Categoría: Billboard

Ozuna adds his 33rd chart-topper on Billboard’s Latin Rhythm Airplay chart as “Sirenita” lifts 4-1 on the Sept. 20-dated chart. “Sirenita” was released June 5 on Nibiru/Sony Music Latin and takes the lead on its ninth week, with six of those in the top 10. For the tracking week of Sept. 5-11, the steady gainer enjoyed a 10% growth in audience impressions in the United States, registering 7.2 million, according to Luminate. With his newest Latin Rhythm Airplay No. 1, Ozuna continues to hold the third-highest number of chart-toppers since the list launched in 2005, surpassed only by J Balvin with 38 and Daddy Yankee with 35. Here’s a recap of those winners: Explore See latest videos, charts and news 38, J Balvin35, Daddy Yankee33, Ozuna29, Bad Bunny20, Maluma20, Wisin20, Wisin & Yandel The radio increase across Latin rhythm stations in the U.S. aligns with the song’s 6-3 lift on the overall Latin Airplay chart, adding to Ozuna’s robust catalog of 37 career songs which reached No. 3 or higher — 35 of those have hit No. 1. So far, “Sirenita” and “Te Boté” (his collab with Casper Mágico, Nio García, Darell, Nicky Jam, and Bad Bunny) are Ozuna’s only two songs, of his 37 top three-charted songs, that have not reached No. 1. “Te Boté” peaked at No. 2 in 2018. Elsewhere, “Sirenita” becomes the Hot Shot Debut of the week on the Hot Latin Songs chart, arriving at No. 42. In addition to its 7 million impressions during the tracking period, the song generated a 7% gain streaming activity. “Sirenita” also makes its entrance on the Hot Latin Rhythm Songs chart, at No. 22, Ozuna’s third entry since its launch in April. The list combines streaming data, digital sales and radio audience into its formula. Source link

Carín León and Alejandro Fernández team up for a second No. 1 with “Me Está Doliendo,” as the song tops Billboard’s Latin Airplay chart (dated Sept. 20) almost a month after the pair claimed the top spot on the Regional Mexican Airplay ranking with the same track. Explore See latest videos, charts and news “Me Está Doliendo” surges 8-1 on overall Latin Airplay chart with a 10 million audience impressions earned in the United Stated in the week ending Sept. 11, according to Luminate: that’s a 58% gain from the week prior. Plus, it takes over with the Greatest Gainer honors, awarded weekly to the song with the largest impressions among the 50 songs on the tally. With a 58% growth, León replaces himself at No. 1 on Latin Airplay as “Me Está Doliendo” ejects “Vivir Sin Aire,” his collab with Maná, out of the top 10. The song drops to No. 11 after a 38% decline in audience (to 5.8 million). León becomes the second artist to replace himself at the summit in 2025. Colombian Kapo’s “Más Que Tú,” with Ozuna, ceded the throne to “Imagínate,” with Danny Ocean, on the April 26-dated ranking, both crowned Latin Airplay for one week. “Me Está Doliendo” becomes León’s fourth chart-topper on Latin Airplay in 2025 –he’s placed six overall. In addition to the above-mentioned coronations, the singer ruled through one-week champs, “El Amor De Mi Herida” and “Ahí Estabas Tú” in March and May, respectively. For Fernández, “Doliendo” marks his 12th No. 1, breaking his tie with Marco Antonio Solis for the most chart-topping songs by a regional Mexican artist since Latin Airplay began in 1994. Among all, J Balvin continues to lead with 38 No. 1s. Beyond its Latin Airplay coronation, “Doliendo” adds a second week atop Regional Mexican Airplay with 8.9 million impressions (up 58%) during the tracking period. Thanks to its radio haul, the song soars from No. 49 to No. 20 on the multi-metric Hot Latin Songs chart, claiming a new peak. This marks Fernández’s highest position this decade, matching the success of “Caballero” in 2020. The chart blends radio airplay, streaming data and digital sales to determine its ranking. Source link

