Music News

26 Apr 2024

Normani Describes Long-Delayed Debut Album ‘Dopamine’ As Ultimate ‘Representation of My Resilience’

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Normani might as well be talking to herself on new single “1:59” when she purrs, “don’t talk too much, just do this s–t.” Sure, in the context of the collab with Gunna that dropped on Friday (April 26) the focus is on get-down-to-business pillow talk. But the sexy refrain could just as well be channeling the thoughts of fans who’ve been waiting nearly six years for the former Fifth Harmony star to drop her full-length solo debut since that fateful day in 2018 when she tweeted, “I have my album title y’all.”

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“Just do this s–t!” you can hear them yelling after the string of singles she’s released since leaving FH in 2018, including her Billboard Hot 100 No. 9-charting solo debut with Khalid, “Love Lies.” Then there was her No. 7 2019 collab with Sam Smith on “Dancing With a Stranger,” that year’s irresistible “Motivation” and Charlie’s Angels soundtrack song “Bad To You” with Ariana Grande and Nicki Minaj, as well as songs with Megan Thee Stallion (2020’s “Diamonds”) and Cardi B (2021’s “Wild Side”) and Calvin Harris (2022’s “New to You” with Tinashe and Offset) in the time since.

But still, no album… until the singer announced the title in February, Dopamine, and teased the riding-a-rocket-in-a-leather-bikini-cover, and then, on Friday, finally, the release date: June 14.

“I know what it’s like to put out music and records that I don’t wholeheartedly believe in. When we were in [Fifth Harmony], we didn’t have the opportunity to have a real opinion until the last project we did,” the singer tells ELLE in a new cover story that details how her plans to release the LP — which at one point was called 1906 for the address of her grandmother’s house where she was raised, then Butterfly Effect — was serially delayed in part due to her parents being diagnosed with cancer; they are both doing better now.

Pile on what the profile describes as heartbreak, “intense, unwarranted internet scrutiny” and a fight for creative control early in her career and you can easily understand the delay.

“I promised myself, ‘If God gives me another opportunity to do things in my own way, I’m not going to take that for granted,’” she says of the collection described as mixing uptempo dance tracks with songs exploring those struggles during and after 5H’s split. “I think that there’s a false narrative that because of how long this process has taken, that means I don’t care, or that means I’m more interested in doing other things than putting this body of work out. Nobody wants this project to come out more than me. I think that at the end of the day, if I stand behind this wholeheartedly, it doesn’t matter what the world thinks.”

To put a finer point on it, she says, “this body of work really is just a representation of my resilience.”

One of the key parts of the album cycle so far has been the outpouring of support she got when she announced the album earlier this year, especially from her former 5H bandmates: Camila Cabello, Ally Brooke, Lauren Jauregui and Dinah Jane. “This is a milestone, knowing everything that I went through in order to just get to this point. I wanted to be present in that and not allow any negative comments,” she tells the magazine. “I really wanted to just celebrate myself. In terms of the support from the girls, that’s really full circle, to be quite honest. We were put in very unrealistic circumstances. We did our absolute best with what we had, but I think that it’s really cool to just see everybody prosper. It was cool that that moment [for me] could also be a moment that could bring us all together.”

She says the album title is a representation of the “highs and lows” she’s endured, while the rocket-straddling cover feels “energetic… it feels like a hit.”

Asked how she feels about the state of women, especially Black women, in music right now, Normani turns to hers, and many others’, north star: Beyoncé. “I want to see more women in charge. I want to see more Black women as chairmen. I want to see more Black women as CEOs,” she says. “I want to see more Black women produce. I know that all of those exist, but it’s just about getting the opportunity and the recognition.”

Normani specifically points to Bey “taking over the country space” with her Cowboy Carter album, which she dubs “revolutionary… Those are the types of things that I set out to do. Now you have country artists who look like us coming out and just being like, ‘We’ve always been here.’ I think that it’s educational not only for music lovers, but also in the Black community. We’ve pioneered a lot that we don’t get recognition for. I think that it’s just really cool being able to witness Beyoncé be fearless and do something that is much bigger than herself. That’s honestly what I want to see more of in every single space of the music industry, because we deserve that. I also want to see Black women not have to fight so hard. It gets exhausting. We’re just as brilliant. We have amazing ideas, and our resilience.”

Listen to “1:59” below.

