Leon Thomas III Talks Unleashing 'Mutt' And Pushing R&B Forward

Leon Thomas III has had a big year. Following a Best R&B Song win at the 2024 GRAMMYs for "Snooze" and a three-month stint in Florence, Italy to produce Ye and Ty Dolla $ign’s Vultures series, the R&B singer and songwriter is ready to see his own name atop the marquee. 

When he’s not penning chart-topping songs or producing for the likes of Ariana Grande, Post Malone, Drake or Chris Brown, the former child actor is adding notches to his own musical utility belt. Since joining Ty Dolla $ign’s EZMNY Records as the imprint’s first artist in 2022, Thomas has evolved into a R&B fixture. His debut album, 2023's Electric Dusk, showcased his slick lyrics, free-flowing melodies, and anthem-made ballets in full form.

Now, the Brooklyn-born artist is set to build on his newfound momentum with his sophomore release, Mutt. While the project may seem carefully curated, Thomas says the album and his artistic journey is loosely-tailored by design. 

"There are parts of this that people may think are calculated, but I’m just flowing," he tells GRAMMY.com. "I’m just glad people are resonating with everything I’m doing naturally. It’s a journey."  

Mutt unites Thomas' love of jazz icons like Art Blakey and Miles Davis with neo-soul and rock acts like Black Sabbath and Led Zeppelin to forge sleek jams with a contemporary edge. Album cuts "Vibes Don’t Lie" and "Yes It Is" are a baptism in neo-soul vocals, evoking  innovators such as D’Angelo, Musiq Soulchild, and Maxwell. 

The album is as lyrically rich as it is sonically expansive. On the sultry "I Use To," Thomas recounts the sorrow of a lost love that once enriched his soul; "I Do" is a piano-laden tale of the hard-fought lessons that ushered in a new romantic endeavor. Throughout, the singer/songwriter is intensely vulnerable. "God and losing you is the only two things I fear," Thomas sings. 

The rock-inspired "Dancing With Demons" is a foot inside the deep end of fame while "How Fast" offers a flash of braggadocio. "Hold on, I’m a visionary. This s– getting kind of scary/ So addicted to the top, it’s always missionary." And "Answer Your Phone" is a crowd-swaying tune set to enliven fans on Thomas’s first solo tour.

Like Thomas’ life, the album shows the "Socialite" artist embark on a one-way ticket to the top of the musical landscape. He’s no longer satisfied with playing the background. Thomas has embraced the weight of being a headlining act on Mutt, and he’s prepared to weather the uncertain storms and visible weeds he’s set to experience on his broader musical pursuits. 

Thomas spoke with GRAMMY.com about his studio sessions with Ty Dolla $ign and Ye, the new generation of R&B crooners pushing the genre forward, and how his dog Terry inspired the album title. 

This interview has been lightly edited for length and clarity. 

How does it feel to release your second album?

It feels special, but I was super nervous. Dropping music in 2024 is an interesting process because you’re fighting the waves of so many social media moments and distractions. But it’s great to see my music cut through and for people to hear me. It feels like some of my best work, and I’m just excited for people to see all of the different ways I’m putting music together. This is going to be a journey. 

What inspired the album title?

I got a dog three years ago. His name is Terry and he’s a German Shepherd and Husky mix. He’s such a sweetheart, but he’s always getting into stuff. I recognize the face he makes when he’s in trouble. I make the same face when I’m about to go through a breakup or something. 

I felt like that correlation was an interesting process. I wanted to talk about the element of control between men and women when you’re trying to get your partner to act right. It seems to be a common theme in this generation, so I wanted to talk about it. 

What sound were you trying to capture on Mutt?

For me, jazz is the root of who I am. My grandfather was really cool with Art Blakey back in the day, and he always played Miles Davis and John Coltrane. I try to find ways to implement some of the chord progressions that I hear in my head into my music. That will always be adjacent to neo soul, but I don’t necessarily want to do a whole live jazz album as a 30-year-old right now. 

A lot of decisions that I made are also rock influenced as well. I was listening to a lot of Black Sabbath, the Rolling Stones, and Led Zeppelin during the making of the album. I’m finding ways to sneak in my influences, even though I know I’ll lock in on these R&B charts. 

How did the production come together? Did you handle most of it?

I outsourced. There were a bunch of different guys that worked on the production. I think being around Ye and Ty Dolla $ign for the Vultures I album helped. I spent three months in Florence, Italy before I finished [Mutt]. I came back with a different taste level for how an album can play from top to bottom and how tricky we can get with the production. I started adding little pieces here and there to really elevate the sound of it. It’s definitely my symphony, and I’m trying to put it all together.  

How is it working with artists like Ty Dolla $ign, Ye, Chris Brown, and SZA? Are you inspired by their work or studio sessions?

I think I’m inspired by osmosis. I don’t feel like there’s any specific style that I’m using that’s theirs. I’m just putting my neck out there and daring to be different. I’m not doing basic concepts or attacking basic instrumentals. I feel like I’m doing my best to push the genre by taking chances and experimenting. I’m just hoping that it’s received because I genuinely love the R&B genre. I want to see it grow and evolve, and I want to be a part of that process. 

What’s your views on the current state of R&B?

I think we’re in a really amazing place. There are singers that fill that craving for the golden era of the 1990s. There are others with really solid vibes that feel like the '60s. And then there are people like myself who are blending genres and time periods while having fun, not giving a s— about the rules. 

I think that’s a positive thing, but it’s abrasive to people who only see R&B as a linear thing. There’s a broad range in what it can be in its true definition, and I’m excited to see where we go in the future. There are so many artists playing instruments and singing their ass off without a lick of autotune. I’m definitely a fan of the genre, and the next generation is going to be nuts. 

Do you feel this album will fill any perceived holes in the genre?

I’ll be honest, I create selfishly. I’m just going into the studio to chase some chills. I don’t really care about the holes in the R&B genre. I just feel like that’s a big boulder to carry on your shoulders. I’m just trying to tell my story. I’m doing my best to put these records together, to get them mixed on time, and to shoot these music videos. 

