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Teasing “exclusive releases, immersive experiences, engaging discussions and insane performances,” Travis Scott is quadrupling down on his role as artistic director of the forthcoming ComplexCon Las Vegas on Nov. 16 and 17. He will create CactusCon at the inaugural Vegas iteration of ComplexCon, the festival and exhibition dedicated to “convergence culture” at the intersection of style, music, art and food.
Scott and Cactus Jack, his creative collective and record label, will produce 10 exclusive collaborations for ComplexCon, design exclusive merch only sold on site and curate an entire area of the show floor called CactusCon, with hand-selected brands. CactusCon will infuse Scott’s vision and Cactus Jack iconography into sensory touch points and “Easter eggs” throughout the two-day event. Scott will also headline the festival and exhibition on Sunday evening with a performance at the Las Vegas Convention Center.
Scott performed at ComplexCon’s Long Beach launch in 2016. Since then, the weekender celebrating the convergence of style, sneakers, pop culture, music, art, food, innovation and the creative minds shaping those trends has traversed the globe with conventions in Chicago (2019) and Hong Kong (2024). Relocating to Vegas promises a two-day gathering four times the size of Long Beach’s, spanning more than 1 million square feet of brands, drops, activations and experiences and with 60,000 anticipated attendees.
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“Travis Scott helped inaugurate the first ComplexCon, and we are excited to welcome him back with an expanded role and as the Sunday night headliner. Travis Scott defines this generation of Complex fans, and we are excited to be working with him in our new home in Las Vegas,” says Complex CEO Aaron Levant.
In February, NTWRK, a live-video shopping platform and marketplace, signed an agreement to acquire Complex. Levant, who co-founded NTWRK with Jamie Iovine and Gaston Dominguez-Letelier in 2018, leads the new company. Levant originally co-created ComplexCon alongside Marc Eckō, Complex’s founder, in 2016.
ComplexCon has become known for exclusive releases from Nike and Adidas and appearances by the late Virgil Abloh, as well as Nigo, Kid Cudi, A$AP Rocky and Hiroshi Fujiwara. Previous artistic directors have included Takashi Murakami, Blackpink creative director Verdy, Cactus Plant Flea Market, J Balvin and Pharrell Williams.
This year, attendees will have the opportunity to shop brands including 032C, Ambush, Asics, Awake NY, BYREDO, Cactus Plant Flea Market, Ecko Unltd., EDGLRD, Fear of God Essentials, Fox Racing, Fragment, Futura Laboratories, Glo Gang, HELLSTAR, Hidden NY, Holiday, Infinite Archives, Kids of Immigrants, Malbon Golf, Mastermind, Mitchell & Ness, Mowalola, murd333r.fm, New Era Cap, Nike, Oakley, Online Ceramics, PDF Channel, Psychworld, Rick Owens, Satoshi Nakamoto, Saucony, Sp5der, Stash, Thug Club, Undefeated, Vans, Vetements, WWE, Zippo and more.
Also returning is the ComplexCon panel and live talk lineup, which will feature cultural commentators and creatives exploring pop-culture topics. Past discussions have featured Kendrick Lamar, Kobe Bryant, Michael B. Jordan, Lil’ Kim, Issa Rae and Yoon Ambush.
Complex recently acquired the Family Style Food Festival, which will pop up for the first time at ComplexCon 2024. The festival, founded in 2019 by Ben Shenassafar and Bobby Kim of The Hundreds and Miles Canares, is also a like-minded event at the intersection of food and streetwear. It features a lineup of chefs, restaurants, brands and entertainment, serving one-of-a-kind collaborative food and merchandise.
A celebrity golf tournament at Wynn Las Vegas kicks off ComplexCon on Nov. 14. Playboi Carti and Opium will also perform on the ComplexCon Main Music stage, and Metro Boomin will kick it off on Saturday.
VIP and general admission tickets are now available at ComplexCon.com.
A new week means another episode of Billboard Unfiltered is upon us. The Billboard trio (sans Trevor Anderson) delves into J. Cole’s path forward following him bowing out of the Kendrick Lamar–Drake beef, shares 2025 Grammy predictions and talks about Ye’s next solo album.
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J. Cole has laid relatively low since the Drake-Kendrick war, but returned with a pair of assists recently when teaming up with Daylyt for “A Plate of Collard Greens” and Tee Grizzley’s “Blow for Blow.”
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Deputy Director, Editorial Damien Scott loved the pair of verses Cole dished out but is still waiting to see how he charts his next move. “Fans are expecting an acknowledgement and a path forward for him. They’re waiting to see how he positions himself now. It seems he’s still going with the I’m the best, don’t f–k with me and stay out of my lane talk,” he said. “Will that be able to hold over going into this next album? We’ll see.”
