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Travis Scott is Missouri City until he dies. La Flame released a love letter to his hometown with the “Mo City Flexologist” video on Tuesday (Sept. 24). “In Mo City we just go up. That’s how we do,” the screen reads to open the clip. The Honorable C.N.O.T.E.-produced track was recorded in 2014, but released […]
After a week in which the highest debut on the Billboard Hot 100 was the No. 21 bow of Linkin Park’s “The Emptiness Machine,” this week, three new entries on the chart grace the back half of the top 20.
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The highest of the three comes from the most established pop star: The Weeknd, whose new Hurry Up Tomorrow gets underway with the No. 14 debut of its lead single “Dancing in the Flames.” Then comes rap star Playboi Carti, whose much-anticipated new song “All Red” lands at No. 15. And finally, Tate McRae’s well-received new single “It’s OK, I’m OK” enters at No. 20.
Which of the three songs will have the longest legs? And why have we had so few top 10 debuts on the Hot 100 of late? Billboard staffers answer these questions and more below.
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1. “Dancing in the Flames,” the first taste from The Weeknd’s alleged final chapter Hurry Up Tomorrow, bows at No. 14 this week. Is that higher, lower or about where you would have expected for the song?
Rania Aniftos: Definitely lower, but I can’t figure out why. Was it because there wasn’t enough build-up between the announcement and release, perhaps? I was expecting the lead single of the project to at least debut in the top 10, especially given how record-breaking After Hours was. Maybe the rest of Hurry Up Tomorrow’s rollout will boost the track.
Katie Bain: I’m not surprised to see The Weeknd’s first solo track of the year debut higher than his recent The Idol-bred group efforts, and 14 feels like a good starting point for the song, which I think is one that grows on the ears with each listen. And in that sense, I wouldn’t be surprised to see this one keep climbing from here, especially that given his history, we know he’s the king of keeping songs on the Hot 100 for the long run.
Jason Lipshutz: Maybe a little lower, considering The Weeknd’s track record of top 10 debuts on the Hot 100 and the relative radio silence preceding this much-hyped new single. To me, the No. 14 debut speaks less to the long-term chart potential of “Dancing in the Flames,” and more about how static the top of the Hot 100 is currently — as Shaboozey’s “A Bar Song (Tipsy)” spends an 11th week at No. 1 and radio-boosted hits by Sabrina Carpenter, Chappell Roan, Kendrick Lamar and Morgan Wallen have logged months in the upper frame, new tracks like “Flames” have a tougher time trying to break through in their first weeks of release. If I’m Team Weeknd, I’m cool with a No. 14 debut, with an impetus on trying to push upward this fall.
Michael Saponara: First off, solid lead single from Abel. Although, I did think it would debut higher than No. 14 on the Hot 100 with the anticipation heading into the final chapter feeling palpable combined with the fact he released an EP version of the single featuring nine different versions had me believing XO was looking for even more commercial dominance out of the gate.
Andrew Unterberger: It’s low for a new Weeknd single… but about right for this new Weeknd single, in my opinion. It’s a fine song, it’s just not exciting or new-sounding enough to me for it to force its way into the top 10, especially not at a time when nothing in the top 10 seems to want to budge for anyone new.
2. “All Red” is already Playboi Carti’s top-charting song as a lead artist on the Hot 100, debuting at No. 15. Does the song mark a big step forward for him artistically or commercially, do you think, or is its high debut mostly the climax of the few years’ worth of momentum he’s built up through high-profile guest appearances and general cult-building?
Rania Aniftos: Huge step forward! Rap fans already knew Playboi Carti is a force to be reckoned with. While mainstream music fans knew his talents as a collaborator, it’s about time he’s getting appreciated as a solo star. I feel like this is just the beginning for Carti on the Hot 100.
Katie Bain: To my ears, this is one of the catchiest and most accessible songs of the Carti catalog thus far, so I have to believe this debut is a synergistic function of the song working for and across more listener bases, along with general cult-building.
