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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, Bruno Mars gets sexy with Sexyy, Travis Scott delivers his stadium-sized new single and Central Cee proves that patience pays off. Check out all of this week’s picks below:
Sexyy Red & Bruno Mars, “Fat Juicy & Wet”
Bruno Mars has scored a pair of recent smashes, “Die With a Smile” and “APT.,” by finding a midpoint between his pop sensibility and that of his respective collaborators, Lady Gaga and ROSÉ; with the audacious “Fat Juicy & Wet,” however, Mars fully enters the world of Sexyy Red, dropping a gleefully explicit anthem built around the rising pop star’s sexual innuendos and a club-pulverizing beat.
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Travis Scott, “4×4”
For his first solo track since 2023, Travis Scott builds on his maximalist aesthetic with “4×4,” which pairs orchestral heft with a pitch-shifted flow. Scott debuted “4×4,” which will help support California fire relief funds through CD single sales, at the College Football Playoff National Championship Game earlier this week, and the studio track earns its stadium debut.
Central Cee, Can’t Rush Greatness
The title Can’t Rush Greatness nods to how long UK rapper Central Cee has been waiting for this crossover moment: after years of building hype, collecting collaborations and scoring increasingly bigger hits (culminating in “Band4Band,” last year’s team-up with Lil Baby), he now has a guest-packed, generally riveting debut full-length to call his own.
FKA Twigs, Eusexua
A decade’s worth of FKA Twigs albums have been leading to Eusexua, the culmination of her experimental amalgamation of pop, R&B, electronic and club music that finds Twigs carving out accessible pathways for new listeners while remaining as daring as ever for longtime fans. The opening run of the title track, “Girl Feels Good” and “Perfect Stranger” is perhaps the most entrancing 10-minute stretch of music we’ve gotten so far in 2025.
Tate McRae, “Sports Car”
Tate McRae has grown increasingly confident in her dance-pop formula since “Greedy” became the biggest hit of her career a little over a year ago, and while “Sports Car” crackles like her recent single releases, the whispered chorus elevates her latest, drawing the listener in before shoving them back out to dance.
Teddy Swims, I’ve Tried Everything But Therapy (Part 2)
“Lose Control” is a hard commercial bar to reach — the single did top Billboard’s year-end Hot 100, after all — so on his latest release, Teddy Swims wisely tries not to re-create his breakthrough smash, and instead flesh out some husky sing-alongs like “Guilty” and “Funeral,” as well as corral some new famous friends like Coco Jones, GloRilla and Giveon.
Kane Brown, The High Road
As Kane Brown keeps cranking out crossover country hits — “Miles on It” with Marshmello was another top 20 smash last year — he concurrently continues telling stories that reach a wide listenership, and on new album The High Road, that includes heart-wrenched fare like the Jelly Roll duet “Haunted” as well as a pair of new collaborations with his wife, Katelyn Brown.
Editor’s Pick: Djo, “Basic Being Basic”
“End of Beginning” became a well-deserved viral breakthrough for actor Joe Keery’s musical project Djo last year, and in 2025, things sound like they’re about to get stranger: “Basic Being Basic” is a lovably off-kilter new single, a callback to ‘80s synth-pop with a hook that highlights Keery’s upper register and lyrics that should launch a million TikTok lip synchs.
Wait till he gets his money right. Ye — formerly known as Kanye West — claims he’s back in the billionaires club with an alleged net worth more than $2.7 billion. Yeezy took to his Instagram on Thursday (Jan. 23) to boast about the billionaire status allegedly done by business valuation company Eton Venture Services, […]
For 21-year-old singer/songwriter Karri, he didn’t choose to learn the piano — his mother made him.
“Filipino parents. They make you go to piano lessons, I’ll tell you that,” says the Bay Area star. “Dude, I had to do piano lessons until like eighth grade. [I’m] thankful, though, because I wish I would have kept going knowing what I know now.”
Now, Karri is a thriving R&B freshman with major-league co-signs ranging from Drake to Lil Baby and Kehlani. After his song “3 AM in Oakland” bubbled into a sleeper hit on social media in 2023, Karri received a phone call from Drake’s right-hand, Chubbs, and soon after, landed a deal with his imprint PFL.
