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The same week he made his Billboard Hot 100 debut as a recording artist, Grammy-winning producer, actor and R&B star Leon Thomas made his live television debut on The Late Show With Stephen Colbert on Thursday (Feb. 6). Surrounded by his band on a red-lit stage with a projection of his Mutt album cover behind […]

Kendrick Lamar will return to the Super Bowl stage on Sunday (Feb. 9), but this time, the Compton native is slated to headline the Super Bowl LIX Halftime Show in New Orleans.
Between the Drake battle, arrival of GNX and “Not Like Us” taking home five Grammy Awards — including song of the year and record of the year — it’s quite possibly been the most decorated 10-month stretch of Lamar’s career.

As detailed in this episode of Billboard Explains, the 37-year-old West Coast hip-hop titan has long laid the foundation, with decades of work honing his craft and refining his flows to get to this point at the top of the rap food chain.

Born in 1987, Kendrick took an interest in poetry and released his first mixtape as a teenager in 2003 titled Y.H.N.I.C. (Hub City Threat: Minor of the Year) under his initial K-Dot alias.

It wasn’t until his fourth mixtape, Overly Dedicated, that he made his Billboard chart debut in 2010 and changed his rap name to Kendrick Lamar.

Following his Billboard 200 debut (No. 113) with Section.80 in 2011, Lamar unleashed his major label studio album under Top Dawg Entertainment/Interscope Records when Good Kid, M.A.A.D City arrived in October 2012 and debuted at No. 2 on the all-genre albums chart.

The cinematic LP earned Kendrick seven Grammy nominations and was led by singles such as “Swimming Pools (Drank),” which was his Billboard Hot 100 debut, reaching the top 20.

To Pimp a Butterfly saw Lamar continue to elevate his profile when he scored his first Billboard 200 chart-topper in 2015. Two years later, DAMN. hit the streets and made history as K. Dot became the first artist to win the Pulitzer Prize for a hip-hop album.

He curated the Black Panther soundtrack in 2018, and Kendrick returned in 2022 following a hiatus with the poignant Mr. Morale & The Big Steppers.

2024 proved to be his biggest year yet, as his Drake diss “Not Like Us” topped the Hot 100, and he spun the block before the year ended with the release of GNX, which produced the No. 1 “Squabble Up” and occupied the entire Hot 100’s top five.

Explore more about Lamar’s rise in the video above.

We all remember the hits, but what about the fan favorite street singles?

In the midst of his hourslong spree of hate-filled, antisemitic, homophobic and ableist tweets on Friday morning (Feb. 7), Ye reached out to his friend President Donald Trump with a plea for the commander in chief to free disgraced hip-hop mogul Sean “Diddy” Combs.
“Free Puff,” Ye wrote in all caps on X in the first missive of the barrage of tweets, later adding, “@realDonaldTrump please free my brother Puff.” Combs (variously known as Puffy, Puff Daddy and Puff over the course of his career) was arrested in September and is currently in jail without bail awaiting federal trial in New York on racketeering, sex trafficking and transportation to engage in prostitution charges tied to what prosecutors say was an intricate scheme in which he “abused, threatened and coerced women and others around him to fulfill sexual desires.”

Combs is also facing dozens of civil lawsuits from women and men who claim that the once unstoppable Bad Boy Records boss sexually and physically assaulted them, forced or coerce them into sexual activity during hedonistic “freak off” parties and threatened them over the course of incidents dating back almost 30 years; Combs, who has denied all the allegations, is slated to go on trial in May in the case that could land him in prison for the rest of his life.

West visited the White House during Trump’s first term and has proudly worn the MAGA hat over the years. Amid the offensive tweets he also announced the launch of a collaboration between his Yeezy fashion brand and Comb’s Sean John fashion line. As of Friday morning, a number of basic-form white, grey and black “Sean John” t-shirts were available on the Yeezy site alongside a black sweatshirt with the white supremacist phrase “White Lives Matter.”

