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Reigning CMA new artist of the year Megan Moroney and songwriting icon Diane Warren will take the stage in Nashville when FEMco launches its first interview-based series, starting Sept. 2 at Anzie Blue with “Nashville Welcomes Diane Warren: In Conversation with Megan Moroney.” Explore See latest videos, charts and news FEMco’s Leslie Fram will moderate the discussion, with the event marking the first time Warren and Moroney have appeared together on the same stage. “Nashville Welcomes Diane Warren: In Conversation with Megan Moroney” will begin at 6 p.m. on Sept. 2, with a portion of the proceeds benefitting local animal rescue organizations through Miranda Lambert’s MuttNation. Middle Tennessee State University’s College of Media & Entertainment (led by the college’s dean Beverly Keel) is sponsoring the one-hour, ticketed event. “Having Diane Warren, one of the greatest songwriters of our time, pour her heart into Nashville’s vibrant music community is nothing short of inspiring,” Fram said in a statement. “Her legacy of crafting timeless hits elevates our city’s reputation as a hub for the world’s best songwriters. We’re thrilled to see her shine a spotlight on rising star Megan Moroney, whose raw talent and authentic storytelling embody the spirit of country music.” Moroney earned a 4x multi-platinum hit with her breakthrough hit “Tennessee Orange,” and saw her album Am I Okay? debut in the top 10 on the all-genre Billboard 200. She was named new artist of the year at the CMA Awards and earned the rulebreaker award at Billboard’s Women in Music. Her latest release, “6 Months Later,” rose into the top 10 on the Hot Country Songs chart. Warren was inducted into the Songwriters Hall of Fame in 2001, and is known for writing enduring hits including “Un-break My Heart,” “Because You Loved Me,” and “If I Could Turn Back Time.” With 16 Academy Awards nominations, a Grammy win and 15 Grammy nominations, Warren has had her songs featured in more than 150 films. She has written for artists including Beyoncé, Celine Dion, Whitney Houston, Aretha Franklin, Elton John, Jennifer Hudson and more. Warren is the sole owner of her publishing company Realsongs. Fram, a former CMT senior vice president, launched FEMco (Fram Entertainment and Music) earlier this year, with the mission of continuing Fram’s work in elevating artists’ voices. The consulting collective focuses on career development, talent services and connection in Nashville’s entertainment industry, while creating opportunities for female artists to expand their visibility and impact. The company recently launched a FEMcountry series of singer-songwriter showcases to highlight women country artists. The showcases have highlighted the musical talents of artists including Ashland Craft, Callista Clark, Denitia, Moriah, Abbey Cone, Caylee Hammack, Angie K and Brittney Spencer. Anzie Blue, a 250-capacity live music venue in Nashville’s Hillsboro Village, is co-owned by Marcie Allen and Derek Van Mol. “FEMco’s dedication to uplifting Nashville’s ever-expanding pool of talent is truly exciting! The landscape of musical genres and diversity in Nashville is bigger than ever,” Fram said. “We’re committed to amplifying Nashville’s ever-growing talent base, championing incredible creators and ensuring the future of music in our city shines brighter than ever!” Tickets are available at anzieblue.com. Source link

Recorded across Germany, Mexico and Parcels’ native Australia, the band’s upcoming third album, LOVED, plays like a soundtrack to eating mangoes in the sunshine — which is, as vocalist-guitarist Jules Crommelin says, exactly what the group did while making it. It’s a lifestyle the five-man band knows well, having grown up together in the surf town of Byron Bay. After moving to Berlin in 2015 and making indie pop that reflected the darkness and cool of the city’s atmosphere, the act wanted to “come back to where we started, when we were just making music, having fun and not thinking about it,” Crommelin says. Out Sept. 12 on Because Music, LOVED follows a spring/summer tour that included Coachella, Primavera Sound and Glastonbury (a performance Crommelin calls “one of the highlights of my life”). Following the album’s release, Parcels will head out for a 12-city North American trek of