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CENTRAL MUSIC & ENTERTAINMENT FESTIVAL 2025, a music festival event held in the heart of Yokohama, took place April 4-6, 2025.
Led by the concept of “Bringing the sounds of Japan to the world,” this new music festival in Yokohama presented a wide range of entertainment, from artists that have drawn the attention of the world to anime, technology, and more. The whole city of Yokohama became an enormous festival space, with performances at venues such as K-Arena Yokohama, Yokohama Red Brick Warehouse’s Red Brick Park Special Venue, KT Zepp Yokohama, and Rinko Park. This article covers Echoes Baa, which was held at the Red Brick Park Special Venue of Yokohama Red Brick Warehouse on April 5 and 6.
The event was curated by Echoes, a new label established in September 2024. The main stage lineup featured Echoes artists like YOASOBI, MAISONdes, and Aooo, as well as major artists from other labels invited as special guests. Echoes also runs the MECRE collaboration platform, which brings together people who love music and creation, so in addition to live shows, Echoes Baa also had DJ sets, workshops, and other new forms of entertainment experiences covering a wide range of creative expression.
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Looking around the site before the first performance, the first thing that catches the visitor’s eye would be the massive art wall at the rear of the field. Created by up-and-coming artists such as COIN PARKING DELIVERY and SIMON, it became a photo spot for the event’s many visitors. YOASOBI and the mobile bookstore BOOK TRUCK also collaborated in “The Traveling Bookstore YOASOBI.” The store carried YOASOBI-related books, books selected by Ayase and ikura, and books related to other artists performing at Echoes Baa. On both days of the event, there were also workshops with the theme of “Fun DIY for everyone, regardless of skill level.” In the silkscreen workshop, people could print their own t-shirts and apparel with unique Echoes graphics. Those taking part in the tufting workshop were able to make their own Echoes-exclusive rugs. These workshops were so popular that they were fully booked before the live performances even began. There was also Echoes’ first-ever pop-up shop, “Echoes Maaket,” which sold limited-edition Echoes merchandise. In front of the shop were large capsule prize machines with a variety of metal badges adorned with Echoes logos. These were also popular, selling out early in the event.
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The first live performance began with an energetic rendition of “Idol” by YOASOBI. ikura declared, “Our show’s going to set the standard for the whole festival’s energy levels!” The band went on to play hit after hit, such as “Into The Night” and their newest song, “PLAYERS.” Between songs, they also talked to the crowd, getting everyone to join in in celebrating Ayase’s birthday, which had been the day before, on April 4. Between performances on the main stage, Gaku, Aiobahn, Aiobahn +81, DJ Kazu, and tomad kept the excitement up from the second stage.
KAFUNÉ kicked off their set with “Otonagokko.” During ”Nounaihanseikai,” they were joined in by the audience, and in their last song, “Melty Love,” they filled the air with beautiful falsetto vocals. During NOMELON NOLEMON’s set, tsumiki declared “We came to win today!” from up on stage and then brought the audience to a fever pitch with their catchy “Midnight Reflection,” a song featured in Mobile Suit Gundam GQuuuuuuX.
asmi, dressed in a colorful costume, started her set with the pop tune “Dokimeki Diary.” She delivered lyric-packed songs like “Face This Way” and “PAKU” in her ennui-tinged yet resonant voice, accompanied by pop melodies. syudou began his first song, “In the Back Room,” with an a cappella intro in a performance that was so confident that you’d scarcely believe that it was his first ever outdoor performance. With a set list that just kept them coming, you could feel the power coming off the stage.
The headliner on the first day was MAISONdes. The show featured a constant tide of “residents” like asmi & THREEE, noa and Kayayu, Pii & meiyo, riria., suisoh, MIKIMARIA, Ren, Yuika & KAFUNÉ and AYUNi D, each creating their own chemical reactions. Rei, from the new project NICHIMEZO, also sang. There was even a surprise appearance by virtual singer KAF, who performed via a monitor and passionately performed “Tokyo Shandy Rendez-vous” alongslide tsumiki’s drums. Then asmi took to the stage again, finishing off the first day’s performances with “Yowanehaki.”
