Clipse Announces Comeback Tour and Album

Photo Credit: Cian Moore

It’s official: Clipse is back. After more than 15 years, one of hip-hop’s most revered duos — brothers Pusha T and No Malice — are reuniting for a nationwide tour in support of their highly anticipated new album, "Let God Sort ’Em Out."

The tour marks a full-circle return for the Virginia Beach MCs who built their legacy on sharp lyricism, coke-rap precision, and a uniquely minimalist sound shaped by Pharrell Williams and Chad Hugo, aka The Neptunes. Fittingly, the "Let God Sort ’Em Out Tour" opens with a homecoming show at The Dome in Virginia Beach on August 10.

Tickets go on sale to the general public Friday, with VIP packages and exclusive pre-sale access already available. The album drops July 11 through Roc Nation Distribution and marks their first full-length collaboration since 2009’s "Til the Casket Drops."

Fans can expect a complete Neptunes production on the record, as Pharrell returns to the boards for every track. The rollout also includes visuals and tour merchandise designed by artist KAWS, whose stylized, irreverent aesthetic reflects the duo’s shift into cultural tastemakers as much as lyrical craftsmen.

"Let God Sort ’Em Out" isn’t just a tour or an album title — it’s a statement. It reflects the philosophical divide and eventual reunion that defined Clipse’s arc. In the early 2000s, Pusha T and No Malice (formerly just Malice) became icons for street rap with a conscience. Their 2002 debut, "Lord Willin’," featuring hits like "Grindin’" and "When the Last Time," set the tone. But it was 2006’s "Hell Hath No Fury" — widely considered a modern classic — that solidified their place in hip-hop’s upper echelon.

While Pusha T would go on to have a celebrated solo run (including Grammy nods and the infamous Drake feud), No Malice took a spiritual turn, renouncing the street life in his 2011 memoir "Wretched, Pitiful, Poor, Blind & Naked" and later releasing faith-based solo projects. The brothers’ divergence wasn’t just thematic — it was personal. For years, the idea of a full Clipse reunion seemed unlikely.

The ablum's lead single, “Ace Trumpets,” released May 30. A mid-tempo, synth-driven track produced by Pharrell, it features razor-edged lyrics from both brothers and has already been praised by Pitchfork as their "menacing return to form."
That changed in 2019 when the duo appeared together on Kanye West’s "Jesus Is King." Since then, rumors of a new album have simmered — until now.

With Pharrell at the helm, KAWS handling visuals, and both brothers locked in lyrically, "Let God Sort ’Em Out" is positioned as a rebirth. The album will be available in digital, CD and limited LP editions, with select deluxe vinyl bundles including unreleased demos and tour memorabilia.

The Virginia Beach stop on August 10 promises to be the crown jewel of the tour — a triumphant return to the city that raised them and first sparked their musical ambitions. Additional stops include:

Let God Sort 'Em Out Tour Dates (So Far)

• August 10 — Virginia Beach, VA @ The Dome
• August 14 — Atlanta, GA @ Tabernacle
• August 16 — Miami, FL @ The Fillmore
• August 20 — Chicago, IL @ House of Blues
• August 22 — New York, NY @ Terminal 5
• August 24 — Philadelphia, PA @ The Fillmore
• August 28 — Houston, TX @ Bayou Music Center
• August 30 — Los Angeles, CA @ The Wiltern
More dates to be announced soon.

For fans of true lyricism, minimalist bangers, and the cultural evolution of two of hip-hop’s sharpest voices, the Clipse comeback is more than nostalgia — it’s the next chapter.

Visit letgodsortemout.com for full tour and album details.

Doechii Calls Out Government Crackdown in Fiery BET Awards Speech

The 2025 BET Awards reminded everyone why it’s still called Culture’s Biggest Night. With sharp political statements, emotional tributes, and career-defining wins, the evening was a showcase of star power, activism and legacy.

The show kicked off with Kevin Hart in full form, joking about everything from GloRilla’s name to the baby oil in Diddy’s court case. “There won’t be any afterparties tonight,” he said. “Things could get slippery.” But beyond the humor, Hart set a celebratory tone, honoring BET’s 25th anniversary and reminding viewers of its legacy.

The night belonged to Kendrick Lamar, who picked up four major awards: Album of the Year for GNX, Best Male Hip-Hop Artist, Video of the Year for “Not Like Us,” and Best Collaboration with SZA for “Luther.” He also shared Video Director of the Year honors with longtime collaborator Dave Free.

Meanwhile, Doechii made history with her first BET Award for Best Female Hip-Hop Artist. The Grammy winner used her moment to speak out. “There are ruthless attacks creating fear and chaos in our communities in the name of law and order,” she said, referencing nearby immigration raids and protests. “Trump is using military forces to stop a protest... We all deserve to live in hope and not fear.” Her words drew applause and gave the evening its most politically potent moment.

Jamie Foxx’s tribute brought tears and cheers. Stevie Wonder surprised the crowd to present the Ultimate Icon Award, delivering heartfelt praise: “I admire and celebrate your talent and your love — for blind people.” Foxx, recovering from a 2023 medical emergency, smiled and nodded as Babyface, Ludacris, Tank, Jennifer Hudson, T-Pain and Doug E. Fresh performed a medley of his hits, including “Unpredictable” and “Blame It.” Foxx later said, “You can’t go through something like that and not testify.”

Other big winners included SZA (Best Female R&B/Pop Artist), Chris Brown (Best Male R&B/Pop Artist), and Leon Thomas (Best New Artist). Blue Ivy Carter took home the YoungStars Award in a full-circle legacy moment for the Carter family. Summer Walker earned the BET Her Award for “Heart of a Woman,” while GloRilla, Kirk Franklin, and Maverick City Music won the Dr. Bobby Jones Gospel/Inspiration Award for “Rain Down on Me.”

In film and television, Cynthia Erivo and Denzel Washington were awarded Best Actress and Actor, while Luther: Never Too Much won Best Movie. On the sports side, Angel Reese was named Sportswoman of the Year and Jalen Hurts earned Sportsman of the Year honors.

Full List of 2025 BET Awards Winners:
Best Female R&B/Pop Artist – SZA
Best Male R&B/Pop Artist – Chris Brown
Best Group – Future & Metro Boomin
Best Collaboration – “Luther” – Kendrick Lamar & SZA
Best Male Hip-Hop Artist – Kendrick Lamar
Best Female Hip-Hop Artist – Doechii
Video of the Year – “Not Like Us” – Kendrick Lamar
Video Director of the Year – Dave Free & Kendrick Lamar
Best New Artist – Leon Thomas
Album of the Year – "GNX" – Kendrick Lamar
Dr. Bobby Jones Best Gospel/Inspirational Award – “Rain Down on Me” – GloRilla feat. Kirk Franklin, Maverick City Music
Best Actress – Cynthia Erivo
Best Actor – Denzel Washington
Best Movie – "Luther: Never Too Much"
YoungStars Award – Blue Ivy Carter
Sportswoman of the Year – Angel Reese
Sportsman of the Year – Jalen Hurts
BET Her Award – “Heart of a Woman” – Summer Walker

Watch: E-40’s Tiny Desk Debut Is a Celebration of Bay Pride and Legacy

 

Bay Area rap icon E-40 brought Vallejo flavor and hyphy energy to NPR’s Tiny Desk Concerts on Monday, kicking off Black Music Month with a spirited, career-spanning set that celebrated his legacy in hip-hop and his hometown roots.

