Interview
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For over two decades, Tamela Mann has been one of the most recognizable and impactful artists in contemporary gospel music. While the genre’s mainstream presence has waned in recent years, Mann’s moving, door-busting voice has helped tracks like “Take Me to the King,” “I Can Only Imagine” and “God Provides” become formidable crossover hits. Perhaps best known for “King,” which spent 25 weeks atop Gospel Airplay, Mann’s other accolades include an American Music Award, a BET Award and a Grammy for best gospel performance/song (2017, “God Provides”).
Earlier this year, “Working for Me,” the lead single from her new Live Breathe Fight album (Oct. 11), helped Mann break a tie with longtime collaborator and friend Kirk Franklin for most chart-toppers on Gospel Airplay. With 11 leaders dating back to 2012’s “King” and Billboard’s decade-end No. 1 Top Gospel Album of the 2010s (2012’s Best Days) to her name, Tamela Mann is a musical force – as well as a theatrical one.
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Next year will also mark 25 years since she originated the beloved character of Cora Simmons in a different kind of MCU: Tyler Perry’s Madea Cinematic Universe. From stage plays and sitcoms to box office-topping films like 2023’s The Color Purple, Tamela Mann’s medium-agnostic talent has allowed her to expertly navigate both the sanctified and secular worlds with her signature grace and passion.
Back with her sixth solo studio album ahead of a highly anticipated tour, Tamela Mann caught up with Billboard for an emotional conversation about the making of her new album, her working relationships with Franklin and Perry, and her 30-year faith journey in the entertainment industry.
1. Why did you decide to experiment with country music on “Working for Me?”
“Working for Me” was actually my second country song! Me and David [Mann Sr.] had a song called “Mason Jar” on our [2018] Us Against the World album. I was nervous about doing that one, even though I already have the Southern drawl! When my producer [Phillip] Bryant brought the song to me — with this young lady named Tia Sharee, another writer on the project — immediately, I was like, “Yes.” What really caught me [was] the chorus, “I can’t see it/ But I still believe.”
I’m more of a lyric-driven person, so when I heard that I was like, “Yes… but maybe I’m not gonna sing with as much twang as the demo.” We dived right into writing and finishing out that first version of the song. I was afraid to release it at first because people really try to put me in a box of just doing ballads. I stepped out on faith and trusted my heart that this was what the Lord was leading us to.
I think “Working for Me” is very encouraging to both Christians and non-believers. Even when we can’t see Him, we still believe that he’s working on our behalf. I was so shocked at the response to the song and how much radio loved it. I think it surprised people – especially when they hear that banjo! It’s country, but we still go to the foot-stomping gospel at the end and really take it to church. That’s what I love most about it; it gives me something for the people to sing along with me.
2. “Working for Me” became your record-breaking 11th No. 1 single on Gospel Airplay, helping you break a tie with longtime friend and collaborator Kirk Franklin. What does it mean to you that you two are still performing at such a high level after all these years?
It is amazing to me. Words can’t even express… and I told myself I’m not going to cry! [Laughs.] We met as teenagers and we’re still great friends to this day working in the same vein that we started in and still giving God glory for what he’s done. I’m just happy that [my generation of gospel artists is] still out here spreading the good news. It makes me feel good that we are right there, neck and neck.
With friends, it’s not like you’re competing. We never talk about it, we’re really proud of each other. I thank God for the friendship and the covering that we have for each other. I’m grateful that we’re still doing it together and I say let’s keep going up and up!
3. What advice do you have for younger artists who are aiming for that kind of career longevity?
I prayed for longevity in the industry — especially after looking at our forerunners who’ve paved the way for us: Shirley Caesar, James Cleveland, Walter Hawkins, The Clark Sisters. I asked the Lord to give me longevity like that and to keep my voice intact. Seeing Shirley still jumping around at 80-something and seeing Dr. Bobby Jones still doing the work is a blessing.
I want to encourage our young people to remember what our message is and to live life. You’re not going to be perfect. You’re going to make mistakes. Things are not going to turn out the way that you want them to turn out all the time, but you just keep loving the Lord. One thing my mom told me that I’ll share with them is to love the Lord with all your heart, and the Lord will take you far.
4. Talk to me about how “Big Facts” came together.
Jevon Hill out of Jacksonville, Fla., brought me the track. Throughout the last year, the Lord had been giving me little nuggets to plug into the songs. In the last year and a half of our lives, there’s been a lot of chaos from the business to family life. But every time I get ready to do a project, that’s how the enemy attacks and tries to distract me – and I refuse to be defeated. I was talking to some of the writers, and I was like, “Y’all, we have to really look at ourselves and figure out what it is that we’re doing.”
A lot of times, we look at everybody else to make changes when we’re the ones who need to change. “Big Facts” came from self-examination instead of pointing the finger at anybody else. Another young man named Stanley came in and he said, “Don’t just say ‘Face the facts,’ say ‘Big facts!’” I was actually gonna make it longer, but it makes me hit repeat the way it is. It makes me drive fast – so y’all be careful out there!
5. How did you land on this album title?
We’re living like heaven is our destiny, we breathe in every breath with purpose, and we’re fighting till we get the victory. The title of the album is encouragement: When I told people about it, they were like, “Wow, we need that.” I want us to really face the facts of ourselves. Let’s grow together. Let’s do better with our world, just loving more and judging less. It’s a spiritual thing that I’m doing — from the inside out, I’m building myself and trying to make myself better in everything that I’m doing and trying to accomplish.
6. When did work begin on this album?
Well, it was time — because it had been three years since my last project! I had planned a time to start recording, but then filming jumped in there, so I called my producers in and tried to get the whole project done as quickly as possible. We had one room with people laying tracks and singing BGVs [background vocals], in another room, they were doing actual tracks for the music, and in another room, we were writing. I stepped in more than I ever had on any other project.
I’ve been a part of every piece of this album, so it was different for me. We started in March and we pulled together 17 songs in three weeks. We created a book. We created a journey. I feel like this is my best body of work so far, and I pray to God that we continue to go higher because I feel like people should see growth from when I started in 2004 until now.
7. What do you think it was about this particular project that spurred you to get so involved?
What I was dealing with in life — as y’all young people say, “Life was life-ing!” [Laughs.] Life was really pushing me… I wasn’t mad, but a lot of disappointment hit me. I did a lot of crying and talking about it in the music, but at the end of it, I really felt victorious. I didn’t allow [those feelings] to distract me or cause me to quit. I didn’t say, “I can’t do this right now,” I used the disappointment as strength. I refused to let it consume me.
8. Which three songs would you say are most representative of the album?
“Working for Me,” “Hand on Me” and “Deserve to Win.” I think they’re all great messages regardless of what you’re dealing with. No man can take whatever God has for you. And after all you’ve been through, you deserve to win. You deserve to be happy. You deserve to be on top. A lot of times, we talk ourselves out of a lot of happiness or victories because we’re concerned with what others might think. I don’t think there’s nothing wrong with being sure of yourself and allowing people to see the glory of God living in you and flowing out of you.
9. Was it always your plan to make a completely solo album?
That was more of a fluke of timing. I really wanted to bring in some other people but time just didn’t permit. I plan on going back in and bringing those people in, which I think will be massive. I want them to be a surprise!
10. Earlier this year you tied Kirk and Travis Greene as BMI’s gospel songwriter of the year. What does your typical songwriting process look like?
It changed for me in terms of actually writing down little nuggets and ideas in my phone. First, I always begin with a prayer, “Lord, what do we need to give the people?” We’re not out here song-chasing. This time, the Lord didn’t give me any rhythms, it was moreso lyrics, so I talked about what those lyrics meant to me and that’s where the writers took off from.
11. What song was the most difficult for you to write or record?
“Carry On” was a little challenging in terms of actually recording it. It took me a couple of tries to catch the rhythm. My producers are all in their 30s, and doing new things with cadence. [Laughs.] I was like, “My tongue is heavy, it don’t move that fast!” I had to work at it, but I took it as a challenge. They stretched me to do something new. I kept telling them don’t try to take me too far into R&B because that crowd already has R&B – they want to hear what we have to say and what our message is in gospel.
12. What’s your favorite song you’ve ever written in your entire career?
Right now, “Hand on Me,” because it brought back childhood memories. I started singing at 8 and now I’m 58, to see how the hand of God has been on me my whole life – even before the career got here – and how the Lord was connecting me with the right people… it’s almost overwhelming. When I sing “Hand on Me,” it not only makes me want to cry, but it also makes me grateful and thankful that even when I failed or didn’t make the right decision, the Lord kept his hand on my life.
