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It’s officially fall, and these African artists have plenty of new music to usher in the new season with.
Oxlade transcends the continent’s borders with a vibrant combination of old-school African music and modern-day Afrobeats — and an international array of guest artists, from Jamaican dancehall star Popcaan to U.K. rapper Dave to legendary Nigerian singer-songwriter Wande Coal and Congolese icon Fally Ipupa — on his long-awaited debut album OFA (Oxlade From Africa). And Fireboy DML puts his heart on his sleeve and stays true to the sounds he grew up listening to on his self-titled fourth studio album Adedamola.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Mofe., “Good Day”
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Mofe. fuses Afrobeats and disco for his self-branded Afrodisco jam “Good Day.” The Nigerian American artist behind the viral track “Prince of Egypt” – which Destroy Lonely sampled on “Cadillac,” from his latest Love Lasts Forever album – adds a funkier groove, assisted by shimmering synths, to Afrobeats’ syncopated percussion and overall feel-good vibe. It’s kind of impossible to not have a good day while listening to this song.
Fireboy DML feat. Seun Kuti, “ecstasy”
Fireboy DML craves a woman’s body like “ecstasy” on this erotic number from his eponymous fourth album Adedamola. Producer Bassiqally’s ebullient percussion occasionally dotted with log drums and chanting ad-libs, paired with featured artist Seun Kuti’s sexy and soulful saxophone melodies, make “ecstasy” sound as addicting as the real deal. “It’s a song that sounds like sex – I always have a record like that on every album, because it’s somewhat a part of my personality,” he told Apple Music, adding that he “had an image of [Kuti] on the sax for the record…. He’s an amazing person with a very crazy and colorful personality that resonates with me.”
Odunsi (The Engine), “BACK IN OFFICE”
Odunsi (The Engine) makes being “BACK IN OFFICE” much more amusing in the opening track of his latest EP Nigerian Boyfriend. The alté artist assumes the position of a boss who entices women with his “tune and bounce,” this time with a swelling orchestral intro and outro that bookend the song’s polyrhythmic production (courtesy of OTE, who’s also the sole songwriter). And with its corporate-themed visualizer, “BACK IN OFFICE” would’ve been the perfect campaign song for I AM GIA’s new Gia Office.03 collection.
Minz, “mo de ma [by any minz]”
Minz becomes a soothing voice of reason on his “mo de ma [by any minz]” single that dropped ahead of his debut album By Any Minz, due Oct. 4. He reflects on his journey to the spotlight, including the “dark days when man never glow,” over Puffy Beatz’s relaxed production. Grammy-winning singer Angélique Kidjo is heard in the outro, calling out his album title within seconds of meeting Minz. “This felt like a revelation…. Sometimes, the signs show up exactly when you need them, and they make everything make sense,” he wrote on Instagram underneath a clip that captured the kismet moment.
Oxlade, “RMF”
Oxlade is “all about that life” on “RMF” from his debut studio album OFA (Oxlade From Africa). “RMF,” which stands for “Rich Motherf—er,” finds the Nigerian hitmaker relishing in his new luxe lifestyle while going back to his rapping roots. “When I was in secondary school, I stopped singing because of peer pressure. I had to learn how to rap to fit in. I’m grateful now cos [sic] it’s affected my pen!” he told Wonderland. And its Fela Kuti-inspired Afrobeat production, from the grandiose horn melody to the dizzying saxophone outro, pays homage to the vintage African sound.
Fireboy DML, “Change Your Life”
The YBNL crooner gets into the groove on “Change Your Life,” off his latest album adedamola. Propelled by an insistent backbeat, an adventurous bassline and a track-opening trumpet solo — that’s right — producer Bassiqally quickly sets a tone that makes “Change Your Life” stand out from the rest of the project musically, even if it remains firmly within the romantic love-life stories that populate the album. But “Change Your Life” continues to surprise throughout, with Fireboy bringing melody on top of melody and proving adept at riding the rhythm.
