Autor: NexoRadio

Jesse & Joy kicked off their world tour El Despecho on Saturday (Aug. 16) with a sold-out show at the Brooklyn Paramount theater in New York City, where they delighted a multigenerational and predominantly Latino audience with hits ranging from “Si Te Vas” and “Me Soltaste” to “¡Corre!” and “Espacio Sideral.” The Mexican pop duo formed by the Huerta siblings — Joy dressed in a dazzling orange three-piece outfit, Jesse in a white suit with red fire-shaped accents — took the audience on a journey through their most popular songs, which their devoted fans sang along to with full enthusiasm from start to finish. It was an emotional reunion with their New York fans, where they hadn’t performed since March 2022, and Jesse & Joy made sure to gift them a special moment. Midway through the concert, as a surprise, a group called Mariachi Aventurero NY appeared on stage to accompany Joy in a ranchera medley that included Marco Antonio Solís’ “Si No Te Hubieras Ido,” Juan Gabriel’s “Caray,” and the classic popularized by Vicente Fernández, “Volver, Volver.” Immediately after, Joy introduced their 2015 hit “Un Besito Más,” which she and Jesse wrote in memory of their late father. While doing so, she explained with a trembling voice how this song had helped them navigate grief and had also accompanied others in their pain from a different kind of separation. “Many years ago, someone told us that they shared the same story with us. My brother and I offered our condolences and said, ‘We’re so sorry for your loss.’ I’ll never forget when this person said to me, ‘My dad is still alive, but he was deported,’” said Joy, struggling to hold back tears. “Ever since then, my brother and I have been very clear that wherever we have a microphone, we have a voice.” “We will always stand with our people, but above all, we will stand on the right side of history,” she continued as the audience cheered. “We want you to know that we are with you, that we are part of you, and that as long as we have a microphone, we will raise our voices. Tonight, like every night, we will remember our father here on stage, but we also want to honor all the people who are going through very difficult times and know that life somehow finds its way.” Jesse & Joy’s El Despecho Tour follows their latest album Lo Que Nos Faltó Decir, an eclectic set released in May that showcases a diverse range of sounds representative of their bicultural upbringing (Mexico-U.S.), including pop, regional Mexican music, singer-songwriter styles, and soul. It also comes on the heels of Joy’s nomination for a 2025 Tony Award as co-writer of the songs for the Broadway musical Real Women Have Curves. The show is set in East L.A. in 1987 and follows the story of a daughter of immigrants torn between her ambitions to go to college and the responsibility she feels to stay home to care for her undocumented family — a theme that has gained relevance amidst the mass deportation campaigns of the current Trump administration. “Something that’s really affected me with this story is that all these issues that were happening in the ’80s are still happening today, and you would think ‘No, it’s 2025, so many things have changed, it should be easier,’ and it’s not,” the artist said previously to Billboard Español. “I have dual citizenship, I feel very privileged, but it is very difficult for those who are going to live right now in this new change of government.” Jesse & Joy are set to perform on Sunday (Aug. 17) at the Warner Theater in Washington, D.C., followed by shows in Cleveland; Toronto; and Fresno, Calif. With more than 40 dates across the U.S. Canada, and Latin America, El Despecho Tour will keep the duo on the road until early 2026. For dates and tickets, click here. Source link

Gala Floral 2025 Torrelavega. Source

