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Taylor Swift is perfectly fine with subtly teasing her ex-boyfriend, Joe Jonas. Swift dated Jonas between July and October of 2008, and the relationship infamously ended when he broke up with the “Anti-Hero” star through a very quick phone call — a move Swift publicly shaded during a 2008 appearance on The Ellen DeGeneres Show. A […]
At the beginning of 2023, Quevedo announced a stop in his career. Six months earlier, the Spanish artist had topped the Global 200 chart with “Bzrp Music Sessions, Vol. 52” alongside Bizarrap, making him and Bizarrap the first artists from Spain and Argentina, respectively, to reach No. 1 on the listing.
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By then, Bizarrap was already known for his provocative Music Sessions, but outside of Spain, Quevedo was relatively unknown — even though a few months earlier he had reached No. 145 on the same chart with “Cayo La Noche,” a collaboration with El Ima, Cruz Cafuné, Bejo, La Pantera, Juseph, and Abhir Hathi.
However, “Vol. 52” was his big ticket to a global audience that immediately connected with his deep voice and catchy mix of dance, pop and urban music. In a matter of months, Quevedo became a star — and in January 2023, he released his first album, Donde Quiero Estar, which debuted at No. 9 on the Billboard Latin Rhythm Albums chart.
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Although everything looked rosy, privately, Quevedo, who had just turned 21, felt tired and overwhelmed by the media, tours, pressure, and releases.
“From when I started to when we made ‘Cayo la Noche’ and the session with Bizarrap, I really didn’t have a chance to stop and decide: Do I like what I’m doing?” he says today. So he stopped.
For a year, he didn’t release music or give interviews. Until now.
On November 21, Quevedo returned with his second album, Buenas Noches, distributed through Rimas Entertainment, the home of his idol Bad Bunny. The 18-track set is a mix of pop and urban, with collaborations including Sech and De LaGhetto, but also surprises like Aitana and Pitbull, on a journey that ranges from totally fun to more introspective.
Not everything is as it seems. Much of the album’s aesthetic is based on red carpets and paparazzi, and the cover shows a smiling Quevedo with dark glasses talking to the cameras. But the photo is inspired by one of Michael Jordan, finally smiling when he decided to return to basketball after his father’s death. Now, after a year, Quevedo too is ready to return. Here is the story, which he tells to Billboard below.
Tell me about Buenas Noches.
It’s an eclectic album. Since I had not released music for a long time, what I most wanted was to flow in the studio and do things that I felt like doing. Make a fun album above all, not so introspective. There are songs that are more personal, but the majority are for people to have fun with. I made the album in very different stages. I released my first album in January 2023, but just before, when I had finished it in 2022, I started making this album. I made the first tracks in 2022. Then last year I did many camps, and this year I really got into the studio. But it has taken me over two years to make the album.
So, you really didn’t take a break from music?
For me, the break is not about not going to the studio. I love going to the studio. For me, it was about not being in the public eye. What I didn’t want was media pressure, keep traveling every week. It was about stopping and saying, okay, where do I want to take my career. I wanted was to disappear a bit from public view.
Why?
Everything was so pressed by the next thing that there was a moment when I said, “This was my dream, but it’s been a long time since I’ve considered if I’m happy with what I’m doing.” I started doing music because I love it. I don’t like being famous. It’s a consequence that I’m willing to assume if it means I can make music and live from it. But I don’t like being famous, I don’t like people getting into my life. What I love is that moment of creation.
I needed to stop and focus. Now I feel I have the strength to take everything up again, and I’m willing to deal with the things I don’t like so I can make my music.
Was there something that made you take the break and come back?
In 2022 I wrote “Ahora Qué,” a song that said: “2021 to sow, 2022 to reap, 2023 to crown, 2024 to disappear.” When I wrote that, I thought I’d take things a bit more slowly. But over time, in 2023, with the tour, the writing camps, there was a moment when I was making music only in camps, but not in my day-to-day. And at the same time, I moved to Madrid and was far from my family and my friends and my partner and there was a moment when I felt quite alone. There wasn’t a specific moment, but there was a moment of, “Damn, maybe I should take that song seriously.” At no point did I consider not coming back. What I specifically wanted was a moment to take for myself.
Can you describe the album?