13. What gospel song has been most impactful on your life?
My first song that I ever sang – and I’ve been using it as a part of my testimony on “Hand on Me” — was “I Don’t Feel No Ways Tired.” It was my first solo at eight years old, and I didn’t understand what I was singing about then, but now I know that the Lord didn’t bring me this far to leave me. I’m so glad that he is still with me and covering me as we continue this journey. I’ve just been praying, “Lord, give me more time. Give us more time to get it right.” Not just for me, but for everyone in general. I’ve seen a lot of my friends get out of here, and not necessarily old people. I will give “No Ways Tired” my stamp because it was my beginning and it’s still with me to this day.
14. Next year marks the 30-year anniversary of the landmark Kirk Franklin and The Family Christmas album. How do you even begin to assess the impact of that album so many years later, especially “Now Behold the Lamb?”
You never know which songs are going to take off and what they’re going to do. Even “Take Me to the King,” Kirk and I didn’t know. But for me to sing “Now Behold the Lamb” all these years later and people still love it? I’m just so grateful to God for the people loving on us and walking this journey with us. It’s a “wow factor” moment for me. I’m thankful that people think about the Lamb of God like that.
15. What are your thoughts on the current contemporary gospel scene and how can we preserve the integrity of gospel music as CCM continues to grow?
The scripture says that His Word won’t return void. Some may fall away, but the scripture also says that there will be a great falling away in the last days, which we see in our churches. It’s like pulling teeth trying to get everybody to come together. “I’m watching online!” But, honestly, are you really watching online?
All I can say is that I’m going to keep holding up the blood-stained banner. Souls are still going to be saved, and people are still going to be reached. The blood of Jesus reaches the highest mountains and the lowest valleys. Some of us [in gospel music] are going to keep fighting. We’re going to keep loving the Lord. We’re going to keep singing for him and singing about how His blood still works.
16. Talk to me about your relationship with Tyler Perry and the projects you two have on the way.
Oh my God, I’m so thankful for Tyler Perry seeing something in me that I didn’t see myself. And I’m so thankful to my husband for coaching and directing me. It wouldn’t be Cora if it wasn’t for them pushing me because I was fighting them! I was like a little cat! Our journey has been almost 30 years, so it has really been a blessing that I didn’t see happening. It’s incredible how the Lord is helping us keep the characters alive with Assisted Living. We got a new movie that’s coming out next year called Madea’s Destination Wedding. It’s going to be hilarious. It’s funny to me though, because when people see us outside, they’re like, “Hey, Mr. Brown! Hey, Tamela Mann!” I can have my name, but he’s Mr. Brown! [Laughs.]
17. We’re also coming up on one year of The Color Purple movie musical. How do you look back on that experience?
That experience was amazing because it was the first time that I had done dancing and singing at the same time. David has coached me so much that even when I’m shooting a music video, I’m signing with the track to really get those feelings. But the Lord put the right people around me because they were able to push and encourage me to dance like, “You got it, Mama!”
Ms. Oprah Winfrey came out of hiding — we were coming out of COVID when we were filming — like, “You know, I came to see you. I came out for you. I don’t know if I should be out here.” I said, “You gonna be fine. The Lord gonna watch over you and cover you.” It was a great experience, especially working with Fantasia and Taraji [P. Henson] and all of the other talented actors.
18. What advice do you have for young gospel artists who are looking to navigate both sanctified and secular spaces at the same time as you have done for so much of your career?
We just go in and try to set the tone. As David would say, we’re the thermostat. We set the temperature and go in with peace and light. It has been a blessing to be able to go into all these different walks of life, but I know who I’m representing. I remember my representation is not about me, it’s about God.
19. What is your favorite holiday song of all time?
[Sings “O Come All Ye Faithful”]. It’s Jesus’ birthday, so that is my favorite!
20. What can fans look forward to from you in 2025?
We’re touring the album! I’m also looking at doing some relationship tour stuff. But we’re looking at starting the Live Breathe Fight Tour at the end of March through June, so get your tickets! I’m excited for y’all to see what we got coming next year. 2025 gonna be live!
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Adrian Wojnarowski, the former lead NBA reporter for ESPN, stepped down from the role earlier this year to become the general manager of his alma mater’s men’s basketball team, St. Bonaventure. In a new interview, Wojnarowski, lovingly referred to as Woj by his colleagues and readers, shared that he’s been diagnosed with prostate cancer and is monitoring his health carefully.
Woj sat down with Sports Illustrated and shared with the publication what his next steps in life are after many years as ESPN’s top NBA insider. Woj was one of the leading sports reporters covering the NBA due to his ability to obtain breaking news ahead of other outlets and his sources offered reliable tips that led to published stories.
In the SI piece, Wojnarowski does reveal that while the diagnosis was indeed jarring, it wasn’t the reason he stepped away from his coveted role at ESPN. Instead, he framed it as a moment of clarity.
From SI:
The prognosis, Woj says, is good. “When you hear cancer, you think about it going through your body like Pac-Man,” Woj says. “Prostate cancer, it generally stays confined to your prostate and is typically slow growing.” He has no symptoms and says the cancer is “pretty limited in scope.” Active surveillance is the current treatment, which translates to quarterly checkups and regular monitoring. He’s been instructed to improve his eating habits, exercise more and get better sleep. Surgery is still a possibility, but for now doctors say the only reason to have it is if he can’t mentally deal with having the cancer inside him.
The sobering news aside, Wojnarowski also stated that he intends to enjoy life more and realizes that time is fleeting. One of his former ESPN colleagues, NFL insider Chris Mortensen, died in March of this year from throat cancer. After attending a memorial service for Mortensen in Arkansas this past May, the moment hammered home to Wojnarowski how unimportant the job was in comparison to spending time with loved ones.
“In the end, it’s just going to be your family and close friends. And it’s also, like, nobody gives a sh*t. Nobody remembers [breaking stories] in the end. It’s just vapor,” Woj said.
Amen to that.
To read the full Sports Illustrated profile on Adrian “Woj” Wojnarowski, click here.
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In the opening moments of his latest project, Troye Sivan makes it clear that his career would not be what it is today had it not been for the queer artists who came before him. “I’m definitely not fighting for my life on the street — I get to make music videos and I get to be true to who I am,” he said. “I do feel like I really carry that with me with kind of a sense of guilt because of how lucky I feel.”
The acknowledgement comes from Sivan’s appearance on a new installation of the Audible original series Origins. Throughout the episode, Sivan dives deep into his personal backstory, examining key moments from his early life that helped foster his love of music today. In the process, he takes a look forward at where his career is headed — and what that means for music at large.
Sivan isn’t the only artist taking a deep dive on the new series. With four episodes released on Thursday (Dec. 5), Origins also delves into the childhood stories of Victoria Monét, Kali Uchis and Dominic Fike.
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Ahead of his appearance on the series, Billboard spoke with Sivan about the importance of acknowledging his queer forebearers, the “lightning in a bottle” feeling of his co-headlining Sweat Tour with Charli XCX and what’s giving him hope in dark times.
You speak a bit in this episode about the queer artists and bits of pop culture who came before you that helped pave the way for your career. Why is it important for younger listeners to learn more about our queer elders?
I feel that understanding the contributions of queer artists who came before us is vital. They navigated challenges we can’t even imagine, often at great personal risk, to express their truths and create art that resonated with their experiences. For me, it’s about honoring their legacy and understanding the cultural and historical context that shapes our present.
When you look at the very queer pop moment that we’re living in now, how do you acknowledge your place in pushing this genre forward?
I feel incredibly fortunate to feel a small part of a moment where queer voices are more visible and celebrated in pop culture. My aim has always been to create authentic art that felt true and genuine to me. I’ve always felt that people are smart and in tune to what is real, which actually makes my job fairly easy — to listen to myself and to make something real to me, that I like, and that I am proud of.
You also speak in the episode about the internet as a place for you to explore your sexuality. Obviously, the internet has changed a lot, especially over the last few years. Do you find yourself worrying for the continued curation of those safe spaces online?
I don’t know what I would have done without the internet — it has been a crucial platform for so many in the LGBTQ+ community to explore and express themselves. It’s changed a lot, and I think people always need to be weary and keep safety in mind, but I do also feel that there will always be those safe havens and communities online that foster a feeling of being seen and heard, if you know where to look.
We also get to hear you talk about the start of your acting career in the episode. Do you see yourself returning to acting any time soon, or are you more interested in focusing on your musical career?
Acting has always been a passion of mine, and I cherish the opportunities I’ve had in that realm. While music remains my primary focus, I’m open to exploring acting projects that resonate with me and scare me. I feel lucky to be able to approach acting like this, as a passion, rather than a day job.
You wrapped up the Sweat Tour with Charli last month. How do you feel looking back now on that experience today in terms of the arc of your career?
The Sweat Tour felt like lightning in a bottle. Reflecting on it, I already feel so nostalgic for it and see it as a bright highlight in my life. It spoke to all the things that feel so important to me — pop, community, collaboration, friendship.
