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After spending four years rebuilding her confidence as an independent artist following her toxic split from RCA Records, Tinashe became open to partnering with a label once again and she signed with Ricky Reed’s Nice Life Recording Company last summer.
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Less than a year later, Nashe’s intuition paid off when she hit the jackpot with the release of her “Nasty” single in April, which is co-produced by Reed and arrived under exclusive license to Nice Life.
Tinashe appeared poised to usher in a new era of R&B when invading the scene in 2014 with Mustard’s Cali bounce alongside ScHoolboy Q for “2 On,” but she wouldn’t find her way back to the Billboard Hot 100 as a main billed artist until about a decade later with “Nasty,” which broke through in June.
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While some hits seemingly pop out of nowhere, “Nasty” had a rise that felt more organic — with the track exploding on social media platforms like TikTok thanks to a viral dance choreography that Tinashe herself leaned into. From Janet Jackson to Christina Aguilera and Rihanna, co-signs from legends that Nashe looked up to began to pour in one after the other.
Billboard “matched her freak,” with “Nasty” sitting at No. 69 on this week’s Hot 100 chart after reaching a No 61 peak — her highest on the chart since 2014. It’s also become a steady force at rhythmic radio as well (No. 3 on Rhythmic Airplay chart). The 31-year-old has become a people’s-choice contender in a robust Song of the Summer category this year with ladies like Chappell Roan, Charli XCX and Sabrina Carpenter also churning out major hits.
Moments like these aren’t always promised for artists. It’s a testament to Tinashe’s raw talent, relentless determination to stay the course and refusal to sacrifice artistic integrity. “Just having all this — I guess it’s like validation,” she tells Billboard over Zoom. “It just feels like I’m on the right track and doing the right things. It’s been an extra boost for this whole rollout, and it’s been fun.”
With the added eyeballs from “Nasty,” Tinashe looks to capitalize on her momentum and welcome the new fans to her world with Quantum Baby, a 10-track project that arrives on Friday (Aug. 16).
Billboard enjoyed a laid-back conversation with Tinashe touching on just about everything going on in the ethos of Nasty Nashe. Check it out below.
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When did you feel like “Nasty” was really taking off? Was it the dance that went viral on TikTok?
Yeah, I saw signs in a couple different interesting ways. A lot of my peers were reaching out to me and telling me that the song was dope. That doesn’t really happen every time I drop. I went to China and saw that the song was really big over there, and everyone was doing the choreography to the music video. I thought that was really interesting. Then I started seeing it get meme-ified and then TikTok happened. There were so many different signs along the way.
Seeing it in real time felt so authentic. Was “match my freak” always a saying?
No, it came straight from my brain. Straight from my noggin. I was driving and was just kinda freestyling and that’s kinda how I thought of it. I remember thinking after writing those lyrics, “I don’t think I’ve ever heard anyone say this before.” I just invented it.
Do you feel like hits need a virality to them or a memeability to give them a boost compared to 10 years ago?
Yeah, I do. I think it can help, obviously, a lot. I think it has a big impact, but I also think it’s fickle. I wouldn’t put all my eggs in that basket. I think there’s plenty of cases of songs that blow up in a viral way that don’t connect to a real audience. I think it’s a piece of the puzzle and part of what makes it successful.
Is that something you think about while creating?
I think it’s kinda dangerous to keep that in the front of your mind. I think it’s something to consider, but as soon as you start trying to cater your music to a 15-second snippet — once you chase things, period, the energy of chasing is not conducive to good creativity. It used to be chasing something that sounded like a radio hit and now it’s what’s cool on TikTok. Chasing anything isn’t wise.
Is “Nasty” the song of the summer?
Definitely, “Nasty” is the song of the summer. Without a doubt, to me. It’s the song of my summer. There’s been other songs too that are great, but “Nasty” is the one.
What was your reaction to the VMAs snubbing “Nasty?”
