The rock-driven single is the most musically self-assured release from the rapper-singer in years and arrives in dedication to his late mother

Lil Nas X for new single "World's Greatest"

Lil Nas X holds one particular guiding phrase close to his heart: “Walk by faith, not by sight.” The quote comes from his late mother, Tamikia Hill, whose death he announced in August. “As I move through life it resonates more and more,” he said about the quote. It’s what he’s holding onto as he takes his first confident strides back into music with “World’s Greatest!,” his first single in nearly two years.

Lil Nas X introduced “World’s Greatest!” with a stirring social video in which he listened back to a voicemail his mother left him. “Hey Doobie, been calling you multiples times today,” she said in the clip. “I just wanna say, I love you. Keep your head up. Continue to walk by faith, not by sight. Let go and let God handle the rest. Everything is gonna work itself in its own place. Don’t give up, never give up.” Hill ended the voicemail with a promise to call her son back, “just to check up on you,” she said.

With “World’s Greatest!,” Lil Nas X does some checking up of his own. The song builds on the foundation of his mother’s words of wisdom with a mantra of his own: “I hope your dreams work out for you/I hope your green comes out the blue/I hope you learn to love again/Yeah, I hope you learn to trust the plan.” The rock-driven single is the most musically self-assured and inspired release from Lil Nas X since his 2021 debut, Montero.

“World’s Greatest!” arrives alongside a poignant music video directed by Phillip Youmans. The rapper and singer born Montero Hill returned to his hometown of Atlanta to capture the visual, which traces threads between his past and present as he navigates his coming-of-age experience. It’s a candid and sensitive presentation from the 27-year-old, who has been largely absent from the spotlight following a very public mental health crisis and subsequent bipolar diagnosis for which endured a stint in rehab.

Standing in front of his own reflection at a dance studio, Lil Nas X keeps hitting a mental block as he tries to move freely through the space. There’s something holding him back. He’s physically present, but in his mind he’s thinking back to his childhood. There’s a scene of a younger version of himself trying on high-heeled boots, dozing off at church, and snagging candy bars from the corner store when the cashier isn’t looking.

They’re small, carefree moments that build up over time and have shaped Lil Nas X in the process. Reconnecting with that inner part of himself proves to be the key to release as his younger self appears in the studio, instructing him to mirror his movements. Suddenly, his rigid movements are free flowing and his head is held up high without anyone having to tilt his chin up. “I’m a champion,” he repeats throughout the song. As nears the end, there’s a spliced sample of the lyric “This one is for the champions,” pulled from “Industry Baby.”

When the song ends and he’s standing in the studio all alone, Lil Nas X runs it back again — this time more sure than ever. The voicemail from the song announcement closes out the video, which he dedicated to his mother. “Love u forever mommy,” his tribute reads.

Casper TNG

Toronto rapper Casper TNG has jumped on Drake’s “Quebec,” releasing his own remix of the track today.

The remix keeps Drake’s original production, with Casper taking over the record with his own verse and matching the Toronto superstar’s flow. The track was released September 30, just as Drake prepares to bring his FOMO project to streaming services.

Drake first released “Quebec” as a standalone video on YouTube on September 19 after previewing the song as part of his FOMO rollout. The track includes a direct reference to the province, while its accompanying video features aerial footage of Montréal. Drake confirmed this week that a batch of songs from the project will arrive on streaming Thursday, October 1.

One of Canadian rap's brightest futures, Casper TNG was named as one of Rolling Stone Canada's inaugural Future of Music artists. The Toronto rapper released his debut album Draft Day in August following the breakout success of “The Market,” his collaboration with 100Bandplan. The track was certified Gold in Canada and helped lead to Casper signing with Universal Music Canada in March.

He has also launched PuzzL Music Collective in partnership with Universal Music Canada in June. The label’s first releases include music from K Money and 100Bandplan.

Abe Laboriel Jr. performs onstage with Pearl Jam during the 2026 Ohana Festival at Doheny State Beach on Sept. 27 in Dana Point, California.

Pearl Jam fans spent much of the past year in suspense, waiting breathlessly to see who they’d hire as their new drummer following Matt Cameron’s departure after nearly 30 years. The big reveal was supposed to come at the third night of the Ohana Festival on Sunday when Pearl Jam played their first set since parting ways with Cameron.

