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Redacción Panamericana La ‘Faraona de la Cumbia’ admite que explotó ante los comentarios de la cantante y aseguró que respeta su trabajo y no le guarda rencor. El conflicto entre Marisol y Leslie Shaw sigue dando de qué hablar. La ‘Faraona de la Cumbia’ no pudo contener las lágrimas al referirse a la fuerte disputa que mantiene con la llamada ‘Barbie de la Cumbia’. Durante su visita al programa El Reventonazo de la Chola Chabuca, Marisol explicó que, aunque mantiene el respeto hacia el trabajo de Shaw, no comparte sus opiniones ni la forma en que se ha expresado. “Ella, tal vez por ignorancia, habla como habla. No conoce el mercado de la cumbia”, señaló con evidente incomodidad. Te puede interesar Vanessa Pumarica revela que Pamela Franco no es feliz: “No es ella misma” Marisol no guarda rencor a Leslie Shaw Entre lágrimas, Marisol aclaró que no siente odio hacia Shaw y que, pese a la polémica, le desea lo mejor en su carrera.  “Yo no le guardo rencor. Yo la respeto porque es una chica muy inteligente, es una chica trabajadora y yo respeto mucho su trabajo, y deseo lo mejor. Deseo que le vaya súper bien, que le siga yendo bien”, expresó. Sobre críticas hacia Leslie Shaw Marisol también se refirió a los comentarios en los que criticó a Leslie Shaw, acusándola de “estafar a la gente haciendo playback”. La cantante admitió que su reacción fue el resultado de un límite que se sobrepasó. “Uno aguanta, espera, espera… y llega un momento en que explota. Yo sí exploté y tuve que decir todo lo que dije”, confesó, defendiendo su trayectoria de décadas en la cumbia. Te puede interesar Néstor Villanueva en el ojo de la tormenta responde a Flor Polo: “Siempre ha querido meterme preso” Medidas legales en camino La polémica se agudizó después de que ‘La Barbie de la Cumbia’ mencionara cómo surgió su polémica relación luego de grabar los temas que tienen juntas. Ante esto, Marisol no dudó en responder con firmeza en redes sociales y hasta se presume que podría llevar el tema a instancias legales. “Espero que lo que afirmas lo demuestres y que te alcance para pagar. Nunca lograrás destruir mi carrera. Recuerda que hay una justicia divina y siempre llega”, mencionó en su comunicado. Con esta declaración, la ‘Faraona de la Cumbia’ dejó claro que no piensa permitir más ataques. Además, con sus recientes declaraciones, Marisol busca ponerle un alto a las críticas. @historystore12 ♬ sonido original – Raffa 4 Source link

When Big Loud released “A Song to Sing” to country radio on July 10, the email featured a gold, heart-shaped mirror ball with the names of Miranda Lambert and Chris Stapleton blasting from the background in a groovy retro font. Explore See latest videos, charts and news The image fit. “A Song to Sing” uses musical elements that exist in the same sonic pocket as the Kenny Rogers & Dolly Parton classic “Islands in the Stream.” That single was produced by Barry Gibb, whose band The Bee Gees played a key role in the late-1970s disco era. The Brothers Gibb’s most iconic songs from that period – “Islands,” “Night Fever,” “Jive Talkin’,” “Stayin’ Alive” – invariably featured sticky melodies, bittersweet harmonies, dogged optimism and sometimes-abstract lyrics over compellingly light dance beats. “A Song to Sing,” like “Islands in the Stream,” has all of those characteristics. “It’s, like, all the stuff that I’ve always loved,” Lambert says. “I’ve just never explored it as an artist.” The bones of “A Song to Sing” were grounded in the supporting parts. In 2023, songwriter Jesse Frasure (“Park,” “Dirt on My Boots”) reached out to fiddler Jenee Fleenor, a five-time winner of the Country Music Association’s musician of the year award, about creating some musical beds that he could present during writing sessions. “It’s actually something I’d always wanted to do,” she says, “but I didn’t know who to approach.” They met a couple times and created 8-10 musical tracks in a variety of styles, with Fleenor playing riffs on her fiddle over chord progressions that Frasure supplied. One began with a major-seventh chord – used frequently in ‘70s pop songs – and Fleenor gave it an arching, nine-note melody in the intro and at the end of the prospective choruses. It came to its full fruition during a writing appointment Lambert booked at Frasure’s studio in Nashville’s Crieve Hall