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Wu-Tang Clan and Nas are coming to a city near you. On Monday (Feb. 27), the rap collective announced a series of concert dates for 2023 titled the N.Y. State of Mind Tour that will take place alongside the “One Mic” M.C. in North America, Europe, Australia and New Zealand.
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“The Saga Continues Worldwide! The #NewYorkStateofMindTour is back – coming to a stage near you,” Wu-Tang shared on its Instagram page with an official poster for the global trek.
The 2023 N.Y. State of Mind Tour — a sequel to its 2022 installment — will kick off on May 9 in Auckland, New Zealand’s Spark Arena before heading to Brisbane, Sydney and Melbourne for the series of Australian dates (May 12-14). The European leg of the tour will start at Stolkholm’s Avicii Arena on June 3, and will make stops in Copenhagen, Denmark, Paris more before concluding on June 13 at The O2 in London.
Nas
Courtesy of Live Nation
The bulk of the N.Y. State of Mind Tour dates will take place in North America beginning in September. Nashville is up first on Sept. 20, with the tour continuing in Brooklyn, Atlantic City, Toronto, Chicago and more through Oct. 22 with a big finish at the Yaamava Theatre in Highland, Calif.
Tickets for the North American shows are available for early access through American Express starting Tuesday, Feb. 28, at 10 a.m. local time through Thursday, March 2, 10 p.m. local time. General on sale begins on Friday, March 3, at 9 a.m. local time via livenation.com.
See the full list of tour dates and the official tour poster below.
2023 N.Y. STATE OF MIND TOUR DATES
AUSTRALIA + NEW ZEALAND
Tue May 9 – Auckland, NZ – Spark Arena
Fri May 12 – Brisbane, AU – Brisbane Entertainment Centre
Sat May 13 – Sydney, AU – Qudos Bank Arena
Sun May 14 – Melbourne, AU – Rod Laver Arena
EUROPE
Fri June 2 – Stockholm, SE – Avicii Arena
Sat June 3 – Copenhagen, DK – Royal Arena
Mon June 5 – Berlin, DE – Parkbuhne Wuhlheide
Tues June 6 – Amsterdam, NL – Ziggo Dome
Wed June 7 – Paris, FR – Accor Arena
Fri June 9 – Dublin, IE – 3Arena
Mon June 12 – Glasgow, UK – OVO Hydro
Tue June 13 – London, UK – The O2
NORTH AMERICA
Wed Sep 20 – Nashville, Tenn. – Bridgestone Arena
Fri Sep 22 – Hollywood, Fla. – Hard Rock Live
Sat Sep 23 – Jacksonville, Fla. – Daily’s Place
Sun Sep 24 – Tampa, Fla. – Seminole Hard Rock Hotel & Casino^
Tue Sep 26 – Washington, D.C. – Capital One Arena
Wed Sep 27 – Brooklyn, N.Y. – Barclays Center
Fri Sep 29 – Atlantic City, N.J. – Jim Whelan Boardwalk Hall
Sun Oct 01 – Toronto, ON – Scotiabank Arena
Mon Oct 02 – Laval, QC – Place Bell
Wed Oct 04 – Columbus, Ohio – Schottenstein Center
Sat Oct 07 – Minneapolis, Minn. – Target Center
Sun Oct 08 – Chicago, Ill. – United Center
Tue Oct 10 – Winnipeg, MB – Canada Life Centre
Fri Oct 13 – Edmonton, AB – Rogers Place
Sat Oct 14 – Calgary, AB – Scotiabank Saddledome
Mon Oct 16 – Vancouver, BC – Rogers Arena
Tue Oct 17 – Portland, Ore. – Moda Center
Wed Oct 18 – Seattle, Wash. – Climate Pledge Arena
Sat Oct 21 – Las Vegas, New. – MGM Grand Garden Arena
Sun Oct 22 – Highland, Calif. – Yaamava Theatre*
^ Daytime Pool Party Performance*On-sale: March 6 at 10 a.m. local
Drake doesn’t have a ton of regrets, but if pressed, he would have to admit that he does wish he could have a lyrics do-over when it comes to two topics in his songs. Chilling in the sand with Lil Yachty for the premiere episode of FUTUREMOOD’s Moody Conversations series, Drizzy, 36, said he feels a bit silly about saying he expected to retire by 35 when he was back in his 20s.
“I hate hearing that s–t, I heard it the other night when we were at the club,” Drake said of the Views song “Weston Road Flows,” on which he rhymes, “The most successful rapper, 35 and under/ I’m assumin’ everybody’s 35 and under/ That’s when I plan to retire man, it’s already funded.”
“I think that and sometimes when I’ve said girls names in songs those are the two things that I look back on and I’m like, ‘maybe I could have done without sh—ing on people for age or disrupting somebody’s life,” he said of lyrics he’d like to rescind.
Though he didn’t name them, it seems Drake was talking about track such as 2013’s “From Time,” off Nothing Was the Same, on which he rattles off names including Porsche, Summer, Bria and Courtney. “The lyrics are never with ill intent,” he explained, noting that someone came up to him once and said that it’s not necessarily what he says on his records, but the fact that he saying anything at all.
“In the sense that, ‘you don’t know what it does to me,’” he said he’s come to understand about the unintended consequences of his lyrics. “‘You don’t know who my boyfriend is at the time,’ or ‘you don’t know what my family knows and doesn’t know. And for you to express any discontent for me in a song and call me by name then all of a sudden I’m left to pick up the pieces of my own life that I’ve tried to build up for myself.’”
Drake said he’s tried to stop name-calling in his songs, but said it’s hard because he’s determined to be honest in his lyrics. In fact, when Yachty said he thought Drake was “just making girls’ names up” in all those songs, the 6 God confirmed that those are all real names.
The conversation took place on a chill beach, with the waves crashing behind the two rappers as palm trees swayed in the distance and Drizzy also touched on topics ranging from his mom’s pride at his accomplishments to what big goals are left for him given his fame, success and riches.
