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In its second edition on Saturday (Sept. 7), the Arre Festival transformed the Curva 4 Autódromo Hermanos Rodríguez, typically a race track, into a sprawling venue where legendary regional Mexican music groups like Los Tigres del Norte and Los Cardenales de Nuevo León captivated both young audiences and solo artists such as Xavi and Carolina Ross, among others. The event gathered 54,300 attendees on its first day, according to the promoter Ocesa.
It was a multi-generational party that honored sounds such as the popular corridos tumbados, norteño music, mariachi, sierreño, banda sinaloense, Tex-Mex, duraguense, corridos alterados and other regional Mexican music variations. They were all delivered by acts such as Banda Cuisillos, El Fantasma, Guardianes del Amor, El Komander, Tito Double P, Adriel Favela, Joss Favela, EME Malafe and Los Esquivel. Curva 4 became a huge dance floor, where up to three generations gathered to enjoy the music that has been around for over a century.
Birthday celebrations, surprise shows, tributes to the greats and the passing of the baton to the younger generations of musicians were some of the most significant moments that took place during the first day of the festival.
On day two, taking place on Sunday (Sept. 8), Junior H, La Única Internacional Sonora Santanera, Gerardo Ortiz, Banda Los Recoditos, Los Invasores de Nuevo Leon, K.Paz de la Sierra and the popular electronic duo from the border city of Tijuana, Nortec: Bostich + Fussible, and more, are expected to perform.
Here are five of our favorite performances from the first day of Arre Festival.
The Roar of Los Tigres del Norte
Sabrina Carpenter’s Short n’ Sweet stays steady atop the Billboard 200 (dated Sept. 14) for a second week, after opening at No. 1 a week ago. In its second frame, the album earned 159,000 equivalent album units in the U.S. in the week ending Sept. 5 (down 56%), according to Luminate.
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That 159,000-unit sum is substantial for an album’s second week in recent times. In the last 12 months, only three other albums have logged a second week as big as Short n’ Sweet’s. Taylor Swift’s The Tortured Poets Department tallied 439,000 units in its second week (chart dated May 11; down from its 2.61 million-unit debut), Swift’s 1989 (Taylor’s Version) earned 245,000 in its second week (Nov. 18, 2023; down from 1.653 million), and Drake’s For All the Dogs earned 164,000 in its second week (Oct. 28, 2023; down from 402,000).
Notably, Republic Records is the distributing label of all four albums. Short n’ Sweet was released via Island/Republic, For All the Dogs was issued via OVO Sound/Republic, and Swift’s two albums are straight Republic titles.
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Also in the top 10 of the new Billboard 200, LE SSERAFIM captures it third top 10-charting effort with the No. 7 arrival of CRAZY, while Destroy Lonely achieves his first top 10 as Love Lasts Forever enters at No. 10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 14, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Sept. 10). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Short n’ Sweet’s 159,000 equivalent album units earned in its second week, SEA units comprise 126,000 (down 28%, equaling 168.45 million on-demand official streams of the album’s 12 songs; it holds at No. 1 on the Top Streaming Albums chart, as well), album sales comprise 32,000 (down 83%) and TEA units comprise 1,000 (down 38%).
Post Malone’s former leader F-1 Trillion (released via Mercury/Republic) rises one rung to No. 2 with 86,000 equivalent album units earned (down 23%), Chappell Roan’s The Rise and Fall of a Midwest Princess (KRA/Amusement/Island/Republic) is up a spot to No. 3 with 64,000 (down 10%), Morgan Wallen’s chart-topping One Thing at a Time (Big Loud/Mercury/Republic) steps 5-4 with 55,000 (down 5%) and Swift’s former No. 1 The Tortured Poets Department climbs 6-5 with 54,000 (down 6%).
Republic Records holds the entire top five titles — a feat that it’s achieved four times. Republic remains the only label to claim the entire top five since the Billboard 200 combined its previously separate mono and stereo album charts into one all-encompassing chart in August 1963. Republic previously controlled the top five on the Jan. 13 and 20, 2024, charts, and on the Dec. 9, 2023-dated list.
Billie Eilish’s Hit Me Hard and Soft rises one rung to No. 6 on the latest Billboard 200, earning 49,000 equivalent album units (down 7%).
LE SSERAFIM’s CRAZY debuts at No. 7 with 47,000 equivalent album units earned, landing the Korean pop ensemble its third top 10-charting effort — and largest week by units earned. Of its starting sum, album sales comprise 38,000 (it’s No. 1 on the Top Album Sales chart), SEA units comprise 9,000 (equaling 12.08 million on-demand official streams of the set’s five songs; with over half of that sum driven by the title track) and TEA units comprise a negligible sum. CRAZY’s first-week was bolstered by its availability across more than 20 CD variants, all containing collectible branded paper ephemera such as photocards, postcards, stickers, and posters.
