Music

14 Feb 2024

Lil Yachty & James Blake Announce ‘Bad Cameo’ Joint Album

Lil Yachty shocked the world with his Let’s Start Here psychedelic rock album, and now he’s gearing up to make another creative pivot with his next body of work. Lil Boat revealed on Tuesday (Feb. 13) that he’s readying a genre-blending joint project with James Blake titled Bad Cameo.

Explore

See latest videos, charts and news

See latest videos, charts and news

“I think James has worked with a quite substantial amount of hip-hop artists,” Yachty said in a clip posted to Instagram. “But this project is so left for both of us. Then, aside from the one picture that James posted, which he doesn’t have many followers actually, I don’t think people know that we know each other exist.”

While they are yet to release anything together in an official capacity, Blake is no stranger to the hip-hop world, as he’s earned recent production credits working on Kanye West’s Vultures 1 and Travis Scott’s Utopia.

Trending on Billboard

Fans figured that Blake and Lil Yachty could have something in the stash when a photo of them in the studio went viral last March. The British singer-songwriter detailed meeting up with the “Poland” rapper months later in an interview with DIY Magazine.

“[Yachty and I] had been working on something, and it just happened that he was in London. I asked him if he fancied going out to a club. I don’t think he probably knew what it would be like,” Blake said. “He happened to turn up at exactly the moment that the Ragga Twins came on stage. Suddenly, he was just stood there like, ‘Oh f—ing hell, this is a bit different.’”

Yachty dropped his “Cold Sunday” single earlier this month, and has notched guest verses with Kid Cudi, Chief Keef, Faye Webster and Fred Again in 2024.

Let’s Start Here arrived in January 2023, and debuted at No. 9 on the Billboard 200 with 36,000 album-equivalent sales in the first week.

“I did what I really wanted to do, which was create a body of work that reflected me,” Yachty told Billboard in his cover story of the solo album last year. “My idea was for this album to be a journey: Press play and fall into a void.”

Watch Yachty announce Bad Cameo below.

14 Feb 2024

TobyMac Breaks Record for Most Christian Airplay No. 1s Among Soloists With ‘Faithfully’

Singer-songwriter TobyMac rolls up his 13th No. 1 on Billboard’s Christian Airplay chart as “Faithfully” rises to the top of the Feb. 17-dated ranking. It increased by 1% to 5.9 million audience impressions Feb. 2-8, according to Luminate.

With his newest No. 1, TobyMac solely claims the most leaders among soloists since the Christian Airplay chart began in 2003, passing Jeremy Camp and Matthew West. Overall, MercyMe leads with 19 No. 1s, followed by twosome For King & Country with 14.

TobyMac (real name Toby McKeehan), from Fairfax, Va., co-wrote “Faithfully” with Kyle Williams, and the pair produced it with Micah Kuiper. The single is from TobyMac’s set Life After Death, which arrived at No. 1 on Top Christian Albums in September 2022, becoming his sixth leading set.

TobyMac created the album after the passing of his 21-year old son, Truett Foster McKeehan, who died in October 2019 from an accidental drug overdose. “I immediately went to write, because that’s what I know to do when I’m in so much pain,” he told Billboard ahead of the set’s release. “You [write] what you know, what you love and what brings you peace.”

“Faithfully” follows TobyMac’s holiday track “Christmas Hits Different,” which reached No. 2 on Christian Airplay in December, becoming his 28th of 29 career top 10s.

TobyMac last topped Christian Airplay with “Cornerstone,” featuring Zach Williams, for two frames last July. He first reigned with “Made to Love” for nine weeks beginning in December 2006.

On Billboard’s Christian AC Airplay list, “Faithfully” adds a second week in the penthouse, with a 2% advance in plays. It became TobyMac’s 10th leader on the chart.

14 Feb 2024

Tracy Chapman Leads 2024 Grammy Awards’ Big Winners in Streams & Sales

Songs that were performed at and/or snagged wins at the 2024 Grammy Awards saw bumps in U.S. streams and sales toward the Billboard charts, resulting in multiple gains, re-entries and even debuts on the Feb. 17-dated tallies.

Perhaps no one benefited more from the Feb. 4 ceremony than Tracy Chapman, whose 1988 single “Fast Car,” as previously reported, returns to the Billboard Hot 100 for the first time since October of that year, re-entering at No. 42. (Older songs are eligible to appear on Billboard’s multimetric charts if in the top half and with a meaningful reason for their re-entry.)

