Haters, look away now. The Black Eyed Peas “My Humps” is officially a stone-cold hit.
The 2005 track this week enters YouTube’s Billion Views Club as it passes one billion streams.
Lifted from the hip-hop act’s fourth studio album Monkey Business, “My Humps” is their third music video to reach the milestone after “Where Is the Love?” and “RITMO,” their collaboration with J Balvin for the Bad Boys for Life soundtrack.
The track was written by the act’s will.i.am and samples lines from Sexual Harassment’s 1983 single, “I Need a Freak,” penned by Lynn Tolliver (real name: David Payton).
Its intended target was initially meant to be the Pussycat Dolls, but the Black Eyed Peas made it their own, with Fergie and will.i.am as the main vocalists.
“My Humps” was the group’s second single to reach the top three on the Billboard Hot 100, after “Don’t Phunk with My Heart” (both peaked at No. 3), and nabbed a Grammy Award for best pop performance by a duo or group with vocals.
Although a massive commercial success, “My Humps” was as polarizing as it was popular. Its lyrics, which include the repeated line, “my lovely lady lumps,” was the subject of countless column inches, many of them harsh. In one analysis published by Slate under the title “Notes on ‘Humps’. A song so awful it hurts the mind,” Hua Hsu writes, “This is what makes ‘My Humps’ such an inscrutable pop moment. It’s not Awesomely Bad; it’s Horrifically Bad.” Other journalist were less kind.
Whatever, “My Humps” was a winner.
Its music video, directed by Fatima Robinson and Malik Hassan Sayeed, and featuring Fergie dancing with backup dancers amongst the luxury items apparently gifted by her many suitors, went on to scoop best hip-hop video at the 2006 MTV Video Music Awards.
In May of this year, the Black Eyed Peas reunited publicly onstage for the first time since Fergie split in 2018, for a surprise appearance at the American Music Awards at MGM Grand Garden Arena while accepting the best throwback song award for “Rock That Body.”
Watch the music video for The Black Eyed Peas “My Humps” below.
Budjerah is a fair dinkum Australian triple-threat: a young man with the voice of an angel, the patience of a saint, and the style of a gentleman.
Hailing from Fingal Head, a popular surf spot in northern New South Wales, Budjerah (full name: Budjerah Julum Slabb) is one of the most promising artists of his generation, boasting a trophy cabinet stacked with ARIA and APRA Awards, and bragging rights. Among them, a collaboration with Ed Sheeran on “2step,” and a spot on the Englishman’s 2023 stadium tour of these parts.
What he doesn’t have in his resume is a full-length album. That all changes on Friday, July 24 with the release of Gentleman. Led by the singles “Even At Worst”, “Could I Be”, “Want You Back” and the title track, the 11-track collection is his debut full-length LP through a deal with Warner Music Australia, partnering with Warner Records in the United States.
Almost five years have passed since he collected best newcomer honors at the 2021 ARIA Awards, becoming the first winner of an award renamed after the late impresario Michael Gudinski, presented during a lockdown edition of the industry ceremony. At the time, he was already part of the WMA stable.
“Yeah, it did take a long time. There were definitely moments where I was like, ‘oh, oh, come on,’” Budjerah says of the lost-gestating project. “I think it all turned out how it was supposed to.”
Budjerah is the gentleman of the project. The 24-year-old artist is softly spoken, and dapper in a grey suit, for his interview with Billboard at Warner Music Australia’s offices in Sydney. “I like to dress up, so I thought it would be fun,” he says of the album’s title and artwork. Ahead of the release, his team secured another essential piece for his wardrobe by striking an alliance with Akubra, the iconic Australian hat-maker which this year celebrates its 150th anniversary (Budjerah wears a Slim Dusty design, a nod to the late, great country artist, for a new campaign.)
The proud Coodjinburra man was raised singing gospel music in the church band. He counts Michael Jackson, Usher, Beyonce and, more recently, Puerto Rican artist Rauw Alejandro among his sources of inspiration, but points to Stevie Wonder and gospel music as “the foundation of my technique and my musical understanding.”
Gentleman is the work of a perfectionist, getting at it with studio-sharpened pros. Produced by Om’Mas Keith (Frank Ocean, Jay-Z), the collection also features the songwriting talents of Diane Warren on album closer “Even At My Worst,” and songwriters Autumn Rowe (Alexis Jordan, Kylie Minogue), Kizzo Keaz (Jon Batiste, Ne-Yo), and Philip Lawrence (Bruno Mars).
