Drake has set a new U.K. chart record following the surprise release of three studio albums.

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With Iceman landing at No. 1, Maid of Honour at No. 6, and Habibti at No. 7 on Friday (May 22), he becomes the first artist to debut three studio albums inside the top 10 of the U.K.’s Official Albums Chart simultaneously.

The last artist to achieve a similar feat was Prince, who debuted three compilation records (The Hits/The B-Sides, The Hits 1 and The Hits 2) inside the top 10 back in 1993.

While Drizzy teased Iceman with an array of attention-grabbing stunts, Maid of Honour and Habibti were dropped with no prior warning. “Janice STFU” and “National Treasures” from Iceman land at No. 2 and No. 3, respectively, on the U.K.’s Official Singles Chart.

In a ranking of Drake’s 20 projects so far by Billboard staff, Iceman was considered his sixth-best LP, with Maid of Honour at No. 12, and Habibti at No. 17.

Drake now boasts seven U.K. No. 1 albums overall with Iceman joining Views (2016), Scorpio (2018), Dark Lane Demo Tapes (2020), Certified Lover Boy (2021), Her Loss (2022) For All the Dogs (2023).

Michael Jackson‘s The Essential compilation falls just one place to No. 2, having spent the past two weeks at the summit. Another of MJ’s catalog lands in the top five with Thriller closing at No. 4, and Bad (No. 8) and Off The Wall (No. 37) also performing well.

Olivia Dean’s The Art of Loving continues to endure and finishes at No. 3, with Noah Kahan’s The Great Divide at No. 5.

Freya Skye debuts at No. 35 with her release Stardust and The Karma Effect clock in at No. 39 with Cruel Intentions


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Sam Fender and OIivia Dean’s “Rein Me In” is the U.K.’s No. 1 single for a 12th non-consecutive week on the Friday (May 22) chart.

Last week the track broke the Official Singles Chart record for the longest-running male/female duet, surpassing Rihanna and Jay-Z’s “Umbrella,” which earned 10 weeks at the top in 2007. 

“Rein Me In,” which first appeared on Fender’s 2025 album People Watching, was remixed in June last year with a new verse from Dean. The song hit No. 1 in February 2026 and later won song of the year at the BRIT Awards.

The song is now closing in on Alex Warren’s “Ordinary,” the longest-running U.K. No. 1 single of the 2020s so far with 13 non-consecutive weeks at the summit. The all-time record belongs to Frankie Laine, who earned 18 non-consecutive weeks with “I Believe” back in 1953.

Fender was among the celebrated artists at the 2026 Ivor Novello Awards on Thursday (May 21), collecting the songwriter of the year prize.

Drake’s “Janice STFU” lands at No. 2, while “National Treasures” slots in at No. 3. The Canadian has set a new U.K. chart record with three studio albums landing simultaneously in the top 10: Iceman (No. 1), Maid of Honour (No. 6) and Habibti (No. 7)

Following the box-office success of a recent biopic, Michael Jackson’s “Billie Jean” is up to No. 4 while Tame Impala’s “Dracula” falls from No. 2 to No. 5

Gracie Abrams’ “Hit the Wall,” the first song from her upcoming third LP Daughter From Hell, lands at No. 18; the full LP will be released on July 3.

This year’s Eurovision-winning song, “Bangaranga” from Bulgaria’s DARA, debuts at No. 21.


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Nicki Minaj pulled up to SpaceX’s flight test in Texas on Thursday (May 21), but in this case, starships weren’t meant to fly, as the flight was postponed to due to technical issues with the the spacecraft.

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She joined the SpaceX broadcast for a brief chat at Starbase for the launch of the Starship rocket. Fittingly, the Queens rapper was rocking a T-shirt that was emblazoned with a “Starship” graphic.

“Barbz, come on down, because this is a lot of fun. I’m excited,” she said in a video of her visit shared by SpaceX on X. “This is historic, this is a major moment y’all.”

The rapper — whose Pink Friday: Roman Reloaded lead single “Starships” reached No. 5 on the Billboard Hot 100 in 2012 — made sure to bestow some praise upon SpaceX majority owner, Elon Musk, which saw her recognize the tech giant for his contributions to society.

“Major shout-out to Elon,” she gushed during her visit. “Thank you for everything that you’re doing for humanity.”

