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“F–k, I used to not like him,” says British singer-songwriter Jack Garratt, speaking about a past version of himself. “He used to not be very kind to me. We have a much better relationship now.”  Explore See latest videos, charts and news Sitting in a hotel room in Liverpool, Garratt is reflecting on how he’s shown up for himself over the past few years – ever since the pandemic brought his Love, Death, & Dancing Tour to a halt and he battled his own ego and negative self-talk. He explores that journey on his third album Pillars, which arrived in August on independent label Cooking Vinyl (he was previously signed to Island Records).  Of his first new album since 2020, Garratt believes it to be the most “me-sounding thing” — the majority of which he wrote, produced and mixed himself. Below, he shares how he pulled himself out of a difficult time and killed his egos, while he continues to work on mastering self-love. “I’m now in a position where I really do have more ownership over my music and over my output,” he says. “I’ve always seen albums as as a stepping stone that I’m landing on and the rest of the map is loading. I’m not thinking about album four or what the next step is. This album is just gonna paint the map a little bit.” Ahead of releasing Pillars, you signed a new management team and new record deal. What was that process like? I’m only interested in working with people who want to check their ego at the door and come in, and make something great for a purpose greater than any of us — not to self-aggrandize or overcompliment the artistic process or making a record or anything. It is not the most important work, but it should be when we’re in the room together. When I met with Cooking Vinyl, I felt alignment, choice. It wasn’t a desperate plea from either of us. It was good-intentioned, like-minded people who take their independent roles seriously. I don’t want to be right — I want the right idea to come out of the room.  Before finding a new team and recording Pillars, you’ve said you were ready to quit music. Album track “Catherine Wheel” changed things for you – tell me what led to that song. I was going through a breakup, a situationship that destroyed the boat — didn’t just rock it. I went to Los Angeles to stay with my friend Sophia Bush and we did Christmas together. I was still deeply, desperately infatuated with this person, then this thing happened that made me know it was done. It woke me up to their behaviours and needs not necessarily aligning properly, but also my selfishness and people pleasing and how manipulative that is. It was really sobering and I wanted to write. With a lot of songs on the album that deal with that part of my life, the person singing it isn’t a hero. There’s still a lot of toxicity and issues. Some of the things that I’m saying in that song like, “Just use me, because my purpose now is to be used by you,” — I mean, that’s a red flag.   What inspired the overall sound of Pillars? I remember listening to “Spitting Off the Edge of the World” by the Yeah Yeah Yeahs. The drums are so self-aware and they just sit in this pocket. They’re so slow, but they’re so loud in the mix. I remember going, “I know that’s the drums I want in the big moments.” The character is just so infectious. I love when you can hear production that’s a storytelling device and just sounds f—ing good. I often forget that’s part of my job.   Who else inspired you? For this record, The Waterboys — the storytelling, the lyrics on “The Whole of the Moon”— were a big inspiration for me. Adrienne Lenker — I’m obsessed with her storytelling voice. I’ve really tried to knuckle down with this record that I wanted to be a better songwriter. That was the most important thing — to know I was writing the best stories that I could.  On Pillars, you explore different kinds of love — romantic, platonic, self-love. Why was that important to you? I don’t think I will be able to love myself loudly forever. It is cyclical. I’m in a good place at the moment and I’m loving it and holding it rather than worrying about it disappearing. That comes from work, having built that pillar stronger. The album is called Pillars because I spoke to my therapist and said, “I have these pillars to my love — the way I give and receive self-love, romantic love and then platonic or familial love. I think my self-love pillar is so weak that it’s putting pressure on the other two pillars in ways that I’m terrified is gonna make them crumble as well.” So the job became to build the self-love pillar. Make it stronger. Tend to it.   “Flower Girl Confetti, Hopeful Fidelity Lasts” is a standout track, what was the concept behind it? Pillars isn’t a concept album, but there is something conceptual throughout the whole thing, which is how I give and receive my love. The first half of the record is about really letting yourself go into something. “Ready! Steady! Go!” is a song that encourages someone to be like, “You and I are feeling something. You either need to let me go fully into the feeling or you need to let me go so that I can do this somewhere else.” And “Two Left Feet” is an encouragement song — “We could really love each other.” If the first half of the album is more shiny and surface-level, the second half of the album is the grey of it, the depth of it. It’s the second and third layers of ground underneath the fresh lawn. “Flower Girl Confetti” is very

It’s impossible to properly document the Kansas City Chiefs‘ past two NFL seasons without mentioning Taylor Swift, whose presence at games amid her romance with tight end Travis Kelce has propelled the team to new levels of fame since 2023. Luckily, ESPN’s new docuseries The Kingdom — which chronicles the Chiefs’ unsuccessful quest to win a third consecutive Super Bowl in 2024 — does just that. In an interview with People at the Sunday (Aug. 24) premiere of the six-part project, the team’s owner, Clark Hunt, confirmed that it definitely gives a “fun … little peek into Travis’ relationship with Taylor.” “There were definitely some elements of that where there were some new things that we learned,” he continued on the red carpet. “We all lived the experience of having her join the Chief’s Kingdom a couple of years ago, and hearing the recounting of her coming to that first game, really from her perspective, I thought was really unique.” The first game Swift ever attended was the Chiefs vs. Chicago Bears match-up in September 2023, an event that set the still-ongoing “Tayvis” mania into motion. The singer is now a fixture at Kansas City home games, often cheering on her boyfriend from a box suite at Arrowhead Stadium. And while Swift was not present at the premiere of The Kingdom, Kelce and his parents, Donna and Ed, were. Also on the red carpet, the athlete’s father gushed that his son’s contagiously cheerful demeanor can be attributed to one person: “Taylor.” “There’s no question about it,” Ed added at the event in Kansas City, noting that he thought Swift’s recent cameo on Travis and Jason Kelce’s New Heights podcast was “awesome.” “They’re two people obviously very much in love.” Get weekly rundowns straight to your inbox Sign Up Source link

Ookami Mio, a hololive VTuber, has released her second solo album, My Sparkle. It’s been roughly a year and a half since her first solo album, Night walk, whose theme was “night.” Now, on her new album, whose theme is “voyage,” she creates a soundscape that vividly embodies the worldview of her unique songs, like taking journeys to far-flung lands. Explore See latest videos, charts and news Ookami made her debut as a VTuber in December 2018. In August 2021, she released her first original songs, “Howling” and “Bowwow Ahwoooooo,” and then in December 2023 she came out with her first album, Night walk. Since then, she has been engaged in a wide range of musical activities, including being a member of units such as hololive GAMERS and AyaFubuMi. Billboard JAPAN recently had the opportunity to interview her, and she talked about topics like her approach to music over the past four years and how her motivations have changed. “When I made my first album, my focus was on making the kinds of songs I like and writing songs that would be fun to sing. Of course, I still love singing, but looking at the fans’ reactions, I realized that really it all began with singing because I want people to hear me. Ever since then, when I write music, I’ve been thinking a lot about how the music will reach listeners and how they’ll react. I’ll google what people are saying about my music, and I’ve seen that there’s a lot of variety in people’s favorite songs. Some people interpret my music in the way that I intended, while others take it in totally different ways. I think that has kind of changed the direction I take when making music.” Ookami also checks fan reactions on social media. She says she has seen some fresh, novel reactions there. “When I was working on my first album, I thought that people were looking for stylish songs like ‘Howling,” but there were a lot of people saying that they liked the ballads like ‘Camellia’ and ‘Insoluble Crystal.’ I cover a lot of Nana Mizuki songs when I stream, and I thought of myself as being good at singing that kind of stylish song, but the reality is that my fans also really like ballads.” Her new album is stylistically more wide-ranging than her previous album, with many softer songs like “Dandelion” and “Shoushin Ryokou.” “When I was working on the second album, I thought about what listeners wanted from Ookami Mio. I decided I should try making more laid-back music that would be soothing to listen to. Also, personally, I love travelling, and I go on lots of trips with other hololive members. When on the Shinkansen or traveling by plane, I usually listen to beautiful, relaxing music. I wanted to make the kind of music people want to listen to when they’re traveling, or when they’re feeling anxious.” “Dotta Batta Chindochu!” (meaning “crazy, slapstick journey”) includes memories from her own private travels. Last year, while visiting Las Vegas with fellow hololive artists Oozora Subaru and Sakura Miko, she encountered a spot of trouble. “It was my first time getting a passport on my own and traveling overseas. Sakura Miko and I don’t speak any English, and Oozora Subaru can communicate just a little, mainly through enthusiasm and vibes, so the three of us going on our own to America was just begging for trouble (laughs). Oozora Subaru’s energy is something to see, so even when the language barrier was in the way, she was great at looking people in the eye and expressing herself, driven by this powerful desire to communicate. The song “Dotta Batta Chindochu!” from the new album was inspired by that trip. I talked to BOTCHI BOROMARU about our experiences in Las Vegas, and that led to the creation of the song. The lyrics include the line ‘Don’t forget your wallet and your passport!’ That’s because I actually lost my passport in Las Vegas (laughs). Someone delivered it to the Lost and Found, and they were like ‘You girls have been blessed by a miracle.’” “Whenever I travel with someone else, it tends to turn into a ‘dotta batta chindochu’-like trip, but I also travel by myself. Those trips tend to be more soothing, peaceful journeys, like my song ‘Shoushin Ryokou.’ There’s a lot to say about that song. After my first album came out, my manager and my music producer, who had helped me out so much, left my team. They had worked so hard with me on the first album, I’d just assumed we’d make the second album together, too. So their departure came as a shock. Of course, I took a really positive approach in working with the new team on the new album, but there were times when I missed the old team, and it was a little hard-going. That’s when I wrote ‘Shoushin Ryokou.’ I changed the kanji for writing ‘shoushin’ from kanji that mean ‘heartbreak’ to kanji that mean ‘timid.’ (Translator’s note: Normally, ‘shoushin ryokou’ means ‘a trip you take to relieve heartbreak,’ but this song’s name is written using different kanji.) It’s not like I dislike my new team, and now, having finished the album, I’m glad that I worked on it with them. I truly feel like I’ve been blessed by being able to work with wonderful people.” When asked about what was behind the title of the album, My Sparkle. “The first song I ever posted was a vocal cover of was RADWIMPS’ ‘Sparkle.’ The song had a lot of personal significance to me, and my fans listened to it a lot, so I wanted to use the word ‘sparkle’ somewhere in the story of Ookami Mio. That’s why I named the album My Sparkle. When I released the album, I already had my first solo live show lined up, so I linked the album and the live show by titling the show [Our Sparkle]. Partly, this

Drake hasn’t been shy about showing his appreciation for 2Pac, and it appears the 6 God may have purchased another jewelry artifact from the late Death Row rapper. Explore See latest videos, charts and news Drizzy took to his Instagram on Sunday (Aug. 24), posting a photo of what appeared to be 2Pac’s 1996 Death Row Records chain. The menacing Death Row label logo is blinged out while the back of the golden pendant is inscribed with “All Eyez on YOU 1996.” The post from Drake also included the All Eyez On Me cover art, which finds Pac proudly rocking the Death Row chain. Moneybagg Yo, Gashi and Gillie Da Kid lent their stamps of approval, while former Death Row rapper Daz Dillinger chimed in. “I GOT MINES WHATS NEW ABOUT SOMETHING OLD ITS LIGHT DIAMONDS NOT HEAVY. LOL FUC DEATHROW,” he wrote. A fan added his disbelief: “Bruh. The world has been wondering where Pac’s original Death Row Records chain has been at since 1996. Mind blowing.” Back in 2023, Drake showed off that he was the owner of a gold, ruby and diamond crown ring previously owned by 2Pac. Sotheby’s confirmed that Drizzy purchased the ring for a jaw-dropping price tag of $1.1 million. The ring was worn by the West Coast icon in his final public appearance at the 1996 MTV Video Music Awards. Drake is currently touring Europe with PARTYNEXTDOOR, and they’ll hit the stage in Copenhagen on Monday night (Aug. 25) before heading to Milan for a pair of shows later this week. Find Drake’s post with 2Pac’s chain here. Get weekly rundowns straight to your inbox Sign Up Source link

