Music

Phoebe Bridgers Drops ‘So Much Wine’ Holiday Cover Benefiting the Los Angeles LGBT Center

Happy holidays, Pharbz. Phoebe Bridgers has released her annual holiday song cover, this time performing The Handsome Family’s “So Much Wine” and donating proceeds to the Los Angeles LGBT Center.

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The 28-year-old musician recorded and produced the track with longtime collaborators Tony Berg, Ethan Gruska, Marshall Vore, Harrison Whitford and Sebastian Steinberg, with Andrew Bird credited for contributing vocals, violin and whistling. Normal People star Paul Mescal, Bridgers’ boyfriend and rumored fiancé, is also featured on the song, first released by The Handsome Family on their 2000 album In The Air.

“Listen to me, Butterfly,” Bridgers sings on the cover, her fluttering voice supported by a mellow choir of male voices. “There’s only so much wine you can drink in one life.”

Following suit with the style of artwork used for the Grammy nominee’s past holiday recordings, the “So Much Wine” cover art features two minimalistic ghosts painted onto a portrait of snowy mountains and white-dusted evergreen trees. The “Motion Sickness” singer first started her tradition of releasing a yearly festive single in 2017, when she covered “Have Yourself a Merry Little Christmas.”

In the years since, Bridgers has dropped reimagined versions of Tom Waits’ “Day After Tomorrow,” Merle Haggard’s “If We Make It Through December,” Simon & Garfunkel’s “‘7 O’Clock News/ Silent Night” with Fiona Apple and The National‘s Matt Berninger, and McCarthy Trenching’s “Christmas Song” with Jackson Browne. Every year, proceeds from her covers benefit organizations that serve communities in need like the Los Angeles LGBT Center, which assists lesbian, gay, bisexual and transgender people and people living with HIV with treating substance abuse, housing, legal assistance, healthcare and more.

Listen to Phoebe Bridgers’ new cover of “So Much Wine” below.

Kelly Clarkson Surprises ‘Emotional’ Dove Cameron With Platinum Award for ‘Boyfriend’

Dove Cameron visited Kelly Clarkson‘s talk show on Thursday (Nov. 17) to talk about her hit song “Boyfriend” and got quite the surprise from the American Idol champ in the process.

“(‘Boyfriend’) was such a huge part of me finding my own identity and embracing my queerness,” the Disney Channel alum told Clarkson during their interview. “And it makes me emotional every time I talk about it but, it was such a key to gate for me into stepping into myself wholly, in a way that I never knew if I was gonna be privileged enough to find those pieces of myself. And exist as that person, right?

“‘Cause that’s the fear,” she continued. “The fear is that you exist as yourself wholly and the world cracks open and everything ends, and all the lights go out. And when the song came out and I saw that people were emotionally connecting to it, I think I was really panicked for some reason, just ’cause I wasn’t expecting it. And then over time, it was like it melded into this gorgeous, like…something meaningful for me being something meaningful for others.”

After Cameron explained how she found the song’s success such a “beautiful surprise,” Clarkson revealed a surprise of her own, presenting the burgeoning pop star with the RIAA platinum certification for the track.

“I was so excited when we found out you were getting it, I was like, ‘I wanna give it to her!’” the host told a speechless and visibly emotional Cameron.

After a slow burn of nearly four months, “Boyfriend” ultimately peaked at No. 16 on the Hot 100 in June just in time for Pride, giving Cameron the first top 20 hit of her career. Additionally, the slinky single rose to No. 4 on the Radio Songs chart dated June 11.

Watch Cameron’s adorable reaction to Clarkson’s platinum surprise below.

Gryffin’s ‘Alive’ Arrives at No. 3 on Top Dance/Electronic Albums Chart

Gryffin debuts at No. 3 on Billboard‘s Top Dance/Electronic Albums chart (dated Nov. 19) with Alive. The set starts with 5,000 equivalent album units earned in the Nov. 4-10 tracking week, according to Luminate.

It’s Gryffin’s second top 10 and fourth chart entry, following Gravity (No. 1, 2019), Gravity, Pt. 1 (Remixes) (No. 20, 2019) and EP Gravity, Pt. 1 (No. 12, 2018).

