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U.S. Senator Asks FCC to Stop Radio Stations From Exchanging Airplay for Free Concerts: ‘Payola’

U.S. Senator Marsha Blackburn (R-Tenn.) is asking the Federal Communications Commission (FCC) to take action to prevent radio stations from offering airplay to artists in exchange for performing free shows.

In a letter sent to FCC chairman Brendan Carr on Thursday (Jan. 30), Blackburn decried the alleged practice she says is “critically impacting Tennessee’s content creators,” branding it as “payola” — the practice of accepting payment in exchange for radio airplay without disclosing it.

“As you know, the FCC considers payola a violation of the Sponsorship Identification Rules,” Blackburn wrote. “From what we have learned, it appears that to sidestep these restrictions, radio stations and networks have adopted a troubling new tactic. Instead of demanding cash or lavish perks from record labels in exchange for airplay, they now pressure artists to perform ‘free radio shows’ — also referred to as ‘listener appreciation shows’ or ‘charitable concert events.’”

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She adds that radio stations “often receive the financial benefit of these shows through ticket sales, sponsorships, and other income while the artists and record labels frequently absorb the expense.”

Blackburn claims she has heard from artists in the industry who say “it is not unusual for them to perform anywhere from 10 to 50 such shows in any given year.” She adds that artists early in their careers tend to perform more but that “those that have had more success” are still often expected to perform free shows in exchange for airtime.

“This practice is exploitative and should not be tolerated,” the letter continues. “Federal law and FCC rules prohibit radio stations from receiving undisclosed compensation for broadcasting songs, and this principle must extend to free performances for radio stations and networks. Artists should not be extorted into providing free labor in exchange for airplay. I urge you to take swift action to end this abuse and protect our music community.”

A longstanding issue in the music industry, payola was first regulated by Congress in 1960 and later became the subject of a mid-2000s investigation by the New York Attorney General’s office that led to all three major labels paying millions in penalties and agreeing to reforms, including a vow not to use “commercial transactions…in an explicit or implicit exchange, agreement, or understanding to obtain airplay or increase airplay,” among other concessions.

Despite this, there has been ongoing concern in the industry and beyond about the continued effectiveness of these regulations. In 2019, then-FCC commissioner Michael O’Rielly asked the Recording Recording Industry Association of America (RIAA) to investigate allegations of payola. In 2022, several music executives met with the New York Attorney General’s office to complain that some independent promoters hired by labels had continued engaging in the practice.

According to Blackburn, whose state’s capital city of Nashville is the heart of the country music business, the alleged free concerts are simply payola in another form, writing that there’s “often an implicit suggestion that declining to perform could result in reduced airplay” — what she characterizes as “forced quid pro quo.”

You can read Blackburn’s letter in full below.

The Honorable Brendan Carr 

Chairman 

Federal Communications Commission 

45 L Street, NE 

Washington, DC 20554 

Dear Chairman Carr, Thank you for your leadership at the Federal Communications Commission (“FCC”). I am writing to bring attention to an issue critically impacting Tennessee’s content creators, particularly its songwriters and music community. 

Federal law prohibits radio stations from accepting payment for airtime without disclosing the transaction—a practice commonly known as “payola.”1 As you know, the FCC considers payola a violation of the Sponsorship Identification Rules. 2 

From what we have learned, it appears that to sidestep these restrictions, radio stations and networks have adopted a troubling new tactic. Instead of demanding cash or lavish perks from record labels in exchange for airplay, they now pressure artists to perform “free radio shows”— also referred to as “listener appreciation shows” or “charitable concert events.” 

We have heard the new scheme works in this manner: radio stations and networks offer more airtime for an artist’s songs if the artist performs a free show. There is often an implicit suggestion that declining to perform could result in reduced airplay. Radio stations and networks often receive the financial benefit of these shows through ticket sales, sponsorships, and other income while the artists and record labels frequently absorb the expense. 

This forced quid pro quo applies to essentially all artists, regardless of their level of success. Artists in the industry have told me that it is not unusual for them to perform anywhere from 10 to 50 such shows in any given year. Those just starting out in their career will often perform more, while those that have had more success will have to perform fewer, but they will still be expected to do them.