Noah Kahan’s Stick Season rises 10-8 on the latest Billboard 200, with 40,000 equivalent album units earned (up 7%) in the week ending Sept. 5. The set’s gain is concurrent with the Aug. 30 arrival of Kahan’s new album, Live From Fenway Park.
Zach Bryan’s The Great American Bar Scene is a non-mover at No. 9 on the new Billboard 200 with 39,000 equivalent album units earned (down 6%).
Rapper Destroy Lonely lands his first top 10-charting set on the Billboard 200 as his second studio album, Love Lasts Forever, bows at No. 10 with 37,500 equivalent album units earned — his best week by units. Of its starting sum, album sales comprise 19,000, SEA units comprise 18,500 (equaling 25.19 million on-demand official streams of the album’s songs) and TEA units comprise a negligible sum. The album’s first week was bolstered by its availability in a signed CD edition and two digital download album variants — all exclusive to the artist’s webstore. The latter two were each sold for $5 and each included five additional bonus songs (five different songs per variant).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Bass guitarist Herbie Flowers, who played with David Bowie, Elton John, Lou Reed and other music legends in a decades-long career, has died at 86.
The musician’s family confirmed his death on Facebook Saturday (Sept. 7).
“While we knew and loved him as Uncle Herbie, his musical contributions have likely touched your lives as well,” the husband of Flowers’ niece wrote. “He played bass on many of the songs from the golden age of rock,” the post reads.
A cause of death was not provided.
Flowers was a founding member of the pop group Blue Mink, who later joined the rock band T Rex. He won acclaim for his work with many of the biggest names in U.K. music in the 1970s, giving Reed’s “Walk on the Wild Side,” from the 1972 Transformer album, its recognizable twinned bassline.
He also played bass for Bowie’s “Space Oddity,” Bryan Ferry’s “The Bride Stripped Bare,” and Paul McCartney’s “Give My Regards to Broad Street,” and featured in two of John’s early ’70s albums, among many others.
In a tribute, Bowie’s estate wrote on the social media platform X (formerly Twitter), “his work with Bowie and associates over the years is too long to list here.”
“Aside from his incredible musicianship over many decades, he was a beautiful soul and a very funny man. He will be sorely missed,” it said. “Our thoughts are with his family and friends.”
Tim Burgess, lead singer for The Charlatans singer, wrote X that Flowers “made the greats sound greater.”
Flowers also founded the instrumental rock band Sky in the late 1970s, releasing seven albums.
Kendrick Lamar is heading to the Super Bowl — and fans certainly have something to say about it.
On Sunday (Sept. 8), the superstar Compton rapper was announced as the headliner for the 2025 Apple Music Super Bowl LIX Halftime Show, set for Feb. 9, 2025 in New Orleans. This marks the second time K. Dot will grace the stage at the NFL’s main event, after he was a special guest alongside Dr. Dre’s West Coast hip-hop showcase in 2022.
“You know there’s only one opportunity to win a championship,” Lamar says in a promotional clip on Instagram for his performance at the big game. “No round two’s.”
Naturally, fans lit up social media shortly after the announcement, with many commenting on Lamar’s high-profile rap beef with Drake and others expressing disappointment over New Orleans native Lil Wayne not being chosen to represent his hometown at the Super Bowl. Others shared their excitement over Lamar possibly bringing his anthemic Drizzy diss “Not Like Us” to millions of viewers around the world.
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“The Compton kid has completely cracked the code,” one fan commented under Kendrick’s Super Bowl announcement on Instagram. Another user wrote on X (formerly Twitter), “HE IS ON TOP OF THE WORLD.” That sentiment was echoed in another X comment. “OMG!!!!!!!!! THIS IS KENDRICK LAMAR’S YEAR!!!!!!,” a fan wrote.
“I don’t usually watch the Super Bowl, but I’ll absolutely be watching for the Kendrick concert,” another added on X.
As expected, countless fans on social media also took the opportunity to bring Drake into the conversation, with dozens of onlookers referencing K. Dot’s back-and-forth diss tracks with the Toronto MC earlier this year. The beef culminated with Lamar’s “Not Like Us,” which became a monster hit, topping the Billboard Hot 100 chart for two nonconsecutive weeks in May.
