Music
Page: 148
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This week, LISA is reincarnated alongside Doja Cat and Raye, while Anitta sets forth on a new era. Check out all of this week’s picks below:
LISA feat. Doja Cat and Raye, “Born Again”
Opulence and religious imagery abound on LISA’s new team-up with Doja Cat and Raye, as the BLACKPINK star settles on disco elegance for the pop-star summit: “I would’ve made you a believer / Would’ve showed you what it’s like,” she sings as a kiss-off, while her guest stars flaunt biting rhymes and oversized vocals on the second verse and bridge, respectively. Anitta, “Romeo”
Trending on Billboard
The first Anitta release of 2025 kicks off a new era in style — moving on from Funk Generation, the Brazilian superstar continues exploring propulsive dance on “Romeo” but with more restrained production and emphasis on her vocal delivery, as if Anitta, not the beat beneath her, is the star of the show.
Pardison Fontaine & Cardi B, “Toot It Up”
Over a masterful sample of Nas’ “Made You Look,” Pardison Fontaine and Cardi B aim for a chest-thumping anthem for a new generation on “Toot It Up,” with both artists trading rhymes on the hook and finally delivering a long-in-the-works collaboration to official streaming services.
GELO feat. Lil Wayne, “Tweaker (Remix)”
GELO’s “Tweaker” has been one of the first surprise smashes of 2025, a viral hit that has earned LiAngelo Ball a label deal and lots of raised eyebrows; that quick rise continues with this Lil Wayne-assisted remix, as Weezy (who just announced an album of his own) gets in on the basketball metaphors: “I cross your ass up like Jesus, baby.”
Dom Dolla feat. Daya, “Dreamin’”
Australian DJ Dom Dolla has been linking up with various pop stars for a while now, and Daya, the Pittsburgh native of “Don’t Let Me Down”/“Hide Away” fame, makes for a perfect muse on “Dreamin’,” a hypnotic club track in which Daya deploys the smokiness of her voice and repeats the refrain until it gets lost in the rhythms.
Editor’s Pick: Rema, “Baby (Is It a Crime)”
Revamping Sade’s 1985 classic “Is It a Crime,” Rema returns with an immediately memorable piece of rhythmic pop: the Nigerian star has demonstrated crossover potential in the past, most notably with “Calm Down,” but the contours of “Baby (Is It a Crime)” are more subtle, his flow bridging the 40-year gap in styles.
Dream Theater‘s new Parasomnia is titled after a specific category of sleep disorders. But it’s also an album that’s made dreams come true for fans of the 40-year-old progressive metal quintet.
Parasomnia marks the recording return of drummer and co-founder Mike Portnoy to the band’s ranks for the first time since 2009’s Black Clouds & Silver Linings. It reunites him with guitarist (and album producer) John Petrucci and bassist John Myung, who started Dream Theater as Majesty in 1985, after meeting at the Berklee College of Music in Boston. Vocalist James LaBrie came on board in 1991, while Jordan Rudess joined in 1999.
That quintet released six studio albums prior to Portnoy’s departure, and Petrucci acknowledges to Billboard that “we fully understand the gravity of Mike coming back and us being together again.”
Trending on Billboard
From Portnoy’s perspective, “As Dorothy once said (in The Wizard of Oz), there’s no place like home. It’s not the original lineup, but it is the ‘classic’ lineup. I think the era this band made albums, basically ’99 through 2009, that was in a lot of ways the golden age of this band and…a musical blueprint that is such a big part of Dream Theater’s history. For this particular lineup to be reunited, it’s really special.”
While Portnoy acknowledges that “some fences had to be mended” from his departure, he and Petrucci worked together on the latter’s 2020 solo album, Terminal Velocity, and toured together; the two joined Rudess and bassist Tony Levin for a third studio album as Liquid Tension Experiment in 2021. But, Petrucci says, “those weren’t intended as any indication that (Portnoy) might be returning. Mike Mangini [Portnoy’s replacement] was very strong in the band…even if he couldn’t escape the ‘When’s Portnoy coming back?’ question that was constantly asked. We had just come off our first Grammy win [best metal performance in 2022 for “The Alien”] and everything was going great with touring.
“For whatever reason the stars aligned in that moment, in the fall of 2023. We did understand that making the announcement that not only was (Portnoy) coming back, but that we’d be going into the studio again, the excitement would be crazy — for us, too. I think you can hear it on the album.”