Staff writer Kyle Denis “never had any doubt” Cole could still deliver on guest verses, so this “doesn’t move the needle” for him and he’s interested to hear what’s to come with The Fall Off.
“What I really do want to see does he actually acknowledge how he moved through this beef on his own records, on his own terms when the time comes,” he added. “I get the whole, ‘How can you rap like this after doing all of that?’ But I also do think it’s kind of fun to watch him remain in that bag.”
Deputy Director, R&B/Hip-Hop Carl Lamarre still has faith that the Dreamville boss will deliver a “great” body of work with his next project. “I think he’s gonna speak on that on the album,” he stated. “The appeal he has on the feature side is undeniable, but it’s also like I can’t take you serious. It’s a struggle for me to look at you.”
The first round of voting is underway for the 2025 Grammy Awards and the fellas see a big year for Kendrick Lamar on the horizon and his Drake diss records.
“Given his track record, it’s not really a matter of possibility it’s the songs they really rally behind,” Denis candidly began. “I think if I had to guess, if they’re gonna push anything they’re probably gonna push ‘Euphoria.’ It’s a safer bet and I think a better display of his rap skill than ‘Not Like Us’ is.”
Lamarre added: “They expect ‘Euphoria’ to dominate the rap categories and ‘Not Like Us’ to overtake [the general field]. That could be Kendrick sweeping rap and potentially win five or six [trophies].”
After releasing a pair of installments of Vultures alongside Ty Dolla $ign, Ye (formerly Kanye West) appears set to return to his solo work. While performing in Haikou, China over the weekend, West teased his next album which is tentatively titled Bully.
If Yeezy is focused on making a coherent body of work, Scott is interested to hear what Ye has cooking for Bully.
“He [played] a song called ‘Beauty and the Beast’ … Even if it’s a Donda holdover, it’s the direction I hope he goes in. It sounded coherent, it sounded like an actual song,” he said. “There are verses and he’s not mumbling. He’s talking about things that are outside the conspiracy of certain racial groups dominating the world. If that’s the case, then yeah, I want to hear the Kanye album… He’s made most of what we consider to be popular culture right now.”
Watch the full episode above.
Last year, WWE superstar Cody Rhodes was on the verge of “finishing the story,” a phrase that captured the collective anticipation of the WWE universe. They were fervently hoping for the blonde protagonist to clinch the one belt that had always been out of reach for his bloodline — the WWE Universal Title.
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Now, 12 months later, Rhodes joins Billboard on Zoom while proudly displaying a new addition to his collection. This shiny new toy, a symbol of his hard-earned victory against the once-indomitable Roman Reigns at WrestleMania 40 this past April, would undoubtedly bring a smile to the face of his late father, Dusty Rhodes.
“When we spoke, I did not have the North Star of our business in terms of the WWE Championship,” says Rhodes, referencing our 2023 conversation about his documentary, American Nightmare: Becoming Cody Rhodes. “It’s a nice piece of hardware to bring around with me now.”
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Undoubtedly the new face and quarterback of WWE, Rhodes is enjoying his champion run, including wins over AJ Styles, Logan Paul and Kevin Owens. Rhodes’s popularity has also crossed over to the music side, where he spoke to Jay-Z last month at Michael Rubin’s Fanatics Fest, shot a commercial with Metro Boomin for the WWE’s upcoming premium life event Bad Blood, and was a presenter this past week at this year’s ACM Awards.
Bad Blood will occur this Saturday (Oct. 5) at 6 PM EST on Peacock in Rhodes’ home state of Georgia. His homecoming should be memorable, as he’ll team up with his one-time adversary Roman Reigns in a tag-team match against Solo Sikoa and Jacob Fatu. Billboard spoke to Rhodes about working with Metro Boomin for their Bad Blood commercial, WWE enjoying its golden era, chatting with Jay-Z and more.
You thought I was crazy for giving you the LeBron comparison when you returned to the WWE. You have to see the similarities now in terms of you winning your first belt and him winning the ring in Cleveland, right?
Well, he came back home and he got it for the city. In terms of his story, you really had to hang in, you had to stay on-board. It took a detour in terms of him being away from his home. Then to come back and to fulfill that promise is incredibly special.
For me, I think a lot of people maybe looking outside of my journey in pro wrestling and sports entertainment this was how it was meant to be and this was how it was always gonna be. I look at this with the moment that we’re in now and it’s a gifted period. It’s a chapter I did not truly expect. I had taken such a detour. I had been so away from my roots and my original goal in the industry that new goals had popped up. But to be able to drop back in, to go and get [the title] and to be one of the leaders in its most prolific era for a company that’s really has had prolific eras, I’m not taking this for granted. This is a very blessed time.
