Month: June 2023

The long-simmering animosity between 50 Cent and Ja Rule peaked nearly 20 years ago, but that hasn’t stopped the former from stoking the embers from time to time. He got his latest opportunity this week thanks to Ja’s dramatic entrance ahead of his set at Nelly’s Not in Herre Festival in Toronto. After Ja was brought onto the stage on a stretcher accompanied by EMTs, 50 jumped on the chance to once again troll his longtime foe.

On his own Instagram, 50 shared a screenshot of a prior stretcher entrance by R&B singer Ginuwine from an old episode of BET’s 106 & Park, pairing it with a XXL headline about Ja’s entrance. In the caption, he wrote, “WTF. I ain’t gotta say shit, stupid n****s,” replacing the N-word with a ninja emoji — a popular replacement online for those in the know. You can check out 50’s post — and Ginuwine’s old performance — below.

Meanwhile, Ja Rule appeared to respond on Twitter, writing, “All this back and forth on the internet n**** we don’t tennis that… YOU GOTTA DO SOMETHING!!!” and insinuating that he lives in 50’s head “rent free.” In case there was any doubt about the addressee, he later retweeted a fan’s response which read, “50 Cent is obsessed with Ja from 1999. It’s like he’s mad cuz he never be part of the big Def Jam 99 Area, he went after every big Name from Jay-Z to Nas. And now he constantly try to Mock Ja rule and MurderInc. For Me the only reason why he can’t get over it, it’s FEAR.”

Considering where both ended up, I don’t know how seriously we can take that theory, but it is a little funny/sad that 50’s maintained a mostly one-sided 20-year grievance in which most observers would call him the winner. Ja even gets trolled by totally neutral parties, so it isn’t like it’s a fair fight at this point. But 50’s gonna 50, so the best move for Ja is maybe to just ignore him and keep plugging away.

James Harden‘s time with the Philadelphia 76ers has apparently come to an end. According to Adrian Wojnarowski of ESPN, Harden will make the surprising move of opting into the final year of his contract and bypass unrestricted free agency this summer. The catch: Wojnarowski reports that both Harden and the Sixers will work together on finding a new team, going as far as to say that the expectation is that he won’t return to Philadelphia.

The news was confirmed by Shams Charania of The Athletic.

As for potential suitors, Kyle Neubeck of PhillyVoice mentioned that the Los Angeles Clippers are interested in potentially figuring something out with Harden. That report ended up being confirmed, with Wojnarowski adding the New York Knicks as another potential team to watch. There’s no word on whether the Houston Rockets, which have long held an interest in bringing Harden back to the place where he was a league MVP, are among the teams involved here.

Harden joined the Sixers at the 2022 NBA trade deadline in a move with the Brooklyn Nets. The soon-to-be 34-year-old guard did not score at quite the rate that we’ve seen in the past last season, as he averaged 21 points per game, but led the NBA with 10.7 assists a night.

Lonnie Walker IV joined the Los Angeles Lakers last season as their biggest free agent signing, agreeing to a 1-year deal on the mid-level as part of Los Angeles’ quest to get younger and more athletic.

Walker started the season as one of the bright spots in the Lakers rotation, averaging 15.1 points and shooting 39.3 percent from three through the first 31 games of the season before being sidelined with a knee injury. During his time on the shelf, the Lakers made the blockbuster three-team deal to send Russell Westbrook and a first round pick to Utah and acquire D’Angelo Russell, Jarred Vanderbilt, and Malik Beasley. Once Walker was healthy again, he found his spot in the rotation was no longer as secure in a more crowded backcourt, with Darvin Ham trying different combinations down the stretch.

When the regular season ended, Walker had still posted one of the best seasons of his young career, averaging 11.4 points per game in his most efficient shooting season (a career-best 57 percent True Shooting percentage). That said, while his minutes weren’t always consistent, he tried to make the best of it, as Walker got to see what things led to his teammates getting on the floor.

“I think one of the best things of being with the Lakers, when I got injured and I kind of stopped playing, I kind of got to watch why everyone else was getting minutes,” Walker tells Dime. “I’m like, ‘What’s making you stay on the floor? Is it defensive? Is it rebounding? Is it cutting? Is it corner threes?’ I was trying to take certain aspects of the game from like D-Lo and AR and other players where I can see, okay, maybe that’s what I got to continue to improve on and work on.