This practice is exploitative and should not be tolerated. Federal law and FCC rules prohibit radio stations from receiving undisclosed compensation for broadcasting songs, and this principle must extend to free performances for radio stations and networks. Artists should not be extorted into providing free labor in exchange for airplay. 

I urge you to take swift action to end this abuse and protect our music community. Thank you for your attention to this pressing matter. 

Sincerely, 

Marsha Blackburn 

United States Senator

Killer Mike Sues Security Firm Over 2024 Grammys Arrest: Report

Killer Mike has reportedly filed a lawsuit against the security firm that executed his arrest at the 2024 Grammy Awards in Los Angeles.

Per Rolling Stone, Killer Mike — born Michael Render — claimed that S & S Labor Force attempted to “degrade, embarrass and physically hurt” him during the arrest, which saw the Run The Jewels rapper escorted out of Crypto.com Arena on Feb. 4, 2024.

Filed on Monday (Feb. 3) in Los Angeles County Superior Court, Mike made claims of assault, battery, intentional infliction of emotional distress, and false arrest and imprisonment.

“Defendants wrongly caused plaintiff to be falsely arrested and had him placed in jail during the remainder of the Grammy Awards Ceremony,” the suit reportedly states. “Plaintiff was therefore deprived of the valuable opportunity to be present at the awards ceremony where he was scheduled to appear on primetime television in front of a huge international audience to appear and speak and be recognized on the telecast for his historic achievements.”

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S & S Labor Force called Mike’s legal allegations “unfounded” in a statement to Rolling Stone. The security company did not immediately respond to Billboard‘s request for comment.

Shortly after the arrest, sources close to Billboard relayed that the altercation stemmed from an issue with a Grammy Awards security guard over media access credentials outside the Peacock Theater where the pre-show was taking place.

The confrontation took place about an hour after Killer Mike won best rap album for Michael and best rap song for the track “Scientists & Engineers” with André 3000. During the scuffle, Mike allegedly shoved a female security worker, after which LAPD officers reported to the scene and handcuffed the rapper.

Killer Mike was charged with one count of misdemeanor battery and released without bail. However, the Los Angeles City Attorney decided not to pursue the charges.

“Even though plaintiff sought to explain the situation in a respectful way, defendants used physical force to invade plaintiff’s bodily autonomy, using hands to touch plaintiff’s person in a manner both offensive and harmful without any justification or provocation from plaintiff, and to restrain him against his will,” the suit continues.

Killer Mike is seeking damages for the incident.

In an appearance on V103’s Big Tigger Morning Show shortly after the 2024 arrest, Killer Mike downplayed the situation, which he called a “speed bump.” “I won a Grammy,” he said. “We party all night. Shout out to my record label. Ain’t nothing had happened, man. But we winners. That’s it.”

Kacey Musgraves Shuts Down Claims She Shaded Beyoncé at 2025 Grammys

Kacey Musgraves is stopping false rumors in their tracks regarding her reaction to Beyoncé‘s best country album win at the 2025 Grammys.

The “Rainbow” singer and Bey were two of several artists nominated for best country album at the awards show Sunday, for Deeper Well and Cowboy Carter, respectively. Ultimately, the prize went to the latter — as presented by a beaming Taylor Swift — and after capturing several seconds of the Destiny’s Child alum’s stunned reaction, cameras cut to Musgraves respectfully clapping in the audience at Crypto.com Arena.

Some fans, however, thought they detected sour feelings on the 36-year-old country star’s face — something a rep for Musgraves has now shut down in a statement shared with E! a day after the ceremony. “It’s a sensationalistic false narrative meant to pit two talented female artists against each other,” the spokesperson told the publication. “There was simply no scowl or expression made,” they added.

Musgraves may not have taken home best country album for Deeper Well — which reached No. 2 on the Billboard 200 in March last year, tying Same Trailer Different Park for her highest peak on the chart — but she did beat out Bey’s “Texas Hold ‘Em” for best country song, winning for “The Architect.” The win makes Musgraves an eight-time Grammy winner, with the singer/songwriter winning her first set of gramophones back in 2014.