The result, a collection of up-tempo, performance-ready works with a nostalgic flavor.
“I learned a lot,” Budjerah says of his time with Keith, and the late-night sessions that sort the real talent from the rest. “I really enjoy having a producer or collaborators that are way better than me so I can learn.” The Australian more-than kept up. Keith “held me to a standard of, like, a lot of older singers,” he admits.
Much has happened since the Gentleman project began simmering almost four years ago. Budjerah kept his growing fanbase connected and ready with a string of singles and EPs, and tours. Ands he recently got married to his high school sweetheart, Sophie. Australian Vogue shared the official photos.
He’s all grown up. A Gentleman.
The album is “inspired by who I wanted to be when I was growing up,” he explains in a statement. “Between my life at home and life on the road, I experienced so much change and growth. Chasing my dreams I faced new challenges which helped me understand who I wanted to be. Every song on this album holds a piece of me. I hope little Budjerah is proud.”
He’ll support the record in his homeland with a five-date national tour this October and November, a new-look production with high-energy dancers and a slick, full band featuring several members of his extended family. Before that, three acoustic performances and album signings in the final days of July.
In time, Budjerah hopes to bring his new music to audiences in North America. “I guess time will tell,” he says. Patience, as we know, is part of his skillset.
Almost 40 years after its release, Roxette’s “It Must Have Been Love” has finally been granted entry to YouTube’s Billion Views Club.
The official music video crosses the threshold this week, and is the Swedish pop duo’s first to do so. Originally issued in 1987, “It Must Have Been Love” features clips from the romcom Pretty Woman, after a version of the song appeared on its official soundtrack and was heard in a pivotal emotional moment near the end of the movie.
When Pretty Woman opened in cinemas in 1990, movie-goers fans fell hard for Roxette’s power ballad, and for late singer Marie Fredriksson’s powerhouse vocals. It’s a transcendent performance from Fredriksson, one that that strikes the perfect balance of melodrama and restraint.
In the United States, the single logged two weeks at No. 1 on the Hot 100 in 1990, and logged 25 weeks on the chart. It’s one of four Roxette leaders in the United States, and the only cut to land multiple weeks at No. 1. Across the Atlantic, the single peaked at No. 3 on the Official U.K. Singles Chart, and stayed in the frame for 14 weeks.
During her lifetime, Fredriksson enjoyed 12 appearances on the Hot 100 with Roxette, and three titles on the Billboard 200. Fredriksson was diagnosed with a severe brain tumor in 2002, and received aggressive treatment that took its toll, reportedly leaving her nearly blind in one eye and with limited hearing. She returned to the stage for a Roxette comeback tour in 2009, but called time on live performances in 2016, on doctors’ advice. The talented artist died in 2019 following a 17-year long battle with cancer.
Roxette is currently touring Europe for the Live – Back Again! 2026 tour, celebrating the 40th anniversary of their debut album, with a lineup featuring founder and main songwriter Per Gessle and Swedish star Lena Philipsson taking on female lead vocals.
Watch the official music video for “It Must Have Been Love” below.
Tony Thorpe, the guitarist and vocalist who assisted in the propulsion of the English glam-rock group the Rubettes to international success in the 1970s, has died at the age of 80.
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Thorpe’s death was announced in a statement shared to his official Facebook page, which remembered him as “a father to Clay, a husband to Shirle, a friend to many, and a mentor to countless musicians young and old.” The message added that despite Thorpe’s declining health in recent months, “his fierce intellect and sharp sense of humour” never faltered, and said he would leave “an unfillable hole in the lives of all who knew him, or his music.”
Formed in 1973, the Rubettes emerged near the end of the glam-rock era with a distinctive blend of 1950s-inspired doo-wop harmonies and pop-rock. Dressed in their trademark white suits and cloth caps, the group broke through with “Sugar Baby Love,” which topped the U.K. singles chart for four weeks in 1974 and reached No. 37 on the Billboard Hot 100, introducing the band to American audiences. The Rubettes would go on to score additional international hits with songs including “Tonight,” “Juke Box Jive” and “I Can Do It.”