Producer Sidney “Omen” Brown has died at age 49. According to NBC News, Omen was found in his Harlem apartment on Saturday by his sister, Nicole Iris Brown. “He was holistic and healthy. So we don’t know of him being sick, so this is all pretty sudden,” Omen’s sister said in a statement to NBC News. “I hope people will remember that he was willing to help the younger generation.” Explore See latest videos, charts and news Brown continued: “He was always big on helping younger people start their careers and get themselves into the game. It was about just the music, no matter who the artist was.” Omen began making a name for himself in hip-hop around the turn of the century as he aligned with Roc-A-Fella. He earned production credits on Memphis Bleek’s Coming of Age debut as well as Fabolous’ Street Dreams album cuts “Change You or Change Me” and “Why Wouldn’t I” in 2003. Brown crafted the score behind Roc-A-Fella’s Paper Soldiers movie in 2002, which served as Kevin Hart’s acting debut and saw a cameo from Jay-Z. He produced “Tell It Like It Is” for Ludacris‘ Release Therapy, which won best rap album at the 2007 Grammy Awards. Omen floated into the Young Money orbit when teaming up with OVO’s Noah “40” Shebib to produce “Shut It Down” featuring The-Dream on Drake’s Thank Me Later debut in 2010. He collaborated with Shebib again to co-produce Lil Wayne’s “I’m Single,” which reached No. 82 on the Billboard Hot 100. Continuing his work with 40, Omen is credited as a songwriter on Beyoncé’s 2013 hit “Mine,” which also peaked at No. 82 on the Hot 100. Omen went on to compile a talented list of collaborators, as he earned production credits with Mya, Redman and Action Bronson over the years. Billboard has reached out to the New York Police Department and the Medical Examiner’s Office for comment. Get weekly rundowns straight to your inbox Sign Up Source link

What happens when fate, music and a game of chance collide? Rauw Alejandro has the answer. The Puerto Rican superstar has officially revealed the release date for his forthcoming deluxe album, Cosa Nuestra: Capitulo 0. In a cleverly crafted 30-second video shared on social media — that you have to enter the secret code to watch (which we reveal below) — the Latin hitmaker reveals the album drop date. “It’s my way of showing that the Caribbean is not the past, but a living present that continues to ignite the world,” he wrote on Instagram on Tuesday (September 16). Once you enter the code, the visual showcases the artist in a desolate game room, donning a slick polka-dot, West Side Story-inspired pachuco outfit complete with a fedora. While he takes part in a game of las picas — a traditional Puerto Rican card-based gambling game of chance and destiny — the tension builds until the final reveal. As the game concludes, the date “9/26” appears on a carousel of horses, signaling the arrival of his forthcoming musical project on September 26. In tandem, Rauw teases the Capitulo 0 track list via Billboard, revealing 14 songs in total — a mix of already-released singles and cryptic titles that hint at the songs’ actual names. 1. “Carita Linda”2. pa’ enorgullecerse (to be proud)3. “GuabanSexxx”4. “Buenos Términos”5. pa’ arreglar la situación (to make things up)6. pa’ Las maldades (for the block)7. pa’ la callosa  (for the rock chick)8. pa’ llorar bellak@ (for crying naughty)9. pa’ perderse (to get lost)10. pa’ siempre (for always)11. “Santa”12. pa’ arrepentirse bailando (for regretting on the dance floor)13. pa’ desenmascarar (to call out)14. pa’ agradecer (to show gratitude) Earlier Tuesday (Sep. 16), it was also announced that Rauw Alejandro will be a featured spotlight speaker at Billboard’s Live Music Summit Presented by VENU, returning this fall. Watch the video below by entering the secret code — ELCARIBE — exclusively revealed here on Billboard. Get weekly rundowns straight to your inbox Sign Up Source link

Lady Gaga makes a lively entrance on the Billboard Hot 100 with her latest single, “The Dead Dance.” The track launches at No. 40 on the Sept. 20-dated Hot 100 with 8.7 million official streams, 7.8 million in radio airplay audience and 5,000 sold in the United States Sept. 5-11, according to data tracker Luminate, after it was released Sept. 3. Boosting its profile, Gaga performed it, via a taped performance, in a medley with prior single “Abracadabra,” Sept. 7 on the MTV Video Music Awards, broadcast on CBS. The superstar earns her 29th career top 40 Hot 100 hit and the fourth from her album Mayhem, released in March, with “The Dead Dance” now included on its deluxe edition. “Disease” hit No. 29 last November; “Die With a Smile,” with Bruno Mars, ruled for five weeks beginning in January; and “Abracadabra” conjured up a No. 13 peak in February. Mayhem topped the Billboard 200 in its debut week in March, marking Gaga’s seventh No. 1. The last time a Gaga album had generated as many as four top 40 Hot 100 entries? 