Autor: NexoRadio

📢#𝐏𝐚𝐬𝐜𝐨|| . 𝐉𝐮𝐫𝐚𝐝𝐨 𝐍𝐚𝐜𝐢𝐨𝐧𝐚𝐥 𝐝𝐞 𝐄𝐥𝐞𝐜𝐜𝐢𝐨𝐧𝐞𝐬 𝐜𝐨𝐧𝐯𝐨𝐜𝐚 𝐚 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐢𝐚 𝐝𝐞 𝐏𝐫𝐞𝐧𝐬𝐚. Source

Source

“My last words” are the first words on Lost Ones, the debut album by Chase McDaniel, which he released Sept. 19. The opening song, “Before I Let You Go,” addressed his father’s death by overdose, a tragedy that some members of the family believe was a suicide. McDaniel also attempted to take his own life: He sat on a Louisville, Ky., bridge eight or 10 years ago, ready to free fall onto a slab of concrete, when a pair of arms pulled him from the ledge. The road back was difficult. It took several years before he could talk comfortably about the episode; instead, he got reacquainted with his guitar and started writing obsessively —  three or four songs a day — as he explored the dark spaces in his life. Slowly, the songs began to incorporate flashes of hope as he recognized he could reshape his stories. That describes most of the material on Lost Ones, appropriately arriving during National Suicide Prevention Month. “I don’t want to be out here on a soapbox encouraging other people to sink into the chaos,” McDaniel says. “I want to be the lantern that goes into the dark and says, ‘Hey, this way.’” Related The chaos is familiar among country artists. Naomi Judd, Tom T. Hall, Mindy McCready, Gary Stewart, former Oak Ridge Boy Steve Sanders and The Earl Scruggs Revue‘s Steve Scruggs are among those who have taken their lives. Johnny Cash, Hank Williams Jr., Willie Nelson, Chase Bryant, Ty Herndon and Bryan Martin have all publicly disclosed they attempted suicide. And Chely Wright stopped short of an actual attempt in 2006 when she saw herself crying in a mirror with a gun in her mouth. The tears signaled to her that she still wanted to live. Like McDaniel, she started writing, though the format was an autobiography: the 2010 book Like Me, which opens with that dramatic scene. “I’ve been so enriched in my life by sharing my breakdown,” she says, “which I now affectionately refer to as my breakthrough.” The majority of the population considers suicide at some point in life, though often, those thoughts are a fleeting curiosity. More than 4% of Americans had serious suicidal thoughts during 2015-2019, according to the Centers for Disease Control and Prevention, but the rate is higher among musicians. A study published by Frontiers in Public Healthfound that culture, media and the arts are among the five most at-risk career sectors; men in those occupations are 20% more likely than the general population to commit suicide, while women are 69% more likely. That might surprise the casual observer. The industry romanticizes the life of an artist, but it’s a difficult existence for which most aspirants are unprepared. Travel is physically taxing, and country artists — particularly in their early years on the national stage — tour incessantly. Every day is a new venue in a new city with a new set of local contacts and, perhaps, a new set of temptations. They’re away from their family, and if they left town amid an unresolved argument or some other turmoil, they have plenty of time to think themselves into an emotional hole, particularly on days when fatigue consumes them. “You’ve just given the whole reason why Porter’s Call has existed for the last 24 years,” says Chad Karger, co-executive director of a nonprofit in Franklin, Tenn., that provides emotional support for artists. Related Porter’s Call works with 700-1,000 artists a year, Karger estimates, helping them find ways to cope with unique vocational circumstances.  That often includes redefining their relationship with their public persona. Younger performers, in particular, tend to glamorize fame, only to find that it’s a hollow trap once they attain it. It’s also fleeting, subject to the whims of a fickle audience and the evolving nature of the stylistic trends in entertainment. The artists who navigate their careers in the healthiest manner tend to see their work with greater purpose. “Our founder, Al Andrews, he’s famous for saying that the human soul is not made for fame,” Karger notes. “Fame is not a good reason to do this. You’re going to have to have a much more compelling ‘why’ to do the hard things in front of you.” Most hopeful artists, of course, never make it. They might be the most musically talented person in their city or region, but once they move to Nashville, they compete with scads of established talents for attention in an overstimulated media landscape. It typically takes several years to refine skills and make key connections — there’s a reason Nashville is called a “10-year town” — though most days, it’s hard to see the progress. “Going home for the holidays as a person who hasn’t made it yet, it’s hard because your family asks you, ‘How are things going? Didn’t you get a deal yet? Didn’t you get signed?’ ” recalls Wright, who now works as senior vp of corporate social responsibility and new market growth for ISS North America, a firm that designs workspaces and handles specialized staffing for numerous corporate offices. “Your friends from high school are like, ‘I guess you’re not going to make it.’ I mean, it’s just so nebulous.” “Nebulous” is a good word for it. It’s easier to determine in many traditional jobs when the work is done. A roofer knows the task is completed when the last shingle is in place, an accountant can take solace in having the books balanced, and a waiter considers the job finished when the bill is paid and the customer asks for a take-home box. But the standards for a job well done are notably variable in the music business. Miranda Lambert‘s recording of “The House That Built Me” and Billy Ray Cyrus‘ “Achy Breaky Heart” are very different efforts, but both became career-defining hits for the artist. Knowing what will work is often difficult to predict, and even when a musician is successful, they frequently wish they could resing their songs, even though fans are