The eight-track, 71-minute set — out Friday (Feb. 7) and recorded at Dream Theater’s DTHQ studio on Long Island — is the band’s 16th overall, and the follow-up to 2021’s A View From the Top of the World, which debuted at in the top 10 of Billboard‘s Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. With its intricate arrangements, explosive dynamics, virtuosic playing and long-form compositions (six songs are over seven minutes and a closing epic, “The Shadow Man Incident,” clocks in at a heady 19:32), Parasomnia is everything Dream Theater envelopes while sounding decidedly present-day.
“I wanted it to sound modern but also classic,” Petrucci explains. “Some of the albums made between 1999 and 2009 or so, that’s a period that’s so beloved by our fans. So having Mike rejoin, I think there’s hope for some of that nostalgia coming back — and it pretty much did. You can hear it on the album. It definitely has that vibe. But as a producer I’m going in wanting to make an album that sounds better than anything else we’ve done before. So you try to push the envelope with ways of recording. It’s a combination of using modern techniques but using vintage audio equipment to do it and mash those up in a perfect way. And of course using great personnel — Jimmy T (Meslin) our engineer, Andy Sneap, Mark Gittins — these guys are helping to bring it into the future, into a modern sound. It’s a perfect balance of old and new.”
Petrucci says Parasomnia‘s concept is not based on any real-life sleeping disorders within the band. He first heard the term a few years ago and “kept it in my back pocket. I love the sound of that word. I love the tie-in to dreams and Dream Theater, and I loved that the subject matter could be so creepy and dark and heavy.” He researched the various parasomnias — including sleepwalking, night terrors and night paralysis — and used them as the basis for songs; one, “Dead Asleep,” was even drawn from a true story about a man who accidentally strangled his wife in bed while dreaming that he was fighting a home intruder.
The suite-like “The Shadow Man Incident,” meanwhile, is based on a pre-waking phenomenon of feeling the presence of “demons or dark figures,” according to Petrucci.
“It is a thematic, concept album,” he acknowledges, “so there are some Easter eggs throughout, (musical) themes that repeat themselves that I think hardcore fans will pick up on. We love doing stuff like that. I think it takes the album to another level. It makes it more epic, more classic, more special. And it’s so much fun.”
Portnoy, meanwhile, takes credit for pushing Dream Theater in the conceptual direction on Parasomnia. “It’s such an important album for us that I thought it needed to be something more than just a collection of songs,” he says. “That’s when we started creating the album, thinking of it in terms of one piece of work that you digest from start to finish, like watching a movie or reading a book. Once we decided to go in that direction it really opened the doors to make this a very special album.”
Dream Theater preceded Parasomnia‘s release with the tracks “Night Terror,” “A Broken Man” and “Midnight Messiah,” along with accompanying videos. The band returns to the road on release day in Philadelphia, with dates currently announced through a sold-out March 22 stop at Radio City Music Hall in New York City. Petrucci says the trek will feature a couple of songs from the new album but is mostly designed to continue a celebration of Dream Theater’s 40th anniversary — which began last year, overseas — with a more Parasomnia-centric tour planned for later this year. Portnoy adds that Dream Theater hopes to play the new album in its entirety at that time.
“It’s pretty incredible I’m still in the same band with a guy I met when I was 12, in middle school, and a guy I met when I was 18, just starting at college,” Petrucci notes. “We all love doing it. We’re driven. We love playing our instruments, we love writing music together, recording music together, we love touring together. The chemistry and brotherhood we have as people is just so strong. And on top of that is a fan base that’s international and widespread and loyal and dedicated and devoted. We don’t take that for granted.
“Not every band survives, right? Bands break up, members leave. We know how lucky we are to have a 40-year career and that a member can leave and come back and rejoin with such happiness and excitement around it. That’s a testament to everybody’s love for doing it, and love for each other.”
From Section.80 to No. 1, Kendrick Lamar has stormed to levels of commercial success and critical admiration in the last two decades that place him as one of the preeminent rappers of his generation — and many observers suggest, already among the greatest of all time.
Born in Compton, Calif., Lamar earned regional buzz for a series of mixtapes in the 2000s, but slowly attracted larger attention beginning with his Overly Dedicated mixtape. The release became his first Billboard chart entry, reaching No. 72 on the Top R&B/Hip-Hop Albums list in October 2010. Less than a year later, Lamar’s debut album, Section.80, allowed the rapper to break onto the Billboard 200 for the first time and peaked at No. 113 in June 2011.
