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Back when Sarah McLachlan launched the Lilith Fair in 1997, the festival landscape was, well, very dude-centric. From the often male-heavy grandaddy of American touring festivals, Lollapalooza, to the jammy H.O.R.D.E. outing, the hip-hop-focused Smokin’ Grooves and testosterone-charged OzzFest, there were often few slots available for female-fronted acts. Explore See latest videos, charts and news McLachlan flipped that script by launching Lilith, whose first iteration featured a rotating roster of incredible acts including Fiona Apple, The Cardigans, Tracy Chapman, Paula Cole, Sheryl Crow, Indigo Girls, Emmylou Harris, Jewel, Dido, Pat Benatar, Beth Orton and many more on three stages. “This was the first time you’d see anything like it,” Crow can be heard in voiceover at the top of the two-and-a-half minute trailer for Lilith Fair: Building a Mystery – The Untold Story, the documentary that will drop on Hulu and Hulu on Disney+ on Sept. 21. Featuring archival footage and new interviews, the film will chronicle the birth and success of the joyful gathering that made history thanks to an all-female-focused lineup on the initial 35-date outing that raked in $16 million, making it 1997’s top-grossing U.S. festival tour. “Finding out that all my favorite artists had played at this event I was in disbelief that I’d never heard of it before,” says Olivia Rodrigo, who was born six years after the first Lilith outing and is among the new generation of artists who pay homage to their festival foremothers in the trailer. “Women singer-songwriters of the ’90s, I’m constantly look to them for inspiration,” Rodrigo adds over footage of her jamming with Crow. “They’re my northern stars.” McLachlan recalls the pushback she got from promoters at the time, who told her “‘you can’t put two women on the same bill, people won’t come,’” a macho stance that she gleefully proved wrong over the course of that summer. “That’s complete bulls–t, and it put a huge fire under my butt to prove them wrong,” she says in the trailer that also details the anger from some religious leaders over the biblically-inspired name and bomb threats that attempted to derail the juggernaut. Crow adds, “There wasn’t a lot of support for women. We weren’t able to do what it was we knew we could do.” Getting emotional at the memory of it all, former 10,000 Maniacs singer Natalie Merchant says through happy tears, “I’ve waited my whole life for this… is this the camera I look into when I cry?” Lilith returned in 1998 for another successful run, with McLachlan performing alongside Raitt, Cowboy Junkies, Des’ree, Erykah Badu, Joan Osborne, Lisa Loeb, Liz Phair, Sinead O’Connor, Missy Elliott, Queen Latifah, Mary Chapin Carpenter, Neneh Cherry, Lucinda Williams and many more. After a 1999 outing Lilith called it a day until a star-crossed 2010 revival featuring Brandi Carlile, Cat Power, Heart, Janella Monae, Mary J. Blige, Tegan and Sara and others that fizzled out after a dozen or so dates due to poor ticket sales, forcing the cancellation of 13 shows. The film directed by Ally Pankiw and inspired by a 2019 Vanity Fair oral history of the festival will contain interviews with a number of the acts who performed on Lilith in its heyday, including Raitt, Badu, Cole, Jewel, Phair, Mya, Indigo Girls, Harris and more. Watch the trailer for Lilith Fair: Building a Mystery — The Untold Story below. Source link

Are you ready to press Play? As fall unofficially starts and the kids settle back into their school routines and studies, musicians from across the spectrum of genres have dropped new music this Friday (Sept. 12) to help soundtrack the new season and year in academics. Among them are four-time Grammy winner Ed Sheeran, who has released his eighth studio album, Play. The 13-track release, which marks the start of a new project series after he wrapped the five-album Mathematics collection, includes lead single “Azizam” (which debuted and peaked at No. 28 on the Billboard Hot 100 in April) and “Old Phone” (No. 89). The album finds the musician exploring global sounds (as on the first single) as well as nostalgia (the aforementioned “Phone” as well as “Heaven”). “Play was an album that was made as a direct response to the darkest period of my life,” Sheeran explained on social media ahead of the