R&B/Hip-Hop
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Last year, the returns of Buju Banton and Vybz Kartel catapulted Jamaica back to the forefront of the global music conversation. With reggae and dancehall giants coming back to the stage as several subgenres of the two styles continue to gain traction worldwide, the future is looking particularly bright for Caribbean music.
Back with Blood & Fyah, his second full-length album (due late spring/early summer 2025), Keznamdi is looking to add his flair to that momentum as an independent reggae artist. Combining traditional reggae with dancehall, Afrobeats, R&B and hip-hop, Blood & Fyah continues Keznamdi’s yearslong exploration of the limitless potential of contemporary reggae. He introduced the new set with “Time,” a heartfelt single accompanied by a cinematic video shot in Ghana, one of several African countries that significantly impacted Keznamdi’s life and the new record.
“In the process of making the problem, the music just sounded like Africa,” he tells Billboard. “It was a far-fetched idea at the time [to shoot the video in Ghana] because we didn’t know anybody there, but we just packed up our things, brought two cameras and went down there with the whole team. The reception was crazy; [on] the second day, we were summoned by the Ghanaian president. At the time, his parliament won some kind of office, and they wanted to play my song with Chronixx called ‘Victory’ on the radio. They called the station, and the DJ told him that I was actually in Ghana at the time. Shortly after that, we were at his palace.”
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Before he received royal welcomes, Keznamdi lived a regular life across Africa for years. Born in Jamaica, he lived on the island until he was 13, by which point he and his Rastafari family moved to Tanzania, where they lived for three years. They then moved to Ethiopia, where Keznamdi lived for another three years, eventually graduating there as well. To support Blood & Fyah, Keznamdi is formulating a tour that will reach parts of the world that the reggae industry tends to neglect.
“Reggae is huge for the next generation in Africa,” he stresses. “There’s a lot of countries like Burundi that listen to reggae every single day and not one reggae artist has gone there. Africa is a very untouched place for reggae, which is a genre that sings to Africa. Our generation is playing an important role in bridging that gap and continuing the work our elders have already done. We spend so much time touring in America and Europe, and, truly, Africa is where the music is really made for. We’re singing about that third-world struggle. Everything is pointed towards Africa, which was something that all of the elders inna reggae and inna Jamaica and inna Rastafari always prophesize.”
While reggae is the core of Blood & Fyah, Keznamdi is also treating fans to a pair of two blockbuster dancehall collabs. Dancehall superstars Mavado and Masicka – whose “Whites” single continues to dominate the Caribbean – will both appear on Keznamdi’s new record. Through Vas Productions’ Richardo Vasconcellos and producer Don Corleonie, Keznamdi (who also co-produced the track) was able to get in contact with Masicka for “Forever Grateful,” which features production contributions from Off Grid and Major Seven.
“I always envisioned him on this record,” Keznamdi gushes. “Masicka is the voice of the streets right now. He’s inspirational and uplifting; when you listen to him you want to get up and do better in your life, so I wanted him on this track.”
Vas Productions also helped Mavado and Keznamdi join forces. “Bun Di Ganja” — which also features Marlon Asher — was initially created for a Vas project, but the irresistible banger found a home on Blood & Fyah.
“Because I’m so focused on what I’m doing, it’s hard for me to do features unless the track is inspiring,” Keznamdi explains. “As soon as I heard it, I sent him my vocals the next day. It was a little struggle getting Mavado for the video because he’s an elite artist, but we were able to shoot it in Miami with him.”
Listen to “Time” below.
Singer-songwriter BD.ii walked onto The Voice stage with quiet confidence, but the moment he began singing Miguel’s “Adorn,” it was clear he was a standout contender.
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His smooth, controlled delivery and effortless stage presence captivated the audience—and the coaches, who wasted no time turning their chairs.
Michael Bublé was the first to hit his button, recognizing BD.ii’s undeniable vocal ability. Kelsea Ballerini quickly followed, with John Legend and Adam Levine completing the four-chair turn. However, Levine was in for a surprise when he realized he had been blocked by Ballerini, leaving him visibly frustrated.
