State Champ Radio News
Page: 424
Source: Chip Somodevilla / Getty
President Donald Trump has called for a “major investigation” into what he claims were potentially illegal campaign contributions made through celebrity performances during Kamala Harris’ 2024 presidential campaign.
Trump named Beyoncé, Bruce Springsteen, Oprah Winfrey, and U2 frontman Bono as examples of high-profile figures who appeared in support of Harris. He suggested their participation may have constituted in-kind donations that should be scrutinized by federal election authorities. Trump’s comments follow persistent rumors and social media claims that artists like Beyoncé received substantial payments—up to $10 million in her case—for campaign-related performances.
These allegations have not been substantiated with any official documentation. Beyoncé’s mother, Tina Knowles, responded strongly on Instagram, condemning the rumors and pointing out that the specific claim had been flagged as false information by Instagram and removed.
The Harris campaign has not issued a formal response, and Newsweek has reported reaching out to representatives for Beyoncé, Springsteen, Oprah, and Bono, as well as their affiliated production companies, for comment. The issue highlights ongoing tensions between celebrity involvement in political campaigns and campaign finance regulations, which restrict how much individuals and entities can contribute or spend in coordination with political campaigns.
Trump’s demand for investigations seems intended to cast doubt on the legitimacy of Harris’ campaign fundraising and support, as he continues to question elements of the 2024 election outcome. Whether these claims will result in any formal inquiry remains unclear.
HipHopWired Featured Video
Summer Walker’s “Heart of a Woman” beats the competition on Billboard’s Adult R&B Airplay chart this week as the single rules the list dated May 23. The new leader, released and promoted through LVRN/Interscope/ICLG, climbs from No. 2 and was the most-played song on U.S. panel-contributing adult R&B radio stations in the tracking week of May 9-15, according to Luminate.
As “Heart of a Woman” rises, it ejects Leon Thomas’ “Mutt” from the chart’s prime spot after a two-week lead. “Mutt” retreats to No. 3 after a 12% slide in plays for the week. (Between the current and former leader, 803Fresh’s “Boots on the Ground” pushes 4-2; the track, best known for soundtracking a viral line dance, enjoys an 9% gain in weekly play count.)
Trending on Billboard
With “Heart of a Woman,” Walker captures her fourth Adult R&B Airplay No. 1. She first reigned through a featured role on Trey Songz’s “Back Home,” a three-week champ in November-December 2020, followed with her own “Unloyal,” featuring Ari Lennox, for one week in September 2022 and logged six weeks in charge thanks to “Good Good,” a collaboration with Usher and 21 Savage, in November-December 2023.
Improvements in the adult R&B sector help “Heart of a Woman” maintain its top-five status on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the single spends a fourth consecutive week at No. 5 – after having previously reached a No. 3 best – but falls to 12.7 million in total audience, a 6% drop from the prior week’s total.
Elsewhere, “Heart of a Woman” slides 8-12 on the Mainstream R&B/Hip-Hop Airplay chart (down 14%).
[embedded content]
Beyond “Heart of a Woman,” Walker enjoys a second current chart single, new track “Spend It.” The song, released May 2, opened at No. 12 on the Hot R&B Songs chart (dated May 17) and at No. 30 on the corresponding Hot R&B/Hip-Hop Songs ranking.
“Heart of a Woman” and “Spend It” preview Walker’s forthcoming studio album, Finally Over It. The set, which was announced last October, is the third installment of the singer’s album series, following Over It (2019) and Still Over It (2022).
All Billboard charts dated May 24 will update on Tuesday, May 20, on Billboard.com.
05/19/2025
The current and former leaders of Death Row Records have had a tumultuous relationship over the years.
05/19/2025
Calvin Harris has responded to accusations of plagiarism by veteran trance producer Chicane. In a video posted to Instagram last week with the caption “copyright alert,” Chicane sat at his computer and explained why he believes that Harris’ most recent single, “Blessings,” shares similarities with his 1996 song “Offshore,” playing each track and comparing them. […]
Ye (formerly Kanye West) will not be performing in South Korea this month, as his May 31 concert has been cancelled.
According to Korean ticketing platform Interpark Global, West’s May 31 show at Incheon Munhak Main Stadium was cancelled due to “recent controversies” surrounding the rapper. The vendor didn’t expand on exactly what controversy surrounding Ye caused the cancellation.
