R&B/Hip-Hop
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Drake doesn’t have any love for those who turned their back on him during the Kendrick Lamar feud, and he thanked those peers who stood by him over the course of the last year. The 6 God addressed the audience during a recent concert in Brisbane as part of his Anita Max Win Tour, where […]
Larry June, 2 Chainz and The Alchemist have dropped a video for their song “Colossal” from their collab album Life Is Beautiful. Directed by David Camarena, the black-and-white visual shows the trio running around New York City during their recent press run, where they visited The Breakfast Club and performed on The Tonight Show Starring […]
If your TikTok FYP frequently feeds you clips of semi-professional dancers, you’ve probably heard a snippet of Blaiz Fayah and Maureen’s intoxicating “Money Pull Up.” “Money pull up/ Action we ah turn it up/ Shatta run di place and guess/ Who ah bring it up?” the French dancehall artist chants over an infectious, percussive beat.
Hailing from Paris, France, Blaiz Fayah turned his childhood experiences of following his saxophonist father around to zouk gigs in Guadeloupe and Martinique into a bustling dancehall career that’s now birthing international viral hits. According to Luminate, “Money Pull Up” has collected over 1.7 million official on-demand U.S. streams, an impressive number for a song from two rising international stars operating in a relatively niche genre. On TikTok, the official “Money Pull Up” sound plays in over 231,000 posts, including multiple clips from TikTok-Broadway star Charli D’Amelio; the official sound also boasts nearly 30,000 Instagram Reels.
The track – which infuses its dancehall foundation with Martinican shatta (a subgenre of dancehall pioneered in the French Caribbean)– appears on Fayah’s new album Shatta Ting, his first full-length offering since the conclusion of his Mad Ting trilogy. The new record features several collaborators, including Italian-born basshall artist Kybba and producer Mafio House, who helmed several songs, including “Money Pull Up.” His most collaborative project yet, Shatta Ting also gifted Fayah with the opportunity to play his new music for his biggest dancehall heroes in Jamaica.
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“When I listen to Shatta Ting, I’m happy. It was important for me to see all these Jamaican artists and producers and engineers embrace the music when I played it for them out there,” he tells Billboard between rehearsals for his forthcoming tour in support of the new album. “For me, going to Jamaica is like when Muslims go to Mecca. I was a bit shy playing the music at first because these guys have been doing this for over 30 years, so when they hear a song, they don’t have a [physical reaction]. But when they said, ‘Bro, you’re a mad artist,’ I felt at ease.”
Blaiz Fayah’s latest tour kicks off on Feb. 27 in Toulon, France, and will visit concert halls in Nice, Lyon and Luxembourg before concluding on March 29 in Dortmund, Germany. In an illuminating conversation with Billboard, Blaiz Fayah talks about his new Shatta Ting album, the French Caribbean music scene and the merits of TikTok for dancehall’s present and future.
Where are you right now?
I’m actually in a rehearsal studio in Paris making small details before the first show of the tour. It’s a new show for the new album, so I have to [revamp] everything. On the last tour, we mostly used the same show with a few new songs sometimes. By the end, it was a bit too easy because it was so automatic. I was a bit lazy by the end of the tour. I like a challenge, so for the next tour, I have some pressure on me to remember my blocking and everything.
Where are you and your family from? What’s your relationship with dancehall?
I was born in Paris, and we have the French Caribbean as well with Martinique, Guadeloupe, etc. My father was the saxophonist of Kassav’, a big zouk group from the French Caribbean. When I was really young, I used to go to Guadeloupe and Martinique and go to some studio sessions with him. When I grew up, I was assisting in the studio as well. I’ve always been around this culture, listening to reggae and dancehall. I used to listen to Sizzla, Buju Banton, Richie Spice, and all these roots reggae artists. I was digging deep and understanding the story and evolution of the music. I’ve always been like a magnet to this music, not the Jamaican culture.
I don’t act like I’m a Jamaican, and it’s really important to say that… I remember one time I was writing in Jamaica, and someone told me to say “likkle” instead of “little.” I said, “Bro, I’m not Jamaican!” It’s really important for me to stay myself. I’m not saying “bomboclaat” every two sentences. I really like the energy of the music. I never felt this free listening to anything else; there is no other music that brings me this kind of madness.
How would you describe shatta?
