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Kevin Gates pulled up to the Los Angeles Lakers game at Crypto.com Arena on Tuesday night (April 22), which had social media buzzing on the heels of his controversial remarks about Lakers star LeBron James and his wife, Savannah James.
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Over the weekend, Kevin Gates took to social media detailing a conversation he had with a friend regarding how he wouldn’t want to switch places with LeBron James and explained that he didn’t like the way James’ wife looked at her superstar husband.
“We was talking about how LeBron do the little handshake with Savannah. Then I came, maybe I notice s–t people don’t notice. They were like, ‘What if you had LeBron money?’ He one of the greatest players to play the game, but I wouldn’t want to trade places with him,” Gates said. “I said because I don’t like the way Savannah look at LeBron. I like the way them white women look at LeBron.”
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KG later compared Savannah to the “warden of the jail” and feels that she “polices” James. “I couldn’t do it,” he said. “It hurt me to see that… I love LeBron and I hate that he gotta go through that.”
James typically doesn’t respond to social media chatter involving him, but many fans took his Instagram post on Monday (April 21) as a possible dig at Kevin Gates.
“‘Kings don’t concern themselves with the opinions of peasants.’ Where to next Queen?!?! Let’s get it,” he captioned the pair of photos, laughing with his wife.
Symba, Victoria Monét, D-Nice and more applauded James for showing love to Savannah. “[fire emoji] and that’s that on that,” Monét wrote in his comments.
Unlike when he confronted ESPN’s Stephen A. Smith, James appeared to pay Gates and his girlfriend, Brittany Renner, no mind during game two against the Minnesota Timberwolves.
James and Luka Doncic led the Lakers to a much-needed 94-85 victory on Tuesday night to even the series at one game apiece. King James finished with 21 points, 11 rebounds and seven assists to help power the Lakers.
Find Kevin Gates’ original post addressing LeBron below.
Bon Iver’s SABLE, fABLE premieres atop a host of Billboard album charts dated April 26.
The set bows with 37,000 equivalent album units earned in the U.S. in the week ending April 17, according to Luminate. That sum includes 25,000 in album sales, begetting a No. 1 debut on Top Album Sales. Its 19,000 vinyl copies sold also spark a No. 1 start on Vinyl Albums.
The Justin Vernon-led band rules the Top Rock & Alternative Albums chart for the first time since 22, A Million led in 2016. Before that, Bon Iver hit No. 1 with its self-titled effort.
SABLE, fABLE also starts at No. 1 on Top Rock Albums, Top Alternative Albums and Americana/Folk Albums, likewise marking Bon Iver’s third leader on each list.
Bon Iver adds its second Top Albums Sales No. 1, following 22, A Million, and its third on Vinyl Albums, after Bon Iver and I,I.
On the all-genre Billboard 200, SABLE, fABLE enters at No. 11, Bon Iver’s best rank since 22, A Million reached No. 2; Bon Iver also hit No. 2. The band first made the survey in 2008 with For Emma, Forever Ago, which peaked at No. 64 in 2009.
Concurrently, four tracks from the new album appear on the Hot Rock & Alternative Songs chart, led by “There’s a Rhythm” at No. 35 thanks to 1.9 million official U.S. streams. “Everything Is Peaceful Love,” the set’s current radio single, follows at No. 44, along with “S P E Y S I D E” (No. 46) and the Dijon– and Flock of Dimes-featuring “Day One” (No. 48).
“Everything Is Peaceful Love” ranks at No. 7 on the latest Adult Alternative Airplay chart, Bon Iver’s second-highest-charted song on the tally and best as a lead act, having passed the No. 13 peak of “S P E Y S I D E” last year. Its best remains its featured turn on The National’s “Weird Goodbyes,” which reached No. 6 in 2022.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: A box office blockbuster starts to get its footing on streaming, while Charli XCX parlays Coachella attention into another viral moment and a big HBO twist lends new emotional heft to the song that soundtracks it.
‘Sinners’ Soundtrack Spins Southern Horror into Streaming Success
Academy Award-nominated multihyphenate Ryan Coogler has scored perhaps the first must-see film event of 2025 with Sinners, a remarkable Michael B. Jordan-led period horror flick that blends Southern Gothic elements with vampires and blues music. The picture opened to over $48 million at the box office, snagging the No. 1 spot from A Minecraft Movie – which spun out its own streaming hit last week.