“Fast Car,” which was performed as a duet with Luke Combs during the broadcast, earned 6 million official U.S. streams Feb. 2-8, a boost of 153%, according to Luminate. It also accumulated 35,000 digital downloads, enough to send it to No. 1 on Digital Song Sales for the first time.

Gains for Chapman’s catalog weren’t limited to “Fast Car,” though. In all, on-demand streams of Chapman’s music totaled 13.5 million, a 217% jump from 4.3 million listens Jan. 26-Feb. 1.

She also racked up 50,000 total song sales, a 5,909% boost from 1,000 Jan. 26-Feb. 1.

Chapman’s next-best-performing song, “Give Me One Reason,” hops onto Digital Song Sales at No. 15 thanks to 7,000 downloads, up 3,544%. It also earned 2.6 million streams, a leap of 40%.

Chapman’s music dots the Rock Digital Song Sales ranking as well, in addition to the appearances of “Fast Car” (No. 1) and “Give Me One Reason” (No. 3). Other entries include “Talkin’ Bout a Revolution” (No. 7; 2,000 downloads, up 5,600%), “Baby Can I Hold You” (No. 9; 2,000 downloads, up 2,557%), “Stand By Me (Live From The Late Show With David Letterman)” (No. 10; 2,000, up 4,149%) and “The Promise” (No. 15; 1,000, up 2,740%).

As previously reported, Chapman’s self-titled 1988 debut returns to the Billboard 200 with 15,000 equivalent album units earned. The set also appears on Americana/Folk Albums and Top Rock & Alternative Albums at Nos. 4 and 13, respectively, and her Greatest Hits reaches the former at No. 16 (7,000 units).

Chapman’s original wasn’t the only version of “Fast Car” to see chart movement. Combs’ cover rebounds to the top 10 of the Hot 100, leaping 20-8 thanks to 13.6 million streams, a gain of 26%, plus 17,000 downloads, up 1,168%.

Toward the top of the Hot 100, SZA’s “Snooze” ranks as the top-performing song affiliated with the Grammys in terms of overall streams, jumping 10-5 on the strength of 16.6 million listens, up 29%. “Snooze,” which also garnered 3,000 downloads (up 285%), was performed during the ceremony and also won for best R&B song.

Miley Cyrus’ “Flowers,” a winner for a pair of awards (including record of the year) and another tune performed during the broadcast, returns to the Hot 100’s top 10, blasting 32-10 with 11.3 million streams (a jump of 51%) and 26,000 sold (rising 2,157%). It’s Cyrus’ first time in the top 10 with the song, an eight-week No. 1 in 2023, since August.

Billie Eilish’s “What Was I Made For?,” represented on the broadcast during a performance as well as its win for song of the year, vaults 31-20 on the Hot 100 with 9.4 million streams, up 16%, and a 300% jump in downloads to 8,000.

Overall, 14 songs performed during the Grammy broadcast or pre-telecast (which was streamed via the Grammys’ YouTube page prior to the main broadcast) were part of the top 2,000 most streamed titles in the U.S. Feb. 2-8 and had at least a 5% bump in streams for the week.

Performed:

  • SZA, “Snooze” (16.6 million streams, up 29%)
  • Luke Combs, “Fast Car” (13.6 million streams, up 26%)
  • Miley Cyrus, “Flowers” (11.3 million streams, up 51%)
  • Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%)
  • Olivia Rodrigo, “Vampire” (9.4 million streams, up 14%)
  • SZA, “Kill Bill” (8.6 million streams, up 15%)
  • Travis Scott feat. Playboi Carti, “FE!N” (7.5 million streams, up 17%)
  • Dua Lipa, “Houdini” (7 million streams, up 8%)
  • Tracy Chapman, “Fast Car” (6 million streams, up 153%)
  • Travis Scott, “My Eyes” (5.9 million streams, up 11%)
  • Billy Joel, “Turn the Lights Back On” (4.5 million streams, up 340%)
  • Bill Withers, “Ain’t No Sunshine” (3.7 million streams, up 12%)*
  • Laufey, “From the Start” (3.7 million streams, up 5%)**
  • Creedence Clearwater Revival, “Proud Mary” (1.7 million streams, up 5%)***

*performed during the in memoriam segment by Jon Batiste
**performed during the pre-telecast
***performed during the in memoriam segment by Fantasia

Of note, Billy Joel’s “Turn the Lights Back On” was also amid its first full week of availability after having been released Feb. 1.

Six songs that won awards during the main ceremony or premiere ceremony were within the top 2,000 songs in U.S. streams Feb. 2-8 and were also up at least 5%.