26 Apr 2024

Jelly Roll Says ‘It Wasn’t Just Bullying’ That Led Him to Quit Social Media

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Earlier this week, Flavor Flav posted a video standing up for Jelly Roll after the country star’s wife, podcaster Bunnie XO, revealed that her husband had quit social media due to relentless bullying about his weight. But in a new interview, the “Need a Favor” singer explained that there’s actually a bit more to the story — although he’s very grateful to the DJ for coming to his defense. 

“He’s a sweet human, man,” Jelly told Variety of Flav in an article published Friday (April 26). “His wife is just salt of the earth. I met their whole family again last night. I’ve gotten to really spend some time with Flav and his family, and they’re real, real salt of the earth.” 

The three-time CMT Award-winner went on to say he’s “sure [he’ll] be back” on social media at some point, but for now, there’s “bigger fish to fry.”  

“I probably shouldn’t elaborate on this because nobody on my team wants me to, but I don’t have a problem with social media,” he continued. “And it wasn’t just bullying that did it. It was not only the toxicity of social media, but the addiction of it. I was becoming too busy to waste hours of my life scrolling.” 

“I can honestly say that I’ve been off social media for a few months now and I’ve never felt better or healthier mentally — never felt more clearheaded,” Jelly added. “I’ve also never had less of an idea what was going on in the world, but I tell you what, I’m definitely not coming back before the election. Bad joke.” 

The interview comes a few days after Bunnie told fans on TikTok that Jelly “got off the internet because he is so tired of being bullied about his f–king weight.” She added, “My husband doesn’t show it to you guys, but I’m going to have a very vulnerable moment here … It hurts him.” 

Shortly afterward, Flavor Flav addressed the haters with a video on X. “How dare y’all try to judge my man about his weight and his character,” the rapper said at the time. “All y’all trying to judge my boy Jelly Roll, I think y’all need to take a step back and judge yourself.” 

The “Son of a Sinner” musician is currently gearing up to make his Stagecoach debut at this year’s festival. He’s slated to perform on the first day of the weekend-long event, which kicks off Friday and will also see sets from Morgan Wallen, Miranda Lambert, Eric Church, Willie Nelson, Post Malone, Hardy and more. 

“I tell you what: I don’t know what every other artist does when they debut at Stagecoach, but I have taken it serious,” Jelly told Variety, noting that he wants to premiere some new material at the festival. “I rehearsed more for Stagecoach than I have any single event in my career.” 

26 Apr 2024

Toby Keith to Receive Posthumous Honorary Degree From University of Oklahoma

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The University of Oklahoma will fete late singer-songwriter Toby Keith with an honorary degree during the university’s May 11 commencement ceremony at Lloyd Noble Center.

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Keith is one of four individuals who will earn an honorary degree during the upcoming ceremony. According to The Oklahoman, other recipients include Presidential Medal of Freedom honoree David Proctor, educator Barbara Ann Posey Jones and the late Tom Love, founder of Love’s Travel Stops.

“Through their exceptional talents, transformative leadership and unwavering commitment to serving others, each of this year’s honorary degree recipients has left an indelible mark on the world,” OU President Joseph Harroz told the outlet. “Their profound dedication has touched countless lives, and we take great pride in conferring the university’s highest honor upon them.”

Keith died on Feb. 5 at age 62 after a battle with stomach cancer. In March, the Country Music Hall of Fame and Museum revealed that Keith will be inducted as a member later this year. In making the announcement, CMA CEO Sarah Trahern revealed that they had found out that Keith would be an inductee just hours after his passing.

Keith’s official Instagram account also noted in a post about his OU honorary degree that the late musician was an avid supporter of the university’s sports programs, as well as a longtime donor. When the institution’s softball team earned a third consecutive national championship win in June, Keith was there celebrating at the USA Softball Hall of Fame Stadium, even leading a rendition of his 2000 hit “How Do You Like Me Now?!”

During the University of Oklahoma’s men’s basketball game on Feb. 6, the university honored the late singer-songwriter by placing a guitar, a red Solo cup (in honor of Keith’s 2012 hit of the same name) and a University of Oklahoma ball cap on the seat where Keith would typically sit for games. Earlier this month, the name “TOBY” and an image of the singer were painted at Owen Field on the 25-yard line.

See the announcement on Toby Keith’s Instagram account:

26 Apr 2024

Ne-Yo’s ‘Tiny Desk’ Offers Medley of R&B Hits, Anthems He Penned for Rihanna, Beyoncé: Watch

Ne-Yo is one of the genre-defining R&B singers of the 2000s, and his invite to NPR’s Tiny Desk concert series was long overdue.

