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In 2018, Kelsea Ballerini headlined a show at Nashville’s approximately 2,300-seat, revered music venue the Ryman Auditorium for the first time — and soon after, made a promise to herself that she would not headline in Nashville again until she could sell out the approximately 20,000-seat Bridgestone Arena, located just blocks away.
The country singer-songwriter triumphantly reached that goal on Friday night (Jan. 31), when she headlined Nashville’s Bridgestone Arena to a sold-out crowd of admiring fans, as part of her Kelsea Ballerini Live on Tour 2025 trek.
“I cannot believe we are at a sold-out night at Bridgestone Arena,” Ballerini told fans early in her headlining set. “One thing about me, I’m not gonna play it cool at all. I’m going to freak out hopefully alongside you all evening. I’ve been in this room a million times. As a fan, this is the room that I’ve seen my favorite artists. I’ve been in here for the CMAs and the CMTs and so many things and this room means so much to me.”
Not only have the past seven years seen Ballerini cement her headliner status as an artist, but the five-time Grammy nominated artist further established herself as a multi-media presence, hosting awards shows, snagging a brand deal with CoverGirl — and further establishing herself with perhaps her biggest television look to date: a role as a coach on the television series The Voice, which launches Monday. Ballerini brought a bit of that television extravaganza to the Bridgestone, as fans lined up across the Bridgestone’s concord for a chance to sit in the famed red coach’s chair from The Voice.
But during her performance, it was Ballerini’s heart-connecting songs and strong rapport with her fanbase that were at the heart of her vivid, high-production arena spectacle. She proved again that she’s as adept at crafting grand-scale anthems as veering toward bone-cuttingly vulnerable ballads. Women have continued to rule pop music over the past few years, with artists ranging from Taylor Swift, Olivia Rodrigo, Charli XCX, Billie Eilish and Sabrina Carpenter each offering up their own unique brands of songwriting and storytelling to narrate their own perspectives on life and love and everything in between. Ballerini serves up that same ethos in the country music sphere, to much fan acclaim.
The all-women lineup commanding Friday night’s sold-out Bridgestone Arena show also featured openers MaRynn Taylor and Sasha Alex Sloan opening for Ballerini.
Ballerini launched her headlining set with the self-aware ballad “Patterns,” the title track from her October-released album, which debuted atop Billboard’s country albums chart, and at No. 4 on the all-genre Billboard 200. Seated atop what looked to be a pile of luggage evoking the image from her album cover, Ballerini asked the crowd, “Are you ready to begin unpacking?”
From there, she led the largely female audience through an emotional and musical whirlwind, chronicling her journey from a wide-eyed newcomer on songs such as “Love Me Like You Mean It” to world-wisened artist who has navigated heartbreak and hard-earned lessons to emerge with a stronger sense of self and a new-found freedom. She also proved her prowess as an engaging and effervescent entertainer as she crafted a show tailor-made for both a fun night out, interspersed with heart-on-her-sleeve, soul-pouring moments.
“We have songs for the girlies, your best friends, your ride or die and love songs,” she said, sailing through songs including the girls’ night out anthems “Hole in the Bottle,” and “If I Go Down (You’re Goin’ Down Too).”
The show had all the accoutrements of a full-throttle country-pop show: massive video screens, a catwalk stage through the middle of the audience, lights and pyro, as Ballerini traversed through an array of spangled outfits throughout the evening, from red bodysuits to sparkly dresses and elegant gowns.
A set equally filled with rancor and romance, with wholehearted love songs (“Heartfirst,” “Love Me Like You Mean It”) and serrated heartbreak songs. But towering above either of these were a bedrock of song threaded with empowerment (“I Miss Me More”), personal growth and friendship (“I Would, Would You”). Her brand of pop-minded country, with songs that trace the diaristic details of Ballerini’s zeniths and lows over the past few years. Her choice to leave those details bitingly intact on projects such as her pivotal Rolling Up The Welcome Mat and its successor Patterns have cemented Ballerini who has evolved as an artist and writer unafraid to reach into the depths, even on songs she dresses up in the shiniest of melodies and sparkliest of stage productions.
And for Ballerini, not always “playing it cool” has been a key element in how she build her strong rapport with her fans — her willingness to share the messy, confused, despairing, and questioning moments alongside those of supreme confidence. Even small moments when the show didn’t go perfectly as planned — a minor outfit mishap that led Ballerini to sit down onstage and fix her shoe, and elsewhere a missed cue — came off as simply the kind of all-too-human moments that have made Ballerini the relatable artist she is.
Ballerini’s exuberant voice, paired with a willingness to tear down emotional barriers between artist, the songs and the fans, have earned Ballerini an ardent fanbase. Reflecting on her decade-long journey from her 2014 breakthrough songs such as “Love Me Like You Mean It,” Ballerini told the crowd, “I made my first four records so honestly, and I really did my best to write songs about my life. When I was writing ‘Dibs’ and ‘Love Me Like You Mean It’ and ‘Peter Pan,’ that was truly, that was the identity of a 19-year-old girl, for sure. But there was part of me that rounded the edges on these songs, because my true want as an artist… I wanted to make music for literally everyone — mainly the girls and the gays,” eliciting rapturous cheers from the audience.