arenas and amphitheaters — the act’s biggest in the territory to date. Crommelin shares the inspirations on LOVED, from John Lennon to that mangoes and sunshine vibe. 2010s-Era Katy Perry A nostalgic thing for us is Katy Perry and her earlier Max Martin productions. Songs like “Teenage Dream” and “California Gurls” would often come on in the shuttle taking us to a gig, so it’s like our party music. There’s inspiration with the synths and the feeling. It was such a great era of music; there was a ridiculousness that’s less present now. We were trying to channel that ridiculousness on this album. Our last record [2021’s Day/Night] was very conceptual, very deep, very internal and very of the time during COVID. This time we’re like, “F–k it. Let’s just have fun.” Tortoise This band is an inspiration that goes deep for me on this record. I saw them in a really small venue in Los Angeles, and I was just so transcended by it. I call it “transcendental jazz.” It was one of the most amazing concerts I’ve ever seen. It also sparked an old memory because I grew up listening to Tortoise on the soundtrack to this old surf movie Sprout, which I watched basically every day. [The energy of] Tortoise is ­definitely in the record, especially on the last track, where we channeled that energy of experimenting and improvising in the studio. Plastic Ono Band [Keyboardist-guitarist] Pat [Hetherington] and I got really into John Lennon’s early records with Phil Spector. It’s the Wall of Sound, but dry. Plastic Ono Band [from 1970] is basic; you just hear drums, bass, guitar, piano and vocals, so it’s the raw song that shines through in the recording. There’s an element of that in how we approached our arrangement, because it was just the five of us in a room playing live, and that was it. Mazunte, Mexico Pat, Noah [Hill, the band’s bassist] and I went there for a writing camp. It’s where we wrote the lyrics of “Leaveyourlove.” We surfed every day and were in paradise eating mangoes on the beach. It’s how we grew up in Byron Bay, and this was like trying to come back to that. If there’s a concept for this album, it’s trying to return to where we started — being in sunny places, being light and having fun. This story appears in the Aug. 16, 2025, issue of Billboard. Source link

Bonita tarde y homenaje más que merecido a Nenu, te queremos amigo!!! 🫂 Source

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below. Explore See latest videos, charts and news Ryan Castro, Grupo Frontera, “APODO” (AWOO Corp./Sony Music Latin) On their first collaborative effort, Ryan Castro and Grupo Frontera unwrap “Apodo” (nickname): Produced by Latin hitmaker Edgar Barrera, and co-written by Barrera, Castro, and Andrés Jael Correa Rios, the song laces Frontera’s modern-day norteño melodies around Castro’s breezy Caribbean reggae beats. Sonically, the tune is laid-back and fun, but lyrically, it’s heart-wrenching, referring to a person who was not loved nor respected in a relationship. “It doesn’t hurt to see you with another man/ it hurts that you gave this love another name/ almost something/ a madness/ a hook-up/ an adventure/ the mistake of your life,” says the catchy but heartbreaking chorus. The music video—showcasing both act’s fun vibes and chemistry—was filmed in McAllen, Texas, where Grupo Frontera and Barrera are from. — JESSICA ROIZ  Carlos Vives, Grupo Niche, “La Tierra del Olvido” (Versión Salsa) (Gaira Música Local)  The Pacific and the Colombian Caribbean embrace in this salsa version of “La Tierra del Olvido” (The Land of Oblivion), a Carlos Vives classic that now takes on a new life alongside the legendary Grupo Niche. This profoundly Colombian tribute unites two of the country’s most representative genres: Vives’ signature vallenato-pop and the Cali salsa that Niche has brought to the world. In the performance, the voices alternate fluidly, and the salsa-inspired arrangement reaches its climax in the musical bridge, as they chant: “Waiting for you to come back / with me / to the land of oblivion.” The song doesn’t need a complex video: it shows Vives and Grupo Niche in the studio, sharing the energy of the recording and performing salsa moves. Also interspersed are images from the original video and a touching nod to maestro Jairo Varela, founder of Niche. — LUISA CALLE Doctor Nativo, “Caminantes” ft. Roco