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When the Orion Sun-sampling “Whatever She Wants” reached No. 19 on the Billboard Hot 100 (chart dated March 16), Bryson Tiller not only earned his first unaccompanied Hot 100 top 20 hit in nearly a decade, he also pulled off the feat with a sound that notably diverged from the sultry trap-inflected R&B that brought him past chart wins in 2015’s “Don’t” and 2017’s “Wild Thoughts” (with Rihanna and DJ Khaled).
Although it’s parenthetically titled “Bonus” and tacked at the end of the album like a victory lap of sorts, “Whatever She Wants” acts as the thematic anchor for Tiller’s new eponymous LP. Led by a trio of singles, including “Whatever She Wants,” “Outside,” and “Calypso,” Bryson Tiller, the Grammy-nominated R&B star’s fourth studio effort, finds its namesake flaunting the different multitudes of his sonic profile. From less emotionally conflicted Trapsoul variants to big swings at drill-inflected R&B and frothy top 40 tunes, Bryson Tiller aims to use sonic experimentation to ground Tiller’s monogamous devotion to his lover.
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“Attention,” the album’s first full-length song, immediately steers the album into that lane. “And baby, when you put it on, there’s no competition/ I watched you make an entrance/ Yes, and you can tell by my description (You fit it well and, girl)/ I will never fail to mention (How you polish every detail),” he croons over relatively sparse production from Syk Sense. It’s a fine opener, one that transports listeners to the murky Trapsoul soundscapes he revisited on his last LP (2020’s Anniversary), and course-corrects from the needless computer theme that sporadically appears throughout the record. The utility of “Attention” lies in Tiller’s songwriting: He emphasizes the allure of one particular woman across the track, driving the album several hundred miles away from the deluge of “toxic” womanizing male R&B that’s driven the genre for the better part of the last decade – a wave Tiller’s own Trapsoul is a part of, in some regards. Bryson Tiller is all about loving one woman, reminding her why she stands above the rest and taking pride in spoiling her, simply because it’s something you genuinely love to do.
“Attention” is a solid entry point that gives way to more arresting tracks: On “Prize,” he employs his most impressive flow over a string-laden beat that recalls late-’00s Usher, and “No Thank You” is a cut tailor-made for day-one Tiller fans who relish his inimitable brand of sing-rapping. Prior to this record, Tiller was toiling away on his Slum Tiller mixtape series, and much of Bryson Tiller descends from that work. Take “F4U,” the album’s penultimate, Jodeci-sampling track, for example: It’s not explicitly in Slum Village’s jazz-rap wheelhouse, but Tiller’s approach to rapping on this cut – some of his best on the entire record – is clearly informed by the time he spent flexing his rap muscle on that SoundCloud mixtape series, as of course is “Whatever She Wants,” the album’s crown jewel of “spoil your girl” anthems.
That highlight also finds intriguing complements in “Rich Boy” and “Ciao!” The former, which lifts Rich Boy’s “Throw Some D’s,” pauses the celebratory energy of “Whatever She Wants” and opts for a shadier, dirty-macking approach. “Do the most for you, I do it in random/ He a joke to you, should be doin’ stand up/ He don’t put spend it on you (Huh), hold that s–t for ransom / If you don’t f–k with broke n—as, ladies, this your anthem,” he spits. The latter, an enjoyable take on drill-inflected R&B, with writing contributions from the Grammy-winning Leon Thomas III, finds a markedly more dejected Tiller brooding over being financially taken advantage of. “Ciao” takes a second to find its grove, but once Tiller pairs his layered background harmonies with those crisp snares, it makes for an impressive textural contrast.
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In addition to his flirtation with drill on the new LP, Tiller also dips into another regional sound that has been dominating hip-hop recently. The Clara La San-assisted “RAM,” the only proper song to explicitly nod to the record’s underbaked computer theme, finds Tiller using Jersey club’s pounding drums to soundtrack the neurotic feeling of needing to remember why you’ve entered and chosen to stay in a relationship. “RAM,” along with the witty, Victoria Monét duet “Persuasion,” is among the LP’s best offerings, underscoring Bryson’s tendencies to deliver his best work when he’s pushing himself vocally. It’s the same reason why “Find My Way” and “Undertow” will stand as career-best vocal performances; not only do his dizzying riffs tastefully decorate his immersive melodic lines, but help underscore a level of vulnerability that strengthens the gravity of his explorations of monogamy.
