Music

M Is for Mexico: Madonna Justifies Her Love for Frida Kahlo, Brings Celeb Guests Onstage at Mexico City Concert

Madonna is performing a series of five concerts in Mexico City this week as part of her Celebration Tour, an occasion that the Queen of Pop has taken to reiterate her love for Mexican culture and one of its most iconic figures: the famous painter Frida Kahlo.

“As you know, I have a great history, a long history with Mexico,” the superstar said Saturday night at the Palacio de los Deportes during her performance of “Burning Up,” according to La Razón. “When I was a girl, I discovered Frida Kahlo. I went to the only museum that existed in Detroit, and there were Diego Rivera murals everywhere, but to be honest, I was more interested in a small picture in a corner, of a beautiful woman with her hair gathered in braids and intense eyes.”

Previously, Madonna met with the Kahlo family on Thursday at their home in the city neighborhood of El Pedregal, and wrote an emotional dedication in the guest book expressing she was inspired by the iconic painter, who she considers to be her “soul mate,” reported Mexican newspaper Reforma.

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Just as she’s been doing at different stops on her tour, the Material Girl has had special guests in Mexico during the performance of “Vogue” to judge a handful of dancers in a dance competition. On Saturday, at the first of her shows at the Palacio de los Deportes, she had Mexican comedian Guillermo Rodriguez, known as Jimmy Kimmel’s sidekick on ABC’s late-night show Jimmy Kimmel Live!

“When you go to a Madonna concert and she CALLS YOU UP ON STAGE!!!,” says a shared post from Rodriguez and Kimmel on Instagram with a video of the moment in the show.

The second guest was Cuban actor Alberto Guerra, who lives in Mexico. He shared the moment on his social media, along with some snapshots to immortalize the moment. “Thank you Madonna, for giving me the memory of a night that will live forever in my heart,” the actor wrote in English on Instagram.

On Tuesday (April 23), the surprise guest was Mexican influencer Wendy Guevara, a trans actress who won Televisa’s reality show La Casa de los Famosos in 2023, and who was greeted with cheers from the audience when she got onstage. “And a dream come true,” Guevara captioned a photo of her with Madonna on Instagram.

Madonna’s final performances in Mexico City are on Wednesday and Friday. It’s unknown if she will have more guests at press time.

Eminem’s ‘Mockingbird’ Video Flies Past 1 Billion Views on YouTube

After reaching 1 billion streams on Spotify last year, Eminem’s “Mockingbird” video has entered another billion club with the introspective clip surpassing 1 billion views on YouTube.

The 2004 Encore single is Em’s fifth solo video to cross 1 billion views and his sixth overall including Akon’s “Smack That” (Eminem also produced “Smack That”).

The heartfelt John Quigley-directed “Mockingbird” visual finds Eminem speaking to his then-9-year-old daughter Hailie Mathers and adopted daughter Alaina while getting emotional watching childhood home videos.

The Detroit icon reflects on his trials and tribulations as a father and the relationship issues with Hailie’s mother, Kim, in a promise to be better amid their humble beginnings.

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“This isn’t a song, it’s a masterpiece,” one fan wrote in the YouTube comments, while another added: “Man I haven’t heard a rap song like this in f—ing years…. there’s really no rap song today compared to this!” The official “Mockingbird” video was uploaded to YouTube on Christmas Eve (Dec. 24) of 2009.

“Mockingbird” reached No. 10 on Billboard‘s Rap Songs chart and is currently halfway to diamond status at five times platinum. The track had a revival in the streaming era thanks to a surge in TikTok plays before Em’s catalog was taken off the platform.

Amid leaks and a mid-week release date, Encore arrived in November 2004 and debuted at No. 1 on the Billboard 200, with 710,000 albums sold in its first week.

“It became a misstep and I struggled to get over the fact that I didn’t do my best. My best would’ve been good enough if the leaks hadn’t happened. But I released what I had at that point in time, and I feel that put a kind of a mark on my catalog,” Em told XXL when reflecting on the lukewarm reception to Encore.

Encore did some decent numbers, but I was never that concerned with numbers,” he added. “I was more so worried about what people think about the album. Critics and fans were important to me, and they were always at me about that project.”

Watch the “Mockingbird” video below.



Chance the Rapper Announces ‘Star Line’ Mixtape

Chance the Rapper is making his long-awaited comeback.

The Chicago MC has announced a new mixtape entitled Star Line inspired by his trip to Ghana and Marcus Garvey’s Black Star Line — a short-lived shipping and transportation endeavor meant to transport goods, services and African-American tourists to and from Africa. Chance posted a trailer recently of him in Ghana and clips of him in various studios working on new music. The clip features fellow Save Money member Vic Mensa, as well as Lil Wayne, Lil Yachty, T-Pain, Jazze Pha, Jermaine Dupri and DJ Premier, all helping him put this new era together.

Late last year, Chance announced on Instagram Live that he would be dropping an album called Star Line Gallery in the spring of 2024. There’s no word on if the Star Line mixtape will be a precursor to Gallery, but Chano has thrown snippets up on his IG, the earliest of which he posted in January 2023.

Yesterday he posted an IG Reel of a song named “Buried Alive” asking if he should drop a video.

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Each clip he’s shared of his new direction has featured a darker tone with black backgrounds and white subtitles. In “Buried Alive,” he mentions his former manager, his recently divorced wife, his money and the hype that once surrounding him. He seems to be addressing all the drama he’s been involved in since dropping his debut studio album The Big Day in 2019. Everything he’s teased has sounded promising.

