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Music

Everything You Need to Know About Nashville’s Let Freedom Sing! July 4th Event Featuring Dierks Bentley

Dierks Bentley will headline Nashville’s Let Freedom Sing! Music City July 4th celebration on Friday, July 4. The FREE event will also feature several other performers and an unforgettable fireworks display. 

If you’re planning to celebrate Independence Day 2025 in Nashville, here’s what you need to know about the Let Freedom Sing! Music City July 4th event.  

All events are free and open to the public. 

Nashville - July 4 Fireworks; Photo Provided
Nashville – July 4 Fireworks; Photo Provided

Throughout the day, attendees can visit the Amazon Family Fun Zone at Music City Walk of Fame Park, which will feature family-friendly activities and a diverse music lineup. Performers include Walker Montgomery, The Nashville Soul Experience, Alicia Blue, KIRWAN the Band, and Les Kerr & The Bayou Band, with DJ Rod Youree spinning tunes between sets.

As the day continues, live music will light up The Jack Daniel’s Broadway Stage at First and Broadway. Headlined by Dierks Bentley, the event will also feature performances from Russell Dickerson, Niko Moon, and Grace Bowers. Nashville’s own Keesha Rainey will sing the National Anthem, while Kelly Sutton will serve as emcee and DJ Dave Aude keeps the energy high between sets.

Dierks Bentley; Photo by Zach Belcher
Dierks Bentley; Photo by Zach Belcher

Following the concert, the celebration will continue at Ascend Amphitheater with a live performance by the GRAMMY-winning Nashville Symphony, set to a spectacular 30-minute fireworks and drone show. Presented by Dr Pepper, this downtown event will feature one of the nation’s largest synchronized displays of its kind.

“Music City knows how to throw a celebration, and this free July 4th event will again be one of the best in the country,” Ken Levitan, board chairman of the Nashville Convention & Visitors Corp and co-president of Vector Management, shared. “With an incredible lineup that includes Dierks Bentley, Russell Dickerson, Niko Moon and Grace Bowers, we’re excited to welcome both visitors and locals for a day filled with unforgettable music, family-friendly activities and pride in the red, white and blue. Events like this not only showcase Nashville’s world-class talent but also drive meaningful economic activity for Nashville and its hospitality industry.”

Let Freedom Sing! is teaming up with Dierks Bentley’s Riser Foundation, which supports charitable organizations focused on children and families, as well as issues like homelessness, literacy, education, and hunger. 

In addition, StageWater canned water will be available for purchase at beverage stands and throughout the event footprint. A portion of proceeds from StageWater supports nonprofits that assist those in need within the entertainment industry, including healthcare and hardship grants, and aid for independent venues and promoters. The company is led by CEO Chris Thacker, Bentley’s tour manager, and CMO Zach Belcher, his touring photographer and videographer.

Let Freedom Sing! Music City July 4th consistently attracts massive crowds, with more than 200,000 attendees each year and a record-breaking 355,000 in 2024. That record turnout generated an estimated $17.5 million in direct visitor spending. 

This marks the 22nd annual celebration produced by Music City Inc. through the Nashville Convention & Visitors Corp and the 41st overall in the city’s history.

The post Everything You Need to Know About Nashville’s Let Freedom Sing! July 4th Event Featuring Dierks Bentley appeared first on Country Now.

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Categories
R&B

‘Superwoman’: Gladys Knight, Patti LaBelle, and Dionne Warwick’s Rare Collab

Gladys Knight and Patti LaBelle at the 1994 Soul Train Music Awards

By 1990, Gladys Knight – whose rich, sometimes raspy vocals cut to the nerve of a song – had been performing with her family backing group the Pips since impressing folks at an Atlanta birthday party in 1952. There were a couple of years in the late 70s when contractual issues kept them from performing together, but for many hit-filled decades, Gladys Knight and The Pips had gone together like sweet potatoes and pie.

