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Offline BrownSugar  
#1 Posted : 05 August 2026 03:48:58(UTC)
BrownSugar
Rank: Advanced Member

Groups: Moderators, Registered
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Artist: Billy
Title: BILAL
Genre(s): R&B, Pop, Trip Hop, Hip Hop, Alternative R&B
Length: 58:35
Writers: B.Khan, Kidd Amaze, BLOOM, S.Hollywood
Producers: Billy, BLOOM, Havoc the Saint, Deneil
Format(s): CD, Vinyl, Cassette, Digital Download, Streaming
Label: Pesky
Singles Released: Attention (#1), Gemini (#1), Fuck With You (#1), Safe Passage (#1), XXXHIBITION (#1), The Entertainer (#1), Model Citizen (#1), Find Myself or Whatever (#1)



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BILAL is the debut solo studio album by British-Pakistani singer-songwriter, Billy. It is set to be released on August 15, 2026 after multiple postponements through Pesky Records, which Khan co-owns alongside his fellow Weekend band members. Work on the album began as far back as 2019 with sessions running concurrently alongside the promotion of Weekend's third studio album, "Welcome to the Real World". The project was originally titled "Tarantula", with Khan's debut solo single "Attention" intended as its lead single. Two other singles in the form of "Gemini" and "Fuck With You" followed. The album was overhauled and majorly reworked on from 2022, receiving the new title of "BILAL", Khan's given birthname. The dual release of "Safe Passage" and "XXXHIBITION" relaunched the rebooted project in the summer of 2022. Success for Khan continued with the acclaimed released of "The Entertainer" and "Model Citizen", the latter of which features the talents of Kara Romero and Kidd Amaze.

After years of delays due to personal and creative issues, the project was ultimately reignited in 2026 with Khan's surprise return. The new leading single "Find Myself or Whatever" received critical acclaim and commercial success, debuting at #1 on Chart Heat Hot 20. So far, all singles from "BILAL" have reached the #1 position on Chart Heat Singles. Combining his solo releases and guest appearances on other tracks, Khan has amassed a total of 14 chart-topping singles, thus making him the solo male artist with the second most #1s in Chart Heat history.

Primarily an R&B and alternative R&B record, it also incorporates elements of pop, hip hop, trip hop, Britpop, electropop, funk, nu-disco, and garage. For the creation of the record's soundscape, Khan took inspiration from his biggest musical loves in his youth, fusing the sounds of 90s and 00s Britain which shaped his childhood with the sonics of the American R&B and hip hop artists he idolised. Billy self-produced several tracks on the album while also serving as executive producer. Khan's younger brother Deneil, BLOOM, and Havoc the Saint also handled production across the record. The release of BILAL will mark the first ever solo record from a member of Weekend, coming 15 years after their formation.



BACKGROUND

Khan initially rose to fame as a member of pop boy band Weekend, formed by former-G2L member Lyrica Ocha in 2011. The group quickly rose to prominence in 2012 following the release of their debut single, "Everything About You". The band's popularity and commercial success rapidly grew from strength to strength in 2012 with further singles and the release of their debut album, "Fired Up", with the media dubbing the era as "Weekendmania". A global phenomenon, Weekend were highly publicised figures, hot topics and a much sought after musical act. The band's fame and success continued to grow over the years, taking control of their own brand and careers by creating their own record label, Five Pesky Kids. Due to his "bad boy" image, Billy often found himself at the centre of media controversies and highly sensationalised pop culture moments as an individual figure. Despite Oscar Ward initially being the band's lead singer, Khan's "R&B voice" in an otherwise rock-pop group, him being the band's only person of colour, and his headline-grabbing public persona aided Billy in carving out a fanbase of his own.

Billy's first ever release outside of Weekend came in 2012 when acclaimed DJ and producer mISTER_b sought Khan out and asked him to become the featured vocalist on the track "The Energy". Only in Weekend's debut era, Khan had no desire of launching a solo career at the time but accepted the offer as a "one-off". The single became an unexpected success, debuting atop Chart Heat, making Billy the first Weekend member to achieve a #1 outside the group. Since the success of this release, the speculation, anticipation and demand for a solo career among fans and the press began. Throughout the rest of the 2010's Khan sporadically appeared as a featured artists on other tracks such as; "Take Aim" with Deneil, "Something for the Fire" with Andrea, "Call On Me" with Ellie-Grace Summers, and "Bad Behavior [The Bad Boy Refix]" with Suzie, all of which became #1 singles.

In 2019, after years of collaborations and speculation, Billy officially began writing and recording for what would go on to become his debut solo album. Despite the announcement, Khan has continuously made it clear that he has no desire to part ways with Weekend and remains an active member to this day. His successful solo career has been likened to that of Nadia Berry, who also carved out a fruitful solo discography without parting ways from her respective girl group, GirlSpice.



RECORDING & DEVELOPMENT

Work on the album officially began in July 2019. Initial recording sessions saw Khan collaborate with numerous writers and producers, including BLOOM and long-term Weekend collaborator, Sara Hollywood. Khan initially entered the project envisioning a "big" record with multiple collaborators, high profile promotional techniques and to make a large statement to launch his first solo endeavour. An initial version of the album was completed in 2021 but Khan believed that despite the final product sounding "really good", it came across as "faceless" and he confessed that the curating of the record became a "box ticking exercise" rather than a true "passion project". The COVID-19 pandemic also interfered with the album's earlier sessions and allowed Khan time to reflect on the material and what he wanted for the record.

From 2022 onward, Billy began working on what would become today's incarnation of "BILAL", swapping out his desire for radio hits in favour of much more personal, revealing, reflective, and socially poignant material. The rebooted project was revitalised with the dual release of "Safe Passage" and "XXXHIBITION". The former received acclaim for showcasing Khan's sensitive side; emoting and revealing personal struggles as opposed to his usual "cheeky" bravado which he adopts for the public. These new releases focused on an R&B and urban contemporary soundscape, the direction in which "BILAL" would take, leaving behind the poppier, electronic sounds of past releases, "Attention" and "Fuck With You".

The record has been subject of many delays, with Khan repeatedly refining the material and meticulously polishing and curating the final product. Speaking on the frequent postponing, Khan said; "I get it, it's a pain in the arse and trust me, nobody is as frustrated as I am. You only get one shot at a debut album and first impressions matter. This is my first statement as a solo artist. My name is going to be attached to this album for life. I want it to be the perfect representation of me and who I am as a musician. I want it to say exactly what I want and sound exactly how I want. It'll be worth the wait, I promise."

"BILAL" was officially set for a release in 2024 following the success of the singles "The Entertainer" and "Model Citizen", the former winning the prestigious "Song of the Year" award at the 2024 Universal Music Awards. Khan also embarked on a successful, sold out UK tour in promotion for the forthcoming record but radio silence soon fell on the project with Billy returning his attention to writing, recording and performing with Weekend once more.

In the interim, Billy had quietly been suffering from marital issues behind the scenes and had halted the project in order to dedicate more time to his personal life. Khan officially separated from Jerry Holmes in 2025 and scrapped a lot of the material he had initially earmarked for the album, claiming that they "no longer represent" where he currently is in life while simply branding other songs as "tainted". Khan successfully rebooted the project in June 2026, surprise releasing the brand new single "Find Myself or Whatever" to acclaim. The follow month, Billy began to tease the long-awaited debut album through lyrical teasers and new promotional photographs. On July 20, 2026, "Bilal" was made available to pre-save and pre-order alongside the reveal of the official cover art. Khan formally announced the album's track listing on August 3, 2026. It retains all of the album's previously released singles alongside newly recorded material for its 2026 incarnation.



MUSIC & LYRICS

A "deeply personal" project, "BILAL" both musically and lyrically draws on Khan's biggest inspirations and life experiences, hence the reasoning for self-titling the project. Primarily an R&B and alternative R&B record, it also incorporates elements of pop, hip hop, trip hop, Britpop, electropop, funk, nu-disco, and garage. The album delves into multiple different moods and textures, mixing a variety of styles and subject matters from "sultry, sexy slow jams" to "tearjerking, open wound confessionals". Despite the varying genre influences, "BILAL" remains a cohesive body of work due to Khan's personal song-writing style and tapping into all aspects of his personality that the public know and love from his hyper-sexual image to his outspoken political stances. Early reviews of the album agree that it is "quintessentially Billy" and that it "encompasses a firecracker of a person and life in one fell swoop".

Sonically, the album fuses elements of both British and American R&B which he grew up around. Billy has often cited Janet Jackson and Aaliyah as inspirations, confessing his love and admiration for them on several occasions. The tracks "Safe Passage" and "Gemini" have been described by Billy himself as "love letters to the artistry of Aaliyah and Brandy". Multiple tracks stray away from American inspired sonics and see Khan fully embrace his British nationality. Opening track "The Entertainer" features Billy delivering his lines in a London rap-like cadence, putting heavy infliction on his Cockney accent. "Billy's Big Bounce" features a "dirty London nightlife bassline" while "East End Island" nods towards Britpop which soundtracked Khan's upbringing in 1990's London.

Other tracks have been branded as a "trademark fusion" of Billy's artistry and his inspirations. In keeping with the ode towards old school R&B, the track "Good For Me" samples "Freak Like Me" by Adina Howard while conversely introducing "swagger filled bars" delivered in a nonchalant, cocky Cockney cadence. Meanwhile, "Dr Pepper" has been described as an "electro and trap-infused ode to a love that never was", with an "emotional half-spoken delivery" akin to acts like The Streets and Kate Nash.

Lyrically, "Bilal" explores multiple different themes from playful to serious including; growing up as a British-Pakistani Muslim, unrequited love, mental health struggles, abandonment issues, racism, politics, bisexuality, sexual intercourse, infidelity, class systems, violence, and relationships. Khan has stated that all of the tracks on "BILAL" come from a place of truth, either reflecting his own beliefs and lived experiences, or being based on events he has witnessed.



SINGLES

So far, eight singles have been released from "BILAL" with the first three only appearing on the deluxe version of the album. All of the singles that have been released thus far have charted at #1 on Chart Heat Singles. Billy purposely decided not to release any songs with featured artists for the majority of the campaign up until "Model Citizen", not wanting to rely on anyone else's star power and make a name for himself as a viable act. Khan also spaced out the releases of the singles, not just in part because of the album delays, but due to his belief that each song should "have its own moment in the sun" before the full project drops.

"Attention" was released as Billy's debut solo single on February 17, 2020. It was initially intended as the lead single of the project but has since been demoted to bonus track status. An instant success, the "electro-R&B" song debuted atop Chart Heat Singles and received critical acclaim with many critics calling it the "perfect" launch for Khan as a solo entity, with fun and coquettish lyrics that reflect his celebrity image.

"Gemini" was the second single to be lifted from the album. It was officially released on August 5, 2020. "Gemini" is a "slow jam" R&B track with very delicate and subtle electronic flavours underlying the smooth, throwback beats. The song was highlighted for showing a more subdued side to Billy's vocals as well as showcasing his often underutilised lower register. The release was lauded for tapping into his love for R&B. It debuted atop Chart Heat Singles.

"Fuck With You" was released as Billy's third single on May 10, 2021. A clean radio edit titled "Mess With You" was also simultaneously released for airplay. "Fuck With You" is an up-tempo disco and house track with underlying smatterings of R&B and hip-hop woven throughout. It features Billy's signature vocal belts and runs. Many critics praised his performance on the track and commended Billy for his unexpected take on the disco genre. "Fuck With You" entered at #1 on Chart Heat Singles.

"Safe Passage" was released simultaneously with "XXXHIBITION" as the fourth and fifth singles from the album on April 11, 2022. "Safe Passage" is a down-tempo R&B affair, containing sparse and soft beats, silky vocal deliveries, and a lush piano arrangement. It seen Billy open up about his fears and insecurities in a brutally honest manner. The single debuted at #2 on Chart Heat Singles, blocked from the top spot by none other than "XXXHIBITION". "Safe Passage" reached the #1 position the following week.

"XXXHIBITION" was released simultaneously with "Safe Passage" as the fourth and fifth singles from the album, as well as the rebooted leads for the "BILAL" campaign on April 11, 2022. "XXXHIBITION" is a up-tempo R&B affair with elements of hip-hop and crunk underlying and interspersing throughout the track. Lyrically, it explores the setting of Billy engaging in sexual intercourse with another male partner. The track was the centre of a lot of controversy due to the insinuation of unprotected sex as well as the artwork featuring a shot of Khan's naked groin area while he covers his genitals with one hand. "XXXHIBITION" debuted at #1 on Chart Heat Singles.

"The Entertainer" was released as the album's sixth single on July 7, 2023. Sonically, "The Entertainer" is a hip-hop and R&B song with elements of trip-hop and electropop woven throughout the track. It has been described as Billy's "darkest" sounding release yet. "The Entertainer" is braggadocious and seemingly a response to the treatment he has received from others throughout his time in the music industry. He alludes to themes such as racism and classism, referring to several negative stereotypes associated with people from poverty-stricken areas and the South Asian community within London. Khan's rap-like delivery was heavily praised by critics. It debuted at #1 on Chart Heat Singles and won "Song of the Year" at the 2024 Universal Music Awards.

"Model Citizen" was released as the album's seventh single on March 6, 2024. It features guest appearances from Kara Romero and Kidd Amaze. "Model Citizen" is a politically charged trip hop and rap song which references both Khan's lived experiences growing up in Hackney throughout the 1990's and 2000's, while simultaneously reflecting upon current issues across the globe today. The track debuted at #1 on Chart Heat Singles and has been lauded for its brutally honest social commentary.

"Find Myself or Whatever" was released as the album's eighth single on June 11, 2026 after a two year absence from the music scene. Serving as the new lead single from the rebooted project, its release marked the first entirely solo track from Khan since 2023. Addressing the weighty topic of his separation and divorce from his husband of 10 years, "Find Myself or Whatever" was lauded for its confessional and self-deprecating content alongside it's "left-field" and "brooding" production. The track debuted at #1 on Chart Heat Singles, giving Billy his eighth #1 single as a leading act and 14th overall.