“Love this! Can’t wait to hear not like us on the world stage. Drake finna cry in the corner,” someone commented on the NFL’s X account, while another added that the 6 God’s fans are “in shambles” following the news. “They just gave bro the opportunity to diss tf outta drake on super bowl,” a user wrote on Lamar’s Instagram page. “drake drops 100 gigs of throwaway bs. kendrick drops a SUPER BOWL ANNOUNCEMENT,” another wrote on X, referencing Drake’s recent drop of content.
Some also speculated the possibility of Kendrick squashing his beef with Drake by inviting him onstage during the halftime show. “Special guest, drake?” an X fan questioned. Another person on Lamar’s Instagram joked, “Scenes when he brings out drake and they squash the beef and make out with each other.”
Lil Wayne’s name became a trending topic on X following K. Dot’s Super Bowl Halftime Show announcement, as numerous Weezy fans found it disrespectful to overlook the veteran rapper, who hails from the Louisiana city.
“Not having Lil Wayne headline is a slap to the face,” a person commented under Lamar’s announcement on Instagram. “Lil Wayne def should’ve been picked to perform at the superbowl. He’s literally from New Orleans and a rap legend…,” another wrote on X. Another Instagram commenter suggested that inviting Wayne onstage as a special guest would be “next level.”
Other social media comments ranged from which other special guests Lamar might invite to join him on stage — including the possibility of Eminem and Beyonce — while others hope that K. Dot’s Super Bowl gig will also bring an announcement of a new album. Lamar’s last studio release, Mr. Morale & The Big Steppers, debuted at No. 1 on the Billboard 200 in May 2022.
The Super Bowl Halftime Show will be shown live on Fox from the Caesars Superdome in New Orleans on Feb. 9. It will also be the sixth year that the show will be programmed by Roc Nation, which is executive producing the show alongside Jesse Collins, produced by DPS and directed by Hamish Hamilton. Creative direction for Lamar’s performance will be provided by pgLang, the creative imprint co-founded by the rapper.
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The NFL season just kicked off and Kendrick Lamar is surely going to enjoy the season. On Sunday (September 8), the NFL announced that K. Dot will be headlining the 2025 Super Bowl’s halftime show.
And right on cue, social media began to clown the Compton rapper’s nemesis, Drake, because pettiness is indeed part of Hip-Hop. Argue with your auntie.
The NFL, Roc Nation and Apple Music made the announcement and Lamar’s own pgLang will be handling the creative direction of the show. “Kendrick Lamar is truly a once-in-a-generation artist and performer,” said Jay-Z, who has a hand in picking the halftime talent, in a statement. “His deep love for hip-hop and culture informs his artistic vision. He has an unparalleled ability to define and influence culture globally. Kendrick’s work transcends music, and his impact will be felt for years to come.”
“What the deal everybody? My name is Kendrick Lamar, and I’ll performing at Super Bowl 59,” says Kendrick in a video clip share on his social channel. “Will you be pulling up? I hope so. You know there’s only one opportunity to win a championship—no round two’s, let’s get it.”
Kendrick Lamar saying “no round two’s” was a clear shot at Drizzy (who’s probably none too happy Jay-Z help book the rapper) considering the 6 God recently said he was readying a round 2 in his “battle” with the Compton rapper. Good look with that, respectfully.
Also worth noting, the Grammys are scheduled for a week before, and Kendrick most certainly will be winning a trophy for his “Not Like Us” single. That man is nefarious.
But don’t take our word for it, peep the reactions in the gallery.
Super Bowl 59 goes down on February 9, 2025 in New Orleans.
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Dierks Bentley held court at Nashville’s Bridgestone Arena, calling the 20,000-seat venue “the biggest honky tonk on Lower Broadway.” He should know—he’s played many of Nashville’s tiny clubs early in his career, perhaps most notably the iconic bluegrass room The Station Inn, cultivating his mix of country, rock and bluegrass-tinged music, before breaking through with his 2003 debut single “What Was I Thinkin’.”
His comparison with Lower Broadway’s ever-growing slate of honky-tonks (including his own Whiskey Row, which opened in 2018) was apt, as the evening was filled with many of the hallmarks of any number of club-sized venues dotting downtown Nashville, including guest artists dropping by, ‘90s cover songs aplenty and even some karaoke moments.
Two decades into his career, Bentley has earned 18 Billboard Country Airplay No. 1s and 15 Grammy nominations. Veering along country music’s sonic sweep of sounds, encompassing rock, ‘90s and 2000s country and rock, and bluegrass, Bentley offered hits including “I Hold On,” “A Lot of Leavin’ Left to Do,” “5150,” “What Was I Thinkin’,” “Black,” and “Livin’.”
“My hope for the show is that you find a moment where you feel like you’re living,” Bentley told the crowd.
