Music News

A$AP Rocky Must Face A$AP Relli’s Assault Lawsuit as Judge Sets Trial Date: Report

Just over a week after A$AP Rocky (born Rakim Mayers) was found not guilty on all counts in his 2021 felony shooting case, A$AP Relli (born Terell Ephron) is moving forward with his civil lawsuit against the A$AP Mob frontman.

On Wednesday (Feb. 26), Los Angeles County Superior Court Judge William Fahey lifted a hold on Relli’s assault and battery case against Rocky and set a trial date of Jan. 12, 2026, according to Rolling Stone.

Relli’s lawyer, Melisa Mikhail, reportedly appeared virtually at the hearing and said that her client had no plans of dropping the lawsuit while citing the lower burden of proof in a civil versus criminal court.

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“We intend to continue litigating this case,” Mikail said. “The standard in a criminal case is much higher than the preponderance of the evidence standard in a civil matter. We still believe that our claims have merit, and we intend on fully litigating them.”

During the hearing, Rocky’s civil attorney James Sargent reportedly argued that “there’s no longer a basis” for the case. “Mr. Ephron testified in the criminal case as to the facts and circumstances,” Sargent said. “The jury’s acquittal speaks volumes as to how they valued that testimonial evidence.”

The next hearing in the civil lawsuit — which was originally filed in 2022 — is scheduled for May 28. Billboard has reached out to attorneys for both Relli and Rocky for comment.

In both the criminal and civil cases, Rocky is accused of firing a weapon at Relli following a heated confrontation near a Hollywood hotel on Nov. 6, 2021. In the criminal trial, Relli maintained that he was grazed by gunfire, but Tacopina argued that the weapon was in fact a prop gun filled with blanks.

Rocky, who had faced two felony counts of assault with a firearm and a maximum of 24 years in prison in the criminal case, was acquitted by a jury on Feb. 18. Upon the reading of the verdict, the Harlem rapper embraced his attorney and then dove into the gallery to celebrate with his partner, Rihanna. The rapper had earlier turned down a final plea deal ahead of trial that would have resulted in a 180-day jail sentence.

Chappell Roan’s Iconic ‘Hot to Go!’ Unitard Sells for $89K in L.A. Wildfire Relief Auction

One of Chappell Roan‘s most iconic looks was hot to go at a recent auction for Los Angeles wildfire relief, with the star’s quintessential blue-sequined marching band unitard pulling in tens of thousands of dollars for the cause at Give a Frock’s charity benefit.

As announced on Instagram by Julien’s Auctions on Tuesday (Feb. 25), the outfit — worn by the Missouri native in her “Hot to Go!” music video and onstage at Outside Lands Festival in August — went for a total of $88,900. According to People, it was the highest-selling item of the whole event.

Also included in the auction was the hooded blue dress Sabrina Carpenter wore in her “Please Please Please” music video, which someone snagged for $34,925. A signed Dave Grohl guitar went for $50,800, a set of Beastie Boys tracksuits raked in $38,100, and one of Charli XCX’s Sweat Tour stage looks collected $22,225.

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Another of Roan’s looks — a tasseled purple corset and mini skirt worn during a 2023 performance — was also featured, selling for $22,225. Proceeds from the event were distributed across four organizations assisting L.A.’s recovery efforts following the disastrous January wildfires in Southern California: One Voice, Altadena Girls, Pasadena Humane and Friends in Deed.

The sale comes as Roan is entering a new musical era, with the Grammy winner spending the past couple of weeks unveiling different vinyl versions of her upcoming single “The Giver.” Earlier this month, she unveiled “The Lawyer” edition of the country-tinged track, followed by “The Plumber” on Tuesday (Feb. 25).

See the Julien’s Auction announcement below.

Shane Gillis Deals With the ‘SNL’ 50th Anniversary Hangover in Hilarious New Promo

Shane Gillis is pumped to host Saturday Night Live for the second time this weekend, but the cast members are still in recovery.

In a new promo for the upcoming episode, Gillis walks backstage at Studio 8H with cast member Ashley Padilla, who asks how the comedian is feeling about his upcoming hosting gig. “I’m excited, I’m just worried everyone is going to be hungover still from the 50th,” Gillis replies, in reference to the slew of celebrations that took place earlier this month to commemorate SNL‘s 50th anniversary, concluding with a major, star-studded SNL50: The Anniversary Special telecast in New York City on Feb. 16.

“What makes you say that?” Padilla asks confused, before Gillis points out a slew of struggling cast members, including Michael Longfellow passed out in a robe on the couch, Mikey Day wearing Sarah Silverman’s clothes and the Please Don’t Destroy guys looking disheveled in their suits from the event. Even Padilla herself gets an IV to up her hydration after a night of drinking.