We’re looking forward to seeing where he plans to take his new sound.

Forrest Frank’s ‘God Is Good’ Debuts in Top 5 on Top Christian Albums Chart

Singer-songwriter Forrest Frank hits the top five with his maiden entry on Billboard’s Top Christian Albums chart.

The Houston native and Baylor University graduate’s four-song EP God Is Good enters the April 27-dated chart at No. 5. Released April 12, it earned 4,000 equivalent album units in the U.S. in the week ending April 18, according to Luminate.

The 28-year-old — who is also in the “Sunday Best” duo Surfaces — initially received traction by posting videos on social media. He boasts over 500,000 followers on TikTok and 2 million on Instagram.

The EP’s “Good Day,” Frank’s first single promoted to Christian radio, climbs 23-19 for a new high on the Christian Airplay chart, up 10% to 1.4 million audience impressions. On Christian AC Airplay, it lifts 29-24 (up 17% in plays).

On the streaming-, airplay- and sales-based Hot Christian Songs survey, “Good Day” ranks at No. 3, after hitting No. 2 in March. It drew 2.7 million streams (up 8%) and sold 1,000, as it tops Christian Digital Song Sales for an 11th week.

Also on Hot Christian Songs, Frank’s “Up!,” with Connor Price, ranks at No. 10, after reaching No. 8, marking Frank’s other top 10 to date. (The song is not on God Is Good.)

Concurrently, the three additional tracks on God Is Good chart on Hot Christian Songs: the title track, with Caleb Gordon, a debut at No. 19; “Always” (new No. 22 high); and “Low Key” (new No. 36 best).

Frank is currently working on an LP expected to be released this year.

Armstrong’s Third No. 1

Jor’Dan Armstrong earns his third total and consecutive Gospel Airplay chart-topper with “You.”

The Atlanta-based artist, originally from Baton Rouge, La., previously led with his duet with Erica Campbell, “You,” for three weeks in December 2022 and “My God” for two frames beginning December 2021.

Armstrong logged his first of five Gospel Airplay entries in 2014 as featured on Uncle Reece’s “I Can’t Help Myself,” which hit No. 21 that June. He followed with “So Much Luv,” which reached No. 19 in October 2017.

HHW’s Top 30 Greatest Female Rappers Of All Time, Ranked: 2024

When it comes to Hip-Hop, it’s no secret that women are currently dominating the charts. A once male-dominated industry has now, though begrudgingly, become more diverse as female rappers have not only proven that they are just as talented, but that they can attract more fans, create chart-topping hit records and execute better performances.

11. Remy Ma

12. Cardi B 

13. Eve

14. Megan Thee Stallion 

15. Rah Digga 

16. Jean Grae

17. Trina

18. Left Eye 

19. Lady of Rage 

20. Bahamadia

21. Roxanne Shante 

22. Mia X

23. MC Sha-Rock

24. Gangsta Boo

25. Shawnna

26. Ladybug Mecca

27. Yo-Yo

28. Monie Love

29. Young MA 

30. Sa-Roc

1. Queen Latifah – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Queen Latifah told y’all what it was on her 1989 debut All Hail the Queen: “Ladies first.” Latifah, born Dana Owens, can be credited with being one of the first MCs, male or female, to turn her rap career into a longstanding position in Hollywood. She might be the queen of reinvention as she’s been able to add actor, jazz vocalist, actor, author and talk show host to her repertoire. In Hip-Hop, she showcased the duality of being a woman in this business; she could be sensitive and sensual but she also wasn’t to be toyed with. In 1993, Queen Latifah released Black Reign, her most commercially successful rap album to date, then she took off and we had to share her with the world. Recently though, Latifah dropped a fiery clip on social media featuring nothing but bars, reminding everyone that she still knows where home is.

2. Lil’ Kim – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Lil’ Kim may have had a bit of writing help at the start of her career, but there’s a special kind of talent in knowing how to deliver those lyrics. There’s also something to be said about embodying the attitude and flair necessary to pull off lyrics like: “Tell me what’s on your mind when your tongue’s in the p___y… / Is it marriage? / Baby carriage? / S__t no, on a dime s__t is mine / Got to keep ’em coming all the time…” Years after “Big Momma Thang” sent shock waves through Hip-Hop, we’re seeing inflections of what Lil’ Kim did, from the colorful wigs and the outlandish wardrobe, to the delectably foul-mouthed anthems, irresistible to recite. There’s room for every woman these days though, one major difference from the mid-’90s. In 2020, no one has to pick a side, and although that divide persists in hopes of separating women in rap, we’re further than we’ve ever been.  Evolution couldn’t have happened without Lil’ Kim putting a crack in the door for artists like Cardi B and Nicki Minaj to bum-rush their way through, borrowing key Kim elements en route to the top.

3. Lauryn Hill – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Lauryn Hill is the stuff of legends. To be named in our top five Greatest Female Rap Artists of All Time, she had to have had quite an influence, despite having dropped only one proper album, The Miseducation of Lauryn Hill. And that wasn’t even comprehensively a rap album — Hill did a lot of singing on that record. Still, when she did rap, she made you pay attention. She made you hit rewind. The Miseducation, coupled with her turn in the group, the Fugees, Hill was a standout. Even Nicki Minaj, who’s taken clear cues from another artist on this list, felt the urge to (literally) bow down upon meeting her recently. Whether she was calling us all out on “Doo Wop (That Thing)” or showing off her lyrical prowess on “Ready or Not,” Lauryn Hill earned her place on this list by giving it to us raw.