Jason Lipshutz: The latter. “All Red” doesn’t try to reinvent the wheel when it comes to Playboi Carti’s signature approach, but after months of anticipation for his next solo era, the single arrived on a mountain of hype and scored enough immediate streams to notch his career-best solo debut. Whenever Carti does drop the follow-up to Whole Lotta Red, I’d expect more of the experimental streak that made his last album so compelling; for now, “All Red” is a warning shot aimed at the mainstream, and it accomplished its job.
Michael Saponara: King Vamp is back. It’s a major statement for him commercially, but this is also due to the build-up surrounding the fact Carti hasn’t released any music officially on streaming services since 2020. Whether you like it or not, he’s the king sitting atop the throne for rap’s Gen-Z fans. Just take a look around the industry and you’ll see plenty of artists attempting to dress like him, mimic his cryptic persona and match the chaotic production he amplified on 2020’s Whole Lotta Red. Cash Carti is the guy right now.
Andrew Unterberger: I think it’s more about Carti and the cult he’s amassed than about this song in particular — though this song does do its job fairly well. It’s always more about the albums than the individual songs with him anyway, so I think we’ll see the true impact of his ballooning stardom if and when the Whole Lotta Red follow-up drops.
3. Tate McRae’s “It’s OK, I’m OK” bows at No. 20 on the Hot 100 — the highest-debuting song of her career. Has she proven to you yet that she belongs on pop’s A-list, or does she still have some distance to go there?
Rania Aniftos: She’s right there, but I think she needs one more “Greedy” level hit to push her over into the A-list pop category. She certainly has all the traits of a main pop girl, and I would love to see her have a Sabrina Carpenter-level breakthrough year.
Kaite Bain: She’s obviously hustling towards the A-list and I’m not surprised to see her gaining traction given how hard she’s working. This song certainly gets her closer, if not all the way there yet. More so it makes me curious about/excited for what she might do next.
Jason Lipshutz: The idea of “Tate McRae, A-lister” would have seemed far-fetched a year ago… but since then, she’s scored a legitimate pop smash in “Greedy,” a top 10 album with Think Later, performed on SNL, headlined Madison Square Garden, and now earned the first top 20 Hot 100 debut of her career. “It’s OK, I’m OK” isn’t quite as immediate as “Greedy,” but McRae’s trajectory has continued pointing upward as she’s sunk deeper into her choreo-ready rhythmic pop identity. If she’s not on the A-list yet, she’s striding towards it with confidence.
Michael Saponara: Tate McRae’s next album will vault her firmly into pop’s A-list. Coming off her first tour performing in arenas, the Canadian singer’s arrow is clearly pointing up as she soars into further stardom at just 21 years old. By the time her next LP rolls around, we can probably point to “It’s OK, I’m OK” and her summer as the start of her journey making the quantum leap into pop lore.
Andrew Unterberger: It feels like only a matter of time, doesn’t it? The bar for breakout pop stars assuming the A-list has obviously been raised this year with the ascents of Roan and Carpenter (and the comeback of Charli XCX), so I don’t think she’s quite there yet — but damn if she isn’t starting to check those boxes left and right at this point. Why wasn’t she performing on the VMAs, again?
4. Of the three songs, which do you see having the most endurance on the chart? Will any of them still be on the Hot 100 ten weeks from now?
Rania Aniftos: I feel like I’m being cynical, but none of them have longterm potential for me. Maybe “All Red” depending on what he releases in the next few months, but I feel like all three of these artists have something better on the way.
Katie Bain: The Weeknd to me has the strongest chance here, given his massive global star power, the fact that this is a buzzy moment in terms of the song marking the start of a new chapter and the fact that “Dancing In th Flames ” is just catchy and kind of broadly palatable.
Jason Lipshutz: I refuse to underestimate a big, mainstream-ready single by The Weeknd — a man who, by his own admission, comes alive in the fall time. “Dancing in the Flames” won’t reach “Blinding Lights” levels of commercial success, but The Weeknd has the cross-platform pedigree to power a lead single into hit status, and I think “Flames” contains the hook necessary to endure on the Hot 100 for a while. When we start switching our playlists over to Christmas music, I’d bet that “Flames” is among the non-holiday singles populating the chart.