After the 1987 album, All For Love, their first for the MCA label, Knight decided she wanted to go at it alone. As she told the Michigan Citizen, “the group is, so to speak, suspended.” Knight, an always popular attraction on the road, continued to tour, but she tweaked her show, adding and cutting songs so that audiences would understand her new direction. “I didn’t want to come out and do a ‘Gladys Knight and the Pips – without The Pips – show,’” she told the Los Angeles Times.

The Karyn White original

One number that Gladys Knight was incorporating into the new set was “Superwoman,” the hit 1989 ballad by R&B newcomer Karyn White. The song – written by the hot production duo of Antonio “L.A.” Reid and Kenny “Babyface” Edmonds, along with “silent partner” Daryl Simmons – plays like one woman’s passionate renegotiation of the emotional terms of her relationship. As she sings, “This girl needs more than occasional hugs as a token of love from you to me.”

White, who recorded the song when she was in her 20s, could barely relate to the sentiment. “It was sounding a little country,” White said to the Minneapolis Star-Tribune. “It was sounding corny to me. So I had to find my own vibe for the song. I wasn’t necessarily that woman in ‘Superwoman.’ I wasn’t married; I wasn’t necessarily [at that place] mentally. How I made it work for me is, I remember my mom was a superwoman. My father left. All I could think about was my mom when I sang that song.”

The Gladys Knight, Patti LaBelle, and Dionne Warwick version

But while the tune was an emotional challenge for White, one that she pulled off in a profoundly affecting way, it was right in the pocket for Knight who had, at the time, been twice married and divorced. One night, when she was doing the song on stage, MCA exec Louil Silas Jr. was in the audience. He was so moved by the performance that he suggested she record “Superwoman” for her first solo album for the label. But that wasn’t his only idea. He also thought she should invite her esteemed R&B sista-friends, Patti LaBelle and Dionne Warwick, to cut the song with her. The three had already been planning to team up for a “Sisters In The Name Of Love” tour, so as Knight told Billboard, “we felt recording the song together would make sense.”

Their version of “Superwoman,” produced by Michael Powell, who worked on Anita Baker’s breakthrough Rapture album, comes off less as a soul-baring plea than musical “kitchen table talk” among friends, with each singer – according to her vocal style – offering her own take on how it feels to be involved with an emotionally distant man. Knight sounds like she’s long endured the problem. Warwick seems determined to rise above the fray, and LaBelle – with her soaringly intense vocals – comes across as if she’s gonna end the relationship as soon as she finishes holding her note.

YouTube Video
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The trio performed the song together on a number of high-profile TV programs, including The Oprah Winfrey Show. It was embraced by Black radio and became a Top 20 R&B hit. The song has gone on to become symbolic of the bond among three African American women whose careers have endured from Jim Crow to Obama and now Trump. They’ve accomplished this longevity not through superpowers, but rather with the combined forces of discipline, resilience, and faith. For these reasons, their rendition of “Superwoman” feels almost uplifting. It’s the sound of victors sharing stories from the battle.

Listen to Gladys Knight, Patti LaBelle, and Dionne Warwick’s “Superwoman” here.

This article was first published in 2020. We are republishing it today, the anniversary of the release of Gladys Knight’s Good Woman album. Black Music Reframed is an ongoing editorial series on uDiscover Music that seeks to encourage a different lens, a wider lens, a new lens, when considering Black music; one not defined by genre parameters or labels, but by the creators. Sales and charts and firsts and rarities are important. But artists, music, and moments that shape culture aren’t always best-sellers, chart-toppers, or immediate successes. This series, which centers Black writers writing about Black music, takes a new look at music and moments that have previously either been overlooked or not had their stories told with the proper context.

​Discover more about the world’s greatest R&B artists | uDiscover Music

Categories
Hip Hop

Chrisean Rock Faces Off With Tia Kemp In Heated Livestream Clash

Chrisean Rock and Tia Kemp went head-to-head in a profanity-laced livestream early Tuesday (July 1), reigniting a long-running feud that’s been simmering for months over parenting, personal jabs and social media shade.