“Even did a lil video for the Barbz,” she added on her own X during her time at Starbase. Soundtracked by her 2012 Justin Bieber collaboration “Beauty and a Beat,” the clip finds Minaj posing in jeans and a matching denim coat, while holding a yellow designer bag.

After the failed launch, Musk explained on X that there was an issue with a faulty hydraulic pin, and they’d try another launch on Friday (May 22) at 6:30 p.m. ET if all went well with the repair.

It’s not too surprising to see Minaj aligning with Musk, who previously served as the senior advisor to President Donald Trump and headed the Department of Government Efficiency before leaving the administration in May 2025.

Musk and Trump are still on good terms these days, as the Tesla CEO joined the president during a recent trip to China, per The New York Times.

As for Minaj, she hasn’t been shy about her support for Trump while endearing herself to the Republican Party. The rapper has referred to herself as the president’s “No. 1 fan,” and she spoke to TIME about her support for Trump. “Many celebrities feel the way I do, but they don’t say it. Sometimes you just need one brave person to get the brunt of the impact. I think I am the catalyst for that change,” she said earlier in May. “Hopefully, when they see me and hear me speak and feel my energy.”


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Stephen Colbert definitely didn’t go away mad on the final night of The Late Show on Thursday (May 21). The razor-witted host of the highest-rated non-news show in late night — whose 11-year run ended this week, a year after CBS/Paramount said they were pulling the plug for what they claimed were financial reasons — once again led with joy and good cheer in his final, superstar-packed hour.

Though he did slip one classic, pinpoint zinger in at his now-former bosses before throwing the switch to shut it all down.

During his long-running “Meanwhile” segment, Colbert noted that the owner of the Peanuts theme song and other music from the Charlie Brown universe filed four copyright lawsuits this week over alleged unauthorized uses of jazz great Vince Guaraldi’s classic scores for the Charles M. Schultz cartoons.

Peanuts is a powerful brand and corporation in and of itself. Anyone illegally using that music is going to have to pay through the nose,” Colbert said unsmilingly as his bandleader, Louis Cato, and the Great Big Joy Machine house band began playing the beloved, bouncy “Linus and Lucy” theme from A Charlie Brown Christmas.

“Louis, Louis! Is the band right now playing the same Peanuts music I just said people were being sued for, for using without permission? Is that what you’re doing?,” Colbert said with not-even-remotely believable shock and concern. “Yeah,” Cato said with a smile as the band continued to play the jaunty song. “That’s what we’re doing right now.”

Colbert waved his arms to stop the madness and confirmed, “Is that what they’re doing?!” And then, looking directly into camera with a straight face he lamented, “oh no, I hope this doesn’t cost CBS any money!” as the studio audience erupted into wild cheers and Cato grinned, putting his pinky up to his mouth in Dr.Evil style.

Colbert let the winky bit sink in for a few more seconds, lifting his index finger to his lips and seemingly allowing himself to contentedly muse about the idea that his parting shot could actually result in CBS incurring legal bills over the show’s swan song.

At press time a spokesperson for CBS had not returned Billboard‘s request for comment on the segment or Colbert’s joke about possible legal liability for the performance of the Peanuts song; a spokesperson for Lee Mendelson Film Productions (LMFP), which owns the Peanuts theme song and other Charlie Brown music, had also not returned a request for comment.

After weeks of tributes and special guests, including former President Barack Obama, Bruce Springsteen, David Letterman, Steven Spielberg and many more luminaries, Colbert shut things down on Thursday night with another all-star lineup. Among those who dropped by were his old Daily Show boss, Jon Stewart, as well as his fellow late nights hosts — Strike Force Five members John Oliver, Jimmy Fallon, Jimmy Kimmel and Seth Meyers — Paul Rudd, Bryan Cranston, Ryan Reynolds, Tig Notaro, Paul McCartney and others.

The former Beatle sat for an extended interview, during which he gave Colbert a signed, large print photo of the Fab Four performing on The Ed Sullivan Show in 1964 in the same theater Colbert’s show aired from for more than a decade.

And, after former Late Show bandleader Jon Batiste took the stage with Colbert, Elvis Costello and the Joy Machine to perform Costello’s 1977 song “Jump Up,” the entire ensemble was joined by McCartney for a run through the Beatles’ “Hello Goodbye,” which ended with the whole Late Show staff flooding the stage for a joyous sing-along.