He’s also forged a concert style that blends hits, a genuine onstage ebullience that easily outpaces many of today’s newcomers, and intentional audience engagement (such as bringing one fan onstage for a beer-chugging challenge and offering another fan a karaoke moment). Bentley’s crack band, including Charlie Worsham, Ben Helson, Tim Sergent, Steve Misamore, and Cassady Feasby, provide a perfect foil for Bentley, not only musically, but they easily match his often goofball humor, such as their humorous, hockey-themed band intro video and when Bentley repeatedly jumped in front of bandmate Worsham during Worsham’s take on Garth Brooks’ “Callin’ Baton Rouge.”
The wide range of music in Bentley’s show–gobs of ’90s country covers, Bentley’s own two decades of 2000s hits and music from many of today’s buzziest newcomers–chronicled the evolution of country music’s soundscape.
Opening for Bentley was Bluegrass/Americana newcomer Bella White, who offered up songs from her album Among Other Things, including songs about fizzled relationships (“Break My Heart”) and dirtbag men (“Marilyn”), as well as a sterling version of Lucinda Williams’ “Concrete and Barbed Wire.,” which drew devoted applause from the concert’s early arrivals.
Meanwhile, fellow opener Chase Rice offered up a set filled with personal meaning for the singer-songwriter. The acoustic guitar he played was one his father had given him when Rice first started learning music. Noting that his father died two years after he was given the guitar, he honored his father’s memory by performing one of the first songs he played for his dad, John Denver’s “Take Me Home, Country Roads.” Rice was first known as a songwriter, contributing to the Florida Georgia Line’s “Cruise,” before he notched his own pop-country hits including “Ready Set Roll” and “Eyes on You.” He included all of those in his Bridgestone set, but best highlighting his talents were his newer songs, such as “Haw River,” that will be on his new album Goin’ Down Singin’ (out Sept. 20), showcasing his more roots-leaning, rawer sound and matured songwriting.
In his own set, Bentley welcomed The Red Clay Strays lead singer Brandon Coleman, as well as country singer-songwriter Zach Top.
Here, we look at 5 top moments:
Dierks Bentley’s Decade-Old Hit Still Resonates
Kendrick Lamar will headline the 2025 Apple Music Super Bowl LIX Halftime Show, set to take place Feb. 9, 2025 in New Orleans, Louisiana.
The set will be the second time the hip-hop superstar will grace the stage at the NFL’s main event, after he was a special guest alongside Dr. Dre’s West Coast hip-hop showcase in 2022. But this will be the first time he headlines the big show, and just the second time a rapper is the main event. Lamar nodded to that in a statement announcing the news.
“Rap music is still the most impactful genre to date,” he said. “And I’ll be there to remind the world why. They got the right one.”
Creative direction for Lamar’s performance will be provided by pgLang, the creative imprint co-founded by the rapper.
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This has been a big year for Lamar, despite him not having released an album since May 2022’s Mr. Morale and the Big Steppers. In the spring, he contributed a guest verse on Future and Metro Boomin’s Hot 100 No. 1 single “Like That,” which served as the springboard for a high-profile rap beef with Drake. That kicked off an extended back and forth, in which the two hip-hop titans traded diss tracks in what was the most engrossing back and forth in the genre in years, and ultimately culminated in Lamar’s anthemic “Not Like Us,” which not only served to end the beef but also became a monster hit, topping the Hot 100 for two nonconsecutive weeks and racking up 765 million on-demand U.S. streams since its May 4 release.
The Super Bowl Halftime Show will be shown live on Fox from the Caesars Superdome in New Orleans that Sunday. It will also be the sixth year that the show will be programmed by Roc Nation, which is executive producing the show alongside Jesse Collins, produced by DPS and directed by Hamish Hamilton. Roc Nation partnered with the NFL in 2019 in a deal that saw the JAY-Z-led company take over entertainment programming and social justice initiatives on behalf of the league. That ultimately included Roc’s oversight of the Halftime Show, one of the highest-profile stages in world entertainment, beginning with the 2020 edition.
“Kendrick Lamar is truly a once-in-a-generation artist and performer,” JAY-Z said in a statement. “His deep love for hip-hop and culture informs his artistic vision. He has an unparalleled ability to define and influence culture globally. Kendrick’s work transcends music, and his impact will be felt for years to come.”
Kendrick Lamar is set to be the 2025 Super Bowl Halftime Show headliner.
Courtesy of pgLang
This is also the third year that Apple Music has served as the title sponsor for the event, having first taken over in 2023, when Rihanna headlined the show in Phoenix.
