Travis Scott’s ‘Circus Maximus’ Becomes the Highest-Grossing Solo Rap Tour Ever

Travis Scott performs onstage during his “Circus Maximus” World Tour. The record-breaking global trek grossed more than $265 million across six continents, making it the highest-grossing solo rap tour in history, according to Live Nation. (Photo courtesy of Travis Scott / Cactus Jack)

Travis Scott has closed the loop on a story few artists could survive.

The Houston rapper ended his globe-spanning “Circus Maximus” World Tour on Nov. 19 with a stadium blowout in Mumbai, India before more than 40,000 fans — the finale to a two-year run that’s now the highest-grossing solo rap tour in history, according to Live Nation and Billboard Boxscore.

By the numbers, the achievement is staggering: more than 2.2 million tickets sold, $265 million grossed, and stops on six continents from South Africa to Seoul. But behind the victory lap lies a harder question — what does triumph look like for an artist whose brand was once synonymous with chaos?

Scott’s partnership with Live Nation, the same promoter behind the 2021 “Astroworld Festival” that ended in tragedy, has quietly become one of the most scrutinized second acts in music history. After years of investigations, lawsuits, and public backlash, both sides were under pressure to prove that the artist and the infrastructure could coexist safely again. So far, they have. Eighty shows, no major incidents — and a narrative that’s shifted from controversy to control.

Still, Scott’s tour wasn’t without unease. The scale itself — a rotating stage, fire bursts, 475 performances of “FE!N,” and crowds topping 100,000 across India — rekindled memories of the dangerous synergy between fandom and frenzy that once defined his shows. The difference this time was choreography, not chaos. Stadiums were carefully engineered, capacity managed, and cameras tracked nearly every surge.

Fueled by his 2023 album “Utopia,” the production played like a global reboot of Scott’s mythology: part redemption arc, part empire expansion. The trek began in North America before spilling into Europe, Asia, Latin America, and the Middle East — bringing the rage, but also restraint, to audiences that had only watched it unfold online.

There were no public apologies built into this run, no explicit reckonings — just bigger venues, tighter logistics, and a setlist that reminded fans why his stage power was so coveted in the first place. At his best, Scott turned arena rap into cinematic theater. At his worst, he reminded everyone how thin the line between spectacle and catastrophe can be.

In Mumbai, as fireworks closed out the final show, Scott stood as both symbol and survivor — a Houston artist who turned a near career-ending disaster into an unprecedented global haul. Whether “Circus Maximus” represents redemption or simply reinvention depends on who’s watching.

Judge Sentences Fugees Founder Pras Michel to 14 Years in Federal Case

MiamiFilmFestival, CC BY-SA 2.0, via Wikimedia Commons

Prakazrel “Pras” Michel, the Grammy-winning rapper and founding member of the Fugees, was sentenced Thursday to 14 years in federal prison, closing a years-long foreign influence case that prosecutors said represented one of the most brazen political donation schemes in modern U.S. history. Michel, 53, stood silently as U.S. District Judge Colleen Kollar-Kotelly delivered the sentence in a Washington, D.C. courtroom.

A federal jury convicted Michel in April 2023 of 10 counts, including conspiracy, acting as an unregistered agent of a foreign government, witness tampering and submitting false statements. According to prosecutors, Michel funneled millions from Malaysian financier Low Taek Jho — the fugitive behind the 1MDB scandal — into Barack Obama’s 2012 reelection campaign through a network of straw donors. Prosecutors said Michel later attempted to interfere with a Justice Department investigation into Low and lied repeatedly during the course of the scheme.

Federal sentencing guidelines recommended a life term. In their filing, prosecutors wrote that Michel “betrayed his country for money” and “lied unapologetically and unrelentingly to carry out his schemes.” They argued, “His sentence should reflect the breadth and depth of his crimes, his indifference to the risks to his country, and the magnitude of his greed.”

