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Both repping Griselda, Buffalo’s Daringer and Brooklyn’s Streetz continue rap’s age old “He’s the DJ (or producer), I’m the rapper” tradition that has worked so well in the past and in recent years. Explore Explore See latest videos, charts and news See latest videos, charts and news Today, not only did they announce the title […]
Migos members and childhood friends Quavo and Offset had a falling out in 2022, leading to the Georgia trio’s disbandment. They’ve been slowly mending their relationship since, with Offset wishing Quavo a happy birthday earlier this year (“Happy gday my brother @quavohuncho love you 4L,” he wrote on his Instagram Stories back in April) and the duo reuniting last spring for a one-off performance at the 2023 BET Awards following the November 2022 fatal shooting of their bandmate TakeOff.
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Now, the sudden death of another peer, Rich Homie Quan — who died Thursday at age 33 — inspired the two to have a much-needed conversation. On his IG Story, Quavo revealed that he and Offset had a “good convo with my bro,” alongside a prayer-hands emoji.
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The reason as to exactly why the group fell out remains murky, but Quavo and the late Takeoff hinted at “loyalty” being at the center of the breakup while sitting down with Revolt’s Big Facts podcast to promote their album Only Built for Infinity Links.
“I just feel like we want to see our career as a duo, you know what I’m saying?” Quavo said. “Because you know, we just came from a loyal family, sh– that’s supposed to stick together. And sometimes, when sh– don’t work out, it ain’t meant to be.”
Takeoff added: “We don’t know all the answers, you feel me? God knows. We pray a lot, you know? Whatever ain’t right and however you supposed to see it fit, you put it back together or however you do it, we pray. So only time will tell. We always family now, that ain’t gon’ change.”
“We gon’ stand on loyalty, you know what I mean?” said Quavo. “We stand on real deal, real deal loyalty, and sometimes that sh—t ain’t displayed. This ain’t got nothing to do with no label, no paperwork, no QC, no nothing. This got something to do with the three brothers. And sh–, it is what it is. Right now, we gon’ be the duo ’til time tell.”
The late Rich Homie Quan, Young Thug and Migos were instrumental in ushering in a new era of Atlanta rap that has since dominated the genre. Quavo posted throwback pictures of their time climbing up the ranks on his IG Story after he learned of his friend’s death. “May God be with us. Never saw this being apart of our journey,” he wrote in reference to the unfortunate deaths of his nephew Takeoff and Rich Homie Quan.
Laila! — the singer, songwriter, producer, rapper, and viral sensation — has dropped her debut album Gap Year! Her songs “Like That!” and “Not My Problem” were already viral by the time the world knew what she looked like; a testament to this era of streaming and social media, and she’s taken full advantage of […]
With carnival season coming to a close, it’s time to let go of the summer and ease into the cooler half of the year. Lucky for us, the world of Caribbean music closed out summer with a bang. During the annual West Indian Day Parade in Brooklyn, NY, on Labor Day (Sept. 2), the Queen of Dancehall, Spice, joined forces with BK rap star Lola Brooke for a special parkway performance of “Cry,” from the Jamaican superstar’s new Mirror 25 album.
The week prior, Brooklyn once again played host to the Caribbean Music Awards, which featured hours of celebrations of the past year in Caribbean music and culture. Fresh off his stellar Stateside comeback performances earlier this year, Buju Banton took home album of the year (reggae) for Born for Greatness, which featured collaborations with Victoria Monét, Stephen Marley and Snoop Dogg. Masicka’s Generation of Kings — which reached No. 2 on Reggae Albums last December — was crowned album of the year (dancehall), while fellow Jamaicans Shenseea (artist of the year female – dancehall), Lila Iké (artist of the year female – reggae), Valiant (artist of the year male – dancehall) and Dexta Daps (performer of the year – dancehall).
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Two 2023 Billboard-charting hits — Teejay‘s “Drift” and Byron Messia & Burna Boy‘s “Talibans” — earned trophies as well. Teejay’s joint took home video of the year (dancehall) while Byron took home a pair of honors: collaboration of the year (dancehall) and song of the year (dancehall). Other notable victors included Shaggy & Kes (collaboration of the year – reggae) and Romeo Santos (artist of the year – Latin Caribbean). On the honorary side, Marcia Griffiths received a Lifetime Achievement Award, Cedella Marley received a Legacy Award and Spice was honored as Artist of the Decade.
