State Champ Radio News
Page: 589
Noah Kahan has long joked that he’s the “Jewish Ed Sheeran.” And this week, the two singer-songwriters finally got together, playing a set of acoustic songs — including one of the British pop star’s unreleased tracks titled “Old Phone” — in a Nashville pub.
In one video posted to Instagram by the “Shape of You” singer Tuesday (April 22), he and the Vermont native sit across from each other on the intimate barroom floor of Santa’s Pub in Tennessee’s capital, both of them wielding acoustic guitars. Smiling, Sheeran and Kahan belt out the chorus to the latter’s breakthrough 2022 smash “Stick Season.”
Trending on Billboard
“I love Vermont, but it’s the season of the sticks/ And I saw your mom, she forgot that I existed,” they belt, joined by dozens of fans seated around them. “And it’s half my fault, but I just like to play the victim/ I’ll drink alcohol ’til my friends come home for Christmas.”
“Shut down @santaspub in Nashville to do dueling songs with @noahkahanmusic,” Sheeran captioned the performance. “What a night.”
According to other clips posted by guests in attendance, the pair also sang “All My Love” and “Dial Drunk” from Kahan’s Billboard 200 No. 2 album Stick Season. Sheeran also enlisted the folk singer to perform the unreleased “Old Phone,” remarking, “I recorded this song, I was like, ‘I think it kind of sounds like a Noah Kahan song … this is a like a full-circle moment for me.”
“That’s f–king mind-blowing,” Kahan quipped.
“Conversations with my dead friends/ Messages from all my exes,” Sheeran then sang on the track, which he previously performed on The Tonight Show ahead of its May 2 release, as Kahan joined him on guitar. “I kinda think that this was best left/ There, in the past, where it belongs.”
The performance marks just the latest pub pop-up the “Perfect” musician has hosted ahead of his upcoming album, Play, with Sheeran also making headlines for his surprise mini concerts at other bars in Boston and Nashville this year. On that note, Sheeran also built a fully functional bar called the Old Phone Pub in Ipswich, Mass., to promote his new song “Azizam,” which debuted at No. 28 on the Billboard Hot 100 in April. Shortly afterward, he reconstructed the pop-up at Coachella, where he sang duets with Shaboozey and Alex Warren in addition to performing on the Mojave stage at the festival.
Watch Sheeran and Kahan perform “Old Phone” and “Stick Season” below.
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
Trending on Billboard
“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
Billboard France
New York’s City Parks Foundation announced the lineup for its 2025 season of Capitol One City Parks Foundation SummerStage series of shows on Wednesday (April 23). The series of 70 free and benefit concerts and performances will bring music to Central Park and 13 other neighborhood parks across all five boroughs this summer, kicking off on June 4 with a New Orleans-inspired show featuring Marcus Miller, Tank and the Bangas and the Soul Rebels in association with the Blue Note Jazz Festival.
Explore
See latest videos, charts and news
See latest videos, charts and news
The rest of the eclectic roster for the 39th edition of SummerStage will feature jazz, hip-hop, rock, salsa, reggae, Afrobeat, soul and pop artist, as well as DJs and contemporary dance performers from around the globe.
“I am thrilled to announce our 2025 SummerStage lineup, a stellar reflection of what makes our festival so unique and beloved,” said Heather Lubov, executive director of City Parks Foundation in a statement. “The huge variety of artists we’re presenting and the parks where we’re located reflect our city’s demographic and cultural diversity, but they also serve to unite us as neighbors and as lovers of music, regardless of our differences.”
Trending on Billboard
Among the other acts slated to take the stage are: The Roots, Soccer Mommy, Femi Kuti & The Positive Force, Rakim, Celia Cruz Centennial Celebration, Big Freedia, Camilo, Jessica Pratt, Bob Sinclair, IZA, Hurray for the Riff Raff, Awich, Frankie Negrón, La Sonora Poceña and Morgan Freeman’s Symphonic Blues, among others.
This season’s events will take place in Marcus Garvey Park in Harlem, Tompkins Square Park in the East Village, Herbert Von King Park and The Coney Island Amphitheater in Brooklyn, Flushing Meadows-Corona Park in Queens, St. Mary’s Park and Crotona Park in the Bronx, Stapleton Waterfront Park on Staten Island, and SummerStage’s flagship venue, Rumsey Playfield in Central Park. Performances are free and open to the public, with the exception of the ticketed benefit concerts in Central Park.
