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It’s a Thursday afternoon at a studio in Miami, and Emilia is getting glammed up for a Billboard Español cover shoot. She’s wearing a baby-pink silky robe and striped slippers, and her equally silky, chocolatey brown hair is picked up in rollers as she navigates through her playlist for the perfect song to get ready. She skips through female anthems by Beyoncé, Shakira, Britney Spears, Nathy Peluso and Doechii before selecting Rihanna’s “Don’t Stop the Music.” She sings along and dances to the beat slightly, not to mess up her wavy bucles and makeup.
“Before, to give myself confidence when I went on stage, I would tell myself: ‘You are Rihanna! You are Rihanna!’ But someone on my team recently told me: ‘Now you have to say to yourself, ‘You are Emilia! You are Emilia!’ And believe it,” she gushes.
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She is Emilia. And she’s on the verge of a global musical breakthrough as she prepares a 2025 tour across Spain, plans her first U.S. concerts in the U.S., and just recently made her debut at Brazil’s Carnival this past weekend.
In 2024, the Argentine artist earned her first No. 1 hit on the Billboard U.S. Latin Airplay and Regional Mexican Airplay charts with “Perdonarte ¿Para Qué?,” her collaboration with Los Ángeles Azules; she became the first Argentine act to be nominated for best pop vocal album at the Latin Grammy Awards with her sophomore set, .mp3; she was TikTok’s most-viewed and Spotify’s most-streamed artist in Argentina (the first female artist to do so); she sold out 10 shows at Movistar Arena in Buenos Aires in 10 hours — breaking the record previously held by Luis Miguel — and became the first Argentine female artist with four sold-out shows at the city’s Estadio Vélez, to name a few milestones.
Now, Emilia is making a serious bid for international expansion in 2025 that includes her first time at Brazil’s Carnival, where on Feb. 23 she performed “Bunda” with Luísa Sonza, her first track from an upcoming EP; a spring tour across Spain with three dates at Madrid’s Movistar Arena (formerly WiZink Center); and spending more time in Miami not only to be closer to her label, Sony Music Latin, and manager Walter Kolm, but to connect with artists and producers from different territories and develop her career further — a tried-and-true strategy that others have taken before her, including Karol G and Manuel Turizo.
“In Argentina, there are producers that I continue to work with and who are friends. I have everything there; it’s everything for me,” she says. “But I made the decision to come to Miami for a while to work and try new opportunities. I’ll always be returning home anyway. I can’t let that go. But I think what happens at the industry level here in Miami is very big. You come across new artists and producers all the time. And it’s good to experiment.”
Natalia Aguilera
Leaving the comfort of a home territory that sees you as a superstar has long been a challenge for Latin American artists. But thanks to an open-minded attitude, today, Emilia has positioned herself as a versatile pop act who can easily navigate from reggaetón to romantic ballads to cumbia to Brazilian funk and, most recently, vallenato alongside Silvestre Dangond on “Vestido Rojo.”
“She understood that she had to have her base in her home country first. She had to break into her country in every sense, in consumption, transcend that consumption in ticket sales, media visibility, visibility with brands,” says Esteban Geller, GM at Sony Music U.S. Latin. “First, she conquered her country, then the neighboring countries like Chile and Uruguay, and little by little setting foot in territories like Spain, Mexico and Colombia, while simultaneously building her story in the United States. She understood perfectly what her space was in the music scene and that what she did with Los Ángeles Azules and with Silvestre brought her closer to a more commercial space, which is also fantastic. The path has been natural.”
Emilia is already dolled up in a Y2K-inspired outfit for the photo shoot: denim mini skirt, bubblegum-pink zip-up hoodie, glitter stilettos and a fur cap that easily gives off Baby Phat clothing vibes. On her bottom eyelashes is a set of shining diamonds — eye accessories that are signature to her look. Doja Cat’s “Wet Vagina,” from her female-heavy playlist, plays in the background as she flirts with the camera with pure confidence and sensuality — something she’s worked on over time, striking that balance between sexy ingenue and likeable girl next door.
“I was always very outgoing, but I feel that today, I feel more confident with myself than ever. That took time, effort and therapy,” she says.
María Emilia Mernes Rueda, 28, was born in Nogoyá, Entre Ríos, a farming town about a five-hour drive from Buenos Aires. She’s the only child to a baker father and a cook mother. Her grandfather, a plumber but also the only musical reference in her family, gifted her a guitar when she was young so she could start taking music lessons. Growing up, her love for music expanded to uploading covers on Instagram and forming part of a local cumbia group with friends. It was a passion she never believed could go beyond a hobby.
“I thought that dreaming of being an artist, of stepping on stage and being in that world, was impossible. Super far away,” she says. “I never thought I would be able to become a professional in this and be a singer. I saw it as impossible because of where I was from. The opportunities are usually in Buenos Aires, where the casting and music producers are.”
