“You know what season it is,” Ye boasts on Bullytrack “King.” Yeah, Yeezy season has returned, but it feels different this time around for the mercurial artist born Kanye West.
A typical Kanye album rollout is filled with noise feeding the machine and algorithm, but now that chaos has turned to radio silence. It’s about time the music became the sole focus, as antics have muddied the waters and served as a distraction from his work in the past.
West’s first solo album in more than four years also comes with a brand-new label partnership with Gamma. Ye reunited with an old friend, Larry Jackson, who serves as the independent label’s founder, as they go back to Jackson’s time working as an executive at Apple Music in the mid-2010s.
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Ye Returns With ‘Father’ Video, Featuring Travis Scott and Directed by Bianca Censori
At this point, no Ye album arrives on the traditional midnight ET release schedule, keeping fans on edge as they repeatedly refresh streaming services. Bully finally hit DSPs early Saturday (March 28), following Thursday night’s (March 26) listening parties across the U.S. (Ye attended L.A.’s).
Bully is more polished and cohesive than his work in recent years. Ye limited the half-baked ideas and unfinished tracks, thankfully threw away the AI-slop vocals and got back to his roots by chopping up soulful samples on the production side.
It’s a versatile crew of collaborators joining West on Bully, including underground rap favorite Nine Vicious, the legendary CeeLo Green, frequent collaborators like Travis Scott, Don Toliver, Vultures running mate Ty Dolla $ign, Peso Pluma and Ye’s music director André Troutman, who helped steer the ship for Bully‘s sonic direction.
Ye is still working his way back from the damaging string of antisemitic remarks and turbulent behavior that persisted over the course of the last few years. He’s met with rabbis and taken out full-page ads in The Wall Street Journal to apologize to the Jewish and Black communities for his actions, as he seeks forgiveness and looks to be entering a new chapter of life.
Pulling on a mix of Yeezy eras with one eye toward the future, Bully‘s arrival is a step in the right direction for Ye. Bully funnels into a pair of comeback concerts at SoFi Stadium set for April 1 and April 3, which will serve as West’s first U.S. stadium shows in nearly five years.
Ye (Kanye West)’s “Father” and its parent album, Bully, are streaming now.
The music video for “Father” — featuring an appearance by Travis Scott who comes in for his verse on the track, and set in a church minimalist in design but layered with goings-on worth a second look — is a single-camera scene directed by Bianca Censori.
Ye hasn’t said anything about its meaning, or anything about it at all, but his “Father” video plays out like a commentary on religion, reality and the ennui of modern society.
Here, a fellow’s card tricks turning to flames are as unremarkable as the knitting granny in an adjacent pew. A police squad, preceded by a plate-armoured knight arriving down the aisle via horse, arrests a nun from her slumber. Michael Jackson (his lookalike, at least) sits alone, quietly unbothered in the last row. The touchdown of a UFO seems inconsequential, with stars Ye and Scott pulling down masks showing they already play both celebrity and extraterrestrial.
All of the above goes largely unnoticed to churchgoers in “Father.”
All the while Ye’s chorus goes: “Bye-bye to my old self/ Wake up to the new me / I used to be on Worldstar/ Now I’m making Newsweek/ I used to hang on the 9/ Now I bought two streets/ Cottage Grove to King Drive/ Yeah, this life is a movie.”
Ye’s Bully album hit streaming services early Saturday (March 28) just ahead of two upcoming shows in Los Angeles, where he’ll perform at SoFi Stadium on April 1 and 3. The 18-song collection, clocking in at a concise 42 minutes, has track titles that feature Don Toliver (“Circles”), Peso Pluma (“Last Breath”), CeeLo Green (“Bully”) and Ye’s music director Andre Troutman (“All the Love,” “White Lines”) in addition to the Travis Scott-assisted “Father.”
Bully is his first album release to follow the antisemitic remarks and erratic online posts that had him in headlines in recent years, for which he’s since taken out a full-page apology ad in The Wall Street Journal to address and to seek forgiveness. “One of the difficult aspects of having bipolar type-1 are the disconnected moments — many of which I still cannot recall — that led to poor judgment and reckless behavior that oftentimes feels like an out-of-body-experience,” Ye wrote in January. “I regret and am deeply mortified by my actions in that state, and am committed to accountability, treatment and meaningful change. It does not excuse what I did, though.”
