Charlie Wilson, Babyface, K-Ci, and El DeBarge Unite for Cross-Generational R&B Celebration

K-Ci Hailey, Charlie Wilson, Babyface, and El DeBarge (from left) are joining forces for Uncle Charlie’s R&B Cookout Tour. (Photo by Jacob Huizar)

Charlie Wilson is hitting the road this summer with a lineup that reads like an R&B Hall of Fame reunion, and a live show that feels more like a family cookout than a concert.

 
Uncle Charlie’s R&B Cookout Tour launches August 27 at the Hollywood Bowl and brings together a powerhouse ensemble: Wilson, Babyface, K-Ci Hailey, and El DeBarge, rotating across dates in more than 20 cities including New York, Houston, Atlanta, Chicago, and Detroit. Produced by Live Nation Urban and P Music Group, the tour promises a celebration of legacy, groove, and soul-fueled connection.

Wilson’s impact spans decades, from his days with The Gap Band — delivering funk staples like “Outstanding” and “Yearning for Your Love” — to solo hits like “There Goes My Baby” and “Charlie, Last Name Wilson.” Babyface, meanwhile, is both a performer and a behind-the-scenes legend, having penned and produced R&B essentials for Whitney Houston, Boyz II Men, Toni Braxton, and more.

K-Ci Hailey, one of the most recognizable voices in R&B, brings hits from Jodeci (“Come and Talk to Me,” “Forever My Lady”) and K-Ci & JoJo (“All My Life”). El DeBarge’s smooth falsetto rounds out the lineup with radio staples like “I Like It” and “Rhythm of the Night.”

Rather than lean on the past, the tour leans into the enduring relevance of Black music. The cookout theme evokes something more intimate, a gathering of generations, voices, and shared memories. “This tour is about more than great performances,” said P Music Group CEO Michael Paran. “It’s about capturing that feeling — the joy, the energy, and the nostalgia you feel when you’re surrounded by genuine love.”

“I’ve been performing for so long that my audience isn’t just made up of fans,” Wilson added. “It really has become a family.”

In select cities, fans can purchase an exclusive VIP upgrade that includes an all-you-can-eat cookout-style pre-show with comfort food, cocktails, and curated vibes. Tickets and full details are available now at unclecharliescookout.com.

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R&B Cookout Tour — 2025 Dates

Wed 8/27 – Hollywood, CA – Hollywood Bowl *
Fri 8/29 – Concord, CA – Toyota Pavilion *
Fri 9/5 – Detroit, MI – Little Caesars Arena
Sat 9/6 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
Sun 9/7 – St. Louis, MO – Hollywood Casino Amphitheatre
Thu 9/11 – Newark, NJ – Prudential Center
Fri 9/12 – Wantagh, NY – Northwell at Jones Beach Theater
Sat 9/13 – Boston, MA – Leader Bank Pavilion
Sun 9/14 – Philadelphia, PA – TD Pavilion at The Mann
Fri 9/19 – Raleigh, NC – Coastal Credit Union Music Park
Sat 9/20 – Baltimore, MD – CFG Bank Arena
Sun 9/21 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri 9/26 – Houston, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman
Sat 9/27 – Oklahoma City, OK – Zoo Amphitheater
Sun 9/28 – Dallas, TX – Toyota Music Pavilion
Fri 10/3 – New Orleans, LA – Smoothie King Arena **
Sat 10/4 – Atlanta, GA – Chastain Park *
Sun 10/5 – Charlotte, NC – PNC Music Pavilion
Fri 10/10 – Birmingham, AL – Coca-Cola Amphitheater
Sat 10/11 – Brandon, MS – Brandon Amphitheater *
Sun 10/12 – Memphis, TN – FedEx Forum

*(*No El DeBarge | *No Babyface)

Watch: New Beyoncé Levi’s Ad Pays Homage to ’80s Iconic Denim Spot

Beyoncé is once again rewriting the rules of style and sound — this time through a denim-clad remix of a Levi’s classic.

The global icon headlines a new commercial for the brand’s “Levii’s” campaign, a sleek, Americana infused homage to her country crossover era, “Cowboy Carter.” Directed by longtime collaborator Melina Matsoukas (“Queen & Slim”), the latest spot reimagines Levi’s iconic 1988 “Refrigerator” ad — but this time, Beyoncé is the center of gravity.

Clad in her custom “Levii’s” jean shorts, the superstar retrieves a denim shirt from the fridge while country artist Willie Jones — who also appears on “Cowboy Carter” — looks on. The spot’s soundtrack features her song “Levii’s Jeans,” a collaboration with Post Malone, weaving the campaign directly into the sound and style of Act II of her anticipated musical trilogy, which began with 2022’s “Renaissance.”

Filmed in late July at the chrome-plated Bendix Diner in Hasbrouck Heights, New Jersey, the commercial marks Chapter 3 of Levi’s larger “Reiimagine” series. The spot is one of several Beyoncé-led reinterpretations of the brand’s most iconic ’80s and ’90s ads. Chapter 1, titled “Launderette,” was shot at a laundromat in Nutley, New Jersey, and flips the 1985 Nick Kamen Levi’s ad. Chapter 2, “Pool Hall,” features actor Timothy Olyphant and riffs on a 1991 favorite.

