Categoría: Billboard

On Sept. 13, the feud between Adcock and “Something in the Orange” singer/songwriter Zach Bryan spilled over from online to nearly become an exchange of physical blows, when the two were both performing at the Born and Raised Festival in Pryor, Oklahoma. Video footage shows Bryan and Adcock exchanging heated words on either side of a chain-link fence. “Hey, do you want to fight like a man? Come open the gate,” Bryan is heard saying, as he shoves the fence. Soon after, Bryan scales a fence and tries to approach Adcock, as other people hold Bryan back while Adcock is ushered away by security. Adcock later took to Instagram to discuss the moment in a lengthy video, telling his fans, “Like I already said, I don’t think Zach Bryan’s a very good person. He wasn’t locked out of the festival. He had been there all day with his multiple security guards. He saw me standing between my buses when he got here and saw me go to walk on my bus when I watched the Georgia game, proceeded to go to other artists and ask them, ‘Where is Gavin? Where is Gavin?’ and their guests, and treat them like dogsh–, flipping them birds, and saying just douchebag stuff to ’em all … so he had plenty of opportunities through the whole day to do whatever he wanted to do, but decided he was going to wait till like an hour before my set while I was standing out there and no artist that cares about their fans is gonna fight right before their set, missin’ goin’ on, and disappointing fans that spent way too much money to be there. “I wasn’t even mad, didn’t even have a single reason to fight him,” Adcock continued. “After he had already left, before my set, I was standing outside. He pulls up in a pickup truck, outside the gate, and starts giving out threats, so I just decided to stir him up to the point where he jumped over the fence. I don’t think anybody’s scared of Zach Bryan. I’m just an adult and fightin’ him would only meant going to jail, missin’ my set, and falling into a Zach Bryan lawsuit…He knew where I was all day, he knew my set time, he knew where I’d be standing, and he created this whole ‘I’m a bad-a–, jump up over the fence’ narrative, just to try to make himself look bigger and tougher, even though he could’ve just walked on in the gate…and at the end of the day, I know my decision I made was right, I didn’t take the Zach Bryan bait. I’ll be praying for him to get better ’cause he sure needs it.” The feud between the two artists stems from an earlier incident in July, in which Adcock seemed to call out Bryan, after Bryan had an online interaction with a 14-year-old fan who was disappointed after not receiving an autograph from Bryan. In a now-deleted comment on TikTok, Bryan had noted to the fan, “You’re not entitled after someone plays two and a half hours to a picture or a hello,” and added the profane acronym “GOMD.” Adcock criticized Bryan’s comment, writing on X, “If you can’t handle the criticism of a 14 year old why do people idolize you? That kid was head over heels to meet you and spent/ parents spent a ton of money to see you. He’s got feeling[s] too and you’re a ‘grown man’ nearly 30. They’re the only reason you are around.” Source link

Justin Bieber and Hailey Bieber know exactly which values they hope to model for their 1-year-old son, Jack Blues. In an Instagram post on Monday (Sept. 15), the pop star shared a photo of the code of ethics he hopes to abide by with his wife and son as they raise their family. Typed out on a framed white sheet of paper titled “The Bieber Family,” the first of 10 rules dictates, “We value Rest as Worship.” The rest of the list emphasizes the importance of longevity, sustainability and serving humanity, or “making people feel like they can fly,” in the Bieber household. One rule reads, “We value INNOVATION and moving the human experience forward,” while another says, “We value Generosity and graciously giving time, money and respect to people on our path.” The list ends with the Bieber family’s mindset toward others. “We value HUMAN beings and believe in their dignity and eternal worth.” The post comes shortly after Justin and the Rhode founder’s son celebrated his 1st birthday this past August. On Instagram at the time, Hailey shared a photo of herself and her firstborn and wrote, “1 year of you my beautiful boy. Happy 1st Birthday Jack Blues, you are joy personified.” Both Hailey and Jack have been key parts of the rollout for Justin’s Swag albums, the first of which dropped in July followed by a sequel earlier in September. The Canadian singer appeared with his family in heartwarming visuals that appeared on city billboards to promote the surprise releases of both albums, which marked his first full-lengths since 2021’s Justice. And on one Swag track, “Go Baby,” Justin sings directly about his wife. “That’s my baby, she’s iconic/ iPhone case, lip gloss on it,” he chirps proudly, referencing Hailey’s Rhode products. See Bieber’s post below. Source link

