Music
Page: 346
The Latin music community will shine its brightest light on Carlos Vives, who has been honored as the 2024 Person of the Year by the Latin Recording Academy. During the prestigious gala on Wednesday (Nov. 13) at the Miami Beach Convention Center, the beloved Colombian superstar’s immense contributions to the music industry and his tireless humanitarian efforts, such as Tras La Perla, the Rio Grande Music School and others will be recognized.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“It’s still surprising to me,” Vives told Billboard Español in May. “It’s like a message that the Academy gives at the end because 32 years ago, I chose a path [that was unconventional]. To be successful, to be commercial, there was one way. This other path that’s cultural or has to do with your identity, that doesn’t work, [they would say].”
Winner of 18 Latin Grammys and two Grammys, Carlos Vives is a pioneer of vallenato-pop fusion that has captivated audiences around the world. Over more than three decades, the Santa Marta singer-songwriter has produced hits such as “Fruta Fresca,” “Como Tú” and “Volví a Nacer,” among many others. These timeless songs not only reached No. 1 on the Hot Latin Songs chart, but have also played a crucial role in elevating Colombian popular culture to the world stage.
Trending on Billboard
“Carlos Vives is one of the most prolific and beloved artists of our time, whose commitment to Latin music and support for the new generations truly personifies the values of our Academy,” said Manuel Abud, CEO of The Latin Recording Academy, in a previous press release. “We honor him as our Person of the Year for his vast contributions to our musical heritage and for his many philanthropic initiatives.”
His 2023 album, Escalona: Nunca Se Había Grabado Así, earned Vives his 18th Latin Grammy when it was crowned best cumbia/vallenato album.
On Wednesday, the eve of the 25th annual Latin Grammy Awards, heartfelt odes are expected from fellow musicians who will pay tribute to Vives’ impact on Latin music by performing versions of his songs. The event will also highlight his work beyond music, including his dedication to social causes and cultural preservation.
Stay tuned as we bring you updates — including performances, speeches and exclusive insights — directly from tonight’s ceremony.
Celine Dion just wants to listen to her new single! The legendary vocalist uploaded a hilarious video to her Instagram on Tuesday (Nov. 12), in which she asks Siri on her iPhone to play her cover of Édith Piaf’s “Hymne à L’Amour,” released as a single last month. During her first attempt, Siri responds, “I […]
The negative response to the song “+57” by Karol G, J Balvin, Maluma, Feid, Blessd, Ryan Castro and DFZM has led to a lyric change on YouTube, where, in the video, they now sing “a hot mama since she was 18” instead of “14.”
Although it’s unclear who requested the update, the change on the video streaming platform appeared on Wednesday (Nov. 13), after the controversy over the lyrics reached the Colombian Congress, where a group of politicians asked the Colombian Institute of Family Welfare (ICBF) to summon the authors of the song for a training on the problem of sexual violence in the country.
At press time, the song’s lyrics have not been updated on Spotify or Apple Music. Billboard has also reached out to YouTube for comment.
Trending on Billboard
According to local newspaper El Tiempo, congresswomen Sonia Bernal (Pacto Histórico) and Karina Espinosa (Partido Liberal) criticized the reggaeton song for lyrics that they consider sexualizing minors (one verse mentions a woman who has been a “mamacita” since she was 14 years old), and even announced that they will present a bill called “decent lyrics,” with which they seek sanctions for those who write songs with explicit content that could be interpreted as a violent reference against women and girls.
Since its release Nov. 7, the track has received a barrage of criticism. Rolling Stone En Español published an article titled “The Disaster of +’57′,” which Colombian President Gustavo Petro shared on his X account expressing that “it’s OK to have a cultural debate.” And the ICBF issued a statement saying that the song “reinforces the sexualization of childhood in our country” and that it “does not contribute to our fight against the commercial sexual exploitation of children and adolescents.”
On Monday (Nov. 11), Karol gave a lengthy response to the criticism and apologized, saying, “I still have a lot to learn.”
