Kehlani’s “Folded” and sombr return to the top 10 of the Hot 100. Taylor Swift’s “Opalite” reached No. 1 last week, but will she be able to hold on to it this week?
Tetris Kelly: This is the Billboard Hot 100 top 10 for the week dated March 7. “Folded” is in at No.10. Sombr is up to nine. Bad Bunny slips to eight, “The Fate of Ophelia lifts to seven. “Golden” is up to No. 6, as is “I Just Might” to five. “Opalite” falls to No. 4. “Ordinary” is at No. 3. “Man I Need” is at its No. 2 peak. And returning to No. 1 is Ella Langley’s “Choosin’ Texas.”
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Megan Moroney earns her first No. 1 on the Billboard 200 albums chart, as Cloud 9 debuts atop the list dated March 7. The set is the singer-songwriter’s third studio effort and starts with 147,000 equivalent album units earned in the United States in the week ending Feb. 26, according to Luminate. That marks the biggest week for a country album by a woman in nearly two years.
Also in the top 10 of the latest Billboard 200, Hilary Duff’s first album in more than a decade, luck… or something, starts at No. 3; Baby Keem notches his highest-charting album yet with the No. 4 arrival of Ca$ino; and Mumford & Sons score their sixth top 10 with the No. 10 bow of Prizefighter.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 7, 2026-dated chart will be posted in full on Billboard‘s website on March 3. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Cloud 9’s 147,000 equivalent album units earned in the latest tracking week, album sales comprise 78,000 (Moroney’s best sales week; it debuts as her first No. 1 on Top Album Sales), SEA units comprise 69,000 (equaling 71.54 million on-demand official streams of the set’s tracks, her best streaming week; it debuts at No. 2 on Top Streaming Albums) and TEA units comprise a negligible sum.
Cloud 9 is the second top 10, and third chart entry, for Moroney. She previously hit the chart with Am I Okay? (No. 9 in 2024) and Lucky (No. 38 in 2023). Cloud 9 also marks the first country album by a woman to be No. 1 on the Billboard 200 since Beyoncé spent two weeks atop the list with her first country effort, Cowboy Carter, on the charts dated April 13 and 20, 2024.
Among country albums by women, Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (90.08 million in its third week; April 27, 2024, chart).
Few country albums by women have reached No. 1 on the Billboard 200 in the past 10 years (dating to March 2016): just seven albums by five women. They are: Cloud 9, Cowboy Carter, Taylor Swift’s Speak Now (Taylor’s Version) in 2023, Red (Taylor’s Version) in 2021 and Fearless (Taylor’s Version) in 2021, Carrie Underwood’s Cry Pretty in 2018 and Shania Twain’s Now in 2017. In the same 10-year span, 17 country albums by 11 different men have hit No. 1.
Cloud 9’s first-week sales got a boost from its availability across five vinyl variants (including a signed edition and a Target-exclusive version with two bonus tracks), three CD variants (including a signed edition, and a Target-exclusive version with two bonus tracks) and four deluxe boxed sets containing a piece of branded clothing and a copy of the CD.
The album was preceded by four charting tracks on Billboard’s charts, all of which reached the top 40 on the Hot Country Songs chart (“6 Months Later,” “Beautiful Things,” “Wish I Didn’t” and the title track). “6 Months Later” also scored Moroney her highest-charting hit on the all-genre Billboard Hot 100 when it reached No. 29 in January.
Bad Bunny’s DeBÍ TiRAR MáS FOToS falls to No. 2 on the Billboard 200, with 85,000 equivalent album units earned (down 37%).
After more than a decade, Hilary Duff returns to the Billboard 200 chart with luck… or something debuting at No. 3. The set, her first studio album since 2015’s Breathe In. Breathe Out., arrives with 84,000 equivalent album units earned. Of that sum, album sales comprise 73,000 (her best sales week since 2007; it debuts at No. 2 on Top Album Sales), SEA units comprise 11,000 (equaling 11.51 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.
In total, luck… or something gives the singer-actor her fifth top 10, following Breathe In. Breathe Out. (No. 5 peak in 2015), Dignity (No. 3, 2007), Most Wanted (No. 1, 2005), her self-titled effort (No. 2, 2004) and Metamorphosis (No. 1, 2003).
The new album’s first-week sales were aided by its availability across seven vinyl variants (including a signed edition), three CD variants (including a signed edition, and a Walmart-exclusive edition with seven bonus tracks), a deluxe boxed set containing a branded shirt and a signed CD, and a deluxe digital download edition with 11 bonus tracks (including the seven bonus Walmart tracks, plus four additional cuts).
The new album was preceded by the chart hit “Roommates,” which has reached the top 20 of the Adult Pop Airplay chart and the top 30 of Pop Airplay.
Baby Keem clocks his second top 10 — and highest-charting album yet — as Ca$ino cashes in with a No. 4 debut. The set earned 72,000 equivalent album units in its first week. Of that sum, SEA units comprise 55,500 (equaling 56.67 million on-demand official streams of the set’s songs; it debuts at No. 5 on Top Streaming Albums), album sales comprise 16,500 (his best sales week, it debuts at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.
