Categoría: Billboard

Taylor Swift is a multimedia showgirl. According to a new report, the pop star has a secret theatrical event in the works supporting upcoming album The Life of a Showgirl, which is set to arrive on Oct. 3. In a The Hollywood Reporter piece published Thursday (Sept. 18), the trade magazine reported that multiple sources had confirmed the pop star is prepping a project for big screens that will likely premiere the same weekend Showgirl drops. The exact content of the event is “unclear,” but it will be related to the new album. Billboard has reached out to Swift’s rep for comment. Swift is no stranger to film, starring in Netflix’s Miss Americana documentary in 2020 and releasing her Eras Tour concert film in 2023. The latter pulled in $179.2 million in the domestic box office, becoming the highest grossing concert film of all time. The musician has also directed a number of her own screen projects, including 2021’s All Too Well: The Short Film. She has also reportedly been in the process of developing an original film for Searchlight Pictures, which she would direct with a script she wrote. The report of the Showgirl theatrical event comes just two weeks ahead of Swift’s highly anticipated 12th studio album, which she announced in August through an appearance on now-fiancé Travis Kelce and Jason Kelce’s New Heights podcast. Made entirely with past collaborators Max Martin and Shellback, the full-length is expected to deliver a number of pop bangers. “I was so mentally stimulated and excited to be creating,” Swift reflected of making Showgirl while she was on her global Eras trek. “[The album is] a lot more upbeat, and it’s a lot more fun pop excitement. My main goals were melodies that were so infectious, you’re almost angry at it.” Get weekly rundowns straight to your inbox Sign Up Source link

Diane Martel, a beloved, prolific music video director who helmed iconic clips for Miley Cyrus, Mariah Carey, Robin Thicke, Justin Timberlake and Christina Aguilera, among many others, has died at age 63. According to Rolling Stone, Martel’s family said she died peacefully in New York at Memorial Sloan Kettering Hospital surrounded by friends and loved ones after a long battle with breast cancer. Explore See latest videos, charts and news The native New Yorker with a nose for unique, sometimes provocative visuals was best known for a pair of 2013 videos that pushed the boundaries of the medium, the controversial “Blurred Lines” clip from Robin Thicke feat. T.I. and Pharrell and the mind-bendingly weird house party video for Miley Cyrus’ “We Can’t Stop.” Speaking about the impact of that rare double-double headline-grabbing duo in 2013, Martel told RS, “My s–t is on point right now. I do have to admit I like being provocative. That’s punk, that’s rock & roll, that’s hip-hop. It’s passionate. We’re not doing pharmaceutical ads.”  “Blurred Lines” spent 33 weeks atop the Billboard Hot 100 during its massive run, but it was the lascivious video that drew almost as much attention as the song’s lyrics, which were criticized at the time for objectifying women and playing too loose with notions of sexual consent. The video featured a sprig of mylar balloons that spelled “Robin Thicke Has a Big D–k,” in addition a parade of nearly naked models cavorting with the fully clothed male performers. Martel told Grantland that her intention was push back against the “misogynist, funny lyrics” in a manner in which the women overpowered the lascivious male gaze, forcing the men to feel “playful and not at all like predators” by asking the models to stare directly into the lens to show that they were in control. She said she didn’t think the resulting clip was sexist because the lyrics were “ridiculous” and the men looked “silly as f–k,” calling her work “meta and playful.” Several years later, however, one of the models, Emily Ratajkowski, claimed in a memoir that Thicke sexually harassed her on set, grabbing her breast, an account Martel seconded, saying she asked the visibly upset model if she was okay during the shoot and screaming “in my very aggressive Brooklyn voice, ‘What the f–k are you doing, that’s it!! The shoot is over!!’” Cyrus’ “We Can’t Stop” drew attention as well for its bold, suggestive imagery from the singer who was transitioning from Disney royalty to hip-hop-adjacent provocateur. Wearing gold grillz and