Ye spends almost the entire "OK" video as a corpse on a mortuary table. Don Toliver revives him, Bianca Censori built the room, and the release calendar is doing the rest.

Atlantic announced an Omarion album called Reasons in 2015 and never released it. Eleven years later the title belongs to him, and the video went out on his schedule.

Davido gave "Tell Everybody" a ballroom, a chandelier and a crown-shaped cap. Twelve songs from ORIADÉ charted the same week, and the one with the Grammy winner on it finished eleventh.

Eight new dates take The R&B Tour to 59 shows, and four of them are markets stadium tours skip. Columbia, South Carolina on a Thursday in October is the number worth reading.

Six weeks of AI settlements turned alleged theft into a revenue line. The money lands with rightsholders. Whether it reaches artists is a contract question.

Jordin Sparks leans into a club-ready new chapter on 'We Own the Night,' a pulsating EDM collaboration with Orlando DJ Avello. The Fadi Alkhouri and Dana Thomas-directed video turns that release into a choreography-forward invitation to live in the moment.

Interscope gets the pipes. Megan keeps the masters and the publishing. Three ownership stories broke in seventy-two hours, and that is not a coincidence.

Sam Cooke's granddaughters spent years driving rideshare in Los Angeles. Their Daptone debut opens with a song about it, and it is the best argument the record makes for itself.

Gabby Samone spent American Idol proving she could level a room. On "Safe," the new single announcing her debut EP Soft Girl Era, she decides not to. Here is why that is the smarter move.

Las Vegas Monday, Los Angeles Thursday, Dallas the following week. In all three courtrooms, the state's exhibit is the defendant's own creative work.

Our Thursday roundup missed four collaborative albums that landed August 14, and together they explain what rap is doing while the charts look empty.

Tinashe's new single "Melatonin" turns a late-night mood into a sharply controlled pop statement. The song further proves that her most compelling era is not a comeback campaign, but an artist refining her instincts in public.