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“I’m a sad, sad man, because you are world-class. You’re a badass,” Levine added as the other coaches laughed.
BD.ii, an Atlanta native whose singing career took off after an injury ended his basketball aspirations, delivered a version of “Adorn” that felt fresh yet true to its original essence. His tone, phrasing, and natural charisma made an immediate impact, prompting Bublé to make an impassioned pitch.
“He’s not the threat. I’m the threat,” Bublé joked. “We’re about to help grow the population of America with that voice.”
Ballerini emphasized her versatility as a coach, stating, “I am actively having crossover songs, for other artists and with other artists. I don’t believe in boxes.”
But it was Legend who ultimately secured BD.ii for his team, pointing out his personal connection to the song’s original artist. “I’ve written with Miguel,” Legend said. “You made it sexier, made it cooler.” With that, BD.ii made his decision. “Imma go with my boy John,” he announced, sealing the deal as Legend celebrated and Levine processed his disappointment.
Miguel’s “Adorn” became a defining track of modern R&B, spending 23 weeks atop Billboard’s Hot R&B/Hip-Hop Songs chart and winning the Grammy for Best R&B Song. The track, featured on Kaleidoscope Dream, also peaked at No. 17 on the Billboard Hot 100.
With his undeniable talent and Legend’s guidance, BD.ii is already emerging as one of the season’s most promising contestants.
Watch BDii’s performance below.
D’Angelo (alongside The Roots), Meek Mill and Lenny Kravitz will headline the 2025 Roots Picnic, marking the festival’s 17th iteration.
Curated by Grammy-winning hip-hop group The Roots and produced in collaboration with Live Nation Urban, Roots Picnic will return to The Mann in Fairmount Park in Philadelphia, Penn. on Saturday, May 31, and Sunday, June 1, 2025. Presale tickets will be available starting Tuesday, Feb. 18, at 10 a.m. ET through Thursday, February 20, at 10 p.m. ET. General on-sale begins Friday, Feb. 21, at 10 a.m. ET. All tickets will be available at the official Roots Picinic website.
Notably, this year marks Philly MC Meek Mill’s first appearance at Roots Picnic. He was slated to headline the 2020 show before the COVID-19 pandemic forced organizers to pivot to a virtual production. D’Angelo last appeared at the festival in 2016 during its first-ever New York edition. Rock god Lenny Kravitz is fresh off the release of Blue Electric Light, his funky and fearless twelfth studio album.
This year, the two-day festival will also celebrate several landmark anniversaries. Jeezy will celebrate 20 years of his Let’s Get It: Thug Motivation 101 LP, which topped both Rap Albums and R&B/Hip-Hop Albums back in 2005, with a special set. Similarly, Musiq Soulchild will play a set commemorating the 25-year anniversary of his timeless debut studio album Aijuswanaseing. Never ones to miss the party, The Roots will play a set built around the 30-year anniversary of their towering sophomore album, Do You Want More?!!!??!
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In addition, J. Period’s Live Mixtape series will return with special guests Black Thought, Pusha T and 2 Chainz, while Adam Blackstone and Jagged Edge will join forces for a special collaborative set. House music legends Crystal Waters and Cece Peniston will appear at Rich Medina’s Black House set, and CeeLo Green will play Baller Alert’s go-go stage.
Other acts slated to hit the stage include: GloRilla, Miguel, Tems, Latto, Kaytranada, Elmiene, Lay Bankz, Funk Flex, Diamond Kuts and Laila!
Outside of performances, Roots Picnic is also introducing a new day party lineup this year. Attendees can keep the festivities going at Trap Karaoke, Chill Vibes featuring DJ Active, Doo-Wop …That R&B Party, Dear Summer Festival, Kirk Franklin’s Sunday School w/ DJ Mal-Ski, Philly Black Pride, and more.
Last year, Roots Picnic featured a collection of sets that celebrated the breadth of Black music history. André 3000 performed his Grammy-nominated alternative jazz album New Blue Sun, Shaboozey brought “A Bar Song” and the Black country renaissance to Philly and Sexyy Red made a triumphant Roots Picnic debut after her inclusion on the lineup was initially met with some ire and disdain. The 2024 Roots Picnic headliners included Lil Wayne, André 3000, Nas and Jill Scott.