We’re living through some pretty scary times for queer and trans people around the world. What’s giving you hope about our collective future with everything going on?
The resilience and solidarity within the queer and trans communities gives me hope. The same strength and resilience that’s got us to this point is present in our communities today.
On a balmy night in Belém, Pará in northern Brazil, just 100 miles south of the equator and close to the Amazon rainforest, a crowd of over 250,000 attendees assembled in the Mangueirão Olympic Stadium’s parking lot for an unprecedented free concert. Amid this sea of people stood a dramatic ten-story-high pyramid stage; crowning it was Alok, the superstar DJ and producer, famed for pioneering and popularizing Brazilian bass on a global scale.
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He arrived donning a shiny plant-green suit, resembling a blend between a glossy space suit and a verdant beetle. “We are here today in Belém, in the heart of the Amazon, not only to talk about an ancestral future but also to recognize the voices and the legacy of the guardians of the forest,” Alok declared on stage in Portuguese. “Living [in the Amazon] are the riverside dwellers, the Indigenous people — and now, they will share the stage. The future is ancestral is with you now, the Yawanawa.”
Aside from being the name of his latest album, “The future is ancestral” is a phrase that represents Alok’s deep dive into the ancient living traditions of the Yawanawa people who hail from the Amazon. Their ritualistic music and powerful singing offer a transcendent connection to the forest, bridging the past and the present with each note.
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This grand international affair served as the ceremonial commencement of the one-year countdown to the COP30 — the United Nations Climate Change Conference — while simultaneously launching Alok’s Aurea Tour. The event, a manifestation of resilience and hope for the enduring health of our planet, was presented by Banco do Brasil, and received full support from the government of Pará.
The three-hour concert expanded across various segments, also spotlighting local legends like Joelma, Gaby Amarantos, Zaynara, Viviane Batidão and Pinduca, many of whom represent the native music of Pará, carimbó (a traditional upbeat style characterized by Afro-Indigenous rhythms) and tecnobrega (meaning “techno tacky” — electronic reworkings of Brazilian music), as well as indie rock singer Zeeba.
The pyramid stage itself, which took two weeks to build, stood as a towering feat of modern technology, equipped with over 100 tons of gear, a 360-degree platform, and more than 2,000 LED panels. The event’s visual spectacle was further intensified by 432 drones, orchestrated by Flyworks Drone Show, which painted the night sky with luminescent forms — celestial motifs, an Indigenous headdress, and a colossus tree, all casting a magical glow over the gathered throngs.
Alok performs in Belém, Pará, Brazil on Saturday, Nov. 23 as part of his Aurea Tour, kicking off the countdown to COP30 in 2025.
Filipe Miranda
In support of these initiatives, the governor of Pará, Helder Barbalho, emphasized the importance of such events in changing public perceptions and policy directions. “It’s an extraordinary opportunity to host the world’s largest climate change event in Belém,” he asserted to Billboard Español, referring to COP30.
The governor highlighted the dual necessity of preserving the immense biodiversity of the Amazon while also considering the livelihoods of its 29 million inhabitants — drawing a vivid picture of the “urban Amazonians, riverine Amazonians, and Indigenous peoples” who form the fabric of this vibrant ecosystem. “I believe there is no more symbolically important place for this than the Amazon than Belém. We understand that using entertainment to engage society is crucial,” Barbalho added.
But it was a profound personal journey that set Alok on this path a decade ago. Struggling with a deep depression in 2014, the artist sought solace and meaning. “I was looking for answers. I just felt a huge emptiness,” he said days before the event at the Ilha do Combú, an island located along the Guamá River. “A friend of mine showed me a YouTube video of Saiti Kaya, from the Yawanawa, singing, and it was just beautiful. I said, ‘Wow, this is inspiration. I want to go there. I want to visit them.’”
With nothing to lose, Alok booked his journey, unaware that it would require three flights totaling 13 hours, followed by a grueling nine-hour trip in a small canoe (“not a boat,” he added with a chuckle). As he navigated the river, a massive rainstorm suddenly erupted, prompting him to question, “What am I doing here?” But he pressed on, compelled by a deep need to continue.
Upon arriving, Alok experienced a profound realization. “We have this impression that we are a more developed culture and they are less developed. As soon as I arrived there, I realized that [notion] doesn’t exist. It’s different views and different goals. The way they connect with nature was something that we lost a long time ago.”
During his 10-day immersion with the Yawanawa people, Alok engaged with their traditional practices, diving into the spiritual and medicinal aspects of their culture. He participated in rituals involving ayahuasca — a potent hallucinogenic brew, made from specific vines known for their powerful psychoactive effects — and kambo, which involves applying the secretion of a frog to burns on the skin, believed by many to cleanse the body and mind. These experiences opened new realms of understanding for Alok, touching on themes of life, death and rebirth inherent in these rites.
Alok explained that the discovery of ayahuasca is a miracle of nature, requiring a mysterious combination of two plants among the vast biodiversity of the Amazon. The odds of such a discovery, he noted, were astronomically low, “one in 100 million.”
“[The Yawanawa] told me that it was a dream how they found out how to combine,” he added. “We have an enzyme in our digestive [system] that does not allow the DMT to release. What happens is that one plant releases the DMT and the other one shuts down our enzyme. So that’s how it works properly. It was a life-changing experience that [transformed] how I contribute through my art.” He explains that he ultimately shifted from commercial hits to “songs for healing.”
“For us, music is vital,” said Célia Xakriabá, an activist of the Xakriabá people of Brazil and the first Indigenous woman to earn a doctorate in anthropology from the Federal University of Minas Gerais. “Many ask, ‘What’s the top hit this year?’ For my people, the most significant music isn’t the newest but the oldest, the most ancestral. [Alok] said to me, ‘Célia, I’ve had the impression of singing to millions of people and them not hearing me.’ And I said, ‘Maybe it’s because you’re singing from too high a stage. We, Indigenous people, sing from the earth.’”
Meanwhile, Mapu Huni Kuin, spiritual leader, chief, and musician of the Huni Kuin people, was discovered by Alok through his song “Índio Mensageiro” on YouTube. Mapu recalled how Alok reached out to him, not only appreciating his art but recognizing the potential for greater awareness and preservation: “He saw this project as an opportunity for us to archive our knowledge and practices for future generations — our prayers, our art, our way of life.”
Alok released The Future is Ancestral in April, a nine-track album that features Yawanawa Saiti Kaya, Guarani Nhandewa, Wyanã Kariri Xocó, Brô MC’s, OWERÁ, Kaingang, as well as Mapu and Célia, representing a total of eight Indigenous communities from Brazil to help save the Amazon; all proceeds directly support the artists and their communities.
“What we present is the voice of the forest,” said Mapu. “The Future Is Ancestral is about making people listen to what the elders used to say and speak, and the best way is through our sacred chants. We pray for the healing of humanity.”
“It’s a platform that amplifies the Indigenous voices of Brazil, which has faced significant threats. Once numbering five million, we are now only one million and seven hundred,” added Célia. “Indigenous peoples make up 5% of the world’s population yet protect 82% of its biodiversity. Together with traditional communities, we represent 50% of the solutions for the planet’s health. So, when Indigenous peoples sing, the forest sings with us.”
Aligning with the environmental goals of his album, Alok brought up a relevant global initiative to emphasize the practical importance of natural solutions, “Elon Musk launched the XPRIZE [Carbon Removal] competition. If you could create a technology that’s able to remove the carbon [dioxide] from the atmosphere, you would get $100 million. That exists; it’s called trees. You know what I mean? That’s the point.”
He continued to reflect on the cultural paradigm shift his project aims to bolster: “That’s why every time we say ‘The Future sI Ancestral,’ we are bringing the ancestral knowledge to create a sustainable future for us. That’s the most important point about this project — it’s raising their voices. I’m very proud of them. Something beautiful about this project is that many times when I work with [other non-Indigenous] artists, it’s always about ‘them, them, them.’ But with the Indigenous, it’s different, they always think about the collective.”
Governor Barbalho highlighted the strategic preparations for Belém to host the upcoming COP30 next year, underscoring its significance not just locally but globally: “We are preparing Belém to host 60,000 attendees immersed in environmental discussions, exploring solutions and tackling social challenges. This positions us to leave a tangible legacy for the environment and the city.” In conjunction with COP30, Global Citizen Fest will also take place in Belém, simultaneously, marking the first time the New York City festival arrives in Latin America.
“Our generation has a unique opportunity to create a lasting legacy for the Amazon and its people, and to improve Belém as a city,” explained Barbalho. “My hope is that by the end of this journey, we will have played our part in ushering in a new era for this generation. More importantly, I hope we leave future generations with a healthier environment and a thriving forest that holds environmental, social, and economic value.”