The countdown for Billboard Latin Music Week has officially begun: On Thursday (Sept. 18), Billboard unveiled the full lineup for the event’s 2025 return to The Fillmore Miami Beach from Oct. 20 to 24.  Explore See latest videos, charts and news The announcement was made during a press conference hosted at The Fillmore, where Leila Cobo, chief content officer of Billboard Latin/Español; Miami Beach mayor Steven Meiner; and talents Bebeshito, Guaynaa and Paola Ruiz were in attendance.  More than 30 panels and conversations, in addition to showcases and roundtables, will take place at this year’s Billboard Latin Music Week, while more than 100 speakers and artists will participate in the event. This is the 36th anniversary of the event, the longest-running in Latin music, which returns to the Fillmore for the second year in a row. Following the press conference, an exclusive advisory dinner was celebrated at The Den at Azabu Miami Beach for key music executives. At the top of the evening, Cobo welcomed the guests with opening remarks. “Thank you very much for coming,” said Cobo. “This group represents executives that I’m in contact with permanently and who provide me with unfiltered feedback and great ideas. You represent different companies in the industry that I value greatly, and this is our way of saying thank you very much for everything. We hope to see you at Billboard Latin Music Week.” Those in attendance included executives from agencies, concert promotion companies, record labels, management firms and broadcaster Telemundo, which will air the awards live on Oct. 23. See below for photographs from the intimate celebration. Billboard Latin Music Week 2025 Advisory Dinner Gustavo Caballero/Billboard Ady Harley and Leila Cobo at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Esteban Geller and Alex Mizrahi at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Alex Gallardo at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Nelson Albareda and Walter Kolm at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Andres Castro at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Billboard Latin Music Week 2025 Advisory Dinner at The Den at Azabu in Miami Beach. Gustavo Caballero/Billboard Nelson Albareda at the Billboard Latin Music Week 2025 Advisory Dinner on September 18, 2025 in Miami, Florida. Gustavo Caballero/Billboard Get weekly rundowns straight to your inbox Sign Up Source link

Barry Manilow has announced U.S. tour dates for January 2026, which will mark his final concerts in nine markets, including Orlando and Tampa, Florida, and Columbus, Ohio (see full routing below). But fans who miss out on these dates shouldn’t despair: Manilow’s website has tickets available to shows at his residency at the International Theatre at Westgate Las Vegas through December 2026. Tickets for Manilow’s new tour dates go on sale on Friday, Sept. 26 at 10 a.m. local time. VIP packages will be available for select shows starting Tuesday, Sept. 23 at 1 p.m. ET. For all dates, tickets, and VIP packages visit Manilow’s website. Manilow’s long-running Las Vegas residency and his record-breaking appearances at Radio City Music Hall have contributed to his reputation as a legendary showman. He was a road warrior by the time of his second Billboard Hot 100 hit in 1975, “It’s a Miracle,” which contained this memorable line: “From Boston to Denver/ And every town in between.” Ahead of the farewell tour dates, Manilow has released a new single, a cover of the Peter Allen-Dean Pitchford ballad “Once Before I Go.” Kenneth “Babyface” Edmonds and Demonte Posey produced Manilow’s recording of the song, which was first recorded by Allen in 1983 on his album Not the Boy Next Door. Other artists who have covered it include Patti LaBelle, Hugh Jackman (in the Broadway show The Boy From Oz) and Johnny Mathis (on his final non-holiday studio album, Johnny Mathis Sings the Great New American Songbook – which was also produced by Babyface). Manilow has had two No. 1 albums on the Billboard 200, nearly 30 years apart – Barry Manilow Live! (1977) and The Greatest Songs of the Fifties (2006). He has had three No. 1 hits on the Hot 100 – “Mandy,” “I Write the Songs” and “Looks Like We Made It.” Manilow has won two Primetime Emmys, a Grammy and an honorary Tony. He was elected to the Songwriters Hall of Fame in 2002. Here are the newly announced Barry Manilow 2026 tour dates: Sunrise, FL @ Amerant Bank Arena, Jan. 6 Orlando, FL @ Kia Center, Jan. 7 Tampa, FL @ Benchmark International Arena, Jan. 8 Estero, FL @ Hertz Arena, Jan. 10 & 11 Jacksonville, FL @VyStar Veterans Memorial Arena, Jan. 12 Charleston, SC @ North Charleston Coliseum, Jan. 14 Greensboro, NC @ First Horizon Coliseum, Jan. 15 Duluth, GA @ Gas South Arena, Jan. 16 Columbus, OH @ Nationwide Arena, Jan. 18 Source link