“+57,” whose title is the international phone code for Colombia, was produced by hitmaker Ovy on the Drums and written by all of the aforementioned artists along with Keityn and newcomer DFZM. The name of the song, and the union of these superstars, had caused anticipation among fans, who were anticipating a new reggaeton anthem for Colombia.
See the original lyrics to “+57” translated to English below:
Colombia, gangO-O-Ovy on the DrumsWhoa
She told her boyfriend that she was going to sleep now.But her friend damaged her mind12:30 and she started putting on makeupSaid she’d arrive in 20She turned off her cell phone to avoid getting caughtThe baby is bad, but smart, yeah
And although that baby has an ownerShe goes out whenever she wantsThe weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends” (wow)
What we have here is exotic, pills, aguardiente, HpnotiqA chill party, I offer you somethingDrinking, you’re dangerous, they’re not going to catch you
A hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThat, back there, is huge, delicate, pick it up, let it hold
Hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThere is a lot of load below, there is no room for your butt in the car
She has all the codes (oh)Listens to 2Pac and that ass is notoriousI pour the Oreo cream on her abdomen (nasty)To spend it at the strip clubThey don’t even put her on the cover of Q’hubo
Big ass, big ass (awo)Machine shorts so that all that is noticed (tra-tra)I say all the right things so he takes his clothes off
I save your PIN on the BlackBerryIf she has a hit, i’m the remixThat little mouth, to give it some kisses (aha)I called her so that boom, so that boom (yeah)
And although that baby has an ownerShe goes out whenever she wants (ah-ah-ah)The weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends.
The ass is hers and, therefore, it turns on (Zaga!)She knows who she deals withHe seems innocent, those little eyes lieAnd the kitten has it, it depends
Sucking hottie, mamacita, she’s easy (hey)At the disco she is never in the chair (no)For good luck, yellow thongPrettified in case someone catches her
Sucking hottie, mamacita, esa grillaAt the disco she is never in the chairFor good luck, yellow thongPrettified in case someone catches her
Hat on, conceited (does she know?)So that it turns out great for you (ha, ha)That smile on her little mouth confirmsThat little ass of yours is mine with a seal and signatureIf the boyfriend is late, apply the same to him (ha ha)
Because I’ll break itAnd that guy next to me is a mere foolIf the firecracker is too crazy, I’ll ride itBecause in Medallo I’m like Drake in Toronto
Da-da-da-give me location, give me time and I’ll get to youShe looks at me and I give it all to her, she doesn’t want a weddingShe says to eat quietly and eat blindSex has a code, money beats pretty
She has her thing, she doesn’t want to play (ah-ah-ah)She wants to stay with meThe real deal is talking to me, you’re playing FederballIt’s 11:00 PM, take that ass out for a walk
Break, break, break and give it everything, ma, don’t let anyone stop youOrder one from Ovy on the Drums, the ‘boyfriend’ is not worth itAt the disco, marijuana, drink and pullYour boyfriend, the funny one, let him stop and get off
Wants to feel like a womanThere is no drink that is worth it, there is no positive energy that comes out to herShe wants to feel that she is beautiful again (ha ha, do you know, my love?)
And although that baby has an ownerShe goes out whenever she wants (she wants)The weed is working and she is twerking that drunknessPass the drinks mouth to mouth (mouth)She rolls it up (rolls it up), and turns it onAnd if they ask her if she has a boyfriend, it depends, yah
Karol G-G, La Bichota (yeah)Feid, FERXXO (wow) Let’s goMaluma, Don Juan, yeahBlessed, do you know?
Awo (pu-pu-pum), Ryan CastroDF, Latino gang, gangColombia gang-gangJ Balvin, man, manLet’s go, yeah (baby)
Ovy on the DrumsOvy on the drums, mami, mami, mamiKeityn, in the spotlightColombia gang-gang, yeahOh, Hail MaryHa, how cool
50 Cent is a menace when it comes to his social media antics. While 50 and Busta Rhymes are good friends, they roasted each other in a hilarious back-and-forth on Instagram on Tuesday (Nov. 12), which focused on their hairstyle botches of the past.