Raise a glass, Swifties. Another version of Taylor Swift‘s The Life of a Showgirl has bubbled up to the surface. At 4 p.m. ET on Monday (Aug. 25), the pop superstar unveiled yet another limited-quantity vinyl variant of her upcoming 12th album, The Life of a Showgirl, this time called the “Tiny Bubbles in Champagne” edition. Featuring an exclusive alternate album cover, the new iteration’s front shows Swift surrounded by red feathers while modeling a bejeweled star headpiece. The “Tiny Bubbles in Champagne” edition marks Swift’s third total vinyl variant for the Oct. 3-slated project, not counting the fact that each one has been available in two different colored discs (the latest comes in “Under Bright Lights Pearlescent” and “Red Lipstick & Lace”). Just like with Swift’s past two vinyl drops, the new one became available for pre-order on her website after time ran out on a cryptic online countdown that went live hours prior. Also similar to last week’s now-unavailable Showgirl variants — the “Shiny Bug Edition” and the “Baby, That’s Show Business Edition” — these latest discs come with exclusive photos and poetry, and they are only available for 48 hours while supplies last. Monday’s unveiling marks just the latest exciting development in Swift’s Showgirl rollout, which officially kicked into gear on Aug. 12, when she announced the project’s existence in a teaser clip for her guest appearance on Travis and Jason Kelce’s New Heights podcast. When the full episode dropped a day later, the 14-time Grammy winner shared the album’s main cover, tracklist, release date and sole feature (Sabrina Carpenter, who appears on the title track). Swift also emphasized at the time that Max Martin, Shellback and herself are the only producers who were involved in making the 12 tracks on Showgirl — which she described on New Heights as being “bangers.” “[The album is] a lot more upbeat, and it’s a lot more fun pop excitement,” she added on the show. “My main goals were melodies that were so infectious, you’re almost angry at it.” The Life of a Showgirl will mark Swift’s first full-length since 2024’s The Tortured Poets Department, which spent 17 weeks at No. 1 on the Billboard 200. The album, along with the “Tiny Bubbles in Champagne” edition, are available to purchase on the musician’s online store. Source link

Spotify is diving even deeper into the Fan Life with a follow-up to the launch in April of its multi-media campaign putting a spotlight on the unique rituals, styles and celebrations of fandoms of some of the world’s most popular performers. The second go-round, launching on Tuesday (Aug. 26) shines the light on real-life fans of Bad Bunny, Charli xcx, Lil Uzi Vert, Rezz, Sleep Token, Megan Moroney and Pitbull as they celebrate their favorite artists in their own unique fashion. Related “When we launched the first Fan Life campaign a few months back, we knew we’d tapped into something real when fans were literally ripping the ads off walls to take them home,” says Spotify’s vice president of marketing and partnerships Marc Hazan about the second stage of a campaign that launched in April with billboards celebrating the rituals of seven global fandoms for Chappell Roan, Doechii, Oasis, Olivia Rodrigo, Rosalía, SEVENTEEN and Turnstile. “That’s the energy we wanted to build on. The whole idea has always been for fans to see themselves in what we create, and with this second launch, we wanted to take it even further,” adds Hazan. “These seven films go deep into fandom in its rawest form… We didn’t want to just show fandom, we wanted people to feel it – the sweat, the sound, the inside jokes. Every detail is real: the clothes came from fans’ closets, the music was what they actually love, and the energy came from the fans who live this every day. At Spotify, we’re not just observers, we’re fans too. This campaign is our love letter to the communities that make music culture so powerful.” The accompany films tell the rich story of that fandom, from a pair of giddy Charli xcx fans doubling-up on a city bike festooned with pink balloons laughing their way through a sunrise ride cued to “party 4 u,” to a group of female Pitbull diehards rocking out to their favorite rapper on a city bus while dressed in Mr. Worldwide drag featuring bald caps, black suits and drawn-on goatees. There are also films showing Lil Uzi Vert followers just losing it in a sweaty mosh pit, two Rezz fanatics doing last minute make-up touch-ups in a club bathroom, goth-y Sleep Token devotees solemnly spraying painting pink flamingos black, Megan Moroney besties singing along to “Tennessee Orange” in the car and a sweet mini glimpse of a man dancing with his abuela in the kitchen to Bad Bunny’s “Baile Inolvidable.” The campaign will begin to roll out this week on Spotify’s socials, as well as on billboards and in subway stations around the world. The Fan Life campaign will also feature local artist fandoms that connect with regional audiences around the world, including followers of Italian rapper Kid Yugi, French-Malian singer Aya Nakamura, U.K. rapper/singer PinkPantheress, Brazilian vocalist Pabllo Vittar and Mexican indie pop band Latin Mafia, among others. Watch the Fan Life videos below. Source link