The hitmaking run ignited with his next album, 2012’s good kid, m.A.A.d city. The set, his initial LP through a major label, Aftermath/Interscope Records, opened and peaked at No. 2 on the Billboard 200 and produced three top 40 hits on the Billboard Hot 100 – the No. 17 hit “Swimming Pools (Drank),” “Bitch Don’t Kill My Vibe” (No. 32) and the Drake-assisted “Poetic Justice” (No. 26). Cementing its acclaim among Lamar’s industry peers, the set was nominated for seven Grammy Awards, including album of the year.
Since that breakthrough, every Lamar project has become an event. Each of good kid’s studio album successors – To Pimp a Butterfly (2015) DAMN. (2017), Mr. Morale & The Good Steppers (2022) and GNX (2024) – has debuted at No. 1 on the Billboard 200, as have Lamar’s exploratory demo collection Untitled Unmastered (2016) and the multi-artist soundtrack that he curated for the film Black Panther (2018).
While singles success didn’t initially mirror the chart-topping results of his albums, Lamar steadily became a major player on the Hot 100. He earned his first No. 1 as a guest on Taylor Swift’s “Bad Blood” in 2015 before unlocking the penthouse on his own with “Humble.” two years later. He accumulated more top 10 hits with solo songs, including “DNA.” and “N95,” and collaborations with acts such as Maroon 5 (“Don’t Wanna Know”), The Weeknd (“Pray for Me”) and SZA (“All the Stars”).
Chart fortunes, however, surged to a new plane in 2024 following a feud with Drake that captured pop culture’s attention. Thanks to Lamar’s targeted verse on the “Like That” collaboration with Future and Metro Boomin, the song debuted at No. 1 on the Hot 100 and sparked an array of diss tracks between the two rappers. Among them, Lamar earned a second Hot 100 No. 1 with “Not Like Us,” the most successful track of the entire saga.
With public momentum in his corner, Lamar released GNX in November 2024. The set’s “Squabble Up” arrived as the rapper’s third Hot 100 leader for the year – the most of any artist in 2024. In addition, GNX tracks occupied the entire top five in its debut week, making Lamar only the fourth act – after The Beatles, Drake and Taylor Swift – to monopolize the region.
Lamar’s victory lap extended into 2025, with five wins at the 2025 Grammy Awards ceremony, including record of the year and song of the year for “Not Like Us.” On Feb. 9, he’ll headline the halftime show at Super Bowl LIX in New Orleans.
As Lamar prepares for his turn on the world’s biggest stage, let’s recap the Pulitzer Prize-winning rapper’s 20 biggest hit songs on the Hot 100, a review that encapsulates a range of his earliest, scrappy hits to world-conquering anthems.
Kendrick Lamar’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through Feb. 8, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“Bitch, Don’t Kill My Vibe”
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
Natti Natasha, Natti Natasha en Amargue (Pina Records/Sony Music Latin)
Natti Natasha continues to explore the sound of bachata on her fourth studio album, Natti Natasha en Amargue, a 10-track set produced by the king of the genre himself, Romeo Santos. From the opening song “Desde Hoy,” through “Escasez de Besos” and “Cansada,” the Dominican singer shows off her deep, raspy voice as she addresses topics such as heartbreak and betrayal with empowering lyrics of growth and self-respect. The set includes the previously released singles “Tu Loca” and “Quiéreme Menos,” as well as a collaboration with Ozuna, “Ya No Comparto,” in which a couple decides their fate after infidelity.
