Categoría: Billboard

Laufey opened a two-night stand at Crypto.com Arena in downtown Los Angeles on Friday (Sept. 26) with a show that captured her unique place in pop — her music is rooted in jazz, but her concert has pop-superstar production values. The A Matter of Time Tour, the Icelandic singer-songwriter’s third tour and her first that consists entirely of arena dates, began on Sept. 15 in Orlando. It will conclude in Kópavogur, Iceland, on March 15, 2026. Laufey (it’s pronounced LAY-vay, for those still catching up to her) won a Grammy for best traditional pop vocal album in 2024 for her sophomore album, Bewitched, and she could be headed for another win in that category on Feb. 1 for her third album, A Matter of Time. The album entered the Billboard 200 at No. 4. It has topped Billboard’s Jazz Albums chart for the past four weeks. (Bewitched logged 102 weeks at No. 1 on that chart.) For all she has achieved, you have the sense that, Laufey, just 26, is still climbing. She has some big looks upcoming. She may well land a performance slot on the Grammy telecast – it would be her first star turn on Music’s Biggest Night. (She performed “From the Start,” a song from Bewitched, on the 2024 Premiere Ceremony, which is streaming-only, and backed Billy Joel during his show-closing performance on that year’s telecast. Also, she is set to play the Coachella Valley Music & Arts Festival on Apr 19. She has said she would like to record a James Bond theme song, which seems inevitable, which could bring in a performance on the Oscar telecast.  Are we getting ahead of ourselves? Perhaps, but it’s pretty clear to see the career path she’s on. Laufey didn’t get where she is by thinking small. In 2023, she told RUSSH that Taylor Swift is her favorite current artist. The reason she gave for that choice spoke to her ambitions: “She has done for pop and country what I hope to do for jazz. She has managed to unite people across the world which is one of my main goals as a musician.” Laufey’s choice of opening act for her tour’s North American leg — English pop/rock artist Suki Waterhouse — also spoke to her pop ambitions. In 2022, when Laufey first headlined in L.A., she played the legendary but comparatively tiny Troubadour. Her growth since then can be seen in her bookings: In November 2023, she played two nights at the Theatre at the Ace Hotel. On her return in August 2024, she played the Hollywood Bowl. This time, it was a sold-out, two-night stand at Crypto. Here are the six best moments from Laufey’s opening night show at Crypto.com Arena. Cinematic Production Touches Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The show opened like a vintage film, with the words “Laufey Presents ‘A Matter of Time’” projected onto the screen. It began and ended with scrolling credits on side screens, listing all the musicians, backup dancers and other contributors to the performance. “Cuckoo Ballet (Interlude),” a gorgeous instrumental track from A Matter of Time, was highly cinematic, and showed that Laufey might well have a future in film scoring. A Swinging Jazz Segment Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The concert was divided into acts, with the most satisfying being Act II, which was introduced with these words on the screen: “Ready for some jazz?” Laufey was backed by a jazz trio during this segment. “Welcome to my jazz club,” she told the audience. “I want to put a jazz club in the middle of a big space.” The segment kicked off with “Seems Like Old Times,” first recorded by Guy Lombardo’s orchestra in 1945 and since covered by such jazz greats as Ella Fitzgerald and Rosemary Clooney. It was the only song she didn’t write or co-write in the set. Hozier Surprises as Special Guest Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } Laufey performs a surprise song in every show, to make each show a unique experience, she said. Here, she reached back for “Magnolia,” from her 2021 EP, Typical of Me. She said she had recently discovered that the song works better as a duet and brought out a special guest, Hozier, to help her sing it. After they concluded the number, she fangirled: “I’m kind of freaking out because I’m such a big fan.” Musicianship on Full Display Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } Over the course of the show, Laufey played piano, guitar and cello. Her voice, with a deeper timbre reminiscent of one of her favorite singers, Ella Fitzgerald, was also impressive. She also showed a deep knowledge of music history. “Dreamer” had the close-harmony sound of a 1940s song, “Silver Lining” suggested the influence of 1950s-shaded doo-wop. A couple of songs, “Castle in Hollywood” and “Tough Luck” showed the influence of Taylor Swift on her songwriting. “Sabotage,” the final number in the set (before