Brothers Noel and Liam Gallagher, co-leaders of reunited ’90s rock greats Oasis, are not properly from Ireland — the lads were born and raised in Manchester, England, of course — but it’s hard to imagine them getting a warmer hometown greeting anywhere else than they received in Dublin on Saturday (Aug. 16). Explore See latest videos, charts and news Oasis fever simply consumed Ireland’s capital city this week in anticipation of the Gallaghers’ (whose parents, Peggy and Thomas, are both Irish) arrival for their first gig on the Emerald Isle since 2009. On Saturday, the roads to Gaelic sports stadium Croke Park were lined with pubs offering tribute bands, trivia contests and semi-official fan experiences, as devotees in Oasis shirts (some of which just offered if-you-know-you-know references like “sunshyyiiiiine” in the style of the band’s iconic boxed logo) and bucket hats swarmed the surroundings. Such merch was peddled both at the band’s official pop-up store on St Stephen’s Green and at various less-officially sanctioned stands across the city, as well as by enterprising locals wandering the streets with stacks of bucket hats for sale. Even department stores offered in-store performers delivering live acoustic renderings of “Live Forever” and “Cast No Shadow” as their shopping soundtrack. The ultimate feeling was a cross between a World Cup host city and a Disney theme park, an Oasis-tinted “Drinking All Around the World” Epcot experience. All involved headed to Croke Park in the evening for the first of the band’s two shows this weekend, an event that seemed impossible for most of the 15 years following the group’s split (and not even a totally sure thing once the reunion dates were actually announced, given the Gallagher brothers’ history of combustion). After warmup sets from Britpop-era contemporaries Cast and former Verve frontman Richard Ashcroft — whose set-closing performance of signature hit “Bitter Sweet Symphony” demonstrated it as one of the period’s few anthems of enduring resonance and singalong potency on par with Oasis’ greatest hits — the band was introduced by Irish folk ballad “The Auld Triangle,” which has been turned into a football chant in recent years, and then its own “Fuckin’ in the Bushes,” long used as the band’s ring entrance music. Oasis offered few surprises in its crowd-pleasing, hit-heavy 23-song set, which the band has reprised essentially without deviation since kicking off the Live ’25 tour in Wales in July. The set’s most surprising moment might be the legendarily quarrelsome brothers taking the stage hand-in-hand, arms raised in triumph, as they’ve done throughout the tour. On Saturday night, the gesture encapsulated what a celebratory victory lap the trek has been — both as validation of the band’s singular legacy, and as proof that the Gallaghers could avoid their trademark tumult long enough to be able to actually enjoy it — and it felt particularly resonant in front of the heroes’ welcome afforded the brothers by their quasi-countrymen. (Liam later dedicated the band’s performance of “Roll With It” to the brothers’ Charlestown, County Mayo hometown, though not before chastising the crowd for collectively overstating its connection to the area: “There’s only about five people who actually live there.”) In any event, unexpectedness has never been the name of the game with the brothers Gallagher, who rose to legend status in the mid-’90s by synthesizing the prior 30 years of U.K. rock history into instantly accessible, classic-sounding rave-ups and ballads that soon became era-defining youth culture hymns. Three decades later, Oasis obviously offers a Schedule II narcotic-grade nostalgia rush for the now-middle-aged fans who’ve stuck around since the band’s heyday, but also a catalog of culturally persistent classics whose strength has delivered them to the next generation, with plenty of parent-and-child combos visible in the audience on Saturday, all equally mad for it. It’s that rare combination of timeliness and timelessness that allows a band to still fill stadiums 30 years after its commercial peak. Which isn’t to say that Oasis didn’t stay popular well into the 21st century — in the U.K., four of its eight No. 1 hits on the Official Charts came in the 2000s. But, tellingly, the live-curated version of the band’s greatest hits only features one song from after its ’90s golden age: 2002’s “Little by Little.” Otherwise, the setlist kept mostly to the Britpop icons’ now-canonized first two albums, 1994’s Definitely Maybe and 1995’s (What’s the Story) Morning Glory? Polarizing third album Be Here Now was also honored with a pair of representatives — including a “Stand by Me” dedicated to the lads’ mum Peggy, in attendance — but far greater stage time was afforded to the band’s early B-sides, ultimately collected for American audiences on 1998’s The Masterplan, with five tracks total. If there were any later-period Oasis fans miffed at the era-unbalanced setlist, they were certainly little drowned out on Saturday night by the