Jadakiss is taking 38 Spesh’s challenge seriously.
In a clip that recently surfaced, the legendary rapper told a group of people that he was on his way to the studio because every time he tries to get out of the game, someone pulls him back in.
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“I’m ’bout to go in the lab, I’m ’bout to do some samurai swording,” he said, seemingly in reference to Spesh’s comments on the Bag Fuel podcast. “You know what I mean? They asked for it. I tried to be a father, a businessman, but they wanna bring me outta my element.”
38 Spesh — an underground rapper hailing from Rochester, New York — recently told Bag Fuel that he feels Jada has been “ducking” him since they collaborated on the Benny the Butcher song “Sunday School” because he had the better verse. “It’s some n—as respected that just gonna work with you because they fans of the art, and some n—as gonna hear and act like they don’t or be scared to work with you,” he claimed.
“Some people don’t wanna be outshined on the record. Like to be honest with you, I did a record with Benny and ‘Kiss, and I happened to have the best verse on the record. I smoked the record, and ‘Kiss never did a song with me again. And I don’t think he’ll ever do a song with me again.”
He added: “You got a chance to come redeem yourself, ‘Kiss. Come on, come outside, n—a. He been duckin’ me since. Y’all gonna have to reorder your top fives.”
It looks like Spesh is going to get what he’s asking for.
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.pngYveto2026-06-08 22:11:152026-06-08 22:11:15Jadakiss Heading to the Studio After Being Called Out by 38 Spesh: ‘I’m ‘Bout to Do Some Samurai Swording’
Thanks to its popular new mayor Zohran Mamdani and the runaway success of the New York Knicks, the vibes in New York City are astronomically high — and the 2026 Governors Ball Music Festival tried its hardest to maintain that momentum, even as severe weather threatened to upend the entire weekend (June 5-7).
Returning to Queens’ Flushing Meadows Corona Park, Gov Ball 2026 kicked off on Friday (June 5), with left-of-center pop darlings Absolutely, Audrey Hobert and King Princess playing afternoon sets across the fest’s three stages. At 4 p.m., indie sleaze revivalist The Dare graced the Snapchat stage with rapturous rave energy that paid no mind to the blazing sun beaming down on the crowd, delivering a much-needed jolt of energy ahead of Mariah the Scientist and Pierce the Veil’s early evening sets.
Before Friday night’s headliners — Lorde and Baby Keem — emerged, KATSEYE was the main event. If the average Gov Ball attendee on Friday wasn’t wearing Cowboy Carter (Beyoncé) or Grand National (Kendrick Lamar & SZA) tour merch, they were likely repping the wildly popular global girl group. Though Manon’s absence was deeply felt — particularly during the group’s awkward and stilted banter — KATSEYE obliterated the stage with precise choreography and meticulous production. KATSEYE drew one of the weekend’s largest audiences for a non-headlining act — and Cardi B and Kulture had their pinkies up alongside the rest of the festival.
And after Baby Keem closed out the Snapchat stage on Friday night came Lorde. A generational artist for younger millennials or elder Zoomers, the Grammy winner impressively recontextualized her catalog with a show that blended inventive lighting design and thoughtful movement direction in her triumphant Gov Ball return.
Saturday began with enjoyable sets from Flowerovlove, Wisp and Spacey Jane, with 2Hollis and Jane Remover keeping the alternative, experimental energy going into the late afternoon. Ravyn Lenae played several songs from her forthcoming new Blue Island album (including an exceptional one titled “Saturday Night”) in delivering one of the weekend’s strongest sets, and Wet Leg was set to be right there with her — until Mother Nature intervened and made “Mangetout” the last song many attendees heard that day. Due to flash thunderstorms that drenched New York for several hours, three acts — Blood Orange, Kali Uchis and Amyl and the Sniffers — had their sets canceled, and Saturday headliners STRAY KIDS moved to an early evening slot. In that period of frustration and confusion, Major Lazer provided an unlikely bright spot, delivering a hit-packed, genre-fusing set that offered some catharsis before attendees made the apocalyptic journey to the 7 train.
Despite pleasant early-afternoon sets from Rachel Chinouriri, Lexa Gates and Hemlocke Springs, weather continued to pose challenges early on Sunday. Slayyyter, who drew a remarkably large crowd despite a lightning delay that backed up the security gates, delivered an instant standout set that doubled as a highlight reel of her terrific new Wor$t Girl In America album. Japanese Breakfast and Between Friends followed with relatively more laid-back vibes, which Holly Humberstone continued by reimagining songs from her recent Cruel World LP.