Santos’ trademark is felt from beginning to end, with elegant arrangements, instrumentation and back-up vocals providing a solid framework for the singer. “All these songs are an offering of love and gratitude to the Dominican Republic and to all those who have embraced bachata, in all its forms, especially to my great friend, songwriter and producer Romeo Santos,” says Natti in a statement. The union of both artists is a success. While they’re not reinventing the wheel by any means, Natti Natasha en Amargue sounds like an instant classic. — SIGAL RATNER-ARIAS
Trending on Billboard
Xavi & Manuel Turizo, “En Privado” (Interscope Records)
For Xavi and Manuel Turizo’s first collaborative effort, you’d expect them to go either the música Mexicana or pop-reggaetón route — but never a bachata. “En Privado” (in private) is just that, a surprising fusion between the tropical Dominican genre (one that Turizo has dominated) and Xavi’s signature tumbados románticos sound. Produced by Andy Clay, the track is a dedication to “la mas chula del barrio” (the most beautiful girl in the block), with a lot of hard-to-decline invitations and exciting promises. “I’m going to steal you, I’m going to maintain you/ A night in Cancun, and the next in Dubai,” Turizo chants, while Xavi also proposes: “Everything you want, my sweetheart/ I’ll even erase the girls I have on Instagram.” — JESSICA ROIZ
Silvestre Dangond & Emilia, “Vestido Rojo” (Sony Music Latin)
Silvestre Dangond’s melodic vocals could carry the entire song without any other instruments in two, but when his voice joins the vallenato’s accordion, there’s an explosion of rhythms that make this song so catchy. Argentine star Emilia joins Dangond at the minute-mark, adding her velvet vocals to the cumbia track. “Vestido Rojo” is almost like a call and response with Dangond expressing his desire to be with the women in red who seems to be playing hard to get. But he may be overthinking it. Her response? “I didn’t want anything but now I’ll give you everything,” she sings. The Colombian artist says of his collab with Emilia in a statement, “Her way of interpreting gives a new dimension to ‘Vestido Rojo’, and together we achieved a song that we hope will connect deeply with the public.” — GRISELDA FLORES
Calle 24 x Fuerza Regida, “Como Estrella” (Street Mob/Warner Music Latina)
“Como Estrella,” the latest collaboration between Calle 24 and Fuerza Regida, captivates with its evocative blend of somber brass, warm nylon strings, and introspective lyrics. Traversing the themes of perseverance and celestial guidance, the song is layered with Diego Millán’s soaring vocal range and JOP’s impactful interjections. As the chosen theme for Netflix’s series Prison Cell 211, “Como Estrella” superbly enhances the dramatic narrative. “Being part of the Prison Cell 211 soundtrack is a very important step in my career,” Diego Millán shared in a press release. “This series portrays an intense and raw reality, full of strong emotions and personal struggles, and ‘Como Estrella’ fits perfectly with that story. It’s a song that speaks of absence, memories, and the strength left behind by those who are no longer with us.” — ISABELA RAYGOZA
Los Tigres del Norte, “La Lotería” (Fonovisa)
Los Tigres del Norte return to political-social corridos — with the double-meanings and metaphors that have characterized the group’s career of more than half a century. The song’s title is named after to a typical Mexican board game that’s similar to Bingo. Penned by Luciano Luna, the lyrics compare the characters on “la lotería” game to real-life situations and people, referring to current issues that governments have not been able to resolve. “This life is just like the lottery and there are some who play the brave/ They do everything to climb the ladder because the crown makes them influential,” Los Tigres sings in its well-known traditional northern style. The first single from the group’s upcoming album is accompanied by a very special music video: a short film made by filmmaker Sergio Arau, creator of the acclaimed documentary Un Día Sin Mexicanos, which takes on even more value in these times of uncertainty that immigrants are experiencing. — TERE AGUILERA
Check out more Latin recommendations this week below:
Ye went on a hate-filled tweet spree on Friday morning (Feb. 7) in which he once again praised Nazis and Adolf Hitler, while insulting the LGBTQ community and people with disabilities with phrases such as “f–k ret-rds.”
West, whose once formidable music and fashion empire crumbled in 2022 after a string of hate-filled, antisemitic rants in which he stated “I like Hitler” and repeatedly embraced antisemitic stereotypes and hate speech, doubled-down on that rhetoric in the dozens of posts on Friday.
The all-cap tweets began early in the morning with a statement in which Ye claimed that he “turned down 3 photos this week with Make-A-Wish kids in wheelchairs,” followed by a further, full embrace of antisemitic language. “I love Hitler, how what b–ches,” Ye wrote, followed by “I’m a Nazi.”
Anti-Defamation League CEO Jonathan A. Greenblatt responded to the posts on X with a statement that read: “Here we go again. Another egregious display of antisemitism, racism and misogyny from Ye on his X account this morning. Just a few years ago, ADL found that 30 antisemitic indents nationwide were tied to Kanye’s 2022 antisemitic rants. We condemn this dangerous behavior and need to call it what it is: a flagrant and unequivocal display of hate.”
He added, “We know this game all too well. Let’s call Ye’s hate-filled public rant for what it really is: a sad attempt for attention that uses Jews as a scapegoat. But unfortunately, it does get attention because Kanye has a far-reaching platform on which to spread his antisemitism and hate. Words matter. And as we’ve seen too many times before, hateful rhetoric can prompt real-world consequences.”
Ye’s spree also included the use of homophobic slurs (“f—ot a– n–gas”), ableist insults (“dumb a– ret-rds”) and the statement “all white people are racist.” A number of the tweets were marked “visibility limited” as they ran afoul of X’s rules against hateful conduct.
Among them were comments such as, “Jewish people actually hate white people and use Black people,” “you can get money with Jewish people but they always gonna steal” and “this is how I really feel, how I really felt and how I will always feel… f–k all of your f–k a– unfair business deals any Jewish person that does business with me needs to know I don’t like or trust any Jewish person and this is completely sober with no Hennesy [sic].”