According to West, profits from the $20 shirts will be split evenly with Combs. “I just found out that Puff is not allowed to make or collect money while he’s locked up so I’ma send his half of the money to Justin,” he wrote, not identifying which Justin he was referring to.

The profanity-filled tweet string also featured a call-out of fellow celebrities — whom he referred to as “celebrity ni–as and b–ches [who] is p–sy” — who “watch our brother rot and never say s–t.” Trump, who pardoned more than 1,500 January 6 rioters on his first day in office in January — and who in the waning days of his first term pardoned or commuted the sentences of rappers Lil Wayne and Kodak Black — has not mentioned Combs’ case in the first few weeks of his second term.

In addition to advocating for the release of Combs, Ye also praised singer Chris Brown, writing, “we all watched them try to cancel Chris Brown and aint nobody do nothing,” adding, “I was p–sy then too Chris Brown its til the wheels fall off,” a seeming reference to West’s new song with Ty Dolla $ign, “Wheels Fall Off.”

Brown plead guilty to felony assault on then-girlfriend Rihanna after brutally beating the singer in 2009, for which he was sentence to five years probation, domestic violence counseling and six months of community service. In the years since, as Brown has continued to release charting songs as his list of reported physical altercations and allegations of battery have grown.

He was involved in a scuffle with Drake’s entourage at a New York nightclub in 2012, got into an altercation with singer Frank Ocean in 2013, was arrested for felony assault later that year in D.C. and was identified as the person who allegedly assaulted another adult male during a 2015 basketball game in Las Vegas; two months later a woman told police that Brown battered her in a Vegas hotel room during a spat over a cell phone. In August of 2016 Brown was arrested at his home in Los Angeles for suspicion of assault with a deadly weapon.

Since then, former girlfriend Karrueche Tran was granted a five-year restraining order against Brown in 2017 after sharing threatening texts he’d allegedly sent her and last year he was the subject of a lawsuit in which four men said Brown and his associates “brutally and severely” beat them backstage at Dickies Arena.

Ye’s advocacy for Combs and Brown came during a seven-plus-hour X rant in which he repeatedly used homophobic (“fag–t a– n–gas”) and ableist slurs (“f–k ret-rds,” “dumb a– ret-rds”) and praised Nazi leader Adolf Hitler (“I love Hitler,” “I’m a Nazi”) while repeatedly denigrating the Jewish people (“you can get money with Jewish people but they always gonna steal.”)

In a statement on X, Anti-Defamation League CEO Jonathan A. Greenblatt responded by calling the comments, “Another egregious display of antisemitism, racism and misogyny from Ye on his X account this morning… We condemn this dangerous behavior and need to call it what it is: a flagrant and unequivocal display of hate.” Some of West’s antisemitic post were amplified and re-shared by white supremacist Nick Fuentes, who joined Ye at the White House in 2018 for the meeting with Trump, who the rapper said at the time was like a “father” to him.

EST Gee knows all too well about turning tragedy into triumph, but that doesn’t mean it gets any easier each time out.
The Louisville slugger returned last week (Jan. 31) with his sophomore album I Ain’t Feeling You, which he followed up on Friday (Feb. 7) with a four-pack deluxe.

Geeski continues to elevate his gritty street tales out of the ‘Ville, but he says the imitators continue to surface. “People always take my style,” he contends to Billboard. “However I get to coming, it’s like a clone pops out of nowhere. But it’s cool though, I like it. It’s like a little army of Minions.”

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Inspired by Drake’s “Houstatlantavegas,” the EST boss recruited Lil Baby and Travis Scott, who he ran into during a night out at the strip club in Houston, to complete album standout “Houstatlantaville.”

“We was just at the strip club in Houston,” Gee explains. “I always bump into Travis. We came across each other a few times. It was a good night and he was asking what we was getting ready to do after we left the club. I’m like, ‘We bout to go to the studio. We gon’ go to the house and record like right now.’ He was like, ‘Yeah?’ I’m like, ‘Come on, we gonna go right now.’”