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Sinners features an original score by Oscar winner Ludwig Göransson, as well as an original soundtrack produced by him and his wife, Serena Göransson. With a smattering of blues and gospel classics, Irish folk tunes and original cuts performed by the cast, Rod Wave, Don Toliver and Brittany Howard, the Sinners soundtrack captures the critical role music plays in the film’s plot.
According to Luminate, the Sinners soundtrack pulled over 570,000 official on-demand U.S. streams in its first day of release (April 18). Over the course of the film’s opening weekend (April 18-21), the soundtrack’s streams increased by at least 20% day-over-day, ultimately jumping 126% over the three-day period to over 1.3 million streams on April 21.
The Rod Wave-penned-and-performed titular song and lead single from the soundtrack arrived on April 4 and has steadily increased in streams now that the film is in theaters. By April 21, the song logged over 448,000 official on-demand U.S. streams, marking a near 30% increase from the number of streams it pulled at the top of the weekend (April 18). Don Toliver’s “Flames of Fortune,” the soundtrack’s other original song by a contemporary rap star, leapt 271% in streams across opening weekend, topping out at 51,000 official streams on April 21.
Three of the most notable streaming increases came from songs performed in the film by the Sinners cast. Miles Caton’s Raphael Saadiq-penned “I Lied to You,” a very pivotal song in the film, exploded over 600% in streams from April 18-21. By April 21, daily streams for “Lied” topped 175,000. Caton also sings alongside Grammy-nominated soul singer-songwriter Alice Smith for the end credits song, “Last Time (I Seen the Sun).” Streams for last time jumped over 500% across the film’s opening weekend, eventually reaching over 40,000 official streams by April 21. Finally, streams for “Rocky Road to Dublin,” a sinister take on a 19th-century Irish folk song performed by Irish singer Brian Dunphy, rose a whopping 700% across the film’s opening weekend. By April 21, the song logged over 109,000 official on-demand U.S. streams.
Already having spun out a Billboard 200 No. 1 album in the 2018 Black Panther soundtrack and a Billboard Hot 100 No. 2 hit in Wakanda Forever’s “Lift Me Up,” it looks like Ryan Coogler has delivered yet another film that will significantly impact the music world. — KYLE DENIS
‘Party’ On, Charli: 2020 Deep Cut Goes Viral Again for Coachella’s Miss Should Be Headliner
Just when you might have thought Charli XCX’s reign over pop culture was over — with the star giving her hedonistic 10-month Brat Summer a proper send-off through a pair of special guest-filled Coachella sets April 12 and 19 – the resurgence of an older deep cut (for the second time already this year) has proven that the party will never really be over for her.
“Party 4 U,” an A.G. Cook-produced, Robyn-esque banger on 2020’s How I’m Feeling Now about dancing through the pain despite feeling your heart break in real time, is seeing another streaming spike the past week. That’s largely thanks to a melancholy new TikTok trend, where fans share their interpretations of the song’s emotional breakdown, which finds an emotionally wiped Charli repeating the phrase “Party on you” over stacks of artfully Auto-Tuned harmonies. Users unloaded anecdotes about everything from seeing an ex seven years post-breakup to searching for love on Roblox, before the song’s creator herself finally shared its real meaning in a video of her own: “This is actually the moment you realize that that one person isn’t ever coming to your party,” she wrote, “so you stand in the middle of the room, tears briefly fill your eyes but then you wipe them away, pretend you’re ok and proceed to get unbelievably f—ked up…”
Nonetheless, the track has given Charli plenty to celebrate with its recent performance on DSPs — pulling in nearly two million official on-demand U.S. streams between April 18 and 21, a 63.4% increase from the same period (April 11-14) the week prior, according to Luminate. It was also the biggest gainer on Spotify’s Daily Top Songs USA chart on Tuesday (April 22), moving up 37 spots to No. 39 — so even though Coachella has officially wrapped for 2025, Charli’s “Party” may not have even hit its peak yet. – HANNAH DAILEY
That Major Moment on ‘The Last of Us’ Boosts Streams For The Video-Game Voice of Ellie
No The Last of Us spoilers here, don’t worry — but if you’ve been on the Internet at all over the past few days, you’re probably aware that the most recent episode of the zombie-apocalypse HBO series contained a rather momentous ending. And before credits rolled on the second episode of season 2, the final few minutes were soundtracked by “Through the Valley,” the 2012 song by Shawn James, as covered by Ashley Johnson and guitarist Chris Rondinella.
