It’s extremely rare that fans get to hear Ariana Grande tap into her jazzier side when she isn’t singing pop music or Wicked show tunes, but thanks to Jeff Goldblum, the star’s latest performance is a rich cover of Dean […]
Justin Bieber is calling out the “darkness” in Los Angeles, particularly what he experiences from paparazzi.
On Instagram Friday (April 25), the pop star shared a video showing his point of view while stepping outside to blinding camera flashes, with several photographers following him every step of the way to his car and frequently blocking his path. “Look at these guys, man,” Bieber’s voice says disapprovingly from behind his camera, while his security guard repeatedly tells the paps to back up.
“This has to stop,” the musician captioned the clip.
In other posts, Bieber shared his thoughts on the culture as a whole in his home city. “Everyone telling me to move from La,” he wrote in a block of text on his feed. “U think I’m gonna get bullied to leave where my influence is most needed? How can we make a change if we run away from the darkness?”
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Admitting that he too has “been caught up in the transactional nature of Hollywood” in the past, Bieber went on to say that he now wants “nothing to do with that as a grown adult with a wife and son.” The “Peaches” artist, who married model Hailey Bieber in 2018, welcomed first child Jack Blues in August.
“I just want to be submerged in the culture learning from any and everyone,” he added. “And be a proponent and advocate for LOVE AND EQUALITY.”
Also sharing a photo of a stately lion, Bieber wrote, “IM CURRENTLY ASKING [GOD] TO HELP ME WITH PATIENCE BECAUSE It CAN BE REALLY HARD TO NOT RIP THESE F–KIN GUYS HEADS OFF.”
“Today I’m forgiving myself for my own selfishness, AND forgiving THOSE WHO SEEK TO USE AND ABUSE ME SIMPLY BECAUSE THEY WANT TO CAPITaLIze off of me, Or Their jealousy makes them want to make me feel small like how they feel,” he continued. “People have had to die cuz of this s–t princess Diana is the first that comes to mind smh. We gotta do better please can we make a change?”
Bieber has long clashed with the paparazzi. Enduring consistent hounding since he first debuted in 2009 at just 15 years old, the “Baby” artist has spoken out against the invasive practice on multiple occasions, with Friday’s post echoing something he said after his Ferrari was rear-ended by a persistent photographer in 2014. “There should be laws against what I just experienced,” he posted on X at the time. “We should have learned from the death of Princess Diana…”
His latest posts follow a string of candid musings Bieber has been sharing on Instagram lately, with the star writing the day prior that he’s working to forgive people who “gossip and spread lies” on the internet. “Honestly if I was u it would be hard not to be jealous if I saw me and Hailey going so brazzzzyy,” he also added Thursday (April 24).
See Bieber’s new posts below.
Shaboozey is celebrating his success with Friday’s release of Where I’ve Been, Isn’t Where I’m Going: The Complete Edition, an expanded version of his breakthrough March 2024 third LP Where I’ve Been, Isn’t Where Going. Explore See latest videos, charts […]
Most of Gen Z met Destin Conrad, 24, over a decade ago on Vine, where he shared hilarious clips that frequently intersected with music. In one classic clip, for instance, he freestyled “To the- to the- to, to the left!” over a lunch table beat.
Music has remained at the center of the Tampa native’s creative output in the years since, with his debut EP, Colorway, arriving in 2021. The year prior, he wrote several songs on Kehlani’s It Was Good Until It Wasn’t, setting the foundation for his slow-burning ascent in the R&B world. His ethereal mélange of hazy acoustic guitars, explicitly Black and queer lyrics and soulful, heartfelt vocal performance quickly spun early hits out of cuts like “In the Air,” which he recently performed as a surprise guest at the first Brooklyn show of FLO’s Access All Areas Tour.
Across a slew of post-Colorway EPs – including Satin (2022), Submissive (2023) and Submissive 2 (2024) – Conrad continued honing his sound, slowly crafting a singular lane in the contemporary R&B space through his incorporation of left-of-center subjects like the worlds of leather and BDSM. Those projects landed him supporting gigs on tours by alt-R&B stars Kehlani and Syd, as well as his own 2024 headlining tour.
