Categoría: Billboard

A shining beacon of consistency and success for women in the contemporary reggae scene since the turn of the 2020s, Jamaican multihyphenate Lila Iké, 31, has, at long last, unveiled her debut full-length studio album.   Titled Treasure Self Love, the new LP — which arrived on Aug. 22 via her own Wurl Ike Records, Protoje’s In.Digg.Nation Collective and Ineffable Records — finds Iké eschewing the poignant sociopolitical commentary of 2020’s breakthrough The ExPerience EP in favor of much more personal ruminations on navigating mental health struggles, in a world that demands a constant balance of militancy and femininity from its women.  Featuring a mélange of cross-genre collaborators (H.E.R., Joey Bada$$ and Masicka) and nods to pillars of Jamaican music (Peter Tosh, Patra and Garnett Silk), Treasure Self Love further solidifies Iké’s knack for bridging generations of music listeners through her piercing lyricism and earthy, grounded tone. Less than a week after sharing Treasure Self Love (Aug. 28), the Manchester Parish-hailing star won her third consecutive Caribbean Music Award for female reggae artist of the year. She’s the only artist to win the category since the ceremony’s inception — a testament to her dominance and allure, with or without a formal LP.  “My first Caribbean Music Award was the first time I’ve ever won an award that’s directly tied to my music,” she gushes. “It’s amazing to be celebrated for what I’m doing alongside a lot of my inspirations, like Buju Banton and Sizzla Kalonji. It felt great seeing other Black Caribbean people go up and collect their awards and be celebrated in our own communities.”  In several ways, Iké’s third Caribbean Music Awards victory is a stamp on her latest career chapter. No longer with RCA Records after a four-year stint with the label — and on the precipice of a Coney Island show with Kabaka Pyramid (Sept. 27) and a few additional North American concerts — Protoje’s protégé stands wiser and more self-assured than ever before. From bouncy dancehall riddims and hip-hop production inflections to tender country and western guitar licks, Treasure Self Love distills Iké’s wide range of childhood music into a succinct 11-track study of achieving wholeness by unflinchingly examining the darkest parts of your past.  Below, Iké speaks with Billboard about her debut album, playing her first solo Reggae Sumfest show, and how her bipolar disorder diagnosis shaped the album’s creation. When did your working relationship with RCA end? When did you sign with Ineffable?  [I left RCA] late last year and started working with Ineffable immediately after. They came on board when we did the second single, “Fry Plantain,” [which dropped in November 2024]. It was natural. RCA served the purpose for what it was, and it was time to start a new chapter.  How would you compare the creative process for Treasure Self Love to that of The ExPerience EP?  I started working on The ExPerience during COVID. It was a lot of me being in the studio at home working with people I normally work with here in Jamaica: me, Proteje and a couple of our in-house producers. For Treasure Self Love, I was free to travel wherever. I was also signed to RCA at the time, and they put me in rooms with different producers I wasn’t necessarily familiar with. I’d say I was a bit more involved and paid attention to more things as it relates to the production of the music this time around. I spent a lot more time working on the music, which allowed me to do more than just write the songs.  Did you feel any particular pressure around this being your debut full-length album?  [The ExPerience], for my merits, did really well, and people connected with it. Because I toured that one EP for five years, along with other collaborations, it cemented me in the industry as a trusted artist whom people accepted they could be fans of. Personally, I felt that my first album needed to be amazing, especially since it’s been five years. No matter what I’m working on, I always have that pressure on myself to meet the expectation of greatness. But I also understood this didn’t necessarily feel like a debut album to the public; a lot of people were like, “Didn’t she already have an album?”  Looking back, I really shouldn’t have taken this long to put out an album. It wasn’t a deliberate effort; life just happened the way it did. But it’s also not like I disappeared after dropping the EP.  Did you find it challenging to focus on your own experiences on Treasure Self Love instead of prioritizing broader social commentary?  The EP had more social commentary in it because, at the time, those were things that I wanted to speak on. Not that I don’t want to comment on those right now, but I think music is a natural relationship between an artist and their inspiration, which usually has a lot to do with what’s going on with them personally. For [Treasure Self Love], it was more of me going within myself and speaking on emotional experiences I’ve had because, at that time, that’s what was real to me.   I discovered a lot about myself. I learned more about the mental struggles that I have endured my whole life. I got diagnosed with bipolar disorder. While dealing with all of that, I learned to truly treasure self-love.  There are musical nods to Jamaican music icons from Peter Tosh to Patra. Why was it important for you to pay homage to the greats across this album?  I feel like I’m always paying homage to my culture and the people who laid the foundation for what’s going on in Jamaican music right now. Songs like [2020’s] “Second Chance” and “Thy Will” were both sampled from Dennis Brown. I like to use music that inspired me on my journey and put my own twist on it. A lot of things also just happen; it’s never a deliberate effort. 