TRACK LISTING

The Entertainer
(B.Khan)
Billy's Big Bounce
(B.Khan)
Attention
(B.Khan, C.Flores, S.Hollywood)
Fuck With You
(B.Khan)
Good For Me
(B.Khan)
XXXHIBITION
(B.Khan)
Gemini
(B.Khan)
Safe Passage
(B.Khan)
East End Island
(B.Khan)
Model Citizen feat. Kara Romero & Kidd Amaze
(B.Khan, T.Cousins)
Kiss The Rain feat. Keshia Love
(B.Khan, S.Hollywood)
Dr Pepper
(B.Khan)
Sick
(B.Khan)
Find Myself or Whatever
(B.Khan)
Love The Boy
(B.Khan)


UserPostedImage

Edited by user 16 August 2026 12:54:34(UTC)  | Reason: Not specified


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 4 users thanked BrownSugar for this useful post.
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Offline BrownSugar  
#2 Posted : 05 August 2026 04:25:09(UTC)
BrownSugar
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Artist: Billy
Title: The Entertainer
Genre(s): Hip-Hop, R&B, Electropop
Length: 4:33
Writer(s): B.Khan
Producer(s): Deneil
Label: Pesky
From The Album: Bilal



INFORMATION

The Entertainer is a song by British singer-songwriter Bilal Khan, known mononymously as Billy, released as the sixth single and opening track on his debut studio album, "BILAL". After being teased throughout the spring, the track was officially released on July 7th, 2023 through Five Pesky Kids Records. An early version of the track was written and recorded as far back as 2019 before being overhauled and reworked during studio sessions in early 2023. "The Entertainer" follows on from the dual single release of "Safe Passage" and "XXXHIBITION", both of which went on to become #1 singles in their own rights with the latter now standing as Khan's biggest selling single to date. The song has been dubbed by Billy as his "most personal to date". The hip-hop inspired track garnered media attention upon release due to the song's gritty nature and Khan's decision to rap on the verses, drawing comparisons to the work of younger brother Deneil, who coincidentally produced the song.



MUSIC & LYRICS

Lyrically, "The Entertainer" is braggadocious and seemingly a response to the treatment he has received from others throughout his time in the music industry. He alludes to themes such as racism and classism, referring to several negative stereotypes associated with people from poverty-stricken areas and the South Asian community within London. "The Entertainer" sees Billy take charge of his own narrative; dismissing accusations, playing up to certain parts of his persona and relaying all of his achievements and ambitions in the face of adversity. The chorus repeatedly asks the listeners; "Are you entertained yet?
"
It could be said that Khan plays a caricature, placing himself in the role of an "entertainer", simply letting critics and audiences talk and spectate while he enjoys the theatrics, seemingly unaffected. He makes unapologetic nods towards his hyper sexuality; "I'm in the booth with my cock out/Regular jester while I'm polishing my crown", as well as his previous assault accusations; "You know my type, oh so prone to violence".

Sonically, "The Entertainer" is a hip-hop and R&B song with elements of trip-hop and electropop woven throughout the track. It has been described as Billy's "darkest" sounding release yet. Opening with unnerving, siren-like synths, a "swaggering" hip-hop beat with booming drums soon kicks in as Billy begins to deliver his lines. The American inspired hip-hop sounds marrying with Billy's thick London accent provides a unique sonic experience. Production of the song builds throughout, growing more "intense" in sound with distorted vocal effects, sharp strings and glass-shattering sound effects all coming into play as the song reaches its crescendo, Khan going from a more subdued performance on earlier chorus, to belting out high notes and ad-libs through the latter parts. Khan's rapping has drawn praise in the past with his core fanbase knowing it as a "secret" skill of his, with the public experiencing it officially on the "Bad Boy Refix" of Suzie's "Bad Behavior" in 2021. His rap performance on "The Entertainer" has received acclaim, being compared favourably to Deneil, and noted for how confident and effortless it all comes across.




SONG COMMENTARY

Billy wrote:
"I've been called many things in my time. Some complimentary, some not so much. There are people who get me, there are those who don't. I divide a lot of opinions. People struggle to box me in and it infuriates them. I know myself that I'm a bunch of things and a living, breathing exception to the "norm". When I set about to create an album opener, I wanted something that set the tone and really introduced myself, as well as the journey the listener was about to embark on. I struggled to narrow down a concept at first because I'm so many things to so many people. I then realised that, regardless of which side of the fence you sit on when it comes to your opinion of me, I'm still seen as an entertainer. The music, the stories, the posts. Whether it's out of love and support or hate-viewing to leave fucked up comments, I'm still providing engagement. I entertain your pleasures, pure and impure. I took that concept and started to think about all the ways I've had tongues wagging over the years. Sometimes it's intentional for the shits and giggles. Other times, I get essays written about me for merely existing."

"I'm not squeaky clean but I'm not the root of all evil, either. I'm a regular person whose life has been amplified. I'm not bred for this. I'm not media trained, wasn't born into wealth or some dynasty. Unlike a lot of robotic industry cash cows with nothing to say and no single original thought in their head, I'm actually human. It would really fucking piss me off how I used to be treated just because of who I am. A lot of elitist pricks and snobs in the industry and press turning their nose up at me because of where I was from, how I grew up, because I wasn't all prim and proper. Although it's from a personal perspective, I also want this track to mirror and connect with the average Joe as well. So what if you're a bit rough around the edges? So what if you like to shag around? So what if you're from a rundown housing estate? Embrace it. That's character. That's personality. I purposely embellish and magnify all my mischief on this track because it's ok to be a bit colourful. I think raw experience and human connection can often be lacking in music because a lot of artists try on false personas and aesthetics to market new "eras". This is a proper Billy song."

"Having said that, it did take some time to get the track sounding exactly how I wanted. If it was going to represent me and reflect where I came from and all my musical influences, it had to be just right and done with absolute precision. Neily and I went over it so many times. We'd get a "final" version done and then listening back, there'd be like 10 seconds in the second verse that just wasn't sitting right on my ears so we'd pull it apart again. Reworking a certain part would then offset the balance of a later section. It took a minute to reach that sweet spot but we got there. For me, "The Entertainer" is like a marriage between the steely streets of Hackney and the big American R&B stars of the 90s who inspired me to do better. I knew I had to rap on the track. I knew I had to get this lovely accent across and really mentally cement the listeners into picturing London at nightfall. I like to think it's a very visual track that takes you on a journey. The rapping is very homey, raw and grounded in a sense of fucked up reality while the big, dramatic beats feel like something big and life-changing is just around the corner."

"It's a big track and different to anything I've released before. Definitely the best representation of me as an artist and just as a person. I know the artistic choices and certain lines are going to have people talking but that's the point. Fuck with it or ridicule me. Do with it what you will. I'm just here to entertain."




CRITICAL RECEPTION

"The Entertainer" received generally positive reviews upon release, with many critics calling it Billy's best release to date. Writing for Clash, Philip McCormick stated that the song is "brimming with beats and bravado but ultimately autobiographical and thought-provoking at its core". Juliet Gordon of The Guardian dubbed it as "100% Billy personified". Gordon further lamented; "A seemingly untouchable and often comical figure, Billy never breaks character nor simply breaks in general. We'll never get a heart-breaking, woe is me piano ballad from Khan. Sharp beats and foul-mouthed one-liners, that is how Billy gets real and connects with his audience on a human level." Consequence's Amma Khorsandi claims that "The Entertainer" perfectly encapsulates the "angst" of Billy and believes that several lines of the song will "set social media alight". David Colbein of Pitchfork lauded the song, writing; "with its ice cold beats, biting lyricism, dramatic escalation in production alongside Billy's IDGAF swagger, "The Entertainer" is a 5 minute thrill ride that sets the adrenaline rushing and hands trembling over the replay button." Lucy Harrison of Dork praised the production, saying; "that beat is just as filthy as some of the statements Billy makes." Khans rapping skills have also been highlighted and praised. Nicholas Rivera of Gigwise compared him to a "slightly softer sounding" Deneil before stating that Khan's pen must have been "absolutely ablaze" as he wrote his "sickening bars". Keisha Wyatt from Rolling Stone also opined; "In this early foray into rap, Bilal sounds as if he's been doing this for a lifetime". Wyatt then concluded by stating that Khan can "deliver pars with the best of them".



"THE ENTERTAINER"

"If I'm offbeat blame my white side!"

It's time to take this all back to basics
Unplug the fluorescents, man, fuck the matrix
Take a breather from these mysterious places
Uppercut some of these mad quizzical faces
Dictated daily in the name of Christianity
Crucify and kill me with philosophies
Mere existence burns down all their ideologies
Wait 'til they learn that I'm the fucking prophecy
I feed the 5000 when I hop on the timeline
Gimme crumbs, still make sure you all dine
Pour me water and I'll turn it to fine wine
Parting of the waves? Yeah, I'm a proverbial landmine
Only break bread 'cause I rather enjoy a luncheon
Must be off my head, en route to Tower of London
It's alright, mate, I grew up in these dungeons
And I kinda get off on pain and punishin'
Testing thresholds, you know, it's kind of a hobby
No safe word but I still trust nobody
Ain't meeting no fucking suit in a lobby
Kinky boy but don't need screwed in a hurry
I'm the daddy here and I ain't looking to foster
I know you got plenty of room on that dusty roster
Go ahead and sign another Billy imposter
But as long as I'm around none shall ever prosper
See, I'm thee entertainer, whole world's my stage
And behind the scenes is the whole way I paved
Thanks to me, your entire life's been saved
Something to wag your tongue about besides the rain

Are you entertained yet?
Are you entertained yet?
I could always pull out another showstopper
Are you entertained yet?
Are you entertained yet?
Get your teeth around this fucking jaw-dropper
Are you entertained yet?
Are you entertained yet?
Are you entertained? Bet.


You'd think my spectacle would be a work of fiction
Seen the mean streets and got lost in the system
Kids I shared snacks with have died of addiction
I picked up a pen, refused to become a victim
Hopped on the mic and I'm gonna spray now
Bleeding through with the ink, 'bout to get loud
But on a lighter note, I'm in the booth with my cock out
Regular jester while I'm polishing my crown
Bilal Khan MBE, my good sir
It's still fuck the Royals, I'm just a great actor
Smiling in the faces of all the clowns and wankers
Deserve another medal for subduing this anger
Channelling it all to spark some creativity
Used to turning pain to some productivity
Giving a little something back to my community
Hoping this big mouth leaves some kind of legacy
And if it's not for you, you can just move on
If it goes over your head, doesn't mean it's wrong
I know it's scary hearing a brown man spitting a rude song
Even worse when your daughters start singing along
Whoa there, Karen, I'm not wanting your chit-chat
Have a fucking break, here, gnaw on this Kit-Kat
Clutch your pearl necklace and you're lucky to have that
'Cause he only cums on your chest, terrified of that twat
So sorry, should I cue the violins?
You know my type, oh so prone to violence
Everywhere I go, I'm tailed by an ambulance
Surprised you could even hear me over the sirens

Are you entertained yet?
Are you entertained yet?
I could always pull out another showstopper
Are you entertained yet?
Are you entertained yet?
Get your teeth around this fucking jaw-dropper
Are you entertained yet?
Are you entertained yet?
Are you entertained? Bet.


Out here can get real crazy
I've seen shadows move so shady
Death threats from overblown CEOs
Girl bosses yearning for my embryo
Gratification may be a sickness
It's compensation for what I've witnessed
I'll roll with the punches, take the hits
Learned to survive with my bag of tricks
'Cause I know some people like to say I'm trouble
But guess who was on the phone, offering me double...

Are you entertained yet?
Are you entertained yet?
I could always pull out another showstopper
Are you entertained yet?
Are you entertained yet?
Get your teeth around this fucking jaw-dropper
Are you entertained yet?
Are you entertained yet?
Are you entertained? Bet.


Are you entertained yet?
Are you entertained yet?
I could always pull out another showstopper
Are you entertained yet?
Are you entertained yet?
Get your teeth around this fucking jaw-dropper
Are you entertained yet?
Are you entertained yet?
Are you entertained?


Fucking bet.



Can Be Compared To:

Edited by user 16 August 2026 11:22:22(UTC)  | Reason: Not specified


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 4 users thanked BrownSugar for this useful post.
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Offline BrownSugar  
#3 Posted : 13 August 2026 05:57:52(UTC)
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Artist: Billy
Title: Billy's Big Bounce
Genre(s): R&B, Electropop, Avant Pop
Length: 3:53
Writer(s): B.Khan
Producer(s): BLOOM
Label: Pesky
From The Album: BILAL



INFORMATION

Billy's Big Bounce is a song by British singer-songwriter Billy. It serves as the second track on his debut album, "Bilal". The track is one of the latest additions to the album, coming to fruition in a 2025 writing session. Khan had previously finalised a track list for 'Bilal' in 2024 but the project was halted and overhauled with Khan citing 'detachment' from much of the material amidst the breakdown of his marriage with Jerry Holmes as the reasoning. Several songs were scrapped, allowing Khan to start anew. "Billy's Big Bounce" heralded from those later sessions. The track had not been performed, revealed or teased by Khan prior to the release of the project. "Billy's Big Bounce" is an up-tempo electro-R&B track that explores themes of personal empowerment, radical self-acceptance, resilience, and liberation from societal judgment. The track was written solely by Billy with production handled by close friend and acclaimed producer, BLOOM.



MUSIC & LYRICS

Sonically, "Billy's Big Bounce" is an experimental avant-pop and electronica track that incorporates elements of 2000s-style R&B and contemporary club music. The song features a dark, nocturnal soundscape anchored by heavy sub-bass lines, crisp drum programming, and rhythmic vocal chops that function as secondary percussion. Designed and nodding to an underground club setting, the track holds a moody atmosphere and is heavy on its sub-bass usage. The soundscape balances a smooth, sultry and enticing vocal delivery with playful theatrics. Khan drifts between a dreamy, delicate falsetto voice and a nonchalant, effortlessly cool spoken word delivery amidst the verses. This unconventional vocal structuring against the experimental hybrid R&B-electronica production provides an incredibly unique sonic experience for the listeners. The track ends with an unidentified male voice asking "So, is this your first time here?", in reference to the song's subject stepping into Billy's way of life.

Lyrically, the song utilizes playful double entendre to subvert public expectations surrounding Khan's provocative persona while offering a message of encouragement to someone struggling with self-doubt. The verses depict Khan offering guidance to a listener who has suffered a major setback, "when your whole entire world comes caving in", framing the track as an invitation to shed inhibitions and rebuild confidence. The title phrase, "Billy's Big Bounce," operates as an intentional double meaning. While framed in media narratives as a sexual reference, within the context of the lyrics, the "bounce" symbolizes a mindset of resilience, energy, and a return to form. Billy also explicitly rejects the notion of guilt within the song, a well known ethos of his; "Guilt's a waste and blame couldn't care less". The track also blends sensual and spiritual metaphors to frame bodily autonomy, liberation, and celebration as a transformative, almost spiritual experience.



SONG COMMENTARY

Billy wrote:
"This track was half born out an accident and half born out of a challenge. I was in the studio with Cristian [BLOOM] and he was playing me a bunch of tracks that he had been working on. In all honesty, I wasn't really feeling them. He's a great guy and I'm sure those beats will go off and become hits for other people but they weren't pulling me in, you know? I think I was pissing him off, to be honest. Everything he played, I just wasn't fucking with and I was probably getting a little snippy because I'd given myself a deadline and felt like these sessions I'd booked with him were just a complete waste of time and money. We just weren't gelling creatively that day until he said; "Let me play you something really rough I started a few days ago". That dark, clunky, sinister but enticing as fuck beat kicked in and my ears pricked up. His face lit up too with the biggest grin you've ever seen. Probably happy that he shut my moody self up, haha! From the other side of the booth he yelled; "Ayyyy, we've found Billy's Big Bounce now!". Well, that was it!"