When penning music for artists like SZA, Chris Brown, and other greats, was there a point where you were like, I got to do this for me?

Yes. It’s hard to be selfish, but the more reading I did and the more I learned about myself, it just felt like it was time to prioritize something that means so much to me. 

Writing these records and working with these big artists is such a blessing, but I want to hit stages and see the world through my music. I want to collect furniture from all the different countries. I feel like the best way to do that is through my music, so this is me putting my music and my dreams first. And I’m just really excited about it all. 

Did you ever have a moment of hesitancy, especially with you starting out as a child actor?

Yes, it wasn’t always easy. I think internally, I know who I am. I know who God made. I don’t need outside people to validate what I know to be true. Sometimes you have to be patient to allow people to grow with you. 

It’s like being a Coca-Cola or a Pepsi. They met me as an actor and they know I make music, but they saw me in a certain light and as a certain brand. It takes time to transfer over and introduce new flavors to the consumer. I’m being patient with my fans, and I’m being patient with myself. I’m working harder to make a product that’s going to be acceptable and will allow me to continue making music I want to make. 

You’re a multi-hyphenate. An artist, actor, producer, and songwriter. Do you ever get overwhelmed by it all? 

When it comes to scheduling, I get overwhelmed. But I’m doing more to prioritize my mental and physical health without taking anything away from myself or my art. That balance is something I will continue to perfect over time. It’s like a muscle, and I’m still figuring it out. I want to do everything, and I know I can. I just think certain industries I’m involved in are a three-month season, rather than all 12. 

How did it feel to win a GRAMMY for SZA’s "Snooze"?

It’s really surreal. I’ve never been one to put too much energy into awards, but that GRAMMY felt different. That was a special thing. I don’t have a college degree or anything, but this is the closest thing I can say to my pops that, "Hey, I’m validated here." He obviously sees the work I do with all these big artists, but him coming to my house and holding my GRAMMY was an interesting moment. Seeing someone who’s always believed in me hold something that validated his belief was such a beautiful moment.

Do you feel like you’ve found your voice, or is something you’re still exploring? 

I feel like an artist’s work is never done. There’s always something to explore. I sat in a studio session with Babyface. He’s still exploring new things and he’s a lot older than me. The fact he’s still writing new songs and experiencing the world through his music lets me know it never ends. And I’m cool with that because this is a really awesome job. I feel like my voice is present and my voice is formed. It’s just all about packaging it so people can help me better. 

Are there future collaborations or goals you have in mind down the road? 

I definitely want to continue to make music, and I want to be rich enough to give back as well. I have a lot of initiatives and nonprofits I want to put together when I hit that $100 million mark, and I think it’s all possible through music. That’s why I fight so hard for my artistic journey because the brand itself can really uplift my own community. 

When will your day-one fans see you go back to acting?  

I’ve been ignoring self audition tapes for three years because it’s been insane trying to produce big albus and build these albums out in preparation for tours. But I’m looking forward to the release of this album and my tour to get back into acting class. I’m really a fan of the artform, so I want to shake off the cobwebs and really get back into the acting gym. I want to give [my fans] a performance that’s an elevation from everything they have seen from me before.

– Grammy.com

Alien Superstar: We caught up with the Philly Beyoncé fan whose costume earned a shoutout from the singer

The BeyHive was buzzing Wednesday night at The Linc for Queen Bey’s arrival.

Before Beyoncé's first U.S. Renaissance World Tour stop in Philly, fans spent weeks mapping out their pre-show plans and piecing their outfits for the 2 ½-hour spectacle.

Yes, there were Philly celebs in the audience: We spotted Questlove and Jazmine Sullivan. But one unearthly audience member caught Beyoncé's attention. Newark, N.J.-native Tameer Peak, 27, embodied his inner alien superstar, wearing a six-pound UFO mask, as a nod to the “Renaissance” song. His otherworldly outfit even received an onstage shoutout from Beyoncé herself: “Hey alien superstar ... alien in the house,” the singer said to the sold-out crowd. “I really accomplished everything I wanted tonight,” Peak tweeted on Wednesday night.

“I’ve seen the concert three times now, and this was the best concert of all three,” Peak said to The Inquirer. He attended two other shows in London. “America was better because it’s been long-awaited. People had more time to prepare, and because of the section I was in, being so close to Beyoncé made it even more spectacular.”

Peak said one security officer stopped him from entering the BeyHive B area. “It almost failed horribly,” he said. “But once Beyoncé’s team saw me, they instantly loved it and helped me.”

The BeyHive pits are located on either side of the main stage while Club Renaissance ticket holders get to stand in the circle pit at the end of Beyoncé's runway.

Longtime fan Michael Ramirez, 25, arrived 12 hours before Beyoncé hit the concert stage to grab a prime spot at Club Renaissance. And to be that close to the superstar, he said to The Inquirer, was truly a moment to behold.

“She’s famously private, so the chance to get that close to her was really a treat,” Ramirez, who turned up at The Linc at 8 a.m., said. “And based on what she said about this album and [the ‘Renaissance era’] — it releasing all the stress and worries, and the dance floor being your freedom — I really feel like it was very much the vibe of that section.”

While Ramirez’s outfit of shiny button-down shirt, silvery shorts, and rodeo hat was (relatively) simple, the Harlem resident said he plans to go “fancier” when he attends the singer’s New Jersey, Atlanta, and Houston tour stops.

So far, Ramirez’s planned outfit includes a fringe-tipped jacket, black chaps, and matching cowboy boots, in line with the tour’s unspoken dress code.

Philly-native Trev Vanzant, 29, was surprised to see how spacious Club Renaissance was, leaving enough room for her and others to enjoy the “visually stunning” concert experience.

“I don’t think that visual aesthetic can be topped,” she said. “As far as a show at The Linc, there’s an amount of intimacy that can’t happen in a stadium like that.”

While Beyoncé put on a stellar performance in South Philly, Peak had a controversial take on who the real star of Wednesday night was.

