Jay-Z sat down for a rare interview with GQ that was published on Tuesday (March 24), which marks the rap legend’s first cover story in nearly a decade.

Among the myriad topics discussed was Hov’s take on whether hip-hop has surpassed the need for rap battles, as he pointed to things getting taken too far in the blockbuster Drake and Kendrick Lamar feud in 2024.

“I love the sparring and the music you get, but in this day and age, it’s so much negative stuff that comes with it, you almost wish it didn’t happen,” he said. “Now people that like Kendrick hate Drake no matter what he makes … It’s like an attack on his character and I don’t know if I love that, I don’t know if it’s helpful to our growth, where the fallout lands … It’s too far.”

At 56 years old, Jay admits his age may be influencing his opinion on growing from rap feuds, as he’s long matured from the days of sparring with Nas well over two decades ago.

“Maybe I’ve grown in a space where I sound like the old guy wagging the finger,” Jay said. “I think we can achieve the same thing, as far as sparring with music, with collaborations more so than breaking the whole thing apart.”

The Brooklyn icon doesn’t appreciate fans taking things too far by bringing family and kids into the battles. With social media omnipresent, he also doesn’t think that fans can move on from battles properly.

“It’s too far. It’s bringing people’s kids in it. I don’t like that,” he added. “It takes up so much oxygen, it’s like trying to tear down people’s lives. I don’t know if it’s worth it at this point.”

Jay finished with a pointed message about rap battles: “I don’t know if battling needs to be part of the culture anymore.”

Kendrick rode the momentum from his feud with Drake into a Super Bowl Halftime Show in 2025, which Hov plays an integral role in helping select each year’s halftime performer. However, that selection wasn’t made to undermine his “Light Up” collaborator.

“I chose the guy that was having a monster year. I think it was the right choice. It wasn’t in some sort of alliance to a battle,” he said. “Not just me, they drag everybody in there like everyone’s part of this conspiracy to undermine Drake. Like what? I’m f–king Hov!”

Kendrick’s “Not Like Us” diss served as the killshot in his 2024 battle with Drake. The Mustard-produced anthem went on to top the Billboard Hot 100 and broke the record for the most weeks at No. 1 on the Hot Rap Songs chart, while also collecting Grammy Awards for record of the year and song of the year.

Watch Jay’s full interview with GQ below.

Firebird Music Holdings has today (March 24) announced a new strategic partnership with U.K. artist management company Goodlife Management.

The partnership brings the Goodlife team — including founders Oliver Sasse, Lucy Sasse, Ellie Shaw and David Watters — along with the company’s artist roster into Firebird’s suite of management companies. Goodlife currently represents an esteemed slate of dance and electronic artists including British phenomenon Fred again.., American scene leader The Blessed Madonna, Dutch trance star Ki/Ki and Japanese DJ/producer Yousuke Yukimatsu.

Under the terms of the partnership, Oliver Sasse will now serve as a senior advisor for Firebird, with a focus on growing the company’s dance music acquisitions and exploring opportunities within catalog, labels, managers, live events and more.

With the deal, Goodlife joins Firebird’s group of U.S. and U.K. management partners, including Mick Management, Red Light Management, JET Management, Hills Artists and Special Projects.  

“For us and our artists, it builds on the global network and creative momentum, while unlocking more commercial opportunities,” Oliver Sasse tells Billboard of the partnership. “Just as importantly, we’re able to lean into the experience and business acumen of Nat, Nathan and their team, while plugging into a network of managers we respect enormously, many of whom are friends and now partners, further strengthening what we can offer our roster.”

The partnership will give Goodlife access to Firebird’s strategic infrastructure and ecosystem of industry-spanning experts, with an eye towards expanding Goodlife’s roster.

Launched in the wake of the pandemic, Firebird has access to more than $1 billion in equity and is backed by institutional investors including the Raine Group and KKR Partners. Over the last several years, the company has invested in leading management companies and indie labels specializing in developing artists, with a vision to, as Firebird executive chairman Nat Zilkha told Billboard in 2023, “participate across a much broader range of all the activities artists participate in by having a horizontal relationship with them so that we can be more forward leaning in terms of how we invest in artists’ careers.”