Shatta comes from Martinique. It’s a type of riddim with big bass, snares, minimal hi-hats, and, sometimes, no chords. Remixes of Vybz Kartel‘s [vocals] on shatta riddims used to go crazy at every party, same with Aidonia’s voice or Buju’s voice. Martinique still has a thriving dancehall scene and people wanna dance. The shatta riddim makes the people dance. When I play shatta riddims for other artists like Busy Signal and they think it’s fresh, I have to give them their flowers. They started all of this; we’re the result of their influence.
When you hear [Kartel’s] “Benz Punany,” there is no kick drum, only bassline, that’s a choice to make the music stronger. When you hear [Charly Black and J Capri’s] “Wine & Kotch,” it’s the same thing. Jamaica has been doing this for 10-15 years; Martinique just put their own vibe on it. We don’t go as hard lyrically as some Jamaican dancehall artists because it’s not the same culture, but it’s still party music.
How did “Money Pull Up” come together? When did you start to realize that it was growing into a big hit?
I was in Martinique with Mafio House, who wrote the arrangement for the song, listening to “Benz Punany” again. I wanted to combine Gaza-type strings [in reference to Kartel’s Gaza production camp] with a shatta bassline and percussion. 15 minutes later, the first version of the riddim was done. Initially, I wanted Boy Boy on the track because it had a bit of a Trinidadian vibe, but [plans fell through].
I ended up being in the studio in Paris with Maureen, played her the riddim, and she loved it. We wrote and recorded the song immediately, and I sent the track to one producer to clean it up and make it feel less like a demo. But after four weeks, I still had nothing, so I gave the track to Mafio. Three hours later, we had a finished cut of the song.
The label liked the song, but they wanted something easier for people to latch onto. I was like, “If we do what is working now, then we’re not leading our thing. It’s too easy.” Sometimes, I make choices, and the stars are not on the same line at that moment, but I’m not ashamed about it. They agreed to put some money into the video, and within one month, Spotify streams started hitting 500,000 per day. I’m so happy, because I believed in the song ever since I heard the first note of the riddim. And I’m happy, I followed the Gaza influence and made a real collaboration [with Maureen].
How has TikTok and the dance community helped dancehall’s global presence?
TikTok is a really, really good thing because I can see the impact. But it’s a really, really bad thing because a lot of people make songs for TikTok. I think that’s a trap. “Money Pull Up” is my biggest hit [so far], and I never expected it to be big on TikTok. If you make songs for TikTok, you’re on the wrong path for hits.
TikTok can also be kind of unfair to dancers because phones do so much of the work, and onstage, they look completely different. I see some of these TikTok dancers, and there is no attitude. The result on the app is crazy, but they move too small for the stage. Even the crowds know when a dancer is there because she’s sexy and beautiful, over the dancers who working and taking lessons every day of the week. TikTok can be a good thing because everybody can be a star or go viral quickly — but you have to be careful of the way TikTok influences how you create.
This is your first album since the Mad Ting trilogy ended. Where did you want to go musically and conceptually after the trilogy?
I started working on Shatta Ting about a year and a half ago. I had a writing camp in Martinique and kept half of the songs we wrote there. It was the first time I recorded songs like that. I really enjoyed creating [in collaboration], and I took some risks on some of those songs – but those aren’t on Shatta Ting because I wanted something easier for people to listen to.
I also feel that it’s time to put the “shatta” name in people’s heads; that’s why there are more proper shatta riddims on this project. There is less risk, but nobody listens to me for slow songs or songs about the world. When people listen to me, they just want to have fun.
Did the writing camp approach change anything else about how you normally make albums?
This was the first time I made a bunch of songs and then chose a few from the pack for the album. I’m not an artist who records a bunch of songs for an album and throws half of them away. I like quality over quantity. I have 8-10 songs from those sessions that I’ve put to the side. The BPM is also a bit higher on Shatta Ting than my other projects, so the tour will be more dynamic.
What else do you have planned this year?
We have a big tour for Shatta Ting, of course. I have another writing camp with Kybba in April, and we’re going to make a joint project. After that, I’ve just re-signed for two other albums. I have a better deal now because I’ve created my own label. Shatta Ting is a co-production with my label, Mad Ting Records, and Creepy Music, which works with X-Ray Productions. Now, I own 50% of my publishing. That kind of thing can happen when you have some strings, and the strings come from songs like “Money Pull Up.” When you have good numbers, then you can negotiate these things.
