State Champ Radio Music
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About three decades later, Common is thanking Fat Joe for saving his life. The Chicago rapper joined Joe & Jada earlier this week, where he recalled shooting a commercial in the mid-’90s on the West Coast when an altercation nearly broke out amid his feud with Ice Cube and Mack 10.
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“That man really saved my life. I was out on the West Coast with one of my guys I knew and he just wasn’t happy with the whole Mack 10 [and] Ice Cube beef that we had,” he said.
Essentially, one of Common’s friends escalated a situation, and before it crossed the line, Fat Joe stepped in to smooth things over — at least for Common.
“It’s not cuz Fat Joe is tougher than anyone. I literally begged for your life. I literally got in the middle, ‘He’s my friend, he’s my brother,’” Joe recalled. “They finally saw him on their soil and they was talking crazy and I was like, ‘This is literally my brother and I was begging them.’ It was the serious ones … Basically, I stood in the middle. It was over after that day.”
Common confirmed the beef was squashed from his side from that point forward and compared Joe’s intervention to a scene straight out of a movie.
“You settled that. I’m like, ‘Man, we in California, don’t start nothing.’ They already wanted a piece on me no matter what,” he explained. “My guy out there going off. I knew it was [Joe] that said, ‘This can’t happen.’ … That’s when Fat Joe the gangsta, this n—a here because he was straight up like, ‘You can’t do that to my man.’ It was like one of them movies, Goodfellas.”
Common etched his name in rap history with his acclaimed and scathing diss track “The Bitch in Yoo,” which was released in 1996 and took aim at Ice Cube, raising tensions with the West Coast.
During a 2020 interview with DJ VLAD, Mack 10 rehashed the near-altercation with Common and reiterated that Fat Joe stepped in to smooth things over. “Common is all right. Ain’t nobody got no issues,” Mack said. “Everybody grown. We done seen each other a million times since then.”
Watch the Joe & Jada episode with Common below. Talk about saving Common’s life begins just short of four minutes.
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While many Billboard radio airplay stories focus, rightly enough, on which artists and songs are topping the charts, this week’s Adult R&B Airplay survey (dated Nov. 1) contains a potentially historic development at the anchor spot, No. 30, thanks to Xania Monet’s “How Was I Supposed to Know?”
What’s the difference between that song and the other 103 titles that have made the chart this year alone? Xania Monet (first name pronounced “zha-NI-ah,” rhyming with Shania, as in Shania Twain) is an AI-driven artist, the product of a poet named Telisha Jones, and her song’s chart arrival marks the first known instance of an AI-based act to earn a spot on a Billboard radio chart. The move also represents another step in the evolving relationship between AI tools and creators and the music industry.
“How Was I Supposed to Know?” begins on the Adult R&B Airplay chart through its plays at panel-contributing adult R&B radio stations in the United States. It improved 28% in plays for the tracking week of Oct. 17-23 compared to its Oct. 10-16 total, according to Luminate. In that window, 15 of the chart-contributing adult R&B radio stations played the song, according to Mediabase, among 57 total reporters.
The song first generated public attention as a viral track on TikTok and other social media platforms. Social growth extended to streaming services and digital retailers, prompting the song’s No. 1 debut on the R&B Digital Song Sales chart dated Sept. 20 and a No. 20 start on the multimetric Hot R&B Songs chart a week later. As awareness spread, the song and its creator ignited a discourse of both supportive and opposing perspectives, with SZA and Kehlani among the most prominent opponents.
Billboard reached out to several stations’ programming and music directors to seek comment on the song, artist and surrounding industry discussions, but none replied to our inquiries.
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For a creative situation only possible thanks to futuristic technology, a focus on radio promotion may seem an old-school approach. The team surrounding Monet, however, views it as a no-brainer. “We look at everything as a complete package,” says Romel Murphy, who manages Monet. “If you had a, let’s say, traditional, artist and were a label and marketing executive, radio would be a piece of the promotion strategy. We’re interested in bringing the music to as many people as possible.” To that end, Murphy says a full radio push is part of the equation. “Our goal is to continue to grow, continue to connect and hopefully get to No. 1.”