“Irrespective of what anyone else thinks, Blue Ivy IS THAT GIRL,” Peak said. “The crowd was enamored by her stage presence. She ate her mother up. [She’s] a true star.”

– The Philadelphia Inquirer

Keke Palmer Gets Raw On 'Just Keke': How The Multi-Hyphenate Reclaimed Her Narrative & Entered Her "Awareness Era"

Keke Palmer has made the evolution from child star to Hollywood empress look seamless. Whether it’s on set of a blockbuster movie, along the red carpet, or in the podcasting space, the actress, author, and entertainment mogul has remained the same Keke she’s always been.

For more than two decades, Palmer has been steadfast in her pursuits and intentional with her public image. She’s taken on bigger and more mature roles as an actress and launched KeyTV, a Los Angeles-based digital network that produces scripted and non-scripted shows starring other industry talents. As she’s expanded her horizons and ping-ponged from one big budget project to the next, she hasn't taken her sights off music.

Palmer has continuously poured into her music career. Beginning with 2007’s So Uncool to her newest release, Just Keke, the pop and R&B singer has gradually found her artistic footing. With the release of her latest album, Palmer has  shed the immeasurable weight of perfection that she carried for so long on her shoulders. 

Palmer has effectively abandoned the charismatic Hollywood persona reflected in her TV and movie roles and hilarious viral quips. Rather than disguise her anger, confliction, or heartbreak harbored since her last project, 2023's Big Boss, Palmer shed her previous "mask" in exchange for a mirror. Just Keke reflects the most authentic parts of Palmer's Hollywood star and Lauren, the girl from Harvey, Illinois who’s outgrown the small talk, lingering hangovers, and romantic drama. 

Released on June 20, Just Keke is Palmer’s rawest musical project to date. The album, and accompanying visual album, explores Palmer’s family life, her journey as a new mother, and her very public breakup. Throughout the album, she addresses her contentious split with Darius Jackson, and how her seconds-long dance with Usher at his Las Vegas residency in July 2023 placed an irreparable wedge between them. Rather than address it on social media, Palmer was compelled to put it to wax. 

Along with the pain of heartbreak, Palmer swats down the rumors and misconceptions that circulate online, and illuminates how motherhood and her recent experiences have made her an even firmer protector and believer in her future aspirations. GRAMMY.com spoke to the multihyphenate about her musical journey, how her role in an upcoming Boots Riley movie inspired her to get back into the studio, Issa Rae’s advice to go "Off Script," the honor of being memed, and her hopes to take her son, Leo, on tour for the album. 

The interview has been lightly edited for length and clarity.

Between movies, TV shows and your podcast, how do you have time for music, especially a new album?

The conversation always leads you, meaning I don’t always have something to say for an album. I feel like in order to put an album out, you have to have a topic. A lot of the other things I do are collaborative projects, so it’s somebody else's words or it’s a role, or even hosting is just a curiosity of life. 

But with [Just Keke], it’s like me putting all of my thoughts together — everything that I feel like I’ve learned or I want to reflect from society. It really guides me. Once I feel that feeling, then I make the time to put that project together. Otherwise, I kind of allow myself to keep living until that itch comes back. 

You even recorded Just Keke while filming a new film. What was that balancing act like?

It was something I needed because, as I said, that itch came back. I was working on this project for a while, and I was working on [the Boots Riley film, I Love Boosters]. I think being in that energy I was like, I think I’m ready. I should start trying to get my words out. 

Every night after I was on set, or on the weekend before I went back to start my week, Tayla Parx and Ispent about four days working on the project. And it just gave me that break that I needed. Sometimes when I’m doing one thing for a long time — whether it be a TV show, a movie, or my podcast — I need to mix it up. I needed to do something different, and it happened to be music. I was also ready to tell my story for this time period of my life. 

It’s been two years since Big Boss. How was your approach different this go around?

Well, I think I'm a way different person, and my conversation is different with myself. People say this is my most personal album, and I agree. Not because I was being fake on the other ones, but because anytime that you are deeper with yourself, it just changes the way you speak and communicate with others. It’s like a lived experience that just evolved me in a way that I didn’t even know I could evolve to. It just opened up a different perspective for me that you hear in the music.

This album was a peeling back of the layers and showing the world an insight into the life of Keke the entertainer, and Lauren the person. Were there any moments you thought might have been a bit too close to the chest?

Yes, and that’s the reason why I wanted to work with Tayla on the project because she was somebody that I trusted; not just because she’s so skilled, but because she cares about me. 

My [relationship] with my audience is communal. I’m a Black girl, I’m a Black millennial, and I’m a young person — I take all that seriously. That’s how my parents raised me with my platform. But at the end of the day, I’m a human being. People saw me, in the most public way, go through a very human experience. So, as a person and as an artist, not to address [the public breakup] would be a halt in my growth as a person. I didn’t want to exploit myself, but I wanted to talk about how this has impacted me… how the relationship impacted the way I perceive myself, and all the other ways that I needed to grow and heal.

It was kind of the inciting incident that allowed that barrier of feeling, that weight of perfection to kind of crumble. 

You dug deep on "My Confession." Was there a moment where you thought, Damn, maybe I went too far?

There absolutely was. And by the way, we went through that with every song, damn near. From "Off Script" to "Misunderstood" and "Expose." We went through that multiple times, but definitely with "My Confession," especially with the family line. I was thinking, Well, how much can I say? How were we going to say it?

The way [Tayla] produces projects, it’s not just what I’m saying. It’s also how I’m saying it, the inflections and the vibe. You really get to tap into the energy of how I feel that I’m confessing. I’m truly getting this s— off my chest that I need to get off, and it hurts to get it off my chest because I’m not trying to make nobody look crazy or look bad, but it’s part of my life. And I need to own my truth. 

It was very much a back and forth type of thing where I’m thinking, Damn, is this too messy? But music is your diary. Music is a big, deep expression for any artist that’s trying to be true. Again, it wasn’t that other projects I wasn’t trying to be honest. I didn’t have these experiences to realize that. The music went further on Just Keke because I further as a person. 