neighborhood. They reached out to Stapleton on short notice, not knowing if he was even in town, and he agreed to meet them. Neither artist was at work on a specific album, so the crew had plenty of freedom to pursue whatever struck them. “He pulled up, he was driving a Corvette — like a rust, ‘70s-looking, brown Corvette that day — so it was kind of fitting,” Frasure remembers. “We had wrote another song that probably sounds more like what you would expect Miranda and Chris to do, and then right before he was leaving, I just kind of played him that [‘70s-sounding track].” Stapleton stayed. This track was too inspiring to quit, and they spent the next hour turning it into a full-fledged song. “There was certainly some mention of Dolly and Kenny vibes,” Stapleton says. “It had that vibe out of the gate.” The opening major-seventh chord set the tone. Someone – no one remembers who, for certain – started a melody that played on its key feature, vacillating between the tonic note and the dissonant seventh (akin to alternating between “ti” and “do” in “Do-Re-Mi,” the Sound of Music song about musical scales). They came up with hazy lyrics that drew on the commitment required to maintain a relationship with their traveling lifestyles. The two singers traded lead parts, slipped in harmonies, and built to an ascendent chorus that compared romance to writing a song. “A Song to Sing” showed itself as the title, though it was positioned, unconventionally, in the middle of the chorus. Instead of following that chorus with a second verse, Stapleton segued into a new, rising melody along with a lyric about overcoming “everything heavy on our shoulders.” “We talked about it in the room,” Lambert recalls. “’Do we need a bridge? Do we not?’ And then just hearing Chris go, ‘And when this world…,’ it’s like, ‘Okay, we need a bridge if that’s what it’s going to sound like.’” Lambert sat in a blue velvet chair and Stapleton stood in a corner as they dashed off vocals for the demo before they wrapped. Fleenor had picked up her engraved CMA award that same day and announced the debut EP for her bluegrass group Wood Box Heroes. She was stunned to receive a text from Frasure announcing that Lambert and Stapleton had just written a song based on their track. “There was no second verse when they sent me the demo,” she says. “I dug it, but I remember Jesse and I having this conversation because the song was so short, and I think Jesse encouraged them to write a second verse.” Frasure got Lambert and Stapleton back together a few weeks later to knock it out. “I just wanted to hear that [opening] chord – maybe it’s the major seventh there – but I wanted to hear that first melody again,” Frasure says. Sometime in 2024, Lambert and Stapleton went to Savannah, Ga., to record “A Song To Sing” with Stapleton’s band and producer Dave Cobb (Brandi Carlile, John Prine) in leisurely fashion at the Georgia Mae Studio. “It’s on the intercoastal waterways, so it’s kind of like an escapism house that we started making records in,” Cobb says. “We just got out there and, Gilligan Island it, and stayed in kind of a little private setting on the water, which is really beautiful and calming.” Bassist J.T. Cure and drummer Derek Mixon locked into a steady, deep groove. “J.T. has so much soul and feel,” Cobb says. “He’s kind of [like Motown’s] James Jamerson and all these great players, where he’s really making a bass part, and not just towing the line. He’s really individualistic with it. And Derek just has such a beautiful swagger and pocket. I think that’s what you hear with the combination of people, just turning off the math of it all, and just feeling the heart of it.” They revised Fleenor’s fiddle riff as a combination of sounds – Lambert and Stapleton singing along with a guitar and keyboard, though no one can recall which parts they kept in