Disappointed but not surprised. I’ve never been nominated for an award, period. I did get nominated for a BET award once. Other than that, I’ve never been nominated. I definitely wasn’t counting on that.
What was your thought process on the “Nasty” remixes getting Tyga and Chloe Bailey on two separate versions?
I was enjoying giving “Nasty” several identities and breathing life into the song in a way that felt like a true remix like you were gonna get a different version. In the way we did the DJ remixes and got different feelings for the songs, I felt it would be great when it came to the artists I collaborated with for them to also have a strong identity. Chloe made so much sense for the “Nasty” girl remix. She’s already got this powerful, feminine, sexy, fun energy and she’s so sweet. I thought that was perfect. Tyga, he was bringing a whole entire different man-ish more club and West Coast energy. It give it a whole other flavor. All of the excitement surrounding the song is so fun and seeing how many people it touched — whether it was legends like Christina [Aguilera], Janet [Jackson].
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How much did it mean to you to meet Janet Jackson? I think back to your “How Many Times” with Future sampling her.
I love Janet and I love Future and I love that song. That’s a whole circle moment for me for sure. She did her “Nasty” version and put in the “Nasty Girl.” Then I got to meet her and told her she’s a huge inspiration. It was really wholesome.
You mention Christina, and I also saw Beyoncé and Missy Elliott show love.
All of those are really affirming for me. Missy Elliott is someone you look to for having impeccable taste and always being a tastemaker. I think her support means that it’s dope. Christina Aguilera was one of my “Big Three.” My “Big Three” growing up was Christina, Britney [Spears] and Janet [Jackson]. Beyoncé used it in a Sacred ad, and Rihanna used it in a Fenty Beauty ad. That’s amazing. All of the main girls have showed me love. That’s a great feeling.
What do you hope to accomplish with Quantum Baby?
I think it’s just continuing to tell the story and getting people to know me. Obviously, hopefully “Nasty” has put a few new people on and brought them into the world. Hopefully, this project brings them deeper into the world that’s constantly evolving and genre-blending.
What’s your label situation right now with Nice Life?
Going independent was a big turning point for me, and a game-changer in terms of how I perceived myself as a creative — and it helped me rebuild that confidence. Because I was able to rebuilt that confidence, I felt like I got to a place where I was more opened to working with another label. It was kinda like the perfect compromise. They’re independent and it’s more direct art. You can talk to the people involved and have close relationships with everyone on your team. It feels very artist-first. I didn’t have to make compromises, but [I] have the benefit of having extra team members to help make everything successful.
I saw this story on Reddit going viral about you losing your ticket at a Charli XCX show and they found it and went in with your tickets. I guess you still got in after. Did you see this? Is it true?
Yes, that’s true and of course I saw it. I was like, “You little f–ker. I knew one of you motherf–kers had the ticket.” It was like retrace our steps so quickly. I knew one of those motherf–kers picked it up. Thank God they just let me in anyways.
Were you looking around like, “Who has my ticket?”
Yes, I was. I was trying to make contact with everybody standing around because I was like, “I know one of you people.” I was right, clearly.
What do you think about Charli XCX’s moment as well? It’s cool to see her breaking through again after putting in work for a decade-plus.
It’s amazing, it’s inspiring, it’s exciting. I think it’s great. Any time you see somebody that’s been working really hard get the shine they deserve, we love it.
just saw the latest @Tinashe video and it totally blew my mind. what an incredible dancer. I can’t wait to perform with you tonight ❤️— Charli (@charli_xcx) April 12, 2015
How was working with Kaytranada?
I love Kaytranada. We’ve worked together a handful of times. I feel like every time we work together it’s heat. We have a great vibe in the studio. He’s so cool and down to earth. It feels really natural.
Did you ever reconnect with Chris Brown after his comments last year?
I did not speak to him, because I just don’t think he listened to the context of the interview.
We got a Britney Spears biopic coming. In an alternate universe, is Tinashe playing Britney?