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Fred again.. has shared his historic b2b set with Daft Punk‘s Thomas Bangalter, with the complete performance now streaming on YouTube. Watch the show below.
The last show of Fred’s already incredible USB002 tour, the Feb. 27 set at London’s Alexandra Palace marked Bangalter’s second public performance in 20 years, with the first one happening just months earlier when he performed side-by-side with Fred, Busy P and Erol Alkan at Because Music’s 20th anniversary celebration at Centre Pompidou in Paris.
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Ending with a purely blissful play of Daft Punk’s 2000 all-timer “One More Time,” the two-hour All Pally show had everyone deep in their feels, and Fred especially.
Not only did the producer call the set “the greatest show of my life” near the end of the performance, but on Saturday (March 28) he commented about the show on Instagram, stating: “So I had a dream last week, and basically all it was, is I was 80, sat in a like a care home, and I kept saying to the nurses ‘just play it again pls.’ And I was just sat there watching the usb show with Thomas over and over again. And then I sat there being like ‘look that’s me! I’m there!’
“I usually have a rule that I don’t watch anything back,” the post continues. “I just do the thing, and then try to stay present and just sorta keep working on writing music, like I’ve still never watched our Glastonbury set. Or most things tbh, but yeah with this, I justtttt. Can’t. Stop. Probably because a lot of it isn’t my music, so it’s not subject to my usual very critical inner voice about stuff. Instead I’m just a fan more proud of a sort of human moment than anything else.
“Now I know in a way it sounds kinda morbid in some ways Buttt lemme tell you, one thing was very clear when I woke up. It was not a nightmare, it was definitely a dream.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-28 21:00:542026-03-28 21:00:54Watch Fred again.. & Thomas Bangalter’s Complete Set From London’s Alexandra Palace: ‘This Has Been the Greatest Show of My Life’
The first day of the the Tecate Pa’l Norte festival on Friday (March 27) offered a vast and eclectic soundscape headlined by Tyler, The Creator, Deftones, Interpol, Morat, Myke Towers and Los Traileros del Norte, bringing rap, alternative rock and metal, pop, electronic music and regional Mexican music to Parque Fundidora in Monterrey, Mexico. As the cherry on top, K-pop sensation Jackson Wang celebrated his 32nd birthday with a spectacular show that included flames and 40 dancers on stage.
The festival’s start gathered thousands of attendees who enjoyed performances by Molotov, Maldita Vecindad, Siddartha, Camilo Séptimo, Cuco, La Santa Cecilia, The Blaze (DJ set), Balu Brigada and Gran Sur, all of whom delivered the best of their repertoire across the eight stages set up in the iconic park. La Arrolladora Banda El Limón was also one of the surprises of day one.
Among other surprise acts this year was the group Piso 21, who thrilled and moved the audience with hits like “Pa’ Olvidarme de Ella,” “Te Amo” and “Me Llamas.” Young singer-songwriter Paloma Morphy, winner of the Latin Grammy for best new artist in 2025, invited her colleague Emjay to perform their new duet “Qué Ves en Mí?” live for the first time, a song they released this week on digital platforms.
During the marathon day, Majo Aguilar and David Velasco, the vocalist of the band Porter, inaugurated a new Pa’l Norte stage called “Entre Cheves y Compas,” engaging the audience in a live recording session. Jordy Medina opened the Club Social KIA stage with his electronic sounds, followed by RØZ, who invited Nsqk to perform “No Veo Bien.”
The program continues on Saturday (March 28) with the legendary band Guns N’ Roses kicking off their 2026 world tour at Pa’l Norte, along with Grupo Frontera, Turnstile, Los Fabulosos Cadillacs, Cypress Hill, The Warning, El Bogueto, Judeline, Simple Plan, Enjambre, Luck Ra and more.
Now in its 14th edition, the acclaimed festival founded by Apodaca Group — and in recent years associated with the promoter Ocesa — takes place March 27-29.