"I really fucking loved that phrase and here I was with this amazing beat that I had to lay something over before anyone else heard it and wanted their filthy paws on it. Immediately, the idea of 'Billy's Big Bounce' - people hear that and immediately think of cock. Can't blame them. I'm partial to it. I wanted to subvert expectations, though. People will see the title and expect one thing but get another. So I wrapped it up in all that expected double entendre but at the heart it's a very different track. Now, I'm not a self-help guru and I'm not one for all that Kumbaya shit but this is my take on encouragement and acceptance. Everyone knows I'm all about leaving shame at the door and not yucking anybody's yum. There's a great big world out there and people who will love and accept you for whoever you are or are maybe too afraid to be. This track is about leaning into that fear and me giving you that nudge, letting you know it's OK to let go. The 'big bounce' is a forward thinking way of life. Hop on it and ride the shit out of it, fam!"




"BILLY'S BIG BOUNCE"

It's a pretty complex and complicated thing
When your whole entire world comes caving in
Some fucker stuck their knife in your cake
And all your new attempts just feel half-baked
Here's a blank slate, go on, paint your desires
Got a funny feeling I can make it transpire
Boys, girls, whatever the persuasion
I can cook it up, anything that you're craving

Come walk with me, school is in session
Here's my body, my blood, time for communion
You want to curl up among the shadows
Can't you see this is where anything goes?
Be who you want to, rev that ambition
Take a deep breath and assume the position
Grab my hand, hit these roads like fugitives
And whatever comes next is merely primitive

Yeah, yeah
Guilt's a waste and blame couldn't care less
Guess that's why I'm so fucking shameless
Let's go!

It swings high, swings low
Fire-cracking, white knuckle
Ride Billy's Big Bounce
And take it to the dancefloor
Day come, day go
Ain't nobody disturb the flow
It's Billy's Big Bounce
What more could you ask for?


OK, let's take it back to basics
Redefine the route of these nostalgic pavements
And new memories are inbound
Forget your words, focus on B's sound
Light in the dark, light as a feather
Back on the saddle, get a hold of the leather
We can drift away in suspended animation
Down the wavelength of your new vibration

Yeah, yeah
Guilt's a waste and blame couldn't care less
Guess that's why I'm so fucking shameless
Let's go!

It swings high, swings low
Fire-cracking, white knuckle
Ride Billy's Big Bounce
And take it to the dancefloor
Day come, day go
Ain't nobody disturb the flow
It's Billy's Big Bounce
What more could you ask for?


They're quick in there with the preaching
And all that ill-informed teaching
Contorted and twisted in your business
I can hear you, I can be your witness
Cold out there, clenched against the tension
But Billy's got a fast pass scheme to Heaven
Come along now...

It swings high, swings low
Fire-cracking, white knuckle
Ride Billy's Big Bounce
And take it to the dancefloor
Day come, day go
Ain't nobody disturb the flow
It's Billy's Big Bounce
What more could you ask for?


It swings high, swings low
Fire-cracking, white knuckle
Ride Billy's Big Bounce
And take it to the dancefloor
Day come, day go
Ain't nobody disturb the flow
It's Billy's Big Bounce
What more could you ask for?


"So, is this your first time here?"

Can Be Compared To:

Edited by user 13 August 2026 09:00:44(UTC)  | Reason: Not specified


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 13/08/2026(UTC), C4AJoh on 13/08/2026(UTC), erich hess on 14/08/2026(UTC)
Offline BrownSugar  
#4 Posted : 13 August 2026 13:40:07(UTC)
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Artist: Billy
Title: Attention
Genre(s): Electropop, Synthpop
Length: 3:24
Writers: B.Khan, S.Hollywood, C.Flores
Producer: BLOOM
Label: Pesky
From The Album: BILAL



INFORMATION

Attention is a song by British singer-songwriter Billy. It served as Khan's official debut solo single and appears as the third track on his debut album, 'Bilal'. The song was released on February 16 2020, following weeks of teasing posts on social media. The release of "Attention" marked not only the first solo release from Billy but also the very first official single release from any member of Weekend as a lead artist. Several have featured as guest vocalists on tracks beforehand - Billy achieving multiple #1 hits as a feature. Anchored by heavy R&B vocal inflections and a driving dance-pop beat, the song serves as a brazen thesis statement for Khan’s solo career, embracing his tabloid-fixture image and "bad boy" reputation. The track was written in late 2019 during the roll-out of Weekend's third studio album, "Welcome to the Real World". Khan had been planning on releasing a solo album for quite some time but had always put his plans off in order to focus on the band. "Attention" was written by Khan alongside long-time Weekend writing collaborator Sara Hollywood, and close friend Cristian Flores better known as BLOOM. Flores also handled the production of the song.



MUSIC & LYRICS

Lyrically, Khan plays up a hyper-confident, provocative persona, offering a tongue-in-cheek commentary on his own fame, desirability, and high-profile public image. The song explores the boundaries of casual, non-committal relationships. Khan explicitly warns potential partners against falling in love, framing the encounter as temporary and self-serving. The lyrics feature open references to Khan's bisexual identity and sex-positive ethos, rejecting traditional relationship norms in favor of hedonism and mutual gratification. The recurring demand for "attention" double-functions as a direct call-out to both his romantic partners and the press, acknowledging his reliance on public discourse while daring critics to keep watching.

Sonically, "Attention" is a pulsating electropop and synthpop song, with a powerful dance beat and undercurrents of a more urban leaning bass. The production taps into the signature R&B-Pop infused sounds of the late 2000's while modernising the sound for the 2020's. The track opens with the sound of a champagne cork popping as well as a sexual "Uuhhhhhhh" from Khan. Flores' production contrasts sparser, bass-heavy verses with heavily layered, synth-driven chorus drops to maximize dramatic impact. With the raunchy nature of the lyrics, Billy opted for a more subdued and sensual approach to his vocals, refraining from huge notes until the end of the song where he powerfully ad-libs over the final chorus. "Attention" features two variants of the chorus and the first is also broken down and used as the bridge of the song. A vocal breakdown of Billy's breathy moans are also used as post-chorus hooks.



SONG COMMENTARY


Billy wrote:
"I love Weekend and haven't left, let's get that straight. However, the music we make is a compromise between all five of us. It's a conscious decision we make in order to cater to our fans and the image of the Weekend brand. The music is great but there's only so much of me in there. I've got my own personal tastes and influences that I really want to showcase but can't do that within the confines of a Weekend album. A track like this would not sit well within the band's discography. It's far too "Billy" and that's the reason I chose to release this as the lead single."

"I have been writing and recording my own stuff for years either just to keep the creative juices flowing or to save them for a rainy day. I knew I'd release an album but never knew when that would be. When we wrote "Attention", I knew I had found THE single. I don't think anybody else could sing it. It's sexy, it's cheeky, it's fucking cocky as Hell, it's wild and shouldn't be taken too seriously...which some people will. It's very "me". Releasing it when you're on a world tour for another project isn't the best promo schedule you could wish for but I wanted to strike while the iron was hot. I didn't want yet another song to collect dust and then sound dated and of no use down the line. I'm unleashing it to you all know. Hope I've got your attention!"




CRITICAL RECEPTION

"Attention" received positive reviews upon release, with many critics welcoming the first solo Weekend song and dubbing it as the "perfect" single for Billy; William Farrelly of ThatMusicSite being one of them. "It's fitting that the first thing we hear from his solo discography is a sex noise. Let's face it, we've all seen Billy's willy more than our own at this point," he opined, regarding the sexual nature of the track before adding; "The track embodies Billy with lines doubling as nods to his sexual exploits as well as his controversial, headline grabbing person". Idolator's Mike Reid branded the song as a "supersized bedroom and dancefloor banger". Karla Malone of Yahoo! News wrote that "Attention, like Billy, is commanding, bold and brash yet dreamily irresistible". Gay Times magazine stated that the song is "everything we wanted from Billy and more" before adding that he "somehow exceeded already high expectations". Konstantin of Chart Heat Company lauded the "mammoth bop" and highly praised Billy's first solo effort, stating "We haven't seen a pop band member gone solo this promising and exciting since Nadia Berry stepped out on her lonesome. BILLY IS HERE!"

Some listeners, however, responded negatively to the themes of casual sex, laddish behaviour and the cockiness of Holmes. Penny Talbot of Evening Standard wrote; "While the tune itself is fine, Khan's lyricism is not. It's clear that the sweet sentiments cooed on Weekend tracks are not the brainchild of Khan. Instead, he wants to have a romp with your daughter and send her on her way. It does nothing to help his public image. Your ears feel riddled after listening to him". Markos Papadatos of the Digital Journal said "We have enough f*ckboys breaking hearts and promoting promiscuous ways without consequence. We don't need Billy, arguably one of the most famous musicians in the world, glamorising it to the masses".



"ATTENTION"

Uuhhhhhhh

For tonight, I can make your fantasies come true
Slow, steady, rough and ready, whatever you wanna do
You can have this body, feel this skin on your teeth
But in the morning, it's gonna be leaving with me
If you're looking for love then I'm never the answer
I give you that buzz, hit you like a gold plated hammer

You can call me cocky 'cause I'm damn sure of myself
Bet you couldn't reach these levels all by yourself
So give me all your loving, all your trust and time
And, yeah, I guess I'll give you a little of mine

Not the finest chocolate, we're just chewing gum
Keep you in my mouth 'til the flavour's gone
Only tangled up all in the name of fun
Don't want complications, so here's my intentions
No strings attached, I just want your attention


Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
No strings attached, I just want your attention


See, it's no fun only putting all my love on me
Enough to share, happy to play for every team
I can be whatever you like, there'll be no judgement
Let's explore far and wide, yeah, pure indulgence
Go rounds in the ring 'til we can hardly breathe
You're so lucky, nothing this good should come for free

You can call me cocky 'cause I'm damn sure of myself
Bet you couldn't reach these levels all by yourself
So give me all your loving, all your trust and time
And, yeah, I guess I'll give you a little of mine

Not the finest chocolate, we're just chewing gum
Keep you in my mouth 'til the flavour's gone
Only tangled up all in the name of fun
Don't want complications, so here's my intentions
No strings attached, I just want your attention


What I got on offer should be illicit
I know it's so sweet but don't dare get addicted
Gave the warnings, now time for the explicit
Come step into Heaven, it's an open invitation
Tell all your friends, I could use the attention


Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
No strings attached, I just want your attention


Not the finest chocolate, we're just chewing gum
Keep you in my mouth 'til the flavour's gone
Only tangled up all in the name of fun
Don't want complications, so here's my intentions
No strings attached, I just want your attention

What I got on offer should be illicit
I know it's so sweet but don't dare get addicted
Gave the warnings, now time for the explicit
Come step into Heaven, it's an open invitation
Tell all your friends, I could use the attention


Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
Uh, huh, uh-uh-uh-ah-oh
No strings attached, I just want your attention


Can Be Compared To:

WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
C4AJoh on 13/08/2026(UTC), erich hess on 14/08/2026(UTC), 2001clay on 14/08/2026(UTC)
Offline BrownSugar  
#5 Posted : 14 August 2026 03:25:24(UTC)
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Artist: Billy
Title: Fuck With You
Genre(s): R&B, Disco
Length: 3:39
Writers: B.Khan
Producer: BLOOM
Label: Pesky
From The Album: Bilal



INFORMATION

Fuck With You (known as "Mess With You" in its censored form) is a song by British singer-songwriter Billy. It served as the third single and the fourth track on his debut album "Bilal". The song was released on May 10, 2021, with the track being teased through Instagram and Twitter posts the week prior. In an unusual move, the single was released after 12pm on a Monday, missing the cut-off tracking period for the Chart Heat Singles on its debut week. Musically, the track represents a departure into an uptempo, Disco-infused alt-R&B sound—incorporating lush orchestral strings, rhythmic basslines, and shimmering synths inspired by late-1970s dance icons, alongside early-2000s R&B productions. The track was written entirely by Billy and production was handled by BLOOM, who is also signed to Pesky. The radio edit, "Mess With You", censors the swear words throughout and replaces "fuck" with "mess" in the chorus.



MUSIC & LYRICS

Lyrically, the song hinges on a central linguistic play on the phrase "fuck with you." While structured like a conventional, seductive dancefloor track addressing a romantic or physical partner, the lyrics simultaneously address the media, paparazzi, and internet commentators, framing his turbulent relationship with public scrutiny as a game of psychological cat-and-mouse. Billy critiques the public's insatiable appetite for his personal life and scandals. He highlights the hypocrisy of critics who condemn his behaviour while actively consuming his content. The lyrics briefly contrast his humble origins against his current commercial dominance, "Homeless teen to number one, a real headscratcher", using his past adversity as a justification for his uncompromising public persona and refusal to cater to polite society.

Sonically, "Fuck With You" is a Disco-R&B hybrid backed by underlying hip-hop beats. Built on a driving 120 BPM tempo, the track bridges late-1970s Disco elegance with early-2000s alt-R&B and hip-hop swagger, creating a glossy, high-energy soundscape. Sweeping, dramatic string stabs and cascading violin runs run throughout the track, directly echoing the lush arrangements of Philadelphia soul and 1970's disco classics. The track is anchored by a punchy, warm kick drum and a crisp, snapping snare that gives the track an undeniable, club-ready bounce. Vocally, Billy abandons conventional pop singing during the verses in favour of a fast-paced, conversational Cockney cadence, blending modern UK hip-hop rhythmic pocketing with American alt-R&B attitude while interspersed throughout the choruses and post-choruses are effortless, vibrato-rich R&B belts, runs and falsetto ad-libs, showcasing Khan's vocal dexterity.



SONG COMMENTARY


Billy wrote:
"I made "Fuck With You" the third single because, with each track that drops the album, I wanted to deliver something different. I wanted to show all the different aspects of the record and showcase all that I can do, giving you teasers of what to expect. "Attention" had that bubbling electro-R&B sounds of the mid 00's I adore, "Gemini" was an old school slow jam dripping in sex and now "Fuck With You" really shows what I can do as an artist in terms of my versatility with genre and my voice. I'm vocally shredding on the chorus and then rapping the rest of it. With lyrics as cocky and "out there" as this song, I had to go all-out with the sonics too. I wanted to hit people over the head. Make them sit up and take note."

"Most of my influences centre in the 90's, specifically a lot of American R&B acts such as Janet, Brandy, Aaliyah, Mariah and the likes. You hear the bulk of that on my album but for "Fuck With You", I branched out and gave a nod to other huge inspirations; trailblazing soul and disco acts and London. Marrying the two sounds bizarre on paper but it works and the track is pretty unique. My Cockney accent against hip-hop and house beats is certainly stark but it's fucking epic if I do say so myself."