The long-time bad-boy R&B singer made his Tiny Desk debut on Friday (April 26), which saw him run through a medley of soulful hits from his catalog, in addition to bops he’s penned for the likes of Mario, Rihanna and Beyoncé.

Draped in a bedazzled all-white getup and his signature fedora hat, Ne-Yo fittingly kicked off his set with his “Because of You” anthem before moving into his introduction to the world with “So Sick” and the volcanic “Sexy Love.”

“I’ve written a couple songs since I’ve been doing this thing, some of them you may know,” Ne-Yo said before switching gears to a few covers. “Matter of fact, I’m gonna jump into some of the ones that I’ve written, that you may or may not know.”

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He proceeded to deliver tuneful covers in an homage to his lethal pen with Rihanna’s “Take a Bow,” Bey’s “Irreplaceable” and Mario’s “Let Me Love You.”

Ne-Yo also debuted a new redemptive track titled “Two Million Secrets,” which he described as more of a confessional. “This song took a little bit of growth on my part to even write, and even more to sing. This song is basically about owning your s–t … Nobody is above mistakes, nobody is above redemption. You do better and you keep pushing,” he said. “This song is not a song, this song is a confession.”

The three-time Grammy winner uplifted the room by signing off with his classic anthem “Miss Independent,” which peaked at No. 7 on the Billboard Hot 100 in 2008. “A dedication to my favorite kind of woman, the independent woman,” he testified.

Watch Ne-Yo’s Tiny Desk concert performance below.



26 Apr 2024

Steve Aoki Has No Problem Using Artificial Intelligence To Build Tracks: ‘You Can’t Stop AI… You Just Have To Ride The Wave’

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Steve Aoki has seen the future and he’s unafraid. The world-beating DJ/producer and cake boss tells Billboard in this week’s cover story that while he’s still a bit of a “novice” at using artificial intelligence to create music, he thinks AI is here to stay and we should all just figure out a way to ride that bucking digital sandworm.

“I use it mainly for lyric generation. It has actually helped me quite a lot,” Aoki, 46, says of incorporating AI into his studio routine. “If I have an idea of what lyrics I want to put down on a record, I’ll work that out with AI, and if I have a songwriting team in my house and we get stumped, we can always use AI. As far as sampling, I’ve used AI to get a particular female sound using certain words, and that has been fantastic.”

Aoki, however, is clear-eyed and confident that AI is not the solution to all our musical conundrums. For instance, asked if his creativity is based more on experience or data, he says you can’t type “What’s Steve Aoki’s biggest song on the festival circuit?” into a database and get the right answer. “[Artificial intelligence] cannot generate that,” he says, noting that his 2011 Afrojack collab “No Beef” came out before streaming was a big thing, “but everyone knows the vocals to that at my shows.”

As for the possible worst-case-scenario that AI could replace producers and DJs in the future, Aoki says he’s sure the powers-that-be are building in “safeguards” to avoid such a situation now that the digital genie is fully out of the bottle. “You can’t stop AI. It’s not like, ‘Oh, f–k. AI is going to take away our jobs. F–k technology, it’s going to take away jobs,’” he says. “You can’t. You just have to ride the wave with it and just start building safeguards as we go. We’ve been doing this the whole time with the internet.”

Elsewhere in the chat, Japanese American Aoki also talked about the importance of AAPI representation in music and how it’s changed in the years he’s been behind the decks. “I remember when I first got into music in high school, the first thing I did was sing. You just didn’t see Asian singers,” he says. “You just didn’t see Asian people in music, period, and if you did, they were really quiet, like the singer of Hoobastank [Doug Robb], whom I looked up to.”

In fact, in a full-circle moment, Aoki reveals in the cover story that he’s currently working on a remake of the band’s 2004 hit “The Reason,” that he’s super excited about. “There’s a Steve Aoki-Hoobastank record coming soon,” he says. “But it was cool to actually work with that guy [Robb] because I remember looking up to him when I was in high school.”

Another artist he recalls admiring around 2003 when he was first getting into production was the Neptunes’ Chad Hugo. “I was in L.A., and I remember hiring someone on Craigslist to teach me how to use Pro Tools because I just started dabbling on the computer,” he says. “And I was like, ‘Chad Hugo, that’s my hero because he’s Asian, but he’s also quiet.’ I’m always like, “Where are the loud ones?” I wanted to see someone Asian that’s just loud and in charge and commanding audiences.”

Check out the full story and photos from the cover shoot here.