writhing on a bed in a white bra and hot pants, the clip featured the then 21-year-old Cyrus surrounded by friends eating sandwiches made out of $100 bills, building french fry skulls, twerking, butt-slapping, pretending to slice off their fingers and dirty dancing with giant teddy bears. Cyrus’ clip has more than one billion views on YouTube to date, with “Blurred Lines” on the cusp of that mark. According to RS, Martel was a high school dropout who began making performance and street art in the late ’80s and working as a dancer and choreographer, skills that clearly came into play in her directing salad days while working on dance-oriented clips for Spears, Ciara and Timberlake. Born in New York on May 7, 1962, Martel got her start in directing in 1992 with the PBS hip-hop dancer doc Reckin’ Shop: Live From Brooklyn, which led to her first music video for grimy rap crew Onyz, “Throw Ya Gunz.” That led to her first of several collabs with Mariah Carey on the dancing in the field video for “Dreamlover,” as well as gigs directing visuals for S.W.V., Gang Starr, Method Man and Ol’ Dirty Bastard. An early high point was her home video-like video for Mariah Carey’s perennial holiday Billboard Hot 100 No. 1 smash “All I Wan For Christmas Is You,” which featured the singer frolicking in the snow with Santa and an adorable puppy. Though her work could often push the envelope, Martel also had a keen eye for putting her subjects in a flattering, emotionally direct light, such as the elegant clip for Beyoncé’s 2011 single “Best Thing I Never Had,” which found the singer posing in lingerie and a wedding gown as she kisses of a former lover who never got her, capped by sweet footage of joyous nuptials. Her reputation blossomed in the late 1990s and early 2000s, with credits including Aguilera’s breakthrough “Genie in a Bottle” and “What a Girl Wants,” Khia’s provocative “My Neck My Back (Lick It),” the Clipse’s gritty “Grindin’,” Timberlake’s dance-heavy “Like I Love You” (as well as JT and Ciara’s “Love Sex Magic”), Alicia Keys’ “If I Aint’ Got You” and Spears’ “3,” among many others. Though her sweet spot was choreo-heavy pop, R&B and hip-hip, Martel — who notched only one best direction nomination at the MTV VMAs, in 2005 for her work with Francis Lawrence on Jennifer Lopez’s “Get Right” — also dipped into rock as well with the Killers’ “Read My Mind,” the White Stripes’ “Conquest,” the 1975’s “Give Yourself a Try,” The Bravery’s “Fearless.” In addition, she helmed videos for American Idol alums Clay Aiken (“Invisible”) and Adam Lambert (“Whataya Want From Me”), P!nk (“Just Give Me a Reason”), Avril Lavigne (“Nobody’s Home”), John Legend (“So High”) and Addison Rae (“Obsessed”). Frequent collaborator Ciara paid tribute to Martel in an Instagram post on Friday (Sept. 19) featuring a number of clips from their work together, writing, “You believed in me and I believed in you! You will forever hold a special place in my heart and I am forever grateful for all the magic we’ve were able to make together. I know it was all God! Heaven has just gained an Angel. I love you so much @DianeMartel_ A.k.a. Miss D! Rest In Paradise.” Her final known music video was for Ciaras’ “Ecstasy,” which was released earlier this year. Check out some of Martel’s most beloved work below. Source link

When Cardi B calls, she knows she can count on Selena Gomez to pick it up. In a recent clip from her CBS Mornings interview posted to TikTok, the rapper had nothing but kind things to say about the Rare Beauty founder, who guests on a song titled “Pick It Up” on Cardi’s new album Am I the Drama?, which dropped Friday (Sept. 19). “I just feel like she sounded really lovely for this song, and she’s such a delight to work with,” the hip-hop star said of Gomez. “She’s a whole billionaire, and if you call her for something, she’s not going to hesitate,” Cardi continued. “Or [be] like, ‘Oh, you’ll hear from her when you hear from her, she’s somewhere in Bali living her best billionaire life.’” “She comes through,” the hitmaker added emphatically. “And support.” Gomez is one of several famous ladies who appears on Am I the Drama? The project also features collaborations with Janet Jackson, Tyla, Summer Walker and Lizzo, as well as Cardi’s Billboard Hot 100-topping duet with Megan Thee Stallion, “WAP.” On “Pick It Up,” the Only Murders in the Building star and Cardi lament, “Pick it up, where we left off, can’t give it up/ I’ve been missin’ ya.” The two women have previously appeared on a song together, teaming up with DJ Snake and Ozuna on 2018’s “Taki Taki.” The foursome performed the track together at Snake’s Coachella set the following year. Am I the Drama? marks Cardi’s first album since her 2018 debut LP, Invasion of Privacy. Watch Cardi rave about her relationship with Gomez below. Source link