After having to postpone its new Las Vegas residency earlier this year, Nikki Sixx is happy to have Mötley Crüe back on stage with its current 10-date run at Dolby Live at Park MGM. “I’m excited about it,” Sixx tells Billboard. It’s not the Crüe’s first time in Vegas, of course: it follows Mötley Crüe Takes on Sin City in 2012 and An Intimate Evening in Hell the following year. But it is a new venue that, according to Sixx, affords the band a chance to craft something suitably extravagant for the career-spanning 13-song set, which includes a medley of covers the Crüe has recorded, among them its Billboard Hot 100 top 20 rendition of Brownsville Station’s “Smokin’ in the Boys Room.” “It’s a really super-wide stage, so it gives us an opportunity to do things with set design that are really cool,” Sixx explains. “You’re not in an arena or in a stadium; you’re in an inside environment, so you can control a lot of stuff, and that’s a lot of fun for us. Atmosphere’s such a big part of lighting, and when you can set your atmosphere and it’s a controlled environment, you can get some really cool looks. ” Sixx says the show is designed to be “a little more fan interactive,” which will include “some storytelling, which we’re excited about, on a couple of our songs,” he says. “A lot of people ask you what came first, the lyric or the (music), and we were talking at rehearsal about a specific song we’re gonna break down how the song happened. I’m bringing my acoustic guitar. I’m by no means what I would call even a good guitar player — I usually write from the bass — but I always have a guitar around and certain chords will inspire stuff…and I had these chords since I was 17 years old, through all the bands I was in…and nothing ever happened with them. We’re gonna talk about how those chords…turned into (a song).” The residency, which began Sept. 12 and runs through Oct. 3, is Mötley Crüe’s first time back on stage in 11 months, since the Aftershock Festival last October. The run was originally slated for March and April but was pushed back to allow frontman Vince Neil to recover from a then-unspecified medical procedure, which he recently revealed was a stroke that occurred late last December. He told the Las Vegas Review Journal last week that, “I had to learn to walk again, and that was tough. The doctors said they didn’t think I’d be able to go back on stage again. I go, ‘No, no, I’m gonna do to it. Watch and see.’” Sixx also addressed the ongoing legal battle with former guitarist Mick Mars over his departure from the group in 2022, slamming Mars’ allegations that Mötley Crüe did not play live at its concerts, calling it a “crazy betrayal,” and posting a subsequent social media message that, “I’m actually ashamed of him. So should you be, too.” Back in Vegas, the Crüe met on Wednesday (Sept. 17) night with representatives of the Nevada Partnership for Homeless Youth, an outgrowth of Sixx and the band’s previous work with Covenant House in Los Angeles. “Any time I can be involved in any way with kids…that’s something that’s very important to me,” Sixx says, “and it’s something that we will continue doing whenever we can find an opportunity to give back.” Motley Crue Las Vegas Rich Proctor Neil’s stroke recovery also axed the Crüe from playing the Ozzy Osbourne/Black Sabbath Back to the Beginning farewell concert, which took place July 5 in Birmingham, England, two weeks before Osbourne passed away at the age of 76. “It was something we were just unable to do…We couldn’t do it even if we wanted to,” says Sixx, who did watch the streaming concert online. He acknowledges that the band was disappointed to not be available, especially because Osbourne played such an instrumental role in the Crüe’s career when he took Sixx and company on the road as his opening act in 1984. “Honestly, they broke our band, Ozzy and Sharon (Osbourne),” Sixx notes. “Sharon saw a band that something was happening with and it was a perfect fit for Ozzy, and we just became so close and Ozzy took us around the world and just did everything for us…and of course all the wild and fun stories that is Ozzy. I’ll forever be in debt to Sharon and Ozzy for that. “And, man, I gotta tell ya — Ozzy, way to f–kin’ go out with a bang. He really did it, and everybody showed up because they loved him and supported him. Unfortunately, we don’t have him anymore, but we got one of the greatest rock stars of all time who came while we were here on this planet and went back to the f–kin’ stars, man. It’s like, ‘I came down there and I kicked some f–kin’ ass.’ Thank you, Ozzy, every day for the opportunity to have a career.” The Vegas residency coincides with the release of From The Beginning, a new Crüe compilation that features 20 tracks (21 on the two-LP vinyl edition) including a new version of “Home Sweet Home” featuring additional vocals by Dolly Parton. Sixx says it’s part of Mötley Crüe’s deal with BMG, which obtained the band’s catalog during November of 2021. “This is something (BMG) felt was a really nice way to introduce younger fans,” Sixx explains. “It’s not a greatest hits record, even though it’s loaded with hits. It’s a way of keeping our catalog and our music alive.” From The Beginning does include “Dogs of War” and, on the vinyl edition, “Cancelled,” both of which were part of last year’s Cancelled EP, its first project with new guitarist John 5. But Sixx isn’t hazarding a guess as to when the next batch of new material will come along. “We’re not in rush mode,” he says. “We only work

Ariana Grande was named songwriter of the year at the 2025 SESAC L.A. Music Awards, which were held at the W Hotel in Hollywood on Wednesday (Sept. 17). This marks the fourth year the awards took place in Los Angeles. Related Grande was also awarded song of the year for her hit “We Can’t Be Friends (Wait for Your Love),” which in March 2024 became her seventh song to debut at the top of the Billboard Hot 100, earning her the record as the female artist with the most No. 1 debuts in history. (Taylor Swift has since tied that record, when she landed her seventh No. 1 debut with “Fortnight,” featuring Post Malone). “We Can’t Be Friends” was published by Universal Music Group Publishing, which also received the publisher of the year award. The company was also behind such songs as “The Emptiness Machine” recorded by Linkin Park and “We Pray” recorded by Coldplay featuring Little Simz, Burna Boy, Elyanna and TINI. Dez Wright and The Legendary Traxster each received producer of the year awards in recognition of their work with artists including Travis Scott, Future, Beyoncé and Megan Thee Stallion. Additional award-winning writers include Jack Harlow, Emily Armstrong, Dahi, Japanese Breakfast, Green Day, Fede Vindver and Sam Tinnesz. “We’re proud to honor the incredible songwriters and publishers who make our music come alive,” Sam Kling, chief creative officer at SESAC Performing Rights, said in a statement. “These songs are the result of immense dedication and talent.” Kling announced that two members of the creative team, James Leach and John Sweeney, received posthumous legacy awards in recognition of their service and dedication. Artist and SESAC songwriter Tamara Jade served as the MC for the event for the third consecutive year.   Here’s a list of the key winners. A full list of all winners is available at the SESAC site. Songwriter of the Year Ariana Grande Publisher of the Year Universal Music Publishing Group Song of the Year “We Can’t Be Friends (Wait for Your Love)” Written by: Ariana Grande Published by: Universal Music Publishing Group Performed by: Ariana Grande Producer of the Year The Legendary Traxster Dez Wright Source link

The biggest surprise of the 2025 Grammy Awards season didn’t occur on Grammy night, but when the nominations were announced on Nov. 8, 2024 and Jack Antonoff was not in the running for producer of the year, non-classical. He had been nominated in that category for five straight years, winning in the last three years. Had he been nominated again last year, he would have become the first producer or producing team to be nominated in the category six years running since Jimmy Jam & Terry Lewis, who were up every year from 2001-2006. Antonoff’s omission was especially perplexing because he was nominated for album of the year with two albums last year – Taylor Swift’s The Tortured Poets Department and Sabrina Carpenter’s breakthrough collection, Short N’ Sweet. One of the big questions going into the 2026 Grammys is whether Antonoff will return to the producer of the year, non-classical finals. Another question is whether he will receive double nods for album of the year for the third year in a row. He very well may, thanks to his involvement with Kendrick Lamar’s GNX (where he is credited as a producer on 11 of the 12 tracks) and Carpenter’s Man’s Best Friend (where he is credited as a producer on nine of the 12 tracks). Antonoff first received double album of the year nods two years ago for Swift’s Midnights (which won) and Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd. Prior to that, he had been nominated for album of the year six times, but never with more than one album in a given year. His previous album of the year nominees were with his alt-pop trio fun.’s Some Nights (2013), Swift’s 1989 (2016, which won), Lorde’s Melodrama (2018), del Rey’s Norman F***ing Rockwell (2020), and Swift’s Folklore (2021, which won) and Evermore (2022). Thus, Antonoff has received 12 album of the year nominations and could very well up that total to 14 when this year’s nominations are announced. Antonoff’s