Whoops! Camila Cabello experienced a nip slip while appearing on The BBC’s The One Show on Monday (March 7), and addressed the accident in a clever TikTok.

Following her appearance on the show, the singer used the social media platform to laugh off the ordeal by lip-synching to the 2021 Muni Long track “Time Machine.”

“I wish I had a time time machine,” she mouths along to the chorus while writing, “When my stylist asked me if I wanted nip covers and I said no” along the bottom of the screen.

The former Fifth Harmony member is currently gearing up for the release of her third solo album, Familia, which is due out April 8 via Epic Records. The studio set has been preceded by lead single “Don’t Go Yet” and her brand new collaboration with Ed Sheeran, “Bam Bam,” which somewhat ironically falls in line with the wardrobe malfunction with its lyrics about rolling with the punches when life knocks you down.

Cabello also recently opened up about her split from Shawn Mendes for the very first time while promoting the song. She told Apple Music’s Zane Lowe, “My priorities have fluctuated and my focus has changed throughout my life. Those years that we were dating, I don’t even feel like, even while I was writing this album, and even still now, I guess, my focus is really on, how can I be a well-rounded person?

“And apart from my career, my focus wasn’t even on my career,” she continued. “This album literally was a tool of me becoming a more well-rounded person and acquiring intimacy with my collaborators. That was my number one intention, was not even, how do I make the best album and the best music?”

Check out Cabello’s response to her wardrobe malfunction below.

@camilacabello♬ original sound – Sadie Vîàčē

Sam Smith and Normani are facing a copyright lawsuit over their 2019 hit “Dancing With a Stranger,” filed by three songwriters who say the song is “strikingly similar” to an earlier track with the same name and refrain.

FOX’s popular television show The Masked Singer is going on tour this summer — and a pop star is set to join the production. On Tuesday (March 8), Right Angle Entertainment announced that Natasha Bedingfield will be hosting The Masked Singer National Tour following her season six stint as Pepper on the show.

“My time on The Masked Singer was such a thrilling challenge and a unique way to get good music across to a wide audience,” Bedingfield said in a statement. “The quality of The Masked Singer production is unmatched, and I’m so excited to carry that into what will be unlike any other touring experience I’ve had.”

In addition to hosting the show, the “Unwritten” and “Pocket Full of Sunshine” singer will also be performing alongside familiar faces from the past seasons of The Masked Singer, including Queen of Hearts, Taco, Alien, Robot, Baby, Monster and Thingamabob. Much like how unmasking happens during the show, each date on the tour will feature a local celebrity who will perform in disguise, with the audience trying to figure out the clues to the person’s identity before the guest is revealed at the end of the night.

The 50-date tour —  which is set to commence on May 28 at the Stifel Theatre in St. Louis — will make stops in New York City, Chicago, Detroit, Boston, Los Angeles and more before concluding on July 30 at Las Vegas’ Smith Center.

Tickets for The Masked Singer National Tour on sale now through TheMaskedSingerTour.com. See the full list of tour dates below.