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.  Explore See latest videos, charts and news This week, Cardi B brings an end (and/or a new beginning) to her long-awaited Drama, Miley Cyrus lets a couple of Rock and Roll Hall of Famers in on her “Secrets” RAYE searches for her not-yet-found “Husband” and much more. Cardi B, Am I the Drama? If you were wondering where the time went with Cardi B in the seven years since Invasion of Privacy, you can certainly hear a lot of it in her supersized second album Am I the Drama? Nearly double the length of Invasion at 23 tracks and 71 minutes, Drama contains a variety of new guests, subjects and sounds for the rap great, including the merengue exercise “Bodega Baddie,” the 4 Non Blondes-interpolating “What’s Going On” (with Lizzo) and the drill-influenced “Safe” (with Kehlani). It’s an overstuffed but thrilling listen, reminding us why we’d been waiting so breathlessly for the return of Full Cardi for so long in the first place. Miley Cyrus, “Secrets” Never a bad idea to get two members of one of the most beloved rock bands of all time on your new song — but Lindsay Buckingham and Mick Fleetwood are particularly good fits on “Secrets,” one of two new tracks from the deluxe reissue of Miley Cyrus‘ underappreciated Something Beautiful album. (The other, “Lockdown,” also features a Rock and Roll Hall of Famer in Talking Heads’ David Byrne.) The guitarist and drummer help lend a sweetly breezy ’80s Fleetwood Mac-style groove to Cyrus’ promises of “Anywhere you go/ I’ll follow” — making it a worthy follow-up to her Stevie Nicks-featuring “Edge of Midnight” remix of “Midnight Sky.” Lola Young, I’m Only F–king Myself U.K. singer-songwriter Lola Young‘s first new LP since scoring a global smash with “Messy” shows why she’s gotten fans on both sides of the Atlantic so excited far beyond the one hit. From the grungy bisexual anthem “F**k Everyone” to the fuzzy failing-relationship power ballad “Spiders” to the shuffling post-breakup waltz of “Sad Sob Story! :)” the album is bursting with hooks, personality and vivid songwriting, confirming Young as one of both pop and rock’s most impressive breakout talents of the mid-’20s. RAYE, “WHERE IS MY HUSBAND!” With blaring horns and jazzy drums worthy of mid-’00s Rich Harrison, RAYE conducts her frantic search for her future husband, wondering with increasingly manic verses what could possibly be taking him so d–n long to get her. As the song winds up tighter and tighter — with her grandmother’s sampled promise of “Your husband is coming” detonating the song’s ultimate climax — it really earns the all-caps stylization of its title, as well as the exclamation mark where a question mark would normally be. Nine Inch Nails, TRON: Ares (Original Motion Picture Soundtrack) A year after releasing one of their most celebrated scores to date with the pulsing electro-house of the Challengers soundtrack, Trent Reznor and Atticus Ross are back — this time under the Nine Inch Nails moniker, and with recent DJ tourmate Boys Noize in tow — to take on the TRON: Ares soundtrack. Like Daft Punk’s TRON: Legacy OST before it, the set here is mostly divided into beatless atmospheric works and neon-hued dancefloor instrumentals, but Reznor does bring his trademark howl to a few songs, including the scorching top-five Rock & Alternative Airplay hit “As Alive as You Need Me to Be.” Editor’s Pick: Wednesday, Bleeds Prolific indie-rock heroes Wednesday are back with the band’s first album since breaking through to wider notice and acclaim on 2023’s Rat Saw God. The Karly Hartzman-led five-piece — which includes similarly critically beloved MJ Lenderman on guitar as a recording, but not touring member — delivers another spellbinding collection of scuzzy guitar crushers and twangy midtempo swayers, with some of Hartzman’s most piercing lyrics and alternately tender and pulverizing vocals. Source link

