R&B/Hip-Hop
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Busta Rhymes, Fat Joe, Method Man, Rick Ross, Chuck D, and French Montana participated in a PSA that launched Sept. 22, advocating for more transparency in the healthcare system. Explore See latest videos, charts and news See latest videos, charts and news “Today, we confront a health care system that has been rigged against all […]
It’s official! Usher is set to headline next year’s Apple Music Super Bowl Halftime Show, he announced on Sunday (Sept. 24). “It’s an honor of a lifetime to finally check a Super Bowl performance off my bucket list. I can’t wait to bring the world a show unlike anything else they’ve seen from me before,” […]
09/25/2023
The veteran pop and R&B superstar was announced over the weekend as the halftime headliner for Super Bowl LVIII — here’s how we’d like to see it go.
09/25/2023
Between Megan Thee Stallion and Beyoncé’s first live performance of “Savage,” a new LP from Doja Cat, and friction between Drake and Charlamagne tha God, it’s been a characteristically hectic week for hip-hop — but there’s also been some excellent music released over the past seven days. With Fresh Picks, Billboard aims to highlight some of the boldest and most exciting new sounds across R&B and hip-hop — from Sexyy Red’s ode to dreads to moody R&B midtempos from TA Thomas and Jean Dawson & SZA.
Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Sexyy Red, “Shake Yo Dreads”
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The Hood Hottest Princess continues her year-long streak of grimy bangers with this delightfully rowdy ode to dreads. Stuffed with hooks at every turn, Sexyy effortlessly embodies the spirit of Waka Flocka Flame with her seemingly endless arsenal of party rap bangers. “F—k the opps, f—k the opps, f—k the opps/ You the cops, you the cops, you the cops/ Gimme top, gimme top, gimme top/ “B—h, I’m hot, b—h, I’m hot, b—h, I’m hot,” she chants over the Kat Lightning & AyoCBass-produced beat. Words to live by.
Jean Dawson & SZA, “NO SZNS”
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Fresh off a pair of collaborations with Drake (“Slime You Out”) and Justin Bieber (an acoustic “Snooze” remix) last week, SZA returns with a featured turn on Jean Dawson’s “NO SZNS.” Built around a dry acoustic guitar and shimmering reverb-drowned background synths, Jean and SZA deliver a wistful, plaintive ballad about the ever-present warmth of California. Somewhere between Frank Ocean’s “Biking” and the guitar-centric soundscape of Steve Lacy’s Gemini Rights, “NO SZNS” is perfectly engineered for a late-night drive.
Byron Messia, “Mad Dawgs“
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Still riding high off the global success of his breakout summer hit “Talibans,” Byron Messia keeps the momentum going with the new single “Mad Dawgs.” Released alongside the announcement for his forthcoming Sad & Famous album, “Mad Dawgs” finds Byron relaying snapshots of life in his native St. Kitts over his now-signature blend of soulful ad-libs, a nimble dancehall flow, and a percussive beat that combines elements of Afrobeats and traditional dancehall drum patterns with a touch of piano.
Chris Patrick, “Slide On Me”
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Over an unassuming arrangement, anchored by acoustic guitar and accented by lush strings and 808s, Chris Patrick coasts across “Slide On Me” with an air of effortlessness that’s truly captivating. The laidback production and his prickly high-speed flow shouldn’t work together as well as they do. “And she wanna slide on me/ Take the night off and ride with me/ Is you down? Take a dive with me/ 21 questions, I’d ask you right now/ Is you down to die for me?” he sing-raps — a pitch-perfect lead into cuffing season.
JELEEL!, “GFU!”
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JELEEL! has basically become synonymous with zany, rambunctious bite-sized bangers, and that formula remains intact on “GFU!” Across what is essentially an interlude, JELEEL! squeals, whines, shouts and raps over this rage rap-meets-Jersey club banger about, well, getting f–ked up. He’s somehow able to teeter on the very edge of absolute mania for the entirety of the track, never slipping too far in either direction. From the way he plays with different pockets of his voice to the way he warps his intonation to match whatever studio filters are put over his vocals, JELEEL! harnesses a special balls-to-the-wall energy that holds the song together.