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“I remember a mutual friend of ours texted me and said, ‘Drake and Chubbs heard your music,’” remembers Karri. “I was on the game, and I was like, ‘What are you talking about, bro?’ He was like, ‘Stay by your phone. He’s gonna call you.’ Chubbs called me, and that same night, I was at his studio playing music. From there, we just went to Toronto. Now Chubbs is like the big brother. I appreciate everything Chubbs has done for me so far. It’s only up from here.”
Karri adopted Drake and Chubbs’ disciplined approach and buried himself in the studio, sometimes for long stretches, until he pieced together his debut project, Late Night Slider Music. Released last month, the six-track EP is a seamless fusion of Karri’s Bay Area roots and his profound admiration for Toronto’s moody R&B sonics. His crown jewel, “Oakland Pt. 2,” is the sequel to his 2023 hit, “3 AM in Oakland,” where his slow-burning “Lo N Slo” sound thrives.
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“Late Night Slider Music just felt like the perfect collection of songs you can play in a whip, smoking late night and cruising,” he says. “If you wanna pull up on someone late-night, play this sh-t. You wanna just be driving in the city, play this s–t.”
Get more acquainted with Billboard’s January R&B Rookie of the Month, Karri, below, as he talks about linking up with Drake and Chubbs, his affinity for The Bay, his desire to grow as a songwriter, and more.
What has been the most enjoyable part about your journey so far?
Honestly, just making the new music and casting a vibe everywhere I’m at. I feel like every time I’m in a new place, it’s always a new vibe. I always make different vibes in different places. When I’m in the city, I make great music. When I’m in L.A., I make great music. When I’m in Houston, Toronto, or even the Philippines, everywhere I go, I make different vibes and curate them to where I’m at.
You haven’t done too many interviews, and there’s hardly any information about you online. How would you break down your come-up story?
I really wouldn’t be doing music if it wasn’t for my cousin Danny or my friend Joel. My cousin Danny used to pick me up from high school and I didn’t play basketball anymore. So he would pick me up, we’d go to my mom or auntie’s crib and he had the little recording setup in the closet. I would just go and record with him. It went from a hobby to “I’m kind of good with this. Let me keep going.”
Did you get full support from your family when you decided to pursue music?
At first, my mom was confused. I feel like she’s still confused. [Laughs.] She comes from the Philippines, so the way of life in the Philippines is a little bit different. She understands now. She’s proud. She just always worries about me, because she was a single mom growing up. Shout-out to my mom. She didn’t get it, but she does now.
When did that moment for her click?
Honestly, when I got the Drake DM. She was like, “OK.”
When I dived into your catalog and listen to your earlier tracks like “Rosetta” and “Kiki,” it sounded like two different artists versus now. It gave me Lil Mosey vibes.
I was still in high school, bro. I was trying to figure it out. You know what’s crazy? When I was 15, 16, I was at my homie Isaiah’s house and I remember I was like, “If he can do it at this young age, I can do it.” What’s stopping me from trying to pursue this? It’s kind of crazy that you say that.
Your big break came courtesy of your “3 AM in Oakland” record. When did you realize this had strong potential?
There’s a funny story with that song. Originally, it was a Bay record. I did it in Oakland. The reason why it’s called “3 AM in Oakland,” is because I couldn’t think of a name for the song. I was like, “We’re in Oakland. It’s 3 AM.” Then, we actually didn’t have that slow-down piano [breakdown in the song]. I was in the studio with P-Lo one day in San Francisco. I went into the piano in the live room, played that, sang that song over and I was like, “This is kind of fire.”
So I posted it, and the next video exploded. I was like, “Damn. I can finally do what I want in this R&B stuff.” I don’t have to worry. It was kind of cool. It just went.
You mentioned P-Lo and he’s a huge pillar down in The Bay. Who were some people who supported you early on from the city?
Growing up, HBK Gang. P-Lo, Iamsu!, [Kool] John, and Jay Ant. So them being my big bros now is kind of cool, because I grew up on their music — and honestly, it kind of inspires my sound. So for them to be the OGs — it’s kind of crazy calling them the OGs, ’cause they’re like 31 — it’s cool just having them support and really give me the green light in The Bay.
