Music

Here’s Why Lily Allen Apologized to Elton John for Years of ‘Resentment’

Everyone has to put their foot in their mouth sometimes, even notoriously outspoken artists like English singer-songwriter Lily Allen. On Monday (May 6), the “Smile” singer formally apologized to Elton John for her years-long resentment of him — and she also revealed how it all stemmed from a grave misunderstanding on her part.

The newly-minted EGOT winner and Allen have a storied history together, with John having been her manager years ago. “He would call me like once every couple of weeks to check in and say hi and make sure I was okay,” she reminisced on the “Miss Me?” BBC podcast that she co-hosts with Miquita Oliver. “And there was some times in that period where I wasn’t okay.”

Allen was signed to John’s Rocket Music Entertainment Group when she was recording and promoting 2009’s It’s Not Me, It’s You, which peaked at No. 5 on the Billboard 200, marking her highest-charting LP in the U.S. The two officially parted ways some years later following the release of Sheezus, Allen’s third studio album, in 2014.

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“We parted ways, and I wrote this long letter to say how sad I was about the situation and that there was a big Elton-shaped hole in my life,” she said on the podcast. “Over the next few years as my life began to sort of spiral out of control, I held much resentment for the fact that I’d made myself very vulnerable in this letter and told him all about my sobriety, and I was quite cross with him for a few years.”

After Oliver probed for specifics regarding the source of Allen’s animosity toward John, she explained, “When I moved here to America, I was unpacking and I found the letter. I never sent it! Elton, if you’re listening — which you’re probably not — I love you and I no longer harbor that resentment towards you.”

While John has not publicly acknowledged Allen’s admission, the revelation does mark a relatively lighter news cycle for the controversial “5 O’Clock” singer. Earlier this year, Allen criticized the “quite calculated” campaign behind Beyoncé‘s critically lauded Cowboy Carter album, to which “212” rapper Azealia Banks replied, “You’re going to stop right there and sit this one out.”

Both Banks and Allen have been vocal critics of Queen Bey’s country pivot, which hasn’t deterred the “Texas Hold ‘Em” singer from topping both the country and Americana/folk charts with her star-studded new album.

Creepy Nuts’ ‘Bling-Bang-Bang-Born’ Returns to No. 1 on Japan Hot 100 as Mrs. GREEN APPLE Rises to No. 2

Creepy Nuts’ “Bling-Bang-Bang-Born” returns to No. 1 on the Billboard Japan Hot 100, dated May 8, extending its record to 14 weeks atop the tally.



The hip-hop hit dominated the chart for most of this year after it first hit No. 1 on the chart released Jan. 31 and stayed there for 13 straight weeks. The MASHLE Season 2 opener slipped to No. 2 last week (May 1) but returned to score its 14th week atop the list. The track has increased in all metrics of the chart’s methodology except streaming compared to the previous week. Downloads for the long-running hit are up by 117%, radio airplay and video views by 105%, and karaoke by 120%. And it’s far from doing poorly in streaming as well; weekly streams remain almost the same as the week before and the total has surpassed 300 million at the second fastest pace in Japan chart history.

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Moving 4-2 this week is Mrs. GREEN APPLE’s “Lilac.” The song gained 130% in downloads, 127% in karaoke, and notably, 425% in radio from the week before, hitting its highest position yet.

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Debuting at No. 3 is SixTONES’ 12th single “Neiro.” The theme song for the drama series Omukae Shibuya-kun starring member Taiga Kyomoto launched with 540,564 CDs sold, outselling the group’s previous single “CREAK” (471,285 first-week sales). The track tops sales and comes in at No. 9 for radio and No. 18 for video.