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Meanwhile, Beyoncé’s three wins at the 2025 awards brings her Grammy count to 35, with the star expanding her record for the most awards of any artist. Her best country album victory made her the first Black artist to triumph in the category. Cowboy Carter also won for album of the year Sunday night, while Bey’s “II Most Wanted” duet with Miley Cyrus scored best country duo/group performance.

During her best country album acceptance speech, the “16 Carriages” vocalist reminded viewers that genre shouldn’t confine artists to one sound. “I think sometimes ‘genre’ is a code word to keep us in our place as artists,” she said. “I just want to encourage people to do what they are passionate about and to stay persistent.”

Killer Mike Sues Private Security Companies For Arresting Him At 2024 Grammys

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Killer Mike’s historic night at last year’s Grammy Awards was marred when he was arrested by a private security guard for misdemeanor battery, and now, the “Down By Law” artist is taking legal action for the incident and is suing the company that employed the guard that put the cuffs on him.

According to Variety, Killer Mike has filed a lawsuit against both S&S Labor Force, Inc. and JRM Private Security claiming that they falsely arrested him and added assault and battery along with other charges to his claim. In the suit, Killer Mike says that they had “no authority in law” to detain him and that he gave them absolutely “no reason” to suspect he had broken the law when they took him into custody after his historic night at the Grammy’s.

Per Variety:

“Despite Plaintiff’s multiple attempts to clarify his identity and purpose for being in that secured area and his direct need to access the red carpet area for scheduled public statements and to take photographs, Defendants refused Plaintiff any forward movement,” the lawsuit reads. “When Plaintiff sought to leave the area, Defendants physically assaulted and battered him to prevent him from leaving by grabbing his arm and telling him to remain there.”

The lawsuit notes that the Los Angeles City Attorney’s Office “declined to prosecute or charge” Mike following the altercation, therefore “recognizing [Mike] had not committed any criminal act.”

“Defendants knew, or in the exercise of reasonable diligence should have known, that there was no justification in law to detain or use excessive force against Plaintiff at a Grammy Awards ceremony meant to celebrate his work,” the lawsuit states. “Notwithstanding that knowledge, Defendants caused the false arrest and wrongful imprisonment of Plaintiff.”

Looks like Killer Mike has a slam dunk case on his hands and might walk away a richer man over said security guard’s transgressions. Then again, this is Trump’s Amerika again, so who knows how this one will pan out.

No word yet on what kind of damages Mike is seeking, but best believe it’ll be worth his time after that incident ruined what should’ve been the most memorable night of his life.

What do y’all think about this situation? Let us know in the comments section below.

Twice Indicted Trump Caves To Canada & Mexico On Three-Day Tariff War

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President Donald Trump’s tariff standoff with Canada and Mexico is on hold, with observers noting his agreement to deal with both contains elements that were already in place.

On Monday evening (February 3), President Donald Trump announced that he and Canadian Prime Minister Justin Trudeau had agreed to pause tariffs coming into each other’s nations after the two spoke by phone. In a post on his Truth Social media platform, Trump wrote: “Canada has agreed to ensure we have a secure Northern Border, and to finally end the deadly scourge of drugs like Fentanyl that have been pouring into our Country, killing hundreds of thousands of Americans, while destroying their families and communities all across our Country,” adding “I am very pleased with this initial outcome, and the Tariffs announced on Saturday will be paused for a 30 day period to see whether or not a final Economic deal with Canada can be structured.” Trump reached a similar pause agreement with Claudia Sheinbaum, Mexico’s president.

News of the pauses brought relief to the financial markets and American consumers who were stressed over the economic hit they would suffer if the tariffs went through. The only problem? Trump has agreed to deals on security measures that were mostly already in effect with both nations.

Concerning his deal with Canada, Trudeau announced that Canada was already implementing a border security force worth $1.3 billion to “ensure 24/7 eyes on the border”. According to journalist Mehdi Hasan in a post on X, formerly Twitter, “Trump got played again. Canada *already* has 8,500 frontline personnel at the border.” Trudeau and former President Joe Biden had struck a similar deal in December 2024 before Biden left office. Canada had also begun patrolling the border between it and the United States with Blackhawk helicopters and committed to a “fentanyl czar” and joint task force operations.

https://x.com/mehdirhasan/status/1886534635288715571

Trump and Sheinbaum came to their agreement earlier on Monday, three days after he announced the 25% tariffs to be placed on goods from both countries entering the United States, in addition to a 10% tariff on goods entering the country from China. While Sheinbaum promised that she would immediately send 10,000 soldiers to the border to prevent the trafficking of fentanyl, she announced in her press conference that Trump agreed to do more to prevent high-powered weapons from the U.S. from falling into the hands of drug cartels. There are already 15,000 Mexican soldiers stationed at the border with America.