Watch Colbert tweak CBS one last time below.


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Live Nation is asking a federal judge to overturn the blockbuster verdict that the music giant is an illegal monopoly, arguing there was so little evidence during the trial that the jury’s decision “cannot stand.”

In a pair of motions filed in Manhattan federal court Thursday (May 21), Live Nation is urging the judge to undo the April verdict, in which jurors sided decisively with a coalition of state attorneys general who called the concert company a “monopolistic bully.”

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Live Nation wants the judge to either reverse the verdict entirely or grant the company a new trial. It says the states lacked sufficient evidence to win the case and instead had relied on “cherrypicked” data and claims designed to “inflame and distract” the jury.

“In the end, the jury verdict is legally indefensible,” the company’s lawyers write in the filing, obtained and first reported by Billboard. “At the very least, a new trial is needed.”

Thursday’s filings are the procedural first step in Live Nation’s efforts to overturn the verdict. If denied — such post-trial motions face long odds in any lawsuit — the company will then take the case to a federal appeals court, and then to the Supreme Court if necessary.

Those efforts will have new stakes after the states formally asked earlier on Thursday that the judge must punish Live Nation by forcing it to sell Ticketmaster — a drastic change that would have major implications for the live music industry. Live Nation responded that a breakup is not legally available and the states’ request for one is “performative and political.”

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The Department of Justice and dozens of states sued Live Nation in 2024, claiming the company (which acquired Ticketmaster in 2010) had grown into a monopoly that dominates live music: “It is time to break it up,” said then-attorney general Merrick Garland.

A week after the case went to trial in March, the DOJ agreed to a surprise settlement. But dozens of states pushed ahead, with the goal of splitting Ticketmaster from Live Nation. And on April 15, they won a total victory: A verdict that Live Nation had violated federal antitrust laws by illegally monopolizing the market for ticketing services and other elements of the live music ecosystem.

In Thursday’s filings, Live Nation argues that such a verdict was “contrary to the clear weight of the evidence” presented to jurors during the trial. Rather than concrete proof and valid legal claims, the company says the states’ case was mostly built on scaring jurors with “legally irrelevant” stories about harm the company had allegedly inflicted on music fans.

“Hours of trial time were spent on prices for lawn chairs and parking. Phrases like ‘robbing them blind baby’ and ‘velvet hammer’ were plaintiffs’ mantras,” the company’s lawyers write, referring to specific moments from the trial, including unflattering internal messages in which Live Nation execs bragged about raising prices.

“None of this evidence should have come in, and its devastating impact became more apparent as the trial progressed,” Live Nation’s lawyers write. “Without it, there is little chance the jury would have returned the same verdict.”


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Billboard published the April Boxscore report with BTS dominating over Luke Combs, Bruce Springsteen and everyone else on tour Friday (May 21). But while the biggest stars of K-pop, country, rock and more packed stadiums, comedians were road warrior-ing their way to sold-out theaters and arenas. Here, we’re looking at the five biggest comedy tours of April 2026.

Last year, Billboard launched its comedy hub with rundowns of the biggest touring comedians of the midyear Boxscore period (Oct. 1, 2024 – March 31, 2025) and of the months that followed. Sebastian Maniscalco, Matt Rife, and “Weird Al” Yankovic topped those lists, but a long-time chart-topper returns to No. 1 after a brief interruption.

After topping the list for seven out of 10 months, Nate Bargatze was pushed at No. 2 in March as Matt Rife took the lead. One month later, they’ve traded places, with Bargatze back to No. 1 for an eighth month out of the 12 since launching the comedy ranking.

Bargatze played 15 shows in April, totaling $11.2 million and 128,000 tickets sold. Much of his Big Dumb Eyes Tour has circulated tertiary North American markets, but his April schedule included stops in bigger cities such as Washington, D.C., Las Vegas and Montreal. Two nights at D.C.’s Capital One Arena was the highlight, with $2.4 million and 27,700 tickets on April 2-3.

Keep reading for a detailed breakdown of the top grossing touring comedy tours of April, by the numbers.

Boxscore charts are based on figures reported to Billboard Boxscore. International grosses are converted to USD.


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Janice and Floyd Pepper from the Electric Mayhem talk about taking over the Rock n’ Roller Coaster starring the Muppets at Disney World, working with Kelly Clarkson and Jennifer Hudson on some of the songs, whether they were scared of the ride, their favorite Disney World snack and more.