Kemp, the mother of Rick Ross’ eldest son and co-host of a podcast with Karlissa Saffold—who is Blueface’s mom—jumped on TikTok Live around 1 a.m. after receiving multiple calls from Rock. The call didn’t go over well.

“Hoe, you gone’ respect me and Karlissa, b####!” Kemp shouted into the camera. “Go take care of your muthafuckin baby, hoe.”

Rock, who was on the other end of the line, replied, “You don’t know me.”

Kemp fired back, adding, “Since you done threatened me, pull up!” 

Kemp then warned Rock not to come to Miami, saying, “I’m gone flatline your p#### ass.” Rock ended the call, but Kemp kept going, continuing to curse her out on the livestream.

Chrisean Rock & Tia Kemp Go Back & Forth

The late-night blowup is just the latest chapter in a feud that’s dragged on since 2024. Kemp has repeatedly criticized Rock’s parenting, especially when it comes to her young son’s health and development.

“She need to get this baby some help,” Kemp said in a previous video. “She need to get herself some help.” 

Kemp said, “It’s making me mad that this baby can’t run, get down, and walk, and I’m looking at him right here. It’s clear that something is wrong with him. So why she ain’t taking this baby to get some help.”

On Sunday (June 30), Kemp escalated things by threatening to call Child Protective Services, accusing Rock of smoking and drinking around her child.

Rock clapped back, accusing Kemp of chasing relevance and being hypocritical.

“You already did this before. Auntie! And you nobody’s f###### aunt. We don’t know you,” she said. “”Stop passing judgment. Stop speaking on me, for real.”

Rock also referenced Kemp’s own family issues, saying, “You’re sitting here talking about my kid when yours got stabbed for running the streets like a gangster?”

​AllHipHop

Categories
Hip Hop

Squid Game Season 3: Cast & Director Share BTS Details, Insights In Exclusive Interview

Squid Game took the world by storm in 2021, becoming Netflix’s most-watched series of all time with over 1.65 billion viewing hours in its first month. The Korean survival drama captivated audiences with its brutal social commentary, stunning visuals, and unforgettable characters. Now, after a global phenomenon and multiple Emmy wins, Squid Game returns with a highly anticipated third season.

AllHipHop caught up with actor Lee Byung-hun, best known for his role as a masked enforcer in the series, director Hwang Dong-hyuk and star Lee Jung-jae (Player 456, Gi-hun). From slipping back into the signature red wig to the psychological depth of characters like Gi-hun and the mysterious Front Man, the team dives deep into what’s next.

With season three promising higher stakes, fans are eager to see how the story expands. The cast reveals how fan’s energy helped shape the new season. Interviewer D-Nellz digs deep to offer rare insight into the minds behind one of the most captivating shows of the decade.

AllHipHop: It’s an honor to speak with you all today. Let’s keep things light and spoiler-free. First off, how did it feel to return to the world of Squid Game and begin filming again?

Lee Jung-jae (Actor): The first scene I filmed this season was with the red wig and I just couldn’t believe I was wearing it again. I remember laughing a lot in the makeup trailer. It felt surreal. Of course, this all began with Director Hwang’s vision, but I also think the energy and love from the fans played a huge part in bringing us back. I’m really grateful for that. So I put the wig on and gave it my all.

AllHipHop: As both actors and creators, Squid Game received a massive wave of global attention. Did that impact your creative mindset or add pressure coming into Season 2?

Hwang Dong-hyuk (Director): Absolutely, there was pressure. The show became a global phenomenon, and expectations were incredibly high. But instead of letting that stress me out, I made a conscious effort to turn it into confidence. When we made Season 1, I was filled with doubt—wondering if people would resonate with the story at all. But once I saw how much they embraced it, I realized they connected with the message I wanted to share. That gave me the confidence to tell Season 2 the way I truly wanted, believing that audiences would respond if I stayed authentic.