“Every festival booker has their own process,” says Danny Bell, the founder and booker of San Francisco’s Portola. “Mine is definitely more mad scientist-y than other people’s.” Bell’s metaphorical lab is a spreadsheet, which he begins tinkering with a year before the festival itself. The sheet allows Bell to see “all the different looks at once,” he says. “You have your money grid, your mock set times, your poster.” He’s made algorithms that let him organize it by an artist’s subgenre, gender, race and home country. There’s one designed around when the sun sets and when there’s full dark. He works to select a group of artists who are unlikely to play any of the same tracks twice over the weekend. “Can you do it quicker?” Bell, the SVP of talent at Goldenvoice, asks rhetorically while talking to Billboard over Zoom from his office in San Francisco. “For sure. There’s probably a much simpler way, but I do it like this. I want to make sure to have all these different visualizations because this stuff is is important. It all works together.” From these datasets eventually emerge the lineup and set times for Portola, which since its 2022 debut has become a dance festival circuit standout for putting artists who helped develop the dance/electronic genre alongside many of the moment’s most essential stars and emerging artists. Every year Bell also reserves a set time for a pop icon, a space that in 2025 belongs to Christina Aguilera, who Bell promises will perform “banger after banger.” While Portola has put a whole host of big names in front of the 40,000-person crowd that gathers at the festival site at San Francisco’s Pier 80 (past headliners have included Flume, The Chemical Brothers, Eric Prydz, Skrillex, Rüfüs du Sol and Justice), this year puts an especially heavy emphasis on “showcasing the legends and pioneers of the scene and some of the most influential people the last 30 years,” Bell says. “This lineup is a real ode to to where the current sounds and state of electronic music came from.” He’s not being hyperbolic. The fest this weekend (Sept. 20-21) will unpack the influence of the ’90s era U.K. underground via sets from Underworld, The Prodigy and The Chemical Brothers, all of whom bent electronic music to harder, darker and more intense shapes during their heydays. There will also be U.S. artists whose work functioned as inflection points for the development of indie dance and dance punk — namely LCD Soundsystem, The Rapture and Moby. The Rapture’s performance comes towards the start of a reunion tour happening fifteen years after the NYC group’s last headlining run. Meanwhile Moby, who hasn’t toured the U.S. extensively in years, will perform with a live band and run through much of his 1999 LP Play, an album whose prolific syncing helped introduce electronic music to a generation of young people living far from clubland. These acts are matched by several of the moment’s key scene stars, with the lineup’s other big font names being Peggy Gou, Dom Dolla, Mau P and Chris Lake and Chris Lorenzo playing as Anti Up. “We now have fans who’ve been deep in the genre for 15-plus years, but 2010, 2011 and 2012 were the early days of electronic music being popular in the U.S.,” says Bell, who in this era was booking shows for HARD in Los Angeles. “Back then everyone was just learning about these artists for the first time. No one knew if Carl Cox was a new act or a legacy act.” But with the people who got into dance music in this era now staring down middle age, “people have had enough time to dig deeper into the history and really understand who the pioneers were and where these sounds came from,” says Bell. “That’s allowed acts like The Chemical Brothers and Underworld to have a stronger and larger U.S. fanbase than they had before.” To wit, a new wave of demand for these acts manifested in The Chemical Brothers and The Prodigy both drawing huge crowds at Coachella 2023 and 2025, respectively. Meanwhile Underworld’s Boiler Room set from London has clocked 1.4 million views since it was put online three weeks ago. “When I started in festivals, the acts that were being played on Spotify Mint [the streamer’s mainstream dance playlist] were like, Alesso and Avicii,” says Bell. “It was all progressive house and some dubstep.” With Mint now populated by artists like Sammy Virji, Fred again.., Sara Landry, Ki/Ki and Kettama — all of who have played