Bryson Tiller is a solid record that honors the mid-2010s break out star’s roots while also showcasing how wide-ranging his versatility can be. Some of those options – like “Calypso,” a summer anthem-in-waiting that has nothing to do with actual calypso music – are easy winners, while others (album closer “Assume the Position” is an absolute dud that’s reminiscent of the worst of Chris Brown’s early ’10s run) fall a bit short. The record, like most albums these days, could have benefited from some trimming — some of the interludes add nothing of substance and the relative lack of variance in subject matter makes the 19-track set feel redundant quite quickly.
There may be several songs on this record destined to own the warm-weather months, but Bryson Tiller is built to last through any season. This one’s for the real lovers, and no one sounds more in love – or more happy about being in love – than Mr. Tiller.
Azealia Banks is never one to mince words, and she’s revived a decade-old feud with Lily Allen as she came to Beyoncé’s defense.
The “212” rapper took to her Instagram Stories over the weekend to call out the British pop star for her criticism of Bey’s Cowboy Carter album, and she recalled a play-by-play of an alleged phone call between herself and Allen that took place a “few years ago.”
“Okay @lilyallen you’re going to stop right there and sit this one out,” Banks wrote over an accompanying Billboard story regarding Allen framing Bey’s country pivot as “quite calculated.” Banks also brought up an alleged phone conversation between the two.
“Shall we discuss that phone call to me – a few years ago – obviously off your face – crying and sobbing asking me to forgive you for randomly being racist?” she wrote in part.
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Billboard has reached out to Allen for comment.
Allen name-dropped Banks on the April 4 episode of her Miss Me? podcast while dissecting Beyoncé’s Dolla Parton “Jolene” cover.
“I read a comment from Azealia Banks where she was like, ‘Stop talking about Jay-Z as if anyone wants to f–k him,” Allen said, laughing. “Literally, no one’s even looked at him for about 10 years, relax.”
Co-host Miquita Oliver then asked Allen if she found the Brooklyn rap mogul attractive, and she replied, “I mean, I’m attracted to power, so yes? But maybe not physically,” said the singer, who is married to Stranger Things star David Harbour. “I don’t want my current husband to get upset, but it’s not really the physical I go for.”
Allen continued to dig into Beyoncé’s decision to explore a country album with Cowboy Carter.
“It’s very weird that you’d cover the most successful songs in that genre,” Allen mused. “I just feel like it’s quite an interesting thing to do when you’re like trying to tackle a new genre and you just choose the biggest song in that genre to cover. I mean, you do you, Beyoncé, and she literally is doing her. Or is she doing Dolly?”
Allen continued: “The front cover is her in a cowboy hat, riding on a horse. She was wearing a blonde wig and a cowboy hat [at the Grammys]. It’s a bit about challenging these institutions that have thus far rejected Beyoncé as the icon and institution she is herself.”
Azealia Banks’ and Lily Allen’s history runs deep, as they previously feuded in 2013 while engaging in a Twitter beef that ended with Banks dissing Allen’s ex-husband Sam Cooper and saying he looked like a “thumb.”
Regardless of any critique, Beyoncé galloped to the No. 1 album in the country — her eighth in her discography — with Cowboy Carter topping the Billboard 200 with 407,000 equivalent album units earned in the U.S. in the week ending April 4, according to Luminate.
J. Cole is throwing up the white flag in his feud with Kendrick Lamar. Cole expressed regret for dissing K. Dot on “7 Minute Drill” off April 5’s surprise project Might Delete Later during his headlining set at his Dreamville Fest on Sunday night (April 7).
Ahead of performing “Love Yourz,” Cole apologized for sending shots about Lamar’s discography that he didn’t mean, and referred to the diss as some of the “lamest s–t” he’s done in his entire life.
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Going after Kendrick didn’t sit well with his spirit, and he said the two days between the track’s arrival and him performing were “terrible.”
“I’m so proud of [Might Delete Later], except for one part. It’s one part of that s–t that makes me feel like, man that’s the lamest s–t I did in my f–king life, right? And I know this is not what a lot of people want to hear,” he began.
“I was conflicted because, one, I know my heart and I know how I feel about my peers, these two n—as that I just been blessed to even stand beside in this game, let alone chase they greatness. So I felt conflicted ’cause I’m like, bruh I don’t even feel no way. But the world wanna see blood. I don’t know if y’all can feel that, but the world wanna see blood.”
J. Cole then gave Lamar his props and asked the crowd what they thought of Kendrick as an MC, which drew a loud ovation. He also said that even if the Compton legend responds with shots at him, the Dreamville boss will take it “on the chin” and keep it moving.
