The New Orleans Saints shocked the NFL community on Sunday (Sept. 15) with a dominant victory over the Dallas Cowboys 44-19 to keep their undefeated season going. With vibes through the roof after pulling off the upset inside Dallas’ AT&T Stadium, Saints head coach Dennis Allen quoted Kendrick Lamar’s “Not Like Us” during his postgame speech to the team in the locker room, which fired up the players.

“Man, that’s a hell of a win guys,” Allen said. “We said we had to come in and play our brand of football and that’s exactly what we did. We played the way the Saints have to play this game. And look, sometimes you just gotta f–king pop out and show ’em.”

The locker room exploded after hearing coach Allen quote K. Dot, and one player even dapped him up. Fans loved the move as well when the clip made its way to X on Monday (Sept. 16).

Former NFL player Gerald McCoy tweeted: “This a quote from Dennis Allen HC of the Saints IN NEW ORLEANS but yall crying on why they picked Kendrick Lamar for Super Bowl!! THIS WHY!!”

Another fan shouted out running back Alvin Kamara, who led the team with four touchdowns. “Alvin Kamara: Certified Boogeyman He the one that upped the score on ‘em!”

The Saints got out to a 35-16 lead at halftime and cruised to the victory in Dallas. Kamara turned the clock back with a performance for the ages scoring four touchdowns. Another tough test awaits as the Saints welcome the Philadelphia Eagles to town this weekend.

“Not Like Us” has remained a Billboard Hot 100 staples in its nearly five months on the chart. The Drake diss track is still holding strong at No. 10 after topping the chart in May.

Fans will have to wait and see if Lamar brings the diss record to the Super Bowl LIX Halftime Show when he takes the stage in New Orleans in February.

Watch the clip of Dennis Allen quoting “Not Like Us” below.

From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.

Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.

In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.

He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.

Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.

Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”

Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.

Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.

Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”

In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.

The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.

Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars

On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.

The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.

The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.

Stage 4: London, England – A New Stage and Fresh Horizons

This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.

On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.

Diddy was arrested in New York on Monday night (Sept. 16) after being indicted by a grand jury, Billboard has confirmed.

At the time, it was unknown what the charges were, but the indictment was unsealed Tuesday morning, revealing that Combs has been charged with federal sex trafficking and racketeering, the Associated Press reported. The music mogul had “engaged in a persistent and pervasive pattern of abuse toward women and other individuals,” according to the AP, citing the documents.

In a statement sent to Billboard on Monday night, Marc Agnifilo, attorney for Diddy (real name: Sean Combs), said: “We are disappointed with the decision to pursue what we believe is an unjust prosecution of Mr. Combs by the U.S. Attorney’s Office. Sean ‘Diddy’ Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community.”

The statement continued: “He is an imperfect person but he is not a criminal. To his credit Mr. Combs has been nothing but cooperative with this investigation and he voluntarily relocated to New York last week in anticipation of these charges. Please reserve your judgment until you have all the facts. These are the acts of an innocent man with nothing to hide, and he looks forward to clearing his name in court.”

According to TMZ, Combs was taken into federal custody at the FBI’s Manhattan field office on Monday.

The rap mogul has been hit with at least eight civil lawsuits alleging sexual abuse over the past year, including the suit that started it all from ex-girlfriend Cassie Ventura that was later followed by a video showing him assaulting her. Even before the video emerged, that suit was privately settled in under 24 hours. Combs is also facing an apparent federal criminal investigation after authorities raided his homes in March.

The most recent lawsuit against him comes from Danity Kane’s Dawn Richard, who filed a complaint last week in Manhattan federal court saying Diddy “manipulated” her into thinking that “abuse and exploitation were required for female artists to succeed in the music industry.” Richard claims she witnessed Combs abuse Ventura on multiple occasions – and that recent lawsuits from Cassie and others sparked her to speak out.

“As more women courageously come forward, plaintiff has been empowered by this collective strength and now adds her voice to the growing chorus of victims bravely sharing their harrowing stories,” lawyers for Richard write. “Together, they seek justice and stand in solidarity, as the latest victims of the # MeToo movement in the music industry.”

In a statement issued in response to Richard’s claim on Wednesday, Combs’ attorney Erica Wolff said her client was “shocked and disappointed” by the new allegations.

Kevin Liles has announced his exit as chairman and CEO of 300 Entertainment, the Warner Music label he co-founded alongside Lyor Cohen, Todd Moscowitz and Roger Gold.

In an internal note to staff obtained by Billboard, Liles said he would be stepping down at the end of the month but staying on as a consultant through the year. Warner Music Group CEO Robert Kyncl called Liles an “extraordinary brand-builder, artist advocate, and champion of creative expression” in a memo, adding that the role would not be filled once Liles steps down.