How would you define this new personal or artistic era you’re in?

I think this is like an awareness era; a true observational era in moving from just being the performer to also presenting to my audience that I'm the architect. Like, this is what Keke Palmer the brand is going to be talking about this season. 

With Just Keke, it’s clear that I’m talking about fragmentation, integration, and what it means to be a product. I’m talking about becoming who you are in front of the world. I'm talking about your love life and your love story not turning out the way that you want it. But I'm doing it with artistic awareness, while I also take you through the journey as the business and the creative person behind it. I put this together to transmute my personal experience, but in an art form. I’m taking off the mask, so to speak, and saying, "Hey, this is what I’m doing, why I’m doing it, and how I’m doing it." 

In another interview, you said this album was about, "Turning your mask into a mirror." Break that down for me.

I call my fans my miracles. I never called them anything before because it always felt kind of strange to me. But then after this experience, I was just sitting with myself and looking at my life, I thought, They’re my miracles. They saw it in me before I saw it for myself. 

And we’re reflecting each other back to one another. Anytime you get memed, it’s because people see themselves in you, and that’s the biggest and greatest honor. I think I have a unique relationship with my generation. I feel mirrored by them, and they feel mirrored by me. I think that’s really special because that means they see the truth. 

As a performer, I always try to keep it on point. But whether it was at the Met Gala, when I said, "It’s your girl," or when I did Vanity Fair and I said, "Sorry, to that man," they saw the real person. Even though I was trying to be as perfect as I could, they already knew I wasn’t perfect. And that’s what they love about me. And for me, it’s about taking off the mask and owning being in front of the mirror. Being that mirror for them, and being that mirror for me. 

Within the last two years, you became a mother. How do you feel motherhood has inspired you creatively, or even beyond music?

Motherhood has just made me braver. I think that's spilled into everything that I do — the ability to just have the courage to say "no" and have boundaries. To be firm in times when I was it wasn’t as easy to do it myself, but I knew that my son was watching. I knew this was going to affect my son because it’s going to affect me. 

I think it’s hard sometimes for people to stand up for themselves, even for the most confident people you can think of. It can be tough, but when you have a child, it becomes so detrimental. The child needs you, so you become stronger, braver, and more loving to yourself simply because you need to be for the kid. That’s the biggest way my son has impacted my life. 

On the visual album, you honor R&B icons like Whitney Houston and Brandy. Do you see parts of yourself in them?

They’re commercial icons, but they’re also Black women. A lot of what we speak to is generally flattened, fetishized, or it becomes a mockery because of the nature of our society. When I looked at women like Brandy and Whitney, I saw myself in them and saw them trying to become who they are in front of the world. It was never enough; [even] when you’re trying to be perfect, trying to do everything right. 

I remember when Brandy first had her child, and people were shocked. And when people judged Whitney, too. I feel like it’s just a rite of passage when you decide to be somebody in front of the world. I just wanted to honor them because they deserve to be honored for who they are, not for who people wanted them to be. At the end of the day, that’s what I’m saying with Just Keke. Maybe I’m not perfect. Maybe I’m just misunderstood, and maybe I’m not everything you want me to be, but I’m doing my damn best. All I can be is Keke, just like Whitney could only be Whitney, and Brandy could only be Brandy. That’s what’s necessary as we encourage the next generation to come into their own. 

The album wasn’t just filled with heavy material. The song "Tea, Boo" is a fun, house-inspired record. How was it putting songs like those together for Just Keke?

"Tea, Boo" is obviously like my personality. I think all the songs speak to different vibes of me. But "Tea, Boo" is like, "Hey, we’re kicking back, having fun, and let’s make a moment." 

"Tea, Boo" was a lot of fun. We were in the studio, and I was literally asking for some tea. And I was like, "Okay, I have some tea, boo." And Mike, the guy who was in there writing with me, was like, "What’s tea-boo?" And I was like, "No, I’m saying tea, comma, boo." And he was like, "That’s a song." From there, we started working on this record, and it was so fun. I wrote it around the same time as my book, Master of Me, so I was in the early stages of getting back into music. I kept it in the tuck, and felt it was perfect for the album. 

You were gloating on "Ripples," and included your family in the vignette during the visual album. That had to have been a special moment.

I was showcasing the side of me I damn near forgot about myself because I was doing everything that I could to be Keke Palmer. But there’s Lauren Palmer inside that created that persona to be able to survive. But now, I don’t have to do it to survive. I can do it with intention. 

Aside from talking my s—, I also wanted to show what it means to build a legacy. To show this is what it means to play your role in your family, and to continue to do what you need to do at all costs. My family has supported me. I’ve supported them, and they won’t stop. That’s how we’re going to keep doing it. That’s how I was raised. My dad talked to me about [actors] Ruby Dee, Ossie Davis, and I remember meeting Kyla Pratt for the first time. I was so nervous that I didn’t say anything. And he was like, "You need to always show respect to the people that put on before you." He was kind of checking me, even though I was starstruck. I think about that often because he was like, "You’re not in competition with each other." We are in support of one another, and we have to give each other flowers whenever we see each other. It’s like we all have ripples that we come from, so we have to pay respect to that."  

Will you have a tour for this album? And if so, will baby Leo be on board for the ride?

You know that baby Leo has to come. I literally can’t leave without baby Leo. I would love to figure out a way. I don’t know what my tour is going to be like because I definitely feel like it has to be its own shape. I’m a musician, but how I see myself as an artist is everything at once. I want to figure out what’s the best way to do that kind of show because it has to be very much Just Keke. But doing a show and doing a tour is definitely on my list. It’s been the main thing me and my team have been talking about.

– Grammy.com

World Cafe Live protests continue as staffers are fired and threatened with legal action

The conflict between the new leadership team of West Philadelphia music venue World Cafe Live and employees escalated on Thursday to include firings.

Employees continued to picket on the day after Wednesday night’s walkout when, during a Suzanne Vega concert, they protested “an unacceptable level of hostility and mismanagement” by the new leadership.