“I’m a very transparent person to say the least,” he continues. “So as far as, you know, talk like Coach [Chris] Jent, or Phil Handy, or my father, I always ask after games, ‘What did you see? What can I improve on?’ And usually, by the end of the year, I kind of got a collection of things that I know that I can lock in on and make my strengths stronger and my weaknesses my strengths.”

Walker points to increasing his conditioning and strength among his focus points this summer, along with continuing to hone his scoring ability from all three levels. He wants to build on his most efficient shooting season by trying to reach the vaunted 50-40-90 club, and he knows what he has to do to get to that point.

“For me, for the most part, it’s just about locking in. I truly feel like I’m a three level scorer,” Walker says. “I can score in a plethora of different ways, especially when I get hot from the three, midrange, floater, so really just trying to be like a 180 type of player: 50-40-90. And then as far as understanding the game and the rhythm, I’m not just going in there to score, but playing within the flow of the game, the rhythm of the game, trying to win, and keeping it efficient.”

This season in L.A. allowed him to watch one of the game’s greats up close in LeBron James, which provided an invaluable opportunity to see how the very best go about their business, on and off the court. He credits James and Anthony Davis with giving the rest of the team the confidence to fight through a dismal start to the season, constantly noting that they had talent but just needed to be patient with putting it all together. Walker says things jelled quickly after the trade deadline, but credits the leadership of the stars with keeping the team level-headed even through a rough start.

On a personal level, Walker has learned to do the same. He credits his grandparents and high school sports psychologist, Dr. Rick Neff, with providing him with the perspective and tools to get through rough patches. Walker’s grandparents would always tell him “you’re human too,” reminding him it’s all part of the process of growing to make mistakes and to feel what you feel, while Neff showed him how to address those feelings and find ways to take care of himself, which he does through meditation and journaling. Finding that comfort in himself off the court has helped him keep his mind clear when he steps on the hardwood.

“It not only brought me peace as far as meditating and having a routine of just self-care and mental care, but it elevated my game,” Walker says. “I think me taking time out of my day to write in my journal, maybe write what I feel or express my thoughts, that helps out a lot, because you don’t have that burden or weight weighing on your shoulders. So it gives you — I have internal peace and internal happiness a lot, and I’m very grateful for it. And I think it’s from meditating and doing those things in that nature.

“And because of that, it makes you lock in on the game more,” he continues. “It makes you love the game more. It makes you fall in love with it more, or whatever you might love. It might not be basketball, might not be football, but I think the mental aspect is the hardest part of almost any job in his world. If you have that mental aspect locked in, you can almost do anything. So, I really hone in on just self-care and mental care and understanding like, this is a tough time, maybe I need to breathe, talk to someone. But that, man, it’s helped me out through a lot.”

In the postseason, Walker’s role stayed limited, averaging 6.2 points in 13.8 minutes per game, but he had a breakout moment in Game 4 against the Warriors, scoring 15 points in the fourth quarter off of the bench to carry the Lakers to a critical win. For Walker, that moment provided him with evidence that all the work he’d put in behind the scenes, even when minutes weren’t steady after his knee injury, had been worthwhile.

“I always talk about divine timing and you’re time’s going to come and things of that nature,” Walker says. “I just stayed on the court. My pops, he always said, man, just keep your head down and stay in the gym. So I stayed in the gym. After games, I was going to the facility if not shooting at the arena. If we have practice, I’m there early, we’re gonna shoot after practice sometimes as well. I’m gonna come back at night to shoot as well. So I just stayed in the gym. Fell in love with it, you know? That’s like my wife. That’s my end all, be all. So I think during that time, I truly fell in love with the game even more, just because I was putting so much effort and sacrifice into it. And I think that game in that Warriors series kind of showed that, you know, I was ready because I was locked in. I was willing to just put in the sacrifice put in the time and just fall in love with it.”

It also only fueled his desire to play in more games like that. The Lakers’ run to the Western Conference Finals was Walker’s first real taste of the postseason — as a rookie, the San Antonio Spurs made it to the first round, but he was not part of the rotation — and as he gets ready to go into free agency, he says getting back there is his main focus. Having felt what a deep playoff run is like, Walker says he’s most interested in finding a chance to play on a contender again this summer.

Coming off of last season, he’s more confident than ever that he belongs in that environment, while also learning valuable lessons about what else he needs to add to his game to see his role increase.