Pachukote (Stonetree Records) With “Caminantes,” Doctor Nativo delivers an electrifying mariachi-tinged ska single that bridges borders, histories, and generations. The track, featuring Roco Pachukote (the Maldita Vecindad frontman), pulses with jubilant rhythms and sharp brassy flourishes, paying tribute to Mayan elder Tata Pedro Cruz and his peaceful pilgrimage for world unity. Rooted in Guatemalan spirituality yet enriched by Mexican ska energy, Nativo crafts a vibrant ode to migration, resistance, and ancestral wisdom. It’s an upbeat call to leave comfort zones, connect with nature, and walk in solidarity. Produced with dynamic precision, “Caminantes” teems with both jubilance and mindfulness. A fitting preview of Nativo’s forthcoming BarrioKandela, this song celebrates cultural fusion and unwavering hope. It’s punchy, spirited, and deeply moving. (Tata Pedro’s family and movement will receive a share of proceeds earned from this song.) — ISABELA RAYGOZA Zoé, “Campo de Fuerza” (Universal Music Group México) Ending a four-year musical drought, Zoé returns with a bang: “Campo de Fuerza,” the Mexican alt-rock band’s first single since its 2021 album Sonidos de Karmática Resonancia, is a reminder of Zoé’s ability to craft hypnotic melodies that thrive on a canvas of instrumental atmospheres — alternating between neo-psychedelic-tinged synths and a head-banging drum beat — that instantly transport you to an alternate universe where sound and lyrics come together to enhance your journey. “Campo” comes on the heels of Zoé’s upcoming five sold-out shows at Estadio GNP Seguros in Mexico City, which kick off Sept. 27. — GRISELDA FLORES Zhamira Zambrano, “Quisiera Ella” (Dynamic Records) Zhamira Zambrano ventures into bolero with “Quisiera Ella,” a song about resilience and self-love in the face of heartbreak which continues to demonstrate her versatility as a performer. “She would like you to bring down the sky and the stars for her/ That after the altar you would travel the world/ And that the honeymoon never ends… But that’s not possible because you’re a lie/ A dream seller with your filthy gift ofgab,” she sings warmly over elegant orchestral arrangements. Accompanied by a cinematic music video in which she plays a waitress unexpectedly called on stage — in which her husband Jay Wheeler makes a special appearance — “Quisiera Ella” is the third single from the Venezuelan singer’s upcoming debut album. — SIGAL RATNER-ARIAS iLe, “Un Amor de la Calle” (La Buena Fortuna Music) Puerto Rican singer-songwriter iLe delves into a musical genre rooted in her sonic DNA, the bolero, reinventing some of her favorite songs in this style to give them strength and passion. “Un Amor de la Calle,” the first single from her upcoming album Como Las Canto Yo, is a profound expression of disillusionment and heartbreak. The former Calle 13 member impresses her sensitivity to this piece, originally written by Orlando Brito and popularized in 1975 by the great Héctor Lavoe, giving it new life with her powerful, dramatic voice, accompanied by street guitars and harsh, aggressive chords that captivate the listener. – NATALIA CANO Isabela Merced & Tony Succar, “Apocalipsis” (Unity Entertainment) Actress and singer Isabela Merced teamed up with Peruvian musician Tonny Succar to release a dynamic new version of her 2020 song “Apocalipsis.” This revitalized interpretation elevates the original track into a dazzling exhibition of Latin music’s rich artistry. The lively anthem blends vibrant salsa rhythms with catchy pop melodies, honoring their shared Peruvian heritage. Succar brings his unique flair to this rendition as he masterfully integrates iconic salsa instrumentation, such as brass and percussion, with modern arrangements that enhance the song’s energy and unites two generations. — INGRID FAJARDO Duelo ft. Louie Padilla (La Firma), “Soy Como No Soy” (La Bonita Music) This new live version of the 2010 hit — recently recorded at Domo Care in Monterrey, Nuevo León, Mexico — brings together two iconic voices of the Tejano norteño: Oscar Iván Treviño, vocalist of the group Duelo, and Louie Padilla, vocalist of the group La Firma and author of the lyrics, which tell the story of a man who doesn’t dare confess his love and feels that he’s no longer who he was. With the distinctive