Ha Yoo Joon Image Credit: Chin Soyeon You debuted on Sept. 10. One week later, how do you feel?Honestly, it still doesn’t feel real. I’ve trained for years with this debut in mind, but I haven’t fully processed it yet. As the frontman, you’re in charge of leading many moments on stage. How do you handle that responsibility?I try to reflect on myself often. You can’t completely avoid feeling pressure, but I believe when my inner state is clear, that’s what shows outwardly too. I write down my emotions in a notebook to look at myself more closely. What did you write most recently?Something like, “I still feel like I’m only dreaming. I hope I can navigate this period well.” I’ll probably add a few more lines after today’s Billboard interview. At your Olympic Hall showcase, you performed all 10 album tracks plus one OST track — 11 songs in total. How challenging was that?It was the first time we had to fill two hours, including stage talk, so I was definitely worried. But once I got on stage, the fans’ energy carried me. Even with music show tapings right after, I didn’t feel exhausted. These days, every moment feels like a blessing. Of your triple title tracks — “Shocking Drama,” “I Did It,” and “Love Poem (You Make Me a Poet)” — as well as previously released songs like “Monday To Sunday,” “Buzzer Beater,” and “SEE YOU LATER,” which one feels most special to you?“Buzzer Beater.” It was the first song we received, and it feels like home — like it’s firmly within my range. You co-wrote lyrics for “Headbang.” Do you plan to compose more in the future?Definitely. I’ve been working on songs for years and have unreleased material. “Headbang” was something I wrote long ago that finally made it onto the debut album. How do you balance rapping and singing on tracks like “I Did It”?It’s exciting. I feel like I have two selves — one rap-driven, one vocal-driven — that are gradually merging into one. What music inspires you now?Besides our album, I listen to Stevie Wonder the most. Recently, I also crossed paths often with CORTIS during music shows, and as a hip-hop fan, I really admired their performances. On stage, you often shout “Make some noise!” What does that mean for AxMxP?Fans told me they lost their voices at our showcase because they kept shouting back (laughs). I love that connection. Singing alone is fine, but sharing that energy with others — that’s the real magic of being in a band. What message do you hope to deliver through AxMxP’s music?Each song carries its own message and color. For now, I just hope those nuances reach listeners. If our music helps someone release emotions they’ve held inside, that’s enough for me. When have you felt the power of music most strongly?When I first heard “White T-Shirt” in a taxi, crossing Yeongdong Bridge at sunset. I was overwhelmed and cried. Later, rehearsing that song for our showcase, I felt the same tears again. Music really is like a time machine. Source link

Spinal Tap may be a fake band, but its music is very real, and it is being used to raise money for Teen Cancer America, a non-profit founded by The Who’s Roger Daltrey and Pete Townshend that runs cancer programs for teens and young adults ages 15-39. Explore See latest videos, charts and news Members of such legendary groups as Guns N’ Roses, Foo Fighters, The Go-Go’s and Tool, among others, appear on The Majesty of Rock, a 32-song collection from the Spinal Tap catalog, including such Tap classics as” Sex Farm,” “(Listen to the) Flower People,” “Hell Hole” and “Big Bottom.” The collection also features a contribution from the Play it Back Players, a band comprised of cancer patients and professional musicians, who donate their time. In the spirit of Spinal Tap, many of the musicians created fake bands for the project. For example, Vixen’s Britt Lightning formed The Lightning Rods for her contribution. Guns N’ Roses’ Dizzy Reed plays with a group dubbed Jason Achilles, while System of a Down’s John Dolmayan plays with Antenna the End. “Big Bottom” is attributed to the band S.S.R.J.C.T., which is comprised of Mastadon’s Troy Sanders, Failure’s Kellii Scott, Kyuss’s Scott Reeder, Foo Fighters’ Rami Jaffee, Tool’s Justin Chancellor and The Go-Go’s Abby Travis. (The band takes its name from the first initial of each musician’s last name) Only 5,000 digital copies of the compilation will be available and can be purchased here for a minimum donation of $19.84, a reference to the year This is Spinal Tap was released in 1984. Journalist and podcaster Marc Shea produced the set, which came about following a conversation on his Performance Anxiety. “Three and a half years later, we have a double album to honor the musical and comedic legacy of Spinal Tap, the band that gave us ‘going to 11’ as well as raising awareness for spontaneous combustion,” he said in a statement. “I can’t thank the contributors or TCA enough for their support.”  “This tribute album is a fun, powerful way to raise crucial funds and awareness for the unique challenges facing this age group,” Shannon Sullivan, executive director of Teen Cancer America, said in a statement. We are incredibly grateful to the brilliant artists who have lent their talents to this project and to the creators of Spinal Tap for allowing us to celebrate their genius for a cause that is so important.” Source link