Trending on Billboard

Signed to his EST label in a joint venture with Alamo, EST Lu Mike was someone Gee looked at as the younger version of himself. Unfortunately, Lu Mike was killed last year following a self-inflicted gunshot wound, and Gee memorialized his mentee on “RIP Lu Mike.”

Geeski looked inward to finish the LP as he paid tribute to his late mother, who passed away from leukemia in 2020 before his rise to fame, with the poignant “Outro” seeking her direction. “I was gon’ go to my momma’s gravesite,” he recalls before recording the heartbreaking track. “I had planned on it because I’ve never been, but then something happened and I ended up not going. I was just thinking about her.”

Through it all, Gee is upbeat in conversation during his trip to NYC as we touch on his street style versus melodic rap in the music landscape, why he left that Bootleg Kev interview and a conversation with Jay-Z where the Brooklyn icon compared Drake and Future’s dynamic to Jay’s competitive nature with Nelly in the early 2000s.

I Ain’t Feeling You. Who aren’t you feeling?

Anybody that ain’t feeling me. 

What inspired the project? When did you record it and what did you hope to leave the people with?

I been had it for six months. I like to record in little pockets. Whatever comes out of the pocket, that’s the project. That was probably like a two-week thing. I probably went to the studio six or seven times. 

Talk about “The Streets” and how much you appreciate that “Duffle Bag Boy” sample.

Yeah, that was one of my joints growing up. I always used to wonder what happened to the other dude [Dolla Boy]. That was my way of sending the word out and a beacon for him. Where’s he at though? Turn him back up. That’s when I was playing the project for [Yo] Gotti. Most of it I had done. Dame was in there — he was like, “I got a beat for you I know you gon’ like.” I’m like, “Let me do this real quick.” 

How was linking up with Travis Scott and Lil Baby for “Houstatlantaville?” How’d you get in touch with Travis?

We was just at the strip club in Houston. I always bump into Travis. We came across each other a few times. It was a good night and he was asking what we was getting ready to do after we left the club. I’m like, “We bout to go to the studio. We gon’ go to the house and record like right now.” He was like, “Yeah?” I’m like, “Come on we gonna go right now.”

I was just pumping him up. He was like, “Come on let’s go!” When we be in Houston, it be like a vibe for artists and stuff down there… We gon’ have five half-a-million-dollar cars, smoking raise the window down, good strip club, they got good food. Then we can go pull up at the spot to record. It was me and Baby at first and I was playing [Travis] some songs. He was like, “I want to get on that one.” I’m like, “You sure?” He’s like, “Yeah. Let’s do it.” I think I [was thinking] the Drake “Houstatlantavegas.” Took the Vegas off and put the Ville.

“RIP Lu Mike,” what made you want to memorialize him in that way?

Lu Mike, that was my lil’ bro. He shot himself. Something was going on in front of himself and he ended up shooting himself and having a gun in his pants. The shot rang off and the crowd at the club scattered so nobody seen that he was shot and helped him.

Lu Mike was signed to Alamo, and I had a joint venture with [him]. He was the younger version of me. My boy. He was just like my lil’ son. It was deeper than music. I seen him make his first $100,000 and f–k it all up in two weeks. I just seen him go through his stages of becoming a man. He’d be frustrating, but you gotta love him. 

The outro is a tribute to your mom. What kinda space do you get into where you think, “I’m gonna end the album with that?”

It was just one of the days. I don’t know if you been through something like that, but sometimes you got days where you caught up thinking about ’em. It was just one of them days.

You know what clip I see go viral from yo? Your pick-six against SLU.

For real? Where do you be seeing it? I don’t get on Twitter. I had a whole lot of pick-sixes. I got a whole lot of highlights. My whole life been a highlight. That was light though. I ain’t celebrating with nobody. 

You gotta pop up in the Eagles locker room like Gillie if they win the Super Bowl.

He’s a super Eagles fan. I might do that. Gillie and Wallo, that’s my people. I might do that and go in the locker room with the big hat on with Gillie. You know who else Gillie and Wallo made me like? They really part of the reason I started watching sports again. I was not watching football or nothing for years. When Gillie and them was going to Colorado, and I was seeing that, I liked it so much. [Deion] coaching his sons and stuff. I thought it was the coldest. I was watching from home and betting. I probably won $70,000 betting. I think I bet on Colorado and two or three more games. 