Ca$ino is the rapper’s third chart entry, following The Melodic Blue (No. 5 peak in 2021) and Die for My Bitch (No. 162, 2020). The new album’s first-week sales benefited from its availability on vinyl, CD and two deluxe boxed sets (each containing branded merch and a copy of the CD).
Morgan Wallen’s chart-topping I’m the Problem moves 4-5 on the latest Billboard 200 (nearly 71,000 equivalent album units earned, down 8%) and Don Toliver’s former No. 1 OCTANE falls 3-6 (68,000 units, down 13%). Olivia Dean’s The Art of Loving dips 5-7 (61,000 units, down 15%) while two former No. 1s follow, as J. Cole’s The Fall-Off slides 2-8 (53,000 units, down 34%) and Swift’s The Life of a Showgirl is a non-mover at No. 9 (44,000 units, down 13%).
Rounding out the top 10 is Mumford & Sons’ Prizefighter, punching in at No. 10 with nearly 44,000 equivalent album units earned. It’s the sixth top 10-charted effort for the band, and comes less than a year after its previous studio release, Rushmere. Of the new album’s first-week units, album sales comprise 25,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 18,500 (equaling 18.69 million on-demand official streams of the set’s songs, it debuts at No. 32 on Top Streaming Albums) and TEA units comprise 500.
The album was preceded by the radio-promoted single “Rubber Band Man” (featuring Hozier), which notched 10 nonconsecutive weeks atop the Adult Alternative Airplay chart from November through February. It also peaked at No. 2 on Alternative Airplay.
Prizefigher’s first-week sales got a lift from its availability across seven vinyl variants (including a signed edition) and four CD variants.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
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The California Supreme Court has refused Tory Lanez’s bid to overturn his convictions for shooting Megan Thee Stallion, effectively affirming his 10-year prison sentence.
In an order issued last week, the state’s top court denied a petition for review filed by the singer (Daystar Peterson), who was found guilty in 2022 of shooting Megan (Megan Pete) in the foot during a drunken argument on a Hollywood Hills street.
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Lanez and his supporters have long maintained his innocence, arguing there’s insufficient proof he was the shooter and that he received an unfair trial. But a lower appeals court rejected that argument in November, upholding the conviction and his lengthy prison sentence.
The new order by the Supreme Court, issued Wednesday (Feb. 25), refused Lanez’s request for the high court to review that earlier ruling. Like the U.S. Supreme Court, California’s highest court hears only a small fraction of the cases it receives.
The order comes more than five years after the July 12, 2020, shooting, which happened as a driver was shuttling Lanez, Megan and her assistant/friend Kelsey Harris from a party at Kylie Jenner’s house. According to prosecutors, when Megan got out of a vehicle and began walking away, Lanez shouted “Dance, b—h!” and fired a gun at her feet, striking her once.
Following the incident, Megan initially told police officers that she had cut her foot stepping on broken glass, but days later alleged that she had been shot. Lanez was eventually charged with the shooting in October 2022.
During a blockbuster trial in Los Angeles court, Lanez’s lawyers tried to sow doubt over who had really pulled the trigger, painting a scenario in which Harris could have been the shooter. But a key defense witness offered confusing eyewitness testimony, and prosecutors pointed to an earlier interview in which Harris pinned the blame squarely on Lanez. Megan herself offered powerful testimony that Lanez had been the one to shoot her, and neither Lanez nor the driver took the witness stand.
Lanez and his supporters have refused to accept that verdict, calling it a “miscarriage of justice.” His legal team has filed multiple forms of appeal to challenge the verdict, each of which has now been rejected. They have also repeatedly made public claims about new or alternative evidence that allegedly exonerates him, but Megan’s reps and prosecutors strongly deny that.
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50 Cent’s no stranger to contentious feuds and T.I. himself isn’t one to back down. Two decades after carving out decorated legacies inside rap’s pantheon, 50 and Tip are now embroiled in an unlikely blockbuster feud to open 2026.
As far as rapping goes, this has been a totally one-sided feud, as T.I. has been relentless in stacking 50 Cent diss tracks while 50 has opted for social media fodder and trolling instead of heading to the booth.
Although the pair of rap titans peaked in the aughts from different rap capitals, 50 and Tip had some crossover, but minimal static over the years. Certainly nothing that should’ve lingered over a decade later like Ja Rule’s war with G-Unit that led to a pillow fight on a flight last month.
Verzuz was seemingly invented to settle beefs, not start them. The foundation of today’s feud was laid during the COVID-19 pandemic when T.I. repeatedly called out 50 for a battle, but the G-Unit mogul didn’t pay Tip much attention and scoffed at his requests.
Tensions were raised in February when Verzuz became a topic of discussion once again after T.I. joined Nightcap during Super Bowl weekend and claimed that 50 was “ducking smoke.”