May 28, 2022 – St. Louis, Miss. –  Stifel Theatre
May 29, 2022 – Omaha, Neb. – Orpheum Theatre
May 31, 2022 – Evansville, Ind. – Aiken Theatre
June 1, 2022 – Indianapolis, Ind. – Clowes Memorial Hall
June 3, 2022 – Welch, Minn. – Treasure Island Resort & Casino
June 4, 2022 – Milwaukee, Wisc. – Riverside Theater
June 5, 2022 – Chicago, Ill. – Chicago Theatre
June 7, 2022 – Cincinnati, Ohio – Taft Theatre
June 8, 2022 – Columbus, Ohio – Palace Theatre
June 9, 2022 – Akron, Ohio – E.J. Thomas Hall
June 10, 2022 – Detroit, Mich. – Fox Theatre
June 11, 2022 – Rama, ON Canada – Casino Rama Entertainment Centre
June 13, 2022 – Syracuse, N.Y. – Landmark Theatre
June 14, 2022 – Hershey, Penn. – Hershey Theater
June 16, 2022 – Mashantucket, Conn. – Premier Theater at Foxwoods
June 17, 2022 – Atlantic City, N.J. – Tropicana Showroom
June 18, 2022 – Newark, N.J. – Prudential Hall at NJPAC
June 19, 2022 – Boston, Mass. – Boch Center Wang Theatre
June 21, 2022 – Tysons, Va. – Capital One Hall
June 22, 2022 – Baltimore, Ma. – The Lyric
June 23, 2022 – Richmond, Va. –  Dominion Energy Center
June 24, 2022 – Charlotte, N.C. – Ovens Auditorium
June 25, 2022 – North Charleston, S.C. – North Charleston PAC
June 26, 2022 – Atlanta, Ga. – Fox Theatre
June 28, 2022  – Orlando, Fla. – Dr. Phillips Center for the Performing Arts
June 29, 2022  – Tampa, Fla. – Morsani Hall – The Straz Center
June 30, 2022 – Ft. Lauderdale, Fla. – Broward Center For The Performing Arts
July 1, 2022 – Jacksonville, Fla. – Times-Union Center for The Performing Arts – MoranTheater
July 2, 2022 – Greenville, S.C. – Bon Secours Arena
July 5, 2022 – Greensboro, N.C. – Steven Tanger Center for the Performing Arts
July 6, 2022 – Nashville, Tenn. – Ryman Auditorium
July 7, 2022 – Huntsville, Ala. – Propst Arena at the Braun Von Center
July 8, 2022 – Memphis, Tenn. –  Orpheum Theatre
July 9, 2022 – Little Rock, Ark. – Simmons Bank Arena
July 10, 2022 – Tulsa, Okla – Tulsa Theatre
July 12, 2022 – San Antonio, Texas – Tobin Center for the Performing Arts
July 13, 2022 – Austin, Texas –  Bass Concert Hall
July 14, 2022 – Sugar Land, Texas – Smart Financial Centre at Sugar Land
July 15, 2022 – Grand Prairie, Texas – Texas Trust CU Theatre at Grand Prairie
July 16, 2022 – Midland, Texas – Wagner Noël Performing Arts Center
July 18, 2022 – Denver, Colo. – Ellie Caulkins Opera House
July 19, 2022 – Salt Lake City, Utah – Delta Hall at Eccles Theater
July 21, 2022 – Spokane, Wash. – First Interstate Center for the Arts
July 22, 2022 – Portland, Ore. – Arlene Schnitzer Concert Hall
July 23, 2022 – Seattle, Wash. – Paramount Theatre
July 24, 2022 – Boise, Idaho – Morrison Center for the Performing Arts
July 26, 2022 – San Jose, Calif. – San Jose Civic Auditorium
July 28, 2022 – Los Angeles, Calif. – Orpheum Theatre
July 29, 2022 – Reno, Nev. – The Grand Theatre at Grand Sierra Resort & Casino
July 30, 2022 – Las Vegas, Nev. –  The Smith Center

Following his March 2 interview at the Billboard New York City office, a spirited Doe Boy posted a video celebrating his No. 1 spot on the Heatseekers Album chart from February and declared himself the “biggest, hottest artist since 2022 started.”

While the East Cleveland native’s confidence is certainly never lacking, it’s his humility that allows him to live in the moment and has played an integral role in his success navigating hip-hop’s industry maize over the course of the past decade.

 

Whether it’s Drake inviting Doe Boy to pull up to the 6 God’s Los Angeles estate, LeBron turning up to one of his tracks, or Kevin Durant wanting to visit the trenches of Knowles Ave., the FREEBANDZ rhymer’s ego never gets in the way and allows him to enjoy some of these larger-than-life moments.

“If LeBron [James] posts me right now, I’ma show that off because that’s a big deal,” Doe Boy explains while periodically sipping on a bottle of Patron. “That ain’t nothing you should be acting nonchalant about. I’m not one of them people that think I’m too good for everything.”