In a statement on the Goodlife deal, Zilkha adds that “We are thrilled to partner with Oliver on developing creative and business opportunities for his artists, as well as collaborating with him on impactfully expanding our own footprint across the genre.”

“Oliver Sasse and the Goodlife team have been at the forefront of the global popularity for electronic music for the last decade, fostering unique artists and delivering innovative approaches to building longer lasting, more impactful global careers,” Firebird CEO Nathan Hubbard added in a statement.

This Tuesday (Mar. 24), the moment Hannah Montana fans have been waiting for has arrived: the much-teased and highly-anticipated Disney+ special celebrating the show’s 20th anniversary is here.

On Monday night, the premiere took over downtown Hollywood with a special screening at the El Capitan Theatre, followed by an after party at The Hollywood Roosevelt — both of which were attended by Cyrus along with her family and a handful of Hannah cast members. But, just weeks prior, key moments in the special were still (not so) secretly being filmed.

On Feb. 27, superfans of both the show and its star, Miley Cyrus, were invited to Los Angeles from around the world to watch her perform; But even upon arrival, details were vague and parking passes simply referenced “Project Wig Anniversary.” (Project Wig was also scribbled on a box of blonde wigs that were later tossed to select attendees). Upon entering the Sunset Gower Studios lot, phones were locked and secrets were (mostly) kept — until now.

As fans made their way toward Stage 14, they were greeted by a towering logo for the Hannah Montana 20th Anniversary Special plastered onto the gate. And parked right in front was, of course, the same black Ford Mustang convertible with its HM 20 plate that Cyrus was previously spotted driving around Malibu.

And after a few hours kept patiently waiting, upon walking into the soundstage there were two major moments to take in: On one side, iconic Hannah Montana sets had been reconstructed, including Hannah’s Malibu home living room and her legendary spinning closet; on the other side, a stage had been built.

A blend of Hannah Montana and Miley Cyrus hits played in the background, and a camera operator sang along to “Party in the U.S.A.” while Call Her Daddy podcast host Alex Cooper (who co-produced the special) looked on from the back of the crowd. Soon enough, the music cut out and was replaced by gasps and claps as Hannah appeared — or was it Miley? Or Miley as Hannah?

“It’s hybrid Hannah; it’s a little confusing, huh?” said Cyrus with a smile, scanning the room. “A little bit Hannah, a little bit Miley.” (She later joked to a production assistant: “My dress is too tight, will you grab my sunglasses? That’s the Miley part.”)

Wearing a stunning floor-length, halter neck sequin gown with an open back that showed off many of her tattoos, the artist standing on stage was indeed a little bit of both worlds — and, more than anything else, that’s what this anniversary is truly celebrating.

“The best training I had to be Miley was Hannah,” Cyrus shared in between performing Hannah Montana hits “This Is the Life” and “The Climb.” She continued: “I used to think of Hannah separate from myself… This is my reclaiming.” (She performed both songs twice, explaining that the second take was “music video style” including tighter shots of her face. “I’m lip-syncing for my life,” Cyrus laughed ahead of the second take. “It’s still going to be major.”)

After her live vocals and close-ups were complete, Cyrus cautioned fans before exiting the stage: “You’re about to be so gagged for what’s to come.” And after a brief reset — during which the iconic Hannah Montana marquee appeared on stage and backup dancers took their places — she was proven right. As Cyrus ascended from below the stage — wearing the same black outfit she was spotted in days before while driving the Mustang — an instantly-recognizable drumbeat kicked in as she prepared to perform the show’s hit theme song, “Best of Both Worlds.” Even her mom, Tish, couldn’t help but dance along.

And as confetti canons signaled the end of the song and the taping (of these three songs, at least, as other components of the special were filmed separately), Cooper expressed to Tish, “That was a spiritual experience.” To which Tish replied, “I’m gonna be depressed tomorrow that it’s over.” 