Explore
See latest videos, charts and news
See latest videos, charts and news
50 lit the fuse after seeing Busta’s hair looking darker than usual, and the G-Unit boss accused the “Touch It” rapper of using some colored paint.
“Nah why crazy s–t be happening and [ninja emoji]’s don’t say nothing,” he wrote before including a photo of Fat Joe’s Rewind 10 beard-coloring brand. “I think @fatjoe, Khaled and Tyson need to intervene here. Lol WTF.”
Trending on Billboard
50 said: “How this n—a Busta paint his whole hair on? How the f–k you let him go outside looking like that, Joe?”
Busta isn’t one to back down and he quickly returned fire with a photo of 50 from several years ago appearing to grow his hair out with some curls at the time. “WHEN YOU GOT THIS TYPE A CRAZY SHT GOIN AND NOBODY IS SAYING NOTHING,” he wrote. “WHAT TYPE ADVISORS YOU LISTENING TO BRUH??? WHAT THE FK IN A 100 JARS OF TCB GEL TYPE SHT IS THIS MY N—A?? @50cent C’MON MAN!! BY THE WAY FIF, THIS S–T LOOK LIKE YA JERRY CURL STINK TOO BRUDDAH!!”
The Queens rap legend then upped the score, calling out Busta Rhymes for having a “leather lineup.” “N—s always gotta one-up me, right? Have one up on me and s–t. I get a banging leather jacket and this n—a Busta get a leather lineup,” he quipped.
Busta Rhymes appeared to get the last word in when he posted a screenshot of a bald and malnourished 50 from his role in 2011’s All Things Fall Apart flick. “THE BLESSINGS DON’T STOP SO WE AIN’T NEVER GONNA STOP,” Busta added. “DAMN @50cent YOU WAS MY #1 CUSTI WHEN I USED TO SELL CRACK HOMIE. DAMN YOUR HAIR LINE BEEN FUCKED UP SINCE THEN BRUH!!”
Of course, Busta and 50 are close and this is all in good fun. Busta Rhymes opened up for 50 on his lucrative Final Lap Tour in 2023, which eclipsed $100 million in earnings and made him the second rapper ever to do so at the time.
See some of the posts in their back-and-forth below:
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 Nov. 23, we look at the chances of a quickly rising hit to halt the increasingly historic reign of the decade’s longest-running Hot 100 No. 1.
Explore
See latest videos, charts and news
See latest videos, charts and news
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): It’s 17 weeks now for Shaboozey atop the Hot 100, giving it sole possession of the title for longest-running No. 1 on the chart this decade, and second place all-time. The only song still standing in its way from standing alone atop all Hot 100 history: Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, which reigned for 19 weeks in 2019. (Coincidentally, Lil Nas X himself has announced the imminent release of his new song “Light Again,” though we’ll see if he still has the viral skills to be able to protect his own chart record — “J Christ,” his first release of 2024, topped out at No. 69.)
Anyway, it’s the same old story with “A Bar Song,” which is mostly slipping in its weekly performance – though it was actually up 2% in sales this week, according to Luminate, rebounding from No. 7 to No. 3 on the Digital Song Sales chart – but not falling fast enough for anything below it to really catch it. Airplay remains at the core of its stronghold, as the song spends a 15th week atop Radio Songs this week, with a 16th week in play next week. Meanwhile, the song might get a bit of a bump this week from the Friday-announced (Nov. 8) Grammy nominations, where Shaboozey is up for five nominations, including best new artist and song of the year for “Bar.”
