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Tupac Shakur, to many, is synonymous with the words “rap excellence,” no more, no less.
Sonic Editions is aiming to capture that excellence in a print set launched in celebration of the rapper’s 1996 album, All Eyez on Me, his last album before passing in a drive-by shooting in Las Vegas. The photo set dropped by Sonic Editions captures important moments and figures in hip-hop history from the 1990s. Viewers are treated to appearances from big names like Nas, Redman, and Chuck D snapped alongside Shakur while in New York or Chicago. Our chosen prints were captured by the likes of Al Pereira and Raymond Boyd, the two main contributors for photos in this drop. Every print is available on Sonic Editions’ website.
Prints of each scene can be found in black and white or in color, and begin at $99. Sizing and framing of your chosen print determine pricing. Sizing goes up to XXL. Every framed print is glazed with crystal-clear, gallery-grade shatterproof plexiglass for premium protection and printed on archival-grade Fuji Crystal Archive paper for depth and color accuracy. These prints are also mounted with acid-free, conservation-grade materials that ensure longevity.
This photo depicts rappers Nas, Shakur and Redman dated July 23, 1993, at Club Amazon in New York. Not pictured was fellow rapper The Notorious B.I.G., who famously beefed with Shakur. This image captures a moment of peace and unity among the rappers before their East Coast-West Coast rivalry began.
This print is a photo taken at the Regal Theatre in Chicago in 1994. This performance photo was taken while Shakur was still a part of the group consisting of Big Syke, Mopreme, Macadoshis and The Rated R. Shakur would leave the group around 1995. This print captured a moment of the rapper’s iconic and short-lived career.
One of the unique sets of photos in this print set is those taken at Club Amazon in New York on July 23, 1993. The set features appearances from rappers mentioned above along with The Notorious B.I.G., who wasn’t in these prints. This freeze-frame captures peace, a point in time before Shakur and B.I.G.’s infamous East Coast-West Coast rivalry began.
This 1990s rivalry was birthed from a battle of cultural dominance and a hunger for success, primarily between Bad Boy Records, owned by Sean “Puffy” Combs, a New York-based label, and Death Row Records, a Los Angeles-based label. Shakur was signed to Death Row in 1995, while Biggie was signed with Bad Boy in 1993, cultivating a natural beef that was often violent and ugly.
Shakur has more than five No. 1 albums on the Billboard 200 and eight No. 1 albums on the Top R&B/Hip-Hop Albums chart. All Eyez on Me landed on the Billboard 200 and included hits such as “California Love” and “How Do U Want It.” Shakur died in a drive-by shooting shortly after the launch of All Eyez on Me in 1996. Skaur’s death was a direct consequence of the violent East Coast-West Coast feud. The Notorious B.I.G. would also fall victim to the beef, dying a year later in 1997.
Rapper Chuck D served as a mentor to Shakur throughout his life and is seen here in a July 23, 1993, print of the pair in New York backstage at one of Shakur’s shows. After Shakur’s death, Chuck D participated in a 2015 Grammy Museum exhibit nodding to Shakur’s 1996 album with a title “All Eyez on Me: The Writings of Tupac Shakur.”
Shakur graced Club Amazon on July 23, 1993, in New York. His appearance at the club was a pivotal moment in hip-hop history, capturing a snapshot of the era before the notorious East Coast-West Coast beef.
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.pngYveto2026-02-11 19:20:502026-02-11 19:20:50Sonic Editions Just Dropped a Set of Gift-Worthy Tupac Shakur Prints That Capture Hip-Hop History
With BMG’s parent company Bertelsmann in talks to acquire Concord in a deal that could be worth more than $6.6 billion, two of the largest indie music companies are primed to create what many are already calling the “fourth major” record label group, joining Universal Music Group (UMG), Sony Music Group (SMG) and Warner Music Group (WMG) at the table.
While any BMG-Concord merger would absolutely create a new, massive player in the industry, it wouldn’t necessarily stack up alongside UMG, SMG and WMG in the ways industry observers may expect. So, would BMG-Concord be a fourth major? What would being a “quiet” major actually mean? And how are we supposed to measure all these things, anyway?
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Here’s an FAQ for those wondering what the ramifications of the BMG-Concord merger could be.
(In a statement sent to Billboard for this story, a BMG spokesperson said, “We’re aware of recent media speculation. As a policy, we do not comment on market rumors or unconfirmed reports.” Concord declined to comment.)
What Is A Major Label, Anyway?
Often, when discussing majors vs. indies, the definition hinges on market share: The majors have a lot of it; the indies, dispersed as they are, have a little of it individually. That’s often why indies band together via trade organizations like Merlin to negotiate deals with digital service providers — by operating collectively, indie labels have enough combined market share to have a seat at the table alongside the three existing behemoths and can negotiate on a similar playing field, at least theoretically. Consider that at the end of 2025, the U.S. overall market was divided up by Universal’s 38.96%, Sony’s 27.48% and Warner’s 18.87%; the indies, by distribution ownership, totaled 14.69%. (By label ownership, the indies traditionally hover around a collective 35%, though many indie labels use major-owned distribution — and distribution of bigger indie labels has become one of the characteristics that qualifies the majors as majors.)