Alok reflected on the transformative potential of intertwining ancestral knowledge with contemporary global movements. “It is [imperative] that the population understands the importance of COP30, which is going to be the most significant one in history,” said Alok. “We are approaching [what is called] the point of no return. Just this year in Brazil, we’ve lost an area equivalent to 130 cities the size of São Paulo — home to 11.5 million people — to deforestation. The forest cannot recover by itself. People need to realize that Brazil can be a leader in sustainable growth and how we can onboard others. The population must pressure our leaders to make real changes.”
As COP30 approaches, Belém becomes a turning point in global environmental advocacy, with the help of Alok and The Future is Ancestral project. With the world watching, there is a collective aspiration that the international event will highlight the critical need for sustainable practices and mobilize concrete actions to safeguard our planet for generations to come.
Alok performs in Belém, Pará, Brazil on Saturday, Nov. 23 as part of his Aurea Tour, kicking off the countdown to COP30 in 2025.
Filipe Miranda
Disclosure: This trip to cover Alok’s concert in Belém, Pará, Brazil was sponsored by Alok’s team and the government of Pará, who provided funding for the flight and accommodations.
Brazilian DJ Alok is poised to electrify the Amazon rainforest with a free concert expected to draw a massive crowd of 120,000.
Presented by Banco do Brasil, with sponsorships from the Government of Pará, Estrella Galicia, Vale and Vivo, and as part of the artist’s Áurea Tour, the landmark event will be livestreamed globally on Saturday (Nov. 23), marking the official one-year countdown to the international climate summit, COP30. Hosted at the Mangueirão Olympic Stadium in Belém, Pará, along the fringes of the Amazon jungle, the event is a celebration of resilience and hope for our planet’s future.
“We need to make COP pop,” Alok told Billboard Español days before the concert, expressing the desire to make the Conference of the Parties (COP) — the United Nations Climate Change Conference — more mainstream and accessible to the general public.
“It is [imperative] that the population understands the importance of COP30, which is going to be the most significant one in history,” he said. “We are approaching [what is called] the point of no return. Just this year in Brazil, we’ve lost an area equivalent to 130 cities the size of São Paulo — home to 11.5 million people — to deforestation. The forest cannot recover by itself. People need to realize that Brazil can be a leader in sustainable growth and how we can onboard others. The population must pressure our leaders to make real changes.”
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This approach will aim to bridge the gap between high-level climate negotiations and the general public’s understanding and involvement in these issues.
Local talent Joelma, Gaby Amarantos, Zaynara, Viviane Batidão and Pinduca are among the confirmed acts, as well as indigenous artists Mapu Huni Kuin, Owerá, Brô MC’s, Yawanawás, Célia Xakriabá, Kaingang and Guarani Nhandewa, who are also featured on Alok’s latest album, The Future Is Ancestral.
“We understand that the use of entertainment to engage society is fundamental,” the Governor of Pará, Helder Barbalho, told Billboard. “It is an extraordinary opportunity to host the world’s largest climate change event, making Belém’s selection a new paradigm for humanity in valuing the rainforest. Alok has been doing this over time — not just now — defending the forest, valuing ancestral peoples, and connecting the history and challenges of the Amazon with a global dialogue. Through this connection, this allows us to make our voices heard around the globe.”
“What we present is the voice of the forest,” said Mapu Huni Kuin, spiritual leader, chief, and musician of the Huni Kuin people in Brazil. “We pray for the healing of humanity as we perform. This event in Belém is an offering of our prayers and chants, a profound plea for the welfare of all.”
“Participating in the Future Is Ancestral project allows us to bridge the gap between modern platforms and our ancient voices,” added Célia Xakriabá, an indigenous educator and activist of the Xakriabá people of Brazil. “For over five centuries, we’ve remained unheard, but today, our presence on platforms like these, alongside the greenery of forests and the resilience of our cultures, communicates crucial messages. Entertainment plays a unique role in conveying our message even to those reluctant to endorse our causes. If humanity wishes to survive, it must align with the perspectives of indigenous peoples, as our fight is for the survival of everyone’s future.”
The intersection of worlds at the event will be complemented by a cutting-edge, pyramid-like stage setup, featuring over 100 tons of equipment, a 360-degree rotating platform, and more than 2,000 LED panels to ensure an immersive experience.
The live stream will start at 7 p.m. ET. Watch it below:
The first time Annie Gonzalez was invited to audition for the role of Jenni Rivera in the upcoming biopic JENNI, the actress passed on it. It was right after Flamin’ Hot came out, she was burned out from the promotion of that movie, and — she can now admit — she was nervous to play the late Mexican-American superstar. Even one week later, when she got a text from a member of the casting team asking if there was a reason she wouldn’t try for it, she couldn’t come immediately to her senses.
“I opened the message and I closed it. I was like, ‘OK, I’m not going to respond,’” Gonzalez tells Billboard Español. “I think for me, being sixth-generation [Mexican-American], and Jenni being so prominent, am I going to be able to do it justice? I respect her as a woman, I respect her as an artist, and I respect and honor those who have passed. I would never want to just take something because I’m selfish. I never look at work like that.”
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She instead went to Mexico on vacation, where she was having a good time speaking Spanish and enjoying the local music and culture — when she started having second thoughts. “I think I might want to do it,” she told a friend. “Two days later, I get a call from my manager, and she’s like, ‘Producers really want to see you for the role.’ I go like, ‘OK, I fly back tomorrow. Give me a day.’”
The moment Gonzalez did her audition tape, she had a strong feeling she was booking the role. “But it was a journey,” she explains. “I did multiple producer sessions and director sessions. I even got to meet with [director] Gigi [Saul Guerrero] and that, for me, was the real selling point.”
The final step was meeting Jenni Rivera’s children for their final approval. She recalls them being cautiously doubtful at first, but she won them over a 30 minute call. “So I met with them on Zoom in my makeup, and I did my read with them,” Gonzalez, who is also a phenomenal singer and performs all the songs on the movie, recalls. “I sang for them, and they were like, ‘OK’.” The role was officially hers.
JENNI will premiere on ViX and select theaters in the U.S. and Mexico on December 6. It follows Rivera from her humble beginnings in her hometown of Long Beach, California, to her rise to fame and the last days before her tragic and unexpected death. Known as “La Diva de la Banda,” she was the single most successful woman in regional Mexican music and on the Billboard Latin charts when she tragically died in a plane crash in 2012 at the age of 43.
Annie Gonzalez as Jenni Rivera in JENNI
Courtesy of ViX
A trailer of the movie shows Gonzalez — who is also credited as executive producer — performing Rivera’s early song “La Chacalosa” at a night club. “My life ain’t no fairy tale,” she’s heard saying while the song continues in the background and a collage of scenes shows Jenni’s struggles with teenage pregnancy, domestic violence and stumbles with the law, but also her ascend to stardom and role as the proud mother of five.
Rivera’s life is something the actress could identify with. “I’m from East L.A. hood; she’s from Long Beach hood. My dad’s a musician; [her dad was a musician too],” she says, adding: “I myself am a survivor of sexual assault. I myself am a survivor of domestic violence. I myself am a f–king warrior, and […] yes, this is the story I want to tell. This complex, beautiful, kind woman who found her power on the stage.”
On her first in-depth interview about JENNI, Gonzalez also spoke with Billboard Español about how this movie changed her, her own plans in music and her expectations for the film.
What did you know about Jenni Rivera before? What do you remember the most?
What I remember the most about her was like her fuerza, her fire, her fight. How people loved and fought for her. And Jenni made music for the malandrinas, for the women that were like, “I don’t give a f–k.” But more than that, I think she made music for people with grit, who have been through things, who didn’t feel like they had a space to cry out. That even though the world tried to beat them down, they were going to get up time and time again, that that was not the thing that was going to define them. That’s what I knew about Jenni and that’s what excited me to this beast of a role.
How did you get ready for it?
I didn’t know too much about her personal story until I read her book, and then I watched [Telemundo’s series on Rivera’s life] Mariposa de Barrio, and [her reality show] I Love Jenni and interviews. I did a lot of research. The little that I knew about her was just that that she had this fight that I could identify with: I’m from East L.A. hood; she’s from Long Beach hood. My dad’s a musician [and her dad was a musician too].
I saw myself in her once I learned her story. But I could never emulate this specific energy that this woman was like — We can never. We can try, right? But I’m not going to become her. What I can do is tell her story from a rooted place because I’ve been through it. I myself am a survivor of sexual assault. I myself am a survivor of domestic violence. I myself am a f–king warrior, and I love that when I saw it, I was like, “Yes, this is the story I want to tell. This complex, beautiful, kind woman who found her power on the stage because she couldn’t get it at home.”
How was it for you, as a rape and domestic violence survivor, to go through those difficult scenes?