Other 2025 SummerStage highlights include:
The Aussie BBQ: a June 14 celebration of sounds from Down Under featuring father-son hip-hop duo Flewnt and Inkabee, indie pop artist Gordi, singer-songwriter Grace Cummings, EDM duo PINES, garage rockers The Grogans and a special appearance from beloved children’s music group The Wiggles.
Nordic Next: a June 15 show with sounds from Nordic nations featuring singer-songwriter Jakob, Swedish indie-folk singer Sarah Klang and Danish art-pop violinist/singer Astrid Sonne.
New York Sings Yiddish: a June 30 showcase of Yiddish music and folklore with sets from multi-instrumentalist Zalman Mlotek and klezmer/jazz fusion band Frank London’s Klezmer All-Stars.
Canadian music showcase: a July 2 show featuring Toronto R&B singer Charlotte Day Wilson and folk-rock band The Weather Station.
Latin Alternative Music Conference (LAMC): July 9 show with Colombian Latin pop band Morat, with punk/reggaeton band Planta Industrial and a July 12 show with Colombian singer-songwriter Camilo and Colombian pop singer and 2024 Latin Grammy best new artist winner Ela Taubert.
Big Freedia: the New Orleans bounce queen will take the stage at Herbert Von King Park in Brooklyn with Black trans femme choreographer Courtney “Balenciaga” Washington.
Bastille Day Celebration: a July 13 showcase with performances from house DJ Bob Sinclair, hip-hop brother duo Big Flo & Oli, singer-songwriter Patrick Bruel and pianist/singer ESTL.
The Roots: The Philly hip-hop collective and Tonight Show house band will play Flushing Meadows-Corona Park in Queens on July 20.
Femi Kuti: a July 27 show with the Nigerian superstar and his band, the Positive Force, along with New York rap crew dead prez — celebrating their 30th anniversary — and poet Maryam Bukar Hassan.
Frankie Negrón: Tropical/salsa star Negrón will play the Bronx’s Crotona Park on July 31.
Taiwanese Waves: an August 3 showcase celebrating indigenous Taiwanese culture with contemporary dance company Bulareyaung Dance Company, indigenous Paiwan pop star ABAO and singer-songwriter Enno Cheng.
Rakim: The legendary New York MC will take the stage at Stapleton Waterfront Park on Staten Island on August 9.
Celia Cruz Celebration: the tribute to the legendary Queen of Salsa’s centennial on August 9 will feature Cuban singer/pianist Aymée Nuviola and Afro-Cuban singer Brenda Navarrete.
La Sonora Ponceña: The Puerto Rican salsa band will play Stapleton Waterfront Park on August 10.
Soccer Mommy: indie rock band will close out the Central Park season on Sept. 16 with help from Hurray for the Riff Raff and Dummy.
The series will include celebrations of New York’s cultural communities with guest curators including MIKE’s Young World V — with July 12 sets from Roc Marciano and The Alchemist — DJ Rekha’s Basement Bhangra Beyond dance show with London-based Punjabi singer Tara Lily on July 19 and Coney Island’s NEMS’ second GORILLAFEST hip-hop show on July 26. In addition, legendary DJ Funk Flex will celebrate the sounds of hip-hop and R&B across the boroughs on Aug. 1 (the Bronx), Aug. 16 (Coney Island) and Aug. 17 (Central Park) and DJ/producer King Britt will host his Blacktronika Festival with back-to-back shows in Central Park (Aug. 16) and Marcus Garvey Park (Aug. 17).
SummerStage will put the spotlight on a number of female artists as well, with bluegrass/Americana singer Rihannon Giddens playing Central Park on June 25, Indian-American singer-songwriter Asha Puthli taking the stage on July 23 and folk singer Jessica Pratt performing on July 24.
Other artists who will perform as part of the season include: Lettuce with Styles P (June 14), Chris Tomlin (July 11), Cymande (July 23), The Originals featuring Rich Medina, Stretch Armstrong and Tony Touch (Aug. 10) and various artists at the Charlie Parker Jazz Festival (Aug. 22). For the full line-up click here.
Summerstage
Courtesy Photo
Lola Young is the top nominee for The Ivors 2025, which celebrate achievements in songwriting and screen composing across eight categories. Young is nominated for three awards – best song musically and lyrically for “Messy,” best album for This Wasn’t Meant for You Anyway, and rising star.