Papa Roach’s “Braindead,” featuring H2O vocalist Toby Morse, rises two spots to No. 1 on Billboard’s Mainstream Rock Airplay chart dated Oct. 4. As the song becomes the Jacoby Shaddix-led Papa Roach’s 12th leader on the list, the group now claims sole possession of the 10th-most No. 1s in the Mainstream Rock Airplay chart’s 44-year history, breaking out of a tie with Volbeat. Explore See latest videos, charts and news Papa Roach first ruled Mainstream Rock Airplay in 2009 with “Lifeline,” nine years after initially reaching the survey with “Last Resort” (No. 4, 2000). Its current No. 1 streak — five in a row — dates to September 2022, when “No Apologies” led for a week. Most No. 1s, Mainstream Rock Airplay:21, Shinedown19, Three Days Grace16, Five Finger Death Punch14, Foo Fighters14, Metallica13, Disturbed13, Godsmack13, Linkin Park13, Van Halen12, Papa Roach As for Morse, “Braindead” is his first solo ruler on a Billboard chart, in his first appearance on his own. H2O has multiple entries, including No. 1s, on album charts, from 1997’s Thicker Than Water through 2015’s Use Your Voice. Concurrently, “Braindead” zooms 19-10 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.5 million audience impressions in the week ending Sept. 25, up 24%, according to Luminate. It’s Papa Roach’s 10th top 10, and fifth in a row. The band’s best, “Even If It Kills Me,” reached No. 2 in June. “Braindead” is currently a stand-alone single. Papa Roach’s most recent album, Ego Trip, debuted at No. 6 on Top Hard Rock Albums in April 2022 and has earned 204,000 equivalent album units to date. All Billboard charts dated Oct. 4 will update Tuesday, Sept. 30 on Billboard.com. It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here. Source link

Nearly 11 months after reaching a plea deal to secure his release from jail in the YSL RICO trial, Young Thug returned with his UY SCUTI album on Friday (Sept. 26). Explore See latest videos, charts and news Before letting his music do the talking, Thug became the victim of street politics and a plethora of leaked jail phone calls, which muddied his reputation in recent months. While some rappers distanced themselves from King Spyder, Drake doubled down on his friendship with Thug, as the YSL honcho revealed that Drizzy reached out to him in the midst of the chaos to let him know they’ll always remain solid. Thugger joined the Pivot Podcast on Friday, where he revealed the advice Drake gave him, along with clearing the air regarding their friendship. “Drake, the jail phones all that s—t came out, Drake text me, ‘N—a, I love you. Drop that music, bro. Let your music talk,’” he recalled. Thug went on to claim he’s never been one to pillow talk with women, but jail had him in a frazzled state of mind, which made him comment on plenty of his hip-hop peers. “Damn, I was really on the phone talking about people. No girl in my entire life can tell you that I pillow talk with them,” he said. “That s—t get to me every day, I was really on the phone like a p—y.” An alleged jail phone call leak between Thug and Mariah the Scientist saw the Atlanta rapper criticizing Drake over his treatment of Metro Boomin following his mother’s passing. “You’re using the fact that you’re Drake as a weapon now and the n—a just not feeling that right now,” Thug said on a leaked call, according to VIBE. “You supposed to get on your big ol’ plane, and went to where that n—a was or where that n—a momma died, cause you really, really, really, mess with a n—a.” There’s been speculation regarding the rift between Drake and Metro Boomin stemming from Drizzy requesting a song from Metro while he was in the midst of grieving the loss of his mother. After dishing out a pair of assists on Thug’s 2023 Business Is Business album, Drake was noticeably absent from the star-studded UY SCUTI guest list, but Thugger insists they’re still tight. Drake was among those Thug apologized to in his sincere “Miss My Dogs” single. Watch the full interview below. Source link