In typical 50 fashion, he lived up to his king of pettiness title while turning to an array of social media jabs and memes. The floodgates opened when 50 went beyond T.I. and began taking shots at family members like Tip’s wife, Tiny Harris, and his son, King Harris.
In the span of less than a week, T.I. peppered 50 Cent with a handful of diss tracks and doesn’t appear to be done with 50 just yet, as he’s parlayed the momentum into the rollout of his upcoming and final album, Kill the King.
Here’s the history of T.I. and 50 Cent’s relationship and what’s taken place in their current feud.
The book will be published by Atria Books, an imprint of Simon & Schuster.
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According to the publisher, the book will examine the group’s formation on The X Factor in 2010, its rapid ascent in the global pop marketplace and the musical evolution across its five studio albums. Lipshutz will also draw on new interviews with key collaborators involved in the band’s creative development.
One Direction — comprised of Harry Styles, Liam Payne, Zayn Malik, Niall Horan and Louis Tomlinson — became one of the defining pop acts of the 2010s. The group made Billboard chart history when its 2012 debut album, Up All Night, opened at No. 1 on the Billboard 200, making One Direction the first British act to debut atop the chart with a first album.
The band followed with three additional consecutive No. 1 debuts: Take Me Home (2012), Midnight Memories (2013) and Four (2014), becoming the first group in Billboard 200 history to see its first four studio albums enter at No. 1.
In 2014, One Direction was named Billboard’s No. 1 Artist of the Year, marking the first time since Destiny’s Child in 2001 that a group claimed the year-end title.
After Malik’s departure from the group and the release of Made in the A.M. in 2015, the group entered an indefinite hiatus in 2016. In the years since, each member has launched solo careers, while the band’s catalog has continued to maintain significant streaming presence. The group currently draws tens of millions of monthly listeners on Spotify. Tragically, Payne’s young life was cut short in October 2024 when he died at age 31.
Lipshutz has covered One Direction throughout his tenure at Billboard, reporting on the band’s chart milestones and broader pop impact. He previously authored It Starts With One: The Legend and Legacy of Linkin Park, a book examining the career and influence of the rock band.
A Whole Lotta History: One Direction and the Sound That Shaped a Generation will explore the group’s commercial achievements, musical development and enduring fan culture, positioning the band’s legacy within the broader pop canon.
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They were together on Grammy night (Feb. 1), each winning awards on the primetime telecast and the day’s earlier premier ceremony. They were even together a week later during the Super Bowl LX halftime show. And now, Bad Bunny and Lady Gaga line up alongside one another on the first Boxscore report for 2026, the former at No. 1 on Top Tours and the latter on Top Boxscores.
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This isn’t Bad Bunny’s first time atop Billboard’s monthly touring recap – it’s his ninth. His January win extends his record for the most months at No. 1 on Top Tours, slowly inching away from Beyoncé, Coldplay, and Elton John, all tied with seven.
According to figures reported to Billboard Boxscore, Bad Bunny’s eight shows during January collectively grossed $62.5 million and sold 409,000 tickets. That’s the biggest January gross since the monthly charts launched in 2019. Coldplay reigned over the last two Januarys, earning $58.8 million in 2024 and $56.6 million in 2025.
After kicking off the Debí Tirar Más Fotos World Tour in the Dominican Republic, Costa Rica and Mexico, Bad Bunny begins 2026 by diving into South America with three shows in Santiago, two in Lima, and three in Medellin. The lattermost of those produced the biggest gross, with $25.1 million from three nights at Estadio Atanasio Girardot (Jan. 23-25). The triple-header in Santiago was the most attended, drawing 169,000 fans over three nights at Estadio Nacional (Jan. 9-11).
Through the end of January, Bad Bunny’s world tour has grossed $170.9 million and sold 1.1 million tickets since its November start. It’s the highest-grossing and best-selling leg of Latin American dates from any Bad Bunny tour thus far, already doubling the revenue from 2022’s World’s Hottest Tour ($81.7 million).
After Bad Bunny’s January run, the tour briefly paused so he could attend the Grammys and perform at the Super Bowl. There, he made history with the first Spanish-language winner for album of the year and then with the first fully Spanish-language halftime show. This monocultural back-to-back led to explosive gains across his catalog, resulting in “DtMF” becoming his first No. 1 on the Billboard Hot 100 and the biggest global streaming week of his career.
Not wasting much time, Bad Bunny resumed his world tour five days after the Super Bowl, playing three stadium shows in Buenos Aires on Feb. 13-15. He’ll be around the world in Sydney this weekend (Feb. 28-March 1) before traveling to Tokyo, and then to Europe for an extended stay. By the trek’s final show on July 22, it will all-but-certainly be his biggest tour yet.
In describing Bad Bunny’s Super Bowl halftime set as fully Spanish-language, it’d be more accurate to say that his performance was entirely in Spanish. Midway through his set, he got a breather as Lady Gaga took center stage to perform a solo salsa version of 2025’s No. 1 Hot 100 song, “Die With A Smile.” Her surprise appearance came a week after their friendly meeting at the Grammys, where she performed and won two awards. Good things come in threes, with Bunny and Gaga’s kinship continuing on the Boxscore charts.
