Grammy-winning singer Victoria Monét is making things “Juicy” with her latest single, released September 10 as another preview of her forthcoming album Frequency of Love. Following July’s “Reach Out,” the new track arrives ahead of the album’s October 2 release via Lovett Music/RCA Records. Monét is enjoying a strong run, with “Let Me” recently reaching No. 1 on Billboard’s Adult R&B Airplay chart, adding another chart-topping achievement to her acclaimed Jaguar projects.

John Legend is set to return with Muse, his Pharrell-produced new album arriving October 23 via Republic. The project is led by “Daylight,” available now and marking an intriguing collaboration between the two stars. Pharrell’s signature production blends piano, programmed drums and rumbling 808s into a warm, tropical groove that complements Legend’s soulful vocals. Lyrically, the romantic track celebrates the feeling of finding love, with Legend comparing his relationship to the warmth and promise of sunrise.

Canadian artist Tory Lanez teams with HollywoodSos on “Hasty Market // Toronto,” from his 2026 project Made You Think I Was Gone... But. Sampling Tommy Ambrose’s Toronto classic “People City,” the track celebrates Lanez’s hometown. Directed by Zac Facts, the official video premiered September 9, bringing together local artists, familiar faces and neighborhoods across Toronto and the GTA. The “hood to hood” concept creates a vibrant, unifying tribute to the city’s culture and community.

East Oakland rapper and producer Ovrkast. delivers “KNOCK,” featuring Samara Cyn and MAVI, from his forthcoming album STRIKING, due October 9. The hard-hitting track finds Ovrkast. setting the tone with sharp, introspective rhymes before Samara Cyn steals the spotlight with a standout verse addressing industry pressure and shifting expectations. MAVI closes with thought-provoking bars exploring sacrifice, artistry and legacy, making “KNOCK” a compelling showcase of three of hip-hop’s most promising young voices.

After a six-year musical drought, Los Angeles singer Jhené Aiko returns with her fourth album, Westside Whimsy. Announced just days before its release, the 20-track project features Kendrick Lamar, Larry June, Tyga, Ab-Soul and more. Opening with “Wild Cat(s),” Aiko reflects on her upbringing before exploring emotional vulnerability on “Ghost,” where she acknowledges mishandling her feelings. Early fan favorites include “Love Bomb,” while “He Belongs” finds Aiko channeling sultry Future-inspired vibes.

A California appeals court has rejected Jay-Z’s attempt to revive his extortion and defamation lawsuit against Texas attorney Tony Buzbee, who previously represented a woman accusing the rapper of sexually assaulting her when she was 13. The allegations, which also named Sean Combs, were ultimately dismissed. In a unanimous 24-page ruling, California’s Second Appellate District concluded that Buzbee did not act with malice when he pursued the claims against Jay-Z, whose legal name is Shawn Carter. Associate Justice Anne Richardson wrote that there was no evidence Buzbee knowingly made false accusations or acted with reckless disregard for their truth. Instead, the court said declarations submitted by Buzbee indicated that investigations conducted by his firm and a referral firm led him to believe the allegations were credible. The court also determined that Buzbee’s demand letter to Carter was protected by litigation privilege because a lawsuit was genuinely being contemplated in good faith. Buzbee welcomed the ruling in a statement, arguing that sending a demand letter before filing a lawsuit does not constitute extortion. Carter filed his lawsuit against Buzbee in late 2024, alleging the attorney knew the accusations were false and had sent two demand letters seeking money to settle the matter privately. After Carter declined to participate, Buzbee publicly identified him as the previously unnamed defendant in the woman’s lawsuit. Carter’s appellate attorneys did not immediately respond to requests for comment.

The Detroit News reports that Gladys Knight’s son, Shanga Hankerson, is raising concerns about his mother’s continued touring schedule, claiming her husband and manager, William McDowell, has no intention of significantly reducing the 82-year-old singer’s performances. Knight, the legendary “Empress of Soul,” announced Aug. 27 that she planned to cut back on touring. However, she continued performing following a Sept. 5 concert in Tulsa that was reportedly cut short. Hankerson alleges that Knight is being subjected to elder abuse and exploitation by McDowell, 68, and claims she has exhibited early signs of cognitive decline. “My belief and fear is that he intends to literally try to work her until she passes away,” Hankerson told The Detroit News. McDowell has acknowledged that Knight has difficult days but maintains that she has not been diagnosed with dementia and wants to continue performing. The Tulsa concert has become a particular point of concern. McDowell previously said he would evaluate the performance and “pull the plug” on future dates if Knight had a rough night. Concertgoer Paul Gregory Richard claimed on Facebook that Knight performed for only about an hour before the show ended early. Knight subsequently performed in Terre Haute and was scheduled for concerts in Cincinnati and Shipshewana. Her representatives did not immediately respond to The Detroit News’ request for comment.

Few songs announced the arrival of a disco superstar quite like Donna Summer’s “Love to Love You Baby.” Originally released in the Netherlands in 1975 before becoming an international hit later that year, the seductive track introduced audiences to a daring new sound that blended Summer’s soulful vocals with Giorgio Moroder and Pete Bellotte’s pioneering electronic disco production. The song quickly established Summer as one of the defining voices of the disco era. The story behind the recording is nearly as fascinating as the song itself. Summer initially suggested the title lyric to Moroder and agreed to record the song as a demo, believing another artist might ultimately perform it. Her passionate vocal performance convinced Moroder that she was the right singer. When Casablanca Records president Neil Bogart heard the recording, he encouraged the producers to expand it dramatically. The resulting version ran more than 16 minutes and occupied the entire first side of Summer’s album Love to Love You Baby.  Released worldwide in November 1975, the song became a breakthrough success for Summer. In the United States, it reached No. 2 on the Billboard Hot 100, topped the Dance Club Songs chart for four weeks and reached No. 3 on the Hot Soul Singles chart. It also climbed to No. 4 on the UK Singles Chart despite the BBC initially refusing to promote the record. Its extended format helped establish a template for the longer disco records that would become staples of clubs and dance floors. Nearly five decades later, “Love to Love You Baby” remains one of Donna Summer’s signature recordings and a landmark in disco history. Its provocative performance, hypnotic groove and extended arrangement helped push the boundaries of what a pop single could sound like. In 1995, the Rock and Roll Hall of Fame recognized the song among its “500 Songs That Shaped Rock and Roll,” cementing its legacy as one of the recordings that helped define an era.

Snoop Dogg’s upcoming biopic Snoop has found its Notorious B.I.G., with SwayvoTwain, born Michael D’Angelo Archer II, set to portray the late Brooklyn rap icon. SwayvoTwain is the 29-year-old son of late R&B stars D’Angelo and Angie Stone. He confirmed his involvement on Instagram Tuesday, September 8, following an initial report by Variety. The Universal Pictures film is scheduled to arrive in U.S. theaters on August 6, 2027. Directed by Hustle & Flow filmmaker Craig Brewer, Snoop is being produced by Brian Grazer alongside Snoop Dogg. The casting of Biggie adds another significant chapter to a film centered on the West Coast rapper’s rise to prominence. Although Snoop and Biggie were associated with opposite sides of hip-hop’s East Coast-West Coast rivalry, the two artists shared a mutual respect and were friendly during the mid-1990s.