“The Apple Music Super Bowl Halftime Show is a celebration of the music we love and the incredible artists who make it, all on the world’s biggest stage,” said Oliver Schusser, vp of Apple Music, Apple TV+, Sports and Beats, in a statement. “Apple is thrilled to bring this show, starring the absolutely incomparable Kendrick Lamar, to fans worldwide with Apple Music’s industry leading Spatial Audio quality along with tons of exclusive videos, interviews, playlists and so much more across Apple Music.”
Usher was the headliner this past year, in a career-spanning performance that also featured special guests Alicia Keys, H.E.R., will.i.am and Ludacris. His set included performances of megahits “My Boo,” “OMG” and “Yeah,” among many others. Prior to that, headliners included Rihanna (2023), Dr. Dre and friends (2022), The Weeknd (2021), and Shakira and Jennifer Lopez (2020).
“Few artists have impacted music and culture as profoundly as Kendrick Lamar,” said Seth Dudowsky, head of music for the NFL, in a statement. “Time and time again, Kendrick has proven his unique ability to craft moments that resonate, redefine, and ultimately shake the very foundation of hip-hop. We’re excited to collaborate with Kendrick, Roc Nation, and Apple Music to deliver another unforgettable Halftime Show.”
The first full weekend of the new NFL season kicks off today (Sept. 8), with the season running through January.
R&B set the tone for 2024 as Usher took center stage at the Super Bowl — kicking the genre’s renaissance into full swing. So this year we decided R&B needed its own special celebration. On Sunday night (Sept. 8) in New York, we’re honoring five artists topping the R&B charts, pushing the genre forward and moving the culture.
Entertainer of the Year: Usher
“Good Good” became his sweet 16th No. 1 on the R&B/Hip-Hop Airplay chart, extending his record for the most among all singers.
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Three decades into his career, Usher is still achieving new levels of success — and breaking records. His single “Good Good,” with Summer Walker and 21 Savage, topped the R&B/Hip-Hop Airplay chart last November, giving the superstar his 16th No. 1. In addition to expanding his span of radio No. 1s to 26 years, dating to “You Make Me Wanna” in 1997, it further cemented his reign as the singer with the most leaders in the chart’s 32-year history.
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As Usher reinforced his radio might, he also enjoyed a boost from his My Way residency in Las Vegas. Named after his 1997 breakthrough album, the show became one of the most buzzed-about residencies in town, sparking viral social media moments and celebrity attendees, all to the tune of $95.9 million (through its wrap in December 2023), according to figures reported to Billboard Boxscore.
The crown jewel of Usher’s past year, of course, was headlining the Super Bowl LVIII halftime show in February to a record-shattering 129.3 million viewers, according to Nielsen. The career-spanning energetic set closed with signature hit “Yeah!” Thanks to the record viewership and enduring love for the classic 2004 smash, “Yeah!” rocketed in streams and returned to the Billboard Hot 100 at No. 20 the following week.
Hitmaker: Victoria Monét
Her cross-format smash “On My Mama” was one of only two songs to top the Adult R&B Airplay, Mainstream R&B/Hip-Hop Airplay and R&B/Hip-Hop Airplay charts in the last year.
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While Victoria Monét had been no stranger to hits — putting her pen to work in co-writing chart-toppers such as Ariana Grande’s “Thank U Next” and “7 Rings” — her own performing career skyrocketed in the last year, led by the mighty success of her single “On My Mama.”
The track, which samples Chalie Boy’s 2009 Southern rap staple “I Look Good,” started as a fan-favorite on social media platforms, but found its best results on airwaves. “On My Mama” hit No. 1 on three radio charts — Adult R&B Airplay, Mainstream R&B/Hip-Hop Airplay and R&B/Hip-Hop Airplay — and became only one of two songs in the past year to lead all three lists. Capturing the lattermost crown was perhaps the most impressive feat, as it interrupted a months-long domination for SZA’s “Snooze.” The “On My Mama” appeal expanded to other formats, with strong results on Rhythmic Airplay (No. 2) and Pop Airplay (No. 16).
Industry peers noticed the breakthrough and showered Monét with seven Grammy Award nominations, with a record of the year nod for “On My Mama” in the mix. At the ceremony in February, she converted three nods into wins, including a triumph for best new artist.
Global Force: Tyla
Her global smash “Water” sank the competition on the Billboard U.S. Afrobeats Songs chart, with 44 weeks at No. 1.
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While Tyla first appeared on the Billboard charts in February 2023 with “Been Thinking,” it was her next single, the bouncy, suggestive “Water,” that carried her to chart-topping success and helped expand the richness of African musical tastes to stateside audiences.