The 27-year-old took another step in his ascension with the release of his versatile OH REALLY album — based on his signature ad-lib — in late January. Doe Boy wants to expand his fan-base beyond the grimy street tales with hopes of a mainstream boom coming in the near future as he serves up something for just about everyone to digest. Look no further than Doe Beezy pushing his pen and looking inward with the reflective deep cut “LIFE GOES ON.”

“It’s just about growing,” he continues. “I want more fans and it’s more people in the world than the people that just be on what I be on like drill time and s–t. There’s some people who don’t like that all and I want to reach them too.”

Check out the rest of our sit-down interview with the Cleveland resident below.

With fans having over a month to sit with the album, how do you feel about the fans’ reception to OH REALLY now?

They loving it. I feel really good about the project. They feel the same way we felt about it when we were putting it out. They received it the way we wanted it to. We thought the impact would be [there]. It happened exactly how I knew it would.

I fell in love with hip-hop after Get Rich or Die Tryin’. You also spoke about being a fan of 50 Cent and how he was able to make street records, but also incorporate the ladies.

50’s the GOAT. Growing up, that was my favorite rapper. That s–t was life-changing, especially with the movie [aspect]. 

My inspiration 🐐❤️ @50cent pic.twitter.com/f2GzcKix1q

— DOE BEEZY/FREEBANDZ (@DoeBoyOfficial) December 6, 2017

I appreciate your humility and ability to live in the moment and not be above some of these cool moments you have. 

Rappers, they be just faking. They be trying to seem like they not excited. They be trying to seem too good for certain stuff. Like this is how I feel. I don’t get why they do that because they be happy though. I don’t know why they be acting like they not. That s–t is corny.

You topped the Billboard Heatseekers chart in February.

If I would’ve dropped on a Friday, I’m telling you I would’ve [already gone No. 1]. But I like the way that No. 1 Heatseekers look — that’s beautiful for sure.

OH REALLY IS #1 ON @billboard’s HEATSEEKERS ALBUMBS CHART!!! HUGE CONGRATS TO @DoeBoyOfficial 🏆🔥 pic.twitter.com/feTsATIeJj

— Epic Records (@Epic_Records) February 10, 2022

How was linking with Rowdy Rebel for “AIN’T MY FAULT” in Brooklyn? I saw you went to the Pop Smoke vigil as well.

That’s how that came about. I didn’t even know I was going there. [Rowdy Rebel] was just like, “Where you at?” I said, “I’m at the hotel.” He pulled up like, “Hop in.” Next thing you know, we at Pop Smoke’s candlelight in Brooklyn. I was just thuggin’ with them the whole day. We went to a house party, went to their hood, and then hit the studio.

On “Respectfully,” you interpolated Lil Wayne’s “Steady Mobbin” and “A Milli” with some tricky wordplay. Was he a major influence on you growing up?

Yeah, people gotta catch that s–t, they ain’t gonna be hip to it. “Riding with a draco, what’s a goon to a goblin/ A Milli a milli n—s I wish,” all that references back. A lot of people don’t catch that, that’s crazy you did. Wayne was one of my favorite rappers too. All them Dedications and s–t. Can’t nobody f–k with dude for real. 

How involved is Future in the day-to-day creation with your projects?

He executive produced all my projects. What’s crazy is this project is definitely his favorite one out of all of them. His favorite song on there is “CRY FOR ME,” and the s–t I got with Vory. He was like, “D–n, you really found your pocket and you really in your bag.” You can just tell the growth and he really inspired all this s–t. When I need him it’s like, “Hey, what you think of this?”

I was in L.A. with him and [Kanye]. I ain’t gon’ lie, his Netflix documentary — dude is crazy. He reminds me of myself though. I’m not fried to the point the way he be doing, but the manifestation part. He know where he wants to go and he’s gonna do it exactly how he wants to do it. I wish I had a camera following me the whole time. I’m about to start though. 

How’s your relationship with Kevin Durant? He wants to pull up to Knowles Ave.

