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Queens of the Stone Age have announced the release of their unique live performance in the Catacombs of Paris as a concert film and album.
Recorded in July 2024 and set to be released on June 6 via Matador Records/Remote Control Records, the unique performance saw the rock outfit head beneath the surface of Paris to perform within the sprawling 200-mile ossuary. According to a description of the location, its foundation is built out of “several million bodies buried in the 1700s,” with many of the walls composed of skulls and bones.
Frontman Josh Homme had dreamed of organizing such a performance since visiting almost two decades earlier, though was denied permission by the city of Paris, who had never previously allowed a band to play within. However, the respect the band held for the location ultimately resulted in their performance officially being sanctioned.
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“The Catacombs of Paris are a fertile ground for the imagination,” said Hélène Furminieux of Les Catacombes de Paris. “It is important to us that artists take hold of this universe and offer a sensitive interpretation of it. Going underground and confronting reflections on death can be a deeply intense experience.
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“Josh seems to have felt in his body and soul the full potential of this place. The recordings resonate perfectly with the mystery, history, and a certain introspection, notably perceptible in the subtle use of the silence within the Catacombs.”
The unique nature of the location results in Homme and his bandmates – Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore – being backed by three-piece string section as they perform a stripped-back set planned and played with deference to the Catacombs.
Recorded live with no overdubs or edits, the performance is paired with the acoustic ambience of dripping water, echoes and natural resonance as atmospheric lighting spotlights the band.
“We’re so stripped down because that place is so stripped down, which makes the music so stripped down, which makes the words so stripped down,” Homme explains. “It would be ridiculous to try to rock there. All those decisions were made by that space. That space dictates everything, it’s in charge. You do what you’re told when you’re in there.”
Queens of the Stone Age: Alive in the Catacombs will be available to rent or purchase via the band’s website, with an audio-only release to be announced in the coming weeks.
Notably, this isn’t Queens of the Stone Age’s first subterranean gig, with the group previously performing 2,300 feet underground at German salt mine, Erlebnisbergwerk Sondershausen, in November 2007. Originally planned for wider release, the semi-acoustic performance is yet to see the light of day, with the band’s split with Interscope Records assumed by fans to be the reason for its indefinite delay.
Halle Bailey has been granted a restraining order against DDG, her ex-boyfriend and the father of her 1-year-old son, Billboard can confirm.
TMZ was first to report Tuesday (May 13) that the 25-year-old singer/actress had filed a police report against the 27-year-old streamer and rapper and requested court-ordered protection, claiming he had attacked her multiple times.
In court documents obtained by Billboard, Bailey alleged “things got physical” starting in January, when DDG (real name Darryl Dwayne Granberry Jr.) came over to pick up their then-13-month-old son Halo and she initiated a conversation about scheduling his visits.
Bailey claims that as she was buckling Halo into his car seat in the back of Granberry’s car, he yelled, “Get out of my car, bi—.” At that point, she alleges, Halo started crying, making her nervous to leave the baby with him in his agitated state. When she stayed in the car, she alleges that Granberry pulled her hair, slammed her face on the steering wheel and chipped her tooth. After they arrived at Granberry’s family’s house, Bailey says she told his family what happened and left the baby with them.
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Bailey attached photos of her alleged injuries, including her chipped tooth, to the restraining order request.
In the docs, Bailey went on to detail two more alleged incidents of abuse: one in March, which she says she filed a police report over, and one this past weekend, when she says Granberry accused her of vacationing with Brent Faiyaz in a series of texts while she was on a Mother’s Day trip with their son and her mother.
Granberry announced the couple had split in October 2024, ending their two-year relationship.
“This decision was not easy, but we believe it’s the best path forward for both of us. I cherish the time we’ve spent together and the love we’ve shared,” he wrote on his Instagram Story at the time. The following month, Bailey shared in a since-deleted X post that she felt “extremely upset” when Granberry brought Halo with him during an “unapproved” appearance on Kai Cenat’s live stream. She later backpedaled, writing, “maybe i did overreact…. i know that halo is always safe with his dad. i just don’t like finding out with the rest of the world what my baby is doing.”
Shortly after those tweets, Granberry came to Bailey’s defense in a YouTube video in which he implored negative commenters to leave her alone, citing her transparency over her struggles with postpartum depression. “When situations like this happen, I try to handle it with as much grace as possible because Halo needs her. I need her,” he said at the time. “We need each other to try to create a childhood that’s safe, fun and memorable for him.” But in March, Granberry aired his grievances over their custody issues in a song titled “Don’t Take My Son.”