AllHipHop: Let’s talk about two of the show’s most complex characters, Gi-hun and the Front Man. Without spoiling anything, what should fans expect from their clash in Season 2?

Lee Byung-hun (The Front Man): Gi-hun and the Front Man actually followed very similar paths. Both were players in the game. Both witnessed betrayal, death, and were forced into situations where they had to take others’ lives. But what’s fascinating is that they ended up in completely opposite places. Gi-hun still believes in humanity and holds onto hope, while the Front Man has turned into a pessimist.

When they confront each other this season, you’ll see that the Front Man still has a faint spark of humanity inside him. As I played him, I really tried to convey that internal struggle. It’s not spelled out directly in the script, but if you look closely, I think viewers will sense that even the Front Man might secretly hope Gi-hun is right.

AllHipHop: Thank you so much for your time. We can’t wait to see how fans react to this new season.

Cast & Team: Thank you!

Check out Squid Game Season 3 on Netflix

​AllHipHop

Categories
Hip Hop

Bob Vylan Speaks Out After U.S. Visa Ban: “We Are Being Targeted For Speaking Up”

Bob Vylan lost their U.S. visas and a major tour after chants at Glastonbury Festival drew accusations of hate speech and sparked international backlash.

The British punk-rap duo, known for their politically charged performances, had their American travel privileges revoked following their June 29 set at Glastonbury, where they led the crowd in chants including “Free, free Palestine” and “Death, death to the IDF.”

The U.S. State Department called the remarks “a hateful tirade” and said the group would not be allowed to enter the country.

“The State Department has revoked the US visas for the members of the Bob Vylan band in light of their hateful tirade at Glastonbury, including leading the crowd in death chants,” Deputy Secretary of State Christopher Landau posted on Monday (June 30). “Foreigners who glorify violence and hatred are not welcome visitors to our country.”

The fallout was swift. The BBC, which broadcast the performance, issued a statement saying, “The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves.” Prime Minister Keir Starmer also condemned the act, calling it “appalling hate speech.” UK police have since opened a criminal probe into the performance for possible hate crime and public order violations.

The group, made up of members Bobby and Bobbie, was scheduled to kick off a U.S. tour in October 2025. That tour is now off the table. Their booking agency, United Talent Agency, also dropped them from its roster.

Bob Vylan: “WE ARE A DISTRACTION FROM THE STORY”

Despite the mounting criticism, Bob Vylan stood by their message. On Tuesday (July 1), they released a statement addressing the controversy head-on.

“NOT THE FIRST. NOT THE LAST,” the statement began. “TODAY, A GOOD MANY PEOPLE WOULD HAVE YOU BELIEVE A PUNK BAND IS THE NUMBER ONE THREAT TO WORLD PEACE. LAST WEEK IT WAS A PALESTINE PRESSURE GROUP, THE WEEK BEFORE THAT IT WAS ANOTHER BAND.”

They continued, “WE ARE NOT FOR THE DEATH OF JEWS, ARABS OR ANY OTHER RACE OR GROUP OF PEOPLE. WE ARE FOR THE DISMANTLING OF A VIOLENT MILITARY MACHINE. A MACHINE WHOSE OWN SOLDIERS WERE TOLD TO USE ‘UNNECESSARY LETHAL FORCE’ AGAINST INNOCENT CIVILIANS WAITING FOR AID. A MACHINE THAT HAS DESTROYED MUCH OF GAZA.”

The duo argued that the attention on them was a distraction from larger issues. “WE, LIKE THOSE IN THE SPOTLIGHT BEFORE US, ARE NOT THE STORY. WE ARE A DISTRACTION FROM THE STORY. AND WHATEVER SANCTIONS WE RECEIVE WILL BE A DISTRACTION.”