Companies like Universal and Sony approached me, but nowadays, we don’t really need them. They’re more like a bank. I prefer a small label with money; I really feel better than when I call someone, and a person [at the label] answers. It’s important to feel like we’re working on the same wavelength. We’re not here only for money. Another big thing is that I can do what I want creatively. The label tells me nothing. I have some parts of the deal that I must respect, but I’m free in the creation, so I’m really happy.
Ray J regrets his infamous rant aimed at Fabolous from 2011 when he called into The Breakfast Club and threatened the Brooklyn rapper after Fab made fun of Ray J playing his song “One Wish” on the piano for Floyd Mayweather on an episode of HBO Sports docuseries 24/7. Explore See latest videos, charts and […]
PARTYNEXTDOOR has walked back his Tory Lanez diss.
PND previewed a snippet on his Instagram Live of a song on Wednesday (Feb. 26), where he’s throwing shot at fellow Toronto artist Tory Lanez. “I’m not y’all n—as friend. What are you talkin’ about bro? Stop saying my name,” he could be heard saying before playing the track.
“F—k what Tory Lanez say, he knows the B, I’m runnin’ it,” Party says in his signature flow. “I did everything he did he’s just a running man … drama man … I’m the daddy let me slap you OK.”
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He later sings about Tory sounding like him and seems to refer to his guilty verdict in the Megan Thee Stallion case: “You said I sound like Young Thug, you know you sound like me,” he says. “Life is short, the lawyer’s cheap/ The people that love me, they love me/ Would’ve been back in the streets by Monday.”
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However, a few hours later, Party admitted that recording and teasing the song was a mistake. “I was told about what you said without hearing your video for myself,” he wrote in his Instagram Story. “You didn’t say anything that I wouldn’t say myself, now that I seen it I was wrong. City is stronger together.”
The video he’s referring to is the one that was posted to Tory Lanez’s Instagram on Feb. 19, where the currently incarcerated artist mentioned in a phone call from behind bars that Party, Drake, and The Weeknd‘s latest efforts have inspired him to record an album this year. “PARTYNEXTDOOR showed his best work of 2025, Drake showed his best work of 2025,” Lanez said. “The Weeknd showed his best work of 2025, now it’s time for me to come out.”
Many fans were confused by Party’s shots because Drake has shown support for Lanez a few times, most recently calling for his freedom during a Christmas giveaway on a stream with Adin Ross.
Cardi B and Ozuna teamed up for “La Modelo” in 2017, and the pair have reconnected in the studio, which sparked collaboration rumors. Cardi took to her Instagram Story early Thursday (Feb. 27) in the studio with the Puerto Rican artist, and the turn-up may have seen them join forces on a new track. “A […]
Larry June and The Alchemist have been frequent collaborators over the years, but they brought an unlikely running mate into the mix, when joining forces with 2 Chainz earlier this month for Life Is Beautiful.
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The Atlanta native carved out his legacy throttling trap beats, but he felt right at home dicing Alc’s placid production with edifying raps. The 11-track LP provided a serene expedition, matching the project’s nautical sun-kissed cover art, and gave the trio an early rap album of the year contender in what serves as Chainz’ first endeavor since leaving Def Jam after two decades.
“I’m actually more comfortable rapping than doing trap music. I think it was just time for me to show n—as how ill I was. I be doing other stuff based on data,” he tells Billboard after hitting the gym for a workout. “It don’t even feel like a stretch, but I think the body of work surprised a lot of people.”
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The Drench God continues to flex: “But this what I do, cuz. I rap with the best of em. Every n—a in the industry, your favorite rapper in the industry, whoever you can name, I got on a track and done held my own.”
2 Chainz, Larry and Alc hit the stage for the first time together during All-Star Weekend in June’s hometown of San Francisco, which led to Chainz proclaiming to the crowd, “This what a Grammy sound like.” When the dust settles, he expects the “Colossal” trio to be in the mix at next year’s Grammys for LIB.
“For me, I think it feels special,” Chainz adds. “It feels like something different than I put out into the world. That’s what gives me the confidence and the hope to think we’ll be suited and booted at the Grammys next year.”
Alchemist chimes in: “Every joint just kept getting better. I wanted to do a five-pack, and then it was clear once we did a few of them, it was like, ‘We would be cheating them if we only gave them five.’”
Check out the rest of our interview with the Life Is Beautiful threesome, as they go deep on “intelligent trapping,” today’s rap landscape, playing the album early for NBA star Kevin Durant and more.
When I pulled up to the San Francisco show for All-Star Weekend, Chainz, you said, “This [is] what a Grammy sound like.” Was that a goal for this project?