26 Apr 2024

St. Vincent Reflects on Writing ‘Cruel Summer’ With Taylor Swift 4 Years Before It Became a Hit

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In October, Taylor Swift‘s “Cruel Summer” unexpectedly climbed its way to No. 1 on the Billboard Hot 100, four years after it was released as a non-single on 2019’s Lover. And in an interview with People published Friday (April 26), St. Vincent — who co-wrote the smash with the pop star and producer Jack Antonoff — revealed that she was just as stunned as everyone else by the song’s delayed success story. 

“[Swift’s] just so incredibly intelligent and so hardworking,” the indie rock star, born Anne Clark, told the publication. “That’s a given. I am so incredibly blown away and amazed by Taylor’s fans because they are just a force of nature. They took a song that was, what? Almost four records ago now, that was not a single off a record.”  

“They were like, ‘No, this song’s a hit,’” she continued. “Then, by force of will, they made that song a worldwide hit.” 

Clark also opened up about her friendship with Olivia Rodrigo, who retroactively credited St. Vincent, Swift and Antonoff as writers on her Sour hit “Deja Vu” in 2021 after listeners drew comparisons to the track and “Cruel Summer.” Last fall, the “Vampire” singer said in a New York Times interview that Clark had been a “mentor” to her during the process of making her sophomore album, Guts, which debuted at No. 1 on the Billboard 200. 

“I love Olivia, she’s just a wonderful person,” Clark told People. “But I don’t lead with advice. The only advice I have ever given Olivia was just to trust her instincts and to make exactly the record that she wants to make that’s in her heart. That’s it.”  

“What’s going to resonate with people is her authentic voice, and she did,” added the “Los Angeles” musician. “She made a great record.” 

The new interview arrived on the same day St. Vincent’s latest album, All Born Screaming, hit streaming services. It features the previously released singles “Broken Man,” “Flea” and “Big Time Nothing.” 

“All we have is love and the people we love, and it’s the only reason to do anything, and the only reason to be alive,” Clark told People of the project. “So the first part of the record is a little bit of a season in hell, but you get to this place and the record ends with an ecstatic mantra of, ‘We’re all born screaming.’” 

26 Apr 2024

Friday Music Guide: New Music From Normani & Gunna, PARTYNEXTDOOR, Anitta and More

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, Normani increases our Dopamine supply, PARTYNEXTDOOR elevates his game and Anitta provides Brazilian funk for summer. Check out all of this week’s picks below:

Normani feat. Gunna, “1:59” 



The reason why anticipation remains high for Normani’s debut solo project, in spite of years of false starts and setbacks, is because the music that the former Fifth Harmony star has released over the past half-decade has been enticingly singular, a collection of R&B singles with pop and personality. At long last, Normani’s first album is on the calendar — Dopamine is slated for a June release — and new single “1:59” serves as another reminder of the project’s promise, with the singer waxing poetic about a steamy encounter in between Gunna’s animated crooning.

PARTYNEXTDOOR, PARTYNEXTDOOR 4 



Evolving from one of Drake’s most trusted studio companions into an ever-reliable R&B solo artist, PARTYNEXTDOOR has spent the past decade accruing a dedicated following — and now wants more, if PARTYNEXTDOOR 4, his first project in four years, is any indication. The new album carries a cohesion and stylistic ambition that previously was not prominent in PND’s oeuvre, as the Canadian singer-songwriter elevates his late-night musings and warbled vocals to more emotionally affecting territory, particularly on the album’s back half.

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Anitta, Funk Generation 



The opening song on Anitta’s new album is titled “Lose Ya Breath,” and that’s precisely what the veteran star aims to accomplish on this kinetic new project: Funk Generation rarely lets the BPM lag, and Anitta never stops showcasing the ferocity that powers a lot of these Brazilian funk heaters. Previously released singles “Funk Rave” and “Joga Pra Lua” sound at home on the track list, Sam Smith stops by to provide some feathery vocals to “Ahi,” but the sub-two-minute headbangers like “Savage Funk” and “Grip” might steal the whole show.

Justice, Hyperdrama 



Miguel, Thundercat, The Flints, Tame Impala: these are just a handful of the guest stars on Justice’s long-awaited new album Hyperdrama, with guest vocalists a rarity in the French electronic duo’s discography. And while some of those collaborations result in exciting new compounds — Kevin Parker’s voice stretches out and shimmers on the opener “Neverender,” for instance — they’re also a little besides the point, as the veteran dance kings provide plenty of movement on their own; the multi-part “Incognito” may be one of the biggest triumphs of their entire catalog, every gear shift producing another unexpected thrill.

