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Beyoncé’s Biggest Chart Achievements | Billboard Explains

Narrator: Nobody does it like Beyoncé. The superstar is iconic, and her Billboard chart history proves it. In honor of her new album Cowboy Carter, we’re running down her biggest chart achievements. This is Billboard Explains: Beyoncé’s Reign on the Charts. Fans were first introduced to Beyoncé as the lead singer of Destiny’s Child. The […]

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Beyoncé’s ‘Cowboy Carter’ to Feature Collaborations With Miley Cyrus, Post Malone & More

The Cowboy Carter era is almost upon us, and just a day before Beyoncé’s long-awaited country album is released on Friday (March 29), we’ve gotten a glimpse on the star-studded appearances on the project. Explore Explore See latest videos, charts and news See latest videos, charts and news The 27-track album will feature collaborations with Miley Cyrus, Post Malone and Shaboozey, according to Entertainment Weekly. Additionally, Dolly Parton, Linda Martell and Willie Nelson will appear in interludes on the album’s conceptual KNTRY radio station. Cowboy Carter also includes contributions from Black country artists such as Rhiannon Giddens, Tanner Adell, and Willie Jones. Earlier this week, Bey shared a graphic filled with what appears to be song titles from the March 29-slated record, modeled after a Western-style poster. “Cowboy Carter and the Rodeo Chitlin’ Circuit,” reads a banner at the top. Trending on Billboard Alongside the names of previously released singles “16 Carriages” and the Billboard Hot 100-topping “Texas Hold ‘Em,” the post also features the following titles: “Ameriican Requiem,” “Blackbiird,” “Protector,” “My Rose,” “Bodyguard,” “Daughter,” “Spaghettii,” “Alliigator Tears,” “Smoke Hour II,” “Just for Fun,” “II Most Wanted,” “Levii’s Jeans,” “Flamenco,” “Ya Ya,” “Oh Louisiana,” “Desert Eagle,” “Riiverdance,” “Tyrant,” “II Hands II Heaven,” “Sweet Honey Buckin’” and “Amen.” Cowboy Carter marks the second act of Beyoncé’s 2022 album, Renaissance. In a March 19 Instagram post, Beyoncé both stressed that Cowboy Carter is “a continuation of Renaissance” and acknowledged the Billboard chart history she made with “Texas Hold ‘Em.” “I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” she shared. “That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant.”

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Every Beyoncé Album Cover, Ranked

03/28/2024 From 'Dangerously in Love' to 'Cowboy Carter.' 03/28/2024

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Rihanna Might Never Drop ‘R9’ & We Need to Be OK With That

