Are you tired of Boldy James yet? Well, you better get comfortable because the Detroit MC is set to drop yet another project next week with Harlem producer V Don on Apr. 4 in Alphabet Highway.

So far, the duo have released two singles. Earlier this month, they dropped “Split the Bill” and earlier today they premiered the video for “RSNS.”

Shot in Amsterdam and directed by Gijs Mortier, the video shows Boldy walking through the streets of Amsterdam flipping words like only he can with lines like, “Think I’m a lick or somethin’, nickname my 4-5 GloRilla.”

In an interview with Billboard about his album with Harry Fraud, Boldy said he records a ton of music and chooses to release it when he feels that the business end of things is air tight.

“I sit on a lot of music,” he said. Y’all don’t usually hear my music no sooner than a year or two after I make it. The most recent, current to date, like music that I make up into the point where y’all get a chance to hear it is maybe The Alchemist projects and the Nic Craven projects.”

Adding, “Everything else usually take a minute to come out, because we got a hash out the layout, the business arrangements and agreements, you know, terms and conditions.”

James started the year off with Murder During Drug Traffic with RichGains and Permanent Ink in January, Token of Appreciation with Chuck Strangers in February, and is planning on dropping Hommage with Antt Beatz on Mar. 28.

And after Alphabet Highway is released on Apr. 4, he and Real Bad Man are coming with Conversational Pieces on May 2.

Check out the video below.

Meek Mill took to X to address claims made by recently incarcerated Rollin’ 60s Neighborhood Crip rapper Luce Cannon in a resurfaced clip.

After Cannon was swept up in the Eugene ‘Big U’ Henley Jr. RICO case, Akademiks TV posted a three-minute video of the rapper making the claim on DJ Akademiks’ podcast Off the Record, saying he and others ran up on Meek Mill over “talking real reckless on Twitter” during a club performance, took him outside, and made him call Rick Ross to pay $50,000 for his release.

Meek then posted a screenshot from a HipHopDX article and claimed that he never met Luce Cannon and doesn’t know who he is. “This guy must be using a story to confuse his indictment because I never seen him B4,” he tweeted. “I woulda put him to ‘gods test’ on the spot! I never even met buddy but I don’t ‘negotiate’ with fake thugs ask him what chain because all my chains some sh– lol watches all 300k up vibes.”

He then added that he’s respected out West after a fan said they hadn’t heard Cannon’s story up and until recently when responding to another claiming the only reason Meek addressed this at all is because Luce is currently locked up.

“It’s a real world,” he said. “Real LA n—as that respect the sh—t out me how I carry myself in an open arms wya to build my people up ion care where you from… that’s why you seen my around NIPSEY and others … men of respect and honor!”

Adding, “Me, Nipsey, YG, Mustard and few others made sure we didn’t follow the East Coast West Coast narrative! I changed my life by blessings …. but i always been down to meet up with ‘fake street bullies’ in abandon areas where it’s no civilians and take they heart!”

Big U and Luce Cannon are accused of racketeering, extortion, human trafficking, fraud and the murder of a 21-year-old aspiring rapper who signed to Big U’s Uneek Music label, among other charges.

Ado, ATARASHII GAKKO! and YOASOBI graced the stage at the Peacock Theater in Los Angeles for matsuri ’25: Japanese Music Experience LOS ANGELES on Sunday, March 16, the music event by Japan’s Culture and Entertainment Industry Promotion Association (CEIPA).

YOASOBI opened the show, and when the duo’s name on a banner flashed on the screen behind the stage, the 7,000 fans in the audience cheered loudly. As the banner was torn down by the hand of a monster, low-pitched sounds and mysterious music played over the speakers. ikura and Ayase appeared on stage to the announcement, “Welcome to the world of Surrealism,” and the crowd shouted and waved their glow sticks to express their excitement. The intro to “Seventeen” began to play after a brief silence, and ikura said in English, “Welcome to matsuri ’25. We are YOASOBI from Japan. Get ready to have a blast tonight. L.A., are you guys ready?” Fans responded with shouts of “Oi! Oi!” and the band kicked off the event with a bang.

ikura took a moment to explain the purpose of the event, saying, “Three acts from Japan — Ado, ATARASHII GAKKO!, and YOASOBI — have come this time, hoping to enjoy great music, J-pop music, with everyone here.” She then asked the audience to light up their phones and sway to create a sense of unity, and the duo performed the poignant mid-tempo ballad “Tabun.”

Following “The Brave,” the band performed “Monster,” a fast-paced track with thumping low beats that satisfy performed live. “As a J-Pop artist, we’ve been trying to spread our music from Japan to the world,” said ikura in English. “We are so so so happy to be able to share with all of you. Thank you very much. I love you guys. We dive into the second half. Let me see your passion, OK? You ready to go loud? Can you give us some more? Ok, let’s sing together.” The pair then went on to perform some of its biggest hits back-to-back, with the exhilaration of “Into the Night,” the unity of the chorus in “Blue,” and the energy and enthusiasm of the audience in “Idol” filling the venue. The overwhelming delivery of the last three songs proved that YOASOBI has indeed become one of Japan’s top acts whose concerts sell out instantly whenever they perform overseas today.