It’s a very eclectic album, but there’s a sound with a lot of synths, drums, very 2008-2011 —Jason Derulo, Timbaland — strange mixes with new sounds and I think that’s the sound that repeats the most. The album is quite lively lyrically.
I hear many songs with many stories. The focus track, “Kassandra,” talks about a night with a celebrity who is always accompanied but ultimately is alone; “Iguales” is about a womanizing guy who sleeps with as many as he can, for example. Do all the songs have that element of storytelling?
Almost all. Ideas always flow more when I write [about] specific situations. There are many stories that I haven’t lived through 100%, but they’re inspired on things my friends tell me. That’s where my songs come from. I try to imagine situations.
You have a song with Pitbull, “Mr. Moondial.” How did it happen?
We always said, “Let’s do something very pop… very Pitbull.” We made the track, I recorded my bit, we called the song “Mr. Worldwide.” And we always said, we have to get Pitbull. But we didn’t know him. I don’t know him to this day, because he recorded two and a half weeks ago! But I’m sure we’ll meet him.
It’s an album with a beginning and an end and a context, at a time when many albums are simply collections of singles. What recent album inspires you?
In the current era, from the last eight years, I would say Motomami by Rosalía, for the way she created a new concept after El Mal Querer and all the imagery that album had. And then at a more urban reggaetón level, [Bad Bunny’s] YHLQMDLG is the album that changed the entire industry for me. Obviously, Latin music was already very popular, but that album confirmed Latin music ruled. It made people try to do things better. When I heard it, I said, “That’s it: From now on people are going to start making real albums.”
Watch the “Kassandra” video here.
Maroon 5’s “Memories” tops the second Top Movie Songs chart, powered by Tunefind (a Songtradr company), following its synch in the latest installment in the Venom film series, Venom: The Last Dance.
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Rankings for the Top Movie Songs chart are based on song and film data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of October 2024. The ranking includes newly released films from the preceding three months.
“Memories” leads a sweep of the top two spots on Top Movie Songs for Venom: The Last Dance, which was released Oct. 25 and is the first film in the series since 2021’s Venom: Let There Be Carnage. The song earned 8.8 million official on-demand U.S. streams in October 2024, plus 1,000 downloads sold, according to Luminate.
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Released in 2019, “Memories” is Maroon 5’s most recent top 10 on the Billboard Hot 100, peaking at No. 2 in January 2020.
It’s followed by Queen’s “Don’t Stop Me Now,” from 1978’s Jazz, allowing Venom: The Last Dance to become the first film to occupy the top two of the chart, coming in its second month of existence. Bee Gees’ “Tragedy” from Beetlejuice Beetlejuice led the inaugural ranking, followed by Taylor Swift’s “My Tears Ricochet” from It Ends With Us.
Speaking of It Ends With Us, Post Malone’s “White Iverson” (13.3 million streams) ranks at No. 3. It’s followed by Jungle’s “Back on 74” at No. 4. “Back on 74,” with 8.1 million streams and 1,000 downloads, was featured in Netflix’s Lonely Planet, released Oct. 11. It’s the first time a movie that premiered on a streaming service reaches the chart, as the films represented on the September 2024 tally all had theatrical releases.
A pair of songs from Maren Morris released as part of Dreamworks’ The Wild Robot also make the chart, with “Kiss the Sky” (No. 6; 1.4 million streams, 1,000 downloads) and “Even When I’m Not” (No. 9; 790,000 streams, 1,000 downloads) representing the second and third chart appearances for animated films, after Transformers One made the September 2024 list with Quavo, Ty Dolla $ign and ARE WE DREAMING’s “If I Fall.”
See the full top 10 below.