So, Would BMG Be a Major?
BMG purchasing Concord would not, in a market share sense, materially change the above dynamic. BMG finished 2025 with an overall U.S. market share of 0.85%, while Concord came in at 1.81%. Combined, the two would make up just 2.66% overall market share in the U.S. — about the size of Sony’s fifth-largest division, Epic Records.
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So, If Not Market Share, Then What?
But market share isn’t what this potential merger is about — nor is it what would define the combined companies’ place in the industry. Instead, the two could become a sort of “quiet major” — one that is exceptionally strong in publishing and catalog rights, with an estimated $2 billion in combined annual revenue, giving it the financial power to both compete on any catalog acquisition deal and beef up a frontline business that, for both, has shown potential in recent years.
BMG generated 963 million euros ($1 billion) in 2024, up from 663 million euros ($784.13 million) in 2021, which makes it among the fastest-growing independent music companies. (BMG is slated to report full-year 2025 revenues on March 26.) Concord is expected to generate less than BMG; though, with its recent acquisitions of STEM and the Broadway Licensing Group, as well as continued trajectory growth, it could also reach the $1 billion mark, if not in 2025 then by 2026, according to industry observers. That would put the two companies’ combined revenue in the neighborhood of $2 billion.
For comparison’s sake, for the full fiscal year of 2024 — the most recent year for which every company’s figures are available — WMG made $6.4 billion in revenue; Sony Music made 1.8 billion yen, or around $12 billion at the time; and UMG’s revenue was 11.8 billion euros, or around $12.8 billion at the time.
What About in Publishing?
BMG’s revenue in the past has been split, with about two-thirds coming from publishing and one-third from recorded masters. These days, however, thanks in part to its Broken Bow imprint, that percentage split is closer to 60%-40%, financial observers estimate. Meanwhile, Concord’s revenue was weighted in the opposite direction in the past, with its record labels generating about 55%-60% of its revenue, leaving publishing with 40%-45%. Calculating BMG’s and Concord’s percentages against their respective $1 billion estimated revenue numbers likely results in publishing coming in at 50%, or $1 billion. That would put them in the same ballpark as Warner Chappell, which had $1.3 billion in publishing revenue in its most recent fiscal year.
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Wait, You Said “Quiet Major”? What Does That Mean?
On the record label side of things, the $2 billion in revenue may qualify a combined BMG and Concord as a major — but that’s where the term “quiet major” kicks in. Both companies were initially built as catalog operations. The re-animated BMG launched with publishing acquisitions in 2008. And, beginning in 2005, when Steve Smith took over Bicycle Music — one of Concord’s predecessor companies — that organization also initially focused on publishing acquisitions, though it also acquired Wind-Up Records before merging with Concord in 2015. Before that merger, Concord focused on acquiring catalogs, but it also liked the record labels side of the business, acquiring such well-known indie labels as Fantasy Records and Rounder Records.
For years, both companies were content to work catalog records, which bring in predictable revenue and steady profits, eschewing the riskier and costlier hit music marathon of front-line record labels. But in recent years that has changed, thanks to BMG’s ownership of Broken Bow Music — home to artists like Lainey Wilson and Jason Aldean, among others — and other frontline investments, while Concord has been the beneficiary of PULSE Records, which has produced hit music for both its publishing and record label side, most notably Tommy Richman’s Billboard Hot 100 No. 2 hit “Million Dollar Baby” two years ago.
Which is to say, the two companies have largely, and successfully, operated mostly in the background businesses of the music industry for the past two decades, quietly generating revenue and working closely with artists and songwriters in the trenches without really going toe to toe with the giants of the industry on the charts and in the mainstream hit-making conversation. But that doesn’t mean they wouldn’t have formidable clout to move more assertively into those areas in the future with their combined resources.
Still, if the merger happens, BMG and Concord will have an uphill battle if they want to compete on the frontline hit segment of the record label marketplace. On a unit basis, the combined BMG-Concord entity had 25.3 million consumption units in the U.S. in 2025, but its current unit count — releases within the past 18 months — only totaled 3.435 million units, meaning its current unit count is only 13.57% of the combined entity’s total. In the U.S. market, the three existing majors have current units at 20% or above, with WMG the lowest at 20.6% of its 179.34 million in total consumption units in 2025; Sony’s at 22.33% of its 261.13 million album consumption units; and UMG’s at 22.77% of its 370.27 million album consumption units last year in the U.S. (All Billboard calculations are based on Luminate data.)
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How many artists do the companies have?
Concord supports more than 125,000 artists as of July 2025, according to a report published in July 2025 by rating agency KBRA for Concord’s most recent securitization. That information is not readily available for BMG.