4. Missy Elliott – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Missy “Misdemeanor” Elliott controlled the charts from the mid-’90s to the mid-aughts, but some rap fans seem to forget her impact. Missy is one of the few artists to come out in 1995 and completely change the general idea of what a female rap artist “should” look and sound like. She focused on being as creative as she wanted to be visually whether she was in a trash bag or a rhinestone-studded denim suit. Lyrically, she made the catchiest bops that have resonated through decades of commercial success, so much that, if you play Missy’s greatest hits for any teenager, they’re bound to recognize quite a few tracks that were released before they were even thought of. When Missy debuted with Supa Dupa Fly / Da Real World in 2003, she invited us into her abstract universe and Hip-Hop changed for the better.

5. MC Lyte – Top 30 Greatest Female Rap Artists of All Time, Ranked

MC Lyte - Top 30 Greatest Female Rap Artists of All Time, Ranked

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MC Lyte will forever be etched in Hip-Hop history as a pioneering figure whose impact reverberates through the genre to this day. Bursting onto the scene in the late 1980s, Lyte quickly distinguished herself from her peers with her razor-sharp lyricism and commanding presence. With her debut album, Lyte as a Rock, she became the first solo female rapper to release a full-length album, setting the stage for a career defined by innovation and empowerment. Lyte’s influence extends beyond her music; she is also a trailblazer for women in Hip-Hop, advocating for their visibility and respect in a male-dominated industry. Her legacy as a groundbreaking artist and advocate cements her status as one of Hip-Hop’s most influential figures.

6. Nicki Minaj – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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It was Nicki Minaj‘s third mixtape, 2009’s Beam Me Up Scotty, that thrust her into the consciousness of Hip-Hop fans, but it was her features on tracks like Yo Gotti’s “Five-Star Chick” and Young Money’s “Bedrock” that catapulted her into the outer limits of superstardom. It’s where she’s made herself a home and has continued to exist through industry feuds and misguided treks through the valleys of EDM. But hey, it’s opened her up to a realm of fans that she wouldn’t have attracted before. Fans who can’t be swayed by hard-body lyricism like she displayed on Kanye’s “Monster,” where she absolutely stole the show, switching rhyme schemes and vocal inflections as easily as her cotton candy wigs. And I’m all up, all up, all up in the bank with the funny face / And if I’m fake, I ain’t notice ’cause my money ain’t / So let me get this straight, wait, I’m the rookie? / But my features and my shows ten times your pay? / 50K for a verse, no album out / Yeah, my money’s so tall that my Barbies got to climb it.”

7. Salt-N-Pepa – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Emerging in the late 1980s, Salt-N-Pepa, the groundbreaking rap trio consisting of Cheryl “Salt” James, Sandra “Pepa” Denton and DJ Spinderella, quickly made their mark on the music scene. With their bold, empowering lyrics and infectious beats, they challenged stereotypes and helped pave the way for female artists in Hip-Hop. Their 1986 debut album, Hot, Cool & Vicious, featuring the hit single “Push It,” catapulted them to stardom, making them one of the first all-female rap groups to achieve mainstream success. Salt-N-Pepa continued to break barriers throughout their career, tackling social issues and celebrating female empowerment in hits like “Shoop” and “Whatta Man.” Their influence on the music scene is undeniable, inspiring generations of artists and solidifying their legacy as Hip-Hop pioneers.

8. Rapsody – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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In 2019, Rapsody responded to an Instagram video posted by Cardi B where the Bronx rapper praised female rappers on the other side of the unspoken margin and shouted out the Eve creator. “There’s a lot of female rappers that be rapping they ass off that don’t be talking about their p___y and y’all don’t be supporting them and they mad dope,” Cardi said. “Let me tell y’all about some rappers that are really f___ing dope… I don’t feel like they get the recognition that they deserve.” Rapsody responded, saying, “It takes a village. Real ones always rise. Stay your authentic self always Cardi B. People ask me about the state of Hip-Hop and women in it all the time. My answer is always it’s BEAUTIFUL! There are sooooo many dope ladies rockin! To the sisterhood….keep doing YOU….there’s room for us all.” And that’s the way it’s been for the Carolina MC. For over a decade, Rapsody has been laying the groundwork and planting her seeds quietly. It’s never been about tearing others down because it’s possible to coexist. This is a woman who dedicated her most recent album to women. We see the influence of MC Lyte and Miss Lauryn Hill in Rapsody’s work, yet she manages to implement her own style. She’s vulnerable on some tracks like, “Knock On My Door,” where she pushes a crush to hang out and beastly on others, like “Serena.” From her turns on 9th Wonder’s compilation projects to her own three studio LPs — the last two being critically acclaimed — Rapsody is a rapper’s rapper and she’s a woman. No need to compromise on either side.

9. Foxy Brown – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Foxy Brown was 16 years old when she debuted as Jay-Z’s protege of sorts. It’s common knowledge that he penned a few tracks for the fellow Brooklyn rapper, but that rough, no-nonsense pitch and her flippant disregard for playing the role of your average teenage girl made Foxy a beloved figure of ’90s Hip-Hop. When she stepped out of that coke white Benz in the “Ain’t No” video in 1996, she upped the ante for sophomore girls everywhere. “What up, boo? / Just keep me laced in the illest snakes / Bank rolls and s__t, back rubs in the french tubs / Mackin’ this b___h, wifey n___a / So when you flip that coke / ‘Member the days you was dead broke…” As she grew older, she held on to that attitude as one third of the Firm alongside two very accomplished MCs — Nas and AZ, and even on her own. Chyna Doll and Broken Silence hold substantial weight in the Hip-Hop conversation with the latter being her most vulnerable body of work to date.