You know, I think I had about six months leading up to actually shooting the role. And when I went through the script and saw — you know, my whole body was like, creeping and crawling, because there were things that I hadn’t yet wanted to look at in my own life. And I realized that, by avoiding it, there were blockages in me as a woman, just as Annie. And if there’s blockages in me as a woman, there’s going to be blockages in my work. And if there’s blockages in my work, then there’s blockages in my life. How we do anything is how we do everything.
I worked with a therapist very closely towards leading up to it, and then during and after. But I think seeing how she maneuvered through it, and how she used it as a superpower more than something that was going to block her — she created a whole organization to help women. She understood the reason that she has this visibility is for something bigger than herself, even if she didn’t know how to do it.
They say the highest form of love is service. That’s what she did, and she did it at a time when it wasn’t popular. So when I saw that, I was like, all right, I think there’s something here for me to help people that I love. So many women in my family, and even young boys, have been affected by it, by sexual assault.
Is this your first time opening up about these issues?
This is my first time talking about it publicly. Because you do, you can get a lot of backlash, and you know, like, Jenni was a coqueta, she liked to dress the way she dressed, and a lot of the time it’s “Well, why did you dress like that?” It’s like, “No, I was nine years old when it happened. Sorry. No.”
What did you learn about yourself through this movie?
I never felt like my body was my own. I cannot tell you how many relationships or things I said yes to that I didn’t know I could say no to until I got to portray Jenni on screen. Like she helped heal parts of me that I never wanted to look at, that I didn’t even know were there, that now I hold that version of myself so tightly, and I’m so f–king proud of her, and I pray that anybody who watches this gets set free just a little bit more.
You sing on the film as well, and you do it beautifully. Any plans to start a career in music after this?
Yeah, I’ve sang my whole life, but I’ve always been so terrified to do music, because I’ve always felt like if you don’t like my work as an actress that’s okay, you don’t like the character. But if you don’t like my music, you don’t like me. That’s my poetry, that’s my heart. That’s everything that lives inside of me. But as I’m getting older — and honestly, I swear, JENNI transformed me — I live by this quote by George Bernard Shaw, which is essentially like: “I want to burn the candle at both ends when I go.”
You know, when I’m here I have a splendid torch that I get to hold on just for a moment until I can pass it on to the next generation. I’m not going to waste it on being fearful, crying that the world is not going to submit to me or bend at my will. I’m going to fight and have fun doing it. So yes, all that to say, I’m working on an EP.
Can you give us some details? Are you gonna be singing in Spanish? English?
Both. You know, I have a corrido that I’m working on, that my dad wrote that I’m I’m really excited to come out with; I believe it’s gonna come out at the top of December. But right now I’m having fun with figuring out what my sound will be. It’s funny, you know, at this point it’s like I’m already in the public eye, might as well do it with. We’ll all help me figure it out. The energy of the universe will help me.
Do you have a favorite Jenni Rivera song?
Oh, I love “No Llega El Olvido”! “Ovarios” is such a good song, too. God! I love that song. I love how it’s like you just feel like you’re in the club or in the bar with your with your amigas just drinking.
What does your father say about you playing Jenni?
Oh, my God, he’s like he gets, he gets so giddy! He’s like, “Babe, you’re doing it! This is gonna make you huge. You’re gonna be a big star.” And I’m like, “I don’t know. I’m just having fun.” If I can pay my bills and I can go on vacation when I want, that’s the freedom I love. And just keep making more movies, more music, you know.
What do you expect the audience to get from from JENNI the movie?
I have no expectation. I think what I’ve learned as an artist is: My job is to make the food, and however you decide to eat it, digest it, or what you decide to do with it, I can’t force you to do anything that you don’t already feel inspired to want to do with it. My job is to make you feel now how you feel. Thereafter, I can’t control. You might watch it and feel inspired and healed. You might watch it and hate it. You might watch it and love it. You might watch and say, “Huh! I didn’t know that about her.” I just want people to go watch it.
I think it’s an important film because we don’t really get many stories like this with faces like ours, with latino faces, latino women leading films — even behind the camera. The DP (director of photography) was a woman. The director was a woman. I got an opportunity to executive produce on the project. And we’re talking about domestic violence and sexual violence in a way that’s not making the protagonist the victim but instead the hero of her own story — and showing what fame can do in a positive light, and what it can do sometimes at the detriment to ourselves if we don’t have a solid foundation. So I just hope that this brings people in a space together to have more conversations. I hope that this starts a conversation.
Mexico City is gearing up to host the 73rd Miss Universe pageant at Arena CDMX on Saturday (November 16), marking the event’s return to the country since 2007. In addition to crowning the next beauty queen, succeeding Nicaraguan Sheynnis Palacios, this year’s competition highlights a unique fusion of global folklore with a Mexican essence. This is thanks to Emilio Estefan, who composed the official theme song and will also serve as a judge.
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“What I like is that it blends Mexican flavors with global influences,” the acclaimed musician told Billboard Español during a Zoom interview. His meeting with Miss Universe President Raúl Rocha Cantú played a crucial role in the theme’s creation.
The 2024 jury also features a dozen distinguished figures from the entertainment, fashion and art industries, including Venezuelan singer and influencer Lele Pons and Colombian rapper Fariana. It also includes Brazilian artist Romero Britto, fashion designer Eva Cavalli, Miss Universe 1978 Margaret Gardiner, and more.
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“I think it’s important for people to realize that we are different [as Latinos]; although we are different countries, we have the same heart and a message of unity,” added Estefan.
Billboard Español spoke with the Cuban-American superproducer to discuss his creative process and expectations for the event.
As the composer of the official Miss Universe 2024 theme song, what inspired you to compose this piece and what do you hope to convey to the public?
Miss Universe has undergone an incredible transformation. President Raúl [Rocha Cantú] has made an impressive change because he is focused on creating something that can inspire a new generation and bring in new faces. When the president visited the studio, he liked a piece that I was working on at the time. He liked it so much that I ended up doing the program’s closing and the score as well. What I like is that it has a flavor of Mexico but also represents all countries around the world. As a producer, I have worked with Gloria [Estefan], Shakira, Jennifer [Lopez]… so many people throughout my career. I came from my country, Cuba, at a very young age, but I also grew up in the United States; I have a fusion of many sounds. So, I am very happy. I did it with a lot of affection and respect, and I hope people realize that Miss Universe can encompass everything.
This year, they will incorporate folk costumes styled after La Calavera Catrina in honor of the Day of the Dead. Being in Mexico, how do you think the music will enhance the appeal of the event during the live broadcast?
[It’s about] creating something new. We are going to open with a lot of rhythm and flavor. We will have many people from Mexico playing at the moment. It’s a time to [convey] a message of unity and peace to the world, which is much needed. It allows you to connect with so many people worldwide. It will be a telecast to the entire world that will showcase the culture of other countries, but most of all, Mexican folklore. Mexico has a lot of folklore and has done incredible things. I have worked with many Mexican artists, I’ve been involved in novelas.
For me, it’s a pride that the president liked [the theme]. I did it with a lot of respect and affection. I believe it’s going to be a different Miss Universe. Above all, the respect that is given to women at this time will play a very important role. The competition is not only about beauty; there have to be many other things. People like you hold important positions in the world; at this moment, women are occupying incredible positions.
I understand that you are returning as a judge after a decade. How do you foresee your past experiences enriching your perspective this year?
Having been a judge six times, from Taiwan to Panama, Ecuador, and Miami, serves me well. The good thing about this is that it’s not just about being pretty or answering a question correctly; there are many aspects to consider. When you marry someone, you marry them for their many qualities, their principles, and the commitment they have to inspire a new generation. Beauty and taking care of oneself are important, of course, but there have to be other qualities as well. I know all the women will be incredible; it’s just about choosing one. Sometimes it depends on how they answer a key question and they get nervous, not that they lack intelligence. At that moment, many people get nervous, but I believe that women now carry more weight and realize the responsibility that comes with winning the prize.
What lasting impact or feeling do you hope the musical elements of Miss Universe 2024 will leave on the global audience?
It’s a telecast that goes to many countries, from Africa, India, and the Middle East. I have [worked on the soundtracks of] 28 movies, from Top Gun, Pocahontas, The Birdcage, many others. Whenever I work on a movie, even those with American influences, I always bring the Latin flavor. Doing it in Mexico is a blessing and, above all, being able to showcase the unity of Latinos, the fusion, and Mexican culture. I think it’s very important for people to realize that we are different. Even though we are different countries, we have the same heart and we have a message of unity, and that’s very important to me.
When Luis Jiménez arrives at the 2024 Latin Grammy Awards ceremony on Thursday (Nov. 14), he will have to play a doubleheader: He will walk the red carpet twice, speak to the same media outlets twice, and perhaps have to split up for the celebrations. The reason? The Venezuelan singer and musician’s two bands, LAGOS and Los Mesoneros, are both nominated this year — and in the same category!