Blood Orange returned Sunday to play his previously canceled set, offering attendees a more introspective set as Fcukers kept the Grove Stage jumping. To close out Sunday afternoon and begin the evening transition, Geese channeled chic indie-rock bands of yesteryear, Khamari saluted D’Angelo and Clipse made a stellar argument for Let God Sort Em Out being album of the year for 2025 and 2026. Finally, Dominic Fike surprised fans with the live debut of a forthcoming song titled “AI” during his set, which he closed by stripping down to his boxers.
Before A$AP Rocky brought his raucous, riotous Don’t Be Dumb to the festival’s main stage for the weekend’s final performance, Freddie Gibbs & The Alchemist closed the Grove Stage, while JENNIE drew a particularly large crowd for her penultimate performance; packed with hits including “Dracula,” “Like Jennie,” “ExtraL” and “One of the Girls,” it was the weekend’s only proper solo pop star set, complete with flashy pyrotechnics, slick choreography and multilevel production design. If anything, it felt like an audition for a future arena tour of her own.
Gov Ball 2026 was yet another jam-packed festival weekend. Check out the eight best moments of the festival 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.pngYveto2026-06-08 22:06:192026-06-08 22:06:19Gov Ball 2026’s 8 Best Moments: Lorde Debuts New Music, KATSEYE Draws Eye-Popping Crowd, A$AP Rocky Starts a Riot & More
This story is part of Billboard’s Global World Cup Series, a collection of 11 cover stories which pairs top soccer stars across the world competing in the 2026 FIFA World Cup with highly-touted musicians in accompanying countries.
This story spans cities scattered across the world and has three Argentine protagonists, all 25 years old and hungry for glory. Florencio Varela, in the southern outskirts of Buenos Aires, is a working-class neighborhood where cumbia and soccer share the same language. That’s where Tobías Medrano and Matías Rapen are from — the two halves of La T y La M, the duo that got its start during the 2020 pandemic and rose to prominence when the Argentine national team adopted their music as the locker room soundtrack. Around that same time, Enzo Fernández arrived in Varela: born in San Martín, in the northern suburbs of Buenos Aires, he was a talented prospect with no room at River Plate. Lent to Defensa y Justicia, he took over the midfield, showcasing his versatile style — panoramic vision, tactical intelligence, precision in the tackle and the pass. He was a key piece in the Copa Sudamericana 2020 and Recopa 2021 titles, trophies that opened the door to Europe: first Benfica, then Chelsea, who paid €121 million in one of the three most expensive transfers in Premier League history.
The same day Argentina kicked off Qatar 2022 with a shocking loss to Saudi Arabia, La T y La M released “Pa’ la Selección,” which would become the fans’ parallel anthem during the campaign that ended with Messi lifting the trophy. That tournament was also Enzo’s launchpad: at 21, he won the FIFA Young Player Award, honoring the best player at the event 21 years old or younger. For the duo, it was equally a turning point: they grew into regulars in the top 10 of the Billboard Argentina Hot 100, with “Amor de Vago” as their peak — 12 consecutive weeks at No. 1 in 2025.
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Now, with the 2026 World Cup just around the corner — Argentina leads Group J and will face Algeria, Austria and Jordan — all three are facing new challenges. Enzo will arrive to defend the title fresh off the FA Cup final, amid rumors linking him away from Chelsea. La T y La M, meanwhile, will release Tierra de Campeones (Land of Champions), an EP inspired by the national team and the passion it ignites.
Billboard Argentina brought the three together in late April in Madrid. Enzo arrived with his trademark wide smile and a mate kit — the natural icebreaker for a conversation woven through music and soccer. Flipping through a print issue of the magazine, his musical tastes came to the surface: Daddy Yankee (“he came to London to see me, we hung out after the game”), Bad Bunny (“top, top, top — I’d love for him to do a cumbia with La T y La M”) and some Argentine rock: “I don’t know much, I won’t lie to you. But I love La Beriso and Callejeros.” The mate kept going around. So did the conversation.
Enzo Fernández
Martin Bonetto
Enzo: What do you admire most about soccer players?