They closed the statement with a call to action: “WE ARE BEING TARGETED FOR SPEAKING UP. WE ARE NOT THE FIRST. WE WILL NOT BE THE LAST. AND IF YOU CARE FOR THE SANCTITY OF HUMAN LIFE AND FREEDOM OF SPEECH, WE URGE YOU TO SPEAK UP, TOO. FREE PALESTINE.”

Instagram/Bob Vylan

On Instagram, the group’s lead vocalist previously doubled down with a short message: “I said what I said.” Another post read, “Teaching our children to speak up for the change they want and need is the only way that we make this world a better place.”

​AllHipHop

Categories
Hip Hop

Diddy Deliberations Day 2: Jurors Question Drug Dealing, Cassie Ventura & Freak-Offs

A jury continues to contemplate the fate of Diddy during the second day of deliberations on Tuesday (July 1) in his federal racketeering and sex trafficking case.

Today, jurors zeroed in on drug distribution and disturbing sexual misconduct claims involving Cassie Ventura and a sex worker.

The 12-person panel sent five notes to the judge, including one asking for clarification on whether handing someone drugs at their request constitutes distribution.

That question came after jurors reviewed testimony involving alleged drug use and exchanges tied to Diddy’s inner circle.

Jurors also requested transcripts from Ventura and Daniel Phillip, a sex worker who testified about being hired for so-called “freak offs” — group sex encounters allegedly arranged by Diddy and Ventura.

One note specifically asked for Ventura’s account of a 2016 incident at the InterContinental Hotel in Los Angeles, her time with Diddy at the Cannes Film Festival, and her descriptions of the “freak offs” involving Phillip.

Phillip’s testimony about a separate “freak off” at the Essex Hotel was also flagged for review, signaling the jury’s interest in verifying details of the alleged sex trafficking scheme.

Diddy, who has pleaded not guilty, faces five federal charges: racketeering conspiracy, two counts of sex trafficking by force, fraud or coercion, and two counts of transporting individuals for prostitution.

If convicted, the Hip-Hop mogul could face a minimum of 10 years and up to life in prison.

On Monday, the jury deliberated for about five hours. Early in the session, they raised concerns about one juror’s ability to follow legal instructions. The judge responded by reminding the panel of their duty to adhere to the law as instructed.

Later that day, the jury submitted another note seeking legal guidance on the definition of drug distribution, asking whether someone who gives a controlled substance to another person upon request is legally considered a distributor.

The jury’s pointed questions suggest they are dissecting key elements of the prosecution’s case, particularly the alleged use of drugs to facilitate sex trafficking and the credibility of witness accounts.

Deliberations are expected to continue this week, with no timeline yet for a verdict.

​AllHipHop

Categories
Hip Hop

Dave Chappelle Roasts DJ Khaled Over Palestine Silence

During a recent performance, comedian Dave Chappelle took aim at Palestinian-American artist DJ Khaled for his silence on the ongoing war in Gaza. The moment, at a sold-out Etihad Arena as part of Abu Dhabi Comedy Season, was sparked when an audience member shouted out Khaled’s name.

Chappelle responded with biting humor.

“DJ Khaled, let me tell you something,” he began. “For a Palestinian, this man is awfully quiet right now. And as a Palestinian, how could you be that quiet right now? And why are you so fat? People are starving. He’s the only fat Palestinian on Earth right now.”

Chappelle’s remarks touched on a criticism that has been circulating for months. In February 2024, DJ Khaled’s cousin, Fadie Musallet, publicly expressed disappointment over the producer’s silence. Many human rights groups have called the destruction of Palestine a humanitarian crisis and genocide in Gaza.

“There’s no reason, there’s no excuse when you’re actually a Palestinian,” Musallet said during an interview. “For me, my mother lives there. We’re from the same village, same families. So, there’s no excuse… I do a lot of work with refugee camps, raise money for Gaza and the West Bank. I put my heart into this.”

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Chappelle has been outspoken about the suffering of Palestinians since the Israel-Gaza war reignited in 2023. During a 2023 performance in Abu Dhabi, he called Israel’s actions “genocide,” receiving cheers from the crowd.