For the second consecutive month, Gaga follows Bad Bunny at No. 2 on Top Tours. Across six shows in Japan, she grossed $45.7 million and sold 257,000 tickets, which follows her $60.7 million December over five shows in Australia.
Gaga’s January splits between two shows at Osaka’s Kyocera Dome and four nights at Tokyo Dome. With $14.4 million and $31.4 million, respectively, she bookends the top five of Top Boxscores, marking her first No. 1 on either monthly Boxscore ranking. Alongside Bad Bunny’s three South American stops at Nos. 2-4, the two acts blanket the chart’s entire top five.
Following stints in Australia, Europe, and the United States and Canada – and including reports for her first shows back stateside in February – Gaga’s The Mayhem Ball has grossed $296.7 million and sold 1.4 million tickets since kicking off on July 16 in Las Vegas. It will become her first $300 million tour when she heads to Texas and Atlanta in the coming days.
Eagles, Zac Brown Band, and Ed Sheeran round out the top five tours of January, with $18.7 million, $12 million, and $11.4 million, respectively. The first two spent their time at Las Vegas’ Sphere, while Sheeran played stadiums in Australia.
They, in addition to Bad Bunny and Lady Gaga, are the only acts to gross more than $10 million in January. It’s the smallest group of eight-digit acts in three years, dating to January 2023. There were six such tours in January 2025, and eight in the same month of 2024. Still, the top 30’s collective gross of $264.8 million represents an 11% bump over last year’s earnings, while dipping 2% from Jan. 2024.
Not only does Bad Bunny set a new ceiling for January grosses, the floor is higher than ever. The No. 30 act of the month is New Edition with $2 million from one reported date on Jan. 30. The same rank last year was Jim Gaffigan with $1.5 million, which marked the first January that the entire chart crossed $1 million.
January is always a relatively slow month, as venues worldwide are slow to resume full schedules coming out of the holiday season. Only seven of the month’s top 30 Boxscores occurred in the month’s first 10 days, while 16 took place in the last 10 days.
Many of the highlights from early January come from Australia. Promoter Untitled Group hosted Wildlands Festival on Jan. 1 in Brisbane and on Jan. 3 in Joondalup. The same company had the final day of Beyond the Valley Festival in Melbourne. Each of these grossed between $4-5 million, selling more than 20,000 tickets apiece.
“If you don’t tell me how you got this information,” the judge said, “you and I are going to have problems.”
It was June 2024 in an Atlanta courtroom, two years into the Kafkaesque criminal case of Jeffery “Young Thug” Williams, and the rapper’s lead attorney, Brian Steel, had just publicly accused the presiding judge of holding an illegal meeting, in secret, with prosecutors and a key witness.
Rather than deny the meeting took place, Judge Ural Glanville demanded to know how Steel had learned about it. When he refused to name names, the judge issued an ultimatum: “I’m going to give you five minutes. If you don’t tell me who it is, I’m going to put you in contempt.” A second later, Steel calmly responded, “I don’t need five minutes.”
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That bizarre showdown has since become the stuff of legal legend — not only for the Hollywood theatrics (Steel was ordered to remove his tie and arrested on the spot), but also because it ultimately proved the turning point in the circus-like trial of one of rap most influential voices, sparking a cascading series of events that ended with Thug walking out of jail as a free man.
Steel, who has become a go-to criminal defense attorney for some of music’s biggest names, is known in the Georgia legal community for his calm, sincere demeanor, both inside and outside the courtroom. After 30 years of ugly criminal trials, he’s a pretty tough guy to fluster.
But in an extended interview with Billboard, even he gets heated when he recounts the “outrageous” incident with Glanville. “It just shows how the system is broken,” Steel says. “That is a perfect example of why people don’t trust the criminal justice system.”
When asked if he had ever considered caving under the threat of jailtime, Steel doesn’t need five minutes to answer that one, either. “Are you crazy? That judge could have taken out a semi-automatic and put it to my head,” Steel says with a laugh — sort of joking, but also, maybe not.
“I’d rather die than allow Jeffery Williams, or any other person, be under the thumb of a judge like that.”
——————
Decades earlier, Steel almost went another way. As the Queens native neared the end of his time at New York City’s Fordham Law School in the late 1980s, he was working at an accounting firm and preparing to go to New York University in pursuit of becoming a tax attorney. It’s a stable job; the world needs plenty of tax attorneys.
Then a law professor let him to take part in the 1990 retrial of Michael Quartararo, one of four Long Island boys accused of murder in a highly-publicized 1979 death of another young boy. Steel got to work the case, interviewing witnesses and spending time with Quartararo, talking about the years the man had already spent in prison. And as he sat at the counsel table during the trial, soaking in the experience, he slowly became convinced that his client was innocent.
