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Before he became a Grammy Award-winning rapper, 2 Chainz, born Tauheed Epps, was a street hustler from College Park, Ga., on the pathway to self-destruction. And now, the hip-hop star has released a new book about his life before stardom and his spiritual journey to turn his life around.

On sale for $19.60 (regularly $28) on Amazon, The Voice In My Head Is God, co-authored by Derrick Harriell (Come Kingdom: Poems), also follows how 2 Chainz’s faith put him on the path for success in the music industry, with some help from Lil Wayne and Ludacris.

If you’re an Amazon Prime member, you can order now and The Voice In My Head Is God, which is a No. 1 bestseller from the retail giant, will be delivered to your home in less than two days, thanks to Prime Delivery.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast, free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day in July and Black Friday in November — and much more. Learn more about Amazon Prime and its benefits here.

In addition, the biography is available at BookShop.org for $26.10 (regularly $28), while The Voice In My Head Is God can be purchased at Barnes & Noble priced at $25 (regularly $28).

‘The Voice In My Head Is God’

$19.60 $28 30% off

Buy Now On Amazon

Written by 2 Chainz and Derrick Harriell

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Meanwhile, The Voice In My Head Is God is available as an Audible audiobook, which is free to listen to for subscribers only.

If you’re not a subscriber, you can sign up for a 30-day free trial. Audible starts at $8.99 per month and grants you access to one bestseller or new release title per month, a library of thousands of podcasts, audiobooks and originals, exclusive discounts and more. Once signed up, you’ll receive one credit for any audiobook on Audible, including The Voice In My Head Is God.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

For the past few years, Harry Styles, Coldplay, Katy Perry, Sam Fender and more have been doing their bit to support the grassroots music scene, as all have pledged proceeds from their tours (at least £1 from every ticket sold) to be donated to the LIVE Trust, a freshly established group that features stakeholders from across the industry.

So far, £5 million has been raised for the cause. Now, a portion of that money (£125,000) is about to be distributed to eligible artists for the very first time via a series of new initiatives — the second-largest of which is the newly formed U.K. Artist Touring (UKAT) Fund.

The Featured Artists Coalition (FAC) has announced that applications for the first portion of the UKAT Fund will open on Wednesday (March 11). The partnership, arranged by the FAC alongside the Music Managers Forum (MMF) and the Musicians’ Union (MU), is designed to respond to what the FAC calls the “cost of touring crisis” in grassroots live music. U.K. Music and Arts Council England have also backed and assisted the plans.

The UKAT Fund will offer “top-up” contributions to existing tours to help reduce shortfalls in touring budgets — a key issue for both emerging and established acts in the current climate. Many have reported that they’re operating at significant losses.

“It’s a desperately needed intervention,” David Martin, chief executive of the FAC, tells Billboard U.K. of the plans. “We want to get newer artists out there and play to build their live footprint. We’re trying to allow artists to present themselves how they want to be seen as a live act.”

Applicants can apply for a total of £7,000, or a maximum of 40% of total eligible tour expenditure. They must play three U.K. headline shows of capacities between 75 and 2,000 before October 31, 2026, and must have released new original music in the past three years. Submissions are due before 11:59 p.m. on March 20. See the full list of criteria here.

The fund and application process have been hammered out following discussions with stakeholders. Martin says the scheme is open to artists of all genres.

In a statement to Billboard U.K., emerging artist SOFY says, “I am so excited by this initiative and the invaluable experiences it’s going to create for artists and fans alike, as well as opening up opportunities for touring professionals such as engineers and TMs. This feels like an important step in the right direction, and something the UK music industry has needed for as long as I can remember — towards more accessible, safer and higher quality tours for everyone involved.”

While the voluntary donations to the LIVE Trust by a number of big names have been celebrated, Martin acknowledges there has been a gap in understanding what those funds will be used for — but adds that the UKAT Fund can make it “really tangible” for fans and industry. “Once we’re able to say, ‘here are shows that are happening because of the donation,’ it’ll be much easier to grasp the concept for the artists and teams that have decided to pay in.”

In 2024, a landmark Parliamentary report by the Culture, Media & Sport Committee highlighted that the number of artists who are able to head “out to tour across the UK and abroad” has fallen “by as much as 74% compared to pre-pandemic numbers,” and that the cost of touring — incuding accommodation, transport and equipment — has risen significantly in line with the U.K. cost of living crisis. In 2022, inflation in the U.K. was measured at 11% on the Consumer Prices Index, and in 2026, it sits at 3% year-on-year — significantly higher than the 2% target rate set by the Bank of England. The Music Venue Trust reported that in 2025, 53% of grassroots music venues in the United Kingdom were unable to turn a profit.

Martin says that tours have become shorter but also less varied in location; artists are more likely to play shows in major hubs (including London, Manchester and Birmingham) rather than head to smaller regional towns and venues, ultimately passing costs onto the consumers who must travel to shows. 

“We’re trying to sustain careers, and we’re also trying to push music into regions,” Martin says. “It’s funding the whole pipeline that makes tours happen — from the supply chain of personnel and services, accommodation, travel managers, agents that rely on that activity for their income — [and helps] the artists expand their audiences.”

Having greater exposure to the arts, Martin adds, can address the problem of class inequality in the arts. “You’ve got a class of people who just cannot afford to participate in the music industry,” he says. “All these niche scenes that we export globally — be it pop, punk, drum’n’bass — come from underground working class movements.”

According to Martin, the initiative shows the industry that a “harmonious” approach to problem-solving can benefit all involved. “We’re really poor in this country when talking about the expenditure of money as investment, but surely you can see these artists…are your future headliners,” he says.