Trending on Billboard
Gracie Abrams, “That’s So True” (Interscope/ICLG): For the first time in what feels like a long time, there’s a rising hit with legitimate momentum coming up from behind Shaboozey. Gracie Abrams’ “That’s So True” didn’t look like a world-beater when it debuted on Oct. 18 as one of four new songs on the deluxe edition of her breakout set The Secret of Us, but it’s continued to grow every week since its release, climbing 25-13 on the Hot 100 this week, and even passing “A Bar Song” on Streaming Songs, as it moves up to No. 4 on that chart. TikTok has helped, of course – the song debuts at No. 16 on the TikTok Billboard Top 50 – as has a new official live version from Radio City Music Hall, released to DSPs last week. (It also helps to have the world’s biggest tour as a continued platform, as Abrams continues opening Canadian dates on Taylor Swift’s Eras trek through early December.)
Now, the song has overtaken the top spot on both the Spotify Daily Top Songs USA and the Apple Music real-time chart, while also climbing to just outside the top 10 on the iTunes chart. That streaming momentum could take it to the Hot 100’s 10 next week – and so far, it’s just kept climbing. The question of if it could end up being a legitimate threat to Shaboozey might come down to radio – of course, “A Bar Song” has a massive advantage there as the still-reigning most-played song in the country, while “That’s So True” is just beginning to draw airplay, behind Abrams’ other contemporaneous hits “Close to You” and “I Love You, I’m Sorry.” But “True” is slowly gaining steam there, too, so if it continues to grow while “A Bar Song” shrinks, the gap could be closed before too long.
Can it catch Shaboozey in the next three weeks? Will it get there before the Holiday season rush begins? We’ll see, but if nothing else, it should make the race more exciting in the meantime.
Bruno Mars & Lady Gaga, “Die With a Smile” (Streamline/Interscope/Atlantic/ICLG) & Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG): It’s a good week for Interscope on the charts, as between Abrams, Lady Gaga and Billie Eilish, the label is likely to claim three of the top 10 spots on the Hot 100. The latter two artists are also likely beneficiaries of Friday’s Grammy nominations: “Smile” is up for both song of the year and best pop duo/group performance at the awards, and Eilish – a Grammy darling since sweeping the Big Four in 2020 on her debut album – has seven nominations, including album of the year for Hit Me Hard and Soft and song and record of the year for “Birds of a Feather.”
Both songs should stay in the mix at the Hot 100’s top next week, as “Smile” and “Feather” remain at Nos. 2 and 3 on the chart this week, remaining strong performers across the board – “Feather” holds atop Pop Airplay for an eighth week, and “Smile” may challenge for its first week atop Streaming Songs next frame. But it’s unclear if either has the cards left to play to help get either over the hump, and with Shaboozey also a major Grammy nominee, the bump there for either is unlikely to be major enough to be the difference-maker.
While plenty of Lil Nas X fans are hyping themselves up over his upcoming new single, dance artist Sega Bodega has a few questions for the rapper about one of his promotional photos. Explore Explore See latest videos, charts and news See latest videos, charts and news In a series of posts to his X […]
Jason Kelce is after Mariah Carey‘s crown. After discovering that his new holiday duet with Stevie Nicks outperformed “All I Want for Christmas Is You” on the iTunes charts this week, the retired Eagles center joked with brother Travis Kelce on New Heights that he’s the new “Queen of Christmas.”
Toward the beginning of the podcast episode posted Wednesday (Nov. 13), the Kansas City Chiefs tight end congratulated his older sibling for having “dethroned” the Songbird Supreme with “Maybe This Christmas,” which debuts at No. 1 on the iTunes Top Christmas Songs 2024 chart and bests Carey’s bestselling holiday classic by one spot. The track — a Ron Sexsmith cover Jason recorded with the Fleetwood Mac frontwoman for The Philly Specials’ upcoming charity Christmas album — dropped Nov. 8.
“[Carey’s] song is as good as it gets when it comes to Christmas music,” Travis began. “Jason, how does it feel to officially be the Queen of Christmas?”
Trending on Billboard
“You know, I’ve fought my whole life to be the Queen of Christmas,” Jason jokingly replied. “The fact that we’re finally there is just really special.”