In fact, Drake said he’s also been thinking a lot about a “graceful exit,” realizing that being a famous rapper is addictive and competitive and that you can’t stay on top forever. “What’s left for me to is to find a way to gracefully continue… I’m not ready now, but to gracefully continue making projects that are extremely interesting and hopefully cherished by people and then to find the right time to say, ‘I can’t wait to see what the next generation does,’” he said.
But not yet. And when Yachty, 25, tried to bait him by saying that by the time he’s Drake’s age his elder will probably be playing ball using a cane, well, that didn’t fly. “I’m in incredible shape,” Drake assured Yachty.
Check out Drake’s chat with Yachty below.
Angela Bassett and Beyoncé were the top individual winners at the 2023 NAACP Image Awards on Saturday (Feb. 25), with three awards each. Bassett took the top award — entertainer of the year — and opened her speech by having a little bit of fun with Ariana DeBose’s much-maligned rap at last weekend’s BAFTAs, where the young star rapped, “Angela Bassett did the thing.”
“I guess Angela Bassett did the thing,” Bassett said, to much laughter. This marked the first time all five entertainer of the year nominees were women. The other nominees were Mary J. Blige, Quinta Brunson, Viola Davis and Zendaya.
Bassett also won outstanding supporting actress in a motion picture for Black Panther: Wakanda Forever and outstanding actress in a drama [TV] series for 9-1-1 on FOX.
All three of Beyoncé’s categories were presented prior to Saturday and she wasn’t present on the telecast. She took outstanding album for Renaissance, outstanding soul/R&B song for “Cuff It” and outstanding female artist.
Chris Brown, Brunson, Ryan Coogler and Davis each won two awards. (Some of their shows also won awards; this counts only awards presented to individuals.)
Black Panther: Wakanda Forever won outstanding motion picture, just as the original Black Panther did four years ago. This marks the second time in three years that a franchise film has won in this category. Two years ago, the award went to Bad Boys for Life, the third film in that franchise.
In television awards, ABC’s Abbott Elementary won outstanding comedy series, while Starz’s P-Valley took outstanding drama series.
The 54th annual NAACP Image Awards were presented in nightly ceremonies last week, culminating in a live broadcast on Saturday from the Pasadena Civic Auditorium in Pasadena, Calif. The show, hosted by Queen Latifah, aired on BET and was also simulcast across a dozen Paramount Global networks including CBS, MTV, VH1 and CMT.
Here’s the complete list of winners for the 54th NAACP Image Awards:
Entertainer of the Year
Angela Bassett
Recording Categories
Outstanding New Artist: Coco Jones – “ICU” (Def Jam Recordings)
Outstanding Male Artist: Chris Brown – Breezy (Deluxe) (RCA Records/Chris Brown Entertainment)
Outstanding Female Artist: Beyoncé – Renaissance (Columbia Records/ Parkwood Entertainment)
Outstanding Gospel/Christian Album: Kingdom Book One – Maverick City Music & Kirk Franklin (Tribl Records, Fo Yo Soul Recordings and RCA Inspiration)
Outstanding International Song: “No Woman No Cry” – Tems (Def Jam Recordings)
Outstanding Music Video/Visual Album: “Lift Me Up” – Rihanna (Roc Nation/Def Jam Recordings)
Outstanding Album: Renaissance – Beyoncé (Parkwood/Columbia Records)
Outstanding Soundtrack/Compilation Album: Black Panther: Wakanda Forever – Music From and Inspired By – Ryan Coogler, Ludwig Göransson, Archie Davis and Dave Jordan (Def Jam Recordings/Hollywood Records)
Outstanding Gospel/Christian Song: “Positive” – Erica Campbell (My Block Inc.)
Outstanding Jazz Album – Instrumental: JID014 (Jazz is Dead) – Henry Franklin, Ali Shaheed Muhammad, Adrian Younge
Outstanding Jazz Album – Vocal: The Evening: Live at Apparatus – The Baylor Project (Be A Light)
Outstanding Soul/R&B Song: “Cuff It” – Beyoncé (Columbia Record/ Parkwood Entertainment)
Outstanding Hip Hop/Rap Song: “Hotel Lobby” – Quavo, Takeoff (Motown Records/Quality Control Music)
Outstanding Duo, Group or Collaboration (Traditional): Silk Sonic – “Love’s Train” (Atlantic Records)
Outstanding Duo, Group or Collaboration (Contemporary): Chris Brown feat. Wizkid – “Call Me Every Day” (RCA Records/Chris Brown Entertainment)
Motion Picture Categories
Outstanding Motion Picture: Black Panther: Wakanda Forever (Marvel Studios)
Outstanding Actor in a Motion Picture: Will Smith – Emancipation (Apple)
Outstanding Actress in a Motion Picture: Viola Davis – The Woman King (Sony Pictures Releasing)
Outstanding Supporting Actor in a Motion Picture: Tenoch Huerta – Black Panther: Wakanda Forever (Marvel Studios)
Outstanding Supporting Actress in a Motion Picture: Angela Bassett – Black Panther: Wakanda Forever (Marvel Studios)
Outstanding Independent Motion Picture: The Inspection (A24)
Outstanding International Motion Picture: Bantú Mama (ARRAY)
Outstanding Breakthrough Performance in a Motion Picture: Jalyn Hall – TILL (United Artists Releasing/Orion Pictures)
Outstanding Ensemble Cast in a Motion Picture: Black Panther: Wakanda Forever (Marvel Studios)
Outstanding Animated Motion Picture: Wendell & Wild (Netflix)
Outstanding Character Voice-Over Performance – Motion Picture: Keke Palmer – Lightyear (Walt Disney Studios)
Outstanding Short Form (Live Action): Dear Mama… (Film Independent)
Outstanding Short Form (Animated): More Than I Want to Remember (MTV Entertainment Studios)
Outstanding Breakthrough Creative (Motion Picture): Ericka Nicole Malone – Remember Me: The Mahalia Jackson Story (Hulu)
Television + Streaming Categories
Outstanding Comedy Series: Abbott Elementary (ABC)
Outstanding Actor in a Comedy Series: Cedric The Entertainer – The Neighborhood (CBS)