Tobías: The consistency and discipline to compete at such a high level. We can get together for a drink, have a barbecue, laugh, do normal things … but you won’t even touch a soda! (Laughs.) That tells me everything about why things work out the way they do for you. It’s the consistency and discipline, beyond the talent.
Matías: This guy never loses focus. You set the bar high for us, man! (Laughs.)
Enzo: Fair enough. You guys have to keep me in check.
Tobías: And what do you admire about musicians?
Enzo: Great question. The talent — what they show when they have to perform in front of so many people. Because in the end, it’s just you up there. What I admire most is that personality, the way they carry music out into the world.
La T y La M’s Tobías Medrano
Martin Bonetto
La T y La M’s Matías Rapen
Martin Bonetto
Enzo: What do you think soccer and music have in common?
Tobías: The funnel effect. In Argentina, you lift a rock and find someone who plays soccer — but only 1% ever make it. Same with music: how many people have talent, can sing, play instruments, but never break through?
Matías: Talent and discipline go hand in hand. You can have all the talent in the world, but if you’re not disciplined, you stay stuck.
Tobías: How do you think music enhances the soccer experience?
Enzo: For me, music is life. It helps you focus, takes the pressure off before a game, motivates you. I love listening to music on the team bus on the way to the stadium, and then in the locker room. It really helps you get your head somewhere else.
Tobías: Who controls the music in the locker room?
Enzo: On the bus, it’s Rodri [Rodrigo De Paul]. In the locker room, it’s Ota [Nicolás Otamendi]. We listen to everything, but mainly cumbia. A lot of La T y La M cumbia.
Matías: Let’s go!
Enzo Fernández (center) and La T y La M
Martin Bonetto
Matías: What excites you most about the next World Cup?
Enzo: Getting to be with my teammates again and feeling that passion that Argentine fans bring. During the year we compete at a high level, but the World Cup is something else. The focus is different; we prepare mentally in a different way. It comes around every four years and you have to be at 100%.
Tobías: That’s everything.
Enzo: Forget that we’re friends and that you know some of the guys on the national team. As fans, what do you expect from our squad?
Tobías: The “three W’s”: win, wow and wallop. The truth is, with the relationship we have, you end up feeling closer to the players. But beyond that — they did everything Argentine people ever dreamed of. They made us forget our problems, our crises. I love watching them play, I love seeing the national team string 20 passes together and put it in the net. We won everything there was to win. And I say “we” because I’m a diehard fan and I feel like part of it. Nobody can ask anything more of them today. The people just want to see them happy, the same way they made us happy.
Enzo: You still have to demand things from us — that’s how we keep winning.
Tobías: Sure … next time we’ll give you hell. (Laughs.)
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.pngYveto2026-06-08 22:01:072026-06-08 22:01:07Enzo Fernández Talks With La T y La M: ‘Music Is Life, and in Soccer It Helps You Stay Focused’
Friday (June 5) night at the Beacon Theatre in New York City during Tribeca Festival, Madonna debuted a nearly 14-minute visual project centered around the first six songs from her upcoming album Confessions II.
The world premiere of the Confessions II short film was followed by a Q&A with Madonna, directors David Toro and Solomon Chase (TORSO) and host Anderson Cooper. There was a lot to unpack in the wide-ranging discussion: lasers shooting out of lower-body orifices, unreleased songs, hot n’ sweaty bathroom hookups, a Benedict Cumberbatch cameo and more.
But there was one small, unusual item Billboard noticed in the film’s credits that was not explained during the Q&A (which didn’t open up for audience or media questions at any point). In the Confessions II end credits, which contain the songwriting credits for the six Confessions II songs that appear in the film, Lou Reed was listed as a songwriter on “Danceteria.”
Lou Reed and Madonna are both musical icons associated with NYC, artists who forged their creative identities in the city’s fertile but unforgiving fires. But as far as we know, they never creatively collaborated during the Velvet Underground founder’s lifetime. The closest they seem to have come to crossing paths publicly was at the 2008 Rock & Roll Hall of Fame ceremony, when Madonna was inducted into the Rock Hall alongside Leonard Cohen and Reed was there to give Cohen his flowers.