In other chart moves, the theme song of a project by TOBE’s artists, called “Be on Your side,” re-enters the chart at No. 12 after selling 75,157 copies in its first week, and the first single “MORNING SUN” by EXILE B HAPPY — the new EXILE TRIBE music group led by EXILE TETSUYA — bows at No. 15.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Apr. 29 to May 5, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

GloRilla’s ‘Yeah Glo!’ Jumps to No. 1 on Mainstream R&B/Hip-Hop Airplay Chart

GloRilla’s anthem “Yeah Glo!” wins the No. 1 spot on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as the single crowns the list dated May 11. It climbs from No. 2 after a 14% surge in plays made it the most-played song on U.S. monitored mainstream R&B/hip-hop radio stations in the April 26 – May 2 tracking week, according to Luminate.

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“Yeah Glo!,” promoted by CMG/Interscope Records/ICLG, gives rapper GloRilla, whose real name is Gloria Woods, her third No. 1 on Mainstream R&B/Hip-Hop Airplay. She previously reigned with her first two appearances: “FNF,” with producer Hitkidd, topped the list for one week in August 2022, while “Tomorrow 2,” with Cardi B, ruled for 10 nonconsecutive weeks in December 2022 – February 2023.

The “Yeah Glo!” radio rise parallels the song’s strong streams due to viral buzz on social media. It’s been especially prominent on TikTok, where users have used the song in clips in two common ways. In one version, two people rock side to side – one delivering the hook’s main lyrics, while the other acts as a hype act and lip syncs the “yeah, Glo!” ad-lib between lines. The song has also inspired a dance challenge, which GloRilla herself has noticed and participated in during her latest concerts. One video of the rapper from a stop at Louisiana State University, by user @amyroselin, has drawn 10.6 million views on the platform.

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In addition to its Mainstream R&B/Hip-Hop Airplay triumph, “Yeah Glo!” drives 7-3 on the Rap Airplay chart through a 16% increase in weekly audience. It likewise cracks the top five on R&B/Hip-Hop Airplay, which ranks songs through combined audience totals from adult R&B and mainstream R&B/hip-hop stations. There, it pushes 6-5 and registers 12.6 million in audience, up 15% from the previous week. On Rhythmic Airplay, “Glo!” grows 22-21 thanks to an 18% boost in plays at the format in the tracking week. Combined, the mounting radio activity thrusts “Glo!” 37-27 on the all-genre Radio Songs chart, where it tallied 17.4 million in total audience, a 16% week-over-week gain.

Swelling radio activity, in turn, helps fuel “Yeah Glo!” on the multi-metric Hot R&B/Hip-Hop Songs chart, which combines radio airplay results with streaming and sales data for its ranks. It climbs 13-11 on the list thanks to 17.4 million in airplay audience, 12.6 million official U.S. streams (up 7%) and 1,000 in sales (down 5%). The same statistics also spark its 59-38 swing on the all-genre Billboard Hot 100.

“Yeah Glo!” appears on GloRilla’s Ehhthang Ehhthang EP, released on April 5. The set debuted at No. 5 on the Top R&B/Hip-Hop Albums chart and has remained in the top 10 for its first four weeks, sitting at No. 8 on the current edition.

Questlove Blasts Kendrick Lamar and Drake Feud While Declaring ‘Hip-Hop Truly Is Dead’

While Kendrick Lamar and Drake’s heavyweight battle has been a spectacle sweeping pop culture for the last few weeks, Questlove isn’t thrilled with the messy feud and its “mudslinging” antics.

The Roots drummer scoffed at Drake and K. Dot’s war in a fiery Instagram post on Tuesday night (May 8) where Quest put fans on blast for their visceral reactions to the haymakers exchanged on the scathing diss tracks.

“Nobody won the war. This wasn’t about skill. This was a wrestling match level mudslinging and takedown by any means necessary — women & children (& actual facts) be damned,” he wrote before declaring hip-hop to be dead. “Same audience wanting blood will soon put up ‘rip’ posts like they weren’t part of the problem. Hip Hop truly is dead.”

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Questlove’s post made references to both Drake and Kendrick bringing family and children into the beef in a very personal way to attack one another. K. Dot accused Drizzy of hiding an 11-year-old daughter on “Meet the Grahams,” while the 6 God alleged that Lamar’s manager Dave Free was the father of one of the Compton rapper’s children on “Family Matters.”