Backed by a live band and in front of an intimate audience, the veteran MC born Earl Stevens ran through a medley of his biggest hits, including "Tell Me When to Go," "Choices (Yup)" and "U and Dat." Throughout the set, he showcased not only his signature slang and unmistakable delivery but also the cultural pride and storytelling that have made him a cornerstone of West Coast rap for over three decades.

“Tell the people that Water is back!” he declared midway through the performance, nodding to both his longtime nickname and his return to the spotlight.

The set marked E-40’s first appearance on the popular YouTube concert series, which has become a landmark platform for both emerging and legendary artists. Known for revealing raw talent in stripped-down formats, Tiny Desk has previously featured performances from artists like T-Pain, Too Short, Kehlani and LaRussell.

The band elevated the energy of each track. On "Choices (Yup)," musicians leaned into the mic to echo the iconic “yup” and “nope” ad libs, creating an organic, in-the-room feel. During "U and Dat," background vocalist and music director Bosko Kante filled in seamlessly for T-Pain’s auto-tuned hook.

E-40 also used the platform to promote his entrepreneurial ventures, sipping from a glass of his Earl Stevens Mangoscato and reminding viewers it’s available at Costco and Total Wine.

Between verses, he shouted out his longtime friends and collaborators, including a heartfelt tribute to the late Stomp Down. The performance was not only a musical celebration but a nod to the community that built him.

Despite a career that spans generations, E-40 remains culturally relevant. His music still blares from Bay Area car stereos and his impact extends beyond music, with a road named after him in Vallejo and surprise political appearances — including a surreal cameo at a Joe Biden rally.

With Monday’s set, E-40 joins a growing list of Bay Area legends who’ve brought their game to the Tiny Desk stage. The show continues to affirm the cultural weight of the Bay, one classic track at a time.

Beyoncé Makes History, Janet Jackson Shines at the 2025 AMAs

Janet Jackson performs onstage at the 2025 American Music Awards at the Fontainebleau Las Vegas on May 26, 2025. (Rich Polk)

The 2025 American Music Awards, held on Monday night at the Fontainebleau Las Vegas and hosted by Jennifer Lopez, celebrated the significant and continuing impact of urban music. One of the evening's most prominent moments was the presentation of the Icon Award to Janet Jackson, recognizing her profound influence on pop, R&B and global music culture.

Jackson, dressed in a white cropped jacket, baggy blue jeans, white sneakers, and a headband, captivated the audience with a medley of her iconic hits, including “All for You,” “Rhythm Nation,” and “Together Again,” marking her first televised performance in seven years.

In her acceptance speech, she said, “I don’t consider myself an icon,” while emphasizing her family's deep commitment to music over fame. The Icon Award, first awarded in 2013, has previously been awarded to artists such as Rihanna and Lionel Richie.

Jackson’s tribute underscored the enduring relevance of urban music within the broader popular music landscape, a point further emphasized by Kendrick Lamar’s victory in the Favorite Hip-Hop Song category for “Not Like Us.” Lamar, who received the most nominations of the night with 10, once again demonstrated his artistic power, authenticity, and ability to connect with contemporary culture.

Beyoncé made history in the country genre, winning Favorite Female Country Artist for her acclaimed project, "Cowboy Carter," which also took home Favorite Country Album honors. This win represents a significant achievement for a Black artist in a category historically dominated by white artists.

SZA also had a memorable evening, taking home both Favorite Female R&B Artist and Favorite R&B Song for “Saturn.” These awards acknowledge her innovative approach to R&B, blending genres while staying true to her artistic vision, solidifying her position as a leading voice in modern R&B.

Adding to his legacy, Eminem won both Favorite Male Hip-Hop Artist and Favorite Hip-Hop Album for "The Death of Slim Shady: Coup de Grâce," highlighting his enduring relevance and impact within the hip-hop genre. Megan Thee Stallion won Favorite Female Hip-Hop Artist.

Billie Eilish was the biggest winner of the night, sweeping the major categories, including Artist of the Year, Album of the Year for Hit Me Hard and Soft, and Song of the Year for “Birds of a Feather.”

Chappell Roan was recognized as New Artist of the Year, marking a significant breakthrough for the rising star.

 

Key Winners:

• Artist of the Year: Billie Eilish
• New Artist of the Year: Chappell Roan
• Album of the Year: "Hit Me Hard and Soft" (Billie Eilish)
• Song of the Year: “Birds of a Feather” (Billie Eilish)
• Favorite Male Hip-Hop Artist: Eminem
• Favorite Female Hip-Hop Artist: Megan Thee Stallion
• Favorite Hip-Hop Song: “Not Like Us” (Kendrick Lamar)
• Favorite Female R&B Artist: SZA
• Favorite R&B Song: “Saturn” (SZA)
• Favorite Female Country Artist: Beyoncé
• Favorite Country Album: "Cowboy Carter" (Beyoncé)
• Icon Award: Janet Jackson

For a complete list of winners click here.

Dr. Dre’s $10 Million Boost Helps Redefine Compton High’s Future

Dr. Dre’s legacy has always been intertwined with Compton, and now the rap legend is giving back to the California community in a major way. On Thursday the newly rebuilt Compton High School campus was unveiled, a $225-million project that promises to reshape the future of education for the city’s youth.

At the heart of the transformation is Dre’s $10 million donation to the school’s performing arts center, ensuring that the next generation of Compton’s talent has the space to create, perform and dream big.

The 31-acre campus represents a complete overhaul of the old school, which had long been plagued by outdated facilities. The new high school is a vision of modernity, featuring a digital library, cutting-edge classrooms and athletic facilities designed for the digital age. From a football stadium to multiple sports courts and a state-of-the-art gym, this campus is built to foster both academic and athletic success.

But it’s the performing arts center that stands out as a direct reflection of Dre’s impact on the city. The $10 million donation has turned the center into a state-of-the-art venue where students can explore their passions in music, theater and dance. A mural of Dre’s face on the exterior of the building serves as a powerful reminder of his roots and his ongoing commitment to elevating his hometown.

"I didn’t have that creative outlet when I was in high school," Dre said during the unveiling. "Now these kids have that space, and it’s all about giving them the chance to express who they are and what they can become."

Dre’s involvement is a reflection of his lifelong connection to Compton. The new campus will serve 2,000 students and is funded by school-construction bonds approved by local voters. This revitalization is not just about the physical space but about creating opportunities for Compton’s youth to thrive in ways that were once out of reach.

"Compton is a breeding ground for talent," Dre added. "I’m living proof that coming from Compton, nothing can stop me. Anything is possible."

Megan Thee Stallion Dismisses ‘New Evidence’ in Lanez Shooting Case, Calls Out Harassment

Megan Thee Stallion on Monday dismissed what Tory Lanez’s legal team calls “new evidence” in his 2020 shooting case and rebuked ongoing harassment — days after Lanez, born Daystar Peterson, was stabbed 14 times in prison.

On TikTok, Megan — born Megan Pete — demanded an end to “living this s--t over and over.” “Facts are facts, he did it, it was proven in court,” she wrote. “Tory, you shot me ! ! ! Ain’t no new f---ing evidence. Y’all been saying the same s--- for years.”