“I love the mystery of it all,” Pearl Jam guitarist Stone Gossard told SiriusXM’s Jonathan Cohen on May 21. “It’s so exciting. There’s not enough mystery in the world. I think the band is very excited that we’re actually getting to play. It’s been a while, and the fact that we get to do it at Ohana makes it even doubly exciting.”

As the days ticked by until the Ohana set, nearly every possible drummer on Earth was the subject of speculation in the Pearl Jam fan community, including Stephen Perkins of Jane’s Addiction, Abe Laboriel Jr. of Paul McCartney’s band, Josh Freese of Nine Inch Nails, and a loud group of two or three fans on the official fan forum convinced that Japanese drummer Kahokiss had the job, even though there wasn’t even a tiny shred of evidence suggesting this. (Before Ohana, we ran through every single possibility we could imagine, including Animal from The Muppet Show.)

The headliner for the first night of the three-day Ohana Festival was Eddie Vedder and Friends. They never spelled out who exactly these friends would be, but he took the stage alone and played solo acoustic renditions of Pearl Jam’s “Elderly Woman Behind the Counter in a Small Town” and his solo tune “Far Behind” before calling out Irish guitarist Simon Good for Glen Hansard’s “Song of Good Hope” and Billy Idol for the Who’s “I’m One.” Up next was Pearl Jam bassist Jeff Ament, who joined Vedder for the group’s 1993 deep cut “Bee Girl.”

At this point, Vedder called for an electric guitar and began playing the opening of “Corduroy.” “I feel like I would need some friends to join me tonight,” he said, as shadowy figures appeared on a large curtain behind him. “I would need some really good friends. Do I got any extra friends back there? Some more friends?”

The curtain then dropped to reveal Pearl Jam with Abe Laboriel Jr. on drums. There was a giant question mark on his bass drum, seemingly confirming he was the answer to the burning drummer question. The opening lines of the song (“The waiting drove me mad”) seemed to suggest the waiting was over, and headlines began popping up across the internet that Laboriel was the new Pearl Jam drummer.

But some skeptical fans urged caution, especially when Vedder said, “Helping us on drums tonight, Mr. Abe Laboriel Jr.” Was it possible this was a red herring? Were “Eddie Vedder and Friends” simply Vedder, the remaining members of Pearl Jam, and one-night-only guest Laboriel? Did the question mark on his drum kit mean the real drummer remained a mystery?

In all likelihood, it seemed, the definitive answer was two days away when Pearl Jam closed out the festival. If Laboriel was still on drums at that point, surely he had the gig, right? Weren’t we promised by Gossard the mystery would be resolved at Ohana?

Well, Laboriel was indeed the drummer when Pearl Jam played their first proper, billed concert since Cameron left on the last night of Ohana. That was enough for a Wikipedia edit to go through that listed him as a member of the band. But the next day, Vedder posted a letter on Instagram that we need to run in full.

“Hello good humans,” he wrote. “Just a quick note on this Monday morning to thank each and everyone who came out to Ohana Fest this year. Three days of great groups, all of whom were further energized by the pumped up vibes from a perfect crowd. You all made our tenth year so special and we are GRATEFUL. Also wanted to extend our further appreciation to Abe Laboriel Jr. sitting in on drums for PJ. It was a joy to play with him, and he’s obviously extraordinary at his craft. The man works and PLAYS hard. It is no wonder he’s been with the ultimate Maestro Paul McCartney and his mind blowing band for decades. Thank you so much for this weekend Abe. And thank YOU Paul. We owe you big time.”

Let’s examine a few key lines here, starting with “also wanted to extend our further appreciation to Abe Laboriel Jr. sitting in on drums for PJ.” When a musician is described as “sitting in,” that generally means they are guesting. That’s not what you say when a hire a new full-time member. It’s essentially the opposite of what you say.

Now let’s talk about “thank you so much for this weekend Abe. And thank YOU Paul. We owe you big time.” This isn’t “thank you for joining Pearl Jam, Abe.” This isn’t “you are our new drummer.” This isn’t “thank you Paul McCartney for letting us steal your drummer away.” This is merely thanking Abe for “this weekend.”

What the fuck? Did Abe get cold feet about walking away from a Beatle? Can’t he make time for both jobs, especially since both acts have a huge amount of downtime every year?

More importantly, we’re really still in a state of suspense? Pearl Jam doesn’t even have any concerts on the schedule. There’s no telling when we’ll know what is going on, and nobody seems to be saying a word beyond the Vedder letter. That means the Kahokiss truthers on the forum will continue to hold out hope.