The second day started at a full gallop with FRUITS ZIPPER’s “NEW KAWAII.” In “Watashino Ichiban Kawaiitokoro,” the audience copied the group’s choreography, and the stage positively overflowed with cuteness. Next was Luov, a three-piece band that was just formed in February of this year. They entertained the crowd with their buoyant vocals and sound on songs like “Dai Dassou Keikaku” and “Toumei shabon,” perfect fits for the concert venue, surrounded by the sea and the clear blue sky.
There was a long line at the vending machine selling original Central drinks with designs featuring the show’s performers. While the stage was being prepared for the next act, Gaku, Aruku Hito, DJ To-i (from DISH//), dshino (Toshitaka Shinoda from Ijigen TOKYO) and yuigot put on their own performances, keeping the vibe going.
The main stage thronged with people awaiting Chevon’s set, which they launched into with “Knock Boots.” The audience pumped their hands in the air to Mayuu Yaginu’s vocals, which dripped with charisma and seemed to pierce the sky. Then Mayuu shouted “The second chapter of Chevon starts here and now, at Echoes Baa, with the arrival of the ‘KAIJU! (Japanese title: Daikoushin)‘” and the band charged into the next song, never letting up on their momentum. TOMOO began her set with a rhythmical vocal performance of “Ginger.” Her clear singing voice harmonized beautifully with the ocean-side vista, gently enveloping the audience with songs like “Itterasshai” and “Contrast.” The last song of her set, “Super Ball,” was like a warm spring breeze. The band Aooo, made up of Riko Ishino, THREEE, Hikaru Yamamoto, and tsumiki — each an accomplished artist in their own right — melded the unique sounds of the three instrumentalists with Ishino’s voice. Her voice ranged from wistful, like on “Casablanca,” to powerful and commanding, like on “Fragile Night.”
The headliner on the second day was the opening act on the first day: YOASOBI. They performed hit after hit, such as “Idol,” “UNDEAD,” and “Seventeen,” with Ayase shouting out, “Here, today, I know without question that this is the heart of it all, where we bring music to the world!” During “The Blessing,” the night sky over the Port of Yokohama was lit up with fireworks. Then, with the giant chorus of “Blue,” the second day of the event came to a resplendent close.
—This article by Takayuki Okamoto first appeared on Billboard Japan
Flo Milli is a mom. The Alabama rapper revealed that she gave birth by sharing a photo of her baby boy on Instagram Friday (April 25).
Flo melted the collective hearts of her followers with a picture holding her baby boy sporting a diaper. She also made sure to let her fans know that they need to take their job of protecting their nephew seriously. “Yall bett not play bout yall internet nephew,” Flo wrote.
All of the uncles and aunties flooded Flo Milli’s IG comment section, with congratulatory messages from Latto, Halle Bailey, GloRilla, Rubi Rose and more.
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According to Vibe, Flo revealed that the father is rapper G6reddot when she shared photos from her baby shower showing the two together.
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Shortly after Flo revealed she had given birth, G6reddot also announced his son’s arrival on Instagram with a carousel of photos featuring the newborn. “Welcome my first born sixx,” he captioned the post. “it’s not easy being a black father in America Dey already counting me out.”
Flo’s followers knew she was going into labor when she posted a photo of a hospital bed on Thursday (April 24,) and captioned it, “yall pray for me.” The “Never Lose Me” rapper received support from J.I.D., Wale, Latto once again and many others in her comments.
Flo Milli confirmed her pregnancy in November when she took to X writing: “Flo mommy s—t … I can’t even see my coochie nomore that’s crazy.”
Weeks prior to her confirmation, pregnancy rumors ran rampant on social media after Flo posted a clip featuring her previewing new music, which saw a man rubbing her baby bump. She pushed back, claiming to be “bloated” at the time.
What’s fitting is that the same song she was teasing when fans first saw her pregnant belly also arrived in full on Friday. “Gripper” features T-Pain and samples the Florida legend’s 2005 anthem “I’m N Luv (Wit a Stripper).”