How many songs would the companies have if they combined their portfolios of music catalogs? And how much might that be worth?
BMG owns more than 3 million musical compositions and around half a million sound recordings, according to a press release the company put out in 2024, while Concord has a catalog of some 1.3 million songs, according to the KBRA report. Combined, the two companies would have at least 4.3 million songs in their catalogs, which is significant but still trails the majors. Sony holds more than 6.3 million songs in its catalog, for example, according to its most recent quarterly filing.
Concord has used more than 1 million of its roughly 1.3 million music assets as collateral for asset-backed securities, and, in the rating report for its most recent issuance, that catalog of over 1 million music assets was estimated to be worth $5.117 billion, making the full value of its catalog higher than that total. Billboard was not able to determine the value of BMG’s catalog.
What Other Metrics Should I Know About?
Beyond revenue, the combined entity would have its fair share of hits, as the publishing side of the company would have 8.68% in Hot 100 market share for 2025, according to Billboard’s calculation based on Harry Fox-supplied publisher quarterly data. If nothing else, based on their track record — with BMG typically placing fifth and either Concord or its Pulse operation often placing in the second half of the top 10 publishing rankings for the Hot 100 — a combined BMG and Concord could consistently vie with Kobalt for the number four spot.
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Who Are the Investors That BMG is Negotiating With? How Does That Compare to BMG’s Ownership?
Concord’s majority investor is the State of Michigan’s Retirement System, with Connecticut-based asset manager Great Mountain Partners as a minority investor. BMG’s majority owner is Bertelsmann, one of the oldest media companies in the world, which is still privately held by the founding Bertelsmann and Mohn families. Thomas Coesfeld, the BMG CEO who will become Bertelsmann’s CEO in 2027, is the grandson of Reinhard Mohn, who led the company from 1947. The Mohn family still owns 19% of Bertelsmann, while 80% of shares are controlled by foundations (Bertelsmann Stiftung, Reinhard Mohn Stiftung, BVG-Familienstiftung, BVG-Stiftung). Sources say that even with the merger, the Michigan Retirement System is not planning to fully cash out all of its holdings.
What About Distribution?
One other aspect of the combined entity’s status would be its distribution pipeline. Currently, Concord is distributed by UMG. BMG, meanwhile, recently unwound itself from its longstanding association with Warner Music’s ADA and struck direct deals with the digital service providers while partnering with UMG for physical distribution. If the two were to properly become a fourth major, that association with UMG would presumably have to be severed. If the combined entity decides to go down that path, Concord may already have the building blocks in its back pocket thanks to its 2025 acquisition of Stem Distribution.
Does the combined entity need its own distribution arm to be considered a major? Some would say yes. But distribution these days is more about systems than it is people in the field or on the phones. Keeping track of the billions of transactions and mining them for opportunity is one of the main attributes offered by the majors. As it is, BMG is going direct with the big digital service providers like Spotify, Apple and Amazon, while leaving the smaller DSPs to be handled by UMG, although, if Luminate market share is any indicator, some DSPs are still handled by BMG.
What Other Dominos Could Fall?
Sources suggest that the current talks represent the second or third time in the last 10 years that BMG and Concord have considered merging, although this time the talks are much further along and appear more likely to happen. That means more things could happen in the marketplace that could shore up any combined entity and make it more able to compete with giant competitors.
Could that mean purchasing another distribution company? It’s possible — over the past half-decade, dozens of distribution companies have cropped up as entrepreneurs, and label veterans have raced to offer services companies to cater to the growing middle class of creators enabled by digital music. That has also led to consolidation: UMG has a major pending deal to buy Downtown Music and recently acquired [PIAS], while Sony purchased AWAL and Warner has long been rumored to be seeking distribution acquisition targets. A combined BMG and Concord could also look to that sector to bolster its offerings and its own distribution pipeline.
There are also other acquisition targets on the market, including tech companies, publishers, and digital solutions and marketing firms. However, one rumor that has been making the rounds — that Kobalt is in their sights — seems far-fetched, as Kobalt sold off all of its catalog and distribution arm and is now mainly a publishing administration platform, albeit a very successful one.
The merger would, however, be brutal on the combined entity’s headcount. Sources suggest that BMG has about 900 employees and Concord has about 800 — and industry observers speculate that if the two companies strike a deal, massive layoffs are likely to follow. As one financial source puts it, “The more they slash, the more profitable it will become.”
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.pngYveto2026-02-11 19:12:022026-02-11 19:12:02Could a Combined BMG & Concord Create a Fourth ‘Quiet’ Major Label? And More Questions Answered
Raj Kapoor, whose credits include the nine most recent Academy Awards and the 12 most recent Grammy Awards, is set to produce the Tony Awards for the first time, in tandem with Sarah Levine Hall and Jack Sussman. Kapoor and Levine Hall will serve as co-showrunners. Kapoor is joining the Tony team for the first time, while Levine Hall and Sussman have a long history with Broadway’s Biggest Night.