One time Underdog wasn’t trying to pay me out. My first bet I was supposed to win like $100,000 and they said, “It’s a limit on your first bet so you can’t win over $50,000.” But they let me bet the $10,000. They was all lil’ spicy bets. Like Donovan Mitchell to get a block, Shedeur to not throw an interception. It was crazy on the first bet — and they were like, “Hell nah, we ain’t paying you all that money.” When I lost once or twice I was like, “They tryna come back and get that money from me. I’ma fall back off of them.”

[Gambling] brought it back for me. I was never really watching it since I was little playing, but since I started sports betting I’ve been watching it more. I ain’t miss a Colorado game all year.  

I feel like in hip-hop now the Playboi Carti-type of sound is at the forefront, but you’ve been able to break through on the mainstream. 

I don’t think that’s true. You said Playboi Carti type of music is at the forefront of music? Hell no. 

What do you think is the sound that dominates hip-hop then?

I think it’s just hip-hop is dominating the music industry. I don’t think it’s one sound in hip-hop that’s dominating hip-hop. Whatever you mean by that type of music, I don’t think that’s the sound that’s dominating music. Hip-hop is dominating the music industry and that’s cool to say. 

What do you think it’s about your music that’s been able to resonate in the mainstream?

It’s more people that are living day-to-day that have real stuff going on. I think when it be more gimmicky and fake stuff and 15-second attention-span stuff to make it look like it’s a thing, it’s a lot of fake s–t that goes along with it. People put the fake streams with it. It makes you feel like, “Damn, that many people are paying attention to that?” I just figured out when people do stadium shows, they’ll make the tickets a dollar. That’s crazy to me. When I had my show at the stadium in Louisville, them tickets wasn’t no dollar. It was $400, $550. I just figured out people do that. It’s a lot of tricking the eye in the music industry. I ain’t against it, though — it’s what it is. I’m just a player.

Do you care about chart success? Do the plaques matter?

I did a lot of that. I think I’m probably the biggest artist that’s came out since 2020 as far as a street artist. I probably got the most album and single success. I probably got the most tangible thing that you could see. I’m not depending on nobody else to do what I gotta do. I probably got the most money too. If you came out with me, I probably got the most of everything you can have. I’m talking about liquid cash too. They don’t gotta say it either. When we meet each other, you can just tell. I’m glad I could be a good example. 

A couple of years ago you told me “Future is our Jay-Z.” What do you think it’s about Future that he’s been able to maintain this longevity? He had an insane year.

It’s probably the third or fourth time he’s done it too. I think it’s more a testament to what I said a couple of years ago. Future is the guy. I said it to Jay-Z, and his homies didn’t really understand it. He understood and then he explained it to them. He put in perspective — like, in his time, Nelly was more like Drake. He’s selling a whole lot of records and doing movies. Nelly was the guy at the award shows. But for all the street stuff, and when it’s time to go to the BET Awards, everyone wanted to be with Jay-Z, because it was the streets. Year after year it never went away — and that’s kind of what Future is. I think his friend was saying Drake was the biggest of my generation, and this was a couple of years ago. When he broke it down to him and Nelly, I was like, “What?” He was like, “Nelly was going quadruple-platinum every time.” 

Did something else happen on the Bootleg Kev interview that we didn’t see when you dipped on him?

Just asking weird s–t, and I wasn’t feeling that. You know Red? I talk about Red a lot, and his older brother had died. If it wasn’t that day, it was the day before. He was asking me some weird a– s–t. He asked about the fake jewelry, but mentioned my jewelry — and I don’t be playing like that. I think he asked me about, did I know a porn star? I’m like, “Bro, what?” And it was over with. 

How was reuniting with 42 Dugg since he got out? You see his sports gambling tweets? That s–t is hilarious. 

My boy, he’s a funny dude. I didn’t know he was doing all that, bro. He’s going off on people?