Toronto played a huge part in the sound and recording process for your debut EP Late Night Slider Music. What were you able to gain there versus when you’re recording back home in The Bay?
Being in Toronto, it’s all dark R&B, so I just embraced that when I’m out there. I really try to zone in on making that kind of sh-t versus when I’m out in the Bay. When I’m in Toronto, I’m in that mode. It’s just trying to find the balance between how do I make San Francisco and Toronto relate on a record. I could talk about San Francisco s–t in that dark Toronto R&B element.
What’s the best advice Chubbs has given you so far?
Stay in the studio. He called me two days ago and was like, “Don’t leave the studio. You’re pumping out crazy hits. Don’t leave.” He actually gave me a good example: He said when Drake is in that bag, he doesn’t leave the studio for three days. So I needed to start getting in that mode. I’m in the studio a lot, but the advice he gave me was just keep being in the studio. I love being in the studio regardless.
A song I enjoyed a lot from you in the past is “Chasing You,” because it’s you in a different kind of bag, which is pop / R&B and showed that you’re kind of limitless as a songwriter. Which song best reflects your potential as a songwriter?
That’s a good question. I would probably say “Oakland Pt. 2.” It just had a lot of little moments on that record where I was like, “This was a great, well-written song.”
Was it hard to record that record, knowing the success of “3 AM”?
Honestly, no. It just came to us. We were in the studio one day. It was me, [my manager] Blaise, Thomas and my homie, Matt. We were like, “Damn. This could be the Part 2 to ‘Oakland.’” I was like, “Damn. It actually can be.” I went back to the crib and played it on the piano and it just worked out.
When Drake DM’d you his suggestion, was that for “3 AM in Oakland” or “Oakland Pt. 2?”
That was for “3 AM in Oakland,” but it just felt right to let that fly. I kept that in for a year and then I was like, “Let me just let that fly.”
Have you been able to see Drake in the studio, and if so, what were some things you picked up from him?
Not yet, but I’m sure one day in the future.
When you think of the brotherhood that PFL has as a label, it isn’t at all competitive. So how do you guys push each other while still trying to make sure you get the job done from your respective ends?
It’s crazy. We can all get angry and mad at each other, and I feel like that’s just the best part about it — because we always figure it out at the end of the day. I feel like the best part of that is making sure we’re all aligned on s–t. That’s really how stuff gets figured out. It’s all family at the end of the day, whether we agree or not. We always figure out how to make s–t happen.
Your “Lo N Slo” sound is becoming a thing now. Is that something you plan to grow and nurture for the future?
I don’t know. I think it’ll just pop up in a random little places. I don’t wanna make it like the whole vibe.
What was the most challenging song for you to write and record on Late Night Slider Music?
Probably “Impromptu,” because that record took a month to finish. Usually, I’ll finish songs in like a week, but that just took like a month, because we had to put in a B-section. It was just a lot of moving parts to get that record done. It was a fun record to make, but it was challenging figuring out the structure.
How involved are you on the production side of things?
I’m very hands-on. I’ll literally touch everything. I don’t know. I just like being creative with people. I don’t wanna just sit back and kick it in the studio. I want to be present and a part of everything that’s going on.
What do you feel you’ve learned most on the production side during this recording process that you’re going to carry on with you for the rest of your career?
That space is the most valuable part of any record. Having space on any record is probably the best advice anybody has given me. Simplicity in a record is what makes a record. That’s what I feel like I’m gonna carry on with this whole process. Simplicity and not making s–t too complex.
Also, no features on the project. Why did you go in that direction?
I just wanted to come out the gate, showing people I can do it myself and not with any features. I’m sure in 2025 it’s gonna be a fun year. With this project, I just wanted to keep it me.
I think it’s impressive that you just turned 21, but you have grown-man subject matter in your music. How were you able to get to that level of writing at such a young age?
You know what’s crazy? I don’t really base s–t on my experiences — I base it off other people talking to me, and I’ll grab some s–t from there and put it in a song. I’m 21. I’m young. So I haven’t really experienced a lot, rather than what a 28 or 30-year-old has. Hearing them talk about what they talk about, I’ll just take it and put it in a song. That’s how some of [my] s–t gets made.