Bubbling onto its first Billboard lists in September 2023, “Water” got hotter week after week, shooting to a No. 7 peak on the Hot 100 in early January. Reflecting its blend of genres, the song appealed to various audiences — topping the Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay charts and reaching No. 6 on Pop Airplay. The track also pushed to No. 17 on the Streaming Songs chart and saved its greatest feat for the Billboard U.S. Afrobeats Songs chart, where it dominated for an astounding 44 weeks. The success story wasn’t lost on Tyla’s music industry peers, who awarded her the inaugural Grammy for best African music performance in February.
The next month, the 22-year-old released her self-titled debut album, which opened at No. 2 on the Top R&B Albums chart. The album’s “Truth or Dare,” “Art” and the Tems-assisted “No. 1” generated attention, while “Jump,” with Gunna and Skillibeng, is now in the top 15 on Mainstream R&B/Hip-Hop Airplay.
Torchbearer: Lucky Daye
The Grammy winner earned his first No. 1 in a lead role on any Billboard chart when “That’s You” topped Adult R&B Airplay.
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July 13 was Lucky Daye’s… well, lucky day, when he checked off a career milestone — his first No. 1 as a lead artist on any Billboard chart as “That’s You” crowned Adult R&B Airplay. The single, which Bruno Mars co-wrote and co-produced, continued Grammy Award winner Daye’s string of radio successes, including the dual-format hit “Over” and collaborations with Alicia Keys and Khalid (“Come for Me [Unlocked]”) and Earth, Wind & Fire (“You Want My Love”).
“That’s You” set the stage for the singer-songwriter’s new album, Algorithm. In addition to its hit lead single, the set’s “HERicane” also leapt onto the Hot R&B Songs chart in June. The next month, Lucky Daye embarked on the Algorithm tour, which wrapped Aug. 28. With fellow R&B rising star Fana Hues as the opening act, the 33-date nationwide trek visited landmark venues, including Nashville’s Ryman Auditorium and New York’s Radio City Music Hall.
Icon: Luther Vandross
The late legend’s first six albums all reached No. 1 on Top R&B/Hip-Hop Albums, out of eight total career leaders.
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A master of his craft, Vandross captivated audiences with a velvet, honeyed tone and technical precision that made him one of the most formidable performers to ever step up to a microphone. The connection was instant — debut single “Never Too Much” became an R&B No. 1 in 1981, as did its parent album of the same name. The top spot became a familiar destination, with Vandross’ next five albums also hitting No. 1. In all, the legend counted eight No. 1s on Top R&B/Hip-Hop Albums, through 2003’s Grammy-winning Dance With My Father, and seven on Hot R&B/Hip-Hop Songs, including classics such as “Here and Now” and “Power of Love/Love Power.”
Let’s not forget his other contributions to the canon. The jubilant closing number to The Wiz, “Everybody Rejoice/A Brand New Day”? Vandross wrote it. Aretha Franklin’s Jump to It, a seven-week No. 1 R&B album for the Queen of Soul in 1982? He co-produced it. The full scope of his iconic career will reach audiences with the documentary Luther: Never Too Much, set to air on CNN, OWN and Max in 2025.
A version of this story appears in the Aug. 31, 2024, issue of Billboard.
Andy Rivera’s “Moncler” has topped this week’s new music Latin poll. In a poll published on Friday (Sept. 6) — in support of the weekly New Music Latin roundup and playlist, curated by Billboard Latin and Billboard Español editors — music fans voted for the Colombian urban star’s newest tune as their favorite music release […]
Billboard Canada Women in Music was a star-studded celebration.
Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.
The packed, pink-tinted room at DPRTMNT in downtown Toronto was full of some of the Canadian industry’s biggest names, from Apple Music host and Billboard Canada Power Player George Stroumboulopoulos, to pop-punk star Fefe Dobson and R&B singer Keshia Chanté, to FACTOR Canada CEO Meg Symsyk and many many more. The evening brought Canadian women in music together to connect with each other, celebrate their accomplishments, and build community together.
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Hosted by rapper and Polaris Music Prize winner Haviah Mighty, the evening saw moving performances and impactful speeches, and a moving speech from Alanis as she received the inaugural Billboard Canada Icon Award. Here are the best moments from Billboard Canada Women in Music.
Alanis Morissette Talks About What it Means to Be a Canadian Icon
The Billboard Canada Women in Music ceremony was graced by a true legend: Alanis Morissette received the Icon Award, honouring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.