Usher Offers Some Advice to Fellow Super Bowl Halftime Performer Kendrick Lamar

To no surprise, Usher brought his A-game to The Jennifer Hudson Show on Tuesday (Feb. 4). Skating his way onstage to raucous applause and shout-outs, the eight-time Grammy Award winner had plenty to talk about — including a key piece of advice he had for Super Bowl Halftime headliner Kendrick Lamar.

Having experienced his own historic moment as the star of last year’s Super Bowl halftime show, Usher reminisced with Hudson on what it felt like to be on that stage. “It’s the top of the top; the cream of the crop,” he said of his performance. “No matter how many stages you’re on, you’re never going to play for a bigger audience.”

The “Yeah!” singer continued, adding that he hoped Lamar would take a moment for himself during his much-anticipated performance. “The one thing that I would say is, savor the moment. You get obsessed in trying to build the best performance, but you don’t realize that it’s really about enjoying it, right?” he said. “My encouragement to him is to really be present. I hope that he uses the moment well. There’s a lot to be said for where hip-hop has come from. There’s a lot to be said for that young man and how he’s been an incredible benchmark for what it is to be an artist. I’m hoping that he really maximizes that moment.”

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Later in the show, two fans were given the chance to compete in “Usher’s Cherry Challenge,” in which whoever scored the most correct answers in a trivia contest won the chance of being fed a cherry by the R&B/pop legend himself. And of course, the audience went wild.

Rounding out the episode was a high-energy performance by the Southern University and A&M College marching band from Baton Rouge, Louisiana — who will also play at the Super Bowl pregame show.

Watch a clip of Usher’s appearance on The Jennifer Hudson Show below:

How to Get Affordable Tickets to Morgan Wallen’s I’m the Problem Tour Online

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After last year’s successful One Night at a Time Tour, the country superstar Morgan Wallen is back on the road for his 2025 I’m the Problem Tour in support of his upcoming album of the same name. The LP’s single “Love Somebody” recently hit No. 1 on Billboard’s Country Airplay chart.

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Meanwhile, some of the best and bright recording artists in country music are supporting Wallen on the tour as rotating opening acts, including Brooks & Dunn, Miranda Lambert, Thomas Rhett, Koe Wetzel, Gavin Adcock, Corey Kent, Ella Langley and Anne Wilson.

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Wallen kicks off the tour with Corey Kent and Koe Wetzel at NRG Stadium in Houston, Texas on Friday, June 20, while the trek ends with Ella Langley and Brooks & Dunn at Commonwealth Stadium in Edmonton, Alberta. Ticketmaster is the official ticketing distributer for the tour and currently has resale options for tickets starting at $166 (including various fees).

Scroll down to find the best tickets for Morgan Wallen’s I’m the Problem Tour online.

How to Get Morgan Wallen Tickets Online

To help you score tickets to Morgan Wallen online, we rounded up the best resale and third-party ticketing sites, such as StubHub, Vivid Seats, SeatGeek and more below:

StubHub

You can find Morgan Wallen tickets on StubHub for as low as $110 (as of this writing). Each order is backed by the online retailer’s FanProtect Guarantee that ensures valid tickets by the day of your event or your money back. Ticket options can be sorted by price and number needed, and you can use the venue map to choose exactly where you want to sit.

Vivid Seats

Morgan Wallen tickets on Vivid Seats start at $112 and you can use the site to sort ticketing options based on price, number of tickets, where in the venue you want to be, and whether it’s an instant ticket delivery or sold from the site’s “Super Seller.” Each purchase is also backed by the site’s Buyer Guarantee. Bonus offer: get $20 off orders of $200+ when you use the code BB30 at checkout.