While Monet has generated the bulk of discussion, she isn’t the only AI-driven act making an impact on Billboard’s charts. The Emerging Artists chart has become a home for these budding acts, with several landing on various rankings the last few weeks.
Now, those concrete examples indicate the growing likelihood of AI-driven artists as a major industry transformation.
Still, Murphy asks observers to assess from a music-first perspective. “Be it a radio programming director, be it a music fan, be it our peers, colleagues, artists,” he says, “just listen to the songs. Listen to the lyrics. And then make your judgment.”
Trending on Billboard “Golden” from KPop Demon Hunters is back on top of the U.K. Singles Chart on Friday (Oct. 31), and brings Taylor Swift’s No. 1 run with “The Fate of Ophelia” to a close after three weeks. Explore See latest videos, charts and news The song, taken from the Netflix smash film, is […]
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Taylor Swift has been toppled from the summit of the U.K. Albums Chart by British rapper Dave on Friday (Oct. 31) following a massive opening week for his third LP The Boy Who Played the Harp.
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Swift’s The Life of a Showgirl broke numerous records in its opening week on the U.K.’s Official Albums Chart and held the spot for three consecutive weeks following its release on Oct. 3.
Now London-born Dave has secured the top spot for the third time in his career by notching 73,800 U.K. chart units over the past seven days, making it the second biggest opening week for a British album this year, behind Sam Fender’s People Watching (110,000) and ahead of Olivia Dean’s The Art of Loving (53,000). It’s the fourth biggest opening week overall of 2025 so far, placing behind Swift’s The Life of a Showgirl, Fender and Sabrina Carpenter’s Man’s Best Friend.
Dave first hit the No. 1 spot in 2019 with Psychodrama and again in 2021 with We’re All Alone in This Together. His new LP, The Boy Who Played the Harp, was announced just weeks before its release and featured no singles in the rollout. The record features guest appearances from James Blake, Jim Legxacy, Tems and Kano, and will be supported by a U.K. arena tour in 2026.
The Life of a Showgirl falls two places to No. 3, and Swift has also lost the top spot on the U.K. Official Singles Chart with lead single “The Fate of Ophelia” to KPop Demon Hunters’ “Golden.”
As he celebrates his return to touring, Bon Jovi celebrates finishing at No. 2 with a new edition of 2024 LP, Forever. The Legendary Edition features duets with Bruce Springsteen, Robbie Williams, Avril Lavigne and Lainey Wilson. The band will perform a number of stadium shows, including two at London’s Wembley Stadium, next June.
Lily Allen’s searing West End Girl LP has been the talk of the town as she examines the breakup of a marriage, widely assumed to be informed by her separation from Stranger Things star David Harbour. Her first LP in eight years, West End Girl closes the week at No. 4 – her highest placing in more than a decade – and she’ll tour the album in full at a run of U.K. theaters in 2026.
Olivia Dean’s The Art of Loving finishes the week at No. 5 on the U.K. charts, although it remains in the top 10 of the Billboard 200 this week at No. 7.
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While Tyla is dripping in “Chanel” on her latest designer single, the South African star is making movies on the dancefloor with MOLIY on “Body Go” and holding onto remnants of a past relationship with Lojay on “Memories.”
And there’s no stopping what’s coming from Mavin’s golden children Ayra Starr and Rema on their hypnotic collab “Who’s Dat Girl,” which debuted at No. 3 on U.S. Afrobeats Songs this week (chart dated Nov. 1). The single arrives less than one month after Rema popped out as a surprise guest during Starr’s performance at this year’s Global Citizen Festival, where they duetted on Rema’s “Baby (Is it a Crime)” single from earlier this year and his 2022 international smash “Calm Down,” with Starr filling for Sade’s and Selena Gomez’s parts, respectively.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.