So, what gives? Well, Billboard reached out to Madonna’s reps, and the reason is about what you would imagine. Madonna’s “Danceteria” — a song inspired by the iconic, defunct dance club that Madonna frequented in the early ‘80s before taking over the globe — includes a small but famous portion of Reed’s biggest (and only Billboard Hot 100) hit, “Walk on the Wild Side.” During “Danceteria” (which includes a lyrical reference to Debi Mazar, whom pre-fame Madonna hung out with at the NYC club and even made out with), the Queen of Pop briefly sings the immortal “do-do-do, do-do, do-do-do” portion of that song. Thus Reed is duly credited alongside Madonna, Andrew Watt and Stuart Price as a cowriter on “Danceteria” for the interpolation.
Madonna is far from the first artist to interpolate this portion of Reed’s best-known song in the cultural mainstream. A Tribe Called Quest’s 1990 classic “Can I Kick It?” interpolated it in 1990, as did Marky Mark and the Funky Bunch (the pre-acting rap group of Mark Wahlberg) in 1991 on “Wildside.” Marky Mark’s version actually peaked higher on the Hot 100 than Reed’s, reaching No. 10 compared to his No. 16 pinnacle. Haim’s 2019 track “Summer Girl” interpolates the same bit of “Walk on the Wild Side,” too. And, of course, let’s not forget the clean-shaven sounds of Hooray for Everything.
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.pngYveto2026-06-08 21:51:112026-06-08 21:51:11Here’s Why Late Rock Legend Lou Reed Has a Credit on Madonna’s ‘Confessions II’ Album
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With the championship series shifting from San Antonio to New York, the Knicks take a 2-0 lead against the Spurs — effectively taking away the team’s home court advantage in Texas. As the series goes into Game 3, New York has a chance to take a commanding lead in front of their home crowd, including President Donald Trump and Mayor Zohran Mamdani.
However, the Spurs aren’t dead in the water quite yet. San Antonio has a chance to win Game 3 to give the team some hope in hoisting the highly coveted Larry O’Brien Championship Trophy at the end of the season.
Want to watch championship series online? The NBA Finals: New York Knicks vs. San Antonio Spurs Game 3 broadcasts live on ABC, as well as livestream on ESPN Unlimited on Monday (June 8). All games in the series start at 8:30 p.m. ET/5:30 p.m. PT.
If you’re a sports fan, there are plenty of affordable streaming options that offer NBA coverage live and on demand. Read on for details on how to watch and stream the NBA Finals without cable.
Which Celebrities Are Making Appearances During NBA Finals?
It’s likely there will be a number of celebrities and famous recording artists in attendance during the NBA Playoffs, such as NY Knicks fans Spike Lee, Timothée Chalamet, 50 Cent, Fat Joe, Ben Stiller, Busta Rhymes, Alicia Keys, Tracy Morgan, Michael J. Fox, Anne Hathaway and others; as well as Spurs fans Selena Gomez, Shane Gillis, George Strait and others. Just tune in to the series to find out who’s sitting courtside.
Where to Watch the NBA Finals 2026 Live Online
If you want to watch the NBA Finals, you can watch ABC without cable with streaming platforms, such as DirecTV, Sling TV and others.
While most streamers offer a free trial or a discount at sign-up, so you won’t necessarily have to spend anything up front. To help you shop for the right package, we collected a short list of some of the more affordable streamers and what they offer for NBA fans.
A subscription to DirecTV — which comes with ABC — gets you access to live TV, local and cable channels with the streamer’s “Entertainment” package, starting at $59.99 per month for the first month of service ($89.99 per month afterward). The service even offers a five-day free trial to watch for free, if you sign up now.
Sling TV offers Blue, which comes with ABC. With more than 40 channels, Sling Blue goes for $45.99 per month and comes with a free cloud DVR and additional free channels. The streaming service has an add-on package called Sling Sports Extra, which comes with access to NBA TV, for an extra $11 per month. Please note: Pricing and channel availability vary from market-to-market.
For the best bundle, you can sign up for Hulu + Live TV and get access to the Hulu library in addition to more than 95 live TV channels (including ESPN and NBC). The streaming platform starts at $89.99 per month. And, for even more programming, the streaming service comes bundled with Hulu, Disney+ and ESPN Unlimited.
ESPN Unlimited is the official streaming platform for ESPN. A subscription includes instant access for $29.99 per month. However, you can save almost 17% off by purchasing an annual subscription for $299.99 per year. It features every ESPN network, including ESPN, ESPN2, ESPNU, ESPNEWS, ESPN Deportes, SEC Network, ACC Network, ESPN on ABC, ESPN+, SEC Network+ and ACC Network Extra — all in one streaming service.