After 20 years, Bad Blood is coming back to your state this Saturday. Talk about this full-circle moment for you in terms of coming home with the title in-hand.
It always feels Game of Thrones-like in a sense. Here’s the belt from formerly the World Wide Wrestling Federation and the Northeast Territory and I was just this Georgia Championship Wrestling, Jim Crockett Promotions, WCW kid. To be able to be the first Rhodes to have it, but also bring it back to where The Omni once stood. I mean, I got goosegumps when they put The Omni in the scene from [Smackdown’s] Georgia Tech [episode] because being able to be on the ground of that building and to have this [belt], was not expected. It’s a homecoming. I’m very much looking forward to it.
Speaking of the Georgia Tech episode where you and Roman met up and cut an intense promo, that was high-level cinema on display.
I think wrestling fans, if they could be sitting in the stands at Bobby Dodd Stadium when it happened, they would have been so rewarded because the thing that is not being reported and by no means needs to be reported, is none of the verbiage was discussed — none of it. Maybe he thought I’m going to make my point and I thought I was going to make mine as well, but to be able to have that moment and to say things to one another [was special].
When pro-wrestling is at its best, it’s very real. That situation that we find ourselves in at WWE now with the individual who carried it through the pandemic and who held it for all those days as the perennial main-eventer now not being the quarterback of that company, that’s a very real thing. Roman has my utmost respect. If anything, he pulled something out of me that I didn’t know I had. I hope I did the same for him.
Why do you think Roman’s redemption tour is having such a strong start with the fans?
What’s not to like, right? In terms of confidence, we saw the fitness TikTok of how dialed in physically he is and what he’s already contributed. You’ll hear people say, for so long that they were trying, and trying and the fans were rejecting it. I think if you look back at those times, it’s all contextual and different reasons. Perhaps, they didn’t react the way you thought, but I think you’re now seeing for the first time not just admiration, not just, “I wanna cheer for this guy and buy his t-shirts,” you’re seeing respect.
When you have the respect of the fans, you’re in rare air. He has the respect of every fan. People forget WWE has a massive audience of young children, and they’re just incredibly important as us. When you have their respect and they can look at you and feel that presence, man, it’s a classic case of what’s not there to like. Now, if I look at it from a narrative perspective and look back at Smackdown and Raw, he’s made a lot of people’s life a living hell. That could be what’s not to like, but going into Bad Blood, I’m doing my best not to look at any of that.
You recently spoke to Jay-Z at Fanatics Fest. How does it feel seeing wrestling so valued and appreciated by not just hip-hop, but pop culture, overall?
I have to thank Michael Rubin at Fanatics for that. He was just having a normal, regular chat like he does with somebody like Jay-Z. That whole moment was incredible for me to go Fanatics Fest, first time ever, and to hear from the horse’s mouth himself what I only been told about some of WWE’s merchandising numbers and my own specifically. To be in the top five of all of the athletes represented, as a kid, trying to tell everyone around him, “Hey, wrestling is really cool. You should come over to my house, you’ll like it. Hey, come to the show with me, you’ll be a fan,” to see it hit this mainstream level again, I don’t wanna take it for granted.
With Bad Blood, Triple H and Nick Khan, they asked me to do the packages and sizzle reels with Metro Boomin. I’m thinking, “Yes!” This is what we do. This is what we want. To be able to have done the stakeout [with Metro] and hopefully it goes somewhere as we head towards Bad Blood, that was such a really sweet moment. It was really cool to connect with someone like that, not just an artist in a different medium, but with someone trying to tell stories like how we’re trying to tell stories.
You’ve become a beloved figure in the Black community, from people on social media changing your name to “Raheem Rhodes” to even Arkansas Pine Bluff, an HBCU, having its school band play your theme song “Kingdom” at their college football game. How does all the love feel?
You mentioned the band. They played that on primetime when they played Arkansas, and it’s quite possible you might see them playing it live in the State Farm Arena at Bad Blood. That was incredibly touching. In terms of your question, I’m always so careful about how I answer because the truth is, I don’t know. I just want to do all I can to keep it going. That’s such an honor.
I know some of the memes are meant to be funny and I’ve seen the name and all that stuff, but that was my dad’s biggest fan base. I could see things like the Southern Baptist church and things that connected the tissue. With me, I’m not sure so much, but I don’t wanna do anything to disrespect it or lose it, because not only do they do that fun stuff online, the community has also been really active in the arenas and as part of the journey. I don’t get to WrestleMania 40 without that group of fans. I’m touched just hearing it. I try to do everything that I can not to screw it up.
You mentioned your father, and there’s a quote that you’ve said a while back that’s resurfaced on social media: “Sometimes, I just revert back to Dusty’s kid. I’m trying to chase his ghost and it’s a pretty hard ghost to chase.” Even after finally winning that elusive belt that once haunted your family, do find yourself still chasing that ghost of Dusty, professionally or personally?
