Music
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Megan Thee Stallion has announced the inaugural Pete & Thomas Foundation Gala will go down in New York City’s Gotham Hall on July 16. The event, announced on Thursday (May 8), will be hosted by Taraji P. Henson, and feature DJ D-NICE at the turntables all night. It will also include a special musical guest who will […]
John Summit will play his biggest solo headlining set to date this fall in Boulder, Colo. The show will happen on October 18 and the city’s 50,000-capacity Folsom Field, the football stadium located on the University of Colorado Boulder campus. The show is being presented by AEG Presents Rocky Mountains in partnership with CU Boulder, with general tickets […]
Country music’s canon of songs is filled with compositions celebrating the support and comfort of family — and particularly the championing, caring, uplifting work of mother figures, whether they be biological, adoptive, or titular. There are numerous country songs about moms and motherhood, such as The Chicks’ “Lullaby” or Faith Hill’s “You Can’t Lose Me,” […]
Vic Mensa has come out in support of Kehlani after the singer has seen two of their live shows canceled in recent weeks.
The Chicago rapper shared an open letter on Instagram to the Bay Area singer about her recently canceled SummerStage Central Park.
“Dear Kehlani,” his Wednesday (May 7) post began. “Few artists, and even fewer at your level of success, have chosen to center humanity and courage as boldly and uncompromisingly as you have, let alone at the peak of their popularity. Although newer to religion, I have a deep seated belief that God, or the universe, or however you categorize the all-powerful presence of the divine, is taking note — of every selfless action, of every sacrifice, of every time we jeopardize our security to do what’s right. I toe the line with you.”
He continued on by sharing that he sometimes has been reluctant to speak up because he didn’t want to lose opportunities.
“I lost a lot,” he wrote. “I’ll be honest. But, perhaps out of necessity, I have to choose to believe that when the smoke clears, I’ll look at my past with pride; I wasn’t perfect, but I forged myself out of fire. I took the hard road. I’ve been awe inspired by the way you’ve stood up. Especially at a time when I fell back and I asked myself, ‘Although, I need to feed my son, what kind of man do I want to inspire him to be?’”
Vic then brought up his Muslim faith and commended Kehlani for their sacrifice and bravery. “The highest form of sadaqah, or charity, is that which is given in health, and with much loved wealth,” he wrote. “When we give, not what we don’t need, but what we need most, the reverberation is supreme.”
He added, “I have often thought about your choices over the last 18 months. Wished I was more brave and more self sufficient. The truth is, your people love you. Not because of an opportunity provided to you by a booker here, or a city there, but because they cherish the depth of your soul. None of this can change that. As long as you have them you can never lose. The powers that be may be great, but I do believe we can all agree — there is a greater power.”
In response to Cornell University canceling their show, Kehlani reiterated that she isn’t antisemitic or antisemitic — she’s anti-genocide. When it came to the SummerStage cancellation, the musician responded with “lol” on Instagram Stories and added that they found out about the cancellation on IG.
The “Afterhours” artist has been open about her support for Palestine in the Israel-Hamas war. In 2023, they — along with numerous other musicians called for a ceasefire when signing the Artists Against Apartheid letter. Her 2024 music video for “Next 2 U” also featured dancers waving Palestinian flags.
Just as Kendrick Lamar leads the 2025 BET Award nominations, which were announced on Thursday (May 8), he is likely to also lead the Grammy nominations when they’re announced later this year.
Lamar has been the leading Grammy nominee twice before. He had 11 nominations leading up to the 2016 ceremony, and eight nods leading up to the 2019 ceremony. He has finished second (or in a tie for second) four other times — twice behind Jay-Z and twice behind Beyoncé. If Lamar amasses 11 nominations, he’ll match his personal best. If he garners 12, he’ll tie Michael Jackson (1984) and Babyface (1997) for the most nominations by anyone in any one year.
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The Grammys and BET Awards operate on different timetables. The eligibility year for this year’s BET Awards was March 16, 2024, through March 15, 2025. The eligibility year for the upcoming Grammys is Aug. 31, 2024, through Aug. 30, 2025. And, of course, the Grammys cover all genres, while the BET Awards focus on various forms of Black music. But the BET Awards offer some clues about which way Grammy voters may be leaning.
