In a recent interview with The New York Times, JAY-Z offered measured guidance to aspiring songwriters. He emphasized the importance of perspective and lived experience in shaping creative work. Speaking about the pressures artists face to remain relevant, he suggested that authenticity cannot be manufactured. “If you’re trying to make young music and you’re not young, it’s gonna be inauthentic, and people can feel that,” he said. “You can smell it. So, the best thing anyone can do going through music is to tell their story and keep creating from that space.” To illustrate the point, he pointed to recent work by Clipse, specifically the track The Birds Don’t Sing. He described the song as an example of storytelling grounded in personal truth. He noted its emotional weight and clarity. “I love what the Clipse are doing right now and how it’s authentic to them, and they’re telling a story about their mom and dad who just passed away, and how deep that is with John Legend singing on the chorus and everything that they’ve been through,” he said. “It’s an authentic display, a piece of classic material that could’ve come out in ’96 or 2026. It still feels the same because it’s real and authentic to who they are.” “If you’re trying to make young music and you’re not young, it’s gonna be inauthentic and people can feel that.” “I love what the Clipse are doing right now and how it’s authentic to them…” — JAY-Z via The New York Timespic.twitter.com/P7C9C5uBMC — Kurrco (@Kurrco) April 28, 2026 JAY-Z’s Growth Leads a List of Defining Songwriters The conversation accompanied the publication’s feature on the 30 greatest living American songwriters, a list compiled with input from industry figures and critics. JAY-Z’s inclusion reflected not only his technical command but also the evolution of his subject matter over time. His later work, particularly 4:44, was noted for its directness. It addressed personal struggles and relationships with unusual candor. The Times described the album as “far blunter and more bruised than anything he had ever recorded.” The list also recognized a range of artists across genres, including Kendrick Lamar, Missy Elliott, and OutKast, among others. Together, the selections highlight how songwriting continues to evolve while remaining rooted in personal voice.

J. Cole has suggested that his forthcoming album, The Fall-Off, may represent a turning point in his career rather than a continuation of it. As the project approaches release, the rapper has indicated that his interests are moving away from releasing solo albums. Instead, he has expressed a growing focus on producing and contributing behind the scenes. The comments have prompted discussion about what the next phase of his work may look like. During a recent “Ask Me Anything” session with fans, Cole addressed his outlook directly. “I appreciate all the support. My love for music is authentic, and what’s truly exciting about this album is the immense inspiration I feel right now,” he said. “While I don’t foresee myself creating more albums under the ‘J. Cole’ name, my enthusiasm lies in music production.” He added, “I will continue to write and record music whenever the inspiration strikes, and I may release new tracks if I feel compelled to do so. However, The Fall-Off stands as a significant work that I won’t seek to surpass.” Cole expanded on that idea by describing a long-standing interest in collaboration. “I aspire to make beats and assist in producing for other artists, even if my input doesn’t entail creating the actual track,” he said. “Shaping someone else’s vision is a passion of mine that I haven’t fully explored, given that my focus for years has predominantly revolved around my own narrative.” He added that he believes his strengths may be better realized in a supporting role. A Pivotal Release The Fall-Off will be Cole’s seventh studio album and is scheduled for release on February 6. The project includes collaborations with Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems. Industry projections cited by Talk of the Charts estimate first-week sales between 260,000 and 300,000 album-equivalent units. That performance would make it his strongest debut since KOD in 2018. Following the album’s release, Cole marked the moment with a low-key promotional effort. He traveled to North Carolina A&T University, where he sold copies of The Fall-Off directly from his car. The effort, which he referred to as a “Trunk Sale Tour,” echoed earlier moments in his career. It also reinforced his emphasis on accessibility and direct connection with listeners.

On a recent episode of the Million Dollaz Worth Of Game podcast, Lizzo reflected on the roots of hip-hop. She highlighted the genre’s struggle for recognition within a music industry long dominated by established players. Her comments offered insight into the challenges faced by Black artists, particularly around sampling—a practice central to hip-hop’s identity and creative innovation. Speaking with hosts Gillie and Wallo, Lizzo explored hip-hop’s complicated relationship with sampling. By borrowing sounds, rhythms, and melodies from existing recordings, artists have built the foundation of the genre. Yet she emphasized that copyright laws have often constrained Black creativity rather than safeguarding it. Recalling Biz Markie’s legal battles over “Alone Again,” Lizzo noted how disputes like his led to albums being pulled from stores. These actions reveal the broader consequences of restrictive sampling rules on Black musicians. Tracing the earliest pioneers of sampling to Black rappers of the 1980s and ’90s, Lizzo highlighted the ingenuity behind the practice. “They were sampling records because they didn’t have access to big studios,” she said. Many repurposed their parents’ vinyl to forge new sounds, often without formal musical training. “They were just outside, just like, ‘OK, this is just what it is.’ And then hip-hop was born, and it was this beautiful thing,” she added. This underscored the genre’s organic and innovative beginnings. Policing Black Creativity Reflecting on contemporary perceptions, Lizzo criticized the framing of sampling as theft. “The theft of it all, putting theft on Black culture, that’s the part that kind of turns me off,” she said. For her, sampling is a legitimate and essential creative practice, embedded in hip-hop’s DNA. Yet, it is often mischaracterized as criminal. She suggested that these restrictions may have racial undertones, functioning as a means to limit Black artistic expression. Fans can also expect Lizzo’s involvement on Cardi B’s forthcoming album, Am I The Drama?, set for September 19. The collaboration hints at further explorations across hip-hop, pop, and R&B. It signals the evolution of her artistry while honoring the foundational roots of the genre.