Thorpe joined the band’s classic lineup in 1974 alongside Alan Williams, John Richardson, Mick Clarke, Bill Hurd and Pete Arnesen, serving as both lead guitarist and a songwriter. He also stepped in as a vocalist, singing lead on the band’s single, “Baby I Know.” Thorpe exited the Rubettes in 1979, though he remained active across multiple musical projects. Before and after his time with the group, he worked with artists like Cilla Black and Tommy Steele, and even taught music at Blackburn College. He published his own memoir, A Bride’s Nightie, back in 2014.
Following the news of his death, Rubettes frontman Alan Williams shared a touching tribute on the band’s official Facebook page: “Mercifully now at peace. Dear Tony, our paths having crossed but fleetingly during which time was conceived wondrous music and often hilariously memorable moments. Your brilliance with the axe and the pen cannot be denied and remains with us, never forgotten. Rest now Cowboy.”
Though “Sugar Baby Love” remains the Rubettes’ signature hit, Thorpe’s gift as a guitarist, songwriter and vocalist guided the band’s sound throughout their career. He left behind a catalog that continues to resonate with fans, even five decades later.
Aaron Dessner and Gracie Abrams have now made three albums together, with the pop star’s third studio effort, Daughter From Hell, arriving July 17. But one song in particular has stirred up a few misconceptions, and in a recent conversation with Billboard, the producer cleared them up.
Hopping on a Zoom call on Tuesday (July 21) — just days after joining Noah Kahan on stage in New York to perform one of The Great Divide songs he produced, a cameo that severe weather almost ruined — Dessner addressed confusion over the production and subject of “Death Wish,” one of the most talked-about tracks on Daughter From Hell. Some listeners have expressed surprise that the spritely album version sounds so different from the somber live piano version Abrams initially recorded and released amid her Secret of Us Tour, questioning why the duo would “change” the “original.” (Spoiler alert: They didn’t.)
Meanwhile, others have speculated that Abrams’ former Eras tourmate Taylor Swift inspired eviscerating lyrics such as “And I used to pretend that it didn’t feel evil/ Your light of a million suns burns through people,” even though the Gen-Z star has only ever praised the 14-time Grammy winner and even attended her wedding to Travis Kelce earlier in July. (Abrams has also said herself that “Death Wish” is about “a friend of mine who recently was dating, like, a mega narcissist,” something doubters have either forgotten or ignored.)
But if the commenters won’t listen to Abrams, maybe they will listen to Dessner. He sets the record straight in the condensed conversation below, while also telling Billboard about his ever-evolving dynamic with Abrams, whether she fills him in on the drama that may or may not inspire her songs, his cameo at Kahan’s show and more.
What’s the story with “Death Wish”?
The studio version predates [the live recording] by several months. We wrote it, actually, the week that we recorded “That’s So True,” “I Told You Things” and [other] songs that were on The Secret of Us deluxe. In the wake of [Daughter From Hell] coming out, people were like, “Wait, what about the original version?” This is the original version.
There’s been speculation online that it’s about Taylor Swift.
Yeah, definitely not. It was written at a time when [Gracie] was writing about a friend’s ex, being in a bad relationship. So it was kind of about that person, I think. I wouldn’t even actually know who that person was.
How much do you and Gracie — or any of the artists you work with — talk about the real-life subjects of songs while you’re working on them?
Ultimately, you just become friends. Like, Gracie and I have worked together for more than six years now, and you kind of grow together, and there’s a lot of experience that has nothing to do with making songs. She’s very aware of my personal life, and I’m of course aware of hers — she’s close with my kids, for example. So I think, naturally, if she writes something, I’ll know. But we don’t really talk about it. It’s weird. It’s kind of unsaid.
I would say the same thing for other people I’ve worked with. [I’m] giving feedback at times, lyrically, but I tend to … you don’t want to be like, “Well, you’re talking about this, right?” It’s more mysterious not to.
Gracie said recently that she tried to be less “careless” this time in terms of how songs might impact their subjects. Is that something you observed firsthand?
I think she’s probably referring to certain songs that were written about past relationships. [As] songwriters, we all deal with this. What’s most compelling is to write about your own life or your experience, but … this record, to me, is more looking at herself. [She] was not editing [lyrics] after the fact, or writing and being like, “Oh, I gotta take that out. It’s too painful for someone else.”
Do you have a favorite song on Daughter From Hell?