The next time you think you hate someone because they seem rude or stand-offish, consider the Kane Brown/Jelly Roll conundrum. In an interview with Taste of Country to promote his new album, The High Road, Brown said the LP’s intense collaboration with Jelly, “Haunted,” came about after the two men reached a detent following years of misunderstanding.
“I heard of him before he had ever gotten in the country industry, because I was hanging out with some other guys that were in the world that Jelly was in. We had the same kinda background,” said Brown of the “Save Me” singer who began his career as an MC. Despite having mutual friends, the two men had never met or talked and Brown said one of his pals confirmed to him that Jelly “hated me.”
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The mutual pal, Taylor Phillips, told Jelly, “‘Nah, man, you don’t know him… he’s really quiet,” Brown said of the misunderstanding that may have been born of his quiet, subdued nature early in his career. So Brown, 31, reached out to Jelly Roll, 40, so they could settle their phantom beef and come together.
“Taylor ended up telling me the story, so I ended up reaching out to Jelly, I was like, ‘Hey buddy, this industry’s crazy. If you ever need to sit down and talk to me, or play COD’ — I play a lot of Call of Duty — ‘You can come and talk to me about it,’” Brown said. Jelly Roll responded, they played some COD and then were fast friends who now “text all the time,” including “random FaceTimes at 3 a.m.”
That peace pact spun forward to their duet on “Haunted,” which chronicles the mind game of seemingly having it all while struggling with crippling depression and dark thoughts.
“That song means more to me now than it ever has and it’s about to come out at the perfect time,” Brown told Billboard about the tune with the plaintive chorus, “‘Cause I’m haunted by the voice in my head/ I’m haunted by the taste of that lead/ I wanted too many times to jump off of the edge/ Thinkin’ I was better off dead.”
The slow-rolling single with skittering drum machine beats mashed against both mens’ drawling vocals is of a piece with Jelly’s frequent lyrical focus on mental health and his battles with substance use. In his recent chat with Billboard, Brown confirmed that the two men don’t just hang now, but they’ve actually developed a real connection.
“Hanging with Jelly is fun, and you never know what he’s going to say — and I’m not a big talker, so it’s cool,” Brown said. “He’s funny and honestly just a comedian. I love what he’s doing. My dad’s been in prison since ’96, so everything Jelly has been doing with prisons, just going and giving them entertainment, kudos to him. He’s a great dude.”
Check out the “Haunted” video here.
ROSÉ and Bruno Mars’ “APT.” becomes the first No. 1 on Billboard’s Pop Airplay chart by an act prominent in K-pop (Korean pop), as it jumps three spots to the top of the latest, Feb. 1-dated survey.
A week earlier, the song surpassed BTS’ “Dynamite,” which peaked at No. 5 on the radio ranking in December 2020, as the highest charting such Pop Airplay hit. “Dynamite” remains the only top five hit on the tally by a K-pop group.
“APT.,” on The Black Label/Atlantic Records, marks the first Pop Airplay chart entry for ROSÉ as a soloist; star K-pop quartet BLACKPINK has charted two tracks (reaching a No. 21 best) with her as a member.
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Mars, meanwhile, earns his 11th Pop Airplay No. 1 — one-upping Justin Bieber for the most among male soloists since the chart began in October 1992. Overall, Taylor Swift boasts a record 13 leaders, followed by Maroon 5, Mars, Katy Perry and Rihanna with 11 each, and Bieber and Ariana Grande with 10 each.
The Pop Airplay chart ranks songs by weekly plays on over 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
A select five hits by acts prominent in K-pop have climbed to the Pop Airplay top 10, beginning with PSY’s “Gangnam Style” in 2012. That viral smash and “APT.” are the only such songs billed to solo artists. Here’s a recap:
No. 1 (one week to date), “APT.,” ROSÉ & Bruno Mars, Feb. 1, 2025
No. 5, “Dynamite,” BTS, Dec. 19, 2020
No. 7, “Cupid,” Fifty Fifty, Aug. 5, 2023
No. 7, “Butter,” BTS, Aug. 7, 2021
No. 10, “Gangnam Style,” PSY, Oct. 27, 2012
Pop Airplay chart reporter KMVQ (99.7 Now) San Francisco leads all panelists with more than 1,500 plays to date for “APT.,” dating to the single’s Oct. 18 release. WHTZ (Z100) New York, KIIS (102.7 KIIS-FM) Los Angeles and SiriusXM’s Hits 1 and TikTok Radio have also given the song notable exposure.