Find Flo Milli and G6reddot’s photos of the baby boy below.
As adults, famous sisters Beyoncé and Solange are close — but they might owe their bond to a pivotal decision mom Tina Knowles made when they were children.
While speaking to CNN News Central Friday (April 25) just a couple days after the release of her memoir, Matriarch, the businesswoman explained that she sent her daughters to therapy back when they were kids because she grew “terrified when Beyoncé turned around 10” that a divide was forming between the two sisters. As the “Texas Hold ‘Em” artist kicked off her musical journey at the time while in the singing group Girl’s Tyme, Knowles says Solange struggled to feel included.
“The kids would say to Solange every day, ‘Be quiet, Solange,’ because she would try to choreograph and, you know, she wanted to be involved,” Knowles recalled. “And then I started noticing that Beyoncé would allow them to talk to her like that, or she would say, ‘OK, Mom, can you get Solange out of here?’ And I’m like, ‘Wait a minute, this is her house, and you’ve got to be nice to her.’”
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“Finally I realized that they weren’t listening, and I saw a wall between them coming,” the designer continued. “And so I got them in therapy.”
The whole family has come a long way since those days. Since Knowles welcomed her eldest daughter with ex-husband Mathew Knowles in 1981, followed by Solange five years later, both girls have carved out massively successful, Grammy-winning music careers while staying “super tight” thanks to their time in counseling, according to their mom.
“Back then it was really taboo,” Knowles continued Friday of the decision to put her girls in therapy. “Even my husband, he was like, ‘I just don’t know if they’re too young for you to do that.’ And I’m like, ‘I’m not asking. I’m going to find somebody.’”
“I found this wonderful child therapist,” she added. “And it’s funny, because he told Beyoncé all the things I had told her, but she listened from him, even though she hated therapy. She hated going. Solange loved therapy. She loved talking and, you know, expressing herself. And the outcome was great.”
Parenting two of music’s biggest stars is a major topic in Matriarch, which hit shelves Tuesday (April 22). In the book, Knowles also opens up about her recent breast cancer journey, which led to her undergoing surgery to remove a tumor late last year.
Of her daughters’ reactions to the diagnosis, the Cécred cofounder wrote that Bey “took it well, staying positive … I could already feel her mind racing, focusing on this as a task to tackle with precision,” while Solange simply said with determination, “We are going to take care of this.”
HipHopWired Featured Video
CRT FRSH, Hip-Hop Wired’s playlist where we showcase music that we believe is “Certified Fresh,” is back again! With our latest update this week, we’ve added some songs you should know and other joints you need to know, so let’s get into it.
The CRT FRSH playlist is a labor of love. We don’t take payments, nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.
I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler, lead curator for CRT FRSH
Welcome back to CRT FRSH, a collection of songs we feel should be on your radar if they aren’t already. With this week’s update, we did our best to put together a playlist that showcases the wide scope of great Hip-Hop music, although we’re sure to have missed some drops.
We open up the playlist with Mozzy’s “WHO WANT WAR” with a guest feature from Polo G, appearing on the Sacramento rapper’s new INTRUSIVE THOUGHTS album. CRT FRSH favorite Raz Fresco links again with Futurewave for their excellent Stadium Lo Champions album, and the track “Cyanide” is one of our top joints.
“Danger Danger” is a new track from Swizz Beatz from the Godfather of Harlem Season 4 original soundtrack, featuring verses from Jadakiss and Pusha T on the closeout. Mathematics, the longtime DJ and producer with the Wu-Tang Clan, delivered his new album Black Samon, the Bastard Swordsman, and the track “Mandingo” is a classic Wu banger featuring Raekwon, Inspectah Deck, Method Man, and a stong anchor verse from Cappadona.
From The Private Selection of Saba and No ID could very well end up being the album of the year for many, and “30seccchop” featuring Joseph Chilliams and a strong performance from Jane Deaux is just one of the heaters from the project. Ray Vaughn, one of Top Dawg Entertainment’s newest signees, delivered his new mixtape, The Good The Bad The Dollar Menu, and “EAST CHATT” features fellow TDE artist, Isaiah Rashad.