Young, 24, has had success on both sides of the Atlantic this year. “Messy” logged four weeks at No. 1 on the Official U.K. Singles Chart and has climbed as high as No. 14 on the Billboard Hot 100. This Wasn’t Meant for You Anyway, her sophomore album, reached No. 16 on the Official U.K. Albums Chart and No. 64 on the Billboard 200.
RAYE – the winner of last year’s songwriter of the year award – Ghetts, and Conor Dickinson each received two nominations. Both of Dickinson’s nods are for writing with Young.
Trending on Billboard
In the PRS for Music most performed work category, Wham!’s 1984 holiday classic “Last Christmas” is one of the five nominees, a remarkable sign of its staying power. The song’s writer, George Michael, was nominated in the category 21 years ago for “Amazing.” Harry Styles’ 2022 smash “As It Was” was also nominated. This is the third year in a row that that global smash, which Styles cowrote with Kid Harpoon and Tyler Johnson, has been nominated in this category. Also in the running are “Houdini” by Dua Lipa, “Stargazing” by Myles Smith, and “Prada” by Cassö, RAYE and D-Block Europe.
This year marks the 70th year of the Ivors, also called the Ivor Novello Awards, with the winners set to be revealed at the ceremony taking place at Grosvenor House, London, on Thursday May 22. Amazon Music sponsors the awards.
This year, 74 individual British, Irish or U.K. resident composers and songwriters, and their international collaborators, have received Ivor Novello nominations – 66% of them for the first time.
The rising star award celebrates British, Irish or UK resident songwriters aged 18-24 who are “at the tipping point of greatness,” in the Ivors’ phrase. Each nominee receives year-long, tailored support for their creativity and career from Amazon Music and The Ivors Academy. The 2025 nominations celebrate five female rising stars – Bea and her Business, Liang Lawrence, LULU., Nia Smith and Lola Young.
Pa Salieu is nominated in best contemporary song with “Allergy,” four years on from his last nomination in the same category for “Energy.”
The Ivors also celebrates Britain and Ireland’s finest composers across film, TV and video games. Daniel Pemberton nominated for best original film score for a second successive year, this time with Fly Me to the Moon. He was nominated last year for Spider-Man: Across the Spider Verse. Also nominated is Mica Levi’s score to The Zone of Interest. Levi previously won this award in 2018 for Jackie.
Martin Phipps was nominated for best television soundtrack for the second successive year for Black Doves. He was nominated last year for the final season of The Crown.
Also, Ivor Novello Awards will be presented for the songwriter of the year with Amazon Music, outstanding song collection, visionary award with Amazon Music, special international award, and PRS for Music icon award.
Roberto Neri, chief executive of The Ivors Academy, said in a statement: “An Ivor Novello Award holds a unique place in music, as it is judged by fellow songwriters and composers, making it the most respected acknowledgement of creative excellence. We are proud to welcome and celebrate the nominees’ achievements and look forward to honouring their work at the 70th edition of The Ivors in May.”
As previously announced, U2 are the latest songwriters set to become Academy Fellows, in recognition of their enduring influence and impact on the craft of songwriting. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will become the first Irish songwriters that the Academy has inducted into Fellowship in its 81-year history.
The Ivors, presented by The Ivors Academy, is one of the most prestigious award ceremonies in music. Judged by songwriters and composers, the awards recognize excellence in craft and creativity. For more information visit www.ivorsacademy.com/theivors
Here’s a full list of nominations for The Ivors 2025.
Best Album
Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
“Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
“Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS For Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
“Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
Twenty-five years after Eminem released his hit “Stan,” the Shady Films-produced STANS documentary is set to premiere on the opening night of the SXSW London Screen Festival on June 2.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The first wave of programming was announced on Tuesday (April 22) ahead of SXSW London, which is slated for June 2 through June 7 in Shoreditch. Full screen passes are currently up for sale on the festival’s website.
Directed by Steven Leckart, STANS explores the psychology behind the multilayered relationship between an artist and the fans. Em’s collaborators, along with some of his most devoted followers, are featured prominently in the documentary.
Trending on Billboard
Distributed by MTV Entertainment Studios, STANS will premiere on Paramount+ in the United States later in 2025.
“Stan” — which samples Dido’s “Thank You” — was the third single from The Marshall Mathers LP, which arrived in May 2000. The 45 King-produced track peaked at No. 51 on the Billboard Hot 100 and has nearly 1.3 billion streams on Spotify.
“Stan” has become common vernacular in the music world to describe delusional and obsessed fans and their relationship with an artist, which has only been amplified with social media’s impact. The word was even been added to the Merriam-Webster dictionary in the years since.