Won:

  • SZA, “Snooze” (16.6 million streams, up 29%) (best R&B song)
  • Miley Cyrus, “Flowers” (11.3 million streams, up 51%) (record of the year, best pop solo performance)
  • Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%) (song of the year, best song written for visual media)
  • Boygenius, “Not Strong Enough” (2.6 million streams, up 45%) (best rock performance, best rock song)
  • SZA feat. Phoebe Bridgers, “Ghost in the Machine” (2.4 million streams, up 36%) (best pop duo/group performance)
  • Killer Mike & Andre 3000 feat. Future & Erykah Badu, “Scientists & Engineers” (2.2 million streams, up 773%) (best rap performance, best rap song)

Though she didn’t make the Hot 100, Joni Mitchell sports a sizable boost in streams and sales of her catalog after she appeared during the broadcast to perform “Both Sides Now,” flanked by Brandi Carlile, Allison Russell, Lucius and more. The ‘60s classic returns to Digital Song Sales at No. 10 via 9,000 downloads, a 3,507% leap. The song also accumulated 473,000 on-demand U.S. streams, up 213%.

Mitchell’s catalog soared 126% in overall on-demand U.S. streams, from 1.4 million Jan. 26-Feb. 1 to 3.1 million Feb. 2-8. In all, she garnered 14,000 downloads, a gain of 1,361%.

The Billboard 200 features multiple Grammy-related gains in addition to the aforementioned Chapman re-entry. SZA’s SOS, a winner for best progressive R&B album, leads the pack at No. 3 with 53,000 units, up 28%. Taylor Swift’s album of the year-winning Midnights, meanwhile, jumps 9-5 with 51,000 units, up 35%. The full rundown can be found here.

14 Feb 2024

Bri Babineaux Scores Her Second Gospel Airplay No. 1 With ‘I Will Wait’

Bri Babineaux earns her second No. 1 on Billboard’s Gospel Airplay chart as “I Will Wait” rises from No. 3 to the top of the chart dated Feb. 17. In the Feb. 2-8 tracking week, the song advanced by 7% in plays on over 30 reporting stations in the format, according to Luminate.

“I Will Wait” was authored by Makeba R. Woods, who also co-produced it with Kayton Bassier, David “Ali” Parilla and Makeba Riddick-Woods.

“I’m extremely happy and grateful to God to have a second Billboard No. 1,” Babineaux tells Billboard.

As for her R&B-flavored new Gospel Airplay No. 1, she says, “I was very nervous about releasing ‘I Will Wait’ because it was completely different from the worship songs I’ve released in the past. To my surprise, the people loved it and I’m excited for everyone to hear what’s coming next.”

Babineaux logs her second Gospel Airplay leader in succession. “I Will Wait” follows “He’s My Rock,” which led for a week in August 2021. Her first of five entries, “I’ll Be the One,” hit No. 6 in May 2016, becoming her first of three top 10s. “Jacob’s Song” and “Baptize Us Again” followed, reaching No. 20 in December 2016 and No. 25 in March 2020, respectively.

The 29-year-old Babineaux, who was born in Hawaii and raised in Lafayette, La., is currently finishing her next studio album, expected later this year.

Musing about her musical roots growing up, Babineaux says, “I never thought that singing in a living room would open so many doors for me.”

14 Feb 2024

‘Texas Hold ‘Em’ Producer Killah B Teases Beyoncé’s Country Era: ‘She’s on the Approach of Shocking the World’

Forget yeehaw, it’s all about Bey-haw now! During the Super Bowl (Feb. 11), Beyoncé teased new music — in a glitzy Verizon commercial, no less — and by the time the Chiefs won, two new singles had appeared on streaming platforms. One of the new tracks, “Texas Hold ‘Em,” released alongside the plaintive “16 Carriages,” is already sending country radio into a tailspin, and producer Killah B is hinting that it’s just the tip of the iceberg.

“Let’s just say she’s on the approach of shocking the world,” Killah B said in response to TMZ‘s inquiry of the possibility of guest artists on Beyoncé’s forthcoming album. “I’ll let your imagination decide what that means.”