Yeah, he’s like I’m gonna make a Jared Goff diss track because the Lions lost. He’ll find random college games and go off on No. 4 on North Carolina like, “What the f–k are you doing?” 

I ain’t gonna lie, I be feeling the same way when Colorado used to piss me off. My boy No. 7 on Colorado [Cam’Ron Silmon-Craig]. I used to think he was the worst DB. He’s alright, I hope he makes it to the league. But damn he used to be making me so mad last year. I didn’t know that Dugg was doing that. The world don’t know how funny he really is. If he just let somebody follow him around like a reality show. If he really let y’all into what he does every day. If I called him right now, he’s probably doing some funny a– s–t. Yesterday, when I called him during the interview he was riding around in all Black in that truck. Then you know he’s short. He’s driving the car by himself he can’t really see. He’s on some bulls–t. Like, “Yeah I’ma call you back.” Yeah, Dugg is funny. That’s my brother.

What else is coming up for 2025?

I’m gonna be back on the scene this year. Last year, I kinda took a break and was chilling and relaxing. This year, I’m back pressing the gas. It’s gonna be dat. 

Ye went on a hate-filled tweet spree on Friday morning (Feb. 7) in which he once again praised Nazis and Adolf Hitler, while insulting the LGBTQ community and people with disabilities with phrases such as “f–k ret-rds.”
West, whose once formidable music and fashion empire crumbled in 2022 after a string of hate-filled, antisemitic rants in which he stated “I like Hitler” and repeatedly embraced antisemitic stereotypes and hate speech, doubled-down on that rhetoric in the dozens of posts on Friday.

The all-cap tweets began early in the morning with a statement in which Ye claimed that he “turned down 3 photos this week with Make-A-Wish kids in wheelchairs,” followed by a further, full embrace of antisemitic language. “I love Hitler, how what b–ches,” Ye wrote, followed by “I’m a Nazi.”

Anti-Defamation League CEO Jonathan A. Greenblatt responded to the posts on X with a statement that read: “Here we go again. Another egregious display of antisemitism, racism and misogyny from Ye on his X account this morning. Just a few years ago, ADL found that 30 antisemitic indents nationwide were tied to Kanye’s 2022 antisemitic rants. We condemn this dangerous behavior and need to call it what it is: a flagrant and unequivocal display of hate.”

He added, “We know this game all too well. Let’s call Ye’s hate-filled public rant for what it really is: a sad attempt for attention that uses Jews as a scapegoat. But unfortunately, it does get attention because Kanye has a far-reaching platform on which to spread his antisemitism and hate. Words matter. And as we’ve seen too many times before, hateful rhetoric can prompt real-world consequences.”

Ye’s spree also included the use of homophobic slurs (“f—ot a– n–gas”), ableist insults (“dumb a– ret-rds”) and the statement “all white people are racist.” A number of the tweets were marked “visibility limited” as they ran afoul of X’s rules against hateful conduct.

Among them were comments such as, “Jewish people actually hate white people and use Black people,” “you can get money with Jewish people but they always gonna steal” and “this is how I really feel, how I really felt and how I will always feel… f–k all of your f–k a– unfair business deals any Jewish person that does business with me needs to know I don’t like or trust any Jewish person and this is completely sober with no Hennesy [sic].”

West also referenced Twitter/X owner and White House advisor Elon Musk’s repeated use of a Nazi-like salute at an inauguration event for Donald Trump last month that was widely criticized (Musk responded to critics by saying they “need better dirty tricks”). “Elon stole my Nazi swag at the inauguration… yooo my guy get your own third rale,” Ye wrote, adding, “I can say Jew as much as I want. I can say Hitler as much as I want.”

Claiming he has no interest in “adjusting nothing I do or say for anybody,” West promised to “normalize talking about Hitler they [sic] way talking about killing ni–as has been normalized,” followed by “Hitler was sooooo fresh” and “call me Yaydolf Yitler.”