Oxlade feat. Sarkodie, “OLOLUFE”
There are plenty of standouts on the latest Oxlade album OFA, which essentially serves as a clearinghouse for his best singles of the past 18 months. Oxlade himself is adept at setting the vibe, with his vocals soaring over the production, a mix of doubled-melody and falsetto that reaches into the stratosphere. This track really shines, however, with the forehand punch that is Sarkodie’s verse, which punctuates the ambiance and brings a renewed energy and a swagger to the track that sets it apart.
Morravey, “Ifineme”
One of the breakout stars of Davido’s phenomenal Timeless album from 2023 on the track “The Garden,” Morravey — also signed to David’s Davido Music Worldwide label — is a dynamic singer with a gorgeous voice, and this new cut “Ifineme” is another from a similar mold. The song came hand in hand with another single, “Upstandin,” that also showcases her vocal prowess, but it’s “Ifineme” that truly feels transcendent: a track that builds organically with its feeling of the early days of love, until reaching a soaring hook complete with a full choir that fills to the rafters. It’s a great song, and her winking metaphors demand repeat listens.
LADIPOE & taves, “Compose”
A low key intro and a reverb-soaked background quickly give way to a tight groove on this latest collab, with LADIPOE flowing effortlessly over the beat, bouncing in time, as he raps about his latest romantic interest. Featured guest taves makes little more than a cameo, but it’s really the hook that makes the song such an earworm — “You wan make my head explode” — with a catchy melody that burrows into the brain. There’s a joy to this one that bubbles under the surface but comes through nevertheless, and which stamps itself on the listener.
Khaid feat. Olamide, “Way Back”
Few young singers have made as much of an impact in the past two years as Khaid, who despite his string of infectious singles is still just a teenager. But this track sees him linking up with one of Nigeria’s OGs, as Olamide comes through with a verse in his classic style — cocky, on and off the beat, always dripping with swagger and effortless cool — before ceding the floor back to Khaid and his penchant for crafting melodies that seem timeless, despite his years. It helps that the music video is pure fun, too, with the duo clearly enjoying themselves in the studios. Khaid hasn’t missed yet.
It’s always a busy week in the hip-hop and R&B worlds. Much of the chatter remains surrounding Diddy’s bombshell arrest on federal charges of racketeering and sex trafficking. As part of the fallout from Sean Combs’ crumbling empire, 50 Cent announced that his upcoming documentary surrounding the allegations against Diddy will be coming to Netflix.
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“This is a story with significant human impact. It is a complex narrative spanning decades, not just the headlines or clips seen so far,” 50 relayed in a joint statement to Variety last week. “We remain steadfast in our commitment to give a voice to the voiceless and to present authentic and nuanced perspectives.”
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On the music side, Future continued his historic run with his third consecutive No. 1 album thanks to Mixtape Pluto. It’s his eighth Billboard 200 leader in a row as the Atlanta star etches another chapter into a Hall of Fame career.
The Weeknd reunited with Playboi Carti for “Timeless,” which will land on the Canadian singer’s upcoming Hurry Up Tomorrow album. It’s the second single headed for Abel’s third and final installment of his After Hours/Dawn FM trilogy. “Dancing in the Flames” initially debuted at No. 14 on the Billboard Hot 100 dated Sept. 28.
Tommy Richmond capitalized on his breakout summer with the release of his debut album, Coyote. To the surprise of many around the industry, the Virginia native didn’t include hits like “Million Dollar Baby” and “Devil is a Lie” on the LP.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop – from BIA’s frustrations on wax to Doodie Lo and Mozzy linking up for a gritty street anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Tia Wood, “Sky High”
The Indigenous R&B singer-songwriter makes a statement with her Pretty Red Bird EP, but Tia Wood’s coo is also more soothing than any chirping birds in the morning. A funky bassline and some pop-leaning soul provide the canvas for Woods on the project standout “Sky High.” The Amy Winehouse-inspired artist looks inward to heal rather than for outside support: “Who needs a savior? Got myself on retainer,” she sings. But if you’re gonna snap a picture to capture the Alberta native’s gaze, just don’t forget about her good side.