While Jersey locals might recognize the Bendix from its cameos in “The Many Saints of Newark” and other productions, the impact of Beyoncé’s “Levii’s” campaign is unmistakably global — rooted in legacy denim but refreshed with a distinctly Southern Black flair.

The campaign is one of several strategic moves tied to the launch of her “Cowboy Carter” era, which continues April 28 when her Rodeo Chitlin’ Circuit Tour kicks off with five dates in Los Angeles. Beyoncé will then bring the tour to MetLife Stadium in East Rutherford, New Jersey, for five more shows later in May.

It’s the latest example of Beyoncé’s precision-crafted evolution — merging pop stardom, fashion innovation, and cultural storytelling in one sleek package.

The full “Reiimagine” campaign, including the new “Refrigerator” ad, is now streaming on Levi’s official channels.

Soulja Boy Ordered to Pay Millions After Jury Finds Him Liable for Assault, Harassment

Soulja Boy performs during the 2024 "BET Hip Hop Awards" on Oct. 8 in Las Vegas. A Los Angeles jury ordered him to pay $4.25 million in a civil abuse case on April 11. (Photo by Paras Griffin/Getty Images for BET)

A Los Angeles jury has ordered rapper DeAndre Cortez Way, better known as Soulja Boy, to pay $4.25 million in damages to a woman who accused him of sustained sexual and physical abuse during the time she lived and worked with him.

The verdict, delivered Thursday, found Way liable on several civil counts, including sexual battery, assault, gender violence, sexual harassment, and intentional infliction of emotional distress. Jurors awarded $4 million in compensatory damages and $250,000 in punitive damages to the plaintiff, who filed the lawsuit under the pseudonym Jane Doe.

"I got some justice," the woman told reporters after the verdict. "I’m happy that this is all over now."

Her attorney, Neama Rahmani of West Coast Trial Lawyers, called the decision a milestone. "Today is just the beginning of justice for Soulja Boy's victims," he said.

Soulja Boy is asked by reporter Meghann Cuniff if he prefers Indica or Sativa after walking into the courtroom smelling like weed 💀
pic.twitter.com/EJ5F07bnmW

— No Jumper (@nojumper) March 26, 2025

Way, 34, rose to fame in 2007 with the viral chart-topper "Crank That (Soulja Boy)," but has since been embroiled in multiple legal disputes. Speaking outside the courtroom, he expressed disappointment in the outcome and maintained his innocence.

"This case was never about justice. It was about money and personal gain," he said, reading from a statement. "I want to make it clear that I'm innocent. I am committed to filing an appeal and fighting for the truth to be revealed."

The lawsuit, originally filed in 2021, alleged that the woman was employed as Way’s assistant from early 2019 through mid-2020, during which time she was subjected to escalating abuse. She testified that she handled personal tasks for Way, including styling his hair, arranging travel, and ensuring a steady supply of fast food and marijuana. Text messages presented in court reflected these duties, along with a disturbing pattern of verbal abuse.

"Fuk u bitch. I hope u die slow," Way wrote in one message. In another, the woman replied, "You think you can keep hitting on me you are crazy."

She testified that the abuse left her physically and emotionally broken. "I didn’t even feel human anymore," she said. "I felt like an animal."

Despite denying that he employed the plaintiff, Way admitted under oath that he had referred to her as his assistant at least once in public. His legal team argued she received room and board in exchange for rolling marijuana blunts, which they claimed was common practice in the entertainment industry.

The jury was unconvinced, finding Way liable on seven of the nine claims brought against him. He was cleared of false imprisonment and constructive discharge.

During the punitive damages phase, Way testified about his financial situation, claiming that he could not pay the full amount. "As far as $4 million just to pull out and pay, I don’t have that," he said.

He cited mounting legal expenses, $25,000 in monthly rent, and the cost of caring for two young children. He also said he lost a performance slot at Coachella due to the allegations and that his music income had suffered. Despite claiming he had earned $15–20 million from "Crank That," he said he could not confirm royalty figures or his total 2024 earnings.

Way’s current income includes sporadic streaming revenue and modest earnings from TikTok appearances and entrepreneurial ventures like a cologne line and previously shuttered video game project. He testified that his bank account "fluctuates" and that the trial had financially drained him.

This is not the first time Way has been held liable for abuse. In 2023, he was ordered to pay nearly half a million dollars to another woman, Kayla Myers, who alleged domestic violence and unlawful imprisonment. He did not appeal that judgment. He also faces an ongoing lawsuit from ex-girlfriend Nia Riley, who appeared with him on the reality show "Love & Hip Hop."

Rahmani called the latest verdict a warning to the music industry. "The days of physically and sexually abusing your employees? Those days are over."

The plaintiff, 37, said she’s now focused on building a new life, one that includes a chicken farm—and a chick named Chicki Minaj.

"It’s not going to give me my life back," she said, "but it’s going to help. I don’t want to be anybody’s assistant for a while."