I was just talking to him. You know, I had to make sure he knew I was out here. That’s the homie. He a good dude for real. He’s really tapped in with the culture. He a hood n—a. KD is with the s–ts. He don’t give a f–k. He commented, “Take me on Knowles Ave.” That’s crazy for real. This is Kevin Durant. This goes back to what we were talking about earlier. That just ain’t anybody. He talking about trying to come to my hood. He’s coming on Knowles for sure. Watch for it. I just found out he was a rapper. 

Kevin Durant funny as hell 😂 pic.twitter.com/QznkuAImiC

— DOE BEEZY/FREEBANDZ (@DoeBoyOfficial) January 17, 2022

Even LeBron James posting a video to one of your songs out here had to make the price go up.

That changed a lot. People was like, “Oh s–t.” That’s LeBron James, not just anybody. When you got LeBron singing your song in the middle of the party, and he gangbanging in a meeting full of white people, you not even supposed to be doing that in there. Everything about the s–t made it so turnt. 

My nigga @KingJames going krazy to “Walk Down” 🔥🔥🔥🔥🔥🔥🔥🔥 pic.twitter.com/klsXKaIw1b

— DOE BEEZY/FREEBANDZ (@DoeBoyOfficial) May 22, 2019

Your journey to getting signed to Freebandz is insane. I can’t imagine that happening today with you first hopping in Future’s UStream and then getting his phone number through someone on his team.

I tricked the n—a out of his phone number. He left that motherf–ker on my voicemail. It was probably two years later to getting signed. I was doing my thing working. I was just doing me regardless. I still did the mixtapes with Lex Luger and was focused on trying to blow myself up and I knew it would come when it was time. 

In the past, you’ve said “certain jail days are fun.” Expand on what you meant there.

When you in jail, you gotta make the best of it. I don’t want people to get the idea that jail is fun. I don’t, but when you’re in there certain moments are funny as hell. You’re dealing with so many different kinds of people. N—as is funny as hell in there. You make the s–t the best you can. 

With Young Dolph and Nipsey Hussle being killed in their hometowns, does that change the way you move around Cleveland?

Yeah, definitely. I understand most rappers get killed in their hometown. The hate in your hometown is always gonna be different in your hometown than anywhere else. Motherf–kerss really don’t like you and got reasons not to like you.

I know I gotta move a certain type of way in the city. I don’t really like being there but I do for certain s–t. At the end of the day, this is where I come from so I’m always going to embrace it and put on. That’s what make me who I am. The s–t that’s going on is what makes Doe Boy, Doe Boy. Normally, when I be out there, I don’t be having security for real.

How was it locking in with Drake and having him hitting you to come to L.A. to bring that “Oh Really” out there?

That s–t was another moment too. Just flying to L.A. and going to his house and seeing how he operates, that s–t is hard. That dude really think he the president, for real. He really moves like that. He told me he could get me to Canada, and I got felonies. 

Do you guys got some s–t in the stash?

We might. [Laughs.]

What do you hope people take from this album?

He growing up and bossed up. He’s next level with this s–t. I still got a long way to go.

Drake and Doe Boy in the studio pic.twitter.com/t1famxsqB0

— Drake Direct (@DrakeDirect_) May 30, 2021

 

The 2022 ACM Awards took place on Monday night (March 7) and featured a host of country music’s biggest and most critically acclaimed stars. Naturally, those stars took to the stage to deliver several unforgettable performances throughout the night — but which one left the best impression?

Jason Aldean and Carrie Underwood gave ACM viewers and attendees a joint performance of “If I Didn’t Love You,” much to the audience’s delight. Aldean made a grand entrance, rising from beneath the stage with a grand piano and passionately singing the song’s opening notes. In an equally dazzling moment, Underwood descended from the sky in a glimmering ensemble and joined Aldean in song, rounding out the stunning duet.