Three of the BET nominees for album of the year won album awards at the Grammys on Feb. 2. Beyoncé’s Cowboy Carter won both best country album and album of the year, Doechii’s Alligator Bites Never Heal won best rap album and Chris Brown’s 11:11 Deluxe won best R&B album. A fourth BET album of the year nominee, Future and Metro Boomin’s We Don’t Trust You, was nominated for a Grammy for best rap album.
The other four BET nominees will be eligible for the 2026 Grammys — Lamar’s GNX, The Weeknd’s Hurry Up Tomorrow, GloRilla’s Glorious and the Drake-Partynextdoor collab Some $exy $ongs 4U.
GNX seems virtually certain to be Grammy nominated for album of the year. It would be Lamar’s fifth album of the year nomination as a lead artist, which would allow him to break out of a tie with Ye (formerly Kanye West) for the most album of the year nods by a rapper.
Two of the BET nominees for best new artist — Shaboozey and Teddy Swims — were Grammy nominated in that category at this year’s show. Two other BET nominees in that category are presumed to be ineligible for Grammy nominations in that category. Leon Thomas won a Grammy two years ago for co-writing SZA’s “Snooze,” which was voted best R&B song. Ayra Starr was nominated as a performer two years ago for best African music performance for “Rush.”
The five other BET nominees — 41, BigXthaPlug, BossMan Dlow, Dee Billz and October London — are likely to be eligible to compete for the Grammy in that highly competitive category later this year.
Lamar’s “Not Like Us,” which won a Grammy for best music video on Feb. 2, is nominated for BET’s video of the year. Future, Metro Boomin, Travis Scott and Playboi Carti’s “Type Shit” was also entered in that Grammy category, though it wasn’t nominated.
Luther Vandross is the subject of three BET Awards nominations. Lamar and SZA’s “Luther,” now in its 11th week at No. 1 on the Billboard Hot 100, is up for both best collaboration and the viewers choice award. And the documentary Luther: Never Too Much is nominated for best movie.
Vandross didn’t receive a lifetime achievement award from the BET Awards. He died in 2005, just four years after the show originated. Vandross, who is widely considered the leading R&B male balladeer of his generation, has yet to receive a lifetime achievement award from the Recording Academy, either.
In other BET nominations news, Blue Ivy Carter, the 13-year-old daughter of Beyoncé and Jay-Z, is nominated for the Young Stars Award, an award she won last year. The BET allows multiple nominations and wins in that category. Blackish co-star Marsai Martin won it five times. Yara Shaidi and Keke Palmer each won it twice.
Wicked was passed over for a nod for best movie, but Cynthia Erivo is nominated for best actress for her performance in the film. And “Defying Gravity,” by Erivo featuring Ariana Grande, is up for the BET Her award. At the Grammys, Wicked can compete for best compilation soundtrack for visual media, while “Defying Gravity” can compete for best pop duo/group performance.
The 25th BET Awards will be held on Monday (June 9) at the Peacock Theater at L.A. Live in Los Angeles. Comedian Kevin Hart is set to host for the second time.
After weeks of speculation, J.I.D. has announced his new album, God Does Like Ugly, and confirmed it’s dropping later this year. On Thursday (May 8), J.I.D. shared God Does Like Ugly will be released on Aug. 8. The Dreamville rapper had previously dropped off his new single “WRK” on April 18. The new track was […]
Rick Ross and Drake have remained at odds since exchanging jabs on a series of diss tracks last year, but Rozay is open to ending the beef with his “Stay Schemin” collaborator.
The Biggest Boss joined Bootleg Kev for an interview Wednesday (May 7), during which they discussed the Kendrick Lamar and Drake battle, something Ross saw as “necessary” for the rap game.
The conversation then switched to spotlight the root of Rozay’s issues with Drake, which Bootleg Kev theorized came from Drake’s treatment of French Montana on a track.
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“I spoke on that on the record I released. Like I said, ‘F–k that s–t,’” Ross said. “Was it something really deep? Nah, f–k that, though. But if you p—y, you p—y. If it’s real, it’s real.”
Now, it’s unclear if Ross is being 100 percent serious, but the Florida rapper says he’d be open to squashing his feud with Drizzy.
“You never know,” he began. “If a n—a send me a bottle of Luc Belaire, especially the white one. That go for any of these young n—-s out here … Send me a white Belaire and I’ll take a picture with you.”
Drake sent shots at Ross on his April 2024 “Push Ups” diss track, and Rozay returned the favor with “Champagne Moments.” Ross accused Drizzy of getting a nose job and referred to the OVO rapper as the “white boy” while continuing to troll the 6 God on social media.