In the latter, I remember saying this in my documentary: Following him as a pro wrestler is one thing, but he was a superb father. You know when you meet someone who had a superb father, mother or both, that’s a special thing you have an opportunity to do as a parent. Now I have the opportunity with my daughter, Liberty, and I just hope that I can be remotely as good as he was with me because he was absolutely the best parent you could possibly get.
In terms of chasing the ghost, it might feel or sound somewhat negative and by no means is it, that’s the greatest ghost to chase. This guy had such an impact on pro wrestling and sports entertainment. Time has passed and there’s still things that he’s linked to. Just the cage dropping, that’s a Dusty concept and here I am watching the cage drop on the Smackdown premiere. These were things that he brought to the game and I always said after a certain point in my career that I want to be the most influential person of my era.
That’s a difference between being the best champion, the biggest superstar, and the best in-ring wrestler. I always wanted to be the most influential person in my generation, and the reason was is because I felt that he was. His influence is still being felt today. That ghost, I gladly try to get to as close as possible.
Your buddy Jey Uso won his first singles title after 14 years in the business. Knowing the struggle it took for you to reach that mountaintop, from a fan’s perspective, what was it like seeing him being able to capture that moment for himself?
That’s the business, right? That’s the good stuff. I remember Kerry Von Erich hitting the backslide on Ric Flair. I remember Bret Hart putting Ric Flair in the sharpshooter. The feeling of what we do in the ring, the stories being told, the good stuff. So much surrounds our wrestling space whether it’s controversy or whether it’s internal discussion of this and that, ultimately, the most important thing we do is in the ring.
Jey Uso is so beloved, and they got to have this real moment with him winning his first singles title. I feel like they purposely kept me away from the building because we would have just showered Wheatley Vodka on that entire arena. I’m so happy for Jey. That dude is the man. You can tell from the post-match interview that he did with Jackie, it was all real. When it’s real, that’s when it’s at its best. We gotta aim for it to be as real as possible. Very happy for Jey and cheers to a long run I hope.
Next year is John Cena’s final year wrestling full-time for the WWE. From a fantasy booking perspective and removing yourself, who would you want to see go against John for his final WrestleMania match?
Such a great question. I think maybe it’s ultimately something that’s up to John. Wrestling John in any capacity — he has a championship, you just don’t see it. The mantle of responsibility, the individual that he was in terms of how he carried himself as the quarterback of WWE, I’m very curious what goes down.
I can’t fantasy book it, because there’s things that make sense and there’s past adversaries he’s had that would be great matches, but the idea of one more WrestleMania with the champ, I hope wrestling fans have strong opinions on it and I hope he has the same, because whoever that is, not just being in that match but what comes after having that match win, lose, or draw, that’s a huge selection to make. That might be the most important decision in WWE.
Rich Homie Quan died Sept. 5 at 33 years old. At the time of his death, he was reportedly working on a new album, so his family took it upon themselves to complete his vision with the release of Forever Goin In. The late Atlanta rapper’s first posthumous LP hit streaming services on Friday (Oct. […]
DDG and Halle Bailey are going their separate ways. DDG announced that the couple has split with an Instagram Story post on Thursday evening (Oct. 3).
“After much reflection and heartfelt conversations, Halle and I have decided to go our separate ways,” he began. “This decision was not easy, but we believe it’s the best path forward for both of us. I cherish the time we’ve spent together and the love we’ve shared.”
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The “Moonwalking in Calabasas” rapper and Halle Bailey went public with their relationship in January 2022. They welcomed a son, Halo, late in 2023 and announced his birth back in January.
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DDG and the Little Mermaid star gave the public its first glimpse of Halo when sharing photos of their baby boy in July following a trip to Italy.
Despite the split, DDG maintains that they will remain “best friends” and have plenty of love for one another as they navigate this co-parenting journey.
“Despite the changes in our relationship, our love for each other remains deep and true,” he continued. “We are still best friends and adore each other. As we focus on our individual journeys and our roles as co-parents, we cherish the bond we’ve build and the beautiful moments we’ve shared.”
The couple was swarmed with break-up rumors in April when DDG and Halle Bailey allegedly unfollowed each other on Instagram and took down some of the photos they had together, per Elle.
In the same month, Halle opened up about the “severe” postpartum depression she was experiencing as a mother. “It’s hard for me to be separated from my baby for more than 30 minutes at a time before I start to kind of freak out,” she said on Snapchat. “When I look at him, I cry because of how special he is.”
More recently, DDG and Halle attended Usher’s Past Present Future Tour in Los Angeles together last week.