She added, “My way of doing that was I left out the sharpness because I wanted it to be absorbable. And then I made Rolling Up The Welcome Mat and I didn’t do that at all. It was the first record that I made it for me and it changed my life. When I was trying to make Patterns, all I wanted to do was make sure that I didn’t go back to being scared of having edges. I didn’t want to be scared of saying hard truths. I wanted to keep down the path of that.”
Prior to performing her 2016 song “Peter Pan,” she addressed the young girls in the room with the steady assurance of a wiser, older sister, “I want you to know that you are worth of steady, good love.”
The AEG Presents-promoted tour will wrap April 9 in North Carolina.
Below, we look at five top moments from Ballerini’s Bridgestone Arena show.
A Friendship-Celebrating Singalong
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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Fonseca Surprises Newlywed Couple in Colombia
Colombian singer-songwriter Fonseca serenaded a newlywed couple in Colombia with this song “Qué Suerte Tenerte.” The surprise was captured on video, where he explains how and where he met the bride.
“I met Isabela about 10 days ago on a flight to Bogotá,” Fonseca explains in the clip. “She came up to me, told me that my music meant a lot to her and said ‘I’m getting married in eight days and your song ‘Qué Suerte Tenerte’ is going to be my official wedding song, the one I’m going to dance to.’ I know it’s going to be an unforgettable and very special moment because since we wrote this song with Elena Rose we always dreamed of a situation like this, not only for them, but for us it’s going to be unforgettable and very special. So, here we go.”
Watch the special moment below:
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Peso Pluma Performs at FireAid Concert
Mexican star Peso Pluma was among the many artists who performed at the FireAid benefit concert in Los Angeles on Thursday (Jan. 30). The música Mexicana hitmaker performed “La Bebe,” his reggaetón hit with Yng Lvcas. He took the stage at the newly opened Inuit Dome wearing an all-white ensemble and an L.A. blue baseball cap.
Jenni Rivera Love Foundation Gives Back
The Jenni Rivera Love Foundation hosted a charity event last week in Santa Ana, Calif., to help raise funds to support families affected by the wildfires in Los Angeles. Jenni Rivera’s children, Jacqie Rivera, Johnny López and Jenicka López, attended the event in the spirit of solidarity.
“Immediate help is essential during times like these,” Jacqie said in a statement. “We’re here to carry on our mother’s work, as she was deeply committed to her community. This event is a way to honor her legacy and give back to the people she cared about so much.”
Pitbull Gives Shout Out to SLAM! Students
During his ‘Vegas After Dark’ concert at Fontainebleau Las Vegas on Jan. 25, Pitbull gave a special shout out to the students of Sports Leadership and Management of Nevada (SLAM! Nevada), a charter school founded by Pitbull and supported by the SLAM! Foundation. The hitmaker highlighted SLAM! Nevada’s mission to empower future leaders and his personal connection to the school.
“We’re up to 12 schools around the United States of America, there’s one right here in Las Vegas and I want to tell them congratulations on doing such an amazing job and being one of the top schools in the state of Nevada,” he expressed while on stage.
On Friday (Jan. 31), ASH DA HERO released New Chapter, the first album to feature the band’s new lineup. The rap-rock quartet, made up of vocalist ASH, bassist Sato, drummer WANI, and DJ Dhalsim, celebrated its third anniversary in September and was reborn with a new lineup. On November 29, it put on its first solo overseas show, ASH DA HERO LIVE 2024 in Taipei, and it has steadily been bringing its sound to a growing circle of listeners.
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Billboard Japan spoke to the band about their mindset as they set out with their new lineup, the creation of their new album and what they focused on when writing new songs, and their upcoming February 1 show at Zepp Shinjuku (TOKYO), titled ASH DA HERO LIVE 2025 “New Chapter,” which will be their first solo show in Japan with their new lineup.
To start off with, could each of you introduce yourselves?
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ASH: I’m ASH, and I’m the vocalist. My specialties are rapping and singing. My roots lie in punk, hip-hop, and reggae.
Sato: My name’s Sato, and I play the bass. My specialty is brewing coffee. We don’t have a guitarist, so I also play bass in the guitar’s pitch range.
WANI: I’m WANI. My specialty is playing the drums. My roots are in punk, and I’m especially skilled at drumming with a rap-rock feel. I also sing, and I’m working on getting in shape, so I’m really into weight training right now.
Dhalsim: I’m the DJ, Dhalsim. My specialty is high-speed scratching. I also program music on computer. I’m responsible for the overall sound design of our songs. We don’t have a guitarist, but we’re taking advantage of that to do all the things that we couldn’t have done if we had a guitarist. We’re completely shifting over to that composition style, so right now we’re in the process of rebuilding our sound.
What advantages have you found in becoming a quartet?
ASH: I think there are more and more bands without a guitarist, especially among younger musicians, but a rap-rock band with a DJ but without a guitarist is still a rarity. I think that’s a major strong point for our band from a global market perspective.
So how does it feel actually having started the next chapter of your band’s history without a guitarist?
