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Emilee Moore Opens Up About the Heartbreak That Inspired Coachella Billboard Performance & New Single ‘Hanging On’

For Coachella attendees, even driving to the festival is fun. Leading up to Palm Springs, Calif., drivers can enjoy a line of creative billboards promoting various products, songs and festival performances along the freeway.

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Emilee Moore, however, wanted to take it a step further following the release of her unifying new track, “Hanging On,” which perfectly captures how tough moving on is after a heartbreak. “I wanted to do the most epic, grand thing for this song, and Coachella was just around the corner,” she tells Billboard. “I thought, billboards are so related to Coachella, and that would be a perfect place to perform. Not only are we catching people who love music, but we also might reach some people who are escaping their heartbreak for the weekend and going to a festival to not think about an ex.”

For the singer-songwriter, there’s nothing better than a sign from the universe — so why not show other heartbroken music lovers a literal sign? “When I was going through my worst experience with heartbreak, I was always looking for a sign and I would find meaning in literally everything I could because I just wanted to feel less alone and feel understood,” she says. “I really just wanted to make a literal sign where it’s like, ‘This is your sign. You’re not alone in those feelings.’”

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The billboard also features a personal connection between Moore and her devoted fan base. Leading up to the project, she asked her fans to send her objects that keep them fittingly “hanging on” to a past relationship, and she received everything from love letters and jewelry to t-shirts and small trinkets. “There’s so much history to these objects,” she gushes, getting visibly emotional. “I have chills even thinking of it.”

Moore then teamed up with an engineer to create a heart on the billboard comprised of photos of the fan-sent objects. “It just allowed me to have a further connection with them,” she says of the billboard and her fans. “It felt so powerful and impactful.”

However, the billboard is just the tip of the iceberg when it comes to Moore’s “connection” with her fanbase. Many of them have been following her since the beginning of her career, and her Instagram comments section is full of personal stories and a feeling of safety in the singer’s music. How did she grow so close with her fans so quickly? “Vulnerability,” she says, “I always try to be as open as possible and I really try to express things that people are afraid to talk about so that I can validate those feelings for people. Then, they’re willing to open up to you and they’re willing to connect with you on a deeper level.”

She continues, “I guess the biggest thing for me is anytime I’m trying to think of what I want to do for a release or on my social platform, I take it back to my younger, heartbroken self and I think about what I needed in those moments and I try to create that on my page. If you look on my Instagram, for example, you’ll see a lot of movie scenes, you’ll see heartbreak quotes and those are not random, but they’re very specific to my experience and heartbreak and when I would see those growing up, I would feel less alone.”

As for advice for her fans if they’re “Hanging On” to heartbreak, Moore says to take the time to heal. “Let yourself feel, and not push away the feelings because they’re too painful,” she shares. “Let it hit you and you let it wash over you like a wave in those moments and then you can start to heal little by little. There’s no rush. It’s not a race. You don’t have to move on at the same pace your friends are or other people in your life. It’s you and your heart and only you can heal in the right timing.”

We Break Down Every Sneak Diss on Future & Metro Boomin’s ‘We Still Don’t Trust You’

Future: “Don’t you know? Don’t you know?/This life is amazin’, special occasions, we smoke n—as like packs/We roll n—as like…we cook n—as like crack, givin’ it back/So many ties, right or wrong, down for the guys (Swerve)/We ready to ride, dawg, whenever it’s time (Whenever)/However we gotta play it, we can’t be in the blind (Never in the blind)/It’s gon’ seem complicated to you if you not one of mine (Not one of mine)”

Future: “Ain’t goin’ against my mans to f—k on his b—h, I’m gon’ f—k up these bands/Got too many options, they meet my demand, my team, we done spinned/You went against the gang, you read what I’m saying, it’s out of my hands”

These issues with Drake seem to be deeper than rap. I’m not sure if this all stems back to the now infamous “tweeters and deleters” Instagram Story from the Canadian rapper. Future takes the “If Metro doesn’t trust you, I’m going to shoot you” slogan to heart, acknowledging all the moving parts and mutual relationships that are going to be tested.

A couples scenes come to mind.

First, there’s this scene from the first Godfather where Michael is in a garage testing out the gun Clemenza set up for him and Clemenza is explaining to him why this tug of war for power is necessary for getting rid of the bad blood every five to 10 years.