Karri, “Lemonade”
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So far in 2023, Karri has kept fans enthralled with his slow-burning heaters, including “Only U” and “3 AM in Oakland.” Fresh off a newly-inked deal with Interscope, he drops off his sweet-sounding record “Lemonade.” Scripting sugary lines like, “She’s a tall glass of lemonade/ She’s exactly what I need,” Karri looks to mesmerize his female listeners with his dulcet delivery on this latest release.
TA Thomas, “Bad for Me”
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After releasing a fistful of songs, including “June 15,” “W.I.A.(Where I’m At),” and “Pros and Cons,” singer TA Thomas goes on a full-fledged exploration of love, self-discovery, and healing on his debut EP Caught Between 2 Worlds. From dealing with an internal tug-of-war on “Bad for Me” to combating trust issues on “Truth Is,” TA Thomas carves out a soul-stirring effort for his rookie project.
The ongoing feud between Drake and Charlamagne Tha God got a new chapter Monday morning (Sept. 25) when the 6 God fired several shots at the Power 105.1 radio host on Instagram. Explore Explore See latest videos, charts and news See latest videos, charts and news Drake’s verbal jabs emanated from a clip circulated over […]
Ms. Lauryn Hill, one of the headliners at the 2023 Global Citizen Festival, brought out Wyclef Jean and Pras for a surprise Fugees reunion in New York City’s Central Park on Saturday (Sept. 23). The formally dormant trio is back again on Hill’s ongoing 25th anniversary tour celebrating her Grammy album of the year-winning debut, […]
Atlanta-based hitmaker GENT! has signed a worldwide co-publishing deal with Brandon Silverstein Publishing and Avex USA, the companies jointly tell Billboard. “I’m grateful…and look forward to what we’re going to build together,” said GENT! in a statement about the signing. The in-demand producer is fresh off a major release, having co-produced two singles (“Agora Hills” […]
For the last few shows of her record-breaking Renaissance World Tour, Beyoncé is headed back home. The Houston-bred megastar is set to play two shows at the city’s NRG Stadium — just two days after gracing Arlington’s AT&T Stadium — and her hometown is pulling out all the stops in her honor.
According to a Sept. 21 KPRC 2 report, the Harris County Commissioners Court passed a resolution to temporarily rename itself “Bey County” in honor of Beyoncé’s first tour stops in Houston since 2016, when she graced the stage for her Formation World Tour.
On Sept. 19, the official X (formerly Twitter) page for the city of Houston tweeted a graphic announcing an event called “Hou Run The World” — a tribute to the “Breaky My Soul” singer in collaboration with Houston First and Central Houston, complete with a “homecoming party on the plaza.”
At her Thursday night (Sept. 21) show in Arlington, Beyoncé squealed, “It feels so good to be home! Texas girl!” Born and raised in Houston, both the city and the larger state of Texas have provided a sturdy foundation for Beyoncé’s personal life and a bevy of musical throughlines for her catalog — from country music to Southern hip-hop.
Beyoncé’s homecoming will also coincide with the launch of the Knowles-Rowland House, which was first teased back in June. On June 27, officials announced that Harris County would be collaborating with Beyoncé and Kelly Rowland to create 31 permanent housing units using $7.2 million in American Rescue Plan funds. “Initiatives like this one I certainly will be supportive of it no matter who’s behind it, but it’s especially interesting… because there are these names of Beyoncé and Kelly Rowland, who, of course, have been supportive of the community for a very long time,” Judge Lina Hildago said during a press conference.
Officials also teased an “even bigger launch” for the project — which will include case managers, peer specialists, service specialists and support services, like transportation, mental health and physical and behavioral health support — upon Beyoncé’s homecoming. Queen Bey was spotted with her mother Tina Knowles at the renovation celebration for the Knowles-Rowland House on Friday morning (Sept. 22).
The “America Has A Problem” singer is riding out the final four shows of the tour’s North American leg. According to figures reported to Billboard Boxscore, Beyoncé earned $141.4 million in the first 12 Renaissance shows in the U.S. and Canada, selling 553,000 tickets and putting the tour’s figures at $295.8 million and 1.6 million tickets (as of Aug. 1). With more numbers yet to be reported, the Renaissance World Tour is already Beyoncé’s highest-grossing tour yet, passing 2016’s The Formation World Tour ($256.1 million) and 2018’s Jay-Z-assisted On the Run II Tour ($253.5 million).