Myke Towers feat. Bad Bunny, “Adivino” 



Two years after Bad Bunny ignited the summer with the surprise May 2022 release of his album Un Verano Sin Ti, the A-lister has joined forces with another Puerto Rican superstar, Myke Towers, on a track that sounds primed for beach playlists and sweaty club nights. “Adivino” may document a breakup, but the thumping beat and rapid hooks dispel any chance to dwell on the sorrow; meanwhile, Towers and Bad Bunny crackle side by side, trading off lines and oscillating between singing and rapping with an easy chemistry.

Editor’s Pick: Tems, “Love Me JeJe” 



Tems has been impacting the U.S. mainstream for such a long time that it seems impossible that she has yet to release a proper debut album, but after several hit collaborations (“Wait For U” with Future and Drake, “Essence” with Wizkid) and 2021’s If Orange Was a Place EP, the Nigerian superstar will finally unveil Born in the Wild next month. Lead single “Love Me JeJe” distills what has made Tems such a captivating presence since arriving on the scene, as she expresses unbridled passion above warm, uncluttered production courtesy of Spax and Guiltybeatz; the song never overreaches, simply tossing out heartfelt thoughts and a summertime beat.

26 Apr 2024

Zendaya Says Music Is ‘Special To Me,’ Teases That One Day She May ‘Put Out a Little Something’

For the past decade Zendaya‘s music career has seemed like a game-set-match. But on Friday (April 26), the Challengers star gave longtime fans a glimmer of hope that she could mount a return to the studio someday during a chat with Jennifer Hudson.

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But first, Hudson heaped praise on the 27-year-old multi-talented star, noting, “you’re so gifted, you’re musical, you write music, you sing… you dance! Oh my goodness. Where did the music come from?”

“I love music and it’s something that’s been special to me and being in the music industry… it didn’t kill the joy of music, but when you put music and business together it cannot feel so good,” Zendaya replied diplomatically. Hudson could totally relate, but wondered if one day Z might again share her music with fans if it felt right.

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“You know, I think if the right timing and it came… again, I like creating it for myself,” Zendaya said. “But if there was a moment maybe I would put out a little something. Don’t be crazy, we’ll see. But maybe… one day.”

The actress/singer, who has not released her own music in more than a decade, was most recently featured on Bobby Brackins’ 2015 single “My Jam” alongside Jeremih. She released her self-titled debut — and so far only full-length record — in 2013, an electro pop collection that featured the glitch pop single “Replay,” which topped out at Nov. 40 on the Billboard Hot 100.

The Dune: Part Two star also talked about her surprise jump-up with Labrinth at Coachella last year, explaining that English rapper/songwriter is “so talented” and such a “wonderful person” that there was no way she could not say no, despite her initial fears. “He asked me if I wanted to come out and perform and immediately I was like ‘oh, absolutely not.’ I was like ‘I can’t do that,’” she said, noting that she has “bad memories” of performing as a kid and that stage fright was a serious concern.

“I was like, ‘I can’t! I can’t do it! It drives me crazy! I’m too nervous. I don’t wanna not do good and I don’t wanna let people down,’” she recalled thinking. “And then I went to myself, ‘Dude, you can’t run from this. You can’t hide from this forever. You’re gonna want to be on a stage and perform live once in your life at least.’ And what better place to do it than with someone that I admire and I respect and it’s his set, not mine, so I can just enjoy being with him, and so I said yes and was like, ‘Why the hell did I do this!?’”

But after joining Lab for the final two songs of his set, “I’m Tired” and “All For Us” — which they collaborated on for her HBO series Euphoria — Z said she was a bit disappointed in herself, feeling it was not her best effort because she couldn’t hear the music over the audience noise. “[So] I was like, ‘We’re just going to have fun. I’m just going to look like I’m having fun and we’re going to deal with this later. Who knows what this sounds like?,’” she told herself.

Reflecting later, though, Z realized there was no reason to beat herself up because the reason she couldn’t hear anything was that hyped crowd was singing along with her at the top of their lungs, screaming and excited. “I was like, ‘be grateful and be happy about it!’,” she said, later appreciating the love and support she’d received.

Watch Zendaya talk about a possible return to music and her Coachella surprise with Hudson below.

26 Apr 2024

‘That’s the No. 1 Song Ever’: J-Kwon on His 2004 Anthem ‘Tipsy’ & Shaboozey’s ‘A Bar Song’ Reviving It 20 Years Later

This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. Our 2004 Week continues here as we catch up with J-Kwon, the St. Louis rapper who had one of the year’s biggest breakout hits with “Tipsy” — which has now also been revived in one of the biggest breakout hits of this year, Shaboozey’s “A Bar Song.”