Johnson has a special connection to The Last of Us: not only did the singer-actress, who was a child star on Growing Pains and later appeared in films like What Women Want and The Help, voice the character of Ellie in the best-selling video game franchise, but she also played Ellie’s mother when the HBO series premiered in 2023. In 2021, Johnson sang four songs, including a somber take on “Through the Valley,” on The Last of Us Part II: Covers and Rarities, an EP released following the second installment of the video game.
After her rendition of “Through the Valley” concluded the episode (also titled ‘Through the Valley’), daily streams of the cover shot up by a factor of 10: after earning 4,000 U.S. on-demand streams on the previous Monday (Apr. 14), the song scored 43,000 streams on the day after the episode aired (Apr. 21), according to Luminate. The Last of Us Part II: Covers and Rarities also includes Johnson and Rondinella covering a-ha’s “Take on Me” — maybe that one will appear in an episode of The Last of Us where the infected get really into synth-pop? – JASON LIPSHUTZ
Atlanta rap legend Jeezy has announced the TM:101 Live Tour — teased as a “black-tie symphonic tour” — with special guest DJ Drama to celebrate his third studio album and commercial debut, Let’s Get It: Thug Motivation 101, as it turns 20 this year. Explore See latest videos, charts and news See latest videos, charts […]
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From Ultra South Africa to Afro Nation Portugal, here are the best lineups this year.
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated May 3, we look at a number of songs threatening to end the now-nine-week reign of Kendrick Lamar & SZA’s “Luther” — led by two of pop’s biggest hitmakers looking to score their second smash together.
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Morgan Wallen feat. Post Malone, “I Ain’t Comin’ Back” (Big Loud/Republic/Mercury): Last year, Morgan Wallen helped officially introduce Post Malone to the country world with the duo’s teamup “I Had Some Help,” which topped the Hot 100 for six weeks and earned official Billboard Song of the Summer honors. That song, officially credited to Malone featuring Wallen, led the former’s full-length country pivot F-1 Trillion and helped turn that album into a chart-topper itself – so you know that now Wallen is returning with his own 37-track I’m the Problem set this May, Malone had to come return the favor.
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“I Ain’t Comin’ Back,” the duo’s credit-flipped new collaboration dropped on Friday (April 18) and also got off to a fast start on streaming and in sales. The song debuted atop the Spotify Daily Top Songs USA chart, and quickly rose on the Apple Music and iTunes real-time charts as well. However, unlike “Help” — which absolutely blew past the competition in its first week of release, even during a particularly packed time for popular music — “Back” has already started to recede a little, down to No. 4 on Spotify and out of the top five on iTunes.
It seems unlikely the duo will make it two straight No. 1 debuts with “Back” — but they should be primed for another long Hot 100 run with the song, helped by a quick embrace by radio, where the song has already earned 2.2 million in all-format airplay audience in its first four days, according to Luminate, and could be looking at a top 40 debut on the Country Airplay chart, despite no official promotion to the format. It will join a listing already packed with Wallen hits, including fellow I’m the Problem advance tracks like the title track (No. 10 this week), “Just in Case” (Wallen’s latest country radio single, No. 11) and “Love Somebody” (No. 20), and still – now in its 49th week on the chart — “I Had Some Help” (No. 17).
Alex Warren, “Ordinary” (Atlantic): During a largely static time on the Hot 100, one of the few songs providing consistent week-to-week movement has been Warren’s “Ordinary,” which first gained momentum on TikTok, and then exploded after he performed it on a reunion episode for season eight of Netflix’s hit reality show Love Is Blind. Last week, the song became Warren’s first career top 10 hit; this week, it becomes his first career top five hit, jumping 7-5 on the chart dated Apr. 26.