This scene applies to the Big 3 in Drake, Kendrick, and J. Cole, but I’ll also throw Future in the mix who clearly feels he’s the odd man out of this equation. Every few years or so, rap has to go through a power struggle. We’ve seen this movie before throughout the genres history, whether it be Boogie Down Productions versus the Juice Crew or Roc-A-Fella versus the Ruff Ryders, and Nas and Queensbridge.

Then there’s the scene from The Wire where Slim Charles is telling Avon they’ve come too far to stop fighting now. This applies to the lines: “So many ties, right or wrong, down for the guys/We ready to ride, dawg, whenever it’s time” and “You went against the gang, you read what I’m saying, it’s out of my hands.”

Like Slim says, “Once you in it, you in it. If it’s a lie, then we fight on that lie, but we gotta fight.” This clip applies to some of the things said on “Nobody Knows My Struggle” as well.

J. Cole Removes Kendrick Lamar Diss ‘7 Minute Drill’ From Streaming Services

J. Cole has gone through with removing his Kendrick Lamar diss “7 Minute Drill” from streaming services. The viral Might Delete Later closer was taken down from streamers as of Friday afternoon (April 12).

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“7 Minute Drill” lasted a full tracking week counting toward Billboard chart statistics before being scrubbed from streaming services. In the midst of his apology to Kendrick Lamar while on stage at his Dreamville Fest, J. Cole voiced his plan to have the track removed from DSPs altogether, and five days later he delivered on his promise.

“7 Minute Drill” arrived on Cole’s Might Delete Later project last week and found the Dreamville boss taking shots at K. Dot and his discography.

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“I got a phone call, they say that somebody dissing/ You want some attention, it comes with extensions,” Cole initially teased.

He referred to 2022’s Mr. Morale & The Big Steppers as “tragic” and claimed that the Grammy-winning To Pimp A Butterfly had fans snoozing.

“He still doin’ shows, but fell off like the Simpsons/ Your first s–t was classic, your last shit was tragic/ Your second shit put n—-s to sleep, but they gassed it/ Your third s–t was massive and that was your prime/ I was trailing right behind and I just now hit mine/ Now I’m front of the line with a comfortable lead/ How ironic, soon as I got it, now he want somethin’ with me,” Cole spews.

Two days after Cole issued his “Like That” response targeting Kenny, he apologized to Lamar on stage at Dreamville Fest and claimed it was some of the “lamest s–t” he’s ever done.

“I’m so proud of [Might Delete Later], except for one part. It’s one part of that s–t that makes me feel like, man that’s the lamest s–t I did in my f–king life, right? And I know this is not what a lot of people want to hear,” he began.

“I was conflicted because, one, I know my heart and I know how I feel about my peers, these two n—as that I just been blessed to even stand beside in this game, let alone chase they greatness. So I felt conflicted ’cause I’m like, bruh I don’t even feel no way. But the world wanna see blood. I don’t know if y’all can feel that, but the world wanna see blood.”

Cole continued: “That s–t don’t sit right with my spirit. That s–t disrupts my f—ing peace. So what I want to say right here tonight is in the midst of me doing that and in that s–t, trying to find a little angle and downplay this n—a’s f—ing catalog and his greatness, I want to say right now tonight, how many people think Kendrick Lamar is one of the greatest motherf–kers to ever touch a f—ing microphone? Dreamville, y’all love Kendrick Lamar, correct? As do I.”

The North Carolina rapper even went as far as to say he’ll take K. Dot’s response “on the chin” and would offer no rebuttal.

“I just want to come up here and publicly be like, bruh, that was the lamest, goofiest s–t. I say all that to say it made me feel like 10 years ago when I was moving incorrectly,” Cole said. “And I pray that god will line me back up on my purpose and on my path, I pray that my n—a really didn’t feel no way and if he did, my n—a, I got my chin out. Take your best shot, I’ma take that s–t on the chin boy, do what you do. All good. It’s love.”

Kendrick Lamar dropped an atomic bomb on hip-hop with his scathing verse on Future and Metro Boomin’s “Like That,” which saw him target his “Big Three” running mates Drake and J. Cole on the Billboard Hot 100 No. 1 hit.

Billboard has reached out to J. Cole’s reps for confirmation.

Brittany Mahomes Is in Her Red Era With New Hair Transformation

Brittany Mahomes is burning red.

The 28-year-old former soccer player — who is married to and shares two kids with Kansas City Chiefs quarterback Patrick Mahomes — debuted her fiery new hair color in posts on social media earlier this week. In the snaps, she models long, wavy auburn locks topped with wispy curtain bangs.