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J. Kwon’s rags-to-riches life story could be turned into a movie.

Hailing from St. Louis, Kwon — born Jerrell Jones — went from sleeping in cars and eating out of trash cans to being a millionaire rapper battling Usher on the charts and performing on the season 20 finale of Saturday Night Live (hosted by the Olsen twins). Oh, and all before the age when kids typically get their high school diplomas.

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A 17-year-old J-Kwon saved the best for last when it came to recording for his debut album Hood Hop, as “Tipsy” was the final track added to the project. “All I know is I did ‘Tipsy’ and ‘Tipsy’ is forever it,” he asserts when looking back at his trunk-rattling breakout hit. “That’s the No. 1 song ever.”

Kwon’s party-starting ode to underage drinking arrived in January 2004 and carried its club-friendly momentum to No. 2 on the Hot 100, where it was boxed out by Usher’s “Yeah!” (a popular fate for many hits in ’04). Parent album Hood Hop was released through Arista Records that April, and debuted at No. 7 on the Billboard 200 with 125,000 albums sold in the first week.

In conversation with Billboard about his achievements, J-Kwon is charismatic and grateful. In a serendipitous turn of events, Kwon’s name and signature hit has been revitalized in the top 40, thanks to Shaboozey’s chart-schorching new hit “A Bar Song (Tipsy).”

The Cowboy Carter guest put a country twist on J-Kwon’s counting flow from “Tipsy,” which he interpolates (along with the song’s main hook) on his own “A Bar Song (Tipsy).” The viral track arrived via American Dogwood/EMPIRE earlier this April, and vaulted to a No. 36 debut on this week’s Hot 100 (dated Apr. 27). The singer jumped to No. 1 on the Emerging Artists chart and also topped the Digital Song Sales and Country Digital Song Sales charts.

“I got a crazy percentage,” J-Kwon reveals of the business dealings behind Shaboozey’s interpolation. “The clearance process – can’t nothing go down unless J-Kwon say it goes down. That’s facts. Of course, when I come in, I’m talking strong numbers. That’s all of my song. But I’m proud of him.”

Check out the rest of our interview with J-Kwon, which finds him reflecting on 20 years of “Tipsy,” Shaboozey’s interpolation and receiving Kanye West’s co-sign.



Take me back — it’s the 20th anniversary of “Tipsy.” Last week was 20 years since it hit No. 2 on the Hot 100.

Hold on now, we can’t just take you back — because we still taking you forward.

What I remember most is probably me needing a sign from God. I needed a real sign from God. I used to look in the mirror and I used to see my face changing. It was so crazy to me, because I was like, “I just need to make something happen.” It was me and [producers] the Trackboyz. It was epic. 

When I [met] with L.A. [Reid]. [Producer/affiliate] Memphitz flew down to St. Louis like, “Yo, we gotta take J-Kwon up to L.A. Reid.” I’m like, “You’re lying.” This s–t is not happening. When they took me to L.A. Reid it was so crazy — because this is L.A. Reid. 

L.A. Reid pulls out his drumsticks… He’s hitting these drumsticks extra hard. He’s like, “I got millions [of dollars] for you.” I’m like, “Don’t lie, Reid.” Jermaine Dupri was in the room. I think he was the president of Arista Records. That’s how we all connected.

I had this song like, “Diamonds big and blue like Papa Smurf….” I was kinda referencing JD, you little. No disrespect, I love Jermaine [Dupri]. I still love Jermaine, but it was so funny. I put everything on the line to get that situation done. Everybody in the room start rocking. L.A. Reid had the whole office shutdown when J-Kwon came up.

So at that point, when you met [Jermaine Dupri] and L.A. Reid, you didn’t have “Tipsy” yet.

I had “Hood Hop.” That’s my baby. I was like, “I’m so much bigger than…” not “Hood Hop” per se, but I’m bigger than the ears listening to something as such. I wanted something massive. [“Tipsy”] was the last record I recorded [for the album].

I purposely went in there and did it as the last record. They said, “Kwon we got money open on the budget.” I said, “I wanna do one more record, and I want a smash hit.” Everybody would say that once they got a hit. Ask Mark Williams. I was like, “I need one more.” We some people that they thought couldn’t do it. 

What do you remember about the “Tipsy” studio session?