SeatGeek

SeatGeek’s Morgan Wallen tickets are as low as $115 with each option rated on a scale of 1-10 based on how good of a deal it is. Tickets that are given a rating of a one are considered the worst deal, and tickets given a 10 are the best. When searching for tickets, you can also included estimated fees. For additional savings, first purchases can get $10 off orders of $250+ with the code BILLBOARD10 at checkout.

Gametime

For the cheapest last-minute Morgan Wallen ticket options, Gametime is a go-to destination where you can find Wallen tickets for as low as $100. Select ticket options are labeled either the “cheapest option” or the “best deal” and you can use the interactive map to pick where in the venue you’d like to sit. Looking to save more? You can score $20 off purchases of $150+ when you enter the code SAVE20 at checkout.

Moreover, you can save $150 off when you spend $500 with promo code BILLBOARD150, or $300 off when you spend $1,000 with promo code BILLBOARD300 at TicketNetwork.com.

Morgan Wallen Tour 2025 Dates

Check out Morgan Wallen’s upcoming tour dates below, or click here for more info.

  • May 16-May 18: Sand In My Boots Music Festival in Gulf Shores, Alabama
  • June 20: NRG Stadium in Houston, Texas
  • June 21: NRG Stadium in Houston, Texas
  • June 28: Camp Randall Stadium in Madison, Wisconsin
  • July 11: Hard Rock Stadium in Miami Gardens, Florida
  • July 12: Hard Rock Stadium in Miami Gardens, Florida
  • July 18: State Farm Stadium in Glendale, Arizona
  • July 19: State Farm Stadium in Glendale, Arizona
  • July 25: Lumen Field in Seattle, Washington
  • July 26: Lumen Field in Seattle, Washington
  • Aug. 01: Levi’s Stadium in Santa Clara, California
  • Aug. 02: Levi’s Stadium in Santa Clara, California
  • Aug. 15: Huntington Bank Field in Cleveland, Ohio
  • Aug. 16: Huntington Bank Field in Cleveland, Ohio
  • Aug. 22: Gillette Stadium in Foxborough, Massachusetts
  • Aug. 23: Gillette Stadium in Foxborough, Massachusetts
  • Sept. 04: Rogers Centre in Toronto, Ontario
  • Sept. 05: Rogers Centre in Toronto, Ontario
  • Sept. 12: Commonwealth Stadium in Edmonton, Alberta
  • Sept. 13: Commonwealth Stadium in Edmonton, Alberta

Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

Recording Academy & MusiCares Raised Over $24M for Charitable Activities During Grammy Weekend

The Recording Academy raised almost $9 million on Sunday (Feb. 2), the day of the 67th annual Grammy Awards, to aid in relief efforts related to the devastating wildfires that hit the Los Angeles area beginning on Jan. 7. Over the course of the entire Grammy weekend, the Recording Academy and MusiCares raised more than $24 million for charitable activities, according to an academy spokesperson.

The almost $9 million raised on Grammy Sunday will be split between MusiCares, Direct Relief, the California Community Foundation (CCF) and the Pasadena Community Foundation (PCF). Money raised at other Grammy Weekend events, such as the MusiCares Persons of the Year event honoring the Grateful Dead, will go to MusiCares’ ongoing initiatives to support music professionals in need. 

The partnerships with Direct Relief, CCF and PCF amplify the efforts of MusiCares Fire Relief, which the Recording Academy and MusiCares launched soon after the wildfire crisis began. All money raised will remain in the community and be used to aid those impacted.

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Attendees, viewers, music industry partners and corporate sponsors were encouraged to donate throughout Sunday’s telecast. All funds raised from the telecast will be used to support this new partnership, which will serve not only Los Angeles area music professionals but the broader needs of others impacted in the Los Angeles community.

Sunday night’s CBS telecast was seen by 15.4 million viewers according to Nielsen Live Plus Same Day Ratings. Academy sources say they are pleased with the ratings numbers, even though they are down from last year. In order to be sensitive to the fire situation in L.A., they delayed and significantly scaled back traditional marketing efforts and expected a bigger dip in ratings, the sources say.

Despite the ratings dip, the CBS broadcast was the most social TV program of all time, according to the academy, with 102.2 million interactions — more than any other sports, news and entertainment program in history.

What Does Travis Scott’s ‘4×4’ Scoring His First Hot 100 No. 1 Since 2020 Mean for His Career?