In the restraining order request, Bailey also requested permission to take Halo with her while she travels to Italy to film a movie, where she will have family and a traveling nanny to help care for him. She also asked the judge for a cease-and-desist order to prevent Granberry from “posting and/or streaming on any and all platforms about Halo and/or me. He is a YouTube and Twitch Blogger and creates a fan frenzy by making false claims about me. This has caused me to feel afraid and victimized. His fans then threaten me. I am often scared for my life and Halo’s safety.”
A hearing has been set for June 4 over whether a more permanent restraining order should be put in place.
Representatives for Bailey and Granberry did not immediately respond to Billboard‘s requests for comment.
Author Jillian Lauren, the wife of Weezer bassist Scott Shriner, has been officially charged with two felony counts following a bizarre shootout with police at her Los Angeles home in April. Lauren, whose full name is Jillian Lauren Shriner, pled not guilty during a Tuesday (May 13) court hearing to the charges: discharge of a […]
Live Nation has agreed to a long-term lease for a 5,000-seat venue in downtown Atlanta that will be part of a development around the Mercedes-Benz Stadium and State Farm Arena.
Centennial Yards is described by CIM, the developer that has partnered with the City of Atlanta, as a “mixed-used community featuring residential units, retail and entertainment establishments, community gathering spaces and more.” The 50-acre site is expected to have a $5 billion price tag. In addition to the music venue, it will include a 14-story hotel, a two-story food and beverage hall and a Cosm entertainment venue. The development already includes a brewery, loft residences and a 500-foot pedestrian bridge.
Live Nation’s involvement with the development was first reported by The Wall Street Journal.
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Concert venues are increasingly popular properties in urban developments centered around the venues of professional sports teams. Mercedes-Benz Stadium has been the home of the Atlanta Falcons since 2017. The Atlanta Hawks basketball team plays at State Farm Arena.
“Every owner of a major sports team that wants to have their new building is not just building a building anymore,” Live Nation president/CFO Joe Berchtold said at the J.P. Morgan Global Technology, Media and Communications Conference on Tuesday (May 13). “They’re building an entertainment district around it.”
Centennial Yards is the latest example of concert promoters taking part in developments that aim to revitalize urban areas. Downtown Nashville’s The Pinnacle, a 4,500-capacity music venue operated by AEG Presents, is part of Nashville Yards, owned by real estate developer Southwest Value Partners. Nashville Yards also houses AEG Presents’ regional offices, CAA and, starting in July, Messina Touring Group.
Another massive multi-purpose project getting underway is RFK Stadium in Washington, D.C. The development currently includes a food hall, a skate park and festival grounds that hosts music festivals and other large gatherings. Berchtold said at the conference that he was in D.C. last week but didn’t mention the RFK project.
Leasing a mid-sized venue in Atlanta will add to Live Nation’s portfolio of venues under its Venue Nation business segment. Venue Nation plans to open 20 additional venues globally in 2025, which it believes will add 7 million incremental fans annually. As of the end of 2024, Live Nation leased 222 venues, owned 32 and operated 67. It has the exclusive booking rights to another 69 venues and owns an equity stake in 4.
Drake ends the longest break of his career from the No. 1 spot on Billboard’s Rhythmic Airplay chart as “Nokia” reaches the summit of the list dated May 17. The single gives the superstar his first leader since “Rich Baby Daddy,” featuring Sexyy Red and SZA, ruled for two frames in December 2023, and becomes Drake’s record-extending 40th No. 1 on the radio ranking.
Drake’s absence from the Rhythmic Airplay summit in 2024 wrapped a 15-year string of at least one No. 1 every year since his breakthrough single, “Best I Ever Had,” stormed to a 10-week domination in 2009. The streak nearly continued, as Drake’s best Rhythmic Airplay result was a No. 2 finish for “You Broke My Heart” in March 2024.
“Nokia,” released and promoted through OVO Sound/Santa Anna/Republic, advances from No. 2 to become the most-played song on U.S. panel-contributing rhythmic radio stations in the tracking week of May 2-8, according to Luminate. The track registered a 10% gain in plays for the tracking period compared to the previous frame and wins the Greatest Gainer honor, given each week to the song with the largest increase in plays.
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As “Nokia” ascends to the top slot, it unseats Doechii’s “Anxiety” after its two-week reign. “Anxiety” slides to No. 2 with a 4% drop in plays for the week.
