Kesha fans were sent for a loop on Sunday (Aug. 18) after claims that the “Eat the Acid” singer’s name was removed from the video credits of Pitbull‘s 2013 hit “Timber.” According to screenshots posted on Reddit of what appeared to be the altered credentials for the visual for the single from Mr. Worldwide’s Meltdown EP, whose hook is sung by Kesha, her name looked like it was scrubbed.

But a check of the credits for the song on Monday morning (Aug. 19) showed that the song is credited to both the artists, with Kesha’s former stage name (Ke$ha) also listed as a feature in the official video title. According to reports, for an unknown period of time on Sunday, the video, which has more than 1.5 billion views to date, was amended to read “Pitbull – Timber (Official Video).”

In a statement posted on Sunday afternoon to X, Pitbull sent a direct message to Kesha assuring her that he was looking into the reports. “@KeshaRose and I have an incredible song together. Nothing will change this. Team Pitbull is looking into this matter. Always nothing but love for Kesha, Dale!”

At press time spokespeople for Kesha and YouTube had not returned Billboard‘s request for additional comment and a spokesperson for Pitbull had also not responded to a request for clarification. The statement from Pitbull appeared to come after Kesha fans flooded social feeds on Sunday with anger over the apparent erasure of her significant contribution to the song which peaked at No. 1 on the Billboard Hot 100 for three consecutive weeks.

Many fans speculated that the removal could have been tied to Kesha’s yearslong feud with the song’s main producer, Dr. Luke (born Lukasz Gottwald), whom she sued in 2014 alleging that he sexually, mentally and emotionally abused her; Dr. Luke denied all the allegations and filed a defamation suit in response, with the two settling of court in 2023 just before a trail was set.

Watch the “Timber” video and Pitbull’s message to Kesha below.

.@KeshaRose and I have an incredible song together. Nothing will change this. Team Pitbull is looking into this matter. Always nothing but love for Kesha, Dale! pic.twitter.com/uYHL8jyopF

— Pitbull (@pitbull) August 18, 2024

Chappell Roan’s The Rise and Fall of a Midwest Princess hits No. 1 on Billboard’s Vinyl Albums chart for the first time as the set jumps from No. 12 to No. 1 on the Aug. 24-dated list. The album sold 8,500 copies on vinyl in the U.S. in the week ending Aug. 15, according to Luminate. That’s a 203% sales increase compared to the previous week.

The new Aug. 24-dated Vinyl Albums chart will be posted in full to Billboard’s website on Aug. 20.

The 12-1 jump for Rise reflects the tracking week that contained a buzzy festival performance from Roan – her Aug. 11 gig at Outside Lands in San Francisco. The latter generated a quasi-viral moment where she chastised the VIP section for not singing along to the album’s “Hot to Go!” The Outside Lands gig came a little over week after another well-received festival performance from the singer, when she had a  rousing reception at Lollapalooza in Chicago on Aug. 1.

In total, Rise has sold 80,000 copies on vinyl since its release in September 2023.

The good news keeps coming for Rise on the charts, as the set hits new peaks on three key album rankings: the Billboard 200 (moving 3-2), Top Streaming Albums (3-2) and Top Album Sales (7-3); all dated Aug. 24.

In the Aug. 9-15 tracking week, Rise earned 72,000 equivalent album units (its best week yet). Of that sum, a little more than 14,000 were in traditional album sales (the set’s second-largest sales week). Further, the album’s songs generated 75.42 million on-demand official streams during the week — equaling 57,000 streaming-equivalent album units; both figures are new one-week highs for the album.

Drake took it back to 2003, and while listening to a Chingy classic, something about the St. Louis rapper’s “One Call Away” anthem stuck out to him.

The 6 God took to his Instagram Story on Sunday (Aug. 18) to quote verses from the Jackpot hit, which Drake felt he related to, especially when it came to trying to go harder if certain ladies were in attendance watching him play basketball, but negatively impacting his game.

“Nah Chingy I felt this like why do I play better when the tings aren’t watching you really struck a chord with this one goated lyric,” he wrote.

Drizzy continued to salute Chingy. “Also, the face you said tryna dribble like off that bar we know you were ass at ball but your ting showed up and you started doing too much like this real af you are a guy for that bar,” he wrote.

Chingy has yet to respond to Drake’s praise on social media. However, there was much debate and confusion about what the OVO boss had to say, as some interpreted the flowers as a backhanded compliment or even dissing Chingy. “Did Drake just diss Chingy or is he just joking around?” one person asked, adding a shrug emoji.

Did Drake just diss Chingy or is he just joking around? 🤷🏿‍♂️ pic.twitter.com/YIXsVrmaeA

— COEVILLIE (@COEVILLIE) August 19, 2024

“One Call Away” landed on Chingy’s Jackpot album in 2003 and was released as a single in January 2004.

The Track Starz-produced banger went on to reach No. 2 on the Billboard Hot 100 and ended up spending 20 weeks on the chart.

Watch the “One Call Away” video featuring Chingy in action on the basketball court below.

The latest chapter in Channing Tatum and Zoë Kravitz‘s love story involved a romantic night out at Taylor Swift‘s London Eras Tour show over the weekend.  

And in a video posted by the Magic Mike star after the show, he films the Batman actress dancing along to “Shake It Off” before leaning down and kissing his fiancée on the cheek. “Date night with TSwift,” he captioned the clip posted on X Monday (Aug. 19). “The love is real and @taylorswift13 is an absolute force!”

Tatum also tweeted a selfie in which he poses with Swift’s father, Scott, and a handful of guitar picks. “Got some guitar picks I’m gonna sell for charity from big daddy Swift himself,” he wrote. “Legend he is. #swiftiesforever #tstheerastour.”

The couple’s outing comes just over a year after Tatum attended an Eras Tour stop in Los Angeles, wearing a glitter heart around his eye and an “I’m the daddy, it’s me” T-shirt made by his 11-year-old daughter, Everly, whom he shares with his ex-wife, actress Jenna Dewan. “I was a fan of the music because I’ve listened to her forever, but I did not know she was such an unstoppable force,” the actor later raved of Swift’s concert on The Tonight Show in July.

“I kind of know her a little personally, and she’s really kind of just normal and sweet,” he added at the time, referencing his connection to Swift via Kravitz’s friendship with the pop star. “And she’ll make you, like, a dinner, and like whip it up no problem. Like, homemade Pop-Tarts. Like warm, warm Pop-Tarts. I’m like, ‘Did you just make these? How are these warm?’”

In addition to dancing with her fiancé at the three-hour-plus Wembley show, Kravitz also got to rock out to a song she helped Swift write: “Lavender Haze” from Midnights. Shortly after the album dropped in 2022, the Divergent actress revealed in an interview with GQ that she and the 14-time Grammy winner were in each other’s quarantine pods, and that Swift made her “home-cooked meals and dinner on [her] birthday” during the COVID-19 pandemic.

“Zoë’s sense of self is what makes her such an exciting artist, and such an incredible friend,” Swift added in the same interview. “She has this very honest inner compass, and the result is art and life without compromising who she is.”

See Tatum’s post with Kravitz and Papa Swift at the Eras Tour below.

Date night with TSwift. The love is real and @taylorswift13 is an absolute force! Ha and got some guitar picks I’m gonna sell for charity from big daddy Swift himself. Legend he is. #swiftiesforever #tstheerastour pic.twitter.com/MhgvojuD21

— Channing Tatum (@channingtatum) August 19, 2024

Twenty-five years ago, singer-songwriter Shelby Lynne was done making her way through Nashville’s Music Row system. She’d released her first album, Sunrise, a country project produced by Bob Montgomery and Billy Sherrill, in 1989. Her sophomore album, Tough All Over, spurred top 30 Country Airplay singles with the title track and “I’ll Lie Myself to Sleep.” Lynne began contributing writing on her fourth and fifth albums, but longed for creative freedom.

Then, she made the career-shifting decision to move from Nashville to California, crafting her liberating 2000 project I Am Shelby Lynne which perhaps served as her true debut. The album marked her foray from country into soul and R&B, with her commanding vocal and writing perspectives shining through every track. I Am propelled her to win new artist of the year at the 2001 Grammys, and marked her first project to debut on the Billboard 200.

This year sees the celebration of I Am Shelby Lynne’s silver anniversary, celebrated through the re-release of the project’s vinyl and digital versions. As her decampment from Nashville to California propelled her breakthrough those years ago, Lynne’s return to Music City two years ago has heralded her latest reinvention — as she also releases her ninth studio album, Consequences of the Crown, which arrived Aug. 16 via Monument Records. The album marks her first since 2021’s The Servant.

After living in California for the better part of three decades, Lynne relocated back to Nashville to live closer to her sister, fellow singer-songwriter Allison Moorer, and to her nephew.

“I just wanted to get back to the South after all that time,” Lynne tells Billboard, noting songwriting — not recording — was her primary goal. “My original plan was to scooch into Nashville real quiet and find me some folks to write some songs.”

But Nashville’s creative community ultimately had other plans. Her friend Waylon Payne offered to introduce her back into Nashville’s writing circles. The first person Payne brought over was Ashley Monroe. “We were instantly drawn to each other and actually wrote a couple of songs on the first day,” Lynne recalls.

From there, her community of collaborators kept expanding, with Monroe bringing her Pistol Annies cohorts Angaleena Presley and Miranda Lambert — and soon, Little Big Town’s Karen Fairchild was brought into the fold. It was Fairchild who set Consequences of the Crown into motion, first becoming Lynne’s manager and then encouraging her to record the album and landing Lynne a deal with Monument Records.

“She’s just an amazing woman,” Lynne shares. “Karen said, ‘Well, we need a new record from you,’ and I was like, ‘Oh, no. I think that part of my career… I think I’m done. I just want to write songs.’ But she made some calls and Katie McCartney at Monument [Records] said, ‘Let’s make a record.’ So here I am.”

Lynne began those writing sessions last Spring, with the deal with Monument happening in August. When it came time to record the album, the all-woman creative collective naturally fell together: Lynne, Fairchild, Monroe and engineer Gena Johnson.

“We found ourselves in there together, and we just decided we’d go four ways on this thing,” Lynne says. “We met when the four of us could meet, because we found that we would never work without the four of us together, because it just didn’t feel right. The songs we were writing were good songs. I’d look around my living room and see these amazing, talented people. I felt loved and kind of taken in.”

The album’s pop-fused, yet stripped-back instrumentation, features Lynne not only on vocals, but on bass, acoustic and electric guitar, percussion, and drums. Monroe played a range of instruments including keys, piano, organ and acoustic guitar, while Fairchild contributed percussion and background vocals, with Johnson also handling percussion and programming. Also on the project is Eleonore Denig on strings, while Lynne’s sister Moorer offers background vocals.

Monroe is a co-writer on all but one of the songs on the album, with Fairchild contributing to five of the songs. Other writer credits scattered throughout the project include Payne (“Keep the Light On”) and Presley (“Keep the Light On,” “Over and Over”), as well as Meg McRee, Carter Faith and Jedd Hughes.

In the process, Lynne found a camaraderie and safe space for free-flowing collaboration and emotional excavation. Music led the way in the studio, leaving room for unexpected twists and turns, spoken-word moments, vocal howls and sonic shifts. The new album also nods to the work of I Am Shelby Lynne, as “But I Ain’t” interpolates “Dreamsome” from that seminal album — another mark of that impulsive studio vibe.

“When I’m on the mic and I’m hearing the music, letting things happen, it just kind of fell down because it was so real and we had to keep it,” Lynne says.

The album opens with “Truth We Know,” which Lynne calls “a sketch of words that I had written down right in the middle of my heart breaking.” Songs including “Shattered,” “Consequences” and “Over and Over” offer up the nuanced process of navigating a breakup and the work of healing and moving on.

“It was a little bit devastating for me, and I was in a sad kind of a way,” Lynne says. “These songs are little chapters of the pain I was going through when I was breaking up with somebody, and I compare it to all of my crappy relationships, but they can fit in through all of the broken hearts that we’ve had.”

The Nashville Lynne has returned to has both changed and stayed the same. It’s notable that in that time, the Nashville country music scene has moved from the height of the “bro country” era dominated by hip-hop-inflected country songs recorded by white males, and the spark of “Tomatogate” that continues to see women artists fighting for a precious few slots on male-dominated mainstream country radio. Currently, traditional-leaning artists including Lainey Wilson and Cody Johnson are making waves, while as country audiences take to streaming, Americana and folk-oriented artists such as Zach Bryan, The Red Clay Strays, Tyler Childers and Allison Russell are surging, and Shaboozey’s genre-blending anthem “A Bar Song (Tipsy)” is dominating.

“Of course, Nashville’s grown into this huge city, so that’s different,” Lynne says of the changes she’s seen in Music City. “But the good old boy network still runs — it’s just another set of boys. So that exists.

However, Lynne, who is gay, also acknowledges that Nashville has changed in other important ways: “How can I put it? Queers have come in and we just f—king run everything. And so, Nashville has had to embrace all of the changes — and look at this eclectic group of people we have, like Allison Russell, Fancy Haygood… people that are saying, ‘I’m doing this.’

“I’m proud of musicians just taking over and saying, ‘F—k you. This is who I am. I’m country. Kiss my a–,’” she continues. “I don’t think genre really matters anymore, because everybody’s doing exactly whatever in the hell they want to do, musically. I love the variety, and the mixed bag of what country music truly is — I don’t listen to mainstream music much, but I guess they’re Americana artists.”

Consequences also serves as a potent reminder of Lynne’s own trailblazing, genre-blending ways, as she melded different styles long before it was the “in” thing to do — though she’s quick to recognize that fearless spirit in others, such as Beyoncé. Lynne is a fan of Beyoncé’s country-influenced Cowboy Carter, a project she calls “well done and brilliant. I couldn’t wait until it came out because I love her and I said, ‘This is not just a country album, but it’s an album for the country.’ It’s an uplifting, creative experience.”

Ahead, Lynne has select shows, including what is sure to be a homecoming of sorts at Nashville’s Ryman Auditorium on Sept. 26. But for now, she’s celebrating the creative community that has formed around her, as she’s open to exploration on her next ventures.

 “I’m still kind of blown away that everything happened the way it did, because it’s just proof that you don’t need to plan everything — just get out of the way,” she says.