Michel’s attorneys called the 14-year punishment excessive. Defense lawyer Peter Zeidenberg told reporters the sentence was “completely disproportionate to the offense,” reiterating the team’s position that a life recommendation was “absurdly high” and normally reserved for terrorists or cartel leaders. In a sentencing memo, they wrote that the government’s stance “would cause Inspector Javert to recoil” and illustrated how federal guidelines “can be manipulated to produce absurd results.” Michel plans to appeal.

Michel’s trial drew national attention, in part because of witnesses such as Leonardo DiCaprio — who testified about Low’s involvement in financing the film “The Wolf of Wall Street” — and former Attorney General Jeff Sessions. Low, who has lived in China since fleeing charges in the United States, maintains his innocence.

Prosecutors said Michel obtained more than $120 million from Low and routed a portion of it into Obama’s campaign. They also said Michel attempted to influence the government’s investigation into Low and tampered with witnesses to obstruct the case. His attorneys argued that Low’s goal was less sinister, writing that Low simply “wanted to obtain a photograph with himself and then-President Obama.”

Michel’s legal troubles have unfolded alongside a long and complicated legacy. As one-third of the Fugees — alongside Lauryn Hill and Wyclef Jean — Michel helped define an era in hip-hop that blended Caribbean roots, political consciousness and mainstream success. The trio sold tens of millions of albums and earned two Grammy Awards, becoming one of the most influential groups of the 1990s.

The current case, however, has overshadowed Michel’s musical legacy. In August 2024, Judge Kollar-Kotelly denied Michel’s request for a new trial, rejecting his claim that his attorney’s use of a generative AI program during closing arguments constituted ineffective assistance of counsel. The judge wrote that, even if “ill-advised,” the AI usage and other alleged errors did not amount to a miscarriage of justice.

Michel, dressed in a suit, declined to speak during sentencing. He was taken into custody immediately after the hearing.

The sentence ends a remarkable fall for an artist once positioned at the center of one of hip-hop’s most celebrated groups. It now places Michel among the highest-profile musicians convicted in a federal influence case, closing a chapter that has stretched across more than a decade and leaving the future of his public life uncertain as he prepares to begin a lengthy prison term.

Nicki Minaj Calls for Global Action on Nigeria’s Religious Violence in Rare Diplomatic Moment

Nicki Minaj speaks at a United Nations event in New York on Tuesday, pausing at the podium between the U.S. flag and a United Nations backdrop as she delivers prepared remarks calling attention to violence against Christians in Nigeria. The rapper addressed diplomats, officials and attendees during the session, which highlighted reports of church burnings, displacement and religiously targeted attacks in several regions of the country.

Nicki Minaj is usually trending for explosive feuds, late-night livestreams, or the latest culture-war crossfire. But today, the woman who shook hip-hop with alter egos and internet smoke stepped into the United Nations with a tone no one associates with her anymore: calm, measured and deadly serious.

The rap superstar delivered a composed address about the persecution of Christians in Nigeria, calling attention to burned churches, displaced families, and communities living in fear. “Religious freedom means we all can sing our faith,” she said, thanking Ambassador Mike Waltz for the invitation and acknowledging Donald Trump for elevating the issue — a detail that instantly raised eyebrows far beyond the U.N. floor.

Her message was straightforward and rooted in verified reports of violence across parts of Nigeria. But the moment wasn’t simple. It came in the middle of one of the most turbulent stretches of Minaj’s career, when her public persona has been defined less by advocacy and more by social-media battles, political backlash and nonstop controversy.

Nigeria’s Violence Crisis

Nigeria faces overlapping conflicts involving extremist militias, armed criminal groups, ethnic clashes and separatist violence. Attacks against Christian communities have been documented across parts of the Middle Belt and northern states, including church burnings and mass killings.

Muslim civilians are also victims, especially in the northeast, where Boko Haram and ISIS–West Africa have carried out deadly assaults on mosques and Muslim communities.

Conflict analysts agree the violence is driven by several factors: religious extremism, land-use conflicts, organized kidnapping operations, political instability and weak state security forces.