Ray Emmanuel, “#NEEDTHAT”
They say distance makes the heart grow fonder. After exploring a couple of laps across the globe, Ray Emmanuel wants to come home. On “#NEEDTHAT,” the North Carolina wordsmith taps into his romantic side as he pens a love letter to a former flame he wants back. This go around, a decisive Ray knows the timing’s right. “And I know I’ma see you again/ Don’t give up on me because this the way it ain’t gotta end,” he pleads over the dreamy production. “I don’t really care that I ain’t your first, I’ll be your last.” Emmanuel is ready to do whatever it takes to win her over. The 19-year-old has shown plenty of dexterity with his artistry throughout the four singles he’s delivered in 2024.
Montell Fish, “It’s Gonna’ Cost You”
The second installment in the JCM Trilogy, Montell Fish brings the chaos with his “sonic evolution” of Charlotte. The Christian artist rumbles through the grunginess of “It’s Gonna’ Cost You.” Fish lets the rage fuel him as he’s beaming with confidence on the rock-tinged track. “Greatest that you’ve ever seen/ And I don’t want nothing/ These flows is all I need,” his falsetto vocals pierce the rowdy disarray. Fish explained that with the project his “goal was to make an art piece inspired by theological Ideas through the lens of a breakup with a slight to psychological concepts for answers.”
BIA & Lil Yachty, “Pissed Off”
Even while traveling the country opening for one of her rap heroes in Nicki Minaj on tour, somebody managed to piss BIA off. “Somebody gon’ die today, this sound like Jeff in the ride today,” she raps to open her verse with an homage to Young Thug’s “Die Today.” BIA runs through a questionnaire trying to find who’s real around her. Lil Yachty has proven time and time again to be a versatile collaborator and Boat’s malleability shines here. He compares his Chanel watch to a glass of milk and defends his CEO ability as Yachty made all his homies millionaires.
Doodie Lo & Mozzy, “Glock’D In”
A gritty street anthem connecting the Illinois upstart to Sacramento’s veteran soldier. Doodie Lo narrates his rags to riches story while flexing his AP but remembering the days of hoisting his G-Shock like a Rolex. “That n—a been a b—h, you could ask Siri,” he raps in a cheeky jab that cuts deeper than the surface. Mozzy invades the show with his raspy flow that doubles as a natural instrument. He’s been around the block once or twice and demands his respect for trailblazing a path for others to follow. “I bled the block and paved the way,” the CMG rhymer spews.
Monaleo & Sauce Walka, “Er-er”
The Houston rap princess meets one of the city’s well-respected sargeants. “Er-er” goes the sound of the bed as 2 Chainz collectively taught us on 2012’s “I’m Different.” Monaleo shows off her shrewd wordplay prowess while also paying homage to the talk show legend Jerry Springer, who passed away last year. The raunchy collab could be taken to the next level if another Houston native joins the party, with Megan Thee Stallion hopping on a potential remix. The thumping piano-driven production is where Meg makes her living, and her appearance would extend the track’s shelf life. Either way, the 23-year-old is undoubtedly going to be heard from in the years to come as she looks to shake up the rap hierarchy.
After starring in a Saturday Night Live sketch about your favorite hippo’s favorite hippo, Bowen Yang is over fans misinterpreting his jokes. In an expired Instagram Story posted on Sunday (Sept. 29), Yang responded to a headline from Variety saying that his appearance as Moo Deng on Weekend Update was meant to “mock” pop star […]
Supremely gifted songwriter, singer and actor Kris Kristofferson died Saturday (Sept. 28) at his home in Maui, Hawaii, at age 88.
Born Kristoffer Kristofferson in Brownsville, Texas in June 1936; he family soon moved to California. Kristofferson’s short stories were published in The Atlantic Monthly and soon after, he became a Rhodes Scholar who studied at Oxford University in England. His life also included time as a Golden Gloves boxer, and an Army ranger who also flew helicopters (and famously once landed a helicopter on Johnny Cash’s lawn in order to get Cash to listen to a demo tape), an A-list actor, a writer and a creator equally inspired by the works of William Blake as Bob Dylan. In the Army, Kristofferson rose to the rank of captain, but when he was commissioned to teach English at West Point, he abandoned that opportunity in order to head to Nashville to pursue songwriting.