2 Chainz: I don’t think it’s ever like a goal.
Larry June: It ain’t no expectations. It’s just great music. This what a Grammy sound like. This what great music sound like — real organic.
The Alchemist: We play to win every time. I don’t think the winner wins a Grammy, but we’re competitive at the end of the day. This album checks a lot of boxes. We’re on the court, regardless with everybody else at the end of the day.
Alc, how was it for you meshing these styles right here?
The Alchemist: They had already mixed the drinks on a couple of other records. They had done some joints. To me, they sounded great together. Once we agreed to do it from the first joint we did, it was like, “Yup, this is gonna work.” It wasn’t even a question. Maybe on paper the styles is kinda different, but the content is not far off. For me, as a producer, it was fun because both of ’em were real loose with it. Like, “Yo, send the joints.” And they were smacking s–t out the park.
Larry, I feel like we’re in a genre that lusts over materialism and abundance — how do you think your approach cut through, to be more relatable?
Larry June: It’s like tapping into our real lifestyles with what we do. We don’t really think too much about it. We might talk our s–t about watches, cars and s–t here and there. We also give them the real. The things that could happen if this don’t work. You gotta put in work. You gotta give ’em a little bit of both, where it’s not so much money this, girl this — you gotta show ’em both sides and who you really are. I think that separates me and Chainz.
Chainz, did you feel creatively reinvigorated in a way getting out of your comfort zone or finding a different type of zone?
2 Chainz: I’m actually more comfortable rapping than doing trap music. For the most part, I think my peers in the industry knew what I could do, but I don’t think the fans knew what I could do. I feel like it gets overlooked because a n—a do be living a solitude life with his family, with his wife. I didn’t have to spin no opps block and I think n—as be having it f–ked up. And they have me f–ked up too. It was a good time to give the n—-a and have his campaign together. Been through the lifestyle and all that, but look where we are. It was refreshing for me, because a n—a can talk stupid and act stupid, but ain’t nothing like giving them that intelligent trapper.
The Alchemist: Sometimes you gotta come out of nowhere and just drop 60 or 70 on ’em, just to remind ’em. He been doing that. I knew. To me, it’s funny to see people catch up, but that’s what we did.
Larry June: That’s the rap game for you, though. They don’t pay attention to the real s–t until it’s right in their face.
2 Chainz: N—as get in denial and s–t.
Larry June: They get in denial. Come on, this n—a came on Kanye’s s–t and did stupid digits. What is you talking about?
2 Chainz: Every Ye verse I get on, I smack it. Don’t matter who. Let’s talk about it. Any Drake verse, I done smacked it. Eminem, smacked it. Kendrick, smacked it, Drizzy Drake, smacked it. Big Sean, smacked it. Tunechi, smacked it. All the good rappers with the good stuff, I like to dance with those guys as well.
Chainz, it felt like you were going by Toni now on the project. It felt intentionally done. Is this a new space in your career?
2 Chainz: Well, you know I’m a businessman as I speak about often and a lot of businesses rebrand themselves. For me, I look at some of the top guys in the industry like a Jay-Z/Hov or however names he got. You could look at Ye/Yeezy/Kanye. A lot of artists find ways to rebrand themselves without changing who they are. Toni comes from, we call cocaine Toni in the city of Atlanta. So my old [spot] at 5540, we were all Toni’s. Everybody was Toni. We would call each other Black Toni, Big Toni. That s–t just kinda stuck with me, from the n—as that used to hustle and hang out with me. When they see me, they be like, “What’s up, Toni?”
Larry, how was it performing in your own city during All-Star Weekend?
Larry June: It was great. Me and Chainz’ energy on stage is like we’ve been doing it for years. It was dope being able to be up there with him and show my city it’s possible. Everything’s natural. Me, Chainz and Alc, we laugh the whole time we’re kicking it. It felt like I been doing this s–t with this n—a for a long time. I don’t feel that way about a lot of people. Al will tell you, I don’t be in the studio doing s–t. I be on the bike, taking walks and s–t, f–king with my son. I do not pop up nowhere.
From everyone that meet him from my mom, to my dad and my close friends, they say the same thing: He just a real down-to-earth, solid dude. It just feel good. People are gonna talk about this album forever. I can tell you that for sure.
A record I wanted to get into was “Generation,” if you can talk about how that came together. I don’t know if I’ve ever heard a record as far as taking responsibility for some of the vices that have plagued younger rappers.