Last month, Crystal Kay realized her longtime dream of touring in North America with her CK25 THE TOUR, celebrating 25 years in music. Born in Yokohama — one of Japan’s gateways to Western culture since the 1850s — to an American father and South Korean mother, the singer made her debut at 13 and has built a career as a bridge between Japan, the U.S., and South Korea, seamlessly blending the American music she grew up on and the J-pop she has released as a professional artist. Explore See latest videos, charts and news After initially gaining prominence in the R&B genre early in her career, Kay shifted gears in 2005, trying her hand at J-pop music with “Koi ni Ochitara” (When You Fall in Love) and scoring a massive domestic hit. Since then, she has continued to expand her activities and genres through J-pop covers, jazz, voice acting and acting (Happy Feet Two, Netflix’s Earthquake Bird), and appearances in the Japan production of the musical Pippin and the Japan/U.S. co-production of the musical RENT. The singer had set her sights on the world stage from the beginning of her career. Armed with her overwhelming vocal prowess and native-level English skills, she traveled repeatedly to the U.S. in-between her activities in Japan, actively pursuing music production with local producers and creatives. Her signature collaborative track is “Kirakuni” (2006), produced by Jam & Lewis — the hitmaker duo behind No. 1 smashes by Janet Jackson, Mariah Carey, Usher and more — sung entirely in English. This number brought authentic R&B dance tracks dominating the U.S. market at the time to Japan and remains one of the most popular songs in her extensive catalog. “Kirakuni” was unavailable on streaming platforms for a long time, but fans rejoiced when it was finally released ahead of her recent tour. The 39-year-old songstress’ long-standing friendship with Tremaine “Six7” Williams, the music producer who worked as an engineer on her “Color Change” album made her North American trek possible. Having also served as stage manager for artists including Mariah Carey, Bruno Mars, Swedish House Mafia and more, Trey provided full support as Kay’s U.S. Management and Tour Director for this outing. Adding further flair to the shows was a powerhouse three-piece band that included Josh Baker, a drummer who toured with Carey, along with Montez Garner on bass and Keith Phelps on keyboards.  For the Los Angeles stop during her seven-concert North American tour in as many cities marking her 25th anniversary, Kay chose a venue in Inglewood — The Miracle Theater — and not Hollywood or the downtown area. Formerly considered one of the city’s roughest neighborhoods, this area has seen significant redevelopment in recent years, including the opening of SoFi Stadium, which hosts NFL games and concerts by some of today’s biggest acts, and Intuit Dome, a multipurpose arena serving as the home of NBA’s Los Angeles Clippers. While only a few sports bars in the area were open for business and the streets in the vicinity were quiet, the words “CRYSTAL KAY CK25 THE TOUR SOLD OUT!” lighted up the theater entrance and inside, the packed crowd brimmed with anticipation and excitement for the show about to begin. Five minutes past the scheduled starting time, Crystal Kay appeared from stage right dressed in a chic, sophisticated ensemble composed of a sequined black top, black pants, and black gloves, to the live performance of “hard to say” by her backing band. The audience jumped to their feet and applauded enthusiastically the moment she began to sing. Supported by the trio of musicians playing keyboards, drums, and bass/keyboards positioned in that order from stage right, Kay went on to perform the up-tempo “Ex-Boyfriend” and “Girl U Love.” The singer took a moment to address the crowd, mixing Japanese with her impeccable English. “L.A., Los Angeles… Good evening! It’s so so good to be back,” she said as the excitement in the venue surged. “Welcome to the show. We have super fun show for you guys and I really want you guys to sing your a** off and dance your a** off and just have the best time. I wanna make this an unforgettable moment!” Next, she lovingly performed “Eternal Memories,” a song she first sang when she was only twelve years old. Noting that “I feel like I finally caught up to the lyrics,” she poured her heart into every word, captivating the audience. During “No Pressure,” she masterfully sang from the quiet piano intro to the energetic mid-section, drawing cheers from the crowd. “Are y’all having a good time? I love your energy, L.A.!” Kay said, before declaring, “I wanna take it all the way back.” The vocalist launched into a gorgeous medley of throwback numbers starting with “TEENAGE UNIVERSE ~ Chewing Gum Baby,” followed by “think of U,” “Girl’s Night,” “What Time Is It?” and “Sweet friends,” bringing a sense of togetherness in the venue. “I want to take this moment to tell you how much I appreciate your love and support over the past 25 years — now 26 years,” said, visibly overcome with emotion. Conveying her gratitude, she added, “I’ve always wanted to spread my wings to the world and connect with everyone around the world, and I’m here seeing you guys in person is a dream come true.” After performing “ONE,” the anime movie theme song that she said expanded her fanbase, the singer showcased the breadth of her range with “Gimme Some,” displaying her rap skills in red lighting and strobes. “I’ve come all the way from Yokohama to Inglewood. I love it!” she gushed. The artist then performed a couple of covers, including Michael Jackson’s “Human Nature” and Janet Jackson’s “I Get Lonely,” sharing that she had aspired to be a performer since she was two years old.  