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Future became synonymous with “March Madness” a decade ago, and now it’s GloRilla’s turn to get a few three-pointers up. Big Glo is slated to headline the AT&T Super Saturday concert at the Women’s NCAA Final Four in Tampa Bay on April 5. Explore Explore See latest videos, charts and news See latest videos, charts […]
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2025 hasn’t been too kind to Drake (neither was much of 2024 thanks to Kendrick Lamar), but it seems like at least one of his legal issues is resolved; his lawsuit against iHeartMedia has apparently been settled.
According to Pitchfork, Drake and iHeartMedia have reached an agreement in the lawsuit that Drake slapped them with in which he claimed a pay-to-play plot to help boost Kedrick Lamar’s scathing diss record “Not Like Us” in 2024. With the record becoming a tremendous hit right out of the gate, rumors began to spread that the Drake was in the crosshairs of an industry wide conspiracy to take him down by helping boost spins of K. Dot’s classic diss record, to which Drake responded by suing everyone and they mama for allegedly helping the record break all kinds of records and even defamation.
Naturally, everyone accused Drake of being a sore loser and clowned him to no end, but that didn’t deter him from continuing with the lawsuits. Now, it seems like this one has come to an end, as iHeartMedia announced that “in exchange for documents that showed iHeart did nothing wrong, Drake agreed to drop his petition. No payments were made—by either one of us.”
Per Pitchfork:
Drake had accused iHeartMedia of illegally accepting the payments from Universal Music Group (UMG)—the label of both Drake and Lamar and the target of a separate Drake lawsuit—in violation of the Racketeer Influenced and Corrupt Organizations (RICO) Act. Drake’s petition, filed in Bexar County, Texas, also claimed that UMG should have blocked the release of “Not Like Us,” on the basis that it “falsely [accused] him of being a sex offender, engaging in pedophilic acts, harboring sex offenders, and committing other criminal sexual acts.” Drake is continuing to pursue his federal lawsuit against UMG, claiming the label’s release of “Not Like Us” constitutes harassment and defamation.
In the court document announcing the settlement, Drake’s attorneys said he and iHeartMedia had “reached an amicable resolution of the dispute,” according to The Associated Press.
The news comes weeks after Drake dropped his latest R&B heavy album, $ome $exy $ongs 4 U, which many fans felt was “meh.”
While we’re glad Drake and iHeartMedia were able to put this legal back-and-forth behind them, we’re just wondering if the world will ever embrace Drake like they once did, or if Kendrick Lamar ruined his reputation for all eternity going forward.
At least the man is still rich, right?
What do y’all think about Drake and iHeartMedia finally coming to terms with the pay-for-play lawsuit? Let us know in the comments section below.
BeBe Winans’ “Father in Heaven (Right Now),” featuring Gerald Albright, ascends a spot to No. 1 on Billboard’s Gospel Airplay chart (dated March 8). During the Feb. 21-27 tracking week, the song increased by 12% in plays among reporting radio stations, according to Luminate. Explore Explore See latest videos, charts and news See latest videos, […]
Nick Jonas admitted that he might have taken the title of the song “Moving Too Fast” a bit too literally during a rehearsal for his upcoming return to Broadway in The Last Five Years. In an Instagram video posted on Tuesday (March 4), the Jonas Brothers and solo star revealed that he had an embarrassing wardrobe malfunction.
“I was singing ‘Moving Too Fast,’ one of my character Jamie’s songs,” Jonas said of the run-through of the song he performs with his Tony winning co-star. “I’m supposed to jump onto this platform and then pull my co-star, Adrienne Warren, up onto the platform with me and keep singing.”
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And then things went a bit sideways. “I do it, and I hear a [ripping sound]. And I’m like, ‘Oh no, oh no.’ Then I feel a cool breeze in a place you don’t want to feel a cool breeze,” Jonas laughed before moving back from the camera to display the huge tear in the groin of his camo cargo pants. “This is what happened to my pants,” he said. “They’re not tight pants by any means. It just was the perfect spot and the position that I jumped up.”
It was bad, but it could have been worse, and it was.
Jonas mentioned that the pants split happened in front of the show’s director, Whitney White, as well as its composer, Jason Robert Brown, “and, of course, my co-star, Adrienne Warren,” as well as the stage management department, musical director, pianist and percussionist. So, basically, the whole team.
The singer shared that he attempted to fix the pants himself — “I tried to duct tape it, it didn’t work… I tried to put some safety pins in, didn’t hold” — before the crack stage managers ran over to Target to fetch him some black shorts so he could finish the rehearsal.
Jonas, who is returning to Broadway 13 years after starring in 2012’s revival of the musical How To Succeed in Business Without Really Trying, will take the stage for the debut of The Last Five Years on March 18.