Frank Sinatra’s classic 1955 Capitol Records album In the Wee Small Hours will be reissued in Blue Note’s Tone Poet Audiophile Vinyl Series on Nov. 14, marking the album’s 70th anniversary. The album, which was inducted into the Grammy Hall of Fame in 1984, has been called Sinatra’s “melancholy masterpiece.” One of the first concept albums, it was an obvious inspiration for such subsequent moody collections as Linda Ronstadt’s What’s New, a surprise hit in 1983. Produced by Voyle Gilmore, and featuring arrangements by Nelson Riddle, In the Wee Small Hours was Sinatra’s third studio album for Capitol Records, following Songs for Young Lovers (which was inducted into the National Recording Registry in 2002), and Swing Easy!, both from 1954. Sinatra conceived of In the Wee Small Hours as a full-length album, rather than a collection of singles. It was issued as two 10-inch LP discs, but also as one 12-inch record LP, one of the first in the pop field. The success of the album helped popularize the 12-inch LP in popular music. The 10-inch format soon fell into obsolescence. The LP reached No. 2 on a Billboard chart that predated the arrival the following spring of the Billboard 200.  The album reinforced Sinatra’s career resurgence following his signing to Capitol Records in 1953 and his Oscar win in March 1954 for his supporting role in From Here to Eternity, that year’s best picture winner. Produced for release by Joe Harley, the new Tone Poet Vinyl Edition was mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and comes packaged in a deluxe gatefold tip-on jacket featuring session photos by William Claxton and Ken Veeder, as well as an essay by Rita Kirwan. Sinatra would successfully continue recording concept albums with such subsequent releases as Songs for Swingin’ Lovers! (1956), Where Are You? (1957), Frank Sinatra Sings for Only the Lonely (1958) and No One Cares (1959). Sinatra, widely acknowledged as the GOAT of traditional pop singers, was the first artist to win the Grammy for album of the year three times. He was just the second artist (following Bing Crosby) to receive a Grammy lifetime achievement award. He received that accolade in 1965, the year he turned 50. He received the Kennedy Center Honors in 1983. He died in 1998 at age 82. Here’s the full track listing for In the Wee Small Hours of the Morning: Side 1 1. “In the Wee Small Hours of the Morning” (Dave Mann-Bob Hilliard) 2. “Mood Indigo” (Duke Ellington-Irving Mills-Barney Bigard) 3. “Glad to Be Unhappy” (Richard Rodgers-Lorenz Hart) 4. “I Get Along Without You Very Well” (Hoagy Carmichael) 5. “Deep in a Dream” (Jimmy Van Heusen-Eddie DeLange) 6. “I See Your Face Before Me” (Arthur Schwartz-Howard Dietz) 7. “Can’t We Be Friends?” (Kay Swift-Paul James) 8. “When Your Lover Has Gone” (E.A. Swan) Side 2 1. “What Is This Thing Called Love?” (Cole Porter ) 2. “Last Night When We Were Young” (Harold Arlen-E.Y. Harburg) 3. “I’ll Be Around” (Alec Wilder) 4. “Ill Wind” (Harold Arlen-Ted Koehler) 5. “It Never Entered My Mind” (Richard Rodgers-Lorenz Hart) 6. “Dancing on the Ceiling” (Richard Rodgers-Lorenz Hart) 7. “I’ll Never Be the Same” (Matty Malneck-Frank Signorelli- Gus Kahn) 8. “This Love of Mine” (Sol Parker-Henry Sanicola-Frank Sinatra) Source link