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: Mortimer feat. Kabaka Pyramid & Lila Iké, “Bruises”
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For the latest single from his forthcoming From Within LP (due Sept. 20), Mortimer, one of contemporary reggae’s guiding lights, recruits Kabaka Pyramid and Lila Iké for a solemn, reflective track that deals with the bleak state of the human condition and the global Black struggle. Keeping the tradition of speaking truth to power while injecting a distinctly modern, almost hip-hop-inflected groove to its reggae foundation, “Bruises” is a winning collaboration. Between Kabaka’s sizzling verse and Lila’s tender timbre, “Bruises” is a wholly dynamic listen that balances the hurt and hope that ground the trio’s powerful lyrics.
Chronic Law, “Dark Up Di Place”
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Chronic Law is on a seemingly endless hot streak, and his run continues with “Dark Up Di Place.” Operating in the trap dancehall lane, the St. Thomas star adds another solid gun chune to his arsenal with this ominous banger. “How you fi shoot up a yard weh nobody nuh live, come on” he taunts in a tone that’s equal parts apathetic and snarky, underscoring how comfortably he rests in his own proclamations of dominance and power. The chugging riddim feels as dark as the song’s title suggests, but it’s Chronic’s menacing delivery that really brings the whole song together.
Capleton, “Jah Guide My Step”
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For the deluxe version of the Brimstone Riddim album, reggae legend Capleton made a characteristically moving appearance with “Jah Guide My Step.” “Jah, guide my step/ Jah, guide and protect” he opens the song, immediately matching the triumphant energy of those opening horns by grounding his vision for his future in the hands of the Almighty. Some of the best reggae songs blend their blistering political commentary with reverence for the endless possibilities of a future buoyed by steadfast faith and holy guidance, and that’s exactly what Capleton achieves on this poignant new track.
Skillibeng feat. Tokischa, “Boom”
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Ahead of his stint as a support act on Nicki Minaj‘s historic Pink Friday 2 World Tour, Skillibeng angled himself towards a reggaeton crossover moment with his new Tokischa-assisted track, “Boom.” Built around a sample of the iconic “Bam Bam” riddim, the Yeti-produced track finds Skillibeng doubling down on his trademark X-rated lyrics. “It nuh matter, baby gyal, yuh hot, look how yuh proper/ Waan fi plow yuh like a farmer, wi fi f–k inna da car yah,” he spits to close out his verse, with Dominican rapper and singer Tokischa effortlessly matching his energy with the lines, “He call my p—y, say, ‘Miss fatty-fatty’/ P—y so tight, gon’ make him a murder.” From bilingual verses to an iconic sample, “Boom” is tailor-made for some kind of crossover success — even if this is the second time Skillibeng has put out a song with that name!
Spice, “You Are Worthy”
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To kick off her career-commemorating Mirror 25 album, Spice brought herself to the church doors with this gospel-steeped opener. “When I look at what You carry me through/ Who could it be? No other one but You/ I stand on your word in Psalms 92/ And Psalms 35, the words in Mark 2,” she sings in the song’s emotional second verse. In a conversation with Billboard, Spice explained that she opened her album with a gospel song to give God praise for helping her through a near-fatal health scare. “I’m supposed to be here because God saved my life for a reason,” she said. “I escaped death. I don’t take that lightly.” With the way her voice soars with gratitude over the evocative amalgam of organs, piano, drums, and guitar, it’s clear that Spice meant every word of that explanation.
The Wailers, “Sins”
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It’s been a major year for the Marleys, but The Wailers have something to say too. On Aug. 30, the Grammy-nominated band launched their Evolution album featuring the excellent closer, “Sins.” Across an earthy mixture of guitars, bass, and horns, the Aston Barrett Jr. warns people to not use the Bible to justify themselves and to not “be a hypocrite,” two proclamations that inadvertently (maybe intentionally!) set them in opposition to the way quite a few artists across genres, including reggae and dancehall, use the Bible to justify positions that can be extremely harmful and downright heinous. It’s a ballsy closer, one that pushes the album further into conversations at the intersection of religion, music, and politics — a true testament to the enduring legacy of both Bob Marley and reggae music at large.