According to Billboard Canada, The Weeknd has set the record for most performances by a Canadian artist at one of Toronto’s biggest stadiums — the Rogers Centre, which also houses the Toronto Blue Jays. The singer performed four shows on his After Hours Til Dawn Tour at the Rogers Centre, which began on Thursday, August 7. The outlet also reported that he set the record for “most shows at the venue by a male solo artist on the same tour.” This trek would count as The Weeknd’s seventh concert tour. The stadium tour was in support of his fourth, fifth, and sixth studio albums: After Hours (2020), Dawn FM (2022), and Hurry Up Tomorrow (2025). This tour serves as a victory lap for the “Timeless” singer and marks the end of his Weeknd era. View this post on Instagram A post shared by NFR Podcast (@nfrpodcast) Last month, The Weeknd was awarded the ultimate honor from his hometown of Toronto by receiving the Key to the City and a citywide proclamation of “The Weeknd Weekend” from July 26-27.  Complex reported that the City of Toronto recognized” the pop star actor for his accomplishments as a singer-songwriter and producer, his enduring humanitarian efforts, and his dedication to giving back to his city.” During the private ceremony, The Weeknd was presented by Toronto Mayor Olivia Chow, who was attended by youth from West Scarborough and The Weeknd’s alma mater, Birchmount Park Collegiate Institute. “I’m deeply honored to receive the Key to the City. It feels good to be home,” The Weeknd said. “Toronto is where I found my voice, and I’m committed to helping the next generation find theirs. That’s why I’m proud to support the Boys & Girls Club of West Scarborough and my former high school, Birchmount Park, providing youth with the means to unlock their full potential.”

Is there anything that Queen Bey can’t do? Whether it’s sparking online debates or shattering Grammy records, Beyoncé has more than proven herself worthy of all her accolades. So it’s no surprise that when Billboard released its “The 75 Best R&B Artists of All Time” list, Beyoncé ranked high among her peers. Landing at No. 4 on the list, the Renaissance singer follows behind icons like Michael Jackson (No. 3), Aretha Franklin (No. 2), and Stevie Wonder (No. 1). The late, legendary, singer and diva, Whitney Houston, rounded out the group at No.5. The criteria for ranking included “vocal prowess, body of work, career longevity, industry achievements, game-changing influence, and enduring generational/cultural impact.” “Billboard’s Greatest Pop Star of the 21st Century also happens to be one of the Best R&B Artists of All Time. In fact, it’s her dedication to her R&B foundation that has helped her become one of music’s most innovative, impactful, and impressive artists,” the outlet wrote. “The 35-time Grammy-winning Houstonian first hit the Billboard charts as the lead vocalist of Destiny’s Child, the girl group in which she honed her now-signature staccato rap-singing, a vocal approach that can be heard in virtually every contemporary R&B song today.” Beyoncé has been named the #4 ‘Best R&B Singer of All-Time’ by Billboard staff. pic.twitter.com/bFcg8myACW — Pop Tingz (@ThePopTingz) June 19, 2025 Other notable artists included in the list include: James Brown (No.6), Prince (No.7), Mariah Carey (No.8), R.Kelly (No.9), and Marvin Gaye (No.10). Last December, Billboard crowned Queen Bey as the greatest pop star of the 21st century. The publication said she’s “the century’s biggest pop star based on her full 25 years of influence, evolution, and impact.” “The reasons why Beyoncé captured the top spot on our list were beyond numerous. Ranging from her 25 years of timeless albums and singles to her incalculable industry impact and influence on other artists, to her peerless raw talents as a singer and performer.” Billboard said. “Few artists this period can match her in any of the most critical basic categories of pop stardom. Commercial success, performance abilities, critical acclaim and accolades, industry influence, iconic cultural moments – and absolutely no one can equal her in all of them,” Billboard continued.