On the multi-metric Hot Dance/Electronic Songs chart, Gryffin (aka DJ/producer Dan Griffith) has amassed 33 total entries, including 10 from Alive. The new set has yielded Gryffin’s first Hot Dance/Electronic Songs top 10, “Woke Up in Love” (with Kygo and Calum Scott), which started at its No. 9 best in September and rebounds 28-18 this week.

New this frame from Alive is “Lose Your Love,” with Matt Maeson (912,000 U.S. streams). It’s the second straight week in which Gryffin has debuted a track at No. 20, after “Forever,” featuring Elley Duhe. “Lose” is singer Maeson’s second showing on Hot Dance/Electronic Songs, following another DJ collab, “Heavenly Side,” with ILLENIUM (No. 12, July 2021).

Gryffin also scores on the Dance/Mix Show Airplay chart, where his track with Olivia O’Brien, “Caught Up,” cruises 22-9. Gryffin’s fifth top 10 and O’Brien’s first, the team-up (which reached No. 12 on Hot Dance/Electronic Songs in May) is drawing core-dance airplay on Music Choice’s Dance/EDM channel, iHeartRadio’s Evolution network and iHeartRadio’s Pride Radio, among other supporters.

Not So ‘Bad’

Steve Lacy also lifts to his second Dance/Mix Show Airplay top 10 with “Bad Habit” (14-10). His “Live Without Your Love,” with Love Regenerator, hit No. 7 in 2020. (The chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)

As previously reported, “Bad Habit” concurrently crowns the all-format Radio Songs chart, as well as Pop Airplay.

Time for Tiësto

Returning to Hot Dance/Electronic Songs, Tiësto bows at No. 8 with “10:35,” featuring Tate McRae. Tiësto’s eighth top 10 earned 3.5 million domestic streams in the tracking week. Tiësto has added three of his top 10s this year, as “10:35” follows “Hot in It,” with Charli XCX (No. 10, July), and “The Motto,” with Ava Max (No. 2, March).

“10:35” is McRae’s second top 10 on the tally, after “You,” with Regard and Troye Sivan, reigned for eight weeks in June-August 2021.

Concurrently, “10:35” starts on Dance/Electronic Digital Song Sales (No. 6) and Dance/Electronic Streaming Songs (No. 8). The track is from Tiësto’s album Drive, due Feb. 24, 2023.

Lady Gaga ‘Fully Cried’ Over ‘Top Gun: Maverick’ Grammy Nominations

Lady Gaga took to social media on Wednesday (Nov. 16) to react to her latest pair of Grammy nominations for “Hold My Hand” and the Top Gun: Maverick soundtrack.

“I am so honored to be nominated for 2 Grammys for ‘Hold My Hand’ and the Top Gun: Maverick Soundtrack with my fellow composers,” the superstar wrote on Instagram alongside a black-and-white shot of the single’s cover art. “It’s a real dream to be included in this celebration of music with a song and musical theme so close to my heart thank you… I fully cried, this never gets old and I’m super humbled.”

Released ahead of the Top Gun sequel’s theatrical release, “Hold My Hand” is up for best song written for visual media at the 2023 ceremony while the soundtrack notched a nominated for best compilation soundtrack for visual media. The album peaked at No. 17 on the Billboard 200 and No. 2 on the Soundtracks chart, while Gaga’s single ultimately flew to No. 2 on the Digital Song Sales chart.

Mother Monster’s track was also recently nominated in the song – feature film category at the 2022 Hollywood Music in Media Awards alongside Rihanna’s “Lift Me Up” from Black Panther: Wakanda Forever, Taylor Swift’s “Carolina” from Where the Crawdads Sing, Jazmine Sullivan’s “Stand Up” from Till and more.

Last month, Gaga wrapped up her Chromatica Ball world stadium tour with a stunning $112 million. Next, she’s set to portray Harley Quinn opposite Joaquin Phoenix’s Joker in the upcoming movie musical Joker: Folie à Deux.

Read Gaga’s emotional reaction to her newest Grammy nominations below.

Joe Jonas Says He’ll ‘Get In Line’ on Ticketmaster To Buy Taylor Swift Tour Tickets For Wife Sophie Turner

It’s been nearly 15 years since Taylor Swift and Joe Jonas dated, but she’ll be in his life “Forever & Always.” That’s because the DNCE frontman’s wife, actress Sophie Turner, is a certified Swiftie, meaning he’ll likely soon be waiting in line on Ticketmaster for Eras Tour tickets with the rest of the world — at least, that’s what he told E! News at the Wednesday (Nov. 15) premiere for his Korean war drama Devotion.