Cardi B isn’t the only one behind the drama. Before her sophomore album Am I the Drama? drops at the end of the week, the rapper asked on Instagram “WHO ELSE IS THE DRAMA?” before revealing on Monday (Sept. 15) the LP’s eight featured artists: Cash Cobain, Janet Jackson, Kehlani, Lizzo, Megan Thee Stallion, Selena Gomez, Summer Walker and Tyla. Since Cardi already confirmed (and defended her decision to include) her and Meg’s Billboard Hot 100 No. 1 smash “WAP” would be on Am I the Drama?, it’s no surprise to see the Htown Hottie’s name on the list. Cardi had also previously tapped Kehlani on “Ring” from her 2018 debut album Invasion of Privacy. Lizzo featured Cardi on her 2021 single “Rumors,” which reached No. 4 on the Hot 100. And Walker included “Bitter – Narration by Cardi B” on her Billboard 200-topping sophomore album Still Over It, which also featured Cardi’s extended version of Walker and SZA’s “No Love” single. Cardi and Gomez have also previously collaborated on DJ Snake‘s 2018 smash “Taki Taki,” also featuring Ozuna. In July 2024, the Bronx native teased a song meant for her second album that samples Jackson’s “Funny How Time Flies (When You’re Having Fun)” from her 1986 album Control. Am I the Drama? drops Friday, Sept. 19 via Atlantic Records. Outside of her chart-topping hits “WAP” and “Up,” Cardi has released two more singles ahead of her long-awaited full-length project: the Hot 100 top 10 “Outside” and the Jay Z-sampling “Imaginary Playerz.” See Cardi’s announcement below. Get weekly rundowns straight to your inbox Sign Up Source link

Jelly Roll is having a big week. In recent updates shared with fans, the singer-songwriter revealed that — in addition to reaching a fashion-related milestone on his weight-loss journey — he has now met the Pope after years of singing about his faith in his music. In one post on Instagram on Saturday (Sept. 13), Jelly uploaded a photo of himself in Vatican City in Rome, smiling as he shakes Pope Leo XIV’s hand. Formerly known as Cardinal Robert Francis Prevost, the current leader of the Catholic Church stepped into the papacy in early May after a two-day conclave, becoming the first-ever American to assume the position. “From rock bottom to holy ground,” Jelly captioned his post. “‘For where two or three are gathered in my name, there am I among them.’” The country star’s holy encounter took place as Jelly was in town to perform “Hard Fought Hallelujah” — his 2025 collaboration with Brandon Lake — live from Vatican City for Grace for the World, a clip of which he also shared on Instagram. Also on social media this week, Jelly posted a photo of himself looking fly in Italy’s capital, modeling a designer outfit while showing off his slim figure. “I can fit in Louis Vuitton now,” Jelly wrote on Instagram on Monday (Sept. 15). “Pray for my bank account.” The Grammy nominee has certainly come a long way, both in terms of weight loss and in regards to his religious journey. The performer has been open over the years about taking charge of his health, running a 5k in 2024 and revealing in April that, through regular exercise and changes to his diet, he’d lost about 200 pounds at that point. As for his faith, the musician has long been singing about how important it has been to him as he’s overcome struggles from his past, including time spent in and out of jail during his youth and battling substance abuse issues. “‘Cause God, You’ve been patient/ God, You’ve been gracious,” he sings with Lake on “Hard Fought Hallelujah,” which spent 20 weeks at No. 1 on Billboard‘s Hot Christian Songs chart. “Faithful, whatever I’m feeling or facing/ So I’ll bring my hard-fought, heartfelt Hallelujah.” Source link

Cardi B may have dozed off during her recent trial, but she’s not sleeping on preparations for her upcoming tour. While appearing on The Jennifer Hudson Show on Monday (Sept. 15), the rapper reflected on her experience taking the stand while defending herself against allegations of assault this summer, and later confirmed that she’ll be hitting the road soon in support of her fast-approaching new album Am I the Drama? The appearance comes nearly two weeks after a judge ruled in Cardi’s favor following a weeklong trial regarding former security guard Emani Ellis’ allegations that the star had injured her during an altercation in 2018, which Cardi has consistently denied. “I was very, very upset,” the Bronx native told Hudson of having to go to trial. “I’m in the middle of an album rollout, and I have to go to court. Then, when I get to court, I realize that it’s going to be on national TV, being televised. It’s like, ‘You’ve got to be kidding me.’ I missed my kids’ first day of school!” At one point during the trial, fans who tuned in zoomed in on her face as Cardi appeared to fall asleep. When Hudson asked whether she’d indeed nodded off briefly in the courtroom, the Grammy winner admitted, “I’m not even going to lie, I was.” “I had a long night!” she explained, laughing. “I’m in the middle of an album rollout. I was so sleepy, I was trying to fight it.” Now that her trial is over, Cardi can turn all of her focus on the release of Am I the Drama?, which drops Friday (Sept. 19). And though she wasn’t thrilled about having to go to court during its rollout, she recently found humor in the situation by releasing copies of the album featuring photos of her in the courtroom as alternate artwork. Another venture she’s planning for the album, she confirmed on Hudson’s show, is a tour. “Yes, I actually have an announcement coming soon!” she said, squealing with excitement. “I’m already preparing for it. I’m at the gym, and I’m taking dance classes already.” Though she’s an experienced performer, Cardi’s upcoming trek is expected to mark her first-ever proper headlining tour. The star recently opened up about the possibility of touring for the first time in her September Billboard cover story, as well as criticism of how it took seven years after her debut album, Invasion of Privacy, to release a follow-up. “A lot of people say I got comfortable because I make money, but the most money I make is when I go and do shows,” she told Billboard‘s senior director of R&B/hip-hop Carl Lamarre. “I could rush and put out music like it’s nothing and then pick up millions of dollars per show, but it’s not about that. I want the music to be great. I want it to be amazing.” Shortly after the story went live, Cardi accepted Billboard‘s Impact of the Year award at the 2025 R&B / Hip-Hop Power Players event. “I’m just so happy that I’m a part of something that I love,” she said during a speech. “I always dreamed about this career — I just felt like with the environment that I was in, dreaming was dreaming. Reality crushes your dreams. So I’m happy that my career is the career that I always dreamed of.” Watch Cardi open up about her trial experience and upcoming tour below. Source link

From 2baba’s «African Queen» in Phat Girlz to Skales’ «Shake Body» in Sex Education, Billboard rounds up 15 Afropop songs that have been featured in TV and film. 9/15/2025 Ncuti Gatwa as Eric Effiong in «Sex Education» Sam Taylor/NETFLIX Nnegest Likké, a filmmaker of Ethiopian, Nigerian and African American descent, said in a Premium Times interview earlier this year that “African Queen,” the heartwarming ballad by Nigerian hitmaker 2baba, “struck a universal chord with the world” 20 years ago — especially after Likké included it in her 2006 comedy Phat Girlz. Named the No. 1 song on Billboard‘s 50 best Afrobeats songs of all time list last month, “African Queen” is also one of the first Afrobeats songs to be incorporated in a Hollywood production, a phenomenon that has grown significantly over the last five years with the genre’s rising popularity across the globe. Now, Billboard is rounding up more Afropop music moments in TV and film: “African Queen” is not the only song from Billboard‘s best Afrobeats songs list that makes this one, as Wizkid and Tems‘ “Essence,” Skales’ “Shake Body” and Yemi Alade‘s “Johnny” have also been featured on the small and silver screens. Outside of appearing during the third and final season of the Sex and the City spinoff series And Just Like That, “Essence” has also been featured on the CW sports drama series All American and the AppleTV+ sports comedy drama series Ted Lasso. Another Tems track, her 2020 For Broken Ears sleeper hit “Higher,” appeared on All American, while Ted Lasso spotlighted 1da Banton’s 2021 hit “No Wahala” and Tekno’s 2020 single “Enjoy” during its third and final season. And alté trailblazer Odunsi (The Engine) and Runtown’s “Star Signs” appeared in both Netflix’s British teen sex comedy drama series Sex Education and HBO’s sports comedy drama series Ballers. Below, Billboard rounds up 15 moments where Afropop songs have soundtracked weddings, strip clubs and more on-screen moments, in order from newest to oldest. This list excludes songs that African artists intentionally recorded for TV show and movie soundtracks (although said list could be coming soon). “Essence” by Wizkid feat. Tems in And Just Like That… (2025)  While Sarah Jessica Parker’s iconic protagonist Carrie Bradshaw attends a publishing soirée with her neighbor and fellow author Duncan Reeves — and Bradshaw meets Reeves’ editor and ex-wife Imogen — Wizkid and Tems’ smash “Essence” faintly plays in the background. “London Town” by Mr. Eazi in Sonic the Hedgehog 3 (2024) Dr. Ivo Robotnik, played by Jim Carrey, emerges from underneath the