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Over eight years since Vine disappeared, Destin has finally unleashed his debut studio album, Love on Digitial. Released on Friday (April 25) via Above Ground Entertainment and EMPIRE, Love on Digital trades on the futuristic percussion of turn-of-the-century R&B and disarmingly frank lyrics that explore the intricacies of navigating Black queer love in the digital age. Assisted by Lil Nas X, Kehlani, Cari, Teezo Touchdown and serpentwithfeet, Love on Digital is a stellar full-length project – and one that feels extra sweet for fans who have patiently waited for Conrad songs longer than two minutes. The new set is the culmination of all the things Conrad has learned in the years leading up to his formal debut.
“I’m still learning so many important things, but one of the main ones is that whatever I see for myself can be real,” he tells Billboard over a saucy Cava bowl. “There’s also a lot of different jobs and moving parts — making the music is literally just one part. Being onstage is another job, and then I gotta market myself too, there’s so many factors. Learning what I like most and what feels most natural to me has been fun.”
In a candid conversation with Billboard, Destin Conrad talks Love on Digital, performing with FLO, Black queer representation in R&B and defeating imposter syndrome.
How do you feel now that your debut album is finally out in the world?
Happy for it to be out. I’m also excited to move on. I’ve been trying to not make [the pressures of a debut album] real because it’s only real if you make it real. I’ve been reminding myself that I will keep making music after this; this isn’t the end-all be-all, even though it’s my debut. I’m going to grow and make better music.
Do you view Love on Digital as an introduction, a re-introduction or neither?
An introduction. I feel like people haven’t gotten to hear a full-length from me, and that’s been a common theme with my last couple projects. Everybody’s like, “All these songs are so short!” And I’m like, “Okay, well, I’m going to give y’all a bridge and you’re gonna know what a full song sounds like from me.” It also feels like I’m actually putting thought and intention behind a lot of things that we didn’t really do in the other projects for whatever reason. It feels like an album.
When did you officially begin and finish working on the album?
I recorded the first song [“Kissing in Public”] almost two years ago. I’ve had that one for the longest time; I made it in Tulum. I made a lot of the other songs in many different places: London, L.A., New York. I knew that I didn’t want to put “Kissing in Public” on Submissive, but I didn’t know it was going on my album. It didn’t fit [on Submissive], but it’s stood the test of time.
How would you characterize the sound of your debut? Would you say it builds on or moves away from sounds you’ve explored on your EPs?
I describe the sound as digital. It’s R&B through a different lens than what we view it in. Loud. Queer.
How and when did you land on the title?
I don’t know! And that’s the crazy part — I don’t remember [specifically] thinking about it. I called it Love on Digital because it’s a nod to the digital era of R&B. I feel like R&B used to be very instrument-heavy and then there was a shift where we got new software, and it became a different sound and style. Over time, [the title] gained a new definition and reason. It’s also me thinking about love from a long-distance standpoint and using the Internet to stay connected to people. Over the past year or two, the title has been in my ether.
What frustrates you most about navigating love in the digital age?
I hate being on the phone for hours talking on FaceTime. I really envy the people that can just sit and talk to their boo. That’s how I know I really like you – if I’m sitting on FaceTime with you. And even then, I don’t like it! I really enjoy being present and I love doing things with my time physically. One of my love languages is definitely physical touch. I need whoever my partner is to be there. I’m not equipped enough to do long-distance.
Have your feelings of imposter syndrome subsided now that you’ve made it to your debut album?
1000%. I still experience imposter syndrome, but not to that magnitude. Going on tour watered a lot of that down for me, seeing real people and real faces. [Those feelings] were there because I dropped Colorway during the pandemic, so I didn’t really get to do a full, traditional rollout.
After that, I toured Submissive, and I opened for Syd — that was my first time singing my songs anywhere. And then I opened for Kehlani, which was also really tight. But it’s a different feeling doing my own headlining shows. My fans have helped me navigate my imposter syndrome.
You were giving Main Pop Boy energy in the “Kissing in Public” video, hitting choreography and all. What was that video shoot like? Do you want to dance more in the future?
I definitely want to dance more! It was so fun shooting that video. [It was directed by] Zev York, who I’ve shot a couple of videos with, and my friend Kassidy Bright choreographed it, and she’s a joy to work with. I’m excited to keep pushing that and seeing what it looks like when we add movement to the visuals.
“Mr. E” is so witty. What was your songwriting process like for this album?