“Feeling spicy,” she captioned the pics on Instagram along with fire and hot-pepper emojis.

Brittany’s new hue is the perfect, possibly unintentional tribute to her husband’s team colors, red and gold. The Kansas City Current owner was formerly blonde, meaning she’s now rocked both shades the Chiefs are known for.

The color also just so happens to be the title of a song and album by Brit’s friend Taylor Swift, whose fourth studio record, Red, topped the Billboard 200 for seven weeks starting November 2012. Nearly a decade later, Red (Taylor’s Version) once again debuted at No. 1 on the chart.

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The pop star and retired athlete first hit it off last fall, when Swift joined Chiefs Kingdom through her relationship with Travis Kelce. The pair became fast friends while chatting at games and sharing a suite at Arrowhead Stadium, and the “Anti-Hero” singer included Brittany in a few squad hangout sessions in New York City during the season.

Both women were also in attendance at the 2024 Super Bowl, which Kansas City won for the second year in a row. Swift joined the team on the field shortly afterward, kissing Kelce as NFL cameras and millions of viewers looked on.

“This season was a special one!” Brittany wrote on Instagram afterward. “[Patrick] never stopped believing in his team…through the ups and downs and all the doubters, never once did he doubt this team. He is a true leader and a team player … I love you and am always and forever proud of you.”

Mumford & Sons, Pharrell Williams Send ‘Good People’ to No. 1 on Adult Alternative Airplay Chart

Mumford & Sons are back at No. 1 on Billboard’s Adult Alternative Airplay chart – and Pharrell Williams leads the list for the first time – thanks to their collaboration “Good People,” which rises to the top of the survey dated April 20.

The song becomes Mumford & Sons’ fifth Adult Alternative Airplay leader and first in over five years, since the 10-week No. 1 “Guiding Light” in 2018-19. The trio first reigned with “I Will Wait” in 2012, followed by “Lover of the Light” in 2013 and “Believe” in 2015.

In between “Guiding Light” and “Good People,” Mumford & Sons snagged a pair of No. 4-peaking hits in “Beloved” in 2019 and “Blind Leading the Blind” in 2020.

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Frontman Marcus Mumford boasts an additional No. 1 in that span: in 2020, he reigned for four weeks as the featured vocalist on Major Lazer’s “Lay Your Head on Me.”

As for Williams, it’s the singer-songwriter and producer’s first Adult Alternative Airplay leader in the artist field, surpassing the No. 14 peak of his solo track, and multiformat smash, “Happy” in 2014. “Good People” is also his top-charting song on any rock-based Billboard airplay survey as a recording artist, surpassing the No. 5 peaks of Daft Punk’s “Get Lucky,” on which he’s featured, on both Alternative Airplay and Rock & Alternative Airplay in 2013.

Concurrently, “Good People” ranks at No. 25 on Alternative Airplay, after reaching No. 10 (Feb. 17). On the all-rock-format, audience-based Rock & Alternative Airplay chart, it’s at No. 24 (after rising to No. 13 on the March 2 list) with 1.4 million audience impressions April 5-11, according to Luminate.

“Good People” is currently a standalone single. Mumford & Sons last released an album in 2018: Delta, which topped the Billboard 200 for a week upon its debut. The set has earned 779,000 equivalent album units to date.

All Billboard charts dated April 20 will update on Billboard.com Tuesday, April 16.

Sabrina Carpenter Lounges Beachside in Retro ‘Espresso’ Music Video

Sabrina Carpenter‘s “give a f—s are on vacation,” as she proclaims in her new single “Espresso,” and the pop superstar unveiled a summery music video on Friday (April 12) to capture that carefree feeling.

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In the clip, the 24-year-old singer is seen enjoying a day by the beach and on a boat, rocking a slew of pin-up style swimsuits and beachwear. “The song is kind of about seeing femininity as your super power, and embracing the confidence of being that b—-,” Carpenter told Vogue. “Since the day I heard the song, I saw a beach atmosphere—and more specifically this kind of old school [and] modern environment. [I wanted to capture] the playfulness that I like to use throughout all of my videos. I also just wanted a pool car, to be frank.”

“Espresso” arrives just before the singer is set to take the stage at Coachella Music and Arts Festival this weekend. The Girl Meets World alum is one of several artists slated to perform at both weekends of this year’s festival, which will be headlined by Lana Del Rey, Doja Cat and Tyler, the Creator as well as feature a reunion concert from No Doubt. Also on the lineup are Peso Pluma, Lil Uzi Vert, J Balvin, Blur, Ice Spice and more, with performances kicking off Friday (April 12).