Michael Saponara: The Weeknd and Tate McRae will still be holding strong on the Hot 100 with “Dancing in the Flames” leading the pack. There’s a chance Carti is hanging around too, but let’s see if he actually ends up delivering on his long-awaited WLR follow-up, which has been rumored to finally arrive in the coming weeks.
Andrew Unterberger: I think it’s “It’s OK, I’m OK” — that seems to be the song that’s getting the best fan response, and it seems like it’s hitting at the right time in the right post-Short N’ Sweet spot to get picked up on radio. I don’t know if it’ll have “Greedy”-like legs but I think it’ll be around for a bit.
5. While all three songs make strong bows, none of them reach the top 10 — and indeed, the only new top 10 hit we’ve gotten this month has been Sabrina Carpenter’s “Taste.” After such a competitive period on the Hot 100 this spring and early summer, why do you think activity at the top has really slowed to a crawl in the late summer and early autumn?
Rania Aniftos: Not to bring TikTok into this, but the same few songs have been circulating the platform for the past few months, and it’s the songs that are currently in the Hot 100 top 10. I fear it’s going to take a new round of viral hits on TikTok for us to see some shake-ups on the Hot 100, which typically happens toward the end of the year anyway.
Katie Bain: There’s been so much hype and kismet around the Sabrina, Shaboozy and Chapell juggernauts, not to mention the barrage of hits by mainstays like Jelly Roll, Morgan Wallen, Kendrick, etc. that just seems hard to match, despite the caliber of the names involved in this week’s chart.
Jason Lipshutz: We were gifted a generally excellent slate of summertime singles in 2024, with songs like “Espresso,” “Good Luck, Babe!,” “A Bar Song (Tipsy)” and “Not Like Us” all ranking among the most memorable hits of the year. And once they landed in the top 10, they kept going within the upper tier of the chart — and many weeks later, pop listeners still aren’t sick of them. That will change in due time, as we receive a new crop of fall hits, but the static top 10 speaks to the quality of the current biggest hits, songs designed to entertain for multiple months instead of a couple weeks.
Michael Saponara: With a flurry of superstars dropping throughout the first half of the year, they took up a lot of oxygen on the Hot 100 to the point I think we just reached a point of saturation with some of these anthems being such dominant forces that just refuse to give up chart real estate. I believe it will eventually cycle through and there will be newcomers in quarter four.
Andrew Unterberger: Carpenter’s album has been the only really splashy album debut this month (not counting Travis Scott’s reissued mixtape), and too many big songs right now have maintained their streaming numbers while amassing major radio support — making it tough for anything new without major, major momentum behind it to break through. We could really use a left-field viral smash or two this autumn, but it appears we may have run dry on those for the time being.
Ringo Starr has come down with a cold, and he and his his All Starr Band have been forced to cancel the last two remaining shows of their tour. The group was scheduled to perform at Philadelphia’s TD Pavilion at The Mann on Tuesday (Sept. 24) and at NYC’s Radio City Music Hall on Wednesday (Sept. 25), […]
Singer Al B. Sure! has waded into the Sean “Diddy” Combs legal morass by calling for official action to be taken against the team that created what he referred to as a new “fake” memoir credited to his ex-wife — and Combs’ longtime girlfriend — Kim Porter. Kim’s Lost Words: A Journey for Justice From the Other Side… was released on Amazon on Sept. 6, a week before Combs was arrested and indicted on sex trafficking and racketeering charges, and it allegedly contains information Porter saved on a flash drive and gave to friends before her sudden death in 2018 at age 47 from lobar pneumonia.
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“For over a decade and a half, I’ve been posting about, and tagging random law enforcement agencies in hopes to protect loved ones, avoid deaths & tragedies that could have all been avoided,” wrote Sure, 56, born Albert Joseph Brown, in an Instagram post on Monday (Sept. 23) that featured hashtags for a raft of law enforcement agencies. The singer-songwriter added that he had been “ignored” and ridiculed.”
Sure claimed that an alleged effort to silence him was meant to prevent the singer from sharing “facts and insights” he said Porter told him during “frequent and intimate conversations.” Sure and Porter were married from 1989 to 1990 and had a son, Quincy Brown, 33, whom Combs later adopted when the child was 3-years-old.