2013, when Artpop also produced four:  “Applause” (No. 4 peak); “Dope” (No. 8); “Do What You Want,” featuring R. Kelly (No. 13); and “Venus” (No. 32). Two other Mother Monster albums achieved the feat, led by 2011’s Born This Way, which houses five top 40 Hot 100 hits, including four top 10s: the title cut (six weeks at No. 1); “The Edge of Glory” (No. 3); “You and I” (No. 6); “Judas” (No. 10); and “Hair” (No. 12). Plus, Gaga’s 2008 debut LP, The Fame, includes four breakout classics that surged to the Hot 100’s top 10: “Just Dance,” featuring Colby O’Donis (No. 1, three weeks); “Poke Face” (No. 1, one week); “LoveGame” (No. 5); and “Paparazzi” (No. 6). Beyond Mayhem, “The Dead Dance” is featured in the second season of Netflix’s Wednesday, in which Gaga appears. In August, she attended Netflix and Spotify’s Graveyard Gala in New York. “I’m so excited for you to see it,” she teased of the show’s return. She added that she had a “wonderful time” working on it and shouted out star Jenna Ortega and director/executive producer Tim Burton. Source link

Jeezy’s bringing a chance of snow to the desert. The trap pioneer has announced plans to take his TM:101 live orchestra tour to Las Vegas for a residency at Planet Hollywood Resort & Casino. Explore See latest videos, charts and news The residency will include four shows and a 101-piece orchestra surrounding Jeezy during his shows at the resort’s PH Live auditorium. He’ll take the stage on Oct. 31 and Nov. 1, with spooky season in full swing for the fall-themed TM:101 Live – The Masquerade. The Atlanta staple will spin the block around the holidays for another two shows on Dec. 19 and Dec. 21, just ahead of Christmas, for the reimagined TM:101 Live – The Nutcracker. Tickets for both pairs of shows go on pre-sale starting on Wednesday (Sept. 17), while the general on-sale for the new set of shows begins on Friday (Sept. 19). Composer Derrick Hodge will direct the orchestra, while the shows will include live DJ sets from DJ Drama and DJ Ace. While Jeezy’s been spending 2025 celebrating 20 years of his seminal Let’s Get It: Thug Motivation 101 major label debut album, he’s also going to have new music for fans this fall. Jeezy announced he’s reuniting with DJ Drama for another Gangsta Grillz project with Still Snowin’ set to arrive on Sept. 28, which is the rapper’s 48th birthday. “We’re celebrating 20 years of TM:101, which has been amazing and a milestone in my career,” Jeezy said in a statement. “I also wanted to keep going. I feel like I’m in the zone. I’ve got my second wind in my creative space. Still Snowin’ is a Gangsta Grillz. Sept. 28 (when it releases) is my birthday. It’s one of my favorite projects ever.” Watch the trailer for Jeezy’s Las Vegas residency below. Get weekly rundowns straight to your inbox Sign Up Source link

From Ozzy Osbourne to Roberta Flack to Sly Stone and beyond, Billboard remembers the artists who left us this year. Ozzy Osbourne at the Rosemont Horizon on March 4, 1984 in Rosemont, Ill. Paul Natkin/Getty Images Español 2025 got off to a rough start in the music world, with two music greats passing away on the first day of the new year. Argentine artist and composer Leo Dan — known for his romantic tracks such as“Cómo Te Extraño Mi Amor,” “Mary Es Mi Amor” and “Pídeme La Luna” — died at age 82; Wayne Osmond, the second oldest of the Osmond Brothers, died at 73, his family announced the day after his passing. Soul singer Brenton Wood, known for 1967’s “The Oogum Boogum Song,” died of natural causes on Jan. 3 at age 83. And before the first week of the new year ended, Peter Yarrow of popular folk trio Peter, Paul and Mary died in his New York City home at age 86 after a four-year battle against bladder cancer. The losses continued with Sam Moore of the duo Sam & Dave passing away at age 89 on Jan. 10, followed by The Whites’ Buck White, who died three days later at age 94, then Thin Lizzy and Whitesnake guitarist John Sykes passing on at age 65 after a cancer battle. And on the final day of the third week of the new year, Garth Hudson — the last surviving member of Rock Hall-honored group The Band — died in his sleep at age 87. Music fans were dealt another blow when the iconic Roberta Flack died at age 88 on Feb. 24, surrounded by her loved ones. Another big loss hit on July 22, when metal icon Ozzy Osbourne passed away at the age 76, just weeks after the final Black Sabbath