Could a No. 1 ranking be in the song’s future? Probably not in the next week or two, as the gap between it and Kendrick Lamar and SZA’s reigning “Luther” (nine weeks and counting) remains pretty large, but the song doesn’t seem to be slowing down, as it’s climbed all the way to No. 3 on Spotify’s Daily Top Songs USA and No. 7 on the Apple Music real-time chart. More crucially, it’s only really getting started at radio – debuting at No. 49 on Radio Songs this week and likely moving into the top 20 next week on Pop Airplay, still with plenty of room to grow there – making Warren a pretty solid candidate to be the first artist to score his first career No. 1 on the Hot 100 this year.
BigXthaPlug feat. Bailey Zimmerman, “All the Way” (BigXthaPlug/Atlantic/ UnitedMasters): BigXthaPlug and Bailey Zimmerman have been enjoying the biggest breakout hit of their respective careers the past two weeks with “All the Way,” which launched an impressive No. 4 debut on the Hot 100 two weeks ago and slipped just to No. 8 in its second week, and remains a strong presence on streaming. Despite debuting atop Billboard’s Hot Country Songs ranking, the single has not yet been promoted to country radio – but it has picked up a bit of top 40 airplay, with SiriusXM stations across pop and hip-hop formats also supporting the song.
Drake, “Nokia” (Santa Anna/OVO/Republic): Drake’s much-needed bounceback hit made it all the way to No. 2 on the Hot 100, but has since stalled, dropping back to No. 3 on the chart. “Nokia” isn’t done yet, though – it’s still only really finding its footing on radio, where it reaches the R&B/Hip-Hop Airplay top 10 this week and is up 15% in all-format radio audience April 18-21. The song might still need one more big boost to get it over the top on the Hot 100 – an official remix, perhaps? — but it likely will remain in range of getting there for some weeks still to come.
Two decades into his decorated career, Wiz Khalifa remains in demand. On the heels of dropping his Kush + Orange Juice 2 sequel, the Taylor Gang boss stopped by The Joe Budden Podcast earlier this week.
Budden inquired about Khalifa’s rates during his hitmaking run of the mid-2010s, which was capped off by the Billboard Hot 100-topping No. 1 smash “See You Again” in 2015. While 10 years have passed, Wiz says his paychecks remain the same when it comes to his guest verses and shows.
“They’re still the same,” he insisted. “250.” Khalifa doubled down on his $250,000 feature price tag and says the six-figure sum doesn’t even come with a music video appearance, just a verse.
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“Shows, honestly, go up to two Ms a show,” he added. “That’s because I have worldwide songs. I got stuff that people sing in China or Brazil or New Zealand and Thailand and Germany [and] Norway and stuff like Korea. I’m talking Saudi Arabia. You know what I’m saying?”
Even though the checks continued to clear, Wiz recently reflected on seeing the industry switch up on him depending on how hot he was at the time in the music game.
“Being in the industry, it’s clear when people are or aren’t f—ing with you,” Khalifa told the Call Her Daddy podcast on the April 18 episode. “When they’re f—ing with you, you’re at every party, every show, every this. When they’re not f—ing with you, you’re calling, and you’re like, ‘Ay, this party’s coming up.’ They’re like, ‘I know, but you don’t have an invite this year.’”
He continued: “You’re like, ‘Damn, they’re really ain’t f—ing with me.’ I didn’t do nothing. I didn’t change. I just maybe didn’t put up the numbers that they wanted me to or they got more people that they’re in line to do things for. So it’s like fighting for that position.”
Fifteen years after his classic mixtape, Wiz Khalifa returned on April 18 with his Kush + Orange Juice 2 sequel. The project features assists from Gunna, Ty Dolla $ign, Curren$y, Juicy J, Chevy Woods, Max B, Luh Tyler, O.T. Genesis and more.
On April 4, BAND-MAID released their new song, “Ready to Rock,” the opening theme for the TV anime Rock Is a Lady’s Modesty. The raging, breakneck instrumentals and emotional vocals that are the quintessence of the band resonate perfectly with the anime’s story and the feelings of its main characters. The collaboration is a match made in heaven.
Billboard JAPAN talked to the five members of the band at length about everything from the process of creating the new song to the band’s nationwide tour, the second anniversary of the new chapter opened by band, which is now in its 12th year, and their aggressive pursuit of their own musical direction.