album’s release. “Coming out of all of that I just wanted to create joy and technicolour, and explore cultures in the countries I was touring. It’s a real rollercoaster of emotions from start to finish” Like Sheeran, Drake also finds himself going back in time, in a way. In his new track “Dog House” featuring Yeat and Julia Wolf, the rapper not only rhymes about money, sex and power, but also references the chorus of his Hot 100 10-week No. 1 hit “One Dance” in his verse: “Just like Drizzy said, I just need one dance, baby.” The megastars of pop and hip-hop weren’t the only ones to release new music this week. Alt-rock band Twenty One Pilots offered up new album Breach, while Colombian-American artist Kali Uchis teamed up with Billboard‘s 2025 R&B Rookie of the Year Ravyn Lenae for “Cry About It!,” while dance Star John Summit delivered emotional head-bopper “Crystallized” with Inéz, and Little Mix’s Jade Thirlwall offered up her debut solo album, That’s Showbiz Baby! Which new music release this week is your favorite? Vote in our poll below! Get weekly rundowns straight to your inbox Sign Up Source link

Redacción Panamericana Angelí Boza debuta con “Diferente”, un álbum que reinterpreta baladas clásicas en español y cuyo primer sencillo es “Regresa a mí”. Lima, septiembre de 2025 – La escena musical peruana recibe con entusiasmo a una nueva voz que promete conquistar corazones. Se trata de Angelí Boza, una cantante emergente que debuta con su nuevo álbum titulado “Diferente”, un trabajo discográfico compuesto por 6 canciones en el que reinterpreta grandes baladas clásicas del inglés al español con una sensibilidad única y un estilo fresco. Como carta de presentación, Angelí Boza lanza este jueves 11 de septiembre a las 6:30 pm en todas las plataformas digitales y al mediodía del viernes 12 de septiembre en las principales radios del país. Su nuevo sencillo promocional: “Regresa a mí”, la icónica canción de Toni Braxton, llevada ahora a una nueva dimensión gracias a su potente voz y a un arreglo musical que respeta la esencia original, pero con un aire renovado que conecta con el público contemporáneo. Con este proyecto, Angelí busca rendir homenaje a las grandes voces femeninas de la balada internacional, acercando al público peruano y latinoamericano versiones en su idioma que transmiten emociones intensas y universales. Su álbum “Diferente” no solo refleja su pasión por la música romántica, sino también su capacidad para transmitir sentimientos profundos con una interpretación íntima y poderosa. “Este álbum es un sueño hecho realidad. Quiero que quienes lo escuchen sientan que estas canciones, que marcaron a toda una generación, pueden volver a emocionar, pero ahora en español y con una nueva mirada”, comenta Angelí Boza. Próximo lanzamiento: Sencillo: “Regresa a mí” (versión en español de Toni Braxton) Fecha: Jueves 11 de septiembre de 2025 – estreno en radios nacionales Con “Diferente”, Angelí Boza se presenta como una voz nueva, sensible y prometedora en la música peruana, dispuesta a abrirse camino con un estilo auténtico y lleno de sentimiento. ¡Angelí Boza llega para emocionar con baladas eternas, pero con una voz fresca y diferente! Cabe destacar que este nuevo álbum se grabó con grandes músicos como Lexter Pérez en los trombones que trabaja con Ricky Martín y Dernel que trabaja con el «conejo malo» Bad Bunny en la Residencia en Puerto Rico. La producción se grabó en Puerto Rico en ROLO ESTUDIOS , donde graban los grandes como Victor Manuelle, Gilberto Santa Rosa, El Gran Combo, entre otros. Como músicos destacados se encuentran Luisito Carrion en los coros, Julio Alvarado, la primera trompeta de El Gran Combo de Puerto Rico, Richard Carrasco en el bongó y campana, y en la dirección musical se encuentra Carlitos Garcia, Director de norbert Vélez de sesiones de la loma. Source link

