday,houston,kendrick sampson,bld pwr
14. Kendrick Sampson BDay Party R&BJams with The Session 22
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 22 birthday,houston,kendrick sampson,bld pwr
15. Kendrick Sampson BDay Party R&BJams with The Session 29
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 29 birthday,houston,kendrick sampson,bld pwr
16. Kendrick Sampson BDay Party R&BJams with The Session 23
Source:other
Kendrick Sampson BDay Party R&BJams with The Session 23 birthday,houston,kendrick sampson,bld pwr
17. Kendrick Sampson BDay Party R&BJams with The Session 24
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 24 birthday,houston,kendrick sampson,bld pwr
18. Kendrick Sampson BDay Party R&BJams with The Session 25
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 25 birthday,houston,kendrick sampson,bld pwr
19. Kendrick Sampson BDay Party R&BJams with The Session 26
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 26 birthday,houston,kendrick sampson,bld pwr
20. Kendrick Sampson BDay Party R&BJams with The Session 27
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 27 birthday,houston,kendrick sampson,bld pwr
21. Kendrick Sampson BDay Party R&BJams with The Session 28
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 28 birthday,houston,kendrick sampson,bld pwr
22. Kendrick Sampson BDay Party R&BJams with The Session 30
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 30 birthday,houston,kendrick sampson,bld pwr
23. Kendrick Sampson BDay Party R&BJams with The Session 20
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 20 birthday,houston,kendrick sampson,bld pwr
24. Kendrick Sampson BDay Party R&BJams with The Session 21
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 21 birthday,houston,kendrick sampson,bld pwr
25. Kendrick Sampson BDay Party R&BJams with The Session 18
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 18 birthday,houston,kendrick sampson,bld pwr
HipHopWired Featured Video
LaVar Ball first emerged on the scene as a larger-than-life figure who touted the basketball skills of his three sons as the next big thing in professional sports. Recently, LaVar Ball went through a medical procedure to remove his foot and explained in a new column piece that complications from diabetes led to the decision.
LaVar Ball, 57, penned an exclusive column for the April/May issue of SLAM magazine with Ball gracing the covers of the publications with his sons LiAngelo aka Gelo, LaMelo, and Lonzo. Ball’s relentless promotion of his sons and their athletic exploits made the Ball family one of the most intriguing names in sports and both Lonzo and LaMelo have flourished in the NBA with the Chicago Bulls and Charlotte Hornets respectively.
In the SLAM column, the patriarch of the Ball family gets candid about the complications from diabetes that led to the amputation of his foot, which caused him to face his mortality. However, he found strength not only in the success of Lonzo and LaMelo on the court but also in Gelo’s big hit “Tweaker” which he references several times throughout the piece.”
From SLAM:
When I was in the hospital and “Tweaker” was starting to become a global hit, I had a couple of FaceTime conversations with Gelo, but I was kind of slurring because I was all drugged up with all the medication they were putting in me. It was hard for me to really dial in on what I was trying to say. Even though I was kind of slurring with my speech, Gelo understood what I was trying to say. I remember just telling him, Keep doing your thing. And make sure you take care of your brothers. Just make sure all of y’all are together. Cause the more you guys are together, the better I feel. That’s all I kept thinking about when I was in the hospital—my boys being together.
Read the story in full here.
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Photo: Jacob Kupferman / Getty