Your new song, “Ready to Rock,” is the opening theme for the TV anime Rock Is a Lady’s Modesty (referred to from here on as Rock Is…). It tells the story of an all-woman band, so it has a lot in common with BAND-MAID. What led to you work on the song?
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KANAMI (Guitar): We were approached about performing the opening theme, so we started out by all reading the original comic, and then I started writing the music. But there wasn’t much along the lines of “Make it like this,” was there?
SAIKI (Vocals): Not really. They extended the offer to us because they knew what we were like. They said “BAND-MAID is perfect for Rock Is…,” which was great to hear. So the final song ended up being very true to BAND-MAID.
KANAMI: When I read the original manga, my mental image was one of drums and guitars crashing against each other and climbing to new heights. I wanted our song to express that, so I started the song out with this frenzied drumming and guitar playing.
So in terms of the anime, that would be Lilisa Suzunomiya (Guitar) and Otoha Kurogane (Drums).
AKANE (Drums): Right. I was totally influenced by Otoha (laughs). She’s an unparalleled drummer, and I wasn’t about to let her beat me, so I drew on all my drumming technique. It was the technically hardest song we’ve ever done. I just can’t emphasize that enough.
SAIKI: Initially, the drums came in even earlier right?
KANAMI: Yeah. In the first demo, the vocals also started at the same time, but SAIKI and Kobato said that if we wanted to bring out the true qualities of Rock Is… we shouldn’t have vocals right out of the gate but instead should highlight the guitar and drums. So I cut the vocals.
MISA, what approach did you use given what was going on with the guitar and drums?
MISA (Bass): The guitar and drums go wild, so I realized that if the bass went wild, too, then the whole thing would just fall apart. Instead of doing a really intricate bass line, I chose to only have the bass come out in front once the guitar and drums had settled down a bit.
Did you all talk together as a band about the relationship between BAND-MAID and the world of the anime?
SAIKI: Not at all. When I read the manga, I thought the drummer, Otoha, was a lot like AKANE, and the bassist, Tamaki, was a lot like MISA. But above all, the guitarist, Lilisa, was just like KANAMI (laughs). Partly because of that, I was really sucked into the manga. The gap between the way the characters looked and the way they acted was also like BAND-MAID. There were all these elements that resonated with me, so I think I naturally found myself drawn to it.
Miku Kobato (Guitar/Vocals): Having that gap is really important for us, too, so there were a lot of parts which matched up with us, and that’s how it all turned out, po.
SAIKI, what did you have in mind when you were writing the lyrics?
SAIKI: Reading the original manga, there were so many things that resonated with BAND-MAID, like the gap between how they looked and the music and they played, or the pressure that people around them placed because they were expected to be refined ladies. It reminded me of how we were when we started out. Back then, our costumes weren’t as distinctive as they they are now, and there were people who just couldn’t accept the gap between how we looked and the music we played. Sometimes, it was hard, so while I was reading the manga, I was thinking “Don’t let them get you down!” (laughs) When I wrote the lyrics, it was with this idea of “Don’t give up, just believe in yourself.”
Lilisa’s way of thinking also shares a lot in common with BAND-MAID’s direction. That passion burning inside, that hidden fighting spirit, is the same as ours, so it really resonated with me. The lyrics reflect how you might not show it on the outside, but you’re fired up inside.
Did BAND-MAID show that inner fighting spirit from the first time you performed on stage, or was there something that changed and brought it out of you?
SAIKI: Our songs themselves changed a lot, we decided on our direction, and we built up our musical repertoire. And through that process, we finally discovered our own style. That process was also similar, in many ways, to Rock Is….
Kobato: When we started, there were a lot of people who were like, “They’re a band of women dressed as maids, so their music’s not going to be very cool, right?” We wanted them to hear our music and go “Oh, wow!” I think we had that kind of fighting spirit from the very start, and we still do, po.
I’m sure watching Rock Is… while thinking about how it matches up with BAND-MAID would make the viewing experience an even more emotional one.