He began working as a janitor at Nashville’s Columbia Studios, which allowed him to listen in on sessions including Dylan’s 1966 Blonde on Blonde album. His nuanced, elegant lyricism style led to Kristofferson earning multiple No. 1s as a writer of songs made famous by other artists, including Ray Price, Johnny Cash, Roger Miller and Sammi Smith. In 1970, he issued his eponymous first album, Kristofferson, which included his own versions of the hits “Me and Bobby McGee,” “Help Me Make It Through The Night” and “Sunday Mornin’ Comin’ Down,” all of which he originally penned.
He also earned his own No. 1 country hit with “Why Me,” and another as part of the country supergroup The Highwaymen, with Johnny Cash, Waylon Jennings and Willie Nelson.
As an actor, he starred in films and television series including Alice Doesn’t Live Here Anymore, A Star Is Born (in a Golden Globe-nominated performance opposite Barbra Streisand), Blade (opposite Wesley Snipes), Pat Garrett and Billy the Kid, Stagecoach, Convoy, Songwriter and Fire Down Below.
Kristofferson was inducted into the Country Music Hall of Fame in 2004 — and a decade later, earned the Grammy Lifetime Achievement Award.
Below, we look at 11 songs or albums that Kristofferson had a hand in as an artist or songwriter that reached No. 1 on various Billboard charts.
“Why Me”
Lady Gaga and Bruno Mars’ “Die With a Smile” dominates both the Billboard Global 200 and Billboard Global Excl. U.S. charts for a fifth total and consecutive week.
The song is a stand-alone single by the superstars. On Friday (Sept. 27), Gaga released her new album, Harlequin.
The Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Die With a Smile” rules the Global 200 with 117.8 million streams (up less than 1% week-over-week) and 9,000 sold (down 2%) worldwide Sept. 20-26. The song is Lady Gaga and Bruno Mars’ first No. 1 each since the chart began.
Notably, the duet has drawn over 100 million streams globally in each of the last four weeks – the most such frames for a song this year; it one-ups Sabrina Carpenter’s “Please Please Please” (three weeks, June-July) and Kendrick Lamar’s “Not Like Us” (three, May-July).
Plus, “Die With a Smile” has gained in streams in each of its six Global 200 chart weeks, having started (at No. 2) with 75.2 million worldwide on the Aug. 31 survey and rising, respectively each week, to 97.2 million, 105.8 million, 111.4 million, 117.4 million and 117.8 million. It’s the first non-holiday song to link as many as four consecutive weeks of 100 million streams with gains in each week since The Kid LAROI and Justin Bieber’s “Stay” did so for four frames in August-September 2021.
Billie Eilish’s “Birds of a Feather” holds at No. 2 on the Global 200, following three weeks at No. 1 beginning in August.
Carpenter claims three songs in the Global 200’s top 10 for a fifth week: “Espresso” buzzes 4-3, following three nonconsecutive weeks at No. 1 beginning in June; “Taste” drops 3-4 after reaching No. 2; and “Please Please Please” holds at No. 6, after two weeks at No. 1 also starting in June. She’s the first artist to triple up in the top 10 over five weeks in 2024; next up, Eilish and Taylor Swift each have posted two such weeks this year.
Rounding out the Global 200’s top five, Chappell Roan’s “Good Luck, Babe!” is steady at its No. 5 high.
“Die With a Smile” leads Global Excl. U.S. with 93.9 million streams (up 1%) and 5,000 sold (down 2%) outside the U.S. Sept. 20-26. As on the Global 200, the team-up became Lady Gaga and Bruno Mars’ first No. 1 each since the list launched.