Rap music is probably the most unique genre in the music business. There’s a whole culture attached to it, a way of life, a way of talking, a way of walking, a way of dressing, a way of dancing, a way of making art. Many aspiring rappers come from places that have their own way of doing things; neighborhoods that have their own norms, customs, and rituals, and you can go to almost any one of these neighborhoods and see that they all have similar rules and parameters. And as these aspiring rappers claw their way to the top of these here charts in this very magazine, they often find themselves trying to keep their off-the-court drama from creeping into this new life that they’re trying to make for themselves. This is the predicament Young Thug currently finds himself in. Explore See latest videos, charts and news The Nas song “Star Wars” explains this very situation. “It’s shockin’ you thinkin’, ‘Naw, it’s just rhymin”/ But all this time it’s like organized crimin’,” he raps. “For instance, there was a time when there was a line between streets and business, but now peep how it’s mixed in the beef is now sickenin’, everybody got paper/ Words of power, because of it the cops hate ya/ The government watchin’ all of those who thuggin’ it/ They wanna lock us up ’cause they kids are lovin’ it.” According to Thug, Lil Woody mistakenly breaking into Donovan “Nut” Thomas’ car was the domino that led to YSL’s highly publicized RICO trial. “This whole beef started because of you,” a frustrated Young Thug told Big Bank in an emotional interview this past weekend. “The whole s—t started because of Lil Woody. How the f—k you gonna tell? This whole s—t started because of you. The whole case. This s—t happened because of you, my boy. The whole case because of Woody, some sucka s—t he did to Nut and them. Some sucka s—t.” Thugger went on to say that Woody found jewelry in the car and when realizing they belonged to Nut, he took jewels back and told Nut that some kids stole them and brought them to him. Apparently, Nut had no issues with Woody afterwards and was willing to move past it, but the people around him weren’t as open to letting the transgression slide — just as Nas rapped on “Star Wars” when he said, “Maybe the words get disrespectful, now your n—as check you/ ‘You ‘gon let that n—a play you? You know we ‘gon rep you.’ Donovan “Nut” Thomas would eventually lose his life. Thug maintains that these chain of events led to what eventually became the state of Georgia’s longest trial. “We just being some real n—as and your brothers and standing behind you, f—k that,” he said. “You did some sucka ass s—t. Now you got Shannon, Yak, me, Duke, and everybody else on the outside…You got all of us going through s—t because of your own actions that you did on your own time, and you folded and you told. You did the worst. I rather you tell the opps where I live, than tell the police. We go to prison forever. Man, I rather die than go to prison. What the f—k you mean, ‘Move forward’?”  As Young Thug sat in jail for the past three years, he had a lot of time to kill, and some of that time was spent on the phone talking to people like his girlfriend Mariah the Scientist and his friend and collaborator 21 Savage. These jail calls, that all parties involved assumed were private, have now been making their way onto social media and causing a bunch of little fires that forced the YSL founder to sit down with Big Bank for three hours and try to put them out. He went even further by releasing a seven-minute song named “Man, I Miss My Dawgs” last night apologizing for some of the things he said over the phone about people close to him like Mariah, Future, and Gucci Mane. In some of those calls, he referred to Future as “r—rded,” called Gucci “soft,” commented on GloRilla’s looks, criticized Drake for reaching out to Metro Boomin to clear a song as he was mourning his mother’s death, and talked to other women behind his girlfriend’s back. These same calls were obtained by fans through open records requests by way of the Cobb County Sheriff, and shared all over the Internet, largely as part of an attempt to smear Thug’s reputation in retaliation for constantly referring to Gunna as a snitch for taking a plea deal during the early days of the YSL RICO trial, something that Thug refuses to change his stance on and has clearly affected him emotionally. “Because I just don’t got my twin, bro,” he replied tearfully to Bank after being asked why he hasn’t really much music since coming home last Halloween. “Bro, I don’t got my friends, bro. I’m just f—ked up, Bank. I’m f—ked up, bruh. The n—a I be with every day, I don’t got ‘em no more, bro. I’m f—ked up, bruh. I’m f—ked up, bro, I don’t know. I don’t know what to do.” He added that he still feels betrayed by Gunna decision to take a plea deal: “And I didn’t lose no n—a to nothing tragic, I lost a n—a to betrayal,” he said. “You signing that one piece of paper, signing your initials on this one piece of paper could get me a life sentence, my nig n—a. Just cause you trying to get home fast or you just trying to get to a hoe or you just doing a certain thing, bruh. And you already betrayed a n—a before, bruh. A piece of paper. You gonna let a piece of paper end all this s—t? N—a, we men. We brothers, n—a. Ain’t no n—a in the world make me go against Gunna. No n—a.” He then moved on to Yak and Duke’s situation, saying that