Portola in years past or who will be there this year — Bell says it’s been “really fun and rewarding to see the acts I work with who I’ve considered left of center and really progressing the sound and the scene making their way up the ladder to be the artists Spotify Mint is programming.” Portola 2024 Scott Hutchinson There’s also the lineup contingent Bell lovingly and correctly refers to as “the divas.” In 2023 this was Nelly Furtado, who performed her ’00s-defining hits “Turn Off the Light,” “I’m Like a Bird,” “Say It Right” and “Promiscuous.” Last year, Natasha Bedingfield drew a tightly packed crowd that included fellow lineup artist Four Tet, while performing her pop holy trinity of “Pocketful of Sunshine,” “These Words” and “Unwritten.” This year, Aguilera is teed up to deliver her own arsenal of generational anthems. “She knows what the assignment is,” says Bell — who also places previous Portola artists like Cobrah, Slayyter and Charli xcx in this diva category, a realm of the lineup that will also be filled by Ravyn Lenae this weekend. Delivering these pop moments has helped Portola carve out a kind of quirky, if-it-feels-good-do-it identity that also manifests on the event’s Instagram, a channel that’s often deliciously unhinged and IYKYK funny. “That’s another part of the ethos of the festival,” Bell says. “It’s very serious music, but presented in a very unserious way.” The social media team

“It’s hard, and it’s supposed to be hard. If it was easy, I wouldn’t have needed to take these steps in the first place — in terms of sobriety and the album,” Trapper Schoepp tells Billboard of his new album, Osborne, out Friday (Sept. 19) on Blue Élan Records. The Wisconsin-raised singer-songwriter is usually sorted into the ‘Americana’ category and describes himself as a “folk artist” when talking to Billboard, but Osborne is a rock record in both spirit and sound, from its cover art (a flaming electric guitar enters his mouth) to its take-no-prisoners lyrics to the catharsis of his raw yet sweet voice. Even when Osborne dips into country or wraps with a hint of reggae, its songs rip – if only in the sense of ripping off a Band-Aid. Explore See latest videos, charts and news “I wanted to sing about the opioid epidemic as someone who has experienced it firsthand,” he says over a Zoom, sitting in front of a painting he made while at Hazelton Betty Ford clinic in 2024. “I’ve seen the horrors of it firsthand as well.” While some artists (Jelly Roll, Tyler Childers) are becoming more vocal about the opioid epidemic in America, there aren’t too many musicians writing about opioid addiction, especially considering how widespread the problem is (from Jan. 2021 to June 2024, 43% of overdose deaths in the U.S. involved opioids) and how many artists do talk openly about issues with alcohol or other drugs. With Osborne, Schoepp is hoping to be part of that change. “I think we often speak of sobriety as the act of giving something up. I’m working on reframing quitting as gaining something, whether that’s sanity, health, family,” he shares. Produced by Mike Viola and Tyler Chester, the album offers a galvanizing portrait of pain, hard-fought recovery and hope over the course of 11 arresting, hard-charging and oftentimes beautifully melodic songs. Recovery may be a constant state, a perpetual work-in-progress, but on Osborne, Schoepp the musician feels fully arrived. “I’m trying to get in that mindset of thinking about recovery as something that emphasizes liberation,” he explains. “I may have some hard, hard days, but at least I know I’m a better dude.” If you or someone you know is struggling with substance abuse or addiction, the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 800-662-HELP (4357) is available 24/7. The Osborne album is in large part about your addiction and recovery. Did any of the songs pre-date your time in rehab, or did you write the songs after? I had already written a full country album that I was going to record. I exited Hazelton in May and I had this commitment to record an album in June. It was not in my plans that I was going to go to rehab. This was a drastic measure by way of drastic circumstances. I was in a state of psychosis, mania – I had gone mad. I was like Mulder in an episode of The X-Files where I felt I was on to this greater truth and everyone was out to get me. It was really