Rapper Megan Thee Stallion reacts on TikTok to alleged “new evidence” in Tory Lanez’s shooting case—urging fans to stop “harassing” her just days after Lanez survived a stabbing in prison. (Courtesy TikTok/theestallion)

Lanez’s lawyers last week filed an amended criminal‐defamation claim hinging on testimony from a former bodyguard. That witness alleges he overheard Kelsey Harris — Megan’s onetime friend — admit to handling the gun the night Pete was shot in July 2020. 

The filing comes on the heels of Lanez’s May 12 stabbing at California Correctional Institution in Tehachapi, where inmate Santino Casio — serving life for murder — allegedly slashed him in the face, torso, back and head. Observers say the attack may have spurred Lanez’s team to renew efforts to contest his conviction.

Megan has consistently declined to revisit that night. Her TikTok salvo continued: “At what point are y’all gonna stop making me have to re-live being shot by Tory !? At what point are Tory and y’all fans gonna stop lying? Like, how much is the check to keep harassing me? Leave me TF alone ! ! !”

In December 2022, Lanez was found guilty of assault with a semiautomatic firearm after a dispute outside a Hollywood Hills party. He’s serving a 10-year state sentence — eligible for parole in 2029 — and faces dozens of civil suits from shooting‐related claimants.

Megan’s post closed on gratitude: despite the pain, “I’m good spirits and deeply thankful to God that I’m pulling through,” she said, echoing the Instagram update Lanez’s team issued from his hospital bed after the prison attack.

UMG Seeks to Silence Drake Suit While Lamar Leads BET Celebrations

Drake is involved in a $100 million defamation lawsuit against Universal Music Group over Kendrick Lamar's diss track "Not Like Us," with the label arguing the suit is a "meritless" attempt to "save face" after Drake lost their rap battle, a legal conflict that comes as Lamar leads nominations for the upcoming BET Awards, where Drake also received multiple nods.

Universal Music Group on Wednesday urged a federal judge to throw out Drake’s defamation lawsuit, accusing the rapper of mounting a “meritless” bid to salve his wounded pride after a public rap battle with Kendrick Lamar.

In a motion filed May 7 in U.S. District Court for the Southern District of New York, UMG called Drake’s amended complaint “astonishing,” arguing that his focus on a single censored lyric from Lamar’s hit “Not Like Us” only underscores the true target: Lamar’s commercial and creative success.

Drake first sued UMG in January, claiming the label and its distribution of Lamar’s incendiary track had defamed him. In April he amended the suit to cite Lamar’s Super Bowl LIX halftime performance on Feb. 9, 2025, contending that Lamar’s decision to omit a critical verse before a record TV audience proved the song’s reputation‑damaging power. Drake’s complaint asserts that the broadcast‑censoring “allowed millions to miss the precise words at issue and unjustly vilified my client.”

UMG counters that Drake “was pleased to use UMG’s platform to promote tracks leveling similarly incendiary attacks at Lamar. But now, after losing the rap battle, Drake claims that ‘Not Like Us’ is defamatory. It is not.” The label is asking that the amended complaint be dismissed with prejudice.

“Drake’s attack on the commercial and creative success of the artist who soundly bested him is the real grievance here,” UMG wrote, calling the lawsuit a thinly veiled attempt to weaponize the courts against artistic competition.

Lamar’s “Not Like Us” did nothing to hurt his momentum. The track swept all five of its Grammy nominations on Feb. 2, 2025, including Record of the Year and Song of the Year. This month, Lamar leads the field at the 2025 BET Awards with 10 nominations. 

The ceremony is set to air live on Monday, June 9, from the Peacock Theatre in Los Angeles. His nominations include major nods for Album of the Year for “GNX,” Video of the Year and Viewer's Choice for “Not Like Us,” Best Male Hip‑Hop Artist, and multiple Best Collaboration nominations. He bids to extend his run against competitors that include Drake, who earned six nods of his own, including Album of the Year for "$ome $exy $ongs 4 U," Video of the Year for "Family Matters," and Best Male Hip Hop Artist.

Top Nominees at the 2025 BET Awards: (Click here for the full list of nominees) 
Kendrick Lamar: 10 nominations
Doechii: 6 nominations
Drake: 6 nominations
Future: 6 nominations
GloRilla: 6 nominations
Metro Boomin: 5 nominations
SZA: 4 nominations
The Weeknd: 4 nominations

Snoop Dogg Teams with KIDZ BOP Tour and ‘PAW Patrol: The Dino Movie’

Snoop Dogg, center, appears with characters from his preschool series “Doggyland,” whose live show will open for the KIDZ BOP Live Certified BOP Tour this summer, as the rapper also lends his voice to the upcoming feature “PAW Patrol: The Dino Movie.” (Graphic courtesy of Doggyland/YouTube)

Snoop Dogg is trading G‑funk for giggles this summer, joining forces with the KIDZ BOP Live Certified BOP Tour and lending his voice to Spin Master’s upcoming feature “PAW Patrol: The Dino Movie.”

Beginning June 14 in Stamford, Connecticut, and running through Sept. 7 in Houston, Texas, the 28‑city KIDZ BOP tour will now kick off each night with a live performance of “Doggyland,” Dogg’s animated YouTube series for preschoolers. Created in 2022, “Doggyland” follows Bow Wizzle and a colorful cast of puppies who rap and sing about letters, numbers, colors and social‑emotional skills.

“‘Doggyland’ and KIDZ BOP are teamin’ up for a special tour like no other,” Snoop Dogg said in a release touting the collaboration. “We’re takin’ our animated world and bringing it to life, ya dig? We invite little kids, big kids, mamas, daddies, uncles, aunties — to join us for life lessons and some family fun. When ‘Doggyland’ links with KIDZ BOP, it’s a musical journey you will never forget.”

KIDZ BOP, which claims to be the No. 1 music brand for kids since 2001, will feature its young stars — Aleah, Cliff, Matty and Shila — performing kid‑friendly versions of today’s hits like “Espresso” and “Hot to Go!” on a stage complete with interactive elements and the return of the Daddy Dance Off.

“We’re excited to have ‘Doggyland’ join the KIDZ BOP Live Certified BOP Tour this summer as our special show opener,” added Sasha Junk, president of KIDZ BOP. “Their hip‑hop spin on classic kids’ songs — especially the viral ‘Affirmations Song' — will add fresh energy to our live events.”

Meanwhile, Dogg is also expanding his family‑friendly portfolio on the big screen. He joins a star‑studded ensemble — Jameela Jamil, Terry Crews, Paris Hilton, Bill Nye, Meredith MacNeill and Ron Pardo — in “PAW Patrol: The Dino Movie." The third theatrical installment of the animated franchise follows the rescue pups on a prehistoric adventure and is set to drop July 31, 2026.