I mean, listen, that would be great. I think I could give — I have a long history of studying Britney’s ways. I think I could hit the moves.
You were into acting [growing up]?
Yeah, I did a ton when I was young. I did a bunch. I stepped away when I was 16 just to focus on music fully. I’d like to get back to it at some point, but it doesn’t feel like pressing like I need to do it today. Music is my main priority today.
Are you still playing Warzone?
Yeah, still on the Call of Duty.
I went back to the last time I tweeted you. April 2020, “How does Tinashe have more Warzone wins than me on Call of Duty right now?”
I’m dead, that was the early days of [playing] all day.
I loved Verdansk. That map is so much better than what we play now.
I know, I am constantly like, “Bring back Verdansk.” They keep saying it. I’ll believe it when I see it.
When you’re playing Call of Duty, what are you on? What’s your go-to gun?
PlayStation, PS5. I’m usually on the snipers. They call me SniperNashe. I love to hit a snipe.
I feel like there’s a lot more girl gamers compared to when we grew up. Have you noticed that?
Yeah, I think it’s less taboo.
Now it’s like everyone plays video games and streams. I just missed the boat by about five to 10 years here.
It’s definitely a generational shift in just how people talk about it. There’s no way people weren’t playing before, but people were just more quiet about it. Once people started making money for playing video games, now it’s cool.
What did you take from touring as an opener for Nicki Minaj, Katy Perry and Justin Bieber?
When you open for people, that’s another level of experience that you have to get because people aren’t necessarily there to see you. So it’s potentially harder to win over a crowd. That’s a good practice in learning how to put on a show that’s gonna engage people who aren’t your core audience. I think it’s really valuable to open for people and get that experience. Also just to build up your performance chops in that way. It’s part of the process. Playing your own shows is a lot easier when everyone’s singing your songs and excited to see you.
It seems like that’s a lost art. Now, I feel like people get one viral moment or hit and they’re thrown out there to the wolves.
People skip steps. There’s no substitute for experience. That’s why all those things made me the performer I am today.
As a rap fan, did you enjoy the Drake and Kendrick Lamar beef?
I’m here for it. I loved it. I thought it was exciting just to see how much discourse was going on. It just reminded me of a blog era spirit. How quickly everyone was releasing things and it just felt free. It felt real and it wasn’t label politics or on some intricate timeline and rollouts. It was just raw so I love that.
Who did you have winning?
You know we gotta go with the West Coast. We gotta go with K. Dot.
What are some of your favorite style trends this year?
I love wearing boxer shorts. I love being comfortable. I love dressing like a tomboy. I love the big oversized and straight leg sweatpant. I love a super-wide leg jean. I love boxer shorts underneath both of those things.
Are you really from Lexington, Kentucky? How long did you live there?
Three months. I don’t think I’ve been to Lexington since I was three months old. I do not claim that place, although they try to claim me. I don’t know s–t about that place.
If you weren’t lucky enough to attend last September’s all-star tribute to Bruce Springsteen‘s beloved 1982 solo album Nebraska in Nashville, you’re in luck. The show, Bruce Springsteen’s Nebraska: A Celebration in Words and Music will air on PBS on August 31. The first trailer for the special — which is available now on the […]
Cash Cobain is exhausted when he arrives at Billboard’s Manhattan office in late July. But that’s to be expected when chasing the momentum of a breakout hit like “Fisherrr.”
The rapper’s last few months have been a blur, from performing an impromptu park jam this April in New York’s Union Square after his Irving Plaza show was shut down (due to police concerns about crowd size) to featuring on his first Billboard Hot 100 entry in June to recently hitting the studio with Frank Ocean. Cash has quickly become a staple — and propellant — of hip-hop today, particularly in New York City.