After being one of the most frequent visitors to the top of the Billboard Hot 100 around the turn of the 2020s, Travis Scott is back there for the first time in nearly half a decade this week with his new single “4×4.”

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The new single, whose net proceeds Scott announced will benefit Direct Relief’s California Wildfire Response Fund, debuts atop the Hot 100 this week, making for Scott’s fifth career No. 1 on the chart. It’s also the first rap single to top the chart in 2025, following four weeks of Lady Gaga & Bruno Mars’ ‘Die With a Smile” reigning.

How did “4×4” get over the top on the chart? And what does the song tell us about where he might go next as an artist? Billboard staffers discuss these questions and more below.

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1. Though Travis Scott topped the Hot 100 three times at the turn of the decade, this is his first time back to No. 1 since. On a scale from 1-10, how big a deal is “4×4” debuting at No. 1 for him?

Kyle Denis: Probably a 6? We’ve seen this film before with Travis seemingly coming out of nowhere to debut atop the Hot 100 with a boatload of pure sales. If anything, he’s probably a bit annoyed that his true smashes and signature songs – like “Goosebumps” or “Fein” — keep missing the top spot in favor of loosies like this one. 

Carl Lamarre: 8.5. Whenever an artist of Travis’ caliber lands a No. 1 song, it’s a noteworthy achievement, regardless of the circumstances. Travis, who’s evolved into a hip-hop supernova since 2018’s Astroworld, sees anything less than a chart-topping single or album as a flop. Despite his busy tour schedule, various business ventures, and preparation for his Coachella performance, it’s a relief for Team Travis to know that musically, he’s still in high demand, even after a two-year hiatus since Utopia.

Jason Lipshutz: Fittingly, a 4. Travis Scott carries the distinction of charting higher with his minor hits than with most of his signature songs — think of how “The Scotts” and “Franchise” brought him to the top of the Hot 100, for instance, while “Goosebumps” and “FE!N” did not. We’ll see how “4×4” continues to perform on the Hot 100, but considering that this is a standalone single from an artist with multiple No. 1 hits whose commercial power was never in doubt, this chart-topping debut represents another feather in Scott’s cap rather than a monumental shift in mainstream appeal.

Michael Saponara: 4. I don’t think he necessarily needed any validation, but it has been over four years since his last No. 1 hit and “4×4” is the first since the Astroworld Festival tragedy. We’ll see if it infiltrates radio and can last on the charts heading into his Coachella performance in April. 

Andrew Unterberger: Yeah it’s a 5 at most. Never a bad thing to have another No. 1 on the roster but what are the chances this song is actually better-remembered or more meaningful to Travis’ catalog than “FE!N” (Hot 100 peak: No. 5) five years from now? Not particularly high I’d say.

2. What do you see as being the biggest factor in “4×4” getting over the top where his other singles of recent years have generally fallen short?

Kyle Denis: Travis has been teasing this song for months, so there was fervent anticipation across his fanbase. Snippets have been circulating since last September, and another teaser dropped during the Oct. 18 episode of WWE SmackDown. Two weeks later (Oct. 30), Scott performed the song at the last show of his $209 million-grossing Circus Maximus tour, and then again during his headlining set at Rolling Loud Miami’s tenth anniversary (Dec. 14). At the top of the new year (Jan. 6), Scott appeared in-person at WWE Raw and confirmed that “4×4” would be the program’s official opening theme. Later that month (Jan. 20), he played the song at the 2025 College Football Playoff National Championship halftime show, sharing a link to pre-save the song shortly after. 

We’re already well acquainted with the buying power of Scott’s fanbase (this is also his first solo post-Utopia release), but with the “4×4” release, he also explicitly courted fans across two sports that are having major moments in American culture right now. Football, of course, is always the talk of the town, but between last Christmas’ Beyoncé Bowl, Kendrick Lamar’s forthcoming halftime show, and the Taylor Swift and Travis Kelce of it all, it’s smart to align yourself with American football in some way. Similarly, WWE Raw’s move to Netflix was a milestone moment for the evolution of live events and on-demand streaming services. Most importantly, sports fans put their money where their mouths are; they buy game tickets, jerseys, caps, etc. Selling pure copies of music feels like a Herculean task nowadays, but Travis Scott has cracked several codes. 