Trending on Billboard

“Texas Hold ‘Em” and “16 Carriages” mark a stark genre pivot for the consummate pop star. After all, just two years ago, Beyoncé made history as the first Black woman to win the best dance/electronic album Grammy. She won that award — and three others — for her Billboard 200-topping Renaissance album. Serving as her seventh solo studio effort, Renaissance spawned a $579 million-grossing stadium tour, a box-office-topping documentary concert film, and a pair of Billboard Hot 100 top 10 singles — “Break My Soul” (No. 1) and “Cuff It” (No. 6). The album, which paid tribute to the Black queer roots of dance music and culture, was the first act in a trilogy announced by Beyoncé back in 2022.

Although a title for Beyoncé’s country record has yet to be revealed, the two new tracks are confirmed to be a part of Act II of the trilogy — and that’s essentially all fans know so far.

“Because the album hasn’t dropped yet, I can’t say and I don’t wanna ruin it,” Killah B replied when asked how many tracks would be on the LP. Once TMZ started naming potential collaborators — particularly one Taylor Swift — the “Texas Hold ‘Em” producer said, “You guys gonna have to wait and see!” with a cheeky grin.

14 Feb 2024

Killer Mike Jokingly Shoots Poly Shot With Taylor Swift: ‘Me and My Wife Need a Third’

Killer Mike visited The Daily Show on Tuesday night (Feb. 13) to talk about taking home three 2024 Grammy Awards for his deeply personal Michael album, as well as his arrest that night for what police said was a physical altercation with venue security.

But what host Jordan Klepper really wanted to know, though, was how Mike felt about gossip reports from that night alleging that Taylor Swift snubbed Celine Dion while accepting an award from the French Canadian pop icon for album of the year for Midnights. “Shouts out to Taylor, man,” Killer Mike, 48, said with gusto while offering props to Swift and her three-time Super Bowl champ Kansas City Chief tight end Travis Kelce.

“God—n, she won at the Grammys. Her boyfriend won the Chiefs,” he added before taking things in an unexpected, amorous direction. “If she’s into poly, me and my wife need a third. We’re trying to win again!” That prompted Klepper to wonder if Mike was feeling so powerful after his wins that he’d be up for fully embracing the polyamorous lifestyle.

Trending on Billboard

“I feel I could pull it off,” Mike said. “Only problem is my wife’s good with a gun. She doesn’t agree. But I’ll keep trying for all the men out there,” he promised with a raised fist of solidarity in the air.

While Mike said he could not talk about the specifics of the arrest, in an earlier statement he said, “I am better than OK. As you can imagine, there was a lot going and there was some confusion around which door my team and I should enter. We experienced an over-zealous security guard but my team and I have the upmost confidence that I will ultimately be cleared of all wrongdoing.”

Watch Mike on the Daily Show below.

14 Feb 2024

Nicki Minaj & Lil Uzi Vert’s ‘Everybody’ Tops Rhythmic & Rap Airplay Charts

There’s a double celebration on Billboard’s Rhythmic Airplay and Rap Airplay charts as Nicki Minaj’s “Everybody,” featuring Lil Uzi Vert crowns both lists, dated Feb. 17. The track, which samples Junior Senior’s 2003 dance hit “Move Your Feet,” is the rappers’ third collaborative single but first champ on either list.

Explore

See latest videos, charts and news

See latest videos, charts and news

On Rhythmic Airplay, “Everybody” jumps from No. 3 to the top slot after an 11% gain in plays for the week of Feb. 2-8 that made it the most-played song on U.S. monitored rhythmic radio stations in that span, according to Luminate. With the ascension, Minaj captures her 12th No. 1 on the list and ties Beyoncé for the second-most among women in the chart’s history. Rihanna claims first place in that race, with 17 leaders.

Trending on Billboard

Here’s an updated list of the acts with the most No. 1s on the Rhythmic Airplay chart, which launched in 1992.

  • 39, Drake
  • 17, Rihanna
  • 13, Chris Brown
  • 13, Bruno Mars
  • 13, The Weeknd
  • 13, Usher
  • 12, Beyoncé
  • 12, Lil Wayne
  • 12, Nicki Minaj
  • 11, Doja Cat
  • 10, Post Malone

Featured act Lil Uzi Vert, meanwhile, gets their second Rhythmic Airplay No. 1, after their featured spot on Migos’ “Bad and Boujee,” which reigned for two weeks in 2017.

Switching to the Rap Airplay chart, “Everybody” rises from the runner-up spot with a 5% jump in audience in the Feb. 2-8 tracking window. As is the case on Rhythmic Airplay, “Everybody” evicts Jack Harlow’s smash hit “Lovin on Me,” from the summit. Harlow’s hit led for six weeks on Rhythmic Airplay and seven weeks on Rap Airplay, and slips to No. 2 on both lists. On the former, it sheds 7% in weekly plays, while losing 3% in audience on the latter.