Rank, Song, Artist, Film1. “Memories,” Maroon 5, Venom: The Last Dance2. “Don’t Stop Me Now,” Queen, Venom: The Last Dance3. “White Iverson,” Post Malone, It Ends With Us4. “Back on 74,” Jungle, Lonely Planet5. “Tragedy,” Bee Gees, Beetlejuice Beetlejuice6. “Kiss the Sky,” Maren Morris, The Wild Robot7. “Right Here Waiting,” Richard Marx, Beetlejuice Beetlejuice8. “Margaritaville,” Jimmy Buffett, Beetlejuice Beetlejuice9. “Even When I’m Not,” Maren Morris, The Wild Robot10. “Nothing’s Gonna Hurt You Baby,” Cigarettes After Sex, It Ends With Us
November is coming to an end, but things are just starting to heat up in the music world with the slew of new drops this week. To kick things off, Kendrick Lamar unveiled his sixth studio album, GNX, without any warning on Friday (Nov. 22). The 12-track project features contributions from SZA — who appears on […]
This week in dance music: Charli XCX performed “Sympathy Is a Knife” and “360” on Saturday Night Live, Skrillex announced that his next project will be his last with Atlantic Records, Giorgio Moroder was named as the recipient of an upcoming lifetime achievement award from The Society of Composers & Lyricists, Ultra Music Festival added more than 50 artists to the lineup for its March festival in Miami, Coachella announced its 2025 lineup (a third of which is made up of electronic artists), Tomorrowland Winter dropped the bill for its March event in the French Alps, Troye Sivan was a big winner at the 2024 ARIA Awards, Pawsa announced a major show at London’s Gunnersbury Park this August and Charli XCX announced four dates for the North American Brat arena tour.
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And of course, there’s the fuel that makes it all run. These are the best new dance tracks of the week.
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Martin Garrix, “Told You So”
Dutch mainstay Martin Garrix links with New Jersey-born singer/songwriter Jex for the sugary dance pop single “Told You So.” As the duo tell it, the track — out on STMPD RCRDS/Eddie O Entertainment/Casablanca Records — has origins in TikTok, where Jex posted a video of her singing the song’s hook. Garrix then reached out to ask about doing the production, with the result being his eighth single of 2024. Of the track, Jex says that “from writing this hook alone in my apartment, to Martin finding it and bringing it to life, this entire thing has been a dream come true.” Garrix plays Omnia in Las Vegas tonight and Marquee in Las Vegas tomorrow.
Subtronics & Alison Wonderland, “No One Does It Like”
Bass leaders Subtronics and Alison Wonderland join forces together for their collaborative track “No One Does It Like,” with the result being as hard, sharp and heavy as you might hope. Out on Subtronics’ own Cyclops Recordings, the song is pure-riding-the-rail dubstep and follows the pair’s work on their remix of Creeds’ “Push Up.” Alison Wonderland performs this weekend in Las Vegas, while Subtronics will play the Apocalypse Festival in Long Beach, Calif. on Nov. 30.
Rusko, “Wassup”
The British bass pioneer returns with his first solo single in two and a half years, the frenetic “Wassup.” Out on Monstercat Uncaged, the track is deliciously unhinged jump up d’n’b and also the lead single from an EP set to drop next year. The producer says “Wassup” was started last year on tour in Australia “and ever since, has been a puzzle I couldn’t quite crack and get just right… but it’s always been stuck in my head. After adding ‘Wassup’ into my DJ sets, I had an earth-shattering break-through, and within the first couple of nights spinning the tune, it was finished!”
Above & Beyond, “Another Breakdown”
The gentlemen of Above & Beyond are having a big week, as the trio was listed on the Coachella 2025 posted that dropped Wednesday, the day before the group released “Another Breakdown.” The track’s celestial production has the same thoughtful quality that defines the entire Above & Beyond oeuvre, and is also infused with the soaring trance elements that are the trio’s signature. Another Breakdown comes from Above & Beyond’s forthcoming EP Tranquility Base Vol. 2, coming December 6 on their own Anjunabeats label.
Kaitlyn Aurelia Smith & Joe Goddard, Neptunes EP
Los Angeles-based producer Kaitlyn Aurelia Smith & U.K. producer, DJ (and Hot Chip member) Joe Goddard get together for their gorgeous three-track collaborative EP, Neptunes. A no-skips situation, the EP (which also includes two remixes) has a stunner of an opening track, with the pair saying that “Neptunes” stems from Goddard’s wish to make a song reminiscent of Pharrell and Chad Hugo’s game-changing production work as Neptunes. “I loved what the rhythm made me feel when I first heard it,” Smith says of the track. “I actually thought he was tapping into Neptune as a planet, and the qualities I felt it possesses. So my side of things brought out more space-themed sounds as a result.” The project is out on Domino’s Smugglers Way imprint.