On Legacy: The Creedence Clearwater Revival Years, John Fogerty revisits some of the seminal classic rock hits the legendary musician wrote and recorded more than 50 years ago. Explore See latest videos, charts and news Just as the original songs were a family affair — Fogerty’s late brother Tom was also in CCR — Fogerty has recreated 20 iconic tunes including “Proud Mary,” “Fortunate Son” and “Bad Moon Rising,” but this time with his sons Shane and Tyler. His wife/manager Julie serves as executive producer. Over Zoom, Fogerty can’t hide his pride when he talks about recording with his sons, who have been in his touring band for several years now, and about how his wife’s business acumen and vision led him to remake the renowned tunes. The impetus for Legacy, which came out Aug. 22 on Concord, was Fogerty regaining control over his songs after a half-century fight, as well as turning 80. In 2023, the Rock & Roll Hall of Famer gained majority control of his CCR publishing rights after one of the most bitter, longest battles in rock & roll. It made him view the songs with a new sense of ownership and pride. The Legacy songs are tagged “John’s Version” in a fun nod to Taylor Swift and the superstar dubbing her album re-recordings as “Taylor’s Version.” Fogerty jokes, “I wanted them to call [the re-recordings] Taylor’s Version. I lobbied for that: ‘You want this to sell? Call it “Taylor’s.”‘” Though they are decades apart, Swift and Fogerty’s ultimately successful fights to own their material —for Swift, her masters, and for Fogerty, his publishing — are not dissimilar, and he declares, “I was so happy to see her solution to her predicament… I was applauding her doing [the re-recordings]. I’m convinced that her re-recording those in many ways reset the condition, so that she was able to purchase the originals. She was strong enough and powerful enough a force that she rearranged the playing field.” By intent, the new versions on Legacy so closely mirror the originals that even Fogerty can’t always tell the difference. “I was driving with Julie, and we were listening to a national radio station and they were playing ‘Up Around the Bend.’ Of course, our goal is to have them play the new versions, and I’m looking at her and going, ‘Oh, man, they’re playing the old original.’ The [song’s] going along and [I realized] ‘Hey! They are playing the new one!’ I mean, it actually fooled me. That made me feel so cool. I can’t even tell you how great that was, because that’s Shane playing [the lead].” In an expansive interview, a gregarious Fogerty talks about what it meant to revisit some of America’s most beloved rock songs, spending time in the studio with his family, his friendship with Bruce Springsteen and — though he doesn’t mention him by name — his dismay at some of the activities of the current occupant of the White House. How did this album come about? Julie years ago murmured about maybe me re-recording some of the songs from back in the day. I wasn’t jumping up and down. One of the things she said — I’m paraphrasing her intent — she had had a vision that was full of joy, and part of that vision was re-recording my songs. I was in a different mindset. Then we got the publishing back, which is such a wonderful thing. I can’t even describe all the different dimensions — one of which is relief, just something that you felt should have been and had finally coming to pass. And that’s sort of put me at ease about a lot of things. I’m sure turning 80 is another facet of that. It started to look more like something I could be engaged to do, especially if I was doing it with Shane and Tyler and Julie and the rest of my family. And so, I sort of tenuously agreed to start. What was it like being in the studio? These tracks sound so vital and joyous. Thank you for noticing. That’s actually how we are. I don’t think you can manufacture or plan that that’s going to be there. I had no idea about what sort of commitment and artistic involvement [it would take]. This process has reacquainted me with that person that’s in my soul that is relentless. I just can’t consider it finished until it’s really, really good. When did you feel it clicked in the studio? When it got to the part where I’m interacting with Shane and Tyler and Julie as the people who are actually performing the musical parts, I think that’s where the engagement really got strong. I was interacting with my kids. We’re making something together. It wasn’t easy. It’d be like you’re in a football game. It’s getting late and you’re down a couple of touchdowns, but you know you should be winning. And I think that’s kind of what happened. Then you hear it back and realize that it’s succeeding. There is great joy and excitement in that, because what I got to do is watch this new band feel what I felt 50-something years ago with the guys in Creedence. The old days had ups and downs, and the tail end of it didn’t end so well. I have lingering memories of all of that. And so, delving into that and watching a new set of people become close and committed, I think that’s what you’re hearing. These are so faithful to the originals. Do you pull out any of the original recordings to make sure you were getting it right? One of the songs was “Born on the Bayou.” I was playing it pretty much how I have done it live for about 30 years. It didn’t have the same character [as the recording]. It’s like traveling on a road in your car, and there’s landmarks: over there, there’s a group of rocks, there’s a stop sign, and down