The 26-year-old (born Cashmere Small) grew up in the Bronx listening to his grandparents’ Michael Jackson and Stevie Wonder CDs alongside Biggie Smalls, 50 Cent and Aaliyah and developed an early interest in music production. His mother bought him drum pads and Yamaha keyboards, while he taught himself how to incorporate samples into his trap and drill-inspired beats on a jailbroken version of FL Studio.
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As he carved out his sound, he was careful to avoid impersonating his biggest inspirations, telling Billboard earlier this year: “ I wanted to add my own flavor… I didn’t want to bite guys like Southside and Metro [Boomin].”
Cash Cobain photographed on July 25, 2024 in New York.
Elianel Clinton
The result is a style all his own, best known as sample drill. As the name suggests, Cash’s beats often incorporate other tracks in some capacity, whether he’s flipping Snoop Dogg and Pharrell’s “Beautiful” on Don Toliver’s “Attitude” — which peaked at No. 58 on the June 29-dated Hot 100 — or Ciara’s “Body Party” for his song of the same name with Chow Lee.
He’ll even snatch a sample out of thin air: “I can be in the elevator or watching a movie,” he says, “and if I like the song or hear a part that I can use, I’ll Shazam it.” Ironically, the music discovery app is also how Cash’s team realized “Fisherrr” was gaining traction.
His A&R at Giant Music, Daniel Byrnes, says they first noticed that Shazams for the song were taking off in New York and that it coincided with a spike on TikTok. “That’s when you know it’s time to go to radio,” says Byrnes. “We then hired [independent] radio plugger GOAT Troy Marshall and Shazam started going even crazier. Then [the song] broke the Top 100 Shazams in the country and it was No. 1 in New York for weeks. Nothing was touching it.” By May, “Fisherrr” debuted on Billboard’s R&B/Hip-Hop Airplay, Mainstream R&B/Hip-Hop Airplay and Rap Airplay charts, and it has since reached the top 10 on all three.
Cash was initially connected to Byrnes through his co-managers, William Foster, Glyn Brown and Makeda Tewodros. (The Bronx rapper started out independent, beginning his career under the guidance of Casanova and his 2x Entertainment label, but eventually decided to seek out new management around 2020.) And while his new team wasn’t focused on getting him a record deal at first, Byrnes jumped when the time was right. “[He] was just one of those people that was always there, continuously checking on us and checking on Cash’s growth,” Tewodros says.
Giant signed Cash in June 2023, and the rapper has leaned into his social media savvy since then, becoming notorious for previewing unreleased tracks on Instagram that he then deletes as the official release nears. “He’ll hide the song, or he’ll archive it after a day or two, and everyone’s like, ‘Where did it go?,’” Tewodros says. “Then they’ll start to chase for it.” Adds Cash: “I’m not the type to post a snippet and then you never hear it,” he says. “Nah, it’s going to be on the album.”
Cash Cobain photographed on July 25, 2024 in New York.
Elianel Clinton
The strategy is exactly how “Fisherrr,” which Cash started teasing on TikTok and Instagram in January, started to thrive. As Cash recalls, when he walked into the studio at the top of 2024, producers FckBwoy! and WhoJiggi were already cooking up the beat. “I cut it up,” he recalls. “The beat was taking too long to drop; I didn’t like that. I wanted it to drop right away.”
From there, he and Bay Swag “started going crazy” in the booth — humming some of the song’s bars as he remembers its creation. Over an intoxicating loop, Cash and Bay Swag go back and forth like a horny Jadakiss and Styles P, with easy-to-remember one-liners like, “And your ass fat, know you eat your rice and your cabbage too/She a savage too, I’m a savage too, it’s compatible.”
The song soon started bubbling on social media and in the streets thanks to a From the Block performance clip from its release day in February that went viral. A couple weeks later, when Brooklyn rapper Kareem Gadson (aka Reem) did “The Reemski” dance to the song — in which he dances like a cobra to the tune of a snake charmer — “Fisherrr” grew even larger. “Once Reem came out with the dance, it was over,” says Cash. Byrnes felt the same way, saying the team dropped their own marketing plans to focus on the dance. “You couldn’t plan for it to be that big,” says Byrnes in astonishment. “Everyone on social media was doing the dance.”