Natalia Aguilera
But her life took a radical turn when the videos of herself playing the guitar and singing covers on social media caught the attention of Uruguayan band Rombai. At the time, the cumbia-pop group gained popularity in South America and was in search of a new female vocalist. Emilia’s first time onstage with the group was in November 2016, when she performed for 12,000 fans at the Velódromo in Uruguay. Three months later, she was performing at Chile’s coveted Viña del Mar Festival and won a Gaviota Award — an experience she describes as a “great opportunity” and “a trampoline” in her career. “The real challenge,” she says, came two years later when she decided to go solo.
In 2019, Emilia signed a record deal with Sony Music Latin and a management deal with Kolm (her former manager with Rombai), becoming the first female artist to sign with Kolm, who also manages Carlos Vives, Maluma, Wisin and Xavi.
“When she told me she wanted to go solo and make the music she liked the most, I saw her with such determination that I decided to be by her side,” Kolm says. “She is very charismatic and has her own initiative.”
Excited for what the future holds, he adds: “She moved to Miami to direct her career from the USA. Emilia has all the potential to be a global artist. She always knew where she wanted to go. This is just the beginning of a career that will be huge.”
Shortly after her debut solo single, “Recalienta,” co-written with Camilo and Fariana, Emilia earned her first entry on a Billboard chart with her Darell collaboration “No Soy Yo,” which debuted and peaked at No. 38 on Latin Pop Airplay in February 2020. She also scored chart entries with “La_Original.mp3,” with Tini; “Tu Recuerdo,” with Wisin and Lyanno; and “Como Si No Importara,” with Duki.
The lattermost song — about a secretive and daring relationship on which her rapper boyfriend Duki’s chanteos lace with Emilia’s dulcet vocals — gave the artist her first entry on the Billboard Global Excl. U.S. chart in August 2021. The downtempo sultry reggaetón song peaked at No. 3 on the Billboard Argentina Hot 100 in 2021. Emilia then released “Esto Recién Empieza,” which reached a No. 9 high on the Argentina Hot 100 in March 2022.
Natalia Aguilera
At that point, Emilia and Duki had been dating for a year; the couple made their relationship public at the 2022 Premio Lo Nuestro, where they performed “Como Si No Importara.” The collaborations have boosted both artists. Duki is a trap star, so Emilia has helped broaden his appeal to tweens. Emilia is very much a pop star, and dating Duki has given her street cred.
“We may seem different from the outside, but we are actually very similar, and we have almost everything in common. The only thing we don’t have in common is that I like sushi and he doesn’t,” Emilia says with a laugh as she opens up about her boyfriend with face tattoos. “But in general, we share everything, and we have a very nice relationship. We give each other feedback all the time. I love listening to him talk, to get advice from him. Beyond being an incredible artist, he’s a very intelligent, very cultured person. Sometimes he comes into the studio with me and we write together. We’re very passionate about the same thing and it’s beautiful to be able to share it without egos, without selfishness. It’s very genuine, and in a very healthy way.”
Despite Emilia’s celebrity in Argentina and her increasing presence abroad, it wasn’t until last year that the catchy cumbia “Perdonarte Para Qué?” with Los Ángeles Azules gave Emilia her first No. 1 on the Latin Airplay and Regional Mexican Airplay charts. It was a full-circle moment for the once teen girl who had a cumbia band back home.
“From the first time I heard it, I said, ‘100% yes!’” she exclaims. “I remember that it didn’t take me even two days to get into the studio and record it. I was so excited that they wanted to make a song with me, that they had taken me into account, being such legendary artists of Mexican culture and the world.”
Elías Mejía Avante, founding member of the Mexican group, says: “We are happy, but above all grateful to be part of this great musical milestone for her. It will always be an honor to be able to merge the talent of Mexico and Argentina, seeking to infect as many hearts as possible with our cumbia. We feel that therein lies the magic, in bringing joy and authenticity with music from the hand of one of the greats of Latin pop music today.”
Natalia Aguilera
Meanwhile, in her native country, Emilia’s a force to be reckoned with.
She’s placed 39 entries on the Billboard Argentina Hot 100 chart, 20 of those in the top 10 and five hitting No. 1. Her longest-leading hit to date, “Una Foto (Remix)” with Mesita, Nicki Nicole and Tiago PZK, ruled for 10 weeks in 2024 — the third-most behind Karol G’s “Si Antes Te Hubiera Conocido” (16 weeks atop the chart) and Valentino Merlo and The La Planta’s “Hoy” (11 weeks). Emilia has released two studio albums: the ultra-personal Tú Crees en Mí? (2022) and her early-2000s nostalgic set, .mp3 (2023). The latter was Spotify’s second most-streamed album of 2024 in Argentina, following Luck Ra’s Que Nos Falte Todo.
That success on the charts translated to ticket sales.
In April 2024, she kicked off her .mp3 tour with a historic 10-night stint at the Movistar Arena in Buenos Aires between April and May, later adding four shows at Vélez Sarsfield Stadium in October.