Bryson Tiller has spent almost a decade trying to outrun the ghost of his debut album. Trapsoul is now triple platinum, and as it encroaches in on its 10th anniversary in October, still remains one of the most influential R&B projects of the 2010s — or maybe even ever. Explore See latest videos, charts and news Take the unequivocal transparency of rap, marry it to the emotional catharsis of R&B and set it over signature R&B samples like K.P. and Envyi’s “Swing My Way” or Jodeci’s “Alone,” and you have the sub-genre namesake at the heart Trapsoul. While Brent Faiyaz, Ella Mai, H.E.R., and countless other R&B acts have emerged from the subgenre’s ashes, Tiller has spent the last decade reckoning with the album’s impact. Tiller’s sophomore effort True to Self was a slump, a conversation about signing to Drake’s OVO Sound never materialized, and he soon after put his third album on ice. Tiller admits he then spitefully tried to recreate the Trapsoul energy with 2020’s Anniversary, just to prove to his longtime critics: “It cannot be done.” “I even pulled songs from the Trapsoul era that didn’t make Trapsoul and put ’em on there,” Tiller told Billboard over Zoom. “Even after I dropped Trapsoul 2, people still were like, ‘Hey, we want Trapsoul 2!’” Tiller then dropped off a Christmas album and his experimental eponymous album in 2021 and 2024, respectively. The latter at times went full pop (“Assume the Position”) and full blown hip-hop (“Whatever She Wants”) with hardly any regard for the singer’s Trapsoul base. The goal was simple: Create anything and everything to flex creative versatility, and to silence the trolls once and for all. If you ask Bryson Tiller: “It was a success, fo’ sho.” Now freer than ever, his latest double album Solace & The Vices — the latter dropped on Aug. 8, while the former comes out October 2 — finds Tiller in a creative flow state. He raps when he wants, sings when he wants, and he sounds like he’s having a blast even when he’s crooning about his struggles. The result is Bryson Tiller’s most authentic project yet, and likely his first entirely unclouded by Trapsoul‘s fog. He talks with Billboard about all of it below. Was making a double album an intentional act while you were building Solace & The Vices, or was it something that kinda just happened during the creative process while you were in the studio? It happened during the creative process while I was in the studio, for sure. I was working on the first part of the album and just got a little tired of talking about my feelings. I was just like, “I’m ready to have fun, summertime’s coming.” I didn’t wanna listen to the type of music I was making during this season, so I was like, “I’m gonna make something fun.” You sound like you’re having the time of your life on Vices. What role did joy play while you were making that album? Definitely intentional, I was just so thrilled to stop working on the other project that I just got right to it. I think I even started making one song while I was finishing [Solace], but I was like, “All right, I can’t get too carried I away. I gotta finish this album first.” What was the reason behind tapping in mostly with Florida artists on this record? You mentioned that you moved to Miami. My goal was to have only Florida artists on this record, but Bun B is from Houston and BabyDrill is from Atlanta. I just spend a lot of time there. I love the energy there. I think [Florida artists] are all amazing, there’s a lot of legends from Florida. There’s something about Florida music that just does it for me. You tapped in with a few of those legends, including most importantly Plies. What was the conversation like to get him on “200 Bands?” He’d wanted to work with me for a while, so we linked up and actually worked on some other stuff for his project and what not. But yeah, I had the song and was like, “Yo, bro, be a part of this” and he sent it back in 72 hours. You’ve talked a lot about the negative reception to your sophomore album True to Self and how everyone is always comparing everything to Trapsoul. What