To capitalize on the song’s momentum, Cash came quickly with a remix in April, tapping his old friend and fellow Bronx rapper Ice Spice. “Shout out to Makeda, I know she wants her credit. She made it happen,” Cash says playfully. “There were some ideas and names thrown about and I think we all kind of unanimously agreed Ice made the most sense,” adds Tewodros. “It felt really New York, so we felt like this would be the best amplification for the song.”
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The remix not only resonated with fans, but more importantly, with Cash himself. “I felt loved when I heard her verse. She had the whole flow, it was fire. She was on some Baddie Drill s–t.” Following its first full tracking week, “Fisherrr” debuted on Hot R&B/Hip-Hop Songs at No. 33.
Cash has been an opener for Ice during her stateside Y2K! trek since the end of July, and he’ll continue on the tour through August. And come Aug. 23, he’ll drop his sophomore album, Play Cash Cobain. “He’s in the zone,” says Brown. Everyone on his team shares a similar sentiment. “I saw him cook up a beat in a bowling alley parking lot and record it in like, 12 hours — and it sounds like another hit,” says publicist Sam Hadelman. “He’s making the best music of his life right now.”
“Straight sexiness. Back to back, play it out — no skips, sexy music,” Cash adds, previewing what fans can expect. “I just want to show y’all I’m really serious about this. I’m not no one or two hit wonder — I am here to stay.”
From left: Glyn Brown, Cash Cobain, Will Foster, and Makeda Tewdoros photographed on July 25, 2024 in New York.
Elianel Clinton
A version of this story will appear in the Aug. 24, 2024, issue of Billboard.
On the heels of her third studio album, Latto is hitting the road for the Sugar Honey Iced Tea Tour this fall. Dates for the show were announced on Wednesday morning (August 14), along with the news that the rapper will be bringing fellow ATLiens Mariah The Scientist and Karrahbooo with her on the trek.
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Latto kicks off the 22-city North American leg on October 25 in Tampa Bay with stops in Nashville, Philly, Brooklyn, Cincinnati, Boston, Toronto, Detroit, Chicago, Dallas, Houston, Seattle, San Diego, Phoenix and Las Vegas before wrapping up in Denver on December 7.
CITI pre-sale tickets are currently on sale, while the general public on-sale begins on Friday (August 16) at 10 a.m. local time on Latto’s website.
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The Grammy-nominated artist delivered her Sugar Honey Iced Tea album on August 9 featuring guest appearances from Ciara, Coco Jones, Hunxho, Young Nudy, Teezo Touchdown, Megan Thee Stallion and tour mate Mariah The Scientist.
“From 21 to 25, I feel like I became a woman,” she told Billboard. “Everybody used to tell me, ‘Oh, when you turn 25, something is going to change in your brain.’ I really feel like it did. I’ve had new relationships, I bought my first house, signed deals, fell out with people. Every year that I’ve been in the industry, I feel like I’ve reached more success, so there’s just more sh-t to talk about.”
Sugar Honey Iced Tea follows Latto’s 777, which reached No. 15 on the Billboard 200 in 2022. Latto has eight Billboard Hot 100 entries including top 10 hits like “Seven” (No. 1 with Jung Kook) and “Big Energy” (No. 3).
The 25-year-old added a bonus track to the album ‘s disc two this week. “Chicken Grease” samples Atlanta legend T.I.’s breakout hit “24’s.” The DJ Toomp-produced anthem was Tip’s first Hot 100 entry and reached No. 78 on the chart.
Find the Sugar Honey Iced Tea Tour dates below.