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Emil Wakim then walks in asking for a “good tattoo removal guy,” before showing his new “mistake”: ink of Lorne Michaels’ face on his neck. “I thought he would like it,” Wakim says sheepishly, before Gillis responds, “He’s not going to like that. He’s going to fire you.”

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Gillis will be hosting this weekend’s episode with Tate McRae as the musical guest. Watch the promo below, and catch the full Saturday Night Live episode on March 1 at 11:30 p.m. ET on NBC, before it begins streaming on Peacock.

The Lumineers’ ‘Automatic’ Scores Top 10 Debut on Multiple Charts

The Lumineers’ Automatic debuts in the top 10 of multiple Billboard charts dated March 1, paced by its No. 2 starts on the Top Rock Albums and Americana/Folk Albums tallies.

In the week ending Feb. 20, Automatic, The Lumineers’ fifth studio album, starts with 29,000 equivalent album units earned in the U.S., according to Luminate. Of that sum, 16,000 units are via album sales, with 12,000 copies from vinyl, begetting a No. 3 debut on the Vinyl Albums chart.

The set also begins at No. 3 on Top Rock & Alternative Albums and Top Alternative Albums. On the all-format Billboard 200, it bows at No. 16.

Automatic is the duo’s first full-length since Brightside, which debuted at No. 6 on the Billboard 200 dated Jan. 29, 2022.

Concurrently, eight songs from Automatic’s 11-song tracklist dot the Hot Rock & Alternative Songs chart, led by lead single “Same Old Song,” which jumps 36-20 (a new peak after debuting at No. 21 on the Jan. 25 list). In the week ending Feb. 20, “Same Old Song” earned 3.6 million radio audience impressions and 2.3 million official U.S. streams.

“Same Old Song” spends a second week at No. 1 on Adult Alternative Airplay, The Lumineers’ eighth ruler, and holds at its No. 3 best on Alternative Airplay.

The band’s next best on Hot Rock & Alternative Songs is “Asshole,” which debuts at No. 27 with 2.2 million streams.

Andy Reid Defends Taylor Swift After She Got Booed at Super Bowl: ‘She’s Part of the Team’

Andy Reid is not happy about the Taylor Swift slander.

The Kansas City Chiefs coach joined NFL on NBC this week for a wide-ranging conversation about the Super Bowl, where he came to the “I Can Do It With a Broken Heart” singer’s defense after she was met with boos from the crowd at the big game in New Orleans on Feb. 9. The star was in attendance to support her boyfriend, Kansas City Chiefs tight end Travis Kelce.

“She’s a good girl, she handles that whole thing the right way, that’s a tough deal,” Reid said of the disheartening moment. “But she does a great job of handling it. Kelce, I think, does a great job of handling it… She’s part of the team.”

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In videos taken at the event at Caesars Superdome — where the Chiefs lost to the Philadelphia Eagles 22-40 — Swift is seen sitting next to her “Karma” collaborator Ice Spice when the Jumbotron pans to her, showing off the myriad of celebrities in attendance at the Super Bowl. A choir of “boos” then erupts from parts of the stadium, likely from Eagles supporters. In the moment, the 14-time Grammy winner handled the situation with grace, simply giving a side-eye and a wince before laughing. “What’s going on,” she’s seen saying, shaking the whole situation off.

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See the moment here.

‘Billboard Unfiltered’: Drake Goes No. 1, J. Cole’s Return, Ye and The Game’s Antics & More

Another week means another new episode of Billboard Unfiltered. This episode was broadcasted live on Wednesday (Feb. 26) with the core four back together.

Drake and PartyNextDoor topped the Billboard 200 with $ome $exy $ongs 4 U earning 246,000 first-week units. The feat brings Drizzy to 14 No. 1 albums, which ties him for the most ever among soloists.

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Deputy Director Damien Scott thinks Drake cracked the code with his album sequencing in the streaming era with Views. “Views, to me, is where Drake figured it out. He’s like, ‘Oh, this long-ass album with a multitude of genres.’ He figured out how to make an album for the way people consume music now and then he kept trying to make that album over and over again,” he said. “He’s never dropped below a certain qualitative point where people are like, ‘I’m not gonna pay attention to this.’ … I’m curious to see what the staying power is.”

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Staff Writer Kyle Denis considered the first-week sales for Drake to be “soft” when comparing to his previous bodies of work. “I’ll never take away this kind of feat. Tying the record for most No. 1 albums by a rapper, that’s something to celebrate about. But at the same time, when you contextualize these numbers they’re kind of soft,” he said. “I think him not clearing 300,000 is pretty surprising to me… This is squarely more in his wheelhouse and he’s still 100K behind his collab albums he did with Future and 21 Savage.”

When looking ahead to the all-time No. 1 albums list, Billboard charts expert Trevor Anderson wonders if Drake albums will continue to remain events. “Will Drake ever come out and it’s eh, fine, top 10 or will they always be events?” Anderson pondered.