Sure’s posts also included what he said were allegedly stolen notes that he claimed were intended to be included in Porter’s memoir, as well as claims that his late ex’s devices have gone missing as further proof of what he deemed an alleged cover-up about the facts surrounding her death, which he called a “tragic murder.”
“Ms. Porter’s missing devices, allegedly already in evidence, unquestionably contain the critical evidence that have been concealed,” he claimed. “I’m convinced that evidence corroborates closely with details outlined in the recently released public indictment document.”
Sure alleged that that “Kimberly was allegedly taken from us because she was set on course to accomplish what Mrs. Cassie Ventura did by igniting the Bon Fire [sic] which brings us here today,” appearing to make a connection between Porter’s death and a settlement last year between Combs and former girlfriend singer Cassie Ventura. A day after Ventura sued Combs for what she alleged were years of physical and emotional abuse and rape, the pair reached an undisclosed settlement.
The series of posts from Sure also included excerpts from the 59-page book published by Los Angeles producer Chris Todd under the pen name Jamal T. Millwood.
In a statement to Billboard on Tuesday (Sept. 24), Combs’ attorney Erica Wolf wrote, “The Kim Porter ‘memoir’ is fake. It is also offensive – a shameless attempt to profit from tragedy. Chris Todd has no respect for Ms. Porter or her family, who deserve better. … It is an established fact that Ms. Porter died of natural causes. May she rest in peace.”
Porter was found dead at her Toluca Lake, Calif., home in 2018 after suffering from what was described as days of “flu-like” symptoms. The coroner initially listing her cause of death as “deferred,” then later changing it to to lobar pneumonia, a type of pneumonia characterized by infection and/or inflammation of one or more lobes of a patient’s lungs.
Ventura is one of at least eight people who have sued Combs, alleging sexual abuse. The Bad Boy Records founder was arrested on Sept. 16 in New York on an indictment charging him with a racketeering conspiracy, sex trafficking and transportation for purposes of prostitution, charges Combs has pleaded not guilty to. The disgraced music mogul, who has denied the allegations against him, has been denied bail twice and will remain behind bars awaiting his trial date.
Rolling Stone reported that author Todd (aka Millwood, born Todd Christopher Guzze), told the publication that he cannot guarantee that the claims in the No. 1 bestselling book are authentic, saying he received the flash drive allegedly containing the notes from two unnamed “music industry” sources. The magazine notes that the book contains “numerous typos, factual inaccuracies and incredulous claims involving high-profile names,” adding that two of Porter’s friends, Kimora Lee Simmons and Lawanda Lane, told the magazine that they “don’t know [the author] at all.”
“If somebody put my feet to the fire and they said, ‘Life or death, is that book real?’ I have to say I don’t know. But it’s real enough to me,” Todd told RS. “Maybe not 100% of the book is true, but maybe 80% is.”
Sure ended his posts by noting that he was on good terms with Porter near the end of her life and that they had friendly conversations until just a few days before her death. “We must continue to advocate for justice and ensure that everyone of the individuals who conspired against her are held accountable and prosecuted to the highest extent of the law,” he wrote.
Combs and Porter dated on-and-off for 13 years until 2017, and they had three children together: son Christian Combs and twins Jessie and D’Lila Combs.
Latin music, the term assigned to music performed predominantly in Spanish, is the fastest growing “genre” of music both in the U.S. and worldwide, with Latin acts –- from Bad Bunny to Karol G to Annita and Shakira — dominating both charts and headlines. But it wasn’t always like that: From its initial heyday in the 1950s, when Latin dances like mambo and cha-cha-cha were all the craze, Latin music’s popularity has ebbed and flowed. But for the last 35 years, at least, there has been two constants: the Billboard Latin charts and Billboard Latin Music Week.
What is now the single most important, and biggest, gathering of Latin artists and industry executives in the world, has been the one, steady foundation of Latin music in this country and for the world. Every single artist of note has spoken or performed at Latin Music Week through the years: Gloria Estefan, Ricky Martin, Selena, Jenni Rivera, Marc Anthony, Chayanne, Bad Bunny, Karol G, Daddy Yankee, Shakira, Romeo Santos, Don Omar, Camilo, Bizarrap, Carin León, Grupo Firme, Peso Pluma, Luis Fonsi, Christina Aguilera, Wisin, J Quiles, Gloria Trevi… The list goes on and on.