I wrote all of Colorway, and then I slowly started working with more writers. With [2022’s] Satin, it was me, my best friend Ambré, Jean Deaux, and one of my friends Astyn [Turr]. We went to Joshua Tree and made a good chunk of Satin in a week.
I’ve been working with a lot of different writers that are established in their field; I feel like that’s what’s different with this album. I worked with Starrah on “P.B.S.,” which was really different for me. Mack Keane also was a huge collaborator for this album. I wanted to challenge myself and push it in a different direction.
When you bring new cooks into the kitchen, how do you still keep the essence of Destin at the center?
I’m just not going to lie on the song. If it’s not something I genuinely resonate with, I’m not going to sing it.
Conceptually, you pull from a lot of really cool places, from leather and BDSM to the evolution of technology. Where do you get the confidence to create R&B through these lenses?
Fear is definitely still a thought; it’s not a non-factor to me. I definitely think about things all the time. I kind of just throw myself into s—t and see what sticks. I’m also very gay and that’s a factor. I feel like there’s not a lot of people like me in the R&B space, so I want to poke at people a little bit and not be mute or minimize myself – and do it in a way that’s still tasteful and authentic to me.
You and Lil Nas X reunited again on “P.B.S.” What does it mean to you to be able to connect with another young, black gay music star and have the work penetrate the mainstream?
I think what he’s doing is so bold that I wanted to bring it into my world a little bit. And he’s actually my friend! That was something I was very adamant about: working with people I’m actually cool with in real life and not just getting people on my album because they’re popping. I was like, “Who genuinely inspires me?” And [Lil Nas X] was definitely on that list. I sent him “P.B.S.” and he was like, “I’m going to do a verse tomorrow and send it.”
Who were some artists you felt a connection to growing up?
Brandy is at the top of my list when it comes to any form of inspiration in music. My mom loved Luther Vandross, and I grew up listening to a lot of him. Michael Jackson’s fearlessness. Stevie Wonder’s approach. I’m a melting pot of inspiration.
“Soft Side” is so intimate and Black. Talk to me about linking with serpentwithfeet for that one.
Serpent is also a huge inspiration. He’s somebody I’ve wanted to work with since I first heard his music. He’s a Cancer like me, and he’s so well-spoken and articulate. He asked me what my perspective was from my verse, and I feel like a lot of artists don’t really ask me what I was thinking when I made the song. “Soft Side” is definitely one of my favorites.
You popped out for FLO’s first Brooklyn show on their ‘Access All Areas’ tour earlier this week. How was that?
I love FLO! I’ve been a fan of them since they popped out. It’s so amazing to see them blossom and become such amazing performers. The last time I saw them was in D.C., I had a college show and they had a show the same night. I went to go pull up on them and it was a really small, intimate show. Going to see them play last night in front of thousands of people was so inspiring. They’re definitely at the forefront of the argument against R&B being dead, and I love that.
What does it feel like as a rising R&B artist to constantly hear people say that the genre is dead?
I never hear anybody say rap is dead! I just feel like people aren’t digging. They want it to come to them. Sometimes I just go on my Apple Music, and I literally just search for music. I feel like people don’t want to do that anymore. I feel like people just want it to be handed to them on a silver platter. I’m not going to lie, I like some artists, but I don’t love every song by them. I find what I do like and keep it pushing, it’s all subjective. But for you to say the whole genre is dead, that’s a stretch.
Can we expect a Love on Digital tour anytime soon?
Very soon! We’re actually working on it right now.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Lorde shakes us awake, Megan Thee Stallion is ready “whenever” and Benson Boone shows off a different side. Check out all of this week’s picks below:
Lorde, “What Was That”
Lorde has made a habit of returning every four years with a bold new solo statement, and with “What Was That,” the pop auteur circles back into our orbit in her late twenties, chasing new highs in New York City and feeling a little more bruised by breakups; the subtle, slightly twitchy production and subject matter draw a line back to 2017’s Melodrama, but Lorde is evolving her feelings, sharpening the specificity of her lyrics and treating a much-anticipated new single like a too-honest piece of poetry.
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Megan Thee Stallion, “Whenever”
Megan Thee Stallion blacks out in the second verse of her new single “Whenever,” rattling off lines like “I love when I hear that a b—h don’t like me, stalk my IG / This pretty face on her FYP,” in a way that recalls her ferocious early mixtapes — it’s a moment that reminds us of Meg’s effortless drive when she wants to pick up the pace, and stirs up even more anticipation for her next project.