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Kapoor served as both showrunner and executive producer for the 68th Grammy Awards on Feb. 1 and is serving in those same capacities for the 98th Academy Awards on March 15 and the 61st Academy of Country Music Awards on May 17.
Kapoor’s resume includes several other awards shows, including the Emmys, iHeart Radio Music Awards, Latin Grammys, People’s Choice Awards and Radio Disney Music Awards.
The Tony Awards will return to Radio City Music Hall in New York City on Sunday, June 7. The three-hour show will broadcast live to both coasts on CBS and will stream on Paramount+ (8-11 p.m. ET/5-8 p.m. PT).
“As former theater kids, stepping into the role of executive producers for the 79th Tony Awards is a tremendous honor,” Kapoor, Levine Hall and Sussman said in a joint statement. “There’s nothing quite like capturing the magic of live theater on a global stage. Our team is committed to bringing audiences closer to the creativity, innovation and heart that define Broadway.”
Kapoor and Levine Hall are both Primetime Emmy winners. They both won for their work on The 96th Oscars: Kapoor as executive producer and Levine Hall as producer, which was voted outstanding variety special (live) in 2024. Sussman also won as executive producer of Adele: One Night Only, which was voted outstanding variety special (pre-recorded) in 2022.
Levine Hall’s notable credits include the past three Academy Awards, 19 Tony Awards, six Kennedy Center Honors, the Emmy Awards and Disney Legends Awards.
Sussman is an independent executive producer with a history of live events for television, music specials, award show productions as well as alternative and reality television series. Sussman was evp of specials, music and live events at CBS Entertainment for more than two decades serving as the network’s chief liaison to the music industry. Sussman oversaw the network’s events and specials, such as the Grammy Awards, the Tony Awards and the Kennedy Center Honors, as well as CBS’ presentations of the CMA Awards and The Academy of Country Music Awards. In 2022, while at CBS, Sussman received a Primetime Emmy nod as executive producer of One Last Time: An Evening With Tony Bennett and Lady Gaga, which was nominated for outstanding variety special (pre-recorded).
The Tony Awards eligibility cutoff date for the 2025-26 season is Sunday, April 26, for all Broadway productions that meet all other eligibility requirements. Nominations for the 2026 Tony Awards will be announced on Tuesday, May 5.
The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League.
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.pngYveto2026-02-11 19:02:542026-02-11 19:02:54Raj Kapoor, Veteran Producer of Grammy & Oscar Telecasts, to Coproduce 2026 Tony Awards
The Simpsonville City Council in South Carolina has approved an 11-year management agreement for Nashville-based Opry Entertainment Group to manage and operate the CCNB Amphitheatre at Heritage Park in Simpsonville. The city of Simpsonville retains ownership of the venue.
Opry Entertainment Group, a subsidiary of Ryman Hospitality Properties, owns and/or operates a diverse portfolio of indoor and outdoor venues, including Nashville’s Grand Ole Opry House, Ascend Federal Credit Union Amphitheater in Nashville, ACL Live at The Moody Theater in Austin, Texas, and Southern Entertainment, a festival and live event production company, which also has a strong presence in the Carolinas.
CCNB Amphitheatre at Heritage Park, located nearly two hours from Atlanta and Charlotte, N.C. in Simpsonville, is a 14,000-capacity open-air venue. As part of the agreement, OEG will invest at least $6 million in capital over the course of the initial five years. Planned investments include guest amenities, infrastructure enhancements, improved parking and traffic management, and expanded food and beverage offerings.
“CCNB Amphitheatre is an extraordinary community asset with the potential to become a nationally recognized, must-visit entertainment destination,” Patrick Moore, CEO of OEG, said in a statement. “Working closely with the city, we look forward to elevating CCNB Amphitheatre as an even stronger foundational center for the community, artists and fans for many years to come.”
“The City of Simpsonville is thrilled to welcome Opry Entertainment Group as its partner for the CCNB Amphitheatre at Heritage Park,” Simpsonville Mayor Paul Shewmaker said in a statement. “Their legacy goes back more than 100 years through WSM Radio and the Grand Ole Opry. OEG will bring a new level of excitement and fan experience to the stage with a great mix of music genres, artists and events. I’ve seen the culture of commitment in Nashville to world-class entertainment after having worked in the renowned city, so I know what these folks can and will deliver. This partnership and agreement are fantastic for the Simpsonville community.”
Starting with the 2026 season, CCNB Amphitheatre will adopt an open-room programming approach, aimed at offering a diverse mix of concerts and events. In addition to concerts, OEG also plans to activate the venue and its adjacent Heritage Park to offer family-friendly community events and civic events.
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.pngYveto2026-02-11 19:02:542026-02-11 19:02:54Opry Entertainment Group to Manage South Carolina’s CCNB Amphitheatre at Heritage Park
The 2026 BET Awards are set for Sunday June 28, which puts the premier Black music awards show back in its customary spot in the last week of June after it went a few weeks early (June 9) last year. The show will again be held at The Peacock Theater in Los Angeles, which has been its home base since 2013.