concert. While the world has had to say goodbye to many musicians so far this year, they will live in the memories of not only their families, but their fans. Here, Billboard remembers the musical artists who passed away in 2025. Hermeto Pascoal Image Credit: Mauricio Santana/Getty Images (June 22, 1936 – Sept. 13, 2025) Bobby Hart (second from right) Image Credit: Chris Walter/WireImage (Feb. 18, 1939 – Sept. 10, 2025) Rick Davies Image Credit: Brill/ullstein bild via Getty Images (July 22, 1944 – Sept. 5, 2025) Mark Volman Image Credit: Steve Eichner/Getty Images (April 19, 1947 – Sept. 5, 2025) Robby Turner (back) Image Credit: Rick Diamond/Getty Images (Sept. 4, 2025) Hooshmand Aghili (center left) Image Credit: Erin C Shimazu Photography/Courtesy Tahmasbi Family (1937 – Sept. 4, 2025) Xava Drago Image Credit: Grupo Coda (Aug. 21, 2025) Brent Hinds Image Credit: Barry Brecheisen/Getty Images (Jan. 16, 1974 – Aug. 20, 2025) Michael “Tunes” Antunes Image Credit: Bobby Bank/Getty Images (Aug. 10, 1940 – Aug. 19, 2025) Ernesto Barajas Image Credit: Enigma Norteño (Aug. 19, 2025) Joe Hickerson Image Credit: Carl Fleischhauer/Courtesy of the American Folklife Center, Library of Congress (Oct. 20, 1935 – Aug. 17, 2025) Bobby Whitlock Image Credit: Michael Ochs Archives/Getty Images (March 18, 1948 – Aug. 10, 2025) Eddie Palmieri Image Credit: Tad Hershorn/Hulton Archive/Getty Images (Dec. 15, 1936 – Aug. 6, 2025)  Terry Reid Image Credit: Michael Putland/Getty Images (Nov. 13, 1949 – Aug. 5, 2025) David Roach (center) Image Credit: Ted Thorton (Aug. 1, 2025) Jeannie Seely Image Credit: Photo credit: Cyndi Hornsby (July 6, 1940 – Aug. 1, 2025) Flaco Jimenez Image Credit: Frans Schellekens/Redferns (March 11, 1939 – July 31, 2025) Tom Lehrer Image Credit: Anthony Pidgeon/Redferns (April 9, 1928 – July 26, 2025) Hulk Hogan Image Credit: Paul Kane/Getty Images (Aug. 11, 1953 – July 24, 2025) Cleo Laine Image Credit: Howard Denner/Avalon/Getty Images (Oct. 28, 1927 – July 24, 2025) Chuck Mangione Image Credit: Michael Ochs Archives/Getty Images (Nov. 29, 1940 – July 22, 2025) Ozzy Osbourne Image Credit: Ian Dickson/Redferns (Dec. 3, 1948 – July 22, 2025) Malcolm-Jamal Warner Image Credit: Paras Griffin/Getty Images (Aug. 18, 1970 – July 20, 2025) Alan Bergman Image Credit: Leah Puttkammer/FilmMagic (Sept. 11, 1925 – July 17, 2025) Connie Francis Image Credit: PoPsie Randolph/Michael Ochs Archives/Getty Images (Dec. 12, 1937 – July 16, 2025) David Kaff (right) Image Credit: ©Embassy Pictures / Courtesy Everett Collection (April 17, 1946 – July 12, 2025) Young Noble Image Credit: Robin Marchant/Getty Images (March 21, 1978 – July 4, 2025) Jimmy Swaggart Image Credit: Cynthia Johnson/Getty Images (March 15, 1935 – July 1, 2025) Walter Scott Jr. Image Credit: Michael Ochs Archives/Getty Images (1944 – June 26, 2025) Lalo Schifrin Image Credit: Bob Riha, Jr./Getty Images (June 21, 1932 – June 26, 2025) Bobby Sherman Image Credit: ABC Photo Archives/Disney General Entertainment Content via Getty Images (July 22, 1943 – June 24, 2025) Mick Ralphs Image Credit: Tom Hill/Getty Images (March 31, 1944 – June 23, 2025) Cavin Yarbrough Image Credit: LATF USA News/Parapluie Inc. (Jan. 22, 1954 – June 19, 2025) Patrick Walden (left) Image Credit: Brian Rasic/Getty Images (June 2025) Lou Christie Image Credit: Michael Ochs Archives/Getty Images (Feb. 19, 1943 – June 18, 2025) Brian Wilson Image Credit: Michael Ochs Archives/Getty Images (June 20, 1942 – June 11, 2025) Douglas McCarthy Image Credit: Jim Dyson/Getty Images (Sept. 1, 1966 – June 11, 2025) Sly Stone Image Credit: Michael Putland/Getty Images (March 15, 1943 – June 9, 2025) Wayne Lewis Image Credit: Paras Griffin/Getty Images (April 13, 1957 – June 5, 2025) Renée Victor Image Credit: Olivia Wong/Getty Images (July 25, 1938 – May 30, 2025) Alf Clausen Image Credit: Paul Archuleta/FilmMagic (March 28, 1941 – May 29, 2025) Michael Sumler Image Credit: Richard E. Aaron/Redferns (Nov. 1, 1953 – May 25, 2025) Rick Derringer Image Credit: Ed Perlstein/Redferns/Getty Images (Aug. 5, 1947 – May 26, 2025) Daniel Williams Image Credit: Chelsea Lauren/Getty Images (May 22, 2025) Rodney Brown (May 17, 2025) Charles Strouse Image Credit: Gary Gershoff/Getty Images (June 7, 1928 – May 15, 2025) Johnny Rodriguez Image Credit: Paul S. Howell/Getty Images (Dec. 10, 1951 – May 9, 2025) James