See the full lineup below.

It was a Bay Area showcase at the NBA All-Star Game. DJ Cassidy’s Pass The Mic Live! delivered a tribute to the Bay with a West Coast-themed 2025 NBA All-Star Game Halftime Show on Sunday night (Feb. 16) inside San Francisco’s Chase Center. Explore See latest videos, charts and news See latest videos, charts and […]
GloRilla is trying her best to beat the BBL allegations. On Thursday, the Memphis rapper posted a video to her X account taking a break in the gym while wearing a waist-trainer. “Hey, y’all, I’ve been seeing everybody with all the BBL allegations and I wanna come on here and be honest,” she told her […]
While talking over the phone from prison with The Art of Dialogue, Death Row co-founder Suge Knight made an interesting revelation involving two late superstars. Apparently, 2Pac was a big fan of Aaliyah — so much so that he not only wanted to make music with her, he also wanted to sign her to Death Row.
Suge explained that the first time the late rapper/actor learned about the young singer was when they went to check out a Gladys Knight show. “We had a thing,” Suge remembered. “I would always listen to oldies, and Pac would listen to rap. He didn’t like oldies, so I told him, ‘I gotta show you what oldies are about.’ So, I took 2Pac to go see Gladys Knight perform in Vegas.”
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He then says that eventually Aaliyah came out to perform and blew 2Pac’s mind. “Aaliyah starts singing and 2Pac said, ‘Don’t get up! Don’t get up!’” Knight recalled. “I said, ‘Why?’ He said, ‘Because Gladys Knight knows you, you’re gonna speak to Gladys Knight, and then you’re gonna talk to that little girl singing. And the next thing you know, you’re gonna be doing an album.’ He said, ‘I’m gonna go talk to her, you come later on, because I want to do an album with Aaliyah.’”
Knight added of 2Pac, “He wasn’t thinking about signing nobody else. He thought she was the biggest star and had the best voice ever. Me and that dude spent hours and hours and days and days together. Me, personally, I never seen him get so excited about no female artist. … He lost his mind over Aaliyah. He talked about her for days and days. I got tired of hearing him talking about that little girl. He said, ‘I got these songs I want do with her. I’m gonna do this song with her.’ … He was super, super, super excited.”
“I always looked up to 2Pac because he was such a real brother,” Knight continued. “I don’t know how long it’s going to take me to get over his death, but I do know his music will live on forever. All of us have suffered a major loss, including those who tried to destroy his name, reputation and spirit when he was alive.”
A day after 2Pac’s fatal shooting in 1996 at age 25, Aaliyah told MTV News, “I was very saddened, truthfully, at the tragic and senseless loss of such a multi-talented young man.” Aaliyah also passed away tragically early, dying in a plane crash in 2001 at age 22.
Check out Knight’s new interview below.
After dropping a career-spanning live album (2024’s Then And Now) and joining fellow gospel greats Fred Hammond, Yolanda Adams, and The Clark Sisters on Kirk Franklin’s arena-visiting Reunion Tour, Bishop Marvin Sapp made a move few in the gospel world saw coming – releasing an R&B EP just in time for Valentine’s Day (Feb. 14).
Aptly titled If I Was An R&B Singer, the new EP is a notable – but momentary! — genre pivot from one of the most decorated voices in contemporary gospel music. An 11-time Grammy nominee, Sapp has sent a whopping 14 titles to the top 10 of Billboard’s Gospel Albums, including 2007’s Thirsty and 2010’s Here I Am, both of which spent over 20 weeks atop the chart. He’s also earned four chart-toppers on Hot Gospel Songs, led by 2007’s seminal “Never Would Have Made It,” which achieved rare crossover success, reaching No. 14 on Hot R&B/Hip-Hop Songs and No. 82 on the all-genre Billboard Hot 100. His most recent Gospel Songs chart-topper, 2020’s “Thank You for It All,” was a finalist for top gospel song at the 2021 Billboard Music Awards.