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With a 40th Rhythmic Airplay No. 1, Drake continues to lap the competition for the most champs since the radio chart’s launch in October 1992. Here’s a review of the updated leaderboard:
40, Drake17, Rihanna15, The Weeknd14, Chris Brown13, Bruno Mars13, Usher13, Lil Wayne
Elsewhere, “Nokia” nears the top of multiple other radio charts. It climbs 4-3 on Mainstream R&B/Hip-Hop Airplay with a 4% gain in weeky plays and 22-20 on Pop Airplay (up 21%).
Shifting to audience-based airplay charts, “Nokia” holds at No. 2 on the Rap Airplay chart – its third consecutive week in the runner-up position – though it added 6% more audience impressions than the previous frame. On R&B/Hip-Hop Airplay, the single rises 7-6 through a boost to combined 11.3 million in audience from mainstream R&B/hip-hop and adult R&B formats, up 3% from the prior week. The multi-format increases drive “Nokia” 19-15 on the all-genre Radio Songs chart, where it registered 32.4 million in total audience for the tracking week, an 11% improvement from the week before.
“Nokia” appears on $ome $exy $ongs 4 U, largely a collaborative album from PARTYNEXTDOOR and Drake. The pair share billing on 14 of the album’s 21 tracks, while Drake has six solo cuts, including “Nokia,” and PARTYNEXTDOOR has one. The set, released in February, debuted at No. 1 on the Billboard 200 albums chart and has remained in the top 10 for its first 12 weeks on the list.
Tate McRae was in a Folklore mood ahead of her Miss Possessive Tour show in Stuttgart, Germany, with the star choosing a deep cut from the fan-favorite Taylor Swift album to cover during soundcheck on Tuesday (May 13).
In a clip taken by a fan in the audience, McRae sits casually on a stool in bright blue track pants, reading lyrics off her phone. Accompanied by a gentle acoustic guitar, the Canadian singer-songwriter softly puts her own spin on the introspective post-breakup ballad “The 1,” crooning, “I have this dream you’re doing cool sh–/ Having adventures on your own/ You meet some woman on the Internet and take her home.”
“But we were something, don’t you think so?/ Roaring 20s, tossing pennies in the pool,” she continues, adding her own subtle changes to the melody on the song’s chorus. “And if my wishes came true/ It would’ve been you.”
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Released in 2020 along with the rest of Folklore, “The 1” is the very first song on the album’s track list. It debuted at No. 4 on the Billboard Hot 100, and Folklore would later take home album of the year at the 2021 Grammys.
McRae’s covers have become a tradition during her soundchecks before concerts. She also performed Billie Eilish’s “Birds of a Feather,” Olivia Rodrigo’s “Pretty Isn’t Pretty” and Morgan Wallen and Post Malone’s “I Had Some Help” at various shows on her 2024 Think Later trek.
The “Greedy” singer is currently touring in support of her 2025 album So Close to What, which debuted atop the Billboard 200 — McRae’s first-ever No. 1 album. The project features Hot 100 hits “Sports Car,” “Revolving Door,” “2 Hands” and “It’s OK I’m OK.”
Following her show in Germany, McRae will next perform in Antwerp, Belgium, followed by venues in Dublin, London, Paris and more cities throughout Europe. She’ll later kick off a North American leg in August, closing out Nov. 8 at the Kia Forum in Inglewood, Calif.
The rap game could use some more posse cuts, and Red Bull is providing just that with the third season of their “Red Bull Spiral Freestyle” series.
Shot in one take, season 3 kicks off with the Midwest, West Coast and East Coast being properly represented by the likes of Detroit’s Big Sean, Carson’s Ab-Soul and Brooklyn’s Joey Bada$$, respectively.
Sean starts things off with a stellar verse taking aim at social media critics who live on the Internet. “You goin’ nowhere fast but from your view you could never tell,” he raps. “No wonder ‘cause you live your life based on a carousel/ You bums could prolly teach a masterclass on takin’ L’s/ Truth is, if you wake up hatin’ life, then you hate yourself.”
Ab-Soul then comes through and takes off his J Dilla hat to Sean before going in and addressing Joey’s back-and-forth with Ab’s friend Daylyt and TDE labelmate Ray Vaughn. “In which case, Joey, you put me in a sticky predicament,” Soulo admits. “I had to show solidarity to my syndicate/ Nah, you know anybody can get it/ In such a way that it will make any physician conflicted/ But listen, the 47’s still on my tricep/ Pass the pot, let me skillet, I’m quite the chef.”