Deputy Editor Carl Lamarre reported that he’s hearing that Drake could possibly come with his next heavily-anticipated solo album this summer surrounding his three-night headlining performance across the pond at Wireless Festival.

Meanwhile, J. Cole returned with “Clouds” last week, and it appears a possible feud with Freddie Gibbs is brewing on the horizon. After side-stepping the Kendrick Lamar feud last year, would Cole step into the ring with Freddie Kane?

“If he were to go at Cole, I don’t have any inside information, but I don’t think Cole would be like, ‘I’m alright, man.’ Gibbs is basically calling him a b—h, like you’re not gonna squeeze off with anybody. The dude’s still an amazing rapper,” Scott said. “The circumstances around the Kendrick beef are very particular… It won’t be like that otherwise.”

Ye and The Game also reunited earlier this week and appeared to be using Tina Knowles as the duo’s creative muse while Yeezy teased Game’s The Documentary 3.

“He’s just too old to be acting like this,” Denis said. “45 and 47, really? It’s just so desperate and so pathetic and it’s so clear you want their attention and they haven’t given you it in recent years.”

Watch the full episode below.

Tobe Nwigwe & Reebok’s MonuMINTal MoMINT: Is This Collection a Flex, Trade or Fade?

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Tobe Nwigwe is no stranger to making statements. Whether through his music, his visuals, or his unmistakable aesthetic, the Houston-based artist has built a movement rooted in authenticity, culture and empowerment. Known for his socially conscious lyrics, intricate wordplay and powerful storytelling, Nwigwe has created a lane that seamlessly fuses hip-hop, African rhythms and spoken-word poetry. Now, he’s taking that same approach to fashion with his first-ever sneaker and apparel collaboration: “Reebok x Chukwu.”

Since breaking onto the scene in the mid-2010s, Nwigwe has captivated audiences with his unique sound and bold visuals. His 2020 breakout moment, fueled by viral hits and a distinct creative vision, solidified his place as an artist who refuses to conform. Everything he does carries deeper meaning—from the messages in his songs to the mint green color that has become synonymous with his brand. His music isn’t just about beats and rhymes; it’s a movement that celebrates identity, heritage, and purpose.

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That same energy translates directly into “Reebok x Chukwu.” The collection dropped February 21st and is a tribute to his Nigerian roots, blending archival sportswear aesthetics with modern design. At the center of it all is the Chukwu OTU, a reimagined version of the classic Reebok Preseason Turf Trainer. The name “OTU” means “One” in Igbo, symbolizing unity and greatness—core themes in Nwigwe’s music and personal journey. With a mix of hairy suede, nubuck leather, and textile overlays, the sneaker merges past and present, honoring tradition while pushing the boundaries of style.

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Chukwu Mint Sneaker, Reebok and Tobe Nwigwe

Chukwu Mint Sneaker

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But this isn’t just about footwear. The Chukwu collection also includes a lineup of apparel inspired by sport and culture. The standout piece? A football jersey featuring the number 88 — a tribute to his wife, Fat, and their five children, who are his biggest inspirations. There’s also a heavyweight graphic hoodie, a mock-neck tee and a pair of zip-off pants designed for versatility and so much more products. All executed in Nwigwe’s signature mint green and black. Every detail is intentional, every stitch tells a story.

For me, this collection is an absolute Flex. I need just about everything in it, from the jersey to the OTU sneakers. The design, the storytelling, and the deeper cultural meaning make it more than just another sneaker collab — it’s a true reflection of Tobe’s artistry. If you’re like me, you’ll be online trying to grab every piece before they continue to sell out. The question is: Where do you stand? Is this collection a Flex, a Trade or a Fade?

Reebok and Tobe Nwigwe

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Watch Kelly Ripa Take Over for Ariana Grande as Glinda in ‘Wicked’ Trailer Remake

The 2025 Oscars are just around the corner, and Live With Kelly and Mark is celebrating Wicked‘s big award year.

In a two-minute clip shared by the morning show on Tuesday (Feb. 25), Mark Consuelos and Kelly Ripa take turns reciting the opening line: “The Land of Oz-cars, where envy is green and faces defy gravity.”

The scene, a remake of the original Wicked trailer, features Ripa as Ariana Grande’s Glinda, floating down on a bubble to hilariously announce that her name will be announced Kel-linda. Consuelos then appears as Fiyero, doing his best to recreate the “Dancing Through Life” number and naming himself the “sexiest TV host.”

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Ripa even lip-sync’s Cynthia Erivo’s viral “Defying Gravity” riff as Elphaba before the scene ends.

Both Erivo and Grande are expected to perform at the Oscars telecast on Sunday (March 2). Wicked is nominated for 10 total awards, including best picture. Erivo is up for best actress in a leading role, while Grande is nominated for actress in a supporting role. The film is also nominated for best costume design, film editing, makeup and hairstyling, original score, production design and sound.