tens of thousands of supporters shouting along to the prime cuts, delivered with the same hurricane wallop that they were 30 years earlier, with no evident rust at all on the band’s part. It’s indicative of just what a high level the Gallaghers were producing at from the jump that it’s become near-impossible to delineate between the hit singles and the deep cuts in their catalog: “Rock ‘n’ Roll Star,” which closed the pre-encore part of the set, was never even a single, but it was still met with a full-stadium singalong to its self-fulfilling prophecies of fantastically realized pre-fame dreams. Still: What a flex to be able to hold “Don’t Look Back in Anger,” “Wonderwall” and “Champagne Supernova” for your three final songs. The band’s three biggest hits — at least in the U.S., where Oasis’ 1996 Morning Glory run is the primary reason it’s able to play stadiums here too, as it will be in a couple weeks — closed out the show in spectacular fashion, Noel not even needing to sing the first chorus on “Anger” as the crowd of 60,000 played co-frontpeople. In its first run, Oasis often ended

In honor of Nipsey Hussle‘s legacy on what would have been his 40th birthday (Aug. 15), the Los Angeles County Metropolitan Transportation Authority (Metro) temporarily renamed Hyde Park station as Nipsey Hussle Station. Two limited edition TAP cards featuring the late rapper were also released on Friday as part of the L.A. transit agency’s Metro x Culture series, which highlights the city’s cultural landscape, artists, musicians and community figures. Explore See latest videos, charts and news “The Hussle family is proud to be partnering with Metro for the renaming of the station in honor of Nipsey for his 40th birthday,” Nipsey’s family says in a statement released at the campaign’s launch. “Access to Metro played a vital role in providing transportation from South Central to Watts to pursue his early musical aspirations. Metro helped bridge the gap, not just between neighborhoods, but between his vision and his future. Metro provides access and opportunity to so many people who without this resource wouldn’t be able to pursue their passions. The family hopes insight to Hussle’s early years utilizing the Metro will bring light to Hussle’s favorite quote, ‘The highest human act is to inspire.’” The TAP card designs — available in a release limited to 12,000 at select Metro station ticket vending machines, Metro Customer Care centers and through Metro’s LIFE Program — include “Crenshaw & Slauson,” which shows a black-and-white portrait of Hussle at the intersection captured by photographer Jonathan Mannion, and “Watts” (seen below), which depicts the rapper on a Metro bus. Nipsey Hussle is featured on a limited edition TAP card design. Courtesy Photo The station known in the short-term as Nipsey Hussle Station will hold on to its new name through Aug. 31. Metro CEO Stephanie Wiggins notes, “Hussle’s legacy goes far beyond music. He was a visionary who understood the power of community, connection and opportunity. At Metro, we share his belief that public transportation is more than just a way to get around; it’s a vital lifeline that can unite neighborhoods, open doors and uplift lives. Honoring Hussle with these commemorative TAP cards and temporarily renaming the Hyde Park station is our way of celebrating his enduring impact on Los Angeles and reaffirming our commitment to building an accessible, inclusive transit system that serves all Angelenos.” Nipsey Hussle died in 2019. He was murdered in a daytime shooting in front of his Marathon Clothing store in South Central Los Angeles. Get weekly rundowns straight to your inbox Sign Up Source link

Pastor Mike Jr. thoroughly dominated the 2025 Stellar Gospel Music Awards, which was taped live at the Schermerhorn Symphony Center in Nashville on Saturday, Aug. 16. He won in all nine categories in which he was nominated. Pastor Mike Jr. won artist of the year for the fourth time, which allows him to pull ahead of Kirk Franklin and Marvin Sapp as the top winner in the history of the category. Franklin and Sapp have each won three times. These nine awards ups Pastor Mike Jr.’s total of Stellar Awards to 28. Pastor Mike Jr., 41, is a contemporary gospel singer, public speaker, and pastor from Birmingham, Alabama. The artist, born Michael McClure Jr., is the founder of Rock City Church, which has four churches in Ohio, Kentucky, and