Meanwhile, Kelly Clarkson delivered a powerful tribute to host Dolly Parton and the icon’s classic song “I Will Always Love You.” To give the tune the full level of emotion it deserved, Clarkson closed her eyes and belted out the track in a similar fashion to Whitney Houston‘s version from The Bodyguard. After the former American Idol star finished her performance, the country legend said, “I know Whitney is smiling down on us tonight … I was backstage trying not to cry my false eyelashes off and sling snot.”

Kelsea Ballerini, Gabby Barrett, Maren Morris and Parton herself were also among the talent who took the stage at the 2022 ACM Awards Monday night. Which performance was  your favorite? Cast your vote in the poll below.

The 57th Academy of Country Music Awards is produced by MRC Live & Alternative, which is owned by MRC. MRC is a co-owner of Billboard through a joint venture with Penske Media titled P-MRC. 

Dolly Parton featuring … Cardi B? It may be more likely than you might think. Though the two artists are so different on the surface it feels like they could only ever be brought together by the spin of a wheel or some random online name generator, the 76-year-old country icon told E!’s Daily Pop Monday (March 7) that she can definitely see herself working with Cardi in the future.

Before taking the stage of Las Vegas’ Allegiant Stadium to host the 2022 ACM Awards, Parton sat down for a virtual interview and answered questions about the show, along with one query regarding a potential collaboration with one of today’s biggest rap superstars. “I might, if she’s willing,” Parton said of getting in the studio with Cardi B. “I know she’s a character, and I know she’s an original.”

The “Jolene” singer-songwriter later considered bringing Cher into the mix. Having appeared on the “If I Could Turn Back Time” singer’s variety TV show several times in the ’70s, Parton mused that she and her old friend could make a new screen-ready project with Cardi B as a guest. “I would love to do something with her sometime, a TV show or a movie,” she said of Cher. “We’ll have Cardi B on that same show, let Cher host it, and me and Cardi B will be the entertainment.”

Though Parton and the “WAP” rapper contrast in terms of everything from generation to sound to genre, the former has noted in the past how she shares common ground with the latter. NME talked to Parton in 2019 about how both of them have been the center of criticism for their looks and their unapologetically colorful public personas. “That’s why I think I do relate to all them,” Parton said of today’s music stars, specifically Cardi. “I do see pieces of myself in that. The boldness of it.”

“I think it’s great for you to know who you are,” she continued. “I just respect and appreciate people for what they do and having the balls to do it.”

Jon Pardi wrapped the singles from his Heartache Medication album with “Tequila Little Time,” a melodic, Mexicali-tinged mid-tempo song about a guy providing a shoulder — and a drink — to a broken-hearted woman at a bar.

With “Last Night Lonely,” Pardi submits the first single from his next album, a swaggering country mid-tempo track about a guy once again buying a drink for a woman at a bar, essentially suggesting that this could be the first day of the rest of their lives… together.

“It’s definitely got the same values, but it’s still a different story and it’s a different sound,” Pardi allows. “And it’s got a fiddle solo.”

The fiddle was not envisioned by the three “Last Night Lonely” songwriters: Dylan Marlowe, Joe Fox and Jimi Bell. But they did anticipate an electric baritone guitar, a sort of “Wichita Lineman” sound bouncing like a pinball in their original intro. But it never quite made it into Pardi’s version.

“It was definitely worth the wait,” says Marlowe, “but it’s funny, because Jon Pardi actually doesn’t have that baritone.”

That sound was actually the starting point for “Last Night Lonely” when they wrote it at Fox’s studio at Liz Rose Music in 2020. Marlowe wanted a song with a baritone for his own recording endeavors, and Fox obliged with a ricocheting signature intro. But then figuring out what should follow became a challenge.

“We went through tons of ideas, and we didn’t get it the first day,” Marlowe says. “The next week, we wrote again to the same riff and still didn’t get it. And then the third day, it finally clicked.”

The breakthrough came with “Last Night Lonely,” a title that seemed to match the flavor of that bouncing riff. They actually started that chorus on the second writing session and got most, maybe even all, of it before they decided to let it lie.