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below. Explore See latest videos, charts and news Ke Personajes & J Balvin, “Celosa” (Sueños Globales/Capitol Records) Argentina’s Ke Personajes and Colombia’s J Balvin join forces for the first time in “Celosa,” which translates to “jealous girl.” Produced by Luis Barrera Jr., the song starts off with a 40-second soft rock melody before smoothly transitioning into a riveting cumbia melody — staying true to Ke Personaje’s sound. Meanwhile, Balvin, who recently teamed up with Gilberto Santa Rosa for the captivating salsa “Misterio,” continues on his experimenting streak. Lyrically, “Celosa” is just that, an ode to those who overthink and are jealous. For reassurance, the artists sing in the chorus: “I blocked my ex for you, so you can relax/ even if you’re jealous, I still want you in my life/ I gave you my passwords to my social media, so you can remove those you don’t want me to follow.” The vibrant music video was directed by Fernando Lugo in Tijuana, Mexico. — JESSICA ROIZ GALE, “Ciao!” (Sony Music Latin) There’s a bluntness to GALE’s lyrics that makes her music refreshingly relatable. The Puerto Rican artist’s “Ciao!” is no exception and on this ’80s-influenced synth-pop anthem, she knows exactly what she she wants and isn’t afraid to ask for it, setting an ultimatum for that indecisive significant other. “If you’re unsure, then I’d rather say ciao,” she sings decisively. Powered by that rebellious tone that is signature to GALE’s music, the track follows a handful of singles the singer-songwriter has released since dropping her 2023 debut album Lo Que No Te Dije. — GRISELDA FLORES Grupo Cañaveral & Grupo Niche “Mi Mundo al Revés” (FONO) Two giants of tropical music come together for this majestic fusion of salsa and cumbia at the highest level. The rhythmic beat takes us on a love story full of sensuality, something that these Colombian and Colombian-Mexican groups handle perfectly. “Mi Mundo al Revés” is the first single from volume 2 of Tributo a Una Leyenda Humberto Pabón, a compilation that pays tribute to the founder of Grupo Cañaveral and his great contribution to Latin music. — TERE AGUILERA Yami Safdie, “Luis” (WEA Latina) Yamie Safdie delivers a bold response to haters in “Luis,” a folk song driven by rhythmic guitar riffs in which she gives a fictitious name to those who do nothing but criticize from the comfort their cell phones. Transforming the trolls’ hatred into empowerment, the Argentine artist sweetly sings biting verses like: “Make up any movie you want/ And paint me any color/ Dress me up and make me a villain/ But that doesn’t change a thing/ You’re still alone on your couch.” The music video, starring popular Argentine streamer Martín Cirio, is full of humor and cultural references taken directly from the web. — SIGAL RATNER-ARIAS Siddartha, “Tú y Yo y Tú” With bossa nova-tinged flourishes and hints of psych-rock, Siddartha’s “Tú y Yo y Tú” captures the fiery intimacy of two souls colliding. Co-produced by Didi Gutman, Alejandro Pérez, Rul Velázquez and the artist himself, the track feels like a lush, moonlit dance of passion wrapped in warm, cinematic soundscapes. The music video pairs tribal ritualism with coastal dreaminess, leading viewers through a cabin lit by candlelight and a beach after sunset. A faint radio tune at the opening of the visual hints at a future song by him, according to a statement, creating anticipation for what the Mexican singer-songwriter has in store. — ISABELA RAYGOZA Sofia Monroy, “Alma Dividida” (Veo Sonora) With “Alma Dividida,” Sofía Monroy puts into words a feeling shared by many immigrants: the difficulty of fitting completely into one place or identity. Over a Latin pop base marked by enveloping percussion and strings, the Mexican-born, Swedish-raised singer-songwriter sings about what it means to belong to two worlds at the same time. “If I’m from here and also from there/ I’ve never understood why pointing out/ who belongs to any place/ The things of having a double identity / Because my soul is a divided soul,” the chorus concludes honestly. — LUISA CALLE Check out more Latin recommendations this week below: Source link