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There’s always a kerfuffle when gospel artists cross over to secular music, but Sapp’s new EP arrives under special circumstances. First, people have been wondering what Sapp would sound like on an R&B song for years – it’s one of the ways he grounds the EP’s narrative in the intro. (“I wonder,” muses on-air personality Tyrene “TJ” Jackson on the track, “What it would sound like… an R&B song, or a whole R&B project by Marvin Sapp?”) Second, after a 36-year career that’s garnered him billions of streams and numerous historic achievements, Sapp is in a place where he feels comfortable taking risks – even if he doesn’t think they’re as dicey as others might.
“I sing gospel because that’s my conviction, but don’t think I can’t do what other people do,” he plainly tells Billboard on Valentine’s Day. “I can do it; I just chose a different genre.”
That relaxed freedom and artistic security shines across If I Were An R&B Singer and its quiet storm-inflected, late-‘80s R&B foundation. Featuring writing and production from a close-knit team, led by his son, Marvin Sapp Jr., If I Were an R&B Singer is an entertaining artistic exercise that never sacrifices or compromises the integrity and overall mission of Sapp’s purpose as a singer and artist.
In a lively conversation with Billboard, Marvin Sapp details the making of his new EP, his favorite line dances, the differences in vocal technique across genres, and the R&B he used to croon in the school lunchroom.
When did you finally decide to make an R&B project?
I didn’t sit down and decide to make it; it kinda just fell in my lap. For my whole 36-year career, people have always asked why I haven’t ever sung R&B music or anything of that nature. I always said the reason was that I didn’t feel like it was my assignment. I feel like whenever you do anything musically, there has to be a conviction that’s attached to it.
My son [Marvin Sapp Jr.] said I should make something like [If I Were An R&B Singer], and his good friend Kolten [Perine] produced the record. I decided to put my career in their hands, more or less, because they’re younger and Gen Z, they get it.
You touch on this during the intro, but talk to me a little bit more about your experience with R&B while growing up Baptist.
I grew up in a very traditional church here in Grand Rapids, MI. We didn’t have drums, didn’t have an organ, we had an upright piano, couldn’t rock, couldn’t clap, couldn’t do any of that. When I was a teen, everybody was listening to New Edition because they were a hot group — but I never felt like they could really sing. I was sitting up listening to people like Peabo Bryson, Teddy Pendergrass –who influenced my style in a gospel way – Con Funk Shun and the Dazz Band. These were the groups and singers who shaped me as an artist. That’s who I played around the house. Even though I chose gospel at the age of 10, you know, I was pretty much raised by those individuals.
When you had someone to sing to in the lunchroom, what songs were you singing?
I was singing stuff by the Dazz Band like “Heartbeat” and “I’m So Into You” by Peabo Bryson. My junior year in high school was everything to me because that’s when Between the Sheets by The Isley Brothers came out. I was singing the whole first side of that album. I remember my first major solo at my middle school was “Sparkle” by Cameo. I can count the number of times I’ve sung R&B in my life, maybe 20 times maximum.
This [project] is a one-and-done. I challenge everybody to get it because it’s not like we’re going to do anything else like this again. I just wanted to try it, and I think I did a pretty good job.
How did you develop the specific style of R&B you were going for on this project?
First, I wanted to make sure I didn’t veer too far away from my assignment and my calling. I still want to be the preacher, the teacher, the pastor, etc. I still want to be able to go back to doing what I feel like I do best — and that is singing the Gospel of Jesus. We wanted to make sure that lyrically, it was about love and relationships, but it was clean like a lot of the ‘80s and ‘90s R&B I grew up listening to. I wanted to revisit that particular style and texture.
I also had a conversation with my son and Kolten about making sure that I didn’t jeopardize who I was for the sake of the project. We came up with something that’s current, sensual, but not sexual. And that was the goal.
Who else was involved in making this project and when did that process begin?