2 Chainz: Yeah, it was a different track than the rest of the tracks or even tracks I normally hear from Al. He’ll tell you when I go to ’em I be wanting what they do real good. Al like, “I can do this s–t too.” I was like, “Okay.” Al would take a day or two to send the beat over. I already had some beats on him and I told my engineer, Nolan, “What we got on him?” I had already did a demo too it, but I knew I could do it harder if I locked in and wanted to make it one for the project.
The “Generation” idea came from, we’ve all been young before, and some of the youth thinking they started [all of it], and we the generation that put it in them. It was kinda one of them OGs callings. It was taking responsibility, but also some OG calling. You in the videos with double-cups, you know how many times [we done that]? I don’t ever wanna show my guns, but do you know how many guns I have? Bruh, you ain’t the only one. We just smarter now. That was my approach for the record.
The Alchemist: I think it was left open to interpretation the way I took it. That’s why it was so dope to me. It could go either way. It could be like, “My bad.” Or could’ve been like, “Yeah, motherf–ker, we the ones that did this.” It’s left for you to interpret, and that’s the dopest art to me. That’s why I thought it was fresh. That’s why we used the line before where the lady was talking to set it up.
Larry June: I think it shows a lot of growth too. Seeing someone that comes from that generation and overcame all that and doing way better. Owning multiple businesses and teaching the youth something else. When you young, you go through s–t and I feel like when you make it out the streets that’s a real gangsta. When you survive all that s–t and tell your kids all those stories, “We the generation. We was the one out there. Y’all new n—as on the internet. We was really moving.” When you living proof you still out here, and I’m being a father, opening up these businesses. It was still fun too.
Was there anything that you surprised each other with that you didn’t know about each other before while finishing the album or records were coming in?
Larry June: For me, it’s seeing how humble Chainz is. He’s really outside and showing up, no matter how big he is. He’s pulling up anywhere. It just felt like me. I’m the same way… when you see me, I’m the same person that you met 20 years ago type s–t. It was dope meeting him, how he’s so down-to-earth. Everybody say the same s–t.
The Alchemist: For me, I got a lot of people I work with all the time. This was really me and Chainz’ first time getting to put records together. For me, it’s so dope [to see] his pockets he rhymes in, where he rhymes his words, his punchlines are completely unique to any artist I’ve ever worked with. It was fun to me, because it was a whole different sauce. Even how he came in on “Epiphany.” He was rapping in different ways [than anyone who’s] ever approached my production. Chainz kind of led the pack, inspiring both of us to step it up. Larry was going crazy, doing s–t I never seen him do. Steel sharpens steel. The respect was there. It’s fun to work with someone who’s a perfectionist on that level.
2 Chainz: With Larry, I was already a fan, and try to put people on Larry. I remember being in Chicago or some s–t, and I ran into Cedric the Entertainer, and I ran into other comedians outside and they were smoking, [asking me] “Ay, what you listening to, 2 Chainz?” I told them, “Y’all need to get on Larry.” I made Cedric the Entertainer go [check that out]. My DJ put me on [Larry] and Preemo.
I’ll be in Miami in the club, and a n—a get tired of hearing the same s–t. Most DJs — anybody can DJ these days. They just playing a playlist. Dealing with Larry, and knowing how he move with the infrastructure — he got a great f–king team. A n—a like us just need people on the team that play their role real good and we could be the biggest and the best. We got the ambition. I saw that he got some great guys around him.
Al is so legendary. Al’s learning as I go. There be songs I been knew, but didn’t know Al had something to do with it. I meet all type of people. I just had a meeting in L.A. last week, and they mentioned the first rap group you been in. N—as like, “I went to school with Alc.” You know about his first rap group? So f–king legendary, man. I just love that s–t, man.
I gave [Kevin Durant] the album first. He came to Atlanta and I took him to my club. I told him, “I’m doing an album with Larry and Alchemist.” This boy go straight on, “That boy Alc hard, boy. You heard ’em rap. White boy!” This is KD. He gives me a whole run down — Beverly Hills, California. A whole rundown. But I ask Al, if you think you a East Coast or West Coast producer. This n—a KD ran that down. “He really like L.A. — he going crazy on me.” That was really cool to be a part of. A walking legend who’s still on his humble s–t and trying to grow and all that. This project was for maturity. It sounds like some mature s–t, but even the process and the people involved. Motivational s–t.
Alc, for you coming off “Meet the Grahams” and this project, do you feel like the spotlight’s been a little different on you?