Rick Ross and Drake have teamed up for a handful of anthems over the years, including Rozay’s three top 10 hits on the Billboard Hot 100: “Lemon Pepper Freestyle,” “Money in the Grave” and DJ Khaled’s “I’m On One.”
Last year, Ross joined Yung Miami for an episode of Caresha Please, which saw him reflect on being at odds with Drake.
“He mentioned my name, and that’s a no-no,” he said. “Don’t do that, especially when it ain’t about no real s–t. But when you do that, OK then: this is how we gonna play. I can wake up every day and say ‘BBL Drizzy’ or some old s–t, while I’m smoking a joint, listening to the waterfalls and all that s–t, looking at the birds fly off. That s–t easy for me. I don’t know. It depend on how I feel. I ain’t losing no sleep over none of that.”
Watch Rick Ross talk to Bootleg Kev about his Drake feud below:
Read it and weep, conspiracy theorists: Lea Michele has proven once and for all that she is not illiterate.
After years of enduring absurd but persistent rumors that she never learned to read, the Glee actress finally demonstrated on camera that she is totally capable of interpreting the written English language. But first, while serving as a guest on Jake Shane’s Therapuss podcast episode posted Wednesday (May 7), Michele began by saying that her feelings about the wild speculation “depends on the day.”
“Sometimes I think it’s crazy that people care enough about me that they would make up something … that someone has so little to do in their life in their day that they would waste it on me, is hilarious to me,” she told Shane. “And then there are moments where I f–king get so frustrated by it, because I’m one of the only women in my whole family to get accepted to college. My mother and my mother’s whole family was extremely poor from the Bronx, not very well educated, and my parents moved me from the Bronx to New Jersey to get a good education and to thrive, and I did.”
“My parents and my family are so proud of that … for someone to minimize that, it’s so sad and so frustrating,” she continued, noting that she was on the debate team in school, for which she had to write speeches.
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After talking about the illiteracy rumors for a few minutes, an exasperated Michele abruptly decided to show, not tell, Shane’s viewers that she can read. “Give me the [notecards], I’m reading them!” she said, reaching for the podcaster’s notes.
“Jonathan [Groff] is not here to read me this s–t!” she added, referencing her good friend and former Spring Awakening costar.
The Broadway star then proceeded to successfully read the contents of the card aloud — at one point joking, “What does this word say?” — putting the debate over her literacy to bed as Shane howled with laughter. The hilarious moment ends years of people speculating online that, having started doing theater as a young child, Michele never learned to read and instead depended on people to feed her her lines. The actress has poked fun at the theory a few times over the years, and in a 2022 interview with The New York Times, she stated, “I went to Glee every single day. I knew my lines every single day. And then there’s a rumor online that I can’t read or write? It’s sad. It really is. I think often if I were a man, a lot of this wouldn’t be the case.”
Beyond dispelling the silliest rumor of her career, Michele also spoke at length about her days on Glee. “We were all so young, and everybody was growing up and falling in love, and for me, that was a huge part of the whole experience for me,” she said of her castmates. “When I watch it, I can tell you exactly, ‘Oh, that day I was sobbing in my dressing room.’ Or, ‘That day was the best day in the world.’”
Watch Michele’s full interview on Therapuss above.
In July 2020, on the brink of a major life change, English Teacher’s Lily Fontaine laid down a statement of purpose for the journey that lay ahead. “It is less than three weeks until I move back to Leeds to try and become a rock musician,” she wrote in an edition of indie magazine Come Play With Me. “I hope that if I succeed, a young Black girl might see me and think she can be [successful] too one day.”
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Having recently graduated from Leeds Conservatoire, where the Colne-raised songwriter met her future bandmates, these were the words of a young woman ready to transform the way she envisioned her life. Within four years, she and the rest of English Teacher would go on to experience a watershed moment at the iconic Abbey Road Studios, where the group scooped the prestigious Mercury Prize last September for its richly charismatic debut album This Could Be Texas.
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“We just thought we’d make a band,” said Fontaine during the band’s acceptance speech, lost for words at the magnitude of the accolade. The four-piece thanked the venues and charities that had supported during their early days in Leeds, struggling to find the words to express their gratitude. It was a deeply affecting moment, one that speaks to the tenacity, talent and passion that has fueled them to these heights.
“I can barely think about the [Mercury Prize] night without getting emotional,” says guitarist Lewis Whiting, speaking to Billboard UK via Zoom. “We could barely speak when we won. Maybe we should just keep up our own trend of never having a winners’ speech at the ready!”