Read about five of our favorite moments from day one of Tecate Pa’l Norte 2026 below.
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From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
CA7RIEL & Paco Amoroso Usher in Wellness Session, Channel ‘Free Spirits’ in NYC
It’s not every day you see a conga line break out at a concert, much less one led by two musicians who seem like they fell out of a fever dream. But that’s exactly how the night climaxed on Friday (March 27) when the uncanny Argentine duo CA7RIEL y Paco Amoroso took over Canvas on 10th in Chelsea, New York to perform their electrifying new album, Free Spirits, for the first time. It was chaotic. It was cathartic. It was everything — and somehow even more.
Presented by Spotify, the event welcomed 200 fans lucky enough to snag a spot in the intimate venue. The evening kicked off with a low-lit, wellness-inspired setup — there was a sound bath meant to “cleanse energy,” a station for aura photography with glowing polaroids, and juice options that felt exported straight from Erewhon (beet, green, and some mysterious orange concoction that probably had turmeric in it). Everyone sipped, meditated, reset — and then CA7RIEL and Paco tore the cover off the chill and delivered a high-octane performance that will not soon be forgotten.
Paco, decked in runner’s gear — spandex and a lightweight vest — looked marathon-ready with a touch of intentional absurdity, while CA7RIEL flaunted his rock-star bravado in a bleached mullet, oversized sleeveless tee, tattood arms and retro ’70s sunglasses. Together, they were pure chaos and charisma, their vibe as irreverent as their music.
They opened with the explosive energy of “Nada Nuevo,” followed by Paco’s raspy vocals on the absurdist “Goo Goo Ga Ga” and the euphoric pop-rock hooks of “Soy Increíble,” which had the crowd in overdrive. By “Hasta Jesús Tuvo Un Mal Día,” the Sting-assisted fan favorite, the room was in a frenzy. CA7RIEL’s blistering Fender guitar riffs added a raw edge to tracks like “Ay Ay Ay” — he also pulled out a ’70s Gibson. In true Free Spirits style, the duo jumped into the crowd, leading an impromptu conga line before they started crowd surfing. Unhinged and fearless, the show embodied the album’s spirit. If you missed it, well… hasta Jesús tuvo un mal día.
Karol G Shares Emotional Duet with Alicia Keys
Karol G experienced a dream-come-true moment alongside Alicia Keys at her Con Cora Foundation’s Benefit Gala in Miami on March 20. The two powerhouse singers performed “Try Sleeping with a Broken Heart,” the same song Karol covered 16 years ago as a fan. Sharing their emotional duet on Instagram on Wednesday (March 25), Keys wrote, “When I found out how much this song meant to her, it was sooooo sweet!” Meanwhile, Karol expressed, I’ve spent my whole life preparing to experience moments that used to seem like nothing more than dreams in my head, and today, after all this time, they’ve come true! I watch this video and the one from 16 years ago, and I can’t believe it.” Watch their duet below.
Nicky Jam Sells Out the Coliseo de Puerto Rico, Announces Second Show
Nicky Jam’s May 23 concert at the Coliseo de Puerto Rico — his first performance in Puerto Rico in a decade — sold out in under an hour. The event, titled El Regreso a Casa (The Return Home). Over 20,000 fans attempted to purchase tickets when sales opened on March 27 at 10:00 a.m., local time. A second show has been added for May 24 at 8:00 p.m during Memorial Day weekend, announced Friday (March 27).
“The response from the public has been extraordinary, and both Nicky and our team are deeply grateful,” said event organizers at VRDG Entertainment in press release. This sold-out show is a testament to the fans in Puerto Rico, and we are thrilled to open a second date so more people can experience Nicky Jam’s return home.” Tickets for the second show are available via ticketera.com.
Bizarrap Made His Ultra Music Festival Debut on the Main Stage, Featuring Skrillex and Daddy Yankee
Bizarrap debuted at Ultra Music Festival in Miami on Friday (March 27), performing on the main stage alongside artists like Martin Garrix, Major Lazer and Armin van Buuren. His performance included a reworked electronic version of his infamous “Music Sessions” and featured guest appearances by Daddy Yankee (for their hit “Music Session #/66”) and Skrillex, following their prior collaboration at Lollapalooza Argentina.