For fans having a hard time coming to terms with the fact that Rihanna has retired from making music, it’s time to rip that band-aid off. RiRi has kept music on the back burner for several years now, and she’s only returned to the stage when presented with prime (and, at times, high-paying) opportunities that no major artist would want to refuse. She headlined the Super Bowl LVII Halftime Show last year, where she also revealed she was pregnant with her and A$AP Rocky’s second child. And earlier this month, the internet devoured guerrilla footage of her first full concert in eight years — during the pre-wedding celebration for Anant Ambani, the son of Asia’s richest man Mukesh Ambani, and Radhika Merchant in Jamnagar, India. Rihanna was reportedly paid anywhere from $6 to $9 million for her set, which included performances of her Billboard Hot 100 No. 1 hits “Work,” “Umbrella,” “We Found Love,” “Diamonds” and more. Shortly before her Indian pre-wedding concert, she had hinted at a collaboration with Rocky – but it was about a lip balm. And earlier this week, she starred on the cover of Vogue China to celebrate the expansion of Fenty Beauty, one of Rihanna’s many business ventures that’s transformed the superstar with nine Grammys into a mogul with nine zeroes in her net worth. But fans are still holding out for her ninth studio album. [embedded content] Rather than continuing to hope for R9’s uncertain arrival, it would be easier to accept that the album might never materialize. And although she’s never officially announced her retirement, her career moves over the last few years have strongly suggested that no new music is on the horizon. Trending on Billboard Rihanna hasn’t dropped a full-length project since 2016’s ANTI, and it’s arguably her best album – even Rihanna agrees. “In hindsight, it really is my most brilliant album,” she said in her 2023 British Vogue cover story. “It always felt like the most cohesive album I’ve ever made.” It produced the nine-week Hot 100 No. 1 “Work,” featuring Drake, and two additional top 10 hits with “Needed Me” and “Love on the Brain.” “Work,” “Needed Me” and fellow single “Kiss It Better” all earned Grammy nominations, while ANTI was up for best urban contemporary album and best recording package in 2017. The LP debuted at No. 27 on the Billboard 200 following its surprise release on Tidal (with a little more than a day left in the chart’s tracking week); after it became widely available to digital retailers and streaming services, ANTI reached No. 1 in its second-charting week, marking her second chart-topping album after 2012’s Unapologetic. And at 412 weeks (and counting), ANTI is the fourth-longest-charting album on the Billboard 200 by a woman artist, after Adele’s 21, Lana Del Rey’s Born to Die and Taylor Swift’s 1989. The songs from ANTI collectively have 7.2 billion official on-demand U.S. streams, according to Luminate. Rihanna really doesn’t need to drop another body of work, because she’s already delivered a classic. And while ANTI set the bar very high, that doesn’t mean Rihanna couldn’t outdo herself. Artists like SZA and Frank Ocean have proven they can follow up their universally acclaimed sets with equally excellent or even better albums. But Rihanna has opened up about the pressure that comes with the prospect of dropping the highly anticipated follow-up to ANTI. “There’s this pressure that I put on myself. That if it’s not better than that then it is not even worth it,” she told British Vogue last year, explaining how her perfectionism has gotten in the way of her creative process. “I realized that if I keep waiting until this feels right and perfect and better, maybe it’s going to keep taking forever and maybe it’ll never come out and no, I’m not down for that.” RiRi also told the publication that it would be “ridiculous” if she didn’t drop the album in 2023. Now that we’re quickly approaching Q2 of 2024, it’s hard to determine how Rihanna has since readjusted her timetable for R9. She’s made comments about R9 in previous interviews that have indicated it isn’t completely a myth. In her 2018 Vogue cover story, she