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He added: “Pro Era the masters, that ain’t ever incorrect/ But it’s still TDE ’til 3000 and forever/ Lyt was heavy and Ray definitely stepped/ But this is hip-hop, you know we still on that.”
Joey then closes the cypher out by replying to fans suggesting that he’s been trying to ignite another East vs. West beef when he dropped the video for “The Ruler’s Back,” where he mentions a famous Jay-Z line about West Coast admiration. “Since ‘Ruler’s Back,’ they been tryna measure up,” he spits. “Look, my name ain’t Rick, but I talk Slick, don’t press ya luck/ And I ain’t taking no words back, I’m with all that/ But this ain’t gotta turn to nothin’ else, let’s keep it all rap.”
The Brooklyn rapper then brings up the heat he was taking from fans, rapping, “First off, I could never hate the West Coast/ But since n—as comin’ for Joe, f— it then, let’s go/ N—as must’ve forgot what Dot said on ‘Control’/ There’s still a buncha sensitive rappers in they pajama clothes/ I guess this ain’t no East versus West/ I just think that I’m the best, as a matter fact, I know.”
You can watch the new Red Bull Spiral Freestyle below.
Luis Alvarado, spokesperson for Los Alegres del Barranco, is defending the Mexican band’s right to perform narcocorridos freely, without being punished by authorities.
“Everyone who tells stories, whether with a pencil or an accordion, has the right to tell them,” Alvarado tells Billboard Español.
In an interview on Monday night, the group’s spokesperson rejected the actions taken against the quartet by the Fiscalía de Jalisco (Jalisco State Prosecutor’s Office), which accuses them of allegedly supporting drug trafficking. The band projected images of Nemesio Oseguera Cervantes, also known as “El Mencho,” leader of the Jalisco Cartel – New Generation, while performing the song “El Del Palenque” on March 29 at the Telmex Auditorium in the municipality of Zapopan.
Jalisco is one of 10 out of 32 states in Mexico that have put bans on narcocorridos or any kind of expression that glorifies crime, even though it’s not a federal law. Los Alegres del Barranco is the first group officially accused of allegedly promoting drug culture, along with their manager and the promoter of their concerts.
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At a hearing held on Monday at a court in Jalisco, the judge ordered precautionary measures like showing up at the court every week, paying a bond of 1.8 million pesos (around $92,000), and staying in Jalisco, except for three previously scheduled shows outside the state, at least for the next three months. The judge did not order pretrial detention, so they’ll be able to continue their defense while remaining free.
For Alvarado, this historic criminal case is about more than just the potential legal consequences. In his opinion, it “violates freedom of expression” and goes against a tradition that dates back to the time of the Mexican Revolution (1910–1917), serving as an alternative narrative to the official history, according to experts interviewed by Billboard Español.
Alvarado talked about the steps Los Alegres del Barranco will take to face justice in Jalisco, where they have four open investigations for performances in different municipalities where they allegedly glorified criminal activity.
How is the group feeling after Monday’s hearing and the start of an unprecedented criminal case for alleged glorification of crime?
At the moment, our legal team has advised us not to share details about the judicial process, but we did want to express how the members of the group are feeling. I must say that, although this challenge has been very difficult for them, they remain strong and understand the heavy burden they carry — not only because of the possibility of being punished, but because they are defending an entire musical genre at this moment. As musicians, and alongside journalists, they are standing up for freedom of expression in democratic societies. The line between what is legal and what isn’t is still very blurred. Different government officials have varying opinions, and that’s how democracy works. That’s why they are facing this challenge with focus and determination, but always holding their heads high.
Is there trust in Mexican authorities?
This is where we are right now. They understand that this isn’t a sprint; it’s a marathon. Since the judicial process isn’t immediate, it will take time, as it should, because every issue being reviewed by the judicial system and the government needs time for all voices to be heard. All the group asks is that the members of the judicial system reviewing their case remain independent. The group has faith in the process, and we have a strong legal team supporting us all the way. They will remain strong, but most importantly, they will stay positive.
In addition to Los Alegres del Barranco, other artists like Natanael Cano and Junior H have been called out in other states, although no criminal proceedings have been initiated. How do you see the outlook for corrido performers?
Los Alegres del Barranco are asking for support from all musical groups in the genre — not just those who perform corridos, but also norteño musicians and all artists working in this profession in Mexico. They are calling for unity and for all artists to have the right to freedom of expression.
Would you agree to regulation of narcocorridos without outright prohibition?