“APT.” – from ROSÉ’s album rosie, her first apart from BLACKPINK – has ruled the Billboard Global 200 and Billboard Global Excl. U.S. charts for 11 and 12 weeks, respectively. On the Billboard Hot 100, the song holds at its No. 5 high, with ROSÉ having become the first female K-pop artist to have reached the chart’s top five.
All charts dated Feb. 1 will update Tuesday, Jan. 28, on Billboard.com.
Billy Ray Cyrus is making his next move following his Inauguration Day performance, with the country star announcing a new album Friday (Jan. 24).
Just four days after he took the stage at the Liberty Ball celebrating Donald Trump’s swearing-in ceremony, the “Achy Breaky Heart” singer revealed in a release that his next LP is slated to arrive at some point this summer. His son Braison served as producer.
“This is art imitating life, imitating art,” Billy Ray said in a statement. “It starts and ends with art. Braison is very talented and ‘25 is his year. I’m glad to be a part of it. This record is gonna be special. I’m gearing up for what will be the journey of a lifetime.”
Braison added, “I’ve spent this past year getting to know my dad better than I ever have.”
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“I’ve heard stories, jokes and songs that I don’t think anyone else has,” the “I’ll Never Leave You” musician continued of working with his father. “It’s an opportunity to tell my dad’s story through music and I’m fortunate to be able to take it. Music, stories and family are the most important things to my dad so to bring the two together is a full circle endeavor.”
Billy Ray shares 30-year-old Braison with ex-wife Tish Cyrus. They are also parents to 37-year-old stepdaughter Brandi and 35-year-old stepson Trace — both of whom the Hannah Montana alum adopted after marrying Tish — as well as 31-year-old daughter Miley and 25-year-old daughter Noah. He’s also Dad to 32-year-old son Christopher, whom he shares with ex-girlfriend Kristin Luckey.
Trace recently spoke out about the country star, whose shaky, technical-difficulty-ridden performance at the president’s inauguration festivities made headlines. “The day you adopted me was the happiest day of my life,” the former Metro Station guitarist wrote on Instagram Wednesday (Jan. 22). “Sadly, the man that I wanted so desperately to be just like I barely recognize now. It seems this world has beaten you down and it’s become obvious to everyone but you.”
“Me and the girls have been genuinely worried about you for years but you’ve pushed all of us away,” he continued. “We are all hanging on to memories of the man we once knew and hoping for the day he returns. You’re not healthy, Dad and everyone is noticing it.”
Billy Ray hasn’t commented on Trace’s words, but the “Old Town Road” artist did speak up after facing criticism for his Inauguration Day showcase. “I wouldn’t have missed the honor of playing this event whether my microphone, guitar and monitors worked or not,” he wrote in an Instagram post Tuesday (Jan. 21). “I was there because President Donald J. Trump invited me … I’ve learned through all these years when the producer says, ‘You’re on,’ you go entertain the folks even if the equipment goes to hell. I was there for the people and we had a blast. That’s called rock n roll!!!”
J-Hope thrilled a crowd of 35,000 at Paris’ Le Gala des Piéces Jaunes at La Défense Arena charity gala on Thursday with a three-song set of his solo and group hits. The BTS singer performed at the show led by French First Lady Brigette Macron, who, according to a statement, specially requested he open the event.
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Dressed in billowing black cullotes, a pattered jacket and black leather gloves, the K-pop superstar took the stage after the audience chanted his name as he worked through a set of his solo songs “On the Street” — from 2024’s Hope on the Street Vol. 1 mini-LP — and “More” from his debut solo album, Jack in the Box, as well as the BTS classic “MIC Drop.” The latter two were re-arranged into orchestral pieces, “adding a layer of grandeur and intensity,” according to the statement.