Quavo stopped by HOT 97 to talk to Nessa about his new album “QRÖME LIFE,” out October 2, and working with Pharrell to produce the entire project. He talks about how Pharrell challenged him creatively, their trip to Disneyland with Justin Timberlake, his new song “Backwards” with T.I., Jermaine Dupri’s involvement and who he would put on a “Welcome to Atlanta” remake in 2026. He also discusses Drake sampling old Migos ad-libs on “Shabang,” Drake giving Migos equal splits early in their career, and how “Versace” changed everything for the group. Quavo also opens up about reuniting with Offset in the studio, whether another Migos album and “Unc & Phew 2” are coming, and whether Migos has received enough credit for changing the sound of hip-hop. He talks about Young Thug wanting him to join YSL, his thoughts on artists using AI to make music, possibly stepping into a WWE ring, and ranks some of Migos’ most famous ad-libs. Plus, Quavo reveals why he sometimes ghosts people instead of telling them no and plays “Quavo or Pharrell?” with Nessa.

Music icon Beyoncé gifts the world with historic new music for her B-Day, but emerging artists like Iris Stryx, Boganz & Olakira, and Glizzy Glow are aligning the stars this week. The first Friday of September delivered a strong slate of hip-hop and R&B releases, led by Beyoncé and Erykah Badu. After long anticipation, Erykah Badu and The Alchemist joined forces for Before the World Blows. The 16-track album merges Badu’s neo-soul sensibilities with the producer’s signature hip-hop sound. Earl Sweatshirt, Westside Gunn, Thundercat, and Steve Lacy contribute to the project. Elsewhere, Mykki Blanco delivered CAFE PARADISO, a genre-blending release incorporating rap, rock, disco, and art-pop. Wisin expanded the broader urban-music landscape with La Universidad del Perreo. The 12-track reggaetón project draws from Puerto Rico’s underground scene. From Beyoncé historic collaborations to Iris Stryx’s arrival to Bognz & Olakira becoming superstars, here’s a complete list of new music you might have missed this week. Memphis Bleek, Iris Stryx, Boganz + MORE New Music You Might Have Missed This Week Shenseea & DJ Frass Come With The “Tightness” The dancehall princess hits the summer with a red-hot collaboration that will have fans rushing to the dance floor immediately. The producer-led single returns the international superstar to the sound that made us fall in love with her in the first place. It’s vibrant, exciting, and ready to take over the world. 414JungleBaby Lives Life Like It’s a “Movie” For Everybody Watching EP, the cinematic single showcases the new star’s lavish lifestyle as they impress with magnetic rhymes over catchy production. With all eyes on them, the Milwaukee rap star proves that today’s brightest superstars aren’t coming from the City of Angels, the A, or the Big Apple anymore. The song and album are must-hear and must-see attractions for any newfound fan discovering their next favorite artist. Memphis Bleek Knows The “Difference” In Greatness After “No More,” the Brooklyn legend’s latest release explores loyalty, betrayal, trust, and the lessons that come with personal growth.  The track captures Blizzle’s signature streetwise lyricism as he celebrates the lifestyle, relationships, and hard-earned position that come with decades of experience in the game. The single takes it back to where it all began in apartment 3D. Cupid Can’t Stop Making Hits But Ask “Why You Hatin’ On Me” The “Cupid Shuffle” hitmaker addresses the haters in his new Gospel-meets-R&B hit. Blending soulful R&B melodies with an uplifting gospel message, the song delivers a powerful reminder that obstacles and opinions don’t define your purpose. The crown is placed comfortably on his head, and he has no plans to leave the throne as the Linedance King anytime soon. 414JungleBaby, Cupid, Boganz + MORE New Music You Might Have Missed This Week Iris Stryx Has “No Regrets” The rising star’s latest single is about perseverance on her journey to greatness. With her sweet vocals, the Bahamian-born singer sings about the climb that took her far beyond the rejection she once experienced. The song helps others deal with personal struggles. Her forthcoming album represents the culmination of years of training, persistence, and personal growth. More importantly, her success shows that her greatest achievement isn’t measured by streaming numbers or chart positions, but by the transformation of a voice others once dismissed. Boganz & Olakira Shine Bright With “Abena” Continuing the global takeover of African sounds, Zambian Star teamed up with Nigerian Afrobeats hitmaker for the release of their new cross-border collaboration. The track is a high-energy Afro-fusion record that perfectly blends authentic Zambian percussion with a heavy West African bounce. Thematically, the new collaboration is an unapologetic tribute to African royalty, with two African Kings uniting their sounds to celebrate a “Ghanaian goddess of gold.” Driven by a highly infectious, club-ready pre-chorus—”Figure 8 oh / You carry back carry front oh.” To set the visual tone, Boganz and Olakira have released behind-the-scenes footage showcasing a dark, cinematic aesthetic dripping in cultural attire with the goddess dipped in gold. Beyoncé Taps Selena & More As Guests For New B-Day Queen Bey has been very generous lately. After dropping a new track featuring a Jay-Z remix, she’s celebrating her 20th anniversary of B-Day with some legendary additions. She remembers her Texas history with a new collaboration featuring late legendary Chicano singer Selena. They collaborate on a Spanish version of her hit “Irreplaceable.” The deluxe version proves that the album is timeless.