has it been like over the years pushing back against the criticism of your music post-Trapsoul, and have you ever made something that feels creatively authentic to you but then tossed it because you didn’t know whether the fans would like it? I’m glad you said it, because for the second album, I definitely psyched myself out. When that came out, I lost my confidence, and then I started working on an album called Serenity, and then I really psyched myself out. I was like, “Yo, I can’t even do this album because I don’t feel in control of my career right now. I don’t feel like I’m in control of what I do creatively.” Fans are telling me what I need to do and, I don’t know, I just didn’t feel like I was in control. So at that point, I was like, “Alright, I think I’m gonna take a break for a little while.” Then my grandma passed, and I was like, “OK, you know what? The five year anniversary for Trapsoul is coming up so I’m gonna do what the fans have been asking me to do just to prove that it can’t be done. I’m gonna make Trapsoul 2, but I’m gonna call it something different. I’m gonna call it ‘Anniversary’ and pay homage to the anniversary.” You look the album covers are damn near the same. That was just to prove: It cannot be done. You felt like you can’t make these guys happy. Yeah, it was so annoying. That type of stuff really makes me not wanna make

Oasis brought their long-awaited Live ’25 reunion tour to Toronto for the first date of their North American tour on Sunday night (August 24). It’s the first time the quintessential Britpop band has come to Canada in nearly 17 years, and they made it count. Rain started coming down a little after halfway through the concert, during “Stand by Me,” and never abated, but Oasis didn’t shorten their setlist. The band played songs from throughout their catalogue: six songs from their classic debut Definitely Maybe, eight from their beloved sophomore album (What’s The Story) Morning Glory? and many others from throughout their career. With a few exceptions, they played mostly crowdpleasers from their ’90s peak, with only two songs coming from the year 2000 or later. For those paying attention to the first leg of their reunion tour in Europe, there were no surprises. This was the same 23-song setlist Oasis played from their opening reunion show in Cardiff, Wales to their last one before North America in Dublin, Ireland. But fans who came to belt along with classics like “Wonderwall” and “Don’t Look Back in Anger” were not disappointed, letting themselves get fully soaked to stay until the encore. Before their customary “F—in’ in the Bushes,” (2000) the walk-on intro track they’ve used for over a decade, they also played Canadian rock legend Neil Young’s “Rockin’ in the Free World” before coming onstage at 8:45 p.m. ET. Earlier, opening band Cage The Elephant played their own 11-song set, including three Billboard Canadian Hot 100-charting hits: “Ain’t No Rest For The Wicked,” “Shake Me Down” and “Come a Little Closer.” After another date at the new Rogers Stadium tonight (August 25), they will travel to Chicago, East Rutherford (New Jersey), Los Angeles and Mexico City. Find the full setlist from night 1 in Toronto below, and find the full show recap here. This article was originally published by Billboard Canada. “F—in’ in the Bushes” (Intro) Album: Standing on the Shoulder of Giants (2000) “Hello” Album: (What’s The Story) Morning Glory? (1995) “Acquiesce” Album: The Masterplan (1998) “Morning Glory” Album: (What’s The Story) Morning Glory? (1995) “Some Might Say” Album: (What’s The Story) Morning Glory? (1995) “Bring It on Down” Album: Definitely Maybe (1994) “Cigarettes & Alcohol” Album: Definitely Maybe (1994) “Fade Away” Album: The Masterplan (1998) “Supersonic” Album: Definitely Maybe (1994) “Roll With It” Album: (What’s The Story) Morning Glory? (1995) “Talk Tonight” Album: The Masterplan (1998) “Half the World Away” Album: The Masterplan (1998) “Little by Little” Album: Heathen Chemistry (2002) “D’You Know What I Mean?” Album: Be Here Now (1997) “Stand by Me” Album: Be Here Now (1997) “Cast No Shadow” Album: (What’s The Story) Morning Glory? (1995) “Slide Away” Album: Definitely Maybe (1994) “Whatever” “Live Forever” Album: Definitely Maybe (1994) “Rock ‘n’ Roll Star” Album: Definitely Maybe (1994) “The Masterplan” Album: The Masterplan (1998) “Don’t Look Back in Anger” Album: (What’s The Story) Morning Glory? (1995) “Wonderwall” Album: (What’s The Story) Morning Glory? (1995) “Champagne Supernova” Album: (What’s The Story) Morning Glory? (1995) Source link