Although Grammy-nominated R&B trio Tony! Toni! Toné! — comprised of Raphael Saadiq, D’Wayne Wiggins and Timothy Riley — has been musically absent for nearly three decades, their impact can still be felt across popular music. One of the group’s members, producer Saadiq, lent a hand to two standout tracks from Beyoncé’s Renaissance album: the ballroom banger “Pure/Honey” and the Grammy-winning Billboard Hot 100 top 10 hit “Cuff It” (No. 6).
From “Anniversary” to “Feels Good,” Tony! Toni! Toné!’s late ’80s to late ’90s run was one of the most seamless in R&B history. With music for every occasion, the trio is cemented not just in music history — but also in the hearts and traditions of Black audiences across generations. Newly reunited for their first headlining tour in 25 years, Tony! Toni! Toné! is in a mode of gratitude and reflection as group returns to the stage as some of R&B’s most beloved elder statesmen. In a new interview with Billboard, the trio recounts the origins of their band name, details the inspiration behind their reunion and surveys the state of new school R&B.
“I think it’s just a lot of nostalgic memories, people having kids to the music,” Saadiq muses when asked why he thinks the group’s music still resonates so deeply today. “We didn’t just put out a record and it was on the radio and we didn’t go to that market. We would stay in that market for, like, three or four days, so we met a lot of people, have a lot of friends. So people probably wanna bring their kids to see these three guys, and they have the opportunity now.”
Wiggins adds, “I guess you could call it the soundtrack to a lot of people’s lives.”
The group’s ability to simultaneously craft music that syncs with pivotal life moments and cultivate a sense of community with their audience has been a large part of why they remain so beloved. Tony! Toni! Toné! plans to continue those intergenerational efforts among their own families with the help of the forthcoming tour. Saadiq notes that while he doesn’t have any children of his own, he has a lot of nieces and nephews who “wonder why” he and his bandmates “might’ve been famous or popular.”
“I think it was time to come together and show them what we did … it’s important to see people come together,” Saadiq says.
Wiggins chimes in, “Twenty-five years later, it’s a lot of kids around us — our kids — that have never seen us together gettin’ down … it’s gonna be special!”
In addition to scoring a slew of seminal hit singles, the trio’s moniker is also an indelible part of their legacy. During the interview, they recounted how Tony! Toni! Toné! came to be. (Hint: It involves a critically acclaimed film.)
Check out the Billboard’s full conversation with Tony! Toni! Toné! — including their thoughts about the R&B scene today and more — above.
Four years ago, Doja Cat scoffed at the notion that her debut album Amala was anything special. While her sophomore effort, 2019’s Hot Pink, was enjoying white-hot success courtesy of its trifecta of hits (“Streets,” “Like That,” and her eventual first Hot 100 No. 1 single, “Say So”), she was indifferent to Amala during her 2019 Billboard visit, blaming marijuana usage for what she considered to be a lackluster effort.
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“A lot of people liked Amala, and that’s great. However, I don’t think it was a finished album,” she told Billboard in 2019.”II was smoking hella weed. I was high all the f–king time and it wasn’t even helping me perceive what was going on musically. I was just really out there partying.”
To be fair, Doja’s first album did peak at No. 138 on the Billboard 200, though it failed to gain mainstream traction initially. But what makes Doja’s ascension into superstardom in the years since so intriguing is the slow burn behind her push as she looks to secure her first No. 1 on the Billboard 200 with the release this Friday (Sept. 22) of her fourth album, Scarlet.
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Because Cardi B and Olivia Rodrigo’s careers detonated faster than most, scoring No. 1 albums with both their first official singles and albums, fans forget that becoming a superstar overnight is a rare feat, and that artists should be embracing their careers as marathons, not sprints. An artist like Teezo Touchdown, who earned cosigns from Drake and Travis Scott ahead of his debut album How Do You Sleep At Night?, failed to debut on the Billboard 200 this week and became internet fodder because of his paltry showing. This is becoming increasingly common as social media users quickly thrash new artists for failing to immediately impact the Billboard 200. They’re torn apart if their debut projects fail to enter the top 10. Still, many artists, like Teezo, should hold their heads high – because Doja’s route into superstardom wasn’t always scenic.