cobblestone streets of London as the Giggs-assisted “London Town” from Mr. Eazi‘s 2018 album Life is Eazi, Vol. 2 – Lagos to London plays. “Game Changer” by Flavour in Power Book II: Ghost (2024) Flavour‘s 2023 African Royalty cut “Game Changer” plays right after the traditional “Igbo Kwenu” greeting during the wedding celebration of Cane Tejada and Noma Asaju, who is played by British Nigerian actress Caroline Chikezie. “Heartbreaker” by Blaqbonez in All the Queen’s Men (2023) Blaqbonez’s Sex Over Love cut “Heartbreaker,” featuring Nasty C, gets Marilyn “Madam” DeVille’s strip club Club Eden turnt up. “Tough month for my haters man,” he joked on X. “I’m a Mess” by Omah Lay in Everything Now (2023) After Mia gets discharged from a months-long impatient treatment program for anorexia, Omah Lay‘s 2022 Boy Alone single “I’m a Mess” soundtracks part of her and her father’s car ride home. “No Wahala” by 1da Banton in Ted Lasso (2023) Following AFC Richmond’s victorious match against Brentford, marking the English football club’s sixth consecutive win, the players rejoice in the locker room. Afterwards, British Nigerian actor Toheeb Gbolabo O. Jimoh’s character Sam Obisanya tells them to continue the celebration at his Nigerian restaurant Ola’s, shortly before its official opening — and the invitation is soundtracked by 1da Banton’s “No Wahala.” “Essence” faintly plays later on while everyone’s still at the restaurant, further underscoring Obisanya’s strong ties to his Nigerian heritage. “Higher” by Tems in All American (2023) On-and-off lovers Spencer James and Olivia Baker perform a sultry dance routine to the tune of Tems’ “Higher” during Golden Angeles University’s BSU West African Students Association Fashion Show. “Gbona” by Burna Boy in Top Boy (2022) Burna Boy‘s 2019 African Giant cut “Gbona” plays while Jamie relishes in his newfound freedom from prison while sticking his hand out the car window and reunites with his fellow ZT (Zero Tolerance)/London Fields gang members. Netflix shared the scene on its Facebook account and cleverly captioned the clip “Top Burna Boy.” “Shake Body” by Skales in Sex Education (2021) Image Credit: Sam Taylor/NETFLIX Scottish Rwandan actor Ncuti Gatwa’s character Eric Effiong dancing in the mirror to Skales’ 2014 hit “Shake Body” while packing for his trip back home to Nigeria for a family wedding was one of season three’s prime scenes, and just one of many moments during episode six that spotlights music from the country. Odunsi (The Engine) and Runtown’s “Star Signs” and Wizkid’s “Joro” soundtrack Effiong and photographer Oba’s night out at a gay club, where they share a kiss in the middle of the dance floor. Afrobeat pioneer Fela Kuti and His Koola Lobitos’ “Oyejo” plays as Effiong spends quality family time at his grandmother’s home, while Tiwa Savage‘s “Koroba” plays when Effiong says goodbye to his grandmother and the end credits roll. Highlife musicians Prince Nico Mbarga and Idowu Odeyemi’s “Sweet Mother” and “Oni Suru,” respectively, and live instrumental versions of Burna Boy’s “Anybody” and Davido’s “Fall” are also featured in the episode. “Assurance” by Davido in Coming 2 America (2021) Davido performed his 2018 A Good Time single “Assurance” during the royal wedding celebration of the Prince of Zamunda Lavelle Junson-Joffer and Princess Mirembe. During an interview with Ionwannatalk Podcast, Davido revealed that he got paid $15,000 per day on set. “Assurance” was also included in the Amazon original motion picture soundtrack, as well as “Koroba” by Tiwa Savage, “Waka Waka” by Tekno and “These Streets” by South African house trio Mi

Listen to new must-hear songs from emerging R&B/hip-hop artists like Moonchild and Raqbaby. 9/15/2025 Connie Diiamond attends All Black Birthday Celebration for Connie Diiamond on May 12, 2025 in New York City. Johnny Nunez/WireImage Awards season is in full swing. Just a week after the Caribbean Music Awards and the MTV Video Music Awards mounted their latest ceremonies — both honoring Busta Rhymes, no less! — the 77th Primetime Emmys lauded some of the buzziest names in hip-hop and R&B. Although both Beyoncé (Beyoncé Bowl) and Kendrick Lamar (Apple Music Super Bowl LIX Halftime Show) lost outstanding variety special (live) to SNL50: The Anniversary Special, both artists took home some hardware at the Primetime Creative Arts Emmys, which were presented on Sept. 6 and 7. Queen Bey took home her very