This year’s Latin Music Week, taking place October 14-18 at the Fillmore Miami Beach, will feature superstar speakers J Balvin, Young Miko, Gloria Estefan, Alejandro Sanz, Peso Pluma, JOP (Fuerza Regida), Eden Muñoz, Bad Gyal, Mon Laferte,Thalia and Maria Becerra among many others. But Billboard’s history of stellar appearances is 35 years deep. Here are some outstanding moments in the Billboard’s Latin Music Week 35-year history.
Visit Billboard Latin Music Week to register to this year’s event.
1990
Tyla’s mom had “premonitions” that her daughter was pregnant, and the “Water” singer duped her with a prank call. As part of Elle‘s Phoning It In segment on Monday (Sept. 23), Tyla made a few prank calls to her mother, Central Cee, her manager and more. She attempted to scare her mom, Sharleen Seethal, with a pregnancy prank, but things took a turn when her mom had a feeling the singer was pregnant.
“Mom, I think I’m pregnant,” begins Tyla, who recently accepted Billboard‘s Global Force award at the R&B No. 1s party.
Her mom replied: “Yeah, I’m happy. I had a feeling for a long time. That’s what I’m seriously shocked about. Oh my God. I swear to God. I had premonitions. I swear to God.”
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“I don’t know who the father is,” Tyla continued. She couldn’t lead her mother on any longer and fessed up to the prank.
“Tyla, but I had a premonition,” Seethal countered. “I spoke to Auntie Mila and I told her I need grandchildren. Oh my God, Tyla. Am I supposed to scream?”
While Tyla isn’t actually pregnant, her mother clearly wants her 22-year-old daughter to give her some grandchildren in the future.
As for Central Cee, Tyla went with the prank that she was flying to London, but her Airbnb wasn’t ready and her team needed a place to stay in the U.K. in the meantime.
“I’m supposed to go to London tomorrow and I just have a problem,” she told him. “Literally, like, my whole family is meeting me there and I booked an Airbnb and everything … They said the wait is going to be, like, a few hours before they can actually get in so I was just wondering if they could, like, maybe wait at your place.”
Cench said: “This is the maddest question I think anyone’s ever asked me.”
She eventually gave up on the prank, but Central Cee was happy that he showed he was willing to step up and house Tyla and her party of five.
Watch the full clip below.
09/24/2024
The “After Hours” title track from his blockbuster fourth album breaks his 17-song tie with Drake.
09/24/2024
Eric Church recently paid homage to Country Music Hall of Famer Alan Jackson as only “The Chief” can during the 17th annual ACM Honors, which were held in August at Nashville’s Ryman Auditorium and airs Tuesday (Sept. 24) on Merit Street Media.
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During the event, Jackson — who has earned 26 Billboard Country Airplay No. 1 hits and is a co-writer or sole writer on most of those — was celebrated with the ACM Poet’s Award for his songwriting.
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“Alan Jackson is an institution and an American treasure. It’s my honor to be here and play for him,” Church said before he offered a soulful performance of Jackson’s 1990 hit “Chasin’ That Neon Rainbow.”
Before launching into the performance, Church also offered up a story from being on the road with another country music luminary.
“I was touring with Hank [Williams] Jr., and every night he would play ‘Family Tradition,’” Church said, recalling that after he tried putting his own spin on the song, “Hank tolerated me for about 30 seconds and he pulled his glasses down and said, ‘Brother, don’t paint on the Mona Lisa.’ So tonight I’m going to try to paint around the Mona Lisa, OK?”
Church’s rugged rendition was passionate, clearly conveying the two artists’ shared experiences chasing their dreams — and weathering rejections — in Music City. Church earned a standing ovation and one of the most fervent applauses from the crowd, along with praise from Jackson himself.
This year, the annual ACM Honors celebrates honorees including Jackson, Trisha Yearwood, Lainey Wilson, Chris Stapleton and Luke Bryan, as well as producer/former label head Tony Brown, music executive Shannon Sanders, songwriter Walt Aldridge, various music venues and several top-shelf musicians who play on so many of the country music albums emanating from Nashville.