said she wanted to make it a reggae album. When she covered the magazine the following year, she doubled down on her statement. “I like to look at it as a reggae-inspired or reggae-infused album,” she told Vogue in 2019. But otherwise, Rihanna has not publicly disclosed any concrete details about or plan to release the album we’ve all been waiting for. She told Entertainment Tonight in February 2022 that her fans “would kill me if they waited this long for a lullaby.” And what did she do? She released a lullaby seven months later with “Lift Me Up,” her first solo single in six years and the lead single from the Black Panther: Wakanda Forever soundtrack. While the tribute to late actor Chadwick Boseman wasn’t the kind of song fans were expecting (and the kind of song Rihanna joked she wouldn’t deliver), it proved she still had the juice, commercially and artistically: “Lift Me Up” debuted at No. 2 on the Hot 100 and became the best-starting radio single of Rihanna’s career, debuting at No. 6 on Radio Songs. It also earned best original song nominations at the 80th annual Golden Globe Awards and 95th annual Academy Awards and a best song written for visual media nod at the 66th annual Grammy Awards. But one hit soundtrack single – that stayed two weeks in the Hot 100 top 10, which isn’t a remarkable feat for a Rihanna single – is no indication of her hypothetical new album era. Most people seemed to forget that she recorded two songs for the Black Panther: Wakanda Forever soundtrack, with “Born Again” closing out the project. The song didn’t earn the same impressive chart stats or rave reviews as “Lift Me Up,” which spurred multiple “Rihanna Returns to Music” headlines. Yet her momentary reappearance, which has been followed by other mini-resurfacings like her Super Bowl and pre-wedding performances, hasn’t officially signaled the end of her eight-year musical hiatus. And a large reason why the “Don’t Stop the Music” hitmaker stopped putting out music is because Rihanna has been preoccupied checking off everything else from her bucket list. A few years back, a snippet of her 2008 InStyle cover interview resurfaced on X (formerly known as Twitter) where then-20-year-old singer listed what she wanted to accomplish in the next 10 years: “I want to have already started my family and have some businesses of my own. A fashion line, a makeup line, and I still want to be doing what I’m doing at a much bigger capacity – by the grace of God!” Rihanna, now 36, has accomplished everything she’s set out to do: In the eight years following ANTI, Rihanna welcomed two sons with Rocky; launched her $1 billion-worth Savage x Fenty lingerie brand and historic Fenty fashion line with LVHM Moët Hennessy Louis Vuitton (which was put on hold in 2021); and opened her Fenty Beauty and Fenty Skin lines, with the success of the former helping her reach billionaire status in 2022. While fans’ original entry point to Rihanna was her music, she has wielded her musical career as an entry point to starting other successful businesses. And fans can get frustrated if it seems like artists are neglecting the thing that made them popular in the first place, but what they might not realize or even respect is that artists have other big dreams they want to pursue – and music might’ve provided an avenue for them to achieve them. Saweetie, another business-savvy artist who has noticeably taken her sweet time to release an album and recently explained the pressure surrounding it, has also opened up about wanting to create a legacy for herself beyond music. Whether artists completely stop making music to pursue their other passions or drop singles here and there before disappearing again, fans’ hopes for their musical careers don’t always align with the direction artists take them in. Maybe RiRi will pull a Kendrick and deliver the news we’ve all been waiting for when she sees discussions about her retirement. Or maybe ANTI really is her swan song. Either way, Rihanna’s career trajectory has been nothing short of exceptional – and for better or for worse, another album isn’t going to dramatically affect it.  