Eilish’s “Birds of a Feather” flies high again at No. 2 on Global Excl. U.S., following three weeks at No. 1 beginning in August; Carpenter’s “Espresso” rises 4-3, following eight nonconsecutive weeks at No. 1 beginning in May; Linkin Park’s “The Emptiness Machine” descends 3-4 after reaching No. 2; and Karol G’s “Si Antes Te Hubiera Conocido” repeats at No. 5, also after hitting No. 2.
Carpenter’s “Taste” holds at No. 6 on Global Excl. U.S. (after reaching No. 4) and “Please Please Please” keeps at No. 7 (following a week at No. 1 in June); already the only artist with multiple weeks with three songs in the top 10 simultaneously this year, she adds a fifth week achieving the triple triumph.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
While Karol G, Bad Bunny and Peso Pluma dominate the charts — and elevate Colombia, Puerto Rico and Mexico’s music scenes, respectively, to the world stage — a new wave of artists across other Latin American countries is also seeking, and earning, the spotlight.
Earlier this year, Chilean artists scored their first No. 1 Billboard hit since 1991 when newcomers FloyyMenor and Cris MJ’s viral reggaetón hit, “Gata Only,” spent 14 consecutive weeks atop the Hot Latin Songs chart — a feat that would have seemed impossible for the country’s thriving local urban movement just five years ago.
The new generation of Chilean artists has broken out in part thanks to star-studded linkups: Pablo Chill-E on Bad Bunny’s “Hablamos Mañana” (alongside Duki) in 2020; Paloma Mami on Ricky Martin’s “Que Rico Fuera” in 2021; and Cris MJ enlisting Karol G and Ryan Castro for his “Una Noche en Medellín (Remix)” in 2023. All of those tracks made major inroads on Billboard’s Latin charts.
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“We believe a lot in the Chilean market, as it’s experiencing an extraordinary exploitation of music that’s still very young,” says Emilio Morales, managing director of Rimas Publishing, which this year expanded its services to the country through a strategic agreement with Chilean-based label Wild Company, providing A&R services, artist development and more. “Our interest in signing Chilean artists is not just to sign them. We are looking for new horizons for them and for them to be consumed outside of Chile. We want to boost their music to European and international markets.”
Argentina’s music scene has also stretched beyond the country’s borders. Among the speakers during this year’s Latin Music Week, María Becerra recently recorded with Paris Hilton and Enrique Iglesias, and Luck Ra, an emerging act from Córdoba, teamed with Chayanne for a revamped version of his 2003 hit “Un Siglo Sin Ti,” which peaked at No. 15 on the Tropical Airplay chart in September, Luck Ra’s first entry ever on the chart.
“I love collaborating with artists from abroad,” the Argentine newcomer says. “I feel that everyone in their country grows up with different music, everyone has different rhythms in their blood, but the fact that people from different ages and countries listen to you is the most beautiful thing.”
As Chayanne puts it, the song is proof that collaborations across the Latin world help all the artists involved: “The song’s rhythm, so close to Caribbean beats, once again demonstrates the deep brotherhood of all Latinos, reflected in our cultural expressions, especially in music.”
During Latin Music Week, Morales will appear on the “Role of Music Publishers in Cross-Cultural Collaborations” panel, Luck Ra on Billboard Argentina’s “Entre Amigos” panel and Becerra in a conversation with Thalia on mental health.
This story appears in the Sept. 28, 2024, issue of Billboard.
“Kellyoke” has been one of the most popular segments on The Kelly Clarkson Show since the show premiered in 2019. Clarkson has covered more than 800 songs in the segment, demonstrating on a daily basis that she can just sing about any kind of song. 2024 Grammy host Trevor Noah alluded to Clarkson’s prowess when […]
The Weeknd and Playboi Carti have unleashed the visual to their “Timeless” anthem. The Gunner Stahl-directed clip arrived on Monday (Sept. 30) following the single’s release last week. Explore See latest videos, charts and news See latest videos, charts and news It’s an all-Black affair in the gloomy video as The Weeknd (born Abel Tesfaye) […]
Like any relationship, the one Ariana Grande shares with her fans isn’t perfect. While taking a lie detector test with her Wicked costar Cynthia Erivo for Vanity Fair, the 31-year-old pop star was candid about the complex dynamic she has with her millions of listeners.