Carl Lamarre: Quite frankly, the record is just straight heat. Travis hasn’t had a bulletproof single since “Sicko Mode,” and that song itself is forever entrenched in the Hip-Hop Hall of Fame when speaking of hits. So, understandably, it’s hard to topple that kind of success, knowing how much of an explosion “Sicko” made circa 2018. As for “4×4”, the buzz was created before the song’s release. He teased the initial record during his campaign with WWE months back, then performed the song at halftime for the College Football Playoff Championship game before ultimately unleashing the video. By creating a feverishly high demand for the song, Travis’ supporters came in droves when it was time to cheer on La Flame.

Jason Lipshutz: Fan excitement. Sure, it’s easy to point to the oversized sales numbers that helped “4×4” top the Hot 100 in the same way that Days Before Rodeo was able to top the Billboard 200 last year, but Scott boasts the rabid base to justify those numbers and push more minor projects to the top of the chart. And while “4×4” isn’t functioning like a durable hit on streaming services yet, it’s also Scott’s first solo single since 2023, and one that fans feverishly wanted to be officially released for months. This Hot 100 debut doesn’t happen without that type of widespread listenership.

Michael Saponara: Hype. He’s been teasing “4×4” for a while in multiple forums, whether that be his DJ sets or a performance debut atop Atlanta’s Mercedes-Benz Stadium as part of the College Football Playoff National Championship halftime show. The Tay Keith-produced track also made noise in the wrestling world while serving as the official theme song of Raw when it made the jump to Netflix at the top of 2025. 

Andrew Unterberger: Gotta be the charity element. The hype helped, of course, but the sales number this song posted means fans really voted for this one with their wallets — and if they knew their funds were going to a cause as meaningful as L.A. fire relief, I’m sure that swayed a lot who were on the fence about whether or not they really needed to purchase the physical edition.

3. Of his three 2019-20 No. 1s, the only one that showed particular chart endurance was “Highest in the Room.” Do you see “4×4” as being that type of hit, or more of a quick-fader like “The Scotts” or “Franchise? 

Kyle Denis: I anticipate it ending up somewhere in between. With the WWE Raw assists, I see “4×4” having more staying power than “The Scotts,” but it’s also not Travis’ best effort as far as standalone singles go… so I wouldn’t expect it to truly give “Highest” a run for its money chart-wise. 

Carl Lamarre: Travis’ partnership with the WWE should help keep the song moving, as the track is now the theme song for Monday Night Raw. For my hip-hop and wrestling enthusiasts, that’s a big deal for Team Travis, as the latest Netflix deal between WWE and the streaming conglomerate means a bigger and newer audience for both parties. So, because of that, and seeing how he’s taken the record into different sectors, like the wrestling world and the college football arena, I’ll give it up the leg up over “Franchise” and “The Scotts” when speaking of staying power.

Jason Lipshutz: I’m guessing it will be somewhere in between — not a months-long hit, but not a forgotten piece of chart trivia, either. “4×4” sounds designed for live-show enormity, its orchestral thump and gargantuan drums slotting in nicely during the maximalist stretch on his set list. That will help “4×4” endure in fans’ minds, regardless of how many weeks the song logs on the Hot 100.

Michael Saponara: If this was a scale, I’d be leaning more toward the “Highest in the Room” side of things, but I don’t think it will match the longevity of “Highest” – that’s one of Trav’s signature tracks. However, “4×4” should have more legs than “The Scotts” or the gaudy “Franchise,” which burned bright and burned quickly during the COVID-19 pandemic when Scott’s rage was blanketed. 

Andrew Unterberger: The song is already out of the top 50 on both Spotify’s Daily Top Songs USA and Apple Music’s real-time chart, so I’m guessing it’s gonna be more of a quick fader.

4. Do you think “4×4” points to any particular new evolution within Travis Scott’s sound or style for where he may go next, post-Utopia? Or is it more likely just a one-off not meant to signal much about his future direction? 

Kyle Denis: I get one-off vibes from this. It’s a bit weak lyrically, but I don’t mind how the production feels like an offshoot of his Astroworld soundscape. He made some really nice choices with the background vocals too. 