Sabrina Carpenter is loosening her leash on Man’s Best Friend ahead of its release date, with the pop star playing the album for a group of lucky fans who got to hear it before the rest of the world at an exclusive event on Wednesday (Aug. 13). In an Instagram post shared the following day, Carpenter announced, “Last night was the first playdate for Man’s Best Friend!” “I asked 26 of my beautiful LA fans to meet at a private location and then get on a bus to come meet me at the studio where i got to play the whole album for them,” she continued. “they were gracious enough to let me take their phones so they were totally present and respectful and amazing and it was genuinely one of my favorite nights in such a long time!” The Grammy winner also shared a few pictures from the event, including a group photo of herself and the fans smiling at the camera as well as a snap of everyone dancing to the unreleased music. “The excitement i get to play this album top to bottom is really like no other record I’ve made,” Carpenter added in her caption. The so-called playdate comes just two weeks ahead of the release of Man’s Best Friend, which will follow last year’s Billboard 200-topping Short n’ Sweet. Featuring 12 songs — including No. 1 Billboard Hot 100 hit “Manchild” — Carpenter’s seventh studio album drops Aug. 29. But that’s not the only new music the Girl Meets World alum has in the works. As revealed by Taylor Swift on Wednesday (Aug. 13), the former Eras tourmates will be teaming up for a duet on the title track of Swift’s upcoming album, The Life of a Showgirl. Reacting to the announcement on Instagram Stories, Carpenter wrote, “i know someone who’s freaking out and it’s me.” Get weekly rundowns straight to your inbox Sign Up Source link

When it came time to make his third studio album, Learn the Hard Way, out today (Aug. 15) on MCA Nashville, ACM and CMA award winner Jordan Davis tells Billboard he “wanted to take some chances.” Explore See latest videos, charts and news The 17-song album, which follows 2023’s acoustic-leaning Bluebird Days, strikes a balance of uptempo, radio-friendly hits and more emotional songs, with moments of creative risk-taking. “I feel like songs like ‘Memory Don’t Mess Around’ feel a little bit outside of what I’ve done on past projects. And I wanted to have fun,” Davis says. “The last record I put out was pretty personal to me and covered a lot of things I never thought I’d write about. I wanted to make a record that I had fun recording and would be fun to play live. So really those were the two goals, and I feel like we accomplished both of them.” Perhaps chief among those left-of-center songs is the swampy rocker “Louisiana Stick,” featuring vocals and scorching guitar work by Marcus King. “It was not just his singing and guitar playing on it—he was a huge influence on that song,” Davis says. “I’ve been a fan of his for so long, I came into that writing session wanting to write something that felt like Marcus King making a song in New Orleans. I was listening to a lot of his music and to have him come in on this song about my home state and dip back into that style of music was special. He’s an amazing dude, a super talented guy.” Davis co-wrote 13 of the album’s songs, bringing in writers such as Ashley Gorley, Lauren Hungate, Hillary Lindsey and Travis Wood. Themes of love and loss permeate the album on songs such as “I Ain’t Sayin,’” his current Billboard Country Airplay top 10 hit “Bar None,” and “Turn This Truck Around,” the latter of which was inspired by Davis’ childhood. “I still remember my dad and his old Suburban,” he says. “Me, my brother [and frequent co-writer] Jacob and my sister fighting in the backseat and that was his go-to line: ‘Don’t make me turn this truck around,’” Davis recalls. “He would say that while taking us to school and we would joke that we need to keep fighting because we didn’t want to go to school. It was one of those days where writing songs feels like it’s second nature and it’s one of my favorites off the record and just felt fun.” Recently, both his personal life and career have been in full-throttle mode; he and his wife Kristen welcomed their fourth child, daughter Sadie, in July. This fall, he’ll bring this new slate of songs to fans on his Ain’t Enough Road Tour, which launches stateside in September with openers Mitchell Tenpenny, Vincent