Former Los Angeles Lakers guard Javaris Crittenton appears in Los Angeles court with Steel, in August 2011. (Photo by Al Seib-Pool/Getty Images)
Getty Images
But when the trial wrapped up and the jury returned their verdict, Quartararo was once again found guilty. Sitting in the courtroom that day, Steel was “shocked” as he watched the man being led back to prison. And he started to think that maybe tax law wasn’t his calling.
“After I saw that happen, I really couldn’t shake it,” Steel says. “I thought to myself, ‘Figuring out whether IBM and Siemens should do a merger for tax purposes, that’s important stuff, but maybe it’s not what I should be doing before I die. Maybe I can help some people out.’”
Thanks to an old college roommate who had raved about Atlanta, Steel applied to an internship at the Fulton County Public Defender’s Office, where he was eventually hired full time. The pay was meager, but the experience was priceless — leading murder trials as a 20-something lawyer, taking complex appeals up the ladder, and reading every case he could get his hands on. “I didn’t have a girlfriend, I didn’t have any money,” he says. “And I loved it.”
He was also witnessing the harsh realities of the American criminal justice system. He went to the homes of his impoverished Atlanta clients, tried to understand the lives that had led up to their cases, watched what happened to people as they faced criminal charges and then dealt with the long consequences of convictions. He even spent time in jail (“the sheriffs were so nice to me”) to understand what it was really like. And it left him with strong opinions. “We incarcerate and prey upon people, especially people of color,” Steel says. “And it’s just wrong.”
In 1993, he set out into private practice, where he slowly established himself as one of the top defense attorneys in Georgia, litigating criminal trials and appeals ranging from murder to tax evasion and everything in between. Over time, some of them started to involve musical artists — no surprise in a city that has become a key cog in the music business over the past 25 years as America’s unofficial rap capital. “I’ve represented a lot of people in your industry,” Steel says. “Thankfully, we’ve gotten a lot of cases dismissed before anyone is arrested.”
As his client list grew, Steel himself mostly remained low profile — until recently. His internet presence is minimal; he doesn’t advertise, and he doesn’t take many clients. His law firm is small, composed of him and his wife, herself a distinguished defense attorney. He’s actually still in the exact same office he moved into when he left the public defender’s office, including the same furniture. “I’m really superstitious,” he jokes.
And years later, his approach to the job is the same: Try to help people, and to understand the lives of the human beings he’s representing. “I get very close to my clients,” he says. “I meet their families. Because if I’m going to defend somebody, I gotta be invested. I gotta believe in the person. I gotta make it where if I lose this case, it’s going to ruin my life.”
——————
Back in the early 2010s, Steel got a call from a manager for Young Thug, who was just then breaking out with mixtape hits like “Stoner” and “Danny Glover” that catapulted him from Atlanta’s trap scene to a national profile. Thug had been arrested, the manager said, and had specifically asked for Steel after hearing about him from some of the attorney’s other clients.
That case was relatively small and quickly resolved. But a decade later, Thug turned to Steel again when he was arrested on far more serious charges.
In May 2022, prosecutors claimed that Thug’s “YSL” — nominally a record label under Warner Music Group’s 300 Entertainment — was also a violent street gang called “Young Slime Life.” Under the direction of Thug’s “King Slime” moniker, the DA’s office said YSL had wrought “havoc” on Atlanta for years, including carrying out an unsolved drive-by shooting. If convicted on the charges, Thug faced a lifetime in prison.
Steel arrives at the Fulton County Courthouse on Nov. 27, 2023 in Atlanta during the Young Thug case. (Photo by Christian Monterrosa/AFP via Getty Images)
CHRISTIAN MONTERROSA/AFP via Getty Images
From the start, the case was a mess. Just finding lawyers for all 28 defendants proved extremely difficult. Prosecutors also wanted to use Thug’s song lyrics as evidence against him — an already-controversial practice that Steel called an attack on free speech. After it took nearly a year just to select a jury, the trial moved at a glacial pace, eventually becoming the longest in state history. All the while, Thug sat in jail, having been repeatedly denied bail.
It was in June 2024, with no end in sight, when Steel unveiled his stunning revelation about the secret meeting. When he first learned about it, he says he almost didn’t believe it — that there was “no way” that a judge had met with prosecutors and a crucial witness about important testimony and didn’t alert defense attorneys. But when he raised it in court and Judge Glanville began threatening him, he says he knew that it “really did happen.”
“It’s a conspiracy. It’s insane,” Steel recalls thinking at the time. “And I’m standing in front of this judge, and he’s telling me that I’m going to jail?”
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The rest is history: the judge held him in criminal contempt and sentenced him to 20 days in jail. (In another Grisham-esque flourish, Steel asked to serve his sentence alongside Thug so they could prep for trial.) But the ruling was later overturned on appeal and, more significantly, Glanville was eventually removed from the case over the incident. He was replaced by Judge Paige Reese Whitaker, a judge with a reputation for efficiency who quickly began to criticize the prosecutors for “poor lawyering” and a “haphazard” approach to the case.