The Monday Night Countdown host went on to gush, “It was incredible to work with Stevie Nicks” — a process he recently shared with fans on Instagram via a behind-the-scenes video from the unlikely duo’s recording session. “I’m just still in awe that that actually happened,” he added. “This is really really cool. There is no percent chance any song that I’m in should be streaming No. 1 on any service in any genre.”
In response, Travis teasingly brought the elder Kelce back down to earth. “Well, don’t give yourself too much credit,” he said as Jason laughed. “It’s Stevie Nicks.”
Even so, “All I Want for Christmas” is indeed one of the most successful festive tunes of all time. It’s spent a collective 14 weeks at No. 1 on the Billboard Hot 100 and ranks at No. 1 atop Billboard‘s best Christmas songs list and the Greatest of All Time Holiday 100 Songs listing.
Arriving Nov. 22, A Philly Special Christmas Party will mark the third benefit album from The Philly Specials, which is comprised of Jason and Eagles offensive tackles Lane Johnson and Jordan Mailata. Last year’s A Philly Special Christmas Special raised more than $3 million for charity.
This year, proceeds from the vinyl sales of A Philly Special Christmas Party will go toward the Children’s Crisis Treatment Center’s Holiday Toy Drive, Children’s Hospital of Philadelphia’s Snowflake Station and 87 and Running Foundation, as well as a few other organizations based in Philly.
Watch Jason and Travis talk about the former’s new title above.
Rema and Selena Gomez‘s remix video for the Afrobeats star’s 2022 single, “Calm Down” has crossed the one billion views mark on YouTube. The visual for the song that originally appeared on Nigerian singer Rema’s Feb. 2022 debut studio album, Rave & Roses, got a second life in August of that year when Gomez hopped into the visual for the sultry jam.
Explore
See latest videos, charts and news
See latest videos, charts and news
In the video, both singers hang out in a living room with green walls and colorful tapestries, with Gomez dancing seductively behind a beaded curtain and shaking her hips alongside Rema as he sings, “I see this fine girl, for my party, she wear yellow/ Every other girl they dey do too much, but this girl mellow/ Naim, I dey find situation, I go use take tell am ‘Hello’/ Finally, I find way to talk to the girl, but she no wan’ follow.”
Trending on Billboard
Midway through, Gomez sidles up to Rema and adds, “Yeah, I know I look shy but for you i get down, woah/ And my hips make you cry when I’m moving around you/ Do it once, do it twice/ I push back you hold me tight.” The two then join forces on the chorus: “Baby, show me you can calm down, calm down/ Dance with me and take the lead now, lead now/ Got you so high that you can’t come down, come down” as the action turns to an all-white garage where the pair pose on a vintage roadster.
In addition to crossing the billion mark on YT, the song set all kinds or records during its chart run, including the longest run at the top of Billboard’s U.S. Afrobeats Songs chart and first song in history to spend a year on that chart (currently at 138 weeks) and the record for the first African song to log a whole year (57 weeks total) on the Billboard Hot 100. The song also has the record for the most weeks ever spent on Billboard’s Pop Airplay chart, logging an unprecedented 64 weeks as of Jan. 20 of this year; “Calm Down” bested the previous record-holder, Harry Styles’ “As It Was,” which had 63 week at the top in 2022-2023.
Watch the “Calm Down” remix video below.
Something LISA this way comes — but fans aren’t exactly sure what it is yet. That will all change soon, however, according to a mysterious untitled countdown that has appeared on the BLACKPINK star’s solo website. By Billboard‘s math, the clock will finish ticking down on Nov. 19 — the possible release date of new […]
Zendaya’s Tashi Duncan character in Challengers defined tennis as a relationship. An unexpected tennis star in his own right while growing up in Florida, Real Boston Richey is adjusting to the give and take of his relationship with fame as his rapper profile continues to grow.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Boston Richey served up a splash with “Help Me” earlier this year, which had fans comparing his motivational anthem to Meek Mill’s “Dreams and Nightmares.”