Thanks to “Everybody,” Minaj achieves her ninth No. 1 on Rap Airplay, extending her record for the most chart-toppers among women. She moves to two ahead of runner-up Cardi B, who has seven leaders.

Here’s a refreshed rundown of the artists with the most No. 1s on Rap Airplay:

  • 43, Drake
  • 13, Lil Wayne
  • 10, Ye (Kanye West)
  • 9, Jay-Z
  • 9, Nicki Minaj
  • 7, 50 Cent
  • 7, Cardi B
  • 7, T.I.

For Lil Uzi Vert, meanwhile, “Everybody” puts a third Rap Airplay champ on their ledger. They previously reached No. 1 through a featured role on Migos’ six-week champ “Bad and Boujee” in 2017 and their own “Just Wanna Rock,” a four-week leader in 2023.

“Everybody” appears on Minaj’s latest studio album, Pink Friday 2, which was released last December. The track is the third collaborative single from Minaj and Lil Uzi Vert, following two previous Uzi-led hits with Minaj in the featured spot: “The Way Life Goes” peaked at No. 13 on Rhythmic Airplay and No. 14 on Rap Airplay, while “Endless Fashion” hit No. 10 on Rhythmic Airplay and No. 14 on Rap Airplay last year.

Elsewhere, “Everybody” wins a second week at No. 1 on Mainstream R&B/Hip-Hop Airplay through a 3% improvement in plays. It also inches 18-17 on Pop Airplay from a 10% gain in plays on mainstream top-40 stations. Thanks to the favorable momentum across multiple formats, the single pushes 12-10 on the all-genre Radio Songs chart. There, it added 7% in listenership to reach 40 million audience impressions in the tracking week.

14 Feb 2024

Chris Jericho Explains How He Built Fozzy Into A Modern Rock Mainstay

Wrestling star Chris Jericho’s hard-rock band, Fozzy, has released eight albums since 2000, including three consecutive sets from 2012 to 2017 that charted on the Billboard 200. (2014’s Do You Wanna Start a War fared best, peaking at No. 54.) Fozzy, which most recently released Boombox in 2022, regularly tours the United States, making radio station visits and doing other local promo along the way. Jericho spoke by phone from his Tampa, Fla., home.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

How important for you and Fozzy is the recognition that comes with chart hits?

Trending on Billboard

We never realized how important rock radio is to a band’s success until we started getting played on rock radio, and that started with “Judas,” back in 2018. We’ve had six Top 10 hits since on the mainstream rock charts. It really makes a difference for the band’s growth — people coming to the shows, the notoriety of the band. We’ve become a radio artist now. Every song we’ve released gets played across the country.

Do you go through all the radio promotion exercises, visiting stations across the country, or do you avoid it?

No, no, no, I don’t avoid anything. Any type of promotion that I can do, I’ll do it. If you put something out, you want to make sure people know it’s out there. You visit a radio station, they’re going to play your song more… It really is a long-term chess game with a lot of strategy involved.

When a Fozzy song hits the charts, how do you celebrate?

It’s always cool. But this is a business. We’re not playing rock star in Fozzy. If we hit No. 1, I’d celebrate, because that’s the highest you can get. “Judas” got to No. 5 and they’re playing it in football and hockey and wrestling stadiums around the world — but how can we do this for the next song? We’re always looking forward. It’s not like, “Wow, we’ve made it because we’re on the radio.” You make it when you get to the Shinedown or Van Halen level, when you’ve had 20 No. 1 songs.

How much does your recognition as a wrestler help streaming and sales?

We’ve had to work twice as hard to gain people’s respect over the years, just because I’m in the band. But that’s changed, now, where I think Fozzy stands on its own. People aren’t playing our songs on the radio because I’m a wrestler, they’re playing our songs on the radio because people like them and we’re good. Once we got past that initial hump years ago, people look forward to hearing the new Fozzy tunes — they know it’s going to be perfect for radio, it’s going to be catchy, it’s going to be melodic, it’s going to be heavy.

What are you working on now?

Our Boombox record took about three years to make. We were calling it Chinese Fozzocracy because of the pandemic. You didn’t want to put out a record without being able to support it. We put the record out and three songs went Top 10, three more songs went over great live and the other three songs went to the Fozzy Dead Song Graveyard. And that was a shame, because all those songs were great. Now the idea is to do one song at a time. That way, every song gets a chance to live or die on its own.