Courtesy of The Exclusive Agency
Shelly Berg’s Legacy at Frost School of Music, $175M Raised at Event
Shelton G. “Shelly” Berg, Dean of the Frost School of Music at the University of Miami, celebrated his nearly 20-year tenure during a star-studded event on March 21, at the Knight Center for Music Innovation. Under his leadership, the school raising over $175 million in donations. The evening featured performances by Frost alumni and notable artists Gloria Estefan, Jon Secada, Trent Saunders and Jenna Rubaii, alongside faculty members like John Daversa and Dafnis Prieto. To honor his impact, the university unveiled “Shelly Berg Way,” “a marked pathway on campus which represents his impact on the school and the music world at large,” says the statement.
Frost School of Music Alumni Gloria and Emilio Estefan celebrated Frost School of Music Dean Shelly Berg’s nearly 20-year tenure at one of the top music schools in the world on Saturday, March 21, 2026 at the Knight Center for Music Innovation in Coral Gables, Fla. | Credit: Alexander Tamargo/Getty Images.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-28 15:10:422026-03-28 15:10:42CA7RIEL & Paco Amoroso Bring ‘Free Spirits’ to Life in NYC & More Uplifting Moments in Latin Music
Shaboozey and Jelly Roll add a second week at No. 1 on Billboard’s Country Airplay chart (dated April 4) with “Amen,” which earned 32.1 million audience impressions (down 2%) March 20-26, according to Luminate.
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The song marks another multi-week leader for both artists. Shaboozey previously led for more than one frame with both of his previous Country Airplay No. 1s: “Good News” (two weeks, 2025) and “A Bar Song (Tipsy)” (seven, 2024). Jelly Roll logs his sixth such hit, a run dating to 2023 that also includes “Heart of Stone” (two), “Liar” (six), “I Am Not Okay” (three), “Save Me” (with Lainey Wilson; two) and “Need a Favor” (four). As noted last week, “Amen” became his ninth No. 1 in as many tries, the longest active streak among all acts.
Chart-topping collaborations have made up a relatively small share of Country Airplay’s history (which dates to 1990), with 82 such songs accounting for 141 total weeks at No. 1 — or roughly one in nine leaders overall. Most have been brief stays, as 55 of the 82 ruled for just a single week. Only a handful have shown real staying power, led by Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (eight weeks, 2003) and then Tim McGraw and Faith Hill’s “It’s Your Love” (six, 1997). “Amen” is, thus, just the 27th co-billed release to have ruled for more than a week.
A ‘Change’ in the Top 10
Riley Green notches his eighth Country Airplay top 10 as “Change My Mind” rises 13-10 in its 13th week on 17.1 million audience impressions (up 9%). His last three singles, since 2024, made it to No. 1 (upping his career total to four leaders): “Don’t Mind If I Do” and “You Look Like You Love Me,” both with Ella Langley, and “Worst Way.”
Maná’s Vivir Sin Aire Tour, which kicked off summer 2025 in Spain, continues on the second part of its North American leg, officially making its way to Miami.
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Nearly 20,000 fans — mainly Gen X and Millennials — filled the Kaseya Center for the first of two sold-out nights in Miami on Friday (March 27), and at 9:40 p.m., the Mexican group opened the show with the energetic “Déjame Entrar,” part of its 1995 Cuando Los Ángeles Lloran album.
They continued with “De Pies a Cabeza,” “Manda Una Señal,” and “Labios Compartidos,” before frontman Fher Olvera greeted his ecstatic fans: “Welcome, everyone. Cubans, Puerto Ricans… I know you guys know how to dance. Let’s get this pinche party started tonight.”
Wearing a satin navy blue buttoned-up shirt over a black tee with a studded cross, black leather pants, and combat boots, Fher continued crooning the crowd with timeless bangers, including “Mariposa Traicionera,” “Me Vale,” “Clavado en un Bar” and “Se Me Olvidó Otra Vez.”
“Let’s raise a glass to Miami — we’ve missed you. It’s the cradle of the United States,” the singer expressed before taking a shot of tequila. One of the notable moments of the show then followed with an insane, nearly 10-minute drum solo by Alex González, who’s a Miami native.