“What If It’s Right?” is one that when I listen to it, I’m still just floored. The song “Humming” is one that we had written, and then Justin Vernon [of Bon Iver] joined us and helped finish it. It’s just so magical.
“Cold Goodbyes” is just me playing this one synthesizer DX7 organ and Gracie’s singing, and it’s almost improvised in the studio. You could just tell that that was going to be the last song of the record. It still gives me chills.
I was personally surprised that Daughter From Hell was even less pop-centered than The Secret of Us, especially at a moment when Gracie could easily start reaching for bigger chart hits.
Some of the [songs] that we left off [the album] might be more obvious [pop hits], because they fit the bill of what someone might expect, but I think where she’s coming from, who she is as an artist … her motivation is very pure. She’s not trying to chase that kind of chart success or dominance. It’s much more about what feels most compelling artistically, and this was the group of songs that felt closest, I think, to her heart.
Also, for us, they’re all hits, you know? And I think that over time, my favorite records are ones that take time to reveal themselves, and this is one of those.
You performed with Noah over the weekend and have joined Taylor and Gracie on stage several times as well. As their producer, what goes through your head when you’re up there with them?
If you would allow yourself to think for a second that the song you made in the quiet of your home was now in front of 90,000 people with their phones out, it can be pretty scary. But I love the feeling of when songs take on meaning for people — you work on them so hard, they finally get released to the world, and then you’re hearing them sung back at you.
Going on stage with Taylor at the Eras Tour, there was nothing that could prepare you for that. Those are NFL stadiums … there was no way to really know what that would feel like until you’re up there. Fortunately, she’s really good at making you feel in the moment. It felt safe. Noah, he’s so himself up there, the [same] way he is in the studio. [The Great Divide] is so loved, so the vibe is just really amazing. It felt very warm to go into that and join him.
You were originally supposed to perform with him the night prior, before that show was canceled due to severe weather, right?
There were constant meetings with meteorologists, basically. And they just figured out that, there was no safe way to do it. I was driving over there earlier in the day, and there was flooding everywhere. Even right around Citi Field, there was four feet of water.
It was a real bummer to be that close to performing, and then to cancel it. I was going to have to travel — the World Cup Final was the next day, which is very important to me [laughs] — but then we were like, “Is there a way I could stay?” And we figured it out.
Travis Scott should buy a lottery ticket, because he’s been winning a lot of late.
The “Sicko Mode” rapper, whose Circus Maximus Tour last year banked $265 million to becomes the highest grossing solo rap trek in history, has made the brightest possible start to his acting career.
Scott makes his feature acting debut playing The Bard in Christopher Nolan’s The Odyssey, the first character we come across in the Brit’s epic new film. Almost unrecognizable in long dreads, Scott’s Bard appears at the very top, narrating the titular character Odysseus’s journey through rhythm and song; he appears once again, late; and he recorded “When I’m Home” with producer James Blake and composer Ludwig Göransson, an original work that appears as the closing-credits song.
If he wasn’t already smiling at his good fortune, Scott could afford one when the box-office results landed. The Odyssey nabbed $123.5 million domestically with a global launch of $263.7 million, with the latter marking the master filmmaker’s highest-grossing worldwide opening ever, The Hollywood Reporter confirms. All told, it’s the biggest live-action opening weekend result for 2026.
Winning.
For Scott, it’s been a wild ride. And during shooting, a nervy one. During an interview for The Tonight Show, Scott admitted he was “actually nervous,” as every star in this star-heavy project watched on as he delivered his lines. “I don’t know what the *beep* I’m doing,” he recounted. But yes, it all worked out in the end.
“Such an amazing cast, supportive,” he explains. Nolan, who reached out with the offer of a part, “is an amazing director, everybody made me feel, like comfortable,” he says. “I was just glad to be there and watch him. And be in such a world with them. So I’m just glad to be here.”
Scott directs the official music video for “When I’m Home,” due out next week.
The Houston rapper also recounted his meeting with Norway striker Erling Haaland, following a match last month at Boston Stadium. Scott designed a soccer boot with Nike, which the goal-scoring ace wore in the tournament. As a show of thanks, Haaland gave Scott a signed jersey, and shared the moment on his social accounts.
Check out the late-night interview below.
Now that the FIFA World Cup is in the books, Cruz Beckham, like his famous folks, can turn their mind to other things.
For Cruz, it’s all about music. Specifically, his debut EP Wear & Tear, due out Aug. 21 via Republic Records.