Salute to Young Thug, Future, Jack Harlow, Doja Cat, Half-Empty, Partly Vacant, SALIMATA, Khadijat, Larry June, 2 Chainz, The Alchemist, KenTheMan, Niontay, MAVI, Sideshow, Shoreline Mafia, Boldy James, V Don, Wiz Khalifa, DJ Quik, Domo Genesis, Smoke DZA, Dough Networkz, Graymatter, Coyote, Ab-Soul, Python P, 2 Eleven, Low The Great, MOLIY, Silent Addy, Skillibeng, Shenseea, LaRussell, Busta Rhymes, and Mike G Beatz.
Check out out in two more weeks for our next update. If you wish to be CONSIDERED for inclusion, email D.L. Chandler at: dchandler@bhmdigital.com.
—
Photo: Getty
HipHopWired Featured Video
CRT FRSH, Hip-Hop Wired’s playlist where we showcase music that we believe is “Certified Fresh,” is back again! With our latest update this week, we’ve added some songs you should know and other joints you need to know, so let’s get into it.
The CRT FRSH playlist is a labor of love. We don’t take payments, nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.
I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler, lead curator for CRT FRSH
Welcome back to CRT FRSH, a collection of songs we feel should be on your radar if they aren’t already. With this week’s update, we did our best to put together a playlist that showcases the wide scope of great Hip-Hop music, although we’re sure to have missed some drops.
We open up the playlist with Mozzy’s “WHO WANT WAR” with a guest feature from Polo G, appearing on the Sacramento rapper’s new INTRUSIVE THOUGHTS album. CRT FRSH favorite Raz Fresco links again with Futurewave for their excellent Stadium Lo Champions album, and the track “Cyanide” is one of our top joints.
“Danger Danger” is a new track from Swizz Beatz from the Godfather of Harlem Season 4 original soundtrack, featuring verses from Jadakiss and Pusha T on the closeout. Mathematics, the longtime DJ and producer with the Wu-Tang Clan, delivered his new album Black Samon, the Bastard Swordsman, and the track “Mandingo” is a classic Wu banger featuring Raekwon, Inspectah Deck, Method Man, and a stong anchor verse from Cappadona.
From The Private Selection of Saba and No ID could very well end up being the album of the year for many, and “30seccchop” featuring Joseph Chilliams and a strong performance from Jane Deaux is just one of the heaters from the project. Ray Vaughn, one of Top Dawg Entertainment’s newest signees, delivered his new mixtape, The Good The Bad The Dollar Menu, and “EAST CHATT” features fellow TDE artist, Isaiah Rashad.
Salute to Young Thug, Future, Jack Harlow, Doja Cat, Half-Empty, Partly Vacant, SALIMATA, Khadijat, Larry June, 2 Chainz, The Alchemist, KenTheMan, Niontay, MAVI, Sideshow, Shoreline Mafia, Boldy James, V Don, Wiz Khalifa, DJ Quik, Domo Genesis, Smoke DZA, Dough Networkz, Graymatter, Coyote, Ab-Soul, Python P, 2 Eleven, Low The Great, MOLIY, Silent Addy, Skillibeng, Shenseea, LaRussell, Busta Rhymes, and Mike G Beatz.
Check out out in two more weeks for our next update. If you wish to be CONSIDERED for inclusion, email D.L. Chandler at: dchandler@bhmdigital.com.
—
Photo: Getty
HipHopWired Featured Video
CRT FRSH, Hip-Hop Wired’s playlist where we showcase music that we believe is “Certified Fresh,” is back again! With our latest update this week, we’ve added some songs you should know and other joints you need to know, so let’s get into it.
The CRT FRSH playlist is a labor of love. We don’t take payments, nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.
I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler, lead curator for CRT FRSH
Welcome back to CRT FRSH, a collection of songs we feel should be on your radar if they aren’t already. With this week’s update, we did our best to put together a playlist that showcases the wide scope of great Hip-Hop music, although we’re sure to have missed some drops.