West also referenced Twitter/X owner and White House advisor Elon Musk’s repeated use of a Nazi-like salute at an inauguration event for Donald Trump last month that was widely criticized (Musk responded to critics by saying they “need better dirty tricks”). “Elon stole my Nazi swag at the inauguration… yooo my guy get your own third rale,” Ye wrote, adding, “I can say Jew as much as I want. I can say Hitler as much as I want.”
Claiming he has no interest in “adjusting nothing I do or say for anybody,” West promised to “normalize talking about Hitler they [sic] way talking about killing ni–as has been normalized,” followed by “Hitler was sooooo fresh” and “call me Yaydolf Yitler.”
The string of hate speech was seemingly embraced by white supremacist Nick Fuentes who wrote “and we’re back” in response to one of Ye’s tweets; Ye posted a series of crying laughing emoji on that Fuentes comment. Fuentes, known for his antisemitic, misogynistic and white supremacist views, also reposted a few of Ye’s most incendiary tweets, including one that read: “all you pleeeeease come at me… that’s who we spot the k–ns… let these white people and Jewish people tell you what to do and say.”
Amidst Ye’s earlier embrace of Hitler and Nazi propaganda, experts spoke to Billboard about the dangers of someone with such a wide social media reach promoting antisemitic tropes at a time when hate crimes against Jews and Jewish institutions were at the highest point in recent memory.
“At a time when the community is dealing with this level of hatred to have one of the most well-known entertainers in our culture making statements like ‘I like Hitler’ and showing up on [Jones’] InfoWars is not just vile and offensive, but it’s also endangering Jews by giving people permission to express that kind of prejudice,” Greenblatt said at the time. “People in the mainstream did not make such overtly awful, inflammatory comments before like this.”
Ye also tweeted support for Diddy, who is currently behind bars as he awaits trial for sex trafficking charges. “Puff we love you,” he posted. “I stood up for Puff and I’m still winning 20 Grammies [sic] next year and doing the Super Bowl.”
In a podcast interview earlier this week, Ye claimed that he’d recently been diagnosed with Autism Spectrum Disorder (ASD) after his wife said she thought his previous diagnosis of bipolar disorder was incorrect.
Over the past year, West had slowly begun to try and rebuild his music and fashion empire following its rapid meltdown after his 2022-2023 spree of antisemitic hate speech in interviews, which included a tweet announcing he was going “death con [sic] 3 on Jewish people,” repeated praise for Holocaust mastermind Adolf Hitler and the promotion of the white supremacist phrase “White Lives Matter” on shirts at Paris Fashion Week.
In the wake of those incidents, Ye was dropped by the Gap, Adidas, Balenciaga and his agents at CAA and his social media accounts were suspended or revoked in a fallout so wide-ranging that the former — and according to him, again — billionaire said in February of last year that he nearly went bankrupt.
At press time, the string of antisemitic statements continued unabated with Ye writing, “I don’t even know what the f–k anti semetic [sic] means… its just some bulls–t Jewish people made up to protect their bulls–t,” as well as a claim that he “channeled” misogynist influence Andrew Tate in his comments. Tate was released from five months of house arrest in Romania in January related to allegations of human trafficking and sex with a minor; Tate has denied the allegations.
Shaboozey’s “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music) continues its record run in the top 10 of Billboard’s Country Airplay chart, dated Feb. 15. The song adds a 32nd week in the tier, extending the longest top 10 residency since the survey began in January 1990. The track surpassed Dustin Lynch’s “Thinking ‘Bout You” (featuring […]
Leading up to his performance in front of tens of millions this weekend, Kendrick Lamar took a relaxing drive — in his GNX, of course — with Timothée Chalamet for an introspective one-on-one conversation about making art.
In a video posted by the NFL and Apple Music Friday (Feb. 7), the rapper — who makes sure everyone’s seatbelts are on — gives the actor a ride in his signature car as the two bond over the similarities in their respective crafts, with both sharing how they push through mental blocks in the creative process. For Lamar, he says it’s all about continuing to write no matter what to keep the muscle strong — not that he has much of a choice, as the Compton musician says penning lyrics is vital “for my own sanity.”
“That’s probably one of the biggest misconceptions about me as an artist,” he told the A Complete Unknown star. “I’m always locked in, and I’m always trying new things — whether or not I like them is a whole ‘nother conversation. But I have to keep the pen warm.”