But, as Miley shared earlier in the day — and as she reiterates in the special — creating something that extends beyond one moment and serves more than just one audience in one specific location at one specific time was exactly how she landed on a pre-taped special.

“We got to be with you all in your homes,” she said, reflecting on the experience of being on TV. “That’s what my character didn’t want to let go of.”

It seems Miley herself didn’t want to let go, either — and thank goodness for that.

She said it best in Hannah Montana: The Movie when she sang: “You can change your hair and you can change your clothes/ You can change your mind, that’s just the way it goes/ You can say goodbye and you can say hello/ But you’ll always find your way back home.”

Fans have indeed seen and supported Cyrus through such hair, clothes and mindset changes across the last two decades. And now, in this dim-light soundstage, seeing her embrace a character that at many times felt like a distant memory makes this homecoming an even bigger cause for celebration. And as Cyrus affirms in the special, “It’s good to be home.”

As Ella Langley holds onto her record-breaking streak on the Billboard Hot 100 with “Choosin’ Texas,” she continues releasing a slate of more strong songs from her upcoming April 10 album Dandelion. In her latest, “Loving Life Again,” she’s learning the power of taking time to slow down, recalibrate and appreciate all of life’s moments.

Elsewhere, Luke Combs teams up with bluegrass great Alison Krauss for a new collab, while duo The Band Loula, Wyatt Flores and Leah Blevins all issue top-shelf new music.

Check out all of these and more in Billboard‘s roundup of some of the best country, bluegrass and/or Americana songs of the week below.

Ella Langley, “Loving Life Again”

Ella Langley is reigning on the Billboard Hot 100 with “Choosin’ Texas,” but she’s continuing to build on that masterful release with this tender, uplifting song about finding peace and new perspectives amid emotionally turbulent times. Her soft-focus voice is quietly commanding here, backed by the tranquil ambience forged by layers of guitar, mandolin and pedal steel. She sings of letting her mind drift back to peaceful memories of being with her grandmother or riding her favorite horse, weaving those vivid portraits into a languid, beautiful track that showcases the full spectrum of Langley’s musical vision.

Luke Combs Feat. Alison Krauss, “Ever Mine”

Luke Combs joins forces with bluegrass great Alison Krauss on “Ever Mine,” a tale of a soldier’s missive to his family back home. The soldier keeps a photo of his family near him for comfort and prays his own children will “wrap their arms around each other and never around a gun.” Krauss joins Combs on the chorus, her airy vocal serving as a soothing balm over his gritty, aching voice. Washes of fiddle, mandolin, banjo and piano give this a bluegrass-leaning flavor, as the two artists sing a plea for peace and comfort in troubled times.

The Band Loula, “Mother’s Mother”

During National Women’s History Month, The Band Loula pays homage to strong, wise and compassionate women in their families on the acoustic-driven track “Mother’s Mother,” a tough-and-tender tribute to grandmothers. Shimmering guitar and a laid-back rhythm are an undertow as the duo’s Logan Simmons offers a tender and husky vocal, carrying vividly detailed lyrics of aspirations to be more like her grandmother. “I hope my driveway’s just as long, hope my porch light’s always on/ And the phone call’s never done ’til I say ‘I love you, hon,’” she sings. Simmons wrote the song with bandmate Malachi Mills with production from Brothers Osborne’s John Osborne.

Leah Blevins, “Leave Your Baggage At The Door”

Blevins just released her sophomore album All Dressed Up, and her singular, evocative sound is intriguing. On this song from the project, she’s enticing a lover to leave the weight of the past behind and dare to try something new, as she scaffolds her musical message with a ’60s country-tinged sound that’s catchy and makes an excellent showcase for her graceful, rural soprano.

Wyatt Flores, “Runnin’ On E”

Flores previewed this new song last week during Country Radio Seminar. In it, he warns a potential lover that they are wasting their time pursuing him, singing “I’m all sorts of things except the man that you need.” He juxtaposes her want for a steady relationship with his own leanings on various vices, with lines like, “I smoke for the boredom/ And I drink ’cause of shyness.” Those self-aware lyrics are paired with breezy melody and a gently rollicking rhythm, making this feel like a freewheeling summertime favorite.