Ed Sheeran made a bit of history on Friday morning (Sept. 12) when he played the first-ever livestreamed NPR Tiny Desk concert of this scale to celebrate the release of his eighth album, Play. Taking to the office with his trusty loop pedal set-up, a keyboard and acoustic guitar, Sheeran got right down to business and proved he was in the moment by asking, “is it live now?” Wearing a pink shirt cued to the color of the album cover, Sheeran first explained to the crowd how the loop rig works before bringing up a sample on his keyboard and playing the new album track “Sapphire.” Layering in a guitar bit, banging on his acoustic to drop in a beat and recording his own backing vocals, Sheeran quickly built what sounded like full backing band accompaniment as he crooned the song’s keening chorus, “The lights, your face, your eyes/ Exploding like fireworks in the sky/ Sapphire!” and busted into the rap-like verses. Sheeran recalled that he’d visited the Desk before, though it was during COVID, so he filmed it remotely in a house in upstate New York, or maybe Jersey. “It’s kinda mad being here and seeing the actual desk, it’s great,” he said, thanking the NPR staff for showing up to the place they already work to see him. Warning the rapt audience that he’d only played the second selection once before on loop pedal and asking for forgiveness in advance in case he messed up, Sheeran proceeded to do just that and start over. Plucking a bluesy figure on his acoustic, Sheeran then smoothly leaned into the lyrics to the Play bad break-up single, “A Little More.” “You think I was born to ruin your life/ But you did most of that before I arrived,” he sang over a spare, strummy background before sliding into the stinging falsetto chorus, “I used to love you/Now every day I hate you just a little more/ Life got better when I lost you/ But every day I hate you just a little more and more and more.” “The Desk has always been about breaking down the walls between artist and audience,” said Bobby Carter, the series producer and host said in a statement released before the episode. “With this livestream, we’re taking that intimacy worldwide. And trust me — Ed Sheeran is going to make history.” Though by now he’s used to playing for tens of thousands of screaming fans in stadiums around the world, Sheeran admitted to being “a little nervous” to perform for the modest crowd of public radio staffers. “I don’t usually get nervous, but this is fun,” he said. He then set aside the loop pedal for a run through the new album track “Camera,” a moving acoustic ballad about the beauty we can’t always see in ourselves. “You should see the way the stars illuminate your stunning silhouette/ You’re glowing in the dark/ I had to count to ten and take a breath/ You think that you don’t have/ Beauty and abundance but you do/ And that’s the truth,” he crooned. The chorus was a heart-swelling expression of true love, with Sheeran singing, “I don’t need a camera to capture this moment/ I’ll remember how you look tonight for all my life/ When everything is black and white, your color’s exploding/ There’s somethin’ in the way you shine/ I don’t need a camеra when you’re in my eyеs.” Before his final song, Sheeran took time to thank NPR for letting his use his loop pedal, saying he could count “on one hand” the amount of times other American media outlets allowed him to schlep in his trusty rig in place of a full live band. The set ended with the first Play single, the skittery “Azizam,” which he recreated via a thumping bass keyboard backing track and layers of acoustic guitars and backing vocals. Sheeran is gearing up to take his Play show on the road with upcoming December stadium Loop Tour shows in Europe in December, followed by a run of gigs in Australia and New Zealand in January, February and March. At press time no U.S. dates have been announced for the Loop Tour. Watch Sheeran’s Tiny Desk show below. Source link