R&B singer Mary J. Blige has found herself at the center of an unexpected AI controversy after appearing in an advertisement for music technology company Suno. The 85-second clip shows the Queen of Hip-Hop Soul inside a recording studio. Blige appears to listen to an AI-generated track inspired by the sonic world she helped define. View this post on Instagram The song recalls elements of Blige’s influential 1990s and 2000s R&B sound. In the footage, she appears to praise the technology and suggest adding strings and a beat. The ad quickly sparked backlash online. Fans and music industry observers questioned whether Blige had agreed to promote an artificial intelligence platform. According to reports, she had not. Suno later acknowledged that Blige’s team did not authorize the campaign. The company said it entered a business arrangement with someone who claimed to represent the singer. “We entered into a business deal with someone who presented themselves as Ms. Blige’s official representative,” Suno said in a statement to Variety. The company said it ended the campaign after learning that the person lacked proper authorization. “As soon as we learned this was not the case, and that Ms. Blige was uncomfortable, we terminated the advertising campaign,” Suno added. Suno Admits Unauthorized Deal For R&B Singer Mary J. Blige AI Campaign The controversy arrives during an increasingly heated fight over AI and music. Artists and major record companies have challenged AI firms over copyright and creative rights. Suno has faced legal scrutiny over how its technology generates music. Critics have raised concerns about AI systems reproducing elements of artists’ work without permission. The Blige controversy adds another concern: who gets to authorize an artist’s likeness and creative identity? For an artist with Blige’s cultural footprint, that question carries particular weight. Her voice and sound have influenced generations of R&B and hip-hop artists. Neither Blige nor her representatives has publicly addressed the controversy. Suno’s statement, however, makes clear the company no longer stands behind the campaign. The incident highlights a growing challenge for musicians navigating AI. Their names, images and artistic identities can now enter digital campaigns with startling speed. For Blige, the episode offers a pointed reminder. In the AI era, artistic consent matters as much as the technology itself.

More than two decades after their Reebok collab, hip-hop mogul 50 Cent is still collecting favors from hip-hop billionaire Jay-Z, now JAŸ-Z. The Queens rapper and entertainment mogul revisited a 2003 Reebok commercial Thursday, recalling a behind-the-scenes clash over the first G-Unit sneaker. According to 50 Cent, JAŸ-Z was furious when he decided to wear his own shoes during the campaign. 50 Cent said the first G-Unit sneaker sample arrived while the pair filmed the Reebok spot. Rather than wear the footwear provided for the commercial, he chose the unreleased G-Unit model. View this post on Instagram That reportedly created tension with JAŸ-Z, whose business partner John McNeilly allegedly worried his reaction could cost him his job. “See Jay still owe me a favor for doing this shit,” 50 Cent wrote on Instagram. “They brought me the first G-Unit sample while we was recording this.” “I said I’m wearing my shoe in this,” he continued. “Jay got so mad John McNeilly said I’m gonna get fired. LOL. True story!” Hip-Hop Mogul 50 Cent Remembers Jay-Z (Now JAŸ-Z) Still Owes Him A Favor After Reebok Commercial The anecdote resurfaced as Reebok revived the red, white and blue G-Unit G6 in 2026. The reissue reportedly sold out within two hours, underscoring the sneaker’s enduring place in hip-hop history. 50 Cent celebrated the demand while taking another jab at longtime rival Rick Ross, who had mocked the G6’s return. “Sold out, fat boy,” 50 Cent wrote. For 50 Cent, the G6 represented more than merchandise. It helped establish a blueprint for rappers seeking influence beyond music. “Reebok took a chance on me early, and it paid off in a big way for us both,” he recently told Complex. “The G6 created a whole new category in sneaker culture and opened up new opportunities in the music space,” he said. “It gave hip-hop artists a platform to go beyond being just artists. It wasn’t the norm back then.” The sneaker’s revival now gives 50 Cent another opportunity to revisit a moment when hip-hop, fashion and corporate culture were becoming inseparable.