Dave Mackay, The Looking Chamber
The English pianist, keyboardist and composer takes a turn into electronic production, with affecting results. His 11-track debut album, The Looking Chamber, is smart and stylish experimental synth music, that emphasizes Mackay’s ability to make music that sounds like the machines employed in the production process are actually speaking. The album is out on Colorfield Records.
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists including Kevin Kaarl, Gilberto Santa Rosa and Maluma, to name a few. Spanish star Quevedo is back in the spotlight with Buenas Noches. The 18-track LP includes collaborators like Sech, […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Quevedo, Buenas Noches (DQU Productions/Rimas Entertainment)
After being MIA for quite some time — just as he had a breakthrough year in 2022 with the ”BZRP Music Sessions, Vol. 52″ — Spanish hitmaker Quevedo is making a triumphant return with BUENAS NOCHES, his second album bur first under a new distribution deal with Rimas Entertainment. Describing this comeback — which will also include a tour — as “the most beautiful phase of my career,” his sophomore set truly stands out. The 18-track LP is packed with club-ready hits, including one with Pitbull himself (“MR. MOONDIAL) that’s reminiscent of the early 2000s, a dreamy 80s-like synth-pop tune with Aitana (“GRAN VÍA”) and a neo-reggaetón bop with La Pantera (“HALO”).
And while sonically this may seem like a rager album packed with party anthems, its lyrics are quite introspective, after all, this album was inspired by Quevedo’s late-night reflections, he expressed in a press statement. And it just so happens to be thoughts that are ultra relatable, as he sings about sex, love, heartbreak and even loneliness with other collaborators like De La Rose, De La Ghetto, Yung Beef, Sech, Rels B and Sin Nombre. His signature deep vocals soar in this nearly hour-long album that ushers a new, exciting era for Quevedo. — GRISELDA FLORES
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Maluma, “Cosas Pendientes” (Paris LG LTD/Sony Music Latin)
With the sounds of an acoustic guitar, Maluma opens the first verse of his new single, “Cosas Pendientes,” which translates to “Things Pending.” This song marks a return to the essence of his beloved 2015 era, “Pretty Boy, Dirty Boy,” taking it to new heights but a bit more pretty and more dirty. Reconnecting with an old love to resolve pending issues, he sings in the chorus: “Apparently she didn’t forget me/she’s still waiting/she wants to ignore me/but the tension is seen, felt.” The song is tied to a short film of revenge and glamour, including a surprise appearance by Colombian actor Luis Alfredo Velasco, known to fans as Dúver Cruz or Manín of La Reina del Flow. The video also highlights Maluma’s signature sound while he shaves his head, signaling an official symbolic return to the early days of his career. — INGRID FAJARDO
Grupo Frontera & Oscar Maydon, “¿Qué Te Parece?” (Grupo Frontera)
Grupo Frontera is on a romantic streak. Following their lovey-dovey hit “Hecha Pa’ Mi,” the group reels in Oscar Maydon for “¿Qué Te Parece?” (what do you think?). On the joyful, feel-good cumbia-norteño track, the two Música Mexicana acts serenade a beautiful lady, offering them the perfect dream date: “What beach should I take you to drink wine and have a romantic dinner? / What shoes do you like? What purse do you want? So I can gift it to you,” Maydon’s sugary vocals declare. “If you tell me yes, we’ll travel to Paris, I already have your lock,” he continues in the chorus, referring to the Pont des Arts, also known as the Love Lock Bridge in France. A playful music video, directed by Sauna and produced by Oriental Films, captures Frontera and Maydon performing the song on a tennis court, where they are surrounded by a diverse group of bachelorettes. — JESSICA ROIZ
Gilberto Santa Rosa, Debut y Segunda Tanda, Vol. 2 (B2B Music)
“El Caballero de la Salsa” Gilberto Santa releases Debut y Segunda Tanda Vol. II, a continuation of a project that began in 2022 and that includes a mix of new songs and reinterpretations of past hits. From the first chords of “Piedra y Agua,” through “Como Si Fuera Nuestra” – both debuts – Santa Rosa makes us dance with bright brasses, powerful choruses and his unmistakable style and voice. The list of new songs includes, among others, “Tratando de Acercarme,” which stands out for its softer rhythm and instrumentation, and the cheerful “Fin de Semana” with Gerardo Rivas. As for covers, there are “Vamos a Ver” by David Torrens, “Tun Tun” by Kelvis Ochoa — with and infectious chorus and romantic lyrics — and “La Marea” by Rubén Blades for a gran finale.