Russell Dickerson earns his fifth No. 1 on Billboard’s Country Airplay chart as “Happen to Me” ascends a place to the top of the tally dated Sept. 20. During the Sept. 5-11 tracking week, the single increased by 18% to 31.6 million audience impressions, according to Luminate. Explore See latest videos, charts and news The song was co-written by Jessie Jo Dillon, Chris LaCorte and Chase McGill. Dickerson co-produced it with Josh Kerr and LaCorte. It’s from Dickerson’s new LP, Famous Back Home (he’s from Union City, Tenn.), which arrived at No. 34 on Top Country Albums (Sept. 6) with 9,000 equivalent album units. The 38-year-old Dickerson, who is based in Nashville, linked four straight career-starting Country Airplay No. 1s: “Yours” (for two weeks beginning in January 2018); “Blue Tacoma” (one week, October 2018); “Every Little Thing” (one, November 2019); and “Love You Like I Used To” (two, November 2020). “Happen to Me” follows Dickerson’s “Bones,” which hit No. 36 on Country Airplay last July; “God Gave Me You” (No. 2, November 2023); “She Likes It,” with Jake Scott (No. 16, October 2022); and “Home Sweet” (No. 11, March 2022). Dickerson’s four-year, nine-month and three-week break between Country Airplay leaders marks the longest since Brad Paisley waited seven years, nine months and three weeks between “Perfect Storm” in 2015 and “Freedom Was a Highway,” with Jimmie Allen, in 2022. Meanwhile, “Happen to Me” continues crossing over, rising 23-21 on the Adult Pop Airplay chart and reentering Pop Airplay at No. 40 (after reaching No. 39). Currently on tour, Dickerson makes his next stop on Wallingford, Conn., on Sept. 18. ‘Darlin’ ’ of a Tune Chase Matthew scores his second career-opening Country Airplay top 10 as “Darlin’,” which he co-authored, pushes 12-10 (17.5 million, up 10%). The Sevierville, Tenn., native, 27, sent his rookie entry, “Love You Again,” to No. 9 last September. “Darlin’ ” is from Matthew’s album We All Grow Up, released in February 2024. Source link

Billboard Japan caught up with ORANGE RANGE for its Monthly Feature interview series spotlighting currently noteworthy artists and works. The five-man J-pop band is soon celebrating its 25th anniversary and showering fans with a string of releases both nostalgic and new. On July 2 — a Japanese numeric pun, as “7/2” can be read as “natsu,” meaning summer — the band hailing from Okinawa dropped a brand-new music video for one of its signature hits called “Ikenai Taiyo”（”Naughty Sun”). The updated “Reiwa” version visuals star the popular comedy duo Mayurika, who previously referenced lyrics from OR’s hit “Shanghai Honey” in their routine, and feature 72 Japanese throwback pop-culture references from the aughts, a period that falls under the country’s Heisei era. The comic video resonated with Japan’s thirty to forty-something demographic that grew up on the pop band’s hits, topping the Billboard Japan’s video views metric for two consecutive weeks and continuing to chart in the upper ranks today.  Additionally, the group’s “Oshare Bancho feat. Soy Sauce” is going viral on TikTok, with numerous influencers, idols, and other celebrities posting dance videos set to this song from 2008. ORANGE RANGE’s current resurgence in mainstream popularity, where people from all generations are responding to the band’s highly addictive pop music, can be attributed not only to the strength of the songs themselves but also to the success of Sony Music’s strategy after reuniting with the band. Back in July 2010, OR established its own independent imprint called SUPER((ECHO))LABEL, continuing its music activities independently in recent years. The band returned to Sony Music Records in May and dropped its first CD single from the label in about 12 years called “Maji de sekai kaechau 5 byou mae.” Currently promoting its Natsui Natsu★Project (roughly meaning “Summery Summer Project”), the band is hyping up the summer of “Reiwa 7” (2025) with signature party tracks including “Hadashi no ceccoli.” The members and label staff chatted with Billboard Japan about their thoughts behind the band’s latest project with SMR and series of releases in this latest interview. “Ikenai Taiyo” from 2007 was featured as the theme song for the TV drama series Hana-Kimi and became one of your signature tracks, partly due to the popularity of the show. How do you view its resurgence in the summer of 2025? RYO: Looking