"On "Fuck With You", I wanted to remind certain people that the ball is still very much in my court almost ten years into the music industry game. I feel as though the track does the job and is the best of both words as the lyrics will piss off and rile up those who try to take me down but, in the same breath, will make my supporters and those who know me chuckle as they're in on the fun and games. When you get to a certain point in your career, people will either try to bring you down or try to exert ownership over you. I frustrate people because I can't be pinned down and it's because one; I'm an anomaly and two; I don't really take myself seriously. I'm a mixed-race, queer boy who was homeless at one point, covered in tattoos and speak with a very prominent Cockney accent despite being a brown-skinned God. I know that I shouldn't be in this position of power considering the politics of the music business. I also know that I scare a lot of people because I don't really fall into any category. I fuck with people's minds and I absolutely love it."




CRITICAL RECEPTION

"Fuck With You" received universally positive reviews upon release, with many critics praising Billy's vocals for both his powerful notes as well as his rapping talents. The decision to release an up-tempo Disco/House track was also well received. Sara Gartland from Gigwise wrote that the song "cements Billy's status as a bona fide hitmaker" praising the song for being as "equally commercial as it is unique". Andrew Hudson of Pitchfork lauded Khan-Holmes' vocal performance, commenting; "Billy's belting is bound to make casual listeners and those who stray away from boy bands finally sit up and pay attention" before calling him "one of the most vocally talented artists in the industry". Billy's rapping skills also received acclaim. Corinne Murray of Spin opined; "Just like the lyrical content of the song claims, you'll never be able to figure Billy out. Who knew he possessed serious rap skills?". Murray then went on to draw a comparison to Khan-Holmes' younger brother; "Billy's cadence is not too dissimilar to that of Deneil's, both being rather brash and unashamedly East London. The only difference being Billy's voice having a slight silkier, softer coating in comparison to Deneil's gruffness."

Carl Hearne of NME gave a glowing review of both the track and Billy himself, opining; "Weekend's success as a unit aside, what makes Billy a modern day icon is how incredibly self-aware and headstrong he is. He's rough around the edges but is always first to get the joke in, beating everyone else to the punchline. Nobody can shake him and "Fuck With You" is testament to that. The more that people try to dissect him, the more curveballs he will throw. The more people attack, the more content he provides. He is here to stay and "fuck with" our heads for many years to come."




"FUCK WITH YOU"

Aching bones from the weight of all your problems
Praying every night that your God will solve them
Do you really think they can crack this one?


"Easy life" but I love to be the hardest
Break a lot of hearts, doesn't mean I'm heartless
Coat of many colours, more attention at my darkest
You'll never have all the pieces to my puzzle
So satisfying watching you squirm and struggle

Super sweet and then I turn things salty
Addictive but I'll rot your teeth like toffee
Keep them whipped, it's more fun when it's frothy
Homeless teen to number one, a real headscratcher
Guess you never know when I am coming at ya

You can call me crazy, you can call me batshit
But you still eat me up 'cause I'm always your favourite
Can't unpack me but you can surely see me naked
It's in your bookmarks, don't even try to fake it

Lot of shit gets said but this much is true
I only want to fuck with you
I only want to fuck with you, with you
Don't act like you haven't got a clue
You're stuck all over me like glue
You love it when I fuck with you
Yeah, you love it when I fuck with you


Ah-ah-ah
Uh-yeah-eh-yeah
Uh-yeah-eh-yeah
Uh-yeah-eh-yeah
Ah-ah-ah


It's never fun enough with just an instant kill
You know I gotta have that cat and mouse thrill
Love it when you say my name, even when speaking ill
Shit, I love what I do and I do it for Culture
Can't lose the power if you go directly to the vulture

You can call me crazy me, call me a bastard
But when I drop a track, you're all shaking your arses
Offering weak head for some backstage passes
Toasting my health, now come on and raise your glasses

Lot of shit gets said but this much is true
I only want to fuck with you
I only want to fuck with you, with you
Don't act like you haven't got a clue
You're stuck all over me like glue
You love it when I fuck with you
Yeah, you love it when I fuck with you


And if you're curious, you can scratch that itch
But I won't simplify for a simple prick
You got enough info, I served a whole fucking plate
It ain't my fault if you can't conjugate
Wrapped in rhymes, wrapped in riddles
Dance to my tune while play second fiddle
Providing the thirsty with content for free
Should be made a saint for this fucking charity
Low word count? Here's a little inspiration
Make me the topic of your conversation
People laying traps, they think I'm a fool?
I clear the net while you jump through my hoops
So go ahead and hit my pics with that zoom
Know you really fucks with it when I fuck with you

Lot of shit gets said but this much is true
I only want to fuck with you
I only want to fuck with you, with you
Don't act like you haven't got a clue
You're stuck all over me like glue
You love it when I fuck with you
Yeah, you love it when I fuck with you


Ah-ah-ah
Uh-yeah-eh-yeah
Uh-yeah-eh-yeah
Uh-yeah-eh-yeah
Ah-ah-ah



Can Be Compared To:

WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 14/08/2026(UTC), erich hess on 15/08/2026(UTC), C4AJoh on 15/08/2026(UTC)
Offline BrownSugar  
#6 Posted : 14 August 2026 04:31:11(UTC)
BrownSugar
Rank: Advanced Member

Groups: Moderators, Registered
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Thanks: 12032 times
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UserPostedImage

Artist: Billy
Title: Good For Me
Genre(s): R&B, G-Funk, Hip-Hop Soul
Length: 4:29
Writers: B.Khan
Producer: Billy, Deneil
Label: Pesky
From The Album: Bilal



INFORMATION

Good For Me is a song by British singer-songwriter Billy. It serves as the fifth track on his debut album "Bilal". An earlier, alternative version of the track was set to appear on the delayed 2024 incarnation of the album. When the project was halted and reworked, many songs were completely scrapped while "Good For Me" survived the culling with Khan citing it as one of his "absolute favourites". The track was partially rewritten and reworked in 2025 for its inclusion on the final product. Positioned as one of the album's most autobiographical and street-centric offerings, "Good For Me" is built around an interpolation of the iconic melody from Adina Howard's 1995 hit "Freak Like Me" (famously covered by British girl group Sugababes in 2002), the track blends 1990s West Coast hip-hop production with contemporary UK rap and alt-R&B sensibilities. The song was written by Billy, who also co-produced the record alongside younger brother Deneil.



MUSIC & LYRICS

Lyrically, "Good For Me" touches upon Khan's infamous volatility and temper and the juxtaposition between his street roots and star power. The track bridges Khan's fifteen-year career in the pop spotlight with his upbringing in Hackney, London. The opening line referencing a "fifteen-year road trip" serves as a metaphor for his time away from his origins, asserting that global fame has failed to dilute his identity. Rather than offering a reformed narrative regarding his past legal troubles and well-documented assault charges, the chorus openly addresses his volatile temper, "I can flip a switch on any prick, on anyone...", framing his readiness for confrontation as an authentic survival mechanism. Billy also directly targets media sensationalism, performative internet morality, and critics who profit off his public drama.

Sonically, the track is a G-Funk and UK rap fusion. The instrumental blends West Coast G-Funk elements—characterized by high-pitched, gliding synthesizer leads, deep sub-bass, and mid-tempo grooves—with the rhythmic percussion patterns and cadence of modern UK road rap. The chorus rewrites and interpolates the vocal melody of Adina Howard's 1995 G-Funk anthem "Freak Like Me", recontextualising the original R&B hook into a dark, laid-back threat. Vocally, Billy shifts dynamically between a fast, conversational, Cockney-accented spoken-rap delivery on the verses and his signature, multi-layered R&B vocal harmonies and falsetto runs on the chorus and ad-libs towards the song's climax.



SONG COMMENTARY


Billy wrote:
"Even though this is hands down one of my favourite tracks I've ever worked on, I purposely never pushed this as a single for as long as I had it in my possession. I know that this song is going to get people talking. Sample aside, what I talk about and reveal on this track is bound to get attention and fall into all sorts of discourse, and create a bunch of stupid think pieces. Straight up, yeah, I've found out over the years that some cunts have tried to put a hit out on me. A couple of times. And yeah, I'm still not one to back down. I'm not proud of it but if you step to me with some shit, you're gonna get thumped. I don't care. I'll take the high road if it's insignificant to me but I won't stand for disrespect. I'm older and have done alright for myself. That doesn't mean I've suddenly gone pussy. So, all that shit, I knew if I put out the track on its own then the work put into it would be overshadowed. With a sole spotlight on it, everyone would flock to it at once and then would come the headlines and articles. I love the track and I didn't want to throw it to the wolves. That's why I've kept it until now. As part of the album, people can find it in their own time and hopefully appreciate it as a musical piece among the rest of the project."

"If I'm being honest, I think it's one of the best things I've ever written. Genuinely proud of myself for how this all came about. I knew I wanted to sample 'Freak Like Me' for the longest time but wasn't sure in what capacity or how that would sound. I also didn't want to just shoehorn it in for the sake of it. I'm really fucking proud of how it all pieced together. 'Freak Like Me' is a song I've loved since I was a kid. There are two famous and very different takes on it - the Adina and Sugababes version. I fucking love both. Two very different sonic vibes but that badass essence still remains not to mention that vocal melody which is just pure ear candy. One of my favourite choruses in music. Can't help but sing along to it. That's another reason why I interpolated it. I wanted that contrast. Real fucking heavy shit being spoken about but then there's this catchy as fuck chorus that even your mum will hum along to when it comes on. Makes everyone a bit gangster, haha!"




"GOOD FOR ME"

You could say I've been on a fifteen year road trip
But your boy's been anything but homesick
These streets run on the circuit of my veins
My blood blesses the concrete from End to End
Pushed the envelope and opened up borders
Fucking worldwide but living round the corner
And I've peaked higher than a dope fiend
But no Hollywood bullshit can ever mould me
May not always remember the lessons learned
Staying somewhat sane is my main concern
Man wanna catch me off guard, trynna checkmate
As if I didn't write the rules of this game
Peace and love is what I prioritise
And I'll strike down whoever claims otherwise
Some call me a villain, some call me a hero
Just keep me in your mouth and blow my ego

Heard bare talk of mandem putting out a hitman
I know a thing or two about putting out a hit, man
Numbers stacking up, bruv, hit me with your quick math
Before the pigs come squealing with their chrome plated wristbands

'Cause I can flip a switch on any prick, on anyone
Yeah, I could step on up
But I don't think that's what you want
Talk a lot of shit, fam, I got the perfect remedy
'Cause I can pull up any time of day
It's all good for me


Guess I've always been a bit of a nuisance
Singlehandedly shattering all these illusions
Heavy is the head and all that
Here comes the Cool Police in all black
Balaclavas at dawn, sheep up in arms
Morals cheaper than a rack of backstreet garms
The dogs are out and showing their teeth
My fault for always laying out a feast
Mans eating it up like this is Ramadan
Suppose I'm something like a phenomenon
My lines in your girlfriend's captions
I'm already driving her to distraction
It's just the effect I have on women
Dressed up or down, I'm dressed for the killing
Pose with your gunfingers or go cop a real one
Don't faze me, I was raised by the real dons

Heard bare talk of mandem putting out a hitman
I know a thing or two about putting out a hit, man
Numbers stacking up, bruv, hit me with your quick math
Before the pigs come squealing with their chrome plated wristbands

'Cause I can flip a switch on any prick, on anyone
Yeah, I could step on up
But I don't think that's what you want
Talk a lot of shit, fam, I got the perfect remedy
'Cause I can pull up any time of day
It's all good for me


'Cause I can flip a switch on any prick, on anyone
Yeah, I could step on up
But I don't think that's what you want
Talk a lot of shit, fam, I got the perfect remedy
'Cause I can pull up any time of day
It's all good for me


Yeah, maybe I've paved the way
Repping E2 to this very day
And you know I'd make some space
Bring some competition to this race
But there's no sitting heir in question
I'm the me of this generation
You gonna pipe up in this conversation?
Man, there's no room for any hesitation

1 to the 2, to the 2, to the 3
Motherfucker, do you wanna try stepping to me?
1 to the 2, to the 2, to the 3
Motherfucker, do you wanna try stepping to me?

'Cause I can flip a switch on any prick, on anyone
Yeah, I could step on up
But I don't think that's what you want
Talk a lot of shit, fam, I got the perfect remedy
'Cause I can pull up any time of day
It's all good for me


'Cause I can flip a switch on any prick, on anyone
Yeah, I could step on up
But I don't think that's what you want
Talk a lot of shit, fam, I got the perfect remedy
'Cause I can pull up any time of day
It's all good for me



Can Be Compared To:



WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 14/08/2026(UTC), erich hess on 15/08/2026(UTC), C4AJoh on 15/08/2026(UTC)
Offline BrownSugar  
#7 Posted : 14 August 2026 09:54:24(UTC)
BrownSugar
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Artist: Billy
Title: XXXHIBITION
Genre(s): R&B, Crunk, Hip-Hop
Length: 3:59
Writer(s): B.Khan
Producer(s): Billy, Havoc the Saint
Label: Pesky
From The Album: Bilal



INFORMATION

XXXHIBITION is a song by British singer-songwriter Billy. It serves as the sixth track on his debut album "Bilal", and was serviced as the fifth single from the project. The song was initially released on April 11, 2022 alongside accompanying single "Safe Passage". Both tracks were released without any prior promotion or reveal, appearing on all digital music and streaming platforms as surprise releases on the night of the 11th. Released as part of a simultaneous dual-single strategy alongside the introspective track "Safe Passage," "XXXHIBITION" was positioned as the energetic, dancefloor-oriented counterpart—delivering an unfiltered, upbeat exploration of sexual confidence, nightlife, and sensual performance. The track was written solely by Khan while production was handled by American R&B and Hip-Hop producer Havoc the Saint.



MUSIC & LYRICS

Lyrically, "XXXHIBITION" serves as an anthem for sexual liberation and body positivity. The lyrics directly address Khan's bisexuality and fluid desires, embracing intimacy without societal shame or rigid labels. It has been widely accepted as a "sex-positive" and "gay anthem". While the song explicitly details themes of receptive anal pleasure, the lyrics intentionally keep the partner's gender unstated—framing the experience through self-actualization, trust, and intense physical sensory detail rather than a conventional romantic narrative. "XXXHIBITION" also showcases the subversion of the "Alpha" persona. Contrasting his public image as an aggressive, outspoken figure, the track reveals a secret submissive dynamic in the bedroom. Khan explores the release of relinquishing power, challenging traditional, performative hyper-masculinity often found in UK rap and R&B cultures. The song's unabashed celebration of intimacy, including the controversial line "bare skin on skin", sparked minor public health discourse in tabloid media, which Khan and his fanbase dismissed as performative outrage.