10. Da Brat – HHW’s Top 30 Greatest Female Rap Artists 2024

HHW’s Top 30 Greatest Female Rap Artists 2024

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Chicago-bred Da Brat, born Shawntae Harris, entered Hip-Hop on a high with her LP Funkdafied. The album hit the Billboard charts at No. 11 and soared in sales, making Brat the very first female rapper to score platinum certification as a solo artist. It was her spitfire technique that drew rap fans in and although she didn’t see commercial success to follow up her first album, she did garner a few hits over the years with songs like, “What ‘Chu Like” featuring Tyrese and “That’s What I’m Looking For.” Overall though, Da Brat shone especially bright on everyone else’s songs, so we never had a chance to forget about her skill, whether it was on Total’s “No One Else” or Missy’s “Sock It To Me.”

New Taylor Swift Album Boosts Streams for The Starting Line, The Blue Nile & Other Honorary ‘Tortured Poets’

Welcome to Billboard Pro‘s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.

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This week: Artists and songs mentioned across the 31 tracks of Taylor Swift’s new double album see spikes, while Bossman Dlow and Tyla both score follow-up hits, Kate Bush is killing it on TikTok again and more.

Taylor Swift’s ‘Tortured Poets Department’ Makes Charlie Puth a (Slightly) Bigger Artist



Along with meditations on past relationships featuring thinly veiled lyrical subjects, Taylor Swift’s blockbuster new album The Tortured Poets Department includes multiple tips of the cap to other recording artists, with Swift either expressing admiration or remembering a pivotal musical exchange. The most memorable name-check arrives on the title track, on which Swift sings, “You smoked, then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist.”

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As The Tortured Poets Department barrels its way toward the biggest debut sales of the year — and one of the biggest of all time — it’s worth wondering: is Swift’s Puth shout-out actually about to make the “Attention” singer a bigger artist? Yes and no, based on the early streaming returns. In the first three days of release of The Tortured Poets Department (Apr. 19-21), Puth’s catalog earned 3.26 million official on-demand U.S. streams, according to Luminate. That’s an increase from the previous weekend’s streaming total for Puth, but only slightly: from Apr. 12-14, his catalog earned 3.13 million streams, meaning that Swift’s stamp of approval bumped his streams a little under 4%.

While Puth was already scoring seven-figure streams prior to the lyrical reference, two artists that also received nods on the album saw their smaller streaming totals skyrocket. The veteran Philly pop-punk group The Starting Line enjoyed a hefty catalog bump after getting shouted out on “The Black Dog,” with 234,000 streams from Friday to Sunday representing a 55% uptick from the previous weekend (151,000 streams).

And when a Swift song starts out with the lines “Drowning in the Blue Nile / He sent me ‘Downtown Lights’ / I hadn’t heard it in a while,” as “Guilty as Sin?” does, chances are that streams for “Downtown Lights” are going to explode. Indeed, the Scottish pop-rock group the Blue Nile’s 1989 single “The Downtown Lights” rose from 3,000 streams from Apr. 12-15 to over 48,000 streams from Apr. 19-22 — a whopping 1,400% increase from one four-day tracking period to the next. – JASON LIPSHUTZ


Bossman Dlow Tees Up Latest Hit With “Talk My Shit” 



Just under two months after “Get In With Me” reached No. 49 on the Billboard Hot 100 (chart dated March 9) – becoming the Florida rapper’s first entry on Billboard’s all-genre singles chart – Bossman Dlow is already gearing up for another viral hit. 

Produced by DJ Jam305 and housed on Mr. Beat the Road, which reached No. 20 on the Billboard 200 (chart dated March 30), “Talk My Shit” follows a similar blueprint to “Get In With Me,” riding high on Dlow’s off-kilter flow, South Florida twang and a slightly ominous trap beat. According to Luminate, “Talk My Shit” earned 5.7 million official on-demand U.S. streams during the period of April 12-18. That marks a jaw-dropping 434% increase in streaming activity from three weeks earlier (March 22-28), when the song collected just over one million streams. 

The explosive growth of “Talk My Shit” is due, in large part, to the cheeky TikTok dance trend choreographed to the chorus, specifically beginning with the line “Wrist piece on bling-blaow, neck piece on blizzard, bae.” The dance essentially converts the second half of the chorus into an instructional song through which users act out the lyrics – e.g., pointing to their wrist for “wrist piece on bling-blaow” — through popular dance moves. On TikTok, the official “Talk My Shit” sound boasts a whopping 466,000 posts, with several clips surpassing one million likes, including one featuring Paige Bueckers of the UConn Huskies women’s basketball team. On YouTube, the official “Talk My Shit” audio clip has earned nearly three million hits in about a month and half, far outpacing the other Mr. Beat the Road audio clips. 

With its streams rising this quickly, “Talk My Shit” could gift Bossman Dlow his third Hot 100 entry of the year. – KYLE DENIS


Get Ready for Another Viral Kate Bush Moment



Kate Bush has been one of the patron saints of TikTok and virality in general since at least 2022, when her “Running Up That Hill” became a resurrected hit – initially boosted by a big Stranger Things synch – thanks largely to the app. The last couple months, she’s had another revived single to her credit, albeit one probably significantly less familiar even to stateside fans who were around for “Hill” on the first go-round: “Army Dreamers,” third single from Bush’s 1980 album Never for Ever

While “Dreamers” was a top 20 hit in the U.K., it was likely a little too challenging for U.S. top 40 audiences of the time, with its austere waltz arrangement, anti-war lyrics and piercing Bush vocal. Nonetheless, clips of the song – and in particular, its war-themed music video, featuring the singer-songwriter running through the jungle in military fatigues and full makeup – have been racking up views by the millions the past couple months. As a result, weekly official on-demand U.S. streams of the song have risen from under 80,000 for the tracking week ending Mar. 14 to nearly 1.1 million the week ending Apr. 18, according to Luminate – a cumulative gain of 1291%. 