Outstanding Actress in a Comedy Series: Quinta Brunson – Abbott Elementary (ABC)
Outstanding Supporting Actor in a Comedy Series: Tyler James Williams – Abbott Elementary (ABC)
Outstanding Supporting Actress in a Comedy Series: Janelle James – Abbott Elementary (ABC)
Outstanding Drama Series: P-Valley (Starz)
Outstanding Actor in a Drama Series: Nicco Annan – P-Valley (Starz)
Outstanding Actress in a Drama Series: Angela Bassett – 9-1-1 (FOX)
Outstanding Supporting Actor in a Drama Series: Cliff “Method Man” Smith – Power Book II: Ghost (Starz)
Outstanding Supporting Actress in a Drama Series: Loretta Devine – P-Valley (Starz)
Outstanding Television Movie, Limited–Series or Dramatic Special: The Best Man: The Final Chapters (Peacock)
Outstanding Actor in a Television Movie, Limited–Series or Dramatic Special: Morris Chestnut – The Best Man: The Final Chapters (Peacock)
Outstanding Actress in a Television Movie, Limited–Series or Dramatic Special: Niecy Nash-Betts – Dahmer – Monster: The Jeffrey Dahmer Story (Netflix)
Outstanding News/Information (Series or Special): ABC News 20/20 Michelle Obama: The Light We Carry, A Conversation with Robin Roberts (ABC)
Outstanding Talk Series: Sherri (Syndicated)
Outstanding Reality Program, Reality Competition or Game Show (Series): Lizzo’s Watch Out for the Big Grrrls (Amazon Studios)
Outstanding Variety Show (Series or Special): The Daily Show with Trevor Noah (Comedy Central)
Outstanding Children’s Program: Tab Time (YouTube Originals)
Outstanding Performance by a Youth (Series, Special, Television Movie or Limited–Series): Ja’Siah Young – Raising Dion (Netflix)
Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble: Jennifer Hudson – The Jennifer Hudson Show (Syndicated)
Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble: Tabitha Brown – Tab Time (YouTube Originals)
Outstanding Guest Performance: Glynn Turman – Queen Sugar (OWN: Oprah Winfrey Network)
Outstanding Animated Series: The Proud Family: Louder and Prouder (Disney+)
Outstanding Character Voice-Over Performance (Television): Kyla Pratt – The Proud Family: Louder and Prouder (Disney+)
Outstanding Short Form Series – Comedy or Drama: Between The Scenes – The Daily Show (Comedy Central)
Outstanding Short Form Series – Reality/Nonfiction: Daring Simone Biles (Snap)
Outstanding Breakthrough Creative (Television): Quinta Brunson – Abbott Elementary (ABC)
Outstanding Supporting Actor in a Television Movie, Limited–Series or Dramatic Special: Keith David – From Scratch (Netflix)
Outstanding Supporting Actress in a Television Movie, Limited–Series or Dramatic Special: Nia Long – The Best Man: The Final Chapters (Peacock)
Writing Categories
Outstanding Writing in a Comedy Series: Brittani Nichols – Abbott Elementary – “Student Transfer” (ABC)
Outstanding Writing in a Drama Series: Marissa Jo Cerar – Women of the Movement – “Episode 101” (ABC)
Outstanding Writing in a Television Movie or Special: Scott Mescudi (Story By), Ian Edelman, Maurice Williams – Entergalactic (Netflix)
Outstanding Writing in a Motion Picture: Ryan Coogler, Joe Robert Cole – Black Panther: Wakanda Forever (Marvel Studios)
Directing Categories
Outstanding Directing in a Comedy Series: Angela Barnes – Atlanta – “The Homeliest Little Horse” (FX)
Outstanding Directing in a Drama Series: Giancarlo Esposito – Better Call Saul – “Axe and Grind” (AMC)
Outstanding Directing in a Television Movie or Special: Anton Cropper – Fantasy Football (Paramount+)
Outstanding Directing in a Motion Picture: Gina Prince-Bythewood – The Woman King (Sony Pictures Releasing)
Outstanding Directing in a Documentary (Television or Motion Picture): Reginald Hudlin – Sidney (Apple TV+)
Documentary Categories
Outstanding Documentary (Film): Civil (Netflix)
Outstanding Documentary (Television): Everything’s Gonna be All White (Showtime)
Literary Categories
Outstanding Literary Work – Fiction: Take My Hand – Dolen Perkins-Valdez (Penguin Random House)
Outstanding Literary Work – Non-Fiction: Finding Me – Viola Davis (HarperCollins Publishers)
Outstanding Literary Work – Debut Author: Illustrated Black History: Honoring the Iconic and the Unseen – George McCalman (HarperCollins Publishers)
Outstanding Literary Work – Biography/ Autobiography: Scenes from My Life – Michael K. Williams, Jon Sternfeld (Penguin Random House)
Outstanding Literary Work – Instructional: Black Joy: Stories of Resistance, Resilience, and Restoration – Tracey Lewis-Giggetts (Gallery/Simon and Schuster)
Outstanding Literary Work – Poetry: To the Realization of Perfect Helplessness – Robin Coste Lewis (Alfred A. Knopf)
Outstanding Literary Work – Children: Stacey’s Remarkable Books – Stacey Abrams, Kitt Thomas (HarperCollins – Balzer + Bray)
Outstanding Literary Work – Youth/Teens: Cookies & Milk – Shawn Amos (Little, Brown Books for Young Readers)
Podcast Categories
Outstanding News and Information Podcast: Beyond the Scenes – The Daily Show (Central Productions, LLC)
Outstanding Lifestyle / Self-Help Podcast: Therapy for Black Girls (Therapy for Black Girls)
Outstanding Society and Culture Podcast: LeVar Burton Reads (SiriusXM’s Stitcher Studios)
Outstanding Arts and Entertainment Podcast: Two Funny Mamas (Mocha Podcasts Network)
Costume Design, Make-Up & Hairstyling Categories
Outstanding Costume Design (Television or Film): Ruth Carter – Black Panther: Wakanda Forever (Marvel Studios)
Outstanding Make-up (Television or Film): Debi Young, Sandra Linn, Ngozi Olandu Young, Gina Bateman – We Own This City (HBO Max)
Outstanding Hairstyling (Television or Film): Camille Friend – Black Panther: Wakanda Forever (Marvel Studios)
Social Media Category
Outstanding Social Media Personality: @KevOnStage – Kevin Fredericks
Special Awards
Jackie Robinson Sports Award: Serena Williams
Chairman’s Award: Congressman Bennie Thompson.