In addition to live sports, ESPN Unlimited has original programming to stream on demand.
While the service doesn’t offer a free trial, you can still watch ESPN Unlimited with a clever workaround to watch online for free. Learn more about how to get a free trial to access ESPN Unlimited here.
NBA Finals 2026 Schedule
The 2026 NBA Finals start on Wednesday, June 3 and go until Friday, June 19 — if the series goes to seven games. During the championship series, the Spurs have home court advantage since the team has the better regular season record. Game 1 and Game 2 (as well as Game 5 and Game 7, if necessary) take place at Frost Bank Center in San Antonio, Texas, while Game 3 and Game 4 (with Game 6, if necessary) are set at Madison Square Garden in New York City.
Check out a complete NBA Finals schedule and tournament bracket here.
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A random Instagram DM changed Qendresa’s life. Born Qendresa Sopa, the Northwest London-bred R&B singer was out dancing at a beachfront party when she checked her phone and saw a message from Champagnepapi, Drake’s IG alias.
“I got the Champagnepapi DM when we were dancing,” she recalls of Drake using her “Tearz” song in an IG post last year. “I was like, ‘What the f–k? He just posted my song!’”
Drake dropped another hint at a potential collaboration when he posted the vinyl covers to Qendresa’s Midnight Request Line and Londra albums on his Instagram Story in February.
Qendresa later found out that producer Kid Masterpiece, who has worked extensively with the 6 God, put Drake onto her music. Kid Masterpiece would play the British-Kosovar singer’s music on SiriusXM’s OVO Sound channel.
With influences ranging from Sade to Frank Ocean, it’s not hard to see what drew Drake into Qendresa’s music. She blends a unique mix of ’90s R&B, funk, EDM and jazz for an atmospheric sound.
“‘Slap the City’ was the first thing he sent me,” Qendresa says of her HABIBTI collaboration with Drizzy, while speaking from her Brighton flat. “He made me laugh because he was like, ‘This one sounds like a bit of us.” I was like, “He’s f–king right.”
She continues: “[We] started sending each other unreleased stuff, stuff he was flirting [with] around ICEMAN or stuff from before. Same with me. I did a bunch of stuff and I really miss that time. I was working on my bits and I was getting Drake stuff.”
The woozy “Slap the City” debuted at No. 39 on the Billboard Hot 100 when Drake’s trifecta of albums toppled the charts following their May 15 releases. Qendresa also contributed vocals to HABIBTI‘s “Fortworth,” “Gen 5” and MAID OF HONOUR‘s “Stuck.” However, she didn’t sing the ad-libs on ICEMAN‘s “Ran to Atlanta,” which many on the internet have speculated.
The Drake stimulus boosted Qendresa from six figures to over six million monthly listeners on Spotify. She’ll look to parlay the momentum into more eyes and ears on her next project, which the singer’s currently working on.
Check out the rest of our interview with Qendresa, which touches on her Drake collaborations, early music influences and plans for the future, below.
What got you into music growing up and who did you listen to?
I grew up in the ’90s and 2000s. Around those times, there was really good music on the radio. It’s much different in the U.K. than America. You actually play hip-hop on the radio. I remember going to yoga in L.A. and they were playing Drake and Future. Here, it’s just pop. Back in the ’90s and 2000s, pop was good. There was a wide variety of different genres that were good, so you have Blink-182, Sade, Missy Elliott and I was a big Spice Girls fan. I saw a TikTok explaining that the Spice Girls debut album was West Coast inspired. At the time, I didn’t know. The beats are sick. They were a huge inspiration of mine. I love them a lot.
Growing up into my teens, I became obsessed with grime and Dizzy Rascal was a huge inspiration of mine and Wiley. In Northwest London, where I’m from, we had Flirta D. We had Channel u where local artists would post their videos and you get exposed to U.K. talent.
What led you into singing?
I always sang in school. My uncle got me into the Fugees quite young. I always loved “Killing Me Softly” and any talent show that was my go-to. I didn’t take it seriously. I didn’t have anyone in my family or around me that did it. We were working class kids. We don’t have examples of artists. Art is a rich people’s sport in a way, unless you get lucky and take the risk and invest all your s–t in that.