Indiana. There are just 30 categories at the Stellar Gospel Music Awards, so Pastor Mike Jr. won nearly one-third of the awards presented on the night. He won five awards, including album of the year, for his EP I Got Away, which reached No. 5 on Billboard’s Top Gospel Albums chart in May 2024. He won four awards, including song of the year, for “Amen,” which reached No. 4 on Hot Gospel Songs in January 2025. Cece Winans was runner-up, with three awards. The Group Fire, Ricky Dillard and Dorinda Clark-Cole each won two. Jason Nelson, who had tied with Pastor Mike Jr. for the most nominations (nine) won just one award, contemporary album of the year for You Belong: Live in Durham. Nelson had the misfortune of going up against Pastor Mike Jr. in six categories. ADIA took the award for new artist of the year.  Don Jackson, founder of the Stellar Awards and chairman of Central City Productions, Inc., received the James Cleveland Lifetime Achievement Award. The Stellar Awards also announced winners for the Gospel Radio of the Year Awards in six categories. This year marked the show’s first time in Nashville since 2021, following stints in Atlanta (2022) and Las Vegas (2023-24). This year’s Stellar Awards capped STELLAR PLUS week, which ran from Aug. 14-16. The 40th Stellar Gospel Music Awards show was executive produced by Jackson with Jennifer J. Jackson serving as producer and executive in charge of production; Michael A. Johnson as producer and director, Erin Johnson as talent producer, and Daniel Moore as music director. Here’s the full list of nominations for the 2025 Stellar Gospel Music Awards, with winners marked. Artist of the Year CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records Kenny Lewis & One Voice; The Healing Project; PureSound Muzik Group WINNER: Pastor Mike Jr.; I Got Away EP; Rock City Media Group Tamela Mann; Live Breathe Fight; TillyMann Song of the Year WINNER: “Amen,” Michael McClure Jr., Adia Andrews, Terrell Anthony Pettus, Andrea Crouch, & David “DLo” Outing; Pastor Mike Jr.; Rock City Media Group “Clap My Way,” Fred Jerkins III, Alvin Garrett, & Micah Lee; Micah Lee; Darkchild Gospel/ MicahLeeMusic “I Prayed for You (said a prayer),” Major Johnson Finley, Brunes Charles, & Jeshua Williams; MAJOR.; NowThatsMAJOR / MNRK “That’s My King,” Taylor Agan, Kellie Gamble, Lloyd Nicks, & Jess Russ; CeCe Winans; Pure Springs Gospel/Fair Trade Services “Yahweh” ft. Melvin Crispell III; Danni Baylor, Jason Nelson, Jerome Baylor, & Johnnie Huntley Steele III; Jason Nelson; Jaelyn Song / Tyscot Records Male Artist of the Year Chandler Moore; Chandler Moore: Live in Los Angeles; TRIBL Deitrick Haddon; One Night in California; DH Visions Doc McKenzie; Run On; Blockbuster Records/Milbert McKenzie Music Group Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records WINNER: Pastor Mike Jr.; I Got Away EP; Rock City Media Group Albertina Walker Female Artist of the Year ADIA; On the Way; Rock City Media Group WINNER: CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services Dorinda Clark-Cole; Determined; Malaco Records Karen Clark-Sheard; Still Karen; Motown Gospel Lisa Page Brooks; The Grateful Chant; FlowNeeNee Music Duo/Chorus Group of the Year Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide WINNER: The Group Fire; About Last Night; Jet Records North/East New Artist of the Year WINNER: ADIA; On the Way; Rock City Media Group Bobbi Lane; Unmatched Grace; Blockbuster Records/ Taylor Music Group Josh Bracy and Power Anointed; Favor; Josh Bracy Muzic Micah Lee; Clap My Way; Darkchild Gospel/ MicahLeeMusic Montrae Tisdale and The Friends Chorale; The Faith Journey; Tisdale Nation Entertainment Album of the Year WINNER: I Got Away EP; Pastor Mike Jr.; Rock City Media Group Live Breathe Fight; Tamela Mann; TillyMann More Than This; CeCe Winans; Pure Springs Gospel/Fair Trade Services The Healing Project; Kenny Lewis & One Voice; PureSound Muzik Group You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records Choir of the Year Bishop S.Y. Younger; Bishop S.Y. Younger Presents Worship in Brazil; Ramp Records (exclusively distributed by Haus Records) Chicago Mass Choir; Greater Is Coming; New Haven Records WINNER: Ricky Dillard; When I Think; Motown Gospel The Mississippi Mass Choir; We Still Believe; Malaco Records Producer of the Year Dana Sorey; Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records Fred Hammond, Keith Staten, Marcus