When asked if he planned on securing seats at one of Swift’s 52 North American shows scheduled in 2023 for Turner, Jonas replied: “That’s a great idea, is that still an option? She would love that.”

Then, upon learning that Ticketmaster had experienced major technical difficulties during its Eras Tour presale that same day, the JoBro seemed impressed. “Wow,” he said, smiling just a little awkwardly at the mention of his superstar ex, whom he dated for a few months in 2008. “That’s to be expected. I’ll get in line now.”

“Even Mr. Perfectly Fine has to suffer in the queue,” E! captioned the video of the chat. “Taylor Swift, help Joe Jonas and Sophie Turner out.”

Any Swiftie who endured several hours in the Ticketmaster queue would agree that some extra help would have been very appreciated. So many millions of fans trafficked through the company’s website on the day of the presale, it experienced mass outages and extreme delays that left many fans unable to buy any tickets at all.

A few hours into the day, Ticketmaster even posted a statement announcing the postponement of a couple of the remaining Eras Tour presales, caused by a “historically unprecedented” demand for tickets.

Hopefully, Jonas can pull some strings to get in the door at one of the “All Too Well” singer’s highly anticipated shows. It was only a few months ago that Turner gushed over Swift’s 1989, calling the 2014 record “literally one of my favorite albums of all time.”

And when Swift dropped the previously unreleased “Mr. Perfectly Fine” — a 15-year-old song widely believed to be written about Joe — the Game of Thrones actress again shared her praise. “It’s not NOT a bop,” Turner joked about the track, to which Swift responded: “Forever bending the knee for the [queen] of the north.”

Watch Joe Jonas talk about getting tickets to Taylor Swift’s Eras Tour below:

Bad Omens’ ‘Just Pretend’ Crowns Hot Hard Rock Songs Chart

Bad Omens ride TikTok virality to their first No. 1 on a multi-metric Billboard songs chart, jumping to the top of the Hot Hard Rock Songs list dated Nov. 19 with “Just Pretend.”

In the Nov. 4-10 tracking week, the song earned 2.8 million official U.S. streams, up 26%, according to Luminate. It also garnered 538,000 audience impressions on radio and sold 1,000 downloads.

Bad Omens’ first Hot Hard Rock Songs No. 1 follows the band’s “Like a Villain,” which hit No. 17 in March. The other song that the band has placed on the chart, “The Death of Peace of Mind,” re-enters the latest tally at No. 19, a new high (689,000 streams).

“Just Pretend” also appears at Nos. 22, a new best, and 32 on Hot Rock Songs and Hot Rock & Alternative Songs, respectively. The TikTok trend for the song largely finds users lip syncing the lyrics, particularly a portion directly before and during the chorus, with some videos also addressing mental health.

The track concurrently rules Hard Rock Digital Song Sales for a third week (after debuting on the Oct. 22 survey) and leaps 24-11 in its second week on Hard Rock Streaming Songs. The song — the band’s current radio single — climbs 22-17 on Mainstream Rock Airplay and it marks Bad Omens’ third top 20 hit, following the aforementioned “Villain” (No. 10, June) and “Limits” (No. 19, 2020).

“Just Pretend” is the second single from the album The Death of Peace of Mind, which zooms 25-13 on Top Hard Rock Albums with 5,000 equivalent album units earned, up 20%. The set premiered at its No. 11 peak in March with 6,000 units and has earned 93,000 units to date.

Kelly Clarkson Drops Boozy New Merch Just in Time for the Holidays

When Christmas comes around…again! Kelly Clarkson unveiled her latest round of holiday merch on Wednesday (Nov. 16), complete with a festive bundle perfect for all your booze-related needs.

“My signature engraved wine tumbler is back in stock, y’all… and now it’s bundled with my engraved wine opener!” she wrote on Twitter followed by a string of drink emojis including a popped champagne bottle and clinking flutes.