like this episode of X-Files in my mind. When I went to rehab, the first night I brought a lot of paper and a pen. I left my cell phone, and I didn’t intend on writing songs. But the first night I got into treatment, I landed in the Osborne unit. And it was so funny, because on the way to Hazelton — on the Amtrak, there — I had texted a picture of Ozzy Osbourne to my friend. It was a quote that he had, it said, “Hazelton, that was a tough one. They don’t f–k around.” And I just laughed. I sent a screenshot to my friend and then lo and behold, I was in the Osborne unit. Which is a letter off from Ozzy’s surname, but the patients there associated it with heavy metal. It just had this heavy metal vibe. With it being tied in a way to Ozzy Osbourne, I used him as this strange spiritual guide and muse to write these songs in my recovery. So you were writing in the clinic. A big part of recovery and rehab is writing about your experience. So I wanted to get two birds stoned at once, and just go for it and write stream-of-consciousness. The first night I got there, I wandered around in the woods and I wrote this song “The Osbournes.” When I got out, I sent Mike (Viola) a new song that I’d written. He was like, “What is this? This is totally different, and it’s really good.” (After I was out) we ended up at a church basement in Glendale, California, and it was a surprise to me that it was in a church basement. With Ozzy and the church and all this sort of Satanic exorcism stuff in my head, we joke that the album was like my exorcism. I had to get it all out in one swoop, sort of in atonement for my sins. If you do a lot of drugs, you have to pay the toll. The album is like an open wound that I’m letting everybody see. “Loaded” is an excellent album opener, and I love the lyric about being handed a loaded gun. Is that a reference to prescriptions? Yeah, opioid prescriptions. When I was 20 years old, I had spinal decompression surgery, and the best way that they treated all of that at that time was the Sackler brothers’ method: on a scale of one to 10, how do you feel? And you’d go up and you’d say (a number), and they popularized this idea of chronic pain, pain that cannot be cured. You must treat it forever with painkillers. I think painkillers can be of great use to people in hospital settings, but when they’re in everyone’s house, every grandma’s cabinet and kids are going in there and

Bob the Drag Queen has had a very good last few years. But the latest development in the drag star’s career promises to be spectacular, spectacular! On Friday (Sept. 19), the producers of Moulin Rouge! The Musical announced that Bob will make his Broadway debut in the Tony Award-winning show for a limited eight week engagement. Taking over the role of Harold Zidler, the vaudevillian emcee of the titular club in the show, Bob is set to begin performances on Jan. 27, 2026. In a statement released alongside the news, Bob shared his excitement at getting to finally appear on the Great White Way. “Being on Broadway has always been a dream of mine,” he said. “I moved to NYC almost 17 years ago to pursue it. Some roads take a while.” That particular road has been paved with plenty of success for the performer — after taking home the crown on season 8 of RuPaul’s Drag Race, Bob has since gone on to sell out multiple stand-up comedy tours, wrote and released a New York Times bestselling novel with Harriett Tubman: Live in Concert and even traveled the world as the emcee and special guest for pop superstar Madonna’s Celebration Tour. Most recently, Bob appeared on the Emmy Award-winning third season on The Traitors, where he famously competed as one of the titular robed villains, attempting to eliminate fellow contestants like Gabby Windey, Dylan Efron, Dorinda Medley and more. After fans grew upset that Bob led the charge on eliminating Real Housewives stars Medley and Chanel Ayan, Bob made it clear that he would not apologize for his actions. “Do these Housewife fans think I’m scared?” he wrote. “Honey, I survived Drag Race Twitter. At least DR fans tweet from their real profiles.” Get weekly rundowns straight to your inbox Sign Up Source link