failure to land a nod for producer of the year (non-classical) last November was seen as a desire on the part of the committee which made the final choices to give other producers a chance at Grammy glory. Indeed, three of the nominees – Alissia, Ian Fitchuk and Mustard – had never been nominated in the category before. The other two nominees, Daniel Nigro and Dernst “D Mile” Emile II, were on their second and third nominations in the category, respectively. Nigro won. Here’s how the producer of the year, non-classical voting process works, taken from the Rules & Guidelines booklet for the 68th Grammy Awards: “The first round of voting is in the hands of the general voting membership via the first ballot. The second round of voting, however, takes place in a national craft nominating committee. The top 30 selections from the general voting membership appear on the ballot for the national craft nominating committees, made up of 25-30 voting members representing all the chapters. The committees review the recordings and vote by confidential ballot to select the five nominations.” The process is exactly the same in songwriter of the year, non-classical as well as these three other categories: best instrumental composition; best arrangement, instrumental or a cappella; and best arrangement, instruments and vocals. The question now is, having given other producers a chance to get some Grammy love, will the committee let Antonoff again compete in the category he has dominated for the past decade — and which he’ll have an extremely convincing case for once again in 2026? Source link

David Byrne’s first album in more than seven years, Who Is the Sky?, debuts in the top 10 across four Billboard album charts: Top Album Sales (No. 10), Vinyl Albums (No. 5), Indie Store Album Sales (No. 4) and Top Current Album Sales (No. 9), all dated Sept. 20. It’s his first new album since American Utopia was released in March 2018. Explore See latest videos, charts and news The new set was preceded by the hit song “Everybody Laughs,” featuring the Ghost Train Orchestra, which reached No. 2 on the Adult Alternative Airplay chart in August, marking Byrne’s highest charting track ever on the 29-year-old ranking. As a soloist, Byrne’s chart history dates to March of 1981, when his collaborative album with Brian Eno, My Life in the Bush of Ghosts, debuted on the overall all-genre Billboard 200. Byrne is also the frontman of Talking Heads, who made its Billboard chart debut nearly 48 years ago, when the Talking Heads: 77 set bowed on the Billboard 200 dated Oct. 8, 1977. Talking Heads collected 13 charted titles on the Billboard 200, including eight that reached the top 40. As a soloist, Byrne has logged 14 entries on the Billboard 200, including Who Is the Sky? (No. 172), with two of those titles visiting the top 40. Back on the latest Top Album Sales chart, as Byrne’s Who Is the Sky? launches at No. 10 with 8,500 sold in the United States in the week ending Sept. 11, it joins five other debuts and reentries in the top 10. Rich Man – The 6th Mini Album by aespa bows at No. 4 (23,000), ZEROBASEONE’s NEVER SAY NEVER starts at No. 5 (21,000), MONSTA X’s THE X debuts at No. 6 (19,000), Slipknot’s 1999 self-titled debut effort reenters at No. 7 (10,000, up 948%) after it was reissued for its 25th anniversary (all versions of the album, old and new, are combined for tracking and charting purposes), and Rob Thomas’ All Night Days bows at No. 9 (9,000). As for the non-debuts and reentries in the top 10 on Top Album Sales, Sabrina Carpenter’s Man’s Best Friend holds at No. 1 for a second week (27,000, down 88% in its sophomore frame), Stray Kids’ former No. 1 KARMA is steady at No. 2 (26,000, down 52%), the KPop Demon Hunters soundtrack is a non-mover at No. 3 (23,000, up 56% following the wide release of its CD and a deluxe digital and streaming edition with additional tracks) and Deftones’ Private Music falls 4-8 (a little over 9,000, down 29%). Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units. Source link

Regional Mexican singer Lupillo Rivera has just released his autobiography Tragos Amargos: Gloria e Infierno de El Toro del Corrido, a retrospective of his life in which he makes deeply personal revelations — from a health issue that could jeopardize his career to details of his last encounter with his late sister, Jenni Rivera. Explore See latest videos, charts and news With her, he shared a touching moment just a few days before her tragic death in a plane crash, when at one of his performances — he writes — she arrived unexpectedly and went up on stage to sing with him “Tragos Amargos,” the classic song by norteño legend Ramón Ayala, which now serves as the title of his book. With his raspy voice and unique style, Lupillo Rivera (real name: Guadalupe