Kay interacted with her fans during her live rendition of “Boyfriend -part II-,” encouraging them to jump, participate in call-and-response, and make heart shapes with their hands. The excitement

At 22, Rondodasosa is ready to leave it all behind: his city, his language and the scene that made him a star. With Mattia, his final album in Italian, the Milan-born rapper – collaborating with the likes of Central Cee and supported by Drake – is closing a chapter and preparing for the next: in English, in the United States. Explore See latest videos, charts and news “This is the last Italian album of Rondodasosa,” he says. “More than a goodbye, it’s a move. It’s like saying: it’s time to level up. No one in Italy does that, because many are afraid to take risks or just don’t feel up to it.” Split between the aggressive energy of his drill roots and more emotional, introspective tracks, “Mattia” marks a turning point. Rondo speaks openly about fame, isolation, and the pressure of coming up young in a tough industry. But above all, the album is a rare look behind the armor – a way to show not just Rondodasosa, the artist, but Mattia, the person. Raised in the San Siro district of Milan, he broke through at 16 and quickly became a key figure in Italian rap. Now, he’s aiming higher. “In America, if you’re different, they support you. Here, they push you out. I’m ready to take the risk.” Below, Billboard Italy‘s cover interview with Rondodasosa. It’s like the album is divided in two parts – the first being more “Rondo,” more trap-oriented, the second one being more emotional, more Mattia. Do you feel this distinction in yourself? Yes. Let’s say Rondo is kind of a shell, while Mattia is the person I show only to a few. The album is a sort of transition, like I’m saying “I give you both sides of me, I show the more energetic, aggressive side, but also the more melodic, more emotional one.” In the album you say: “This is the last Italian album of Rondodasosa.” What’s in your future? This is going to be the last album in Italian for a while. I’m moving toward America and I’ll start rapping in English. I can’t focus on both things – it’s impossible. This album is closing a chapter. I feel like I’ve made it, but I’ve never truly shown everyone who I really am. It’s a way to close all my story here and begin a new chapter of my life. Is the album also a goodbye to Italy, in your own way? More than a goodbye, it’s a move. It’s like saying: it’s time to level up. No one in Italy does that, because many are afraid to take risks or just don’t feel up to it. It’s not for everyone: leaving a market where you’re doing well, where you’ve already made it, to go somewhere where you’re nobody and there are artists who’ve been doing it for years – that’s not easy. How long have you been thinking about this? I imagine it’s been in your head for a while, especially since in recent years you’ve been the Italian artist most pulling toward the States. It all started when I was in Miami. The first time I went there for a month to work, I immediately realized that the life I was living was not the life I want – at least not for now. Italy is beautiful, but there’s a world to discover out there. I can’t stay here wasting myself trying to prove something that maybe people won’t understand. I don’t want to burn myself out: I want to close this chapter and step out. In Miami I realized I want to stay there for at least five to ten years. Then, maybe, I’ll come back. What fascinates you the most about America? Over there, everything is more real. People are straightforward, they don’t hide anything. Unfortunately, in Italy we have this bad habit of keeping everything inside. In America it’s all spontaneous: if you piss me off, I’ll tell you to your face. Do you feel freer there? Yes, because everything is more genuine. You breathe freedom there, something you absolutely don’t feel in Italy: we’re all closed, oppressed. People follow the crowd, nobody has their own line of thought. And if you do, they either leave you out or say you’re crazy. They always find a way to make you look