Youth Activist of the Year: Bradley Ross Jackson
Activist of the Year: Derrick Lee Forward
Social Justice Impact Award: Benjamin Crump
President’s Awards: Gabrielle Union-Wade and Dwyane Wade
“My photo the Jordan logo of this rap s—,” raps Nas on 2021’s “YKTV” (shortened to say “You Know the Vibes”), from his Grammy-nominated King’s Disease sequel. Of course, that “photo” is none other than his bunker-buster debut Illmatic, which propelled hip-hop into the future upon its arrival in 1994. Off sheer impact alone, that album certainly makes a strong case for being the definitive emblem for the genre. But for now, on a blustery cold Friday night (Feb. 24) in New York City, the vibes were unquestionably certain for another pivotal occasion: Nas’ first headlining show at Madison Square Garden.
Never mind how long of a journey it’s been to get to this point — the timing for this night was perfect. Nas is hot off the heels of releasing King’s Disease III, the threequel to his Grammy-winning series with super producer Hit-Boy, the quarterback to his wide receiver, all as hip-hop celebrates its 50th anniversary. That said, Friday’s show was as much a victory for Nas as it was for hip-hop. It was a proud occasion for the sea of generations-spanning fans, from those who remember the first time they heard “Live at the Barbecue” to those who recently tapped in with his recent work. Overall, the Garden couldn’t have been a more perfect venue to host this celebration.
“Live in Madison Square now, we on fire,” a visibly elated Nas hailed, while fire bolted around him during his fiery performance of “I’m on Fire.”
And on fire he was, launching into standout-after-standout throughout his 34-song set. Sticking to the night’s “King’s Disease Trilogy” bill, the Queens rap icon pulled out gems across the trinity-spanning gem, from storytelling favorites like “Blue Benz” and “Car 85” to party-flavored cuts like “Spicy” and “Get Light.” By the time the latter blared through the arena, MSG had practically turned into a park jam as fans throughout the sold-out arena swayed, bopped, and two-stepped from row to row. Like his output over the last two years suggests, Esco refused to let up on the momentum throughout the night. Between the King’s Disease cuts, he also made room for a few records off his 2021 project, Magic, sprinkling in cult favorites like “Speechless” and “Wave Gods” to much fanfare.
The fact that Nas was performing these relatively fresh cuts to a fully-invested audience inside a sold-out Madison Square Garden was truly a moment to behold — something, even he, at times, seemed to be amazed by, sometimes even taking a brief moment to relish the vibe. At one point, he stopped to recollect and then turned the spotlight onto the other half of his winning formula: Hit-Boy.
“I love this brother for bringing the art out of me again,” Nas acclaimed before tapping the producer to join him onstage for the floor-quaking “Michael & Quincy.” Not a soul remained seated, especially as more surprises trickled in.
After performing “Reminisce,” a song that samples a certain Queen of Hip-Hop Soul, Nas brought out — you guessed it — Mary J. Blige, who sent the excitement levels through the roof as she performed “You Remind Me.” After running through King’s Disease, he hopped through hits from the rest of his catalog, including Illmatic. You always have to return to Illmatic. This time dressed in an all-orange jumpsuit with a matching skully, wheat construction Timberland boots, and his signature diamond-covered “QB” chain, he dispatched “N.Y. State of Mind.” Subsequently after, he brought out AZ for “Life’s a Bitch,” and one of “my motherf—ing heroes,” Slick Rick, for “Hey Young World.” Embracing the magnitude and momentous occasion of the night, he kept his foot on the gas, running through a medley of tracks — “The Message,” Street Dreams,” “If I Ruled The World,” “Hate Me Now,” “Made You Look” and “One Mic.”
One of the crowning moments occurred while performing “Memory Lane (Sittin’ In Da Park).” He did away with the instrumental for the second verse and delivered a masterclass in mic control, performing the tongue-twisting verse a capella with absolute clarity and supreme breath control. As he took a bow while being showered in the crowd’s adulation, one thing was crystal clear: Nas is still that good.
For the encore, preceded by Nas admitting, “I don’t want to leave yet,” he shifted the energy back to the party spirit that hung high throughout the night. As hands waved and cheers clamored from all corners of the arena, he spun through more hits, including “Hot Boyz (Remix),” “Oochie Wally” and “Owe Me,” before sealing the night with an emotional reminder: “We did it!”
SZA‘s five-year absence certainly made fans’ hearts grow fonder on record, as last December’s SOS album enjoys a nine-week (and counting) residency at No. 1 on the Billboard 200. And that’s translating to the live stage, too.
The just-launched SOS North American Tour from Billboard‘s Woman of the Year rolled into Detroit’s Little Caesars Arena on Friday night (Feb. 24) for its third show, a honed and sleek spectacle before a packed house of about 15,000 ecstatic SZA heads who hadn’t seen the star in more than four years. It’s a step up from the theaters the singer (real name: Solana Imani Rowe) was playing last time out, but she came armed with the music and visuals to validate what’s rapidly become a genre-straddling iconic status during the interim.