We open up the playlist with Mozzy’s “WHO WANT WAR” with a guest feature from Polo G, appearing on the Sacramento rapper’s new INTRUSIVE THOUGHTS album. CRT FRSH favorite Raz Fresco links again with Futurewave for their excellent Stadium Lo Champions album, and the track “Cyanide” is one of our top joints.
“Danger Danger” is a new track from Swizz Beatz from the Godfather of Harlem Season 4 original soundtrack, featuring verses from Jadakiss and Pusha T on the closeout. Mathematics, the longtime DJ and producer with the Wu-Tang Clan, delivered his new album Black Samon, the Bastard Swordsman, and the track “Mandingo” is a classic Wu banger featuring Raekwon, Inspectah Deck, Method Man, and a stong anchor verse from Cappadona.
From The Private Selection of Saba and No ID could very well end up being the album of the year for many, and “30seccchop” featuring Joseph Chilliams and a strong performance from Jane Deaux is just one of the heaters from the project. Ray Vaughn, one of Top Dawg Entertainment’s newest signees, delivered his new mixtape, The Good The Bad The Dollar Menu, and “EAST CHATT” features fellow TDE artist, Isaiah Rashad.
Salute to Young Thug, Future, Jack Harlow, Doja Cat, Half-Empty, Partly Vacant, SALIMATA, Khadijat, Larry June, 2 Chainz, The Alchemist, KenTheMan, Niontay, MAVI, Sideshow, Shoreline Mafia, Boldy James, V Don, Wiz Khalifa, DJ Quik, Domo Genesis, Smoke DZA, Dough Networkz, Graymatter, Coyote, Ab-Soul, Python P, 2 Eleven, Low The Great, MOLIY, Silent Addy, Skillibeng, Shenseea, LaRussell, Busta Rhymes, and Mike G Beatz.
Check out out in two more weeks for our next update. If you wish to be CONSIDERED for inclusion, email D.L. Chandler at: dchandler@bhmdigital.com.
—
Photo: Getty
Young Thug has spoken about his relationship with Gunna in a new interview with GQ. The Atlanta rap star finally breaks down everything from his rumored falling out with Rich Homie Quan to his lengthy and chaotic RICO Trial that kept him behind bars for over two years in GQ’s video cover story published Friday […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Elena Rose, Camilo & Los Ángeles Azules, “Carteras Chinas” (Kira Records/Warner Music Latina)
Collaborating with Los Ángeles Azules is almost a rite of passage at this point: over the years, the cumbia institution has teamed up with a hefty catalog of both new and veteran artists, and this time, it’s Elena Rose who taps Los Ángeles and Camilo for “Carteras Chinas.” It’s a match made in heaven, as Rose and Camilo’s soothing vocals pair perfectly with Los Ángeles’ hip-swiveling cumbia tune. “There are so many fake things, there are more Chinese bags than people who love with their hearts, but that’s what you and I are for,” the pair sing in the song that celebrates real love. — GRISELDA FLORES
Boza, San Blas (Sony Music Latin)
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Boza is ending the month with the release of his new studio album, San Blas, home to nine tracks that best represent his current personal and musical stage. Mainly crafted by his longtime producer Faster, the set stays true to Boza’s signature reggae plena sound, but incorporates Afrobeat and amapiano rhythms — notably heard on his two collaborations, “Orión” with Elena Rose and “Todavía” with Greeicy. The former peaked No. 2 on the Billboard Latin Pop Airplay chart last year.