Whitaker’s appointment led to the case’s dramatic endgame months later, when another misstep by prosecutors led her to consider a mistrial. To avoid that outcome, the DA offered Thug a plea deal that would have sent him home immediately. But the deal would have imposed onerous restrictions on him and his future career, so he and Steel refused to take it — feeling confident enough to instead simply plead guilty and hope the judge would set him free.
The move was risky. With no plea deal in place, prosecutors quickly asked for a whopping 45-year sentence against the star. But it paid off: Whitaker opted instead to sentence him to just 15 years of probation. “It was definitely a gamble,” Steel says. “We took a shot and he was out that night and he’s never looked back.”
To this day, Steel is certain that he would have won an acquittal, saying his client was obviously innocent and wrongly charged. But when considering the guilty plea, he says he deferred to his client, who had been sitting in jail for more than two years: “Jeffery was like ‘Brian, I can’t stay here. I have a real life.’”
——————
Thug’s case became something of a cause célèbre: maybe due to the unapologetic use of his lyrics in the indictment; maybe due to him sitting in jail for years without a conviction. Whatever the reason, when Thug walked free, the reaction was more joyful than anything else. “Welcome Home lil bruddah, It’s been too long,” the rapper T.I. wrote on Instagram; a few months later, Drake released a song called “Brian Steel” that included a shout out to the now-famous attorney.
But not all of Steel’s clients have been so sympathetic; that comes with the territory when defending people charged with serious crimes. Every American has a constitutional right to a defense attorney, and everyone knows that people are presumed innocent until proven guilty. But when emotions get involved, that’s often not how it works.
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Over decades at the job, Steel has plenty of experience with that. He’s represented a wide range of defendants accused of pretty much any crime imaginable, and most of them didn’t have dedicated fan bases pleading for their release on social media.
“I’ve done the most violent cases, people cutting up bodies and eating the eyeballs, to white collar cases like tax evasion,” he says. “I’ve represented indigent people and the most vulnerable, as well as the most powerful.”
One of those clients was Jackie Johnson, a former Georgia prosecutor charged with hindering the police investigation into the 2020 murder of Ahmaud Arbery, a Black jogger whose killing sparked national outrage. Just a few months after that celebrated win for Thug, Steel was in court defending a prosecutor accused of covering up a hate crime that had galvanized the country.
At trial, he argued that there was no evidence that Johnson had ever done so — that an “innocent woman” had been scapegoated amid the national uproar over Arbery’s murder. And after five days of testimony, the judge agreed, acquitting Johnson on the grounds that prosecutors had failed to present even “one scintilla of evidence” that she ordered police not to arrest Arbery’s killers.
For Steel, the Johnson case was no different than the Thug case, subjecting an innocent person to the machinery of the modern justice system. “It was all a lie,” Steel says. “And yes, she got cleared, but she went through it for five years, getting death threats.”
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In April, two months after winning Johnson’s trial, Steel was hired to join the team of lawyers representing an even more famous musician than Thug — but one that the public was hardly clamoring to free.
Sean “Diddy” Combs, once one of the music industry’s most powerful figures, had been charged in 2024 with racketeering and sex trafficking, over claims that he forced his former girlfriend Cassie Ventura and other women to have sex with male prostitutes in sex parties known as “freak offs.” Across more than a year of civil suits, documentaries and the release of a hideous surveillance video showing Combs striking Ventura in 2016, many had made up their minds about the star.
Steel arrives for Sean “Diddy” Combs’ sentencing at Manhattan federal on October 03, 2025. (Photo by Michael M. Santiago/Getty Images)
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At trial, Steel and Diddy’s other lawyers apologized for his acts of domestic violence, and admitted that the star had had “toxic” relationships with Ventura and other women. But they stressed that his alleged victims had been consenting participants in the sex parties, and that his behavior, no matter how unsavory, did not come close to the sweeping federal charges he was actually facing.
While not an ideal PR narrative, those arguments largely worked in court. In a July verdict, jurors acquitted Combs on the most serious charges, avoiding the possibility of a lifelong prison sentence. But he was still found guilty on two lesser prostitution counts, for which he was later sentenced to four years in prison.
Asked about the Diddy case, Steel is bluntly honest about his client’s conduct, saying that he had clearly “brutalized” Ventura. “This was objectively, brutally wrong,” Steel says. But like he and his co-counsel argued during the trial, Steel says that still doesn’t mean he should face a life prison sentence for different crimes.
“I’m coming onto the case and learning the case, and I start reading these communications that clearly show this was consensual,” Steel says. “I’m not saying the beatings were consensual. They were wrong. But that’s not what he was charged with. We’re going to say you should die in prison, that you sex trafficked people, when that’s clearly not true?”
Diddy’s case is currently pending on appeal, where his team is arguing that the judge sentenced him to an unfairly “draconian” prison term. They say the judge served as a “13th juror” who had been swayed by claims of coercion, even though such allegations had been rejected by jurors.