Relationship experts have endlessly parsed the body language and non-verbal cues between Taylor Swift and Travis Kelce during the singer’s album release appearance on the Kansas City Chief’s tight end’s New Heights podcast two weeks ago. Kelce’s broad smile and longing looks at his girlfriend of two years said it all. But if you really want to know how the three-time Super Bowl champ feels about Swift, just ask his dad. At Sunday night’s (Aug. 24) premiere of the new six-part ESPN series The Kingdom about the Chiefs’ pursuit of a Super Bowl three-peat, People magazine caught up with Travis’ dad, Ed Kelce, to ask him about how his youngest son’s joy steams from his relationship with the pop superstar. “Taylor,” Ed Kelce said when asked to pinpoint the source of Travis’ happiness. “There’s no question about it.” Ed could see it when he tuned in to the two-hour New Heights pod, dubbing the appearance “so good… I think it was awesome. It was great to see them go back-and-forth. They’re two people obviously very much in love.” People also caught up with family matriarch Donna Kelce at Sunday’s premiere, where she had high praise for the New Heights appearance as well. Donna said she also tuned in and she dubbed the record-breaking Aug. 13 appearance “really, really eventuful… It was authentic. It was just something I think everybody was thrilled to see, and it was a very loving podcast.” Swift and Kelce went official with their romance in Oct. 2023 and have since made a habit of showing up for each other at important events, with Travis flying out for a number of Eras Tour shows and Taylor posting up in the family box at more than a dozen Chiefs games. Swift broke the internet when she went on New Heights to reveal the details of her upcoming 12th studio album, The Life of a Showgirl. Get weekly rundowns straight to your inbox Sign Up Source link

Conan Gray’s latest studio album, Wishbone, bows at No. 1 on Billboard’s Top Album Sales chart, marking his first leader there. Simultaneously, the collection arrives at No. 3 on the overall Billboard 200, granting the singer-songwriter his highest-charting project yet on the latter list. Both tallies, dated Aug. 30, will be posted in full to Billboard’s website on Tuesday (Aug. 26). Explore See latest videos, charts and news Also in the top 10 of the Top Album Sales chart, Billie Eilish, Niall Horan, Maroon 5, Chevelle, Chance The Rapper and Selena all make waves. Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units. Wishbone sold 53,000 copies in its first week (Gray’s best sales week ever) with physical purchases comprising nearly all of its sales. Vinyl sales accounted for just over 30,000 sold — Gray’s best week ever on vinyl. Wishbone also bows at No. 1 on the Vinyl Albums chart, marking his second leader. The set’s opening-week sales were bolstered by its availability across seven CD variants (including signed editions) and seven vinyl editions (some signed). On the Billboard 200, Gray has charted five entries overall, with three of them reaching the top 10 (Kid Crow in 2020, No. 5; Superache in 2022, No. 9 and Wishbone in 2025, No. 3). On the Top Album Sales chart, he’s also notched five entries, with four hitting the top 10 (Kid Crow, No. 2; Superache, No. 22; Found Heaven in 2024 at No. 2 and Wishbone, No. 1). Elsewhere on the latest Top Album Sales chart, Billie Eilish’s HIT ME HARD AND SOFT surges 44-2 with 18,000 copies sold (up 988%), following the release of a one-year anniversary vinyl variant. Vinyl purchases made up nearly all of its sales for the week. (The 18,000 figure is the total sales of all the versions of the album, old and new, combined.) The anniversary edition of the vinyl was pressed on bio-vinyl dark blue and orange