The singer’s new batch of Christmas goodies also includes a cranberry red t-shirt emblazoned with “Santa, Can’t You Hear Me” — the title of her duet with Ariana Grande, which the pair recorded for 2021’s When Christmas Comes Again… while working together on Season 21 of The Voice. (They also performed the horn-infused bop live during Clarkson’s NBC holiday special last Christmas season.)

Speaking of the original American Idol winner’s second Christmas album, the studio set just picked up a 2023 Grammy nod for best traditional pop vocal album earlier this week, bringing the pop star’s total to 16 career nominations and three wins.

On The Kelly Clarkson Show — which has officially been renewed through 2025 — the talk show host has recently run through an impressively diverse string of “Kellyoke” picks, including “Dream a Little Dream of Me” by Mama Cass with The Mamas & the Papas, Florence + the Machine’s Twilight: Eclipse cut “Heavy in Your Arms,” the original version of “Lady Marmalade” by LaBelle, Rihanna’s “Umbrella,” Z.Z. Hill’s “Someone Else Is Steppin’ In” and more.

Get a look at Clarkson’s new wine-ready holiday merch and apparel below.

‘Marco Antonio Solís Is Synonymous With México, Elegance, Values’: 5 Best Moments From 2022 Person of the Year Gala 

Wednesday’s Latin Grammy Person of the Year celebration honored the great Marco Antonio Solís, and it was one for the books. A star-studded night replete with elegance, back-to-back surprise performances (including the POTY himself), and emotive speeches made the evening of Nov. 17 a night to remember.

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At the core of it was Marco Antonio Solís (and his transcendental body of work), there to affirm that his musical power is a force to be reckoned with; many of Solís’ generation- and genre-spanning musical peers in attendance at Mandalay Bay’s Islander Ballroom echoed that sentiment.

With 11 Hot Latin Songs No. 1 hits, there were plenty of MAS bangers to chose from, so the excitement was cranked up all the way. Laura Pausini said his name is synonymous with “México, elegance, and values”; Christian Nodal delivered an impassioned speech about how a man can shine so bright on and off stage; Edén Muñoz highlighted how the Mexican multi-hyphenate artist continues to be a role model for newer generations like himself; and Lifetime Achievement Award honoree Myriam Hernández said, “Only a soul like yours, with that sensibility and honesty, is capable of writing what you write.” 

Aside from the numerous sentimental words his colleagues shared on stage, they also performed MAS’ hits. Argentine piano balladeer Fito Páez played “De Mil Amores” accompanied by a cello; Bronco amped up the vibe with a riveting grupera take of “Tu Me Vuelves Loco”; and Mexican emotional pop acts Camila and Sin Bandera teamed up to sing “Dónde Estará Mi Primavera” with gut-wrenching delivery.

Another impactful duet was with Carla Morrison and Ana Torroja of Mecano fame who beautifully sang “Como Tu Mujer,” a song originally sung by the late Rocio Dúrcal, and written by Solís. Bachata king Romeo Santos swooned the crowd with “Invéntame,” and the honoree’s daughter, Marla Solís, also made an endearing appearance on stage to sing for her legendary father. 

The night took place one day before the 23rd annual Latin Grammys. Here are five of the most memorable moments that took place at the Person of the Year gala.

The Person of the Year performs his hits at his own gala. Since the first Latin Recording Academy Person of the Year in 2000, this is the first time that the celebrated person of the year performed at their own event, and Marco Antonio Solís had jaws dropped. The iconic singer with the golden voice blessed fans, peers and anyone else in attendance with three Latin smashes: “¿A Dónde Vamos a Parar?”; the ranchera classic “La Venia Bendita” backed by a mariachi troupe; and the timeless banger of “Tu Cárcel” by Los Bukis.

“When we started this adventure, I told Marco, ‘Let us surprise you,’ and he replied, ‘Let me also surprise them.’ Well, here is your surprise!” said the Latin Recording Academy CEO Manuel Abud, in front of a truly surprised crowed followed by a standing ovation. After nearly 20 acts took the stage to serenade the man of the hour with his own songs, Solís stole the show with a grand finale by performing one of the greatest Latin pop songs of all time, “Si No Te Hubieras Ido.”