“I think most importantly, it kind of showed me that I can contribute at one of the highest levels as far as basketball,” Walker says. “It showed I was capable of doing, and I saw what I can do on a consistent basis, even in the beginning of the season and then I kinda was able to see it in the playoffs. So, I think playing with LeBron and playing with such great players and to be able to kind of showcase my own talents shows that I ain’t no slouch. I’m only 24, so I think the best part about it is just I’m only gonna continue to get better and better. And I’m excited for what’s yet to become.”

John Mulaney stopped by the latest episode of Hot Ones where the comedian opened up about his days as a writer on Saturday Night Live.

Host Sean Evans asked Mulaney, who currently guest stars on Season 2 of The Bear, what was the worst reaction he’s ever received to one of his pitches. Despite being told that he didn’t have to name names, the comedian said one anyway: Josh Brolin.

Via BroBible:

You said name names, right? Josh Brolin said, ‘Well, this isn’t funny!’ I was writing something and I started to walk him through it. And he went, ‘Yeah, no, but that… that’s not funny!’ And it was so matter of fact, I wouldn’t even call it the worst. I found it very refreshing. It was early enough on Tuesday night that I didn’t proceed with it.

However, Mulaney revealed that didn’t really answer Evans’ question because the Brolin incident was “such a gentlemanly exchange of ideas.” So, Mulaney went ahead and blurted out another name: Mick Jagger.

“I remember we had a joke when Mick Jagger hosted that was: ‘Hey everyone, I’m Mick Jagger, so mothers lock up your daughters, or should I say, daughters lock up your mothers,’” Mulaney revealed. “And he listened and he went, ‘No, I don’t like that.’ And I actually remember, I made Seth Meyers read that one.”

You can watch Mulaney on Hot Ones below:

(Via BroBible)

Perhaps you saw the news today about aspartame possibly being a carcinogen? You may have even wondered, “Gee, I wonder what products contain aspartame?!” We sure did! So we did some digging around and here’s what we found in terms of the products most likely to be part of your daily life that contain this stuff — most of which are products marketed as “diet” and/or “sugar-free.”

— Diet Coke: Yep, the former president’s “garbage” drink of choice is probably the most widely consumed product containing aspartame.

— Many other diet drinks and drink mixes: In addition to some other diet soft drinks, some Snapple products are known to contain aspartame, and some Crystal Lite drink mixes are known to contain it. Be sure to check the packaging of these sorts of products.

— Artificial sweeteners like Equal and Nutrasweet: Splenda and Stevia are far superior anyway.

— Many sugar-free chewing gums: Again, be sure to read the packaging on your favs next time you’re in the grocery store. Don’t tell Adele.

— Many sugar-free ice creams and desserts: Sugar-free Jell-O is probably the most notable here.

Now, it should be noted that this announcement will probably be met with some skepticism. Reports the Guardian:

The move is likely to prove controversial. The IARC has faced criticism for causing alarm about hard-to-avoid substances or situations. It previously put working overnight and consuming red meat into its probably cancer-causing class, and listed using mobile phones as possibly cancer-causing.

Maybe all we can do is live our lives and hope for the best!

St. Louis rapper Sexyy Redd broke through into the mainstream world thanks to her breakout hit “Pound Town.” The Tay Keith-produced record quickly went viral thanks to its raunchy and blunt that fans couldn’t help but recite and/or stand in shock at what they heard. Fellow musicians like Summer Walker have covered the song while others like GloRilla have shared their love for the record. Sexyy Red would go on to prove that she’s far from a one-hit wonder with the release of her debut project Hood Hottest Princess.

That record was released on through Open Shift Distribution and Gamma Records. Open Shift Distribution is also home to rappers like Real Boston Richey and Lil Double 0 while Gamma Records is an independent record label based in Chicago that was founded by former Apple Music executive Larry Jackson and connected to artists like Snoop Dogg, Usher, and Rick Ross.

Sexyy Red’s Hood Hottest Princess arrived 11 songs and features from Nicki Minaj, Tay Keith, Sukihana, Juicy J, and ATL Jacob. The rapper recently made headlines for an impromptu performance of “Pound Town” at the BET Awards. She delivered the performance from her seat in the crowd and was joined by the her fellow audience members, though gospel singer Dr. Bobby Jones was a bit shocked with the song’s lyrics. Sexyy Redd caught wind of Jones’ reaction and replied in a tweet, writing, “Wait I’m sorry Dr Bobby we did that on a Sunday too [crying emojis].”

Hood Hottest Princess is out now via Open Shift/Gamma. Find out more information here.