Sato: We were originally a five-person band, and now there are four of us, so we each do our own part to make up for the change. That means that we’re each playing more. Looking at it from another perspective, it also means we each have more possibilities to let our own individuality shine. We’re overhauling everything—our makeup, our costumes, our playing styles, and our instruments—based on our own core essence and our roots. Through that, we’re redefining ourselves and becoming a new band, which is an incredibly fun process. We’re creating something new that doesn’t fit into the “rap-rock = guitar” pattern, so all of us can take on lots of new challenges, which is really gratifying.
WANI: At first, I was worried about what would happen. I was sure that we’d lose some fans because the guitar is the core instrument in a band. But the four-person arrangement felt a lot better than I’d expected, and I realized that the fans had their hopes up for this new incarnation of ASH DA HERO, which was tremendously encouraging. We want to live up to everyone’s expectations with the music we create and with our live performances, of course, but Sato and I are also thinking about following up with what ASH and Dhalsim are doing.
ASH: When we were a five-piece band, there was a lot of “this is what a rock band should be like.” Now that there are four of us, there’s a much stronger feeling that we should take a freer approach. Now we’re doing what we want to.
New Chapter will be your first concept album. What kind of album will it be?
ASH: Right now we’re creating our freshest music, with a sound that we could only achieve as a four-person band. The title of the album, New Chapter, is the same as the title of our live show, and we picked it to represent that we’re starting a new chapter as a band, with a new lineup, starting on February 1. I also feel like the music that we’ve created is unquestionably unique in the Japanese rock scene, so the album’s name also represents the fact that we’ve invented a new way of making rock.
“Wrangler Beat” was your first release as a four-piece, and it carried on the feel of the ASH DA HERO of the past.
ASH: Right. It’s got a bit of a vintage rock vibe. It’s a little reminiscent of “Octave.”
After sweeping aside the by-the-numbers approach with this song, you then released “VANDALISM.” The rap lyrics in the second verse really resonate. I feel like the way you encourage people through songs like this is the reason that ASH DA HERO strikes such a chord.
ASH: In life, you’ll suddenly get sideswiped right when things were going well. That’s not just something that’s happened in my life, but something that I think happens to everybody. The question is, when that happens, do you look down in dejection, or do you keep your chin up? I’m the kind of person who’s like, “No, I’m not going to flinch, are you crazy?” So I put all those feelings into the lyrics.
And then you tie it all together with the absolutely wonderful closer, “I’m your rock star.”
ASH: That’s what a rock star is all about, right? It’s cool when someone’s in a hard spot but they’re like “No big deal.” For me, Jack Sparrow (of Pirates of the Caribbean) is that kind of character. Even in impossible situations, he just laughs it off. I put that feeling in words, like, “Don’t you even think about forgetting!”
What can you tell us about the sound production?
Sato: The main riff has a lot of repeating phrases, so I focused on how much swing I could put into those simple phrases. I really vibed on it.
WANI: The drums are simple but catchy. Our older songs had a lot of intricate fills, but on “VANDALISM,” I got rid of all that. I focused on that simple, cool sound. It’s got a really convincing rhythm. When you hear it live, you’ll realize that it’s not just a simple beat.
Dhalsim: I also stripped down my scratching to the limit. What influenced me in the early 2000s were songs with simple scratching. That, and intros.
That’s one of the cornerstones of the song.
Dhalsim: In the 2000s, Kanye West would speed up records and sample them, and I added that same flavor into the song. It was popular, especially in Japanese hip-hop, to record original material to sample in the studio, and then to sample that material and chop it up. I hope that playfulness and historical background come through.
Another song on the album is “BDC.”
ASH: That’s the one where we just shout “botanical dance club.” It’s the kind of song where you clear your head and you just shout and dance.
Dhalsim: The chorus is sung by scratching, which is new. Those are the kinds of new things we’re doing. We’re taking advantage of the lack of guitar to try out all kinds of new ideas.
What can you tell us about “Break Free?”
ASH: Drum and bass has come full circle, so we wanted to see what it would sound like if a rap-rock band without a guitar tried its hand at the sound of groups like Prodigy, which we are huge fans of. Sato’s vicious bass riff loops through the song. Then on top of that there’s rap with a U.S. hardcore vibe, and an emotional chorus.
The rap is super aggressive.
ASH: The lyrics go for the throat, as they should for a rock band. The song is kind of a warning about the consumerism and idol worshipping of society.
How many other songs will there be on the album?
ASH: There’ll be two more songs, which we’re working on now. I think they’ll feature our new four-piece sound even more prominently. It all comes down to February 1. That’ll be a major milestone for us.
What kind of show do you think it will be?
ASH: The answer to the question of how we’re transforming as a band will be clear on February 1. That’s when the new chapter of our history will start. I know all the people reading this interview have their fingers on the pulse of music, so we’ll be seeing you on February 1 at Tokyo’s Zepp Shinjuku.
After you open this new chapter with the show, what are your plans for 2025?
ASH: We’ve already finalized plans for several overseas shows, so we plan to tour the world, while always staying attentive to our fans in Japan.
—This interview by Sachie Tojo first appeared on Billboard Japan
The Recording Academy announced on its social media channels Friday (Jan. 31) that Lady Gaga & Bruno Mars and Shaboozey are performing on the 2025 Grammy Awards, set for Sunday. Gaga and Mars will “perform a special tribute to the city of Los Angeles and those affected by the wildfires” that devastated parts of the city in January.