“Dreamers” still has a ways to grow before it’s a threat to run back up the charts the way Bush’s signature hit did a couple years ago. Then again, we do hear there’s a new season of Stranger Things coming our way shortly… – ANDREW UNTERBERGER


Tyla Seeks to Slay Second Consecutive Summer With Steamy “Jump” Single 



Last summer, “Water” catapulted Tyla into global pop stardom. This year, she’s looking to maintain that momentum with “Jump,” a breakout hit from her recently released self-titled debut studio album. 

Alongside Grammy-nominated rapper Gunna and Jamaican dancehall star Skillibeng, Tyla spends “Jump” seductively cooing of the singularity of her sex appeal. Despite the album campaign focusing on “Truth or Dare” and “ART,” “Jump” has received considerable traction across both streaming and socials. During the period of April 12-18, “Jump” received 2.9 million official on-demand U.S. streams, continuing the steady growth it has displayed for the past month. For the past four works, “Jump” has remained over two million streams, increasing by an average of nearly 10% per week. 

On TikTok, the official “Jump” audio boasts over 326,000 posts, bolstered, in large part, by a viral dance trend created by Zoe Baptiste (@zoebaptistee). Her infectious original choreography garnered 25 million views, sparking the song’s initial virality. Of course, many listeners noted “Jump” as an album highlight upon the release of Tyla due to its myriad earworm elements. 

Just as the dance trend started to taper off, a second trend emerged, playing on the “They never had a pretty girl from Joburg / See me now, and that’s what they prefer” lines that opens Tyla’s verse. From replacing “Joburg” with their actual place of origin to gushing over the idiosyncratic way the South African singer pronounces “prefer,” TikTok users cannot get enough of the beginning of “Jump.” One user, Kelsey Maggott (@kelseymaggott), has gone viral for creating nearly 50 videos replacing “Joburg” with other countries and cities users have requested in her comment section. Even Kehlani has gotten in on the action. 

With streams steadily gaining and a music video and live performances still on the table, be sure to keep an eye on “Jump” as the 2024 Song of the Summer race begins to heat up. 


Q&A: Jim Selby, Chief Publishing Officer at Concord, on What’s Trending Up in His World

In late 2022, Concord purchased the publishing and recorded music catalog of Phil Collins and Genesis. Can you speak to the motivation behind the purchase?

I think it speaks for itself. Phil Collins, Mike Rutherford and Tony Banks are incredible talents who wrote some of the most influential songs, both together and individually. We have a long-standing relationship working with them since the days of Imagem – they’ve entrusted us with their work, and we’re honored to continue that.

We’ve already seen multiple revivals of “In the Air Tonight” across popular culture, including for Monday Night Football last fall. Why do you think the song has resonated with multiple generations of listeners?

It’s just iconic. I think everyone has a core memory that they can attach to that song. The combination of the power drumline with Phil’s vocals is so masterful and demands your attention, which I think is why it resonates so well when set to the screen. “In The Air Tonight” is so recognizably 80’s but it’s also dynamic. Phil even has a country radio No.1 single – with Kane Brown’s interpolation [“I Can Feel It”], it was exciting to see such a different use. It’s incredible how artists continue to be inspired by the song and get creative with it. 

– What can we expect in the near future for “In the Air Tonight” and Collins’ catalog in general?

We expect more. New generations continue to discover Phil and his music and it’s exciting to see that connection. No Jacket Required turns 40 next year, maybe we’ll figure out what “Sussudio” means – get it added to the dictionary. 

– Fill in the blank: a personal favorite Collins/Genesis song that deserves its own revival is ______.

Besides “In The Air Tonight,” of course, I think “I Can’t Dance” or “Follow You Follow Me” – these songs are both great but very different. They really show the versatility of Genesis and how the group adapted through the decades. – J.L.


Season’s Gainings: Death, Taxes and The Beatles



Tax day was upon us two Mondays ago, and if this is the first you’re hearing about it, it might be time to close out of this article and start drafting an email to the IRS. If you were on it, though, then maybe you were also one of the thousands that chose a particular Beatles deep cut for your soundtrack while kicking a percentage of your annual income up to Uncle Sam. The Fab Four’s Revolver-opening “Taxman” – inspired by an eye-popping 95% supertax the band was suddenly facing following the 1966 re-election of U.K. prime minister Harold Wilson (as in “ha ha, Mr. Wilson”) – received nearly 24,000 official on-demand U.S. streams on April 15, according to Luminate, a 31% gain from the day before. – A.U.

John Morgan Talks Calling on Jason Aldean for Radio Single ‘Friends Like That’: ‘How Fun Is It Now That It’s Two Friends Singing Together?

Alone in his house, surrounded by friends.

That’s the contradictory state presented in John Morgan’s first radio single, a collaboration with Jason Aldean titled “Friends Like That.” The two singers are pals at a professional level, for sure, since Morgan wrote three of Aldean’s recent hits and is signed to Aldean’s record label, Night Train, affiliated with BBR Music Group.