Lojay & Tyla, “Memories”
Lojay and Tyla cosplay as exes who are hesitant to let go of their haunted “Memories” of each other on this tantalizing highlight track from the former’s debut album XOXO. But their mellifluous “Eh-la-la-lo, eh-le-ah-no-ah” harmonies sound like a subtle hint that they’re still meant to be together. The Lagos loverboy reunites with his “Monalisa” collaborator, Afrobeats hitmaker Sarz, who brings his Sarz Academy protégé Twitch along for the duet’s sensual Afropop production.
MOLIY & Tyla, “Body Go”
Whether you’re in the back of the cab or in a “section full of baddies” at the club, MOLIY and Tyla command you to “dance, whine your body, go down” on their dancefloor filler. The infectious waist-whining rhythm of “Body Go” complements its come-hither lyricism. Months after releasing her U.S. Afrobeats Songs No. 1 “Shake It To The Max (Fly)” remix, the Ghanaian star continues to seize her moment.
Ayra Starr & Rema, “Who’s Dat Girl”
Mavin’s marquee stars Ayra Starr and Rema burn brighter together on their “Who’s Dat Girl” banger. Starr flaunts her It-girl status with poise, while Rema’s rapid-fire flow momentarily steals the spotlight from her – only for listeners to realize he’s spending his whole verse gassing up the gyal. And Ragee and The Elements’ dancehall-inspired and Middle Eastern-influenced production gives “Girl” a multicultural edge.
Young Jonn, “Full Control”
Young Jonn is giving up “Full Control” of his body tonight on his sleek and sultry single, which arrives ahead of his upcoming sophomore album Blue Disco. Producer Yung Willis’ electronic flourishes and subdued log drums help soundtrack Jiggy’s late-night rendezvous. “This one is about owning your space and moving with confidence. After so many collaborations, I wanted to drop something that’s purely me – my energy, my vision, my vibe,” he said in a press release about “Full Control,” which debuted at No. 42 on U.S. Afrobeats Songs.
Boj & Anaïs Cardot, “After Hours”
After delivering gorgeous verses on Asake’s “My Heart” and Wizkid’s “Slow” last year, French Gabonese singer Anaïs Cardot lends her lithe, featherlight vocals once more on Boj’s “After Hours” single ahead of his upcoming album Duplicity. Their intimate exchange floats over Genio Bambino’s guitar-driven production, which softens into an old-school R&B synth loop for an extra touch of romance.
The Cavemen. feat. Pa Salieu, “Gatekeepers”
The high-life masters just released their new album, Cavy In the City, today (Oct. 31), and on this latest single they brought Gambian-British singer Pa Salieu along for the ride. His contribution to the laid back track is less, singing, less rapping, than it is spoken word, adding a contemplative element to a track that is an engaging groove in the context of the overall album. The duo also announced a series of European dates for early next year, where they’ll take the new record on the road.
Shallipopi feat. Gunna, “HIM”
Shallipopi has been on an incendiary run of late, and this time he taps Atlanta MC Gunna for a street-to-street linkup that manages to feel like it lives simultaneously in both artists’ worlds. Shalli has an extended verse to open the track, using his slinking yet confident delivery to set the tone, before Gunna comes through to flow over the Spanish-inflected guitar that animates the brooding beat. It somehow manages to seem like a commercial hit, even though it’s still rooted in the streets. Another high-quality addition to both catalogs.
Flavour & Baaba Maal, “Afroculture”
Flavour — who also produced this song — often has a very distinct style, and this track embodies that, with driving percussion, traditional vocals and classic instrumentation that delivers a largely instrumental intensity that is lush with its different stylings and insistent in getting in — and staying in — listeners’ heads. It’s almost breathless, and feels much shorter than its three-plus minute run time, even as it fits in an avalanche of elements to create its sound. A real triumph, and a joy.
Lil Kesh feat. Balloranking, “TTGG”
Lil Kesh is one of the best and most consistent artists on the scene right now, and his vocals are distinct from anyone else out there. He’s so adept at melody and crafting catchy hooks that his verses can often fly under the radar, but he’s truly well-rounded in so many different ways that each release of his is a must-listen. Balloranking slides through with a different style on his verse, but it fits well within Kesh’s world on this ode to finding ways to get through tough times (which is one way of putting it).
