Author: Rap Hooks

The Weeknd unveiled the eerie music video for Hurry Up Tomorrow album cut “Baptized in Fear” on Friday (June 6).

In the cinematic clip, the R&B crooner sits alone in a desolate row of church pews as he sings, “I fell asleep in the tub, I was met with paralysis/ My foot hit the faucet, water started flowin’ in/ Couldn’t scream for help, I just slowly felt the pressure hit/ Moving one toe was the only form of motion left/ Can’t breathe for air, can’t breathe.”

From there, the artist born Abel Tesfaye watches in wonder as his hand is slowly engulfed in a liquid marble akin to the soulless statues that populate the visual before wandering out into the equally empty grounds of the churchyard, which, according to a release, represents the singer’s “battle with inner demons, a purgatory that he must endure, fighting for rebirth.”

Though not released as an official single like “Timeless,” “São Paulo” and “Cry for Me,” “Baptized in Fear” has become a fan-favorite highlight of The Weekend’s latest No. 1 LP, which he previously billed as his final album under his famous moniker, but has since noted that it may be a “rebirth” instead. Billboard ranked the track among the best on Hurry Up Tomorrow upon the project’s January release, calling the cut both “dark and morbid” and “The Weeknd at peak form.”

The surprise video for “Baptized in Fear” also follows the theatrical release of Hurry Up Tomorrow, the full-length psychological thriller directed by Trey Edward Shults that serves as a companion piece to the album.

Watch The Weeknd’s new music video for “Baptized in Fear” below.

In an alternate universe, Miley Cyrus‘ iconic Bangerz era would’ve been made complete with a wild music video starring Madonna, Nelly and more superstars popping wheelies and wrestling in the mud. Unfortunately, we do not live in that universe.

In an interview on the Every Single Album podcast posted Thursday (June 5), the “Flowers” singer revealed that she had been dead set on rounding up a star-studded group of friends to shoot a raucous visual for “4×4,” a song on her smash-hit 2013 album that ultimately never became a single. “I had everyone already lined up,” Cyrus said. “Nelly … Madonna was down to do the video, Miranda Cosgrove.”

“This was before Taylor [Swift] had a lot of famous people in her crew,” she continued, laughing. “I was friends with famous people first. I wanted to do that. I had a f–king squad, and my squad was very, very cool.”

Cyrus claimed the idea was eventually shut down by RCA, her label at the time, whom she quipped didn’t want her “talking about a pit bull [and] piss” in a song they’d be promoting. “Madonna was down to mud wrestle with Miranda Kerr,” the Grammy winner reminisced wistfully. “I was like, ‘I’m gonna get all these girls, all these supermodels, all these Victoria’s Secret models and all of these pop icons to come to my dad’s farm, get in the back of 4x4s, and we’re gonna mud wrestle, and we’re gonna go out and do doughnuts.”

Despite the lack of a “4×4” visual, Bangerz remains one of Cyrus’ most successful albums to date. The LP debuted atop the Billboard 200 and spawned her first-ever No. 1 single on the Billboard Hot 100, “Wrecking Ball,” which was followed closely by “We Can’t Stop” at No. 2.

The “Party in the U.S.A.” artist was signed to RCA for a three-album run, later dropping Younger Now in 2017 and Plastic Hearts in 2020 under the Sony Music imprint. In 2021, she inked a new deal with Columbia Records, through which she just released new album Something Beautiful on May 30.

Later in the podcast episode, Cyrus recalled another time where she and her former label weren’t quite on the same page. According to her, she never would’ve put a certain fellow pop star on “Prisoner,” one of the singles on Plastic Hearts. “No shade to Dua Lipa, it just isn’t cohesive with the album,” Cyrus said frankly.

“She would’ve been much better on something like [2023 LP] Endless Summer Vacation,” the singer continued of Dua Lipa. “She would’ve been great on ‘Wildcard,’ she would’ve been great on any of them — ‘River,’ can you imagine?”