at the comments on YouTube’s THE FIRST TAKE and our music videos, I think the core audience is probably in their 30s, and it really hit home just how many people were listening to our songs. Then the teenagers and 20-somethings who see those comments realize that those were the people who used to listen to ORANGE RANGE back in the day, and that’s a very modern phenomenon. It wasn’t really a thing when we first made our debut, so it genuinely makes me happy. NAOTO: I have a personal anecdote related to this. I got a LINE message out of nowhere from a relative, a kid in high school, who hadn’t spoken to me at all until last New Year’s. And this kid was like, “I never knew ‘Oshare Bancho feat. Soy Sauce’ was a song you did, Uncle.” I didn’t want to pry too much, so I just replied, “Thanks.” [Laughs]  YAMATO: Honestly, I’m really happy about it. But we haven’t really changed what we’ve been doing. We’re currently riding the wave and experiencing firsthand what it means to go viral, but intend to continue doing what we do and should do, as we always have. HIROKI: While it wasn’t just a sudden, spontaneous phenomenon and there was definitely a strategic element to it, we never expected it to reach this level. I think we were incredibly lucky. But I also genuinely want to give ourselves credit, since the fact that we’ve been doing this until now and strength of our songs have something to do with it, too. Receiving renewed attention means we have a better chance of getting more people to listen to our future releases, and I’m really happy this whole chain of events was successful. Of course, this isn’t the end goal, so I’m excited about what to do with our next song and so on. You left gr8!records, a label within Sony Music where you’d been for nine years, and rejoined Sony Music Records in May. There was a strategic intent behind that move as a band, right? YOH: Let’s say the band is a robot. It started out as a small robot with just the members. But by the time our songs started reaching more people, it had grown massive, and it was like our weapons kept changing too. Then, to go back to basics, we decided to operate it on our own again, which meant leaving the company. There was always plenty to learn, no matter the environment, and we’ve taken steps in building our careers. So personally, I was eagerly waiting for the moment to use those super-powerful weapons and high-defense shields we used before. It wasn’t a decision made in the past year or two, and was always in the back of my mind. I’m glad we got good results, and think we’ve taken the first step towards next year’s 25th anniversary. Did you have any conflicted feelings when you left the major label? YOH: More and more people got involved as we rose to stardom, which meant the members were talking to each other less and it became harder to know what everyone was thinking. It felt like tension just kept building up inside the group. That was incredibly stressful for me. After going back to the indie scene, I got to hear stories from people I probably never would have connected with otherwise, and had all kinds of encounters. Sometimes people looked at us in a biased way, so being able to shed that was huge. I’m pretty sure each of us has our own experiences. It feels like all of that has come together and connected to created this good

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.  Explore See latest videos, charts and news This week, Ed Sheeran is ready to Play, Drake showcases a surprising guest and Twenty One Pilots conclude another story. Check out all of this week’s picks below: Ed Sheeran, Play  Following a pair of somber albums in 2023, Ed Sheeran returns to brightly lit pop with Play, which combines explorations of global sounds (the upbeat singles “Azizam” and “Sapphire”), wistful reflections (“Old Phone” and “Heaven”) and more fodder for wedding playlists (“The Vow,” a touching ode to his marriage which actually sounds primed for your vow-renewal gatherings).  