AKANE: There’s this scene where Otoha says, “Why would you play music for any other reason than your love for it?” That way of thinking about music is the same as how I felt about music when I started, long ago. Seeing that scene made me think again about what kind of drummer I want to be and what kind of music I want to make. One of my skills as a drummer is double kick drumming, so I used double kick pedals on the song. This song brought out my own distinctive style. I’m always taking on new challenges, and with this song, I knew exactly what I wanted to do, which felt great. The song really brims with drive and energy.
MISA: At some point, without me even realizing it, I’d solidified my own style and rules as a bassist—my position in the group, the position of the bass line within a song. The bassists I like don’t play bass lines with a lot of movement, and the music I listen to is really simple, but since joining BAND-MAID I’ve grown a lot with the band, and my bass lines have also grown.
SAIKI: The first song we wrote on our own that got a good reception, “alone” (released in 2016), gave us all confidence in our style. It showed that we were on the right track, and it defined the direction of our band. For the first two or three years, it was all very flexible and dynamic.
Kobato: It’s not like we started out wanting to copy some other artist. From the start, we wanted to establish our own style, and I think it took about two years for us to do that, po.
Your next tour will start with a show at Tokyo’s LINE CUBE SHIBUYA on May 10. What is the theme of the 2025 tour going to be?
SAIKI: Last year, BAND-MAID opened a new chapter in its history. This is the second year of that new chapter, and last September we released our first new album in three years, Epic Narratives, so I want to develop that album further through the tour. We keep talking about our new chapter, and we’re going to be playing across the country, so I want everyone to realize that this isn’t going to be like our past tours.
Do you have a message for your overseas Masters and Princesses?
Kobato: We’ve announced our tour schedule for May to August, which is going to overlap with the summer, so how about coming to Japan and traveling with BAND-MAID, po? (laughs)
KANAMI: We always have a lot of overseas fans in the audience, and I just want to express my deep thanks.
—This interview by Takayuki Okamoto first appeared on Billboard Japan
The second annual I’m Just Me: A Charley Pride Celebration of Inclusion brunch will take place May 6 at the Hall Park Hotel in Frisco, Texas, two days before the 2025 Academy of Country Music Awards.
Mickey Guyton, a two-time ACM Award nominee and the first Black woman to host the ACM Awards, in 2021, will emcee the event that celebrates honorees who represent Pride’s legacy in country music as leaders in hope, advocacy and innovation.
This year’s honorees are country singer/songwriter Brittney Spencer, iconic artist Lionel Richie, Guyton, “A Bar Song (Tipsy)” singer Shaboozey, the Freddy Fender Estate, F2 Entertainment president/CEO Fletcher Foster, Presidential Medal of Freedom recipient and grandmother of Juneteenth Opal Lee, Amazon Music head of country music Michelle Tigard Kammerer, Tennessean country music reporter Marcus Dowling and mtheory CEO Cameo Carlson. (More honorees are to come.)
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The groundbreaking Pride, who died in 2020 at age 86, was country music’s first Black superstar, breaking down barriers despite facing racial adversity and going on to win three Grammy Awards. He was the first Black artist to win entertainer of the year at the Country Music Awards, and he received the ACM’s Pioneer Award and the Recording Academy’s Lifetime Achievement Award. He scored 29 No. 1s on Billboard’s Hot Country Songs chart and was the first Black artist to reach No. 1 on the chart.
The invite-only I’m Just Me event will be presented by Amazon MGM Studios, in partnership with Amazon Music and the Academy of Country Music.
“We’re honored to support this celebration that uplifts trailblazers pushing the genre forward, while reaffirming our commitment to broadening the narrative and welcoming a wider range of voices into the spotlight,” Ryan Redington, GM of Amazon Music, said in a statement.
Reba McEntire will host the 60th ACM Awards, which will stream free live across more than 240 countries and territories on Prime Video and the Amazon Music channel on Twitch from Ford Center at The Star in Frisco, Texas, on Thursday, May 8, at 8 p.m. ET/5 p.m. PT.
Madonna‘s steamy video for her 1987 True Blue single “La Isla Bonita” has joined the YouTube billion-views club. The visual for the song featuring flamenco guitar, maracas and Latin percussion was helmed by prolific film (Pet Sematary Two, Best. Christmas. Ever!) and TV director Mary Lambert, known for her work on music videos for Janet […]