Cyrus added that she thought her team at RCA wasn’t entirely confident in how Plastic Hearts would perform, so they brought in some “medicinal Dua” to give the LP some commercial oomph. “They basically were like, ‘Oh, great, here’s this piece of s–t album she gave us, let’s spray a little Dua Lipa on there,’” Cyrus said, laughing.

Listen to Cyrus’ full interview on Every Single Album below.

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

Belinda, Indómita (Warner Music México)

When Belinda received the Evolution Award at the 2025 Billboard Latin Women in Music gala, she made it clear that “Belinda isn’t a musical genre.” During a career that spans 25 years, she’s navigated through pop, rock, electronic, cumbia, and most recently, música mexicana. “My career is versatile…it’s the perfect word to define my style,” she previously told Billboard. Best representing her fruitful and experimental growth in the industry, the Spain-born, Mexican-raised star dropped Indómita, her sixth studio album and debut set under Warner Music.

The 17-track album starts off with nine “corridos coquettes,” where her alter ego “Beli Bélica” shines in collaborations with genre hitmakers Natanael Cano (“300 Noches”), Tito Double P (“La Cuadrada”), and Xavi (“Mírame Feliz”). Across the next eight songs, she dabbles in trap music (“Death Note” and “Silvana”); teams up with Netón Vega and Tokischa for two hard-hitting perreos (“+ Perra, + Bitch” and “Wet Dreams”); and goes full dance in the Kenia OS-assisted “Jackpot.” Other collaborators on the set include Alemán, Mala Rodriguez and Thirty Second to Mars.

“The [album’s] title is very specific to a movement for women,” she explained of Indómita, which means “untamed.” “She’s a warrior, independent, a woman who’s out of the box, completely irreverent but at the same time strong, sexy, fun… all the things I like and that I am, and I’d like to convey that to people.” — JESSICA ROIZ

Óscar Maydon, Rico o Muerto, Vol. 1 (Rancho Humilde)

Excess, irreverence and romance collide in Óscar Maydon’s Rico o Muerto, Vol. 1, a whirlwind of sierreño swagger that feels like a tequila-soaked fever dream. Across 12 tracks, the Mexicali artist channels the debauchery and drama of late-night escapades, weaving tales of fleeting romances (“Mr. Vallarta”), dismissal (“Para Ti”) and indulgence (“ZAZA,” the only trap song).

The party kicks off on “Baja Beach,” a sun-drenched anthem named after the infamous Mexican festival, with Junior H and Fuerza Regida joining the revelry. “Desvelada” turns up the nocturnal chaos alongside Peso Pluma and Netón Vega, while the focus track “Asquerosamente Rico” with Peso takes playful opulence to new heights. On “2030,” Maydon rides solo, mixing carnivalesque accordion riffs with a pulsing electric bassline to deliver a debauched, dystopian glimpse into the future. The album is the right amount of star-studded that Luis R Conríquez and Gabito Ballesteros also join him on “Fina Con Los Valentinos.”

With pre-released hits “Tu boda” and “Amigos? No.” rounding out the collection, Rico o Muerto, Vol. 1 reaffirms Maydon’s devil-may-care and romantic style. But more than a party album, it’s a work where the unbridled fun and excitement feel as real as the early mornings it invokes. — ISABELA RAYGOZA

Elvis Crespo, Poeta Herío (Puntería Records)

Merengue star Elvis Crespo delivers Poeta Herío, a term from Puerto Rican slang that translates to “hurt poet.” The 13-track set showcases the vibrant essence of merengue, featuring lively rhythms and heartfelt lyrics encapsulating the joys and struggles of life through his music. The LP is a vibrant tapestry of tropical sounds, featuring an impressive roster of both legendary icons and rising stars. With Elvis Crespo at the helm, the project immerses listeners in his signature genres of spirited merengue, lively mambo and infectious bachata. This new chapter in Crespo’s musical journey is fueled by collaborations with a diverse array of artists such as Ivy Queen, Jerry Rivera, Toño Rosario, Tony Tun Tun and Víctor Manuelle.