Oct. 25 — Tampa, Fla. @ Yuengling Center
Oct. 27 — Nashville, Tenn. @ Nashville Municipal Auditorium
Oct. 28 — Washington, D.C. @ The Anthem
Oct. 29 — Philadelphia, Pa. @ The Met Philadelphia presented by Highmark
Oct. 31 — Brooklyn, N.Y. @ Barclays Center
Nov. 1 — Cincinnati, Ohio @ The Andrew J Brady Music Center
Nov. 3 — Bridgeport, Conn. @ Total Mortgage Arena
Nov. 4 — Boston, Mass. @ MGM Music Hall at Fenway
Nov. 7 — Toronto, Ontario @ HISTORY
Nov. 11 — Detroit, Mich. @ Fox Theatre
Nov. 12 — Chicago, Ill. @ Byline Bank Aragon Ballroom
Nov. 15 — Dallas, Texas @ South Side Ballroom
Nov. 16 — Houston, Texas @ 713 Music Hall
Nov. 17 — Austin, Texas @ Stubb’s Waller Creek Amphitheater
Nov. 21 — San Diego, Calif. @ Cal Coast Credit Union Open Air Theatre
Nov. 25 — Seattle, Wash. @ WAMU Theater
Nov. 26 — Vancouver, B.C. @ PNE Forum
Nov. 29 — San Francisco, Calif. @ Bill Graham Civic Auditorium
Dec. 1 — Inglewood, Calif. @ YouTube Theater
Dec. 4 — Phoenix, Ariz. @ Arizona Financial Theatre
Dec. 5 — Las Vegas, Nev. @ Brooklyn Bowl
Dec. 7 — Denver, Co. @ Fillmore Auditorium
Details of Jung Kook‘s highly anticipated solo documentary I Am Still are finally here, including the project’s release date in theaters worldwide.
According to a release, the film will capture the BTS star’s development as a solo artist, starting with the historic ascent of his single “Seven (feat. Latto)” to No. 1 on the Billboard Hot 100 in July 2023. Three months later, he dropped his debut album Golden, which peaked at No. 2 on the Billboard 200.
“Delving into his creative process, unwavering work ethic and the unique challenges faced by a global superstar, the film presents exclusive, never-before-seen footage and interviews alongside electrifying concert performances,” reads the release. “This poignant portrait showcases Jung Kook’s unwavering dedication and artistic evolution.”
Directed by Junsoo Park and produced by Jiwon Yoon, Jung Kook: I Am Still is set to premiere Sept. 18, with limited screenings worldwide in over 120 countries and regions. Tickets go on sale August 21.
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The announcement comes a month after the 26-year-old singer’s label, BigHit, cryptically teased that I Am Still was “coming soon” to theaters, withholding any further details and sending ARMY spiralling. “WHAT IS THIS,” one person tweeted at the time, while another person wrote with disbelief, “WHAT DO YOU MEAN JUNGKOOK ON CINEMAS!?!?!?!?!?!?”
Jung Kook previously hinted that he was working on a documentary about his solo efforts in a November episode of Suchwita, the YouTube talk show hosted by his bandmate SUGA. “It follows the process from ‘Seven’ to my album,” he said at the time, according to the show’s English translation. “When you film with other members, the cameras aren’t all focused on you. But I always feel kind of pressured talking in front of a camera alone.”
The “3D” musician is also currently starring in a travel docu-series alongside bandmate Jimin on Disney+. Chronicling the friends’ trips through destinations in the U.S., South Korea and Japan, Are You Sure?! premiered Aug. 8 and will continue dropping episodes through Sept. 19.
See the Jung Kook: I Am Still announcement and movie poster below.
Ye and Ty Dolla $ign’s Vultures 2 storms in at No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart (dated Aug. 17). The set, which was first expected for release on March 8, arrived on Aug. 3 and earned 107,000 equivalent album units in the tracking week of Aug. 2 – 8, according to Luminate.
