NEWS
Jelly Roll offered up a surging, open-hearted performance of his song “Halfway to Hell” during his Tuesday night (Oct. 3) performance on The Tonight Show Starring Jimmy Fallon.
Like many of the other songs on his album Whitsitt Chapel (released on BBR Music Group), Jelly Roll sings of the struggle between harmful vices and being his best self–or as he sings on “Halfway to Hell,” it’s the struggle between “a bottle and a Bible.”
“I’m a rolling stone disciple with a cross across my face,” he sang passionately, pointing to his signature cross tattooed on his cheek.
On social media, Jelly Roll offered his gratitude for the opportunity to perform, saying, “What an incredible experience this was–thank you Jimmy Fallon for having me–this was unreal.”
Over the past year, Jelly Roll has notched two No. 1 Country Airplay hits, with “Son of a Sinner” and “Need a Favor.” He was also Billboard‘s cover star for its 2023 Country Power Players issue, and performed and spoke during Billboard‘s inaugural Billboard Country Live in Concert event in Nashville earlier this year.
He has earned armfuls of awards wins and nominations from the CMT Music Awards, the upcoming CMA Awards and the inaugural People’s Choice Country Awards. Jelly Roll has five nominations leading up to the CMA Music Awards, including musical event of the year, single of the year, music video of the year, and new artist of the year and male vocalist of the year.
In addition to his own music, Jelly Roll has been a king of collaborations of late, teaming with Lainey Wilson for “Save Me,” but also joining Dustin Lynch on “Chevrolet,” a song from Lynch’s new album. Jelly Roll also joins Craig Morgan on a version of “Almost Home” on Morgan’s upcoming album. His collaboration with Jessie Murph, “Wild Ones,” will release Oct. 6.
See Jelly Roll’s performance on The Tonight Show Starring Jimmy Fallon below.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