The academy usually holds one or two big names until the last minute to build up buzz and excitement. These artists certainly qualify. Gaga & Mars’ swoon-worthy ballad “Die With a Smile” has been No. 1 on the Billboard Hot 100 for the past four weeks. Shaboozey’s “A Bar Song (Tipsy)” logged 19 weeks at No 1 on that chart last year, tying the all-time record in the chart’s 68-year history.
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With Shaboozey being added to the lineup, seven of the eight nominees for best new artist will be performing on the telecast: Benson Boone, Chappell Roan, Doechii, RAYE, Sabrina Carpenter, Shaboozey and Teddy Swims. (The eighth best new artist nominees, Khruangbin, have not been announced as performers.)
Shaboozey is nominated for five Grammys, including record of the year. Gaga & Mars are nominated for two, including song of the year. The Gaga/Mars smash was released Aug. 16, 2024, just two weeks before the end of the Grammy eligibility year. If it had more time to fully blossom before Grammy balloting was under way, it might well have also received a coveted record of the year nod.
Live from Crypto.com Arena in L.A. and hosted by Trevor Noah, Music’s Biggest Night will be broadcast live on Sunday (Feb. 2) at 8 p.m. ET/5 p.m. PT on CBS. The show will also be available to stream live and on demand on Paramount+.
This year’s telecast will carry an added sense of purpose: raising funds to support L.A. wildfire relief efforts and honoring the bravery and dedication of first responders.
A series of special performances will highlight the show, including a salute to the life and legacy of Grammy legend Quincy Jones, tributes to the spirit of Los Angeles, and the annual In Memoriam segment.
This is the fifth consecutive year that Noah has hosted the show. He will become the first comedian to host the Grammys five times. He’s also a Grammy nominee for best comedy album for Where Was I. If he wins, he’ll become just the second Grammy host to win on a night that he or she hosted. Kenny Rogers was the first, in 1980.
The 67th Annual Grammy Awards will be produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.
This year’s Premiere Ceremony, where the vast majority of Grammys are presented, will stream live at 3:30 p.m. ET/12:30 p.m. PT on the Recording Academy’s YouTube channel and on the Grammy website. The show will be held at Peacock Theater in the LA Live complex in Los Angeles (which also encompasses Crypto.com Arena). Justin Tranter, a Grammy nominee for song of the year for co-writing Chappell Roan’s “Good Luck, Babe,” is set to host the Premiere Ceremony for the second year in a row.
The Academy of Motion Picture Arts & Sciences’ decision not to have performances of the nominated songs on the 97th annual Academy Awards on March 2, but to instead focus on the songwriters, has struck a sour note with Ashley Irwin, president of the Society of Composer & Lyricists.
Billboard has obtained a letter that Irwin wrote to the Academy’s board of governors and the producers of the Oscar telecast asking them to reconsider their decision.
“…This decision to exclude the song performances presents as just another example of the devaluation of music, and its creators,” Irwin wrote. “What should be an opportunity to elevate our craft, by an Academy tasked to represent the importance of music to a motion picture’s storytelling, will be lost. A performance shares the creation of a songwriter’s original work. To eliminate the nominee performances is to silence songwriters.
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Irwin also argued, “In a time when Los Angeles, the home of filmmaking, has lost entire communities and with so many people affected, music has the power to inspire and heal — a message reflected in the Oscar-nominated songs.”
The Academy announced its decision to present the best original song category on the Oscar telecast in a different way on Wednesday (Jan. 22), one day before the nominations were announced, presumably after it saw the list of nominees. The roster doesn’t include any songs that have become big hits, like last year’s winner, “What Was I Made For” from Barbie. Billie Eilish‘s recording of the song, which she co-wrote with her brother FINNEAS, had reached No. 14 on the Billboard Hot 100 months before the telecast.
This year’s nominees are “El Mal” from Emilia Pérez, “The Journey” from The Six Triple Eight, “Like a Bird” from Sing Sing, “Mi Camino” from Emilia Pérez and “Never Too Late” from Elton John: Never Too Late.
In a letter to Academy members on Jan. 22, Bill Kramer, Academy CEO, and Janet Yang, Academy president, said, “This year the Best Original Song category presentation will move away from live performances and will be focused on the songwriters. We will celebrate their artistry through personal reflections from the teams who bring these songs to life. All of this, and more, will uncover the stories and inspiration behind this year’s nominees.”
In their letter, Kramer and Yang also teased that music will play a role in the show in other ways. “There is so much more in store, including powerful musical moments that connect film’s rich history to its bold and inspiring future.”
Here’s Irwin’s letter, in full:
Dear AMPAS Governors and producers of the 97th Academy Awards,
I am the president of The Society of Composers & Lyricists (SCL), the premier organization for professional songwriters and composers working in film and other visual media. All the Oscar-nominated songwriters this year, as in most years, are members of the SCL. Our members, who number over 4,000 in more than 80 countries worldwide, including the majority of the Motion Picture Academy Music Branch, are disappointed over the decision to eliminate the Oscar-nominated song performances at the 97th Academy Awards. Songwriters and composers face many challenges in the current climate, including everything from diminished royalty payments by streaming services to the theft of their intellectual property to enrich “big tech” in the guise of training for AI. The Academy of Motion Picture Arts and Sciences, and an award like the Oscar, has always served to amplify and honor the work of talented craftspeople, but this decision to exclude the song performances presents as just another example of the devaluation of music, and its creators. What should be an opportunity to elevate our craft, by an Academy tasked to represent the importance of music to a motion picture’s storytelling, will be lost. A performance shares the creation of a songwriter’s original work. To eliminate the nominee performances is to silence songwriters.