Other performers and presenters during the evening include ACM Honors co-hosts Carly Pearce and Jordan Davis, as well as Lauren Alaina, Jason Aldean, Jackson Dean, Kameron Marlowe, Lee Ann Womack, Vince Gill, Emmylou Harris, Tyler Hubbard, Jamey Johnson, Ashley McBryde, Terri Clark and Keith Urban.
Watch the sneak peek look at Church’s performance below:
On Thursday, September 5, the heart of New York City’s music scene came alive as Tres Generaciones Tequila hosted an intimate dinner, bringing together the industry’s movers and shakers. Held ahead of the much-anticipated 2024 Hip Hop and R&B Power Players Award Celebration, this exclusive evening served as both a prelude to the prestigious awards and a celebration of the profound connection between music, culture, and community.
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The dinner, held in a stunning green oasis in the heart of Times Square, was graced by key decision-makers, trendsetters, and notable artists, including NLE Choppa, Toosie, Serayah, and Saint Jhn, adding to the evening’s sense of prominence. A curated guest list ensured an air of exclusivity, where conversations flowed between the stars shaping the soundtracks of today and tomorrow. The dinner also marked a toast to those shaping the future of music, showcasing the powerful partnership between Tres Generaciones and Billboard.
Rashida Zagon
As the evening began, Rocsi Diaz, celebrated host of the Get Up Anthems series, took to the stage to share heartfelt words on the enduring power of music in the community. Her speech set the tone for the night, sharing how music, much like tequila, has the power to move, inspire, and unite us, reminding everyone in the room of the shared mission of Tres Generaciones: to bring people together in celebration.
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Diaz then introduced the evening’s guest of honor, Joey Bada$$, a fellow New Yorker and Get Up Anthem participant, whose impact on the hip-hop scene has been undeniable.
Guests savored a perfectly paired, elevated culinary experience featuring signature cocktails crafted by Tres Generaciones Tequila, adding a luxurious flair to the evening. The “Trespresso Martini” and the “Tres 75,” both custom creations, perfectly complemented the sophisticated palette dinner. These drinks, like the artists in the room, were crafted with complexity and innovation, reflecting the essence of Tres Generaciones’ 50-year history of excellence. Born in 1973 to celebrate three legendary generations of distillers, Tres remains a symbol of Mexican pride, made with only three simple ingredients—agave, yeast, and water—and triple-distilled for a smoother finish.
Following the dinner, attendees were invited to descend two floors into the iconic Paradise Room, where the 2024 Hip Hop and R&B Power Players Award presentation awaited. The energy was electric as the room filled with industry titans ready to celebrate the night’s honorees. Joey Bada$$, having already captivated the dinner audience with his humility and wisdom, was honored with the prestigious Impact Award, presented by Tres Generaciones Tequila. The award recognized his enduring influence, innovative artistry, and his role in shaping the next generation of musicians and creatives.
This night, defined by intimacy, elegance, and a shared passion for the art form, set the stage for what promises to be a defining year for Hip Hop and R&B, reminding all in attendance of the cultural and creative power music holds. The Impact Dinner, like the music it celebrated, was more than just an event—it was a moment, a memory, and an ode to the voices that continue to move the world.
Continue the vibes at home and relive the night by watching Joey Bada$$’s acceptance speech HERE and check out the recap sizzle of this unforgettable evening.
Tres Generaciones’ partnership with Billboard is built on a shared mission of inspiring and uplifting communities through music and celebration. Together, they spotlight the pivotal role that both music and tequila play in bringing people together—whether through the Get Up Anthems content series, which travels city to city celebrating iconic tracks, or the Get Up Sessions concert tour, showcasing the next great generation of artists.
To keep the evening’s magic alive, try recreating the signature cocktails served at the event.
Cheers to music, culture, and continuing the celebration at home!
Izzy Nuzzo
Linkin Park are going back back to the start. The rock band dropped the hard-hitting new single “Heavy Is the Crown” on Tuesday (Sept. 24), a rager that will be the official anthem for the League of Legends World Championship. The follow-up to the band’s first new music in seven years — the previously released […]