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She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence. Stroumboulopoulos suggested reframing the notion of an icon: instead of measuring it by numbers, he said, we can understand an icon as someone who changed the game entirely for everyone who came after her — whether the next generation knows it or not. He remembered hosting a late night radio show in the ’90s listened to primarily by 18-24 year old boys, who would call in to wax poetic about their favourite parts of the video for Morissette’s hit “Ironic.”
Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.
She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ’90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.
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Charlotte Cardin Makes History as the First Canadian Billboard Woman of the Year
Charlotte Cardin had a year full of highlights, from crossing over into the U.S. charts to selling out arenas worldwide, but she has another big milestone to add to her resume: the first Billboard Woman of the Year in Canada.
Accepting the award from Billboard Canada national editor Richard Trapunski, the Montreal singer-songwriter acknowledged the importance of the occasion while sharing the credit. “This is such an incredible honor, but this award isn’t just mine,” she said. It was a team effort, reflecting many talented people around her — especially women.
She thanked the women in her life, including her manager Laurie Chouinard. Accepting her own award for Manager of the Year earlier in the night, Chouinard pointed out that Cult Nation, the label and management company she works with, is made up of mostly women. Cardin said the women in her life also includes her fans. She even dropped some stats. “75% of my audience is female,” she said. “I’m grateful for you all.”
Later, she got to thank a specific influence, introducing Icon of the Year Alanis Morissette. The normally cool and collected Cardin got a chance to gush, speaking for the awestruck women in the room. She said she doesn’t know Alanis, but feels like she does from her music, and called her a champion of self-esteem and acceptance for entire generations.
Cardin had one of the final performances of the night, too, hushing the room with a dramatic solo piano version of the closer from her breakout 2023 album 99 Nights, “Next To You.” She ended by blowing the audience a kiss, putting a stamp on a big night deserving of a historic achievement.
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Jully Black’s Powerful ‘Redemption Song’ Commands The Room
One of the first performances of the night was none other than Canada’s queen of R&B, Jully Black, who was also on hand to receive the Billboard Canada Impact Award. Black is a platinum-selling singer, but she opted to perform a moving cover of Bob Marley’s “Redemption Song” instead of one of her best-known hits like her top ten hit “Seven Day Fool.”
Accompanied by piano and guitar, Black had the chatty room in the palm of her hand, opening with a moment of silence that got everyone’s attention. “You’d think it would be obvious for me to come and do a ‘Seven Day Fool’,” she told the audience. “But where I’m at in my life, it’s about redemption.” She led a sing-a-long of “This Little Light” before going into the classic Marley song about bondage and freedom, changing some of the words. “How long will they kill our women?” Black sang, a resonant question during a truly impactful performance.
After her show-stopping performance, Jully Black returned to the stage to receive the Impact Award, honouring the massive mark she’s left on Canada’s music industry and beyond. A renaissance woman, Black has a multi-faceted career in music, acting, radio, fitness and much more, and she’s shaped national conversations about racism and colonialism.
Accepting the award, she reflected on a time before she was at the forefront of Canadian media, when her main focus was bringing her childhood cabbage patch doll to her grade two show and tell. The cabbage patch doll, she laughed, melted in the sun — so her teacher, Miss Simon, invited Black to sing, instead.
“So I’m saying her name,” Black shared, “Miss Simon — thank you.” She went on to name a long list of women integral to her journey, including Warner Chappell Music Canada’s Vivian Barclay, FACTOR’s Meg Symsyk, and former MuchMusic host Denise Donlon. It was a reminder that for every woman on stage at the event, there’s many more who helped her get there.
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Jessie Reyez Celebrates Her Trailblazer Award — And Her Mom’s Birthday
Singer Jessie Reyez took home the inaugural Trailblazer Award, recognizing her commitment to artistry and the ways she’s used her platform to promote social causes throughout her career, from speaking out about sexist gatekeeping in the industry to shouting out Black Lives Matter from the CN Tower.
She thanked her parents as she received the award, highlighting her mom in particular, who was celebrating her birthday from the Billboard Canada Women in Music VIP Booth. Reyez reflected on how growing up, her mom always encouraged her to live her truth, whether or not it conformed to gender norms. “I was given an open canvas, and despite people judging her mothering style, she still let me be free,” she said.
She also offered a little advice for people who might be afraid about standing up for a cause: “I hope you f—ing do it anyway.”
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Star Siblings Haviah and Omega Mighty Double the Fun
It’s no easy task to follow Alanis Morissette, but sisters Haviah and Omega Mighty rose to the occasion, closing out the evening after Morissette received her Icon Award. Haviah also served as the evening’s co-host alongside Billboard Canada CEO Amanda Dorenberg and CCO Elizabeth Crisante, bringing the energy throughout the night, but she had more than enough leftover for a medley with her sister Omega.