On Thursday evening, the management team headed by new CEO Joseph Callahan responded by firing some employees involved in the protest and announcing plans to file a formal complaint to federal authorities and the Pennsylvania Attorney General’s Office.

In a statement titled “World Cafe Live Responds to Employee Walkout and Reaffirms Commitment to Community and Transformation,” the leadership said Wednesday’s action was “not only disruptive to our guests, but also resulted in significant reputational and operational damage to the organization.”

“The individuals involved in this walkout have been terminated with cause, and are permanently banned from the premises,” it said.

On Wednesday, Sophia Mattes, the night box office manager, read a statement in solidarity with her coworkers that demanded “on-time and accurate pay” and said “the work environment has become hostile to the point of staff safety being questioned.”

Mattes confirmed that she and four other staffers had been served with termination papers outside the venue on Thursday evening. In addition, another source said, two other staffers not involved in the walkout were also sent termination letters.

Those firings follow the resignations of WCL’s longtime COO and general manager Kerri Park, as well as programming director Helen Smith and ticketing and guest services manager Hayley Simmons, all of whom had their last days this week.

On Thursday night, shows went on with Philly’s interstellar musical travelers Sun Ra Arkestra and its 101-year-old leader Marshall Allen downstairs in the Music Hall, and for Sudanese American musician Sinkane upstairs in the Lounge.

When Sinkane and his band members, who blend African pop with electronica and funk, were told of the labor strife, he said he planned to speak out in support of the workers from the stage.

With reduced staff, the box office was closed, and there was no food service available.

“The management is more concerned with the protesters than solving the issues,” one protesting employee said.

The WCL statement said the organization has “retained counsel to file a formal complaint to federal authorities and the Pennsylvania Attorney General’s Office,” citing:

• Conspiracy to interfere with commerce under the Hobbs Act

• Theft and destruction of proprietary and contractual records

• Intentional infliction of financial harm on a 501(c)(3) entity

• Trespassing and unlawful disruption of business operations

Callahan took over as CEO and head of the World Cafe board this spring, succeeding Hal Real, who founded the venue in 2004 and converted it to a nonprofit in 2019.

According to the WCL statement, as of January 2025, the venue “was carrying over $6 million in accumulated debt” and suffered from “a culture of complacency and entitlement” that created “a dynamic that stifled innovation and smothered the growth potential of an organization with such extraordinary purpose and potential.”

The statement concluded: “World Cafe Live is not just a venue. It’s a home for music, community, education, and equity. … And to those who have sought to undermine this vital cultural institution: you will be held accountable.”

“We are rebuilding stronger, more transparent, and more community-driven than ever before.”

Outside the venue on Thursday afternoon, the protesting bartenders, guest service workers, and box office staff who gathered on Walnut Street shared a sharply contrasting perspective from that offered by WCL management.

Roughly 15 protesters assembled with signs that read, “Callahan Has Got No Plan,” “Keep Philly Independent,” and “No AI. NoMetaverse.” The staffers also launched a SaveWorldCafeLive page on Instagram.

Mattes said the past month has made her physically sick. “My anxiety and my mental health were not well,” she said. “I was scared, and a lot of us were scared, to walk out on [Wednesday], but I do feel relieved. I feel like something good will come of this, one way or another.”

Novalee Wilcher, who works in guest services, said Callahan’s presence has been a “crushing” blow to the venue’s operation, and she’s unsure how the place will survive going forward.

“Those who have been fired,” she said, “have been texted by coworkers, not management. So, there’s no communication about how to deal with these demands that we brought up to them, which shows a total disregard for the artists that are supposed to be playing, or how it affects the guests that are coming in, who have paid for their nights.”

Following Wednesday’s walkout, Wilcher said Callahan has threatened to call the police on her and other staffers as a form of intimidation. He even suggested their strike was “unlawful.”

She said she was locked in a room on Wednesday over a piece of personal mail that one of Callahan’s representatives “confiscated” and “withheld” from her.

Refuting Callahan’s claim of a $6 million debt, Mattes said former staff have verified that debt to be around $2.7 million.

“The fact is, we do need funding,” Mattes said. “But a big part of the problem with this new team is that we don’t believe that VR and hologram concert experiences, and taking the people out of this building, will be what draws people in more.”

Referring to Callahan’s plans to introduce automated servers, bartender Emilia Reynolds said, “I’m nervous about losing my job to a machine that can’t safely serve somebody, have them enjoy their night, and get them home safely. That’s my job.”

“Not even to mention, people woke up yesterday without a paycheck. That was the last straw,” they said.

Mattes and her coworkers, they said, are prioritizing funding efforts to “save” WCL but added that the leadership refuses “to listen to anyone who disagrees with them.”

Despite their indifference, Wilcher said she and others were willing to negotiate with Callahan. The crucial step, she said, was getting management on the “right path,” but, the staffers claim, it appears the tech entrepreneur isn’t looking to change course.

– The Philadelphia Inquirer

(Dan DeLuca also contributed to this story)

Review: Chance The Rapper returns to form at The Fillmore.

It’s been a long six years for Chance the Rapper fans, who awaited the return of a rapper once deemed a leading voice in hip-hop.

In interviews, the Grammy-winning rapper said his absence was due to a combination of personal matters and the negative reception of his debut album, The Big Day, released in 2019.

It was a lofty conceptual album, aimed at promoting the sanctity of marriage in a genre that largely treated it as taboo. But the album was a colossal misfire that slowed Chance’s momentum and forced him to go back to the drawing board.

Chance’s follow-up, Star Line, proved that one unfavorably received project doesn’t define him. And with his performance at The Fillmore on Wednesday night, it appears he and his fanbase are fully realigned.

“And … we back,” Chance said to the crowd.

For the fourth stop in Chance’s 15-city “And We Back Tour,” he stepped up to the main music hall stage at The Fillmore with a microphone in hand.

It was a mild entrance for an artist of Chance’s stature, who was atop the 2017 Grammy stage to receive the award for Best New Artist. But it appears Chance has accepted that new ground needs to be covered and familiar rites of passage need to be traveled.