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Carpenter last released music in November 2023, dropping a six-track holiday EP titled Fruitcake. Before that came the deluxe edition of her 2022 album Emails I Can’t Send, which recently led the singer to her first top 40 hit on the Billboard Hot 100 with “Feather” peaking at No. 26 last month.

Watch Carpenter’s “Espresso” music video below.



Linkin Park Notches 10th Mainstream Rock Airplay No. 1 With ‘Friendly Fire’

Linkin Park earns its 10th No. 1 on Billboard’s Mainstream Rock Airplay chart, as “Friendly Fire” lifts 3-1 on the April 20-dated survey.

The song is the band’s second No. 1 in a row, following “Lost,” which reigned for eight weeks starting in March 2023.

The group’s list of 10 No. 1s dates to 2003, when “Somewhere I Belong” ruled for a week.

Linkin Park is the 12th act to score double-digit No. 1s in the Mainstream Rock Airplay chart’s 43-year history. Shinedown leads with 19 rulers.

“Friendly Fire” previously topped the all-rock-format, audience-based Rock & Alternative Airplay chart; it debuted at No. 1 on the March 9 tally and has led for two weeks so far. It concurrently ranks at No. 2 with 6.9 million audience impressions April 5-11, up 6%, according to Luminate.

The track has also risen as high as No. 2 on Alternative Airplay, on which the band is seeking its 13th No. 1.

On the most recently published multimetric Hot Rock & Alternative Songs tally (dated April 13, incorporating data accumulated March 29-April 4), “Friendly Fire” placed at No. 35, after debuting at its No. 13 high on the March 9 chart. In addition to its radio airplay, the song earned 1.1 million official U.S. streams in that span.

The song was recorded during the sessions for, but not included on, Linkin Park’s to-date final album, One More Light, released in 2017. It’s now part of Papercuts (Singles Collection 2000-2023), the band’s new greatest hits package, released today (April 12).

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All Billboard charts dated April 20 will update on Billboard.com Tuesday, April 16.

Machine Gun Kelly Says He Was ‘Banned’ From Coachella

More than 100 artists and tens of thousands of music fans will flock to Coachella Valley this weekend, but there’s one person who definitely won’t be there: Machine Gun Kelly.

Just hours ahead of the 2024 festival’s kick-off on Friday (April 12), the rapper-rocker claimed on X that he he’s never been to Coachella because “they banned me in 2012 for whatever reason.”

The “My Ex’s Best Friend” singer, who is dad to 14-year-old Casie, added, “I was looking forward to finally going this year but my daughter’s volleyball tournament ended up on the same days so y’all will have to lmk how it is, she comes first.”

The post comes more than a decade after MGK, born Colson Baker, tweeted, “Coachella is a huge joke,” one week after 2012’s festival wrapped. “Its corporate as f— and they only accept the accepted but fake like they dont,” he added at the time. “Sad that music is so trendy now.”

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Billboard has reached out to Coachella for comment.

This year, Baker will miss out on a lineup led by headliners Lana Del Rey, Doja Cat and Tyler, The Creator. The two-weekend event will also feature a No Doubt reunion as well as performances from Peso Pluma, Lil Uzi Vert, Justice, Bizarrap, Sabrina Carpenter, Blur, Ice Spice, Sublime, Bleachers, Grimes, Jon Batiste, J Balvin, Jhené Aiko, Lil Yachty, DJ Snake and more.

The Cleveland-bred artist is fresh off the release of his 10-track joint EP with Trippie Redd, Genre: Sadboy. The set recently debuted at No. 30 on the Billboard 200.

See MGK’s tweets about Coachella — past and present — below.

Fatima Robinson Talks Beyoncé’s Renaissance Tour, Crowns Her ‘The Michael Jackson of Our Time’

Beyoncé may be riding high off Cowboy Carter right now, but Renaissance is the gift that keeps on giving.

In a revelatory conversation with Ahmir Questlove Thompson on his Questlove Supreme podcast, renowned choreographer Fatima Robinson revealed how Beyoncé came up with stage design and concept for the Renaissance World Tour during the pandemic — and why the superstar shifted her approach to dance on her most recent trek.