Miley Cyrus has already talked about how one of the new bonus tracks on the just-released deluxe edition of her visual album Something Beautiful was written in honor of her dad, country star Billy Ray Cyrus. But in an Instagram post on Friday morning (Sept. 19), just hours after the expanded LP dropped, Miley went deeper, explaining that the song was an attempt to heal a rift that had opened up between them. “This song was written as a peace offering for someone I had lost for a time but always loved. In my experience, forgiveness and freedom are one and the same,” she wrote of the soaring ballad featuring two of her dad’s favorite musicians. “Thank you to Lindsey Buckingham & Mick Fleetwood for bringing magic to the music,” she added of her collaborators, former Fleetwood Mac bandmates guitarist Buckingham and drummer Fleetwood. “This song is for my dad.” The post was accompanied by what appears to be a new video for the song, in which Cyrus wears a gauzy white headdress and matching diaphanous, flowing gown, as well as a black dress matched with a sparkling black mask. “Oh, I wanna be the one, I wanna be the one/ I wanna be the one, I wanna be the one/ Anywhere you run/ You know I’ll follow/ Anywhere you go, anywhere you go/ You know I’ll follow,” she sings on the track. The following verse features emotionally raw lyrics about the difficulty of being a caretaker of your heart while wishing freedom for those you love. “Love is not a prison/ I’m not a guard, no/ So even when I’m holding you/ I won’t lock you up,” she sings. “You can come and go as you want/ Would you like to be lonely?/ Your word is all I want.” Billy Ray has been hyping the song all week, writing on Tuesday (Sept. 16) that he “can’t wait for everyone to hear the whole song!!! It’s amazing!!!!!,” then adding on Friday morning, “Best birthday gift a dad could ever ask for. Thank you @MileyCyrus for ‘Secrets’… a song straight from your heart to mine. The memories we’ve made together mean the world to me, and seeing you soar with your music makes me prouder every single day. Having Lindsey Buckingham and Mick Fleetwood on this track is pure magic. Here’s some memories through the years with Miley… hope y’all enjoy this as much as I do.” Speaking on Monica Lewinsky’s podcast in June, Cyrus said writing the song helped her resolve some long-running tensions between her and her father. “I wrote this song about my dad because I wanted him to tell me even though there were secrets, even though I didn’t really want to know,” she said. “I wanted to be the one he felt safe enough to tell me the things that were damning and damaging to the family. I wanted him to think that as a middle child, I’m old enough that I could take some of that.” The deluxe edition of the album also features another new track, the majestic, jazzy 13-minute mind trip “Lockdown” featuring Talking Heads singer David Byrne. Listen to “Secrets” below. Source link

There are many ways you can make your marriage proposal special. But for Demi Lovato, husband Jordan “Jutes” Lutes popped the question in the most perfectly perfect way possible. In an interview this week with SiriusXm’s “Morning Mash Up” show, Lovato revealed that when Lutes proposed to her in December 2023 he learned to play guitar in order to perform a song her wrote for the special occasion. “He did learn to play the song on guitar that he wrote, and it was so beautiful. He made a song that was about our journey together,” Lovato told host Stanley T of the original tune. “It had all these little Easter eggs in it, and it was so special and beautiful, and he proposed to me with that, and it was just so thoughtful and he’s the best.” Lovato said she never saw the special treat coming and was caught completely off guard. “Because we had talked about getting engaged and he was like, ‘Okay, you know, I don’t want to do it this year because I feel like it’ll get overshadowed by the holidays,’ so let’s just revisit next year and I was like, ‘Yeah, whatever. Take your time,’” she said of the song whose title she did not share. “And then he proposed to me, and I was so shocked. I was so shocked and I normally, I’m not like, normally I can sense when something’s coming, but I was so shocked about this.” Lovato and Lutes got married in California on May 25. Ottawa native and independent musician Lutes co-wrote a number of tracks on Lovato’s 2022 Holy Fvck album, including “Substance,” “Happy Ending” and “City of Angels.” Demi’s ninth studio album, It’s Not That Deep, is due out on Oct. 24, with the singles “Fast” and “Here All Night” released as singles so far. Lovato told the Mash Up team that she and Lutes work “really well together,” and though they didn’t write a lot on her upcoming LP, he did write a song that made the final tracklist. “He wrote it and I was like, ‘Wait, I love that!’ and he was like, ‘You can have it,’” she said of the song “In My Head.” Earlier this week news broke that Lovato and the Jonas Brothers are working on a third installment of the franchise that made them both stars. Nick, Joe and Kevin are slated to reprise their roles as the Gray brothers and executive produce alongside Lovato on Camp Rock 3. Watch Lovato discuss the proposal below. Source link