No hype man or dancers, no surprise guests or onstage theatrics. Just him and longtime collaborator Peter Cottontail steering the crowd with hits from Acid Rap; Coloring Book; and his latest album, with the lyrics to his songs projected on a background screen.

“This is going to be a great show,” said Chance, as he circled the stage. “Y’all got me in a flow state.”

Donning an all-black outfit complete with a tasseled Star Line jacket, Chance kicked off the show with “Star Side Intro,” alluding to his journey from being an underachieving high school student to his astronomical climb as a diamond-selling artist.

He then shifted to uptempo tracks like “Ride,” “Drapetomia,” and “Gun In Your Purse,” before weaving in slower, more heartfelt records like ”Back To The Go” and “Just A Drop.”

He was nearly brought to tears reciting the lyrics of “Pretty,” a moment met with added cheers from concertgoers. “Sometimes I think she was the love of my life. So, when I’m alone, sometimes I think that I’m dead,” he rapped as his voice briefly trembled.

It was a small look inside the life of Chance, who’s been purposefully private on the matters of his recent divorce from ex-wife Kirsten Corley, and his upward climb back to rap stardom.

Between the cuts from his latest album, Chance flashed back to decades-old classics like “Juke Juke,” “All Night,” “Blessings,” and the monster hit “No Problems,” inciting the entire crowd to jump from their feet.

While the crowd was engaged throughout his performance, Chance appeared out of sync at certain moments. Either his lyrics were too far in front of him, or he was slowing down to recapture the song’s tempo.

If not for the screen displaying his lyrics, sometimes it was hard to decipher which point he was on during certain tracks.

By the second half of the show, the stage rust was well-shed. He changed from his Star Line jacket to a plain black T-shirt and launched a medley of immersive and crowd-swaying records.

The show was divided by a series of brief intermissions, cut scenes of political leaders and socially conscious entertainers, and set design changes.

For the song “Letters,” an introspective critical look at Christian churches and religious sanctuaries throughout the country, Chance performed from inside a fixed performance box.

The song ends with digital flames rising from the back screen and reflecting on Chance’s body. It may not have fit within the larger performance itself, but it was a welcome dose of performance art that elevated the show.

He went on to perform “Speed of Light, “Just A Drop,“ and ”Ultralight Beam," three records that transformed the Fillmore into a place of shared worship. “I hope y’all feel the spirit, man,” Chance said to the crowd.

The medley of spiritual records is fitting for an artist who began vocalizing his religious awakening on Coloring Book, still his biggest project to date.

Star Line was also reflective of new developments. Before performing “The Negro Problem,” a song named after a compilation of essays by W. E. B. Du Bois and Paul Laurence Dunbar, he described the inspiration for the song.

“It’s about the concept of intersectionality,” Chance said while atop an elevated platform. “Certain things impact us all, and the more we look at the center, the better we’ll all be.”

Chance closed out the 90-minute show with “Speed of Love,” a should-be Grammy contender featuring Philly’s own Jazmine Sullivan.

Before the final curtain call, he left a thank you to the fans who waited for his return and paid to see him back in form. “Thank y’all for holding it down for 10-plus years,” he said. “I appreciate the love.”

– The Philadelphia Inquirer

Kendrick Lamar, SZA go full speed at the Linc for the ‘Grand National Tour’

The victory lap continues for Kendrick Lamar. The Compton rap star has journeyed a path few have blazed in hip-hop history.

He sparred with global phenom Drake and came out with a slew of No. 1 hits, five Grammy wins in 2025, and a record-setting Super Bowl halftime performance that will be dissected by hip-hop scholars for years to come.

But Lamar’s behemoth, “Not Like Us,” is only a glimpse into his true musical powers.

Aside from his 22 Grammys and a Pulitzer, the 37-year-old artist has drawn tens of thousands of concertgoers for an already record-breaking stadium tour.

Lamar and R&B supernova SZA generated $9 million for the opening concert of their "Grand National Tour” last month in Minneapolis, making it the highest grossing hip-hop show in music history.

The tour’s momentum remained immaculate at Lincoln Financial Field for Lamar and SZA’s stop in Philly on Monday night.

As DJ Mustard played a a 30-minute set by DJ Mustard, who played classics like “Swag Surfin’” by Fast Life Yungstaz and “We Are Young” by fun., thousands of fans slowly trickled into the stadium.

As the stadium lights flickered, Lamar rose onto the stage. He kicked off the show inside his now-trademarked Buick GNX, rapping the GNX album opener “wacced out murals,” embraced in smoke.

The show featured short skits of Lamar arguing with a lawyer-like disposition, mocking Drake’s recent attempts to take legal action following last year’s grudge match.

Even SZA, born Solána Rowe, gets in on the action. She’s seen correcting the off-camera lawyer’s pronunciation of her stage name in one video, then countering accusations that she has sought dysfunctional relationships for creative purposes.

That fiery intro set the tone for the show, which was adorned with hits from his platinum-selling GNX and SZA’s repackaged deluxe album, Lana.

Once Lamar closed out the first of eight acts with “tv off,” SZA rose to the stage with the same GNX, but perched on top of its moss-covered hood. While Lamar’s “squabble up” and “m.A.A.d city” reflected his rugged Compton roots, SZA basked in sultry tunes like “Love Galore” and “Broken Clocks” as a labyrinth of vines, praying mantises, butterflies, and other bugs flashed across the background screen.

The five-time Grammy winner was in full bloom, showcasing both her roaring vocals and sleek dance routines. While there were moments that seemed off pitch, she recovered as smoothly as her outfit changes.

Decked in knee pads and low-rise safari shorts, the “Scorcese Baby Daddy” singer serenaded the crowd with dazzling slow jams like “Kitchen” and hard-hitting tracks like “Low.” She took her bug fascination to new heights during “Garden (Say It Like Dat),” hopping on a giant mechanical ant she affectionately named “Anthony.”

Lamar’s performance remained sharp, calculated, and grounded. He attacked songs like “Like That” and the showstopper “Not Like Us” with unnerving intensity, while balancing the cunning bars with party records like “peekaboo” and SZA-assisted duets like “All the Stars.”