“With artists in development, we’ve had extraordinary success with Emilia and her 10 arena [shows], where she played to over 290,000 people,” Marcelo Figoli, founder and owner of Fenix Entertainment, who produced the shows, previously told Billboard, confident that Emilia “is going to be a big deal in 2025.”
“I underestimated it. I usually set my expectations low, so I don’t disappoint myself,” Emilia admits. “We came out with the ticket sales, and I hadn’t done any shows for my album [.mp3]. We came out with the album in November and at the beginning of December the tickets were sold out. I remember that my team had said that we were going to book 10 Movistar Arena shows because that was the idea. And I was like, ‘I would love it, obviously, a residency at the Movistar Arena, but I see it as difficult.’ I felt like we were going to sell three, four at most, but suddenly it was 10 in 10 hours.”
“The live show is the other big leg of this industry,” Geller adds. “She’s an artist who not only works in one vertical of the business, but also has visibility in the fashion, brand and music sectors and has transcended into selling tickets, which is the best thing. She is already proving it with shows. The success she had in Argentina, the huge success she is having in Spain, that is happening because music is starting to transcend to other spaces, which will surely lead her to a long career. That’s the faithful conclusion that we are on the right track.”
The shows were also a test of resilience in other areas.
“I was rehearsing for the Movistar shows and my dad got cancer… Of the most important things in my life, the two came together and it was very emotional for me, but I was able to handle both,” she says. “Today I have my dad with me, and he can see everything I’m doing. I learned to know myself a little better. What my limits are. To make mistakes and not be so cruel to myself. To value the real people I have in my life… that family is the most important thing. I learned that I love to work and that I must enjoy the moment and not live so much in the future.”
Natalia Aguilera
But living in the future is inevitable for someone on Emilia’s path.
She’s preparing for her 2025 concerts in Europe and Latin America by working out five to six days a week, something she never did before, but is essential for next-level shows.
“The show requires a lot of cardio. You have to sing and dance, you need a good diaphragm, lungs with air, endurance. I hated training! I wouldn’t touch a weight for nothing!” she says, giggling. “But if I hadn’t trained, I wouldn’t be able to do it. Exercise has become something important for me and it does me good. I feel strong and confident.”
Emilia is now in her second outfit for the photo shoot and looks like a glistening goddess dressed in baggy jeans with gold glitter, a gold bustier and matching gold heels, posing for a second round of photos as a fan blows her wavy locks and her entourage hypes her up. This time, she’s serving sultry looks to Doja Cat’s “Agora Hills.” In the far corner, her mother, Gabriela Rueda, gets emotional as she sees her daughter in action, and with tears rolling down her cheeks, she softly tells me she remembers doing photo shoots for Emilia in the living room and her father holding the fan to blow her hair.
“I love to show the ‘Emilia Pop Star’ and get into character,” Emilia says with a smile. “I grew up watching pop divas who do that onstage and it’s like playing for a while for me. But I’m also the Emilia who comes from Nogoyá, who gets together to drink mate with friends, who has problems like everyone else, who cries because I’m very sensitive. I’ve always been firm. I’m very positive too. I’ve always had a very objective and optimistic character and personality. I think that’s what also helped me to be where I am today and achieve everything I’ve achieved.”
It’s a Thursday afternoon at a studio in Miami, and Emilia is getting glammed up for a Billboard Español cover shoot. She’s wearing a baby-pink silky robe and striped slippers, and her equally silky, chocolatey brown hair is picked up in rollers as she navigates through her playlist for the perfect song to get ready. […]
Liam Payne‘s blood alcohol level was more than three times the limit allowed while driving in the United States at the time of the singer’s death from a 40-foot fall in Buenos Aires, Argentina in October. The results were included in a report from the National Criminal and Correctional Prosecutor’s Office No. 14 released on Friday, which showed that an autopsy found that the former One Direction member and solo star had “alcohol concentrations of up to 2.7 grams per liter in blood” at the time of his death.
While Payne, 31, was not driving at the time, for context, the legal blood alcohol content (BAC) in the U.S. for drivers over 21 is 0.08%; 2.7 grams per liter translates to 0.27% BAC, which is more than three times the U.S. driving limit.
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According to the American Addiction Centers’ Alcohol.org, that BAC can cause, “confusion, feeling dazed, and disorientation… Sensations of pain will change, so if you fall and seriously hurt yourself, you may not notice, and you are less likely to do anything about it.” Other potential effects include: blackouts, nausea, vomiting and impairment of the gag reflex, “which could cause choking or aspirating on vomit.”
The Cleveland Clinic also notes that while a BAC of 0.15%-0.30% can cause the above symptoms and drowsiness, Payne’s measured level was just below the BAC (0.30%-0.40%) that can cause alcohol poisoning, “a potentially life-threatening condition… [which can cause a] loss of consciousness.”
The Argentinian report noted that in addition to the dangerous BAC, the autopsy revealed that Payne — whose death it said was a result of “multiple trauma and internal and external bleeding” caused by a fall from a three-story hotel balcony — also had cocaine metabolites, methylecgonine, benzoylecgomine, cocaethylene and the medication sertraline (Zoloft).