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It noted that the high-point was an energetic run through “MIC Drop,” which reportedly caused the crowd’s energy to skyrocket “as they chanted the track’s official cheer in unison.”
“It’s been such a long time since I performed in Europe, and I’m so happy to have been invited to such a meaningful event,” J-Hope said in the statement. “I’ve once again realized how incredible it is to bring hope and comfort to people through music and dance. I’m beyond grateful to ARMY for their unwavering support, and I’d love to return to perform again whenever I get the chance.”
The show organized by the Opération Pièces Jaunes foundation — which is led by the First Lady, who also chairs the charity – was a fundraiser for hospitalized children and teenagers; the entire show, which also featured sets by Katy Perry, J Balvin, Burna Boy and John Legend, will be broadcast on France’s national channel, France 2, on Tuesday (Jan. 28).
It appeared that the performers were gifted with an oversized croissants, with Perry posting a series of photos and videos in which she cradled and crunched into the comically large pastry.
As BTS fans await the group’s expected return this year after all its members complete their mandatory South Korean military service, J-Hope recently teased “new music on the way” and announced the dates for his upcoming first-ever solo tour, Hope on the Stage, which will kick off in his native Seoul on Feb. 28.
Current Grammy nominees Benson Boone, Billie Eilish, Chappell Roan, Charli XCX, Doechii, RAYE, Sabrina Carpenter, Shakira, and Teddy Swims are the first performers announced for the 67th Annual Grammy Awards. Additional performers will be announced in the coming days. Live from Crypto.com Arena in Los Angeles and hosted by Trevor Noah, the show will be […]
For half a century, it has been one of the most coveted, sought-after gigs in music. Performing two music numbers on Saturday Night Live is a rite of passage, a gig that has drawn legends (Bob Dylan, Stevie Wonder, Madonna, John Prine, Paul Simon), rebels who took the opportunity to make some noise (Elvis Costello, Rage Against the Machine, Sinead O’Connor) and just about every pop star known to man (Eminem, Destiny’s Child/Beyoncé, Britney Spears, Miley Cyrus, Kelly Clarkson).
It’s all covered in obsessive detail in the upcoming anniversary doc, Ladies & Gentlemen… 50 Years of SNL Music, one of a barrage of specials and look-backs celebrating the pioneering sketch show’s storied history. The first trailer for the doc co-directed by Roots drummer Questlove teases behind-the-scenes footage and stories, interviews with famous performers and a dive into some of the show’s headline-making musical moments.
It opens with a montage of guest hosts uttering the iconic “ladies and gentlemen” intro, including Steve Carrell, George Clooney, Madonna, Quentin Tarantino, Sydney Sweeney, Travis Kelce, Ariana Grande, Timothée Chalamet and Chris Rock, among many others.
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Over glimpses of performances by the Grateful Dead, Wonder, James Brown, Lauryn Hill and Bruce Springsteen, Rage guitarist Tom Morello says that SNL has served as a “time capsule through the decades for America.” Foo Fighters frontman Dave Grohl adds, “for me it was the most iconic American show of all time” alongside adorably awkward footage of his younger self with his Nirvana bandmates making nice with host NBA legend Charles Barkley.
Dua Lipa talks about the pressure of not knowing what will happen on the show that notoriously switches things up until the moment cameras click on, with Cyrus hinting at the precarious nature of live TV, calling it “the tightrope walk… they wanna see you dangle, they don’t wanna see you fall.” Jagger chronicles running from a sketch to the stage to perform, “covered in sweat” amid sprints to quick-change between commericals.
Cast members from throughout the years also talk about the landmark early TV slots of hip-hop legends The Funky 4 Plus One More, Run-DMC and Tupac Shakur, as well as moments when acts such as Rage and Costello “went rogue” with envelope-pushing performances. It also promises to unpack one of the most controversial sets in SNL history: O’Connor’s infamous 1992 shocker when she did a cover of Bob Marley’s “War” before holding up a picture of the Pope and tearing it to pieces as she said “fight the real enemy.”
Along the way, there are stops at the legendary studio-trashing tornado unleashed by John Belushi favorites hardcore punk madmen Fear, as well as Ashley Simpson’s 2004 lip synch fiasco.