When I was young, I was performing in my mirror listening to Spice Girls, Britney Spears, Missy Elliott and Mariah Carey imagining I was them. I was visualizing and manifesting it, but a part of me didn’t think it was a possibility.
It’s just my manager and agent at the moment, all women. I never signed to a label. We’ve been grinding for the last two years. Before that, I was doing everything myself, from answering emails and booking gigs and uploading my s–t onto YouTube. Even the way I used Instagram before, I was such a hot mess. I got artist friends and we all kind of struggle with the Instagram thing. It’s too much pressure, we’d rather just be making music.
Fast forward to now, how did you link up with Drake for “Slap City.” I saw him post your albums on his Instagram Story.There was no contact with him before that?
No contact before that. The only thing we saw was Kid Masterpiece playing our stuff on OVO Sound. Further down the line, Drake told me that Kid Masterpiece put him onto my music. I’m still processing everything. He reached out and I was super shocked and grateful. It’s something I’ve thought about a lot in my life. Ever since he’s been dropping music, I’ve always been inspired by him and his writing and beats and artistry in general. It always gave me motivation, not even as an artist, but as a person to stay true to what I’m doing. This was about a year ago.
How did the recording process for ICEMAN start?
“Slap the City” was the first thing he sent me. He made me laugh because he was like, “This one sounds like a bit of us.” I was like, “He’s f–king right.” I did my thing on it and with these things you do your best and let it be. You want the best outcome for the project. If that means it’s going to make the album good, then that’s all I want for this whole thing and all I strive to do when collaborating.
Did he take ideas you had and mix you into “Fortworth,” “Gen 5” and “Stuck.”
I just added harmonies to those, they were already done.
Did you know he had three albums coming?
There wasn’t any talk about three albums, no. He dealt with everything himself. I was under the impression our managers would talk, so I gave his number to my manager and he dealt with my manager himself. He took things into his own hands and added a personal touch. It felt like we were part of this big thing. I just wanted to do the best I could to help somebody who’s been a huge part of our lives. I was shocked when we got the call for playback and it was four songs. I saw the livestream and it was mind-blowing, but before that we got the call for playback just the day before ICEMAN.
My first-ever producer, Hugo Mari, produced “Classic” on HABIBTI. We’ve had quite an emotional few weeks, because when we first started out we had zero followers and no money. We just had this vision, and we always wanted to work with Drake. 10 years later, for both of us to be included is crazy.
“Slap the City” debuted at No. 39 on the Billboard Hot 100. What did you think about that?
That’s blown my mind. The response in general for the ones I’m on, it’s funny because we have two different audiences. What ties us together is the stuff we make and love. That audience comes together for that. I got a good message from a fan making a reference when you meet a friend at the club and he knows the friend you’re with like, “What the hell? You guys know each other?” It’s a beautiful and unexpected thing. It’s a perfect friendship or amalgamation.
How has it been to have so many new fans? I call it the Drake stimulus. He spotlights an artist and they’re out of here to the moon.
I do feel that. My fans are usually quite like me. I’m not really posting on social media all the time. Seeing his fans come and showing support, I’m touched because things can go down all sorts of way on the internet. New artists don’t always get welcomed in nicely. Everyone’s come to my page quietly and respectfully. They took their shoes off at the door. I got great feedback from them on DMs and YouTube comments. They’re loving discovering my music. I got a message from Lil Yachty the other day, “It’s great he’s shining a light on what should’ve been discovered a long time ago.” They’re saying, “It’s about time you got your flowers.” [Yachty and I] have been meaning to link-up, he reached out to me a couple of years ago and we’ve been trying to figure something out.
What do you have coming up musically? You dropped “Rain in July/Be the One” in May. I didn’t know you were a producer as well.
I’ve got some bits coming out. I’ve got a single coming out that I wrote as a dedication to Mexico. I’ve been there three times now and I’m a bit obsessed. I was on my way to perform there and I wrote a song that’s coming. I’m working with Hugo Mari wrapping it up. I spent a lot of time in Mexico City. It’s like a 45 minute flight to this beach town. You don’t need to leave or do anything.
I’m now in my new flat and I got these crazy sea views. It’s not a fancy flat, I’m not there yet. I just needed some peace and quiet and this is perfect. That’s why I moved out of London. I’ve got loads of music. Everyday I’m doing something with music, whether it’s writing, making beats or finishing something. I’ve always got beats that are sent to me that I’ll work on. We’re fleshing out some projects.