Sonically, "XXXHIBITION" is a up-tempo R&B affair with elements of hip-hop and Crunk underlying and interspersing throughout the track. Drawing inspiration from mid-2000s club hits, the track pairs sultry, quiet-storm verses with a roaring, high-octane Crunk chorus driven by heavy 808 sub-bass and brass accents. "XXXHIBITION" serves as the "loudest" and most production-heavy track on the album, transitioning from intimate, low-register spoken vocals on the verses to an explosive, multi-layered chorus. Despite its loud, dancefloor-oriented peaks, the underlying production maintains a dark, sensual atmosphere through reverberated synth pads and filtered bass loops, bridging the track's high-octane club appeal with the album's broader nocturnal alt-R&B aesthetic.



SONG COMMENTARY

Billy wrote:
"My whole album represents me. That's why it has taken so long to get out. It's my story, my opinions, my personality, even some of my secrets all in one little music project. I want it to be perfect and for each song to hit the nail on the head. I've lived quite a life and so many millions of people have these preconceived ideas and their own opinions of me so all of that will be on the album. "XXXHIBITION" is one of the far extremes and I wanted to make sure I had the right song to represent the real freaky side of me. I know it's gonna cause a reaction and I fucking love that. I'm many, many things and I divide opinion. That's why I think these two songs I'm releasing are the perfect choices. Enlighten with one and offend with the other? Possibly even make you incredibly sad with "Safe Passage" then so fucking horny with "XXXHIBITION"? Who knows?! I just like to have fun and fuck around with expectations."

"When I first went into the studio with the track, Havoc's jaw hit the fucking floor. He wasn't just shocked by the lyrics but by how open I was with them. I didn't care. Yes, I do love taking it up the arse from time to time and the freakier you can make it, the better. Most of us have sex and most of us have at least some little kink or fetish that gets us off. I want people to embrace that and I also want to take away the stigma of two guys fucking. I'm tired of girl-on-girl stuff being fetishized by creepy straight men. Same-sex love and intercourse isn't just acceptable when guys named Chad and Kevin want to get their jollies in their dingy attic rooms, watching the worst acted porn in history. No. We ALL get freaky for real and it's hot and you're gonna listen to it. I purposely went all in with the crude stuff. I want my freaks to get off on it and I want to make the small-minded very uncomfortable."

"I think that when your old boss and, by the way, TOTALLY inappropriate fling, leaks your nudes onto the internet when you're only 18 you really just have to own it and not let shame engulf you. I'm not ashamed of my body or what I've got. I'm very liberal as you know but those infamous naked pictures from back in the day being posted was not my call. Someone took that privacy from me. I learned to embrace it and now I really fucking enjoy the idea of exhibitionism and handing over power. Claim it. Own it. Tell me I've got a nice cock. Bet you've got a nice one too. Hype everyone up! I want to represent all my twisted, kinky fuckers on this track but I also want this to be an anthem of body confidence and ownership of sexuality. Fucking go for it and explore every crevice and sensation, you sexy fuckers!"




CRITICAL RECEPTION

"XXXHIBITION" received generally positive reviews upon release as well as generating some controversy among sectors. Many critics praised the "outlandish" and "highly sexual" nature of the track while some reacted negatively towards the over explicit content and the practise of exhibitionism. Lisa Kruger of DIY positively compared both songs from the dual release, saying "If "Safe Passage" is the most honest Billy has ever been, "XXXHIBITION" is by far the horniest he's been." She went on to brand the song as a "chaotic, hook-laden, NSFW extravaganza" before rounding by saying "the song's title is pretty explanatory". Michael Evering of Entertainment.IE praised Billy's sex-positive attitude and jokingly dubbed the song as an "anal anthem". Tara Montgomery of Vulture published a glowing review of the song and expressed support and solidarity with Khan, writing, "you don't see many queer, mixed-race talents make it to the top let alone hear them unashamedly express their sexuality in such a forthright way on what's considered as a mainstream record." She went on to state the the track is "not one for the prudes" before adding "we've heard multiple songs about men fucking women, women riding men, even the queer-baiting of heterosexual women cosying up to another female collaborator has been done to death. Let Billy sing about anal sex in peace."

Ashley Barrie for Stereogum praised the song's "boisterous yet airtight" production but expressed dislike for the subject matters of unprotected sex and exhibitionism writing, "It won't be the first or last time Khan finds himself in hot water but when consent is a hot button topic, it's probably not wise to croon about exposing yourself to your neighbors across the street while engaging in raw anal sex." Edmond Smyth of The Guardian was highly critical of the release, calling the song "vulgar" and "highly unnecessary" while branding the artwork of a naked Khan cupping his genitals as "inappropriate" and "desperate".



"XXXHIBITION"

Favourite British boy, piping hot like tea
Forget about the sugar, have a spoonful of me
Your ride so long and smooth like a limousine
Come up to my bumper then park it in between
Sharing is caring so call up the squad
I keep it tight though my taste is broad
My body's a temple, come get closer to God
Hand's behind my back, still hear the applause

Start off real tender and caress the velvet
Then prepare for war and grab your helmet
Bask in the blaze, ignite the Molotov
Know you love my sweet design, mazel tov!

Exploring and tussling all night with me
Bare skin on skin, hot body to body
Forget the drapes, we should just let them see
Show 'em some nudity
Let's play out your most twisted fantasy
No magic safe word to ever set me free
Up against the window, over the street
Show 'em some depravity


Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!


Pretty boy getting down and dirty like a swine
Militant loner who enjoys being intertwined
Be damned if I let anyone have my mind
But you can sure get to know me deep inside
Always down for seconds as you leave me peckish
Serve whatever you like, into every fetish
Even with the comedown, still a little coquettish
Bruises on my body so I won't forget this

Handing over control, falling into submission
If I want my kicks, gotta ask for permission
Spread out to explore at your own leisure
Nothing but a toy for my lover's pleasure

Exploring and tussling all night with me
Bare skin on skin, hot body to body
Forget the drapes, we should just let them see
Show 'em some nudity
Let's play out your most twisted fantasy
No magic safe word to ever set me free
Up against the window, over the street
Show 'em some depravity


Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!


So much satisfaction in the sadistic pain
Titilating excitement in being on display
Warmth down my thigh, I'm so glad you came
Fucked this ass like you own it
Beat it up then sent your condolence
Small price to pay when riding the pony

Exploring and tussling all night with me
Bare skin on skin, hot body to body
Forget the drapes, we should just let them see
Show 'em some nudity
Let's play out your most twisted fantasy
No magic safe word to ever set me free
Up against the window, over the street
Show 'em some depravity


Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!


Now bring the fucking beat back!

Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!


Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!
Yaaaa-ayy! Ya-ya-ya-ayy!


Can Be Compared To:

Edited by user 14 August 2026 10:27:42(UTC)  | Reason: Not specified


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 2 users thanked BrownSugar for this useful post.
erich hess on 15/08/2026(UTC), C4AJoh on 15/08/2026(UTC)
Offline BrownSugar  
#8 Posted : 14 August 2026 10:44:44(UTC)
BrownSugar
Rank: Advanced Member

Groups: Moderators, Registered
Joined: 18/02/2011(UTC)
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Location: In between the couch cushions

Thanks: 12032 times
Was thanked: 20896 time(s) in 8281 post(s)
UserPostedImage

Artist: Billy
Title: Gemini
Genre(s): Alt-R&B, Quiet Storm
Length: 3:01
Writer(s): B.Khan
Producer(s): Billy, Havoc the Saint
Label: Pesky
From The Album: Bilal



INFORMATION

Gemini is a song by British singer-songwriter Billy. It serves as the seventh track on his debut album "Bilal", and was serviced as the second single from the project. The song was initially released on August 5, 2020. Serving as the follow-up to the high-energy lead single "Attention," "Gemini" marked a deliberate stylistic pivot toward a stripped-back, nostalgic alt-R&B soundscape, showcasing Khan's affinity for mid-1990s quiet storm and contemporary R&B balladry. The track was written solely by Khan while production was handled by American R&B and Hip-Hop producer Havoc the Saint. The release of "Gemini" marked the first time in Khan's career in which he was entirely responsible for the writing.



MUSIC & LYRICS

Lyrically, the song explores themes of duality, self-awareness and intimacy. Centred on the astrological concept of the Twins, the song acts as a thesis statement for Khan's complex persona. He addresses his public reputation for chaotic behaviour while offering a private, gentle devotion to his partner, framing his multi-faceted personality as an asset rather than a flaw. Billy contrasts his unfiltered lifestyle with emotional sincerity, acknowledging his inability to fit a pristine pop mould; "Not picture perfect, not a refined edit". The song highlights a subversion of his usual alpha bravado, showcasing a rare, tender side that offers unconditional support.

Sonically, "Gemini" is built upon a sparse, mid-tempo arrangement that pays homage to mid-1990s alt-R&B and quiet storm production, drawing direct comparisons to the work of Brandy, Aaliyah, Janet Jackson, and Mariah Carey. Driven by a "knocking", organic drum loop, the instrumental relies heavily on negative space, allowing warm atmospheric synth pads and subtle, glitched electronic flickers to create a deep, nocturnal soundscape. Vocally, Billy delivers a restrained, sultry performance characterized by intricate, multi-layered harmony stacks and delicate falsetto runs. His delivery fluctuates between a conversational, whisper-register cadence on the verses and expansive, plush vocal layering on the chorus, emphasizing close-mic intimacy.



SONG COMMENTARY

Billy wrote:
"Gemini just had to be the second single. I know it's not as commercial as "Attention" or anything I've been on, really. UK radio really don't fuck with R&B unless it's a horrid, bastardised version of it. I'm fully prepared for this to be my first ever release to miss the top 10 entirely but it's fine, I love the song and I believe it's still the right decision. It was the perfect choice in my opinion because it showcased the vibes of the album, alongside "Attention". They're both bookends - the catchy, big beat stuff and the slower, more old school vibes. They give the listeners tasters of the strongest flavours while also not being too much of shock. Both songs have a common thread - me. They're both about my persona but "Attention" was a cocky, caricature version, while "Gemini" is much softer - talking about real love, what I'm truly like."

"Artists like Janet, Aaliyah and Brandy are huge influences for me. I grew up on that stuff. I was lucky to live through such a raw, innovative and iconic time for the R&B genre. To me, that's the type of music that speaks to my soul. Before I made the decision to create this album, before even joining Weekend, I always said to myself that if I were to EVER create music, those are the artists I would aspire and pay homage to. There's something so beautiful and simple yet deeply emotive and intricate about a lot of R&B tracks from back in the day. For "Gemini", I wanted to play into that - simple in theory but stacked in execution. It started with a very basic loop on a piano, setting out the base for the melody. Each time I revisited the song, I'd add something new over that foundation, whether it was a light synth following the chords, a bass-booted version layered over it and turned down in the mix, whatever. Same with the vocals; different scales within the harmony, placing them over certain parts, isolating specific lines. So much work went into it but because every aspect of it is so chilled, it doesn't sound as if it's covered in bells and whistles. It's simple in its play through, which is just what I wanted."




CRITICAL RECEPTION

"Gemini" received positive reviews upon release, with many critics praising Billy's vocals and decision to lean into the R&B genre. Muffy Levine from NME gave the track a glowing review. "It's currently 2 for 2 as Billy delivers "Gemini", the sleek second cut from his upcoming album," he opined before continuing with; "Billy is using his greatest instrument - his voice. He sounds like hot, sweet caramel, just drizzling all kinds of sugar over the sensual track while simultaneously warming the listeners up with his rich, lower register which is a much welcomed surprise." Paul Stein, writing for Exclaim!, also highlighted Holmes' vocal delivery, saying; "Billy has often been regarded as one of the best vocalists in Weekend but "Gemini" solidifies the fact that it's not just his belting and R&B inspired tones against the rock/pop edge of the others that make him stand out. Billy has a throat designed by angels. His layered self-harmonising, rarely-showcases gravelly lower register and his impeccable emotive ways make for one big sonic hug."

Clash editor John Murphy lauded the song, calling it "outstanding". He then went on to praise the decision to service the track as a single, writing; "Billy is doing everything right with his solo gig thus far. "Attention" was the perfect breakout moment; appealing to the radio, the pop heads, those looking for a new megastar and the lyrical content also appeased those on the internet who fawn over Billy's wild personality. "Gemini", however, tends to the needs of those who yearned for years to hear Billy on a straight up R&B joint. His voice has always lent itself well to the genre and he's made no bones about who his biggest inspirations are, even if it is the controversial Jackson family. Believe it or not, Billy is incredibly self aware and seems to have all bases covered."



"GEMINI"

I don't go looking for trouble
That trouble comes looking for me
Didn't mean to burst any bubbles
But it's hard to keep it squeaky clean
I can bring it on the double
Pretty sure you know what I mean

Not picture perfect, not a refined edit
Too good to cut it, it's the full-blown explicit
Not conventional but I don't care what others do
'Cause nobody's gonna love you like I wanna love you

Back and forth, flip it, got so many sides
Yeah, you ever fucked around with a Gemini?
Too many problems and I can be the antidote
So versatile but some can't swallow it whole
Take the rough with the smooth
Take the gold with the blues
Wade through the warzone to our paradise
The rivers run deeper with a Gemini
This love hits different
This love hits different


They say that "chaos" is my middle name
So infamous, I bet you already know
Yeah, I can tear it up like a hurricane
But this heart isn't made of stone
Love should be more pleasure than pain
Freaky if you want it, tender if you don't

Not picture perfect, not a refined edit
Too good to cut it, it's the full-blown explicit
Not conventional but I don't care what others do
'Cause nobody's gonna love you like I wanna love you

Back and forth, flip it, got so many sides
Yeah, you ever fucked around with a Gemini?
Too many problems and I can be the antidote
So versatile but some can't swallow it whole
Take the rough with the smooth
Take the gold with the blues
Wade through the warzone to our paradise
The rivers run deeper with a Gemini
This love hits different
This love hits different


Not everyone gets it
Not everyone can handle it
Not everyone understands it
Not everyone deserves it
Man, you fucking deserve this

Back and forth, flip it, got so many sides
Yeah, you ever fucked around with a Gemini?
Too many problems and I can be the antidote
So versatile but some can't swallow it whole
Take the rough with the smooth
Take the gold with the blues
Wade through the warzone to our paradise
The rivers run deeper with a Gemini
This love hits different
This love hits different


Can Be Compared To:

WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 14/08/2026(UTC), erich hess on 15/08/2026(UTC), C4AJoh on 15/08/2026(UTC)
Offline BrownSugar  
#9 Posted : 14 August 2026 11:42:59(UTC)
BrownSugar
Rank: Advanced Member

Groups: Moderators, Registered
Joined: 18/02/2011(UTC)
Posts: 28,582
Man
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Location: In between the couch cushions

Thanks: 12032 times
Was thanked: 20896 time(s) in 8281 post(s)
UserPostedImage

Artist: Billy
Title: Safe Passage
Genre(s): R&B
Length: 3:34
Writer(s): B.Khan
Producer(s): Billy, Havoc the Saint
Label: Pesky
From The Album: Bilal



INFORMATION

Safe Passage is a song by British singer-songwriter Billy. It serves as the eighth track on his debut album "Bilal", and was serviced as the fourth single from the project. The song was initially released on April 11, 2022 alongside accompanying single "XXHIBITION". Both tracks were released without any prior promotion or reveal, appearing on all digital music and streaming platforms as surprise releases on the night of the 11th. In sharp contrast to the energetic, club-oriented soundscape of "XXXHIBITION," "Safe Passage" is a quiet, contemplative track that explores themes of mental health struggles, generational trauma, identity, and the heavy emotional burden of fame. Written by and produced as an atmospheric alt-R&B ballad, the song was distributed as part of a dual-single campaign designed to showcase the opposing artistic and thematic sides of the album. The track was written solely by Billy while production was handled by American R&B and hip-hop producer Havoc the Saint.