While the artistic contrasts between Lamar and SZA could alienate crowds, the pair found the perfect equilibrium throughout the nearly three-hour concert.

Lamar’s lyrical performance was impressive throughout the show, but moments like the Playboi Carti cover “Good Credit” and the sequencing of “Count Me Out” did stifle a bit of the momentum. But with over 50 songs shared between the two artists, most performed in full, there was bound to be a break in the action.

As the stadium tour journeys across North America and Europe, their Philly stop proved to be a balancing act with an Olympic-level landing. The concert was a melding of two performers, who are as electric together as they are on their own stages.

– The Philadelphia Inquirer

Key Glock On Channeling 2Pac With 'Glockaveli' & How The New Album Marks A "Rebranding"

After delivering a series of trunk-rattling hits and Billboard Top 20 projects, Key Glock stepped away from music in 2024 for personal and creative realignment. Upon his return this year, the Memphis rapper had inked a deal with Republic Records. While it was perhaps an uncharacteristic move for the independent star, it fulfilled an important promise.

Born Markeyvius Cathey, Key Glock followed in the footsteps of his cousin and mentor Young Dolph. And one week before the late rapper was fatally shot in their hometown in 2021, Dolph urged Glock to sign a major label deal if anything ever happened to him. In the years since, Glock has continued to praise Dolph in his music and carry on the independent label the "Major" rapper co-founded, Paper Route Empire — and with his new venture, he's able to honor Dolph's legacy and take his own career to the next level. 

The partnership deal with Republic allows the "Let's Go" rapper to maintain his long-standing relationship with PRE while granting him a wider musical audience. As he declared to Billboard upon announcing the deal, "I feel like I exceeded my goals as an independent artist… In this next chapter, I'm planning on getting platinum albums and more plaques."

Glock formally kicked off his major label era on May 2 with Glockaveli, his fourth studio album. Inspired by 2Pac's Makaveli persona, the project channels the same trap-infused sound and motivational anthems that have become parables to his artistry — from the soulful "Watch Da Throne" to the booming, DJ Paul-produced "3AM in ToKEYo."

Like Machiavellian themes laced throughout 2Pac's posthumous classic, Glockaveli hints that Glock is determined to make a bigger mainstream splash, no matter how much work is required. And with a new album, a 20-city tour and another planned project on the horizon, "South Memphis' finest" is already full speed ahead.

Below, Glock discusses the "rebranding" that led to Glockaveli, why he channeled 2Pac with his latest album, and how he plans to top himself with his new musical venture.

How was it piecing together your first mainstream album? I heard you had family and friends vote on which songs deserved to be on the final track list.

It was definitely [hard]. I grabbed like five groups of 10, and I just took votes out of all the 50 songs. It went from 50 songs to 30 songs, to 20 and 18 songs. Once I did that, by the time I was done, I had five or six different track lists. 

I didn't just go with the s— that I liked. I didn't want to be biased. I'd rather have other people's feedback. They're fans, but they're not my fans. They're my people. They're going to tell me what's right and what's wrong, music related or not. 

The album sounds like an elevated version of the sound you've already established. Did you work with any new producers or collaborators for the album?

No new producers. Everybody is from day one. [I worked with] Tay Keith, King Wonka and Mannie iL. Everybody else you heard from this album is who you probably heard from my first or second mixtape. 

I couldn't help but notice the 2Pac and Makaveli connection. What inspired the album title and sound?

It came from 2020 or early 2021. Me and Young Dolph planned after my Yellow Tape series, I was going to do the Glockaveli stuff anyway. A lot of people don't even know I already had the chain pre-made and everything. But stuff happens. After a while, I wasn't focused on it any more. I didn't care for music anymore. 

But last year, when I took the time away from music, and got my mindset right and my personal life set back the right way, I was recording. I never stopped recording. And it was all these different types of songs and music. It just sounded like a way stronger Glock than any other version of Glock.

You talked about this album symbolizing new beginnings. In what way? Is it personally, musically, or a mixture of both?

Both. It's a rebranding. That's how I look at it. 

There's no features on the album. Why such a bold move for your major label debut?

It's a self-confidence thing. I have strong faith and belief in myself, and I just like proving people wrong. I don't mind being the underdog sometimes. 

I'm glad I'm like that because it motivates me to always try to do something better than the last thing I've done. I never get content or satisfied with whatever I just did. I'm trying to top that now. 

You signed a partnership deal with Republic Records back in March. Was that a strategic move to help you take further steps in your music career?

Of course, it will help. But if I didn't have the work ethic and drive that I have — Republic could do the most, but it starts with me. I can't be 50 percent, and [the label] is 100 percent. We both have to be on the same page, and that's where we are.

With everything you have going on, do you feel like you're the face of Memphis? Or even the South?

I never look at stuff like that. I never even aimed to be looked at like that. I just be me, bro. I let people take it how they want. 

Outside of music, you've talked about starting an acting career. What's an ideal role for you?

I'm still waiting for somebody to call me or come get me. I'm slowly showing it myself in my own music videos. And eventually, I'll shoot my own s—, too. Once I get addicted to writing and shooting my own movies, it's over.  

I write most of my [music video] treatments now. Not 100 percent, but most of it is my idea. Every video you've seen, seven times out of 10 it's my idea. 

You've also teased that you'll be dropping another album for your fans this year. Can you reveal any previews of the project?

[The fans] are going to be satisfied. Well, not even satisfied. They're still going to be hungry. It's like you can't get enough of Glock, basically.  

Any surprises fans can expect on the Glockaveli Tour that kicks off May 21?

I can tell you to expect the unexpected. My shows are lit. I'm a rock star. 

– Grammy.com

The Impact Of Jay-Z's 'Reasonable Doubt': How The GRAMMY Hall Of Fame Album Introduced An Icon

It's hard to believe that no one wanted to sign Jay-Z in the mid-'90s.