Best of all, SZA’s new show managed to sidestep the pitfalls that undermine so many other pop diva expositions. She deftly worked a whopping 31 songs — from her two studio albums, with some choice covers and obscure tracks — into the 90-minute set, but they never felt rushed or shoehorned. The costume changes (six total) were nimbly executed without lengthy speed-bump interludes.
The conceptual focus was strong, and SZA and company — three musicians tucked on the stage sides, four dancers and plenty of pre-recorded augmentation (included guest singers) — recreated the tunes with a smooth and convincing precision, rooted primarily in the chill ambience that’s SZA’s stock-in-trade.
The net result was a fat-free concert that maintained momentum and kept the surprises from start to finish. Taking off from the SOS album cover, the show opened with “PSA,” one of 17 of the new set’s tracks on the setlist, as a phalanx of video screens rose to reveal SZA sitting on a diving board above the stage, with an ocean of water projected behind her before she “dove” (via projection) and emerged on floor level with a sinewy “Seek & Destroy.” The singer then took the crowd through a journey, starting with a seaside pier setting for “Notice Me,” “Love Galore,” a short rendition of Erykah Badu‘s “Bag Lady” that segued into “Blind” and more.
After a quick break that included live footage of SZA making a costume change while singing “Smoking on My Ex Pack,” the stage transformed into a full-size fishing trawler that gave the dancers multiple levels to perform their routines. SZA made her way through “All the Stars” (her Kendrick Lamar collaboration from Black Panther: The Album) “Prom” and “Garden (Say It Like Dat)” before seas got rough, with hi-def visual effects, during forceful performances of “F2F” (with guitarist Ari O’ Neal rocking on deck), “Drew Barrymore” and “Doves in the Wind.” A throbbing “Low” then took the Good Ship SZA down to Davey Jones’ Locker with SZA performing an impressive split and full back-bend while O’Neal soloed.
SZA later emerged in outfit number three, singing acoustic renditions of “Supermodel,” Lizzo‘s “Special” and “Nobody Gets me” while riding a life raft above the audience, towards a lighthouse inflated just behind the soundboard. “I’m really, really grateful to be here with y’all to sing these songs about a breakup,” she said in a rare moment of dialogue with the crowd.
“Gone Girl” took her back to the stage, where the SZA crew played a few songs — Doja Cat’s “Kiss Me More,” “Love Language” and a particularly soulful “Snooze” — on the ocean “floor,” in front of a giant anchor and images of jellyfish, sharks and other sea creatures streaming by. An assertive “Kill Bill,” meanwhile, was accompanied by silhouetted images of the dancers, swords ‘n’ all, fighting behind the screens.
Rather than close with a bang, SZA finished smooth but with power, particularly on “I Hate U” before a vibey “The Weekend” closed the main show. “Good Days,” with SZA back on the diving board where she started, above now-calm waters, served as the lone encore. She did not have much to say during the night, but the songs and the staging said everything and delivered a message that she’s truly made a next-level step in her career.
The SOS North American Tour visits Toronto on Saturday (Feb. 25) and has 15 more dates slated, wrapping with a pair of shows on March 22-23 at the Kia Forum in Inglewood, Calif.
See SZA’s Detroit setlist below.
“PSA”“Seek & Destroy”“Notice Me”“Love Galore”“Broken Clocks”“Forgiveless”“Used”“Bag Lady” (Erykah Badu cover)“Blind”“Shirt”“Smoking on My Ex Pack”“All the Stars”“Prom”“Garden (Say It Like Dat)”“F2F”“Drew Barrymore”“Doves in the Wind”“Low”“Open Arms”“Supermodel”/”Special”“Nobody Gets Me”“Gone Girl”“SOS”“Kiss Me More” (Doja Cat cover)“Love Language”“Kill Bill”“I Hate U”“The Weekend”
Encore:“Good Days”
Paying tribute to 1972’s momentous Wattstax Benefit Concert and Black History Month, Stax Records and Craft Recordings are issuing a series of releases today (2/24).
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Leading the rollout are three new releases, starting with the 12-CD box set, Soul’d Out: The Complete Wattstax Collection. In addition to featuring the complete 1972 concert at the Los Angeles Memorial Coliseum, the collection includes 31 previously unreleased tracks. It’s all accompanied by a 76-page book with an introduction by Wattstax creator and former Stax chief Al Bell and essays by music writers Rob Bowman and Scott Galloway.
Wattstax: The Complete Concert also boasts all of the event’s speeches and stage banter, including MC Rev. Jesse Jackson’s well-known “I Am Somebody” speech. Available on both six-CD and 10-LP formats (both of which come with the aforementioned 76-page book), there’s also the one-CD project The Best of Wattstax, which boasts a handpicked selection of 20 of the concert’s best musical performances starring a host of Stax luminaries — including Isaac Hayes, The Staple Singers, The Bar-Kays, Carla Thomas, the Emotions and Rufus Thomas.
Rounding out the Stax/Craft release series are reissues of the two original soundtrack albums: Wattstax: The Living Word and The Living Word: Wattstax 2. Newly cut from the original analog tapes and packaged in a 2-LP format, the albums feature highlights from the concert and the documentary film about the event. Speaking of Columbia Pictures’ Wattstax film, released in 1973 and celebrating its 50th anniversary this year, Sony Pictures is re-releasing the documentary in theaters today, and for a limited time at participating Alamo Drafthouse Cinema locations.
In honor of the Stax Records/Craft Recordings new release series and the re-release of Wattstax, the festival’s creator Al Bell and several other Stax Records principals spoke with Billboard about their recollections of the history-making festival.
Al Bell, former owner/chairman of Stax: One of the beautiful things I recall about the festival is interacting with all the good people at Stax and those in Southern California’s Watts community in putting the event together. It was all about us as a people coming together in one unified spirit to make it happen. I’ve never experienced anything as powerful. Remember, this was a period of time when, generally speaking, white people got nervous when they would see two Black people together. We were there at the festival for seven hours with 112,000 Black people in the audience, and not one single incident happened. Nothing.