Eminem made his involvement with the film official when he publicly called on his diehard fans to come out and participate in the documentary last year.
“Putting together the first-ever programme of the SXSW London Screen Festival has been a dream. We are excited to present bold new work from across the world, celebrating boundary-pushing films across documentary, animation and narrative filmmaking,” SXSW London’s head of screen, Anna Bogutskaya, said in a statement. “Our program is designed to ignite conversations, inspire new connections and showcase and celebrate screen storytelling across film, TV and immersive.”
The Life of Chuck will serve as the inaugural festival’s closing night feature on June 7, which is based on Stephen King’s 2020 novella. Another King adaptation, The Institute, is also slated to join the festival’s programming. Other film premieres on the bill include Tom Kingsley’s action-comedy Deep Cover, Love & Rage: Munroe Bergdorf and more.
A songwriter who unsuccessfully sued Mariah Carey over “All I Want for Christmas is You” is pleading with a judge to reject demands that he repay her six-figure legal bill, warning it would push an “elderly man” to “the brink of a financial collapse.”
After beating Vince Vance’s copyright lawsuit over her holiday classic, Carey, Sony Music and other defendants told the judge earlier this month that they had paid nearly $186,000 to a team of lawyers to defeat “frivolous” motions advanced by Vance’s attorneys.
But in a response filing on Monday, Vance’s lawyers said that such a award was “simply not reasonable” and completely out of proportion for the amount of litigation at issue – and that it could bankrupt an an “elderly man now without vast resources.”
Trending on Billboard
“The plaintiff is elder and living off his music catalog and some touring,” the songwriter’s attorneys say. “One artist should not push another artist to the brink of a financial collapse.”
Vance (real name Andy Stone) first sued Carey in 2022, claiming “All I Want” infringed the copyrights to a 1989 song of the exact same name by his Vince Vance and the Valiants. He said his track had received “extensive airplay” during the 1993 holiday season — a year before Carey released her now-better-known hit.
The case was a big deal because Carey’s song is big business. The 1994 hit, which became even more popular after it appeared in the 2003 holiday rom-com Love Actually, has re-taken the top spot on the Hot 100 for six straight years and earned a whopping $8.5 million in revenue in 2022.
But in a ruling last month, Judge Mónica Ramírez Almadani said Vance had failed to show that the songs were similar enough to violate copyright law. She cited analysis by a musicologist who said the two tracks were “very different songs” that shared only “commonplace Christmas song clichés” that had been used in many earlier tracks.
The judge not only tossed out Vance’s case, but also ruled that he and his lawyers should be punished for advancing meritless arguments that the judge said were aimed to “cause unnecessary delay and needlessly increase the costs of litigation.”
Earlier this month, Carey and the other defendants told the judge they had paid a combined $185,602.30 for a total of 295 hours to defeat those motions. They said they spent a lot because Vance was demanding “drastic” thing, like $20 million in damages and the “destruction” of all copies of Carey’s song.
Carey, repped by Peter Anderson and others from the law firm Davis Wright Tremaine, asked for about $141,000; Walter Afanasieff, a co-writer on Carey’s track repped by Kenneth D. Freundlich, asked for $7,000; Sony Music, represented by Benjamin Akley, Donald Zakarin, Ilene Farkas and others from Pryor Cashman, asked for $32,000; and Kobalt, repped by Bert Deixler and others from Kendall Brill & Kelly LLP, asked for $5,000.
But in Tuesday’s response, Vance’s lawyer (Gerard P. Fox) said those demands were far too high for a case that he said had been filed with good intentions and sound legal reasoning.
“He heard something that to him seemed substantially similar and spent money that is sparse for him on two of the top musicologists in the country and asked them for their independent opinions, and they both gave him the same opinion: there was infringement,” Fox writes.
“The loss of this case … is staggering enough for this plaintiff and saddling him with $185,000 of big law firm billing that is unreasonable and forcing him to sell parts of his catalogue of music will accomplish nothing,” the lawyer writes.
Lizzo is opening up about the steps she took to feel lighter both physically and mentally, with the star sharing her weight-loss and anxiety-beating strategies on an TikTok livestream Tuesday (April 22).
Speaking to followers months after announcing on Instagram that she’d reached her “weight release” goal in January, Lizzo divulged which specific changes she’s made to have a healthier relationship with food. For one, the hitmaker no longer drinks “two to three” large Starbucks beverages each day, a switch she said she believes cut out 1,200 calories from her daily diet, according to People.