“That s–t don’t sit right with my spirit,” he added. “That s–t disrupts my f–king peace. So what I want to say right here tonight is in the midst of me doing that and in that s–t, trying to find a little angle and downplay this n—-a’s fucking catalog and his greatness, I want to say right now tonight, how many people think Kendrick Lamar is one of the greatest motherf–kers to ever touch a f–king microphone? Dreamville, y’all love Kendrick Lamar, correct? As do I.”
The North Carolina rapper continued: “I just want to come up here and publicly be like, bruh, that was the lamest, goofiest s–t. I say all that to say it made me feel like 10 years ago when I was moving incorrectly. And I pray that god will line me back up on my purpose and on my path, I pray that my n—a really didn’t feel no way and if he did, my n—a, I got my chin out. Take your best shot, I’ma take that s–t on the chin boy, do what you do. All good. It’s love.”
“And I pray that y’all are like, forgive a n—a for the misstep and I can get back to my true path. Because I ain’t gonna lie to y’all. The past two days felt terrible. It let me know how good I’ve been sleeping for the past 10 years.”
Cole also relayed that he wants to have “7 Minute Drill” taken off streaming services altogether.
In March, Kendrick Lamar nuked the rap game with his scintillating verse on Future and Metro Boomin’s “Like That,” which saw him take aim at his “Big Three” running mates Drake and J. Cole on the Billboard Hot 100 No. 1 hit.
“Like That” was seen as a response to Drake and Cole’s “First Person Shooter,” in which Jermaine puffed his chest out and referred to himself as Muhammad Ali.
Two weeks after “Like That” lit the fuse, Cole returned fire with his Might Delete Later project closer that saw him take aim at K. Dot’s discography by calling 2022’s Mr. Morale & The Big Steppers “tragic” and claiming that the Grammy-winning To Pimp a Butterfly had listeners snoozing.
“He still doin’ shows, but fell off like the Simpsons/ Your first s–t was classic, your last s–t was tragic/ Your second s–t put n—as to sleep, but they gassed it/ Your third s–t was massive and that was your prime/ I was trailing right behind and I just now hit mine/ Now I’m front of the line with a comfortable lead/ How ironic, soon as I got it, now he want somethin’ with me,” he spews.
Watch J. Cole’s full Dreamville Fest message below.
J.Cole speaks on his response to Kendrick and says it hasn’t felt good or right with his spirit, calling his own response “corny” and telling Kendrick to return his best shot if he feels a way pic.twitter.com/jan2jctfk9— Glock Topickz (@Glock_Topickz) April 8, 2024
More than three decades into her storied career, Missy “Misdemeanor” Elliott is gearing up for her first-ever headlining tour. On Monday morning (April 8) the “Work It” rapper announced the dates for her Out of This World – The Missy Elliott Experience 2024 North American arena tour, which is slated to kick off on on July 4 in Vancouver at Rogers Arena, and include stops in Seattle, Oakland, Los Angeles, Las Vegas, Denver, Houston, Tampa, Atlanta, Baltimore, Philadelphia, Boston, Brooklyn and Detroit before winding down on August 22 at the Allstate Arena in Rosemont, IL.
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The summer outing will feature support from Busta Rhymes, Ciara and Elliott’s longtime musical partner producer Timbaland. The poster for the tour features Missy, Busta and Ciara dressed in Mad Max-style futuristic leather outfits standing in front of a giant space ship.
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“This is an incredible time in my life as I am experiencing so many milestone ‘firsts.’ Being the FIRST female Hip Hop artist to be inducted into the Rock & Roll Hall of Fame and now going out on my FIRST headline tour,” Elliott said in a statement about the 24-city tour co-produced by Live Nation and Elliott’s longtime manager Mona Scott-Young. “Fans have been asking me to tour forever but I wanted to wait until I felt the time was right because I knew if I was ever going to do it, I had to do it big, and I had to do it with family! So get ready to be taken OUT OF THIS WORLD with me, Busta Rhymes, Ciara, and Timbaland! We can’t wait to share this experience with the fans!”
In keeping with Elliott’s legendarily out-there music videos, the tour announce was accompanied by a short teaser video helmed by another one of Missy’s frequent collaborators, director Dave Meyers. “In 2024, these three icons come together to show you something you’ve never seen before,” Elliott says in voiceover in the clip in which she, Busta and Ciara emerge from the spacecraft.