“This album represents for me the opportunity to explore and present something different, but always maintaining my essence,” the salsa icon said in a press release. “Is an invitation to share my love for music, in all its forms, and to dance or grieve together once again.” It is a work worthy of any Latin New Year’s Eve party and adds to the extensive repertoire of one of the most beloved artists of the tropical genre. — SIGAL RATNER-ARIAS
Kevin Kaarl, “Esta Noche” (Kevin Kaarl)
There’s a warmth to Kevin Kaarl’s “Esta Noche,” an ultra nostalgic song that brings to mind the magic of ’90s pop and rock en español. Listening to the Mexican indie artist’s singular and soothing vocals is almost disarming, and it’s easy to get lost in the song’s folky vibe as Kaarl sings emotionally and vividly about love and heartbreak, injecting pathos in every verse. “Esta Noche” was produced by his twin brother, Bryan Kaarl, who first joined Kevin for “Te Quiero Tanto.” The new track’s music video is the first installment of a trilogy of visuals that will culminate in a short film. “Esta Noche” is the first single off his forthcoming studio album, ULTRA SODADE. — G.F.
Leo Rizzi & Lasso, “QUEBRANTO” (Atlantic Records Spain)
As a nostalgic nod to South American rock of the ’80s, emerges the new collaboration between Spanish-Uruguayan singer-songwriter Leo Rizzi and Venezuelan Lasso called “QUEBRANTO.” The pop single manages to capture the magic of legendary Argentine rock riffs and the essence of the music of that golden age. In the lyrics, the pair sing about finding a way out of pain and the desire for redemption in the face of life’s trials. The music video encapsulates that same nostalgia, with retro visuals and the artists’ ’80s aesthetics, transporting us back to that era. — LUISA CALLE
Listen to more editors’ Latin recommendations in the playlist below:
Ariana Grande is at the top of the mountain for Billboard Hot 100 No. 1 debuts, but she isn’t there alone.
In a new TikTok video shared by MTV UK Friday (Nov. 22), the 31-year-old pop star had a sweet reaction to finding out that she and Taylor Swift are tied for most songs to enter at the top of the U.S. chart among female artists, with seven each. “Really? I didn’t know that,” she said of the number with surprise while sitting next to Wicked costar Cynthia Erivo.
“That can’t be true,” Grande added.
When the interviewer mentioned that the “Cruel Summer” singer is the only other female artist with seven Hot 100 No. 1 debuts, the R.E.M. Beauty founder and Pinocchio actress started tapping their nails with reverent applause. “Good company!” Grande said of Swift, smiling as Erivo nodded in agreement.
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The 14-time Grammy winner tied the Victorious alum’s record this spring, when “Fortnight” featuring Post Malone entered at the apex of the Hot 100. Swift has previously debuted in the top spot with “Is It Over Now?,” “Anti-Hero,” “All Too Well (10 Minute Version),” “Willow,” “Cardigan” and “Shake It Off.”
Grande earned her seventh No. 1 debut in March, when Eternal Sunshine‘s “We Can’t Be Friends (Wait for Your Love)” claimed the reigning placement in its first week on the chart. Her past No. 1 debuts include “Yes, And?,” “Positions,” “Rain on Me” with Lady Gaga, “Stuck With U” with Justin Bieber, “7 Rings” and “Thank U, Next.”
The only other artist with more No. 1 debuts is Drake, with nine. In total, Grande has topped the Hot 100 nine times, while Swift has done so 12 times.
The MTV UK interview comes amid colossal career moments for both women. On Friday, Wicked starring Grande and Erivo premiered in theaters after three years in the making — and months of promotional build-up — while Swift is on the precipice of closing out her two-year Eras Tour in December.
Interactions between the two artists have been few and far between over the years, but they’ve maintained an outward respect for one another. In 2014, they co-headlined the Victoria’s Secret Fashion Show and snapped a photo together backstage — “Oh my God she couldn’t be cuter,” Swift wrote of Grande on Instagram at the time — and when the former included a drag performer channeling Ari in her “You Need to Calm Down” music video, the latter applauded the project on Instagram Stories in 2019.
“Ty for having me in your video I was amazing @taylorwift,” Grande joked at the time. “Taylor, Congrats on YNTCD. I f–king love it and the message soooooo much.”