The 26-year-old and Bailey are requesting fans’ “understanding and support” as they figure out what’s next for themselves. “As we navigate this transition, we ask for your understanding and support,” DDG concluded. “Thank you for your love and encouragement.”
Find the full statement from DDG below.
Halle Bailey and DDG have separated:“After much reflections and heartfelt conversations, Halle and I have decided to go our separate ways.” pic.twitter.com/Am5trZNlfn— Pop Crave (@PopCrave) October 3, 2024
Tommy Richman sent Rap Twitter into a frenzy last night (Oct. 2.) The singer out of Virginia — whose single “Million Dollar Baby” went viral and was on its way to dominating the summer until the Kendrick and Drake battle thwarted those dreams — sent out a now-deleted tweet seemingly distancing himself from the genre […]
Buju Banton’s viral Afrobeats-lambasting Drink Champs appearance (Aug. 28) previewed a particularly contentious month for reggae and dancehall music, and September did not disappoint.
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After announcing the removal of the reggae recording of the year category from the forthcoming 2025 JUNO Awards, the Canadian Academy of Recording Arts and Sciences (CARAS) has reversed its decision, allowing a new crop of competitors to join past winners like Leroy Sibbles, Exco Levi and Kirk Diamond. The news came just a few weeks before an update in the curious removal of Drake‘s “Blue Green Red” from streaming services. The dancehall-inflected track — which peaked at No. 63 on the Billboard Hot 100 as a part of the rapper’s 100 Gigs EP — allegedly lifted elements from Tiger’s “When” (1991) without proper clearance. Later disputes about who actually serves as Tiger’s publishing representative continues to keep the song off streaming services, but producer Boi-1da asserts that the song could “possibly be back up” once those issues are resolved.
In live performance news, R&B icon Usher brought out a pair of Jamaican powerhouses for his Past Present Future Tour: Grammy-nominated reggae star Barrington Levy delivered renditions of “Here I Come,” “Black Roses” and “Tell Them A Ready (Murderer)” at the trek’s final Brooklyn show (Sept. 10), while Caribbean Music Award winner Masicka performed “Fight For Us” at the final Toronto Show (Sept. 3). At the latter stop, Canadian rapper and producer Kardinal Offishall also joined forces with Usher for a special cover of Chaka Demus & Pliers’ “Murder She Wrote.”
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Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Azato, “Disconnect to Connect”
As a global society, we’re probably past the point of no return when it comes to the unhealthy amount of time and energy we collectively give to technology and social media. With “Disconnect to Connect,” a warm, full-bodied mélange of soulful roots reggae and notes of soft rock and jazz, Hawaiian reggae band Azato deliver something greater than a finger-wagging “get off your phones” anthem. “Are we truly free, or just followers of likes?” he questions us, urging us to detox, if only for a moment. Roots reggae has proven to be rich soil for sociopolitical commentary for decades, and Azato offers up a distinctly 21st-century lens through “Disconnect to Connect.”
Runkus, Royal Blu & Kush Arora, “No Long Talking”
“Life In the Jungle” might be the main attraction, but “No Long Talking” is a much more intriguing offering from Jamaican artists Runkus and Royal Blu and Bay Area producer Kush Arora. A fiery amalgam of drill and dancehall, complete with machine gun sound effects, rapid fire flows, and a promise to get “straight to the action, don’t wanna play.” Built around Kush’s “Desi Cowboy” riddim, both Runkus and Royal Blu embody the lawless spirit of the Wild West with this slinky gun chune.
Morgan & Byron Messia, “Wheel Up”
It’s been over a year since “Talibans” dominated the summer across the Caribbean diaspora, and Byron Messia still stands as one of the biggest dancehall breakout stars in recent memory. On his new collaboration with U.K. pop/R&B arist Morgan, Messia proves himself a surprisingly strong supporting player. A sleek fusion of R&B and dancehall, “Wheel Up” is a sultry ode to Jamaican sound clash culture and the heated nights of passionate dancing and flirting that follow. “One more sin inna mi cup/ Dis ting we affi wheel up,” Morgan croons in the chorus of the Slim Typical-helmed track. Ain’t nothing with rewinding those fleeting moments of connection to make them last a little while longer!
Gyptian, “In the Dark”
Gyptian has been cranking out love and lust-minded dancehall classics for years now, and he’s showing no signs of letting up anytime soon. With his latest single, “In the Dark,” the Billboard chart-topping star zeroes in on the love affairs that thrive when the night falls. “She said, ‘I can come over tonight’/ ‘And do with you whatever’/ Wait till it’s dark outside/ And just make your way over,” he sings over the guitar-inflected reggae-pop beat, painting a thrilling narrative of a secret relationship that can only live in the darkness. It’s a less heartwarming story than the one he tells on “Hold Yuh,” but it’s equally enthralling because of the forbidden spaces it pushes his songwriting to.