splatter with its cover printed on silver mirror foil board and contains a poster. Another anniversary helps Niall Horan’s chart-topping Heartbreak Weather reenter the chart at No. 3, as a suite of five-year anniversary products help push the album back onto the ranking. Collectively, all the versions of the album, old and new, sold 12,000 copies in the tracking week (up from a negligible sum the previous week). Heartbreak Weather was reissued for its fifth anniversary in two new vinyl variants (an opaque baby blue color variant with new cover art, and a deluxe double-LP set pressed on sea-blue and white splatter vinyl with expanded packaging and nine bonus tracks), a CD variant (with new cover artwork and eight bonus tracks) and a digital download (with eight bonus tracks). Maroon 5 collects its eighth top 10 on the Top Album Sales chart as its latest release, Love Is Like, arrives at No. 4 with nearly 11,000 copies sold. TOMORROW X TOGETHER’s chart-topping The Star Chapter : TOGETHER climbs 7-5 (8,000, down 18%) and Chevelle nabs its sixth top 10 with the No. 6 debut of Bright as Blasphemy (nearly 7,000). Chance The Rapper’s new studio effort Star Line starts at No. 7 with nearly 7,000 sold, scoring the third top 10 for the artist. Selena’s former No. 1 Dreaming of You reenters the chart at No. 8 with 6,000 sold (up from a negligible sum in the week previous) after a number of 30th anniversary reissue products were released. Dreaming of You was remastered for its 30th anniversary, and reissued across four vinyl variants, a CD and a digital download. The KPop Demon Hunters soundtrack climbs 15-9 on Top Album Sales with its best sales week yet (nearly 5,500 — up 3%). The album has only been available to purchase as a digital download, but will see the impact of its release on CD (on Aug. 22) in the tracking week ending Aug. 28 (as reflected on the Sept. 6-dated Top Album Sales chart). Closing out the top 10 of the latest Top Album Sales chart is TWICE’s THIS IS FOR, which is steady at No. 10 with 5,000 sold (down 22%). Source link

Saturday Night Live boss Lorne Michaels famously runs a tight ship. He doesn’t like it when the cast cracks up during sketches and he expects the show’s musical acts to stick to the script and play the songs they’ve rehearsed for that week’s show. Explore See latest videos, charts and news So, when Sinead O’Connor veered way off during her moving a cappella October 3, 1992 performance of Bob Marley’s “War” on SNL — which she ended by ripping up a picture of then Pope John Paul II and saying “Fight the real enemy” — the singer was reportedly blanket-banned from the NBC network and would never again appear on SNL; O’Connor died of natural causes in July 2023 at age 56. In a rare interview, Michaels was asked by Puck if he had to think twice about bringing attention to one of the show’s most controversial moments by having Miley Cyrus and Brittany Howard cover O’Connor’s most famous hit: her take on the Prince-penned “Nothing Compares 2 U.” The pair took on the ballad in February during the SNL50: The Anniversary Special celebration and Michaels said it was a no-brainer. “No,” he said when asked about whether he had any worries about revisiting that controversial moment. “If [O’Connor] were still alive, I would have asked her to sing that song. But it was represented by Miley singing it with so much power.” The famously stoic Michaels said he “teared up a couple times” during the emotional half-century celebrations earlier this years, saying he wasn’t weeping, per se, but that “a lot of other people were,” especially when Paul McCartney closed the show with the Beatles’ “Carry That Weight.” Flashing back to the show opener with Paul Simon and Sabrina Carpenter dueting on “Homeward Bound,” Michaels said that even after 50 years of SNL, he was nervous about whether the first gen-now gen collaboration would work. “Earlier anniversary shows, we just did the one show, but I thought a year ago that we could do that [concert the Friday night before at Radio City Music Hall],” he said. “I spoke to Paul Simon about it, and then he got a call from Sabrina Carpenter, who wanted him to do a song with her on her special. And he said, ‘I don’t think I want to do that. Would you take that to Radio City?’ So [the opening] started back then, it was in my head. And then it migrated.” He knew for sure, however, that he wanted to close with McCartney. “For lots of reasons. The emotion,” Michaels said. “Once he was there, I toyed with him opening, but there was something to closing with ‘Golden Slumbers’ that felt powerful to me. And Paul [Simon] and Sabrina were gonna do ‘Homeward Bound,’ which worked perfectly. It resonated with the audience that was there because for a lot of them, [SNL] was a home for five to 10 years. [The pairing] let the audience know what the show is. It’s now and it’s then.” As for whether he was holding out for Taylor Swift — who has been on the show six times, including a cameo on the 40th anniversary special — to participate if she’d wanted to, Michaels said that was never in the cards. “She and Travis [Kelce] came to Pete Davidson’s show, the first show of the season before, and I talked to her about it then,” he said. “But I knew that her [Eras] tour was mammoth. And I thought, ‘If she can come, she’ll come, and if she can’t, she can’t.’” SNL will return to the air for its 51st season on Oct. 4. Source link

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Back in 2018, Travis Scott made his Reading Festival debut and it felt like a headline performance in its own right. Now, seven years on, he returned to the iconic U.K. festival to officially close out Sunday night (Aug. 24) as the main stage headliner. When Scott last appeared at Reading, his rising stardom was at an all-time high, just weeks on from the release of the critically-acclaimed Astroworld. Playing a Friday night sub-headliner slot on the Main Stage, he delivered a jubilant, amped-up performance, drawing what was arguably the largest crowd of the festival that year, overshadowing even the likes of Post Malone and headliners Fall Out Boy. Fast-forward to 2025, and Travis Scott’s popularity remains undeniable. His fourth studio LP, Utopia, became his first UK No. 1 album in 2023, and his recent project, Jackboys 2, reached the same spot in the U.S. this past July. Scott’s performance was a European festival exclusive, and much of the day’s crowd seemed to be there solely for him, with many repping his limited-edition FC Barcelona shirt, which felt like the unofficial uniform of the night. There might have been some lingering questions following his mixed reception at Reading’s sister festival Leeds on Friday – where reports suggested he ended his set 30 minutes early – but those doubts were quickly put to rest. With his Reading slot trimmed to a sharp one-hour set, Scott powered through a rapidfire, 25-song run spanning Rodeo, Astroworld, Utopia and more. To those unfamiliar, Reading Festival’s final day carries its own kind of lore. Once infamously marked by tent-burning antics (a ritual that’s now, thankfully, more rare), Sunday at Reading has always been known to get rowdy. Scott clearly understood the assignment – this one was, in his own words, for “the ragers.” Here are the seven of the best moments from his set. An Electrifying Entrance After his set in Leeds on Friday night, Scott took to social platform X to ask fans for footage of the crowd during his first two tracks, describing the reaction as “mad wild.” Watching his Reading Festival intro, it’s easy to see why. Just like at Leeds, the crowd erupted as Scott launched into the frenetic and sprawling “CHAMPAIN & VACAY” from his Jackboys 2 project, before seamlessly transitioning into his recent single “DUMBO,” set against a dazzling backdrop of fireworks and pyrotechnics. Chances are, he’ll want a video of this one as well. Circus Maximus Heads to Reading Travis Scott’s Circus Maximus tour, which began in late 2023, has been his most ambitious yet. It kicked off with a grand performance at the actual Circus Maximus – Rome’s ancient chariot-racing arena – and the tour has kept up that same sense of epic scale since. Just look at Scott’s current stage setup: towering carved heads, massive stone boulders and rising platforms (think The Flintstones meets The Jetsons). While things were scaled back from the grand set-up that we saw during Travis Scott’s London show last year – likely due to festival production limitations – Scott still delivered a slice of his dystopian, slightly prehistoric-themed spectacle. Flanked by large boulders and a fire pit, he loomed over the crowd for much of the show. As ever, Scott’s stagecraft leans toward the cinematic. Welcome to