Peetah Morgan & Zion I Kings, “Who Run the World”
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Earlier this year (Feb. 25), Peter “Peetah” Morgan — the lead singer of Morgan Heritage — passed away, but his moving voice is still as powerful as ever on “Who Run the World,” his take on Zion I Kings’ “Full Bloom” riddim. “Who run di world and who call di shots/ Yuh think a you just because you hold a glock,” he sings before shouting out Kwame Nkrumah, Patrice Lumumba, and Thomas Sankara among other “African fathers who fight for our liberation.” In a way, the song is a smart answer to those who think being armed automatically equates to having and securing power. It’s also a timely reminder of the interconnected struggles of the global Black diaspora — especially in light of the frenzy Buju Banton’s take on Afrobeats caused a few weeks ago.
DJ Cheem, “She Getting On (Never)”
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Bajan-American soca artist DJ Cheem delivers a sunny end-of-summer jam with “She Getting On.” By all accounts, it’s a standard soca track that praises a lady’s posterior and recounts wicked wins over a jaunty combination of groovy drum patterns. What takes “She Getting On” to another level is the chorus melody. It’s relatively straightforward, but when Cheem’s voice soars on “know” just as the whistles and horns come in, your waist will probably start moving on its own accord — and that’s exactly how you know that you have a real soca hit on your hands.
Tina (Hoodcelebrityy), “Lover Man”
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Fresh off her Tina vs. Hoodcelebrityy project from earlier this year, Tina is back with a new single that pulls from two dancehall classes. “Lover Man,” a song that flips the script on dancehall’s male-dominant explorations of romance, takes notes from Dave Kelly’s 1994 “Pepperseed” riddim, as well as the hook from Nadine Sutherland & Terror Fabulous’ classic, “Action.” With her voice floating between different registers and lyrics that champion a woman’s right to be selective with who she crowns her “lover man,” Tina’s new single is a sweet synthesis of all of her sonic influences and both of her personas.
Chip & DJ Frass, “Gyalis Pree”
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For his take on DJ Frass’ “Party Bus” riddim, Tottenham emcee Chip steps into his dancehall bag with a sexy combination of his British rap foundation and his Caribbean roots. He effortlessly switches between spitting debaucherous bars (“Weed and tequila/ Standard procedure”) and employing a melodic, AutoTune-assisted cadence that allows his voice to try on different textures to play up the subtle percussiveness and vibrant synths of Frass’ riddim. Of course, that callback to 50 Cent’s “In da Club” (“Find me in the club…”) is the icing on top.
In July, more than 420,000 people competed for tickets to The Weeknd‘s highly anticipated show in São Paulo, Brazil, scheduled for Saturday (Sept. 7) and just under a year after his last visit to the country. The overwhelming success of “Blinding Lights” gave the 34-year-old Canadian the title of most popular artist on the planet by Guinness World Records in March of last year (which he just lost to Billie Eilish). On Billboard’s Hot 100, the song reached the top, remained among the most listened to for 90 weeks and boosted the popularity of his albums After Hours (2020) and Dawn FM (2022). It holds the title of being the biggest song in all Hot 100 history.
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Only 16% of those 420,000 people got the chance to see Abel Tesfaye in person. Being successful in the competitive music industry did not exempt the composer, however, from struggling with his mental health. But, according to him, giving up was never in his plans. One of the keywords of his new phase is “rebirth.”
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The choice of the capital of São Paulo for the start of this tour was not a coincidence. The Weeknd visited the city last October, performing two sold-out nights at Allianz Parque with the show After Hours Til Dawn. It was in São Paulo that Tesfaye composed the central song of the new album, Hurry Up Tomorrow – affectionately nicknamed “Frankenstein” by the singer for exploring different sounds, but without losing its essence — something he does masterfully.
The Canadian details the importance of the Brazilian public for the next steps in his career, which has lasted 14 years and includes great achievements such as being the most listened to artist on Spotify (until Billie surpassed him in August), with 105 million monthly listeners, winning four Grammy Awards (despite not submitting his work for the awards since 2021, as a statement that shook the industry) and having almost $500 million in gross sales with the After Hours Til Dawn Tour, which filled stadiums around the world.