We understand there are reasons behind this decision, but it is my understanding that there was no discussion with the Music Branch. The songs and performances this year would represent a diverse range of artists, including past Oscar winners H.E.R. and Elton John along with Brandi Carlile, Clément Ducol & Camille, Adrian Quesada & Abraham Alexander, as well as 16-time Oscar-nominee Diane Warren. The promotion of these song performances will undoubtedly draw a larger viewing audience. But most importantly, in a time when Los Angeles, the home of filmmaking, has lost entire communities and with so many people affected, music has the power to inspire and heal – a message reflected in the Oscar-nominated songs. [Here Irwin quoted healing lyrics from four of the five nominated songs.]
With the quality of the talent assembled to produce The Oscars, there must be a way to accommodate even abbreviated renditions of the nominated songs during the show. I respectfully urge you to reconsider your decision and let the songs provide the hope and inspiration to the audience that they do in their respective films.
Thank you for your time and consideration.
Sincerely,
Ashley Irwin
President of the Society of Composer & Lyricists
Kelsea Ballerini believes there’s room for everyone in the country world. While visiting SiriusXM’s Fierce: Women in Music, the “Peter Pan” star shared her support for Beyoncé, who shifted into the country music space with her Billboard 200-topping album Cowboy Carter and faced unnecessary controversy for her decision to do so. The project is nominated for […]
Nobody would confuse Tyler, The Creator for an Olympic athlete, but he’s centering his upcoming “Sticky” visual around the sports world. Tyler delivered the trailer for the self-directed Chromakopia video on Friday (Jan. 31), which jumps from a football team’s huddle on the gridiron to the Grammy-winner playing a brass family instrument in a marching […]
After years of linking up with the South’s buzziest rappers and crafting Billboard Hot 100 hits — like “Peaches & Eggplants” (No. 33), with longtime collaborator Young Nudy — ATL-bred producer Coupe added a very special accolade to his collection: his very first Grammy-nominated production.
At the 67th Annual Grammy Awards – which will be held on Feb. 2 at Crypto.com Arena in Los Angeles, and also serve as a fundraiser for those impacted by the devastating January fires – Latto’s “Big Mama,” which Coupe co-produced alongside Oz and Masterpiece, is nominated for best melodic rap performance. Should Billboard’s No. 5 Hottest Female Rapper of 2024 take home the trophy, Coupe will receive a winner’s certificate.
Half come-hither rap ballad and half high-octane trap banger, “Big Mama” served as the third single from Latto’s Sugar Honey Iced Tea album. The track reached No. 92 on the Hot 100 and No. 23 on Hot R&B/Hip-Hop Songs. Buoyed by celebrated performances at WHTA (Hot 107.9) Birthday Bash and the 2024 BET Awards, “Big Mama” helped its parent album hit No. 15 on the Billboard 200 and No. 1 on Rap Albums, making Latto the first solo female rapper from ATL to ever top that ranking. In addition to “Big Mama,” Coupe also produced “Brokey” and “S/O to Me” from Sugar Honey Iced Tea.
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“Big Mama” will have to take down “Spaghettii” (Beyoncé, Shaboozey & Linda Martell), “3:AM” (Rapsody & Erykah Badu), “Kehlani” (Jordan Adetunji & Kehlani) and “We Still Don’t Trust You” (Future, Metro Boomin & The Weeknd) to take home the trophy, but the Recording Academy’s is still an incredible stamp for one of hip-hop’s most exciting producers.
Outside of his work with Latto in 2024, Coupe also contributed tracks to hit albums from 21 Savage (American Dream) and GloRilla (Glorious). For the former, he produced the Summer Walker-assisted “Prove It,” which spent two weeks atop Rhythmic Airplay.
With just days to go before Music’s Biggest Night, Coupe took a brief pause from working on a “Detroit R&B love record” for Real Boston Richey to speak with Billboard and reflect on working on his first Grammy-nominated song.
“I’m probably gonna miss the Grammys [because] I got some family stuff going on, but I definitely will be coming soon,” he promises. “It means even more to me, because [music is] something that my dad wanted to do. He’s kind of living his dream through me. [“Big Mama” taking] the Grammy home would be next level.”
Tell me about the first time you linked with Latto in the studio.
We had been trying to get together for a while, but our schedules weren’t aligning. But we finally got together at Doppler Studios, and I played her the beat for 21 Savage’s “Prove It” in our first session. She actually recorded something to that beat in the same vein as “Prove It.” We worked on a couple of other records too. The vibe was great, we told each other how much we were fans of each other. We just clicked instantly.
How did “Big Mama” come together?
When the first version of the track was made, it was still a two-part beat. She had the first part of it from Oz, and then the second part was from another producer. She had only recorded the first half of the song, and she had an idea of what she wanted based on what she and [producer] Go Grizzly did. She called me and was like, “I like this first part, but I’m not vibing to the second beat.” Her and Pooh Beatz, who was helping me out with the record, were like, “Bro, we need some Coupe stuff for the second part! We need something turnt to switch it up.”