Meanwhile, the rest of the group, including Sergio Vallín and Juan Calleros, joined Fher on a separate stage on the other side of the venue for an intimate set of “canciones de cantinas” (songs for the bar). “Te Lloré un Río,” “El Reloj Cucú,” “Eres Mi Religion” and “Bendita Tu Luz” had the crowd singing at the top of their lungs.
“We are a beacon of hope… Latinos have the power,” Fher — who’s an avid activist for Latino rights — told the audience. “More and more, Latinos are commanding greater respect and have more options. Who you vote for has a great deal to do with this… you can make the change.”
The evening came to an end at midnight, after the band delighted fans with four more pop-rock classics: “No Ha Parado de Llover,” “El Muelle de San Blas,” “Rayando el Sol” and “Oye Mi Amor.”
Maná’s Vivir Sin Aire tour will continue in the United States until Nov. 8. See the remaining dates below:
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Bad Bunny’s new Adidas sneaker collaboration is one fans have been itching for.
The market for the “NUEVAYoL” singer’s footwear collaboration is insane, with his past Adidas silhouettes selling out mere minutes post-release. We’re willing to bet that this new BADBO 1.0 model is going to be a hit as well, because it expands upon his collaborative line by introducing a versatile colorway not previously seen before. The shoe retails for $160 and dropped Saturday (March 28). It is available to shop on the Adidas website now.
Like his first Adidas BADBO 1.0, this style is chunky and high-top-esque. Departing from the monochrome colorscheme, this shoe comes in black and beige, a stylish and wearable option with pops of blue throughout. The shoe features textural suede paneling, an EVA midsole that makes the soles flexible and cushioned, and a unique translucent rubber outsole.
A new Adidas footwear collaboration with Bad Bunny. The style features suede panelling and a black, white and taupe color scheme.
Harkening back to the musician’s Puerto Rican roots is the BadBo signature logo — a star affixed to each heel — drawing direct inspiration from the Puerto Rican flag. According to Adidas, the design choice “symbolizes origin, joy and the limitless possibilities that come from staying true to where you’re from.”
Along with the shoe drop, Adidas and Bad Bunny also collaborated on an accompanying BadBo apparel capsule that includes pieces such as track jackets, sweatshirts, sweatsuits, hats and more, all inspired by Benito’s personal style. Our favorite has to be the comfy sweatsuit, which offers the perfect mix of style and function. Like the shoes, the apparel collection went live on March 28.
Bad Bunny Heavy Crew Neck & Hooded Balaclava Sweatshirt
These are gray slouchy sweatpants with Adidas’ iconic three stripes on the sides. The pants have a drawstring closure and a comfy composition.
The first iteration of the Adidas BadBo 1.0, a cream color scheme with pops of blue, sold out in the blink of an eye. Resellers on Farfetch, Stadium Goods, Fight Club and Goat have the shoe marked up for up to $230, a hefty jump in price from its original listing of $160. Bad Bunny wore these shoes during his 2026 Super Bowl performance, reigniting the hype around the style.
The duo first partnered up in March 2021 with an inaugural launch of The First Cafe, a coffee-inspired Adidas Forum Buckle Low. Since then, the two have come together on numerous occasions to give fans and followers styles all inspired by Bad Bunny’s style, music and swagger, including the Adidas AdiRacer GT, Adidas Forum Powerphase and, our personal favorite, the Adidas Gazelle Indoor.
This is a pack of three Bad Bunny x Adidas crew socks in white. The socks have blue stitching that is reminiscent of the same detailing on the musician’s shoes.
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Friday night (March 27) may have officially been billed as Paul McCartney Rocks the Fonda!, but it could have just as easily been called Paul McCartney Makes Everything Better!
Even if it was just for a little while (one hour and 40 minutes to be exact), it felt like the former Beatle made all the world’s troubles disappear within the tiny confines of the Fonda, where he is playing two nights to celebrate the 100th birthday of the 1,100-capacity Hollywood club.
The set was a truncated version of the 2025 Got Back tour, even down to the song order, slimmed down from 33 songs to a tight 21.