Joeboy & Shoday, “Ring”
Joeboy is an effortless vocalist, one of the true crooners in the Afrobeats scene, and this is a twist on his usual love song — finally, after playing around with a number of women, he’s met someone who makes him want to cut off all his relationships to dedicate himself to getting married to the woman of his life. Accompanied by a hilarious music video which shows all that drama coming home to roost, this is another ear worm in his ever-expanding catalog of catchy hooks and varied takes on love songs.
Billboard rounds up the highlights for one of the most uniquely presented gigs of the Foos’ decades-spanning career.
10/31/2025
Trending on Billboard Chris Jones is pledging allegiance to his teammate’s famous fiancée, and Taylor Swift is loving it. In a sweet moment from a recent press conference, the Kansas City Chiefs defensive tackle walked into the room with the pop star’s Billboard Hot 100-topping single “The Fate of Ophelia” blasting on his phone speaker. […]
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Offset unleashed his surprise Haunted by Fame project on Friday (Oct. 31), which appears to find him addressing Cardi B and Stefon Diggs’ relationship, along with his estranged wife’s pregnancy.
The not-so-subliminal shots at Cardi and the New England Patriots wide receiver come to close the first verse of the Coupe-produced “No Sweat.” Set essentially implies Cardi downgraded by trading Chicago Bulls star Michael Jordan for Dennis Rodman, who was more of a caffeinated role player.
“How the f—k you leave Jordan for Rodman/ You a fool if you think that I’m hurt/ You ain’t happy, I know how it work,” he raps.
He seemingly continues to blast Cardi for getting pregnant by the NFL player while their divorce still isn’t finalized. “How you married and still giving birth/ Get some help, b—h, you going berserk,” Set spews.
Billboard has reached out to reps for Cardi B and Offset.
Cardi B filed for divorce from Offset for a second time in July 2024. The Grammy-winning rapper and Migos member share three children. Cardi began dating the NFL star earlier this year, and went public with her relationship while sitting courtside at a Knicks game with Diggs in May.
“I fell in love. I got two rings [on] my finger. I lasted seven years,” she said of the relationship with Offset in September during an X Spaces. “Seven years that I didn’t have to last with somebody. I lasted seven years in a marriage. Stop saying, ‘Oh, but you’re still married.’ No, I’m legally separated.”
She also alleged at the time that it was her estranged husband’s demands holding up the divorce. “Y’all wanna know the tea?” Cardi said. “The only way I can get out of my marriage is if I pay for somebody else’s taxes — even though I pay for my own — and give them one of my properties.”
The Bronx native is expected to give birth to baby No. 4 in the coming months, and then she’ll be hitting the road for the Little Miss Drama Tour in February.
As for Offset, Haunted by Fame is his second album of 2025, after dropping Kiari in August. Releasing music on Halloween isn’t new for Set, who released Without Warning alongside Metro Boomin and 21 Savage in 2017.
Listen to Offset’s “No Sweat” below.
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Win Butler and Régine Chassagne of Arcade Fire have separated after 22 years of marriage, the band announced Thursday (Oct. 30).
In a statement posted to the Montreal rockers’ Instagram account, the longtime couple shared that “after a long and loving marriage, Win and Régine have decided to separate.”
“They continue to love, admire and support each other as they co-parent their son,” the message continued.
As for the group’s future, the bandmates wrote that their “bond as creative soulmates will endure, as will Arcade Fire.”
“The band send their love and look forward to seeing you all on tour soon,” the statement concluded.
The split comes after a long journey for Butler and Chassagne, who first met in 2001 at McGill University and formed Arcade Fire that same year. The pair tied the knot in 2003 and welcomed their son in 2013.
In 2022, Chassagne stood by her husband after he was accused of sexual misconduct by four people in a Pitchfork report. Butler confirmed at the time that he’d had extramarital relations with the people who came forward, but denied that any of them had been nonconsensual. He also apologized to “anyone who I have hurt with my behavior.”