The prosecutor’s office announced in November that a toxicology report said Payne had “alcohol, cocaine and prescription antidepressants” in his system when he died on Oct. 16.
Last week, an Argentinian court dropped charges of criminal negligence against three of the five people indicted in connection with Payne’s death. The court cleared the head receptionist at the CasaSur Hotel, Esteban Grassi, Argentinian-American businessman Rogelio Nores, a friend who accompanied Payne on the trip, and Gilda Martin, the hotel’s manager. Grassi made two emergency calls prior to the deadly accident, first reporting that a guest was “trashing the entire room” and later expressing concerns that the guest “may be in danger.”
In a recent Rolling Stone exposé, Payne’s former girlfriend, model Maya Henry, described the singer’s longtime struggles with depression and addiction, saying he became “someone unrecognizable” when he was using substances.
The 2025 Rocklahoma festival will feature headlining sets from Five Finger Death Punch, Breaking Benjamin and Shinedown. The hard rock throwdown in Pryor, OK slated to take place from Aug. 29-31 will also feature first-night sets from embattled rocker Marilyn Manson, OG shock rock icon Alice Cooper, The Darkness, Ramones drummer Marky Ramone playing a set of the punk godfathers’ most iconic songs, as well as Hinder, Dorothy, Saliva, Orianthi, The Band Feel, Paralandra and many more.
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Among those joining Breaking Benjamin on night two at the Rockin’ Red Dirt Ranch Festival Grounds will be: Three Days Grace, Knocked Loose, Rage Against the Machine guitarist and solo performer Tom Morello, Starset, Citizen Soldier, Ayron Jones, Drowning Pool, 10 Years, Return to Dust, Zero 9:36, Fan Halen, Fox N’ Vead and others.
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Night three will pair Shinedown with 311, Iron Maiden singer Bruce Dickinson, Flyleaf with Lacey Strum, The Struts, Of Mice & Men, Sunami, Barbarians of California, The Funeral Portrait, Mike Tramp’s White Lion, Chained Saint and Wargasm UK, among others. There will also be a Thursday Night Throwdown kick-off concert with sets from Twisted Sister singer Dee Snider, along with Trixter, Sebastian James, Rocket Science and Crimson Love.
Tickets for the festival will go on sale on Friday (Feb. 28) here.
Last year’s Rocklahoma featured sets from Avenged Sevenfold, Disturbed, Slipknot, Evanescence, A Day to Remember, Lamb of God, Halestorm, Skillet, Mastodon, Clutch, Kerry King, Coal Chamber and a reunited Anthrax.
Check out the full Rocklahoma 2025 Festival lineup below.
Rema, Ayra Starr and Tems are among the top nominees for the 2025 Headies Awards, a pan-African music awards event set for April 5 in Lagos, Nigeria. This will mark the show’s return to Africa after holding its last two ceremonies in Atlanta. The Headies Awards will be livestreamed on YouTube (U.S.) and Hip TV (Nigeria).
Odumodublvck is the top nominee with eight nods. Rema and Ayra Starr each received seven. Tems, Shallipopi and Kizz Daniel each have six.
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Wale, Skepta, Chris Brown, Travis Scott and Chloe Bailey are vying for international artist of the year.
“We are so excited about this year’s Headies Awards,” Ayo Animashaun, executive producer and founder of The Headies, said in a statement. “Our stellar lineup features dynamic artists from around the globe who have impacted their audience and the industry.”
To mark its return to Africa, The Headies Awards introduces The Headies Festival with a series of activities showcasing the best of Afrobeats and hip-hop music, entertainment and culture. The event schedule will commence on March 29, featuring events such as The Headies Stakeholder Brunch, Official Nominees Party, U.S. Consulate Reception and Afrobeats Conference and will climax with the Headies Awards ceremony.
The Headies Awards, originally called the Hip Hop World Awards, was established in 2006 by the Hip Hop World magazine of Nigeria to recognize outstanding achievements in the Nigerian music industry.
Only music materials released and distributed on digital streaming platforms, and physical music media within the eligibility period (April 1, 2023, to July 31, 2024) were considered for nominations.
Here’s the complete list of nominations for the 2025 Headies Awards. For more details, visit https://theheadies.com.