Mason and Mackenzie Carpenter, before heading to the UK and Europe in 2026 with Avery Anna and Solon Holt. Billboard caught up with Davis to discuss his new album, collaborations, his life off the road and more. You mentioned you were listening to a lot of Marcus King’s music while writing for the new album. Any songs or albums in particular? It was “Goodbye Carolina.” That entire project [Carolina Confessions] is fantastic, but that was the one song that, really, there was just a feel of that song. Between that and another song of his called “Homesick.” There was something that he was doing, that I was like, “I’ve got to try to do my version of that,” and what came out of it was “Louisiana Stick,” so I appreciate Marcus for that. We just wanted it to be that kind of groovy South Louisiana, a rock song. And man, he crushed it. You had some writers join you in Big Sky, Montana to write for the album. What do you love about writing retreats? I feel like when you can kind of get out of town and just really focus on going to work writing songs, that’s where I always get my best stuff. So yeah, if it was up to me, I’d write everything on a retreat, to be honest with you. Probably going forward, that’s probably how a lot of my records will be written. You have five Billboard Country Airplay chart No. 1s, and ACM and CMA Awards wins for song of the year (a CMA win for “Buy Dirt” and an ACM win for “Next Thing You Know”). What drives you creatively at this point in your career? I think a lot of it is the drive to be better. I got a chance this morning write a letter to all the writers that made this record. I think there’s 25, 26 of them, and I got to write one to my brother [Jacob Davis, a writer on songs including “Keeping The World Away”]. I told him, “The coolest thing about this is that we haven’t written our best song yet.” We can always become better performers, we can become better songwriters, better singers. There’s always something to do to get a little bit better, and I still have that. I still have that kind of chip. Maybe it makes me feel like I still have something to prove. I hope I never lose that. Have you written letters to fellow writers on your previous projects? No, I think this is the first year we’ve really done it like this. It’s just a chance for me to put pen to paper and say thank you for making this album what it is. A lot of these writers took time away from their families and traveled to Montana or came out on the road with me. So it’s just a chance for me to say thank you to ’em and kind of acknowledge the effort they put into it. You also have a duet on this album with your former ACM Honors co-host Carly Pearce, on “Mess With Missing You.” How did that come

Neil Young is unfriending Facebook. In light of reports that Meta allegedly enabled AI chatbots to engage with minors in “romantic” and “sensual” ways, the rocker’s team released a statement on his profile announcing his decision to leave the platform Thursday (Aug. 14). “At Neil Young’s request, we are no longer using Facebook for any Neil Young related activities,” reads the musician’s last-ever Facebook status. “Meta’s use of chatbots with children is unconscionable. Mr. Young does not want a further connection with FACEBOOK.” The statement did not mention whether the musician would also be leaving Instagram, which is also owned by Meta. Billboard has reached out to reps for Young and Meta for comment. The announcement comes on the same day Reuters released a report exposing questionable findings in an internal Meta Platforms document compiling the company’s AI and chatbot policies. Included in those policies were permissions for chatbots to “engage a child in conversations that are romantic or sensual.” The news agency also reported Meta’s chatbots were free to generate false medical information as well as help users build arguments for overtly racist statements such as Black people are “dumber than white people.” When pressed for comment, a spokesperson for the tech giant told Reuters that the document has undergone revisions to remove the policies allowing for inappropriate dialogue with kids. Young’s statement is far from the first time he’s spoken out about his beliefs, nor is it the first time he’s called out major tech companies. In May, he released a song titled “Let’s Roll Again” that