Lyrically, the Panamanian artist sings about falling in love (“energiaS”), letting go (“fluir”), and the life lessons along the way (“yaya”) — combining into a personal healing process. Moreover, the album’s name (as well the focus track) was inspired by Maná’s “En El Muelle de San Blas”: “I love the woman I’m with very much, and with this song I wanted to tell her that I’m only there for her, that I always want to show her off, to show everyone that I’m with an excellent woman, a beautiful woman,” he said in a statement. — JESSICA ROIZ
Juanes, “Una Noche Contigo” (Universal Music Latino)
Juanes delivers a magical bolero with his new single, “Una Noche Contigo,” marking his first release in two years. Fusing vintage soul, blues and rock influences from Otis Redding, Juan Gabriel, José José and The Beatles, the heartfelt track serves as a modern serenade that describes the magic of unexpected love: “I wasn’t looking for you/And I found you unintentionally/Among the people dancing/I approached without thinking.” The idea for this song began to take shape when producer Sebastián Krys introduced Juanes to a classic tune by Otis Redding. The Colombian powerhouse later developed the concept with Edgar Barrera and Julio Reyes, culminating in this vibrant tribute to timeless sounds. — INGRID FAJARDO
Adrian Quesada, Angélica García, “No Juego” (Electric Deluxe Recorders / ATO Records)
With “No Juego,” Adrian Quesada and Angélica García craft a hypnotic bolero that drips in sensuality and analog richness. The song resurrects the romantic decadence of the early ’70s crooners — evoking icons like José José and Camilo Sesto — while infusing it with cool, sophisticated beats that feel intimate and cinematic. García’s vocals are gripping and unfiltered, a soulful cry that pierces through Quesada’s lush production, which seamlessly blends psychedelic grooves and subtle nods to hip-hop. As the second preview of Quesada’s upcoming Boleros Psicodélicos II, due June 27, “No Juego” confirms his role as a sonic alchemist of unparalleled vision. — ISABELA RAYGOZA
Fariana, Kiko El Crazy, “Me Muevo” (La Commission)
Following the line of her ultra-viral hit “El Caballito,” Fariana drops a new merengue tune in collaboration with Kiko el Crazy. Produced by Gangsta, the summer-ready “Me Muevo” samples La Makina’s 1999 timeless tropical tune “No Me Digas Que No.” On her version, Fariana sings from a woman’s point of view who’s ready to move on and mingle with the men who are after her. “If you don’t want me, I’ll replace you/It’s your loss and my win/The same way you left, the same way they come,” she boldly chants. Meanwhile, her Dominican collaborator adds saucy rap verses, trying to save the relationship: “Relax, Fariana, I’m the crazy guy you love.” — J.R.
Check out more Latin recommendations this week below:
Birdman revealed some interesting tidbits about Cash Money’s rise from New Orleans street label to mainstream powerhouse.
He sat down with Nick Cannon for the Counsel Culture Show in the episode that dropped Wednesday (April 23) to talk about how he and his older brother Ronald “Slim” Williams became success stories, and some of the early label meetings they had before signing their historic deal with Universal Records. Baby said he first took a meeting with Warner Bros. and executive Sylvia Rhone, but they weren’t really into the independent label’s music. “Sylvia Rhone said our music don’t work for them, so we just left,” he said. “I just walked out.”
Cash Money then took a meeting with legendary rap label Def Jam, but was turned down because of their artwork, which still confuses the rapper and music executive. “I went to Def Jam and met with Russell [Simmons], Lyor [Cohen] and Kevin Liles,” Baby told Nick Cannon. “This n—a Russell said he don’t like our artwork. I said, ‘This some weird s—t. I walked clean out. N—a don’t like my artwork, what about my music? You don’t care for the music? So, I left.”
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Baby then said that he and his brother almost had a deal with Priority Records, who just so happened to be in business with fellow New Orleans label No Limit headed up by Master P. However, according to him, things fell apart after the label flew them out to their offices in L.A. “I went to Priority — some weird s—t here — I go to Priority, they fly us to California,” he said. “Me and Slim, a couple of the homies, we go out there. N—a come in there and said, ‘I’m sorry, we can’t do the deal. They said because Master P said, ‘If we sign y’all, he’s leaving.’ I just jumped on a jet and went back to New Orleans was like, ‘F—k it, we just gonna grind with it.”