The “About Damn Time” singer also stopped eating sugary foods in the morning, opting instead for a mix of sweet and savory breakfast choices, like “almond butter and toast.” “Everybody’s body is different. Find out what works for you,” she said, noting that she “had to start applying a calorie deficit, because I was prone to bingeing.”
Trending on Billboard
Lizzo has been open about her fitness journey after becoming known for her self-love-focused music and advocating for body positivity with her platform. In her January Instagram post, she showed off her figure and revealed that she had shed 16% of her body fat, writing, “Today when I stepped on my scale, I reached my weight release goal. I haven’t seen this number since 2014! Let this be a reminder you can do anything you put your mind to. Time for new goals!”
She’s also long been vocal about her struggles with mental health, and in Tuesday’s chat with fans, she also shared how she turned her anxiety around. “I’ve been working to get my anxiety under control for years,” she told her TikTok followers. “And then I decided that I want to release and I’m ready to stop waiting to be myself like fully and be happy. I meditated. I calmed myself down. And I isolated a little bit, but not like made myself lonely, not the way I used to when I was depressed. I isolated myself in a mindful way where I had no distractions.”
“I loved to distract myself with people,” she added. “I loved to distract myself with food. I loved to distract myself with drinking. I loved to distract myself with problems that I would create. I would love to do that. And I stopped doing that. And I just focused on me.”
The Grammy winner’s posts come as she’s kicking off a new musical era, dropping singles “Love in Real Life” and “Still Bad” in February and March, respectively. In April, she announced that she had put the finishing touches on her upcoming follow-up to 2022’s Special — which reached No. 2 on the Billboard 200 — sharing studio photos on Instagram and writing, “ALBUM IS DONE YALL!”
Nearly a decade after indie R&B tastemakers and college students across the country first swooned over her self-released EPs and early collaborations with Monte Booker and Smino, Ravyn Lenae has earned her first Billboard Hot 100 hit with “Love Me Not” (chart dated April 12).
Lenae, who signed to Atlantic Records in 2016, originally released the bouncy, soulful, rock-inflected song in early May 2024 as the lead single from her sophomore studio album, Bird’s Eye. Thanks to a wave of TikTok momentum — one that’s also benefitted Janet Jackson’s “Someone to Call My Lover,” a kind of foremother to “Love Me Not” — the single steadily grew throughout the late winter and early spring and now reaches a No. 70 on this week’s Hot 100 (dated April 26). The Dahi-produced track also became the landmark 25th production credit for the Grammy-winning hip-hop/R&B producer.
With “Love Me Not” securing Lenae her long-awaited breakout moment, the song’s success also previews what’s shaping up to be the biggest year of her career. In April, the Chicago-bred singer-songwriter bewitched both weekends of Coachella-goers, perfectly priming both in-person and virtual audiences for her forthcoming stint as an opener on Sabrina Carpenter’s Short n’ Sweet tour. She’ll also visit her hometown for Lollapallooza (July 31-Aug. 3), where she’ll continuing playing sets built around Bird’s Eye, which Billboard staff named the No. 3 Best R&B Album of 2024.
Trending on Billboard
“I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work,” she gushes to Billboard the day before her Coachella debut. “It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!”
In a conversation with Billboard, Ravyn Lenae talks her slow-burning success, drawing inspiration from Janet Jackson, gracing the Hot 100 for the first time with “Love Me Not,” and witnessing the power of TikTok firsthand.
Where were you when you found out “Love Me Not” hit the Hot 100?
I was at home watching TV, and my manager called me and told me that it was a real thing. I had a great day that day. I had great tacos, I called my mom, everything was going right. The weather was beautiful. I had a really emotional talk with Dahi and thanked him for being such an important person in my life and doing this with me and believing in me and challenging me.
Was there a specific moment in which you decided that you wanted to pursue music professionally?
I would say when I was in high school and I started putting music out on SoundCloud and I saw how much of a response I got. That made me feel like, “Oh, this is something that not just resonates with me, but people actually like this and they’re looking forward to the next thing that I do.” I think that gave me an inkling. Once Noname took me on tour [in 2017], that’s when I realized it was a possibility to do something I love every single day and be able to pay my bills too.
What was the inspiration behind “Love Me Not?”
That song was one of the first ones that we landed on for Bird’s Eye. I remember when Dahi played me the beat, I was like, “This is something I feel like I haven’t heard in such a long time.” For some reason, it reminded me of when I heard “Hey Ya!” [by OutKast] for the first time. That mix of soulfulness with pop sensibility that anybody could sing and dance to and feels like it could have came out in any era — that’s my favorite type of song.