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Connie Orlando, evp of specials, music programming & music strategy at BET, serves as executive producer for the BET Awards. Jesse Collins Entertainment is the production company for the broadcast, with Jesse Collins, Dionne Harmon, Jeannae Rouzan-Clay and Eric Cook also serving as executive producers.
BET Experience (BETX), an immersive, live fan experience, is set for June 25-27 in L.A. It will be co-produced by Live Nation Urban. BETX encompasses performances, celebrity panels, and interactive activations. It will include:
“BETX 2026 FanFest,” a free event taking place Friday, June 26 and Saturday, June 27 at The Beehive.
“A Roots Picnic Experience: A Great Night in Hip Hop with The Roots and Nas” on Saturday June, 27 at the Hollywood Bowl.
Celebrity basketball game.
“BETX represents BET’s ongoing commitment to investing in Black culture beyond the screen,” said Brian Rikuda, evp of enterprise growth strategy, business operations, and programming strategy, BET Media Group. “By bringing artists, creators, and communities together across multiple days in Los Angeles, BETX creates space for meaningful experiences centered on the voices shaping this moment.”
Additional details for the BET Awards, including host, nominees, performers and special guests, and BETX ticket information, programming, and talent, will be announced in the coming weeks.
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.pngYveto2026-02-11 19:02:532026-02-11 19:02:53Here’s the Date of the 2026 BET Awards
Jack Antonoff’s indie rock outfit preps its fifth studio, everyone for ten minutes, due out Friday May 22 via Dirty Hit.
Everyone for ten minutes is the followup to Bleachers’ self-titled fourth LP from March 2024, and is led by the new single “you and forever” and its accompanying music video starring Margaret Qualley (The Substance, How to Make a Killing).
Longtime collaborator Alex Lockett returns to direct the clip, an upstairs/downstairs concept which follows Antonoff on struggle street, stumbling into randoms and flapping about in the rain.
Upstairs, meanwhile, Walley is looking fabulous, dancing and getting herself ready for a big night out (or in), playing with her fur baby and collection of feather boas.
With Lockett and Qualley on board, it’s like getting the old band back together. The pair also teamed up for “Tiny Moves” from Bleachers, which gave the band their first top 10 appearance on the Official U.K. Albums Chart, where it peaked at No. 5.
Everyone for ten minutes, reads a statement announcing the fresh project, is the “inevitable culmination of a lifetime of devotion to bands for the six members of Bleachers and, ultimately, finds each one at their creative peak.”
The collection is said to have “moments where it briefly peers into darkness,” but is “essentially an optimistic record that feels lovestruck and hopeful, leaping from harmony-laden folk rock to shimmering pop soul to the sax-assisted New Jersey sound that Bleachers have become synonymous for.”
The six-strong group is now five albums deep into a recording career that began with 2014 debut Strange Desire. Aside from Bleachers, Antonoff has chiseled out a glorious career with Fun and as a producer. All told, he has netted 13 Grammy Awards and collaborated extensively with the likes of Lana Del Rey, Lorde, Sia, and, of course, Taylor Swift.
At the 2026 Grammy Awards, he became just the fourth person to win all four major categories — album, record, song of the year and best new artist — which he completed with record of the year, which he won for producing “Luther” from Kendrick Lamar and SZA.
Watch the music video for “you and forever” 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.pngYveto2026-02-11 19:02:522026-02-11 19:02:52Margaret Qualley Stars In ‘You And Forever’ Music Video as Bleachers Announce 5th Album ‘Everyone For Ten Minutes’
When Billboard last caught up with Ryan Trey, the St. Louis-born singer-songwriter was celebrating the deluxe edition of his Streets Say You Still Miss Me album, a release that found him elevating both professionally and artistically. In support of that album, he opened for Mariah the Scientist’s then-ongoing To Be Eaten Alive Tour. But as the last dates approached, Trey found himself desiring to “move on from” the toxicity that inspired some of his most beloved songs.
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A little over a year later, Trey has officially honored those desires. Known for moody, ethereal hip-hop-infused R&B joints like “Mutual Butterflies” (which earned him LeBron James’ co-sign in 2018) and the Bryson Tiller-assisted “Nowhere to Run,” Ryan Trey will now operate independently as a faith-based Christian music artist. Crediting his homeboys’ encouragement and Tiller’s 2010s blueprint of sonic experimentation, Trey decided to pivot into faith-based music around May 2025, after years of discomfort with how the music industry impacted his personal growth and maturation.
“I couldn’t figure out why when I was 18, I was able to freely make music after school, but now I gotta high to get a record done,” he tells Billboard. “And then all the industry parties and stuff… It’s great to connect with people, but you can also fall into traps. Because I was in the industry so young and I didn’t go to college… it molded me into someone that I wasn’t originally. Those instances start to make me uncomfortable, and I started to step away from those things to get a clearer vision.”