Utopia While Scott’s set pulled from right across his back catalogue, it leaned heavily on tracks from his latest solo album, Utopia. As the rapper himself shouted at one point during the set: “Utoooopiiiaaaa!” – and the choice cuts from the record didn’t disappoint. “TOPIA TWINS” sparked a raucous NSFW singalong, while “I KNOW ?” was sleek and infectious. Perhaps the standout moment, though, was Scott’s poignant rendition of his Bon Iver and Sampha collaboration “MY EYES,” a smooth, autotuned ballad that saw him channelling a Frank Ocean-esque flow and displaying a rare sense of vulnerability. It was a lush, emotive performance and offered a welcome pause from Scott’s otherwise high-octane set. “FE!N” is a Phenomenon You can usually tell which track is primed to go off in a live setting. For Travis Scott, that song had long been “SICKO MODE,” the moment Drake’s vocals hit and the beat began to gear up, full energy from the crowd inevitably followed. But judging by his Reading Festival performance, Utopia standout “FE!N” might have just overtaken it. The Playboi Carti collab sparked the most visceral crowd reaction of the night, a full-blown moment of delirium that undoubtedly left vocal cords strained. It’s no surprise, really – the track was built for moments like this. Sadly though, unlike at Scott’s Rolling Loud set last year, there was no Owen Wilson cameo this time around. Astroworld Remains a High-Mark Highlights from 2018’s Astroworld shone brightly at Reading Festival. Sure, even if ‘FE!N’ ultimately stole the show, there’s still no track in Travis Scott’s catalogue that rivals “SICKO MODE” as an all-round hit. The beat switches, the flow changes, the strung-out psychedelic atmosphere – it has it all. Meanwhile, the woozy, synth-laced “BUTTERFLY EFFECT,” the explosive, bass-heavy “NO BYSTANDERS” and the hypnotic “STARGAZING” all served as reminders of why Astroworld remains the album to beat in Scott’s discography. He Isn’t Here to Pick Sides Earlier this summer, ahead of the new Clipse record, Pusha T had some pointed words to say about Travis Scott, seemingly unimpressed by Scott’s alleged lack of loyalty to his rap peers. But Scott doesn’t appear fazed one bit. At Reading Festival, he made it clear he’s not in the business of picking sides. It was interesting that his setlist included a Drake collab (“SICKO MODE”), a Kendrick collab (“goosebumps”), as well as “Type Shit,” his track with Future and Metro Boomin from We Don’t Trust You – the album that sparked the entire Kendrick vs. Drake drama. As if that wasn’t enough, he also performed songs he has with both Kanye West and Playboi Carti (“Praise God” and “BACKR00MS”) –  two more artists recently caught up in their own feud. All of which

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The annual London festival came to a close with an emotional day full of the past, present and future of the U.K. indie scene. 8/25/2025 Phil Sharp Indie-rockers The Maccabees called it quits at an inopportune moment. The indie band – made up of Orlando Weeks (vocals), Hugo and Felix White (guitars), Rupert Jarvis (bass) and Sam Doyle (drums) – split in 2017 following the release of their sole U.K. No. 1 record, 2015’s Marks to Prove It. The band split on good terms, rather feeling that it was time to pursue something new. Total bummer. But where they waved goodbye with an emotional U.K. farewell tour, other bands from that time stuck it out and met new audiences on streamers and festivals: The Kooks, The Wombats and Bloc Party have spent the past decade growing their audiences and hitting commercial highs. Felix White has spoken of seeing these bands and his contemporaries headline festivals like Reading & Leeds and All Points East and wondering… what if? After a run of solo projects, in late 2024 the group seized the moment for a return and announced a comeback at All Points East, held in east London’s Victoria Park. No new music, just giving their devoted fans the good times all over again. An all-star support bill was amassed with Bombay Bicycle Club, CMAT, The Cribs and more giving Sunday’s bill (Aug. 24) the feel of a gleeful school reunion after years different adventures. After spots at APE for dance (Barry Can’t Swim, Chase & Status) and pop (Raye), the festival gave indieheads a day out to remember and wrap up this summer’s festival run. These were the