KIDZ BOP LIVE TOUR DATES

Date	City	Venue
Saturday, June 14, 2025	Stamford, Conn.*	The Palace
Thursday, June 19, 2025	Hershey, Pa.*	Giant Center
Friday, June 20, 2025	Raleigh, N.C.*	Coastal Credit Union
Saturday, June 21, 2025	Charlotte, N.C.*	PNC Music Pavilion
Sunday, June 22, 2025	Greensboro, N.C.*	White Oak Amphitheater
Thursday, June 26, 2025	West Palm Beach, Fla.*	iTHINK Financial Amphitheatre
Friday, June 27, 2025	Jacksonville, Fla.*	Daily’s Place
Saturday, June 28, 2025	Alpharetta, Ga.*	Ameris Bank Amphitheatre
Sunday, June 29, 2025	Franklin, Tenn.*	FirstBank Amphitheater
Thursday, July 3, 2025	Gilford, N.H.*	Bank of NH Pavilion
Saturday, July 5, 2025	Bangor, Maine*	Maine Savings Bank
Sunday, July 6, 2025	Bethel, N.Y.*	Bethel Woods
Thursday, July 10, 2025	Richmond, Va.*	Allianz Amphitheater
Friday, July 11, 2025	Wantagh, N.Y.*	Northwell Health at Jones Beach
Saturday, July 12, 2025	Holmdel, N.J.*	PNC Bank Arts Center
Thursday, July 17, 2025	Wilmington, N.C.*	Live Oak Bank Pavilion
Friday, July 18, 2025	Baltimore, Md.*	Pier Six Pavilion
Saturday, July 19, 2025	Boston, Mass.* (2 shows)	Leader Bank Pavilion
Sunday, July 20, 2025	Wallingford, Conn.*	Toyota Oakdale Theater
Wednesday, July 23, 2025	Columbus, Ohio*	Ohio State Fair
Thursday, July 24, 2025	Clarkston, Mich.*	Pine Knob Music Center
Friday, July 25, 2025	Noblesville, Ind.*	Ruoff Music Center
Sunday, July 27, 2025	Cincinnati, Ohio*	PNC Pavilion at Riverbend
Friday, August 1, 2025	Saratoga Springs, N.Y.*	Broadview Stage at SPAC
Saturday, August 2, 2025	Camden, N.J.*	Freedom Mortgage Pavilion
Tuesday, August 5, 2025	West Allis, Wis.*	Wisconsin State Fair
Friday, August 8, 2025	Macon, Ga.*	Macon Amphitheater
Saturday, August 9, 2025	Tampa, Fla.*	MidFlorida Credit Union Amphitheatre
Friday, August 15, 2025	Tinley Park, Ill.	Credit Union 1 Amphitheater
Saturday, August 16, 2025	Kansas City, Mo.	Starlight Theatre
Sunday, August 17, 2025	Des Moines, Iowa	Iowa State Fair
Wednesday, August 20, 2025	Grand Rapids, Mich.	DeVos Hall
Thursday, August 21, 2025	Toronto, Ont.	Budweiser Stage
Friday, August 22, 2025	Toledo, Ohio	Toledo Zoo Amphitheater
Saturday, August 23, 2025	Syracuse, N.Y.	New York State Fair
Thursday, August 28, 2025	San Diego, Calif.	Cal Coast Credit Union Amphitheatre
Friday, August 29, 2025	Phoenix, Ariz.	Arizona Financial Theatre
Saturday, August 30, 2025	Anaheim, Calif.	Honda Center
Sunday, August 31, 2025	Mountain View, Calif.	Shoreline Amphitheater
Friday, September 5, 2025	Irving, Texas	Toyota Music Factory
Sunday, September 7, 2025	Houston, Texas	Cynthia Woods Mitchell Pavilion
Wednesday, September 10, 2025	Puyallup, Wash.	Washington State Fair

*Doggyland opening act dates

No Bars, No Flute, Just André: 3000 Unveils '7 Piano Sketches'

The cover of André 3000’s new album “7 Piano Sketches” depicts the Outkast co‑founder with a stripped‑down grand piano strapped to his back, a visual nod to the release’s sparse, lo‑fi improvisations.

There’s no flute this time. No bars, no features, no rollouts. Just André 3000, alone with a piano, playing in rooms with nothing but beds, TV screens — and feelings.

On Monday, André 3000 attended the Met Gala in New York, donning a Burberry jumpsuit and red hat, with a lightweight replica Steinway Model S baby grand piano strapped to his back. Later that day, while fashion fans were still basking in the afterglow of the gala, the Outkast co‑founder quietly released “7 Piano Sketches,” a seven‑track follow‑up to 2023’s “New Blue Sun.”

“These piano sketches are improvisations,” the eclectic artist wrote on Instagram. “To conjure them up, I spread my fingers out on the keys and randomly but with purpose move them around until I find something that feels good or interesting… I cannot name which notes, keys or chords that I’m playing. I simply like the sound and mechanics of piano playing.”

Originally titled “The Best Worst Rap Album in History,” the project contains no lyrics—and that’s the point. “It’s jokingly the worst rap album in history because there are no lyrics on it at all. It’s the best because it’s the free‑est emotionally and best I’ve felt personally. It’s like a palette cleanser for me,” he wrote in his liner notes.

Most of these sketches were recorded in Texas nearly a decade ago, when André 3000 and his son were living in a sparsely furnished house — only beds, a piano and TV screens — sharing snippets privately with friends and family. One studio‑quality track, “Blueberries,” stands out for its fidelity, but the rest are honest, lo‑fi improvisations.

He cites Thelonious Monk, Philip Glass and Joni Mitchell as key inspirations — a list as idiosyncratic and unbothered by boundaries as the artist himself.

For longtime fans who’ve waited decades for a traditional solo album, “7 Piano Sketches” may feel like another detour. But for those listening closely, it’s exactly what André 3000 has always been: open, emotional, strange and beautiful.

Chuck D Accepts Reverb Award at Stax in Tribute to Music’s Power and Purpose

Chuck D receives the inaugural Reverb Award from the Soulsville Foundation at the Stax Museum of American Soul Music in Memphis on Friday. At left is songwriter David Porter. (Photo: Claire James)

Rap pioneer Chuck D received the first-ever "Reverb Award" from the Soulsville Foundation during a powerful ceremony at the Stax Museum of American Soul Music on Friday — a moment that bridged generations of Black musical resistance, from protest soul to politically conscious rap.

The honor, part of the Foundation’s new Power of Music Honors series, celebrates artists who wield music as a tool for activism, education and real-world change. And few embody that ethos more than Chuck D, the commanding voice behind Public Enemy, whose “Fight the Power” remains a battle cry more than three decades after it was released.

“I grew up on my mom’s Stax records and to this day am still in total and complete awe of the talent, the genius, and the legacy that came out of the soul of Memphis,” Chuck D said at the ceremony. “I am humbled beyond any words to receive this honor and I share it with everyone who came before me, stands alongside me now, and will follow us all in the future.”

Presented by songwriter and soul icon David Porter — co-author of “Soul Man” and “Hold On, I’m Comin’” — the award recognized Chuck D not just for his music, but for his decades-long role as a cultural commentator, activist and music historian.

“Chuck D has utilized his platform to transcend the sequestered space of musicians as entertainment,” said Soulsville Foundation CEO Pat Mitchell Worley. “His activism and role as a music historian have fueled the knowledge and self-determination of a generation and exemplify the Power of Music Honors.”