“Here We Are Now…Entertain us,” Questlove captioned the post, quoting Nirvana’s “Smells Like Teen Spirit.”

Quest turned off his Instagram comments, but that didn’t stop his hot take from sparking reactions on X as one user reminded Quest that he played the drums for Jay-Z’s Unplugged live album in 2001 that included “Takeover,” Hov’s diss track against Nas. “Wasn’t Questlove the drummer on ‘Unplugged’ live where Hov performed ‘Takeover?’” the user wrote. “A battle where women and children were also mentioned? Shut up, man.”

Including Kendrick’s explosive assist on Future and Metro Boomin’s “Like That” in March, Lamar and Drake exchanged 10 diss tracks in total with the latest installment coming on Sunday (May 5) with the defensive “The Heart Part 6,” where Drake shut down pedophilia allegations repeatedly made by K. Dot.

Read Questlove’s full post below:

Will Kendrick Lamar’s Drake Diss Go to No. 1 – And If So, Which One? 

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard Hot 100 dated May 18), the Kendrick Lamar-Drake beef that’s dominated pop culture for the past month sets its sights on also taking over the Billboard charts.   

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Kendrick Lamar, “Not Like Us” (pgLang/Interscope/ICLG): Though it arrived as the fourth diss track in Kendrick Lamar’s anti-Drake campaign – fifth if you count “Like That” — “Not Like Us” appears on its way to being the rapper’s biggest single since at least that initial Future and Metro Boomin collab, which topped the Hot 100 in its first three weeks on the chart in April. Since debuting on Saturday night (May 4), the Mustard-produced banger has simply swept through pop culture, being played on NBA on TNT broadcasts and as MLB walk-up music and inspiring mash-ups and club chants and general West Coast fan hysteria.  



The public response has been overwhelming enough that even with its late Saturday release – meaning it will only have a little over five days of consumption in its debut tracking week – “Not Like Us” should still be a strong contender for a No. 1 Hot 100 debut next week. The song shot to the top of essentially every relevant daily or real time chart (including Spotify, Apple Music, YouTube Trending and iTunes) and is currently still gaining steam, with its eye-popping most recent Spotify U.S. total of over 6.8 million plays (for Tuesday, May 7) being its highest yet.  

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Competition for the top spot will still be stiff in such a loaded period for new hits, including from other songs by Kendrick himself. But “Not Like Us” is outpacing the competition enough right now to likely be the frontrunner for next week’s chart – and regardless is certainly on pace to be one of the defining hits of this year, as well as one of the biggest songs of Lamar’s decade-plus hitmaking career.  

Kendrick Lamar, “Euphoria” (pgLang/Interscope/ICLG): Before the arrival of “Not Like Us,” it still seemed like Lamar would have the inside track on the Hot 100 with the first shot from his recent attack wave, “Euphoria.” That track, a vicious six-minute assault on Drake’s character that also became a pop culture phenomenon upon its release two Tuesdays ago (April 30), managed to debut at No. 11 on this week’s Hot 100 (dated May 11) from just two and a half days of tracking. 



Following its first full week of release, “Euphoria” should also be a major contender for the top of the Hot 100, as it has been holding strong near the top of most daily DSP charts in the days since. (Both “Euphoria” and “Not Like Us” are just getting going on radio, each drawing a little over a million airplay impressions in the first four days of the tracking week, May 3-6, according to Luminate.) With “Not Like Us” lapping it basically across the board as the popular favorite from this back and forth, however, “Euphoria” might have missed its best shot at nabbing the No. 1 spot, and will likely have to settle for the silver or bronze on the chart next week.  

Kendrick Lamar, “Meet the Grahams” (pgLang/Interscope/ICLG): Perhaps the nastiest of Lamar’s invectives against his rival, “Meet the Grahams” arrived on Friday night (May 3), a day before “Not Like Us.” The song doesn’t quite have the invigorating punchiness of “Euphoria” or the sheer club-readiness of “Us,” and so it hasn’t quite taken over the culture like those two certified hits. But its performance since arriving on all DSPs on Sunday (after a YouTube-only debut) has been notable enough – with the song currently ranking in the top 10 on both the Spotify and Apple Music updating charts, as well as on iTunes – that it should still be ticketed for a fairly high debut on next week’s Hot 100.  