“Something not right,” Elliott says at one point as the shoot is interrupted by confusion. “This is not Earth!” That leads to Busta busting out a paper celestial map only to discover that he took a “wrong turn” at Mars, a revelation that makes Ciara short of breath. Missy then calls Timbaland on her old school brick cell phone to complain about Busta’s terrible sense of space direction.
In an additional statement about her client’s first-ever headlining tour, Scott-Young said, “Missy has always been an iconic groundbreaker and continuously pushes herself to be bolder and go where she has never been before – and surprisingly, one of those places is headlining her own tour! For decades, fans and peers worldwide have clamored for Missy to tour and they’re finally going to get what they’ve been asking for as she teams up with Ciara, Busta, and longtime partner-in-rhyme Timbaland, to deliver a start-to-finish, nonstop, high-octane, OUT OF THIS WORLD concert experience. This will be one for the books, so trust me, you don’t want to miss it!”
Tickets for the tour will go on sale first through a Verizon presale that kicks off on Tuesday (April 9) beginning at 10 a.m. local time through Thursday (April 11) at 10 p.m. local time; click here for more details. Following additional presales throughout the week, the general onsale for the tour will begin on Friday (April 12) at 10 a.m. local time here.
Check out the dates for the tour and the teaser video below.
Missy Elliott 2024 Out of This World dates:
July 4 — Vancouver, BC @ Rogers Arena
July 6 — Seattle, WA @ Climate Pledge Arena
July 9 — Oakland, CA @ Oakland Arena
July 11 — Los Angeles, CA @ Crypto.com Arena
July 13 — Las Vegas, NV @ T-Mobile Arena
July 16 — Denver, CO @ Ball Arena
July 18 — Austin, TX @ Moody Center
July 20 — Houston, TX @ Toyota Center
July 21 — Fort Worth, TX @ Dickies Arena
July 24 — Tampa, FL @ Amalie Arena
July 25 — Sunrise, FL @ Amerant Bank Arena
Saturday, July 27 — Atlanta, GA — State Farm Arena
August 1 — Baltimore, MD @ CFG Bank Arena
August 2 — Hampton, VA @ Hampton Coliseum
August 3 — Belmont Park, NY @ UBS Arena
August 5 — Philadelphia, PA @ Wells Fargo Center
August 8 — Washington, DC @ Capital One Arena
August 9 — Newark, NJ @ Prudential Center
August 10 — Boston, MA @ TD Garden
August 12 — Brooklyn, NY @ Barclays Center
August 15 — Detroit, MI @ Little Caesars Arena
August 17 — Montreal, QC @ Bell Centre
August 19 — Toronto, ON @ Scotiabank Arena
August 22 — Rosemont, IL @ Allstate Arena
Megan Thee Stallion is not afraid of any ban. The “Sweetest Pie” rapper issued a bold challenge on Saturday (April 6) when she launched what she dubbed “IG after dark” with a provocative twerking video just weeks after the social media company reportedly warned her that the cheeky poster for the MC’s upcoming Hot Girl Summer tour might violate its community standards.
“IG after dark lol and nobody better not challenge me bc this the best ass on IG 
or if you think so tag me in your video 
stream WANNA BE,” Meg wrote alongside a video in which she shook her behind at the camera to the strains of her GloRilla collab “Wanna Be” while wearing barely there black shorts, furry boots, a t-shit and black beanie with rabbit ears.
By Sunday night, Meg had already posted a series of clips of fans who blew her away with their challenge videos, including one that elicited a “well damn” response from the star and another potential winner from Bad Girls Club alum Natalie Nunn.
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Meg’s challenge came after she said the poster for her upcoming Hot Girl Summer tour — in which she was seen in a magazine cover-like image laying on her stomach in a shallow pool while wearing a cheeky silver thong bikini — got flagged by Instagram for being too sexy for public viewing. “HOTTIESSS GET READY TO COME HAVE SOME FUN WITH ME AT THEE HOT GIRL SUMMER TOUR,” read the caption on the original post, which urged hotties to get their “outfits ready nowww!”
In a later Instagram Story, Meg posted a screenshot of what she described as a warning she reportedly got from the social media site telling her that the pic may have breached the site’s guidelines, which could lead to limits being put on her account. “Nooooo it’s just a lil cheek lol,” Megan reportedly commented.
Megan’s first-ever headlining tour will hit 31 cities and arenas in major markets, including Los Angeles, New York, Chicago, Detroit, Boston, Memphis, Atlanta and Philadelphia, as well as the rapper’s Houston hometown. After the U.S. dates end with a June 22 show at the MGM Grand Garden Arena in Las Vegas, Megan will go international beginning on July 4 in Glasgow, Scotland, with additional shows in England, France, Germany, and Ireland.