The 21-year-old is now diving into promo. Earlier this week, he sat for a chat with Mack and Jen, hosts at SiriusXM Hits 1 Miami, for some insights into his new music, and the kind of advice and motivational talk shared by his mom and dad, Victoria and David Beckham.
“They’ve taught me throughout the years to just work on your craft and hone-in and make sure you’re the best version of yourself at what you’re doing,” he explains. “So, you know, if they didn’t teach me that, I don’t think I’d be able to get up on stage and play guitar and be confident enough to show what I’ve been working at for a long time. You know, I feel like it’s just, yeah, it’s just working and working and becoming the best version of yourself, I think.”
And who gives the best pep talk? The former soccer superstar and England captain with the best right foot in the business? Or Posh, founding member of the all-conquering, chart-topping Spice Girls?
It’s 1-0 to mom.
“She’s just like, ‘Well, you’re going to do it anyway, so make sure you do it the best of your ability,’” he reckons. “And you know, I understand that she’s definitely played for a ridiculous amount of people, so I trust her opinion a lot, heavily. And, yeah, she just tells me that it’s all going to be okay. Just relax. And I mean, she didn’t have to play guitar on stage, though. So, I’m just saying I have that. I do have that.”
Cruz also admitted he listens closely to the opinion of his girlfriend, a songwriter. Which means, yes, he’s taken.
Wear and Tear collects “songs that I’ve been working through for like maybe two or three years now,” and includes the previously-released title track, a tune that tugs on the Britpop sound. “I’m just excited to be able to put a body of work out,” he enthuses. “I’m really, really excited. I can’t wait to actually give everybody more than just one or two songs.”
Beckham will support the new recordings with a debut U.S. headline tour, getting underway July 28 at The Atlantis, Washington, DC, with stops for festival appearances at Lollapalooza, Outside Lands, Shaky Knees Festival, and U.K. fests Reading and Leeds, and Rock’N’Roll Circus.
Stream the SiriusXM interview here.
Cruz Beckham 2026 tour dates:
July 28 – The Atlantis, Washington, DC
July 29 – Baby’s All Right, Brooklyn, NY
July 31 – The Garrison, Toronto, ON
Aug. 2 – Lollapalooza, Chicago, Illinois
Aug. 3 – 7th Street Entry, Minneapolis, MN
Aug. 6 – Barboza, Seattle, WA
Aug. 7 – Polaris Hall, Portland, OR
Aug. 9 – Outside Lands, San Francisco, CA
Aug. 10 – Masonic Lodge At Hollywood Forever, Los Angeles, CA
Aug. 22 – Rock’N’Roll Circus, Norwich, UK
Aug. 27 – Rock’N’Roll Circus, Sheffield, UK
Aug. 29 – Reading Festival, Reading, UK
Aug. 29 – Leeds Festival, Leeds, UK
Sept. 19 – Shaky Knees Festival, Atlanta, GA
We can’t get Kylie Minogue out of our heads. The Australian pop superstar is everywhere right now — on the airwaves, on our screens, strutting red carpets on the awards circuit, and beaming for an on-stage collaboration with Snow Patrol in South London, the official video for which is now live.
Kylie joined forces with Gary Lightbody and Co. at their sold-out concert July 3 at Crystal Palace Park. There, they delivered the debut performance of “These Alarms,” which officially dropped July 1 on streaming platforms, the first through the band’s new deal with BMG.
The on-stage collaboration was the first time Snow Patrol and Kylie were able to meet in-person, reps say.
On the night, the “Spinning Around” singer stuck around for a performance of “Chasing Cars,” Snow Patrol’s biggest U.S. hit, which peaked at No. 5 on the Billboard Hot 100 in 2006, after its inclusion in the teary season 2 finale of Grey’s Anatomy.
Snow Patrol wrote the new song with Minogue in mind, and recorded it for their 2024 U.K. No. 1 album The Forest is the Path, their second leader, with the working title “KYLIE.” On completion, the band decided to hold back the track until they could record it with the Aussie artist.
“The story behind this song was irresistible,” Kylie comments in a statement. “Hearing there was a demo called ‘KYLIE’ that had been living in the Snow Patrol archives was a complete surprise and, naturally, I was curious to hear it. Gary is such a brilliant songwriter, so to be invited into the band’s world is a total honor.”