Cole, Paul Wright III and Ray Hammond; FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records J. Drew Sheard; Karen Clark-Sheard; Still Karen; Motown Gospel WINNER: Michael McClure Jr., & David “DLo” Outing II; Pastor Mike Jr.; I Got Away EP; Rock City Media Group Stan Jones, Jerry Mannery, Jerry Smith, & David R. Curry Jr.; The Mississippi Mass Choir; We Still Believe; Malaco Records Contemporary Duo/Chorus Group of the Year Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records Red Hands; The Three (EP); Black Suit Music / Anderson Music Group / TAMLA Records Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide WINNER: The Group Fire; About Last Night; Jet Records

Redacción Panamericana Coti Loyola reveló que fue víctima de un atentado con explosivos en medio de un intento de extorsión y dio detalles de cómo viene afrontando. Coti Loyola denuncia extorsión En exclusiva con Radio Panamericana, el cantante Coti Loyola relató que recibe amenazas desde una semana antes de la detonación. Sin embargo, aseguró no conocer a las personas que estarían detrás del ataque.“Por temor no hemos hecho denuncias y sucedió lo del atentado”, expresó. El explosivo fue detonado en una vivienda que su hermano alquilaba y que pertenece a un tercero, donde también habitan otras familias. Debido a la gravedad del hecho, la Policía inició las investigaciones de oficio. Te puede interesar Actor Ramón García lucha por su vida: amigos y familiares organizan colecta para apoyarlo La respuesta de las autoridades Tras el atentado, las autoridades confirmaron que la denuncia fue presentada de oficio y que ya se realizan diligencias para identificar a los responsables.“La Policía está haciendo las investigaciones porque el aparato detonó en una vivienda donde viven más familias”, aclaró el cantante. Gracias a la cobertura mediática, los ataques se habrían detenido. “Ya todo ha cesado gracias a la exposición que se tuvo en medios. No ha habido más ataques, gracias a Dios”, señaló Loyola con alivio. Coti Loyola seguirá con los conciertos Pese al difícil momento, el intérprete de cumbia aseguró que no piensa detener su carrera artística.“Sí, vamos a seguir realizando presentaciones con sumo cuidado, evaluando las condiciones de seguridad para todos. Esto es nuestra fuente de ingreso, fuente de trabajo. Somos casi 20 familias que trabajamos con mi orquesta y no podemos parar”, comentó. Loyola recalcó que su objetivo como artista no es la fama ni el dinero, sino representar al Perú con humildad. “Yo trato de dejar el nombre del Perú en alto siempre, como ya lo hicimos con Tony Succar cuando trajimos el Grammy hace poco”, recordó. Te puede interesar Monique Pardo recibirá pago de canal de televisión tras ganar juicio por su caída: “Es una burla” Entre el miedo y el orgullo En medio de la tensión por el atentado, Coti compartió un contraste de emociones. Apenas dos días antes de la explosión, había recibido su diploma del Grammy.“No sabía si ponerme alegre o ponerme triste. Pero mis seguidores me sostuvieron, me enviaron mensajes de aliento”, expresó. El artista también agradeció el respaldo de su familia y de sus fanáticos, quienes le han mostrado cariño y solidaridad durante este difícil momento.“La música no puede parar. Quiero decirles que todo va a estar bien, que voy a seguir haciendo lo que mejor sé hacer: darles cariño y acompañarlos a través de la salsa”, concluyó. @atv.noticias EXTORSION4D0R DETONA EXPL0SIV0 Y DEJAN CARTA AMEN4ZAD0RA A ORQUESTA DE SALSERO COTI LOYOLA #atvpe #noticiasperu #atvnoticias #salsero #caso ♬ sonido original – ATV Noticias Source link

On Friday night (Aug. 15), Wembley Stadium was bathed in pink light. If you’re one of the, conservatively, gazillion people who’ve watched Netflix’s KPop Demon Hunters since its release, this could read like a bad omen. But this wasn’t the signaling of demons from the underworld getting their grips on unsuspecting K-pop stans, this was BLACKPINK making their long-awaited return to London with the Deadline World Tour, two years since their sold-out BST Hyde Park headline show in 2023.  