Across all sources, the consensus remains the same: the suffering is widespread and real, even if experts differ on the exact causes.

That’s why the optics hit so hard. A star known for turning timelines into minefields was suddenly standing in front of diplomats talking about universal human rights. And behind that microphone sat a political machine that also benefited from her presence. Waltz — a former congressman tightly aligned with Trump — has made Nigeria’s crisis a major talking point. Trump himself has used it to argue for more aggressive U.S. action. Minaj’s appearance didn’t just highlight suffering; it amplified a narrative already central to their agenda.

Online, the reactions split fast. Supporters praised her for using her platform for something meaningful. Critics questioned whether she was being used for a photo op. Nigerians asked why a celebrity was chosen to spotlight a crisis that activists say needs resources and strategy, not celebrity packaging. And longtime Barbz — especially those uneasy with her recent political alignment — wondered if this was sincere, strategic, or both.

Still, inside the U.N., Minaj didn’t posture. She didn’t provoke. She didn’t fight. She delivered the speech straight, without theatrics, ending on a note that felt almost like a vow: “For the rest of my life, I will care if anyone anywhere is being persecuted for their beliefs.”

Whether today was a heartfelt pivot, a carefully timed reset, or a calculated moment engineered by people around her, one thing is undeniable: Nicki Minaj added a new chapter to her unpredictable storyline — and she did it on one of the biggest stages on earth.

Watch the entire speech below.

Rod Wave Arrested in Atlanta Hours After First Grammy Nomination

Rod Wave, born Rodarius Marcell Green, appears in a booking photo after his Friday arrest in Atlanta on felony drug, weapons and reckless driving charges. (Fulton County Sheriff’s Office)

Rod Wave’s first Grammy nomination was supposed to change the narrative of his year. Instead, it ended the way too many of his nights have recently ended — with handcuffs, blue lights and another set of felony charges in Georgia's Fulton County.

The 27-year-old rapper and singer, born Rodarius Marcell Green, was arrested Friday evening in Atlanta after police say he blew through a stop sign in a Dodge Challenger near Defoor Avenue and Taylor Street. Officers reported hearing the engine “rev,” watching the car accelerate “at a high rate of speed,” and smelling suspected marijuana once the vehicle stopped. A search followed, and officers say they recovered a firearm and controlled substances categorized under Schedule II and Schedule V of Georgia law.

Green was taken to the Fulton County Jail and later released on an $8,000 bond, according to court records. The arrest landed the same day he received his first-ever Grammy nomination for “Sinners,” his contribution to the soundtrack for the horror film of the same name — an abrupt collision of career highs and legal lows that has defined much of his last two years.

His attorneys — Drew Findling, Marissa Goldberg, and Zack Findling — called the arrest unlawful and politically motivated.

“Rod Wave was unjustly profiled and unlawfully arrested in Atlanta,” the team said in a statement. “The arresting officer belongs to the Crime Suppression Unit, a group known for aggressive tactics and a quota-driven approach. We look forward to challenging these violations of Mr. Green’s rights in court.”

Friday’s arrest is the newest entry in a growing legal ledger. Green is already fighting serious charges out of Milton, Georgia, stemming from a May incident in which police say he returned home to a burglary, confronted a man on the property, and a firearm was discharged 14 times, hitting cars and a wall inside the residence. He faces counts including aggravated assault, criminal damage to property, possession of a firearm, and tampering with evidence. That case remains open.

At the time, Findling disputed every allegation:
“There is no truth to these charges. Rod was a victim of a burglary and committed no crimes.”

The rapper also has prior arrests in Florida — a 2024 case involving alleged weapon possession connected to a gang-related shooting (no conviction) and a 2022 domestic battery case that prosecutors later dismissed as a “misunderstanding.”