Watch Jonas relive his trouser tragedy below.
Less than 24 hours after Donald Trump upended the global alliance in support of Ukraine’s war against invader Russia, Green Day‘s Billie Joe Armstrong had a few thoughts on the shocking spectacle. At the kick-off the veteran punk provocateurs’ Australian tour on Saturday (March 1) at Melbourne’s Marvel Stadium, Armstrong once again switched up the lyrics to one of the band’s songs to send a unequivocal, harsh message to the current American administration.
As the band continues its year-long anniversary celebration of the 20th anniversary of their career-peak punk rock opera American Idiot, Armstrong slipped some not-at-all-subtle commentary into the lyrics of “Jesus of Suburbia.” The move came a day after Trump and Vice President JD Vance attacked Ukrainian President Volodymyr Zelenskyy in the Oval Office during a meeting meant to announce a deal on minerals aimed at ending the three-year war launched by Russian dictator Vladimir Putin.
“Am I retarded or am I just JD Vance,” Armstrong sang in a tweak to the original, politically incorrect-on-purpose line, “Am I retarded or am I just overjoyed?” Offered without any additional commentary, the diss of the Hillbilly Elegy author who repeatedly lashed out at the war-time Ukrainian leader for not being solicitous and thankful enough for U.S. aid during the shocking Oval Office ambush was in keeping with Armstrong’s unabashed disdain for the MAGA universe.
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Earlier in the song, Armstrong doubled-down on the band’s support for Ukraine, tweaking another line in the song from “We are the kids of war and peace/ From Anaheim to the Middle East” to “We are the kids of war and peace/ From Ukraine to the Middle East.”
In January, Armstrong took a swipe at another member of the MAGA-verse, unelected DOGE boss Elon Musk, whose slash-and-burn march through the federal government has sparked widespread criticism and fear among longtime civil servants whose jobs have been eliminated by the tens of thousands over the past month. Performing in the Tesla boss’ home country of South Africa, during a show in Cape Town Armstrong switched a favorite “American Idiot” lyric from “I’m not part of the redneck agenda” to “I’m not part of the Elon agenda.”
The singer pulled a similar move during their New Year’s Eve show in 2024, changing the line to “I’m not part of the MAGA agenda.” It was just one of several times the stridently anti-fascist, anti-hate speech band has taken on Trump. In 2019, at the iHeartRadio Music Festival in Las Vegas, they debuted the anti-MAGA “American Idiot” line and at the 2016 American Music Awards, Green Day took aim at the then president-elect while performing “Bang Bang,” with Armstrong chanting “No Trump, no KKK, no fascist USA,” in a nod to Trump’s endorsement by white supremacist group the KKK and the rise in racist attacks following his election.
Watch Green Day’s Vance reproach below.
Kimberly Burch, the fiancée of Faster Pussycat frontman Taime Downe, has died after going overboard on the first night of The ‘80s Cruise, a nostalgia-themed music cruise featuring performances from Faster Pussycat, Warrant, Dokken, Firehouse, Squeeze, Adam Ant, Tiffany, and Men at Work.
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According to TMZ, the incident occurred around 11 p.m. on March 3, aboard the Royal Caribbean Explorer of the Seas. A search operation was launched, involving the ship’s crew and two nearby vessels, but Burch was not found.
Burch’s mother, Carnell Burch, told TMZ that her daughter had been involved in a heated argument with Downe before going overboard. However, she emphasized that Kimberly “wouldn’t purposefully hurt herself.” Authorities have not yet confirmed whether she fell accidentally or jumped.
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A spokesperson for Royal Caribbean Group told THR: “Our crew immediately launched a search and rescue effort, is working with local authorities, and we are providing support and assistance to the guest’s family during this difficult time. To respect the privacy of our guests’ family, we have no additional details to share.”
A U.S. Coast Guard spokesperson said the ship was approximately 20 miles from Freeport, Bahamas, when the incident occurred.
A Facebook post from Burch’s family on Tuesday said she “will be greatly missed by all that knew and loved her,” and asked for prayers “during this time for our family as we try to wrap our minds around this heartbreaking tragedy.”
Downe and Burch had reportedly been together for six to seven years. Just last month, Burch shared a heartfelt Valentine’s Day post featuring photos of the couple, writing, “Happy Every Day! From your first hello to me, I fell head over heels in love. You are my Valentine every day of my life. We are a tornado at times and pure raw love. I wouldn’t have it any other way. We do us like no other. I love you with my entire heart and soul.”