Check out Meg’s video below.
A New Jersey earthquake rattled much of New York City and the surrounding Metropolitan area on Friday morning (April 5). While Big Apple residents searched for answers as to why the rare natural disaster struck the Northeast, Ice Spice stepped in to jokingly take the blame for shifting the tectonic plates. Explore Explore See latest […]
What’s rap beef?
Rap beef is when the best claim the throne. This has happened throughout the genre’s history. Battling on wax is etched in stone, the ritual is one of the game’s 10 Rap Commandments. Rap’s been a game of thrones since the very beginning. Do the knowledge on MC Shan and KRS-One or Kool Moe Dee vs. LL Cool J. Carrying on tradition, last night J. Cole responded to Kendrick’s sneak attack on “7 Minute Drill,” the last track on his surprise mixtape Might Delete Later. However, he sounded like his heart wasn’t fully in it like when Nino had to put G-Money down, just as he alluded to on the song. And instead of a headshot like most expected, Cole instead fired a shot in the air. His retort wasn’t enough.
Though Cole gets right to it and is very direct, he never crosses the lines that need to be crossed. To be fair, he does say this is just a warning shot and this thing is just getting started. But when you first hear Cole spit, “Now I’m front of the line with a comfortable lead/How ironic, soon as I got it, now he want somethin’ with me” as he runs down his thoughts on Lamar’s catalog and claims to have overtaken him in the power rankings, your ears perk up and you start rubbing your hands together, expecting a proper reply. But then he just coasts along until the beat switches to something a little more sinister courtesy of Griselda stalwart Conductor Williams and your ears perk up again.
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And still, Cole plays with his food and never truly handles his business. Instead, he comes off reluctant to really engage, spitting, “My text flooded with the hunger for a toxic reply/I’m hesitant, I love my brother, but I’m not gonna lie/I’m powered up for real, that shit would feel like swattin’ a fly/Four albums in twelve years, n—a, I can divide.” Cole knew he needed to send a shot back, especially before the weekend of his annual Dreamville Fest. What’s interesting is “7 Minute Drill” would’ve hit a little harder if, instead of just coopting Jay lyrics, he went full Jigga and premiered it live on stage and not on streaming services on New Music Fridays. He missed the opportunity to put Kenny on that Dreamville screen.
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When Jay-Z was closing out his Volume era at the end of the ‘90s, he and Nas were the Defacto Kings of Rap with acts like Prodigy and Scarface not far behind. Jay was aware of the stakes and the history of this thing of ours. He understood what it took to be the best. So, at Hot 97’s annual Summer Jam concert in 2001, he boldly reached for the crown and snatched it. During his set he performed “Takeover” for the first time, months before it would appear on his sixth album, The Blueprint, and called Nas out by name. That moment was so seismic and important to hip-hop history, people forgot that he brought out Michael Jackson during that same performance! The stakes were that high. Now, over 20 years later, another band of kings must usher in a new era.
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The Big 3 Civil War has officially begun. Last month, Future and Metro Boomin dropped their chart topping collab album We Don’t Trust You. It’s essentially the equivalent of the Mean Girls burn book directed at Drake. On the album’s sixth track, “Like That,” there was a hidden pipe bomb that reverberated throughout every corner of hip-hop. It was very slick on Future and Metro’s part and fitting that they and Lamar chose that song to launch their offensive, with its Rodney-O & Joe Cooley sample serving as a reminder that at the end of the day, this is hip-hop.
Those saying Kendrick’s verse is mid (for the record, they’re delusional, but for the sake of an argument let’s go with it) are missing the point. The “Like That” verse has the potential to be the Big 3 Era’s defining moment. It’s closer to Jay on that Summer Jam stage performing “Takeover” than it is to Lamar’s first attempt at claiming the throne with ‘Control” back in 2013. We Don’t Trust You and Kenny’s vitriol have sparked the beginnings of a power struggle atop Mt. Rap and the game will be better for it in the long run.