McCartney, dressed in a casual black suit with a vest, took the stage at 8:30 p.m., looking delighted to be back on stage even though it had only been four months since the North American leg of the tour ended. What followed was a trip back in time, with the spry McCartney serving as the congenial master of ceremonies, surrounded by elite musicians who have now played with him longer than his bandmates in either The Beatles or Wings: keyboardist Paul “Wix” Wickens, lead guitarist Rusty Anderson, drummer Abe Laboriel Jr. and guitarist/bassist Brian Ray. They are a ridiculously tight unit, but more than anything they are a fun, infectiously exuberant one.
As McCartney, 83, touched on almost every facet of his musical career, he seemingly delighted in playing such a small gig, joking it was “good to see the whites of your eyes” to the audience. He convivially bantered with the first few rows, including giving a shoutout to fan attending his 146th show, and good-naturedly shutting down a loud balcony attendee getting a little too boisterous. He was loose throughout the show, breaking into short stories (including a humorous Tony Bennett anecdote) and just generally seeming to enjoy the audience as much as they enjoyed him.
But the focus was on the music, and the music soared throughout much of the night. McCartney’s band may be a five-piece (with the occasional welcome addition of the three-piece Hot City Horns), but they sound fuller than a band at least twice that size, especially when they are locked into a solid, propulsive groove on such songs as “Nineteen Hundred and Eighty-Five,” “Lady Madonna” and “Get Back.”
On Thursday (March 28), McCartney released a new song, the tender, nostalgic “Days We Left Behind,” which is featured on his forthcoming 18th solo album, The Boys of Dungeon Lane — but the tune went left undone at the show, with McCartney saying they were still learning how to play it. Instead, he opted to play two songs from solo albums not featured during the Got Back tour: “Every Night” and “Flaming Pie.”
The no-phones policy and no-frills production (there was no projection of any kind, just a few overhead lighting trusses) allowed the audience to be just as in the moment as the band and a communal feeling of peace and joy felt like it spread from the stage all the way through the balcony, especially on late-show singalongs “Let It Be” and “Hey Jude.”
McCartney and band returned for his standard encore, closing with Abbey Road’s monumental medley of “Golden Slumbers/Carry That Weight/The End.” The words are so familiar now, but still ring true like a beautiful benediction, as he sent the audience out into the night with “the love you take is equal to the love you make” echoing in their ears.
Below are all the songs McCartney performed on the first night of his two-night Fonda stand.
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Inkabee has made his triple j Like A Version debut, covering the Black Eyed Peas‘ 2003 hit “Where Is the Love?” — becoming one of the youngest artists to ever perform in the studio.
The Noongar Wongi rapper from Boorloo (Perth), still a teenager, delivered a full-band take on the 2003 conscious hip-hop classic, leaning into its themes of global division and compassion with a confidence that belied his age.
For Inkabee, the song selection was instinctive. “Me and my mum were driving in the car and we already had our Like A Version song picked out,” he said. “But we were just listening to songs and ‘Where Is The Love?’ came on. We were listening and I just thought it’s the most perfect song for how the world is right now.”
That kind of instinct has been there from the start. Inkabee released his debut track “Beat the Odds” in December 2022 alongside his father, rapper and activist Flewnt, at just 11 years old. That debut attracted national press and radio attention and earned two West Australian Music Award nominations.
The pair’s subsequent collaboration, “We Dat Good”, went viral after a live triple j Bars of Steel performance racked up more than 10 million views online, introducing Inkabee to a far wider audience.
Inkabee has since accumulated the kind of resume that would turn heads at any age. At SXSW Sydney in 2023, Chance the Rapper introduced him on stage and called him “the future of Australian hip-hop.”
He has performed the Indigenous round of the AFL at Perth’s Optus Stadium in front of 60,000 people, played Vivid Sydney at the Sydney Opera House, and showcased at SXSW Texas. He was also named the triple j Unearthed High Indigenous Initiative winner, a program whose alumni include Genesis Owusu, The Kid LAROI and Hockey Dad.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-28 08:30:292026-03-28 08:30:29Inkabee Makes Triple J ‘Like A Version’ Debut With Black Eyed Peas Cover