Benson Boone, “Mystical Magical”
Unless you’ve spent the past year under a rock, you know that Benson Boone possesses the type of soaring vocals that can startle listeners, and serve as the engine of a smash. Unlike “Beautiful Things,” however, new single “Mystical Magical” peppers that force into a more delicate arrangement, with Boone delivering the titular phrase in a blissed-out falsetto as the bass pops beneath him.
Young Thug feat. Future, “Money on Money”
After a few guest spots in recent months, Young Thug has unveiled his first proper single since leaving jail on a plea deal last year, and it’s a doozy: “Money on Money” is opulent Atlanta rap, with a killer beat switch, a reinvigorated Thugger calling out those who doubted him (and declaring that he’s “blowing money fast like a cheetah”), and Future supporting his frequent collaborator on the back end.
Coco Jones, Why Not More?
Coco Jones has already translated legions of Disney fans into R&B listeners, scored a crossover hit in “ICU” and taken home a Grammy, yet the release of her long-awaited debut album Why Not More? feels like a momentous occasion — as well as the proper full-length showcase that her voice deserves, as Jones spends the first half of the album sans guests and letting her sensual delivery commanding our attention.
Tucker Wetmore, What Not To
The reason why Pacific Northwest singer-songwriter Tucker Wetmore has broken through in Nashville involves his adeptness at emotional storytelling as well as party-ready singles; debut album What Not To boasts both across its 19-song track list, from the finger-snapping viral hit “Brunette” to the searing title track.
D4vd, Withered
Throughout his short career, D4vd has refused to trade in viral success for mainstream pandering, instead using the platform afforded by his early hits to keep exploring his sonic interests — and Withered, his first proper album, sounds like a young singer-songwriter comfortable in his own skin, drifting toward dreamy rhythmic pop that should be a natural springtime soundtrack.
Editor’s Pick: Samia, Bloodless
Bloodless is the sound of a talented artist achieving clarity: Samia Finnerty has released intriguing albums before, but nothing comes close to the stylistic command and singular point of view she demonstrates on her third album, which oscillates between alt-folk and indie-pop to study gender norms in modern society and present Samia’s full self without compromise.
Kendrick Lamar and SZA’s “Luther” lifts a spot to No. 1 on Billboard’s Pop Airplay chart dated May 3.
Lamar rules Pop Airplay for the third time — and first as a lead artist, following two No. 1s in featured roles, on Maroon 5’s “Don’t Wanna Know” for a week in 2017, and Taylor Swift’s “Bad Blood” (five weeks, 2015). SZA scores her fourth No. 1, after “Saturn” (two weeks, 2024) and “Kill Bill” (one, 2023) and as featured on Doja Cat’s “Kiss Me More” (one, 2021).
“Luther,” on pgLang/Interscope/ICLG, previously made history as the first song to hit No. 1 on both Rap Airplay (five weeks and counting) and Adult R&B Airplay (three weeks in March). It has also topped Radio Songs, R&B/Hip-Hop Airplay, Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay.
Notably, “Luther” joins 10 other songs that have led Mainstream R&B/Hip-Hop Airplay, Adult R&B Airplay, Rhythmic Airplay and Pop Airplay. (All are four individual-format charts. Radio Songs reflects all-format play; R&B/Hip-Hop Airplay blends mainstream R&B/hip-hop and adult R&B reach; and Rap Airplay counts activity on mainstream R&B/hip-hop and rhythmic stations.)
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Here’s a look at the elite mass-appeal hits that have topped Mainstream R&B/Hip-Hop Airplay, Adult R&B Airplay, Rhythmic Airplay and Pop Airplay (which have coexisted since 1993).
“Luther,” Kendrick Lamar & SZA, 2025
“Talk,” Khalid, 2019
“That’s What I Like,” Bruno Mars, 2017
“Earned It (Fifty Shades of Grey),” The Weeknd, 2015
“Happy,” Pharrell Williams, 2014
“Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, 2013
“No One,” Alicia Keys, 2007-08
“Be Without You,” Mary J. Blige, 2006
“We Belong Together,” Mariah Carey, 2005
“On Bended Knee,” Boyz II Men, 1994-95
“I’ll Make Love to You,” Boyz II Men, 1994
Meanwhile, “Luther” is the first rap hit to lead Pop Airplay since two back-to-back in February-March 2024: Jack Harlow’s “Lovin on Me” followed by Doja Cat’s “Agora Hills.” (Rap titles are defined as those that have hit or are eligible for Billboard’s Hot Rap Songs chart.)