Lyrically, I like to play with relationships and the push and pull of knowing you love somebody even though you know it can’t work. That really elementary approach to writing is one of my favorite things. I love when the lyrics feel a little sad, but the music feels upbeat, or even the inverse. [“Love Me Not”] has all the qualities of a really timeless song to me, so I knew that one had to be on [the album] and be the first [single].
Why did you decide to release “Love Me Not” alongside “Love Is Blind”?
“Love Me Not” was something that I really, really loved and I was excited for my fans to hear. But I also knew that it was a branch-out from the type of colors I dabbled in on [2022 album] Hypnos. I thought to support that, I should have something that felt like the most “Ravyn Lenae” song ever. “Love Is Blind” was a good pairing for people to see where I was going with [Bird’s Eye while] still rooted in my R&B bag, my sensuality and my yearning lyrics. I wanted people to understand where I was going, but also where I am and where I’ve been at the same time.
How did the how did the Rex Orange County remix come together? When did you know that you wanted to do a remix?
I knew I wanted a remix for the song a few months after I dropped it. I remember us talking about a feature on the song originally, so it was always in my head that I thought I heard another perspective on the song, especially a male perspective, almost like a duet type of feel. But I couldn’t think of who it was going to be, and I don’t like to decide things quickly.
My manager [John Bogaard] sugested Rex [Orange County], and I thought he was the perfect voice and perspective to add to the song and introduce it to a whole other audience.
The success of “Love Me Not” has been a real slow burn, not unlike your career in general. Are there times you wish everything would just click or are you content with the journey of it all?
I am constantly on a journey of balancing both of those extremes because it feels like two sides of my brain. One that’s like, “Get on the train!,” and the other part of me — like when I talk to my mom and my manager — [understands] that timing is everything. I have to trust that. I have to believe that. I have to stay patient and diligent and focused, and things will start to turn over for me. We’ve seen it over and over again.
I just saw Doechii [with whom she collaborated for 2022’s “Xtasy” remix] a few days ago in San Antonio. I hadn’t seen her since this major shift [in her career], so it’s been a while since I’ve been able to catch up with her. I was like, “Girl, when you won your Grammy, I started bawling!” I didn’t expect that [emotional response] to happen, but whenever I see those glimpses of hard work paying off, it reassures me that I’m on the right path. That’s what I’m holding on to right now; I’m trying not to get ahead of myself and stay right where I’m at and be happy about that.
I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work. It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!
What else do you have planned for “Love Me Not?” You’ve been showing fellow Bird’s Eye track “Genius” a lot of love on TikTok recently.
I hope that I’m able to keep getting “Love Me Not” in new ears. I want that song to keep growing and reach as many people as possible. “Genius” is another one that I think has really strong potential to reach those super-large audiences. I’m just gonna keep pushing, working, performing, meeting people and being a good person. Beyond that, I’m working on new music that I’m so excited about.
What was your experience on the artist side watching TikTok help blow “Love Me Not” up?
Before it happened, I would have really negative thoughts like, “Maybe that type of viral moment isn’t in the cards for me.” You’re making TikToks and you feel like [they’re] not reaching anybody and you’re just putting stuff out into the void.
This was an exercise of me stepping outside of my comfort zone in a good way. Seeing people discover me and this song and then dive into my whole discography has really [shown that TikTok is] such a beautiful tool. Even beyond me, just seeing how accessible it is for people’s lives to change overnight.
I can’t help but draw similarities between “Love Me Not” popping off right now and also Janet Jackson’s “Someone to Call My Lover” having a revival. What do you think it is about these songs that are pulling in listeners right now?
I literally asked myself this the other day. I’m like, “This is too much of a coincidence!” First of all, “Someone to Call My Lover” is one of my favorite songs, so when I saw that happening it really felt like a shift. Janet is one of my biggest inspirations; she’s been able to blend R&B, alternative, rock and pop in the most beautiful, seamless way. I aspire my career to be like that too. I think people are just open to a mishmash of sounds and don’t care really who it’s coming from. Even the fact that [TikTok users] mixed “Love Me Not” with [Solange’s] “Losing You,” there’s definitely a shift happening. I think people want that soulful pop back.
What can you tell us about the new music right now?
Tricking my listeners into liking things that they probably wouldn’t have liked otherwise is something I’m really into. I’m always finding new ways to push and find new colors in my voice, get a little uncomfortable and get a little more raw. Pulling back those layers is something that I try to do with each song and each album.