Travis Scott has so far faced a lot of legal action following the fatal crowd crush at his Astroworld festival in 2021: In early 2022, over 300 lawsuits were combined into a single case. Now, though, it appears the rapper could be facing criminal charges.

Reuters reports that today (June 29), a grand jury in Houston is meeting about bringing criminal charges against Scott. Kent Schaffer, Scott’s lawyer, confirmed the news and noted it was unclear if the jury’s decision would arrive today. Schaffer attested, though, “Nothing Travis did or failed to do fits within the Texas criminal code.”

As Reuters notes, “Prosecutors will present evidence to grand jurors and ask them whether there is probable cause to support criminal charges. The proceeding does not necessarily mean any charges will be filed.”

The impact of the crowd crush was wide-ranging: A court filing from last year revealed that there were nearly 5,000 claims of injuries stemming from the incident. Overall, the crowd crush resulted in 10 documented deaths. One woman trapped in the crowd crush also claimed it caused her to have a miscarriage.

Meanwhile, Scott has been busy teasing the release of his upcoming album, Utopia. It’s not yet clear when the project is set to be unveiled, but it looks like something might be coming on July 21.

Back before The Mandalorian became a smash hit for Disney+ (until its troubled Season 3), writer/director James Mangold was reportedly developing a standalone Boba Fett movie. At the time, Lucasfilm was looking to deliver a slate of standalone Star Wars films, which had so far proven successful with Rogue One. However, when Solo bombed those plans were scrapped along with Mangold’s Boba Fett movie, which he’s never fully talked about. Until now.

During a new interview with the Happy Sad Confused podcast, Mangold finally opened up about his Boba Fett movie that never came to be, and why it would not have been the best place for Baby Yoda (or, fine, Grogu) who became the immediate star of The Mandalorian.

Via Entertainment Weekly:

“At the point I was doing it, I was probably scaring the s— out of everyone, but I was probably making much more of a borderline rated R, single-planet, spaghetti western,” he said. “The world would never be able to embrace Baby Yoda if I had made that, because he didn’t really belong in the world I was kind of envisioning.”

While the reins to Boba Fett and the rest of the Mandalorians were handed over to Jon Favreau, Mangold still got to play in the Lucasfilm sandbox. Not only did he get to be the only non-Steven Spielberg director to tackle an Indiana Jones movie, Mangold is currently set to dive back into Star Wars with the new film Dawn of the Jedi, which will reportedly explore the origins of the Force in a time period set 25,000 years before The Phantom Menace.

(Via Entertainment Weekly)

Gus Dapperton started sprinting. It was the fall of 2020, at the tail end of an all-night, chaotic adventure that would only happen in New York City, when he got off the train in Brooklyn and was met by the beaming sun beginning to rise over the skyscrapers. He didn’t know why his instinct was to run upon seeing the sun, but in doing so, his body cued his mind to explore what he had been carrying inside.

“Sunrise, tearing down the old / In a moment’s time, all is set in stone / Sometimes I like to run the road / Though the light moves fast, I still race it home,” Dapperton sings on the acoustic-based, lilting “Wet Cement,” which he penned in the summer of 2021, becoming the first song for Henge, his major-label debut album out via Warner Records on July 7.

“I wrote down song names ‘Sunset’ to be the intro and ‘Sunrise’ to be the outro before I even had ideas for the songs,” Dapperton tells Uproxx via phone in late June. “The lyrics are loose enough to paste your own experiences in and relate, but from my point of view, there’s a really strong concept of this person who’s lost in this New York City underworld. As the sun sets, they get trapped in this underworld and have to make it home before the sun comes up.”

Dapperton’s muse became the annual phenomenon known as “Manhattanhenge,” when the sunset perfectly aligns with the street grid of New York, New York.

“Gus is the only person that I’ve ever walked into a session with and had basically a PowerPoint presentation of the concept of Henge — the album, the vision, the arc, and the story,” says Ian Fitchuk, Dapperton’s Henge co-producer and two-time Grammy winner for his production on Kacey Musgraves’ Golden Hour. “That was amazingly inspiring for me to just want to find a way to keep that momentum going. I wish more people would walk in the studio, like, ‘Here’s the world I’m creating; you want to be a part of it?’”

It took about a full year for Dapperton to gain PowerPoint-level clarity. He was trapped in early 2020, as everybody was suffering through the indefinite aura and unpredictability of the initial COVID-19 pandemic lockdown. “Supalonely,” his double-platinum earworm with Benee, was going viral, charting on Billboard‘s Hot 100, Radio Songs, and Streaming Songs charts, but Dapperton felt abandoned by who he thought he was and the tightly held beliefs atop which he’d built his identity. He questioned everything.