“We regret to inform you that the ‘YE LIVE IN KOREA’ concert, originally scheduled for Saturday, May 31, 2025, has been cancelled due to recent controversies involving the artist Kanye West (YE),” a message from Interpark Global’s website reads. “We sincerely apologize for the inconvenience this may cause. We kindly ask for your understanding. All purchased tickets will be automatically cancelled, and full refunds will be processed sequentially.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Reuters also confirmed on Monday (May 19) that the West concert would not happen with South Korean e-commerce company Coupang.
Trending on Billboard
West has been spotted in Mallorca, Spain, in recent weeks with his wife, Bianca Censori, as well as streamers Sneako and Digital Nas.
The embattled rap visionary has been wrapped up in various controversies over the course of the last few months as he’s spewed anti-semitic and anti-LGBTQ rhetoric on his social media platforms.
Ye claimed that his controversial “Heil Hitler” song was banned from all digital streaming platforms after attempting to release the track earlier this month.
“Heil Hitler by Ye has been banned by all digital streaming platforms,” Ye wrote on X while calling out the double standard he sees in streaming censorship. “While Rednecks by Randy Newman remains streamable They’re literally keeping the n—-s down.”
West’s last interview saw him storm off an appearance on Piers Morgan’s Uncensored show earlier in May, within minutes of the sit-down. “You’re not gonna take inches off my di–, bro,” the Chicago native said before he left the interview. “I’m a gift, bro. Why do all you people in media act like you haven’t played my songs at your weddings, or graduations or at funerals or when your child was born?”
He continued: “You take someone like that’s living, like a [John] Lennon or a Michael Jackson. That nuance right there is idiotic. It just shows the hate that you put out for people that put out love. There’s so much love in the art that I put out. This is what you get for now, we can circle back when you can count.”
Billboard has reached out to reps for Ye for comment.
In the five years since Opia, her Polaris Music Prize-shortlisted debut studio album, Canadian R&B singer-songwriter Savannah Ré has transitioned out of the major label system into an era of independence heralded by the self-assured melodies of Formed, her new full-length project.
Executive produced by her husband Yogi the Producer — who won his first Grammy earlier this year, thanks to his work on Chris Brown’s 11:11 (Deluxe) — Formed finds Ré building on her previously established sonic profile of soulful, midtempo R&B with forays into country-esque guitar samples (“Go’ Head”), gutsy wordplay (“Nine Lives”) and candid moments of pure seduction (“East Side Demon”). A featureless affair, the new project flaunts the three-time Juno Award winner’s versatility while keeping her grounding themes of maturation and divine femininity centered.
Formed was initially an expansion of Ré’s 2022 No Weapons EP, but her journey into the indie arena and general life changes caused the project to evolve into something entirely separate. The pitfalls and triumphs of that journey punctuate the entire project, from the testimonial that is “Made It Out” to the poignant self-reflection of “Where You Left Me.” Though she wades through a well of intensely personal experiences for Formed, the project feels notably looser than Opia – and that was intentional.
Trending on Billboard
“I think I was hypercritical of everything during Opia,” Ré tells Billboard just days after returning from a seven-year anniversary trip to St. Lucia with her husband, who was honored with a parade celebrating his Grammy win. “Being a perfectionist can ruin the essence of what you’re doing. I’m having more fun making music this time around, to be honest.”
In a wide-ranging conversation with Billboard, Savannah Ré breaks down Formed, reveals her initial reaction to Drake sampling her for 100 Gigs, and details how she’s navigating being an independent artist.
Opia, your last full-length project, dropped almost five years ago. Why the long wait between that album and Formed?
How much time do we have? [Laughs]. Honestly, a lot of things changed very rapidly. I was in a deal with Universal Music Canada from 2018 all the way to 2023, when I finally went a different direction. It took some time for me to figure out what it is I want to do. For my entire career prior to [this moment], I’ve been a signed artist; [I’m] figuring out navigating things myself. I had to be in the driver’s seat.
It’s a completely different process being independent versus being signed. There’s so many extra steps, so many things to have your eyes across, so much business that I’m doing now. I wanted to make sure that the music wasn’t getting lost in that process, and that I was still sticking to my vision. It took a little while, but we’re here now!
Talk to me a little bit about Matrimony Records.