Drake feat. Yeat & Julia Wolf, “Dog House”  Although Drake and Yeat spend the majority of “Dog House” trading bars about money, sex and power — with Drizzy even quoting his own No. 1 smash “One Dance” at one point — the surprise star here is indie singer-songwriter Julia Wolf, who provides a jolt of energy on the song’s introduction before the zapped beat, and Drake’s chest-thumping boasts, are crashed in. Twenty One Pilots, Breach  If 2024’s Clancy didn’t exactly end the multi-album narrative arc that Twenty One Pilots had been crafting for years, then new full-length Breach places a period on this particular journey — while also offering some of the long-running alt-rock duo’s most bruising riffs and immediate hooks to date, climaxing with the five-and-a-half minute centerpiece “Downstairs” in the middle of the track list. Kali Uchis feat. Ravyn Lenae, “Cry About It!” A few years after Kali Uchis successfully transcended a viral hit to set up a sturdy mainstream career, Ravyn Lenae is attempting to do the same as “Love Me Not” continues racking up streams by the million; together, the singer-songwriters spin gold together on the hypnotic “Cry About It!,” which pairs Uchis’ sighing harmonies with Lenae’s probing tone, and lets the swaying chorus contain both of their colorful personalities. John Summit feat. Inéz, “Crystallized”  Few dance artists have enjoyed multi-year runs as explosive as John Summit in the first half of the 2020s, and the producer continues that success with “Crystallized,” a surprisingly emotional banger in which a propulsive beat and laser-beam synths coalesce around singer Inéz’s vulnerabilities, resulting in some delectable late-summer beat drops. Editor’s Pick: JADE, That’s Showbiz Baby!  Although Jade Thirlwall spent over a decade as a member of the great UK girl group Little Mix, That’s Showbiz Baby!, her debut solo album as JADE, is easily the boldest, most forward-thinking project of her career: pre-release singles like “Angel of My Dreams” and “IT Girl” still dazzle in a full-length setting, while deeper cuts like the futuristic R&B track “Glitch” and the disco-adjacent ode to her mother, “Unconditional,” show the breath of JADE’s pop artistry. Source link

Redacción Panamericana El Congreso abrió su cuenta de streaming en la plataforma Kick tras aceptar el reto del alcalde de Ate, Franco Vidal. El Congreso de la República sorprendió a los internautas al anunciar la apertura de su propio canal en la plataforma de streaming Kick, luego de aceptar el reto lanzado por el alcalde de Ate, Franco Vidal. A través de un video publicado en sus redes sociales oficiales, la institución confirmó: “¡Aceptamos el reto, alcalde Franco! ¡Nos sumamos a Kick!”. La iniciativa, según señalaron, busca acercar las actividades parlamentarias a la población de manera más directa y en tiempo real. Sin embargo, la noticia no pasó desapercibida y rápidamente desató un intenso debate en redes sociales. Te puede interesar Maju Mantilla: productora revela otra supuesta infidelidad con actor colombiano Críticas al Congreso por el uso de Kick Aunque algunos celebraron el ingreso del Congreso a una plataforma digital que conecta con las nuevas generaciones, gran parte de los usuarios reaccionó con ironía y duras críticas. En los comentarios de Facebook y TikTok se leyeron frases como: “¿En esto gastan los impuestos?”, “¿En serio no tienen nada que hacer?” y “¿Y si se ponen a legislar?”. Otros fueron más allá y cuestionaron la posibilidad de que la cuenta sea utilizada para generar ingresos económicos, ya que Kick ofrece opciones de monetización. “¿Quién administrará el dinero que se genere con la plataforma?”, preguntaron varios cibernautas. Te puede interesar Pamela López revela que perdonaría a Vanessa Pumarica: “Aquí no estamos para juzgar” Cibernautas apoyan la propuesta en Kick Pese a la ola de críticas, hubo quienes respaldaron la iniciativa destacando su potencial para acercar la política a los jóvenes. “Esta propuesta permitirá llevar la legislación peruana a las nuevas generaciones”, señalaron algunos usuarios. La cuenta ya superó los 1.900 seguidores, lo que refleja el impacto de su llegada al mundo del streaming. Con esta movida digital, el Congreso del Perú se suma a la tendencia de instituciones y personalidades que apuestan por Kick, aunque la recepción de los ciudadanos sigue dividida entre la curiosidad y la crítica. @congresodelperu Aceptamos el reto, @francovidalm 🤝 ¡Nos sumamos a KICK! 🇵🇪 Invitamos a todos los peruanos a seguirnos en esta plataforma y conocer de cerca el trabajo del Congreso de la República. 🏛️🇵🇪 . #congresodelperu #congresoperuano #congresoperu #loultimo #politicaperu ♬ sonido original – Congreso de la República Source link