Watch Grande react to her chart tie with Swift below.
In a setting designed to evoke a cozy, intimate living room, Maeta performed “Back” for a unique and behind-the-scenes Honda Stage and Billboard showcase. Directed by renowned creative, Child, the space is warm and inviting, scattered with vintage accents and dim lighting that creates an atmosphere of personal reflection, setting the perfect stage for a song rooted in raw emotion. Maeta opens the performance herself, seated at a piano in the corner of the room. She begins playing the tender, four-chord ballad, each note grounding her lyrics with soulful vulnerability. Her voice fills the space, warm and rich, as she brings listeners into her world.
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Reflecting on her journey, Maeta describes how her creative process has transformed over time, leading her to become an artist who now insists on emotional depth in every track she creates. Songs like “When I Hear Your Name” carry an emotional weight that lingers with her, reflecting her commitment to making music that resonates not only with her audience but also with her own experiences. In “Back,” she lays bare her struggles with self-sabotage and love, a theme that resonates deeply with her and one that she channels through every lyric and melody of the performance.
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As the song progresses, Maeta rises from the piano and transitions to center stage, allowing her pianist, Louis, to take over the keys. The two seamlessly trade roles, each adding new layers to the track. With Louis grounding the melody, Maeta is free to express the full force of her voice, which pours over the audience like a confession. Her introspective lyrics capture the complexities of self-doubt and love, her emotions palpable as she moves through the chorus, revealing her innermost struggles with striking vulnerability.
In the closing moments of the song, Maeta’s voice softens, winding down to a final, haunting note as the last chords fade. The set, with its intimate design, feels like an extension of her own heart, a private space where she shares her most personal thoughts with the audience. As she finishes, there’s a sense that Maeta has invited everyone into her living room, laying her vulnerabilities bare in a performance that captures her growth, resilience, and honesty as an artist.
About Honda Stage:
Honda Stage is a music platform that builds on the brand’s deep foundation of bringing unique experiences to fans while celebrating determined artists and their journeys of music discovery. Honda Stage offers exclusive, behind-the-scenes music content and inspirational stories from on-the-rise and fan-favorite artists, giving music fans access to the moments they love while celebrating the creativity and drive it takes to make it big.
Kendrick Lamar is ending 2024 with a bang.
The hip-hop heavyweight took fans by surprise when he unveiled his sixth studio album, GNX, without any warning on Friday (Nov. 22). The 12-track project features contributions from SZA — who appears on “Luther” and “Gloria” — Jack Antonoff, Kamasi Washington, Roddy Ricch and more.
GNX serves as Lamar’s official follow-up to Mr. Morale & the Big Steppers in 2022, which topped the Billboard 200 with 295,000 total units earned in the first week. In the spring, he contributed a guest verse on Future and Metro Boomin’s Hot 100 No. 1 single “Like That,” which launched a high-profile rap beef with Drake. The back and forth between the two ultimately culminated in Lamar’s anthemic “Not Like Us,” which not only served to end the feud but also became a longstanding hit, topping the Hot 100 for two nonconsecutive weeks.
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It’s gearing up to be an even more groundbreaking new year for Kenny, who will be taking the stage for the Super Bowl LIX Halftime Show, set to take place on Feb. 9, 2025 in New Orleans, Louisiana. “Rap music is still the most impactful genre to date,” he said at the time of announcement. “And I’ll be there to remind the world why. They got the right one.”
The 17-time Grammy winner is also up for seven awards at the 2025 ceremony. “Not Like Us” is up for record of the year, song of the year, best music video, best rap performance and best rap song. Meanwhile, “Like That” is nominated for best rap song and best rap performance.
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With the release of GNX, fans quickly flooded social media with overwhelmingly positive reactions to the project. “Look me dead in the eyes and tell me Kendrick Lamar isn’t the greatest ever,” one user wrote on X, for example, while another added, “Kendrick just opened his mouth, someone go hand him a Grammy right now.”
See below for more fan reactions to Kendrick Lamar’s GNX.
Kendrick is the best rapper alive. Period.— Ray Vaughn (@rayvaughn) November 22, 2024
look me dead in the eyes and tell me Kendrick Lamar isn’t the greatest ever— SK⚡️ (@raptalksk) November 22, 2024