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“Like That” is the number one song in the country. It’s being played in sports arenas and during “NBA on TNT” halftime shows. This is a page taken out of Drake’s own playbook. His Meek Mill diss “Back to Back” was made to be played in clubs and on the radio; you couldn’t escape it. The song peaked at No. 21 on the Billboard Hot 100 and put a dent in Meek’s resume forever. Now, Drake and Cole find themselves in the position Nas was in when Jay said his name on that Summer Jam stage. Cole’s first rebuttal fell flat, but he still has a chance to drop an “Ether.” Drake, however, should pay attention to the response J. Cole is getting. He now knows that warmup jabs aren’t going to get it done, nor will they appease the fans thirsty to watch the game’s three biggest stars go bar-for-bar. Drake needs a “No Vaseline” or, you know, another “Back to Back.”
But one thing is for sure: The Great Rap Battle of 2024 is here, folks.
As Jamaica prepares for Carnival (April 7), Road March-ers have heaps of new music to celebrate and dance to, including some enjoyable selections from the month of March across reggae, dancehall, soca, calypso and more.
While clashes and the Bob Marley: One Love biopic dominated January and February, respectively, March was all Vybz Kartel‘s. On March 14, the Judicial Committee of the Privy Council (JCPC) overturned the dancehall king’s murder conviction. Having already served 12 years in prison — alongside three other alleged co-conspirators — after being found guilty in 2014 for the 2011 murder of Clive “Lizard” Williams, the dancehall king’s future is now in the hands of Jamaica’s Court of Appeal, as the body decides whether to release him or order a retiral. Fans around the world have taken the JCPC’s decision as a good omen for Kartel’s freedom, including Drake, who shared a picture of a “Free Kartel” t-shirt to his official Instagram story on Tuesday (April 2).
Outside of Kartel, Bob Marley: One Love continues to bless people around the world. On Tuesday (April 2), One Love co-producer Cedella Marley announced a call for U.S. applications for 10 Bob Marley: One Love social impact scholarships. In her announcement — which she made via her official Instagram page — she detailed the scholarships as a partnership between the box office-topping film and the Congressional Black Caucus Foundation.
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The 10 scholarships will be granted to undergraduate students “pursuing social justice-related degrees” at HBCUs, including Bowie State University, Clark Atlanta University, Dillard University, Florida A&M University, Hampton University, Morehouse College, Morgan State University, Spelman College, Texas Southern University and the Xavier University of Louisiana.
Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: KES feat. Queen Omega, “Rise Up”
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In a recent interview with Billboard, soca superstar Kes detailed his five favorite tracks from Man With No Door — the band’s first album in a decade. One of those tracks, the Queen Omega-assisted “Rise Up,” is also one of the album’s most impressive offerings. Drawing inspiration from social justice-minded roots reggae tracks from acts like Capleton and Richie Spice, “Rise Up” is a brassy, militant ode to that era. Both Kes and Queen Omega deliver impassioned vocal performances that anchor their pleas for “humanity [to] rise up.”
As Kes pointed out in his Billboard interview, this track had to be shared with somebody, particularly Queen Omega who spits a blazing verse that drips with grit and hope. “I have deep love for humanity and sometimes deep concern too of where things are going,” Kes said. “I really wanted to write a song to capture that part of me.”
Skillibeng, “Missbnasty”
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Skillibeng has been a leader of dancehall’s new class for some years now, and he shows no signs of slowing down with his new single, “Missbnasty.” Inspired by a famed adult content creator, Skillibeng gets predictably nasty on this slinky bass-heavy Afrobeats-inflected beat courtesy of P2J. “Lovе when yuh bounce pon my d–k/ Cau yuh sweet like a pornstar b—h/ She’ll steal your interest/ Make a whole profit,” he croons in a voice that’s caught somewhere between a breathless whisper and raspy chant.
Sevana, “Keep Going (Chosen)”
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Fresh off her feature film debut in Bob Marley: One Love, Jamaican singer-songwriter Sevana is back with a brand new single. Titled “Keep Going,” a sultry slice of meditative reggae, the new track finds her crooning, “God know mi special, mi naw fi listen/ Know that I’m a king/ In this wicked jungle and that’s why I sing/ Blessed to be so gifted, so mi caan waste it.” A reminder of your purpose, greatness and claim to a life well-lived is always a welcome reminder, and Sevana delivers one by way of a vocal performance that exudes the warmth and sternness of a beloved mentor.
Romain Virgo, “Red Dress”
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For the midpoint of his The Gentle Man album — which arrived on March 1 — Romain Virgo delivers the thesis of his latest record. On “Red Dress,” Virgo effortlessly morphs into a bachelor, albeit a tasteful one that prioritizes mature, if not wistful, seduction over straightforward sleaze. He employs a strikingly reflective tone as he sings, “Please wear that red dress again/ Take me back to the beginning/ Love to watch you in it/ And I′ll cherish every minute.” The entire album is an exploration of what it means to reflect on different stages of your life, and “Red Dress” presents a Virgo who is ready to be an example of the premiere “gentle man” for the next generation.