Matrimony is the label that I started with my husband, Johann [Deterville], Yogi the Producer, last spring. We were like, “We do everything together already, so why don’t we make it official before thinking about signing anywhere else or going back to a major? We should have our own thing on paper.”
A lot of our foundation, of course, is love and all the things that go into a relationship. But it’s music as well. That’s how we fell in love — so what better name than “Matrimony?” It’s marriage, as far as love, but it’s marriage to the music, as well. We’re also looking forward to finding and signing other artists as well. We want to build Matrimony up.
You won the Juno Award for traditional R&B/soul recording three years in a row, effectively making you, if not the face, one of the defining voices of Canadian R&B. How does that make you feel?
I hate that. No, I’m kidding! [Laughs.] Honestly, I felt seen. It was an honor to be the first artist to be nominated in both the traditional and contemporary R&B/soul categories in the same year. To be nominated, and then to win again and again and again, I was like, “OK, that’s enough now, guys!” I know everybody looks surprised, but I was genuinely surprised every single time I won. It’s been great, and it feels affirming.
What was the first and last song you finished recording for Formed?
“Go’ Head” was the first. It actually wasn’t for me because I’m a writer as well. I was pitching that song around, and from what I know, Chris Brown’s team had it for two years. We thought it was going to make it on [2022’s Breezy], and then it didn’t, so I kept the record. I played it for some of my non-musician friends, and they were like, “Oh my gosh, you need to release this song.” Seeing that visceral feeling, I was like, “I’m gonna put this on the project.”
I think we wrote that song in 2018, so we went back in and rejigged it a little bit to be closer to what I would say. The production is exactly the same, and the topline is pretty much exactly the same. And now it’s the focus track for [Formed].
The last song was “Made It Out.” I have this thing with projects where I’ll get really close to finishing, and then I’m like, “It’s missing one song.” I won’t exactly know what it sounds like, but I’ll know how it’s gonna make me feel when I hear it. I wrote “Made It Out” with Marcus Semaj, who wrote several songs on Opia with me. He sent me the song, and I was like, “Brother… can I have it?” And he was like, “Of course.”
Because I’m a writer, I’ll always change things or write another verse or whatever. But this song… it was like he was looking into my life. To me, it’s a message of, making it out of your circumstances and the things that were supposed to keep you down. After that, I knew the project was done.
What would you say changed the most — or not at all — about your approach to songwriting and singing on Formed versus Opia?
I’d say a lot changed. I think I was hypercritical of everything during Opia. While I’m still a perfectionist, I try not to ruin things anymore because, to be honest, being a perfectionist can ruin the essence of what you’re doing. Do you love the song? Does it make you feel something? Then you don’t need to scrutinize it into the ground or rewrite it 17 times or spend four or five studio sessions recording it. Go with your gut. I’m having more fun making music this time around, to be honest.
A couple of weeks ago, you got on Instagram to address some people missing the message of “Nine Lives” because they couldn’t get past the use of the word “p—y.” Was that a first for you? How does that make you feel as an artist?
It’s quite different! I’m not used to being on the “hate train” side of things. I was very clear that [“Nine Lives”] is for the girls. Unfortunately, it ended up, on the incel side of the Internet with older, non-Black men. And it’s like you, [this song] wasn’t for you. It’s a song about female empowerment sung by a very visibly Black woman. It doesn’t matter what I say when I open my mouth, you are not gonna like it. So, even when addressing it, I didn’t make it about them. I just doubled down on the song’s message.
And with [the word “p—y”] especially, it’s so interesting that it’s okay for it to be said in all these negative ways. But then, I reclaim it in a positive way, and it’s an issue. Although that word may have been used mostly in a vulgar way, to me, it holds power. When I sing, “bring life,” I’m not just referring to childbirth. I mean that there is a woman in everybody’s life who breathes life into them. I’m talking about some serious stuff in the song.
Formed also houses “Sex With My Ex,” which Drake sampled on his 100 Gigs website. Where were you when you found out about that? What was your initial reaction, and what, if anything, do you think will come of that at this point?
We were in the studio working on finishing [Formed], funny enough. When it dropped, the internet started going crazy, so we went to check it out. We clicked around and found a Boi 1-da folder and started clicking through it. The first video was my voice, and then there was a second one, and a third one with a different vocal sample of mine. We’re sitting there flabbergasted at this point, because that third clip was actually Drake in the studio.