They needed the beat that day. We had a session at 8 p.m., they called me at like 6 p.m. and I made the beat in 5-10 minutes. I headed to the studio early and that’s how we got the full beat to the song; Oz and Kid Masterpiece did the first portion, and I did the second. We put them together and they matched perfectly, and then we finished the song.
What went through your head the moment you heard the final track?
We were like, “This is the one for sure.” She had been working on the album for two years, and I came in a year into [the process]. She was like, “I need some lit vibes; let me know what I’m missing.” [“Big Mama”] has a mellow tone to it, but also a turn-up tone; I felt like that’s what was missing from the whole [Sugar Honey Iced Tea] album [at that point].
And I haven’t heard many girls do beat switches either. The males in hip-hop really love to do that, so to have a female rapper actually rap two different styles on one song felt groundbreaking to me.
When was the first time you saw her perform the song live?
The first time I saw her perform the song live was at [WHTA (Hot 107.9)] Birthday Bash – and that was before the song was officially out. That’s a big thing now in hip-hop, to have things leak or tease them early. She also performed it at the BET Awards and got a lot of positive comments. Those kinds of reactions let me know that the music is connecting.
Where were you when you found out about the nomination?
I was actually at my house with my family. I’m not gonna lie, it took me by surprise. I didn’t know what to do! It’s my first [Grammy-nominated] song and it’s a big thing, so I showed my kids, like, “Your daddy’s [song is] nominated for a Grammy!” They didn’t even know what it was because they’re so young. [Laughs.]
The Grammys mean everything to me. It’s like winning the championship ring. You work your whole life from [childhood] making music, and you build yourself up to this point where the highest honor you can get is the Grammy. There’s nothing greater than it. When you win that, that’s like winning the championship. To even be nominated is like going to the playoffs or the finals. We gotta win these finals!
How much of an influence was your father on your musical journey?
I’ve been doing music all my life. I played drums in church from 5-6 [years old], up until I was like 10 or 11, then I started playing piano and organ. My dad taught me all of that; he’s been playing since his younger days. As soon as I was born, they threw me on an instrument and was like, “You need to play.” And I’ve been doing it since birth. I used to sing in the choir too. As far as producing, I started doing that in 2014-15. But my dad was pivotal to it all; he loved the ‘70s and Earth, Wind & Fire and Rick James. That’s why ‘70s is my favorite type of music now.
What’s one ‘70s song that you’ve always wanted to sample?
“Reasons” by Earth, Wind & Fire.
You also worked on albums by 21 Savage and GloRilla last year. How do you adapt your sound for different artists while maintaining your artistic integrity?
As producers, our job is to serve the artist. I just try to stay true to the artist’s sound while implementing my sound. Every artist has a direction that they want to go in for their projects, so I try to fill that void they’re missing. But I still keep my integrity; I have weird drum patterns, my hi-hats are loud, my kicks hit hard!
GloRilla is from Memphis, for example. Three 6 Mafia loves Isaac Hayes, so that’s why I sampled “Ike’s Mood I” on “Let Her Cook.” That’s a traditional Memphis sound. 21 Savage loves R&B, so I wanted to sample Faith Evans’ “You Are My Joy,” which is one of the best R&B interludes ever to me. I use whatever tools they give me and then expound on them with my sound.
What was it like hearing “Prove It” on the radio for the first time?
Man, I loved it. It’s funny because I was in the car with a girl at the time. When it came on, she was like, “Ain’t this your song?” [Laughs.] It was definitely a moment for me. “Prove It” was one of those songs that, as soon as they sent it to me, I was like, “This is definitely going to be a radio record.” And once we got Summer Walker on it, it was a go.
Who’s left on your bucket list of collaborators?
Definitely SZA. She’s at the top of the list; I love her voice and her sound and the way her music reminds me of how I feel about Faith Evans back in the day. Of course, the GOATs Kendrick [Lamar] and Drake. André 3000 is definitely on that list too. I would love to do just one record with him. “Life of the Party” is a classic record to me, and I know he wasn’t even trying. He just needs to have fun and let it flow. Out of the older generation: he and Project Pat for sure.
What you got cooking up for 2025?
Me and [Young] Nudy are about to lock back in; we took a little hiatus to work on other things for the last two years. Might be a project between me and him, so I’m excited about that.
Me and JT just locked in for like two or three days and, I’m not going to lie, we made some crazy records. Her and Latto, female-wise, I love them. They’re so talented.
Who do you think will win best rap album? Who do you think should win?
That’s a hard question, because usually any time Eminem is in a “best rap” category, he wins. But I definitely think that Metro and Future should win, because they shifted culture last year. I’m always about that. Kendrick’s “Like That” verse shifted the whole culture, and the album itself is so good – especially with them not working together for so long.
Speaking of Kendrick, do you think he can pull off a win in record or song of the year (or both!) for “Not Like Us?”
For sure. Kendrick is a groundbreaking artist. He’s definitely going to win both of those — more than likely.