“I love them always, but I think sometimes they can hurt my feelings,” Grande said in the video posted Monday (Sept. 30).
“Sometimes I don’t like them, but I love them always,” the “Yes, And?” singer added as Erivo nodded sympathetically. “It’s a hard relationship. [It’s] sort of weirdly parasocial, but it feels very real to me.”
In service of her point, Grande also confirmed that she still maintains yearslong friendships with multiple people who started off as a fans, and revealed that she’s DM’d admirers just to chat multiple times throughout her career. She also gave her thoughts on the name her fanbase has coined for itself: “Arianators.”
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“I’ve accepted it, but would I pick that? Of course not,” she said, laughing. “That would be insane.”
Filmed in conjunction with Grande and Erivo’s joint Vanity Fair cover story, the lie detector test also gave the R.E.M. Beauty founder an opportunity to set the record straight on numerous plastic surgery rumors that have followed her over the past couple of years. As the Harriet star fired off different procedures, Grande confirmed that no, she hasn’t had a nose job, face lift, eye lift, chin implant, Brazilian butt lift or breast surgery (“No, can you imagine?”) as the machine confirmed she was telling the truth each time.
“This is the best day of my life,” she said. “Take that, you YouTube people.”
“I’ve had fillers in various places, and botox, but I stopped like four years ago,” Grande added. “That is the extent. But also, like, [I’m] in full support of all people who do these things. Work. Whatever makes women, men, non-gender-conforming people feel beautiful should be allowed. Why do we care?”
Watch Grande take the lie detector test above.
After 16 years of waiting for new music from The Cure, the beloved goth rock godheads have going from zero to the end in quick succession. After dropping the broody “Alone” last week, the Robert Smith-fronted band pulled the curtain back a bit more on Monday morning (Sept. 30) with a tantalizing tease of the even more morose “Endsong.”
The 15-second instrumental bit of the track previewed on the band’s Instagram Story was missing Smith’s iconic haunting melancholy vocals, but it leans hard into the English band’s signature turbulent songcraft via layers of chiming guitars, churning drums and an overall foreboding vibe.
Smith talked about the overall feel of their upcoming Songs of a Lost World studio album in a video interview posted on Friday in which the singer said he doesn’t recall there being an “official beginning” to the sessions for their 14th studio album. “Because it’s been kind of drifting in and out of my life for like an awful long time,” said Smith of the long-awaited follow-up to 2008’s 4:13 Dream.
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“I mean, if I have one regret it’s that I said anything at all about it in 2019,” he added of an interview he did five years ago in which he blamed himself for “going back over and redoing them [the songs]” endlessly during a time when he was grieving the losses of his mother, father and brother.
He said he shouldn’t have talked about the album at all back then because the band had just started working on it at that point. “There are various points where I thought, ‘I think we’re gonna make a new album’… and then… for various reasons other things have happened and the idea’s been sort of pushed back.” During the course of the band’s nearly half-century career, Smith said the key to completing a record has been him nailing down both the opening and closing song on a project.
“[If I do that] I think that the album’s halfway done,” he said. “That’s the key for an album.” As proof, after releasing “Alone,” Smith said it was “the track that unlocked the record; as soon as we had that piece of music recorded I knew it was the opening song, and I felt the whole album come into focus.”
“Alone” and “Endsong” will appear on Songs of a Lost World, which is due out on Nov. 1 via Capitol Records. The album, whose full track list has not yet been announced, was produced by Smith and Paul Corkett, who also co-produced 2000’s Bloodflowers. It features contributions from Smith, Simon Gallup (bass), Jason Cooper (drums), Reeves Gabriel (guitar) and Roger O’Donnell (keyboards); the latter longtime member recently announced that he’d been diagnosed with rare and “aggressive” blood cancer a year ago, but added that “I’m fine and the prognosis is amazing”.
Listen to Smith talk about the new album below.