Rivera Saavedra) is known for hits like “El Moreño,” “Baraja de Oro,” “Fondo, Fondo,” and “Grandes Ligas.” His rise to stardom allowed him to help launch his sister Jenni’s career. The siblings worked at their family’s record label, Cintas Acuario, while waiting for their opportunity to record. Through 33 chapters, Tragos Amargos (Bitter Moments) — released in Spanish the U.S. on Sept. 16 via Penguin Random House and soon to arrive in Mexico — offers an emotional journey through the artist’s childhood, his time at Cintas Acuario, and his complicated family relationships — especially with his father, Pedro Rivera, with whom he severed ties over business matters. He also discusses his past loves, confirming a previous relationship with pop star Belinda. (A Billboard message to a representative of the singer hasn’t been answered.) “I just share what I lived, I talk about everything, and I know many people won’t like what I say,” Rivera admits. Below, he discusses some of those revelations with Billboard. You worked alongside your father at Cintas Acuario. What did that experience teach you? I learned the music industry from the ground up. From my father, I learned the value of hard work to support a family. Back then, my dad didn’t do anything wrong. He made deals to buy and sell songs. At the end of the day, artists sell their talent. You had the chance to meet singers like Chalino Sánchez and Valentín Elizalde at Cintas Acuario, both of whom became major stars. What special memories do you have of them? Chalino was an honorable man. He always carried a gun, but he never looked for trouble. He was serious in his dealings and incredibly talented. Many people think his singing style meant he didn’t know music, but he didn’t need to — he understood exactly what he had to do. Things started going well for me in 1999, and by 2000, my career had taken off. Valentín used to complain to my dad, saying he only promoted me. I’d tell him to be patient, that his time would come. I knew he’d succeed. He had something special, his presence was striking. When he moved to another label, we competed at fairs and events, but we got along really well. In your book, you mention recording demo vocals, which led to your father giving you the opportunity you’d been waiting for as a singer. But this happened during a difficult time in your life. I became a father at a very young age. I was already signed up to join the Marines, but my girlfriend was pregnant. This was during the Gulf War; my friends who went didn’t survive. I stayed behind and started my music career. My relationship with Maria, my first wife, was wonderful for many years, though she didn’t want me to be a singer, even when I started earning a good income. I used to look at my parents’ marriage, where they always worked together, and I wanted that with my wife. But it didn’t happen. I was unfaithful multiple times, and she didn’t deserve that — she’s a good woman. We had four daughters together. Later, I remarried and had two more children. I have six children and nine grandchildren, whom I love to spoil. What’s the current situation with your career? My father and I had an agreement to split the earnings from the music I recorded for Cintas Acuario 50/50, but he didn’t honor that. That’s why I decided to re-record all my music, so I could leave something for my kids. A record label approached me three months ago and bought 20 songs. The label is Hyphy Music, which specializes in acquiring master recordings. Is this related to the lawsuit your nephews filed against your father over Jenni’s music? My sister Jenni is no longer with us; it’s my responsibility as an uncle to guide them. This situation affected me because I also lost all my music [when Cintas Acuario kept it]. I don’t want to fight with my father or mother, which is why I decided to re-record my work. Speaking of Jenni and her absence, in the book you suggest her death could have been foul play. It was intense, very intense. Sometimes it’s better to protect those of us who are still here because we won’t win. You have to learn to lose and accept things in order to move forward. My father was determined to find out what happened, but I told him that if we kept pushing, it would destroy us all. In another striking moment in the book you recount the last time you saw Jenni. You describe how she made a surprise appearance at your show. That day in Texcoco, she asked for my forgiveness many times on stage. Back in the dressing room, she apologized again. I told her, “Don’t say that. Look at how much the people love us.” For me, that moment is more important and beautiful than anything else. Why did Jenni ask for your forgiveness? A lot of people have misinterpreted this, unfairly. During my last performance at what is now the Microsoft Theater, I invited my dad, and he