“Luther” is an ode to late R&B great Luther Vandross and samples his vocals. He charted one Pop Airplay entry as a credited artist: “Endless Love,” with Mariah Carey, hit No. 7 in 1994.
“Luther” has notched nine weeks at No. 1 on the Billboard Hot 100. It has drawn 896 million in radio audience and 582 million official streams and sold 50,000 downloads in the U.S. through April 17, according to Luminate. It’s from Lamar’s LP GNX, which has ruled the Billboard 200 albums chart for three weeks and spent its first 21 weeks on the chart in the top five.
All charts dated May 3 will update on Billboard.com Tuesday, April 29.
Every night on tour, Olivia Rodrigo performs for countless women and girls – but when they all funnel out of the arenas and festival grounds at the end of each of her shows, she worries constantly for their futures.
That’s why she’s spent almost her entire career advocating for reproductive rights, using her platform to speak out against oppressive policy changes and raising money through her concerts for abortion funds. And on Thursday evening (April 24) at Planned Parenthood of Greater New York’s Spring Into Action Gala in New York City, those efforts were honored by the organization with the designation of 2025’s Catalyst of Change award to the 22-year-old pop star, who asked during her speech, “When I play shows, I look out at crowds filled with young girls and the bond I feel with them is profound… I often wonder, ‘What happens to those girls when they leave those venues? What are their dreams? What kind of world are they returning to?’”
Rodrigo was one of two guests of honor at the night’s celebration at Cipriani South Street in lower Manhattan, with Amanda Zurawski — the Texas woman who sued her home state in 2023 after she nearly died due to pregnancy complications and was denied an abortion — also getting a moment of recognition as this year’s Champion of Change award winner. Past winner Laverne Cox was on hand to present Zurawski with the honor, while the “Vampire” singer’s friend and fellow activist Lily Allen (with whom she chanted “F–k you” to the Supreme Court at her Glastonbury set three years prior, shortly after Roe v. Wade was overturned), gave Rodrigo a heartfelt introduction.
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“Olivia, my love, you’re the realest,” the British singer-songwriter gushed after commending Rodrigo for not “[straying] from her values to make powerful people comfortable.” “You use your platform because you actually give a s–t about reproductive freedom and justice. And in this world, genuinely giving a s–t is revolutionary.”
After taking the stage and giving Allen a hug, Rodrigo used her speech to highlight the work of Planned Parenthood and shout out Zurawski — “You deserve this award far more than I do,” the singer said, singling out the activist in the audience — before paying tribute to Cecile Richards, the healthcare organization’s former president who died earlier this year after battling brain cancer.
“It’s a privilege to be here tonight to support an organization that, despite countless obstacles, continues to show up with compassion, hope and dignity for women,” Rodrigo told a crowd of donors and Planned Parenthood of Greater New York board members, who clung to every word. “My greatest wish is that through organizations like Planned Parenthood and the action of everyday citizens, no woman will need to sacrifice her dreams, her health or humanity because of restrictive laws or lack of resources.”
“[Richards] led at a time of relentless attacks on care and constant efforts to silence and shame women into submission,” the three-time Grammy winner added. “She reminds us that standing up for what’s right doesn’t mean we have to be fearless. We can be scared, we can be angry, we can feel hopeless. We just have to fight anyway.”
The event honoring her comes after years of Rodrigo being one of the most vocal and hands-on modern pop stars when it comes to advocating for reproductive freedom. Back in May 2022 at a Sour Tour concert in Washington, D.C., just after the overturning of Roe, she made headlines for telling her crowd, “Our bodies should never be in the hands of politicians … I hope we can raise our voices to protect our right to have a safe abortion, which is a right that so many people before us have worked so hard to get.”
On her next tour in support of 2023 Billboard 200-topping sophomore album Guts, Rodrigo launched her Fund 4 Good, which funneled proceeds from her shows on the trek to local abortion funds. Through the initiative, the Grammy winner also had local abortion funds set up tables at her venues, allowing young fans to learn about reproductive health and resources. In December, she announced that she’d donated more than $2 million in ticket sales from her 2024 Guts Tour — which continues this year with shows in Latin America and Europe as well as a run of global festival dates — to 10 organizations around the world championing girls’ education, reproductive rights and the prevention of gender-based violence.