Chappelle used a January 2024 appearance on Saturday Night Live to urge the president, before the re-election, to show empathy toward Palestinians.

In his most recent UAE appearance, Chappelle didn’t directly address the conflict. He also stated he has to be more cautious than in the past, include his criticism of Trump.

“Now that I’m a big powerful voice in America, I’ve learned that I have to be careful,” he said. “I can get in some kind of trouble and they’ll try to extort me and put words in my mouth. So if that ever happens, we need a phrase—something I’d never say—so that if I say it, you know not to listen to anything I say after that. You ready? The phrase is: I stand with Israel.

​AllHipHop

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Hip Hop

BREAKING: Diddy Jury Reaches Verdict On 4 Out Of 5 Counts, Can’t Decide On RICO Count

Diddy sat still in a Manhattan federal courtroom Tuesday (July 1) afternoon as jurors announced they had reached decisions on four of five criminal charges but remained at odds over the most serious allegation — racketeering conspiracy.

At 4:05 p.m. ET, U.S. District Judge Arun Subramanian read a note from the jury stating they had reached unanimous verdicts on Counts 2 through 5 but were split on Count 1.

That charge accuses the Bad Boy Records mogul of running a criminal organization that trafficked women, laundered money and used violence to maintain control — the centerpiece of the federal government’s case.

The judge declined to reveal the jury’s decisions on the four resolved counts, which include two charges of sex trafficking by force, fraud or coercion and two counts of transporting women across state lines for prostitution.

Instead, he instructed the panel to continue deliberating on the racketeering charge, hoping to reach a unanimous verdict.

The jury will return Wednesday morning (July 2) to resume discussions. If they remain deadlocked on Count 1, the court could accept the partial verdicts and declare a mistrial on the unresolved charge.

The deliberations have stretched into a second day and have already produced five notes to the judge. One note raised concerns about a juror’s ability to follow legal instructions.

Another note asked for clarification on drug distribution, specifically whether handing over controlled substances at someone’s request constitutes distribution. That inquiry came as jurors reviewed testimony involving alleged drug use and transactions during private encounters described in court.

Jurors also requested transcripts of testimony from Cassie Ventura and Daniel Phillip. Ventura, a former girlfriend of Diddy, testified about a 2016 incident at the InterContinental Hotel in Los Angeles and described events that occurred during a trip to the Cannes Film Festival.

She also detailed so-called “freak offs” involving Phillip, a sex worker allegedly hired by Diddy. Phillip’s testimony included descriptions of encounters at the Essex Hotel. Jurors asked for specific portions of his statements related to those events.

Diddy, who has denied all allegations and pleaded not guilty, faces five federal charges. If convicted on all counts, he could face a minimum of 10 years and up to life in prison.

Deliberations will resume Wednesday morning as jurors attempt to reach a consensus on the racketeering conspiracy charge.

​AllHipHop

Categories
Hip Hop

JAY-Z Not Done With Tony Buzbee Despite Legal Setback In Extortion Case—Reveals Next Move

JAY-Z is pushing forward with legal action in California after a judge dismissed his defamation and extortion lawsuit against Tony Buzbee, acknowledging that withheld evidence could have changed the outcome.

The woman, known as Jane Doe, alleged in 2024 that she was assaulted by JAY-Z and Diddy in 2000, when she was 13.

JAY-Z’s legal team filed a lawsuit, arguing that Buzbee attempted to extort him by threatening to go public with false allegations unless he paid a settlement.

On Monday (June 30), Judge Mark H. Epstein ruled that Buzbee’s conduct didn’t meet the legal threshold for extortion under California law.

The decision came after the court excluded key declarations from two investigators who interviewed the woman at the center of the case, referred to as Jane Doe.

Following the ruling, JAY-Z’s attorney, Alex Spiro, issued a sharp response.