The setting made the moment even more profound. Stax Records was never just a hit machine — it was a community anchor that created jobs, mentored local talent, and nurtured revolutionary Black artistry. During the 1960s and ’70s, it launched the careers of Otis Redding, Isaac Hayes, Booker T. & the M.G.’s and The Staple Singers, and helped define the sound of Southern soul and the pulse of Black America.

That legacy continues through the Soulsville Foundation and the Stax Music Academy, which this year celebrates its 25th anniversary. At the ceremony, soul singer Talibah Safiya and current Academy students delivered stirring renditions of “Respect Yourself” and Johnnie Taylor’s “I Am Somebody,” affirming the next generation’s connection to the music’s mission.

The Power of Music Honors will be presented annually to individuals and organizations who use music to open doors, build community, and spark cultural movements. The Reverb Award — named for the echo of impact — is the highest distinction, and Chuck D’s selection as its first recipient reflects a full-circle moment: the rebel spirit of soul finding its mirror in the fire of hip-hop.

The award also shines a spotlight on Soulsville’s ongoing work, including Music Employs, an initiative that connects young artists with training, mentors, and real-world pathways into creative industries. It’s all part of a broader mission to ensure that the power of Memphis music isn’t just remembered — it’s reimagined for the future.

USC Awards Presidential Medallion to Dr. Dre and Jimmy Iovine for Innovation in Education

Jimmy Iovine, left, and Andre “Dr. Dre” Young, right, celebrate with a graduate of the USC Iovine and Young Academy during commencement ceremonies in Los Angeles. (Photo: USC Iovine and Young Academy)

Andre “Dr. Dre” Young and fellow music industry titan Jimmy Iovine were awarded the University of Southern California’s highest honor — the Presidential Medallion — during this month’s Academic Honors Convocation, recognizing a decade of educational innovation and cultural impact through the USC Iovine and Young Academy.

The two co-founders, whose names now anchor USC’s 21st school, joined USC Dean of Religious Life Varun Soni and philanthropists Leslie and William McMorrow as the latest recipients of the medallion, which is given to individuals who bring "significant honor and distinction" to the university.

 

The announcement was made by USC President Carol Folt during April’s Academic Honors Convocation. “They’ve brought immeasurable value and innovation to the learning experience for our students,” she said. “It would be a privilege to honor everything they’ve done to usher in a new era of education.”

For Dre and Iovine, the moment represents a full-circle evolution from shaping the sound of a generation to reshaping the future of learning. In 2013, the duo donated $70 million to create the USC Jimmy Iovine and Andre Young Academy, an interdisciplinary program blending design, technology and business. The Academy has since expanded with affiliated high schools in Los Angeles and Atlanta.

“Education was siloed,” Iovine said during the ceremony. “So we said, ‘What if we create a school where people collaborate and learn to innovate together?’”

Dr. Dre, the Compton-raised hip-hop pioneer and co-founder of N.W.A., first teamed with Iovine while launching his landmark solo debut "The Chronic" under Iovine’s Interscope Records. That partnership later grew into Beats Electronics and Beats Music, companies that helped redefine consumer audio and streaming before being acquired by Apple in 2014.

Dr. Dre’s production resume includes shaping the careers of Eminem, 50 Cent, Kendrick Lamar and Anderson .Paak. He also co-produced HBO’s Emmy-nominated docuseries "The Defiant Ones."

Meanwhile, Iovine’s legacy spans decades in music and media — from engineering records for John Lennon and Bruce Springsteen to executive producing some of hip-hop’s biggest crossovers. “I think we created something really special,” Iovine told the audience. “And thank you, Dr. Dre — you’re the greatest partner and friend that ever lived.”

From ‘The Twist’ to ‘Hey Ya!’: Rock Hall’s 2025 Class Bridges Generations

Outkast’s André 3000 and Big Boi, leaders of the Rock & Roll Hall of Fame’s 2025 induction class, redefined hip-hop with a style all their own. (Photo via Rock Hall)

"What's cooler than being cool?" For Outkast, the answer might just be the Rock & Roll Hall of Fame.

The genre-bending Atlanta duo — alongside fellow hip-hop trailblazers Salt-N-Pepa and dance-floor icon Chubby Checker — lead the Rock & Roll Hall of Fame’s Class of 2025. The eclectic roster, unveiled live during American Idol on Sunday night, bridges the old school and new school with legends who rewrote the rules of sound, culture and swagger.

The Rock Hall’s chairman John Sykes said this year’s class "created their own sound and attitude that changed the course of rock and roll forever," giving "a voice to generations."

For hip-hop fans, Outkast’s enshrinement feels long overdue. From the slow-boil southern funk of Southernplayalisticadillacmuzik to the genre-bending masterpiece Stankonia and the pop brilliance of Speakerboxxx/The Love Below, André and Big Boi blew open the definition of rap, crafting albums that felt like entire worlds. Hits like “Ms. Jackson,” “Hey Ya!” and “Rosa Parks” didn’t just dominate the charts, they rewrote the rules.

Their induction underscores the Rock Hall’s slowly widening lens on hip-hop as a revolutionary musical force, not just a genre, but a movement with staying power equal to rock’s earliest legends.

Salt-N-Pepa will receive the Musical Influence Award, cementing their legacy as rap’s original bad girls — bold, sexy, self-possessed — who opened the gates for generations of women in hip-hop and pop. Long before “WAP” shook the mainstream, Cheryl James and Sandra Denton crashed it with tracks like “Push It,” “Shoop,” and “Let’s Talk About Sex,” making them household names without sacrificing their edge.

And for the oldest heads in the room, Chubby Checker’s induction feels like a homecoming decades overdue. His 1960 hit “The Twist” didn't just launch a dance craze — it transformed R&B’s relationship with youth culture forever, making dancefloor rebellion mainstream long before the Beatles or Stones caught fire.

Other honorees this year include Seattle grunge architects Soundgarden, pop trailblazer Cyndi Lauper, blues powerhouse Joe Cocker, and British rock staples Bad Company. In the Musical Excellence category, legendary Philadelphia producer Thom Bell (known for work with The Delfonics and The Stylistics), session keyboardist Nicky Hopkins, and bass pioneer Carol Kaye will be recognized, while Warner Bros. executive Lenny Waronker earns the Ahmet Ertegun Award for his behind-the-scenes influence.

The induction ceremony is set for Nov. 8 at the Peacock Theater in Los Angeles, streaming live on Disney+ and airing later on ABC. Tickets and further ceremony details are expected later this summer.

Grassroots Campaign Aims to Fund Sun Ra Arkestra’s Return to Jazz Pioneer’s Hometown

Sun Ra appears in a 1973 publicity photo for Impulse/ABC Dunhill Records. A grassroots GoFundMe campaign aims to bring the Sun Ra Arkestra to his hometown of Birmingham for a four-day celebration of what would be his 111th birthday.

A grassroots GoFundMe campaign has raised more than $22,000 (as of press time) toward a $31,000 goal to bring the Sun Ra Arkestra to Birmingham for a four-day celebration of the bandleader’s 111th birthday. All proceeds will cover travel, lodging and production costs, with concert ticket revenue supporting local venues and youth jazz programs.