Artiste of the year
Davido
Ayra Starr
Asake
Rema
Tems
Burna
Song of the year
“Showa” – Kizz Daniel
“Commas” – Ayra Starr
“Egwu” – Chike and Mohbad
“Lonely at the Top” – Asake
“Ozeba” – Rema
“Big Baller” – Flavour
Album of the year
Born in the Wild – Tems
Heis – Rema
The Year I Turned 21 – Ayra Starr
Stubborn – Victony
Work of Art – Asake
Rookie of the year
Zerry Dl
Taves
Kaestyle
Llona
Best recording of the year
Tems – “Burning”
Seyi Vibez – “Different Pattern”
Burna Boy – “Higher”
Ayra Starr & Giveon – “Last Heartbreak Song”
Sarz featuring Lojay – “Billions”
Best vocal performance (female)
Ayra Starr – “Last Heartbreak Song”
Niniola – “Level”
Simi – “Stranger”
Liya – “I’m Done”
Tomorrow – “Yemi Alade”
Best vocal performance (male)
Lojay – “Billions”
Omah Lay – “Moving”
Anendlessocean – “Gratitude”
Johnny Drille – “For You”
Timi Dakolo – “Ke Na Ke So”
Best collaboration
“Emotions” – Tiwa Savage Feat. Asa
“Blood on the Dance Floor” Odumodublvck, Bloody Civilian and Wale
“Cast” – Shallipopi feat. Odumodublvck
“Egwu” – Chike and Mohbad
“Ole” – Qing Madi and Bnxn
“Twe Twe” Remix – Kizz Daniel and Davido
“IDK” – Wizkid feat. Zlatan
International artiste of the year
Wale – “Blood on the Dance Floor” (Odumodublvck)
Skepta – “Tony Montana” (feat. Portable)
Chris Brown – “Hmmm” (feat. Davido)
Travis Scott – “Active” (Asake)
Chloe Bailey – “Vision” remix (Qing Madi)
Music video of the year
“Charm” – Rema (Rema X Perliks X Folarin Oludare)
“Metaverse” – Olamide (Jyde Ajala)
“Like Ice Spice” – Blaqbonez (Perliks & Emeka Shine Shine)
“Ojapiano” – Kcee (Mattmax)
“Egwu” – Chike & Mohbad (Director Pink)
“Showa” – Kizz Daniel (Tg Omori)
“Na Money” – Davido feat. Cavemen, Angelique Kidjo (Dammy Twitch)
Songwriter of the year
Simisola Kosoko – “Stranger” (Simi)
Chimamanda Pearl Chukwuma – “Vision” (Qing Madi)
Michael Ajuma Attah – “Can’t Breathe” (Llona)
Emoseh Khamofu – “Family Meeting (Bloody Civilian)
Fuayefika Maxwell – Stages of Life” (Wizard Chan)
Producer of the year
Sarz – “Happiness”
London – “Ozeba”
Magicstick – “Basquiat”
Rema/Producer X/Cubeatz/Deatz/Kilmberboy – “Hehehe”
Dibs – “Different Pattern”
Best R&B single
Qing Madi – “Vision”
Johnny Drille – “For You”
Simi – “Stranger”
Tems – “Burning”
Ayra Starr – “Last Heartbreak Song” feat. Giveon
Best rap single
“Cast” feat. Odumodublvck – Shallipoppi
“Blood on the Dance Floor” feat. Bloody Civilian & Wale – Odumodublvck
“Hallelujah” – Ladipoe, Rozzz & Morrelo
“Canada” – Magnito
“Ije Nwoke” – Jeriq
Best street-hop artiste
Seyi Vibez – “Different Patterns”
Ayo Maff – “Dealer” (feat. Fireboy Dl)
Shallipopi – “Cast” (feat. Odumodublvck)
Zhus Jdo – “Johnbull”
Mohbad – “Ask About Me”
Afrobeats single of the year
“Big Big Things” – Young Jonn feat. Kizz Daniel and Seyi Vibez
“Twe Twe Remix” – Kizz Daniel
“Egwu” feat. Mohbad – Chike
“Remember” – Asake
“Ogechi” remix – Hyce, Boypee, and Brown Joel feat. Davido
“Big Baller” – Flavor
Lyricist on the roll
Mogadishu – A-Q
Chocolate City Cypher – M.I Abaga
Chocolate City Cypher – Blaqbonez
Hallelujah – Ladipoe
Efeleme – Alpha Ojini
Best inspirational single
“Gratitude” – Anendlessocean
“Worthy of My Praise” – Dunsin Oyekan feat. Lawrence Oyor
“Good God 2” – Limoblaze feat. Naomi Raine
“Particularly” – Gaise Baba feat. Tope Alabi
“You Do This One” – Mercy Chinwo
Headies’ viewers’ choice
“Big Big Things” feat. Kizz Daniel and Seyi Vibez – Young Jonn
“Ogechi” remix feat. Davido – Hyce, Boypee, And Brown Joel
“Egwu” – Chike & Mohbad
“Showa” – Kizz Daniel
“Different Pattern” – Seyi Vibez
“Ozeba” – Rema
“Love Me Jeje” – Tems
“Cast” feat. Odumodublvck – Shallipopi
“Dealer” feat. Fireboy Dml – Ayo Maff
“Big Baller” – Flavour
Best West African artiste of the year
Black Sherif (Ghana) – “January 9th”
King Promise (Ghana) – “Terminator”
Himra (Ivory Coast) – “Coulibaly & Diabaté”
Josey (Ivory Coast) – “Venez Bouger”
Toofan (Togo) – “Tone”
Best East African artiste of the year
Bien (Kenya) – “Wahala”
Diamond Platnumz (Tanzania) – “Mapoz”
Juma Jux (Tanzania) – “Enjoy”
Bruce Melodie (Rwanda) – “When She’s Around”
Azawi (Uganda) – “Masavu”
Best North African artiste of the year
Mohamed Ramadan (Egypt) – “Arabi”