Floyd Pepper
What’s your name?

Tetris Kelly
My name’s Tetris, and I’m happy to be hanging out with you guys today. Well, listen, I gotta tell you, I just rode the ride, it’s incredible, and it’s got good music. So I gotta start there, like with the music. How hard was it to pick these songs? And what’s your fave?

Janice
Oh, like, we don’t pick the songs, the songs pick us, yeah.

Floyd Pepper
They’re kind of like friends, and you can pick your friends, and you can pick your songs, but you can’t pick your friends’ songs.

Janice
Oh, like, totally, yeah.

Tetris Kelly
OK, that makes sense. I see what you do there. But speaking of friends, I mean, some real cool friends you guys have, yeah, Kelly Clarkson, Jennifer Hudson, like I got the Jennifer Hudson song, and I was dancing the whole time. So, how was it to work with those two ladies?

Janice
Oh, it was like transcendent, you know? Like our auras were like totally in sync.

Floyd Pepper
Yeah, everybody we worked with was groovy.

Tetris Kelly
I mean, and it’s a groovy ride, so I gotta know, though, it’s groovy, but it’s a, it’s a little intense as well. So, were any of you guys scared to ride the attraction?

Janice
No, we, we weren’t scared. I mean, none of us, but they’re what I mean. It’s easy to say we was scared.

Tetris Kelly
Who is it? Tell me.

Janice
Miss Piggy.

Tetris Kelly
Oh, not Miss Piggy. She seems so confident and strong.

Watch the full video above!

Universal Music Group chairman/CEO Lucian Grainge sat down with Janice Min, CEO and Editor-in-Chief of The Ankler, as part of the Greater Together LA summit yesterday (May 21). During the keynote conversation, Grainge discussed UMG’s new licensing deal with Spotify that will allow fans to create AI models and remixes of songs from participating artists and songwriters signed to UMG.

The session, titled “Driving innovation through the Power of Artistry,” took place at NYA Studios in Hollywood. The same day in New York City, Spotify hosted its Investor Day presentation, where the streaming giant unveiled the details of that new deal with UMG. Spotify stated the new model will open up additional revenue streams for artists on top of what they already earn via the platform.

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“Name and likeness, voice, are all opt-in,” Grainge told Min. “They’re critical. That’s religion. So it’s our job, along with the platform, to explain what the technology is and what provisions the technology gives. I think it’s about the power of possibility. And for the super fans, it will be completely interactive.”  

The new product will become available to premium users as a paid add-on, with an official launch date not yet announced. The announcement said that “artists and rightsholders will choose if and how to participate to ensure the use of AI tools aligns with the values of the people behind the music.” The announcement did not include the names of any artists who have opted in as of yet.

Last fall, Spotify announced it was partnering with UMG, Sony Music Group, Warner Music Group, Believe and Merlin to create “artist-first” AI music tools. Spotify shared at the time it started building a state-of-the-art generative AI research lab and product team. “The speed of change is quicker than ever before,” Grainge continued in the keynote. “We make deals that are win-win. And the people who you can’t make deals with are never going to respect the business, or the creativity, or the investment.”

In the age of AI, questions around who truly owns name and likeness rights are beginning to arise.

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In April, Taylor Swift applied for trademarks on the sound of her voice in what appears to be aimed at protecting her likeness from AI deepfakes. The Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act was reintroduced in the U.S. House of Representatives and Senate on Wednesday (May 20) with support from all three major music companies, the Recording Industry Association of America (RIAA), the Recording Academy, the National Music Publishers Association (NMPA) and Spotify. The bill aims to establish federal rights around likeness for individuals portrayed in digital deepfakes and was first introduced back in 2024.

“I’ve been through so many transformations in streaming, ad-funded streaming, subscription, downloads, CD,” Grainge said during his keynote. “I think that the most important thing that we can do is respect human creativity. And partner with people that do exactly the same.”


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Ed Sheeran announced to fans on Friday (May 22) that he’s left the Warner Music Group after spending 15 years at the record label in a letter via his email list. In his statement, which was also shared with Music Week and obtained by Billboard, Sheeran said there was no animosity at leaving the only record company he has worked with across his career so far, saying he exits with “SO much love and gratitude for everything we have achieved together.”