The MacFly-produced single picked up steam and powered its way to give Richey his first Billboard Hot 100 hit in July. “Help Me” would go on to peak at No. 50 and even cracked the top 10 of the Hot R&B/Hip-Hop Songs chart.
Trending on Billboard
With burgeoning success on one side for the 27-year-old, he’s also had to tune out the haters on the other shoulder. Detractors have attempted to pepper him with accusations tied to snitching, which even peers have thrown in his direction trying to muddy his project’s rollout.
Through it all, Real Boston Richey is focused on what’s ahead while moving past the allegations and using the haters as fuel to his fire and bricks to “build a house.”
“At first, it made me feel a way. But I had to understand, it’s life,” he admits during a Zoom call with Billboard last week. “You gotta expect curveballs when you’re doing some kind of good. I had to embrace what I was going through. You can’t really say you the best if nobody ever seen you go through something and not make it through.”
After whittling down hundreds of songs to a package of 24, the Free Bandz Gang artist delivered his Richey Rich album on Friday (Nov. 8) featuring GloRilla, Lil Yachty and YTB Fatt. Check out our conversation with Boston Richey below as he goes long on his project, dealing with the haters and gems he’s taken from Future.
Richey Rich — what was the creative process for everything with this album?
Real Boston Richey: Richey Rich is really gonna be one of them ones. I put a lot of time in there. Like, over a year, for real. Most of the project I recorded in Miami. 80 percent there and the rest I did in my city. I put a lot of effort and feelings into this and I feel like this one’s gonna be one of them albums.
I was gonna touch on what makes this stand out from your other projects. What do you hope people take from it?
I put a lot of feelings into it. A lot of my thought process. These are the top picks from all of the music I recorded. I done recorded hundreds of songs. These were the best hand-picked songs.
How tough is that process to whittle it down?
That’s probably the hardest thing in the world for me. That’s probably why I took so long with getting it ready, because I was always indecisive with what I wanted to do. I might have these songs I have this week, and I might go to the studio and be like, “Nah, I don’t wanna use these no more. I like these I just made.” That’s the deal of the situation.
Would you save some for a deluxe?
Yeah, we got bonus tracks for sure coming.
How did you link with Lil Yachty?
He had hit me on Instagram. A month or two later I was in [Atlanta] so I had pulled up to the studio they was at. We was just in there vibing and listening to beats. We went to record and did probably seven songs that night.
When did you link up with GloRilla? She’s had a good run this year. You guys went to Magic City to shoot the video too.
I had dropped “The Type” with [YTB Fatt] and she had wrote me like, “You hard, man, I wanna work with you.” I’m like, “Hell yeah, we gotta do something.” We didn’t make it until two or three months later and we were in Miami and I went to her studio session. I think she was working on her album or mixtape if I’m not mistaken. She was bringing up music and I had jumped on one of her songs.
Then she was like, “Play me some of your s–t!” I was playing some of my music and she was really supposed to get on another song I had. She had walked out the room and her brother had heard “Get in There.” Her brother was like, “Oh nah, this the one right here.” Soon as she walked back in, I played it again and they all went crazy. She went in there and did her verse like, “Tell me if y’all don’t like it.” They played it and her verse and the whole studio went crazy. “You slid on that b—h, ya feel me?”
That’s crazy she wasn’t that confident in it.
Yeah, she was like, “Tell me if this hard.” Her whole studio went crazy like, “This is the one.”
We gotta talk about “Help Me,” your first Billboard Hot 100 hit. I think it’s reached No. 50. Talk about creating that record and seeing the heights it’s gone to.
When I heard that beat, the beat was telling me, saying, “Help me.” I had both my phone around and got a new phone. I told my engineer send me the new music I recorded. I literally had forgot about it. One day, we was on the road and my brother was in the car and played the car when everyone was asleep. Everyone woke up like, “What this is?!”
We went and shot the video that same night. Everyone was going crazy about it. I played a little snippet at one of my shows and it was going crazy on Instagram. We still had not dropped it until two months later. We were pushing the music and little snippets on the Gram so they were anticipating it for real.