I immediately FaceTimed 1-da, like, “What the helly?” And he didn’t even know much. Based on [Drake’s] haircut, the footage seemed to be from the Certified Lover Boy era, I guess. 1-da has always said that it takes a lot for Drake to record on a beat, so, generally speaking, it’s probably going to come out. He has a 99% kill rate. So, I was like, “OK… so what do I do?” Because “Sex with My Ex” was a freestyle I recorded in 2018!
So, we ended up recutting the song in 2022, which is when I met Leon Thomas, and he, myself, and Yogi flipped it. “Sex” was already on [Formed] at that point, so to me, that was some universe stuff. What are the chances of a song that’s been sitting since 2018 ending up in this Drake 100 Gigs thing? Initially, it wasn’t a single, but the team quickly pivoted and dropped the song late last year.
I don’t know if he’ll ever do a 100 Gigs mixtape, but it definitely put more eyes on me and the song. As a freshly independent artist, I’m just grateful either way.
What’s the most important thing you learned from Boi 1-da while you were on his 1Music label?
Prior to signing with him, I was like, “Hey, there aren’t a lot of female artists out there that look like me, maybe I should just focus on being a writer.” That’s how our initial connection was made. Someone of his caliber and stature looking at me and saying, “Not only do I think you should be an artist, but you should also be my artist…” that changed the game for me. It made me confident and self-assured. I was able to lean on him when it came to anything musical.
People think being his artist made it easier – absolutely not. If he don’t like something, he [won’t mince words]. So that started to breed a certain standard within me as well. He would also start bringing me to [different artists’] sessions so I could be a fly on the wall and see how these things work. I was really fresh when he signed me, and I don’t think a better person could have ushered me into the music world and treated me with such respect. That’s like my brother for life, I talk to him every day, whether I’m signed to him or not. He changed my life.
How do your Jamaican roots – and Yogi’s Lucian roots – manifest in your music?
My Caribbean roots are what raised me. Even in the R&B space, [West Indians are] going to approach it a little differently. People have credited rap for some of my rhythmic choices, but I think it goes back to the different riddims and cadences we hear in our [reggae and dancehall] music. There’s always those little sprinkles, and they’ll definitely come through a lot more on the deluxe, [which will have three or four new songs and be out soon]. And Yogi be sneaking little riddims into things all the time!
Do you have any plans to tour Formed yet?
I do. And God willing, it will happen. But, chile, being independent is ghetto as hell, okay?! It’s an interesting climate for touring. We’re seeing so many major artists cancel their tours, and I just want to be very intentional about it and make sure I can give the best show possible. I’m sure I could figure out a way to just bring my little self and do my thing, but that’s not the show I want to bring for my first headlining tour. I want it to be as big as the music and as big as I can possibly make it. That’s one of my goals, and hopefully, this year, I can pull it off.
After revealing that the Foo Fighters had dropped him for “no reason” last week, drummer Josh Freese has shared a list of possible catalysts for the band’s surprising decision.
In a lighthearted post on Instagram Monday (May 19) — three days after he first shared the news of his removal — the musician shared a graphic labeled, “Top 10 possible reasons Freese got booted from the Foos.”
The reasons listed include, “Once whistled ‘My Hero’ for a week solid on tour” (No. 10) and “Metronome-like precision behind the kit deemed ‘soulless’” (No. 7), as well as “Never once tried growing a beard” (No. 5). A proud owner of several of the curly-haired dogs, Freese also mused that the No. 1 possible reason for the shakeup was that the “whole poodle thing was getting to be a bit much.”
Trending on Billboard
In his caption, Freese simply shared the hashtags, “#lol,” “#peaceoutrainbowtrout” and “#byefelicia.”
The percussionist had been the Dave Grohl-fronted band’s drummer since 2023, taking over the sticks after Taylor Hawkins died the year prior. Before that, he worked as a session musician for The Offspring, Lostprophets, the Replacements and more bands.
On Friday (May 16), he shared via a statement on Instagram, “The Foo Fighters called me Monday night to let me know they’ve decided ‘to go in a different direction with their drummer.’ No reason was given.”
“Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band,” he continued in the post. “In my 40 years of drummer of drumming professionally, I’ve never been let go from a band, so while I’m not angry, [I’m] just a bit shocked and disappointed.”
At the time of Freese’s announcement, representatives for the Foo Fighters declined Billboard’s request for comment.