Sheeran leaves as one of the most successful artists of the past 15 years, having landed eight top five albums on the Billboard 200, including four No. 1s, and 60 songs on the Hot 100, including nine top 10s and two No. 1s. Sheeran’s single “Shape of You” sat atop the Billboard Hot 100 for 12 weeks in 2017, ultimately spending 59 weeks on the chart, while his single “Perfect” also reached No. 1 on the Hot 100. His 2017 album ÷ (Divide) spent two weeks at No. 1 on the Billboard 200 when it debuted in 2017. His other No. 1 albums include 2014’s x, 2019’s No. 6 Collaborations Project and 2021’s =. According to Luminate, Sheeran has racked up 25.9 million equivalent album unites in the United States since his 2011 debut, including more than 32 billion streams and 5.8 million album sales.

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Warner Music Group is keeping Sheeran’s catalog of biggest hits, and has long-term licenses for his two most recent albums, 2023’s Autumn Variations and 2025’s Play, which were released on Sheeran’s own label, Gingerbread Man, and Atlantic Records.

In his letter, Sheeran wrote, “I’ve decided to leave Asylum/Warner last month. I leave the company with SO much love and gratitude for everything we have achieved together. This isn’t a ‘disgruntled artist leaves record label’ type situation. This is a boy who started as a teenager on the company with different priorities, to the father of 2 man who exists now, who feels like he needs a shift and change in the way he does things professionally.”

Billboard has reached out to Sheeran’s camp and Atlantic Records for comment. Warner Music Group said in a statement to Billboard it is “proud to have supported Ed through his discovery and remarkable rise over the past 15 years and grateful for his continued partnership. As we steward his iconic catalogue into the future, we’ll ensure that his music will touch hearts and move feet around the world for generations to come. Everyone in the Warner Music family wishes Ed the very best as he embarks on the next chapter of his extraordinary artistic journey.”

Sheeran initially signed with Asylum/Atlantic U.K.’s Ed Howard in 2011, ultimately spending much of his career with the longtime A&R executive, who became co-president of Atlantic U.K. in 2019. His longtime label heads at Atlantic Records, Julie Greenwald, and Warner Music Group, Max Lousada, both exited the company in 2024, and have since started their own label under Sony Music Group. The new regime at Atlantic, under chairman/CEO Elliot Grainge, has since grown the label’s market share to No. 2 in the U.S. recorded music industry as of the first quarter of 2026, with an 8.76% current share.

Read Sheeran’s full note below.

Hey everyone

A little update from me, I left my record label a month ago…

I met Ed Howard from Asylum records at a show in Notting Hill when I was 18 and I ended up crashing at his and his now wife’s house. Whilst there I played him a bunch of music, and just chatted about life and what I wanted to do. I honestly didn’t know at the time he worked at a record label, I thought he was just someone cool who was letting me crash on his sofa. But the next day I found out who he was, and we started chatting. He came to so many of those small gigs, with Ben Cook who ran Asylum at the time. All the tiny tiny pub gigs no one came to, they came to. So when no.5 collaborations came out, and I was offered a deal, I signed instantly. I love those guys so much.

Over the last 15 years, I’ve put out so much music, and had so much success with that company. We’ve built something amazing together, and enjoyed such life changing stuff happening to us. My life is hugely different now to what it was when I was a teenager, and I’ve been feeling in my gut for a long time that a lot of things in my professional life need to change. I am, underneath it all, a singer songwriter who plays pub gigs. And I’ve sorta morphed into this pop star who plays stadiums over 15 years, it’s a super amazing thing to have happened but also a lot to get your head around. I decided to leave Asylum / Warner last month. I leave the company with SO much love and gratitude for everything we have achieved together. This isn’t a ‘disgruntled artist leaves record label’ type situation. This is a boy who started as a teenager on the company with different priorities, to the father of 2 man who exists now, who feels like he needs a shift and change in the way he does things professionally. I love Ed Howard forever, I love Asylum forever, and the door is always open for the future. Thank you everyone across Warner worldwide who has worked on my projects over the last 15 years, it’s been an incredible journey. Excited to see where the next 15 years takes me.

Loads of love to everyone x


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Isaiah Rashad has mastered the art of starting over. His music has historically found him crawling back from some form of rock bottom. He’d battle substance abuse and mental health woes, all while tackling fatherhood and the mundanities of everyday life. This often coincided with lengthy absences that left his label TDE and all of his fans waiting on him for years at a time.