slammed Elon Musk’s Tesla. Calling on Ford, General Motors and Chrysler to build clean-energy vehicles that “won’t kill our kids,” the musician sang, “If yer a fascist, then get a Tesla/ If it’s electric, it doesn’t matter.” The icon also frequently voices his concerns with the direction of the United States under Donald Trump. Also in May, Young slammed the president for wasting energy on dissing musicians such as Bruce Springsteen and Taylor Swift on Truth Social instead of focusing on real issues, writing in an open letter, “STOP THINKING ABOUT WHAT ROCKERS ARE SAYING. Think about saving America from the mess you made.” Get weekly rundowns straight to your inbox Sign Up Source link

Adam Levine is a loud and proud girl dad. As the father of two daughters (as well as a two-year-old son), the Maroon 5 singer is not afraid to say that his girls’ musical taste sometimes shapes his own. Explore See latest videos, charts and news So when he sat down with the Sirius XM Hits 1 this week to promote his band’s just-released Love Is Like album as part of the radio streamer’s new Artist Residency program, Levine opened up about bonding with Dusty Rose, 8, and Gio Grace, 6, over their mutual obsession with Olivia Rodrigo. “I gotta do Olivia ’cause of my kids. They’ll be so excited. I mean, I’m also a fan of Olivia. I’m not shying away from the fact that I’m a big fan of Olivia Rodrigo,” he said. “I took my girls to go see Olivia Rodrigo play at the Forum last summer and she was phenomenal,” Levine added. “I was blown away. She keeps it real. She puts on a rock show. All you kids out there, she does it for real. Not too much glitz and glamor and smoke and mirrors. Just the real deal. I think she’s amazing, so I’m gonna play a song by Olivia Rodrigo.” Levine also told SiriusXM Hits 1 about the circuitous route the album’s soulful title track took to its final destination. The song, on which Levine sings in an almost rap-like cadence over a sample of the 1972 Ashford & Simpson song “Silly Wasn’t I,” was originally titled “Drugs,” but the band nixed that name because it felt too harsh. He said he was at home writing and messing around with samples when he wrote the line, “love is like drugs,” which he wasn’t sure fit his vibe. “I was like, ‘Am I really gonna do this? This is weird. This is not my normal style,’” Levine recalled thinking of the track that started out as “a joke,” but then took on a real life when he sent it to a few friends thinking they’d agree it was a dumb idea. “I was like, ‘Oh, this is dumb. I can’t do this. This is silly, right?,’” he asked them. “And every response I kept getting back was like, ‘No, this is actually really good,’ and so there’s that scary feeling of something when you’re doing something that you don’t usually do.” More confident he was on to something, Levine kept working on the track before having a lightbulb moment that what it really needed was a verse from Lil Wayne. “So we got it to his team and it’s funny because when they got it, they were like, ‘Oh, this is so sick. When is Adam gonna cut it?,’ and they were like, ‘No, that’s Adam singing in the song.’ And they’re like, ‘What?’” But for Levine, 46, who is more than three decades into his career, putting the final touches on the song was “scary” because it was definitely new territory for him. “But they loved it. Wayne loved it. His verse is crazy,” he said. “It worked out, you know?” Maroon 5’s eighth studio album also features the previously released team-up with BLACKPINK’s LISA on “Priceless,” as well as the singles “All Night” and “California” and “I Like It” featuring Sexyy Red. Maroon 5 will hit the road in the fall to support the new album, kicking off with a Sept. 19 stop at the iHeartRadio Music Festival in Las Vegas, followed by the proper tour kick-off on Oct. 6 at PHX Arena in Phoenix. Listen to Levine’s interview and watch the “Love Is Like” video below. Source link