Linking up with friend and producer Ayo, Trey began recording his first faith-based songs in Orlando, Fla., resulting in “Faith Too High” and the Deca OTA-assisted “Callin on You.” Both songs — from the swaggering rap-sung cadence of the former to the U.K. drill production of the latter — keep Trey in his established musical wheelhouse. What’s changed are his lyrics, now packed with direct references to the Most High and dripping with earnest testimonies inspired by his own faith journey. “Lord, I can’t seem to get You out of my head/ Lord, it’s something about You that makes me smile,” he coos in the second verse of “Faith.” “And I know that I gotta worship all that I can/ ‘Cause I know without You I’d be out my mind.”
From the Billboard Hot 100 success of Brandon Lake’s “Hard Fought Hallelujah” and Forrest Fank’s “Your Way’s Better” to mainstream secular music converging with Christianity thanks to pop stars like Jelly Roll and Justin Bieber, faith-based music is on the upswing in America — and Ryan Trey is looking to join that wave and provide a perspective younger listeners who were brought up in the traditions of R&B and hip-hop. And with a new album due in the springtime — as well as visions of a live show that notably benches his earlier material — he’s more than ready to inspire a new flock.
Below, Billboard speaks with Ryan Trey about his musical transition, navigating fan reactions and expectations, wrestling with AI advancements and randomly running into The Biebs in Los Angeles.
You’ve said you were initially skeptical about making Christian music because of negative stereotypes. Where do you think those come from?
Our moms was playing [gospel] in the car on the way to school, so I really don’t know when that shift happened. I think it’s the “rap” part of “gospel rap” that people think is corny. I think they’re just bandwagoning and trying to sound cool. It’s like picking on the nerd at school who don’t go to all the parties. Once I started to learn about Hulvey, Lecrae, Sam Rivera, Madison Ryann Ward and Cleo Sol, I loved it. They’re dope, and the music is cleaner on my spirit and ears. I want a catalog I can play for my kids. I don’t want my daughter or son to be like, “Dad, why was you always going through something with your ex?”
How did your team react?
Everybody’s been supportive. I’m almost forcing them to make this shift with me on a business level, so for everyone to take a chance on me is amazing. Nobody walked away, and now we’re all seeing growth in this space. I don’t think there’s anybody from my team that was like, “Oh, no, I ain’t with all that.” Nobody’s made that known to me.
Did you grow up in a particularly churchy household?
My grandmother [was pretty churchy]; my parents, not so much. I grew up in St. Louis, so there was a family church that we had, but I only went for funerals. The pastors were always good, and their sermons always stuck with me, but I never did any deep diving. I always felt better after listening to those men speak, but I never did any research behind it.
How do your recording sessions for faith-based music compare to your previous ones?
When I first started making music, it was always scary getting into the studio. And this time it was also scary because I was thinking about outside opinions. That’s why I appreciate my boy Ayo so much; he had so many people come through the studio, some who knew me and some who didn’t, and they were giving me so much praise on the new music. I have people that was like, “I didn’t even know this was Christian music, it just sounded cool through the walls while you were recording.” Once I put out “Faith Too High,” and it was received very well, then it was like, “Okay, it’s go time.” I just had to have faith that entire time.
I used to record with the lights off. The room, I realize now, was just a reflection of how I was feeling on the inside. The room had to be dark. I had to have moody red lights and keep it super low-key and quiet. Now, I can record in the middle of the day. And my sound is the same; it’s just the message that has changed. I’m just encouraging people to give God a chance. The only reason I was able to come out of these situations that inspired my other project is because of Him.
Were you nervous about putting out “Faith Too High?” How did your most OG fans respond to a song like that?
That’s who I was thinking about most. My OG fans been supporting me so hard; I’d be lying if I said I wasn’t thinking about them. Are y’all going to just disappear now? Is this something y’all want to hear? Am I pulling the rug from under y’all?
But 99% of the responses I got was like, “Ryan, we was going through stuff when you was going through stuff, so the same way you want a clean slate now, we [do too].” I was parallel with a lot of my fans, and that was dope and really reassuring because I was on the same page as thousands of people I’ve never met. I did have people that was like, “I’m not ready for this,” and that was cool. But for the most part, it was supportive.
You mentioned artists like Cleo Soul and Madison Ryann Ward. What other songs or artists did you look to for this transition?
I’ve been going back to those big universal gospel hits, like “Shackles” by Mary Mary. They were really good at making songs everyone could listen to while still praising the Lord. But I’ve really been in the rap and R&B spaces right now. Sondae is a newer, more R&B-leaning artist I’ve been listening to.
What can you tell us about this upcoming project?
I can’t give the date specifically, but we’ve landed on a two-week span of when we want to drop. We’re aiming for springtime; I’m just finetuning the tracklist. This album will sound like a better version of all of my other projects. It’s a healthier version. I’m 26 now; I’m thinking about kids and getting married. If you just overheard this album playing next door, you would not know it was a Christian album. But when you hear the message, it clicks.