Winning the Mercury Prize may have helped English Teacher sail to the forefront of the next wave of British guitar music, but its the uniform strength of their impassioned live show that has made them breakout stars. The band will kick off a summer of touring – including appearances at Glastonbury and Green Man – by topping the bill of Billboard U.K.’s Live experience on May 16. Headlining The Deep End venue, Brighton, as part of The Great Escape 2025, it will be joined by a series of rising artists, including Westside Cowboy, the latter for whom Whiting has recently worked with as a producer.
Following an appearance in the 2021 virtual edition of The Great Escape due to COVID restrictions, English Teacher performed at the weekender the following year in support of its Polyawkward EP. Around this time, the outfit’s quirky, lightly rumbustious songs began to resonate across British press and radio; accessible while containing a marked dose of strangeness, Fontaine’s songwriting – at once emotionally raw and witty – boasted a strong multi-generational appeal.
That EP invited a bigger audience into English Teacher’s world, preceding an inexorable rise. Now, having earned first BRIT Award nomination and bagged Fontaines D.C. support slots this year, Whiting discusses how it feels for the band to be playing to increasingly frenzied crowds while working on “tighter and more focused” new music in the background.
You have a storied history with The Great Escape. Looking back at those earlier gigs, how does it feel to think about the band that you were then?
There wasn’t a single part of me that thought we’d be anywhere near where we are now as a band. Those early gigs feel like a different lifetime, for sure – a lot has changed since those early appearances at The Great Escape. I remember the 2022 edition of the festival felt like quite a significant kind of turning point for us. At the time, it felt like things had started falling together for us, and we were like, “D–n, people are actually coming to our shows, something is happening here!”
What memories do you have of the festival over the years?
When we first went to The Great Escape, I think there was a collective kind of giddiness among the band. At that point, we’d never properly experienced a festival like that, so we were pretty over the moon with the response we got from the crowds there. We made some friends along the way, including [the band] Sprints, who we are still close with now. A lot of my memories from The Great Escape revolve around bumping into people around Brighton; it often feels like you’re walking past you know every two minutes!
Since you won the Mercury Prize, have you been surprised by anything that’s changed in your life?
Last year was absolutely huge for us, which is something I am still adjusting to. So many elements of our lives have changed: there’s been an extra layer of public attention on us, which we obviously have never experienced before. It all still feels quite alien, but 2024 was one of the best years of my life. Looking back, it feels like something new happened for us each week.
Given that it’s been a pretty mental 12 months, I think as a band, we’ve been making more of a conscious effort to check in and see where everyone’s at [mentally]. All our lives are now so different, more chaotic and busy, so it’s been really important to keep tabs on each others’ well-being – especially as we are on the road far more often.
How has touring extensively impacted your sources of inspiration for writing the next album?
This has definitely been a big thing for us. A lot of the first album was about the idea of home and all of the emotions that come entangled with that. There’s still a lot of the second album to still be written but we’ve all been through so many changes – and so many new experiences gained through travelling and touring – that I feel will definitely feed into the music too. We’re in a very different place to where we were at for the debut.
Has the meaning of some of your older material changed for you over time?
100%, which is actually a really nice feeling. It’s interesting — because I’m not the lyricist for the band, but as we’ve been on tour, I’ve found that my personal meanings of some of the songs have changed quite a bit. “Mastermind Specialism” is one that really stands out, as it’s a song about indecision; when we play it, I find that I start thinking about all the little decisions that have led us up to this point as a band. “Nearly Daffodils” is another one, as it’s about a relationship that could have been, and all the changes you can go through in life in quite quick succession.
Which song have you written that still gives you goosebumps?
“Albert Road” has really taken on a new significance, however – it’s become sadder! Sometimes, in a live setting, it gets me good. It makes me think of home and I end up feeling reflective about our journey so far. There’s definitely been a couple of pivotal moments over the last year, where we have all looked at each other on stage and started welling up.
How did it feel to walk your first major red carpet at The BRIT Awards this year?
The whole experience was so ridiculous and surreal that I found it really entertaining. It was an honour to be f-king nominated for a BRIT in the first place, that was crazy and something I never, ever expected. It was mad, too, seeing all these celebrities walking around. We got chatting to JADE, she’s so sound. We very briefly said hi to Louis Theroux, too; I felt really shy in his presence — as he is so cool, I almost felt like I had no business talking to him!