“I always believed that quality would prevail and good art would prevail. At that time, I didn’t think that it mattered,” Dapperton says.

Throughout his Warwick, New York adolescence, Dapperton was painfully introverted. His parents set up a camera in front of the television when Dapperton and his sister were young children, and they would watch themselves dance, allowing him to fall in love with music within the comforts of his home. Luckily, he could also discover GarageBand without having to venture outside of his comfort zone. He wasn’t one to attend parties or go out of his way to hang out with anyone, but an eighth-grade class project forced him to collaborate with his peers. (They won, and their song was played on a local radio station.)

“I was just making a song today, and that’s when I feel the most happy — just by myself making a song,” Dapperton says. “Because of my career, I’ve had to be extroverted and sort of train myself. I get this nervous, butterfly-like adrenaline rush from socializing with people. That was something I worked on for so long. When COVID happened, it erased all the work I had done with that part of me.”

Orca, Dapperton’s September 2020 sophomore album, helped him relearn that part of himself and reinforced that he was never wrong for believing his music mattered.

“My sister, my family, and my partner — my sister particularly — had listened to those songs a lot, and [my sister] told me that they were keeping her sane and whatnot,” Dapperton says. “After I released the first song, ‘First Aid,’ I got a lot of people reaching out to me with things that they’d never said before about my music. In the past, people were just really excited by the sound and just me. With these particular songs, people were interested with the lyrics and how it was making them feel. You know, a lot of people saying that it was saving them in this time.”

Dapperton took that reassurance and ran with it. Orca, in his eyes, orbited around “mental health” themes, but the subject matter remained vague enough to be universal. Henge is even more universally resonant because it finds Dapperton completely unafraid to explore and subsequently expose his vulnerable nuances.

“Everything on the album [represents] the battle between seeking out chaos, freedom, and change, and then also having that part of you that wants safety, routine, and monotony,” Dapperton says.

The frenetic, synth-fueled “Midnight Train” captures the chaotic confrontation of daunting dichotomy (“Midnight train / Fire and ice in my veins”), while “Spent On You” more tenderly reveals Dapperton’s longing for someone to call home (“I’d dig my own grave if it meant we could make it right”).

“I love that [Henge] is a cohesive thought,” Fitchuk says. “‘Sunrise,’ ‘Sunset,’ when he described to me the feeling of walking through the city and the images that he had in his mind, creating it, it’s not just like, ‘Here’s a pile of random songs that I think are cool and hopefully people will like them.’ It’s actually much like how you would watch a film or read a book. There’s a contour and a flow to it.”

Fitchuk continues, “Because of the way that music is being consumed, to me at least, it seems it’s a little bit more rare to be able to pull that off and have an album that you really feel like, from top to bottom, keeps you engaged and tells a story.”

Dapperton holds his fans’ attention by appealing to multiple senses. Each of his projects has featured him with a different hair color and style on the cover, an intentional through line that Henge continues.

He started with a whiteboard, pinning photos and styling a moodboard, with the sonic palette as the engine. Eighties synths are scattered across Henge‘s 11 tracks, which is reflected by Dapperton’s ’80s-style suits worn during this era. “Sunset,” the atmospheric, immersive Henge opener, plays in swelling synths that drop into a shuffle beat-like guitar and swing beat, resembling jazz from the 1920s prohibition era.

“Those two eras, the sounds were dictating the aesthetic in my head. The hair I’ve been doing is almost like a flapper style. The makeup is more eighties, I think,” Dapperton says. “I never was a good singer or a good guitar player. I just had something that I wanted to say, and so I would use all the tools around me to do it. I don’t really consider myself a musician as much as a creative director, or like a master of none — doing all the things, not being an expert at any of them but having a direction and an opinion on where to go with all of them.”

Dapperton’s acute self-awareness was refreshing for Fitchuk. It was a seamless entry point to evolve Dapperton’s sound and reposition him within the pop prism without compromising his artistic integrity.

Dapperton grew up on traditional pop stars like Britney Spears, Justin Timberlake, and The Beatles, while also loving old-school hip-hop fixtures like J Dilla, Madlib, MF Doom, and The Notorious B.I.G. In high school, he especially keyed in on the all-encompassing approach of Odd Future and Tyler The Creator. What they all had in common was a mastery of songwriting and a reputation for producing albums with “no filler tracks.”