The Deadline World Tour, which wraps its Europe and U.S. leg with its stops at Wembley, came as something of a shock when it was announced in May. Back in 2023, BLACKPINK’s label, YG Entertainment, announced that each of the members — JENNIE, LISA, JISOO and ROSÉ — had ended their contract for individual work, but would still work together as BLACKPINK for group activities. Usually, that’s an unspoken agreement that life as a unit will wind down, and since then, the members have been going full throttle in their solo careers, each releasing albums and hitting iconic milestones (Rosé’s smash hit “APT,” featuring Bruno Mars, was the longest-running No. 1 on the Billboard Global 200 in 2024, clocking up 12 weeks at the summit.) A tour, then, seemed way off, especially since the group hadn’t released any music together since 2022’s Born Pink (they did eventually drop a digital single with the Euro banger-inspired, Diplo-produced “Jump” at the start of the U.S. leg of the tour). Still, we’re living in a post-Eras Tour world now, where a pop tour doesn’t have to necessarily coincide with an album release if you’ve got the back catalogue and ravenous stan appetite to fill a 70,000 capacity venue twice over. You’d be hard-pressed to find a BLACKPINK fan who doesn’t want to hear hits like “Kill This Love,” “BOOMBAYAH” and “DDU-DU DDU-DU,” even if they’ve been hearing them every tour since 2019.  But with the inclusion of “Jump” and specific stages dedicated to each member’s latest solo work, there was just enough newness to the show to keep it fresh and exciting. Here are the best moments from BLACKPINK’s Deadline World Tour Wembley Stadium shows. Every Time They Said ‘BLACKPINK in Your Area’ There’s a strong case to be made that if K-pop demons did ever infiltrate the earth with the express purpose of creating an army of sleeper cell souls, the phrase “BLACKPINK in your area!” could be the slogan that activates them. A good catchphrase isn’t unique when it comes to K-pop (plenty of groups have their own version of one that fans can chant in unison), but BLACKPINK were really cooking with this one when they dropped it in their debut single, “BOOMBAYAH,” in 2016. Since then, they’ve peppered it through their discography, and when the time came to scream it in a stadium of 70,000 fans, it felt like the concert had lit off all its pyrotechnics in one go, by way of serotonin receptors. The Personalized Solo Stages There is something of a flatness to the show’s beginning, purely because the group is working with songs they’ve been performing for more than five years at this point. But that dissipates when it comes to the members’ solo stages, which are dropped in pairs in either half of the show. Each member performed songs from their most recent solo albums: JISOO sings “earthquake” and “Your Love” from her album AMORTAGE; LISA performs “Lifestyle,” “Thunder” and “Rockstar” from Alter Ego; JENNIE performs “Handlebars,” “with the IE (way up)” and “like JENNIE” from Ruby, and Rosé sings “dance all night”, “toxic till the end” and “APT” from rosie. There’s a fire lit under them in these moments, as the BLACKPINK brand gives way to something more tailored. The great thing about K-pop is that its ecosystem allows artists to exist in a group and as solo artists simultaneously, and there’s something thrilling about seeing a new hunger come from performers who, at this point, are veterans on the stage.  A Cameo From FKA Twigs If a concert happens in 2025 without a random celebrity cameo, did it even really happen? In a landscape of Charli XCX’s “Apple” dances, Role Model’s Sallys and Sabrina Carpenter’s arrestees, it feels like every artist at the moment is trying to craft a viral moment — and boast at the coolness of their phone’s contact list. For BLACKPINK, and specifically Rosé, this celeb cameo moment came in the shape of FKA Twigs. In a very Sweat Tour-esque opening to her solo stage, Rosé stalked the bowels of Wembley Stadium as she headed to the stage. Halfway through, she was joined by FKA Twigs as the pair jumped on a railcar, necking shots and eating scones as they’re transported from one side of the room to the other. Twigs then waved Rosé off as she emerged on the B-stage. It was kitschy and silly and fulfilled its purpose — because you really do leave thinking, ‘Wow, that is a cool contact in her phone.’ The Lightstick Ocean Lightsticks are an integral part of live K-pop culture, and are as much a show of fandom appreciation as they are an experience in themselves. Stadiums can often feel expansive and vast, and you can find yourself clutching for any moment that makes you feel like you’re a part of something happening in the room. A lightstick ocean (the term used to describe the sea of lights you see peppered through the crowd) is something that makes you feel connected to everyone in the space, and the bigger the crowd, the bigger the visual impact. For BLACKPINK, their lightsticks (which are shaped like kids’ squeaky hammers) glow pink, and there’s something about that particular hue of warm-toned light that, when flooding a stadium, takes your breath away. Their Live Band Getting Their Flowers A stadium show lives and dies by its sound quality, and BLACKPINK definitely got the memo. They’ve been incorporating a live band into their concerts for years,