You recently worked with Westside Cowboy, who will be joining us at Billboard U.K.’s Live experience at The Great Escape. What attracted you to working with them?
I love everything about that band. Sonically, they’re very much on my street and I really like the confidence with which they approach their songwriter. I admire how they don’t overcomplicate things. They’re fans of Big Thief, but I also feel as though there are elements of Lou Reed, Pavement and The Velvet Underground in their music; they write really concise, strong songs, which is super refreshing.
I first met them when they were playing a gig at Soup Kitchen in Manchester. I became a fan immediately and just knew I had to find a way to work with them. They have some brilliant material in the pipeline which really shows off the range of what they can do together as a band.
How does production allow you to use your skills differently?
It’s still an ongoing journey but one that I have really enjoyed. I’ve always been in bands, and I’ve engineered plenty of demos, but I have never really dived into being a producer in my own right until now. It’s something I would love to do more of in the future, and it’s also nice to take a step outside [of being in English Teacher] and build the confidence to forge a different creative outlet for myself. It feels like opening a different part of your brain, it’s very rewarding.
With dozens of live dates in the pipeline, what mindset are you approaching the rest of the year with?
The main aim is to start road-testing some new songs at festivals. We’re deep in writing mode at the moment, it has been non-stop for us. The [creative] process has been great, if a little fragmented; we all don’t really live in the same city anymore, and we are still figuring out what we want some of this album to sound like. Overall, however, I am feeling really positive.
Personally, I think I’m going to be more happy with the second album than the first one. They’re still in the early stages, but we’ve had a couple of ideas that we perhaps intended to make work in the past, though they feel a little more refined. For me, that’s what I want to get out of the second album: for the first record, we threw a lot of things at the wall, but I like the idea of these songs being a little tighter and more focused. It’s like a puzzle: when you figure out the way the pieces should fit together, it’s so satisfying. That feeling is what keeps you going.
Ed Sheeran has long known that the line between pleasure and pain is a thin one, best traversed with care and a healthy regard for the surprises life throws at you. That sentiment is essentially the thesis for the singer’s new video for his nostalgic ballad “Old Phone.”
The Emil Nava-directed clip that dropped on Thursday morning (May 8) for the second single from Sheeran’s upcoming Play album (Sept. 12) opens with Sheeran in a wistful mood. Sitting on his hotel bed, Ed flips through old conversations on his dusty, recently recovered Blackberry, saying in voiceover, “I was finding text messages from people that aren’t even here anymore and reading conversations with people I wish I could have conversations with now.”
So, he explains, he did what anyone would do in that situation: he build a bespoke, pop-up pub in Ipswich, MA in March, which fans could gain entry into by sending a video or message from an old phone that had some meaning to them. “I found my old phone today/ In a box that I had hidden away/ Nostalgia trying to lead me astray/ Maybe I’ll unwrite some wrongs,” he sings over gentle acoustic guitar and footage of fans lining up for the once-in-a-lifetime chance to join Sheeran in the pub.
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We watch the construction of Old Phone Pub and the delighted look on the singer’s face as he sees it taking shape, as well as Sheeran reaching out to the many fans lined up outside and visiting some local neighborhood spots to spread the word. In addition to playing an impromptu Ipswich street jam, the video finds Sheeran sitting in solitude inside a bowling alley, as well as testimonials from those who submitted clips to be projected onto the walls of the bar.
One was from a mom who sent in a video of her two deceased daughters, 12 and 4 in the clip, saying, “they were just goofin’ off just being sisters,” over footage of the home movie being screened on the outside of the temporary venue. Other testimonials are from a woman who shared footage of her with her old boyfriend and a man who offered a movie of him dancing with his beloved late grandma at a wedding; at one point Sheeran can be seen chatting with the man outside the bar.
“It was really cool to watch that and to be able to share with him some of our stories. That was nice,” the mom says. The video winds down pivoting from Sheeran smiling at his old home movies, to fans sitting mesmerized as he performs the song in the pop-up with a back-up band of Irish musicians. “I wanted to make it feel like the song does… raw, stripped-back, emotional, nostalgic and special,” Sheeran says at the end.
Over the past month Sheeran has made headlines by playing surprise mini-concerts at other bars in Boston and Nashville, as well as hitting Nashville’s Santa’s Pub a few weeks ago with Noah Kahan for a short dual set and reconstructing the pop-up pub at Coachella.
Watch Sheeran’s “Old Phone” video below.