I wanted them [white people] to see us differently. And for us to see ourselves in a proud way. And it happened. When I stood onstage that day, looked up in the stands and saw all of our wonderful Black people in harmony, enjoying themselves and interacting with the performances … It was the happiest moment in my life. Just go and take a look at the documentary. Really see what you’re seeing. Hear what’s being said. Listen to the words and music of the songs. Because it all tells a complete story from the first song to the last song.
Courtesy Photo
The concert has since emerged as a symbol of the African American community’s resilience and strength, showcasing the transformative power of music in bringing people together and sparking cultural expression. As we mark this historic anniversary, let’s reflect on the profound impact of this landmark event and its ongoing relevance. The talented musicians who graced the stage were part of the Stax family, representing the diversity and richness of Black culture at the time and amplifying the voices and stories of the Black community.
But let’s also recognize the ongoing struggle for racial equality, and the imperative will continue to progress in this area. Wattstax remains a beacon of hope, a symbol of the power of music to inspire, heal and bring people together. Its legacy and enduring message of community inclusivity and cultural expression must be embraced by new generations in their pursuit of positive change — and a better world.
Deanie Parker, former Stax vp of public affairs; retired founding president/CEO of the Soulsville Foundation: I can recall many remarkable moments, such as the picture-perfect L.A. weather; the most “colored” people ever crowded together and harmoniously enjoying Stax music; the way Rufus Thomas successfully piloted dancing fans off the Rams football field and getting them back to their seats … August 20, 1972 was a happy day indeed. Our persistent obstacle was the distance – Memphis to L.A. We worked so hard for months to plan every detail: travel and housing logistics, concert lineup, repertoire, preparing musical arrangements, procuring performance clearances, marketing/communication and on-site artist management.
But we were single-minded about our Wattstax mission. It mirrored Stax’s practice from the company’s inception: to always give back inclusively to the people that supported Stax. With help from Concord and our global supporters, the Stax philosophy and mission continue through the Stax Music Academy, Stax Museum of American Soul Music and The Soulsville Charter School. The Soulsville Foundation, which operates the three programs today, is [now the Stax] star.
David Porter, former Stax vp of A&R/talent; Grammy-nominated songwriter/producer: It was a spirit and an energy that I had never felt before — and haven’t since. Here was an L.A. stadium of more than 100,000 people who looked like me, bonding in unity and love, releasing a oneness that you felt nothing could break or separate. It didn’t matter if the songs were popular to the audience or not. The spirit sent back to every performer was one of gratefulness and love for them being there. To feel that from that many people that way was unimaginable. It was a unity message to the country.
The music was about uplifting and strengthening the self-esteem of Black people in this country. Stax had no idea that our music would be accepted the way it was by a different audience. It was felt that Black radio was the only platform that would give the continuous exposure our songs needed. So for us to give back to such a huge number of people at a time of racial unrest in the country was our way of not only saying we felt what they felt in the Watts riots, but of also our offering of a day to put the anger aside and enjoy just being together. The deep meanings in our songs and the music’s gospel, rhythmic feel was our way of giving back. The day before, we also did a parade through the Watts [L.A.] community to connect even more with people there.
The Emotions’ Wanda Hutchinson and Sheila Hutchinson, former Stax artists:
Sheila: The lyrics of the songs being performed were intensified due to the cause attached to Wattstax. The songs were a motivation for people to think of what they could do, not just be angry. Being from Chicago, we weren’t super keen on what had occurred in Watts, but we knew we came to be a part of a positive community healing … [bringing] the power of positivity and love through music.
Wanda: That’s why the Staple Singers’ “Respect Yourself” was such a big song — because [Mavis Staples] wanted young Blacks to look at themselves as being equal to everyone else. And it didn’t look that way by how the police were treating people in the Black community, which we still see going on today. It always stood out to me how monumental it was to be performing at that big of a venue in L.A. with the top Black artists, appealing to folks from the Christian side, young teenagers and the R&B crowd. Everyone was learning about their self-worth.
I remember Mavis and Pops Staples talking about how much [the foul treatment that led to the Watts Riots] was deeply hurting the Black community. This was the way we could fight that hate. Wattstax was also important because Stax was a major Black record company. The concert sent a message to the world that Black people were aware of what had gone down in Watts; that communities around the country were affected.
Sheila: And that we were going to stand together.
Nick Cannon had nothing but supportive things to say about his daughter Monroe’s recent TikTok with Mariah Carey.
“I loved it. To be honest, it was epic,” the host of The Masked Singer told Entertainment Tonight of his ex-wife enlisting Roe for her latest take on the viral “It’s a Wrap” challenge. The funny clip, which also starred Kim Kardashian and North West, featured the two girls performing to a sped-up version of the song before Carey and Kardashian crashed the party from the sidelines with hairbrushes acting as mics in hand.
“My daughter has the entertainment bug,” Cannon continued. “[You can] definitely see that connection with her and her mom. It’s beautiful, the fact that they get to have fun with each other… families are connecting in a different way than ever before.
The Drumline star also explained that “It’s a Wrap” holds significance in his relationship with Carey, to whom he was married from 2008 to 2016. “That song that they were doing TikTok to is a song that I produced and worked on with Mariah, so even that made it special,” he revealed. “It was a touching moment…Her and Mariah they doing what they do. I don’t even know if I’m allowed to talk about it, ’cause Mariah’s like, ‘Let me handle this. I got this.’”
Carey’s “It’s a Wrap” has positively erupted on streaming thanks to the TikTok challenge, garnering more than one million streams per week. Meanwhile, Cannon is currently in the midst of hosting season 9 of The Masked Singer with unmasked contestants so far including Debbie Gibson, Howie Mandel, Sara Evans and the legendary Dick Van Dyke.
Kelly Clarkson hopped into the wayback machine on Friday’s (Feb. 24) Kelly Clarkson Show and ended the week with one of the classic late 1970s between-the-sheets R&B ballads of all time.