This reality hadn’t changed by the time the Chattanooga bred rapper released It’s Been Awful on May 1st, 2026. His sex tapes leaked, he found himself struggling with drugs and alcohol again, impacting the relationships around him. “Never been sober, But I’m trying/Last time that I told ya that I was, I was lying/Methamphetamines was f—ing with my mind,” Rashad raps on the album’s “Do I Look High?”

It took a radical honesty with himself and others to help him complete It’s Been Awful, his most transformative record to date. Rashad dove into his past to try and root out what brought him to this point, whether that was diving into his family’s history of sex addiction or how substances became a crutch that inevitably impacted his relationships. It’s an extremely sobering listen that saw Rashad strip himself bare in order to move forward with his life. 

Nowadays, he’s mostly concerned about improving his health. His focus lies on taking care of himself, even if it’s as mundane as going to the doctor, eating right, and taking his vitamins. He’ll do anything to show up for his family, even if it’s been awful in the process. All it takes is transparency. ”[I’m] just tryna reverse stupid s–t I did to myself earlier in my life,” he tells Billboard. “Or at least calm it down.”

Below, Isaiah Rashad speaks with Billboard about Awful, family, the importance of honesty, his dream radio station, and how Kendrick helped inform his approach to songwriting.

First and foremost, how are you, bro? You went through a lotta s–t in these last five years. 

I just been workin’. [Laughs.] S–it happens to everybody. I don’t think it’s something to overemphasize. It’s like…in my perspective, things happen for me to correct myself. All I’ve been doing is correcting. Ain’t s–t bad happen to me.

That’s a good way to look at it, because I think a lotta people will let that s–t taint them and they’ll fall into this despair. 

I can’t remember the last time something bad happened to me for no reason. It’s always a lesson behind it. 

What do you think the biggest lesson you learned was while making It’s Been Awful

Man, that my life is a lot easier, completely transparent. Honestly, man, fear is just my imagination. Anybody that don’t wanna f–k with me isn’t somebody I should deal with, anyway. 

It’s that transparency, man. I tell people all the time: Lying is exhausting. 

Omitting is still lying; that’s my biggest lesson. Lying to yourself or somebody else.

Not telling the whole truth, just wanting to protect people instinctually. 

Plus, I’m supposed to be like this…I dunno, I guess I’m not supposed to have privacy as the kind of artist I decided to be a long time ago. 

I think there’s a sense of liberty that comes with it, though. Being able to unearth all that and not having to pick and choose how you present yourself. 

I could see that. Recently, I feel I’m the only one naked in the room, but not in the worst way. Kinda like I know I’m being honest about everything. It’s a freedom to everything, bro. 

I guess in that case, I was curious: You said during a MackWop stream ‘It’s been awful doing the right thing.’ Can you expand upon that for me? 

Man, I come from a generation of muhf—a tellin you ‘f–k b—chs, get money,’ all this other type of rhetoric that’s not necessarily healthy for the developing mind post-25 type s–t. They run out of basics, bro. I be eatin’ healthy, bro; that s–t sucks. I be wantin’ fries every day, some type of fried food or some other s–t or my body telling me I want sugar. 

When I wake up, and have to put my s–t up; just daily maintenance sucks, but it feels good on the other end. I can tell how my life seems to go from ironing the night before. Just small tedious things; adulting sucks, that’s really what I was sayin’ without going into everything. Adulting sucks, especially when you’re tryna do it correctly. Checking in on my people, that can be exhausting. I could just got off a phone call with my sister and then I gotta check in with my other sister. It’s exhausting, but it’s worth it. I call it as I see it; that s–t is awful. Making sure I’m on time with these bills and separating work from family time to make time for my kids and traveling. I’ll go from here to Chattanooga to see my mom, then to Chicago to see my kid, then fly back to Tennessee to check up on my son, then fly him to LA because he lives with me. 

I be doin’ all this kinda s–t, man. I can’t say I was always on time about it; it used to be when I had time and now I’m making time. That s–t is awful. When you tryna find time, it seems to always work in your favor. When you make time, it’s never when you wanna do s–t. It’s what you’re supposed to be doing. 