“I can speak for all artists when I say it’s hard to put into words the love and energy that the Brazilian people express when you’re on stage,” says The Weeknd in an exclusive interview with Billboard Brazil. “You feel the music so deeply. São Paulo and Rio reminded me that the frequencies we radiate as musicians are important. They remind me why I wanted to make music: to connect. I’ll spend the rest of my life knowing that.”
The broadness of The Weeknd’s discography is another factor that explains such success. He navigates the world very well to the pop, R&B, electropop and other genres, and he is spot-on in his dark lyricism when sings about the pains of love, fame and the challenges he faced (and still faces) to make a living from music. Shortly after announcing the concert in Brazil, the singer spoke on social media about “facing the abyss”. “It can mean many things. For me, it is something very specific,” he says in the interview, in a mysterious mood. “I faced it long enough. Most of the time, I overcame it. But I work on it every day. I hope that [my music] helps others face and overcome the abyss, too.”
One of the abysses Tesfaye faces is mental health. “What makes a grown man want to cry? / What makes him want to take his own life? / His happiness is never real,” he sings on 2018’s “I Was Never There.” In his faith—he was raised in an Ethiopian Orthodox Christian family—and in music, the Canadian has found comfort to overcome the most difficult moments. “I think about giving up every day. But I also find purpose every day,” says the singer, unafraid to open up and show his vulnerability. “My relationship with God is stronger than ever. I find comfort in His presence when I need it most. I talk to Him constantly. It’s been a long journey, but I’m here,” concludes the artist.
Tesfaye was born in Toronto, Canada, the son of Ethiopian immigrants. Inspired by Michael Jackson, he discovered his love for music at a young age. The artist has revealed that he was penalized for singing at inopportune times, such as during school classes or at the dinner table. Despite being discouraged, he released his first mixtape as The Weeknd, House of Balloons, in 2011, while splitting his time between art and work at a North American clothing retailer. The project entered the Billboard 200, anticipating the success of subsequent releases. “Wicked Games,” the first single, debuted at No. 53 on the Billboard Hot 100 in 2013. In the following years, he reached No. 1 on the chart with hits such as “Can’t Feel My Face,” “Save Your Tears” and “Die For You.”
When asked about taking care of his mind, the singer is even more honest. Brutally honest, as rarely seen in showbiz. “It’s funny you should mention this [mental health]. I just had a panic attack right before this interview. My anxiety is a constant battle, and I feel like it never goes away. I’m learning to control it, but I’ve already realized that it’s part of my life. I can’t escape it.”
Tesfaye spent part of his adolescence living on the streets, but he assures us: the main difficulty he faced in life was questioning his purpose and his connection with art. “The biggest challenge is not knowing if you were made for this, not knowing if it was meant to be. Most people still don’t know. I feel very lucky. I was able to take these depressive and nihilistic feelings and put them into my work. That ended up being my therapy,” he says, citing the philosophical school of thought that believes life has no value or purpose, often associated with the German philosopher Friedrich Nietzsche.
On YouTube, The Weeknd has accumulated almost 28 billion views on his channel. “Call Out My Name,” “The Hills” and “Starboy” are also part of his extensive list of hits. Expectations for his new era are high – both from fans and music critics. Dawn FM, released in January 2022, was acclaimed by the British newspaper The Guardian, from which it received the highest score: “Abel Tesfaye confirms his status as one of the greatest of all time with an album of icy splendor influenced by the 1980s”.
Another newspaper that praised the album was The New York Times. “His fifth album […] is elegant and vigorous and also, once again, a light reinterpretation of what big-scale music can sound like today, in an era in which most global stars have abandoned that concept.”
“There is always pressure to surpass my last project,” he says about the new era, presented for the first time at the show in São Paulo. “Growth is important. Sometimes it may not be what people want to hear from me at the moment, but, when the body of work is complete, I hope they can appreciate what I have been trying to achieve. I have been working on this discography for a long time. It was all planned,” he assures, escaping from the monotony. “I always try to achieve something that I haven’t done before musically. Sometimes it may not be clear on the first listen [to the album], but fans seem to figure it out over time,” he believes. Being at the top, for the Canadian, is subjective. “The only pressure for me is to be better than the older version of myself, focusing on growth, achieving my own goals, not other people’s.”