Shore Fire Media, one of the music industry’s preeminent independent public relations and communications firms, has entered a new era as founder Marilyn Laverty ascends to chairman of the firm and former BMG senior vp Angela Barkan is named its new CEO.

Laverty has also been named senior advisor to Dolphin, a publicly traded entertainment marketing and content production company, which acquired Shore Fire in 2019. She will focus on Shore Fire’s strategic growth and advise its executive team while continuing to play a key role in representing longtime clients Bruce Springsteen and Cyndi Lauper.

In her dual role, Laverty will also drive collaboration across Dolphin’s portfolio of businesses as a senior advisor to the marketing supergroup. (Dolphin took the No. 1 spot on the “Observer PR Power List for 2025.”)

Laverty was an honoree on Billboard’s Women in Music list in 2011 and was named one of Billboard’s Power Publicists in 2023.  “She has no agenda except for the artists, is a master communicator, is entirely networked, is respected in all corners of the industry,” Springsteen’s manager, Jon Landau, said at the time of the 2023 honor.

Dolphin CEO Bill O’Dowd said in a statement, “Growing Shore Fire into a renowned industry leader with expertise across many facets of art and culture, and nurturing an executive team that is unsurpassed in talent, what Marilyn has been able to accomplish with the company over the past few decades is nothing short of remarkable.”

Barkan, who comes to Shore Fire from BMG, previously held leadership roles in marketing, brand partnerships and public relations at various Sony Music labels. She was named to Billboard’s Women in Music list in 2022.

Succeeding Laverty as Shore Fire’s CEO, Barkan expressed her high regard for the firm in a statement. “Shore Fire has long set the standard for excellence in entertainment communications,” she said. “Having worked closely with the firm as a client for many years, I have seen first-hand what makes it best-in-class. It is an honor to build upon the remarkable foundation Marilyn created. I also look forward to working with Bill, Marilyn and the broader Dolphin ecosystem to drive new opportunities for collaboration and growth across the supergroup.”

Laverty tells Billboard that Shore Fire has had the opportunity “to work with Angela Barkan many times over the years, and she’s got a rare combination of intelligence and kindness. Angela will support our incredible team who have built Shore Fire, and will inspire us for sure.”

A former freelance journalist for U.K. and U.S. music magazines, Laverty was the national vp of publicity for Columbia Records before founding Shore Fire in 1990.  The firm was in the vanguard of the music firms that set up shop in Brooklyn in that era and has since expanded, with teams in Los Angeles and Nashville.

Laverty notes that Shore Fire has “grown exponentially since we became part of Dolphin at the end of 2019. Our fees and staff have more than doubled. And more than that, we’ve grown as a result of our collaboration with and exposure to the other Dolphin companies. Our roster now includes athletes, entrepreneurs, music businesses, artist estates, non-profits and cultural institutions in addition to our incredible musicians and bands from so many different genres.

“We have generated several million dollars of additional revenue within Dolphin by teaming up companies for projects, and also by referring opportunities internally when we hear about something that’s not right for us but perfect for one of the other companies.”

Unlike other large companies where the subsidiaries compete, Dolphin is collaborative, adds Laverty, noting that the expertise of Shore Fire’s staff is enhanced “by our constant sharing of insights and best practices with our other Dolphin companies” — including Elle Communication, for social impact PR; Special Projects, for event and talent curation; The Digital Department, for influencer marketing and management; The Door, for lifestyle and product marketing; 42 West, known for film and TV public relations; and Dolphin Entertainment, for film production.

“I have to thank our brilliant CEO Bill O’Dowd for choosing the companies in the  Dolphin group so carefully,” Laverty says. “It’s easy for us to collaborate, everyone is amazing to work with, and so expert at what they do, and Bill brings us together for in-person summits and regular meetings, so we’re at the table a lot together. We are able to access our other companies’ offerings for our clients, and we love using them as a sounding board when our campaigns cross into their areas of expertise.”