Among the other talking heads in the film are: Justin Timberlake, Paul Shaffer, Jimmy Fallon, Eddie Murphy, Olivia Rodrigo, Jack White, Kacy Musgraves, Conan O’Brien, Billie Eilish and Finneas, Andy Samberg, Chris Stapleton, Blondie’s Debbie Harry and Chris Stein, Bad Bunny and many former and current cast members.
The three-hour doc co-directed by Oz Rodriguez and Questlove will air on NBC on Jan. 27 and stream on Peacock the next day.
Watch the 50 Years of SNL Music trailer below.
The gripping story of 1960s/early 70s musical supernova Sylvester Stewart, better known as Sly Stone, will unfold in the upcoming musical doc Sly Lives! (aka The Burden of Black Genius). The first, heady trailer for the eagerly anticipated film directed by Roots drummer Questlove dropped on Thursday night (Jan. 23) and it promises to unpack the unbelievable highs, and shocking lows of the once-in-a-generation talent behind Sly and the Family Stone.
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The first look at the film that will begin streaming on Hulu on Feb. 13 hints at the too-much-too-soon supernova ride taken by Stone and his then-pioneering multi-racial band, who burst onto the scene in 1968 with their first hit, “Dance to the Music,” before becoming household names thanks to 1969 No. 1 hit “Everyday People.” The group that preached unity and brotherhood went on to score a number of other indelible Billboard Hot 100 top 10s, including “Hot Fun in the Summertime,” “Dance to the Music,” and No. 1 smashes “Family Affair” and “Thank You (Falettinme Be Mice Elf Again).”
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The two-minute trailer opens with Quest asking OutKast’s André 3000 if he believes in the concept of musical genius over footage of Stone in his musical heyday, owning the stage with his hyperkinetic moves, peacocking costumes, oversized shades and voluminous afro. A larger-than-life figure whose message of peace and unity was custom-built for the late 1960s age of Aquarius, Stone broke all the rules and inspired generations of Black (and white) musicians to come, as attested to by the film’s A-list line-up of talking heads.
Proof of that legacy comes with D’Angelo, Chaka Khan, George Clinton, Terry Lewis and Living Colour’s Vernon Reid attesting to the Family Stone’s massive popularity at the time over footage of the group rocking the stage.
“Sly created this unique space,” says Q-Tip, with P-Funk icon Clinton noting that at that time a group with a “mixed” line-up of men and women, white and Black, was a new thing. “They sounded like nothing else sounds,” says producer Jimmy Jam of the group’s uplifting, life-affirming mix of soul, pop, R&B, funk and gospel on records such as “I Want to Take You Higher” and “If Want Me to Stay” at a time when the country was riven by division over the Vietnam War.
The film mixes in archival footage of the enigmatic singer and new interviews with Nile Rodgers, P-Funk singer Ruth Copeland and music industry icon Clive Davis, as well as Family Stone members Larry Graham Jr., Jerry Martini and Greg Errico. In addition to introducing a new generation to Stone’s music, it also seeks to understand the pressure put on Black geniuses by society’s expectations, and how that spotlight can sometimes lead, as in Stone’s case, to destructive results. Or as Stone says, “at the time… it was almost too much all at once.”
The preview makes it clear that Quest will delve into the “anxiety, the pressure, the drug use,” the latter a nod to Stone’s long struggle with mental health issues and substance use, which led to cancelled concerts, arrests and the bitter dissolution of the band whose public calling card was unity.
“If you’ve been on this heightened, explosive life… your body has taken in so much energy and you’ve given out so much energy and you stop… where’s that energy go?,” wonders André 3000 about the rocket ride to the top and nearly as rapid descent into chaos experienced by Stone.
A description of the film that premiered at the 2025 Sundance Film Festival on Thursday night promises that it, “examines the life and legacy of Sly & The Family Stone, the groundbreaking band led by the charismatic and enigmatic Sly Stone… [capturing] the band’s rise, reign and subsequent fadeout while shedding light on the unseen burden that comes with success for Black artists in America.”
It is the follow-up to Quest’s Oscar-winning 2021 Summer of Soul doc about the 1969 Harlem Cultural Festival (aka “Black Woodstock”).
Watch the Sly Lives! trailer below.