“Win is my soulmate, my songwriting partner, my husband, the father of my beautiful boy,” Chassagne said in a statement at the time. “I know what is in his heart, and I know he has never, and would never, touch a woman without her consent, and I am certain he never did. He has lost his way and he has found his way back. I love him and love the life we have created together.”
Earlier this year, Arcade Fire dropped Pink Elephant, the band’s first album since the allegations came to light. In April, the group embarked on its Don’t Think About Pink Elephant Tour, which concluded the following month.
See Arcade Fire’s statement below.
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Count pop radio as the latest realm that Gwi-Ma can’t conquer.
The KPop Demon Hunters underworld villain proves no match for the approximately 150 radio stations that have lifted HUNTR/X to No. 1 on Billboard’s Pop Airplay chart, where the protagonist trio of Netflix’s record-breaking animated film reigns with its anthem “Golden.”
The song, on Visva/Republic, rises two spots to No. 1 on the Pop Airplay chart dated Nov. 8, up 9% in plays week-over-week Oct. 24-30. (Stations are monitored by Mediabase, with data provided to Billboard by Luminate.)
“‘Golden’ has truly become a defining pop moment, an instant lean-in, turn-it-up track,” says Alex Tear, vp of music programming for SiriusXM and Pandora. SiriusXM’s Hits 1, which reports to the Pop Airplay tally, has played the song more than 1,100 times since June.
Thanks to the movie’s wide reach, “There’s that immediate familiarity and big emotion that just hits,” Tear says of “Golden.” “It’s become part of our channel’s DNA — vibrant, global and built for pop radio.”
Mark Adams, vp of pop programming for iHeartMedia and program director of the chain’s flagship WHTZ (Z100) New York, became a fan of KPop Demon Hunters a day after its June 20 release. “My algorithm knows me well,” he says. “I watched it that Saturday morning and just kind of immediately got it. I thought the animation was terrific. I thought the music was extraordinarily catchy.”
Adams says that he didn’t hesitate when considering the pop radio appeal of “Golden,” whose lyrics cite certain plot points, which could either confuse listeners not versed in the film or draw them in further if they’re superfans (or, on Oct. 31, KPop candy hunters). “When I’m listening to tunes,” Adams muses, “I’m just listening — is there a hook? Is it a pop cultural moment?”
Adams shares that he was so taken by the film after watching it “that Monday I shared with the national team: ‘Hey guys, you may not have heard about this yet, but there’s this movie on Netflix and the songs are amazing.’ That first week on Z100, we spiked ‘Golden’ in. It wasn’t in heavy rotation, but a few times, as well as [HUNTR/X’s] ‘How It’s Done.’ ”
With Pop Airplay panelist WHTZ now more than 600 plays into “Golden,” KPop Demon Hunters songs “are strong on their own merit,” Adams says. “It wasn’t a really difficult push to convince programmers to realize that this is a real thing.”
Despite the movie’s immediate and enduring success, Adams notes that radio still serves a key role in helping ingrain hits in the pop consciousness. “I think it’s a little complicated,” he says. “Even as big a platform as Netflix is, you’re still dealing with that audience, and that isn’t everyone. That helps lay the groundwork for music discovery, but it still takes weeks and months of committed, consistent airplay to really break things to the masses.”
Plus, says Adams, “people crave human connection, having somebody say, ‘Hey, this is a song you should be paying attention to.’ People feel like they’re part of a community and they want to be part of that shared pop cultural moment. I think that’s what we excel at.”
Meanwhile, Hits 1 has played other KPop Demon Hunters songs, including Saja Boys’ “Soda Pop” and “Your Idol” (fine, Gwi-Ma gets that), furthering the connection between the film and pop radio. “Golden” spent eight weeks at No. 1 on the multimetric Billboard Hot 100 from mid-August through mid-October, while “Soda Pop” and “Your Idol” each hit the chart’s top five.
“We’ve been intentional about giving space to songs that cross borders and connect with our audience,” Tear says. “These tracks feel natural next to Taylor Swift, Alex Warren or Olivia Dean. We’re always looking for that global pop conversation. Listeners don’t hear boundaries, they just hear great songs.”