wrong. In America, being “wrong” can become your strength. You can build an empire with it. It’s a free world… as long as you don’t mess up. Because if you do, you pay the consequences. It seems you’ve never let those dynamics condition you. Never. With “Blue Tape” I was the first of my generation to release an album without guest artists. I’ve never followed the market’s pressure. I just don’t care. I do things my way, for better or worse. I feel like when they used to teach math problems in school with apples in baskets. I feel like I’m in my own basket, alone. When did you start working on “Mattia”? What influenced you in particular? The only influence I had was myself. To make this album I really shut myself out from society, I disappeared. I thought of nothing else but finishing the album. I neglected everything: personal relationships, work, my body, everything. The most emotional part I was completely closed in myself. Then, in the more energetic side, I was still isolated, but I was doing things to make myself feel better. The more conscious tracks were written in a dark period of my life. Then I bounced back, I was reborn, and from there the other seven tracks, more energetic, were born. In what way do you feel reborn? Before, I was very materialistic, I put money before people. In part, I still do. I’m very possessive of my things. But I learned the law of attachment: you can’t get too attached to something, because when you lose it, you realize maybe it wasn’t what you truly needed. Now material

Only a select few people in the world will get to see Oasis on the band’s long-awaited reunion tour, but even fewer will get to say that they viewed the show with Paul McCartney standing next to them — and Leonardo DiCaprio is one of those people. In a new interview with NME published Friday (Sept. 26), the actor raved about catching Liam and Noel Gallagher’s performance at the Rose Bowl earlier in September. The once-feuding brothers have been touring the world since July, before which they’d spent 16 years apart. “It was incredible,” DiCaprio told the publication. “It was incredible to see them back together again. And Paul McCartney was actually there, and I think they sang a Beatles song. I remember I was in the section next to him, and the whole stadium looked back at Paul and clapped for Paul too, which was awesome. It was a great tip of the hat. So, it was a special night.” Indeed, Oasis has been adding parts of The Beatles’ “Octopus’s Garden” as part of an outro for the Heathen Chemistry track “Little by Little” while on the road. After McCartney saw the Sept. 6 concert in Pasadena, California, the Wings frontman told paparazzi that he thought the show was “fabulous.” In his own review, DiCaprio continued, “It was a great tour … everyone’s so excited about it.” The Oscar winner also compared the hype surrounding Oasis to that of Radiohead, whom DiCaprio had praised earlier in the interview for “what they’ve contributed to music.” “Really, much like Radiohead, when that happens, too,” he added. “I think everyone’s going to do their best to be there for those moments.” Oasis only has a couple of months left on its Live ’25 Tour, which kicked off July 4 with a European leg. In August, the Gallaghers and their bandmates headed overseas for a run of shows in North America. The band’s next shows will take place Sept. 27 and 28 at Wembley Stadium in London, after which Oasis will close out the trek with brief legs in Asia, Australia and Latin America. Source link

Cardi B is working overtime in support of her Am I the Drama? album. The Grammy-winning rapper announced a handful of shows tacked onto the Little Miss Drama Tour in cities with high ticket demand. Explore See latest videos, charts and news Cardi will be spinning the block to double up in Atlanta, New York City and Los Angeles. She’s set to hit the Kia Forum on Feb. 15 and Feb. 16, Madison Square Garden on March 25 and March 26 and ATL’s State Farm Arena on April 17 and April 18. “MORE DATES! MORE DRAMA,” she wrote to X. “By heavy demand second dates for NYC, ATL, and LA going on sale at 10am your local time!!!” Tickets are currently on sale for the entire North American trek, which kicks off in Palm Springs on Feb. 11, 2026. Various VIP and meet-and-greet packages are also available. Cardi took a break from a meet-and-greet with fans on Thursday (Sept. 25) to provide more details about possibly further expanding the tour, which will be her first headlining arena trek to date. “The Little Miss Drama Tour has sold out in L.A., New York and Atlanta… The other good news is we’re gonna add extra dates tomorrow… The bad new is that y’all making me work,” she quipped in a clip posted to social media. “I thought I was gonna be doing a tour for 30 days, they talking about that we might add 10 more dates.” On the heels of Am I the Drama?’s arrival last week, Cardi hasn’t taken her foot off the gas pedal when it comes to promoting her album. She even made time to hop on Young Thug’s UY SCUTI album, as Cardi and King Spyder joined forces for “On the News.” Before hitting the road, Cardi is slated to co-headline the Global Citizen Festival 2025 in New York City on Saturday (Sept. 27), as the Bronx native replaced The Weeknd’s slot. Get weekly rundowns straight to your inbox Sign Up Source link