Standout tracks include “Cora Roto,” an emotionally charged song where Crespo unveils a gripping narrative of betrayal, where hidden truths come to light, revealing a harsh and unforgiving reality. This is followed by several heartfelt goodbye letters and concludes the album with a revamped version of his classic “Nuestra Canción,” featuring Jerry Rivera. — INGRID FAJARDO

Ozuna, “Sirenita” (Nibiru International)

Ozuna hasn’t released an album in two years, so he could be setting the tone for a potential LP with the two singles he’s released so far this year. His latest, “Sirenita,” is a vibrant fusion of Afrobeats and the Puerto Rican hitmaker’s signature rhythmic-leaning urban production, which serves as the perfect canvas for his sweet and delicate vocals. The lyrics to “Sirenita” — which tell the story of a girl who’s stolen Ozuna’s heart — are a testament to Ozuna’s knack for writing sensitive, romantic songs. “Sirenita” serves as the lead-up to Ozuna’s summer tour in Europe that will kick off on June 20 in Milan and span over ten cities across the continent. — GRISELDA FLORES

Elena Rose, Sistek & Mazzarri, “SINTIGO” (Warner Music Latina)

Accompanied by producers Sistek and Mazzarri, Elena Rose releases “SINTIGO,” an evocative track with an electronic vibe that explores the emotional contradiction of wanting someone to stay but also wanting them to leave. “How do I tell you? My life without you makes no sense,” the artist sings over a subtle fusion of house with Afrobeats, resulting in a delicate yet euphoric soundtrack for summer. “SINTIGO” – a Spanish play of the words “Sin ti” (without you) and “Contigo” (with you) – is the first preview of the Venezuelan singer-songwriter’s highly anticipated debut LP, following her 2024 EP En Las Nubes – Con Mis Panas. “This is the first of everything,” Elena wrote on Instagram. “A summer without drama is coming … full of beautiful things.” – SIGAL RATNER-ARIAS

Adriel Favela, Eddy, “KbrN InfeLiZ” (Fono)

Adriel Favela’s “KbrN InfeLiZ,” the first single from his upcoming album Elysium, is a sad sierreño song powered by raw lyrics about a man who realizes that his lifestyle and emotional failings make him incapable of loving someone back the way he is loved. The sierreño-style guitars add an even more dramatic and profound touch to the track, in which the regional Mexican star is accompanied by Eddy, an emerging música mexicana artist who has previously collaborated with Gabito Ballesteros, Calle 24 and Ed Maverick. “KbrN InfeLiZ” has the makings of an anthem for today’s generation. – TERE AGUILERA

Kapo, “Korazong” (Sony Music Latin/La Industria)

Kapo’s “Korazong” is a romantic declaration of love powered by a hypnotic Afrobeats sound. Written by the Colombian singer and produced by Gangsta, the song is distinguished by its poetic and sincere lyrics in which Kapo, with his unmistakable raspy voice, sings to that woman who came to heal his heart and transform it with love. Although it is still early to know if it will be his next hit, what is clear is that Kapo reaffirms his knack for authentic songs that touch the heartstrings and appeal to all types of listeners. — LUISA CALLE

Check out more Latin recommendations this week below:

Mindset Ventures, an international venture capital firm that focuses on early-stage tech investments, has launched an early-stage, music-focused fund, Mindset MusicTech, aimed at the music tech sector. In announcing its debut, Mindset Music has revealed its first six investments: Audoo, un:hurd, Music AI, Aiode, ALLOY and OwlDuet.

Mindset Music is looking for startups that “enhance human creativity or improve efficiency” in the music business, partner Lucas Cantor Santigo said in a statement. “We’re looking to support companies with both capital and expertise, and give holistic support to those who are reimagining the music industry for the next generation.”

“The music tech space is extremely undervalued and has an enormous potential for disruption with AI and other new technologies,” added Daniel Ibri, managing partner of both Mindset Music and Mindset Ventures. “We plan to take advantage of this space and make a meaningful difference in the sector for the founders.”