Liles, Cohen, Moscowitz and Gold launched 300 in 2015 and quickly gained recognition for signing and developing future superstars including Megan Thee Stallion, Gunna, Migos, Fetty Wap and Young Thug, among others. In 2021, the label was acquired by Warner Music Group, which later incorporated it into the Atlantic Music Group through merging it with Elektra.

The changes at 300 follow the departure of longtime Atlantic leader Julie Greenwald and the announcement that Elliot Grainge will be taking over as CEO of the new-look label at the end of this month. Sources have told Billboard that other executive departures may also be in the works during this leadership transition as well.

“The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era,” said Liles. “We transformed our value proposition – ‘mindset of independent, muscle of a major’ – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.”

Read Liles’ full memo to staff:

A Celebration of Who We Are
 
Team, 
From the start, 300 was centered around the idea that when you intensely focus on servicing artists and the culture, good things happen. When we combined that intention with our fearlessness, creativity, and passion, it unlocked greatness and delivered impact.  Next month, 300 will be celebrating its tenth anniversary of greatness and impact. I wanted to take a moment to express my gratitude to our team and share some news.

A Decade of Influence
Throughout the past decade, we stayed true to our original vision and values. As we created the first ever label ecosystem in the industry, we celebrated Trap Queens, we Dripped Too Hard as a Lifestyle, and it was always a Hot Girl Summer, even on our Skis. We have leaders like the Bad and Boujee Rayna Bass who can switch between Pushin P and being Savage with No Promises other than excellence. Then there’s the Awwsome Selim Bouab who is Hot regardless of whether in Japan, The London, or From The D To The A. Our whole team is One of Wun. Our Bread & Butter was saying less and doing more – when others talked, we didn’t stop to ask Fukumean, we just said Good Morning Gorgeous and proved Boy’s A Liar. Whether Lydia, Kehlani, or 679 of Your Friends, we made fans evangelists. We Mixed Personalities, put in work like it’s First Day Out, and ran up Digits that made everyone Pick Up The Phone. 

Then when we became part of the WMG family and joined forces with Gregg Nadel and other brilliant minds and artists across Elektra Music Group, we continued to deliver Religiously and Right On Time. As 3EE, we had The Craving to always make it Bigger Than The Song, whether it felt like we were on Holiday or between a Rock And A Hard Place. 

The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era. We transformed our value proposition – “mindset of independent, muscle of a major” – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.  

As committed servants of the culture, we know growing and empowering the next generation of leaders is a responsibility, and when the time is right, we pass the torch. As I mentioned above, at 300 we have two of the most talented, home-grown young leaders in the entire music industry, Rayna Bass and Selim Bouab. On this tenth anniversary of 300, it’s their turn to lead our 300 team into the next decade of excellence. At the end of this month, I’ll be stepping aside and departing WMG, although to ensure a successful transition, I’ll continue to consult with the team through the end of the year.  

300 has never been about one person or one artist. It’s a movement united in belief in our culture and community. Personally, I’m looking forward to my next chapter where I will continue to Listen, Learn, Lead, and Love. Specifically, I will be continuing the fight to end the criminalization of hip-hop lyrics exemplified by the unjust prosecution of Jeffery Williams. And in the short-term, I’ll be dedicating all my other time to making history by electing Kamala Harris as the first African-American female President, as well as holding the Senate and winning back the House to make Hakeem Jeffries the first African-American Speaker. This chapter may be closing, but always remember: #jobnotdone.

I have full faith in the leadership of Rayna, Selim, and Gregg, and I want to extend a sincere thank you to Len and the senior leaders at WMG who have empowered our success, particularly Robert, Max, and Julie. 

Thank You and God Bless, 
Kevin

A decade ago, Midland’s Mark Wystrach, Jess Carson and Cameron Duddy holed up at the iconic Sonic Ranch studios in Tornillo, Texas, and made their initial recordings as a trio. They refined their simultaneously modern and retro sound, fused by their contrapuntal harmonies, in a process that was later highlighted with the release of their 2021 project The Sonic Ranch (and its corresponding documentary). That same year, Sturgill Simpson released his seminal, Dave Cobb-produced album Metamodern Sounds in Country Music.

“We were referencing a lot of stuff from the ‘70s and ‘80s,” Midland’s lead singer/guitarist Wystrach tells Billboard. “When we heard [Simpson’s] album, we felt like it was exactly, in so many ways, like what we were trying to capture to pay homage to the music we love, but in a modern and contemporary way.”

From that point, Cobb, also known for his work with Chris Stapleton and Jason Isbell, became an aspirational producer for the trio. They realize that ambition with their new, eight-song project Barely Blue, out Sept. 20 on Big Machine Records.

Though the two projects were recorded approximately 1,600 miles apart (Barely Blue was recorded Cobb’s Georgia Mae Studios in Savannah, Ga.) and are separated by 10 years of touring and recording, two top 5 Billboard Country Airplay chart hits in “Drinkin’ Problem” and “Burn Out,” and an ACM Award win for new vocal duo/group of the year, there are distinct similarities between the two projects.

“It completes a full circle back to our first album, where it was a fully immersive, experiential recording process, as opposed to going in with a set list of songs that we had to cut,” Wystrach says, adding, “I think he was probably the most fun we’ve ever had in the studio. Getting to work with Dave was one of the best musical experiences, I think collectively, of our lives.”

As much as Midland’s top-flight musicianship itself, the aura of Savannah is baked into the grooves of Barely Blue.

“It’s important for Dave to get you into the spirit and set the table,” bassist/vocalist Duddy says. “Because we were in his hometown, the first thing he did was we got in the car, and he drove us around the neighborhood. He’s very proud of Savannah and the culture. He was a great tour guide and historian for the city, so you feel like you’re part of the surroundings.”

“I don’t think it’s a coincidence that Johnny Mercer grew up right there and wrote [the lyrics to] ‘Moon River’ about that area,” adds lead guitarist/vocalist Carson. “It’s so storybook and picturesque, I think it comes through on the album, too.”

Far removed from the daily workhorse vibe of Nashville, the trio found a free-flowing creative spirit at Cobb’s studio. There, a process marked by recording time, followed by dinner, wine, relaxed conversations and more recording late into the evening, sparked what Duddy describes as “freedom to experiment, because there’s no ticking clock.”

The trio entered the studio with nearly 20 songs they were considering for the project, eventually trimming the slate to Barely Blue’s succinct set, constructing and deconstructing each song until it fit with the album’s overall vibe.

“It’s a way we’ve always wanted to record because when we read stories of how some of our favorite albums were made, like the Rolling Stones in France making Exile [on Main St.], they’re in this sort of live-in space and they have time on their hands to tinker with things. ‘Lucky Sometimes’ is a song that we recorded, listened back to, and went back and tore down to the studs. The original version of it had drums and it was just a very different-sounding song.”

“Dave was pretty opinionated when it came to the songs that he felt worked together,” Duddy recalls. “There’s a dark art to picking songs that work together, and sometimes you’re too close to the material to know what’s best for it. Dave was very instrumental in finding and threading those songs together.”

The members of the group contributed writing to seven of the album’s eight songs, including the slow-rolling romance of “Baby It’s You,” the tumbling harmonies of “Old Fashioned Feeling,” the languid swagger of “Lucky Sometimes” and the Carson solo write “Halfway to Heaven.”

The lone outside cut is “Vegas,” written by Ryan Beaver, Jeff Hyde, Jeremy Spillman and Ryan Tyndell. The song is the first the trio has recorded from outside writers, other than recording occasional cover songs.

“The work tape we had [for “Vegas,”] we really blew that up and made it something that felt like it fit into this puzzle we were constructing,” Wystrach says of the song that hinges on revamping the long-standing phrase “What happens in Vegas stays in Vegas.” “You can almost smell the heartbreak on that song, and the longing and nostalgia to it. It does really sound like a firsthand experience, and I think all of us have collectively kind of lived the story of that song — and it’s such a classic turn of a phrase that’s been part of the pop culture vernacular for so long.”

Wystrach, Duddy and Carson were joined in the studio by Cobb, keyboardist Philip Towns, percussionist Chris Powell, and multi-instrumentalist Leroy Powell for a recorded effort they feel captures the energy of their live shows for the first time in a long time, while still sounding radio ready.

“I think the three of us collectively feel the last three albums didn’t really reflect what we sound like live. I think all of our favorite albums sound kind of like the live show, and that’s something we wanted to pursue and incorporate in this album,” Wystrach said. “What people are hearing is a live-tracked album that is imperfect, human, it’s got a rawness to it.”

The UTA-booked group will take the new songs on the road when their The Get Lucky Tour launches Sept. 19 including stops at Red Rocks Amphitheater and at ACL Live. They’ll also return to Indio, California’s Stagecoach Festival in 2025.

In a world that is filled with over-saturation in so many facets, Midland adheres to the ethos of “keep people wanting more.”

“We certainly did that when it came to building our live show,” Duddy says. “We never tried to jump ahead and play into a venue that might’ve been bigger. We specifically tailored our live show to where it’s going to sell out. Not everybody can just walk up at the door and there might be some empty seats.

“That’s kind of way this album is — we wanted to really be able to spotlight each of those songs because we believed in them,” he continues. “We do feel like those eight songs are able to tell such a story and have such a landscape both through us and Dave.”