Faster Pussycat, formed in the mid-1980s, became one of the defining acts of the glam metal era, selling over two million albums worldwide and touring with rock legends like Alice Cooper, Ozzy Osbourne, Mötley Crüe, Guns N’ Roses, and Kiss.
Bring Me the Horizon has reacted to the unexpected support from Liam Gallagher after covering Oasis’ iconic “Wonderwall” for Spotify Singles earlier this year.
The band, who reworked the Britpop anthem into a heavier, more atmospheric version, admitted they were taken aback by Gallagher’s positive response.
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“It’s a good song, it’s actually one of my favorites. Top five,” frontman Oli Sykes said of the track while speaking to NME on the red carpet at the BRIT Awards 2025. “We always usually cover stuff that no one has ever heard of, so we were like, ‘Now let’s try to reimagine something that everyone knows. Make it easy for ourselves.’ It came out alright I think! It was crazy that Liam didn’t slag it off to the high heavens…”
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Drummer Mat Nicholls echoed the sentiment, acknowledging Oasis’ influence on their generation of British musicians.
“[We grew up] listening to them, definitely. It’s hard to ignore them, especially being our age, because Oasis are a British staple. We were expecting [Liam] to absolutely rinse us, but he said some actually nice things! It was cool and I think it went down as good as we wished it could.”
Gallagher had previously responded to the cover on social media, writing, “I f—ing LOVE it.” When a fan speculated that his brother Noel might be displeased, Liam doubled down: “I’m not, it’s absolutely incredible, made my day. I’m off out on my skateboard, f— y’all.”
The BRIT Awards marked another milestone for the band, who previously won Best Alternative/Rock Act in 2024. This year, they were nominated for Group of the Year but lost out to Ezra Collective.
The band is set to headline Reading & Leeds Festival 2025 alongside Travis Scott, Chappell Roan, and Hozier. It marks their second time topping the bill at the twin-site festival, following their 2022 co-headlining slot with Arctic Monkeys.
Suzanne Vega is set to make a long-awaited return in May, announcing the release of her first album of new material in over a decade.
Titled Flying With Angels, the record is Vega’s tenth and arrives on May 2nd. “Flying With Angels is my first studio album of new songs in eleven years,” she said of the new LP. “Each song on the album takes place in an atmosphere of struggle. Struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live.”
The record’s announcement has been accompanied by the release of its opening track, “Speakers’ Corner,” which itself features an animated music video by Michael Arthur. “A Speakers’ Corner is an area where free speech, open air public speaking, debate, and discussion are allowed,” Vega wrote on social media. “I guess we better use it now before we find it gone!”
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“That’s something you don’t want in democracy: the shutting down of the Speakers’ Corner where people get a say,” she continued in a press release. “This is a moment in time when people are saying a lot, but sometimes they’re not making sense or not telling the truth. People should be accountable for what they say. They can’t just lie. One would think that that would be self-evident.”
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Flying With Angels is Vega’s first new studio release since 2016’s Lover, Beloved: Songs from an Evening with Carson McCullers, which was based on Vega’s 2011 play Carson McCullers Talks About Love, written about the titular American poet. Tales from the Realm of the Queen of Pentacles, her most recent album of entirely new material, arrived in 2014.
Vega’s new album also arrived almost 40 years to the day since the release of self-titled debut record. It reached No. 91 on the Billboard 200, though Vega made a marked improvement on that feat with 1987’s Solitude Standing, which peaked at No. 11. The album’s success was largely thanks to second single “Luka,” which gave her a career-best when it hit No. 3 on the Hot 100. Three years later, she returned to the top of the charts, landing at No. 5 with the DNA remix of her a cappella track “Tom’s Diner.”
Vega has also announced an extensive run of tour dates in support of the new album. She’ll launch her Flying With Angels tour in East Greenwich, RI on Thursday (March 6), with a total of 40 dates currently planned for North America, Europe, and the U.K. throughout 2025.
Virginia indie-rock outfit Car Seat Headrest are making their grand return with an even more grandiose record, announcing new rock opera The Scholars as their forthcoming LP.
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The new record will arrive on May 2 via Matador, arriving exactly five years and one day since their last studio release, Making a Door Less Open. According to a press release, the narrative of the nine-track LP is set at the fictional college campus Parnassus University, focusing on “students and staff whose travails illuminate a loose narrative of life, death, and rebirth.”
The forthcoming record is previewed by the release of 11-minute single “Gethsemane,” which itself is accompanied by an Andrew Wonder-directed visual.
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“Rosa studies at the medical school of Parnassus University,” the band explains of the lead single. “After an experience bringing a medically deceased patient back to life, she begins to regain powers suppressed since childhood, of healing others by absorbing their pain. Each night, instead of dreams, she encounters the raw pain and stories of the souls she touches throughout the day. Reality blurs, and she finds herself taken deep into secret facilities buried beneath the medical school, where ancient beings that covertly reign over the college bring forth their dark plans.”