The string of hate speech was seemingly embraced by white supremacist Nick Fuentes who wrote “and we’re back” in response to one of Ye’s tweets; Ye posted a series of crying laughing emoji on that Fuentes comment. Fuentes, known for his antisemitic, misogynistic and white supremacist views, also reposted a few of Ye’s most incendiary tweets, including one that read: “all you pleeeeease come at me… that’s who we spot the k–ns… let these white people and Jewish people tell you what to do and say.”

Amidst Ye’s earlier embrace of Hitler and Nazi propaganda, experts spoke to Billboard about the dangers of someone with such a wide social media reach promoting antisemitic tropes at a time when hate crimes against Jews and Jewish institutions were at the highest point in recent memory.

“At a time when the community is dealing with this level of hatred to have one of the most well-known entertainers in our culture making statements like ‘I like Hitler’ and showing up on [Jones’] InfoWars is not just vile and offensive, but it’s also endangering Jews by giving people permission to express that kind of prejudice,” Greenblatt said at the time. “People in the mainstream did not make such overtly awful, inflammatory comments before like this.”

Ye also tweeted support for Diddy, who is currently behind bars as he awaits trial for sex trafficking charges. “Puff we love you,” he posted. “I stood up for Puff and I’m still winning 20 Grammies [sic] next year and doing the Super Bowl.”

In a podcast interview earlier this week, Ye claimed that he’d recently been diagnosed with Autism Spectrum Disorder (ASD) after his wife said she thought his previous diagnosis of bipolar disorder was incorrect.

Over the past year, West had slowly begun to try and rebuild his music and fashion empire following its rapid meltdown after his 2022-2023 spree of antisemitic hate speech in interviews, which included a tweet announcing he was going “death con [sic] 3 on Jewish people,” repeated praise for Holocaust mastermind Adolf Hitler and the promotion of the white supremacist phrase “White Lives Matter” on shirts at Paris Fashion Week.

In the wake of those incidents, Ye was dropped by the Gap, Adidas, Balenciaga and his agents at CAA and his social media accounts were suspended or revoked in a fallout so wide-ranging that the former — and according to him, again — billionaire said in February of last year that he nearly went bankrupt.

At press time, the string of antisemitic statements continued unabated with Ye writing, “I don’t even know what the f–k anti semetic [sic] means… its just some bulls–t Jewish people made up to protect their bulls–t,” as well as a claim that he “channeled” misogynist influence Andrew Tate in his comments. Tate was released from five months of house arrest in Romania in January related to allegations of human trafficking and sex with a minor; Tate has denied the allegations.

Everyone’s curious about the teens and twenty-somethings who make up Gen Z. How do they interact with each other? Do they even dance in the clubs anymore? What’s the dating world like for them? With his new Wonderlove album, rising ATL-bred R&B singer Chase Shakur may have a few answers. 
Introduced by singles like “Focus on Me” and the TyFontaine-assisted “Fairytailes in Midtown,” Wonderlove arrived on Friday (Feb. 7) as Shakur’s debut studio album — and his second full-length project under Def Jam. His new record charts its moody, introspective emotional odyssey through a soundscape that amalgamates gospel, soul, dancehall, Miami bass, trap, Afrobeats and more. Inspired by the surrealist world of Quentin Tarantino’s Oscar-winning Pulp Fiction and the globe-traversing DJ sets of his closest friends, Shakur sought to make an album that truly examined what love looks like for Gen Z in 2025. 

“Sometimes we look at love kinda surface-level,” he tells Billboard just two days before the album drops. “We look at love for what we can get from it instead of adding to one another. I wanted to make a body of work that feels like a hug.” 

Trending on Billboard

After bursting onto the scene with his 2022 debut project, It’ll Be Fine, Shakur spent the next two years pumping out music and hitting the showcase circuit in 2023. Last summer, he toured the globe alongside The Kid LAROI on the Grammy nominee’s The First Time tour. 

A rapper-turned-singer with deep reverence for the roots of traditional R&B, Shakur displays tremendous growth across his debut album, which he began recording while touring London in December 2023 and finished during The Kid LAROI’s tour. On “Fairytales,” he slickly flips Sexyy Red’s raucous “Get It Sexyy” into a brooding, sensuous ballad, and he even buried a trap-inflected hidden track on the back half of the album’s closer, “A Song for Her.” 