Stalk Ashley & Skillibeng, “Really Like You”
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Cash Cobain and Bay Swag’s “Fisherrr” may be signaling a shift in the dominant sound of New York’s music scene, but that doesn’t mean drill is completely out the door. On “Really Like You,” a low-key sexed-up duet between Jamaican singer and internet personality Stalk Ashley and Skillibeng, the skittering snares of New York drill provide an urgent energy to the bare-bones dancehall beat. “One life weh me know bout/ So mi a do whatever I want/ F–k whoever I want, yeah/ And mi really like you baby,” she croons. The song is pretty much as far away from dancehall as you can get, but it is a winning showcase of the versatility of both drill motifs and the artists involved.
Shaneil Muir, “Protected”
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Jamaican singer Shaneil Muir places her focus on the Most High with her new “Protected” single. Soundtracked by raw acoustic guitar, plaintive piano keys and tender finger-snaps, she croons, “Yow damage, mi pray for miself/ Stop worry bout people and mi better miself.” Shaneil’s vocal performance on the song’s verses is the best part of the song, she expertly manipulates her tone to exude the alluring, comforting energy of a storybook reciter. A solemn reprieve from the high-octane tunes of Carnival season, “Protected” finds Shaneil surrendering herself to Jah and trusting that he will stand alongside and behind her as she fights the various battles life sends her way.
D-Major, “Alpha and Omega”
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On his new Morning Prayer EP, Jamaican singer D-Major is in his praise and worship bag. Consisting of six tracks, the project is quite succinct, but standout track “Alpha and Omega” dramatically boosts the EP’s replay value. “With God as your firm foundation, foundation of our lives now/ If you’re in a bad situation, he’ll provide a way for you to get out,” he proclaims over the highly percussive, calypso-inflected production. With a soaring vocal performance that finds assistance with rousing choir-esque background harmonies, “Alpha and Omega” is a delightful slice of gospel-reggae.
Khaliah, “Taboo”
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Effortlessly exuding the sensuality of smooth reggae bass, Khaliah’s seductive, siren-esque tone lifts “Taboo” to towering heights. “Selective with my time, my dear/ But I give to you/ The sweetest love from January/ Straight back to June,” she croons. Almost Tyla-esque in the way that she forgoes expletives and still finds a way to express the sultry come-hither bent of her lyrics, Khaliah makes quite the impression on “Taboo.” Especially when she lifts her voice into a few belts over the song’s final chorus. Unfussy both lyrically and production-wise, Khaliah’s “Taboo” understands that, sometimes, simplicity truly is key.
Upsetta, Loud City & Popcaan, “Devil Works (Never Work)”
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For his take on Upsetta and Loud City’s new “Devil Works” riddim, Popcaan rides the buoyant beat with a proclamation that he’s “nuh ‘fraid of nuh devil works.” His cadence here is a bit brighter than the ones he cycled through on last year’s Best Mood mixtape, but it’s the perfect complement to a song that doesn’t exactly try to hide its sanctified roots. Upsetta and Loud City’s riddim infuses electronic elements into their dancehall bass, but those pounding drums and sparkling synths ensure a sense of levity to go with Popcaan’s heady declarations.
Kabaka Pyramid, Sean Paul & Jemere Morgan, “Energy (Remix)”
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Kabaka Pyrmaid’s Grammy-winning The Kalling LP may have dropped in 2022, but the renowned reggae star is still working the record. Produced by Damian “Jr Gong” Marley, this new Sean Paul-assisted “Energy” remix is set to appear on the forthcoming deluxe edition of The Kalling. Already a funky track bursting with dynamism — from the rollicking guitar riffs to Kabaka’s playful vocal delivery — Sean Paul injects some fiery dancehall flavor with his new verse. “Busy with my own focus mi deh on the grind/ Gotta get my own, gotta set my home in tact/ Can’t waste time cause you will never get that back/ Haffi reach fa di bag, so I get that stack,” he spits. The word “energy” can feel particularly banal nowadays, but this track couldn’t have been titled anything else — it’s literally vibrating with an unbreakable approach to all life has to offer.
Cardi B is leaving fans guessing after posting a sultry new photo that some speculate is a hint at her next era.