Trending on Billboard
“It’s for my own sanity,” Dot continued. “[Writing] has also given me the opportunity to learn [about] myself, you know, find out who I am. When you’re writing, man, you’ve got to sit and go through the emotions and be vulnerable about it.”
Lamar’s pen has also gotten him to the mountaintop in 2025, with the hip-hop titan — who just days prior won both song and record of the year at the Grammys for Billboard Hot 100-topper “Not Like Us” — will take the stage Sunday (Feb. 9) in between halves at the ultimate Kansas City Chiefs vs. Philadelphia Eagles game in New Orleans. His conversation with Chalamet comes in celebration of the upcoming performance — not that he gave the Wonka actor any hints about song picks or special guests.
“I’ve been given no early access,” Chalamet said in a clip with Lamar when the interview was first announced Thursday (Feb. 6). “Top-shelf secrets.”
Toward the end of their drive, the Oscar nominee commended the musician on his success. “Just being a fan of your music forever and knowing like, look where you’re at now,” Chalamet gushed. “It’s just crazy, Super Bowl Halftime Show — you just keep climbing, bro. It’s amazing.”
“I appreciate it,” Lamar replied before revealing a fact about a song on his chart-topping November album GNX. “I mean that s–t, bro — ‘Man of the Garden,’ I mean every word on that motherf–ker, man. That’s probably the easiest record to write.”
Watch Lamar’s interview with Chalamet below.
After a former music executive criticized her speech calling for improved healthcare and pay for artists at the 2025 Grammys, Chappell Roan is clapping back and asking him to open his wallet for underpaid artists.
In a post to Instagram Stories early Friday morning (Feb. 7), Roan responded to Jeff Rabhan’s guest column published in The Hollywood Reporter, in which he called her speech “wildly misinformed.” Over a screenshot from the article, Roan directed her message straight to Rabhan, who is a former A&R executive who has worked at both Atlantic and Elektra Records.
“@jeffrabhan wanna match me $25K to donate to struggling dropped artists?” she wrote. “My publicist is @biz3publicity let’s talk.”
Trending on Billboard
In a second post, the “Pink Pony Club” singer told her fans that she would keep them “updated on the much awaited @jeffrabhan response,” including receipts of donations, before directing one more message to the former executive. “Mr. Rabhan, I love how in the article you said ‘put your money where your mouth is,’” she wrote. “Genius !!! Let’s link and build together and see if you can do the same.”
That quote in particular came from a section of Rabhan’s column in which he compared Roan to mega-stars such as Prince, Tom Petty and Taylor Swift, claiming that those artists didn’t simply call for change in the music industry (specifically when it came to negotiating better deals with their labels), but acted on it. “Skin in the game earns a seat at the table,” he wrote. “But that table requires a willingness to leave blood on the floor and to put your money where your mouth is.”
In the best new artist acceptance speech Rabhan was critiquing, Roan called out labels for failing to provide a livable wage or healthcare coverage to their artists, pointing to her own experience after being dropped by Atlantic Records in 2020. “If my label would have prioritized artists’ health, I could have been provided care by a company I was giving everything to,” she said.
Elsewhere in her Instagram Stories, Roan took a moment to highlight four artists who she said “deserve more love and a bigger platform” — she shared screenshots for the Spotify pages of Hemlocke Springs, Sarah Kinsley, Devon Again and Baby Storme.
Roan is not the only artist to call out Rabhan’s criticism. In a post on Thursday, Halsey lambasted the former executive’s criticism of Roan, calling his op-ed “boot licking behavior” and pointing out that what the singer was calling for wasn’t unwarranted. “[The music industry is] a game of investment but the investment is towards producing the materials,” they wrote. “the person *the ORGANIC MATERIAL* that is producing that product needs access to things like health care. Shocking, I know. If you want to profit off of someone else’s art; that artist should have the basic living means to feel safe enough to create that art.”
Other industry executives and advocates responded positively to Roan’s speech at the Grammys. In an interview with Billboard, the Music Healthcare Alliance’s founder and CEO Tatum Allsep said he was “jumping on my couch” when he heard her speech. “I was like, ‘Gosh, thank you for bringing this up.’ The conversation was started. What’s really important to know for all the young artists who are listening is you don’t have to go without if you are making a living within our industry.”
Billboard and The Hollywood Reporter are both owned by PMC.
Everyone’s curious about the teens and twenty-somethings who make up Gen Z. How do they interact with each other? Do they even dance in the clubs anymore? What’s the dating world like for them? With his new Wonderlove album, rising ATL-bred R&B singer Chase Shakur may have a few answers.