Before he became one of rap's most decorated and celebrated moguls, the Brooklyn-bred emcee, born Shawn Carter, faced so much rejection from record labels that he was forced to release his first album independently. Little did the naysayers know, that project marked the beginning of perhaps rap's most prosperous career.

Arriving June 25, 1996, Reasonable Doubt introduced Jay-Z as a rapper who wasn't afraid to tell a gritty tale, and who would do so with a captivating and calculated delivery. The album's 14 tracks offer stories of cut-throat street hustling, near-fatal bouts with opposition and the lavish lifestyle acquired from a life of crime — narratives that were true to his background. But that also hinted that Hova had a hunger and wisdom that would take him far.

Reasonable Doubt's now-iconic black-and-white cover further leans into the album's mafioso themes, with then-26-year-old Jay in a suit and brimmed cap, cigar in hand. The cover "was really more like establishing him as this timeless character from Brooklyn. Styled out, sharp and clean," photographer Jonathan Mannion explained to Revolt.

On May 16, the album will be honored with an induction into the GRAMMY Hall of Fame, alongside impactful works by Santana, Luther Vandross, Emmylou Harris, Fela Kuti & Afrika 70, and Cat Stevens. The inducted recordings will be celebrated at an exclusive gala in Los Angeles.

While 1998's Vol. 2… Hard Knock Life is Jay's most commercially successful album, and platinum projects like Blueprint and 4:44 are among his most personal records, Reasonable Doubt was the musical spadework that made all his ambitions possible. The project — which sold roughly 420,000 units by the end of 1996 —  laid the foundation for the legendary emcee, whose contributions inspired generations of artists.

Jay-Z has often talked about his love for Reasonable Doubt, asserting that it's his favorite album in a 2013 interview with "The Breakfast Club": "That's the joint it took my whole life to make."

But the journey to his first album didn't come easy —  yet that's exactly what made Reasonable Doubt so special.

Jay-Z's early collaborations with fellow Brooklyn emcees and mentors Jaz-O and Big Daddy Kane flashed his tongue-twisting rhymes and fast-twitch sound, but records like 1989's "Hawaiian Sophie" failed to convince execs he was anything more than a sidekick to a bigger name. In true hustler form, Hov decided to take matters into his own hands.

"I had to put [Reasonable Doubt] out myself, nobody would sign me," Jay-Z said in a 2001 interview with MTV. "I went to every single record label and they were like, 'This guy is terrible.' He's nothing."

Recorded between 1994-1995 at the former D&D Studios in Manhattan and released independently via Jay-Z's own Roc-A-Fella Records, Reasonable Doubt was elevated by contributions from DJ Clark Kent, Irv Gotti, DJ Premier, Ski, Knobody, and other contributors. Featuring dialogue from Scarface and Carlito's Way, the album leaned into stories that seemed to be torn from the pages of life in the Marcy Projects of Brooklyn.

Part of Jay-Z's genius is in the diversity of offerings on Reasonable Doubt. Tracks like "Politics as Usual" offered a 360 view of the dark and unforgiving drug underworld; "Dead Presidents II" became a generation-spanning motivational anthem; "22 Two's" was a lyrical exercise executed in flawless fashion; and "Can't Knock The Hustle" was a radio-friendly serving.

"Reasonable Doubt showed a mentality of the bosses versus the runners," rapper Tone Hooker said in 2016's Reasonable Doubt documentary, RD 20. "In the '90s, everybody wanted to be the best rapper. Now, everybody wants to be the best hustler."

Similar to Nas' 1994 classic Illmatic, Reasonable Doubt reshaped the genre. Jay introduced a new generation of hip-hop fans to luxury rap. Rather than rapping about his superior flow as was common at the time, Jay talked about hustling your way to exclusivity — like taking boat rides to foreign land while sipping Moet.

Along with rhymes of caviar scoops and margarita sips on "Cashmere Thoughts," the closer "Regrets" reflects on the life-altering costs of these choices — from imprisonment to paranoia and death. Songs like "Can I Live" and "Coming Of Age" flashed his razor-sharp lyrics and street wisdom, while songs like "Ain't No N—" revealed his commercial appeal. The project was further elevated by guest appearances from Mary J. Blige, Foxy Brown, Jaz-O, and The Notorious B.I.G., the latter of which became all the more impactful following Biggie's death in 1997.

The album proved to be the introduction Jay and Roc-A-Fella Records needed. "Had I gone to a label, I don't think I would have been able to fully explore what was really happening," Jay said in a 2023 interview with Gayle King.

Frustrated by record label rejections, Jay, Damon Dash, and Kareem "Biggs" Burke used the funds from their singles-only deal with Payday Records (which spawned Jay's "In My Lifetime" and "I Can't Get With That") to establish an imprint of their own. Roc-A-Fella was born from the trio's ability to "rock" or outmatch a fellow emcee on the mic, and their drive for riches like real-life businessman John D. Rockefeller. The label would eventually birth or accelerate the careers of Kanye West, Beanie Sigel, N.O.R.E, Cam'ron, and others.

After landing a distribution deal with Priority Records, which gave Roc-A-Fella the resources they needed to make a notable splash, Jay was the sole artist and musical backbone of the newly-formed company. And with his growing talent, and the support of top-end producers, Jay was prepared to put himself and the label on the map.

Reasonable Doubt launched Jay-Z to stardom. He went from selling CDs of his single "In My Life" from the trunk of his white Lexus at near-empty college campuses to becoming the most dominant force in hip-hop throughout the late 1990s and 2000s. While it didn't land on the top of the Billboard charts, or garner much buzz on the day of release, it established Roc-A-Fella Records as a formidable hip-hop music label and Hov as a premiere face of the genre.

After the success of Reasonable Doubt, Jay-Z notched bonafide No. 1 hits like "Empire State of Mind," 14 chart-topping albums, and 25 GRAMMY wins and a staggering 89 nominations — making him the most celebrated rapper in Recording Academy history. While it's hard to imagine any other artists achieving Jay-Z's level of success, his first body of work certainly provided breadcrumbs. The path he blazed as an artist and billionaire-mogul was sparked with the release of Reasonable Doubt.