Carl Lamarre: This is a one-off situation for Travis. The guy is always working and experimenting. He’s still savoring Utopia’s wins and the impact it created over the last two years after its release. Consider this his victory lap, especially since he’s now a stadium-level artist, courtesy of his fans.

Jason Lipshutz: The latter. There’s no indication that “4×4” precedes a new Travis Scott project, and sonically, the song fits neatly into what he was accomplishing with Utopia. Considering the five-year gap between Astroworld and Utopia, we may be a ways away from a proper new Scott album and the stylistic shift that it may signify, so “4×4” likely represents a placeholder until that new era comes.

Michael Saponara: This feels like more of a one-off to set the tone for the year, although I wish it was a jetsetter into La Flame’s next era. I’d expect that to come around Coachella. The marching band horns aspect is experimental for Trav’s sound – I don’t think we’ve heard him utilize that mixed in with his trap drums on a track before.

Andrew Unterberger: I could see it leading to a more lush, string-based sound on his next album — the success of Bryson Tiller’s “Whatever She Wants” and 21 Savage’s “Redrum” set the table for that already a little bit last year. I hope so, it’s a good sound for Travis.

5. Travis Scott is the first rapper to top the Hot 100 in 2025 — who do you predict will be the second? 

Kyle Denis: Probably Kendrick with whatever song gets the biggest boost from his Super Bowl halftime show. If not him… it could very well be Drake, ironically; it’s not implausible that one of the songs from his forthcoming Valentine’s Day joint album with Partynextdoor sneaks a week atop the Hot 100 when the full set drops on Feb. 14.

Carl Lamarre: Dare I say: Drizzy Drake Rogers. Think about it. New album with PND next week? All eyes are on him after Kendrick’s Grammy sweep and upcoming Super Bowl appearance. This is a lay-up for him.

Jason Lipshutz: Kendrick Lamar, particularly if “Luther” receives a prime slot in the Super Bowl halftime show. Due to the Christmas music onslaught beginning in November, “Squabble Up” remains the only GNX song to top the Hot 100. That feels wrong! And I believe it won’t be the case for much longer.

Michael Saponara: PUT THAT GELO ON!

Andrew Unterberger: How fun is it that the answer here is almost certainly either Drake or Kendrick Lamar? (Or maybe not that fun, depending.)

Punch Reveals Why Kendrick Lamar Decided to Not Include ‘Not Like Us’ on ‘GNX’

When Kendrick Lamar dropped his surprise album GNX, fans wondered why he decided to leave “Not Like Us” off the project. Now, we finally know the reason why, at least according to a TDE executive.

Terrence “Punch” Henderson was recently asked by a fan on X why the Compton rapper “didn’t include the mega smash on the album.”

“Integrity,” he replied. “That record was for the battle. The album was a separate thing. Could have put it on there to boost overall sales but chose to leave it for what it was. Integrity.”

Trending on Billboard

Another fan then asked if Lamar was working on his sixth album before his battle with Drake kicked off. However, Punch decided to leave that question alone, answering, “That’s all I got, champ. He can speak on that if he ever choose too.”

Billboard has reached out to Kendrick’s camp for comment.

Maybe we’ll get an answer to whether or not he was already planning GNX prior to their back and forth this upcoming Thursday (Feb. 6) when he sits down with Apple Music’s Ebro Darden and Nadeska Alexis for an interview during the Apple Music Super Bowl LIX Halftime Show press conference.

Fans are also wondering if Kendrick will perform “Not Like Us” — which took home a whopping five Grammy Awards at Sunday’s (Feb. 2) ceremony — during his set at the Super Bowl this coming Sunday (Feb. 9), and whether Toronto rapper’s ongoing lawsuit will hinder him from doing so. Billboard recently spoke with legal experts who agreed the lawsuit shouldn’t stop him, but he may have to edit some lyrics or decide to avoid the song all together just to be safe.

As for Drake, he’s currently on tour in Australia and opened up his first show wearing a black hoodie with bullet holes in it and a trail of gun smoke. He posted a carousel on Instagram showing how the hoodie was made and included the caption: “They thought einstein was lying & shakespeare was barely rhyming & edison wasn’t lit despite what he was designing. So how can I give af what they say about my stars aligning.”