Elgrande Toto (Morocco) – “Maghribi”
Soolking (Algeria) – “Tiki Taka”
Balti (Tunisia) – “Dima Mechi”
Abu (Eygpt) – “Hollela”
Best Southern African artiste of the year
Titom (South Africa) –“Tshwala Bam”
Yuppe (South Africa) – “Tshwala Bam”
Tyla (South Africa) – “Water”
Kelly Kay (Malawi) – “Bana Pwanya”
Plutonio (Mozambique) – “Acordar”
Zee Nxumalo (South Africa) – “Thula Mabota”
Best Central African artiste of the year
Innoss’b (DRC) – “Sete”
Gaz Mawete (DRC) – “Dendisa”
Emma’a (Gabon) – “Biso Mibale”
Eboloko (Gabon) – “Satanana”
Singuila. (Central African Republic) – “Sin Saison”
Kocee (Cameroun) – “Credit Alert”
Best rap album
Sideh Kai – Illbliss
Eziokwu – Odumodublvck
Alaye Toh Se Gogo Vol. 1 – Reminisce
Family Time – Erigga
Shiny Object Syndrome – Modenine
Soundtrack of the year
Eledumare – Teledalese (Anikulapo: Rise of the Spectre)
Lose to Gain – Kaline (Breath of Life)
Kill Boro – Native Filmworks & Wizard Chan (Kill Boro)
Orisa – Beriola (Orisa)
Emotions – Tiwa Savage & Asa (Water and Garri)
Tribe Called Judah soundtrack – TCJ & Abbey Wonder (A Tribe Called Judah)
Next rated
Qing Madi
Shallipopi
Odumodublvck
Ayo Maff
Nasboi
Afrobeats album of the year
Stubborn – Victony
Work of Art – Asake
The Year I Turn 21 – Ayra Starr
Heis – Rema
Jiggy Forever – Young Jonn
Best performer (live)
Rema – Ravage Uprising: Rema Live From The O2, London
Omah Lay – Live at L’olympia Paris
Flavour – Celebrating You 2023
Wizard Chan – Live in Concert Port Harcourt
Burna Boy – African Giant Live From London
Femi Kuti & The Positive Force – Nuits De Fourvière (Arte Concert)
Digital artiste of the year
Ayra Starr
Rema
Shallipopi
Tems
Davido
Kizz Daniel
Asake
Special recognition
Kingsley Chinweike Okonkwo A.K.A Kcee
Frances Tiafoe never considered himself to be a Swiftie. But after the world’s No. 18-ranked tennis pro met Taylor Swift at a Kansas City Chief’s game at Arrowhead Stadium last November — where the singer was cheering on her boyfriend KC tight end Travis Kelce — he came away super impressed, and seemingly pretty buzzed.
In an interview with Tennis TV this week, Tiafoe revealed that not only is Taylor a great hang, she can also toss ’em back like a pro. “We go into this suite, and the first person we see in this suite is Taylor,” Tiafoe, 27, said of the game he attended with his girlfriend, Ayan Broomfield.
“We were drinking all day together. She was so cool. One of the most humble people for who she is. Super down to earth. Hopefully, we can do that again,” Tiafoe said, admitting he wasn’t a big fan of the singer before they met. “It’s crazy because, you know like, I’m not even saying I’m a Swiftie, but like, I appreciate greatness so much,” he admitted. “Seeing how cool she was, she’s got my ultimate respect.”
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Not only did they enjoy a few beverages, but singer/songwriter/actress/baker Swift also impressed Tiafoe by being “very knowledgable” about tennis, he said, noting that the singer told him she’d wanted to see him play in the final at last year’s U.S. Open, which he narrowly missed after losing in five sets to fellow American Taylor Fritz.
“And she was like, ‘Trav loves you,’” he added.
After wrapping her historic Eras Tour in December, and falling to the Eagles in this month’s Super Bowl LIX, Swift and Kelce, respectively, are seemingly taking some well-deserved time off to recharge.
Tate McRae is having a moment. With her latest album, So Close To What, surging toward the top of the Billboard 200, the singer-songwriter stopped by The Tonight Show Starring Jimmy Fallon on Tuesday (Feb. 25) to reflect on her whirlwind year.
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During her chat with Fallon, McRae reflected on her first time performing with boyfriend and fellow singer, The Kid Laroi, who appears on her new album, as well as the shock of discovering her entire project had leaked weeks before release.
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McRae and Laroi’s collaboration, “I Know Love,” marks their first official duet, but the singer admitted to Fallon that singing together didn’t come as naturally as some might expect.