But the buddies in “Friends Like That” are a little more figurative: vices and voices telling the protagonist he’s better off alone than to be weighed down by the woman who just walked out on him. Broken hearts aren’t typically pleasurable, although the breezy melody and pulsing guitars on “Friends Like That” make loneliness sound attractive.

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“That was kind of the point,” Morgan says, “to make light of a heavy subject.”

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Mission accomplished — with a little help from some friends.

Morgan wrote “Friends Like That” during September 2020 – the height of the pandemic – at Cornman Music in Nashville, where songwriter Will Bundy (“Half Of Me,” “Brown Eyes Baby”) maintains an office. They were joined by Lydia Vaughan (“If I Didn’t Love You,” “Out Of That Truck”) and Brent Anderson (“Cab In A Solo,” “Lonely Tonight”), ostensibly a group of writers who’ve been interacting with each other in different combinations for several years.

The day started – as it did for so many Americans in that window of time – fairly directionless. No one had any ideas they were passionate about, so they chatted, puttered and brainstormed a bit until something caught their attention. That something was a mysterious-sounding guitar riff that sounded like it was leading somewhere. It was ideal for an intro, and interesting enough that Vaughan insisted they make it part of the melody later in the song. It became the basis for the pre-chorus, setting up the sound of the chorus, which they attacked before they even knew where they were going.

“A lot of times the pre-chorus is just a transitional piece to get from A to B,” Anderson says. “Having, to the best of my knowledge, started this song with that part is probably the reason that it stands out.”

His co-writers are convinced that Anderson spit out the “Friends Like That” title, though none of them know how they got there. It was apparent, however, that they were writing a breakup song, with the singer listening to his friends’ advice about pulling himself together and moving on. The song’s conversations, though, took place in front of a fire at home. The friends were music (Willie Nelson and Waylon Jennings) and alcohol (Jack Daniel’s), and staying home with them spoke volumes.

“When something like that happens to you, a lot of people write about the bar,” Morgan says. But having the character stay home “was more real to me, because when I get pissed off, or whenever something happens, I just don’t want to talk to anybody.”

Buoyed by “Willie,” “Jack” and “Waylon,” the singer addresses his ex in absentia with a dismissive payoff at the end of the chorus: “Who needs you when I got friends like that?”



As self-sufficient as the guy tries to sound at that point, he evinced a brooding outlook when the writers started filling in the blank spaces in the first verse. They established the setting with much of that opening stanza – it’s after sundown, with the ex’s keys on the table. When they reached that transitional pre-chorus, the lyrics refocused on his “friends,” changing the feel from lonely atmosphere to party central.

In verse two, the singer recalled the couple’s better days, reiterated that he no longer needed her, and – when the pre-chorus returned – boasted that he’s “got buds to get me through it.” It may take several listens to realize that while “buds” is short-hand for “buddies,” it might also simply be “buds.”

“It rides a nice line to me where it’s not like completely hidden,” Bundy says of the weed reference. “It’s sort of camouflaged in a cool way.”

The bridge gets ultra-cheery, with a call-and-answer component while the vices actually start talking to the protagonist, “telling me I don’t need you no more.” “It’s a great singalong moment,” Vaughan notes. “I just thought it was really catchy. I don’t know that it necessarily revealed anything new about the story that wasn’t already there, but we all just liked it.”

Aldean and two of his band members, bassist Tully Kennedy and guitarist Kurt Allison, produced “Friends Like That” at Nashville’s Sound Emporium with Kennedy’s adventuresome bass and Mike Johnson’s haunting steel adding some sonic burn to the track. Morgan played the opening riff and the guitar solo, but he was particularly impressed with the crew. He referenced a driving rhythm element on Tom Petty’s “Running Down A Dream” when they got to the bridge, and guitarist Rob McNelly locked onto it right away. “Seeing how pro those guys are is pretty unbelievable,” Morgan says.

Bundy produced Morgan’s final vocal session at Ocean Way. Morgan didn’t need much direction – the song had been written to fit his voice – but he definitely paid attention when Bundy gave him notes. “It’s sort of like getting to drive a Mercedes when you record John’s vocal,” Bundy says. “The great thing about John is we’re also such good buddies that I can criticize him and be tough on him, and he takes that and runs with it. You know he’s going to improve on it.”

Morgan’s solo version of “Friends Like That” became his most played song, racking up 23 million streams on Spotify following its Sept. 30, 2022, release. Aldean thought they should take it to radio. He also suggested that maybe he should add his voice to it, providing a little extra promotional incentive for programmers to add it.

Originally, Aldean wanted to just sing the second verse. Ultimately, Morgan persuaded him to do more – including the call-and-answer part on the bridge and a background vamp in the closing moments. Aldean also makes subtle melodic changes, adding a blue note here or there that creates a little extra grit. “That’s what’s so badass about him,” Anderson says. “He’s done that since the beginning.”

Night Train and Broken Bow released the Morgan/Aldean remix to country radio via PlayMPE on April 8 and set April 22 as its official impact date. “The song itself being called ‘Friends Like That’ — how fun is it now that it’s two friends singing on it together?” Vaughan asks.

In the end, “Friends Like That” will sink or swim on the lead voices, the breezy outlaw references and the self-deception that’s hiding just beneath the surface of the song’s relentless pulse. The freshly rejected guy in the song is a character everybody knows.

“There’s some bitterness in there, but also some sarcasm,” Morgan says. “Also, you know, [he’s] lying through his teeth.”

A Timeline of Drake & Ye’s Relationship: From Friends to Feuds

The two rap titans started as friends before the relationship soured.