first Emmy for outstanding costumes for variety, nonfiction, or reality programming for her 2024 Netflix-hosted Christmas Day NFL halftime extravaganza, bringing her halfway to EGOT status. Already an Emmy winner, Lamar took home a second trophy (alongside Tony Russell) for outstanding music direction. Additionally, Doechii’s 2025 Grammy performance earned choreographer Robbie Blue an Emmy for outstanding choreography for variety or reality programming. Outside of the Emmys, Cardi B hosted an NYC pop-up in anticipation of her Am I the Drama? album, The Carters graced the REFORM Alliance Casino Night Gala and Wyclef Jean wrapped a monumental, genre-fusing residency at the Blue Note Jazz Café. With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Mobb Deep’s new single to 4batz & Flo’s new collaboration. Be sure to check out this week’s Fresh Picks in our Spotify playlist below. Freshest Find: Moonchild feat. Jill Scott & Rapsody, “Not Sorry” After blessing Camper and Ty Dolla $ign with her magic touch on last week’s Freshest Find, “Oowee,” neo-soul queen Jill Scott joins forces with Rapsody for Grammy-nominated R&B trio Moonchild’s new “Not Sorry” joint. “No, I’m not sorry/ That all my hard work’s been paying off/ And I forgot to pick up your slack,” Moonchild’s Amber Navran coos in the first verse, perfectly encapsulating the tongue-in-cheek giddiness that comes with committing to their own self-interest in the face of a selfish lover. With a wise verse from Rapsody and the sultry glimmer of Scott’s voice, “Not Sorry” arrives as one of the year’s most alluring R&B collaborations. — KYLE DENIS Raqbaby, “DoorDash (OMG)” Raqbaby plays a food delivery driver in the chaotic ”DoorDash (OMG)” visual, but his antics get more devilish as the clip goes on. The Chicago-born rising star moves on from food to shooting opps with his paintball gun and blowing up another customer’s house. Don’t let it distract you from his twitchy flow, as Raqbaby gets reflective about how the dark moments in his life had him contemplating suicide, and nowadays he can’t keep the girls away, but that hasn’t slowed down his goal of one day fathering 40 kids. Put your seat belt on when pressing play on Raq’s high-octane I NEVER GAVE AF project is out now. — MICHAEL SAPONARA Mobb Deep, “Against the World” Hearing Prodigy over Havoc production just feels right. The rap game hasn’t been quite the same since P’s untimely passing, so this upcoming Mobb Deep album is not only welcome but necessary. Fully produced by Havoc and The Alchemist, Infinite drops on Oct. 10, and if the rest of it sounds anything like this lead single, then we should be in for another masterpiece. — ANGEL DIAZ 4batz & FLO, “act xvi: twentyfoe7” London-based girl group FLO joins 4batz on “act xvi: twentyfoe7,” a smooth, contemporary R&B cut from his Still Shinin album. The track captures the highs and intensity of a consuming romantic connection, balancing moments of vulnerability with the rush of desire. Over smooth, sultry production, the repeated “twenty-four seven” emphasizes unwavering devotion, while the interplay between 4batz and FLO highlights the push-and-pull of love in real time. Released September 12, the song showcases both artists’ knack for blending emotional honesty with modern R&B flair. — C.C. Connie Diiamond, “Breathe” Bronx MC Connie Diiamond is back with her new Underdog SZN 2 project, and “Breathe” is an instant standout. Over a Go Gizzly-produced beat that immediately recalls the percussive fervor of mid-’00s hip-hop production like Timbaland’s iconic “Drop,” Connie delivers slick verses packed with classically New York braggadocio and swagger. “Been a baddie while you′ve been there so salty/ Had to tell these broke bitches, get off me, look/ Van Cleef and the Scantone coffee/ E-N-E, no, this shit really cost me,” she spits in the second verse. — K.D. Coi Leray & BKTHERULA feat. G Herbo, “Pink Money” Coi Leray has entered a new era since becoming a mother for the first time earlier this year. With added motivation, Coi’s grit remains as she flexes about getting to the bag with ferocity on “Pink Money,” featuring assists from BKTHERULA and G Herbo. Coi raps about making it rain in Magic City — and she brought that same mindset north to Starlets strip club, where she hosted a wild Wednesday night at the NYC staple gentlemen’s club. Look for more heat the rest of 2025 and a new EP at the top of ‘26 from Coi. — M.S. KP