Source

Source

For Ocean Alley, they just needed confidence to get things rolling. The indie surf-rock outfit returns with Love Balloon, their fifth studio album which got air last Friday, Sept. 19 via Community Music. For the first time, the Australian six-piece worked with legendary rock producer Nick DiDia (Bruce Springsteen, Rage Against The Machine), following an introduction from former Powderfinger frontman Bernard Fanning. “You can tell how experienced he is,” enthuses vocalist Baden Donegal, “because he was just so laid back and everything just gets done and on time. He just knows what’s down the road, and we’re still learning all of that.” Explore See latest videos, charts and news After a couple beers and some rounds of golf with DiDia, the musicians just “hung out like mates” and talked a little bit about music. “It was just the most cruisy kind of mutual relationship that we’ve had so far,” recounts bassist Nic Blom. The result is cruisy, too. Spreading across 10 tracks, Love Balloon is a dreamy, chilled journey that should hit the target with the Australian band’s growing fanbase. Led by the singles “Tangerine,” “Left Of The Dealer” and the title track, the new set was recorded over three stints, across roughly three months. Those final recording sessions were “more like a ‘plug-in and play’ sort of approach,” remarks guitarist Angus Goodwin. “Like, very much an old school approach.” Which checks out. Ocean Alley’s throwback sound is like an antidote to the rush of modern life. The group smashed through the barriers with 2018’s “Confidence”, which topped triple J’s Hottest 100, an annual countdown that regularly captures upwards of two million votes. Its parent Chiaroscuro narrowly missed out on a top 10 peak on the ARIA Albums Chart, hitting No. 11. Follow-ups Lonely Diamond (from 2020) and Low Altitude Living (2022) both peaked at No. 3 on the national survey. “Confidence” is now six-times platinum certified in Australia, and total streams across all the band’s songs exceed 1 billion. With the breakthrough of “Confidence,” life in the band got a “whole lot more serious,” says guitarist Mitch Galbraith. “There were a lot of changes we had to make, the show had to be a lot more professional. There was a lot more pressure. We had to tone back the beers before we went on stage and to make sure that every note was correct. Get the key right.” They’ll hit those notes when they return to North America for a second run of headline dates starting Oct. 2 at Empire Control Room & Garage in Austin, TX. Earlier stops this year have included festival appearances at Lollapalooza, Brooklyn Paramount Austin City Limits and Hollywood Palladium. But first, a dream gig at London’s 10,000 capacity Alexandra Palace on Saturday, Sept. 27. Would a No. 1 album scratch an itch? “It’d be nice. Yeah, sure, I wouldn’t say no to a No. 1 album,” says Donegal. “We’ve never really cared or chased a trophy or an accolade like that. We’re just we’re stoked when we finish a record and we’re happy with it and whatever happens, happens. We still get to like fly around the world playing music to our fans. We love what we do.” U.S. 2025 Tour DatesOct. 2 @ Empire Control Room & Garage – Austin, TXOct. 3 @ House of Blues Houston – Houston, TXOct. 4 @ Austin City Limits Music Festival – Austin, TXOct. 6 @ House of Blues – New Orleans, LAOct. 8 @ Brooklyn Bowl Nashville – Nashville, TNOct. 10 @ House Of Blues – Dallas, TXOct. 11 @ Austin City Limits Music Festival – Austin, TXOct. 13 @ The Truman – Kansas City, MOOct.15 @ Mission Ballroom – Denver, COOctober 17 @ Hollywood Palladium – Los Angeles, CA Source link

Source

Source