Laura Pausini delivered a powerful performance and heartfelt speech. After Solís made his grand entrance on stage, the Italian singer Laura Pausini followed up with a powerful and heart-rending version of “Sigue Sin Mi.” Wearing a beautiful lace blouse and a black suit, this year’s Latin Grammy co-host motivated fans further, swaying them evocatively with each note. At the end of her performance, she gave one of the most beautiful speeches of the night, “I see that when they say the name Marco Antonio Solís, it is synonymous with Mexico,” said the artist. “What I admire so much about you, Marco, besides being the singer-songwriter that you are, is that you have a great responsibility through your name and your music, when you speak outside of Mexico, of your country, it is [also] synonymous with elegance, education, and values — [attributes] that not always the famous person can give to his country or outside of his country. I applaud you immensely.”

Christian Nodal brings his mariacheño swagger to the stage and honors his idol. Arriving to the stage rocking a sophisticated black norteño get-up and red silk shirt, Nodal instantly swooned the crowd with “Mi Eterno Amor Secreto.” Although in his early twenties, Nodal sang the song like he’s lived through lifetimes of love and loss, and the admiration he has for Solís truly resonated across the ballroom. At the end of his set, the Sonora singer said, “Marco Antonio Solís, it is an honor, pride, a dream come true to be able to sing one of my favorite songs in the world in front of one of the greatest idols. Three years ago in Guadalajara, I had the pleasure of watching you from the audience […] and meeting you backstage, and I asked myself, ‘How is it that you can shine so much on and off stage?’ […] ‘How can a great artist move so many masses and impact generations?’ I admire you so much, thank you so much for existing, for bringing us so much of your music, your lyrics, there is so much to learn from you.”

Gente de Zona and Taboo enliven the moment with a cumbia dance-off. The Cubatón duo Gente de Zona and Chicano artist Taboo joined forces to perform the thrilling cumbia song of “Más Que Tu Amigo,” and oh boy, did they deliver. As soon as the instantly recognizable horn melody of the hit began to play, audiences lit up. By the time Alexander Delgado got to the verse to sing “Me gustas tanto me elnoqueces” (I really like you it drives me wild), his beaming pipes were almost on par with Solís’, and the entire audience got up on their feet for a cumbia dance-off. Bravo!

Marco Antonio Solis

Emilio Estefan, CEO of the Latin Recording Academy Manuel Abud, and honoree Marco Antonio Solis onstage during the 2022 Latin Recording Academy Person of the Year Honoring Marco Antonio Solis at the Mandalay Bay Convention Center on November 16, 2022 in Las Vegas, Nevada.

John Parra/GI for The Latin Recording Academy

MAS receives his POTY award and reminisces on his 40-plus-year career.  

Right after Marco Antonio Solís received his award for Person of the Year, handed by Abud and Emilio Estefan, everyone in attendance got on their feet to pay their respects to a truly astounding and influential career. But the impassioned acceptance speech that Solís delivered was just spine-chilling.

Translated from Spanish, he said: “It’s been a long time since I’ve been as excited as I was tonight for so much love. So many familiar faces to greet, so many people I have met throughout my career, íjole. I feel very honored with the [Latin Recording] Academy for this recognition. I don’t even know how I got here, that’s the truth. The only thing I know is that life has always let me be guided by my intuition — That little voice was the spark that ignited everything, my intuition.

“Imagine, a 12-year-old boy leaving his hometown, Ario de Rosales, Michoacán, back in Mexico. A child separated from his parents, his six siblings, his friends — a little scared but with his heart full of illusions, carrying no more than a suitcase and his guitar, and with no other company than his cousin, Joel Solís, heading to Mexico City, without any promise of shelter but our dreams. We celebrate a career crowned successfully by the grace of God, and all the followers who have identified with my songs. I am eternally grateful.” 

Live Nation Chairman Apologizes to Taylor Swift Fans For Ticket Meltdown: ‘We Are Working Hard on This’

Liberty Media CEO and Live Nation chairman Greg Maffei appeared on CNBC on Thursday morning (Nov. 17) to discuss the issues with Ticketmaster’s Verified Fan program that resulted in frustrated Taylor Swift fans queuing up for hours in an effort to score pre-sale tickets to the singer’s anticipated Eras Tour.