There is of course a fourth Lamar song from song from the feud that was released the past weekend, in Friday morning’s “6:16 in L.A.” — but that song was an Instagram-only release, meaning its streams will not contribute to Billboard chart calculations, and it will not be eligible for the charts next week. However, “Like That” — the Future and Metro Boomin collab that kicked all of this off a month and a half ago — is also still hanging around the Hot 100’s top 10 (No. 8 this week, following its three-week reign), and is up in consumption following the brighter spotlight on the beef, so it will also certainly be in the mix for next week (if no longer a likely top-spot contender).  

IN THE MIX 

Drake, “Family Matters” (OVO/Republic): Don’t forget about the other guy in the beef! Though Drake is obviously trailing both in terms of public opinion and in overall streams/sales count in this back-and-forth – as well as in terms of total songs, with just two this past weekend to Lamar’s stunning four – his “Family Matters” is still on pace for a very high bow on the Hot 100, as the Friday night-released diss track is still ranking in the top 10 on both Spotify and Apple Music. (Sunday night’s follow-up “The Heart Part 6” has only been released on YouTube so far.)

Tommy Richman, “Million Dollar Baby” (ISO Supermacy/Pulse): You gotta feel for Tommy Richman a little: If not for the Kendrick-Drake showdown generating more drama and attention than the entirety of the NBA playoffs, he’d very likely be the biggest story in the music world right now. The little-before-known Virginia singer-rapper debuts at No. 2 on the Hot 100 this week with his runaway breakthrough hit “Million Dollar Baby,” and the song has only been rising on streaming and in airplay and sales in its second week of release. But unless interest in the beef (or at least Kendrick’s musical part in it) tails off mightily in the last couple days of the tracking week, Richman’s likely gonna have to wait at least one more week to climb that last spot and take over the Hot 100’s apex.  

Ana Bárbara & Kany Garcia to Be Honored at Billboard Latin Women in Music 2024

Ana Bárbara and Kany García will be among the artists honored at the second edition of Latin Women in Music, Billboard and Telemundo announced today (May 8). The program will air exclusively on Telemundo on Sunday, June 9.

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Hosted by Jacqueline Bracamontes, the two-hour music special will celebrate Latina artists who “proactively work for positive change, inclusion, and gender parity in the music industry,” according to the press release. It will also stream on the Telemundo app and Peacock.

According to the initial list of honorees, the Queen of Grupera Ana Barbara will receive the Lifetime Achievement Award for her three decades of unparalleled influence in regional Mexican music and Latin pop.

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Throughout her career, which dates back to the mid-1990s, the San Luis Potosí native has not only conquered hearts, but has also shaped the regional style, earning a special place in the history of Latin music. “Ana Bárbara’s success has represented a powerful statement of female empowerment, struggle and resilience,” the statement said. “She managed to break down barriers, concepts and opened the way for other women in the industry, becoming an artistic inspiration, and a symbol of admiration and respect in the regional Mexican genre.”

Meanwhile, Puerto Rican singer-songwriter Kany García will receive this year’s Spirit of Change Award, which recognizes an artist who “drives positive change within music, society and beyond entertainment.” García — who just released her latest album, GARCIA — has used her talents and platforms to advocate for meaningful social causes, including support for LGBTQ+ rights, gender equality and social justice.

At last year’s Latin Women in Music event, honors were granted to those who’ve made significant contributions to Latin music and its industry. The recipients included included Shakira as Woman of the Year, Ana Gabriel as Living Legend, Thalia as Global Powerhouse, Maria Becerra as Visionary, Emilia as Rising Star, Evaluna as Tradition and Future and Goyo as Agent of Change.