A version of this story appears in the April 19, 2025, issue of Billboard.
Few artists embody the meaning of evolution quite like Anitta. The Brazilian superstar, unapologetically herself and fearless, has expanded the boundaries of global Latin music with hits in three different languages — an unprecedented feat among modern-day pop stars. As the recipient of the first-ever Vanguard Award at Billboard’s 2025 Latin Women in Music event — celebrating an artist who boldly forges her own paths — Anitta continues to prove why she’s in a league of her own.
Through her trilingual funk carioca, reggaetón, Afrobeat, and fizzy pop songs, the singer closes the divide between cultures while celebrating her Brazilian roots on the world stage, as evinced in her 2024 album, Funk Generation. With multiple songs reaching the coveted Billboard Hot 100 — such as “Envolver” at No. 70, “Bellakao” with Peso Pluma at No. 53, or most recently, “São Paulo” with The Weeknd at No. 43 — Anitta continues to blaze new trails in music and global pop culture.
Trending on Billboard
“I’ve been around a lot of performers. I will tell you — I will put my money on Anitta every day,” Rebeca León, her manager and longtime friend, tells Billboard. “She can sing for six hours straight, and her Carnival performances are the most incredible experiences.”
But Anitta’s path hasn’t been defined solely by music. After years of living in the fast lane, the artist, born Larissa de Macedo Machado, is now embracing her vulnerability and leaning into her more spiritual side. “Anitta is a persona she created,” explains León, referencing the personal challenges the artist has faced. “Larissa is the softer side of Anitta.” That introspection is at the heart of Larissa: The Other Side of Anitta, her 2025 Netflix documentary that explores the woman behind the icon, her journey of healing, and her fearless decision to embrace her true self, after going through personal issues.
In this interview, conducted in early April (a week after her birthday), Anitta reflects on her dual identities, her mission to bring funk carioca to the global stage, and her ongoing journey of embracing every part of herself — sensual, spiritual, and everything in between.
Anitta, first off, happy belated birthday! How did you celebrate this year?
I love celebrating my birthday. We are so blessed to be alive, we have to celebrate. This year, I started with a ritual. Here in Brazil, my father, my brother, and I all follow Yoruba [traditions]. But I also love incorporating Buddhism and Hinduism into my life. The first party was a Shamanic ritual with a Shaman who guides me in life. I invited Krishna Das to do a kirtan — a [chanting] practice with mantras — and he performed at my house. Krishna Das is a great singer. I love his songs. It was really special.
On the second day, I hosted a party with a band I love. Then the other day, I did another show in my house with a reggae band that I love. Then I traveled. Every year, my astrologers tell me where I should spend my birthday for my solar return, so I always celebrate it in a place based on their guidance. This year, I went to Fernando de Noronha, a great [archipelago] in Brazil.
Iude Rìchele
Congratulations on being chosen to receive the Vanguard Award at Billboard‘s Latin Women in Music event — how does it feel to be recognized in this way?
I’m really happy. Last year, I also received an award in Brazil because of how I fight for change. Movies, music, books — and entertainment in general — can [serve as a catalyst for] change in our culture and lives. A popular movie or a type of music can completely shift how people behave. I always try to apply that idea to my work. It could be through my music videos, my speeches, my dancers, my outfits, or even in interviews — I always try to bring attention to things I really believe people need to [notice]. I go with the flow, but I also try to change the flow a bit. In the beginning [of my career], it was all about [promoting] women empowerment because I could see a lot of men singing about women in a way [that implied] they could do everything, while women could not.
The documentary Larissa: The Other Side of Anitta shows so many incredible moments, from Río’s Carnival to being in love with your childhood sweetheart, to diving deeper into your spirituality. Now that you’re showing the world who Larissa is, how is it navigating these two identities — the personal and artistic?
That was something I really wanted to do. We’ve been watching other people’s lives on social media, and we believe [what we see]. We think that [those lives are] perfect. We tell ourselves, “Oh, I wish I was like that. I wasn’t born lucky,” or “I need a new car, a new house. I need more.” But in reality, that’s not what we actually need because we are comparing ourselves to lives that aren’t real. Social media only shows pieces of people’s lives. It doesn’t show how they got what they have, how they are feeling mentally or their pressures and struggles.
