NEWS
Live from London, it is Saturday Night Live.
The legendary sketch comedy institution officially launched its UK edition on March 21 with Saturday Night Live UK, featuring former SNL cast member Tina Fey as host and British indie rock group Wet Leg as the episode’s musical guest.
This global expansion of Lorne Michaels’ famous NBC program began with Fey’s opening monologue, which included unexpected cameos from Michael Cera and UK television personality Graham Norton.
“It’s an absolute honour and kind of historic,” Fey told the crowd. “Guys, I am the youngest person to ever host SNL UK!”
During the broadcast, Wet Leg delivered performances of two songs taken from their second album Moisturizer, which opened at Number 6 on Billboard’s Top Rock and Alternative Albums chart and also climbed to Number 1 on the Official Albums Chart in the United Kingdom.
The band first appeared performing the record’s fourth single “Mangetout,” a Grammy nominated song that also earned a place on Billboard’s list of the 20 best UK and Ireland songs of 2025. Later in the show they returned to play the album’s lead single “Catch These Fists.”
After their appearance on SNL UK, Wet Leg will travel back to the United States for a series of major festival dates including Coachella, Governors Ball, Bonnaroo and Outside Lands. Their US tour is scheduled to begin April 15 at the Fox Theater in Pomona, California.
Upcoming episodes of SNL UK have also been confirmed. Wolf Alice will serve as musical guest on the March 28 episode hosted by Jamie Dornan, while Kasabian will perform on the April 2 show with Riz Ahmed as host.
The show is broadcast on Sky in the United Kingdom and is available to stream on Peacock in the United States. According to The Hollywood Reporter, the first episode attracted more than 220,000 viewers on Sky. It was released in the US on March 22 via Peacock.
You can watch Wet Leg’s SNL UK performances 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.