2 Chainz: I told that n—a he gonna be pop, f–king with me. He gonna be on Taylor Swift’s new s–t with Travis Kelce in the video. Al’s gonna be doing the beat on Taylor’s new s–t. He out of here.
The Alchemist: My new manager is Bantonio, if you need to call me. I’m super blessed, and thankful for even having people’s attention. There’s a million people out there getting busy. I’m tied in with the greats. I keep my head down and stay cooking. I’m on the floor. Everyone who knows me, 7:30 in the morning, I’m right here making the beat. I’m still in it and I could have this reach. If I didn’t have access to people like Chainz, Larry and all my other friends, I would just be a guy with beats.
I feel blessed to have my friends and still have juice. I rush to the studio after the kids get up and go to school. I wanna keep the ball rolling. That’s how this album came about. I’m lucky to have good friends, and the results are projects like Life Is Beautiful.
What would you say your message to the rap game is with this project?
Larry June: Be yourself, man. Stay healthy. Stand on business, man. We talking real s–t that wasn’t necessarily cool to rap about. We talking about dropping our kids off at school and drinking a smoothie. And still hit the trap and bust dow if we need to. I hope this can help the next generation not feel like they have to be stuck in a box and one particular way. Do them. I think me and Chainz finna keep going. Life Is Beautiful. Just waking up every day, and being able to do it. No matter what you’re going through in life.
2 Chainz: Stay true, stay organic. We definitely gonna keep going. It feels good to have the people. I don’t even follow a lot of blogs, but this s–t is so [Kendrick Lamar] and Drake-driven. These n—as ain’t even said nothing. Every day it’s bloggers talking and yelling like we ain’t put out some real smoke and fire. “He should do that” — man you n—as sound like d–k smoking a– n—-s. We just put a project that the people [are championing]. Not no n—a getting paid to sit and talk to the chat or whatever them f–k them lame a– n—-s got going on. We got real people. This s–t affecting somebody’s life different. Hoe s–t with these bots, and I’m learning every day that they paying n—as to stream all these n—as. D–k smoking a— n—-s. We gonna see ’em.
Not so much the bloggers — y’all keep blogging, that’s how you get paid to feed your family. But as far as the artists, who I’m not calling d–k smokers, we gonna see them n—-s at the Grammys, because we put our heart into something that we really love.
Usher is set to deliver the keynote address at Emory University’s 180th commencement this spring when the R&B legend takes the podium at the graduation on May 12. During the ceremony, Usher will also receive an honorary doctor of humane letters degree from Emory University. “I have spent my life following my spark — my […]
Little Simz has kicked off her 2025 with the release of a mighty new single, “Flood,” and announced her upcoming sixth album, Lotus.
The new album will be released on May 9 via AWAL, and will be her first studio LP since 2022’s No Thank You.
Featuring vocals from both Obongjayar and Moonchild Sanelly, the lead track marks the first slice of new material from Simz this year. It arrives accompanied by a striking video, which was directed by Salomon Ligthelm.
In February 2024, Simz put out her Drop 7 EP, which was followed by surprise single “Hello, Hi” in December. Throughout the year, she also made a slew of guest appearances on other artists’ tracks: Coldplay’s “We Pray,” Sampha’s “Satellite Business 2.0” and Wretch 32’s “Black and British.” In June, she appeared on the Pyramid Stage at Glastonbury, marking her biggest show to date.
More recently, Simz was nominated in the hip-hop/rap/grime category at The BRITs 2025, which will take place at London’s O2 Arena Saturday (March 1). She has previously triumphed at the awards ceremony, scooping the best new artist gong in 2022.
In January, it was announced that the 31-year-old will curate this year’s Meltdown Festival at the capital’s Southbank Centre. Taking place between June 12-22, the event will see Simz craft a wide-ranging bill of music, art and workshops across 11 nights, with the full lineup expected to arrive soon.
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Across the course of an illustrious career, Simz has released five studio albums, among a wealth of mixtapes and extended projects. In 2022, she won the Mercury Prize for her fourth LP Sometimes I Might Be Introvert – her highest charting record in the U.K. to date, landing at No. 4 upon release.
Nipsey Hussle fans might be getting new material from the late rapper soon. While sitting down with Power 106 L.A.’s Brown Bag Mornings, his older brother Blacc Sam spoke on the upcoming documentary that was teased a couple years ago and revealed that a Nipsey and Bino Rideaux collab album should be coming out this […]