It started last year. I built my own recording studio on my property during COVID, so I recorded it there like my last two CDs. The young man who mixed and mastered it, Curtis Lindsey, is actually my [musical director] and has been with me for maybe 17 years. Of course, my publicist Kymberlee [Norsworthy], my son — who co-wrote “Free Fallin” with Kolten and shot the album cover. I’m a very strong believer in using younger gifts that are around you to help you to remain current. It’s very difficult being an artist of 36 years and being blessed to remain relevant – especially when you’re trying to reinvent and introduce yourself at the same time. You have to make sure that you have people around you who really understand the pulse of what’s happening now, and Kolten and Marvin get it.
Did your approach to singing have any notable shifts between gospel and R&B?
Singing R&B is more melodic. In my gospel music, I might be hollering at you one minute, and the next, I’m singing softly and doing certain riffs. This particular record is more of me singing and people being able to sing with me to the hooks. We were trying to make sure it was catchy so we could give people the opportunity to hear me in a totally new light and recognize my versatility. I was able to use my falsetto a little bit, which I’m not able to do as much on the gospel side. I could do it, but once you recognize what people enjoy you doing, you just do that.
How did you come to an understanding of what R&B audiences want to hear in 2025?
I really studied! Of course, I’ve known Tank for years, and I listened to him. But I knew I couldn’t be a Tank. There’s a new young man [named October London] who I really, really love and listen to a whole not. He sounds like a Marvin Gaye type of artist. I literally sat and studied his music, placement and lyrical content. I listened to people like Joe, old-school Dave Hollister, and so many different people, to create some form of gumbo. I took pieces from each of them. The first song, “Listen,” is kind of a throwback to Kem. I got a clear picture of what people enjoy and what they want to listen to.
“Free Fallin” has a bit of a line dance moment. Could we be seeing you hit those moves soon? Do you have a favorite line dance?
I’m still doing the Cupid Shuffle, man. But I’m also learning the dance for [“Boots on the Ground” by 803Fresh]. I know they gonna do it tomorrow night at this event that I’m at. I’ve been on YouTube trying to figure it out. I’ll probably do a [“make your own line dance” challenge] for “Free Fallin” too.
You said this is a “one-and-done” project, but what do the promotional plans look like for the EP? Is a tour in the works?
There aren’t plans for me to tour it, because I don’t think that’s my actual assignment. We’re going to definitely see about getting airplay on R&B radio for “Free Fallin,” because I really think that song’s a vibe, to be perfectly honest. But I haven’t even thought that far. I just wanted to do something that was on my bucket list.
What were those internal conversations with your team like, considering you’re momentarily pivoting to R&B as one of the most highly regarded working artists in contemporary gospel music?
Kymberlee and I sat down and had a real conversation about it — because we were about to hit the road to do the Reunion Tour with Kirk Franklin, Fred Hammond, Yolanda Adams, and The Clark Sisters. This was a big tour, and we had just dropped my new live album. We talked about [how to handle] putting [the R&B project] out, because we were still on the Billboard charts with gospel tracks. We didn’t want to do anything that was going to jeopardize that. After thinking it through and mapping it out, we decided that this shouldn’t be an obstruction to what we do — especially because our target was to release it on Valentine’s Day.
There was definitely concern about backlash, but I think that the body of Christ is extremely mature. There are some that will have negative things to say, but those individuals who really know my heart and my passion understand without question that this is something that I’m doing just because I can. I’m not choosing it as a career.
Do you think there’s something to be said about waiting for the right time to do this project? Would the EP have sounded like this if it came out 10 years ago?
Heck no! Not even close. 10 years ago, I was still striving to be the best artist that I could possibly be. It’s easy for me to do this – and I don’t want this to sound wrong – because I’m accomplished. I can take risks. Even though I don’t honestly feel like this is a major risk, it’s still somewhat of a risk. 10 years ago, I probably wouldn’t even consider doing this. “The Best in Me” was hot, “Never Would Have Made It” was still at the top of the charts and on the R&B/Hip-Hop charts — I had already crossed over! [Laughs.]