“Rain in July” was a bit inspired by me trying to emulate an afro-swing vibe. There was a lot of Burna Boy when I made it four years ago. I was inspired by his melodies and the way he made me feel with his songs, so I tried to emulate that. “Be the One” is a burst of something that I don’t know.
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.pngYveto2026-06-08 21:31:302026-06-08 21:31:30How Rising Artist Qendresa Landed on Drake’s ‘HABIBTI’ & ‘MAID OF HONOUR’ Albums: ‘I’ve Always Been Inspired by Him’
Fat Joe had an interesting way of describing the vibes in the New York City right now.
The Bronx rapper and New York Knicks superfan was at NBA Finals Media Day as the San Antonio Spurs roll into town down 0-2 for the first Finals game at Madison Square Garden since 1999. He told a scrum of reporters that Knicks have brought the city together.
“I’ve seen Hasidic Jews breakdancing with Black kids outside the stadium,” he said according to AP (fans on X have confirmed this phenomenon.) “This is the greatest unification you’ve ever seen of this New York City in your life since 9/11. If you want to know what we felt like in 9/11 after the tragedy, it’s what you’re seeing around New York City, is everybody together. This is insane.”
Adding, “I’ve got a friend, he puts a screen in his backyard. He said the whole neighborhood, people he’s never talked to in his life are walking through his house, opening the refrigerator. This is like, unbelievable. And you know? Last night, I had a random guy tell me, ‘Joe, I never thought in my lifetime I’d see this,’ and I had to think right then and there, and said, ‘You know what? I never thought we’d win a chip either.’”
His Joe and Jada co-host Jadakiss also agrees that New York feels different during this historic Knicks Finals run. “The city is linking up and turning it into beautiful chaos, man,” he said. Joe added, “They making Mamdani look like the king of Bel Air, huh? They saying crime is down. Nobody’s arguing. The city’s just all together, unified like it’s never been.”
The Knicks are currently on a 13-game playoff winning streak, good for second best in NBA history behind the 2017 Golden State Warriors who won 15 straight on their way to winning their second title in four years.
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.pngYveto2026-06-08 21:26:192026-06-08 21:26:19Fat Joe Hasn’t Seen NYC This Unified Since 9/11 Thanks to Knicks Finals Run
Independent music label collective Merlin and music tech investment firm Jamen Capital said on Monday (June 8) they plan to buy Curve Royalty Systems from Virgin Music Group.
Curve, a royalty accounting and rights management business, was previously owned by Downtown Music Group, and its sale to Merlin and Jamen fulfills a requirement European regulators outlined when they approved Virgin parent Universal Music Group’s acquisition of Downtown. Concerned that Curve could give Virgin upstream data about rival labels, the European Commission required Virgin to sell Curve. Terms of the deal were not disclosed, and it remains subject to approval by the European Commission.
The companies said the acquisition of Curve, a royalty tech processing platform for thousands of record labels, distributors and publishing clients worldwide, “reflects the growing strategic importance of royalty infrastructure within the modern music business, as increasingly complex global rights flows, metadata requirements and reporting demands place greater emphasis on transparent, scalable accounting systems.”
Curve will remain an independent company run by its president, Richard Leach, with Merlin and Jamen acting as strategic development partners, according to the statement.
“Curve provides an essential service to independent music businesses,” Charlie Lexton, CEO of Merlin, said in a statement. “Merlin is here to enable our members’ independence, and to be truly independent our sector needs its own infrastructure. Curve is central to that.”
Curve works witgh clients like Armada, Defected, Epitaph, Exceleration, Reservoir, Sony Pictures Entertainment, Virgin Music Group, Netflix and BBC/Demon.
Jamen Capital was founded by experienced music tech investor Matt Spetzler, who has led more than $5 billion in music and audio investments in recent years. Prior to founding Jamen Capital in 2025, Spetzler was a partner and the co-head of Europe for Francisco Partners, where he led the firm’s acquisition of Kobalt, Muse Group, Native Instruments and more. Spetzler has invested and sits on the boards of Soundtrack, which he invested in with Matt Pincus; Recognition Music Group; and Pipeline Media.