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Both are up for best pop/rock song: LAGOS for “Blanco y Negro” with Elena Rose, and Los Mesoneros for “Diciembre.”
LAGOS is also nominated for best pop song for “Dime Quién.” The pop duo, formed in 2019 by Jiménez and Agustín Zubillaga, already won best pop/rock song last year with Lasso’s “Ojos Marrones,” which they co-wrote. But this time they compete as performers for two songs from their sophomore album Alta Fidelidad, released in May under Warner Music México.
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As for Los Mesoneros, the rock band, active since 2006, had already received a handful of nominations in the past, including for best new artist (2012), best rock album (in 2012 for Indeleble, 2020 for Pangea, and 2021 for Los Mesoneros Live Desde Pangea), as well as best pop/rock song (in 2020 for “Últimas Palabras”). Now they compete with a song from their album Nuestro Año, released in April independently.
“It’s the first time that the bands’ times were synchronized,” Jiménez tells Billboard Español. “When Pangea, Mesoneros’ third album, and Clásico, LAGOS’s debut album, came out, it’s not that it wasn’t challenging — but compared to the size of the projects today, it was too easy.”
He adds: “Now, without a doubt, the challenge is to find the time and the mental state to be able to work creatively and also be able to have those editorial lines separated. It is becoming more and more complicated. But I like a challenge.”
In its 25th anniversary, the Latin Grammys will be broadcast live from the Kaseya Center in Miami on Univision, Galavisión and ViX starting at 8 p.m. (Eastern Time). A few days later, on Nov. 21, Jiménez will perform with Los Mesoneros for the first time at the iconic National Auditorium in Mexico City, where he lives.
Luis, how did you feel when you found out that you were nominated with your two bands in the same category?
A very strange, very particular sensation. Obviously, first and foremost it’s double the joy — “Oh, how crazy, they nominated us!” Then, this was a possible scenario and I didn’t really think much about what I would do if it happened; it was simply: “Well, let’s send all these songs, these albums, and whatever has to happen happens.” Receiving that news was really very nice, it is certainly special for me because for the first time they nominated Los Mesoneros and LAGOS simultaneously, and having that honor of being with all of them in that category is something wonderful.
The two albums came out only a month apart. How has this year been for you?
It’s been a titanic challenge. It really is difficult. I understand why no one does it, because it is very complicated to manage the time, and also to do things with excellence like this, in this format. But I think I’m very lucky and fortunate to have colleagues in each of the projects who support me in everything and who are incredible partners and who have also known how to handle this and help me make everything work out and turn out well, and do it with the standard that we have, and help me survive in the attempt.
Did you record with both bands in parallel? What was this process like?
Actually, thank God it wasn’t parallel, because that would have been very rough. Yes, there was a lot at times in the composition process, like sometimes I was writing with LAGOS and suddenly I went into a lock-out with Mesoneros, but it wasn’t so much that I was one day here and one day there, but rather taking a couple of weeks or a month with LAGOS, and then doing the same with Mesoneros. But the recording was appart. LAGOS recorded Alta Fidelidad about seven months before the Mesoneros album, or at least the second half. Although there were singles there that were sneaking in.
Any particular anecdotes trying to balance things with both groups?
Man, all the time, all the multitasking is crazy. I remember, for example, two or three years ago at the Latin Grammys, I also had to be there both with Mesoneros and LAGOS. LAGOS was there because we were going to play at a Warner party, and Mesoneros was nominated, and I had to go around all over Las Vegas even repeating some interviews — “Ah, is you again!?” And I was like, “Yes, but no.” And well, what’s going to happen now in Miami is going to be quite funny too, because even in the dressing room it’s a challenge. It’s a game of trying to be in two places at the same time. It’s challenging, it’s fun, and well, we’re now talking about that — doing the red carpet twice. It is quite particular.
You started doing rock with Los Mesoneros and then pop with LAGOS. Which genre do you identify with most today?
It’s very difficult to answer that — because it’s as if they’d ask you, “Who do you love more, your mom or your dad?” or “Which child do you love more?” Each one has its own thing and they fulfill me in different ways. Obviously I have always had a rock soul, but even since I was little I have also always been a pop lover. People who know me starting with Los Mesoneros never knew that I had that pop side, but it has always been there, actually. And now with LAGOS, I managed to [get to] that output and place where I can also show that side — but both satisfy me and make me happy in different ways.
As a performer, when you started with LAGOS, how difficult was it to find your own pop sound after years doing rock with Los Mesoneros?
It’s always a challenge and I think that’s the challenge, finding yourself within those scenarios. But I think that LAGOS is very interesting because when it came to light, in 2019, Agustín and I had actually been writing songs for other artists for a while, and making more pop music. And I enjoyed it a lot, it’s just that people didn’t picture it. For me, it was also an adventure to get involved in something that had nothing to do with what I had been doing, but also to discover other facets of myself.
Then, when we launched our LAGOS project, it was time to [ask ourselves], “What is our voice, what is our sound, how do we do it?” And that entailed some research, and a bit of trial and error — but luckily Agustín and I already had that very advanced work chemistry. And in some very crazy way — from Agustín with his set of influences, and me with my more alternative, more rock side — on paper it didn’t have to work, but it worked amazingly. I think that’s what gave LAGOS its identity.
What do your colleagues from both bands say? You’ve said they support you, but now with the nominations, is there any rivalry? Pride? Both?
I truly believe it’s been a miracle. I think that many project colleagues perhaps wouldn’t be able to tolerate such a dynamic — because it’s one thing to do it perhaps alternatingly, but doing it in parallel is a level further. That simultaneity has been the interesting thing, and I think I am seriously too lucky — because they have truly been a great source of support for me. I think they also see the level of dedication and effort and sacrifice that I make to give my 100% to both projects, and in reality they have been allies and are a crucial part of making it work. They are even accomplices.
Now that you have experienced this in parallel this year, is it feasible for you to maintain both bands in the future?
I think we have had to change a lot over time. Like, I have also had to learn to give up many things. I am so neurotic producing, writing, arranging, editing… I have also learned to adapt to growth, and increasingly see where I add more value [by giving] up roles. Yes, I want to continue doing this in parallel. Perhaps obviously now, after this year that has been so intense, we must adapt to delegating more… I think that now the challenge is going to be to get a schedule that’s a little less synchronized, but I do see it as a project that can continue and last longer.
If you win, who do you want to go on stage with to receive the award?
Look, I can leave happy with a scenario in which LAGOS wins in the category that is alone, and Mesoneros wins in the one that includes both. I think everyone ends up happy there. But in reality, whatever has to happen happens. I feel that with so many albums and so much music that comes out every week these days, it’s crazy to be on a list so short, that the Academy considers it one of the five best songs of the genre — and that those five include both bands — for me it’s quite an incredible achievement.
Rome Streetz and Daringer have been Griselda Records’ secret weapons.
Rome, who reps Brooklyn signed to Westside Gunn’s imprint back in July of 2021 and released the impressive album Kiss the Ring. On that project, is a song entitled “Tyson Beckford” where he and the label’s in-house producer Daringer first linked up. They then began working closely together because the Buffalo producer’s Queens studio is a hop, skip, and a jump from Rome’s Brooklyn apartment.
“When I ain’t doing s–t, I go to the studio,” Rome told me in a Billboard conference room. “I was literally there everyday for months just cookin’ up, just vibin’, listening to beats.” Daringer would already be working and he would play Rome beats until one of them caught his attention. “By the time he pulled up, I would have either something started or I would have part of a beat and then I would just be throwing records on until something something landed,” the Griselda beatmaker added.
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What resulted from those sessions is their first collab album Hatton Garden Holdup named after London’s diamond district. Rome spent some of his high school years across the pond and would come back to NYC during school breaks. But it wasn’t until they were out in London doing show’s with Griselda mainstay Conway the Machine that they got the idea for the short film which then turned into them naming the album, and interjecting London-based skits and samples into the final product to bring everything full circle. “It was easy to make that the theme once the movie was part of it,” Daringer said. “I felt like we had to even down to the name.”
The duo came by the Billboard office in midtown Manhattan to talk about the making of the album and the film which included some of Rome’s childhood London friends that he has continued to keep in touch with.
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Check out our talk below.
We might as well start with the short film you guys recently released. How did that idea come about? Like, what made you guys want to do a movie?Where in the process of the album. Did the in the did the idea come about to do it, to do a movie?
Rome Streetz: We were pretty much around 80 percent done with the album once we shot the movie. And it just hit me, like, ‘Yo, we should do a movie. Because [Coach] always wants the videos to be like little movies. Most of the videos Coach directs have kind of like a movie-esque vibe to them. We did “Chrome Magnum,” we did “Shake and Bake.” So, we’re like, ‘You know what? Let’s just do it, I’m saying. And because it’s not a Griselda album or something Westside Gunn is spearheading, we just wanted to do more than you would get from a Griselda album.