Taylor Swift

Ticketmaster Postpones Sales For Taylor Swift’s ‘Eras’ Tour Due to ‘Historically Unprecedented…

“I apologize to all our fans. We are working hard on this,” Maffei told Squawk on the Street on Thursday morning (Nov. 17) about the company’s efforts to straighten out the situation that caused fan (and parent) consternation from coast-to-coast. “Building capacity for peak demand is something we attempt to do, but this exceeded every expectation.”

Ticketmaster, which is owned by Live Nation — with Liberty holding a 30% ownership stake in the ticketing giant — has come under intense scrutiny this week for after the company’s website experienced mass outages and extreme delays that forced some to wait for hours in the virtual line, or just walk away empty-handed.

“Daily reminder that Ticketmaster is a monopoly. Its merger with LiveNation should never have been approved & they need to be reigned in. Break them up,” Rep. Alexandria Ocasio-Cortez tweeted on Tuesday after the Swift tickets meltdown. Maffie told Squawk on the Street that the Live Nations team is “sympathetic that the long wait times and fans who couldn’t get what they wanted… reality is it’s a function of the massive demand that Taylor Swift has.”

Maffei explained that the pre-sale was supposed to be opened to 1.5 million Verified Swift fans for Tuesday’s on-sale, but instead 14 million Swifties attempted to log-in, including, he added, bots that were not supposed to be able to join the line. Despite the challenges and breakdowns, he said TM sold 2 million on Tuesday, a gaudy number that Maffei said could have filled 900 stadiums.

In a blog post, TM said that more than 3.5 million people pre-registered through Verified Fan for the Swift shows, the largest registration in the program’s history. It further explained that historically “around 40% of invited fans actually show up and buy tickets,” so working with Swift’s team around 1.5 million were invited to participate in the sale, with the remaining 2 million Verified Fans put on a waiting list.

Maffei also noted that the show is not promoted by LN — but by rival AEG Live and Messina Touring Group — so, “though AOC [a common nickname for Ocasio-Cortez] may not like every element of our business, AEG, our competitor who is the promoter for Taylor Swift, chose to use us because we are, in reality, the largest and most effective ticket seller in the world. Even our competitors want to come on our platform.”

Ticketmaster shared a statement shortly after 1 p.m. ET on Tuesday, about three hours after the East Coast venue presales began. It said that the company wasn’t prepared for the “historically unprecedented demand” for tickets, and postponed presales for West Coast venues and Capitol One cardholders scheduled for later that same day. Swift has announced 52 dates so far for the stadium tour that will mark her first major outing in five years.

AOC wasn’t the only member of congress to weigh in on the debacle. Connecticut Sen. Ricard Blumenthal tweeted, “Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly. I’ve long urged DOJ to investigate the state of competition in the ticketing industry. Consumers deserve better than this anti-hero behavior.” In addition, Minnesota Sen. Amy Klobuchar agreed, writing on Wednesday, “What is going on with Ticketmaster is an example of why we need strong antitrust enforcement! Monopolies wreak havoc on consumers and our economy. When there is no competition to incentivize better services and fair prices, we all suffer the consequences.”

Ticketmaster and Live Nation merged in 2010 to form Live Nation Entertainment, rolling together the nation’s largest concert promoter and ticketing agency. The move that was drew intense scrutiny at the time and in the wake of the Swift pre-sale fiasco, Tennessee attorney general Jonathan Skrmetti said on Wednesday that his office will once again be looking into the company.

“There are no allegations at this time about any misconduct, but as the Attorney General, it’s my job to ensure that the consumer protection laws and antitrust laws in Tennessee are being honored,” Skrmetti told reporters, according to WJHL. Skrmetti said there have been “a number of complaints” lodged with his office about the pre-sale and that his team planned to look into the “severe” lack of customer support in what is the latest probe into possible antitrust allegations involving TM and LN conducted by Tennessee authorities.

Watch Maffei’s interview below.

How Blxst Became Hip-Hop’s Go-To Hook Mastermind

This past February, the rising star Blxst got an unexpected text: Anthony Saleh, Kendrick Lamar’s manager, wanted to connect him with his client — and soon enough, the two artists were on FaceTime.

“[Kendrick] was like, ‘Yo, I respect what you got going on. I’m a fan of your last project. I want you to be a part of my album,’ ” Blxst recalls.