The way Steel tells it, the Diddy case is also no different than any of his others, despite the global media sensation surrounding it and the strong feelings people have about his client. Whether it’s an indigent defendant or wealthy one, a beloved rapper or a not-so-beloved one, he sees the same flawed legal system and the same ultimate goals.
“I’ve done plenty of cases that you’ll never hear about, [other] cases that are high profile — they all mean the same to me,” he says. “I just want to help people, ethically and zealously. And I don’t want to hurt anybody, and God willing, something good will come out.”
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.pngYveto2026-03-02 18:36:182026-03-02 18:36:18First He Freed Young Thug. Then He Took On Diddy: Why Attorney Brian Steel Says The ‘System Is Broken’
Taylor Swift has always been a big supporter of Record Store Day, and 2026 is no exception. On Monday (March 2), the event supporting local vinyl shops announced a special release for this year’s iteration: a single disc for one of the pop star’s fan-favorite Life of a Showgirl tracks.
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The exclusive 7-inch record will feature “Elizabeth Taylor” — the third track on Swift’s 2025 Billboard 200-topping album — isolated as a single away from the rest of the LP, pressed onto a galactic purple-and-blue vinyl. “Record Store Day just got… So Glamorous,” reads the announcement on RSD’s Instagram, which shows off the product’s black-and-white cover art.
The disc’s official title is the “Cry My Eyes Violet Glitter” vinyl, referencing one of the lyrics on “Elizabeth Taylor.” The song dropped on Oct. 3, along with the rest of The Life of a Showgirl, which went on to spend 12 weeks at No. 1 on the albums chart.
So far, both “The Fate of Ophelia” and “Opalite” from the LP have topped the Billboard Hot 100, while “Elizabeth Taylor” debuted at No. 3 on the tally. As its title suggests, the latter takes inspiration from the life of one of Swift’s idols, the indigo-eyed Hollywood legend behind iconic films such as Cleopatra and Who’s Afraid of Virginia Woolf? Following the song’s release, Taylor’s son Christopher Wilding had nothing but praise for Swift’s tribute to his mother.
“They are both the very embodiment of female empowerment,” he said in October. “The way [Swift] has deftly captured the similarities and parallel tracks in their careers and personal lives is delightful.”
The 14-time Grammy winner is known for taking part in Record Store Day, which facilitates special vinyl releases at participating record shops. Last year, Swift and Post Malone’s “Fortnight” single disc was one of the event’s top sellers, while in 2022, she made moves on Billboard‘s charts with the RSD release of Folklore: The Long Pond Studio Sessions on vinyl.
This spring, Record Store Day will take place on April 18.
See the “Elizabeth Taylor” vinyl for Record Store Day below.
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.pngYveto2026-03-02 18:36:182026-03-02 18:36:18Taylor Swift Selects This ‘Life of a Showgirl’ Track to Get Exclusive Vinyl Treatment for Record Store Day
Justin Bieber celebrated his 32nd birthday on Sunday (March 1) with wife Hailey Bieber on what looked like a date night party for two. In a pair of snaps posted early Monday morning (March 2), the couple look cozy while sitting at what a restaurant, with JB blowing out the candles on a small white birthday cake topped with strawberries as Hailey looks on with a smile.
“No one id rather spend my birthday withhh.. :)) [lips emoji,” Justin wrote in an Instagram post that also featured a snap of the parents of 18-month-old Jack Blues Bieber smiling with their heads touching as they look up at the camera. Hailey shared the latter pic on her Instagram Story cued to Olivia Dean’s “Man I Need” with the caption “Dada mama dada mama.”
Justin’s mom, Patti Mallette, also got in on the action, sharing a bunch of baby pics of the “Daisies” singer on her Insta and writing, “32 years ago, my life changed forever. You became my son, my heart, and my greatest lesson in love. Nothing has ever been the same. You’ve lived in my heart ever since. I know who you are. I know what’s been placed inside of you. And I know God has never taken His hand off your life. He’s there. And so am I. Love doesn’t leave. Mine never has, and it never will.”
Mallette — who included pics ranging from childhood, to peak teen stardom and some recent images — also promised her son that “there’s so much more ahead of you. So much purpose. So much redemption. So much that’s still unfolding. And no matter how much time passes, you will always be one of the greatest gifts God has ever given me,” she wrote. “Praying this year is full of clarity, confidence, redemption, a deeper sense of who you are, and God’s direction and favor over your life.”
Justin recently made waves when he performed his Swag ballad “Yukon” at the 2026 Grammy Awards wearing nothing but a purple guitar and silky blue boxer shorts. Bieber will be back on stage on April 11 and 18 when he headlines this year’s Coachella Valley Music and Arts Festival in Indio, Calif.
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.pngYveto2026-03-02 18:30:362026-03-02 18:30:36Justin Bieber Celebrates 32nd Birthday With Wife Hailey: ‘No One I’d Rather Spend My Birthday Withhh’
The Academy of Country Music is again honoring some of the most impactful radio stations and radio station personalities in country music, as the organization announced radio categories nominees for the 61st ACM Awards.