Mindset Music’s roster of advisors includes Drew Thurlow, former senior vp of A&R at Sony Music; music attorney Cliff Fluet; entrepreneur Tomer Elbaz; and music and tech attorney Heather Rafter. 

The companies in Mindset Music’s portfolio provide tools for businesses and creators to operate more efficiently, and many incorporate AI technology. Music AI is an audio intelligence platform that provides what it calls “ethical AI solutions” for audio and music applications. The Salt Lake City-based startup’s products include stem separation and mixing mastering. 

Based in Tel Aviv, Aiode allows musicians to collaborate with virtual musicians using ethically trained AI. Those musicians’ virtual counterparts are compensated through a revenue-sharing model.

U.S.-based OwlDuet calls itself an “AI-powered co-pilot for music creators.” Its production tool purports to allow users to create “Grammy-level production expertise without requiring advanced technical skills.” 

Audoo seeks to improve public performance royalty reporting with music recognition technology. The London-based company works with performance rights organizations and collective management organizations. 

London-based ALLOY provides information that facilitates the sync licensing process. The platform gives artists, songwriters, labels and publishers a means to set sync deal parameters and distribute sync metadata to digital platforms. 

un:hurd has developed a music marketing and promotion platform that guides artists through the release cycle and connects artists with a network of playlist curators.

Timbaland has launched his own AI entertainment company called Stage Zero and its first signee is the artist TaTa.

Co-founded with Rocky Mudaliar and Zayd Portillo, Stage Zero’s first signee is an AI pop artist called TaTa, driven by Suno AI. The pop artist, along with a bevy of AI-driven creative tools will all be under Timbo’s new company. The Grammy-award winning producer will be handling the majority of the production for this new artificial intelligence venture, which he dubbed as a new genre entirely called “A-Pop.”

“I’m not just producing tracks anymore,” Timbaland said in a statement. “I’m producing systems, stories, and stars from scratch. [TaTa] is not an avatar. She is not a character. TaTa is a living, learning, autonomous music artist built with AI. TaTa is the start of something bigger. She’s the first artist of a new generation. A-Pop is the next cultural evolution, and TaTa is its first icon.”

Mudaliar added, “The artists of tomorrow won’t just be human, they’ll be IP, code and robotics that are fully autonomous. That’s what we’re building at Stage Zero.”

Timbaland has remained a prevalent advocate for AI in music. In an April interview with Billboard, Timbo said AI is in an exciting new place compared to where it was just a few years ago.

“The technology of today is perfect for what this is,” Timbaland told Billboard. “What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”

Music Corporation of America (MCA) has promoted Rob Femia to chief operating officer, adding COO to his duties as executive vp of business and legal affairs.

The label group’s imprints include EMI Records Nashville, Lucille Records, Mercury Nashville and MCA Nashville, representing artists including Eric Church, Keith Urban, Carrie Underwood, Chris Stapleton, Dierks Bentley, Alan Jackson and Little Big Town.

A graduate of Rutgers Law School, Femia’s prior career stops include Sony BMG, Virgin Records/Capitol Music Group/EMI Music North America and Atlantic Records. He joined UMG Nashville in 2013 as vp of business & legal affairs, and rose through the ranks to evp of BLA in 2023.

MCA president and CEO Mike Harris praised Femia’s deep industry experience and integrity, calling his presence on the executive team “invaluable” as the company enters a “new chapter” in its history. (Until recently, the music company operated under the name Universal Music Group Nashville.)

Harris added: “I have worked with Rob for a good portion of my own career, and he has always been knowledgeable, hardworking, and honest – which are characteristics we strive to bring to MCA’s roster of artists every day.”

“I am honored that Mike is entrusting me with this expanded role at MCA as we reshape and refocus our priorities around the core of what defines us—a best-in-class record label with a deep roster of hit makers and history makers alike,” Femia said in a statement. “From today’s most talented and brilliant artists in country music to a rich catalog representing some of the most important and influential country music spanning generations, MCA has always stood at the heart of the genre’s legacy and evolution.”