The Northern Irish–Scottish rock band this year celebrates the 20th anniversary of their hit fourth album, Eyes Open, which logged three weeks at No. 1 in the U.K. and went on to become the market’s biggest album of 2006. Eyes Open has shifted more than 2.6 million units in the U.K. including 2.4 million pure sales, the OCC reports.
Earlier this month, the band was the first recipient of the Official Charts Hall of Fame Award, a new honor to be presented annually in recognition of official biggest single and album of the year.
The Crystal Palace shoot was led by director of photography Daniel Broadley, whose credits include directing Sam Fender & Olivia Dean’s “Rein Me In” video, and the Oasis (Live ’25) concert series.
Watch the official concert video for “These Alarms” below, and purchase the limited-edition 7” physical vinyl here.
It’s been four years since NewJeans burst onto the K-pop scene, and they’re marking the celebratory achievement with a heartfelt gift for fans.
The group unveiled “2026 Summer of NewJeans” on Tuesday (July 21), a commemorative anniversary film series that features the reunited members Minji, Hanni, Haerin and Hyein in a rollout of four individual films and one group film. The release arrives just weeks after Minji’s return was confirmed, completing the four-member reunion after the unpredictable future of the group.
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Under a moonlit sky, the group film opens on Minji, with Hanni to follow. Haerin and Hyein gradually join them onscreen, as all four girls hold hands and smile at one another. They look off into the distance, creating the solemn, quiet and hopeful atmosphere that is reminiscent of the visual style that marked NewJeans’ early career. The anniversary series also includes individual films centered on each member’s everyday life, while also incorporating gestures to the group’s fandom: Bunnies. White fur and the delicate animal are a motif throughout the individual films and the group film, expressing subtle gratitude to their dedicated audience.
“The special film series was created from the members’ shared wish to celebrate their fourth anniversary together with fans,” ADOR said in a statement. “We hope Bunnies will enjoy these films as a heartfelt gift.”
The release of these films continue NewJeans’ return after nearly two years of uncertainty. The group’s original five-member lineup announced plans to leave ADOR in late 2024, later promoting independently as NJZ before a court blocked those actions in 2025. Following a court ruling in ADOR’s favor later that year, Hanni, Haerin and Hyein confirmed they would return to the label, while Minji’s decision remained up in the air until earlier this summer. Danielle, whose contract with ADOR was terminated in late 2025, is not featured in the anniversary project.
The reunion marks a new chapter for one of K-pop’s biggest girl groups. Since debuting in 2022, NewJeans has landed five songs on the Billboard Hot 100, while 2nd EP ‘Get Up’ became the group’s first No. 1 on the Billboard 200 albums chart in 2023. The group was also honored as Group of the Year at Billboard‘s 2024 Women in Music ceremony.
Doja Cat and Latto are making their case for rap’s hottest duo in 2026. The steamy 2000s-coded visual for their “Okayyy” collaboration arrived on Tuesday (July 21).
The sultry clip kicks off with Latto rapping in lingerie from the comfort of her silk bedsheets before heading to the bathroom, where she poses while taking flicks with a classic digital camera that dominated the MySpace selfie era.
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She returns donning camouflage and records in the bedroom, as she’s surrounded by bodybuilders who won’t dare to look her way.
Doja enters the picture in pink lingerie and pays a visit to her man in prison, who’s treated to the Grammy-winning artist giving a chair a sexy-yet-tantalizing lap dance on the other side of the glass.
Doja and Latto reunite for various shots in front of a baby-blue backdrop before heading back to the mansion, which hilariously finds the crew of muscular men washing their luxury cars in the driveway.
Fans seemed to be enjoying the eye candy with Doja and Latto linking up for the steamy visual. “WHOEVER PUT THEM TOGETHER DESERVES A RAISE,” one person wrote in the YouTube video’s comments.
“Okayyy” landed on Latto’s Big Mama album, which arrived in May and debuted at No. 16 on the Billboard 200.
The surprises didn’t stop there: Doja and Latto will also be hitting the road together. From what appears to be the set of the “Okayyy” video, Doja Cat posted a clip using a vintage camcorder, revealing that Big Mama will be joining her for the North American leg of the Tour Ma Vie World Tour, which kicks off in Detroit on Oct. 1.
The trek is set to be Latto’s first string of arena performances since announcing she gave birth to a baby girl in May.