14 Feb 2024

Former MLB Star Bronson Arroyo On What Pitching And Playing Music Have In Common

Former Boston Red Sox and Cincinnati Reds star Bronson Arroyo’s punnily titled 2005 debut, Covering the Bases, included a cover of The Standells’ “Dirty Water” with Red Sox teammates and cracked the Billboard 200. Since his 2017 retirement, Arroyo has added songwriting to his arsenal, putting out 2023’s all-originals collection Some Might Say.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

How do you compare playing baseball and performing with your band onstage?

It’s kind of a strange thing. When you play at the highest level and you’re winning the World Series, or you win 15 games in a Major League season, you feel like you’re at the top of the mountain, doing your best work. I didn’t pick up a guitar until I was 27 years old. You never feel like you’re getting to the top. It’s this constant whittling of the wood, being in the basement, practicing over and over again. It doesn’t feel like something you were born to do. It feels like it’s something you’re constantly working to do to get better.

Trending on Billboard

In baseball, the metrics that show successes are as objective as they can be, but in music, even when you have chart data, it’s totally different, right?

Right. Absolutely. Nobody can deny if you win 15 games in a season or punch out 200. That’s a solid year. No one can take that from you. Music is an art and it’s totally subjective to the listener… If I was one of those kids who was 5 or 6 years old at the piano and I was born with this gift, as I was my athleticism, you might think about it differently. But it’s this constant grind, and I enjoy that.

How does your preparation differ between pitching and performing music?

Leading up to a show, it’s very similar. You get all those jitters. You watch guys in a baseball locker room going into a routine and you watch guys in the band run through their routines. That’s a very similar feeling to standing on the mound and listening to the National Anthem. Once you start pitching, all that stuff eases. It’s just a lot more intimate with the music. What the [baseball] crowd thinks of you in those moments isn’t quite that obvious and personal as when you’re looking people in the eye and thinking, “Are you singing this song along with me?”

How much promotion do you do for your albums and shows?

Just a little bit. I’m not trying to make money off it. It’s always nice if extra money comes around, but that’s not the main thing. … I did a bunch of radio interviews and newspaper articles with writers from baseball and tried to infiltrate that world a little bit and do stuff that wouldn’t chew up too much of my time. I wasn’t trying to get on a plane and stop at every radio station in the country — which I would if I was 22 and in a van trying to push my music.

You’re on a golf trip now — are you doing music shows, or is this purely vacation?

No, not playing [live music] at all. I have a guitar with me, and these 10 songs we wrote, I’m trying to play them. There’s nowhere I go without having one — you know, those guys who go for a run four or miles every day, and if they don’t do it, it’s a problem. I’m just writing now. I’m going to try to put out 20 to 30 songs. I don’t even know what to do with them, to be honest with you. I’m just going to write a bunch of folk songs. Eventually, I’ll get them out.

14 Feb 2024

Ben Affleck’s Song That Jennifer Lopez Dunked on in Dunkin’s 2024 Super Bowl Ad Is Here: Listen

Underestimate The DunKings … at your peril! Jennifer Lopez may have drowned husband Ben Affleck‘s pop-star dreams in Dunkin’s 2024 Super Bowl ad, but the Oscar-winning actor is following his heart. The DunKings boy band — comprised of Affleck and fellow Boston boys Matt Damon and Tom Brady — dropped their track “Don’t Dunk Away at My Heart” on Wednesday (Feb. 14).

While catchy, it’s not hard to see why the Grammy-nominated singer declined to include her husband’s new music on her upcoming album This Is Me … Now, which is set to arrive Friday, Feb. 16. The ’90s tinged electronic track — we are talking boy bands, here! — doesn’t exactly have the most moving lyrics, (though they’re certainly a great brand tie-in. Check out some of them:

“Don’t treat me like a glazed/ The thought that drives me crazy/ Try to find the way to your love/
You crush me like a coffee cup/ ‘Cause now we’re back and on the scene/ Kiss the ring it’s The DunKings!”

Trending on Billboard

Or the outro, which goes, “Don’t be dunkin’ away at my heart no more/ I just can’t take it/ It really kinda hurts.”

But is that really Affleck, Damon and Brady singing on the track? It seems possible we may have another Milli Vanilli situation here.

“In the world of boy bands, it’s not about one shining star – it’s the harmony of the band that steals the spotlight! No leaders. No followers,” Dunkin’ tells Billboard. “There are no names on the back of these tracksuits, because for these guys, pop music is a team sport.”

Check out The DunKings’ full song below: