Travis Scott and Future have some heat on the way. La Flame teased an upcoming collaboration on Friday (Sept. 6) titled “South of France,” which appears slated to land on Future’s Mixtape Pluto project.

Trav posted a clip to social media on Friday featuring himself cooking up with Pluto and Southside, who appears to have lent his 808-laden production to “South of France,” in the deck of an opulent yacht equipped with all of life’s luxuries while sailing through French waters.

The project remains without a release date, but Future’s Freebandz label teased that the effort was “bout to drop” as a pre-save link went live for Mixtape Pluto earlier this week.

Pluto will be Future’s third project of 2024 following his collab albums We Don’t Trust You and We Still Don’t Trust You earlier this year. Scott made a pair of guest appearances on We Don’t Trust You when he popped up on Billboard Hot 100 top 10 hits “Cinderella” and “Type Shit.”

It’s been a busy year for Travis Scott even without releasing an album. He re-released his 2014 Days Before Rodeo mixtape on streaming services for the first time last month, which narrowly lost out and debuted at No. 2 on this week’s Billboard 200.

Scott was in conversation with artist George Condo for an interview with Cultured Mag on Thursday (Sept. 5), which saw him tease being “back in album mode.”

 “I’m gonna be back in New York. I’m back in album mode,” Scott said. “I’ve been working on music and shit every day on tour. When I’m doing the stadiums, because they’re sold out, I can see the music for what it is. I’m fucking amped.”

As for Future and Metro Boomin, they are wrapping up the We Trust You Tour this week, with shows still on tap for Seattle, Portland and Vancouver.

Jennifer Lopez arrived at the Toronto International Film Festival in a jaw-dropping look.

The star, who attended the premiere of the film, Unstoppable, on Friday (Sept. 6), rocked a stunning metallic silver Tamara Ralph gown that was open on the sides, tied together with oversized black velvet bows. She paired the look with long, straight hair, Dolce and Gabbana platform heels and Hassanzadeh jewelry. Lopez also took to Instagram to show off the outfit.

Unstoppable follows the story of real-life wrestler and 2011 NCAA national champion Anthony Robles, who was born with one leg. Lopez appears in the film as Anthony’s mother, Judy, and she also co-produced the biopic with her ex-husband Ben Affleck under his and Matt Damon’s Artists Equity production company. Affleck was notably not in attendance at the premiere.

Lopez filed for divorce from Affleck last month, on Aug. 20, after two years of marriage. The documents list the date of separation as April 26, 2024, but were filed on the two-year anniversary of their wedding ceremony in Georgia.

The duo first began dating back in 2002 after meeting on the set of Gigli, before getting engaged. The couple delayed their planned 2003 wedding before calling it quits in 2004. They rekindled their romance in July 2021 and the couple officially tied the knot in Las Vegas a year later. Shortly after, Bennifer celebrated their marriage in August 2022 in front of family and friends at their home in Riceboro on the Hampton Island preserve outside of Savannah, Georgia.

David Gilmour raised some eyebrows during the summer. In an electronic press kit shared with press, the Pink Floyd guitarist commented that his new album, Luck and Strange, is “the best album I’ve made since Dark Side of the Moon, since 1973.”

That’s certainly a bold comparison — though in subsequent conversation Gilmour notes that Dark Side‘s successor, Wish You Were Here, is actually his favorite Pink Floyd album. But it nevertheless made clear how happy he is with his fifth solo album, and first in nine years.

“The album feels like a solid body of cohesive work,” Gilmour, 78, tells Billboard via Zoom from the Astoria Recording Studio, in a houseboat docked on the Thames in London that he bought in 1986. “It’s the cohesiveness of the whole thing — the writing, the work, the thrill it still gives me to listen to it all the way through as an album. There’s a consistency of thought and of feeling that runs through it that excites me in a way that makes me make those comparisons.”

The nine-track Luck and Strange is, he adds, the product of a “liberation” he felt going into the studio.

Gilmour was working on new material when the pandemic hit in 2020, bringing the world to a stop — but also opening some new vistas for him and his family. Gilmour’s wife and frequent lyricist Polly Samson published a novel, A Theatre For Dreamers, the week of lockdown, which scotched planned promotional appearances. Their son Charlie came up with the idea of doing livestreams, during which Gilmour would play some songs by Leonard Cohen, who was a character in the book.

“It started pretty much only on Holly’s book as a focus,” Gilmour recalls, “but then it became broader. We got our daughter Romany to sing along and play with me, and that showed me that we have got that lovely sort of family tonality that happens — Beach Boys, Everly Brothers, other people. These artists that we loved in the past. All these things came together to create a different mood and a different feeling for the making of this album. It left me feeling I don’t need to stick with any pre-rule book or anything that’s gone before. I can be freer to do anything I feel like. That became emphasized for me.”

As he set out to make Luck and Strange in earnest, Gilmour veered from previous collaborators such as Roxy Music’s Phil Manzanera, Chris Thomas and Bob Ezrin and brought in a new (and younger) face with Charlie Andrew, a Music Producers Guild Award winner who worked with alt-j on its Mercury Prize-winning An Awesome Wave, James, Bloc Party and others. One of his first questions — “Do we need another guitar solo here?” — made clear that Gilmour was open to fresh input this time out (though rest assured there are plenty of guitar solos on the album).

“His lack of being over-awed by my reputation was a big plus for me,” Gilmour says. “Pink Floyd wasn’t one of his influences…but (Andrew) liked the music I was working on, and I liked him. Polly liked him very much; she found him, really, and my acceptance of what he was showing me and the direction he was proffering was an interesting and exciting way for us to be moving forward.”

“I didn’t specifically know a lot of his previous work, and I purposefully didn’t immerse myself in it as I just wanted to come at it with a fresh angle,” Andrew tells Billboard. “All I tried to do is keep it coherent as a body of work and make sure that there’s a flow to it. When we started out one of the first things I asked David was, ‘What are we making this for?’ For me, there’s more to it than ‘here’s a bunch of songs’ and just release them. I think it should be a bit more of one whole thing. I know David thinks the same.”

Luck and Strange — recorded primarily at Mark Knopfler’s British Grove Studios — also features drummers Steve Gadd, Adam Betts and Steve DiStanislao and keyboardist Roger Eno and Rob Gentry, along with longtime bassist Guy Pratt, who started playing with Pink Floyd in 1987 and has remained by Gilmour’s side ever since. (He’s also part of Pink Floyd drummer Nick Mason’s Saucerful of Secrets band.)

“It felt much more like a family,” Gilmour says, “much more like a group of people working toward a common end than I’ve felt for quite awhile.”

While not a concept album, Gilmour acknowledges that themes of mortality and retrospection unite Luck and Strange’s mostly midtempo songs — two of which, “Black Cat” and “Vita Brevis,” are instrumentals, and one a cover of the Montgolfier Brothers’ “Between Two Points,” sung by daughter Romany. She plays harp on the album as well, while son Gabriel Gilmour provides some backing vocals. “You discover the record as you work on it,” producer Andrew notes. “You don’t start it knowing exactly what it’s going to be. I really wanted to understand what the lyrics were focusing on, and Polly has been an incredible help in that regard, taking me and the musicians through the lyrics and what they mean.”

Particularly poignant is Luck and Strange‘s title track, which began in 2007 and includes the late Pink Floyd keyboardist Richard Wright, who was part of Gilmour’s touring band at the time.

“It’s wonderful to have a track that he’s actually a part of,” says Gilmour, who included a lengthy “barn jam” version of “Luck and Strange” as a bonus track. “Rick’s unusual playing style pours out of it and makes me sad that he’s not around to take more part in what I’m doing. Obviously, I worked on it later to add in these bridges and choruses and things. I don’t know why, in 2015 or ’14, that I didn’t listen to that track and go, ‘Yeah, let’s go,’ but this time it demanded to be heard and worked on, so we did.”

As Luck and Strange comes out Gilmour is gearing up for a tour, his first in eight years, that begins Oct. 9 with the first of six shows at London’s famed Royal Albert Hall. He’ll also play four Los Angeles area dates — starting Oct. 25 at the Intuit Dome in Inglewood, Calif., and moving to three concerts at the Hollywood Bowl — and five at Madison Square Garden in New York, wrapping up Nov. 10.

“I’m thinking more modern times than old times,” Gilmour says of the setlist, “but there’ll be some songs from the ‘70s, ‘80s, ‘90s. All the way through, there’ll be some stuff, but I’m focusing perhaps a bit more on the new album and the newer material.” And, he hopes, there will be more new material in less than the nine years he took before making Luck and Strange.

“My intention is to gather some of these people together and get back and start working on something else in the new year,” Gilmour says. “What you want is a few things to get started with and hope it all starts flowing, and that’s what I’m hoping will happen.”

Both repping Griselda, Buffalo’s Daringer and Brooklyn’s Streetz continue rap’s age old “He’s the DJ (or producer), I’m the rapper” tradition that has worked so well in the past and in recent years.

Today, not only did they announce the title and the date of their long rumored project, they also dropped off “Starbvxkz,” the lead single and video. Directed by Rome’s manager Coach Bombay 3000, the video features the duo in the ends of West London (the White City projects in Shepard’s Bush to be exact) as Rome raps like a box cutter to grill over signature Daringer production. “Play the hall with the soft and the hard stuck/Couple 8-Balls, I’m met the call by the Starbucks,” Rome raps on the chorus.

Earlier this year in May, Rome dropped the Buck 50 EP alongside producer Wavy Da Ghawd while Daringer contributed to Action Bronson’s album JOHANN SEBASTIAN BACHLAVA THE DOCTOR and Conway the Machine‘s Slant Face Killah. The last album he fully produced alongside a rapper was 2022’s Black Vladimir with Queen’s MC and Bronson affiliate Meyhem Lauren. He’s also been linked with Houston’s Sauce Walka, but that long rumored project has yet to materialize.

The duo first linked up on the Brooklyn rapper’s Griselda Records debut Kiss the Ring and have built an undeniable chemistry that inspired them to lock in and craft a full-length project together. Hatton Garden Holdup (named after London’s diamond district) is slated to drop Oct. 4 and boasts features from ScHoolboy Q, Conway the Machine, Meyhem Lauren & Cormega.