Eddie, Abe, everyone involved … this is unbearable. We need to know what’s happening. The waiting is driving us mad.

Mogwai and Iggy Pop in "Underground."

Nearly three decades ago, Mogwai sampled parts of an interview Iggy Pop gave to the CBC in 1977 for their Come On Die Young album opener “Punk Rock.” “Punk rock is a word used by dilettantes and … it’s a term that’s based on contempt,” he said seriously then, set to the group’s slow-building moody post-rock. Now the Iguana has collaborated with Mogwai on “Underground,” a funny new song with a video directed by Scott McPherson that features on their upcoming compilation, Happy Tears, out Jan. 8.

“I am a robot and I am unhappy,” he says, sounding as serious as he did on “Punk Rock” on the new song. “I have been designed to make money, but I want to make love.” Then the guitar comes in (sounding very “punk rock”) and Pop’s signature sense of humor juts out: “I don’t need to suck a cock,” he sings. “All the friends that I have got understand these words I spit/I don’t need to sing bullshit.” Unlike Mogwai’s early music, “Underground” has a hard beat on which Pop sings, “Underground, you’re my home” with the same affinity for underground music he had when talking about punk in ’77.

“I’ve always liked Mogwai,” Pop said in a statement. “The opening of the track reminded me of the crushing modern loneliness. The sung vocal, which was arranged by Matt Sweeney, felt like it was made for someone who is pissed off and doesn’t mind saying so.”

The song previews Happy Tears, which acknowledges Mogwai’s 30-year history. The compilation collects highlights and rarities from the influential post-rock band’s including a reworking of “New Paths to Helicon 1,” newly retitled “Brand New Paths to Helicon 1,” featuring the Budapest Art Orchestra. It will be available in double- and quadruple-LP configurations, as well as a double CD and digitally. The expanded editions include 13 additional tracks, including six previously unreleased songs. They’re also releasing a two-and-a-half–hour audio documentary, Happy Tears: The Story of Mogwai, to go along with it.

“I never thought we’d be making 11 records, because hardly any bands I liked ever did,” the band’s Stuart Braithwaite said in the audio doc. “We’re doing it being weirdo Scottish instrumental misery mongers. Like, yeah, that’s pretty wild.’”

Happy Tears track list:

Standard double-LP version

1. “Yes! I Am a Long Way From Home”2. “I’m Jim Morrison I’m Dead”3. “Hunted By a Freak”4. “Take Me Somewhere Nice”5. “Boltfor”6. “CODY”7. “Brand New Paths to Helicon 1”8. “How to Be a Werewolf”9. “Auto Rock”10. “Remurdered”11. “Ritchie Sacramento”12. “Lion Rumpus”13. “Underground” (feat. “Iggy Pop)

Quadruple LP and double-CD additional tracks

1. “Angels vs Aliens”2. “Die 1 Dislike!”3. “Ether” (with The KNDS Fairey Band – Live)4. “The Sun Smells Too Loud” (Holden remix)5. “If Not Destroyed: True”6. “Full Blast Michael”7. “Hingmy Malmsteen”8. “Dracula Family “9. “Harry Patter”10. “Ritchie Sacramento” (Other Two remix)11. “Nick Drake”12. “Owl Mince”13. “Mogwai Fear Satan” (Live)

Following through on plans first reported by Rolling Stone, a California judge ruled that the $12.9 million in damages awarded to a housekeeper attacked by a dog outside Chris Brown’s home was excessive and should be reduced by several million based on the evidence presented at trial. If the housekeeper rejects the reduced award, the judge said, Brown will be entitled to a new trial limited to damages.

According to documents obtained by Rolling Stone, Los Angeles County Judge Huey P. Cotton has given Avila the option to choose a a reduced $9.5 million damages award or retry her claims against Brown. “The court finds that the jury’s award to Maria Avila is excessive,” the judge’s order stated. “The court elects to issue a conditional order granting a new trial, as to Maria Avila only, on the issue of damages unless Plaintiff consents to a reduction of the jury’s damages to $9.5 million.”

Cotton kept a separate $855,000 award by the jury to Avila’s sister, Patricia Avila, who was working with Maria when the attack happened, intact. The amount was for past economic damages and emotional distress.