That’s what it really was: How can we just turn this sh—t up another level? How can we do something that most motherf—kers in this realm are not doing? Everybody drops the album, one or two music videos, do a couple interviews, drop a tape, CD, vinyl, and then it’s on to the next sh—t. Who’s actually doing a movie?
Hatton Garden is essentially London’s diamond district, there’s British samples from movies and interviews. When did the London theme come about?
R.S.: The London theme honestly, came from the movie. You know, I’m saying, like, once we did the movie. Then we started adding the London sh—t.Daringer: It was easy to make that the theme once the movie was part of it. I felt like we had to even down to the name.
Were you guys out there to perform or were you there specific all to shoot the movie?
R.S.: Earlier in the year, I was out there performing with Conway, and then it just kind of came about like that. And also because I used to live in London when I was a teenager for a couple years, so that was like a throwback to that time.
You were born in London, right?
R.S.: I was born in London, but I came to New York when I was like one. Then I went back to London from like 14 to like 17. It wasn’t for the whole year, I would go to school out there, and when school was done, I’d come back to New York.
You still have family and friends out there?
R.S.: Yeah, I got family, I got friends out there. A lot of my friends are into the same sh—t that we into. I communicate with them all the time: Facebook, Instagram, WhatsApp. So, I was like, how canI incorporate that into what I’m doing? How can we mix this London sh—t. A lot of my homeboys were in the movie. The part when we were in the alleyway talking? None of them were actors, they were all my homeboys.
Daringer, your name is synonymous when it comes to Griselda, so it was cool to see you, be more visible now. Is that something that you want to do moving forward?
D.: Absolutely, especially with me, just like, kind of flourishing more as an artist now too. It was always just me producing behind the scenes for all these years. Now is the time where I need to start moving as an artist. I feel like this was the perfect time to really start being outside and actually being seen. I felt like this was a perfect opportunity for that, for sure.
You guys have been working together since Rome has been with Griselda, but what made you want to do a tape together?
R.S.: We did that one song on Kiss the Ring, “Tyson Beckford.”D: Then he pulled up to my apartment.R.S.: The first song we did was the joint with Cormega.D: Right.R.S.: But Mega wasn’t on it at first. We did that joint, like, ‘This sh—t is hard.’ And what we gonna do? We just kept cooking up. His studio is right by my crib. We kept making stuff and was like, “We got a lot of songs we might is well do an album.”
And you live in Queens now. I guess it made it easier for you guys to kind of connect for this album. Or did that matter?
R.S.: His studio is on the border of Queens and Brooklyn and I live like 5-10 minutes away. When I ain’t doing s—t, I go to the studio, I was literally there everyday for months just cookin’ up, just vibin’, listening to beats.
So, you guys worked on most of the album together? Did you already have a pack of beats or were you making them on the spot as you guys were cookin’ up?
D: I made the majority of them on the spot. Maybe I’d have some drums started by the time he got there, or a sample idea, and I was kind of just trying to figure it out. By the time he pulled up, I would have either something started or I would have part of a beat, and then I would just be throwing records on until something something landed.
You living in Queens makes sense now because one of your first tapes outside of Griselda was with Meyhem Lauren.
D: Yeah, I traveled with Action when I first moved there, worked with Meyhem, getting tight with them, and being able to actually stay in New York now because I’m doing enough things, and then that was when the Shady deal happened. So, luckily I was able to stay in New York, but it’s funny because I didn’t have a studio when we “Tyson Beckford,” I was still just making beats out of my apartment. We made the first song in my apartment, and my goal was to always eventually just get a studio in New York, so it just happened to work out that it was close to where he was living. I feel like that definitely helped out with the whole process, it made things a lot easier.
What I found interesting about this tape was that some of it sounds different from the usual Griselda stuff, especially the track with ScHoolboy Q. I wasn’t expecting that beat to sound like that. Was that on purpose?
R.S.: Honestly, it was just energy. Whatever he was throwing at me. I wasn’t being picky. Daringer is Daringer, so it’s all gonna hit. We’re just gonna make sh—t until we feel like we got what we need. You know, we still got a lot more songs left over. And then the ScHoolboy Q record was so different and he wasn’t on it at first. He happened to tap me on Twitter. I was in the studio with Q, and he heard it, and wanted to get on it. The song that Daringer made for Q was the one that Conway was on. He heard that first, like “Yo, this is fire.”
But then he went to the bathroom, and then the engineer was just like, “Yo, play me some s—t.” So, then I just started playing him songs, and when I played him that one, Q just so happened to walk in the room and was like, “What the f—k is that? This is it. This is the one I wanna get on.” I had a second verse on it, so I had to call Daringer, like, “Oh s—t, yo, I need you to f—king send me this s—t right now without the verse on it. Luckily, I had to beat in my phone. That’s what saved it.
So, you and Q just happened to be in the same studio, or you linked up specifically to chill and record?
R.S.: I did an interview in Portugal when I was on tour and the interviewer asked me who is somebody I would like to work with. think I named, like, three other people, but then I named ScHoolboy Q, so then eventually the interview just ended up on Twitter, and then he seen it, and then he quote tweeted it, like, “Yo, send it.” I hit me back and he was like I could either send him the record or just pull up to the lab. So, I pulled up and went to L.A. That’s how it happened.
I’m always fascinated by this, especially since you guys worked on this together. Today, nobody does that anymore. They send a pack and then you send verses back. Can you tell us the difference between collabing over email versus being in the studio with each other?
R.S.: With me? At one point, I used to feel like I work better on my own time. Sometimes when you in the studio, you get boxed into the time constraints. I used to feel like I’d rather not put my creativity in a time constraint box, like I feel like I work better when I just have my own time. So, a lot of my other s—t was more so just like, you could send me a beat, I’ll cook it up. But this one was more of a challenge. How much can I write on the spot? I hear the beat, I’m going in right there.
I used to think that I write better rhymes outside of the studio, but this pretty much proved to me that it don’t matter, you got the glow. I like this process because it’s more of a stream of consciousness. It’s more of just your energy right then and there. When somebody sends you a pack, you probably write half a verse today and then finish it two days later, and you may not have the same energy.
I like working on the spot because it makes me better, it’s like a challenge. You’re capturing the energy right there. Your creativity dies when you’re too comfortable, you start leaning on s—t. I just feel like I need to challenge myself.D: That was the goal of me getting the studio to begin with. I don’t have control over what happens after I send the beat a lot of times. What helped with this album is that we got to revisit and work on the songs more, I guess, post production, or whatever you like to call it. It’s got to spend more time on the songs and structure them and drops, you know, and just the skits and outros, intros. All that extra stuff that maybe a lot of times I don’t add that when I’m just making.
The bells and whistles, just to make it perfect.
D: The email stuff is always like an unfinished idea that ends up becoming a song. That was definitely the goal of me getting the studio and wanting to make a record like that, and being able to spend the extra time for sure. We got to do the s—t the right way. I’m happy with my investment, just because of that.
Yeah, them all habits die hard. Rome, do you punch in?
R.S.: Nope, at least I try not to. I’m not gonna say I don’t, sometimes you have to for continuity. But the reason why I don’t like to punch in is because if I can’t spit the rhyme straight through, I can’t perform it. If I’m punching in every bar, how’s that gonna translate on the stage? I gotta be able to say the rhyme straight through. I gotta be able to record it in one whole take, if I can perform it.
Yeah, because that’s like the norm now, especially with the younger rappers.
R.S: When you see them on stage, they’re not even f—king rapping. They just let the song play, and they just jumping up and down, ad-libing their own vocals, because they can’t even say the sh—t in one breath because of the fact that they had to punch it.
Was this the first project that you recorded in full there?
D: Yup, it’s personal space. I’m not sharing it with anybody and no one is going in and out besides me. We probably wouldn’t even have that ScHoolboy record had we not been in the studio. Because it was a beat that started with just drums, and me listening to records and not overthinking. It was literally just like the first thing that landed that just sounded good with the drums and then we kind of just built on it. We did a bunch of the records like that.R.S.: Sometimes it’d be better that way. If I wasn’t there, that’ll probably be one he made that he didn’t like. But I heard it and was like, “Whoa, whoa, whoa, whoa, what the f—k is that? Sometimes you might just overthink it and be like, “Nah, this ain’t it.” The producer might want to do something, but then the rapper might hear something that the producer don’t hear. It’s like, “Nah, the rhyme could go crazy, right here. Don’t even add nothing. Keep it just like…” You know what I mean? That on the spot, energy is good.
Rome Streetz and Daringer
Photo Rob
How much input did you have on the beats?