It’s been a massive year for Lady Gaga, who returned to the top of both the Billboard Hot 100 and Billboard 200 albums chart (with “Die With a Smile” alongside Bruno Mars and Mayhem, respectively), headlined Coachella and launched an acclaimed arena tour. This month, she continues her winning streak with an acting turn on the hit Netflix series Wednesday, and the accompanying new song “The Dead Dance.” Explore See latest videos, charts and news After an incomplete first week of tracking following its Wednesday, Sept. 3 release, “The Dead Dance” debuts at No. 40 on the Hot 100 in its first full week of release. It’s Gaga’s third top 40 hit of 2025 on the chart, following “Smile” and the No. 13-peaking “Abracadabra” — and shortly after its release, it was also included on a newly expanded edition of Mayhem, along with two additional new tracks, “Can’t Stop the High” and “Kill for Love.” Is the song’s debut higher or lower than we expected? And is this Wednesday/”Dead Dance” era now a major part of Gaga’s 2025? Billboard staffers discuss these questions and more below. 1. Lady Gaga’s “The Dead Dance” debuts at No. 40 on the Hot 100 this week in its first full week of tracking. Is that bow lower, higher or about what you expected? Katie Atkinson: Top 40 feels about right, as an end-of-Mayhem, Wednesday-cameo treat for all the Little Monsters. This is a fun song with a great beat that’s cut from the same cloth as morbid disco classics like “Murder on the Dancefloor” or “Heads Will Roll,” and Gaga is one of only a handful of artists who can say Tim Burton directed a music video for them. But after a steady year of Gaga output, there might not have been as much anticipation for new music as there had been. Having said that, “The Dead Dance” did debut in the top 10 of the Global 200 chart, so international fans were hungrier for more ghoulish Gaga. Chris Claxton: I think that’s actually lower than expected. This track had everything going for it, a major VMA performance, a viral TikTok dance, a feature in Netflix’s big summer hit Wednesday, a Tim Burton–directed video, and more yet it only peaked at No. 40. Not that No. 40 is bad by any means, but given how perfectly Lady Gaga executed every move, I was expecting it to chart much higher. Stephen Daw: Higher that what I would have originally expected — mostly because I was not expecting a one-off single written and performed for a Netflix show to do huge numbers on the chart — but lower than I thought it might get after I heard it for the first time. It’s extremely catchy, fits into the sound of her last album and has a very well-produced music video. With all of that, and a live debut at the VMAs, I thought the song might get a bigger boost, but breaking into the upper echelons of this chart has proven to be harder and harder lately.  Kyle Denis: Definitely lower. Between a Wednesday sync, a new music video and a VMAs performance — not to mention an accompanying dance that’s clearly jockeying for TiKTok virality à la “Bloody Mary” — I expected a 5op 25 debut at the very least.   Andrew Unterberger: Given the unusual timing of the release, and the fact that Gaga’s solo streaming debuts aren’t always the flashiest, I think “Dead Dance” creeping into the top 40 is probably a little better than I expected. The real question is how long it can hang on the chart, which may be up to whether or not radio ends up picking up on it. 2. “The Dead Dance” received a big look at the VMAs as part of Gaga’s medley performance from her satellite gig at MSG — did the performance change your perception of or feelings about the song at all? Katie Atkinson: I don’t love a satellite performance at an awards show – especially when the Mother herself was actually (briefly) in the building that night to pick up some hardware. This did mark the TV debut of the broken-doll choreography that perfectly matches the song, and for anyone who hasn’t yet seen the Mayhem Ball in person, it was a glimpse into Gaga’s latest live spectacle. But overall, I don’t know if the remote performance moved the needle for the song. Chris Claxton: No, the performance didn’t change my view, I was already a fan of the song, and the show only amplified that feeling. Lady Gaga has always known how to put on a spectacle, and this track is no exception. The performance captured everything that makes her world so unique: theatrical visuals, flawless vocals, and that bold mix of art and pop she’s mastered throughout her career. It fits seamlessly into the Gaga universe, where music isn’t just heard, it’s experienced. For longtime fans, it felt like a reminder of why she’s one of the greatest performers of our time, and for newer fans, it was a perfect introduction to her artistry. Stephen Daw: As a staunch Gaga lover, I was pretty immediately into “The Dead Dance” when it came out — so while that really well-done performance for the VMAs certainly made me happy, it didn’t really alter how much I was already into the track.  