After Amala underwhelmed commercially, Doja returned to the drawing board and scripted a kooky, tongue-in-cheek rap song titled “Mooo!” The comedic cow-themed song erupted and became an instant hit, as she milked every bit of virality from her song’s and video’s absurdity. Lyrics like “Bitch, I’m a cow” became meme-fodder, as the visual was celebrated by Missy Elliott and Chance The Rapper.
“I just like to do the fun stuff. If I’m not having fun with it, I’m not going to do it for the rest of my life,” Doja relayed to Billboard in 2018. “I just wanna bring something fun — the current climate is so uptight and serious, and it’s just good to have something stupid to laugh at. It’s funny because it’s a joke, but it sounds kinda good. People listen to it like it’s a song.”
Beyond the lo-fi video, cow costumes, and green-screen pastures was an artist adept at carving out indelible punchlines. Her wit was uncontested as her bars made punny references to Ludacris’ “Move,” Kelis’ “Milkshake,” and Raekwon’s “C.R.E.A.M.” The success of “Mooo!” made RCA repackage Amala as a deluxe in March 2019 with three new songs.
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With a buzzier presence, Doja crept back into the studio and doled out her second album, Hot Pink, within the same year. The gleefully sophmoric release oozed with flavor and versatility as she mapped her road to being a rap/pop virtuoso. First, she secured a feature from Tyga to revamp her Amala standout “Juicy,” which became her first Hot 100 record, peaking at No. 41. Then, she tapped Gucci Mane for the upbeat “Like That.” She also became a favorite on late-night television, delivering fun-filled performances on Late Night with Seth Meyers and later The Tonight Show Starring Jimmy Fallon.
With seven singles off Hot Pink, Doja swept her underperforming debut album under the rug, as she witnessed the longevity of her second LP on the Billboard charts — courtesy of TikTok favorites “Streets” and “Say So,” which took time to heat up and become fireballs of their own. Even the top brass at RCA didn’t know the former would become a success story. “We all love that song,” Tunji Balogun, former executive vp A&R at RCA, told Billboard of “Streets” in 2021, “but we never really focused on it from the beginning of the project.”
As for the latter, Doja partnered with Nicki Minaj for the song’s remix, which gave “Say So” its final push to No. 1 on the Hot 100 in May 2020. The album’s sustainability and Doja’s torrid streak of incredible performances at award shows, most notably at the 2020 VMAs and the 2021 Grammys, made her an artist to watch in the most literal sense. Despite those big wins, Hot Pink only peaked at No. 9 on the Billboard 200.
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Entering her third album, 2021’s Planet Her, Doja was on the cusp of becoming one of Generation Z’s most defining stars, and she unabashedly ran the table that calendar year – even though she was thwarted by Tyler, The Creator, as the album opened at No. 2 on the Billboard 200 behind his Call Me If You Get Lost. Even though she didn’t nab that elusive No. 1, she still debuted with 109,000 album equivalent units and scored a No. 3 single on the Hot 100 with “Kiss Me More” featuring SZA. She landed her first Grammy win from that record and continued to scorch the Hot 100, reeling in three total top 10 hits during that run.
On Planet Her, the chaotic edge lord took creative leaps, exploring the sounds of Afrobeats on “Woman” and aligning herself with pop behemoths such as The Weeknd (“You Right”) and Ariana Grande (“I Don’t Do Drugs”), all while maintaining her image as one of music’s preeminent trolls. By doing it her way, Doja rocketed past the major stars still trying to do things conventionally and shined with arguably the strongest album in the pop solar system that year.
As we reach our fourth stop on Doja’s roller-coaster adventure with Scarlet, we still have yet to reach the mountainous peak of her career. Though she has the daunting task of competing against new albums like Olivia Rodrigo’s Sour and Rod Wave’s Nostalgia, she’s closer than ever to securing her first No. 1 album. While toppling Olivia and Rod would be a feat, Doja still has room to hit certain checkpoints, including being a potential headliner at Coachella in 2024 and eventually morphing into a Stadium-billing artist one day. But she’s still racking up the accomplishments: this month, “Paint The Town Red” became the first rap song in 2023 to top the Hot 100 — and the first of Doja’s career as an unaccompanied solo artist — illustrating the artist’s supremacy and evolving pen-game. She also delivered an exhilarating three-song Scarlet medley at the VMAs last week, in one of the night’s best-received performances.
So, just because your career didn’t take off at the starter pistol doesn’t mean the race is already over. Sometimes, you have to “moo” before you can run.