Martin adds, “To have a healthy sector, it’s important to have both a healthy performer pipeline, but also a pipeline of audiences that care and are passionate about great music and can afford to attend events.”

The Labour government has been supportive in tackling these issues. Ian Murray, the minister for creative industries, says he wants to see 50% of all shows with a capacity of 5,000 or more contributing to the fund in 2026. While a mandatory levy has not been ruled out, Martin says, “I think the whole industry would prefer to drive this thing and to control it. I would argue that it knows best how to do it.”

With the funding window closing on March 20, Martin is excited about the prospect of artists getting the funding and hitting the road in the coming months. The program will be tweaked according to feedback from artists and their touring groups, but getting the ball rolling is an achievement to savour, he says.

“It’s surprising how relatively small amounts of money can make a difference,” he says. “We want to be doing a lot more of this and on a regular basis.” The ultimate goal: To help assist a future superstar who can pay back into the UKAT fund. “I’m looking forward to that story, which will happen,” he adds. “It’ll be a few years down the line, I’m sure, but I can’t wait for that.”

Chappell Roan just turned the camera around on people who follow her in public, with the pop star documenting on her phone what it’s like to be “disregarded as a human” after a horde of fans and photographers appeared to surround her in Paris.

In a video taken by an onlooker that began circulating online Monday (March 9), Roan films herself in selfie mode as a swarm of people repeatedly shouts at her. “I’m just trying to go to dinner, and I’ve asked these people several times to get away from me,” she tells the camera before filming some of the strangers gathered around her.

“This person I’ve asked several times to go away, and they will not,” she continues, capturing someone who continued to ask her for an autograph — even as she was confronting them for such behavior — in her video. “They’re hiding their face, because they’re ashamed.”

“These are all the people that are completely disregarding my boundaries,” she added moments after saying she also felt “disregarded as a human.” “All of you, I’m asking you kindly to please leave me alone and stop following me and harassing me. No, I’m not gonna sign. This is what it’s like, if you were wondering how it is.”

Billboard has reached out to Roan’s rep for comment.

The Missouri native has been spending time in the city for Paris Fashion Week, attending shows for Rick Owens, Mugler, Vivienne Westwood and Alexander McQueen. Her encounter in France is far from the first time she’s put boundary-crossing people in their places, making headlines in 2024 after she called out the “predatory behavior” and “harassment” displayed by certain fans. She’s also publicly confronted photographers at award shows for allegedly yelling at her.

“For someone who gets a lot of anxiety around people yelling at you, the carpet is horrifying, and I yelled back,” she told Entertainment Tonight after one such instance at the 2024 VMAs. “You don’t get to yell at me like that.”

Roan hasn’t dropped new music since last year, coming out with two Billboard Hot 100 hits — “The Giver” and “The Subway” — in 2025. Her debut album, The Rise and Fall of a Midwest Princess, peaked at No. 2 on the Billboard 200.

Bruno Mars’ “Risk It All” launches at No. 1 on the Billboard Global 200 chart. The song, from the star singer-songwriter’s new album, The Romantic — which likewise starts atop the U.S.-based Billboard 200 — is his third Global 200 leader, and first on his own (since the chart began in 2020), after “Die With a Smile,” with Lady Gaga, dominated for 18 weeks in September 2024 through last May and “APT.,” with ROSÉ, ruled for 12 weeks in November 2024-February 2025.

Bad Bunny’s “DtMF” adds a fourth total and consecutive week at No. 1 on the Billboard Global Excl. U.S. chart. The song has led following his Super Bowl LX halftime show performance Feb. 8 in Santa Clara, Calif., where it was the closing cut in his set.

Plus, PinkPantheress’ “Stateside,” with Zara Larsson, flies 11-2 on the Global 200 and 15-2 on Global Excl. U.S. The song has heated up further since Alysa Liu skated to it in her exhibition performance at the Milano Cortina Winter Olympics Feb. 21, two days after she became the women’s figure skating champion, winning the first gold medal in the event for the U.S. in 24 years.

The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

“Risk It All” leads the Global 200 with 51.7 million streams and 9,000 sold worldwide in its first week of release (Feb. 27-March 5).

“Stateside” soars to No. 2 on the Global 200 with 52.4 million streams (up 60%) and 2,000 sold (up 14%) worldwide. PinkPantheress and Larsson each earn a second top 10 on the chart, and a new career-high rank, after “Boy’s a Liar, Pt. 2,” with Ice Spice (No. 3, 2023), and the revived “Lush Life” (No. 8, this January), respectively.

“DtMF” falls to No. 3 on the Global 200, after five weeks at No. 1 between January 2025 and last week; Olivia Dean’s “Man I Need” drops to No. 4 from its No. 2 best; and Mars’ “I Just Might,” the lead single from The Romantic, rebounds 15-5 after it debuted at its No. 4 high.

“DtMF” tops Global Excl. U.S. with 35.2 million streams (down 14%) and 1,000 sold (down 13%) outside the U.S.

“Stateside” pirouettes to No. 2 on Global Excl. U.S., becoming, as on the Global 200, PinkPantheress and Larsson’s second top 10 and highest-charting song each.

Taylor Swift’s “The Fate of Ophelia” falls 2-3 after eight weeks leading Global Excl. U.S. between October and February and “Man I Need” keeps at No. 4 after reaching No. 3.

Plus, “Risk It All” opens at No. 5 on Global Excl. U.S., where it’s Mars’ fifth top 10 (he boasts six on the Global 200) and “I Just Might” dances 18-7, after it debuted at its No. 4 peak.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 14) will update on Billboard.com tomorrow, March 10. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.