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Afrobeats Fresh Picks: Tyla, ODUMODUBLVCK & Tiwa Savage, Kizz Daniel, BNXN, Ruger, Tems & More

It’s March, and the year is starting to heat up with big albums and even bigger singles from some of the heavy hitters of the Afrobeats community. Billboard‘s current cover star Tyla polishes her signature popiano sound with her self-titled debut album Tyla, while Odunsi (The Engine) recruits artists from around the world to expand the borders of the alté genre on his forthcoming Leather Park Vol. 1 compilation album. And different dynamic duos underline the power of collaboration, from Aya Nakamura and Ayra Starr getting the girls gassed up on “Hypé,” to Tiwa Savage and ODUMODUBLVCK (who was featured on Billboard‘s 2024 R&B/Hip-Hop Artists to Watch list alongside Tyla) reminding everyone about their worth on “100 Million,” to Ruger and BNXN squashing their beef to put together one of the best songs of the year so far. We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below. Leather Park & Odunsi (The Engine) feat. Minz & Elias Slay6rr, “Crown Bounce”   Trending on Billboard [embedded content] Odunsi (The Engine) recruited underground and mainstream international artists as well as producers and engineers for his innovative Leather Park music camp, which took place in Paris Fashion Week last year. The alté leader tapped fellow Nigerian artists Minz and Elias Slay6rr (who were also part of the camp) for the super wavy “Crown Bounce,” the first single from the upcoming Leather Park Vol. 1 compilation album Odunsi executive produced and curated. On “Crown Bounce,” he’s feeling himself more than all of the girls he has all around the world, comparing himself to both Michaels: “I felt like Jackson when I step/ I felt like Jordan when I shoot.” Minz and Slay6rr can also woo any woman with their infectious, idiosyncratic charm, while the song’s infectious groove can coax any listener to sway their hips. “‘Crown Bounce’ is an extension of a style I’ve been developing for years,” Odunsi tells Billboard. “It expresses my pursuit for mixing classical music as well as nostalgia with modern African groove.” ODUMODUBLVCK feat. Tiwa Savage, “100 Million”   [embedded content] Nigerian stars ODUMODUBLVCK and Tiwa Savage are ready to “f–k up the club” with their pricey collaboration “100 Million.” ODUMODUBLVCK fires off verses about his worth, while Tiwa stays in her melodic bag, solidifying her African Bad Gyal status. Sholz and Decster’s polished Afrobeats-meets-drill production (with an underlying lush string arrangement) provides the perfect backdrop for their luxurious lifestyle. That opulence is further highlighted in the accompanying music video, where ODUMODUBLVCK and Tiwa take over the palm tree-dotted streets of Los Angeles, as the former commands The Peppermint Club’s stage from his show back in February.   Tyla, Gunna & Skillibeng, “Jump”   [embedded content] The South African popiano star recruits Atlanta rapper Gunna and Jamaican dancehall deejay/rapper Skillibeng for the sweltering club banger “Jump,” which will have all the girls sweating off their concealer. Skilli gasses up Tyla by rapping in the intro, “Original gyal, you aren’t a replica (No!)” before she flexes in the first verse, “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The sweat’s bound to be dripping off anyone listening, but leave it to Gunna to provide his girl with the drip: “Told the chauffer take you to a Chanel store/ Ever play with you, it be a world war.” While incorporating amapiano’s log drums, rap’s airhorns and dancehall’s pulsating bass, “Jump” jumps between genres, and can get the party started anywhere around the world.   Kizz Daniel, “Sooner”   [embedded content] Having already fallen for one woman, Nigerian star Kizz Daniel wishes he had met a second one “Sooner,” the first single on his latest EP TZA — short for Thankz Alot, and meant as a “thank you” for his fans who have been supporting him during his decade-long career (His debut single “Woju” came out in 2014). The Nigerian singer-songwriter feels torn: On one hand, he’s aware he’s already committed to someone, but on the other hand, he doesn’t want to let a new woman go, and finds himself physically tempted to pursue her. Daniel makes his promiscuity entertaining with the song’s steady percussive bounce.   Aya Nakamura feat. Ayra Starr, “Hypé”   [embedded content] French Malian popstar Aya Nakamura fuels more “Hype” for her first single of 2024 by adding Beninese Nigerian Afropop star Ayra Starr to the mix. Nakamura falls out of love with her terrible ex and hypes herself up as a “hit machine,” while Starr erases her former lover from her memory, singing, “Two chances, too many to track/ Just worry ’bout my bag, I don’t want you back.” And the playful music video makes the power of the Aya x Ayra linkup even more palpable. Ruger & BNXN, “Romeo Must Die” [embedded content] After a few years of publicly jockeying and feuding — some of it in the spirit of competition, some of it petty — two of the most reliable hitmakers in Africa set aside their differences to join forces on this breezy, compelling collaboration that speaks to the primary strength for both artists: melody. It’s a worthy addition to both of their canons, but just as importantly, heals a rift in a way that benefits all — and especially fans. Tyla feat. Tems, “No. 1” [embedded content] Tyla’s self-titled album is the first true event album of the year for African music, and this collaboration with Tems is a clear standout on a project stocked full of great songs. The South African singer-songwriter’s breakout in the past year — crowned with a Grammy for best African musical performance at the Grammys earlier this year — has been one of popular music’s greatest success stories of late, and her teaming up with one of Nigeria’s go-to vocalists of the past few years makes for an engaging and soulful duet that brings the best out of both artists. King Promise, “Paris” [embedded content] King Promise’s rise has been remarkable in recent months, and last year’s “Terminator” was easily a top 10 song of 2023. “Paris” is a great follow, with an amapiano through-line and a hook that is an instant earworm. The Ghanaian star is building a truly top-tier oeuvre, and with a new album on deck for this year, there’s plenty more to come. Bella Shmurda, “Loner” [embedded content] Following the street dance craze of last year’s “Ara (Gen Gen Tin),” Bella Shmurda returns with a more melodic, soulful and introspective cut that shows off his vocals and songwriting skills in a way that goes beyond what he’s been known for in his career so far. A great song, and another step forward for an artist that continues to evolve. Pheelz, “Go Low” [embedded content] With this propulsive, dance-y track, super producer Pheelz comes back with another big track following up on the massive success of last year’s “Finesse.” With a groovy trumpet line, a silky vocal and its strong back line, it’s a perfect cut for dance floors this coming summer.

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Jumbo Returns to U.S. Stage After 10-Year Hiatus: ‘It’s a Great Reason to Celebrate’

After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14. Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey. Trending on Billboard “The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno “División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.” Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene. In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade. What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up? We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break. Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno As you celebrate these 25 years, what do you consider has been the key to staying together as a band? It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music. Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members. And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate. Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy? I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week. La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly. [embedded content] When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot. What’s next after the tour? Any final thoughts? One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet. I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back. We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows. Check out Jumbo and División Minúscula’s full tour dates below, second slide:

FEATURED

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    Water

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    SkeeYee

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