SKYWALKA, “Industry” KP SKYWALKA followed up his 4 Tha Freakas project from earlier this year with I Tried to Tell You this past weekend, and the single “Industry” serves as the intro to the DMV rapper’s latest album. Come for the H-Town “A Thin Line Between Love & Hate” sample and stay for KP’s raps where he says lines like, “He wanna diss on a song like he Papa Doc” and “Dirty ass spot, I spray it with Baccarat.” — A.D. Trevor Jackson, “One Foot In” With writing and production from Iyn Jay, Trevor Jackson leans into smooth, soulful R&B on “One Foot In,” a single that melds sleek melodies with candid vulnerability. The track finds Jackson navigating the frustration of loving someone who won’t fully commit, crooning lines like

HUNTR/X’s “Golden” tops the Billboard Global 200 and Billboard Global Excl. U.S. charts for a ninth week each. In July, the song became the first No. 1 on each list for the act, whose songs are voiced by EJAE, Audrey Nuna and REI AMI. Hits from Netflix’s animated smash KPop Demon Hunters account for half the Global 200’s top 10 for a fourth week. Below “Golden,” Saja Boys rebound 4-3 with “Soda Pop” and 6-4 with “Your Idol,” with both having reached No. 3; both are sung by Andrew Choi, Neckwav, Danny Chung, Kevin Woo and samUIL Lee. Plus, HUNTR/X’s “How It’s Done” returns to its No. 5 high, from No. 7, and “What It Sounds Like” lifts 9-8, after hitting No. 7. As previously reported, the KPop Demon Hunters soundtrack claims its first week at No. 1 on the U.S.-based Billboard 200 chart. Elsewhere on Global Excl. U.S., Lady Gaga’s “The Dead Dance” parties onto the chart at No. 10, following its first full week of release. The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States. Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations. “Golden” crowns the Global 200 with 117.1 million streams (up 2% week-over-week) and 16,000 sold (down 8%) worldwide in the week ending Sept. 11. The only song in the Global 200’s top five not from KPop Demon Hunters, Alex Warren’s “Ordinary” rises 3-2 after 10 weeks on top beginning in May. He performed it (in a medley with fellow ballad “Eternity”) Sept. 7 on the MTV Video Music Awards, broadcast on CBS, helping spark its 2% gain to 67.1 million streams in the tracking week. “Golden” leads Global Excl. U.S. with 84.8 million streams (up 4%) and 8,000 sold (down 4%) outside the U.S. “Ordinary” ascends 3-2 on Global Excl. U.S., after eight weeks at No. 1 starting in May, and “Soda Pop” buzzes a spot back to its No. 3 high. Sombr’s first Global Excl. U.S. top 10, “Back to Friends,” becomes his first top five hit (6-4), up 4% to 40.1 million streams outside the U.S. after the singer-songwriter performed it on the VMAs. Concurrently, parent album I Barely Know Her reaches the top 10 on the Billboard 200. Lady Gaga and Bruno Mars’ “Die With a Smile” jumps 9-5 on Global Excl. U.S., after 17 weeks at No. 1 beginning in September 2024. Plus, Gaga debuts at No. 10 with “The Dead Dance,” which totaled 28 million streams and 5,000 sold Sept. 5-11, after it was released Sept. 3. The song, part of the VMAs via a taped performance, in a medley with “Abracadabra,” is her third top 10 since the chart began, following “Die With a Smile” and “Abracadabra” (No. 4, February). The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Sept. 20, 2025) will update on Billboard.com tomorrow, Sept. 16. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published. It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here. Source link

As the debate over whether there was a song of the summer continues to rage into the fall, it’s weird more people aren’t talking about BabyChiefDoIt‘s “Went West.” Explore See latest videos, charts and news The 17-year-old rap sensation has become one of 2025’s buzziest new rappers, in thanks part to an explosive performance at his hometown’s Summer Smash festival, and a debut on the Billboard Hot 100 in July. The rambunctious aura of “Went West” locked in especially hard with the kids, who raged all summer long to the song across Chicago and beyond. The track was the latest in a string of successful singles for Chief, whose 2024 debut project Animals Only included the viral hits “The Viper,” “Nachos” and more. BabyChiefDoIt’s momentum hasn’t waned since dropping off his first hit “Pancakes & Drugs” last July — but if you ask the teen rapper himself, his career has fluctuated on and off like a leaky