Shenseea, “Dating SZN”
It’s wild to think that in 2024, people still (figuratively) clutch their pearls when women speak about balancing different partners, but leave it to Shenseea to render that faux outrage null and void. “You a nuh mi man, mi nah haffi explain/ Mi nuh have no obligation/ Journey might be slow/ But mi haffi sure say you’re the one/ So mi have couple a unuh inna rotation,” she explains in the first verse, letting it be known that she sets the terms of all these arrangements — nobody else. The Supa Dups-produced track references the iconic instrumental hook from TLC’s Hot 100-topping “No Scrubs,” an increasingly rare instance of a newer song referencing a classic track and building on that song’s narrative and concept. These guys are scrubs, why would Shenyeng ever lock herself down like that?
Jahmiel & Minto Play Da Riddim, “Self Worth”
Always good for a poignant, introspective track, Jahmiel delivers yet again with “Self Worth,” a tender collaboration with Minto Play Da Riddim. Emphasizing themes self-empowerment, the track balances somber piano keys, a spoken interlude, and an undercurrent of gospel melodies to create a sonic comforter of hope and reassurance. “A user nah go ever love you like you love yourself,” he croons, reminding us all that our sense of self should always be grounded in an intimate understanding of our own individual self-worth.
Popcaan, “Show Me”
The Unruly Boss is back with a new drop. “Show Me,” the dancehall icon’s latest offering is standard sexed-up dancehall fear, and that’s perfectly fine. Produced by Teejay of TJ records, “Show Me” is as playful as it sensual, with Popcaan begging his prospective lover to “show me what you can do.” His smooth delivery offers a nice complement to the hip-hop-inflected riddim, but there’s just enough fire in his exclamations and ad-libs to make sure the flame never dies.
Vybz Kartel, “The Comet”
As the whole world knows by now, Vybz Kartel is finally free. He’s already dropped off a collection of new bangers since his release and in a wholly characteristic move, he’s given us some more. If anything, “The Comet” feel like a foreboding prelude to a new set of bangers ahead of his highly anticipated return to the stage in Jamaica later this year. “Mi f–k yuh madda thru di prison grill/ Mi f–k yuh gyal thru di prison window/ Wet up ‘e p—y wid mi middle finger/ Then mi dig it out hard wid di timber,” he snarls in trademark badman fashion before chanting, “I thought I told you that the comet is comin’” in the chorus. Who knows what “The Comet” is warning for, and, honestly, it doesn’t even matter — it’s a heater all on its own.
Bamby, “Guyane”
Guyanese dancehall and shatta singer Bamby infuses those two Jamaica-indebted genres with a healthy dose of her own Creole roots. Complete with a video shot in her home country, Bamby sings in both French and Creole as she waxes poetic about the beauty, strength and virtue of Guyana. “Yé ka mandé pou kissa nou fâché (They ask why we are angry)/Babylon pa pé rété (Babylon can’t stay)/ Malè ki zot voyé (This misfortune they sent)/ Lanmè ké fine pa chariél (The sea will no longer carry it),” she croons over a sparkly, thumping dancehall beat.
Amanda Reifer & Sean Paul, “Sweat (Part II)
A sequel to the opening track from her Island Files project earlier this year, “Sweat (Part II)” finds Barbados’ Amanda Reifer joining forces with Jamaica’s Sean Paul for a sexy reggae-pop jam. The new version of the song changes very little from the original, but Sean Paul’s mellow guest verse offers a nice male perspective to complement both Amanda’s POV and her loftier vocal register. “You waan me touch it girl/ Me well conscious me want you trust it girl/ The stars and the moon shine for us girl/ You are my Isis , I am Osiris girl,” he proclaims to close out his verse. Who said the breezy reggae love jams have to stop when the weather gets chillier?
David Bowie said it best, “all clichés are true.” So, in the spirit of Mr. Stardust, here’s another: Bilal Sayeed Oliver is on some other s–t. The Philly native, who sharpened his skills in NYC with the help of the Soulquarians, first blitzed the R&B world in 2001 with his seminal, star-packed debut 1st Born Second. It was a critical darling that helped usher in what became known as neo-soul: a genre deeply indebted to past greatness that could only exist in a world in which hip-hop was lingua franca. Singles like “Soul Sista,” “Love It,” and “Reminisce” had his name set alongside contemporary greats likes D’Angelo and Maxwell, and positioned him as one of the future faces of the genre. But that’s not what Bilal wanted.