Billboard caught up with Chase Shakur about Wonderlove, deepening his film knowledge, his forthcoming tour, and honoring his family legacy through music.

Do you have a favorite moment from the creative process for this album? 

Just living in L.A. for three months and being hella disciplined. I was on a meal prep routine and going to the gym; we only wore black clothes so we could lock in and not be distracted by anything else. 

How do you feel you’ve grown as an artist and as a person since your debut? 

I have a better understanding of what I’m trying to do with my career and my art. I’m learning maturity in my music. 

What are some elements that you would consider immature in your older music? 

Being scared a girl I’m talking to might hear something that I say [on a record] and crash out on me. I used to be nervous about that, but now I’m like “F–k that s—t.”  

How do you think your growth manifests itself on Wonderlove specifically? 

I’m a lot more fearless on this project. I had a session with No I.D. and Raphael Saadiq, and No I.D. gave a n—a the illest advice about not giving a f—k about perception. Just tell your story and bring those special nuances. I was nervous as f—k because they’re my inspirations, but they’re mad cool. In between recording, I would walk out into the lobby and get to hear how they did “How Does It Feel” with D’Angelo. We [as up-and-coming artists] overthink it. Listening to them talk about how the song was made because D’Angelo was looking for weed… we overthink a lot of the time! 

You dropped your first two projects in back-to-back years. Why’d you take a bit more time with this one? 

I wanted to make a story that people could understand. This was my first time doing something that had elements of surrealism, but I still wanted to keep it rough at the same time. When I was on tour [with The Kid LAROI], I was watching a bunch of movies that I hadn’t seen but everybody else had seen. I watched Pulp Fiction for the first time, and it felt real but like… your friend not gonna tell you no s—t like that, you know what I’m saying? [Laughs]. I’m trying to blend that world with my production and lyrics and make a full body of work, not just one song. 

What does the term “wonderlove” mean and when did you know that was the title? 

I came up with the title after coming home from tour and going to my grandma’s house. I grew up in a house with eight people, split between the women in the family and the men in the family. In Black households, we all have that picture that everybody knows. I was flipping through the photo album with my grandma, and there’s a picture of her and my grandpa. I never met my grandpa, but my grandma used to always tell me about the love they had for each other and the type of man he was. In her telling me that, I wanted to make something that was the opposite of what people are talking about right now. 

Other than Pulp Fiction, what else were you consuming while making Wonderlove? 

I listened to a lot of stuff. Reggae, a lot of Afrobeats, R&B of course. I watched Belly and Paid in Full – I know, I’m supposed to have been seen that shit – and Eternal Sunshine of the Spotless Mind. I’ve just been studying film, man; I’m trying to make my visuals stand out with those elements of surrealism.  

I think when people see me – I don’t know what they think really – but I feel like there’s an element of mystique. And with mystique, there’s a little bit of magic. 

How did the Smino collaboration come together? 

I was on The Kid LAROI’s tour, and he sent his verse a month before I left Baltimore. I randomly got it on the bus, and I was like, “What the f—k!” In my personal opinion, we got the best Smino verse in a minute. The video for that is gonna be wild too, so I’m excited. There’s always an element of unpredictability; I was playing his s—t months before that particular exchange even transpired. I like having a blend of vocals or a different contrast when I collaborate with people. I also want to step outside [my comfort zone] and mix genres. 

You got a track on here called “Sex N Sade.” What’s your favorite Sade song? 

“Soldier of Love!”

You end the album with a slightly more traditional piano-led ballad. How do you keep traditional R&B present in your style? 

For this album, I would say the [main traditional] element was gospel music. With “2ofUs,” my mentor, Ari PenSmith, really helped me understand how to use my voice in a way that still has what I grew up on: the gospel and blues elements of traditional R&B. 