Despite the legal storms, Rod Wave’s commercial momentum remains undeniable. He’s among the highest-grossing touring rappers of his generation, pulling in a reported $36 million across 31 shows, and is the only male artist to debut a top 10 album every year from 2019 to 2024. His 2024 release Last Lap debuted at No. 2 on the Billboard 200, marking seven consecutive top-10s.

From Touchdowns to Toddlers: Stefon Diggs Confirms He’s Expecting a Son with Cardi B

Cardi B and Stefon Diggs aboard a yacht during a Memorial Day-weekend outing in Miami, in a photo (now deleted) she posted June 1, 2025 captioned “Chapter 5 … Hello Chapter 6.” (Image via Instagram/@iamcardib)

New England Patriots star Stefon Diggs is officially in dad mode — and fashion mode.

The 31-year-old wide receiver confirmed to People at Monday night’s CFDA Fashion Awards that he and rapper Cardi B are expecting their first child together — and it’s a boy.

“It’s a boy. That’s enough for me,” Diggs told People. “I can’t wait to make him do push-ups and sit-ups and run around.”

Diggs’ revelation came hours after his appearance on "Extra," where he and designer Willie Charvarria walked the red carpet together. In that interview, Diggs — dressed in Charvarria’s custom design — didn’t reveal the gender but said the baby was “supposed to happen real soon,” adding with a grin, “Wish us both luck.”

Charvarria, who has styled Diggs for three straight years, described the look as “about Stefon himself — strong, a winner, chiseled at all times.” Diggs told Extra host Mona Kosar Abdi he makes time for the things that matter: “We had a game yesterday, we won. So, we’re bringing a little good luck.”

 

When asked about A$AP Rocky receiving the Fashion Icon Award, Diggs called him “an inspiration for the culture for a very long time,” a nod to the night’s celebration of men’s fashion.

Cardi B, 33, had already shared the pregnancy news in September during a CBS Mornings interview with Gayle King, confirming:

“I’m having a baby with my boyfriend, Stefon Diggs,” the Bronx-born rapper said. “I feel very strong, very powerful that I’m doing all this work — but I’m doing all this work while I’m creating a baby.”

This will be Cardi’s fourth child. She shares three children with her estranged husband, rapper Offset, and is due before her “Little Miss Drama” tour begins in February 2026.

The couple first appeared publicly together at an NBA playoff game in May, cementing one of hip-hop’s most unexpected crossovers — NFL precision meeting Bronx flair. Since then, they’ve traded supportive social media posts, with Diggs writing under one of Cardi’s posts, “Proud of you for staying focused ❤️” and later adding, “100% team boy 💙🙏🏾.”

Now, after a headline-making red-carpet night and a confirmed boy on the way, the receiver who’s mastered route running may be mapping out his most important play yet — fatherhood.

50 Cent Reacts to “Bmf” Cancellation With Viral Lil Meech Post

Curtis “50 Cent” Jackson wasted no time turning bad news into internet comedy after Starz officially canceled his hit crime drama “BMF.”

Within hours of the announcement, the G-Unit mogul posted a photoshopped image of actor Demetrius “Lil Meech” Flenory Jr. looking disheveled and homeless, captioned, “What next season, little 🥷🏾 @50centaction,” sparking laughter — and controversy — across social media.

The image, shared Tuesday on Instagram, marked another chapter in 50’s long-running feud with the Flenory family, whose real-life story inspired “Black Mafia Family.” Fans and fellow celebrities flooded the comments — from “50 see a roach & demolishes the building 😂” to “Two things I don’t play with…the IRS and 50 Cent.” Even “BMF” star Kris Lofton chimed in, writing simply, “Sheesh.”

Curtis “50 Cent” Jackson posted this edited image to Instagram on Oct. 29, 2025, mocking actor Demetrius “Lil Meech” Flenory Jr. after Starz canceled the crime drama BMF following its fourth season. The post drew thousands of reactions from fans and celebrities, many joking about 50 Cent’s relentless humor. (Screenshot via Instagram /@50cent)

The cancellation ends one of Starz’s most popular crime sagas. “BMF” debuted in 2021 and dramatized the rise and fall of Detroit brothers Demetrius “Big Meech” and Terry “Southwest T” Flenory, founders of the Black Mafia Family. The real-life Big Meech remains incarcerated; his son Lil Meech portrayed him in the series.