Herman “Sonny” Poole Blount, better known as Sun Ra, was born in Birmingham on May 22, 1914, and died there on May 30, 1993. A pioneering composer, bandleader and Afrofuturist philosopher, he fused big-band swing with synthesizers and cosmic theatrics to forge a sound that inspired generations. Over a 50-year career and nearly 200 albums, he composed more than 1,000 pieces, pioneering free improvisation, modal jazz and early electronic keyboards. His theatrical live shows — complete with elaborate costumes, dancers and spoken-word manifestos — helped lay the foundation for Afrofuturism and influenced artists from Parliament-Funkadelic to Janelle Monáe.

 

Since Ra’s passing, saxophonist Marshall Allen has led the Arkestra, preserving Ra’s “discipline” and expansive vision on stages worldwide. Allen, who turned 100 last year, remains at the helm of a band that has sold out shows from European jazz festivals to Tokyo’s Shinjuku Pit Inn.

The campaign, “Celebrate Sun Ra’s Legacy in Birmingham,” brings together the Alabama Jazz Hall of Fame, Sidewalk Cinema, Saturn Records, Seasick Records, Southern Music Research Center and East Village Arts. Two headline concerts — May 22 at Carver Theatre and May 23 at The Nick — anchor a slate of film screenings, art exhibits, panel discussions and youth workshops. Proceeds from the May 22 concert will benefit the Hall’s Saturday Jazz Greats initiative.

“This is our chance to honor Sun Ra where it all began,” said organizer Lee Shook. “Fans from Chicago to Tokyo to Johannesburg can join us in spirit — and help launch Birmingham’s first official Sun Ra Day.”

Tentative Event schedule (May 21–24)

• May 21: Screening of Space Is the Place at Sidewalk Cinema; House of Found Objects after-party

• May 22 (Sun Ra’s birthday): Seasick Records in-store signing at noon; workshop TBA; Arkestra concert at Carver Theatre; late-night set at Saturn Records

• May 23: “An Evening with the Sun Ra Arkestra” at The Nick, site of their famed 1988 show

• May 24: Craig Legg’s “Ark in Town” exhibit at East Village Arts; Moon Stew potluck and DJ sets by Rahdu, Suaze and The Audiovore

Full schedule and donation info at gofundme.com/f/4sc93-celebrate-sun-ras-legacy-in-birmingham.

2025 AMAs: Kendrick Lamar Tops Nominees, Beyoncé Lands Country Album Nod

Kendrick Lamar, seen in a promotional image for “GNX,” leads the 2025 American Music Awards with 10 nominations — a showing that could make him the most-awarded hip-hop artist in AMA history.

Kendrick Lamar tops this year’s American Music Awards with 10 nominations, including Artist of the Year; Album of the Year for "GNX"; Song of the Year for "Not Like Us"; Collaboration of the Year; Favorite Music Video; Favorite Male Hip-Hop Artist; Favorite Hip-Hop Album; and three entries in Favorite Hip-Hop Song ("Like That," "Not Like Us" and "Luther").

He landed three of the five slots in Favorite Hip-Hop Song, underscoring his dominance on the charts and in culture.

Black women make a major showing across genres. SZA joins Lamar on multiple fronts — Artist of the Year; Collaboration of the Year ("Luther"); and Favorite Female R&B Artist — while rising star Doechii vies for Social Song of the Year ("Anxiety") alongside fellow breakout Lola Young. In Favorite Female Hip-Hop Artist, the field is a who’s-who of today’s voices: Doechii, GloRilla, Latto, Megan Thee Stallion and Sexyy Red.

R&B also reflects the strength of urban voices. SZA’s "SOS Deluxe" and The Weeknd’s "Hurry Up Tomorrow" go head-to-head for Favorite R&B Album, while Kehlani, Muni Long and Summer Walker join SZA in the Favorite Female R&B Artist race. Usher, Chris Brown and Bryson Tiller lead the men’s side in Favorite Male R&B Artist.

On the country front, Beyoncé’s "Cowboy Carter" makes history with a nod for Favorite Country Album against Shaboozey’s "Where I’ve Been, Isn’t Where I’m Going" — two Black artists vying in a category long dominated by white acts.

Post Malone follows Lamar with eight nominations, spanning Artist of the Year; Album of the Year for "F-1 Trillion"; Song of the Year for "I Had Some Help"; two bids in Collaboration of the Year ("I Had Some Help" with Morgan Wallen and "Fortnight" with Taylor Swift); Favorite Male Country Artist; Favorite Country Album; and Favorite Country Song.

Pop powerhouse Billie Eilish and breakout Chappell Roan each picked up seven nominations, while rock stalwarts Linkin Park and Twenty One Pilots aim to extend their reign in Favorite Rock Artist.

Jennifer Lopez returns to host the 51st AMAs live from Las Vegas on Monday, May 26, at 8 p.m. ET/5 p.m. PT on CBS, with streaming available on Paramount+.

Key Nominees by Nomination Count

• Kendrick Lamar (10): Artist of the Year; Album of the Year (GNX); Song of the Year (“Not Like Us”); Collaboration of the Year; Favorite Music Video; Favorite Male Hip-Hop Artist; Favorite Hip-Hop Album; Favorite Hip-Hop Song (×3)

• Post Malone (8): Artist of the Year; Album of the Year (F-1 Trillion); Song of the Year (“I Had Some Help”); Collaboration of the Year (×2); Favorite Male Country Artist; Favorite Country Album; Favorite Country Song

• Billie Eilish (7): Artist of the Year; Album of the Year (Hit Me Hard and Soft); Song of the Year (“Birds of a Feather”); Favorite Touring Artist; Favorite Female Pop Artist; Favorite Pop Album; Favorite Pop Song

• Chappell Roan (7): Artist of the Year; New Artist of the Year; Album of the Year; Song of the Year; Social Song of the Year; Favorite Female Pop Artist; Favorite Pop Album

• Shaboozey (7): New Artist of the Year; Song of the Year (“A Bar Song (Tipsy)”); Social Song of the Year; Favorite Music Video; Favorite Male Country Artist; Favorite Country Album; Favorite Country Song

For the full list of nominees, visit the official AMAs site by clicking here. 

Snoop Dogg’s Gospel Album ‘Altar Call’ Drops Sunday on Death Row

Album art for “Death Row Records Presents: Altar Call” features a photo of Snoop Dogg’s late mother, Beverly Tate, whose birthday coincides with the album’s Sunday release. (Courtesy Death Row Records)

Snoop Dogg will swap G‑funk for gospel this month, unveiling a 21‑track set titled “Death Row Records Presents: Altar Call,” dropping this Sunday — the day that would have marked the 74th birthday of his late mother, Beverly Tate.

The rapper announced the project in an Instagram reel, telling fans, “Good afternoon, loved ones … April 27 I’m dropping a gospel album on Death Row Records … God is good — won’t He do it? Try to block my blessing, my team undefeated.”

“Altar Call” reunites Snoop with several high‑profile collaborators. iHeartRadio lists guest spots from Jamie Foxx, Robert Glasper, Jazze Pha, Denaun Porter, Mali Music, Jane Handcock, October London and the newly formed Death Row Mass Choir, while the Bereal Family lends vocals to the lead single “Help Me Jesus,” released April 18.

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Speaking with faith‑based outlet Movieguide, the Long Beach native said the album “is a reflection of what [my mother] taught me — use my voice to spread love and heal the world.”