It’s something about the mundane where we can become absent-minded for a second. The vitamins be off in the corner of a cabinet and you don’t even think about it. 

I’m on that right now! The milk thistle, the slippery elm right now, bro. A shot of apple cider vinegar in the morning.

That might be why the Larry June s–t hit so hard, because he makes apple cider vinegar seem cool as s–t. 

It feels better than what it feels like when you don’t do it. Once you start doin that s–t for a week, you’re gon’ feel it. Your stomach biome and the bacteria breakin’ down s–t. N—as really just sitting with bulls–t, at a lotta levels. 

I’ve been learning that slowly. My girlfriend got me a big ‘ol pack of fish oil, hair gummies, Vitamin B3 and all that. 

Yeah, you need that Vitamin B3, you need that Vitamin D. S–t, depending on what you got goin’ on, you might need to pop a couple iron pills. I’m poppin’ more than I was ever poppin’ when I was on the bulls–t. [laughs

Goin’ to the doctor for the first time in years is an accomplishment for me. 

I’m in that b—h like every month, n—a. I use my insurance like a motherf—er. I use every bit of that s–t. If my toe feels weird, I’m making that appointment. You use Zocdoc? 

Nah. 

You ain’t even gotta mention it, bro. Too much free promo. But it’s a good app to use if you’re on the go and got a good PPO.

On “Do I Look High,” you talked about grappling with writer’s block, and usually when you come back with an album, it seems like it’s after you gone through the ringer. Do you feel like you have to go through a lot of bulls–t in order to create? 

Nah, but I definitely used to, though. A good portion of my life might have been sabotaging for material when I was younger. 21, 22, besides like father and single mother angst, I ain’t have a lotta material to grasp on, but I wanted to be able to identify with my audience and the common woman or common man type of s–t. 

I identify with pain. I didn’t know The Struggle was The Struggle until I got older; I thought we were all living like that. Thank God for experience and being older and being in a place where even writer’s block is a technical term for “uninspired to my standard.” 

With this whole album, I just wrote. We’d be in the studio for days and I wouldn’t be hittin’ something I wanted to hit. Sometimes, you just wanna say something and there’s a specific type of way you wanna say it. You wanna sound cool or prophetic or to nail whatever kinda hook you goin’ for. But I reflected more than anyone. Even that line in that song, I was addressing it after I’d dealt with all that s–t. Like “This was me not knowing what I have to say.” For me, I don’t think writer’s block exist no more. Seeing you and talking to you today, I might wanna go write a verse about your life. That’s kinda where I’m at right now. I used to be so sprung on what’s in front of me. 

It seems like you’re revealing even more so than past records because you were much more direct; from sex and porn addiction, to grappling with family and substances. What inspired the decision to go completely naked on this record?

I would say my [other] projects were just as revealing, but now I’m better at writing it out plain now. I used to think I had to have this line behind this line, but I think it was always there. I just got really better at…I just stopped trying to make things complicated. 

That’s the one critique Dot [Kendrick Lamar] had for me for a while was “Nobody gonna understand what the f–k you’re saying. It’s too puzzle-y.” I took that as an insult for a long time, to the point where I bucked it. I was like “F–k this guy.” But with this project, I be lookin’ for change in everything. I’m kind of a scientist with this s–t, and all artists are scientists with what they do. I’m just tryna stop writing in hieroglyphics. 

“If I Was Your Girlfriend” was a huge inspiration on “Boy in Red.” You said on “Act Normal,” “Some girls come with a d–k, some come with child support.” What was it like exploring that more fluid style in your songwriting? 

I was moreso like “Why not?” If I act like things are all normal, that’s not gonna read well. I have this rare opportunity to say everything — I wish I would’ve said more about whatever I feel or whatever I’ve been through. This is the one time that people are gonna be listening for what I have to say, so I wanted to take advantage of the open ear, at least. It seems like y’all caught just about everything. Even you bringing that up is…yeah. 

Was there a moment during the recording process where you felt “I shouldn’t say this” or “I shouldn’t be airing this out?” 

Nah, man. I made it with my little brother [Keem The Cipher]. How old are you, bro? 

I’m 26. 