Now, I’m focusing on pastoring and opening up another charter school in the DFW metroplex. I’m still making quality gospel music, and I’m still on the Billboard charts. And I’m older, I’m stronger, I’m wiser and I’m better.
We got a live album and a blockbuster tour from you last year. What do you have planned for 2025?
I’ve got a Tiny Desk set later this week, and my church in the DFW metroplex is growing by leaps and bounds. I gotta start a second service. I have two grandchildren now. In this particular season of my life, I’m coasting. It feels really good to be able to pick and choose what you want to do and not have to grind like I did for 20 of the 36 years I’ve been out here.
I’m going to enjoy it because it’s really hard to enjoy the ride while you’re grinding. You miss out on so much and people don’t get it.
At the height of my career, my wife was sick and dying. I missed out on a lot of things because we were fighting for her life, which was more important than anything I was doing outside of my house. Now, some 14-15 years later, I’m in a different place. I’m still able to maintain a level of success and relevance. I’m enjoying every moment of it now because I get the opportunity to view it from a different perspective.
Westside Gunn is back like he said he would be. The Buffalo rapper and Griselda Records head honcho dropped a project today entitled 12. The tape is 11 tracks long and features Estee Nack, Stove God Cooks, Brother Tom Sos, AA Rashid and Eljiah Hook, plus production from The Standouts, Denny Laflare, Daringer, Crucial Guillotine, […]
02/14/2025
Billboard rounded up rap, R&B and Afrobeats songs by Rema, MF DOOM, Snoop Dogg, Burna Boy, Ashanti, Nipsey Hussle and Queen Latifah that sample and interpolate Sade.
02/14/2025
2025 is already off to a wild start in the hip-hop world, and Billboard Unfiltered is back to break it all down with a new episode on Friday (Feb. 14), tackling all things Kendrick Lamar’s Super Bowl performance and Ye’s (formerly Kanye West) crashout.
Billboard‘s Damien Scott gave his stamp of approval to Lamar’s performance, as he loved to see Kendrick bring an “unadulterated rap show” to the biggest stage in America.
“We’ve had rappers before, but we’ve never had a rapper headline, and I’m glad it was Kendrick because what we got was a real rap show. He didn’t lean into his pop bag,” Scott said. “He kept his setlist outside of the SZA collabs it was super rap. You know how hard it is to rap ‘DNA’? I can’t imagine doing that in a leather jacket.”
Staff writer Kyle Denis enjoyed Kendrick remaining in his “imperial phase” and performing his new album rather than “mining for hits,” as we’ve seen plenty of other artists turn their Super Bowl sets into a greatest hits medley of sorts to appease the wide-ranging audience.
“You’re at the top of your game right now. As much as I wanted to hear the old stuff, I really respect what he did up there,” Denis said.
Unfiltered newcomer and hip-hop editor Angel Diaz admitted he was initially “underwhelmed” by the show, but after leaving the chaotic environment he was watching the game at and ran it back, he developed more of an appreciation for what Lamar delivered.
“It was impressive,” he said. “His wind, voice control — I kinda wanted some of the features to pop out like the mariachi singer, AzChike — I wanted to see him do ‘Peekaboo.’ When he announced SZA and people were trashing him, I thought she was gonna do more.”
Scott wonders how Kendrick’s set will translate to stadiums across the country on the Grand National Tour because of how “tightly wound” the songs are he performs. He even compared the tracks to “Swiss watches.”
Scott declared the Kendrick-Drake beef over and warned the 6 God to never say Kendrick’s name again going forward. “Don’t ever mention his name again. Just leave this alone, it’s over, bro,” he said.
Where does Ye go from here? West delivered a series of antisemitic, homophobic and hate-filled rants on X over the weekend ,which saw him praise Hitler and call for Diddy’s freedom.
“I don’t know how Ye gets back if you don’t have a built-in base to bolster you when you need it,” Scott adds. “Because we’re done. We should be the ones, ‘Get some help and we’re here for you.’ We’re like, ‘It’s over, peace.’”
Denis thinks we’ve hit a point where we have to ask ourselves if it’s worth covering Ye to this extent if he’s looking for attention.
Watch the full episode above.