Avila’s lawyer, Nancy Doumanian, previously disputed the judge’s tentative finding that there was insufficient evidence Avila had suffered permanent nerve damage. Doumanian pointed to testimony from the surgeon who treated Avila on the night of the attack and continued caring for her through reconstructive procedures on her face and arm.

During the two-week trial last June, Avila took the witness stand and broke down crying as she recounted for jurors the Dec. 12, 2020, mauling at Brown’s home in the Tarzana neighborhood of the San Fernando Valley. Avila said the attack left her with severe injuries to her arm and face, extensive scarring, and post-traumatic stress disorder. In Tuesday’s decision, Cotton said Avila should be compensated for emotional distress and “persistent pain” from the attack, but that there was “insufficient evidence of extensive permanent nerve damage.”

Before trial, Brown admitted negligence under California’s dog-bite statute. He continued to dispute the extent of Avila’s injuries and claimed he had warned Avila and her sister — both Spanish speakers — not to go outside without asking him first because his dogs were not friendly. The women denied the conversation took place.

Cotton also rejected an argument by Brown’s lawyers that jurors were biased because Brown’s felony conviction for his 2009 domestic violence assault on his then-girlfriend, Rihanna, was mentioned. During the trial, jurors didn’t hear details of that incident, only that the conviction was on Brown’s record.

A lawyer for Avila did not immediately respond to a request for comment. A representative for Brown did not immediately respond to a request for comment.

Mike Smith attends BET's ONE SHOT screening on Aug. 22, 2016.

The North Carolina man who used artificial intelligence to create thousands of fake songs by invented artists, then unleashed an army of bot accounts to stream the tracks billions of times and siphon millions from royalty pools meant for legitimate artists, should face “significant punishment,” prosecutors say.

In a new letter filed Tuesday and obtained by Rolling Stone, Manhattan federal prosecutors urged a judge to sentence Michael Smith to at least 46 months behind bars for his admitted scheme. Smith’s defense is asking for no jail time, only probation. Federal probation officials are recommending 24 months in prison. Smith’s sentencing is set for Oct. 6 in Manhattan federal court.

In their letter, prosecutors said Smith became so adept at artificially inflating streams of his music on platforms including Apple Music, Spotify, Amazon Music, and YouTube Music that his share of subscription-funded royalty pools sometimes exceeded shares allotted to the industry’s biggest stars. In April 2023, for example, Taylor Swift’s entire catalog drew 9.3 million streams from YouTube Music family-plan subscribers, prosecutors said, while Smith’s catalog generated 80.9 million.

Prosecutors said Smith pocketed more than $8 million in unearned royalties overall, perpetrating his “massive fraud” for more than six years. They argued that a stiff sentence is necessary “to provide just punishment” and deter other white-collar criminals in the future.

“Imposing a substantial term of incarceration will send a clear message that defrauding social services programs, no matter who you are, will result in significant punishment,” Assistant U.S. Attorneys Nicholas W. Chiuchiolo and Kevin B. Mead wrote in their letter to the court. “If the public is watching this case, as the defendant claims, a lenient sentence will send precisely the wrong message: streaming fraud will not result in meaningful punishment.”

Smith accepted a deal from prosecutors in March, pleading guilty to one count of conspiracy to commit wire fraud, which carries a maximum sentence of five years in prison. He also agreed to pay $8,091,843.64 in forfeiture.

In defense filings last week, Smith and his lawyers said he was “profoundly sorry” for his conduct but that he “did not set out to commit a federal crime.”

“He believed his initial efforts to be lawful,” his lawyers Noell P. Tin and Justine Harris wrote to the judge. “Indeed, Mr. Smith consulted with a well-known music attorney with extensive experience in legal operations at music publishing companies. Although he ultimately ended up rationalizing conduct that he knew was wrong — false statements to distributors and increasingly deceptive conduct to avoid scrutiny — his conduct began at a time when the legal parameters were unsettled.”

Prosecutors disputed that in their Tuesday filing, arguing that Smith’s “own words and conduct reveal that he knew from the very beginning that his scheme was a form of fraud.” They said he knowingly carried out the fraud on a daily basis during the six years.

“Michael Smith generated thousands of fake songs using artificial intelligence and then streamed those fake songs billions of times,” U.S. Attorney Jay Clayton said in March. “Although the songs and listeners were fake, the millions of dollars Smith stole was real. Millions of dollars in royalties that Smith diverted from real, deserving artists and rights holders. Smith’s brazen scheme is over, as he stands convicted of a federal crime for his AI-assisted fraud.”