This week in dance music: Jim Barron and Chris Todd of Crazy P reflected on the band’s new album and recent loss of its frontwoman Danielle Moore, a new track from Marshmello and The Jonas Brothers debuted on Hot Dance/Electronic Songs, Peggy Gou, John Summit, Solomun and more were announced as openers for the final four shows from Anyma at Sphere, Charli XCX remarked that she “wasn’t even on the Grammys’ radar” before her chart-smashing Brat, Shygirl was among our LGBTQ+ artists to watch in 2025, and after two years off, Dirtybird Campout announced that it’s returning in partnership with NorCal’s longstanding Northern Nights festival.
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And beyond, all we need is music. Sweet sweet music. These are the best new dance tracks of the week.
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Jamie xx feat. Erykah Badu, “F.U.”
Having worked on recordings of Gil-Scott Heron, Robyn and Radiohead, collaborating with bonafide legends is not unusual for James Smith, aka Jamie xx. On “F.U”, the British producer teams up with the first lady of neo-soul, Erykah Badu, using a “fully improvised” freestyle vocal recording of Badu from “a Primavera afterparty in Barcelona” in 2019, says Smith in an Instagram post. A departure from Badu’s traditionally emotional, expressive vocals, we hear her rhyming and bellowing over a loose acid house beat with a tension designed for dancing. The music video for “F.U” dropped in line with the release of In Waves (Deluxe Edition) on 29 January, on which the single is featured. “I’m so happy that she is a part of In Waves,” adds Smith. “Thank you, Erykah!”
Gryffin x Kaskade feat. Nu-La, “In My Head”
Channeling the fashionable sound of his collaborator and fellow Illini John Summit, the venerable Kaskade partners up with California’s Gryffin and nu-comer vocalist Nu La for another uplifting melodic techno ballad. The dramatic, emotional build-up of “In My Head” is heightened by Nu La’s soaring vocal, which sings “When you’re gone / You’re still living in my head” before we’re hit with a thumping kick, a growling bassline and piercing synth lead. Released on 10K Projects, “In My Head” follows a handful of tongue-in-cheek TikToks and IG snaps from Gryffin and Kaskade in the studio, letting fans know that, despite the intensity of “In My Head,” the duo still seem to be having a blast together.
Whipped Cream, Careline
The Canadian producer releases her new EP Careline, a six song affair that includes a trio of previously released singles (including the Memba collab “Redline”) and altogether demonstrates a dark, sleek evolution for the artist born Caroline Cecil. Standouts include “Love the Night Away,” a luscious and glimmering peaktime production with airy vocals and a galloping hard techno flourish. “A year and a half ago, I realized I was sitting on a whole world of house and techno tracks,” the producer writes of he project. “I had this vision — Careline, a secret side project, a new alias. But when I wrapped the first master, it hit me… Careline wasn’t separate from Whipped Cream. —this would be the next chapter of Whipped Cream. And I’ve never been more sure of anything.” The project is out on Boom Records.
Anotr, On a Trip
“We rent a house in the middle of nowhere, surround ourselves with nature, and invite friends, family, and musicians to connect. We go for walks, make dinner, and talk a lot. The studio is always there when we feel like it, and the music comes from a place of want, not need,” Dutch duo Anotr say in a joint statement about the creation process behind their second studio album, On a Trip. As the title insinuates, the creative nature hangs were also “fueled by psilocybin mushrooms,” and you can hear the depth and brightness of that perception shifting fuel all over the project, particularly its Afro-infused track “Falling Feels Like Flying,” which is gifted with vocals from the Kabusa Oriental Choir.
Rebūke & deadmau5 feat. Ed Graves, “Endless”
The music video for Rebūke & deadmau5’s “Endless” (also featuring Ed Graves) is stunning. The “Cyberpunk 2077” videogame aesthetic impeccably complements the song’s homage to ’90s trance and techno, with its rolling bassline and gated synths — naturally, the video’s protagonist ends up in nightclub where “a transcendence occurs,” says a statement from Rebūke’s World of Era label. Following Rebūke’s 2018 remix of ‘mau5’s “Not Exactly”, the pair’s new track “Endless” marks their first true collaboration, with Rebūke’s praising his collaborator as “a constant source of inspiration.” The original fate of “Endless” was an instrumental release, until a last-minute conversation with songwriter Melissa De Kleine and Graves led to a vocal recording over the track within 12 hours. That session, says Rebuke, is what “brought the track to life.”
Inaugural leader, biggest song of 2024 and now the final No. 1 of the year: Shaboozey’s “A Bar Song (Tipsy)” takes the top spot of the TouchTunes Frontline Chart for the fourth quarter of 2024.
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The TouchTunes Frontline and Catalog charts for the fourth quarter of the year track the most played music on TouchTunes jukeboxes from Oct. 1 to Dec. 31, 2024, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. TouchTunes has jukeboxes in over 60,000 locations worldwide. TouchTunes data is not factored into other Billboard charts.
Since the TouchTunes Frontline and Catalog charts’ existence (beginning with the second quarter of 2024), “A Bar Song” has been No. 1 on the Frontline ranking, as well as the top song on TouchTunes across its entire playable catalog.
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Its reign coincides with the song’s standing as the top-played tune on TouchTunes jukeboxes for 2024, the first song since Chris Stapleton’s “Tennessee Whiskey” to be the platform’s most-played song in a year that was considered a frontline (18 months old or less) release at the time.