RAYE has shared her bombastic new single “Where Is My Husband?” and announced news of a global tour for 2026. The London-born songwriter revealed the This Tour May Contain New Music dates on her Instagram, which begins in Europe at the Polish city of Łódź on Jan. 22 and travels through mainland Europe over the following weeks.  The U.K. and Ireland leg begins on Feb. 17 at Manchester’s Co-op Live, before dates in Glasgow, Birmingham, London and Dublin. The run includes two shows at London’s 20,000-capacity O2 Arena on Feb. 26 and 27. The tour will be supported by her two sisters ABOSLUTELY, and AMMA, both of whom are performers in their own right. Explore See latest videos, charts and news The run then transfers to North America from March 31 and kicks off in Sacramento, Calif. at the Channel 24 venue. She’ll then hit major cities and venues such as New York’s Radio City Music Hall and conclude at Los Angeles’ Greek Theatre on May 12. See the full dates below. The tour poster also confirmed that “the album is coming” and pre-orders for her sophomore album are now available on her website. The LP is yet to have a title, artwork or release date. “The album is not done yet okay, but let’s just trust the process,” she added in her Instagram caption. Her debut LP My 21st Century Blues was released in 2023. Tickets for the shows go on sale on Sep. 25 at 10 a.m. local time from RAYE’s website. Fans in the U.K., France and Germany can access a pre-sale on Sep. 23 at 10 a.m. when they pre-order a copy of her forthcoming album. “Where Is My Husband?” has been performed live by RAYE during her live run at festivals including Glastonbury back in June. Speaking to British Vogue in a new cover story, she reflected on the new LP and its contents: “My first album was very devastating in parts,” she said in the feature. “In the second album, I feel this need for hope for myself and wanting that to translate to others.” On Oct. 2, she will recognised at the Ivors Academy Honours event in London for her campaigning for a fairer and more equitable landscape for songwriters like herself. Beyond her own work, RAYE has written for a number of artists such as Charli xcx, Beyoncé, Jennifer Lopez and more. RAYE’s This Tour May Contain New Music 2026 tour dates Jan. 22: Lodz, Poland @ Atlas Arena Jan. 24: Berlin, Germany @ Uber Arena Jan. 25: Prague, Czech Republic @ O2 Arena Jan. 27: Amsterdam, Netherlands @ Ziggo Dome Jan. 30: Bologna, Italy @ Unipol Arena Feb. 1: Antwerp, Belgium @ AFAS Dome Feb. 3: Copenhagen, Denmark @ Royal Arena Feb. 5: Oslo, Norway @ Unity Arena Feb. 7: Stockholm, Sweden @ Avicii Arena Feb. 10: Cologne, Germany @ Lanxess Arena Feb. 11: Zurich, Switzerland @ Hallenstadion Feb. 13: Barcelona, Spain @ Palau Saint Jordi Feb. 15: Paris, France @ Accor Arena Feb. 17: Manchester, UK @ Co-op Live Feb. 20: Glasgow, UK @ OVO Hydro Feb. 23: Birmingham, UK @ bp pulse LIVE Feb. 26: London, UK @ The O2 Feb. 27: London, UK @ The O2 March 4: Dublin, Ireland @ 3Arena March 31: Sacramento, Calif. @ Channel 24 Apr. 2: Vancouver, BC @ Doug Mitchell Thunderbird Sports Center Apr. 3: Seattle, Wash. @ WAMU Theater @ Lumen Field Apr. 6: Denver, Co. @ Fillmore Auditorium Apr. 8: Minneapolis, Minn. @ State Theatre Apr. 10: Chicago, Ill. @ Auditorium Theatre Apr. 12: Montreal, QC @ Place Bell Apr. 13: Toronto, ON @ Coca Cola Coliseum Apr. 15: New York, N.Y. @ Radio City Music Hall Apr. 19: Philadelphia, Pa. @ The Met Presented by Highmark Apr. 20: Boston, Mass. @ MGM Music Hall at Fenway Apr. 26: Washington, D.C., USA @ The Anthem Apr. 28: Atlanta, Ga. @ Coca Cola Roxy Apr. 29: Nashville, Tenn. @ Ryman Auditorium May 1: Houston, Texas @ 713 Music Hall May 3: Dallas, Texas @ South Side Ballroom Source link