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In his head, he was a jazz artist who made, among other things, soul music. His subsequent projects would prove that out with him releasing albums that replaced the slick boom-bap of his debut with untamed jam sessions and improvised vocal experiments. His last full-length offering, 2015’s In Another Life was perhaps his most idiosyncratic. He and executive producer Adrian Younge pulled from Black music’s past to imagine a future where funk, soul, jazz, and R&B all collided into one beautifully contumacious genre of music. It was no surprise that Kendrick Lamar tapped Bilal that year to lend his uniquely resonant and limber vocal talents to his hip-hop and jazz fusion watershed work To Pimp a Butterfly.
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Now, nearly a decade removed from that impactful year, Bilal is back with a new album, Adjust Brightness, that he hopes is able to reach more listeners where they are but doesn’t give up an inch of the restless experimental energy that has informed the best of his past works. “I just wanted to make a vibe record,” Bilal says of the project that was created over a number years spanning all the way back to the Covid-19 lockdown.
But it’s much more than that: With just 11 tracks, the album swings from bright and boisterous at times to tender and hopeful at others. Adjust Brightness is simply Bilal at his best. Billboard caught up with Bilal right before the release of his sixth album to discuss his approach to creativity, painting as his new hobby, and the seances he attended in Morocco.
This interview has been edited for length and clarity.
The last time most people heard from you was around the time of In Another Life when you were all over one of Kendrick’s biggest albums. It all left people wanting more. What have you been up to?
I’ve just been making music, living life. The pandemic happened. I moved to Africa for a while. I came back and was able to get a nice recording space and I got into painting.
Where in Africa did you move?
Morocco.
What was the impetus to go there?
Family. My wife has family over there. So I went over there and it just turned into whole trip for me. A spiritual journey. It’s funny when you’re in a land where you know not many people speak your language. There’s such a different landscape in front of you that you kind of go on a mental journey in your own head. For me, [it was] my own adventure into myself and learning myself. And then it was Corona.
Were you over there for [Covid-19 outbreak]? Or were you back in the States by the time that happened?
It was like before that — and then during that and after that. But when it hit, [I thought,] “I’m just going to stay here.” And it’s crazy, ‘cause I couldn’t make any music, so that’s when I got into painting.
Why couldn’t you make music?
I always can make music, because I always have like a piano or my little laptop situation. But I don’t know, I wasn’t around my buddies. What I did was — a friend of mine, Tariq [Khan], he has a studio, HighBreed over in Brooklyn, where he found this way where you could link your setup to another person’s setup that’s somewhere else in the world and y’all could work together live. We did a project like that [and] it kind of sparked me into making music with my buds. But then I couldn’t anymore. So I went into a world of painting.
Interesting.
I mean, [there] was a lot to paint around me. You know, being in a different environment. So, I started to do that and it kind of got me into creating in a different way than I created before. Fast forward to where I am now, I was able to get a lot more visual in my music, in creating it, than I had before.
Right. And that goes with the title of the album, Adjust Brightness. Did you paint the album cover?
The album cover is a combination of a painting I did and an image of me standing in front of a light and it’s kind of pixelated and chopped up. It kind of phases into, if you look far back, a sunrise. But on one of the [singles’ cover art] was taken from a painting that I did in Morocco.
“Sunshine”?
Yeah, that’s taken from one of my paintings.
What is going on in that painting? It looks like a UFO abducting people.
Uh huh.
Am I far off or am I close?
It was a painting of a UFO inducting a Gnawa seance session, from when I was in Morocco. My cousin out there, I call him Simo, he loves to go to these seances, they’re called Gnawa sessions. Voodoo is to Christianity what Gnawa is to Islam. It’s like, you know, a lot of people don’t know that the Islamic slave trade is older than the sub-Saharan slave trade. Things that happen where you would bunch a lot of different civilizations and take their culture away from them and give them a new religion. The people would create saints out of their ancestors and venerate them under the disguise of religion. So, that’s kind of what the Gnawa is, and it almost felt like going to a Pentecostal church.
Word.
It was based off of this beat that they would make out of the throat of a goat. And when I tell you — this bass sound just like a combination of like, reggae mixed with some transient thing, and the men would just sing at the top of their lungs. And they’re playing this bass and it’s grooving. I don’t know what the hell nobody saying, but I am zoning out.
It’s all based off of these colors. And in these colors, people will come. The bass player would play a song and you would get entranced by one of the ancestors, and each ancestor had a color. So certain people would come with one of the colors that they thought that ancestor [would speak to them through]. And my cousin would come with all the colors on. Because he felt like they all talked to him. So I wound up staying the whole time at these seances. [Laughs.] And the bass sounds like Delta blues, dude. Because it only has three notes. It can only play like a blues scale, kind of. But the way they would groove that shit? Wooo!
Wow.