Tesfaye also spoke about the pains and pleasures of fame, a common theme in his work, whether in music or in the visual arts. When asked about how to keep his feet firmly on the ground, he repeated the sincerity demonstrated throughout the conversation with Billboard Brazil. “I stay away from people as much as possible. I try to have as much privacy in my life as possible. I never give off [that] ‘famous’ energy. I think trying to be famous is a talent in itself. I haven’t mastered that talent… And I don’t intend to,” he says, escaping the industry buzz.
Last year, the composer spoke about controlling the way he is seen and heard by the public. In the midst of the transition of concepts in his career, he revisits the idea. “Honestly, I don’t even remember saying that. But everyone would love to be able to control the narrative. It’s impossible. So you try your best and make the most of it. Less is more. I’ve learned a lot in the last two years, and it’s definitely the least control I’ve ever had. But I’ve learned a lot, and that’s the most important thing,” he says.
“Too much control is unhealthy. Collaboration is important, whether it’s artistically, with ideas, or even with energy. I’ve been on both sides of the fence, being too controlling and not having enough control. And leaning too far toward either side can be dangerous. It’s a constant balancing act, but the results are the best.”
Mending the dark parts of himself, The Weeknd’s Frankenstein must bring the singer’s lessons learned at the height of his fame—and pursue his chosen purpose in life, bringing comfort and refuge to those facing their own demons.
This article originally appeared in Billboard Brazil.
Billboard‘s R&B/Hip-Hop Power Players event returned to NYC on Thursday night (Sept. 5). Hundreds of high-profile artists, executives and more from the music world came together for a party to honor the hard-working individuals leaving their marks on the industry. The Times Square EDITION hotel played host for the night, which was highlighted by Power […]
A$AP Rocky is looking to gain some momentum heading into the arrival of his new album Don’t Be Dumb this fall, and he put the rap world on high-alert when teaming up with J. Cole on Friday (Sept. 6) for “Ruby Rosary,” which some fans believe may be dissing Drake.
The Alchemist gets on the keys and provides the intoxicating production. Rocky kicks things off helming a pair of smooth verses bragging about his drip and place in the game. “Funny how I birthed so many sons with no ovaries,” he raps.
Fans speculated that the Harlem native revived his feud with Drake and sent more subliminal shots at the 6 God throughout “Ruby Rosary.” “N—a want smoke with me, tell him, ‘Push up, Hercules’/ Hercules, tell him push up, tell him pull up, 33,” he raps in what some perceived as a play on words with Drake’s “Push Ups” diss track.
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Rocky continues to snipe: “Who in your top five? Haha (F–k your top five)/ I don’t get fresh to death, b–h, I’m buried alive/ I heard dawg talkin’ funny, like it’s Family Guy/ Carin’ for n—s like I’m Mary or Bob, made a promise to God/ You gotta strive when you marry the mob.”
J. Cole comes in from the bullpen and picks up the pace with a fiery assist while using a common flow from his repertoire. “What happens when rappin’ no longer matters? Can I still make a stack on my brilliance/ I don’t wanna go back to civilian status/ I’m an addict for comfort and doin’ whatever I want to,” he admits.
“J.Cole ain’t diss Drake but ASAP Rocky definitely did,” one listener tweeted. “That buried alive line was clever.”
Added another, “That family guy bar by asap rocky is genuinely the worst diss bar against drake from this entire rap beef.”
A$AP addressed his situation with Drake in his August cover story with Billboard, and he’s not paying Drizzy any mind.
“You got to realize, certain n—as was throwing shots for years. I ain’t in the middle of that s–t,” Rocky said. “That’s not how I retaliate right now. I got bigger fish to fry than some p—y boys. It is real beef outside. It is real. N—as getting really clipped and blitzed every day. N—as sniping n—as every day. That little kitty s–t ain’t about nothing.”
“Ruby Rosary” marks the first time Rocky and J. Cole have collided on a track. It’s also Rocky’s third single following the arrival of “Tailor Swif” and “Highjack,” which debuted at No. 89 on the Billboard Hot 100 in August.
Listen to the collab below.