Despite star-studded cameos from Eminem, Snoop Dogg, Lil Baby, 2 Chainz, Saweetie and others, ratings began to flatten in later seasons. Industry sources told Deadline that Starz’s cost-cutting strategy — shifting toward new, cheaper shows — ultimately sealed “BMF’s” fate, not the behind-the-scenes tension between Jackson and the Flenorys.

Still, the drama between 50 Cent and his former lead actor added fuel. Their relationship reportedly soured after Lil Meech appeared in a promo with Rick Ross, one of 50’s longest-standing rivals. 50 later accused Big Meech of cooperating with federal authorities — an allegation the elder Flenory publicly denied — widening the rift even as production continued.

The series finale, “Dreams Deferred,” aired Aug. 15, 2025, ending with Lil Meech’s character being arrested by Detective Von Bryant (Steve Harris). The real-life ending has been just as dramatic: a hit show abruptly cut short and its creator celebrating online while the cast absorbs the fallout.

Despite the cancellation, 50 Cent retains ownership of the “BMF” film rights and says he’s far from finished. He previously teased plans for an expanded “BMF Immortal Universe” and confirmed multiple spin-offs in development under his G-Unit Film & Television banner, which continues to collaborate with Starz on other “Power” franchise series.

Future Adds Winemaker to His Legacy With Launch of Roué Brand

Grammy-winning artist and entrepreneur Future unveils Roué, a fine-wine and cocktail label inspired by his artistry and cultural influence. (Photo by Virgile Guinard / Courtesy of Roué)

Future has never been afraid to rewrite the rules — not in trap music, fashion, or now, the wine aisle.
The Grammy-winning rapper and entrepreneur, born Nayvadius Wilburn, has unveiled Roué, a new line of fine wines and ready-to-drink cocktails that fuses creativity, culture, and craftsmanship into a single pour.

The move feels on brand for an artist who’s turned every era of his career into a reinvention — from his early "Dirty Sprite" mixtape run to his Grammy win for “King’s Dead” and chart-topping dominance with “Mask Off” and “Life Is Good.” Now, he’s setting his sights on the beverage world with the same blend of precision and ambition that made him one of hip-hop’s most influential figures.

“I enjoy wine, but couldn’t find a brand that truly reflected me — something current, innovative and connected to the culture,” Future said in a statement. “So, I created it. Roué is about bringing diversity into the wine world and showing what’s possible when creativity and culture collide.”

Roué launches with two premium wines — a 2023 Cabernet Sauvignon made from 100 percent organic grapes in Paso Robles, California, and a 2024 Sauvignon Blanc from Lake County — alongside two ready-to-drink cocktails: Ruby Passion and Lemon Lust. Each bottle arrives in custom multifaceted packaging, a visual nod to Future’s own evolution from mixtape trailblazer to global tastemaker.

The wines are rooted in sustainability as much as style according to the brand. Roué’s California growers use eco-friendly methods and high-altitude harvests to emphasize texture, aroma, and a clean, fruit-forward finish. For the cocktails, Future’s team blends premium wine with real fruit essences and natural juices, bottled in embossed glass rather than the standard aluminum can — another quiet rejection of convention.

Co-founded with beverage industry veteran Ryan Ayotte, Roué partners with Southern Glazer’s Wine & Spirits and Georgia Crown Distributing Co., giving it instant reach in both national and local markets. It will launch first in Georgia, Florida and California through major retailers such as BevMo, GoPuff and Total Wine, and will be available for direct purchase in 44 states via drinkroue.com. The suggested retail prices: $29.99 for the wines and $14.99 for a four-pack of cocktails.