Introduced by singles like “Focus on Me” and the TyFontaine-assisted “Fairytailes in Midtown,” Wonderlove arrived on Friday (Feb. 7) as Shakur’s debut studio album — and his second full-length project under Def Jam. His new record charts its moody, introspective emotional odyssey through a soundscape that amalgamates gospel, soul, dancehall, Miami bass, trap, Afrobeats and more. Inspired by the surrealist world of Quentin Tarantino’s Oscar-winning Pulp Fiction and the globe-traversing DJ sets of his closest friends, Shakur sought to make an album that truly examined what love looks like for Gen Z in 2025.
“Sometimes we look at love kinda surface-level,” he tells Billboard just two days before the album drops. “We look at love for what we can get from it instead of adding to one another. I wanted to make a body of work that feels like a hug.”
Trending on Billboard
After bursting onto the scene with his 2022 debut project, It’ll Be Fine, Shakur spent the next two years pumping out music and hitting the showcase circuit in 2023. Last summer, he toured the globe alongside The Kid LAROI on the Grammy nominee’s The First Time tour.
A rapper-turned-singer with deep reverence for the roots of traditional R&B, Shakur displays tremendous growth across his debut album, which he began recording while touring London in December 2023 and finished during The Kid LAROI’s tour. On “Fairytales,” he slickly flips Sexyy Red’s raucous “Get It Sexyy” into a brooding, sensuous ballad, and he even buried a trap-inflected hidden track on the back half of the album’s closer, “A Song for Her.”
Billboard caught up with Chase Shakur about Wonderlove, deepening his film knowledge, his forthcoming tour, and honoring his family legacy through music.
Do you have a favorite moment from the creative process for this album?
Just living in L.A. for three months and being hella disciplined. I was on a meal prep routine and going to the gym; we only wore black clothes so we could lock in and not be distracted by anything else.
How do you feel you’ve grown as an artist and as a person since your debut?
I have a better understanding of what I’m trying to do with my career and my art. I’m learning maturity in my music.
What are some elements that you would consider immature in your older music?
Being scared a girl I’m talking to might hear something that I say [on a record] and crash out on me. I used to be nervous about that, but now I’m like “F–k that s—t.”
How do you think your growth manifests itself on Wonderlove specifically?
I’m a lot more fearless on this project. I had a session with No I.D. and Raphael Saadiq, and No I.D. gave a n—a the illest advice about not giving a f—k about perception. Just tell your story and bring those special nuances. I was nervous as f—k because they’re my inspirations, but they’re mad cool. In between recording, I would walk out into the lobby and get to hear how they did “How Does It Feel” with D’Angelo. We [as up-and-coming artists] overthink it. Listening to them talk about how the song was made because D’Angelo was looking for weed… we overthink a lot of the time!
You dropped your first two projects in back-to-back years. Why’d you take a bit more time with this one?
I wanted to make a story that people could understand. This was my first time doing something that had elements of surrealism, but I still wanted to keep it rough at the same time. When I was on tour [with The Kid LAROI], I was watching a bunch of movies that I hadn’t seen but everybody else had seen. I watched Pulp Fiction for the first time, and it felt real but like… your friend not gonna tell you no s—t like that, you know what I’m saying? [Laughs]. I’m trying to blend that world with my production and lyrics and make a full body of work, not just one song.
What does the term “wonderlove” mean and when did you know that was the title?
I came up with the title after coming home from tour and going to my grandma’s house. I grew up in a house with eight people, split between the women in the family and the men in the family. In Black households, we all have that picture that everybody knows. I was flipping through the photo album with my grandma, and there’s a picture of her and my grandpa. I never met my grandpa, but my grandma used to always tell me about the love they had for each other and the type of man he was. In her telling me that, I wanted to make something that was the opposite of what people are talking about right now.
Other than Pulp Fiction, what else were you consuming while making Wonderlove?
I listened to a lot of stuff. Reggae, a lot of Afrobeats, R&B of course. I watched Belly and Paid in Full – I know, I’m supposed to have been seen that shit – and Eternal Sunshine of the Spotless Mind. I’ve just been studying film, man; I’m trying to make my visuals stand out with those elements of surrealism.
I think when people see me – I don’t know what they think really – but I feel like there’s an element of mystique. And with mystique, there’s a little bit of magic.
How did the Smino collaboration come together?