Some fans can get skeptical when their favorite artists incorporate more Christian-adjacent messaging in their music. Sometimes that shift is accompanied by a kind of right-wing spiral. What do you say to fans who may have reservations about your musical transition?
I get it, I’m not gonna lie. And the Bible talks about this, too; there are hypocrites out there. People like that judge and condemn people, and that’s not the way to go. I’m not a holier-than-thou person.I wouldn’t even try to believe in God three years ago. That’s why I livestream Bible studies and try to tap in; I want people to see me more. I think the wholemystique wave for artists is over; people are watching Kai Cenat sleep on a couch for 24 hours.
I think showing my personality is important for people to see what I’m actually doing outside of music. Is it a stunt? Are you putting your feet in the water and then coming right back out? Or is this your actual walk that you’re on? I try to do my best to talk about my testimony and not get into politics. I’m on this walk, I’m trying to correct things that I wasn’t doing well, and that’s it.
Gospel is one of the first genres AI-assisted music started to infiltrate. What are your thoughts on AI in the context of a genre specifically tied to your personal relationship with a higher power?
I’m torn. As an artist, I always respect and love authenticity. But Jesus says, “Hey, even if we don’t agree with how they’re putting the good news out, as long as they’re doing it, they’re with me.” I know there’s one AI artist that [sparked some controversy], but if that song was what someone needed to change their life around or start their own walk, let them rock.
As an artist, I’m like, “I really wish you would have just made the song yourself.” But who am I to rob someone of that opportunity? The music, at least in this space, is supposed to pull people closer to God. If it happened to be through an AI program, then so be it.
Do you think a program has the capacity to make music that deep, soulful and sacred?
That’s where I’m torn. Because I know there’s no spirit in this song. There’s no human actually pushing the song. I can’t hear a specific person’s emotions in the song. Something is missing. I think I’m going to like AI less the more it develops. The creative process is the most important thing to me, but I also don’t want to be like one of those old guys hating on everything. It’s weird right now.
I saw you also ran into Justin Bieber recently.
Oh yeah, I ran into Bieber at Dot in L.A! He had posted something on his story like, “If you run into me outside anywhere and you’re working in this space, hit me.” I just so happened to be there, and he had his people surrounding him, so I tapped him and pulled him to the side. We had never met before, but I was like, “Yo, bro, we got mutuals, and I know you said you really want to make more music about God; it’s a lot of dope artists in this space.” He said, “Let’s connect,” so we’ll see what happens. He was really cool when I was talking to him.
Are there any other collabs that you’re cooking right now? What’s the new dream list of collaborators now that you’re in a new sonic space?
Cleo Sol is really, really high on that list. I love her voice, and she reminds me of someone my mama would have played for me when I was younger. Hopefully, that one could happen this year. Miles Minnick has had a good run in this space, and Lecrae’s a good artist too.
When are you thinking of hitting the road again? Will you ever sing your older songs live?
I don’t think I’ll sing the old catalog anymore. I was scared when I was saying that in my last couple shows where I did those songs, but when I explained the musical transition, I got so many great ovations. People were happy, and I wasn’t expecting that. I think when people hear this album, it’ll be enough. But I’m definitely going to put a bow on that old music, man. I gotta keep moving forward.
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.pngYveto2026-02-11 19:02:512026-02-11 19:02:51Allow Ryan Trey to Reintroduce Himself: LeBron-Stamped R&B Singer-Songwriter Transitions Into Faith-Based Music
Victoria Monét is back on the scene. The R&B singer launched a new era on Wednesday (Feb. 11) with her steamy single “Let Me,” which arrives just ahead of Valentine’s Day for the lovers out there.
The sultry ballad finds Monét imploring a partner to be vulnerable and let their guard down, and let her be their ride or die, while “Let Me” oozes with classic ’90s R&B vibes.
“Let me be your ride or die/ Let me love you back to life, babe/ Let me give you peace of mind,” she sings while delivering an earworm of a chorus.
Camper helms production on the track, laying down a soulful canvas for Monét’s honeyed vocals to glide over. Camper has built up quite the production discography while bouncing between hip-hop and R&B, working with the likes of Nicki Minaj, Jay-Z, Ye,Coco Jones, H.E.R. and Big Sean.
Monét will look to follow up the massive success of her Jaguar II era, which saw her enjoy the fruits of her labor, taking home three Grammy Awards in 2024 for best new artist, best R&B album and best engineered album, non-classical.
The “On My Mama” singer’s last release came with the Jaguar II deluxe in October 2024, which included collaborations with Bryson Tiller and Usher.
Next up, Victoria Monét will be hitting the road as a supporting act on the European/U.K. leg of Bruno Mars’The Romantic Tour this summer. Monét is slated to hit stadium stages in Paris, Amsterdam, Berlin, Madrid, Milan and London.