It was definitely crazy. First of all, they bought me a club in [Mark “Tarboy” Williams’] house. The opportunity to show them I could do it is crazy. They bought me a club inside their house, before I got my own mansion. The session was so surreal. It was like American Horror Story. I’m like, “Yo, this is going elsewhere.” I wasn’t 18 yet. Put it like this, the studio session was like nothing you’ve ever heard of. What I remember most is money keep coming. 

When did you know “Tipsy“ was a hit?

I was at 100.3 The Beat. It was the St. Louis station, and Kanye West was rolling through town. Kanye called up there and he was like, “Yo, this is a hit.” He was like, “That song is out of here.” Song of the year, decade, century, it never stops. I didn’t need him on the remix, because that would’ve been more money I had to pay out. We could do a new remix right now because my songs never die. 

In 2013, Kanye said it was his “No. 1 song.”

And he’s my No. 1 artist. Him, Nelly, Eminem and Jay-Z. Put Kanye up there. 

What do you remember about performing on Saturday Night Live with the Olsen twins [Mary-Kate and Ashley] hosting?

If I told you everything I remember, we couldn’t use the interview. I love them twins. I have twins of my own. I have Jason and Jessie. I have twin brothers so I get it. I’m striving to get my twins as high as them. The only thing I remember about SNL is the twins and all I remember is Full House. 

I don’t understand how “Tipsy” is still only certified gold [on the RIAA website]. They have to update the plaques!

When it comes to J-Kwon, if you think about it — I had my own shoe deal, Pepsi deal, grand finales of Saturday Night Live, I did the Apollos all before the internet era. I took Greyhounds up to New York and I wanted to be on. Then I look at the massive s–t I’ve done.

They gave me a gold plaque the first day my record came out. I cried, dog. Big Bob was like, “What are you crying for?” I say, “Because I only got gold.” He say, “It’s only the first day!” My gold means more than n—as’ platinum. Of course, “Tipsy” is like quadruple-platinum. Coming off that, that was a big situation for me. I come from nothing. I came from sleeping in cars, homeless, eating out of trash cans [and] selling drugs.

What do you think about Shaboozey’s “A Bar Song (Tipsy)” interpolating you and paying homage to “Tipsy?” He debuted at No. 36 on the Hot 100. 

It really ain’t even paying homage; I got a crazy percentage… Let’s say it like this, we did that together, and I’m proud of him. 

[H-Snow, J-Kwon’s manager, joins the call to interject]: We were compensated. Basically for the song, we do have credit and a deal was worked out in both parties’ favor. Respect the artist and his craft. We license it to somebody and the original artist has to be compensated. As far as the clearance process, artists have to clear their record. They didn’t want to clear Kanye’s “Through the Wire.” Shaboozey has [J-Kwon’s] blessing and the label has his blessing. 

J-Kwon: I probably own more than the labels own. You could go on his page and he’s yelling HHM [Hood Hop Music]. Any deal Kwon do, it’s Kwon. We did huge numbers with that and I’m proud of myself because I actually structured that myself. I had consulted with -– I’m just that guy, you can’t move without J-Kwon. Even with the new era, songs still move, but every song that got J-Kwon influences pops. I did a couple deals. Wait and see. You never know.

H Snow: Let’s just say you might be calling us in another month or so. 

J-Kwon: I wanna say shout-out to Trackboyz. [Staff member] Lisa Elise Covington. [Co-manager] Sean Caldwell. Memphitz. Jermaine Dupri, did I mention him? If I didn’t, let me mention him now. I got to shout-out L.A. Reid, God and my momma Terry Jones. I gotta shout-out [Empire president] Tina Davis and Shaboozey. 

I gotta mention Nelly. Nelly is real big for me. He’s super huge for me. Me and his relationship is crazy. He does things for me that no one has ever done. I try to be as humble as possible, if you look at the way my career is set up, it don’t happen like that. 

Could we see you on the “A Bar Song” remix?

Well, I’m on the original. It might be a remix!

What are you up to now music-wise?

[My new album] Last Call, Sobriety Check. That’s what we doing now. Let’s go, HHM. If I give you a date [for the new release] then I gotta stick to it. One thing about it, two things for sure — the fans gotta know I love them for real. Without them, there would be no J-Kwon. I can’t believe all the love I’m getting. [J-Kwon also mentions his Expen$ive Ta$te clothing line].

“Tipsy” peaked at No. 2 on the Hot 100 only to be boxed out by Usher.

I hit No. 1 on every other chart. It’s cool. If I hit No. 2 on Hot 100, you already know what I hit on the other charts. I need people to say it how it really go. The boy was No. 2 on Hot 100. I’m still selling right now.

What do you think about St. Louis rappers now like Sexyy Red?