He had no idea if what he recorded would end up on the album — or when the album would even arrive. “This album is never finna come out. He ain’t dropped a project in four years,” Blxst remembers thinking at the time, with a laugh. Lamar sent him an instrumental and told Blxst to “do whatever you want to it,” he says. “He came with a melody of his own for the bridge. I got voice memos of him singing and telling me what notes to hit.” So Blxst did what he does best: He added an earworm of a hook.

Both the track and the album it landed on — Lamar’s acclaimed 2022 project, Mr. Morale & The Big Steppers — came to fruition. “Die Hard,” featuring singer Amanda Reifer, peaked at No. 5 on the Billboard Hot 100 and is now nominated for the best melodic rap performance Grammy, and Lamar is just one of the high-profile co-signs Blxst has attracted lately. Since releasing his debut solo EP, No Love Lost, in 2020, Blxst (real name: Matthew Burdette) has become a go-to feature for artists like Rick Ross, Snoop Dogg and Nas, and something of a modern-day Nate Dogg in the process — a “king of hooks” in his own right who surprisingly never charges for his services.

“I’m more about the art,” the 30-year-old explains. “If I’m a fan of the song or if it fits with the direction that I’m going in, I’mma jump on a song off the strength. If I don’t like it, I’mma just not do it.”

Growing up in South Central Los Angeles, and attending high school in safer Upland about 40 miles east, Blxst taught himself how to rap, sing and produce as a hobby. A self-described introvert who’s still remarkably reserved and calm, he spent the rest of his free time at the local skate park, which Tyler, The Creator also happened to frequent. “I used to go up to him rapping lyrics [of his] that he would drop on his Myspace, before he was super big,” Blxst recalls.

BLXST

Blxst photographed on October 25, 2022 at GenQ Studio in Los Angeles.

Sage East

In 2018, he founded his own label, Evgle (pronounced “Eagle”) Records, and started to release singles. The following year, Blxst’s business partners — manager Vic Burnett and attorney Karl Fowlkes — joined him as Evgle co-founders. “I wanted to create a platform where I could control my narrative. I think it’s important for people to be able to control their intellectual property,” says Blxst. “Especially with me being a producer as well, I’m doing most of the work.”

Over the next couple of years, Blxst released his first collaborative EP (2019’s Sixtape, with fellow South Central artist Bino Rideaux) and Evgle struck a partnership with Red Bull Records, under which Blxst maintains his independence as an artist. By the time No Love Lost came out in 2020 (and, a few months later, its deluxe version), the buzz around Blxst had grown, and his music — with its two-step rhythms evoking the comfort of a Black cookout — provided a sense of solace for fans post-quarantine. That year, both Evgle and Blxst individually signed publishing deals with Warner Chappell.

This past spring, his debut full-length album, Before You Go, arrived, acting as “a note to self, speaking on the transition I feel like I’m facing as an artist, as an executive,” he told Billboard at the time. From slow jams to upbeat tracks oozing L.A. flair, No Love Lost yielded singles like “Hurt,” “Got It All” and “Chosen” featuring Ty Dolla $ign and Tyga, which recently went platinum.

Not that Blxst has had much time to celebrate. He has been too busy picking up accolades, including a spot in XXL’s Freshman Class of 2021, the first-ever Rising Star award at Billboard‘s 2021 R&B/Hip-Hop Summit and now, Billboard’s Rookie of the Year honor. And when we talk, he’s wrapping up his first headlining world tour — and clearly still wrapping his mind around his newfound fame.

“To travel and see people still singing [my songs] word-for-word, it’s like, ‘What is going on?’ ” he marvels. “I still be tripping off the position I’m in.” And he’s in no rush to “take an elevator” to the top. “I’m moving at a slow pace because that’s what I want to do,” he says. “I elevated a lot in just this one year but being in control of my deal and being in control of my narrative, it allows me to take a look at every step.”

That means remaining a student of the game — and appreciating the little lessons along the way. “I remember I was in the studio with Snoop, just playing music for him and seeing him nod his head, and after I pushed ‘stop,’ him reciting certain lines I said,” Blxst recalls. “It was just a reminder for me to believe in myself even more.”

BLXST

Blxst photographed on October 25, 2022 at GenQ Studio in Los Angeles.

Sage East

This story will appear in the Nov. 19, 2022, issue of Billboard.