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.pngYveto2026-02-11 18:51:202026-02-11 18:51:20Victoria Monét Wants to Give You Peace of Mind With Sultry New Single ‘Let Me’: Listen
TelevisaUnivision has unveiled a new wave of artists set to perform at the 2026 Premio Lo Nuestro.
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Set to take the stage on Thursday, Feb. 19, are Romeo Santos and Prince Royce, who will perform a medley of their joint album Better Late Than Never; Silvestre Dangond and Sebastian Yatra for the TV debut of “Una Vaina Bien”; as well as Lunay, Sech and Arthur Hanlon.
They join the already confirmed acts Café Quijano, Carín León, Carlos Vives, Codiciado, Cristian Castro, Eladio Carrión, Elena Rose, Gangsta, Gente de Zona, Gloria Trevi, Ha*Ash, J Balvin, Jay Wheeler, Jhayco, Kany García, Kapo, KYBBA, Maluma, MAR, Marc Anthony, María Becerra, María José, Matisse, Mau y Ricky, Melody, Mora, Nathy Peluso,, Rawayana, Ryan Castro, Santos Bravos, Sofía Reyes, Thalia, Tokischa, Xavi and Yami Safdie.
Also part of the gala are special awards honorees Arcángel (premio lo nuestro urban icon), Juanes (premio lo nuestro trajectory), Los Bukis (premio lo nuestro musical legacy), and Paloma San Basilo (premio lo nuestro excellence).
This year, the nominations are led by 10-time nominees Bad Bunny, Carín León, Myke Towers and Rauw Alejandro. They are followed by Beéle, Fuerza Regida and Karol G with eight noms; Xavi with seven; and with six nominations each are Alejandro Fernández, Elena Rose, J Balvin, Maluma, Morat and Shakira.
The 2026 Premio Lo Nuestro — cohosted by Thalia, Clarissa Molina and Nadia Ferreira — will air at 7 p.m. ET on Thursday, Feb. 19, on Univision, UNIMÁS and Galavisión, and will stream on VIX across the U.S. and most Latin American countries.
Editor’s Note: Hanlon is married to Billboard’s Co-Chief Content Officer Leila Cobo.
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.pngYveto2026-02-11 18:51:202026-02-11 18:51:20Romeo Santos, Prince Royce, Sech & More to Perform at Premio Lo Nuestro 2026
Zayn Malik‘s daughter, Khai, got a very generous gift from the Tooth Fairy when she lost her first tooth, with the One Direction alum shocking Call Her Daddy host Alex Cooper after revealing how much money he doled out for the occasion.
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While guesting on an episode of the podcast posted Wednesday (Feb. 11), Malik opened up about how meaningful it is for him to be able to provide so much for his daughter — whom he shares with ex Gigi Hadid — when he grew up with a lot less money. “Her dad is a pop star, her mom is a model, and certain things that she does in life might not always reflect what other people’s understanding of reality is,” he began.
“So, I think I gave her a bit too much money from the Tooth Fairy,” he then conceded. “And her mom gave me s–t about it, and I was like, ‘At the end of the day, I work my a– off, and I should be able to give my kid what I want to give her,’ you know?”
When Malik revealed the chunk of change Khai received for her baby tooth — “500 quid,” which is equal to nearly $700 — Cooper was flabbergasted. “Hold on, I may have to agree with her mom on this,” the podcaster said, to which he replied, “People in general obviously look at it some type of way, but look, at the end of the day, I was lucky if I got anything for my teeth.”
“I’ve worked really hard for everything I’ve earned, so I don’t feel like I should have to answer for them things, you know?” he added.
Malik and Hadid welcomed Khai in September 2020. The couple dated on and off for about six years before splitting up for good in 2021, a few years after which the singer made headlines for saying that — despite his past relationships with the supermodel and his ex-fiancée, Little Mix’s Perrie Edwards — he doesn’t think he’s ever been in love.
Elsewhere on Call Her Daddy, Malik clarified what he meant when he said that. “Just to say this on record, I will always love G, ’cause she’s the reason my child is on this earth, and I have the utmost respect for her,” he told Cooper. “I will always love her, but I don’t know if I was ever in love with her.”
“Before, even when I said it, I think people took it a type of away, so I’m just like, ‘Yo, I have so much respect for this woman, and I do love her a crazy amount,’ but yeah,” he continued. “I don’t think I was in love with her at that point. Otherwise, I would’ve been a better version of myself.”
The podcast appearance comes shortly after Malik announced that his fifth solo album, Konnakol, is slated to drop this April. He already released the project’s lead single, “Die for Me,” and in May, he’ll embark on an arena tour through the U.K. and North and South America.
Watch Malik’s full interview on Call Her Daddy above.
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.pngYveto2026-02-11 18:36:392026-02-11 18:36:39Zayn Malik Reveals Shocking Amount of Money He Gave Daughter Khai After She Lost Her First Tooth