“A Bar Song” also sports 19 weeks at No. 1 on the Billboard Hot 100 between July and November 2024, tying Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, for the lengthiest rule in chart history. It appears at No. 4 on the latest survey, dated Feb. 1.
The aforementioned “Tennessee Whiskey” retains its hold on the TouchTunes Catalog Chart, and it’s also the second-most-played song on the platform overall. Like “A Bar Song,” “Tennessee Whiskey” has reigned on its respective chart for all three quarters since both rankings were launched.
It does, however, have somewhat of a challenger in Teddy Swims’ “Lose Control,” which graduates to the Catalog list after previously being part of Frontline. It enters Catalog at No. 2 after appearing at No. 3 on the third-quarter Frontline tally.
Toby Keith’s “I Love This Bar,” Garth Brooks’ “Friends in Low Places” and Brooks & Dunn’s “Neon Moon” round out Catalog’s top five, giving “Lose Control” the distinction of the ranking’s first non-country song.
That said, the Frontline Chart’s top five is all country, with Post Malone’s “I Had Some Help,” featuring Morgan Wallen, holding its No. 2 rank, followed by Ella Langley’s “You Look Like You Love Me” (featuring Riley Green), Wallen’s “Cowgirls” (featuring ERNEST) and Zach Top’s “I Never Lie.”
Of those, Langley and Top are debuts, marking the top new entries of the quarter. “Cowgirls,” meanwhile, reaches a new peak, lifting 5-4.
Kendrick Lamar’s “Not Like Us” represents the highest-ranking non-country song on Frontline, dropping three spots to No. 7.
With the holiday season falling within the fourth quarter, the Catalog Chart also sees a seasonal classic in Mariah Carey’s “All I Want for Christmas Is You,” which enters the tally at No. 19.
And once again, it’s Wallen who boasts the most appearances across both rankings, with six songs – as a lead act or featured – on the Frontline ranking and one on Catalog. Jelly Roll follows with four total (two on each).
See both 25-position charts below.
TouchTunes Frontline Chart
1. “A Bar Song (Tipsy),” Shaboozey (=)2. “I Had Some Help,” Post Malone feat. Morgan Wallen (=)3. “You Look Like You Love Me,” Ella Langley feat. Riley Green (debut)4. “Cowgirls,” Morgan Wallen feat. ERNEST (+1)5. “I Never Lie,” Zach Top (debut)6. “Lies Lies Lies,” Morgan Wallen (+5)7. “Not Like Us,” Kendrick Lamar (-3)8. “Pink Pony Club,” Chappell Roan (+9)9. “Beautiful Things,” Benson Boone (=)10. “Too Sweet,” Hozier (-3)11. “I Am Not Okay,” Jelly Roll (+8)12. “Last Night,” Morgan Wallen (-6)13. “Ain’t No Love in Oklahoma,” Luke Combs (+3)14. “White Horse,” Chris Stapleton (+1)15. “Love Somebody,” Morgan Wallen (debut)16. “Whiskey Whiskey,” Moneybagg Yo feat. Morgan Wallen (-4)17. “The Door,” Teddy Swims (debut)18. “Espresso,” Sabrina Carpenter (debut)19. “Pour Me a Drink,” Post Malone feat. Blake Shelton (-1)20. “Get It Sexyy,” Sexyy Redd (debut)21. “Hot To Go!,” Chappell Roan (debut)22. “Miles On It,” Marshmello with Kane Brown (debut)23. “Million Dollar Baby,” Tommy Richman (-10)24. “You Proof,” Morgan Wallen (=)25. “Wild Ones,” Jessie Murph with Jelly Roll (-2)
TouchTunes Catalog Chart
1. “Tennessee Whiskey,” Chris Stapleton (=)2. “Lose Control,” Teddy Swims (debut, previously No. 3 on Frontline)3. “I Love This Bar,” Toby Keith (-1)4. “Friends in Low Places,” Toby Keith (-1)5. “Neon Moon,” Brooks & Dunn (-1)6. “Son of a Sinner,” Jelly Roll (-1)7. “I Think I’ll Just Stay Here and Drink,” Merle Haggard (+5)8. “Fat Bottomed Girls,” Queen (-2)9. “Copperhead Road,” Steve Earle (=)10. “Drinkin’ Problem,” Midland (-3)11. “Don’t Stop Believin’,” Journey (-1)12. “Save Me,” Jelly Roll with Lainey Wilson (debut, previously No. 10 on Frontline)13. “Rockstar,” Nickelback (+1)14. “Whiskey Glasses,” Morgan Wallen (-6)15. “Family Tradition,” Hank Williams Jr. (=)16. “Simple Man,” Lynyrd Skynyrd (-3)17. “Something in the Orange,” Zach Bryan (-6)18. “Higher,” Creed (+4)19. “All I Want for Christmas Is You,” Mariah Carey (debut)20. “Fast Car,” Luke Combs (debut, previously No. 8 on Frontline)21. “The Joker,” The Steve Miller Band (-5)22. “Thunderstruck,” AC/DC (-3)23. “Sweet Child o’ Mine,” Guns N’ Roses (=)24. “In the Air Tonight,” Phil Collins (re-entry)25. “Brown Eyed Girl,” Van Morrison (-5)