I wanted to use this movie to show people that it’s not like that. Everyone goes through struggles, and you can relate to my life even if you think it’s perfect. Deep down, we are all the same. I wanted to show that to gain success, money, or whatever you’re striving for, you have to work really hard. The internet today gives the impression that everything is easy, that you don’t need to work or study — you just get it. But I wanted to show that, no, success comes at a big cost. We need inspiration, but it’s also okay to hope.
Iude Rìchele
Last year, you made waves with your Funk Generation album. How important was it for you to bring funk carioca to the world stage?
That was the baile funk experience. It was important because I really believe this rhythm has the power to be the next wave. I also love Afrobeat, and funk [carioca] has roots that trace back to that, from Africa, Bambata. That’s why it feels similar. I thought it was really important to bring this culture to the world. We performed in so many countries, and when everybody showed up, it was super special. I felt so strong and empowered on stage representing this rhythm and its energy.
I think sensuality is also an essential part of who I am — something I’ll never regret or give up on. Sometimes when I talk about spirituality, like mantras I love or hope to work on one day, people think I’m going to stop doing [the other parts]. They ask if I’ll stop being sensual or stop dancing the way I do in funk. But there’s no need for separation; doing one thing doesn’t mean you can’t do the other. It’s the opposite, actually. We need to embrace all parts of ourselves — the sensuality, the spirituality, and the power I feel when I’m performing funk and dancing. It makes me feel so powerful, so special. I was really happy with that tour.
Your hours-long Carnival performances have been praised for their high energy and artistry. How do you physically and mentally prepare yourself?
Mentally, it’s the hardest. It can f–k up your mind if you’re not ready because there is so much noise, so many people, so much energy. You have to make a deal with yourself and understand [what it takes] to handle it, because it can be tricky with all the ups and downs.
Physically, [preparation] is important. I was traveling and working so much, but when I decided to stay in Brazil for the moment, I got healthier because I could establish a routine. The body likes routine. It’s important to give your body structure during the days between shows. For Carnival, I performed every Saturday and Sunday for two months, spending four to five hours on stage each time. [To sustain that,] you need to maintain a strong routine during the weekdays.
Iude Rìchele
As you embark on this new phase of your journey, what do you hope fans take away from seeing you as Larissa?
I’m trying not to be in a rush. I used to always try to deliver. You know, that anxiety that comes from big companies and people expecting results and numbers and paybacks. But now I’ve realized that the more we act in survival mode, the less we get. It’s hard to create something truly new and impactful when you have people in your environment being like, “What’s the next step? So what are we doing? What’s the plan?” Now I’m just trying to silence [those voices], and trying to be confident and follow my heart.
One thing I’ve always done in my career is trust [my intuition]. Even if everyone else was going right, I would go left. I didn’t mind waiting years for that decision to pay off. I would keep insisting on the left because that was the direction I felt good with. At some point, I started to lose that confidence because so many people around me were pushing for immediate results. But now, I’m trying to just keep this mindset. I don’t care if everyone else is going one way. If I feel like this is the right way, I’m going to keep going that way, no matter what.
Iude Rìchele
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
HipHopWired Featured Video
CLOSE
Source: Supreme / Supreme
Hate or it or love, Supreme is always good for a clutch collaboration. The ubiquitous streetwear brand has linked with Spike Lee to create a capsule collection with the renowned director’s 40 Acres & A Mule production company.
Source: Supreme / Supreme
The Brooklyn-bred director and screenwriter skyrocketed to fame after the release of his self-funded, black and white classic film She’s Gotta Have It. The flick also happened to feature Lee himself portraying the now iconic Mars Blackmon character, which Nike soon enough co-opted for the famed Air Jordan campaign considering he wore a pair of Air Jordan 1’s in the film. Lee discussed how it went down in a sit down interview (which also features plenty of dope insight into his decades of work) released by Supreme (see below).
But, there are no Air Jordan callbacks in this Supreme drop. Instead, Lee’s critically acclaimed Malcolm X and Clockers make their way into the mix. The collab consists of an ill black Varsity jacket, a couple of tees, a Clockers 6-panel hat and a baseball jersey. While one tee is attuned to Malcolm X, the other features a photo of Lee while he’s in director mode.
The collection releases Thursday, April 24 at the usual 11am ET online drop time, and in stores. Asian shops gets their product the next day. Check out detailed photos below.
1. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
2. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
3. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
4. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
5. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme
6. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
7. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
8. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
9. Spike Lee x 40 Acres x Supreme
Source:Supreme
Spike Lee x 40 Acres x Supreme spike lee x 40 acres x supreme