After nearly five years of not making music and almost three years of not performing together onstage due to focusing on personal projects, the members of the Mexican rock band Zoé admit that they felt a fear of having lost their magic. “You feel very fragile,” drummer Rodrigo Guardiola tells Billboard Español. Explore See latest videos, charts and news “These are things you obviously question,” adds lead singer León Larregui. “Does the magic still exist? Will we get along? Will we be happy together? But when we got together and started playing again, we realized that we were still connected and that the magic remained intact.” The band’s musical hiatus ended in March with their performance at the Vive Latino festival, where they delivered a show that was initially planned as their only one for the year. However, the turnout exceeded their expectations, confirming that not only had they kept their longtime fans captivated, but they had also gained a following among members of Generation Z. Young fans had discovered some of the band’s older hits, some even posting their own covers on social media. “We realized that, thanks to TikTok, there’s a very engaged generation of 15 to 25-year-olds who are devouring Zoé’s songs, regardless of the album,” Guardiola says. “They’re creating their own interpretations and messages that resonate with them deeply, and that’s very meaningful.” The success of their Vive Latino performance led them to announce an initial show at the GNP Seguros Stadium in Mexico City. When tickets sold out in a matter of minutes, additional dates were added, bringing the total to five shows. The concerts — scheduled for Sept. 27-28, Oct. 1-2, and Nov. 13 — made Zoé the first Spanish-language rock band to achieve such a feat at the venue, which has a capacity of 65,000 people and has hosted megastars such as Shakira, Metallica, Taylor Swift, Paul McCartney, and Coldplay. The band will also perform at the Pulso GNP Festival in Querétaro on Oct. 25. And the band’s current streak of success goes beyond their five sold-out stadium shows. The quintet — which also includes bassist Ángel Mosqueda, keyboardist Jesús Báez, and guitarist Sergio Acosta — has released two new singles in recent weeks, “Campo de Fuerza” and “Rexsexex,” reaffirming their commitment to creating music together. Both tracks showcase a revitalized band with their signature blend of powerful guitars and mystical lyrics, a hallmark of their 30-year career. “We don’t know exactly when we’ll return with a new album and tour. For now, it’s just these two tracks,” Guardiola says. “In the case of ‘Rexsexex,’ we were excited about the idea of creating something new. León [Larregui] came up with the title. The song didn’t exist. We brought it to life and ended up recording two tracks while taking advantage of our time in the studio together.” The drummer notes that it was thrilling to reunite with his bandmates to create music without the pressure of a formal project. “We’ve never had the freedom to work on just one or two songs before. We always felt the pressure of finishing a complete album.” Craig Silvey (known for his work with Arcade Fire and Arctic Monkeys), who had previously produced Zoé’s albums Aztlán (2018) and Sonidos de Karmática Resonancia (2021), was also behind the production of the two new songs. “Everything has been surprisingly genuine,” Larregui says. “It sounds like the early Zoé, but very fresh.” Their new show will partly focus on their iconic 2006 album Memo Rex Commander y el Corazón Atómico de la Vía Láctea, which will reach its 20th anniversary next year. The LP includes some of the band’s biggest hits, such as “No Me Destruyas,” “Vía Láctea,” and “Paula.” “Memo Rex was an album that marked a before and after for the band,” Larregui recalls. “It’s the most emblematic record, full of hits. The audience received it so warmly, and that’s when the ‘Zoémania’ began.” While fans await news of a potential commemorative Memo Rex concert or a new album next year, Larregui is planning to release a solo LP, and Mosqueda and Báez will continue working on their project Astronomía Interior. “It was wonderful to work on new songs,” Larregui says. “It was about rediscovery, awakening, and a revival for Zoé.” Source link