R.S.: A lot, but I let Daringer do his thing. As far as the samples, it wasn’t like, “Pick this,” because he’s got 1000s of records. I don’t know what the s—t sounds like until he puts it together. Like, I don’t imagine you.
You work with The Alchemist closely too. He be digging obscure s—t. I’d imagine you do the same.
D: I’ve been on the same wave too. way. So, of course, when we got together, we could share ideas. I never felt like he thought I was gonna come in and just take his ideas either. So we always, somehow didn’t really run into the lot of the same things. We like a lot of the same music, a lot of the same records. But luckily, we didn’t run into too many instances where it was, like, we’re using the same sh—t. Yeah, the approach is a little different.
So, how’s that been for you, man? Now that you moved from Buffalo essentially into the industry for lack of a better term.
D: Not too many producers ever came out of Buffalo. I could only think of one off top that really flourished. Emile Haynie. And he took a different approach. He was doing Lana Del Rey and Mark Ronson. He’s worked on pop records, He did stuff with Ghostface and D.I.T.C. early on. He was around, but he definitely chose the pop route. So for me to be able to come up and stick with this style of rap, it feels dope. I always had the vision, but to actually come out of Buffalo and be able to move to New York City and be able to make a living from it? That was a big accomplishment.
How did you get affiliated with Griselda?
D: It’s crazy, we were bringing up Twitter before. There’s a small underground network that was going on in Buffalo at the time, so if you’re into that scene, we’re all going to run into each other at some point. I was a DJ at the time and I was trying to make beats on the side eventually. I was doing the DJ thing, playing showcases and playing rap records at a spot on Thursdays. I was a little bit younger, so I came in a little late, but I ended up meeting Gunn and Benny, and Gunn ended up just disappearing and then hit me on Twitter years later.
It was pretty much like, “Remember me, I’m about to put out an album. You got any beats?” And I was like, what Do you remember what year it was? 2014? HWH1. And that was the only original record on that tape.The rest of it was just like beats that he got, that he picked, that were already produced songs. That was the first one that we did, “Mess Hall Talk.” It was a little bit faster than a lot of the stuff that we would do down the line too.
He had the idea to start slowing the s—t down. Naturally, when we start pitching the music down, everything gets slower. I didn’t have Ableton and certain things at the time to maintain the tempo. That’s kind how the records and beats started getting slower, like 70 bpm, 60 bpm, type stuff. And he was coming from Atlanta at the time too, so you could tell there was some influence there. He kind of wanted to blend in the A with this type of rap, but with these tempos, with the samples pitched down, and it sounds like some chopped and screwed s—t.
Man, that makes sense. I never put those things together.
D: At least, I feel that way. That maybe was part of the reason why we were pitching it down to a certain speed. Also him still living there. Conway spent a bunch of time there. Benny spent a bunch of time there, so really Atlanta had a big influence on the whole s—t, surprisingly. The fact that he would travel all the way from Atlanta to Buffalo, he would drive a lot of times too. That’s not an easy drive. They would come to my apartment at the time, we recorded everything in my living room. Eventually, Conway stayed with and we started working on Reject 2. We ended up making two full records because he was staying with me the whole time. Looking back, making all that in my living room at the time was crazy, and the fact that Gunn was taking all these trips back and forth from the A to lock in made it even more special.
What else you got going on or planned. Anything you could talk about?
R.S.: I got an album with Conductor — probably two albums worth of music. I got sh—t with V Don. I got s—t with Muggs, Futurewave. I did a mixtape with Real Bad Man. I got a lot of sh—t.D: I want to do a compilation featuring a bunch of different artists on it. That’s always been a thing that I wanted to do. I think I’m going to end up doing a couple of them and make a series out of it. I got music with Meyhem still, so we’re probably gonna do a follow up. Maybe one day me and Bronson will do a full length. I did a handful of the records on that last album. So hopefully one day we could tap in and do a full length. Reject 2 is turning 10, so maybe Reject 3 with Conway in the next year or two. I’m really just focusing on me as an artist.
I’m sure you want to show off your versatility, because I think you kind of did that with this tape.
R.S.: One thing I can say, when it comes to picking the beats, I was purposely steering away from certain type of beats only because fans are used to hearing that. it’s like one No, rather than being a whole album, I kind of knew what to expect, but then the project was still about to surprise me.D: We definitely worked on the sequence for a while and put that puzzle together. I feel like, once we got the songs in a specific order, we were able to start adding the skits and gluing it all together.R.S.: That’s the one benefit of working with one producer. You’re able to make all the songs flow into each other. I’m not saying you can’t do it with multiple producers, but it’s a little bit more difficult. You would literally have to get all of them people in the room at the same time to orchestrate that.
Why do you like working with one producer?
R.S.: I like to do one producer because it’s just cohesive. Sometimes when you have a bunch of different producers on one tape, you can’t really get a lot of the post production. I’m a fan of post production. Sometimes when I get beat and rap over it, when I play the song back, it sounds totally different. It’s easier to make intros and outros. If I’m getting packs all day, it’s harder to get 10 different producers to agree on the overall sound. One producer might like the mix on it, but then the other three might not like it, so then you gonna have to re-mix that song to go with that song.It could get crazy. I like working with one producer because you can kind of maximize the sound. You can get the most out of it, the producer can sit with it.
You should’ve did a British accent on one of the songs.
R.S.: [Laughs.] I probably have to go back to London for a couple years to get that sh—t down pat.
Were there any British movies or TV shows that inspired the samples and skits? I know the short was inspired by Snatch.
R.S.: Probably that that interview with the road man, that s—t funny as hell.D: I watched things like Layer Cake to get the gist of it which sent me into a rabbit hole. There was a few joints from the ’70s that I was hoping to sample, but basically just ended up watching them to catch a vibe. We used something on “Starbvxkz” that we added at the last minute, pretty much when we were doing the video. Definitely some influence there.
You guys planning on going on tour? London definitely has to be a stop, right?
R.S.: They’re not going to let me live if I don’t. That’s the main place that I have to do a show.
With its first Latin Grammy nomination, the Mexican rock trio The Warning crowns 2024 as a great year after several proven achievements. The group’s latest album, Keep Me Fed, consolidated the Villarreal Vélez sisters on the international scene; in addition, it managed to debut on multiple Billboard charts, and embarked on an ambitious tour through Europe and the U.S.
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Furthermore, Paulina Villarreal received the Drumeo Award for the best rock drummer, at only 22 years old.
“These achievements are the reaffirmation that as a Mexican I can also make a rock band and I can take it internationally,” Paulina says excitedly to Billboard Español. “It doesn’t have to stay only in my country, only in my community; I can explore new facets, meet new people, and I can have an international career. And for us to have achieved this, sometimes we don’t believe it!
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Their first Latin Grammy nomination, in the category of best rock song for the single “Qué Más Quieres”, represents a significant achievement in the history of the group –- also made up of vocalist and guitarist Daniela Villarreal and bassist Alejandra Villarreal — as it symbolizes the pride of singing in Spanish, their native language.
The Warning’s repertoire is mostly in English, their second language, since the band is originally from Monterrey, a city bordering the U.S.
“Singing in Spanish has always been fundamental to our musical and personal identity, and this nomination celebrates our dedication to keeping that connection with our roots alive,” Daniela says.
“Qué Más Quieres” was co-written by Anton Curtis Delost, Far and Crosses guitarist Shaun López, Kathryn Ostenberg, Mónica Vélez and The Warning. In it, the band captures the strength and energy that characterizes it.
The single is included on Keep Me Fed, The Warning’s fourth full-length album, recorded in Monterrey and released at the end of last June. In the words of the band’s vocalist: “It is the result of our rawest emotions and the most meaningful connections with the people we have met and worked with in recent years.”
With Keep Me Fed, The Warning has established itself on the international rock scene, debuting on a variety of Billboard charts, including No. 1 on Emerging Artists, No. 2 on Top Rock Albums, No. 4 on Top Hard Rock Albums and No. 6 on Top Album Sales. On sharing a rock band as sisters, Daniela says that it has been a pleasant experience, with many funny and enjoyable moments.
“Obviously sometimes we argue, but we work very well together,” she says. “We started music from a very young age, so we grew up with a mentality of taking care of ourselves and knowing how to work together for the goals that we want to achieve for all of us. We are very attentive to taking care of ourselves and our feelings.”
Recently, The Warning performed in October at the 2024 Aftershock Festival in Sacramento, California, where the group shared the bill with icons from the metal scene such as Iron Maiden, Pantera, Slipknot and Mastodon. They also opened shows for Evanescence in Canada.
In Mexico, tickets for their Feb. 6 and 11, 2025 shows at the capital’s Auditorio Nacional sold out in 48 hours. They will also perform on Feb. 13 at the Telmex Auditorium in Guadalajara, and on Feb. 22 in Monterrey, at the Citibanamex Auditorium.