It’s fair to say that the world has never seen anything quite like Kpop Demon Hunters, which has absolutely captivated audiences — to the point that fictional band HUNTR/X is now making very real moves in the music industry. Its single “Golden,” for instance, has spent five weeks so far at No. 1 on the Billboard Hot 100, making it the first female K-pop group to reach the chart’s summit. That said, the imaginary trio also has some very real musical influences that informed its look and sound — and in a conversation with Billboard over noodles, the singing voices behind HUNTR/X spoke about some of their personal favorite K-pop acts. EJAE, who portrays Rumi in the Kpop Demon Hunters musical numbers, begins, “I like the OG generation, so, like, G.O.D, shout-out.” “H.O.T, S.E.S, like, they are the reasons why I fell in love with K-pop,” she continues. “And like, aespa, BLACKPINK, BTS, TWICE.” “I’m a big 2010s era [fan], like, I fainted at a Big Bang concert when I was like 12,” Audrey Nuna, who sings for Mira, says. “2NE1 was hugely inspirational, because I feel like they were just so cool. Obviously they’re amazingly beautiful as well, but I think for me, it was like they led with their coolness, and they led with their kind of self empowerment. That was huge to see, like, an Asian female face who was owning their stuff to that degree.” REI AMI, who voices Zoey, agrees. “They weren’t doing like the traditional girl group, aesthetic approach, of, like, very good, frilly, girly,” she says of 2NE1. “No, they were hard, in your face, full of attitude. And I think us being raised in the West, there was a part of us that we saw in them. Because, you know, we are Korean-American. There’s a whole Western side to us, and it shows in our music and our artistry.” The ladies’ outing with Billboard comes as Kpop Demon Hunters is dominating on the charts following the film’s premiere on Netflix in June. In addition to the mini-residency “Golden” has taken up on the Hot 100, the project’s soundtrack recently reached No. 1 on the Billboard 200. And while HUNTR/X is the first female K-pop group to top the Hot 100, they’re also the first all-female group, period, to rule the chart since Destiny’s Child did it with “Bootylicious” in 2001. “It is really cool, because I feel like they were so trailblazing in their own way as well,” says Nuna of the iconic R&B trio comprised of Beyoncé, Kelly Rowland and Michelle Williams. “It feels like a similar narrative, in the sense of three women of color just –.” “Dominating,” REI AMI jumps in. With all the success Demon Hunters is seeing, fans have been clamoring for another installment. A part two is reportedly in talks, but as REI AMI reminds Billboard, “The sequel has not been confirmed.” “We are, you know, looking forward, and we will know once we get that email,” she continues. So what do the voices of HUNTR/X intend to do in the meantime? “We should start, like, a tap-dancing group or something,” says Nuna as REI AMI and EJAE laugh. “Or a whistle chorus. An a cappella group.” Check out the trio’s full interview with Billboard above. Source link

Kali Uchis is working to get her “Crashing” collaboration with D4vd taken off streaming services after authorities identified a 15-year-old girl as the body found in a Tesla registered to the “Romantic Homicide” singer earlier in September. Uchis came under fire in her Sept. 11 Instagram post, as fans called her out for her relationship with D4vd. “Not my friend i did a song with him which is currently in the process of being taken down given today’s disturbing news,” she wrote in response. Others came to Uchis’ defense and she fired back at the detractors. “Its ok bb people like her are why women always get blamed for the things men do lol, the internalized misogyny of this world I suppose,” she responded to another commenter, according to Complex. Billboard has reached out to D4vd for comment. “Crashing” landed on D4vd’s Withered debut album, which arrived in April via Darkroom/Interscope Records. An accompanying visual for the track was released in February and has more than four million views on YouTube. After the body was found in the trunk of D4vd’s Tesla in a Hollywood Tow lot earlier in September, authorities identified the body as 15-year-old Celeste Rivas. She was reported missing after last being seen in April 2024 in Riverside County. Her remains were discovered when police were alerted to a “foul odor” coming from the impounded car. D4vd (born David Anthony Burke) is currently on the road as part of his Withered World Tour, but canceled his Seattle show on Wednesday night (Sept. 17). Get weekly rundowns straight to your inbox Sign Up Source link