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Of the album’s first-week total, 60,500 units came through traditional album sales. The figure was helped by multiple versions in the marketplace: a widely available standard explicit edition, a late-in-the-week-released clean edition and five additional explicit variants released on Ye’s official webstore – each containing the standard album and one exclusive studio bonus track per album. The webstore editions each sold for $5, while the widely available offerings were discounted to $4.99 in Apple’s iTunes Store. Thanks to the robust sales, Vultures 2 debuts at No. 2 on the Top Album Sales chart.
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Streaming activity contributes 46,000 units, equaling 59.4 million official on-demand streams of the standard album’s songs), and prompting a No. 6 start on the Top Streaming Albums chart. Track-equivalent album activity comprises the remaining 500 units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)
With Vultures 2, Ye earns his 12th No. 1 on Top R&B/Hip-Hop Albums and ties R. Kelly for the fifth-most champs among all artists since the chart began in 1965. The Temptations lead the count, with 19, followed by Drake and Future (15 each) and Jay-Z (14). Since Ye debuted with The College Dropout in 2004, he has only missed the top spot once – 2016’s The Life of Pablo peaked at No. 2.
Ty Dolla $ign picks up his second No. 1 on Top R&B/Hip-Hop Albums with Vultures 2, following the project’s previous installment. Vultures 1 reigned for five consecutive weeks in February – March.
Elsewhere, Vultures 2 opens at No. 1 on the Top Rap Albums chart and at No. 2 on the all-genre Billboard 200. On the latter list, the entrance notably ends a streak of 11 consecutive No. 1 starts for Ye’s discography.
Nine tracks from Vultures 2 jump onto the Hot R&B/Hip-Hop Songs chart, led by “Field Trip” at No. 10. The track, which features verses from Playboi Carti, Kodak Black and Don Toliver, was the album’s most-streamed song of the week with 9.5 million official U.S. streams.
Here’s a full rundown of all Vultures 2 cuts on the Hot R&B/Hip-Hop Songs chart.
No. 10, “Field Trip,” featuring Playboi Carti, Kodak Black & Don ToliverNo. 21, “Promotion,” featuring FutureNo. 24, “Fried,”No. 25, “Slide”No. 32, “River,” featuring Young ThugNo. 37, “530”No. 38, “Dead,” featuring Future & Lil DurkNo. 39, “Time Moving Slow”No. 41, “Lifestyle,” featuring Lil Wayne
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Fall is almost here thus it is time for Barack Obama’s 2024 summer playlist. The likes of 2Pac, GloRilla and Beyoncé are some of the artists who made the cut.
As reported by HipHopNMore, the 44th president of the United States has shared his yearly drop of tracks that he has been grooving to the last couple of months. On Monday, Aug. 12, he took to X, formerly known as Twitter, to do the unveiling. “With summer winding down, I wanted to share some songs that I’ve been listening to lately – and it wouldn’t be my playlist if it didn’t include an eclectic mix. I hope you find something new to listen to!” his post read.
Barack Obama’s summer 2024 playlist is as follows:
Shaboozey: “A Bar Song (Tipsy)”
Charli XCX: “365”
Billie Eilish: “Chihiro”
Tems: “Love Me Jeje”
Artemas: “I Like the Way You Kiss Me”
Tommy Richman: “Million Dollar Baby”
Hope Tala: “I Can’t Even Cry”
Blackstreet: “No Diggity” [ft. Dr. Dre and Queen Pen]
Enny: “Charge It”
Carminho: “O Quarto (Soundtrack Version)”
Calimossa: “What’s in the Tea?”