MUSIC & LYRICS

Lyrically, "Safe Passage" dismantles Billy's aggressive public image, addressing public misperceptions of his bravado, "I know many think that I'm a narcissist / I'm just looking for proof that I really exist". Khan framing his outward confidence as an armour reveals the underlying insecurity of a figure battling severe imposter syndrome and the pressures of notoriety. A central narrative thread focuses on inherited family traits and the fear of cycle repeating. Khan reflects on his strained relationship with his own upbringing and expresses anxiety regarding his own young son's future. The song also touches upon substance use as a coping mechanism for childhood anxieties, "Always dabbling with something a little stronger / To give courage to the kid once sat in the corner". The chorus centres on the claustrophobia of his own thoughts, framing internal reflection as a source of turmoil rather than sanctuary.

Built as a melancholic alt-R&B ballad, "Safe Passage" features a sparse, atmospheric arrangement. The track utilises ambient, reverberated synth pads and subtle, echo-laden electric guitar licks set against a slow, stuttering drum pattern. The minimalist soundscape relies on negative space, giving the vocal track dynamic priority. Khan adopts an intimate, close-miked vocal approach that prioritizes raw emotion over polished vocal technique. Shifting between a quiet, breathy lower register and a fragile falsetto, the delivery reinforces the lyrical themes of psychological burnout and emotional vulnerability.



SONG COMMENTARY

Billy wrote:
"I'm not one to get nervous or scared when it comes to my career. I'm used to the spotlight, the questions, the fighting off weirdos who have the Union Jack as their profile pic. I've performed on the world's biggest stages, sang for some of the most powerful people on the planet, stolen the last blueberry muffin from a hungry Dustyn. I've never felt as intimidated as I do right now. Releasing "Safe Passage" is probably the most frightening thing I've ever had to do. On some level, yes, releasing two singles *is* still a way of giving everyone a taster of what's in store for the album but it's also really just a way of taking the pressures off of this sole song."

"I've never been as vulnerable as this on a song or just in general in terms of my public image. Yeah, I've been honest in songs, I always am. I've approached other songs with different angles though. Whether it's dripping in sarcasm, wrapped up in bravado, or maybe penned in a way that only I really know what certain lyrics mean, I've always avoided being this...sensitive. I'm being brutally honest about my fears, my worries, my daily battles. I don't like being seen as "weak". I grew up having to take it on the chin and be a big, brave boy. I've built a career out of my tenacity. I'm human though. I think that ten years into my career, my supporters should know me a little better. Also, approaching 30 has made me realise I've held onto shit for way too long. I don't want to carry it all over into the next decade of my life. At this moment in time, yes, I AM scared of ending up alone, the idea of death, the thought that my son will turn out like me, how quickly time passes, the constant voices in my head fucking me over. "Safe Passage" spells a lot of it out for you and this is only just the surface."

"I knew I wanted to create something as raw as this and I also knew the only way I'd be able to be as authentic and gutsy as possible was if I really fucking vibed with the music. A lot of classic 90's and some early 00's R&B has helped me through some real shit because there's such honesty and depth there. That era...it's beyond just straight-up impactful and truthful lyrics. It's the whole package. The production choices compliment the mood. The vocals ride alongside the words and hit the right note on the right phrase to really get you in the gut. That's what I set out to do with "Safe Passage". Intimidated but also real fucking proud of this one."




CRITICAL RECEPTION

The song received widespread acclaim from critics and fans alike, who praised Khan's lyrical vulnerability, unrefined vocal performance, and his willingness to dismantle his established "bad boy" public persona. Writing for NME, Alan Child wrote that "Safe Passage is the best thing Khan has done in his decade in the spotlight. Not only is this the first time we catch a glimpse of the man beneath the larger than life persona, his musical prowess and attention to the smallest details shines brighter than ever." Imogen Peth of The Line of Best Fit praised the musical direction for the single, saying "While Khan is a multifaceted and versatile talent, he sounds most at home on slower, classic R&B moments and "Safe Passage" is testament to that.". Calvin Beckett of Variety branded Billy as "one of Weekend's most interesting members" before opining that "there are several layers to the musical heavy-hitter and it appears that "Safe Passage" is just the tip of the iceberg".

Writing for Rolling Stone, Jessica Thornberry commended the "gut-punchingly-honest" penmanship and branded Khan a "tormented genius", writing; "Whether planned or not, the sheer sincerity of the track is bound to garner more attention and interest than any typical shock-factor Khan tactic could." She rounded off her positive review by claiming that "Khan has us all eating out the palm of his hand with whatever move he makes, controversial or conversational." Blanche Prichard of Pitchfork called the song "A career-defining moment for Billy". Prichard went on to state that "Pairing 'Safe Passage' with 'XXXHIBITION' was an inspired double-single rollout—showing two completely different sides of vulnerability. The line about being a 'pale imitation' and fearing his son will follow in his footsteps is easily his most heartbreaking lyrical work to date."



"SAFE PASSAGE"

I hate spoilers but not as much as surprises
Reluctantly spill the ending before it's even started
Left alone amongst the carnage is a recurring theme
Don't blame a soul for fleeing the tragic scene
I, too plan to make for a sweet escape
Then the clouds roll in and my spirit breaks

Championed by so many as a hero
Trying to keep that up while running on zero
Some thinking I should don a halo
When five minutes ago, I puked a whole rainbow

I only come alive in the dead of night
Because I'm not a fan of this silence
Running rampant, turning a blind eye
Avoiding the truth's my worst habit
I'm too scared of what I may find
Lurking in the crevices under darkness
Don't leave me alone with my own mind
'Cause even it don't offer safe passage


Tried so hard not to become like my father
But I know I'll still be torn up in the Rapture
They don't give out points for good intentions
Can barely scrape by on being a pale imitation
I want someone to blame for sealing my own fate
They love my honesty, though I lie to my own face

Thought I'd grow wiser as I got older
Only grew closer to this little devil on my shoulder
Million and one things I still haven't told ya
Constant battle with pride for the reward of closure

I only come alive in the dead of night
Because I'm not a fan of this silence
Running rampant, turning a blind eye
Avoiding the truth's my worst habit
I'm too scared of what I may find
Lurking in the crevices under darkness
Don't leave me alone with my own mind
'Cause even it don't offer safe passage


I know many think that I'm a narcissist
I'm just looking for proof that I really exist
Hate my mortality and the concept of time
Try to fit in 'cause I don't want left behind
Always dabbling with something a little stronger
To give courage to the kid once sat in the corner
Son of my own, I often fear what he'll become
Walking in the footsteps of bad boy number one

I only come alive in the dead of night
Because I'm not a fan of this silence
Running rampant, turning a blind eye
Avoiding the truth's my worst habit
I'm too scared of what I may find
Lurking in the crevices under darkness
Don't leave me alone with my own mind
'Cause even it don't offer safe passage


I only come alive in the dead of night
Because I'm not a fan of this silence
Running rampant, turning a blind eye
Avoiding the truth's my worst habit
I'm too scared of what I may find
Lurking in the crevices under darkness
Don't leave me alone with my own mind
'Cause even it don't offer safe passage



Can Be Compared To:

WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
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Offline BrownSugar  
#10 Posted : 16 August 2026 10:37:50(UTC)
BrownSugar
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Artist: Billy
Title: East End Island
Genre(s): UKG, R&B, 2 Step, Drum & Bass
Length: 3:57
Writer(s): B.Khan
Producer(s): Deneil
Label: Pesky
From The Album: Bilal



INFORMATION

East End Island is a song by British singer-songwriter Billy. It serves as the ninth track on his debut album "Bilal". The track is one of the latest additions to the album, coming to fruition in a 2025 writing session. Khan had previously finalised a track list for 'Bilal' in 2024 but the project was halted and overhauled with Khan citing 'detachment' from much of the material amidst the breakdown of his marriage with Jerry Holmes as the reasoning. Several songs were scrapped, allowing Khan to start anew. "East End Island" heralded from those later sessions. The track had not been performed, revealed or teased by Khan prior to the release of the project. Though never formally released as a commercial single, the track garnered acclaim among early reviews for its intersectional narrative, genre-blending production, and incorporation of historical East London audio archives. The track was written entirely by Billy while production was handled by his young brother, Deneil.




MUSIC & LYRICS

Sonically, "East End Island" is built upon a fast-paced, 138 BPM 2-step UK Garage (UKG) framework that draws inspiration from early-2000s British R&B and modern, liquid drum-and-bass productions. Driven by syncopated kick-and-snare patterns, skittering hi-hats, warm organ stabs, and a heavy sub-bass line, the track combines high-energy club music with R&B vocal sensibilities. Vocally, Billy delivers quick, rhythmic verses with rapid-fire vocal agility that matches the track's high tempo, using authentic East London cadence. The chorus shifts to a soaring, chest-register melody that showcases his vocal range over the syncopated garage groove.

Lyrically, the song explores Khan's childhood growing up mixed-race on a social housing estate in Hackney, East London. The lyrics directly address racial prejudice, calling out the estrangement from his maternal white family as well as cultural and religious friction from his father's side. Billy addresses his bisexuality, confronting the erasure that often accompanies existing between rigid categories. Rather than framing his sexuality or heritage as vulnerabilities, he reframes being "in-between" as a unique vantage point of clarity and independence. The central metaphor of the "East End Island" represents total self-reliance. Rebuffing expectations to conform or seek corporate validation, Billy expresses confidence that his audience will find him on his own terms.

Following a period of silence after the final chorus, the track concludes with an uncredited 1978 BBC News archive recording reporting on the racially motivated murder of Altab Ali in Whitechapel. The sample serves a dual purpose: paying tribute to a pivotal historical event in East London's Asian community and providing a thematic segue into the album's tenth track, "Model Citizen", which addresses street crime and community violence.




SONG COMMENTARY

Billy wrote:
"Growing up in Hackney, I spent half my life being told I wasn't 'white enough' for one side of my family, and the other half feeling like I wasn't 'Asian enough' or traditional enough for the culture. I've always had a thick skin so it never really bothered me to the extent that it was crippling or anything like that but that shit still niggled at me for the longest time. I was 'wrong' from the minute I was born. That negatively being hurled your way from the minute you enter the world...can make you a bit pissy from time to time. Add in the fact that I came out as bisexual down the line, I didn't stand a chance, haha! We live in a society where everyone wants to slap a label on you, stick you in a box. They don't even accept you once they've done that. They just like to define you, name you and 'other' you so they can categorically point a finger and says 'it's this type of person I hate' and 'it's this type of person that's wrong'. I've refused to stick to the one thing and it angers people for some reason."

"When you're in that situation, you can feel like you're stranded on an island while everyone else belongs to a mainland. But with 'East End Island,' I wanted to flip that completely. I stopped begging for a seat at the tables where people didn't even want me in the room. I built my own island, got Neily to slap a 138 BPM garage beat underneath it, and said, 'This is who the fuck I am.' That sense of identity and reclamation is important to me. I remember sitting in studio sessions early in my career and having producers or label executives literally try to edit my identity. They’d say, 'Maybe don't lean too much into the Asian stuff, it confuses the pop market,' or 'If you're going to talk about guys, make it vague so women can still project.' It was fucking exhausting being told to dilute every single part of myself just so I’d fit neatly on a store shelf. 'East End Island' was me taking all those fragmented pieces and smashing them together into something totally unapologetic."

"Including the Altab Ali news snippet at the end was non-negotiable for me. It wasn't a stylistic choice either; it was a reality check. It’s a reminder that my existence on these streets isn't an accident or a trend - it was paid for by people who came before me, and I’m going to stand my ground on that island no matter who tries to wash it away. We aren't fucking asking for permission to exist here anymore!"




"EAST END ISLAND"


Always an air of strange
Always an eyebrow raised
Kids in the schoolyard making all sorts of fuss
I'm a question mark, little ambiguous
No real sense of belonging to fathom
As I stood alone on the other side of the chasm
My mother's side didn't want to rock the cradle
No half breed babies sat around their table

But I've kicked down doors, don't even knock it
No skeletons or rainbows trapped in my closet
Blew it wide open, you know how I bomb shit
Now tell me how that line was outta pocket

East End island out on the periphery
Little this, little that, walking dichotomy
Turned it into an entire economy
And only the realest can still fuck with me
Just a social housing boy from the estate
Running rings around every single race


Did what I could just to be seen
Scuffed up hands and some shattered windscreens
Thought they'd talk me down, break some bread
But they just thought I was twisted in the head
Knocked up a white girl, got some validation
But they still couldn't see beyond my persuasion
'Cause I've been known to lay with a man
My father's side thinks I'm a bit too haram

Life on the cusp is a regular safari
But it's where your princess likes to party
She's getting down with the Mandem and Bengalis
Don't worry, I'll have her home by 4 in the 'Rari

East End island out on the periphery
Little this, little that, walking dichotomy
Turned it into an entire economy
And only the realest can still fuck with me
Just a social housing boy from the estate
Running rings around every single race


It seems that my tribe's arrived
Oops, looks like you're about to get colonised
I spread my word and they multiply
On behalf of my brethren, I don't apologise
'Cause our blood runs through these streets
DNA woven through every beat
A sentiment that I've learned to repeat;
No matter how you point, I still belong to the East

East End island out on the periphery
Little this, little that, walking dichotomy
Turned it into an entire economy
And only the realest can still fuck with me
Just a social housing boy from the estate
Running rings around every single race


East End island out on the periphery
Little this, little that, walking dichotomy
Turned it into an entire economy
And only the realest can still fuck with me
Just a social housing boy from the estate
Running rings around every single race


You can turn your head, treat me like an outsider
You don't fuck with me? I don't fuck with you either!
You can turn your head, treat me like an outsider
You don't fuck with me? I don't fuck with you either!
You can turn your head, treat me like an outsider
You don't fuck with me? I don't fuck with you either!