Shinedown is something of an anachronism. The veteran rock band arrived at the tail end of the CD era, lived through the download era and has thrived in the streaming era. Over those years, radio became less important as digital platforms gained influence and short-form video apps such as TikTok turned into hitmakers.  Explore See latest videos, charts and news But while much of record labels’ promotional efforts have shifted to platforms including TikTok, Shinedown has remained adamant about the importance of terrestrial radio. Earlier in September, the band notched its 21st No. 1 on Billboard’s Mainstream Rock Airplay chart with “Killing Fields.” In March, the band became the first artist with 20 No. 1s on the chart with “Dance, Kid, Dance” — two more than the next band on the list, Three Days Grace. “Streaming will get your music played, but radio will give you a career, because it gave us a career and it continues to do that,” Shinedown singer Brent Smith tells Billboard’s Behind the Setlist podcast. “Radio is a big part of the success of the band in North America.” It helps that Shinedown is a rare rock band that appeals to a broad audience, which gives it airplay on a variety of radio formats. “We’re very, very lucky because we’ve always looked at Shinedown as everyone’s band,” says Smith. “So even from the beginning, that ideology of, ‘Is it a rock band?’ Yes, it’s a rock band. But that’s not everything that we are. Because we’re not influenced by just one style of music or one genre. We have a pretty vast palette. We swim in a pretty big ocean.” Being a radio-oriented band is a lot of work, though. Smith explains that the group will tailor its touring and album cycles to allow visits to stations in cities across the U.S. “We need to be able to go in and say ‘Hi,’ say ‘Thank you.’” And rather than focus on a few big markets, Shinedown visits smaller markets that are nevertheless filled with rock fans.  “I think it’s really, really important for people to understand that in this business,” he says. “Nobody owes you anything. You gotta work for it. And honestly, man, sometimes you have to take it. Are you willing to outwork the other people? I mean, that’s really what it comes down to. Sometimes it’s just pure tenacity more than anything.” The payoff to decades of radio promotion is being able to sell thousands of tickets in most any market in the U.S.. Radio is local, Smith explains, and getting airplay helps build a fanbase in that market. On the first leg band’s recently concluded Dance, Kid, Dance Tour, Shinedown played in Des Moines, Iowa, which has a metropolitan population of approximately 540,000 people. On the tour’s second leg, the band played Boston’s TD Garden and New York City’s Madison Square Garden for the first time.  According to Smith’s math, an arena filled with fans is the same regardless of where it’s located. “Yes, they’re different markets, but the reality is that the Des Moines arena holds 15,000 people, and the Boston [TD] Garden and Madison Square Garden [each] hold 15,000 people.” Listen to the entire interview with Brent Smith using the embedded Spotify player below, or listen at Spotify, Apple Podcasts, Amazon Music, iHeart, Podbean or Everand. Source link

Cardi B has revealed the tracklist for her upcoming sophomore album, Am I the Drama?. The Bronx native posted the tracklist on Thursday (Sept. 18), just over 12 hours before the project finally lands come Friday (Sept. 19). Explore See latest videos, charts and news The album boasts 23 tracks in total, including a pair of features from Summer Walker (“Dead,” “Shower Tears”), Selena Gomez( “Pick It Up”), Kehlani (“Safe”), Lizzo (“What’s Goin On”), Cash Cobain (“Better Than You”), Lourdiz (“On My Back”), Janet Jackson (“Principal”), Tyla (“Nice Guy”) and Megan Thee Stallion (“WAP”). Fans seemed to be upset in Cardi’s IG comments section, as they thought a brand new collab with Megan was on the way, rather than 2020 Billboard Hot 100 No. 1 “WAP.” She addressed similar criticism in June, writing on X at the time, “WAP and Up are two of my biggest songs, my fans have been asking me to put them on an album, and people search for them on IOP all the time… they deserve a home.” Cardi’s been putting on a clinic with her album rollout, which continued this week with an appearance on The Tonight Show. “Tell people on your show to get my album. Thank you,” she quipped. “Tell your audience or I’m gonna be homeless.” The 32-year-old also revealed this week that she’s pregnant with baby No. 4, which will be her first child with NFL star boyfriend Stefon Diggs. “Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” Cardi told Gayle King on CBS Mornings. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.” It’s been more than seven years since Invasion of Privacy and the wait is nearly over. Find the Am I the Drama? tracklist below. Source link