First formed in 2010 as a solo project of frontman Will Toledo, Car Seat Headrest shared a handful of self-released records before signing to Matador and expanding to a full-band setup in 2015.
2018’s Twin Fantasy (Face to Face) served as the band’s breakthrough, becoming their first (and so far, only) album to chart within the top half of the Billboard 200, reaching No. 92. It also charted within the top five of the Independent and Alternative Albums charts, and reached No. 11 on the Top Rock Albums. Their latest release, 2020’s Making a Door Less Open, hit No. 184 on the Billboard 200 and reached No. 22 on the Independent Albums chart.
The release of The Scholars puts to rest a protracted period of creativity and touring for Car Seat Headrest, who had fully intended to return sooner with new music. However, the impact of long COVID necessitated the cancellation of tour dates, and the downtime Toledo experienced as a result led to a “dedication to following spiritual practices,” which informs the new album.
Car Seat Headrest will also be launching a series of North American tour dates following the release of their new record, with nine shows currently scheduled between May and November.
Car Seat Headrest 2025 Tour Dates
May 16 – Kilby Block Party, Salt Lake City, UTJune 7 – Governors Ball, New York, NYJune 28 – The Anthem, Washington DCJuly 12 – Mission Ballroom, Denver, COJuly 26 – Salt Shed, Chicago ILAug. 8 – The Greek Theatre, Los Angeles CASept. 12 – Highmark Skyline at the Mann Center Philadelphia, PASept. 27 – MGM Music Hall, Boston MANov. 1 – The Fox, Oakland CA
Netón Vega makes his first appearance on a Billboard albums chart, as his debut set, Mi Vida Mi Muerte, starts at Nos. 1 and 2 on the Regional Mexican Albums and Top Latin Albums charts (dated March 8), respectively.
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Mi Vida Mi Muerte launches with 26,000 equivalent album units earned in the U.S. in the tracking week ending Feb. 27, according to Luminate. The 21-track project, released via Josa Records, gives the independent label its first entrance on any Billboard chart.
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Streaming activity contributes the majority of Mi Vida Mi Muerte’s activity, which translates to 38.3 million official on-demand streams of the album’s songs. In turn, the set debuts at No. 17 on the overall Top Streaming Albums chart. Plus, it makes its No. 19 debut on the all-genre Billboard 200.
“Together, I’m confident we’ll bring his music to new heights,” said Josa Records founder Jesus Chavez, as the independent record label inked a distribution deal with Downtown Artist & Label Services last December in support of Vega’s music –and so they have. Vega takes Josa Records to its first No. 1 on any Billboard chart as Mi Vida Mi Muerte opens atop Regional Mexican Albums.
With its No. 1 debut on Regional Mexican Albums, Vega joins a select group of soloists who launched at the summit in the 2020s decade. Here is the list of those five champs, two of which placed two No. 1 debuts since.
Artist, Title, Debut DateAlejandro Fernández, Hecho En México, Feb. 29, 2020Junior H, $ad Boyz 4 Life, Feb. 27, 2021Natanael Cano, A Mis 20, June 12, 2021Junior H, Mi Vida En Un Cigarro 2, Feb. 26, 2022Ivan Cornejo, Dañado, June 18, 2022Ivan Cornejo, Mirada, August 3, 2024Neton Vega, Mi Vida Mi Muerte, March 8, 2025
Though none of the songs from the new album have reached any Billboard airplay tallies, the 23-year-old Vega, Billboard’s Artist on The Rise, placed one song on the Regional Mexican Airplay chart last December: The No. 27-peaking “Si No Quieres No,” with Luis R. Conriquez (The latter is also one of 11 guest artists on Mi Vida Mi Muerte.)
The stacked guest list of well-established corridos tumbados acts also includes Peso Pluma, Tito Double P, Gabito Ballesteros, Chino Pacas, Oscar Maydon and more.
Six songs from Mi Vida Mi Muerte have reached the multi-metric Hot Latin Songs chart. All but “CDN,” with Luis R Conriquez, make progress on the current list. (The latter, now gone from the tally, debuted and peaked at No. 42 the March 1-dated list). “Loco” leads the pack at No. 3 and, with 9.8 million official U.S. streams, is the top-streamed track from Mi Vida Mi Muerte for the week. Here’s the recap of the album’s placements on this week’s ranking:
No. 3, “Loco”No. 18, “Morena,” with Peso PlumaNo. 23, “M&M”No. 24, “Mi Vida Mi Muerte”No. 40 “Chiquita,” with Tito Double P