“It was a little nerve-wracking,” she told Fallon. “I mean, the first time we ever sang in front of each other was actually at my MSG show last year.”
She described the awkwardness of rehearsing for that moment. “You just, like, fake sing in front of each other all the time,” she said. “So, like, even when we were at our show last year, we were sitting in soundcheck like, ‘Are you going to sing first?’”
McRae laughed as she recalled their time in the studio together. “It was the same kind of situation in the studio. I was just like, ‘Can you, like, not listen?’”
Beyond the excitement of her new album and collaboration, McRae also opened up about a nightmare scenario for any artist—her album leaking weeks before its official release. “I was sitting in the bathtub, and I get a DM from one of my fans, and they were just like, ‘Here’s the link to the whole album,’” she revealed. “And it was like five weeks till the album was gonna drop.”
“I call my mom, call my therapist,” she admitted. “I mean, it’s just hard because I feel like it takes away all your control as an artist. You want to deliver your art exactly how you want it to come out.”
Despite the setback, McRae took the situation in stride. “I feel like we turned it around and added some more songs,” she said. “I think that’s the only thing you can really do in a situation like this, is just take advantage of it.”
Fallon then shifted gears, bringing up an unexpected feature on the album—Sydney Sweeney’s surprise cameo on So Close To What track “Miss Possessive.” “I was in Pilates and ran into Glen Powell,” McRae explained. “He was like, ‘Oh my God, I was just talking about you with Sydney Sweeney!’”
To her shock, Powell pulled out his phone to reveal that Sweeney had sent him a voice memo about McRae. “Sydney was like, ‘I’m obsessed with Tate McRae!’”
That moment led to McRae recruiting the Euphoria star for a voice cameo. “So, I got her to be on the song!” she said.
Millie Bobby Brown knows what it’s like to grow up under a microscope after catapulting to fame for her role in Netflix’s Stranger Things, so it’s no surprise she once felt a connection to pop icon Britney Spears, who also found herself navigating worldwide stardom as a teenager.
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While Brown has expressed interest in portraying the pop icon previously, she’s now making it clear: Spears’ story is one only Spears herself should tell.
Speaking at the Los Angeles premiere of The Electric State on Feb. 24, Brown revisited whether she’d like to play Spears in an upcoming biopic in an interview with Access Hollywood. “I mean, she is an absolute icon. I would love nothing more than to be a part of her story,” Brown said. “But that’s her story, and I am in full support of her bringing her story to life how she wants to.”
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Brown’s comments come after a 2022 appearance on The Drew Barrymore Show, where she first revealed that her “dream role” would be playing Spears on screen. At the time, she explained why she felt connected to the singer’s journey.
“Growing up in the public eye, watching her videos, watching interviews of her when she was young… I see the scramble for words,” she told Barrymore. “And I don’t know her, but when I look at pictures of her, I feel like I could tell her story in the right way — and hers only.”
The response from Spears was swift. The following day, the “Toxic” singer took to Instagram with a post many assumed was directed at Brown. “I hear about people wanting to do movies about my life… dude, I’m not dead!!!” she wrote.
Since then, Spears has taken control of her own narrative. Universal Pictures secured the rights to her best-selling memoir The Woman in Me and announced in August 2024 that a biopic was officially in development, directed by Wicked filmmaker Jon M. Chu.
Spears herself confirmed the news, writing on X, “Excited to share with my fans that I’ve been working on a secret project with #MarcPlatt. He’s always made my favorite movies … stay tuned.”
Meanwhile, The Electric State, Brown’s latest film, arrives on Netflix on March 14.
Just weeks after confirming a reunion tour, Rilo Kiley have expanded their tour and announced a new compilation album.
After having their plans for a reunion tour announcement prematurely leaked due to an early reveal of the lineup to California’s Just Like Heaven festival, Rilo Kiley officially confirmed their comeback in early February by detailing a ten-date run of U.S. shows.
“It’s going to be wonderful for us, like going back to the purest version of yourself, that early 20s place where everything is possible,” explained vocalist Jenny Lewis. “You’re in a van and Jason’s got the map, Pierre is behind the wheel, and I’m on the shitty acoustic guitar on the bench seat working out a new song with Blake. I don’t think it’s ever been as good as that, when it was just us against the world.”
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Dubbed the Sometimes When You’re On, You’re Really Fucking On Tour in honor of their track “A Better Son/Daughter,” the tour’s announcement also came accompanied by word the band would be reissuing their second album, The Execution of All Things. This new version – subtitled the Frozen Lake Edition – will arrive via Saddle Creek Records on April 25.
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Now, the band have expanded their plans further, continuing their reunion with an additional series of shows in September. Expanding their original run with an extra date in Seattle on May 24, Rilo Kiley will reconvene after summer and perform 13 shows throughout September. Few support acts have been announced for the upcoming gigs, with the band’s May date at Colorado’s iconic Red Rocks Amphitheatre seeing them joined by Julien Baker and Torres, and their performance at Raleigh’s Red Hat Amphitheater featuring the Mountain Goats.