Read Rodrigo’s full speech at the 2025 Planned Parenthood Spring Into Action Gala below.
Um, first of all, huge thank you to Lily. I absolutely adore you and I’m so grateful that you’re here tonight, thank you. And a huge thank you to Planned Parenthood of Greater New York for this incredible honor.
I feel very fortunate for so many things in my life and my career. Over the past few years, I’ve gotten to live out dreams that I had as a little girl. I’ve traveled the world, I’ve written music that inspires me, and I’ve met so many of the people I grew up worshiping, like Miss Lily, for example.
But perhaps the greatest privilege this career has given me is connection with women through my music. When I play shows, I look out at crowds filled with young girls and the bond I feel with them is profound. To be in a space where we can all feel safe to be wild, emotional and carefree is incredibly powerful, and even though we’re not speaking one on one, those moments where we sing together and lock eyes, something real forms. It feels like we’re part of each other’s lives. I often wonder, ‘What happens to those girls when they leave those venues? What are their dreams? What kind of world are they returning to?
We live in a world that politicizes our bodies and uses harmful ideologies to deny us safety and healthcare, and it breaks my heart to think that, because of oppressive laws and outdated policies, some of those girls may not get to follow their dreams the way I was able to follow mine. Just a year ago, fueled by heartbreak and anger over what was happening in the world, I launched my Fund 4 Good, a global initiative that supports local nonprofits, championing reproductive freedom, girls’ education and the prevention of gender-based violence. A portion of my tour proceeds went to the fund, and I’m proud to share that we’ve raised and donated over $2 million to organizations around the world.
I’m so, so incredibly humbled to be here amongst so many real-life heroes in the fight for freedom of choice. Amanda, wherever you are – where are you? Oh, hi Amanda! I’m absolutely floored by your story. Your ability to turn something so heartbreaking and painful into such powerful activism is so incredibly inspiring. I’m just so in awe of you. You deserve this award far more than I do, and I’m just very honored to stand with you tonight and celebrate your bravery.
I can’t express how much I admire Planned Parenthood and the life-saving work that they do. Providing affordable healthcare, cancer screenings, birth control, STD testing, and abortion care, amongst so many other things, gives women the autonomy to care for themselves and shape their futures. It’s a privilege to be here tonight to support an organization that, despite countless obstacles, continues to show up with compassion, hope and dignity for women. My greatest wish is that through organizations like Planned Parenthood and the action of everyday citizens, no woman will need to sacrifice her dreams, her health or humanity because of restrictive laws or lack of resources.
Before I go, I want to honor Cecile Richards. She led at a time of relentless attacks on care and constant efforts to silence and shame women into submission, but Cecile stood her ground, and in doing so, she stood up for millions of us. I never got the chance to meet her, but her legacy of resilience and decency continues to impact me. She reminds us that standing up for what’s right doesn’t mean we have to be fearless. We can be scared, we can be angry, we can feel hopeless. We just have to fight anyway. Thank you again, so much.
Kylie Minogue had to call off what was going to be her first-ever show in Denver, CO this week for the very best reason. The Australian dance pop legend was slated to play at Ball Arena on Tuesday (April 29), […]
Jelly Roll stopped by Jimmy Kimmel Live! on Thursday night (April 24) to talk about the hardest part of being an American Idol mentor, leaving the continent for the first time on his upcoming tour with Post Malone and why he’s on the verge of jumping out of a plane and doing other wild stunts now that he’s nearing his goal weight.
Jelly, of course, talked about his recent weigh loss, which he said he couldn’t make sound cool, since it basically involves eating a “lot of protein and vegetables” and walking. It’s clearly working, with Jelly Roll saying he’s lost “an entire Jimmy Kimmel” to date, or around 200 pounds.
That means he’s nearing the ability to do the “fun stuff” he said you can do when you are under 250 lbs. “I want to skydive, I want to ride a roller coaster, I want to ride a bull. I know it sounds crazy [but] I want to wrestle an alligator,” he said.
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And, on the night when his beloved Tennessee Titans football team made news for snagging quarterback Cam Ward with the No. 1 pick in the 2025 NFL draft, Jelly Roll admitted that his pep talk to the team before their dismal 3-13 season last year may have been a mistake. “I prayed you didn’t talk about this on TV!” Jelly laughed, swearing that he won’t go anywhere near Nissan Stadium until the team gets at least one win this year.