Among those earning multiple nominations are KFRG-KM in Riverside, Calif. (with three nominations), as well as KILT-FM in Houston, KSCS-FM in Dallas, WBEE-FM in Rochester, N.Y., WCKK-FM in Walnut Grove, Miss. and WUBE-FM in Cincinnati, with two nominations each.
The winners will be announced during Country Radio Seminar on March 18-20, prior to the 61st ACM Awards. The ACM Awards will take place at the MGM Grand Garden Arena in Las Vegas on Sunday, May 17, 2026. A full list of ACM Awards nominations is set to be announced in coming weeks, in addition to host, performers and presenters.
See the full list of ACM Radio Awards nominees below:
National daily on-air personality of the year:
B-Dub – “B-Dub Radio” Cody Alan – “Highway Mornings with Cody Alan” Katie Neal – “Katie & Company” Rob Stone and Holly Hutton – “The Rob + Holly Show” Steve Harmon – “Steve Harmon Show”
National weekly on-air personality of the year: B-Dub – “B-Dub Radio Saturday Night” Big D, Bubba, Shaffer – “Honky Tonkin’ with Big D & Bubba” Heather Froglear – “90’s Country with Heather” Kelleigh Bannen – “Today’s Country Radio” Ryan Fox – “American Country Countdown with Ryan Fox”
On-air personality of the year (major market): “Angie Ward” – Angie Ward, WUBL-FM, Atlanta “Chris Carr & Company” – Chris Carr, Sam Sansevere, Dubs, KEEY-FM, Minneapolis “The Coop Show” – Coop, WKIS-FM, Miami “Erik & Jenny” – Erik Scott Smith & Jenny Lee, KCYY-FM, San Antonio “Frito & Katy”– Frito and Katy, KILT-FM, Houston “Niko + Cheyenne” – Niko + Cheyenne, KMLE-FM, Phoenix “Rachel Ryan” – Rachel Ryan, KSCS-FM, Dallas
On-air personality of the year (large market): “Heather Froglear” – Heather Froglear, KFRG-FM, Riverside, Calif. “Jesse & Anna” – Jesse Tack, Anna Marie, Jake Thomson, WUBE-FM, Cincinnati “Kelli and Anthony” – Kelli Green and Anthony Donatelli, KFRG-FM, Riverside, Calif. “Mad Dawg in the Afternoon” – Big Dave, Stattman, WQDR-FM, Raleigh, N.C. “Maria D’Antonio” – Maria D’Antonio, WDSY-FM, Pittsburgh
On-air personality of the year (medium market): “The Bee Morning Coffee Club” – TJ Sharp, Bo Jaxon, Hope Breen, WBEE-FM, Rochester, N.Y. “The Doc Show with Chewy” – Doc Medek, Chewy Medek, WGGY-FM, Wilkes-Barre, Pa. “Julie and DJ in the Morning” – Julie K and DJ Thee Trucker, WPCV-FM, Lakeland, Fla. “Mo & StyckMan” – Mo & StyckMan, WUSY-FM, Chattanooga, Tenn. “Steve & Gina in the Morning” – Steve Lundy and Gina Melton, KXKT-FM, Omaha, Neb. Tug Cowart Show” – Tug Cowart, WCKN-FM, Charleston, S.C.
On-air personality of the year (small market): “Ben & Arnie: – Ben Butler, Arnie Andrews, WCOW-FM, Sparta, WI “B-MO in the MO’rning” – Brian “B-MO” Montgomery, WCKK-FM, Walnut Grove, MS “Dan Austin” – Dan Austin, WQHK-FM, Fort Wayne, IN “The Dr. Shane and Tess Show” – Dr. Shane and Tess, WPAP-FM, Panama City, FL “The Eddie Foxx Show” – Eddie Foxx and Amanda Foxx, WKSF-FM, Asheville, NC
Radio station of the year (major market): KILT-FM – Houston KSCS-FM – Dallas KSON-FM – San Diego WPOC-FM – Towson, Md. WXTU-FM – Philadelphia
Radio station of the year (large market): KFRG-FM – Riverside, Calif. WLHK-FM – Indianapolis WMIL-FM – Milwaukee WSIX-FM – Nashville, Tenn. WUBE-FM – Cincinnati
Radio station of the year (medium market): KUZZ-FM – Bakersfield, Calif. WBEE-FM – Rochester, N.Y. WHKO-FM – Dayton, Ohio WLFP-FM – Memphis, Tenn. WQMX-FM – Akron, Ohio
Radio station of the year (small market): KCLR-FM – Columbia, Mo. KFGE-FM – Lincoln, Neb. WCKK-FM – Walnut Grove, Miss. WXFL-FM – Florence, Ala. WYCT-FM – Pensacola, Fla. WYOT-FM – Rochelle, Ill.
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.pngYveto2026-03-02 18:26:132026-03-02 18:26:13Academy of Country Music Reveals Radio Awards Nominees