Can Be Compared To:



...

[Archival 1978 BBC News Report Excerpt]

"Mr Ali, who moved to London from Bangladesh in 1969, was attacked by three teenagers - Roy Arnold, Carl Ludlow and another boy. Arnold and Ludlow were 17; the unnamed male was just 16. The murder was racially motivated and random - they did not know Mr Ali and did not care who he was. "No reason at all," said the 16-year-old boy, when a police officer asked why he attacked Mr Ali."

"If we saw a [bleep] we used to have a go at them," he remarked. "We would ask for money and beat them up. I've beaten up [bleep] on at least five occasions."


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 16/08/2026(UTC), C4AJoh on 19/08/2026(UTC), erich hess on 23/08/2026(UTC)
Offline BrownSugar  
#11 Posted : 16 August 2026 11:18:55(UTC)
BrownSugar
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Groups: Moderators, Registered
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Artist: Billy, Kara Romero, Kidd Amaze
Title: Model Citizen
Genre(s): Trip Hop, Hip Hop, Downtempo
Length: 4:39
Writer(s): B.Khan, T.Cousins
Producer(s): Deneil
Label: Pesky
From The Album: BILAL



INFORMATION

Model Citizen is a song by British singer-songwriter Billy, featuring Spanish-American singer-songwriter Kara Romero, and American rapper Kidd Amaze. It was released as the seventh single from his debut studio album, "Bilal" and serves as the tenth track on the record. After being teased via his social media platforms on March 6, 2024 the track was officially released two days later on the 8th via Pesky Records. The trip-hop song immediately garnered media attention even prior to release due to the multiple high profile names featured on the collaboration, and also debuting a day before the highly anticipated UMA's. An early solo version of the track was written and recorded as far back as 2020 before being overhauled and reworked during studio sessions in early 2023. "Model Citizen" was initially written solely by Khan before TJ Cousins AKA Kidd Amaze penned his newly added rap, earning Cousins a writing credit on the song. The track was produced by Khan's younger brother, Deneil. The song has been dubbed by Billy as his "most important to date".




MUSIC & LYRICS

Lyrically, "Model Citizen" is politically charged and references both Khan's lived experiences growing up in Hackney throughout the 1990's and 2000's, while simultaneously reflecting upon current issues across the globe today. The central hook scathingly critiques public and political indifference toward inner-city crime. Khan frames the ideal "model citizen" as someone who remains wilfully blind to surrounding violence and tragedy to preserve their own comfort, treating human lives as disposable data points. Across their respective verses, Khan and Romero detail the reality of growing up on neglected housing estates, "Stanley in their pocket in case man's acting iffy" / "Wake up to find fresh shells on the ground". The recurring line "All out here just dying for a living" serves as a central thesis on how systemic neglect forces young people into dangerous survival cycles. Kidd Amaze’s verse expands the song's scope to global corporate and state manipulation. His line-by-line breakdown addresses systemic redlining, media distraction tactics, forced culture wars, and bodily autonomy, exposing how those in power weaponize division to maintain economic productivity.

Sonically, "Model Citizen" is a downtempo trip-hop and alt-R&B track built on a slow, brooding pulse. Influenced by the moody, electronic soundscapes of 1990's British trip-hop acts, the instrumental relies on deep sub-bass drops, crisp, delayed snare snaps, atmospheric vinyl hiss, and melancholic, reversed synth pads. The track uses negative space and a minimalist drum structure to create a tense, late-night atmosphere that matches its heavy subject matter. Vocally, Billy and Kara deliver soft R&B vocals, utilizing airy falsettos and hushed chest tones that contrast with the ominous instrumental. In contrast, Kidd Amaze’s bridge section drops into a smooth, rhythmic, and conversational rap cadence that cuts cleanly through the ambient synth pads.



SONG COMMENTARY

Billy:
Quote:
"This is probably the most important song I've ever worked on in my career. A lot of my lyricism is brash and filled with bravado. I'm partial to a rude rhyming scheme and some overly cocky swagger. That's one side of me but I wanted this album to showcase absolutely everything I am and all that I feel and believe in. When it's time to get serious, I'm really fucking serious. "Model Citizen" is that moment and it's what I'm most proud of on this record. For me, the song sums up both my lived experience growing up in a very poor, underfunded and violent era and also the current state of the world. There's a lot of divide and conquer tactics going on. A lot of dehumanising. There are people, kids even, being blown to smithereens. Folk being murdered and attacked on the daily. Families at food banks, struggling to heat their homes in 2024. They're all just "statistics", though. That's how those in charge want you to see them. They're not real people. "Just you keep looking ahead, pay your taxes, don't question shit and give us a vote at the next election, yeah?" That's the warped mentality of those in charge. Don't question a thing otherwise YOU are the problem. YOU are getting in the way. It's totally not down to corruption, power play, dick-swinging, deep-rooted faults within the structure of our society. No, it's the common man expressing concern for his neighbour."

"When you're underfunded and really need raised up, they don't care. They want to forget about you. Where I lived in Hackney and then falling into the care system, I've seen all that shit. Certain areas of the map are just forgotten about. You're the nation's dark secret. They hope you'll just stay silent and eventually die off. You're not given the help, education, and support. That goes to the ones who don't need it as much. I even see it in my work today. The amount of free shit I've been offered as a "celebrity"...it's sick. I don't need a free car. I can afford one. Why do we continue to fall over our feet after the rich man and turn our noses up at the less fortunate? This song is an ode to those we've lost because people have turned a blind eye and it's also a middle finger to the blackhearted bastards at the top."

"I've been working on this song for about 4 years now. Not lying when I say that this track is so fucking important to me. I wanted to get it just right. I worked away and worked away at it for fucking ages. When it was done, I fucking loved the lyrics and thought I'd nailed what I wanted to say but there was still something missing. It clicked that it needed more voices. It had to become this anthem, this call. Immediately, I knew I wanted Kara on the song. Been a huge fan for years and this was the perfect opportunity to work with her. She has such conviction in her voice and I'm always in awe of how effortless yet raw she makes everything feel. A total pro and fucking talent. She cut her verses and then I decided I wanted to go even bigger, so I reached out to Kidd Amaze. Wasn't sure I'd hear back because he's such a revered figure and he doesn't just work with anybody. I think it was within the same 24 hours of contacting him that I got his full verse back. I was fucking floored. Kidd Amaze? On MY song? Felt so fucking blessed. We didn't have to tweak a single thing. That one response he sent us was perfect and the final piece of the puzzle. Forever grateful to Kidd and Kara for making this very special song what it is today."


Kara:
Quote:
"Man, this song is truly incredible. I feel honoured that I was even thought of as someone that could lend their voice to such a powerful track and thank Billy for bringing me up for this. He’s an artist I have immense respect for in the industry and it’s in a track like this that truly shows the depth of his ability. He can turn on a motherfuckin’ dime with this ability to create something for every single possible mood and feeling and it’s when he steps away from the playful and confident Billy that I know too well and shows this side of him that I love and respect so much as a friend and as an artist. I’ve dabbled in socially conscious music and I know how much of a fine line it is to tread, but this is not just incredibly written and performed but it’s done with such a truthfulness and frustration that you feel in every paused breath and every delivered line.

It's complete rawness and honesty in song and I can’t think of a better pairing on a track than both Billy and Kidd, they’re two artists that are completely at the top of their game right now and it still fucks with my ego that I was even allowed anywhere near a track with such heavyweights of this industry. I think a track like this shows that whatever you think of Billy, you cannot help but listen to him. He’s a voice that speaks truth to power and the injustices in the world and his own story is one of perseverance and unwavering belief in self. I can’t say enough about this entire process, hearing Kidd on the track was the cherry on top for me and hearing how effortless it was for him to deliver magic does not surprise me at all, having been within his presence for most of my own career at Just Record. Put him alongside Billy who literally does not do anything half-hearted and it’s instantly iconic. I was just glad to lend my voice and have a small part in this masterpiece."


Kidd:
Quote:
"This was a moment, I remember this was right as I was working on my album Sides and I was really some type of way in the world. All of a sudden I got a message from Billy. I know about Billy but we have never been like in the same room and got a chance to connect but I'm a music guy so I know about his behavior and he work ethic. Super talented, so I'm interested to see what it is and I'll never forget it was like a calm respectful tone to hit me up. His personality is tone down and I looking at it cause I thought he would be like 'Yo, I got this song I want you to be on so hop to it.' I was taken back because like pop music and pop radio, you reaching the masses. Like they have a following and a crowd and I'm good in rap music but I rarely cross over to that genre. So from one of the biggest pop stars come to you and actually like asking for a favor, like you the top of the shit. That as a 'man I really made a name for myself. ' I try to always do my best and listening to it, I really just took what I was feeling at that time and put it on the track and sent it to him. He sounded shocked that I even responded, let alone did something for the track but I had to. I think the message is important and I think that there is a lot of accountability that needs to take place. "




"MODEL CITIZEN"

Billy
Kara
Kidd


A moment of silence for all our deceased
Prayer circle right in the belly of the beast
Officers don't want to practice what they preach
Where's the fuckin' law and order in these streets?
Youths just dropping dead in the inner city
Stanley in their pocket in case man's acting iffy
More blood in an alleyway, shit's getting crazy
Another statistic, a point raised for the committee

16 year olds out here lacking guidance
Speak up and the powers go for silence
Trying to get by on a complex, secret code
It's a slippery rock, it's a fraying rope
No room for mistakes, it's so unforgiving
All out here just dying for a living


Thank the Lord it's them and not you
They were never real, another name on the news
We all end up bleeding red, white and blue
It's not perfect but it's what we have to do
Switch the station, nothing can be done
No questions raised, not like it was your son
Don't want to face the barrel of a smoking gun?
Just walk on by like a model citizen


Cross your heart and hope to die
For the piece of fabric flailing in the sky
And if you should go before you wake
Pray to the State, your shit to take


Wake up to find fresh shells on the ground
Politicians don't hear the shots in their town
Haven't been listening much for a while now
Made of bricks, can't blow their house down
Knew a girl around here who fell upon some bad times
Had it rough but still threw up the peace signs
Now I can't walk that road until her blood dries
Can't change a thing so we just watch the doves fly

Joyriding around the block without a license
Probably searching for a new shelter to hide in
It's a war out there, it's a fucking joke
No right direction, just mirrors and smoke
The same concrete jungle, so unfulfilling
All out here just dying for a living


Thank the Lord it's them and not you
They were never real, another name on the news
We all end up bleeding red, white and blue
It's not perfect but it's what we have to do
Switch the station, nothing can be done
No questions raised, not like it was your son
Don't want to face the barrel of a smoking gun?
Just walk on by like a model citizen


Question, do you know when the last slave was freed?
When was the first time people thought about equality?
Forget the red tape let's redline through the communities
The blacker the berry, the sweeter the juice and we need that consistency
Remember it's an US vs them tendency
And mentally keeping them on the wheel
That's what is good for productivity
This is a catch all the color I see green
I'm just blind to your issues when it comes to ethnicity
You know the saying no press is bad press and we need the publicity
To prey on your fears and create a vacuum of toxicity
Make you question the authenticity of professional
Remember the vaccine?
How does it work? Get the facts and douse it gasoline
And if a bitch talks back get the Vaseline
Her place is the kitchen or the bedroom no in between
She thinks she knows best for her body that's so obscene
Look at what happens now boys feeling like queens
Girls trying to be kings world crazy mad
It's safe here in your little box aren't you glad?


Thank the Lord it's them and not you
They were never real, another name on the news
We all end up bleeding red, white and blue
It's not perfect but it's what we have to do
Switch the station, nothing can be done
No questions raised, not like it was your son
Don't want to face the barrel of a smoking gun?
Just walk on by like a model citizen


Cross your heart and hope to die
For the piece of fabric flailing in the sky
And if you should go before you wake
Pray to the State, your shit to take


Cross your heart and hope to die
For the piece of fabric flailing in the sky
And if you should go before you wake
Pray to the State, your shit to take



Can Be Compared To:


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 16/08/2026(UTC), C4AJoh on 19/08/2026(UTC), erich hess on 23/08/2026(UTC)
Offline BrownSugar  
#12 Posted : 16 August 2026 12:54:00(UTC)
BrownSugar
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Artist: Billy, Keshia Love
Title: Kiss The Rain
Genre(s): Alt-R&B
Length: 3:39
Writer(s): B.Khan, S.Hollywood
Producer(s): BLOOM
Label: Pesky
From The Album: Bilal



INFORMATION

Kiss The Rain is a song by British singer-songwriter Billy featuring American R&B singer, Keshia Love. It serves as the eleventh track on his debut album "Bilal". "Kiss The Rain" marks the second recording collaboration between Billy Khan and Keshia Love. The pair originally recorded an unreleased track titled "Lay Your Love" during the early writing sessions for "Bilal". As Khan continued refining the album's artistic direction, he conducted a thorough overhaul of the material, scrapping several songs that he felt no longer met the project's quality standard or dark alternative R&B aesthetic — including "Lay Your Love." Determined to keep Love on the album due to their vocal synergy and mutual respect, Khan pitched "Kiss The Rain" specifically with her in mind as a replacement. The track was written by Billy and long-time song writing collaborator Sara Hollywood. Production was handled by BLOOM. The trio of Khan, Hollywood and Flores were also responsible for Khan's #1 debut single, "Attention".



MUSIC & LYRICS

Sonically, "Kiss The Rain" is described as a "late-night R&B" track. Grounded in alternative R&B and dark pop, the track relies on a nocturnal, synth-heavy arrangement built over a mid-tempo pulse. The production blends low-slung sub-bass, atmospheric pads, 808 hi-hats, and subtle rain field recordings. The instrumentals feature deep bass tones, spacious ambient synths, and subtle percussive textures, creating a hazy, late-night atmosphere. Billy utilises a soft, breathy vocal register laced with delicate falsetto runs, contrasting Keshia's raspy, soulful delivery. Their vocal layers interlock across the choruses and a extended, hypnotic outro. "Kiss The Rain" relies on a laid-back, infectious downbeat rather than fast-paced club rhythms.

Lyrically, the song's narrative is structured around a psychological tug-of-war between two individuals who refuse to admit their mutual attraction outright. Rather than presenting a straightforward love song, the lyrics frame the dynamic as a series of strategic manoeuvres and subtle power plays. Billy opens the first verse with an assertive, cocky posture acknowledging that his presence intrudes on her thoughts despite their lack of official commitment. In the bridge, Billy directly calls out Keshia's reluctance to break her composed exterior, teasing her for pretending to be above the temptation while knowing she secretly craves it. A defining aspect of the track is its candid exploration of solo gratification driven by vivid thoughts of the other person while physically separated. The song elevates explicit themes of masturbation and climax by framing them through grand, atmospheric imagery. The phrase "kiss the rain" acts as a double entendre for ejaculation, moisture, and emotional surrender. The chorus pairs this with celestial metaphors, characterising the build-up and climax as a cosmic event. The act of giving in to physical desire is described as an ignition, while the post-climax relief is depicted as a gentle landing.