“That was Beyoncé sitting in a pandemic with a lot of time on her hands and coming up with the most incredible, creative stage that I had ever gotten to work on,” Robinson gushed of the Renaissance World Tour stage. The sold-out stadium tour featured two separate platforms connected by a moving ramp, a main stage complete with a sprawling flatscreen, a B stage that stretched into the crowd, and a slew of props including, a tank, pyrotechnics, a laser show, a giant clam shell, robot arms, a flying “disco horse” and various levitating platforms.

In Renaissance: A Film by Beyoncé — the box office-topping documentary concert film chronicling the conception and execution of the tour — Queen Bey revealed that the tour was planned over four years, and three identical stages were developed for the show. The $580 million-grossing tour also featured 22 dancers, including her eldest daughter, Grammy winner Blue Ivy Carter.

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“She has quite a few choreographers across her span of music,” said Robinson. “We gave me the title ‘director of choreography’ because I was the point person that all the choreographers worked under and with. It was such a big boulder to get up a hill, that show.”

While Robinson has worked with Beyoncé in the past — most notably on 2006’s Oscar-winning Dreamgirls and her “Be Alive” performance at the 2022 Oscars — she joined forces with several other choreographers for the Renaissance tour, including her two other team members, Chris Grant and four other choreographers who worked on numbers sporadically.

Her first solo concert tour since 2016’s Formation World Tour, the Renaissance World Tour presented a notably different Beyoncé. While the three-hour show was still a feast for the eyes and ears, the performance included less intense choreography than her past tours — partially due to a knee injury she suffered before those 56 sold-out shows.

“We were having a lot of conversations around when is enough enough?” Robinson explained. “You have nothing to prove, Bey. You are our Michael Jackson of our time. We’re like athletes, at a certain point, you have to just say “Okay, I’m gonna do it, but I’m gonna also take care of myself and be mindful of what my body is telling me right now.”

Robinson’s revelations echo sentiments Beyoncé herself shared in Renaissance: A Film by Beyoncé. Throughout the documentary, Queen Bey mused about looking to her idols to inform how she moves in her career. The Renaissance tour was a celebration of that, from a surprise appearance from Diana Ross to a multi-city tribute to the late Tina Turner.

“Look at how Prince was when he passed away, he had those hip replacements because of all those splits and stuff,” noted Robinson. “Look where Michael [Jackson] is. We want you around performing for years to come, so let’s not put that kind of pressure. Let’s ease into it, let’s stand there and be powerful and step into a different kind of power, and guess what? They gon’ come with you!”

That approach to performing also resulted in a very Beyoncé take on the concept of an opening act. For each show, Beyoncé began with a set of ballads, introduced by a beautiful piano-led rendition of 2003’s seminal “Dangerously In Love 2.”

“I turned to her and I was like, ‘This is really fly, starting with ballads,’” recounted Robinson. “She laughed and she said, “I’m opening up for myself!”

In addition to the Renaissance World Tour, Robinson also worked on 2023’s The Color Purple movie musical, which topped the domestic box office on opening day and earned one Oscar nomination.

Click here to watch the full clip of Fatima Robinson describing the creation of the Renaissance World Tour.

MUNA’s Naomi McPherson to Make Acting Debut as Janis Ian in Upcoming ‘SNL 1975’ Film

Jason Reitman’s upcoming SNL 1975 has found its Janis Ian.

MUNA’s Naomi McPherson will take on the role of the Grammy-winning singer-songwriter in the film about the debut of the iconic NBC sketch comedy series, Saturday Night Live, according to The Hollywood Reporter. Ian was the first musical guest on the show that premiered on Oct. 11, 1975. The role marks McPherson’s first major acting gig.

The cast also includes Gabriel LaBelle as series creator Lorne Michaels, Cooper Hoffman as former NBC executive Dick Ebersol and Rachel Sennott as Michaels’ ex-wife and former SNL writer Rosie Shuster. Other cast members include Nicholas Braun (Jim Henson), Kaia Gerber (Jacqueline Carlin), J.K. Simmons (Milton Berle) and Finn Wolfhard as an NBC page.

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The acting role comes following an exciting year for McPherson, who as part of the trio MUNA, went out on a North American tour as well as acted as the supporting artist on a few shows in Taylor Swift’s Eras Tour.

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Ian, meanwhile, received a lifetime achievement award at the International Folk Music Awards last year. She’s a two-time Grammy winner, who won the 1975 award for best pop vocal performance, female for her coming-of-age classic “At Seventeen” and the 2012 award for best spoken word album for Society’s Child: My Autobiography