Drake and Ye — formerly known as Kanye West — have just about seen it all throughout their decorated careers. The pair of rap titans have been friends, collaborators, mentors, enemies and more over the course of the last 15 years.

The 6 God once hailed Ye as the “most influential” person on his sound, and he’s gone on to live out his “Thank Me Now” lyrics of seeing his idols become rivals, as Drizzy and West are currently entrenched in a feud with no sign of reconciliation on the horizon.

After meeting in Hawaii, West took Drake under his wing and directed the music video to his So Far Gone breakout hit “Best I Ever Had” in 2009.

By the mid-2010s, they were working on a collab project that could’ve shifted the paradigm in hip-hop, but the rappers went their separate ways and have been sending shots in an on-and-off-again feud since.

It was thought that their beef was finally squashed for good in December 2021 when J. Prince helped broker a truce for Drake and Ye to reunite on stage at the Free Larry Hoover Benefit concert in Los Angeles.

However, their relationship eventually went awry again. In April 2024, West threw his hat into the ring to enter the rap civil war, going against Drake when hopping on a remix to Future, Metro Boomin and Kendrick Lamar’s Hot 100 No. 1 hit “Like That.”

Check out Billboard‘s timeline about how Ye and Drake got to this point in their love-hate relationship over the years.

The Creators of Bowling for Soup’s ‘1985’ Look Back: The Power of Nostalgia & Why Debbie Gets the Last Laugh

This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. Our 2004 Week continues here with the story behind Bowling for Soup’s “1985,” a ruefully nostalgic top 40 hit that has taken on a different meaning for its creators now that it’s been longer since its release than it was since the mid-’80s at the time.

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Like many songs, “1985” started with nothing but a wordless hook. It first came to former SR-71 frontman Mitch Allan while he was driving, after which he temporarily added in some filler to start with: “She’s a, she’s a, she’s a roller coaster.”

His decision to later swap it out for “19, 19, 1985” was just as random. The reason it stuck? “Honestly, it sang fantastic,” he recalls to Billboard over 20 years later.

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Later, the world would agree. Bowling for Soup had a No. 23 hit with the nostalgic earworm on the Billboard Hot 100 and a No. 10 peak on the Pop Airplay chart, propelling the band’s record A Hangover You Don’t Deserve to a career high of No. 37 on the Billboard 200. In the two decades since, the track has amassed over 372.7 million on-demand official U.S. streams, according to Luminate, and folks who weren’t even alive in the title year continue to gleefully sing along when it comes on the radio or plays at a party, as it still frequently does.

But before it was an era-defining legacy hit for BFS, Allan had buried his original version on SR-71’s final album Here We Go Again, which was only released in Japan (until 2010, when it was finally made available in the U.S.). He’d pieced together the rest of the track on a trip to Machu Picchu, asking fellow tourists in his hiking group to shout out their favorite ‘80s references — “Springsteen!” “Madonna!” — and weaving them into an admittedly cynical takedown of a Prozac-dependent suburban housewife named Debbie with some help from his drummer, John Allen.

If not for producer Butch Walker, “1985” would’ve never been widely heard in the U.S., much less become an enduring smash for generations. But Walker had worked with Allan and SR-71 in the past, and at the suggestion of his manager, Jonathan Daniel, he decided that the track deserved a second life – something the guys of Bowling for Soup, fresh off their first Grammy nomination for pop-punk radio hit “Girl All the Bad Guys Want” in 2003, could give it.



“The song was good, but it wasn’t great yet,” Walker recalls. “It’s all about who’s presenting it. I think we realized that maybe the presentation of it originally was wrong.”

First things came first. Led by frontman Jaret Reddick and bandmates Chris Burney, Gary Wiseman, and Rob Felicetti, the tongue-wagging Bowling for Soup had made a name off not taking itself too seriously, specializing in the creation of meme songs before memes were even a thing. That meant that some of the more sardonic lines about condoms breaking and George Michael’s sexuality needed to go.

“That’s the difference between the humor in SR-71 and us,” says Reddick. “Their songs had that grit in their comedy – it’s more snarky. Our stuff is just blatantly funny.”

He and Walker sat in a room together dissecting “1985” line by line, subbing in lyrics about Duran Duran and Ozzy Osbourne to coincide more with the personal tastes of Reddick, who was a teenager during the titular time period. The frontman gave the tune a peppier delivery, and Walker made it so that the song’s sunny “woo-hoo-hoo” hook was the very first thing listeners heard when pressing “play.”

“It was a collaborative effort,” Reddick says. “Had I heard the song by SR-71, I’m certain I would’ve liked it, ’cause I’m a fan of that band. But I don’t think it gives me the same visual at all.”

Allan, now an L.A.-based writer-producer who’s worked with Bebe Rexha and Demi Lovato, agrees. “[Reddick] took this sad woman who we were making fun of and turned her into the hero of the story,” he marvels. “She’s suddenly celebrating that she got to live in 1985 and that we, the listener, didn’t. Life was so much better then, and she got to experience it.

“[The original] version in my brain has been replaced by Bowling for Soup’s,” he concludes.

Released as the lead single off Hangover, “1985” made BFS a staple of the early 2000s pop-punk movement. The band cosplayed as Robert Palmer, Run-DMC and Limp Bizkit in the track’s music video (which Reddick says he’s especially proud of), complete with a Tawny Kitaen lookalike and a cameo from Allan.