So then it drops and it makes the Hot 100. What was your reaction to that?
Really just motivated me to know that as long as I apply myself and do the right thing I’m supposed to do I could really be somebody. I could really have a hit song. It motivated me to stay in that mode and keep going and doing what I’m supposed to do.
I saw people saying “Help Me” was the new “Dreams and Nightmares.” What do you think about that?
Nah, for sure. It kinda made me feel good. Comparing my song to “Dreams and Nightmares” – that’s been a banger for years and years. I still go to the club to this day and they play, it and it still gets that reaction same to when I first heard “Dreams and Nightmares.” For them to compare my song to that, it made me feel great.
With the success comes the hate. Do you feel like the snitching allegations were thrown at you to derail you?
At first, it made me feel a way. But I had to understand, it’s life. You gotta expect curveballs when you’re doing some kind of good. I had to embrace what I was going through. You can’t really say you the best if nobody ever seen you go through something and not make it through. I used it as gas to my fire, and really learn how to overcome and get through to show people I’m really one of them ones. These days, I just learned to use the bricks people throw at me to build a house.
Can you clear up anything around that situation?
Nah, it was just some bulls–t. It wasn’t on really nothing. I’m not really into it. I can’t explain no street s–t once I’m past it. I’m an artist now. If you ain’t from my city, you ain’t never gonna understand it. I’m here to prove no points to people. I’m still the biggest in my city, and I’m still active in my city… I don’t really be worrying about what a person got to say about me on the internet that don’t know me or don’t know where I’m coming, for real.
Signing to Future, what’s the communication there? What are your last conversations?
My last conversation, he hit me about “Help Me” saying how the song was amazing and s–t like that. Just how I did and how I overcome the bulls–t. Basically saying, like, “Damn boy, you got a a hit on your hands. Keep going.”
They listened to my project first-hand. I know when they send a song like, “This the one.” I just know not to question it. They helped me pick my Public Housing one. So when they tell me, “This the one, tweak this or do this with it.” I just understand and listen. They got hits on hits. When they tell me to do something different with a song, I just be listening and go with it.
I was looking into hobbies you had outside of rap and I saw you were into tennis. Did you play growing up?
I got championship trophies from tennis, man. I’m raw at tennis. I ain’t wanna be no tennis player or nothing. My mom didn’t want us hanging out after school, so she thought, “I’ma put y’all in sports.” I’m thinking she’s gonna put us in football or basketball or something like that. I remember one Sunday morning she woke us up like, “We going to practice.”
We drove an hour away – me and my brother looking like, “What is this?” She like, “Y’all finna play tennis. Y’all thought you were gonna play football and be around the same boys y’all had?” We did, and it grew to something me and my brother actually liked, and we won a championship too.
Do you pick up the racket these days?
That was more growing up, but I know I could still be raw at it if I wanted to.
What’s your dream collaboration?
Bad Bunny or something like that.
What was the rap scene growing up in Tallahassee? Did you ever get to meet T-Pain?
Yeah, I met T-Pain before. Me and T-Pain from the same hood… The rap scene s–t, when I think about back in the day, I really wasn’t big on the rap scene. My influence on music was heavy through my cousin. He passed away, but that’s who had me rapping through the years after he passed. My influence on music was dictated through what he liked because he’d be the one like, “Ay cuz, you gotta go listen to this new Thug.” He was the type of person that kept me rooted and grounded on music. I wasn’t big on music. I ain’t never wanted to rap or nothing like that.
What’s your album of the year so far outside of your own?
If I gotta say the album of the year, I probably gotta say I been bumping that We Still Don’t Trust You. I been bumping that the most. I ain’t gonna lie. A lot of times I be bumping my own s–t, but outside of that, that’s probably what I listen to the most.
Any goals for 2025 coming up?
One of my biggest goals is going on my own tour – just me in 2025. That’s what I’m working toward more than anything. That’s what I want to do and really spread my wings and show people I could do it myself. The greater me for real.