“Roué represents a commitment to quality and a contemporary approach to how wine and ready-to-drink beverages are perceived and enjoyed,” Ayotte said. “It’s for the dreamers, the disruptors, and the trailblazers who refuse to be defined by convention.”

From the trap house to the tasting room, Future has built a career on making audacious moves look effortless. But Roué isn’t just a flex — it’s a statement of intent. The design mirrors his shape-shifting artistry, the product reflects his pursuit of perfection and the mission folds his cultural DNA into an industry that rarely makes room for it.

Mickey Factz Takes Over Black Thought’s 'Art of the MC' Course at NYU

Rapper and educator Mickey Factz, newly appointed adjunct professor at New York University’s Clive Davis Institute of Recorded Music, will teach “The Art of the MC” beginning Oct. 23. The course, previously taught by Black Thought of The Roots, explores the craft and culture of lyricism in hip-hop. (Photo courtesy of NYU Clive Davis Institute)

Mickey Factz is headed back to class — this time at the front of it. New York University’s Clive Davis Institute of Recorded Music has appointed the Bronx lyricist as an adjunct professor to teach The Art of the MC, a seven-week fall course that digs into the craft, culture and history of emceeing.

The class begins Oct. 23 and, according to the institute, picks up a lineage previously carried by Black Thought of The Roots, bringing a working pen from hip-hop’s blog era into a university room where students write, perform and defend their bars.

“It’s an honor to continue the legacy of MCs that preceded me to teach at the Clive Davis Institute,” Mickey said in the program’s announcement. “I’ll be bringing my expertise, wealth of knowledge and mentoring to a historic space such as NYU… Long, live, lyricism. Class is in session. Literally.”

The institute’s performance area head, JD Samson, put it plainly: “His dedication to teaching and his artistic vision will be a massive asset to our students and community,” calling his approach “groundbreaking hip-hop pedagogy.”

Mickey Factz — Career Highlights

A concise, verified snapshot for readers

Profile

• Full name: Mark Anthony Williams Jr. (aka Mickey Factz); Bronx, New York.
• Known for: elite lyricism, meticulous craft, and bridging hip-hop and academia.

Breakthroughs

• Mid/late-2000s blog-era run with mixtapes including “In Search of N*E*R*D,” “The Leak Vol. 1 & 2,” and “Mickey MauSe.”
• XXL Freshman Class (2009), spotlighting rising artists of the moment.
• Collaborative ties over the years include Drake, Lupe Fiasco, and others.

Selected Releases & Projects

• Notable projects: “The Achievement,” “The New Museum,” “Love.Lust.Lost,” “#Y,” and “the dark phoenix #ALPHA.”
• Signed with Battery/Jive (2010) during his major-label chapter.

Education & Teaching

• Co-founder of Pendulum Ink, a rap academy focused on lyricism, performance, and craft discipline.
• Adjunct Professor, NYU Clive Davis Institute (course: “The Art of the MC,” fall 2025), continuing a lineage that has included Black Thought, Questlove, Pharrell Williams and Swizz Beatz.

Cultural Impact

• Advocates for “long live lyricism”: treating MC’ing as a rigorous discipline with history, theory, and technique.
• Active in battle-rap circles; brings stagecraft, structure, and bar-for-bar analysis into the classroom.

The curriculum reads like a cipher with a syllabus: lyrical analysis, freestyle development, song structure, breath and projection, stage presence, and the evolution of rap as both art form and culture. Students are expected to trace a line from the pioneers to today’s streaming-first scene, then apply the lessons in original work that can actually hold weight in a room full of peers. The idea isn’t to canonize a single “right” way to rhyme — it’s to make students conversant in form, fearless in performance, and precise on the page.

Factz, who broke through as a 2009 XXL Freshman and built a catalog of densely written projects during the blog era, comes to NYU with more than two decades of writing, touring and teaching behind him. His extracurriculars underscore the fit: Pendulum Ink, the rap-craft academy he co-founded, has been training MCs in storytelling, rhythm and delivery — essentially, the same muscles this class intends to develop. If the university is where industry meets inquiry, a practitioner-teacher who lives the work is the point.