Following a 15-minute changeover, the four members of ATARASHII GAKKO! appeared from the audience aisle to the sound of ringing school bells, holding big white flags over their heads. When the members — SUZUKA, RIN, MIZYU, and KANON — gathered on stage, SUZUKA greeted the crowd with the sound of a trumpet in the background: “Hello everyone. We are ATARASHII GAKKO! Everybody, are you ready?” The words “Seishun Nihon Daihyo” (Youth Team Japan) appeared on the screen and the women began their set with “Change,” the members swinging their arms around and performing immaculate choreography off the bat. During “Fly High,” RIN called out, “L.A., are you ready? Jump!” and fans were more than happy to comply. For “Arigato,” each member sang while holding a broomstick like a microphone stand, or fake-played it like a guitar, playfully reminding us of our school days. The audience reacted enthusiastically to the intro of the group’s breakout hit “Otona Blue,” and the members captivated the crowd with their signature head-shaking dance and distinctive choreography.

Following a group chant with SUZUKA, who hyped up the audience calling out, “Everybody, ganbatte (hang in there)! Woo!” the women performed “Toryanse.” Fans waved their glow sticks towards the stage during the intro and danced to the lively rhythm accompanied by electronic sounds of Japanese instruments. Each of the four members called out, “Everybody jump!” “Say yeah!” and “Say change!” in time with the lyrics during the set, confidently charging the crowd with their energy.

An image of the Tokyo metropolis appeared on the screen and ATARASHII GAKKO! launched into “Tokyo Calling.” SUZUKA came down from the stage and sang enthusiastically while making her way through the crowd, regally marching back to the lyrics of “We are marching.” The women closed their set with “One Heart,” the word “SAIKO” (“the best”) appearing behind them on the screen, and the audience joined in and sang along. The lyrics “AG want to take you higher” is like the Japanese modern version of Ike & Tina Turner’s “I Want To Take You Higher,” and the song uplifts and inspires like the best kind of music.

Watching ATARASHII GAKKO!’s performance, this writer couldn’t help but agree with what Creativeman Productions’ Rob Kelso said during the press conference before the event: “The best way to integrate these [artists] is to realize we lost the last excuse. Their last excuse was it must be in English…anything in the U.S. must be in English. And that doesn’t exist anymore. Now it is ok not to be in English…let’s take advantage of that. Doors are opening again to other languages.” The members of ATARASHII GAKKO! know how to entertain the crowds at their shows overseas, encouraging call-and-response with fans using short Japanese words like “ganbatte” and “saiko,” and getting them excited in English, saying, “Everybody jump!’ and ”Say yeah!” Plus, the group’s shows never look cheap or over-the-top, thanks to the four members’ well-coordinated dance moves, SUZUKA’s vocal prowess, and the individuality of each member. Whether you’re Japanese or American, anyone who sees ATARASHII GAKKO! will be able to enjoy its performances to the fullest, and the group’s set at matsuri ’25 was a testimony to that.

Then the “Ado Box” was set up in the center of the stage for the event’s final artist, the enigmatic singer Ado, who never shows her face. The 22-year-old songstress immediately launched into her hit banger “Show,” then performed “New Genesis,” “Usseewa” (which sounded faster and more powerful than when this writer saw her on her North American tour a year ago), and “Lucky Bruto” in succession. The stage production was designed to be visually enjoyable as well, with Ado performing “RuLe” by dancing and singing while seated on a chair in her box.

After calls of “Let’s go, Ado” from the audience, the singer addressed the crowd for the first time, talking about how living in Los Angeles for a month last year was one of the best experiences of her life. She shared some episodes that showed her personality, like how she enjoyed In-N-Out burgers and going to Macy’s. “I’m proud to be able to share the stage with ATARASHII GAKKO! and YOASOBI,” she said, expressing appreciation for the opportunity to perform at the event. “I’m so happy that you’ve come to experience Japanese music and culture today. It will really make me happy if you’ll continue to love Japanese music and culture. This has been a really great evening. Thank you.” She then invited the audience to sing and dance with her before performing the last song of her set, “Odo.”

It was unthinkable in the past that an artist who maintains her anonymity by never revealing her face would perform on stage in a box. But it’s true that many people listen to Ado’s music and when she announces shows outside of her home country, many fans rush to buy tickets. This is in line with what Goldenvoice vice president Ellen Lu said at the conference that “festivals are booking with a global sense now. Because that is what people are listening to, so if we are to stay in touch with what people are wanting to see that is not just exclusive to the U.S. or Europe which historically has been the case. It just puts these [international] artists in front of audiences that want to see them or have never had a chance to see them.” This is why Ado was able to successfully tour the world last year, and is set to embark on her second global trek this summer at even bigger venues including arenas.

The three acts that performed at the matsuri ’25 event all had previous experience performing live in North America, and it was a luxurious and precious experience to be able to see them at once. It was an evening that surely made fans want to support other Japanese artists that will follow these groups and go on to perform on the world stage.

—This article by Tomoya Ogawa first appeared on Billboard Japan