faucet. A ban from Instagram almost derailed him early on, and he constantly laments Zoo Life, which dropped earlier this year, as being one of his worst projects. He’s toyed with the idea of hanging up his mic entirely since breaking out, but there’s always been something that’s brought him back. The likely truth about his recent success is that the music is just really, really good. BabyChief’s take on Chicago drill is stuffed to the gills with playfulness — On “The Viper” he raps, “This beat make me wanna smack a ho/ Where my money at, b—h?” — but never becomes satirical because of how well it’s made. He pays homage to all the drill greats, all while carving out just enough space for his own personality to shine through. Songs like “Went West,” which he produced as well, are an indicator of just how unique the teen is — but he admits that a it’s taken a while for him to find his footing, because of how manipulative the industry can be with kids. “For sure,” BabyChief says when asked if industry folk try to test him, adding extra emphases on the latter word. “Often. But me and Fred [Jay], we got super powers bro. We not like regular people. We see everything 10 steps ahead of ya, two steps to the right and four steps to the left. But I get it now, so I’m gonna get it more later. I’m gonna be here for a minute, so it’s best I get it as early as I can.” (As BabyChiefDoIt sits in the Billboard offices, he gestures to his manager Fred, who stands up, flexes his muscles and daps up his beloved client.) Below, Billboard‘s September Hip-Hop Rookie of the Month talks about “Went West,” his tough road to stardom, and how he’s closing out the year more focused than ever. This past year has been a whirlwind for you. How have you been doing managing everything? I’ve been doing good. I’ve been up, I’ve been down, that’s what come with it. So I’ve just been taking it all in day by day. What was your experience like growing up in Chicago, and at what point did you start to fall in love with hip-hop? I had always been exposed to every which way of music. In my household it was mostly R&B and like old rap like Biggie, 8Ball & MJG, all those people. In 2019-2020 is when I first started playing around with it, in quarantine. It became an after-school activity. I was already thinking about it, but with quarantine I didn’t have nothing better to do, and that was the only thing there was to do, you feel me? To stay in the house, either watch TV or record music. When did people start noticing your music? Locally, everybody already knew I rapped because I always put it out on Instagram. I usually post like teasers and reels and stuff, and it started picking up steam when I dropped a snippet to “Rollin’” in December of 2022, and it started picking up in March of 2023. I just put it out, ’cause I was getting praise locally and it went all through the city. That must have been crazy. Yeah, I felt bigger than I was for sure. I probably didn’t put the song out till July, but towards the end of the month, my Instagram got banned cause I was posting stuff I wasn’t supposed to be posting. They banned my account for six months, so I ain’t have no way to access my fanbase. I ain’t drop another song until I got my page back in December, and I felt like I lost everything. In a way I did! I didn’t really wanna rap no more. That whole six months I wasn’t makin’ no music. What were you doing instead? Usual dumb stuff. When you got your Instagram back were you reenergized? Yeah, then I put out my second song and it ain’t do nothing at all. So I was a little frustrated so I stopped again and then my mama bought me some studio equipment and I hadn’t used it. Then Chuckyy got signed to Alamo and OTF, I was a little frustrated at that too, but he talked about me and motivated me. Everyone around me felt that I deserved to be at that place too, I just didn’t put forth the effort. What about Chuckyy’s comments motivated you? He was treatin’ me, I ain’t gonna lie. Callin’ me a weak-ass rapper. And I was just trying to figure out why we ain’t up there. The real actual motivation wasn’t when they bashing me. The motivational part was when my mama came downstairs — cause the basement is my kick-it spot — and I was tellin’ her about it. About how everybody else made it and I didn’t, and she was like, “Don’t beat yourself up about it. You just got work to do.” That’s when I started using that studio equipment, recording