Posted on her socials Thursday (April 4), the snapshot finds the rapper posing in platform heels, a barely-there bikini bottom and an angelic veil held up in the back by two helper doves. Another pair of white birds covers her chest, but nothing else — well, besides a metal cross and chain — obscures the rest of her body, leaving the tattoos on her arms, thighs and midriff exposed.
“Jack your set 
,” she wrote in her caption, the OK sign emoji mirroring her pose in the photo.
The Bardi Gang isn’t sure what the artist’s post is for, but many fans are convinced it means she’s gearing up to release her long-awaited new album. “CARDI WHAT IS THIS FOR????” one person commented on the photo on X.
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“OMG IS THIS THE ALBUM COVER,” wrote another admirer.
Billboard has reached out to Cardi’s rep for comment.
Fans have long been waiting for a follow-up to 2018’s Invasion of Privacy, but the Grammy winner has only released a string of singles in the six years since it dropped. These include 2021’s “Hot S–t” with Ye and Lil Durk and 2023’s “Bongos” with Megan Thee Stallion, which peaked at Nos. 13 and 14 on the Billboard Hot 100, respectively.
So far this year, Cardi has shared two solo singles — “Like What (Freestyle)” and “Enough (Miami),” which hit No. 38 and No. 9, respectively, on the Hot 100. Most recently, she joined Shakira on “Puntería,” the first track on the pop star’s new album Las Mujeres Ya No Lloran, which hit No. 72 on the chart.
“I always wanted to do a record with Shakira and it’s like, wow, it landed on my lap,” Cardi said of the collaboration in a recent interview with Million Dollaz Worth of Game. “It really landed on my lap … It’s like, ‘B—h, I’ll do whatever the f–k you want me to do, b—h. I’ll fly to Colombia.’ Like I’ll go over there right now.”
By now you may have seen the sweat-drenched videos of former world heavyweight champ Mike Tyson, 57, prepping for his July 20 match with YouTuber-turned-professional-boxer Jake Paul. The bout — which will air on Netflix from AT&T Stadium in Arlington, TX — will feature the champ taking on 27-year-old Paul in Iron Mike’s first official fight in nearly two decades.
And now we have a clip of Paul’s work-out regime, which appears to involve easily leveling defenseless non-pugilists. In a clip uploaded on Thursday (April 4), Paul positions MAGA rapper Lil Pump just so in the middle of a boxing ring. After Paul asks if he’s ready, Pump, with his be-gloved arms in the air, takes the shot and immediately crumples to the ground in agony after Paul unleashes a single left hook into the unguarded “Big MAGA Steppin” MC’s midsection.
“Ohhhhhhhh!” a shirtless Pump yelps in agony as he crawls around the mat clutching his midsection, his face red from the screaming. With a crew of videographers swarming around the prostrate Pump to capture the clickbait moment for viral posterity — mission accomplished — Paul smiles and says, “I told you not to do it.”
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The just-for-the-cameras stunt was clearly meant to help hype the fight — as Paul was only wearing one glove — and Pump appeared to seriously, and immediately, regret agreeing to take the mighty blow. “Jake Paul is officially 10-1 [face sweating emoji],” Pump captioned the video. “Not gonna lie, that liver shot made me feel like I was dying [crying laughing emoji].”
While Tyson has been hitting the gym hard, over the past few weeks Paul appeared to be easing his way into his latest bout, posting a video on March 26 of him partying and chugging champagne with the classic trash-talking caption, “Day 1 of sending Mike Tyson back to his podcast for good.” By the next day, though, he posted an update from his 6,000-foot elevation training camp in Colorado Springs, where he said he was training hard with Olympians, followed by another in which he openly taunted Tyson, saying, “Mikey, Mikey, your hands can’t hit what your eyes can’t see.”
Last month, Tool’s Maynard James Keenan posted pics with Tyson, who has been training at the rocker’s Cottonwood, AZ Verde Valley BJJ martial arts school. The legendarily hard-hitting boxer with a career 50-6 record (including 44 knockouts), has been posting sweat-drenched videos of his intense workouts in the lead-up to his first fight since his controversial draw against fellow former champ Roy Jones Jr. in Nov. 202 in an exhibition match. Tyson is 21 years from his last win and both men are expected to take home major paydays for the headline-grabbing showdown.
Since his improbably pivot from Bizaardvark and YouTube prank video fame, Paul has fought a series of MMA fighters, former professional boxers and basketball players, boosting his record to date to 9-1 (6 by KO), with his one loss coming at the hands of the only active boxer he’s faced to date, Tommy Fury, in Feb. 2023.
Watch the one-punch knockout video below.