Fans can already pre‑add the record on Apple Music through a Death Row/Gamma landing page that displays the full 21‑song lineup.

“Altar Call” follows Snoop’s 2018 gospel debut, “Bible of Love,” which spent seven weeks at No. 1 on Billboard’s Top Gospel Albums chart and remained on the tally for 32 weeks overall. It is also his first full‑length release since he reacquired Death Row Records in 2022, turning the onetime gangsta‑rap stronghold into what he calls “the world’s most dangerous record label — now with a message.

25 Years Later, Aaliyah’s Soundtrack for 'Romeo Must Die' Still Defines a Generation

Aaliyah and Jet Li share a scene in Romeo Must Die (2000), the hip-hop-infused action film whose chart-topping soundtrack helped define a generation. (Warner Bros. Pictures)

Twenty-five years ago, the soundtrack to "Romeo Must Die" did more than just accompany a movie, it helped define an era.

Released in April 2000, the compilation captured the slick, futuristic pulse of R&B and hip-hop at the turn of the millennium. With Aaliyah as both the film’s star and the centerpiece of its soundtrack, the album became a cultural force, fusing sound and screen into one unforgettable moment in time.

The lead single, “Try Again,” didn’t just climb the charts — it rewrote them.

Produced by Timbaland, the track made history as the first song to top the Billboard Hot 100 based solely on radio airplay, without a commercial single release in the U.S. Its sci-fi beat, driven by Timbaland’s signature synth bassline, gave listeners a glimpse into the sound of the future.

The music video, directed by Wayne Isham, blended stylized futuristic visuals with clips from the film, further cementing Aaliyah’s status as an icon. It went on to earn critical acclaim, winning both Best Female Video and Best Video from a Film at the 2000 MTV Video Music Awards.

 

But “Try Again” was just the beginning.

Aaliyah delivered multiple standout moments on the "Romeo Must Die soundtrack," including the DMX-assisted “Come Back in One Piece” — a gritty, East Coast-meets-sultry-South duet that mirrored the film’s streetwise romance. The slow-burning ballad “I Don’t Wanna” and the percussive, synth-tinged “Are You Feelin’ Me?” showcased her vocal range and cool control, further elevating her role not just as a performer, but as the executive producer shaping the project’s sound and identity.

  

Behind much of the album’s sonic innovation was Timbaland, whose glitchy, polyrhythmic production ran through the tracklist like an electric current. Whether on the playful Timbaland & Magoo cut “We At It Again” or Ginuwine’s smooth and seductive “Simply Irresistible,” his fingerprints were everywhere — reshaping R&B with every stuttered vocal, off-kilter drum hit and futuristic flourish.

Beyond its star power, the "Romeo Must Die" soundtrack played like a roll call of turn-of-the-millennium hip-hop and R&B. Destiny’s Child, still riding high on the success of "The Writing’s on the Wall," brought confident swagger with “Perfect Man.” Joe added smooth soul to the mix with “Rose in a Concrete World (J Dub Remix),” while Cash Money’s B.G. injected street grit on “Rollin’ Raw.” Rounding out the roster were Mack 10, Dave Hollister, Chanté Moore, and Static Major — a lineup that captured the era’s sonic range and commercial reach.

 

More than a collection of songs, the Romeo Must Die soundtrack became a sonic time capsule — the kind of album that blared from car stereos, rocked house parties, and soundtracked late-night club sets. It was music made for motion: dancing, driving, grinding, remembering. It didn’t just complement the film — it outlived it.

Today, the soundtrack stands as a lasting tribute to Aaliyah’s artistry and vision. Her untimely death in 2001 renders every track more poignant — a reminder of what was, and what could have been. Still, the music endures, echoing across generations and playlists.

On this 25th anniversary, revisit the soundtrack that dared to lead, not follow. Press play, reflect, and remember the moment when one album captured the rhythm of an entire era.

Stream the full album here:

'No scrubs, just legends': TLC musical to debut in D.C. next summer

Cover art for TLC’s landmark 1994 album "CrazySexyCool." The Grammy-winning release inspired the upcoming stage musical of the same name, debuting in 2026 at Arena Stage in Washington, D.C.

A new musical celebrating the legacy of TLC, the trailblazing R&B trio behind hits like "Waterfalls" and "No Scrubs," is set to make its world premiere at Arena Stage’s Kreeger Theater in Washington, D.C. next summer.

Titled "CrazySexyCool – The Musical," the production will run from June 12 through August 9, 2026, and aims to bring the group’s story — equal parts electrifying and emotional — to the stage with a blend of iconic music, bold choreography, and sisterhood-driven storytelling.

Penned and directed by Kwame Kwei-Armah, a British playwright and actor best known for his work on "One Love: The Bob Marley Musical," the show traces the rise of Tionne “T-Boz” Watkins, Lisa “Left Eye” Lopes, and Rozonda “Chilli” Thomas as they navigated fame, friendship, loss and the music industry’s highest highs and deepest pitfalls. Choreography is helmed by Chloe O. Davis, whose recent credits include associate choreographer for the Broadway revival of "Gypsy" and dance captain for Alicia Keys’ "Hell’s Kitchen."

“Bringing this story to the stage is a dream come true,” Watkins said in a statement. “We have performed in a lot of different venues all over the world throughout our career, but bringing our story and music to the theater is a totally new and exciting challenge.”

“We have some of the best people in the business working on this project,” Thomas added. “Audiences will get to hear our story — mostly fact with a sprinkle of fiction — told in our own way, and of course it’s set to all your favorite hits!”

The musical takes its name from the group’s 1994 blockbuster album "CrazySexyCool," which earned diamond certification and yielded four Billboard Top 10 singles including “Creep” and “Red Light Special.” The album won two Grammy Awards: Best R&B Album and Best R&B Performance by a Duo or Group with Vocals.

With a tagline promising “No scrubs. Just legends,” the production offers a fresh lens on TLC’s cultural impact, digging into the group’s creative clashes, personal resilience, and enduring influence.

At their peak, TLC didn’t just dominate radio, they shaped an era. From bold fashion statements and genre-defying visuals to music that addressed everything from safe sex to self-worth, the trio helped define the sound and style of the '90s. They remain the best-selling American girl group of all time.

Tickets and additional casting details will be announced ahead of the production’s debut.

Charlie Wilson, Babyface, K-Ci, and El DeBarge Unite for Cross-Generational R&B Celebration

K-Ci Hailey, Charlie Wilson, Babyface, and El DeBarge (from left) are joining forces for Uncle Charlie’s R&B Cookout Tour. (Photo by Jacob Huizar)

Charlie Wilson is hitting the road this summer with a lineup that reads like an R&B Hall of Fame reunion, and a live show that feels more like a family cookout than a concert.

 
Uncle Charlie’s R&B Cookout Tour launches August 27 at the Hollywood Bowl and brings together a powerhouse ensemble: Wilson, Babyface, K-Ci Hailey, and El DeBarge, rotating across dates in more than 20 cities including New York, Houston, Atlanta, Chicago, and Detroit. Produced by Live Nation Urban and P Music Group, the tour promises a celebration of legacy, groove, and soul-fueled connection.