Redacción Panamericana Marisol no se guardó nada y lanzó duras críticas a la ‘Barbie de la Cumbia’ tras comentarios sobre su trabajo. La tensión entre Marisol y Leslie Shaw continúa encendida tras su colaboración en Hay niveles. En una entrevista para Amor y fuego, la ‘Faraona de la Cumbia’ respondió sin filtros a los comentarios de Leslie, quien anteriormente había cuestionado la calidad de sus videoclips. Con su característico estilo frontal, Marisol no dudó en desmerecer el talento de la cantante urbana y lanzó un consejo con tono de advertencia: “Esa chica necesita urgente una profesora de canto”, afirmó. Te puede interesar Leslie Shaw arremete contra Marisol: “Haces un videoclip de 5 soles” Marisol arremete contra Leslie Shaw y dice que hace playback La polémica tomó un rumbo más explosivo cuando Marisol acusó a Leslie Shaw de engañar al público en sus presentaciones. “No canta, ella en el escenario estafa a la gente con playback y sus canciones mal hechas”, disparó en vivo. La intérprete de su próximo tema, Mala amiga, incluso cuestionó la legitimidad de los shows internacionales de Leslie: “¿Cómo es posible que una artista que se dice ‘top’ vaya a estafar a la gente de Japón poniendo playback? Eso es burlarse de un público”. Te puede interesar Leslie Shaw arremete contra Chechito: “Si me lo cruzo, le meto un lapo” Marisol dice que Leslie Shaw es una malagradecida Ante la pregunta de por qué aceptó trabajar con Leslie si pensaba eso de ella, Marisol explicó que en ese momento no tenía una mala impresión. “Yo no pensaba que se iba a portar de esta manera… Ella fue quien me buscó, me envió los temas y escogimos juntas qué grabar”, reveló. Por otro lado, Marisol mencionó que estos conflictos y las menciones que hace Leslie la incomodan. “Ya estoy incómoda que hable de mí, creo que el hablar de mí hace que la entrevisten, hace marketing”, agregó la Faraona de la Cumbia. @farandulatb #marisol #leslieshaw #leslieshawymarisol #marisolrespondealeslie #leslieshawrespondeamarisol #magalytv #magalytvlafirme #marisolylamagiadelnorte #fyp #foryou #viral ♬ sonido original – farandulatb Source link

Lewis Capaldi has met plenty of famous people over the years and become friendly with a few of them. But in a chat with Capital Breakfast’s Chris Stark on Friday (Aug. 15), the “Someone You Loved” singer revealed that when he met Justin Bieber at a “swanky” Los Angeles party thrown by Kylie Jenner (he thinks) a while back he was pretty sure the JB had no idea who he was. “And Bieber comes over to me and he’s like, ‘Hey man what’s going on?’ And I’m like ‘you don’t know who I am, ‘you don’t know my name,’” Capaldi recalled telling him. “And he’s like, ‘of course I do it’s Lewis Capaldi’ and me and Bieber have this super night, this really lovely evening together — we didn’t spend the night together, but we hang out — and me and the Biebs are going to be best pals, this is huge.” Confident that they were now besties, Capaldi said he was further shocked when Bieber said, “‘make sure I get your number tomorrow’ and I was like, ‘me and the Biebs this is huge!’” So, Capaldi dutifully texted Bieber a “sucking up his a–” message the next day: “‘just wanted to jump on Bro, and say last night was so special, great guy, so nice to hang with you, such a dude’ all this stuff,” he revealed. Here’s the thing. According to Capaldi, Bieber liked the message, but then never replied. “So if you’re out there Bieber, text me back!,” Capaldi said, admitting, “Bieber aired me.” Capaldi also uncovered the true story behind the legendary “lost” song he recorded with Calvin Harris several years ago that has never been released. While Harris had hinted in interviews that it may have gotten accidentally erased from Capaldi’s hard drive, Lewis said the real story is pretty simple: he didn’t like how he sounded. “Me and Calvin have done a song together, he was in Ibiza the same time as me. I went and recorded a version of it,” Capaldi said of the unnamed track. “He sent it to me afterwards. I avoid any conflict, avoid letting people down, I’m a people pleaser. I try and please people… This is the thing, I don’t like the song. I don’t like my version of the song, I should say.” Capaldi said he shared the track with some friends and they agreed with his assessment, but Lewis never reached out to Harris to tell him his feelings about the song. “He then messages me two months later like, ‘hate it?’ And I grew up idolizing Calvin Harris, and to tell him I don’t like his song so I just ignored that as well,” Capaldi said. “And to this day haven’t replied to him, I have seen him since, and I’d love to do a Calvin Harris song, but he has to sing on it as well.” Check out Capaldi’s interview below (Bieber talk begins at 8:20 mark). Source link