“Could you imagine that? I finally get to go talk to my lifelong favorite football team, Jimmy and I’m giving them what I think is the most inspirational speech of their careers,” he said. “I left there like, ‘we’re going to the playoffs, baby!’ And then we laid an absolute turd!” He also recalled being right up close to the legendary “Music City Miracle,” a vaunted Jan. 2000 moment during the Titans’ AFC Wild Card playoff game against the Bills at home when Kevin Dyson ran 75 years on a lateral to score the winning touchdown.
Well, Jelly wasn’t there there. He was locked up on the second floor of juvie across the street, where he could just make out half the field and half the scoreboard while sharing a peek through a window with a couple other guys. “I had a skybox. I was on level two. I had a bird’s eye view,” he joked.
With his felonious days long behind him, Jelly Roll crowed about his upcoming first international dates as part of Post Malone’s summer Big Ass tour. “This is a big deal… I think that y’all have already figured out that I’m a convicted felon by this conversation,” he said of the reason he’s not been able to tour in Europe before now. In fact, earlier this week, the singer was in Nashville to speak to the Tennessee Parole Board before they recommended that the state’s Governor consider pardoning Jelly (born Jason DeFord), a move that would make it easier for him to travel the world more freely.
“I got my passport last year and I was excited,” he said of his first venture out of the U.S. to play a handful of Canadian dates. “I said, ‘the United States of America has finally allowed me leave! I have redeemed myself!’ I didn’t know how many countries wasn’t gonna let me in! I had trouble getting into Mexico. It was bad. I’m not making this up!”
Jelly also talked to Kimmel about being the “internal hype man” on American Idol as a mentor to his “little Jelly Babies,” and not realizing how hard it was going to be for him when they get voted off. “I’m taking it worse than them. One of them came off last week and I’m, like, sobbing and she’s like, ‘I’m going to be okay.’ And I’m like, ‘I’m so sorry! I just really love you!’”
The singer returned later in the show to perform the country rock gospel anthem “Hard Fought Hallelujah” with Christian singer Brandon Lake.
Over a month since ZZ Top announced drummer Frank Beard would be sitting out a number of tour dates over an unspecified “health issue,” it’s been confirmed that his absence will now extend to the band’s forthcoming Australian tour.
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In a statement issued on Thursday (April 24), promoters Live Nation explained that Beard will not be joining his bandmates on the forthcoming trek, “as recommended by medical personnel.”
The Texas trio revealed on March 15 that Beard would be absent from the group’s current Elevation tour due to the need to undergo an unspecified health procedure. “Shelter Music Group, ZZ Top’s management, has announced the band’s drummer, Mr. Frank Beard, has temporarily stepped away from the current tour to attend a health issue requiring his focus in the near term,” a social media post from the band read.
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“Beard, along with fellow ZZ Top members Billy F Gibbons and Elwood Francis, presently on the Elevation tour since March 5, have engaged fellow Texan and longtime tech member, percussionist and drummer, John Douglas, for the interim.”
Douglas has long maintained a close relationship with both Beard and his bandmates, having previously sat in for the drummer during a Paris performance in October 2002 when he underwent an emergency appendectomy.
“Beard’s continued physical therapy has shown to be very effective in dealing with the issue that caused him to leave the recent US leg of the tour,” Live Nation’s statement continued. “While cheered by the positive news, band and management believe that his total recovery must be priority #1.
“Beard’s attending physicians have suggested more physical therapy over a longer period would potentially achieve better and longer lasting results, and this will now be his focus.”
Beard has been the drummer of ZZ Top since 1969, when he took over from co-founder Dan Mitchell. Alongside vocalist and guitarist Billy Gibbons, Mitchell and bassist Lanier Greig had founded the band that same year.
Following Grieg’s replacement by Billy Ethridge, Dusty Hill assumed the role of bassist in 1970, with their lineup remaining unchanged for 51 years until Hill’s death at 72 in 2021. Elwood Francis has since served as the group’s bassist.
The group will embark upon their first Australian tour since 2013 on Saturday, April 26th. The ten-date tour will conclude in mid-May, with a handful of New Zealand tour dates to be followed by an additional North American trek in June. The band’s 51-date trek will run through until October.
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