I love Sexyy Red. My No. 1 artist out of St. Louis right now is I got [a few] – J-Kwon, Sexyy Red, Kane Koca, T Tone and I got Nelly. 

Anything you want to leave us with before we go?

I wouldn’t rather be nowhere but right here, right now. I’m driving through all these big-a– houses. With or without all of that, all I know is I did “Tipsy” and “Tipsy” is forever it. That’s the No. 1 song ever. Shaboozey’s “A Bar Song” is the No. 1 song of the year.

26 Apr 2024

Steve Aoki: Photos From the Billboard Cover Shoot

In addition to our Steve Aoki cover story, check out this Q&A with Jessica Chou, who photographed Aoki for Billboard‘s AAPI issue.

Tell us a little about your own background. 

I’m from the San Gabriel Valley – a suburb in Los Angeles. Interesting fact: the city I grew up in was the first city in the U.S. to reach a majority-Asian population according to the 1990 U.S. Census. I feel like growing up in a suburb with a majority-minority population has informed my views and experience on American life.

I’ve been working as a freelance photographer for 13 years, focusing on portraiture, photographing everyday people and high-profile public figures alike. I come from a photojournalism/documentary background and I think those observational qualities of storytelling have definitely informed how I approach my portraiture.

You’ve worked with Billboard for a long time – you shot Steve for us 10 years ago, spending 36 hours with him, playing on your background in reportage. What are your standout memories from that shoot?  

Gosh, 10 years. Yikes! It was such a whirlwind experience. I remember flying into Vegas and from the second I got to Steve, it was non-stop action for the next 36 hours, going from his residency in Vegas to his headlining performance at Tomorrowland in Bethel Woods, New York. I don’t think I had ever seen this kind of mix of business and play on such a high level at that point. There was such a huge intensity/euphoria that came from his fans both in Vegas and at Tomorrowland – I mean, people were begging to get caked in the face – and then there was the other side of being an artist with producing music and creating business collaborations. And Steve seemed to have this limitless amount of energy – I remember at some point thinking, “Omigosh, can we just like not do something for just a little bit? I can’t keep up.” [Laughs] But it was exhilarating. It’s still an experience I carry with me as a photographer.

What was your impression of Steve before the shoot? And what stood out to you most about him once you met? 

I had some impressions of Steve before the shoot, mostly from the Cobrasnake era of the early 2000s, and him being a staple of the parties of those days. When I photographed Steve in 2014, it was at the height of EDM music in the U.S. and his show antics were such a part of that time. I just remember Steve being a very high-sensation seeker and he had a way of provoking and creating that experience. I think it’s what sets him apart as an artist and an individual. And so much of house and techno music is about freeing your mind for new experiences, but there are only so many personalities that can follow through on that mantra while still being put together.

How did that experience influence how you came up with the creative for this new cover and feature with Steve? Can you talk a little about that concept?

I think Steve’s level of energy with this laid-back attitude has always been an interesting hook for me and I was wondering what would be a good way to show this. This one afternoon, when I was driving out of another photoshoot in Los Angeles, I saw the billboard for the new Guy Ritchie series on Netflix (The Gentlemen) and thought, “Oh, that’s the right amount of polish and intensity” — but I needed that to feel less English and a little more Californian flair. This then led me to think of The Dude of The Big Lebowski. So it turned into The Dude meets Guy Ritchie’s energy with Steve Aoki’s signature. Something about this mixture just felt like the right balance for Steve’s style of fun, irreverence and action.

Last year, Billboard also had its first-ever K-pop issue, for which you shot Chairman Bang of HYBE for the cover. Tell us a little what he was like a subject and what the shoot was like.

Chairman Bang was probably the opposite of Steve Aoki – in the sense that Chairman Bang is a very behind-the-scenes guy. Creative yet controlled. And he was a more than gracious sitter – I remember that he wasn’t feeling very well that day, yet he still showed up and was game to try anything.

This is Billboard‘s first AAPI issue – what does it mean to you to be part of it?

I couldn’t be more honored to be a part of this and to be a part of highlighting contributions of AAPI community to the culture at large. I grew up not feeling very seen, represented or proud of what was represented in the mainstream media. Being able to find and see paths of “what could be for you” is an important part of self-actualization. When I got older, I started learning more about the contributions of the Asian community to culture at large – particularly in the arts and entertainment. I started realizing how much has been done before me and how those stories were readily available. Culture and celebration is informed by the stories we tell. I’m proud to be part of an issue that is blazing this path in one of the world’s most important music magazines.