Haviah kicked off the set with her 2023 single “Trendsetter” before bringing up Omega for a rendition of their collab track “Zoom Zoom.” The two fed easily off of each other’s vibes, bouncing around the stage and getting the crowd dancing. “We’re gonna finish it up by maximizing the fun,” Haviah told the room, before launching into her brand new single “Double The Fun,” with a booming beat. The sisters are more than capable of getting serious when the moment calls for it — in our Spotlight Sessions, they share wisdom about their journeys in the industry — but they also know how to get the party started, and how to bring an event home.
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Sophie Grégoire Trudeau Quotes the Queens
Author, mental health advocate and political figure Sophie Grégoire Trudeau helped kick off the event by joking that her two kids don’t normally think of her as cool — but at an event like this, she definitely felt cool.
Grégoire Trudeau paid tribute to the event’s honourees by quoting some of their most inspiring lyrics, stitching together quotes from Alanis, Jully Black, Haviah Mighty and more into a free-form spoken word poem. This excerpt alone juxtaposes Tia Wood, LU KALA and Charlotte Cardin:
“We shed with the sea
Sun shining on our peace
What doesn’t kill you makes you hotter now
A little wilder when the lights go out
See the sun leading us
Hear the drum beating us
We will not live a meaningless life”
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LU KALA’s Rising Star Shines Bright
Pop singer LU KALA has been making waves with her infectious charisma and empowering anthems like “Pretty Girl Era,” making her this year’s Billboard Canada Rising Star. To celebrate the award she performed a medley, showing off the chops that have helped bring her to international attention.
Earlier this summer, LU performed a more stripped-back set for the Billboard Canada and iHeartRadio Spotlight Session, but her Women in Music set was a full-on, high-energy affair. LU strutted on stage accompanied by keys, guitar and her very own back-up dancers.She sang a brief rendition of her upcoming single “Criminal” before segueing into the breakup bop “Hotter Now,” with her dancers fanning themselves and stomping the stage to emphasize key lyrics. It was an affirmation that this diva is ready for her spotlight.
Intimate Performances From Up-and-Comers and Longtime Favorites
The celebration also highlighted some of Canada’s most exciting up-and-coming artists, including Alberta country singer Hailey Benedict as well as soulful Plains Cree and Salish singer Tia Wood.
Benedict took the stage in a shining silver outfit with just her acoustic guitar, performing an unreleased song, “Things My Mama Says,” dedicated to her mom. Benedict, who won the SiriusXM 2023 Top of the Country competition and has built an impressive online following, also revealed the exciting announcement that she’s signed a record deal with Nashville’s Big Loud and their Canadian imprint, Local Hay.
Plains Cree and Coast Salish singer Tia Wood performed twice at the event, opening the evening and returning later with a delicate, dynamic rendition of her song “Dirt Roads.” Wood was vulnerable with the crowd as she spoke about moving to L.A. and feeling lonely, losing access to her culture and community. Wood has made a name for herself as an artist to watch, and she brought her precise vocal trills and ability for raw connection to the Billboard Canada Women in Music stage.
There was room for longtime favourites with new energy, too. Anjulie, who first charted in 2009, has made a new name for herself as an industry player in L.A., collaborating with everyone from Zedd to Nicki Minaj. At the celebratory event, she gave a short and sweet performance with two interpretative dancers behind her.
Moments of Community Building Across the Music Industry
Billboard Canada Women in Music was about more than just artists — it was about recognizing talent across sectors of the industry and building community across the whole music landscape. The list of talented women in the room was incredibly diverse — not just in terms of genre, but in ways they shape the industry.
Sonali Singh won Global Manager of the Year, flying in from India to accept. She’s one of the first female managers in India, she said, and acknowledged she couldn’t have done it without the “global artist of the decade” Diljit Dosanjh. Together, the two made history this year, putting on the biggest Punjabi concert outside of India in Vancouver and repeating it with a stadium show in Toronto.
Meg Symsyk, CEO of FACTOR, and Amy Eligh, Director of Publishing & Licensing of Arts & Crafts, both took the stage and recognized the importance of royalties and rights for songwriters. Lola Plaku, SVP, IGA Urban Marketing & Strategy at Interscope, Geffen and A&M and founder of Girl Connected, talked about the importance of mentorship. The powerful women in the room extended beyond music — Joanna Griffiths, CEO of underwear company Knix Wear, introduced Jully Black while remembering when she worked as Black’s publicist, helping Black to make her mark in the industry.
That just scratched the surface of the powerful and influential women at the event, who connected and celebrated each other throughout the night.
This story originally appeared in Billboard Canada.