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With the stage bathed in a warm orange glow, Clarkson eased into duo Peaches & Herb’s 1979 Billboard Hot 100 No. 1 hit “Reunited,” a cross-over smash from the pair’s 1978 album, Hot. “Reunited and it feels so good/ Reunited ’cause we understood/ There’s one perfect fit/ And, sugar, this one is it/ We both are so excited ’cause we’re reunited, hey, hey,” Clarkson with a subtle twang over the band’s smooth as a melting pat of butter arrangement.
At the time of its release “Reunited” topped the Billboard singles chart for four weeks during a nearly six-month run on the charts, during which it also went to No. 1 on the R&B singles chart.
The run through “Reunited” came during a week of introspective covers from Clarkson, who also emoted her way through Mazzy Star’s signature hit, “Fade Into You” as well as her thoughtful take on Dermot Kennedy’s “Better Days,” GEMS’ “Peacefully,” Lenny Kravitz’s “Fly Away” and a four-pack of collaborations with legendary singer/songwriter/producer Babyface.
The singer also invited her fellow The Voice coach Niall Horan on on Wednesday and while they bonded over their mutual reality singing show resumes, with Clarkson admitting that she was sure One Direction had won the X Factor the year the group was formed on the show in 2009; they actually came in third.
Check out Clarkson’s cover of “Reunited” below.
Rihanna‘s Super Bowl LVII halftime show made headlines for a number of reasons, not the least of which was the singer’s surprise pregnancy reveal. But, according to a long list of comments received by the Federal Communication Commission, it also resulted in more than 100 complaints from across the country about what some viewers deemed an overly sexual performance.
“Inappropriate touching and dance moves, very raunchy for a family to watch. Little kids do not need to see this,” read one note from a complainant in Rockton, Illinois, even as another described it as “sick sick sick.” A number of other notes referred to “sexualization, genital grabbing, sniffing of her fingers,” as well as “gyrating… and rear end… grabbing,” “filth,” “perpetual air humping… glorifying being a stripper” and a description of dancers “holding their hands up the cracks of their butts and pumping,” in a note from Plainwell, Michigan that misidentified the performer as Shakira; the latter shared the stage with Jennifer Lopez in 2020 in a performance that, not for nothing, derw more than 1,000 FCC complaints.
One all caps screed from Depew, New York went deep, with the writer lamenting, “FRIENDS AND FAMILY GATHER TO WATCH THE SUPERBOWL. WHY DO WE CONTINUE TO HAVE TO BLACK NOISE YEAR AFTER YEAR. THEY CAN’T SING OR WRITE ANY DESCENT MUSIC. ALL I HEARD WAS WORD WORD WORD WORD WORD WORD WORD WORDWORD WORD WORD WORDG. BLACK BLACK BLACK BLACK AND GO DOWN ON ME, GO DOWN ON ME GO DOWN ON ME OR GO DOWN ON YOU ETC. I DEFINATELY [sic] DON’T CONSIDER THIS MUSIC., AND I DON’T APPRECIATE SEEING HER AND HER DANCERS GRABBING THEIR CROTCHES ON NATIONAL TV!. THE NFL SHOULD BE ASHAMED OF WHAT THESE 1/2 TIME SHOWS HAVE BECOME.”
Another one from Brush Prairie, Washington pleaded, “Can we please have a half time show where the artist doesn’t grab their crotch or try to dry hump the lead singer. I really don’t want to see 30 back up dancers doing pelvic thrusts. Ew. Also, twerking should rank up there with the F bomb,” while a viewer from Colorado Springs, Colorado suggested, “If I were to go to a place where children were present and did these same motions, I would probably be arrested. Therefore, I don’t see how it is fair for it to happen on television against our will and without warning. Quite infuriated that things like this continue to bepermitted.”
Yet another from Ellicott City, Maryland, said they were literally sickened by the show, writing, “The halftime show was disgusting. Scratching your crotch and anus and the sniffing your fingers makes me puke. The devil sequence was blatantly anti Christian and so inappropriate. Why is this trash allowed on television?”
And while a handful of complaints were focused on the commenters calling the game and the ASL interpreter, nearly all were squarely focused on RihRih’s performance and the writers’ beliefs that the content was not family friendly.
At press time a spokesperson for the NFL declined to comment for this story and a spokesperson for halftime show producer Roc Nation had not returned a request for comment.
The Super Bowl halftime show is no stranger to controversy and pearl-clutching complaints, from those who were offended by Eminem taking a knee during the 2022 show to viewers overstimulated by the site of Maroon 5 singer Adam Levine’s nipples in 2019, and, of course, the many complaints following the 2004 show where Justin Timberlake exposed Janet Jackson’s nipple in an incident dubbed “Nipplegate.”
Rushing from elementary school with handwritten raps in her pocket, 10-year-old Alyssa Michelle Stephens would hop in her father’s “old-school cars with [24-inch] rims” and head straight to the recording studio — first in his friends’ homes, but soon enough, in professional spaces. “When we started paying for sessions, he’d say, ‘You ain’t gon’ be in here all day,’ ” the artist now known as Latto recalls. “ ‘You better have that song ready, top to bottom, one take, in and out!’ ” Even then, the Atlanta-raised aspiring MC — today a chart-topping, Grammy-nominated rapper with more than 1 billion on-demand streams in the United States, according to Luminate — was preparing for her destiny, winning high school writing competitions as a fifth grader.
Nurtured by her accountant mother and “hustler” father — both of whom she recalls living off ramen noodles during her early years — the self-proclaimed “daddy’s girl” stayed ahead of the curve, accompanying him to video shoots where rising acts like Dem Franchize Boyz and Ciara used his cars. “I just remember being so mesmerized by the whole process,” she says. “I loved the fast-paced hustle and bustle.” At 16, Latto competed on (and won) the first season of Lifetime’s hip-hop reality show, The Rap Game, under the moniker Miss Mulatto. Already, she had the foresight to recognize a bad career move when she saw one and, citing a less-than-adequate payout, turned down the show’s grand prize — a record deal with Jermaine Dupri’s So So Def Recordings — and remained independent until she signed to RCA Records in 2020, following the success of her breakthrough single, “B–ch From Da Souf.”