I insist, it’s still a very unclear landscape, but like any law that affects so many people, there should be a process to make things clearer and reduce confusion and problems for groups in the future. If that means there should be regulation, we’ll be able to decide what the band will support or not after we finish this proceeding.
The group won an injunction in Michoacán to temporarily perform narcocorridos. Will they attend the hearing scheduled for Thursday (May 15) in that state?
Michoacán is a perfect example of how people can have different opinions about the same issue. The process of figuring out how an artist can practice their profession can vary from state to state, and that’s where we’re working to understand the unique challenges the band faces in each state, while making sure we follow the law and still keep the audience entertained.
We will attend any hearing the government requires us to, and we do everything under the guidance of our legal team. I can’t say this with absolute certainty, but as far as I know, yes, they will travel to Michoacán for the hearing.
What will happen with the tourist and work visas that were revoked by the U.S. government for the group?
We understand from the statement made by the U.S. Deputy Secretary of State, Christopher Landau, that they have been canceled. I can’t confirm it personally since the group hasn’t traveled yet, but I trust Deputy Secretary Landau’s word, and we’re treating it as a fact.
What’s next?
We are navigating this with all the necessary attention to detail to avoid any mishap that could not only impact the group but the entire music industry. Los Alegres del Barranco have never faced a challenge like the one they are confronting today.
50 Cent is getting back on the road. The G-Unit boss announced that he’ll be heading to Europe with a stop in North Africa for the Legacy Tour on Tuesday (May 13).
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The trek kicks off across the pond in Germany on June 8 with additional stops in England, Morocco, London, Scotland, Switzerland, Paris, Denmark and the tour wraps up in Poland on Aug. 10.
It’s going to be a special tour for 50, who will be celebrating his 50th birthday on stage with a concert bash in Dublin on July 6.
“The Legacy Tour is here. I’m hitting Europe this summer to celebrate the music, the moments—and my 50th birthday. You know it’s gonna be crazy! Get your tickets now,” he wrote to Instagram. Tickets are currently available on 50’s website.
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The post is accompanied by a cinematic trailer 50 posted to his Instagram, running through various electric performances from his career spanning the last 20-plus years, filled with cameos ranging from G-Unit to Eminem and LeBron James.
The hip-hop legend is currently coming off his Final Lap Tour, which took the star around the globe in 2023 and grossed $103.6 million, with 1.05 million tickets sold across the 83 shows. At the time, he was only the second-ever headlining rapper to do so, joining Drake.
The Queens icon also took over Las Vegas for a six-show residency at Ph Live at Planet Hollywood to close out 2024 and ring in 2025.
“It’s cool. You don’t usually have artists that sustain themselves this long in our culture,” he told Billboard last year. “Hip-hop has a low attention span, and it’s out with the old and in with the new repeatedly. There’s even a point [where] they’ll create a resistance for you.”
Find all of the dates of 50 Cent’s Legacy Tour below:
Reneé Rapp is finally getting ready to sink her teeth into her next era. After two years of keeping fans waiting for new music, the singer-songwriter has revealed that she has a new song titled “Bite Me” arriving later this month.
In a saucy video posted to her social media accounts Tuesday (May 13), Rapp faces away from the camera while flexing both of her biceps, her long blonde hair falling down her bare back as she forgoes a shirt or bra. Shaking her head, the Mean Girls actress shows off a backwards baseball cap that reads, “Bite Me.”
Rapp also paired the clip with a snippet of the new song, which finds her purring over a slinking beat, “I’m a real bad girl, but a real good kisser.”
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The teaser comes nearly two years after she dropped debut studio album, Snow Angel, which debuted at No. 44 on the Billboard 200. Three months after the original LP arrived in August 2023, Rapp unveiled a deluxe edition in November.
The following December, the Broadway star teamed up with Megan Thee Stallion for “Not My Fault” for the Mean Girls musical live action soundtrack.
Since Snow Angel, Rapp has been taking her time with her next album while also touring and performing at festivals. In July last year, she opened up about her upcoming second full-length effort in an interview on Instagram’s Close Friends Only podcast, saying, “23 to 24 has been such a massive difference for me.”
“It’s about this … and to this point, a reflection on my 23rd year specifically … It was so bad, and I thought 22 was insane for me,” she continued. “I think the rawness of those emotions adds a layer of authenticity to my music. It’s like, in that moment of vulnerability, I can tap into something deeper and more genuine.”
See Rapp’s new music teaser below.