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Finally, Universal came calling and the two sides were able to carve out one of the more historic deals in music history. “And then Mel Lewinter and them called and I said this my last trip. I ain’t taking no more motherf—king flights to New York or California,” he recalled. “F—k it, we’ll thug it out. I’m still making millions, they gonna come down here and f—k with me, I ain’t going back. And that was my last flight.”
Master P and Birdman have seemed to have moved past those early issues, as the New Limit founder gave Lil Wayne key to New Orleans alongside Mayor LaToya Cantrell last year. He also said there weren’t any issues between the two camps when he went on No Chill with Gilbert Arenas in 2021, saying, “A lot of people thought, ‘Oh, they got beef,’ but, man, we lived right up the street from each other.”
Watch the full conversation below.
“I’m still trying to take it all in,” Gigi Perez tells Billboard of her extended moment in the spotlight. Last July, the singer-songwriter’s “Sailor Song” became a viral hit and Perez’s first Hot 100 hit — and months later, the folksy exaltation of queer flirtation remains in the chart’s top 40, rising up one spot this week to No. 35.
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In the interim, Perez played a slew of shows to growing audiences, released follow-up singles like “Fable” and “Chemistry,” and most importantly finished recording her debut album. At The Beach, In Every Life, out today (Apr. 25), finds Perez navigating love, grief and self-possession, as the success of “Sailor Song” has amplified her Island Records debut but not altered its core tenets.
“This project is as close of a reflection of my experiences over the past five years as I could get,” says Perez of the album, which expounds upon the reflection of her sister’s passing that became the focus of her single “Fable.” “My grief has shaped the way that I love, in friendships and with family and romantically. On the project, those things exist next to each other.”
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Below, Perez discusses four songs on At The Beach, In Every Life, and what they represent within her debut album:
The Song That Was Finished Last
“Two days before I was turning the album in, I recorded ‘Sugar Water’ on my own,” says Perez of the five-minute emotional heavyweight, which looks back on her transition into adulthood with childhood details and a simple guitar-and-vocals arrangement. “I wasn’t expecting to put ‘Sugar Water’ on the project,” Perez continues. “And my A&R asked me about the song. I was like, ‘Oh, I love this song.’ … I was like, “Okay, I’m gonna just record and see what happens.’ And it ended up being one of my favorite songs on the project.”
The New Song That’s Most Fun to Play Live
“The most excitement that I’ve had playing a new song has been definitely ‘At The Beach’ or ‘Sugar Water,’” says Perez, who’s been playing a handful of headline shows in the lead-up to the album release. The title track of At The Beach, In Every Life closes the album with an encapsulation of Perez’s worldview, full of passion, disappointment and unruly thoughts that run into each other over the course of the song.
Perez says that testing out her new material on live audiences over the past few weeks has been a thrilling experience. “I just have fun for an hour straight, so it’s hard” to pick one highlight, she explains. “Every single song I get the guitar, and I’m like, ‘Oh my god, I’m so excited to do this song!’”
The Song That Was Most Difficult to Finish
“’Crown’ was hard,” Perez says of the searing centerpiece of the album’s second half, which mixes religious imagery with memories of her late sister. “I think it was letting myself go into that space of my grief and the uglier side of it. It’s all ugly, pretty much, but a different shade was probably the hardest to do in a specific time constraint.”
Yet that struggle, Perez believes, speaks to the truth of her first full-length. “Ultimately, I feel like that’s part of the album,” she says. “It’s not easy.”
The Smash Single That Set the Tone
“Sailor Song” kicks off At The Beach, In Every Life, and Perez says that she’ll always be thankful for the doors that her breakthrough hit has opened. “Especially now that there are new songs in the mix and other focuses that I have, to know that she’s just holding down the fort is amazing,” she says of “Sailor Song. “It’s a gift — to know that I was part of the creation of something that has impacted people globally just feels divine.
“And it’s exciting to see where the rest of the music is gonna go,” she continues, “because in my head, ‘Sailor Song’ and the impact that it’s had are amazing, but I’ve set my sights on personal fulfillment, and what that means is different. As long as there’s a community there, whether it’s one person or it’s 1 million, every single person that’s impacted by it matters.”