“Curve is exactly the kind of critical infrastructure the independent music sector needs; trusted, scalable and built around the real operational needs of modern music businesses,” Spetzler said. “We’re committed to supporting its significant growth opportunities in payments and publishing while ensuring it provides ever increasing value to its longstanding label, distributor and artist clients. Data and royalty infrastructure is only becoming more important to the future of the music business.”
Francisco Partners said earlier in June that it exited its investment in Muse Group.
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Los Tigres del Norte will perform for the first time at Mexico City’s Estadio GNP Seguros on June 27 during the FIFA World Cup 2026, and they are preparing a special show for the occasion.
“We want to invite everyone visiting Mexico City to experience a double celebration — the excitement of the World Cup and the unforgettable party brought by Los Jefes de Jefes,” Jorge Hernández, leader of the iconic norteño group that proudly embraces the self-proclaimed title (which translates to “bosses of bosses” or “head honcho”), tells Billboard Español.
With 18 No. 1 hits on Billboard‘s Regional Mexican Airplay chart — from “El Circo” (1996), which held the top spot for 10 weeks, to “La Lotería” (2025) — Los Tigres del Norte have performed countless times over the years at major venues in Mexico City, such as the Palacio de los Deportes and Auditorio Nacional. While they’ve played at Estadio GNP Seguros before — back when it was known as Foro Sol — it was as part of the Vive Latino Festival. This marks their first time headlining the venue as the main act.
“It’s going to be a show full of color, flavor and authentic Mexican folklore,” teases bajo sexto player Luis Hernández. “We’ll revisit the different musical eras that have made us a favorite with fans, and there will be plenty of surprise guests. We guarantee it’ll be an unforgettable night lasting over three hours — maybe even four, if the venue permits.”
The band is currently in the middle of their Los Tigres del Mundo tour, a 55-date journey that kicked off in February. So far, they’ve performed in Mexican cities and are now touring across the U.S. and Colombia, a country they’ve visited over the past 24 years — even playing in small towns. This year, they’ll make their debut at Bogotá’s iconic Estadio El Campín on Nov. 7.
For the world’s biggest soccer celebration, Los Tigres del Norte have released a compilation album on Spotify titled Como La Vida Sin Fútbol (Life Without Soccer), featuring upbeat and festive tracks from their repertoire, including “América” with Calle 13, “El Celular,” “El Contagio,” “La Manzanita,” “El Triunfo,” “La Dieta” and more.
As for their predictions for the World Cup, bassist and singer Hernán Hernández says, “We’re really hoping Mexico wins and advances past the first stage. The opponents they’ll face could be tough, but that’s the challenge — to make history, transcend, and finally reach that long-awaited fifth match.”
“However,” he adds, “in my case, I think the Netherlands will win. And I’m alone in this, because the rest of my bandmates believe Spain will take the Cup.”
The FIFA World Cup 2026 will take place from June 11 to July 19 across three host countries: Mexico, the U.S. and Canada. The opening match will be held at Mexico City’s Estadio Azteca, featuring a face-off between the national teams of Mexico and South Africa.
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The dads in our lives don’t often get the credit they deserve. That’s why we have Father’s Day: to remind us to show some love to the men who raised us, whether we came into their lives biologically, via adoption or as bonus children.
And here at Billboard, we know that one of the best ways to express that appreciation is through music, which is why we’ve assembled a list of some of the greatest songs written written with dads in mind, by artists such as Madonna, Beyoncé, Ed Sheeran, Eminem, Queen and more. Some of them feature lyrics that speak directly to or about the writer’s fathers, while others are sung from the point of view of a patriarch looking on as their kids make them proud.
There are a lot of emotions wrapped up in these songs, from admiration to pride, loss, frustration and nostalgia (so make sure you have some tissues at the ready). But also, gratitude. Chances are, you learned some of the most valuable lessons of your life from a father or paternal figure. They’re known for teaching us to catch baseballs, grill burgers and parallel park, sure, but they also pass along hard-earned wisdom that carries us through, even long after they’re gone. Plus, if you’re lucky, you inherited great music taste from your dad — in which case, you’re in the right place.
Below, check out Billboard‘s list of songs that are perfect for Father’s Day, from Eric Clapton to Stevie Wonder, John Mayer, Taylor Swift and more.
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.pngYveto2026-06-08 21:11:422026-06-08 21:11:42Father’s Day Playlist: 30 Songs for the Dads in Your Life