“We are surprised and disappointed by this ruling, which turns on the misapplication of California law on the admissibility of the investigators’ statements,” Spiro said. “Notably, the Judge expressly states that his decision would have ‘change[d] dramatically’ if he had admitted the statements into evidence as they would have shown ‘not only that Carter had nothing to do with any sexual assault on Doe, but that Buzbee knew it…’ and thus ‘the court would come out the other way on this motion.’”

Spiro added, “What does it say about our justice system if someone can knowingly bring about completely false claims of the most heinous nature imaginable against an innocent individual and get away with it on a technicality? We plan to appeal this case immediately.”

In March, Carter’s attorneys submitted sworn statements from two investigators who met with Doe in Alabama.

According to those declarations, Doe admitted that JAY-Z never assaulted her and claimed Buzbee pressured her to make false accusations.

She also said Buzbee’s firm promised her financial compensation and that Buzbee later urged her to drop the case, allegedly saying “he had threatened to kill her.”

Doe also told investigators that she first met Buzbee in person on December 9, 2024, in Houston. That meeting occurred five weeks after Buzbee sent a demand letter to Jay-Z on November 5, 2024, without Doe’s knowledge or consent.

Buzbee has denied any wrongdoing and dismissed the case as baseless. He is expected to seek attorneys’ fees following the dismissal.

JAY-Z’s legal team confirmed plans to appeal the ruling as of Tuesday (July 1).

​AllHipHop

Categories
Hip Hop

The Rock Has Bars: Tech N9ne Reveals Creative Process Behind 2021’s “Face Off”

Tech N9ne recently sat down with AllHipHop, where he revealed that Dwayne “The Rock” Johnson didn’t just step into the rap game with “Face Off.” The mega star came with his pen and intention.

While fans and critics have long speculated whether The Rock had help crafting his verse on the viral 2021 single, Tech N9ne confirmed that the wrestling icon turned Hollywood heavyweight didn’t rely on a ghostwriter.

“He knew exactly what he wanted to say,” Tech told AllHipHop. “I just helped him structure it.”

The track, which features Tech N9ne, Joey Cool, King Iso and The Rock, made headlines not just for its high-octane energy but for also showcasing a surprisingly competent verse from the action star.

“It’s about drive, it’s about power/We stay hungry, we devour,” The Rock spit. They instantly became a gym anthem to the tune of 88 million YouTube views on the video.

Tech recited, recalling their writing session. “He said ‘face-to-face, now it’s escalating’—I was like, that n###a’s dope, man. He’s so talented. He knows what the f##k he wants to do. I ain’t lying.”

Tech made it clear that he helped shape the flow and delivery, but the ideas and bars largely came from The Rock.

“I wouldn’t have said ‘hours and hours’ or some of the stuff he said,” Tech admitted. “But it was dope how he said it. It worked. It made sense.”

Jigsaw chimed in to clarify the writing dynamic: “So he co-wrote it.”

Tech confirmed: “Yes. Oh, yes.”

It’s a revelation that upends the typical assumptions about celebrity rap cameos—especially from someone not traditionally known for music. The Rock’s verse was not ghostwritten in the conventional sense but rather refined collaboratively.

Fans and fitness junkies alike have used the verse as motivation, and even Jigsaw gave props: “Shout out to Rock. He keeps me in the gym. He keeps me working. I know he’s apex, but I’m staying inspired thanks to him.”

With Tech N9ne’s co-sign, The Rock gets a lot of respect in the culture of Hip-Hop.

Tech N9ne’s new album, 5816 Forest, is another notch in his belt. The lyrical origin story that traces his formative years from ages 12 to 17 at his home at 5816 Forest Avenue in Kansas City, Missouri. The opus is in chronological order. The project explores his early experiences with family, religion, street life and his eventual transformation into Tech N9ne.

Check our full interview.

Tech N9ne’s Origin Story: Blood, Beats, and Becoming a Legend

​AllHipHop