“I think everyone, despite how cool they are or whatever, has this subconscious desire for melodies to be catchy, simple, and good,” Dapperton says. “There are a lot of things I don’t like about pop music, but I think there is an art to a really good song, and at the end of the day, I’m trying to make songs that are powerful.”

“Phases,” a poignant reflection of a relationship gone wrong, was the first song Dapperton played for Fitchuk when presenting him his Henges PowerPoint. From there, Dapperton and Fitchuk wrote and recorded intermittently across one year. They traveled to Los Angeles for a day or two. Fitchuk flew to New York to spend two weeks working from Dapperton’s apartment. Dapperton returned the favor by going to Nashville, where Fitchuk resides, to finish “Homebody,” a reclamation of Dapperton’s introverted tendencies with the impossibly melodic hook, “Homebody, I’m a / Nobody, but you’re / Somebody to me.”

Dapperton has fond childhood memories of chanting Taylor Swift songs with his family in the car. His dad cranked the volume — “Love Story” was a staple — and inhibition went out the window. When asked which Henge song possesses the most potential to be belted in the car, Dapperton chooses “Homebody.”

Fitchuk was drawn to another track while stuck in the car after testing positive for COVID-19 on the day they completed “Horizons,” an ascending, piano-driven anthem about shedding past inflictions in favor of boundless hope.

“I just felt myself dying, sitting at the piano as the day went on. The next day, I’m finding a rental car and driving 16 hours back to Nashville with COVID. I’m jamming that song over and over and over, hoping that it makes the project,” Fitchuk says. “But in that moment, all that you can ask for is that it excites you and inspires you.”

Different people claiming different tracks as a favorite is, arguably, the truest mark of a great album. Dapperton will witness that play out in real time across his headlining Henge Tour, a long-awaited embrace. The US leg is scheduled to begin on September 14 and wrap on October 21 before the European leg extends from October 31 to November 8.

“My holistic life mantras all come into my music a lot,” Dapperton says. “You have to experience pain in order to experience pleasure, and the inconvenience of expressing yourself — the reward is greater than the risk. I think all my music just revolves around feeling pain and then making the songs as therapy and a release of tension.”

Dapperton didn’t back down when his world came crashing down in 2020, peering around scary internal corners and marinating in an uncomfortable underworld to uncover the value in traversing a rubbled path if it leads to something beautiful.

“All we ever had on paper / Was a wild imagination / All we ever had to wager / Was my wild human nature,” Dapperton sings on “Horizons.”

With Henge, all bets paid off.

Gus Dapperton is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Back in April, Alicia Keys announced the Keys To The Summer Tour, a month-long run of concerts across North America from late June to early August. As Keys comes closer to hitting your area, what does her setlist look like?

The tour kicked off at FLA Live Arena in Fort Lauderdale, Florida last night (June 28), so we now have one setlist to work off of. It was a long show (per setlist.fm), with a 33-song main set and a one-song encore. Of course, hits like “Girl On Fire” and Jay-Z’s “Empire State Of Mind” were included in the proceedings.

Check out the setlist for Keys’ Fort Lauderdale performance below.

1. “Fallin’”
2. “New Day”
3. “Love Looks Better”
4. “Limitedless”
5. “You Don’t Know My Name”
6. “Teenage Love Affair”
7. “Karma”
8. “Try Sleeping With a Broken Heart”
9. “Un-Thinkable (I’m Ready)”
10. “Underdog”
11. “Blended Family (What You Do for Love)”
12. “Holy War”
13. “Come for Me”
14. “My Boo” (Usher cover)
15. “City of Gods (Part II)”
16. “How Come U Don’t Call Me Anymore” (Prince cover)
17. “Like You’ll Never See Me Again”
18. “Teenage Love Affair”
19. “The Thing About Love”
20. “A Woman’s Worth”
21. “Superwoman”
22. “Butterflyz”
23. “That’s How Strong My Love Is”
24. “Diary”
25. “Like You’ll Never See Me Again”
26. “I Need You”
27. “The Gospel”
28. “Where Do We Go From Here”
29. “Girl on Fire”
30. “Empire State of Mind” (Jay‐Z cover)
31. “Sweet Dreams (Are Made Of This)” (Eurythmics cover)
32. “In Common”
33. “No One”
34. “If I Ain’t Got You” (encore)