Redacción Panamericana Maju Mantilla reapareció en televisión tras confirmar su separación de Gustavo Salcedo y pidió respeto en este difícil momento personal. La ex Miss Mundo, Maju Mantilla, volvió este lunes 25 de agosto a la conducción de Arriba mi Gente, luego de ausentarse tras el anuncio de su separación con Gustavo Salcedo, su esposo desde el 2012. Con una actitud serena pero firme, la conductora decidió hablarle directamente a su público, que esperaba su versión tras la noticia que remeció el mundo del espectáculo. Te puede interesar Marisol se quiebra al hablar de Leslie Shaw: “Yo no le guardo rencor” Maju Mantilla confiesa su difícil momento Desde el inicio del programa, Maju no ocultó que atraviesa un momento doloroso y quiso expresarse ante el público. “Yo quiero aprovechar este momento, esta mañana, para saludarlos, pero también para decirles que estos días para mí han sido días complicados, para mi familia, para mí”, expresó. La exreina de belleza evitó mencionar el comunicado que publicó el padre de sus hijos respecto al fin de su relación y recalcó que existen muchos temas personales por los que está atravesando. “Esto se suma a que tengo otros temas personales que me tienen preocupada, pero, como siempre me ha caracterizado, yo voy a resolver y afrontar mis problemas de forma privada, sin exponerlos”, aclaró en vivo. Te puede interesar Vanessa Pumarica revela que Pamela Franco no es feliz: “No es ella misma” Pide respeto y evita rumores La modelo y presentadora dejó en claro que no revelará detalles de su ruptura y pidió al público y a los medios que no especulen sobre su vida privada. “No voy a hablar del tema. Les pido que se dejen de suposiciones, de juicios erróneos. Afrontaré mis problemas de forma privada, como siempre lo he hecho”, dijo con contundencia. A pesar de la difícil situación, Maju Mantilla reafirmó su compromiso con el programa y con los proyectos que tiene en marcha. @arribamigenteoficial 👑 Nuestra reina @majumantilla está de vuelta y comparte un importante comunicado con todos 🚨#ArribaMiGente #MajuMantilla ♬ original sound – ArribaMiGente Source link

Eladio Carrión is set to hit the road with the DON KBRN World Tour, which kicks off on Wednesday (Aug. 27) in Charlotte, North Carolina. With a massive 32-song setlist that leans heavily on his latest album, DON KBRN, the Puerto Rican rapper is delivering a fully immersive experience that bridges his hard-hitting trap sound with intricate, cinematic visuals. From introspective tracks like “Paz Mental” to the adrenaline-charged “Mbappé,” the “Bzrp, Vol. 40” collab and Bad Bunny’s “Thunder y Lightning” starring Carrión, fans can expect a relentless performance that promises to shake every venue he steps into. “I’ve been dreaming up this tour since the very beginning of the creative process for the new album,” Eladio Carrión tells Billboard Español. “The idea was always to give fans a full 360 experience, something that connects the music, the visuals, and the energy all in one. “We took that Yakuza inspiration and blended it with the high-intensity vibe that makes my shows go wild. I wanted to be closer to the fans, to make it feel like a nonstop riot, pure high energy from start to finish.” To kick it up another level, he is bringing rising trap star Danny Towers as the opening act. The U.S. leg of the tour, presented by Live Nation, spans 17 cities and wraps on Sept. 27 in Los Angeles. But Carrión is just getting started. He’ll head south to Latin America for 17 shows, beginning Oct. 2 in Guatemala City. From there, he’ll hit global hotspots like Bogotá, Quito, Lima, Santiago de Chile, Buenos Aires, and México City. Rounding out the tour, the “Coco Chanel” wordsmith will head to Europe in January 2026 for nine dates in Spain, closing out a global circuit. Stops include cities like Madrid, Bilbao, Granada, and Barcelona, making sure fans across the Atlantic get to experience the full DON KBRN moment. Check out the full tour dates here and setlist below: “Invencible” “Ohtani” “Vetements” “H.I.M.” “Broly” “Thunder y Lightning”(with Bad Bunny) Album: Bad Bunny’s Nadie Sabe lo Que Va a Pasar Mañana “Si la Calle Llama” “Heavyweight” Image Credit: Rafael Molina “Kemba Walker” (with Bad Bunny) “Romeo y Julieta” (with Quevedo) “El Reggaetón del Disco” (with Cris MJ) “100 Conmigo” “3 Am” (with Brytiago) “Todo o Nada” (with Corina Smith) “Paz Mental” “Hola Como Vas” Image Credit: Rafael Molina “AMG” (with Young Miko) “Flores en Anónimo” “Coco Chanel” (with Bad Bunny) “TQMQA” “Hey Lil Mama” (with Rauw Alejandro) “Mami Dijo” “Padre Tiempo” “Mosh Pit Muzik” Image Credit: Rafael Molina “Cómodo” “RKO” “6PM En Mallorca” /or “Betty” (with SHB & Hydro) Album: Non-album single / 3MEN2 KBRN “Hugo” “Sin Frenos” (with Bizarrap & Duki) “Eladio Carrión: Bzrp Music Session, Vol. 40” (with Bizarrap) “Mbappe” “Branzino” (with Big Sean) Image Credit: Rafael Molina Source link