Christian Cowan dress and shoes, Sterling King jewelry.
Ssam Kim
Today, studio costs are no object to Latto, 24, who locks herself in the booth, pumping out 10 songs at a time about quarrels with her man or whatever inspires her on a given day. That tireless approach — Latto says she has hundreds of unreleased tracks stockpiled — has paid dividends, most notably with her massive 2021 hit, “Big Energy.” The song established Latto as a mainstream force — even if its mere existence was by no means a foregone conclusion.
“I heard my A&R and management whispering, debating on whether or not to play this beat for me,” Latto recalls. “It was just so different from everything else that I’ve done. They were hesitant on how I would react.” In the end, she loved the beat, despite not recognizing its biggest draw: a snippet of “Genius of Love,” the 1981 Tom Tom Club song famously sampled on Mariah Carey’s “Fantasy.”
“It ended up working in my favor,” she says. “I feel like that’s what kept it so ‘Latto.’ ” Still, the track’s eventual success surprised her. “I could feel the potential of the song and how commercial it was,” she continues, “but I definitely didn’t think it would be Grammy-nominated.”
Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles. Brandon Blackwood coat, Jessica Rich shoes, Versace eyewear courtesy of Tab Vintage, Sara Shala necklace.
Ssam Kim
For Latto, those wins paled in comparison to another “Big Energy” achievement: Carey herself called Latto’s management and chatted with the rapper for over an hour, leading to her appearance on the track’s March 2022 remix. “She was just embracing me and telling me she loves everything I’m doing,” Latto gushes. “It was a super out-of-body experience.”
Since “Big Energy” and Carey’s assist, Latto has positioned herself as rap’s biggest sweetheart. This year’s Powerhouse exudes warmth as she melts into her seat at Los Angeles’ Paramour Estate for her Billboard interview, flashing a bright white smile that contrasts with her painted-on, fire-engine red pantsuit. “You have to [ask yourself], ‘What am I going to sound like? What am I going to rap about? What will my beats sound like? Where’s my lane in the industry?’ ” she explains of her meticulously planned path. “Once you figure that out, you figure out the business side. Otherwise, you’re going to be high and dry when your 15 minutes are up.”
After breaking with “B–ch From Da Souf,” Latto diligently ensured her career would last. First, she changed her moniker from Mulatto to Latto, following controversy around the word’s connections to colorism. “New crib, new whip, new name/I’m still that b–ch,” she roared on her first single with RCA, “The Biggest,” adding on Instagram that the new name signified “a new chapter” and “good fortune, spiritually and financially.”
Her predictions came true, as “B–ch From Da Souf” became her first entry on the Billboard Hot 100 (peaking at No. 95) and both it and its follow-up, the Gucci Mane-featuring “Muwop,” went platinum. Her second album with RCA, 777, debuted at No. 15 on the Billboard 200, and within two years, she’d hit No. 3 on the Hot 100 with “Big Energy.”
ACT N°1 gown.
Ssam Kim
Since then, the rapper has received widespread support from women artists including Queen Latifah, Trina, City Girls, Cardi B, SZA, Remy Ma and Lizzo, who tapped Latto to support both North American legs of her Special arena tour. “I get a lot of love,” she says with an exuberant smile. “Real recognize real.”
And Latto intends to pay it forward, gushing over other newcomers like Flo Milli, Lola Brooke and GloRilla. “My No. 1 thing has been being a girl’s girl,” she explains. “I utilize my power in uplifting others on my way up. When you see Latto do a feature with an upcoming female rapper, I don’t charge them. The label got to cover the glam, but I don’t profit off that.”
Considering her youth, Latto has also displayed considerable foresight and grace thus far, which she attributes to the “get-it-out-the-mud” mentality she inherited from her teen parents. “[That’s why] I know what I want,” she adds.
Still, her cool under pressure has been tested. Last year, the rapper — like many her age, a fan of Nicki Minaj’s since childhood — became embroiled in a bitter Twitter battle with the rap legend, who had expressed frustration with the Recording Academy following its categorization of “Super Freaky Girl” as a pop song when considering it for the 2023 Grammys. “If [‘Super Freaky Girl’] has 2B moved out RAP then so does Big Energy!” Minaj wrote in a tweet that led to a blowout fight with Latto, who posted a recording of a phone call they’d had.
“It’s difficult navigating through situations like that because there’s a disconnect. I will look at myself as a fan of someone and they will view [me] in a whole different light,” Latto explains today. “It’s disappointing. You just got to take it to the chin and keep pushing.”
Brandon Blackwood coat, Jessica Rich shoes, Versace eyewear courtesy of Tab Vintage, Sara Shala necklace.
Ssam Kim
So when social media drama next reared its head — late last year, more than 100 of Latto’s unreleased songs were leaked without her knowledge, including tracks that would become massive hits for rappers Coi Leray and BIA — she responded with restraint, simply posting a trio of photos captioned “Trending.”
“I had to stop using my age as an excuse, because I [was] like, ‘I’m not nobody momma, I’m not nobody teacher. I’m not raising your kids.’ But unintentionally, you are,” she says now. “They look up to you. So I try to put my best foot forward.”
Now, she’s focused on a new “authentic” chapter in her career. “Because I started rapping so young, I’ve had a lot of other cooks in the kitchen,” she says. “So now I’m taking control back.” That means exploring new sounds, releasing her latest single, the pop-centric “Lottery,” while staying true to her hip-hop roots.
“The content I’m about to roll out is a whole fresh new leaf,” says Latto. “I genuinely love to see the new wave of female rap, and I’m honored to be a part of it.”
Christian Cowan dress, Sterling King jewelry.
Ssam Kim
This story will appear in the Feb. 25, 2023, issue of Billboard.