They embarked on a tour, and then another one and another one, discovering that their fans across the world never tired of mocking Debbie night after night – because, let’s face it: “The song’s kind of mean,” Reddick admits. “We made it nicer, for sure. But there’s still a bit of hopelessness to it.”

The guys didn’t get sick of playing it, either. “The fact that it’s something our band does that makes people happy – that’s the thing that never gets old,” Reddick continues. “Right from the first two chords, they know what it is. Every phone comes up during that song. People still laugh at ‘When did Mötley Crüe become classic rock?’”

But something peculiar happened right around the time Bowling for Soup’s version of the song came out – Reddick became a parent. So did Allan. Their first-born kids are now 21 and 20, respectively, almost the exact number of years between 1985 and 2004 as 2004 and 2024. As time went by, a song about nostalgia became nostalgic in and of itself, and its creators realized that they were beginning to identify more with Debbie than her proverbial two kids in high school. In 2021, Bowling for Soup put out a track titled “Getting Old Sucks (But Everybody’s Doing It).”



“I started to see it really quickly,” remembers Reddick, now a father of three. “It wasn’t lost on me that that was actually happening in my life. When they’re really little, they still think all your jokes are funny. Then they go through this time where they don’t think you’re funny, then they think you’re funny again but roll their eyes. My kids’ teachers tell them, ‘I heard your dad on the radio today,’ and they’re just like, ‘Okay, great. He also mowed the lawn today, and there’s a heap of dishes to get done.’”

Allan relates: “I’m Dad – I’m not cool.”

Luckily for them both, as well as all the former cool kids-turned-Debbies, things have a way of coming back into fashion. Debbie herself — who, as Reddick points out, is probably a grandma now — would be overjoyed that her precious Springsteen and Madonna are both on arena tours in 2024, while U2 is on the heels of a successful Las Vegas residency. And modern pop stars have been in the midst of a pop-punk renaissance for most of the decade now, replicating the sounds popularized by Bowling for Soup and their peers.

“Everybody’s trying to make records sound like [“1985”] now,” Walker says with a chuckle. “It’s ironic that that’s where we’re at. I guess I’ve been alive that f–king long … I can’t believe we’re already back at recycling the emo era and the pop punk era, sound-wise.”

“All my kids went through a pop-punk phase,” adds Allan. “It takes them a minute. They discover bands, and then they discover my band. I get texts from my oldest who’s at UCSB, and she’ll be at a party and there’s a band playing, and they’ll be playing ‘1985.’ She’s like, ‘Oh my god, my dad wrote that!’”

Meanwhile, “1985” has demonstrated an impressive longevity. It was certified double platinum in 2019, and Reddick and Allan still enjoy sending each other young musicians’ updated covers of the song with references to the early ’00s and 2010s – which, ironically, sometimes go over the now-52-year-old Reddick’s head.

“I’m Debbie!” he proclaims, mystified. “People come up to us like, ‘I am Debbie.’ She’s probably now looking back at her kids, and they’re the Debbies of the world. And she’s like, ‘You see?’”

But just as Debbie gets the last laugh in her story, so does he: Reddick remembers a time when his daughter called him from science class in disbelief, asking if he knew just how many Spotify listeners his band had. “I was like, ‘I don’t know, 2 million monthly?’ She goes, ‘Dad, that’s a lot!’ I go ‘Yeah, I’ve been trying to tell you that.’” (For the record, BFS has nearly 4 million monthly listeners on the platform at press time.)

Reddick, Allan and Walker are all living in real time the reason they believe “1985” has had such a lasting resonance across generations. Aging and nostalgia are some of the only truly universal human experiences, which means that the song, unlike some of the dated ‘80s tropes it pokes fun at, will probably never go out of style.

But “1985” also speaks to the power of leaving egos at the door in service of collaboration. The project wouldn’t have been a success story without Allan being open to having his creation improved upon, or Bowling for Soup’s willingness to stand behind a song that they hadn’t written originally.

“I’m super glad this song has had such a good run,” Reddick says. “I’m not sure that we wouldn’t be where we are today [without it], but I certainly am thankful we are.”

“You hope a song goes on the charts, let alone enters the top 10, let alone is around a year later,” Allan remarks. “It takes a village. But I’m so happy to live in that village, you know?”

Radiohead’s ‘Creep’ Video Surpasses 1 Billion YouTube Views

Radiohead has officially entered YouTube‘s Billion Views Club, as the video for their 1992 classic, “Creep,” surpassed a billion views on the platform.

The milestone marks the UK rockers’ first video to accomplish the feat. The clip is simple but effective, featuring the band — comprised of Thom Yorke; brothers Jonny Greenwood and Colin Greenwood; Ed O’Brien and Philip Selway — performing the anthem about wanting to fit in onstage among moody, dim lighting. “But I’m a creep/ I’m a weirdo/ What the hell am I doin’ here?/ I don’t belong here,” Yorke sings on the instantly recognizable chorus.

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First released in 1992 and included on Radiohead‘s debut album Pablo Honey, the song became an underground hit in America when a San Francisco college radio station’s music director found it in a Berkeley record shop and added it to their playlist. Since then, “Creep” has been injected directly into the mainstream music scene, with countless artists putting their spin on the track and covering it, including everyone from Prince, Olivia Rodrigo, Kelly Clarkson and Lizzo, to Jim Carrey, Moby, Weezer and many more.

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On Billboard’s charts, the song hit the top 10 on the Alternative Airplay tally (No. 2) and the Hot Rock and Alternative Songs chart (No. 6). It peaked at No. 34 on the Billboard Hot 100.

Revisit Radiohead’s “Creep” music video below.