SONG COMMENTARY

Billy wrote:
"Fam, 'Kiss The Rain' was such a journey to get right. Originally, Keshia and I had this demo called 'Lay Your Love' that we worked on really early on for the record. And listen, it wasn't a bad song. It was cute. I just felt like it was a little bit too sappy and didn't quite pack a punch. When I was revising stuff and throwing shit out, the general consensus for a track to remain was that it made a strong statement on its own. 'Lay Your Love' was nice but it didn't cut it. I was scrapping half the track list for one reason or another but I couldn't do this album without Keshia. I'm a huge fan, her voice is just pure silk and soul, and we have this natural chemistry where we just get each other's vibe instantly. I was gutted to let 'Lay Your Love' go but I don't half-arse anything. The perfectionist in me was absolutely on one and I had to pull out the big guns. If I was throwing out a mushy, cooing love song, I had to up the ante and come back with something more passionate and intense. Something with a bit of bite, you know?"

"I called up BLOOM and Sara [Hollywood], and got the dream team back together. We booked a bunch of sessions together and were just going fucking balls to the wall, creating all sorts of magic. I told Sara that I wanted to pen something new for my Keshia collab so we knuckled down and dedicated a whole session to writing that duet. I wanted to touch on that super specific, excruciating kind of sexual tension where two people are practically vibrating on the same wavelength, but neither person wants to be the first one to fold. It’s about playing hard to get, the mind games, the teasing, and then what happens when you’re both back in your own beds at 3 AM, miles apart, completely consumed by thoughts of each other and just absolutely going mad with your hand, whey! Where other duets write about the actual hook-up, I wanted to write about the obsession beforehand — the solitude, the masturbation, the way your brain invents these surreal, cosmic scenarios just to get you across the finish line. It’s fucking filthy, but it’s poetic, haha!"

"We wanted a synth-heavy, nocturnal vibe where the bass just sits heavy in your chest. I was trying my best to describe the vibe I wanted to Cristian - late night, 3 AM car ride, rain on the windows, a buzz in the night air. He did the damn thing on that beat! And when Keshia sent her vocal stems back, I was literally pacing around the studio. Feet fucking buzzing. She brought this raspy, sultry desperation to her verse that completely blew me away. She took what we wrote and just made it absolutely fucking next level."




"KISS THE RAIN"

Billy
Keshia
Both


Are you still trapped in a head full of me?
The sound of subtlety isn't in my key
As your lips quiver with trepidation
I pound on the confines of your imagination
Desires ache, burn bright and blister
I come to life in a red tinted vista
Dizzying heights from daydream vertigo
The tension is growing fucking palpable


You're teetering on the threshold
Afraid to fly, afraid to soar
Dancing around the colours of the kaleidoscope
But it's OK, baby, it's absolutely fine
To use my body any place, any time
Yeah, let me help you blow your fucking mind


Let it all go, kiss the rain
See the sleeping satellites slowly wake
As the Earth moves, turns cycles in your head
Keep the thought of me, I'll get you there
Tastes so good, kiss the rain
Let the spark meet the embers, enjoy the blaze
Light as a feather reuniting with the ground
It's never felt so good to come down, down, down


Hard to fixate on me in a room full of you
But if you'll be my guide, I'll try see it through
That brief encounter left me in an altered state
And I'm still hanging on the aftertaste
Your vice-like chokehold makes it hard to breathe
Even my pillow cries her sorry self to sleep
Dizzying heights from wet dream vertigo
The tension below is fucking palpable


I try to block you out with my walls
But you wanna infiltrate, make them fall
Kaleidoscopic visions beckon and call
Thousand miles apart yet you linger in the air
Even all the Gods are laughing at my prayers
How can I feel you when you ain't even there?


Let it all go, kiss the rain
See the sleeping satellites slowly wake
As the Earth moves, turns cycles in your head
Keep the thought of me, I'll get you there
Tastes so good, kiss the rain
Let the spark meet the embers, enjoy the blaze
Light as a feather reuniting with the ground
It's never felt so good to come down, down, down


You bring out a brand new side of me
Fucking with any semblance of sobriety
Going down like the sweetest alcohol
Drip by drip, I start to let it fall


I don't know who you think you're kidding
Take off that halo you love wearing
Don't have to deny to get that Godly fix
Heaven is cool but is it better than...this?


Let it all go, kiss the rain
See the sleeping satellites slowly wake
As the Earth moves, turns cycles in your head
Keep the thought of me, I'll get you there
Tastes so good, kiss the rain
Let the spark meet the embers, enjoy the blaze
Light as a feather reuniting with the ground
It's never felt so good to come down, down, down


Let it all go, kiss the rain
See the sleeping satellites slowly wake
As the Earth moves, turns cycles in your head
Keep the thought of me, I'll get you there
Tastes so good, kiss the rain
Let the spark meet the embers, enjoy the blaze
Light as a feather reuniting with the ground
It's never felt so good to come down, down, down



Down, down, down
To come down, down, down

Down, down, down
To come down, down, down

Down, down, down
To come down, down, down

Down, down, down
To come down, down, down

Down, down, down
To come down, down, down

Down, down, down
To come down, down, down



Can Be Compared To:


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 16/08/2026(UTC), C4AJoh on 19/08/2026(UTC), erich hess on 23/08/2026(UTC)
Offline BrownSugar  
#13 Posted : 20 August 2026 09:32:34(UTC)
BrownSugar
Rank: Advanced Member

Groups: Moderators, Registered
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Artist: Billy
Title: Dr Pepper
Genre(s): Alt-R&B, Pop, Dancehall
Length: 3:33
Writer(s): B.Khan
Producer(s): Deneil
Label: Pesky
From The Album: Bilal



INFORMATION

Dr Pepper is a song by British singer-songwriter Billy. It serves as the twelfth track on his debut album "Bilal". The track is one of the latest additions to the album, coming to fruition in a 2025 writing session. Khan had previously finalised a track list for 'Bilal' in 2024 but the project was halted and overhauled with Khan citing 'detachment' from much of the material amidst the breakdown of his marriage with Jerry Holmes as the reasoning. Built around dark, electro-minimalist production, the track details Khan's complex history and unrequited romantic feelings for his Weekend bandmate, Dustyn Blue. Following Khan's public reveal during a 2025 interview on Maliah Aguilar's Off The Record podcast regarding a secret teenage fling between himself and Blue during Weekend's early years, anticipation for Khan's solo material reached a fever pitch. Fans quickly identified the track's title upon the reveal of the Bilal track list, referencing Blue's well-documented public fondness for Dr Pepper. The track was written solely by Billy while production was handled by younger brother Deneil, respectively.



MUSIC & LYRICS

"Dr Pepper" is a sparse, experimental pop and dark electro-R&B track, with elements of dancehall. Musically, it draws heavy influence from late-2000s electro-minimalism, utilizing a cold, hypnotic synth loop and understated percussion. The production relies on a stark contrast between its clinical, detached instrumental and Billy's raw, emotionally charged vocal performance. The production relies heavily on empty space. Instead of dense instrumentals, it is anchored by a skeletal alternative R&B and dancehall inspired rhythm track. Billy's vocals are intimate and up-front, with minimal gloss or artificial tuning, making the conversational and bitter lyrics feel like a direct, private confession. Soft, ambient textures are interrupted by subtle, gritty electronic hits and muted industrial percussion, creating a sense of tension without overwhelming the emotive vocal delivery.

Lyrically, the track is written from the perspective of a younger Khan during a pivotal window in 2014 - a period following Billy's divorce from his first wife, Andrea Mason, and preceding Blue's relationship with Dallas Conners. The song explores Billy's internal struggle over whether to pursue a permanent romantic relationship with Blue or preserve their foundational friendship within the band. The opening line, "He's a friend of a friend of a friend / Drowning in problems and he's your solution", directly references the real-life introduction of Blue to Conners, facilitated by fellow Weekend member Oscar Ward. Billy balances memories of deep physical and emotional intimacy, "I've seen you naked in every different phase", with a protective instinct toward Dustyn, "When they fuck you over, I put them on the concrete". The track reaches its narrative climax during the bridge where Billy laments stepping aside for Blue's permanent partner while tuhe track's central hook of "But I don't want to lose a friend / No, I don't want a bitter end" illustrates the paralysis that ultimately kept Khan from acting, choosing the safety of their lifelong friendship over the gamble of romance.



SONG COMMENTARY

Billy wrote:
"Honestly? Out of every single track on Bilal, 'Dr Pepper' was the one that gave me the absolute worst fucking anxiety to actually put on the track list. It’s no secret that Dustyn and I have this massive, tangled history. People knew bits and pieces over the years, but after I went on Maliah’s podcast and finally cleared the air about what went down between us when we were teenagers, the whole fucking internet just exploded. Everyone had an opinion on our bond, our past, our entire lives."

"But what people didn't realise is that 'Dr Pepper' isn't about the secret fling itself - it’s about a specific slither of 2014. That was such a bizarre, terrifying window of time for me. I’d just come out of that nightmare, pressure-cooker divorce with Andrea, my head was completely scrambled, and Dustyn was right there, being my rock like he always is. But at the same time, he was just starting to talk to Dallas and I was sitting there watching it all happen in real-time, just silently losing my mind. Jealous as fuck. Angry at myself for being jealous because I'm supposed to not be a soppy cunt and also, I'm meant to be happy for my best mate. I was so fiercely protective of him, so attuned to every single thing about him - down to something as stupidly simple as knowing that offering him a Dr Pepper could fix his worst day. I wanted so desperately to say, 'What the fuck are we doing looking elsewhere? Why isn't it us?' But the fear of ruining the band, of losing my best friend forever and having it end in some toxic, bitter tabloid disaster...it kept my mouth shut. For once, haha! I'm glad. Things turned out the way they were supposed to."

"When it came to the production, I knew I couldn't make it sound like a traditional, soft cunt ballad. That felt too cheap, too dramatic. I wanted it to feel like 4 AM in a cold studio when you’re running on pure fumes and dark thoughts. I told Neily I wanted that electro-minimalist energy, where the synth loop is stark, hypnotic, and almost clinical, but the vocals are dripping with raw, messy emotion. He got it in one. Man's probably carrying around a few demons himself, haha! But yeah, that contrast is what gives the song its bite. It’s cold and detached on the surface because that’s the armour I put on to survive it, but underneath, I'm practically begging. I almost cut it three different times during mastering because I was terrified of how Dust would feel hearing it. But he was as good as gold about it. You also can’t tell half a story. Had to be brutally honest, as uncomfortable as it was at first. Dusty’s been my brother for over fifteen years, and this song is just me finally holding up a mirror to a ghost I carried around for a decade."




"DR PEPPER"

He's a friend of a friend of a friend
Drowning in problems and he's your solution
Another stranger to get you on the mend
When are you gonna snap out of this bullshit?
I know exactly how this is gonna end
Cry on my shoulder, grows more confusing
Stay the night, come and rest your weary head
Filling my lungs on this toxic pollution

And there's a little storm up in my brain
I'm troubled, you're troubled, who can be to blame?
Hold out long enough and the pendulum sways
Right round, full circle in our 360 haze

I could plant a forest where the money grows
Don't tell me what's impossible
Maybe it just takes a little time?
Maybe I'll lie to myself in this life
Think about it over and over
Happily circle to nowhere
But I don't want to lose a friend
No, I don't want a bitter end


No, I don't want to lose a friend
No, I don't want to lose...


I've seen you naked in every different phase
The skin, the pain, the laughter, idiosyncrasies
Turned on, attuned to all your little ways
An ice cold Dr Pepper is enough to keep you pleased
But holy fuck, you can't see what's right in your face
You're scouring the wastelands, bloodied at the knees
While they drift like islands, I ride your every wave
When they fuck you over, I put them on the concrete

And there's a little storm up in my sanity
It twists and turns, fogs up all my clarity
Was never a fan of the harshness within reality
So come with me, slink into this perfect fantasy

I could plant a forest where the money grows
Don't tell me what's impossible
Maybe it just takes a little time?
Maybe I'll lie to myself in this life
Think about it over and over
Happily circle to nowhere
But I don't want to lose a friend
No, I don't want a bitter end


He's a wonderful guy but he isn't me
Laying on the side of the bed I used to sleep
Guess I kept it warm for the real thing
What a nightmare amidst my favourite dream
Tell me why do I feel like I'm left behind
When you were never, no you were never mine?

I could plant a forest where the money grows
Don't tell me what's impossible
Maybe it just takes a little time?
Maybe I'll lie to myself in this life
Think about it over and over
Happily circle to nowhere
But I don't want to lose a friend
No, I don't want a bitter end


I could plant a forest where the money grows
Don't tell me what's impossible
Maybe it just takes a little time?
Maybe I'll lie to myself in this life
Think about it over and over
Happily circle to nowhere
But I don't want to lose a friend
No, I don't want a bitter end


And there's a little storm up in my brain
Yeah, there's a little storm up in my sanity



Can Be Compared To:

Edited by user 20 August 2026 09:36:49(UTC)  | Reason: Not specified


WEEKEND: BILLY • DUSTYN • OSCAR • RILEY • SCOTT
THE STAT NERDS: BRIAN • CHRISTOPHER
THE ZONE: BLAKE • CHRIS • JASON • LIAM

JOSHUA GRIMMIE • LINCOLN • LAYLA • MERCEDES • MICHELLE GREEN
ANDREA • DENEIL • CHICAGO NOBODY • DANSE • ELLIE-GRACE SUMMERS
REUBEN • VICTORIA BLACK • MICAH DELISLE • BLOOM • KHALIL
JAMIE JACKSON • BEAR • PARKER

CHART HEAT • PESKY • HEART&SLEEVE


thanks 3 users thanked BrownSugar for this useful post.
2001clay on 20/08/2026(UTC), C4AJoh on 21/08/2026(UTC), erich hess on 23/08/2026(UTC)
Offline erich hess  
#14 Posted : 23 August 2026 10:36:12(UTC)
erich hess
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Erich:it's a choice putting a song about early romps with a band member public.

Erica: ooh,I should make a song about that time I made Erich a man. Like on one hand,it could totally make Mercedes jealous ....on the other ,she could really be into into it and I'd have to turn the idea of an orgy between she,Erich, myself,And Gretchen down. Because karoliena doesn't share.

Karoliena: it's so cute when you have them trained.
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"I'm not saying its even a good thing to own a chimpanzee. But that's freedom, folks." Alex Jones.
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