Hubert Sumlin & Keith Richards: “I Love the Life I Live, I Live the Life I Love”
PJ Morton: “Say So” [ft. Jojo]
Cleo Sol: “Why Don’t You”
The Miracles: “You’ve Really Got a Hold on Me”
H.E.R.: “Process”
2Pac: “How Do U Want It” [ft. K-Ci and Jojo]
Sting: “If You Love Somebody Set Them Free”
Lucinda Williams: “Unsuffer Me”
Jill Scott: “Golden”
The Rolling Stones: “(I Can’t Get No) Satisfaction”
Saweetie: “My Best”
Charles Mingus: “Wednesday Night Prayer Meeting”
Norah Jones: “Come Away With Me”
Common: “The People”
Etta James: “Don’t Cry Baby”
Chris Jedi, Gaby Music, & Dei V: “Bad Boy” [ft. Anuel AA and Ozuna]
Rema: “Yayo”
Bonny Light Horseman: “Old Dutch”
Willow: “Symptom of Life”
Moneybagg Yo: “Whiskey Whiskey” [ft. Morgan Wallen]
Myles Smith: “Stargazing”
GloRilla & Megan Thee Stallion: “Wanna Be”
Tyla, Gunna, & Skillibeng: “Jump”
Bad Bunny & Feid: “Perro Negro”
Paul Russell: “Lil Boo Thang”
Digable Planets: “Rebirth of Slick (Cool Like Dat)”
Bob Marley & the Wailers: “Them Belly Full (But We Hungry)”
Nick Drake: “One of These Things First”
Bob Dylan: “Silvio”
Pharoah Sanders: “Love Is Everywhere”
The Supremes: “Where Did Our Love Go”
Beyoncé: “Texas Hold ‘Em”
Samara Joy: “Someone to Watch Over Me” [ft. Pasquale Grasso]
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Jack White never does things the typical way. Take, for instance, the idiosyncratic roll-out of his latest solo album, No Name, which initially was secretly released on July 19 as a free, unlabeled vinyl to unsuspecting customers at his Third Man Records stores in Detroit, Nashville and London. Though he did release it commercially on August 1 as a blue-colored vinyl LP exclusively to independent record stores, and then as a digital download on August 2, his plan to promote the sneak-attack album is just as unconventional.
In an Instagram post on Tuesday (August 13), White explained his plan for an equally sneaky tour in support of the LP, which will take him to small clubs, back yard BBQs and a few festivals to pay the bills. In another surprise, the tour has already begun, but you won’t know if he’s coming to your town because shows will be announced with little advance notice.
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“Hello, and love to all the peoples of the world out there. Lotta folk asking about when we are going to announce ‘tour dates,’ well, we don’t know what to tell you but the tour already started at the Legion a couple of weeks ago,” White wrote of a gig he played at the cozy American Legion Post 82 in Nashville to raise money for a new sound system for the venue. “People keep saying that these are ‘Pop up shows’ we’ve been playing, well, you can call them whatever you want, but we are on tour right now. These are the ‘shows.’”
White and his current band also played a 1,000-capacity show at Detroit’s Saint Andrew’s Hall in his native town on August 5 that served as a kind of album release show for No Name.
The proof is in the pudding, including another pop-up in Nashville on Tuesday night at the 575-capacity The Basement East club, where he tore it up, eliciting urgent questions from fans such as, “Can you perform in my basement, the sound will be absolutely s–tty [fire emoji].” The unorthodox outing is in keeping with White’s longtime allergy to following the rules, from the strict red, white and black color scheme for his previous band, the White Stripes, to the shortest concert ever — a single note — by the Stripes in Newfoundland, Canada in 2007 that consisted of a single note and a cymbal crash.
White continued, “We won’t really be announcing dates in advance so much, we will mostly be playing at small clubs, back yard fetes, and a few festivals here and there to help pay for expenses. Shows will be announced as close to the show date as possible, some shows we won’t even decide to do until that morning. I also want to walk through orchard fields and grab apples off of trees at will and fill my belly full of that fruit if the desire strikes me. I’m looking for that cool breeze you know? Lots of love and rock and roll to you all and you are blessed for giving that love to others, we hope that we see you out on the road soon, if not let’s get coffee and a slice of pie sometime? Music is sacred.”
At press time the only official date on White’s tour itinerary is an appearance at the Desert Daze festival in Rancho Las Perris, CA in October.
Check out the poster and footage from Tuesday night’s show below.