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The Jon M. Chu-directed Wicked, released in theaters in November, has grossed $727.8 million worldwide as of Feb. 18, notching itself as the top-grossing film based on a Broadway musical. Mamma Mia! previously held the title, grossing $611.5 million worldwide following its release in June 2008.

Watch Live With Kelly and Mark‘s hilarious Wicked trailer remake below.

Master P Named President of Basketball Operations at University of New Orleans: ‘Today Is History’

It’s a homecoming for Master P. The New Orleans rap dignitary has been named the President of Basketball Operations at the University of New Orleans.

The move was made official during a press conference on Wednesday (Feb. 26) where P — born Percy Miller — revealed his plans to restore glory to his hometown university’s basketball program.

“Today is history,” he began. “We’ve come a long way. Growing up in New Orleans, when I was a kid, I looked at the University of New Orleans basketball program as probably one of the best in the country. Every kid wanted to come to the Lakefront Arena and be a part of this.”

Master P continued: “I’m just so appreciative and blessed that God has given me this opportunity … to rebuild this program. We gonna change this. This is our culture, this is our team and this is our family. We want to give that family love out here to the city to bring the people back where it should be at.”

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The No Limit Records boss is promising to “change the culture” at UNO, and he’s got his work cut out for him, as the Privateers fell to a lowly 4-25 following loss to Texas A&M-Commerce on Monday (Feb. 24). The team is yet to secure a win on its home floor this season.

The 2024-2025 Privateers season has been draped in controversy, as The Field of 68‘s Jeff Goodman reported on Wednesday that the University of New Orleans has held out four of its top five starters on suspension due to an ongoing gambling investigation.

The team has lost eight straight games in the players’ absence. They last suited up on Jan. 27. “Leading scorer James White (19.2 ppg), Jah Short (9.2 ppg), Dae Dae Hunter (8.2 ppg) and Jamond Vincent (7.8 ppg) have all been out since the 74-58 loss to UIW,” Goodman wrote. “There is currently an ongoing school and NCAA investigation.”

Master P has quite the hoops background in his own right. He was on a college basketball scholarship at the University of Houston before injuring his knee. P battled back to earn pre-season roster spots on the Charlotte Hornets and Toronto Raptors in 1998 and 1999, but was cut before the regular season.

He passed down his love of basketball to his children. P’s son Hercy Miller suits up for Southern Utah University, while Mercy Miller is a freshman at the University of Houston. The Houston Cougars are currently ranked No. 4 in the country and a bona fide National Championship contender.

Watch the full press conference below.

Vince Staples Talks Creative Process Behind ‘The Vince Staples Show’

Vince Staples and his manager Corey Smyth made an appearance on After Hours podcast and talked about how they were able to get Netflix to understand the concept behind The Vince Staples Show.

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“A lot of the times people undermine the intelligence of the audience, and then that becomes learned behavior,” he explained. “And I feel like a lot of the time we just have to have conversation like, ‘OK, we’re making a dark comedy in the streaming era … some are on television and have commercial breaks. We ended up putting title cards in the show because it was important to have tonal breaks in this dry, slow show or else we end up boring. There’s a big difference between boring and interesting, but there’s also a fine line between the two.”

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Staples then brought up some executives and fans having trouble disassociating Vince the rapper and the person with Vince the character. “The way the show was written — and this was always the intention — The Vince Stapes Show is not about Vince Staples as a character,” the Long Beach rapper and actor said. “It’s about a perspective. It’s The Vince Staples Show because I made it not because it’s about me. I think that was a hard thing for a lot of people to grasp. Going from writing for me and then writing for the characters it became kind of a disconnect because they’re expecting me to come in and write a show about myself, but I’m writing a show about other people and how they view me in the world.”

He then got into being underestimated when it came to tone, execution and directorial style while also dealing with a big company such as Netflix. “I just don’t think people think I know as much as I do about certain things,” he suggested. “So, if I’m making a show, they’re expecting me to have seen certain shows. They always say, ‘This is like Curb [Your Enthusiasm], have you ever seen Curb?’ And I say I haven’t seen it, but I know who Larry David is, I’m familiar with his work and I like it.”

Staples continued, “That would kind of throw people for a loop, so then it would get shaky. Especially when you’re dealing with a big company with a lot of finances and a lot of things on their slate it’s not wrong to answer those questions for them. I think that’s the place a lot of creative people have to get to.”

He added, “Of course, I’m going to ask what you’re doing if I don’t know what you’re doing. But sometimes that hurts people, so we just wanted to make sure that we were communicating and letting people know the real influences, the real identity of the show, and the way I wanted it to be.”

Last May, Netflix picked up The Vince Staples Show for its second season. Still no word on a release date yet, though.

You can watch the conversation below.