In the past, I undermined my vocal evolution. I listened to the last project I dropped a couple of days ago, and vocally, I’ve made a 180 [degree turn]. When you listen to the first joint and then listen to me now, I’m much more confident and open.  

“Undercover Angel” is a sick mix of Miami bass and dancehall. What was that studio session like? 

Everybody thought I was crazy when I said [that was gonna work], ain’t gon lie. That’s slick how it goes a lot of the time, and then it works! A lot of my friends are DJs, and I go to their events and listen to their mashups and s—t. I record them when they blend Afrobeats and all that, I think it’s cool. I don’t know what made me want to have those dancehall elements, but I just wanted people to have fun. People be like, “What the f—k?” when they hear it – especially when the bass drops.  

“Face” also has some overt house influences. Do you plan on exploring dance music further on future projects? 

I try everything in the studio. I have rock songs, I got jazz songs, I got country songs, everything. When I tried making dance songs for the first time, it wasn’t cause I could dance. I can’t f—king dance. When I started working on this album, I was going to a lot of clubs where it wasn’t section culture. I’m in Atlanta, so I’m pulling up on R&B nights and seeing it’s possible for us to have fun and be cool at the same time. That’s what inspired me to make and throw out more dance songs. 

How have you grown personally and professionally since signing to Def Jam? 

I learned that everything is a choice. Somebody told me that, at this stage, you can choose to do three shows a night or do one show and go home. But it’s all up to you to put in 10,000 hours — not just with recording, but performing and being an all-around artist too. I know I want to be an artist with longevity, and being on Def Jam is teaching me ways to be patient with that. 

Do you have any tour plans? 

It’s gonna be a family affair, man. I’m excited about the tour. I got SWAVAY opening up and my family with me. Got a couple of shows being opened up by artists from the [Forever N September] collective. We’re coming with a stage that tells a story. It’s my first time doing some stage design, so this is a real learning process. I’m most excited to perform “Say That You Will.” 

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Legendary hip-hop outfit the Wu-Tang Clan are teaming up with producer and group DJ Mathematics to release their first new record in eight years.
Set for release on Record Store Day, on April 12, the album’s full title is Black Samson, The Bastard Swordsman: Wu-Tang, The Saga Continues Collection, and brings to mind their last joint effort, 2017’s The Saga Continues. 

A somewhat controversial entry in the band’s discography, the release was issued without the word ‘Clan’ in the group’s name, and described as a ‘compilation’ album due to the absence of U-God. “It can’t be a complete Wu-Tang Clan album without UG,” Mathematics said at the time.

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The forthcoming record, however, has seen Mathematics recruit the entire group for the project. As Variety reports, Method Man, Raekwon, Ghostface Killah, Cappadonna, U-God, Masta Killa, Inspectah Deck, GZA and RZA all confirmed to appear, along with guest spots from Kurupt, Kool G. Rap, Benny the Butcher, and more.

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 “You can be sure of a great body [of] work,” Raekwon said to Variety. “Mathematics is a top tier producer who makes music with his soul attached.”

“Wu-Tang has always been about pushing boundaries — musically, artistically, and culturally. With Black Samson, The Bastard Swordsman, I’m giving fans not just an album, but a piece of history — something truly one of a kind,” Mathematics explained in a statement. “This is more than music; it’s innovation, storytelling, and legacy all in one. I am excited for everyone to hear the music and see the artwork around this album.”

5,000 copies of the album will be made available for Record Store Day. According to its dedicated page on the RSD website, “Every album jacket features unique ‘1 of 1’ cover art, making each design truly distinct and highly collectible – a first in the vinyl record industry.” A digital release is also expected, with final track “Charleston Blue, Legend of a Fighter” described as a vinyl-only bonus track.

Black Samson, The Bastard Swordsman will mark the first Wu-Tang Clan record to feature the full current lineup of the collective since 2015’s Once Upon a Time in Shaolin. To date, no widespread commercial release for that album has been announced since its controversial sale to the notorious so-called “pharma bro” Martin Shkreli. It did, however, receive a debut public airing at the Museum of Old and New Art in Hobart, Australia last year.