I was on The Kid LAROI’s tour, and he sent his verse a month before I left Baltimore. I randomly got it on the bus, and I was like, “What the f—k!” In my personal opinion, we got the best Smino verse in a minute. The video for that is gonna be wild too, so I’m excited. There’s always an element of unpredictability; I was playing his s—t months before that particular exchange even transpired. I like having a blend of vocals or a different contrast when I collaborate with people. I also want to step outside [my comfort zone] and mix genres.
You got a track on here called “Sex N Sade.” What’s your favorite Sade song?
“Soldier of Love!”
You end the album with a slightly more traditional piano-led ballad. How do you keep traditional R&B present in your style?
For this album, I would say the [main traditional] element was gospel music. With “2ofUs,” my mentor, Ari PenSmith, really helped me understand how to use my voice in a way that still has what I grew up on: the gospel and blues elements of traditional R&B.
In the past, I undermined my vocal evolution. I listened to the last project I dropped a couple of days ago, and vocally, I’ve made a 180 [degree turn]. When you listen to the first joint and then listen to me now, I’m much more confident and open.
“Undercover Angel” is a sick mix of Miami bass and dancehall. What was that studio session like?
Everybody thought I was crazy when I said [that was gonna work], ain’t gon lie. That’s slick how it goes a lot of the time, and then it works! A lot of my friends are DJs, and I go to their events and listen to their mashups and s—t. I record them when they blend Afrobeats and all that, I think it’s cool. I don’t know what made me want to have those dancehall elements, but I just wanted people to have fun. People be like, “What the f—k?” when they hear it – especially when the bass drops.
“Face” also has some overt house influences. Do you plan on exploring dance music further on future projects?
I try everything in the studio. I have rock songs, I got jazz songs, I got country songs, everything. When I tried making dance songs for the first time, it wasn’t cause I could dance. I can’t f—king dance. When I started working on this album, I was going to a lot of clubs where it wasn’t section culture. I’m in Atlanta, so I’m pulling up on R&B nights and seeing it’s possible for us to have fun and be cool at the same time. That’s what inspired me to make and throw out more dance songs.
How have you grown personally and professionally since signing to Def Jam?
I learned that everything is a choice. Somebody told me that, at this stage, you can choose to do three shows a night or do one show and go home. But it’s all up to you to put in 10,000 hours — not just with recording, but performing and being an all-around artist too. I know I want to be an artist with longevity, and being on Def Jam is teaching me ways to be patient with that.
Do you have any tour plans?
It’s gonna be a family affair, man. I’m excited about the tour. I got SWAVAY opening up and my family with me. Got a couple of shows being opened up by artists from the [Forever N September] collective. We’re coming with a stage that tells a story. It’s my first time doing some stage design, so this is a real learning process. I’m most excited to perform “Say That You Will.”
Oasis are prepping a 25th anniversary reissue of their fourth studio album, Standing on the Shoulder of Giants, which will be released in a pair of limited-edition vinyl versions on Feb. 28.
The fourth album from the Britpop superstars was released in February 2000 and marked a left-turn into more electronic-based psychedelic sound featuring drum loops, electric sitar, Mellotron, synthesizers, backwards guitar and samples layered into their signature heady, Beatles-inspired rock sound on the bull rush opening track “F****n’ In the Bushes” and the swirling “Put Yer Money Where Yer Mouth Is.” The collection also featured one of their classic acoustic ballads, the single “Go Let It Out,” as well as singles “Where Did It All Go Wrong?,” “Who Feels Love?” and “Sunday Morning Call.”
Friday’s (Feb. 7) announcement came just 147 days (but who’s counting?) before formerly battling brothers singer Liam and guitarist/songwriter/occasional singer Noel Gallagher kick off their eagerly anticipated 2025 reunion tour.
Trending on Billboard
The anniversary edition of the album will be issued in silver vinyl and an official store-exclusive blue and purple marble edition on the anniversary of the LP’s original release on Feb. 28, 2000. They also teased a new lyric video for “Go Let It Out,” slated to premiere at 11 a.m. ET on Friday.
A press release announcing the reissue noted that the album marked a new era for the group, with “Go Let It Out” the first release on the Gallaghers’ Big Brother Recordings Ltd. label, established after the sudden shuddering of their former label, Creation Records.
Oasis are slated to kick off their 2025 stadium tour on July 4 with the first of two dates at Cardiff, UK’s Principality Stadium, after which they will criss-cross the UK and Ireland before hopping over to North America on August 24 for a show at Rogers Stadium in Toronto. They will hit Chicago, New Jersey and Los Angeles before moving on to Mexico City, South Korea, Japan, Australia and South America, winding down with a Nov. 23 show in Sao Paulo, Brazil.
See the reissue announcement below.