“Planning this reunion over these past months has been like reconnecting with family. We haven’t missed a beat,” bassist Pierre de Reeder said in a statement. “The stakes are only to have a good time, to revel in this nostalgia. Getting to revisit and celebrate the music from that special time of our lives while experiencing it alongside a lot of people that lived it with us back when, and new folks alike.”
The new dates have also been paired news of a new greatest hits-style compilation album, with That’s How We Choose to Remember It scheduled to arrive via Saddle Creek on May 9.
Rilo Kiley first formed in 1998 with actress and musician Lewis joined by Reeder, guitarist Blake Sennett and drummer Dave Rock. Jason Boesel would replace rock in 2001.
The group rose to fame throughout the ’00s, releasing a total of four albums, including their 2001 debut Take Offs and Landings and its 2002 follow-up The Execution of All Things. While 2004’s More Adventurous would give them their debut on the Billboard 200 (albeit at No. 161), 2007 album Under the Blacklight was their most commercially successful, reaching No. 22 on the charts.
The group would play their final show in June 2008, later announcing they had embarked upon a hiatus. In 2013, however, it was confirmed they had in fact disbanded. During their hiatus, Lewis focused on her solo career, releasing a total of four albums since 2008, and reuniting with The Postal Service for shows in 2013 and 2023.
Rilo Kiley – Sometimes When You’re On, You’re Really Fucking On Tour Dates
May 5 – Fremont Theatre, San Luis Obispo, CAMay 7 – Libbey Bowl, Ojai, CAMay 10 – Just Like Heaven, Pasadena, CAMay 12 – The Van Buren, Phoenix, AZMay 14 – Red Rocks Amphitheatre, Morrison, COMay 16 – Kilby Block Party, Salt Lake City, UTMay 17 – Treefort Music Fest, Boise, IDMay 19 – Center for the Arts, Jackson, WYMay 21 – Commodore Ballroom, Vancouver, BC, CanadaMay 23 – McMenamins Grand Lodge, Portland, ORMay 24 – Chateau Ste. Michelle, Seattle, WASeptember 3 – College Street Music Hall, New Haven, CTSeptember 4 – The Met Philadelphia, Philadelphia, PASeptember 7 – MGM Music Hall at Fenway, Boston, MASeptember 8 – SummerStage @ Central Park, New York, NYSeptember 10 – The Anthem, Washington, DCSeptember 11 – Roxian Theatre, Pittsburgh, PASeptember 13 – Bourbon & Beyond, Louisville, KYSeptember 16 – Palace Theatre, Saint Paul, MNSeptember 17 – The Astro, La Vista, NESeptember 21 – Sing Out Loud Festival, St. Augustine, FLSeptember 23 – The Pinnacle, Nashville, TNSeptember 24 – Red Hat Amphitheater, Raleigh, NCSeptember 26 – The Eastern, Atlanta, GA
Drake has called off the remaining dates of his current tour of Australia and New Zealand.
News of the postponement comes just hours after the OVO rapper wrapped up a performance in Brisbane, which itself took place alongside swirling rumors of an impending premature end to the trek.
On the afternoon of Wednesday, Feb. 26 (Australian time), it was confirmed that Drake has indeed axed the remaining dates of his tour Down Under.
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Per Rolling Stone AU/NZ, a statement from the musician’s representatives has confirmed the remaining four shows on his sold-out 16-date Anita Max Win Tour have been axed due to a “scheduling conflict”. The rep added, “We are actively working on rescheduling these dates along with adding some additional shows.”
“All tickets for the affected shows will remain valid for the new dates,” the statement continued. “Refunds will be available for those who prefer, but please note that as these shows are sold out, any refunded tickets will be released for sale.
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“We sincerely apologize for the inconvenience and appreciate your patience. Drake and the entire team have had an incredible time doing these shows and are excited to return soon. We look forward to sharing the rescheduled dates with you as soon as possible.”
Drake’s Australian tour launched on Feb. 4 with two nights in Perth, and was followed by four shows each in Melbourne and Sydney, and an additional two dates in Brisbane. Further shows in Sydney and Brisbane were planned for next week, with an already-postponed pair of dates in Auckland, New Zealand scheduled for mid-March. The tour was Drake’s first visit to both Australia and New Zealand since 2017.
The run of dates has also been making headlines thanks to the 6 God’s generosity towards fans during his concerts. He previously handed out $20,000 to a pair of fans in Perth, gave $45,000 to some OVO faithful in Melbourne and upgraded a pregnant fan to VIP in Sydney and blessed her with $30,000 ahead of her baby’s arrival. Most recently, he promised to look after the cancer treatment of a fan’s mother while in Brisbane.
The Anita Max Win Tour is named after a viral moment from Drake’s December 2023 livestream on Kick, where he introduced a new “alter ego” named Anita Max Win. The name is a playful pun on the gambling phrase “I need a max win,” referring to hitting the maximum payout on a slot machine.