Wilson’s impact spans decades, from his days with The Gap Band — delivering funk staples like “Outstanding” and “Yearning for Your Love” — to solo hits like “There Goes My Baby” and “Charlie, Last Name Wilson.” Babyface, meanwhile, is both a performer and a behind-the-scenes legend, having penned and produced R&B essentials for Whitney Houston, Boyz II Men, Toni Braxton, and more.

K-Ci Hailey, one of the most recognizable voices in R&B, brings hits from Jodeci (“Come and Talk to Me,” “Forever My Lady”) and K-Ci & JoJo (“All My Life”). El DeBarge’s smooth falsetto rounds out the lineup with radio staples like “I Like It” and “Rhythm of the Night.”

Rather than lean on the past, the tour leans into the enduring relevance of Black music. The cookout theme evokes something more intimate, a gathering of generations, voices, and shared memories. “This tour is about more than great performances,” said P Music Group CEO Michael Paran. “It’s about capturing that feeling — the joy, the energy, and the nostalgia you feel when you’re surrounded by genuine love.”

“I’ve been performing for so long that my audience isn’t just made up of fans,” Wilson added. “It really has become a family.”

In select cities, fans can purchase an exclusive VIP upgrade that includes an all-you-can-eat cookout-style pre-show with comfort food, cocktails, and curated vibes. Tickets and full details are available now at unclecharliescookout.com.

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R&B Cookout Tour — 2025 Dates

Wed 8/27 – Hollywood, CA – Hollywood Bowl *
Fri 8/29 – Concord, CA – Toyota Pavilion *
Fri 9/5 – Detroit, MI – Little Caesars Arena
Sat 9/6 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
Sun 9/7 – St. Louis, MO – Hollywood Casino Amphitheatre
Thu 9/11 – Newark, NJ – Prudential Center
Fri 9/12 – Wantagh, NY – Northwell at Jones Beach Theater
Sat 9/13 – Boston, MA – Leader Bank Pavilion
Sun 9/14 – Philadelphia, PA – TD Pavilion at The Mann
Fri 9/19 – Raleigh, NC – Coastal Credit Union Music Park
Sat 9/20 – Baltimore, MD – CFG Bank Arena
Sun 9/21 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri 9/26 – Houston, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman
Sat 9/27 – Oklahoma City, OK – Zoo Amphitheater
Sun 9/28 – Dallas, TX – Toyota Music Pavilion
Fri 10/3 – New Orleans, LA – Smoothie King Arena **
Sat 10/4 – Atlanta, GA – Chastain Park *
Sun 10/5 – Charlotte, NC – PNC Music Pavilion
Fri 10/10 – Birmingham, AL – Coca-Cola Amphitheater
Sat 10/11 – Brandon, MS – Brandon Amphitheater *
Sun 10/12 – Memphis, TN – FedEx Forum

*(*No El DeBarge | *No Babyface)

Watch: New Beyoncé Levi’s Ad Pays Homage to ’80s Iconic Denim Spot

Beyoncé is once again rewriting the rules of style and sound — this time through a denim-clad remix of a Levi’s classic.

The global icon headlines a new commercial for the brand’s “Levii’s” campaign, a sleek, Americana infused homage to her country crossover era, “Cowboy Carter.” Directed by longtime collaborator Melina Matsoukas (“Queen & Slim”), the latest spot reimagines Levi’s iconic 1988 “Refrigerator” ad — but this time, Beyoncé is the center of gravity.

Clad in her custom “Levii’s” jean shorts, the superstar retrieves a denim shirt from the fridge while country artist Willie Jones — who also appears on “Cowboy Carter” — looks on. The spot’s soundtrack features her song “Levii’s Jeans,” a collaboration with Post Malone, weaving the campaign directly into the sound and style of Act II of her anticipated musical trilogy, which began with 2022’s “Renaissance.”

Filmed in late July at the chrome-plated Bendix Diner in Hasbrouck Heights, New Jersey, the commercial marks Chapter 3 of Levi’s larger “Reiimagine” series. The spot is one of several Beyoncé-led reinterpretations of the brand’s most iconic ’80s and ’90s ads. Chapter 1, titled “Launderette,” was shot at a laundromat in Nutley, New Jersey, and flips the 1985 Nick Kamen Levi’s ad. Chapter 2, “Pool Hall,” features actor Timothy Olyphant and riffs on a 1991 favorite.

While Jersey locals might recognize the Bendix from its cameos in “The Many Saints of Newark” and other productions, the impact of Beyoncé’s “Levii’s” campaign is unmistakably global — rooted in legacy denim but refreshed with a distinctly Southern Black flair.

The campaign is one of several strategic moves tied to the launch of her “Cowboy Carter” era, which continues April 28 when her Rodeo Chitlin’ Circuit Tour kicks off with five dates in Los Angeles. Beyoncé will then bring the tour to MetLife Stadium in East Rutherford, New Jersey, for five more shows later in May.

It’s the latest example of Beyoncé’s precision-crafted evolution — merging pop stardom, fashion innovation, and cultural storytelling in one sleek package.

The full “Reiimagine” campaign, including the new “Refrigerator” ad, is now streaming on Levi’s official channels.

R&B Icon Toni Braxton Wed Birdman Last Summer, Quietly Called It Off — Then Undid It

The couple posing together in a previously deleted Instagram post. 

Toni Braxton and Birdman’s long-running romance took an unexpected turn last year — one they never publicly acknowledged until now.

According to court documents obtained by "TMZ" and confirmed through multiple sources, the R&B legend and Cash Money Records co-founder quietly tied the knot on Aug. 8, 2024. But just two days later, Braxton filed for divorce, citing that the marriage was “irretrievably broken.”

The singer, 57, listed Aug. 10 as their date of separation in legal filings. However, in a surprising twist, she dismissed the divorce petition in January 2025, and Birdman (born Bryan Christopher Williams) signed off on the decision — meaning the two remain legally married.

Still, the couple’s current relationship status is unclear. Braxton has not been seen wearing a wedding ring in recent Instagram posts, and both she and Birdman have reportedly scrubbed photos of each other from their social media accounts.

The news contradicts a statement Braxton made in December 2023, when she publicly denied rumors of a secret wedding and insisted, “My dear friend @birdman and I are not married…never been married. We are both single.” She ended the message with a sharp “#FAKENEWS.”

The pair’s relationship has been marked by years of stops and starts. After decades of friendship, they began dating in May 2016. Birdman proposed in early 2018 with a $1 million diamond ring, but the couple called off the engagement in 2019 before reconciling shortly afterward.

Throughout their on-again, off-again relationship, both have spoken publicly about their bond.

 

In a 2017 episode of "Braxton Family Values," Braxton gushed, “He likes to do things to show that he cares about me, like sending flowers… He’s an undercover gentleman and he makes me feel adored.” A year later, Birdman echoed the sentiment on "The Wendy Williams Show," calling her “my love, my soldier, my everything.”

Most recently, in an April 2024 interview with People, Braxton described herself as single and “looking forward to getting out there and dating.”

If their 2024 nuptials hold, this would be Braxton’s second marriage. She was previously married to musician Keri Lewis from 2001 to 2013, with whom she shares two sons, Denim and Diezel. Birdman has never been married but has two adult children — Bryan Jr. and Bria — from a previous relationship.

As of today, neither Braxton nor Birdman has commented publicly on their status — leaving fans to wonder whether their love story is officially over or simply paused.