Morgan Wallen brought out another surprise guest for the walk-out moment at the opening night of his I’m the Problem tour stop in Cleveland. The 32-year-old country star made a dramatic entrance during the first of two sold-out shows at Huntington Bank Stadium on Friday (Aug. 15), flanked by Kid Rock, 54, who wore a statement-making fur coat with the word “Cowboy” emblazoned across the back. The moment was captured in a clip shared on Wallen’s Instagram, soundtracked fittingly by Rock’s 1999 anthem “Cowboy.” In the video, the two artists greet each other backstage as Rock shows off his signature style — a wide-brimmed hat, black sunglasses, white tank top and blue jeans — before heading toward the stage together. The clip ends with Wallen embracing Rock and greeting the roaring Cleveland crowd. “Cowboy, baby,” Wallen captioned the post. Wallen’s walk-out moments have become a signature feature of his live shows, often featuring surprise celebrity guests like Drake, Travis Kelce, Troy Aikman, David Spade, Peyton Manning and Tom Brady. Earlier this year, Rock spoke about his connection to Wallen during an episode of Bill Maher’s Club Random podcast. When asked about the song “Still Somethin’,” from his 2022 album Bad Reputation, Rock revealed that Wallen had co-written the track alongside Mitchell Tenpenny, Andy Albert and Jordan Schmidt. “This is before Morgan Wallen blew up. I remember somehow I got a demo of it, I can’t remember what, and I just couldn’t get over the voice on it,” Rock said. “I was like, ‘Who the f—k is singing this demo?’ It was Morgan Wallen.” Since then, the two artists have struck up a friendship. During Wallen’s Houston show in June, he was spotted wearing a Kid Rock T-shirt while walking out alongside Drake and baseball legend Roger Clemens. Wallen’s latest album, I’m the Problem, has been on a hot streak, recently scoring its 10th nonconsecutive week at No. 1 on the Billboard 200. Watch Wallen’s walk-out with Kid Rock on Instagram here. Source link

Liam Gallagher has announced he will no longer be throwing his tambourine or maracas into the crowd during Oasis concerts, citing safety concerns after multiple fan injuries. The decision comes amid the Britpop band’s highly anticipated Live ’25 reunion tour, its outing first 16 years. Liam and his brother Noel Gallagher launched the tour with shows in Cardiff, Wales, in July, followed by performances in Manchester and London. Earlier this week, during a trio of shows at Edinburgh, Scotland’s Murrayfield Stadium, Liam broke the news to fans that the tradition of tossing percussion instruments into the audience had officially been banned. “I can’t throw my tambourine out tonight or my maracas I’ve been told not to,” the lead singer said, according to The Sun. ““I’m not being tight or anything like that. Do you know what I mean?” He continued, “I’ve just been told, ‘Don’t do any of that s-t anymore,’ because you don’t know how to behave yourselves. You keep pinching each other on your nipples and ears and f-king s-t like that and kneeing each other in the bollocks.” The announcement follows a recent incident at London’s Wembley Stadium, where a 42-year-old woman was injured after catching Liam’s maracas. The woman initially caught the instrument but was then tackled by two men who wrestled it away from her, according to The Metro UK. She later shared photos of her injuries with British media outlets. This is not the first troubling incident during the Live ’25 tour. Earlier this month, a fan died after falling during another Wembley concert. Oasis will perform the first of two shows at Dublin’s Croke Park on Saturday (Aug. 16) before heading to North America for stops at Toronto’s Rogers Centre on Aug. 24–25, followed by stops in Chicago, New Jersey, Los Angeles and Mexico City. Get weekly rundowns straight to your inbox Sign Up Source link