There’s a larger story here, too. The Clive Davis Institute has spent the past decade normalizing hip-hop in higher ed not as case study or museum piece but as living practice. Q-Tip co-taught a course on the intersection of jazz and hip-hop in 2018; Swizz Beatz has held a faculty role guiding production and mentoring; Questlove and Pharrell Williams have led seminars on history, creation and business. Each appointment pushes the idea that the people who shaped the music are best positioned to teach its language and its ethics.

Following Black Thought in this specific course also matters. It signals continuity of a high bar: technical excellence married to context. Where Thought is an exemplar of breath control, pocket and live-band poise, Mickey’s value add is micro-surgical writing and workshop rigor — skills that can move a verse from “good” to “publishable,” whether the dream is a Tiny Desk or a festival slot. For students, that continuity is the difference between a guest lecture and a real pipeline.

It’s also part of a broader shift: hip-hop’s elders and working artists are claiming educational spaces on their own terms. The move legitimizes what fans already know — that MCing is a discipline with theory, technique and lineage — and it forces institutions to meet the culture where it lives. An NYU classroom won’t make an artist, but a serious class can shorten the distance between taste and technique, and between potential and performance.

Grammy Winner D’Angelo Dies at 51 After Private Battle With Cancer

D’Angelo, shown here in a promotional image for his 2000 album “Voodoo,” was one of the defining voices of modern soul. The Grammy-winning singer and multi-instrumentalist died at 51 after a private battle with pancreatic cancer, his family confirmed on Tuesday. (Photo: RCA Records)

The music world is in mourning: D’Angelo, the elusive and influential neo-soul pioneer whose voice defined a generation of R&B, has died at 51 after a private battle with pancreatic cancer his family and multiple media outlets confirmed on Tuesday. Reports indicate he passed away over the weekend.

Born Michael Eugene Archer in Richmond, Virginia, D’Angelo was among the architects of the modern soul revival that fused gospel roots, hip-hop sensibility, and jazz freedom. 

His debut album, “Brown Sugar,” in 1995 announced a new kind of groove — live instrumentation wrapped around lyrics that were sensual, spiritual and raw. 

The follow-up, “Voodoo,” in 2000 elevated him to icon status and earned two Grammys. Fourteen years later, his surprise return with “Black Messiah” turned reflection into revolution.

In recent years, D’Angelo had stepped out of the spotlight again. In May, he canceled a headlining slot at the Roots Picnic, citing complications from surgery. “I’m not 100 percent yet, but I’m working my way there,” a representative said at the time.

Tributes began flooding social media from peers and admirers who saw him as both innovator and spiritual force.

“Such a sad loss to the passing of D’Angelo. We have so many great times. Gonna miss you so much. Sleep peacefully D’ — Love you KING,” wrote DJ Premier on X, formerly Twitter.

“My sources tell me that D’Angelo has passed. Wow. I have no words. May he rest in perfect peace,” journalist Marc Lamont Hill posted.

Producer Alchemist added simply: “Man. Rest in peace D’Angelo.”

Fans filled his Instagram comments with heartbreak emojis and lyrics from “Untitled (How Does It Feel),” the 2000 single whose slow burn redefined intimacy on record and screen. The Rock & Roll Hall of Fame called him “a singular voice who bridged past and future — the sound of vulnerability made holy.”

Through just three studio albums, D’Angelo reshaped the sound of R&B. With Questlove, Erykah Badu, Common and J Dilla, he helped create the Soulquarians collective that blurred lines between genres and generations.

D’Angelo is survived by his two children, Michael Jr. and Imani Archer. He was previously in a longtime relationship with singer Angie Stone, who collaborated with him early in his career and shared his deep gospel and soul roots. 

Their creative and romantic partnership helped shape the direction of his first album, “Brown Sugar.” Stone died in March at 63, a loss that friends said deeply affected him.