It starts at like 5:00 in the afternoon and it’s over 5:00 in the morning. And people are catching the Holy Ghost, passing out, freaking burning themselves. I saw somebody start stabbing his face and then they put rose water on it and it disappeared, like nothing ever happened. I was saying, magic happened. I felt like I was like a little boy again in a Pentecostal church. I was just zoning out, man, I felt like I kinda remembered again, you know? It was great. I was having a great time over there and I came back invigorated, you know? Inspired.
But that’s what that painting was. ‘Cause after one of them, I came back so, like, zoned out — I just started painting that scene that I was just at, and how I felt, ’cause if I felt like we was being taken up to another planet. It was amazing.
That is one of the most fascinating cover art stories I’ve ever heard, if not the most fascinating cover art story I’ve ever heard. Did you leave there with a song or a sound in your head that you had to get out?
No, like — I still haven’t digested it. You know, I’ve digested it through the paintings, but I don’t know. When I make music it’s not really intentional. I like to be possessed, and what happens when I come to — I’m like, “Oh s–t that was awesome!” I like to feel like a complete vessel. So when it comes through, it’ll come through, you know. But I just create. I definitely came back like, “Oh man — I wanna make some s–t.”
That reminds me of an interview Ed Bradley did with Bob Dylan, where asked him how he made some of his old songs and Dylan basically says he didn’t and likens their creation to magic.
Yeah, that’s it. That’s the whole point for me.
At this point in time, if you are a vessel, what do you think is flowing through you?
I make so much music now that I just curate what I want to put out because I want to be very intentional now. I’m doing it for the art form. Of course, it’s my Intention to reach the world and become extremely successful at this, but there’s also this charge to do it at a high level but also make it palatable in some way. And I think that’s what I’ve tried to do on this project. I tried to challenge myself to do dope shit I like to do but then also kind of do songs that I felt would be a meeting in the middle almost.
You don’t feel like you’ve have songs like that? I believe you have songs in the past that have accomplished that. Like “Soul Sistah”.
Oh, yeah. That’s always the challenge for me. Because I’m a jazz musician at heart, you know? I would love to just make a hodgepodge of everything going on. I’m not saying I’m doing anything where I’m crossing over or anything like that [Laughs]. When I say Adjust Brightness, I was like, “Man, I’m really gonna make a vibe this time.” This was my intention, just creating a feeling. So this was like a feeling of, for me, Adjust Brightness is warm and soulful.
How do you feel your music fits into the larger market these days? How do you see yourself in the land of playlists?
I don’t know. I hope it makes it to all the cool ones where I can hit like minded individuals on this same mission as me.
We see artists craft songs to cater to streaming and playlisting. This album, like most of your music, doesn’t seem to do that.
Pretty much. The only intentional thing that I did on the record was I wanted to be 11-11. So I was like, we gotta make it 38 minutes and 38 seconds and have 11 songs. That’s the type of intent I be having!
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It looks like there’s no executive producer / creative partner-type for this album in the way that the last album had Adrian Younge.
I think that was me this time. I was kind of just trudging myself along and because of the whole corona thing, it was like — the songs that I did at Tariq’s spot were just pieces. They were like half ideas, shapes, and jams that I liked but they weren’t finished. And then when I started to work with Simon and Tom, and we were doing songs like “Tell Me” and “Sunshine,” those other pieces started to make sense more and they kind of revitalized my ideas on those songs, lyrically and everything.
It’s funny — with this record, a lot of stuff almost ended up coming out as just mumble tracks, and I was thinking: Could there be R&B mumble like would that go over like mumble rap? My manager was like, “Do it. You can do it. There’s been rock groups where their whole shtick is there’s no lyrics.” And I was like, “No, in the soul world.”
On Black Messiah, there are songs where I know he’s saying words, but I can’t fully understand what D’Angelo’s saying. Sometimes it comes out of a feeling more so than a word. I think you could have done it, I think people would excuse it because your voice is so good.
Yeah, I mean, that’s what I wanted up doing on this record. For the first time I was letting go of a lot of stuff. I see myself as very meticulous at times but there was a lot of letting go where I was just like, “Oh, man, you’re right. Just let the s–t be mumbled. It feels good!” We came up with this saying, “Feels good, sounds wrong.” [Laughs.] And I was just like, “Man, it kind of goes with the thing of just making this record of vibe for me.”
What’s the one song from the album you want to make sure people listen to?
“Micro Macro,” because that’s the last song, and then immediately the album comes on again. It’s funny. I find myself like stuck in different places of the record.
How do you mean?
Well, I get to different places where I’m like, “I like that sequence.” I don’t play [the album] one song at a time. I tried to craft it in a way where another song would sneak up on you. In that way, I go into different labyrinths putting together the album in a way where it’s transformative, where you can always start at one point and go around.
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