In the coming weeks, Billboard and Telemundo will announce additional Latin Women in Music honorees in 2024.

Hot 100 First-Timers: Mark Ambor Breaks Through With Viral Hit ‘Belong Together’

Mark Ambor scores his first career entry on the Billboard Hot 100, thanks to his breakthrough viral hit “Belong Together.”

The song, which he self-released Feb. 16 in partnership with Hundred Days Records and Virgin Music Group, debuts at No. 87 on the May 11-dated Hot 100 with 7 million official chart-eligible U.S. streams (up 15%) and 1,000 downloads sold (up 14%) in the April 26-May 2 tracking week, according to Luminate.

“It’s so surreal to see a song I made alone in my basement resonate with the world in the way it has,” Ambor tells Billboard. “I’ve always seen the Billboard Hot 100 as this almost unreachable thing, and to see my song now in it is just so fulfilling and unbelievable. I’m truly grateful for everyone who’s here and supportive of the things I make. This is just the beginning.”

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Before releasing the song in full, Ambor had teased it for several weeks on TikTok, where two versions have gone viral. Its original audio has soundtracked over 80,000 clips, while a sped-up mix has been used in over 400,000 videos. Ambor himself boasts more than 1 million followers on the platform. He has already begun teasing a new song, “Our Way,” along with an album, but hasn’t yet announced release dates for either. (Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.)

“Belong Together” became Ambor’s first overall Billboard chart entry in April, when it debuted on the Billboard Global Excl. U.S. chart. It rises to a No. 24 high on the May 11-dated edition and jumps 55-37 for a new best on the Billboard Global 200.

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Ambor released his debut seven-track album, Hello World, in 2022 and three singles in 2023, including the viral hit, “Good to Be” (150,000 clips on TikTok). He wrapped a run of European tour stops in April.

Future Keeps Momentum Going by Announcing New Mixtape

Future is having a banner year and has no plans of slowing down. The Atlanta rapper took to X early Wednesday (May 8) to announce Mixtape Pluto is back and that he’s dropping something on Friday, May 10.

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Both of Future’s recent albums alongside producer Metro Boomin went No. 1 on the Billboard 200, and their song “Like That” featuring Kendrick Lamar, which set off the biggest rap battle in decades, reached No. 1 on the Hot 100. This will be his first mixtape since 2018’s Wrld on Drugs with the late Juice Wrld, and his first solo tape since 2016’s Purple Reign.

Future and Metro headed up the Rap Game Sinister Six that seemingly neutralized Drake, with Kendrick Lamar finishing the job over the weekend (for now, at least). There’s no word if this mixtape will continue the Drake onslaught, but the Canadian rapper did mention Future’s name in his diss record “Family Matters,” saying, “Pluto s–t make me sick to my stomach, we ain’t never really been through it.”

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There is some speculation, though, that Future is releasing this tape to compete with Gunna’s new album, One of Wun, dropping the same day, and Gunna might be feeling the same way. The Atlanta rapper seemingly responded to Future on X.

Rap beef seems to be in the air, which is great as long as it stays on wax. Competition is healthy for the game. Many fans on X, however, are torn between having to pick a side if this beef is indeed true. Check out what some had to say below.

Beyoncé Joins Viral ‘II Hands II Heaven’ Dance Challenge: Watch

Beyoncé may be notoriously elusive, but she always has an ear to the streets. On Wednesday (May 8), the Grammy winner shared two Instagram posts commemorating her visit to this year’s Coachella festivities, from supporting protégé Chlöe Bailey to joining in on the “II Hands II Heaven” dance challenge.

The first post, which Queen Bey used the official “II Hands II Heaven” sound for, consisted of a single reel that finds the “II Most Wanted” singer wearing a black cowboy hat, sparkly blue daisy dukes, a Willie Nelson T-shirt, platform boots and a fringe jacket doused in the print of the American flag. Both the Cowboy Carter banner and promotional hauler that were present during both weekends of Coachella also appear in the clip.