See Freese’s post below.
Alejandro Fernández couldn’t be prouder to carry on the family legacy through his children, including Camila Fernández, who is currently joining him on his De Rey a Rey tour across the United States.
The 27-year-old artist showcased great confidence and poise on Sunday (May 18) at the Honda Center in Anaheim, Calif., where she performed songs from her repertoire like “Todo Todo,” “Pudimos Ser,” and “Se Cancela la Llorada,” earning a roaring ovation from the audience.
“Thank you for your applause,” said Vicente Fernandez’s granddaughter, elegantly dressed in a charro outfit. “Now I leave you with the new king of ranchera music who honors another king who was my grandfather, my father Alejandro Fernandez””
Trending on Billboard
Also dressed as a charro, El Potrillo opened his set with his father’s classic “No Me Sé Rajar,” included in his tribute album De Rey a Rey (meaning From King to King).
“I want to tell you that I was born with two blessings: the first, being born in Mexico; the second, being born a Fernández,” expressed the superstar. “Let’s celebrate together the legacy of the great Charro de México the way he would have liked — singing his songs at the top of our lungs.”
The setlist included classics like “Lástima Que Seas Ajena,” “Estos Celos,” “El Rey,” “Volver, Volver,” “De Qué Manera Te Olvido,” “Por Tu Maldito Amor,” and more.
In a heartfelt moment, the father and daughter duo performed “Fue Un Placer Conocerte” and “Siempre Estoy Pensando en Ti,” paying tribute to Juan Gabriel and Rocío Dúrcal, who used to sing those songs together. The tender glances and undeniable connection between Alejandro and Camila, along with their beautiful vocal harmonies, deeply moved the fans, who applauded nonstop.
“I want you to know that in this family, there are at least three of us who will fight tooth and nail to keep Mexican music alive, and we carry it deeply in our hearts,” said Alejandro Fernández, also referring to his son Alex.
And while the show serves as a tribute to his father, some Alejandro’s biggest hits couldn’t be left out, including “Me Dediqué a Perderte,” “Si Tú Supieras,” “Caballero” and “Hoy Tengo Ganas De Ti,” which was originally recorded with Christina Aguilera but performed during the concert with his daughter Camila.
The De Rey a Rey tour, which continues on May 23 in Salt Lake City, Utah, includes stops in Denver, Chicago, Miami, New York, El Paso, and Las Vegas (for Mexican Independence Day celebrations), before wrapping up on September 21 in San Diego, Calif.
Check out a clip Alejandro and Camila Fernández singing together below:
Billboard is excited to introduce its brand-new Substack channel, dedicated entirely to daily charts coverage — a must-read destination for music fans, industry professionals and data obsessives alike. This exclusive platform will bring subscribers into the heart of the action, spotlighting the closest battles for the No. 1 spots happening across Billboard’s 200-plus charts. Whether it’s […]
Mora (real name: Gabriel Armando Mora Quintero) surprised fans with the release of his fifth studio album, Lo Mismo de Siempre, on Sunday (May 18) via Rimas Entertainment.
The 17-track set, which was first produced in Miami and then finished in Puerto Rico, was created during an ultra-personal moment in Mora’s life: fatherhood. Though the songs don’t necessarily delve into his personal life per se, it was important for him to move back home with his family to spark his muse and seek the ideal inspiration.
Lo Mismo de Siempre — named in honor of those who say that the Puerto Rican artist-producer is “always doing the same thing” in his music — is truly an ode to the day-one fans.
“None of this was due to luck/ I’ve had a thousand falls, and although they hurt, they made me stronger/ The people made me, and that’s why I’m here with the same people as always,” he chants in the opening title track, over a dark, dramatic synth melody.
The set then navigates through futuristic reggaetón and perreo sounds (yes, true to Mora’s essence), but also some innovative trap, ballads, tropical and house fusions. He also reeled in potent collaborators, including C.Tangana, Young Miko, Sech, Ryan Castro, and Omar Courtz. Lyrically, he sings about love, heartbreak, the loses, the wins, and other relatable topics.
Lo Mismo De Siempre follows the sets Primer Día de Clases, Microdosis, Paraíso, and Estrella — all of which debuted top 10 on the Billboard Top Latin Albums chart.
Below, Mora breaks down five essential tracks from his new album, in his own words:
“Bandida”