Yeah, he 27, so he come from y’all generation where you’re either a super bigot, or everything’s love, bro. He’s like that, so he was like “F–k them motherf—ers.” He’s real protective. And my engineer is this really sweet sensitive dude. It was the universe working out for me. With my last engineer, I might not have been able to be as…even though he knew me, his name’s Rory, he’s one of my best friends. But this gave me an opportunity to have conversations with people without the past foundations where we could talk about s–t. This n—a Julian probably knows me best in a short period of time more than anybody else. He knows more about me. It’s an opportunity to be your authentic self. 

I assume you doin’ it with your brother allowed you to be more honest about talking about mom and pops discovering the porn stash and all that s–t I assume doing that with family made it a lot easier. 

Yeah, because me and my brother have a different perspective on life. We had different childhoods. We shared one, but it’s good to be able to vent to somebody about something he’d notice and see now as an adult and find some understanding on how we grow up in all this crazy s–t. I dunno if I made it out sane, but I made it away from the s–t. 

And because you’re so family-oriented, and you talk so openly about your kids and whatnot, I wanted to know: After releasing an album like this where you just release everything, how has all this informed your approach to fatherhood?

I don’t know if I could say, since it’s been two weeks, but it was already in progress way way before. The last couple years have been what I’d call like my adult formative years. I’ve still made mistakes every once in a while. I’m not perfect, but it’s my priority to be a father. And I feel my family will understand this, too: It’s my mission to be a father and a nurturer. Because my kids are gonna do things that impact the world in ways I never could. I’m a vessel for a message I could never understand. But my family also understands I do this s–t because I love it and I love people. They’re both equally important to me, but being a parent definitely tops it. I don’t know if making music is making me a better parent at all. 

I wasn’t even saying in the immediate two weeks after or anything. You just made it a point to be direct and extremely honest on the album in that way. 

I’m super honest with my kids, though. Those are the first people I’m honest with. My kids know me better than anybody. They know the most authentic version of me. My older one seen me learn how to deal with stress; they’ve seen me attain patience and learn to be a teacher because I was a young ass parent, so I didn’t just know how to do s–t. 

I wanted to dig into this one lyric from “M.O.M.”: “Elon diggin’ through the cell phone records/ Everything for sale, even hell.” I think you’re speaking to a real sense of paranoia in the world. 

I don’t know if it’s paranoia. 

How would you explain it, then?

All that s–t was real literal. Everything is for sale right now, y’know? 

They’ll be tryna sell air soon. 

You could hop on Google right now and get you a bottle of Norwegian air. And my auntie on the oxygen machine, n—a. Everything for sale. N—as are digging through your cellphone records; n—as are watching your internet history. You have agreed in some clause in some s–t that you don’t realize that you’ve given up your rights for people to go through your s–t. 

I think we understand that, but a lotta people call that s–t conspiracy, so I was tryna see if you could tell who might downplay that. 

It’s not for me to say I talk for people who know, or who wanna know. If you don’t wanna know, it’s none of my business. Red pill, blue pill, man. Who am I to judge you, bro?

This was my long roundabout way of asking if you’re a conspiracy theorist? Because I might be a lil bit. And if so, what’s your biggest conspiracy? 

A conspiracy? Isn’t that like a group of ducks or something? What’s a conspiracy? 

A conspiracy theory? 

A theory, though…I dunno. I check in on what’s going on in the dockets of the Supreme Court every once in a while, all that kinda s–t. I don’t consider my worries conspiracies. 

That wasn’t what I was getting at. We’re just digging into some stuff that a lotta people brush off or would call bulls–t. 

It’s so much out of people’s control for real, outside of buying your way in. Who cares if you know? What you gon’ do with that knowledge? If knowledge was power, but power is power. 

There are stretches throughout the album where you weave in radio station transitions as DJ Sunny Roshi. If you had your own dream radio station like that, what would be the five songs that would need to be in rotation? 

“Voyage to Atlantis,” Eem Triplin’s “A Love Song for You,” “Point and Kill” by Little Simz, gimmie…damn. Gimmie one second. Gimme Prince’s “If I Was Your Girlfriend,” and then I might go “Slum Beautiful” by Outkast. 

You told me last time we talked that you were excited to take this s–t out on tour because you wanted to bring the band out for a lotta these joints. What’s the song you’re most excited to play with a band? 

With the band? Honestly just because of how live it would be, “M.O.M.” With all the extra instrumentation and s–t. That s–t’d be hard. 

Crazy drum solo type s–t?

Type s–t. 


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