When they reconvened for the next appointment, Fox suggested building the entire story line around a figurative grocery list of last nights and last times that two people who just met might be experiencing as their journey together begins. “Once that idea was found, then we moved pretty quickly on it,” recalls Bell.

The ideas flowed — the last time asking for a first name, the last phone number scribbled on a napkin, the last girl the guy takes home to Mama — but after penning that whole first verse, they decided to make it verse two and let the song unfold differently.

The new first verse started with the woman’s “last drink from a stranger in a bar,” a little more of an introductory image for a night that moves forward in a semi-orderly manner.

“It’s just really from that very moment of meeting a girl in a bar, maybe she’s got her heart broke, and from that very first instance, progressing through the night and all the last times as you’re getting to know her,” Bell says.

Instead of separating the verses and the chorus through a dramatic change in melodic range, they switched up the phrasing, making the verses more conversational and the chorus more emphatic. Marlowe, thinking he would be performing it, was looking for a song that would be easier on his voice than some of his existing material. But compressing the range also makes it easier for fans to sing in a karaoke bar or in the shower without embarrassing themselves.

“You should hear me trying to sing ‘Speechless’ by Dan + Shay,” quips Fox. “Then you’ll know why I write songs like ‘Last Night Lonely.’ ”

Marlowe laid down a smooth vocal for the demo that captures the male character’s sincere hope that the woman is really “the one.” Fox worked further on his own over the next 24 hours, layering on more guitars and harmony vocals. And he also created a thumping couplet of eighth notes in the final lines of the chorus, toughening up the arrangement and emphasizing the hook.

“I just thought it’s got that almost rock-ish feel to the song, a driving kind of Tom Petty, Bruce Springsteen classic feel,” Fox says.

Marlowe intended to cut “Last Night Lonely” himself and asked his co-writers not to pitch it. Pardi, in the meantime, put a different song by the trio on hold, and Fox subsequently had a co-writing session with Pardi’s producer, Bart Butler, who casually mentioned that if they had anything with a commercial energy, Pardi needed more songs. Fox went ahead and emailed “Last Night Lonely” to Butler that evening, and it was an easy match.

“It had the lyric, it had everything,” Butler says. “We always cut everything a click or two faster — sometimes three to four clicks, depending on the song — and I think we went two clicks faster than the original. It just needed a little goose in it, a little bit bigger drums and Jon’s swagger.”

They recorded it at Universal Music Group’s East Iris Studios in Nashville’s Berry Hill neighborhood, rejiggering the original baritone intro. Fiddler Jenee Fleenor and guitarist Rob McNelley replaced it with a curvy couple of phrases played in tandem.

“What they did is hit-ier,” says Fox. “It feels more uptempo and kind of groovy.”

Drummer Miles McPherson and bassist Lee Francis dominate the verses, creating a dark, ’90s alternative effect that contrasts with the chorus, which sounds larger, thanks to more instruments and a slight increase in volume. And Butler and co-producer Ryan Gore amped up the thudding chords in the back half of the chorus for extra punch.

Pardi’s vocal added a layer of mystery, too — while it’s still easy to think of the barroom meeting as the beginning of something new, the “last time” grocery list also sounds a tad like a pickup line.

Pardi, to be clear, is convinced the guy is eyeing her as a partner for the long haul. “There ain’t no ‘Let’s go to the cornfield and the truck’ line,” he says with a laugh.

Pardi also changed the rhyme scheme at the end of verse two. The original played off “last girl that I take back home to Mama” with “the last time that we’re talked about in this small town. It’s gonna…” Pardi instead paired “back home to Mama” with “small-town drama,” a more unique word to drop into a country song.

“I think we did three takes, and that was it,” says Butler. “He might have had to sing one line or two to fix, but he was three takes in a row. That’s in his wheelhouse.”

“Last Night Lonely” was a fairly easy choice for the first single from Pardi’s next album. Capitol Nashville released the track to country radio via PlayMPE on Feb. 17.

“I knew they were going to pick this one,” Pardi says. “It just catches your ear in a good way and it makes you want to rock out and dance. It sounds awesome.”