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If you were one of the many members of the Beyhive who buzzed in earlier this week to wish Beyoncé a happy 43rd birthday, she wants you to know she appreciated it. In an Instagram post on Thursday (Sept. 5), the R&B superstar thanked her fans for their kind words while serving up some typically […]
SZA had a big night at the BMI R&B/Hip-Hop Awards, which were held at Fairmont Century Plaza in Los Angeles on Thursday (Sept. 5). In addition to receiving the previously announced BMI Champion Award, she was named BMI’s R&B/Hip-Hop Songwriter of the Year and received Song of the Year for “Kill Bill” alongside her co-writers Rob Bisel and Carter Lang. The smash hit reached No. 1 on the Billboard Hot 100 and has over one billion streams on Spotify.
Upon receiving the BMI Champion Award, SZA said, “I have to say songwriting awards mean the most to me because when I started and I needed people to come and write for me; I didn’t have anybody. … I’m grateful to be honored today because there’s so many songwriters in here that literally made me.”
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This marked the first time the BMI Champion Award has been presented in the R&B/Hip-Hop ceremony’s 24-year history. Mike Steinberg, BMI’s EVP, chief revenue & creative officer, praised SZA “for using her voice as a champion … and raising the bar in songwriting creativity and breaking boundaries at every turn.” He added, “Her once-in-a-lifetime sound has mesmerized audiences around the globe.”
In a tribute to SZA, Bren Joy performed “Broken Clocks,” and MaKenzie performed “Nobody Gets Me.”
The private event was hosted by BMI president & CEO Mike O’Neill and BMI vice president, creative, Atlanta, Catherine Brewton.
As previously announced, Babyface was named a BMI Icon at the ceremony. In accepting the award, Babyface said, “I only know that I got here because I love music, and it was the one pure thing that I knew that I could do, and I did it with all my heart. If you do it from the heart, that’s the main thing that keeps you going.”
He then surprised the audience with a performance of his 1990 smash “Whip Appeal.” Babyface and Perri McKissack co-wrote the song, which reached the top 10 on both the Hot 100 and Hot R&B/Hip-Hop Songs.
Babyface has collected 64 BMI Awards. He received BMI’s Song of the Year three times, BMI Pop Songwriter of the Year seven times and, together with his LaFace Records co-founder L.A. Reid, was named a BMI Icon in 2006.
Several artists paid tribute to Babyface by performing his songs. Mac Royals opened with “My My My,” followed by Tamar Braxton with “Superwoman” and Mario with “I’ll Make Love to You” and “Can We Talk.” Lil Wayne paid tribute to his mentor and friend before O’Neill and Brewton presented the Icon Award. O’Neill praised Babyface’s talent and impact on generations of music makers, and for being with the BMI family for nearly five decades.
Hitmaker Tay Keith received Producer of the Year for his work on hits such as “First Person Shooter” performed by Drake featuring J. Cole, “Meltdown” by Travis Scott featuring Drake, “SkeeYee” by Sexyy Red and “Circo Loco” by Drake and 21 Savage. This marks the third time Keith has been named Producer of the Year. (He was also named BMI’s R&B/Hip-Hop Songwriter of the Year in 2018.)
Coleman, Dougie F, Metro Boomin, RIOTUSA and Jahaan Sweet were also named top producers during the ceremony.
Universal Music Publishing was named BMI’s R&B/Hip-Hop Publisher of the Year for representing 21 of the previous year’s most-performed songs, including “Kill Bill,” “Barbie World,” “Paint the Town Red,” “Players,” “Superhero (Heroes & Villains)” and “Snooze.”
Over the course of the ceremony, BMI recognized the top producers and songwriters of the previous year’s 35 Most-Performed R&B/Hip-Hop Songs in the U.S., naming 56 first-time winners.
To see a complete list of winners, visit BMI’s site.
On Thursday (Sept. 6), Billboard and Tres Generaciones presented Joey Bada$$ with the Tres Generaciones Tequila Impact Award at the 2024 Billboard R&B/Hip-Hop Power Players Event. Held at the Edition Hotel in Times Square, Billboard Deputy Director of R&B/Hip-Hop Carl Lamarre presented Bada$$ with the award for his impact on the community, courtesy of his […]