To top it all off, Beyoncé tried her hand at the viral “II Hands II Heaven” dance challenge, which began when a fan (X user @cuddapotato) posted a clip of Drea Kelly’s burlesque rehearsals with the Cowboy Carter standout in place of the original music (April 1). The video quickly went viral because of how well Kelly’s choreography fit to the “II Hands II Heaven” lyrics, “Pull my fit over these hips/ You grip, I grind/ Then taste this wine, I’ma taste what’s mine/ ‘Cause I’ma take what’s mine.”

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The video’s virality kicked off a string of other Drea Kelly-meets-Cowboy Carter clips, including hilarious takes on album cuts such as “Desert Eagle,” “Riiverdance” and “Sweet * Honey * Buckiin’” (with Shaboozey). Queen Bey’s addition to the challenge, which she presumably shot during Coachella, is more stop-motion than a proper video, which only adds to its humor.

In her other post, Beyoncé flaunted her outfit some more and shared sweet pictures with Kelly Rowland and Bailey, who performed an electrifying Coachella set in anticipation for her forthcoming sophomore solo studio album, Trouble In Paradise. On April 20, the “Have Mercy” singer shared her own take on the “II Hands II Heaven” challenge via TikTok, which she shot backstage at Coachella.

Drea Kelly, choreographer, dancer and ex-wife of disgraced R&B singer R. Kelly, has already given the “II Hands II Heaven” challenge her approval.

“I have been doing that choreography almost two years now (and it) has been on my page,” she told Vibe. “But you know, I want this to be a testament to people. Your gifts will make a way for you. And I don’t care what anybody thinks. Don’t think you’re too old. Don’t think your content is too old. Something that you put on your page years ago, somebody can discover and it has a new life.”

Beyoncé dropped her Billboard 200-topping Cowboy Carter album March 29, scoring simultaneous No. 1 debuts on Top Country Albums and Top Americana/Folk Albums in the process. Led by the historic Billboard Hot 100-topping “Texas Hold ‘Em,” the album features appearances by several country music icons and rising stars, from Dolly Parton to Hot Country Songs chart-topper Shaboozey.

Watch Beyoncé take on the “II Hands II Heaven” dance challenge below.

Steve Albini, Legendary Engineer/Producer of Nirvana, Pixies Albums, Dies at 61

Steve Albini, the legendarily exacting producer/engineer and frontman of the noisesome indie rock bands Shellac and Big Black has died at 61. According to a staff member at Albini’s Electric Audio Recordings studio in Chicago, Albini died of a heart attack on Tuesday night (May 7).

Though he disdained the term “producer,” preferring “engineer” instead, Albini said in a 2018 interview that worked on more than 2,000 albums, mostly for underground or indie bands, but also notably on projects by two of the most important and influential bands of the late 1980s and early 1990s.

In addition to recording Nirvana’s final full studio album, 1993’s In Utero, he also worked on the beloved 1988 album Surfer Rosa by one of late Nirvana singer Kurt Cobain’s favorite bands, the Pixies. Constantly toggling between albums by A-list major label acts (PJ Harvey’s lashing 1993 album Rid of Me, Bush’s Razorblade Suitcase) and beloved indie bands from his native Chicago (Urge Overkill, The Jesus Lizard, Tar), Albini was also a prolific musicians in his own right with a series of hardcore and noise bands, including Big Black, Rapeman and Shellac.

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Born in Pasadena, Calif. on July 22, 1962, Albini positioned himself as a staunch outsider in the mainstream music industry, which he considered exploitative, refusing to accept the traditional producer royalties for any of the albums he recorded at his Chicago studio.

Shellac were poised to release their first album in a decade, To All Trains, next week, and had booked a series of shows in England in June, followed by a run of U.S. dates in Chicago, New York and Los Angeles in July.

Often working on dozens of albums per year, Albini kept up his torrid pace recently, re-teaming with frequent collaborator folk singer Nina Nastasia in 2022, as well as working on albums by Black Midi, Spare Snare, Liturgy and Code Orange over the past two years.

This story will be updated.