best moments from The Maccabees emotional return concert at All Points East. A New Wave Soar All Points East’s lineup blended the past, present and future of British indie music, with the latter putting on a strong showing for the current scene. Brigitte Calls Me Baby, Westside Cowboy, Man/Woman/Chainsaw drew strong crowds for their mid-afternoon sets, particularly up against more-recognized names. Divorce, the Nottingham alt-country group who released their debut album Drive to Goldenhammer earlier this year, brought lively enthusiasm in their mid-afternoon set. “Hangman,” a song about devotion and care, is something of an anthem already. Everything Everything’s Prescient Predictions Manchester group Everything Everything have always pushed themselves – and their audiences – to never rely on past glories: 2022’s Raw Data Feel enlisted artificial intelligence as a writing tool; 2024’s follow-up Mountainhead removed the excess and plug-ins for something visceral. 2015 LP Get to Heaven, however, is where they found the balance between the avant-garde and the mainstream. “Distant Past” thrummed with house energy, and the steady build of “No Reptiles” speaks on the alienation of watching a country tear itself to shreds amidst misinformation campaigns and conspiracy theories. Sound familiar? Exit Planet Dust The Wakefield-born trio – brothers Gary, Ryan and Ross Jarman – are one of the most well-established bands on Sunday’s lineup. That said, their punky energy still feels raw and visceral, despite being decades down the line from LPs The Cribs (2004) and The New Fellas (2005), a double-whammy dose of personality and fun. 2007 cult hit “Be Safe,” an esoteric reflection on modern living narrated by Sonic Youth’s Lee Ranaldo, sparked mass singalong and the first of many crowd actions to send waves of dust up from Victoria Park’s barren ground to hang in the air. CMAT Sees Out Her Huge Summer The Irish singer-songwriter’s summer has been sensational. Following the announcement of her third album Euro-Country (due Aug. 29) CMAT – real name Ciara Mary-Alice Thompson – has toured heavily at a slate of European festivals for the past three months, including a rapturously-received Glastonbury set. Now on the eve of her album’s release, the crowds are bigger and firmly under the spell of a ridiculously charismatic and talented performer. She already has a handful of undeniable bangers – “Take a Sexy Picture of Me” and “Stay For Something” – and her sunset slot on the East Stage felt like the pitch of an artist ready to headline shows of a similar capacity in the coming years. Bombay’s Big Day Out London group Bombay Bicycle Club have been a firm U.K. festival favourite in the U.K. since 2008’s scorching debut I Had The Blues But Shook Them Loose. While they never reached the top rung of festival bills, they’ve been dependable booking with broad appeal. It remains a fitting descriptor, with a huge throng of people showing up to sway along to hits like “Shuffle” and “Always Like This.” That afternoon’s hero CMAT hot-footed it across the site to join them for “Rural Radio Predicts the Rapture” from 2023’s My Big Day. A Rapturous Return For a certain era of indie fan, The Maccabees encapsulated what was memorable about the late ‘00s indie scene: music that cared little about what the outside world thought of it, and favored intimate moments over commercial clout. Songs from 2007 debut Colour It In such as “Latchmere” still retain their spunky, goofy energy, and “X-Ray” and “Lego” showcased the band’s knack for packing zippy riffs and choruses into every nook and cranny of a song. Guitarist Felix White reminded the crowd that these songs were written as teenagers with no audience, and now the 50,000-strong audience who’ve descended on east London were now a part of something special. One Ticket to Indie Heaven Despite some minor glitches – the sound cuts out twice in inopportune moments – and a missed high-note or two (blame the dust, not the effort), it’s a celebratory moment. 2015’s Marks to Prove It saw the band finish on an unexpected high before their shock split, but its mature ambition (“Kamakura” and “Spit it Out”) gave fans a strong farewell record. Those songs soared on Sunday, and there’s clearly hope that the band could return to the studio for another stab at it. Jamie T – a fellow scene hero in his own right – joined