Kyle Denis: Not particularly, but that may have been because Gaga paired “The Dead Dance” with the much stronger (and still infectious) “Abracadabra.” It was a very solid performance, though!  Andrew Unterberger: I was impressed with how big and how immediately familiar “The Dead Dance” felt as part of that performance, like it’s always been a fixture of the Mayhem era. I do hope, though, that next time she’s in the building for the VMAs, she can hang around for long enough to perform there too. 3. Between “The Dead Dance” and her Wednesday cameo, does this moment feel like its own mini-era within Gaga’s 2025, or is it more of a footnote to her year? Katie Atkinson: It

During CMA Fest in 2024, K. Michelle introduced herself to a Nashville stadium full of country fans from a small satellite stage at the far end of the venue with “Jack Daniel’s,” a song that embraced bourbon as if it were a fellow human being. Explore See latest videos, charts and news Her voice was big, her look was bold, the song was clever, and a portion of the 50,000 or so in attendance — largely unfamiliar with K. Michelle and her R&B history — didn’t know quite what to make of her. But she belted out “Jack Daniel’s” with an unrepentant swagger, referencing the city’s honky-tonk district across the river from Nissan Stadium in the process. And she did, in fact, amass some new fans with that first-time exposure. “It’s a feel record,” she says. “It’s addictive, and those who caught the lyrics, I knew that they would be able to relate with me about ‘Jack Daniel’s.’ So it was really a good moment for me, and just to see people — even after I sang it — in my DMs, to go to Broadway, and people asked about the record. I know that there was something with the record.” Long before K. Michelle sang about a romantic relationship with Jack Daniel’s, she had a business relationship with the manufacturer. In 2017, she helped develop a Southern peach cocktail brand, including the packaging, which featured a first-ever gold cap for the bottle. In the process, she became the first Black woman named an ambassador for one of the best-known alcohol trademarks. “I had a great experience with Jack — not only just loving the product,” she says. “They taught me more about business than I’ve ever learned. Like the song says, ‘Something here’s different, something feels right.’ ” Her background with Jack Daniel’s the company helped fuel “Jack Daniel’s” the song. K. Michelle was a fan of Morgan Wallen’s Dangerous: The Double Album, and as she dug into the credits, she realized the songs she most liked were written by ERNEST. Her manager set her up with a co-write circa 2021, and when ERNEST came to her house, she ended up recounting her “Jack” history. “I do jam sessions, so I make sure everybody has food — a lot of food — and we all get comfortable,” K. Michelle says. “I was telling this story, and I was saying that I have something I’ve been saying my whole career, and that’s ‘Jack Daniel’s is the only man I trust.’ That’s been with me for years, so we ended up writing about it from that perspective after I said that line.” They kicked into it sequentially from the opening verse, with ERNEST describing Nashville’s busy Downtown night scene in conjunction with short, choppy phrases in the initial lines. The pre-chorus became more elongated, while No. 7 was introduced into the plot. No. 7 is, of course, a key part of the Jack label, though listeners can be forgiven if — before they become fully familiar with it — they associate the number with NASCAR drivers.  They segued into a high-energy chorus that starts with stark, descending quarter notes, recognizing in the process how many times the woman has “been let down like a bottle just collecting dust.” Jack offers what she needs — “He keeps me warm, I keep him close” — working its way to the “only man I trust” payoff. Overall, they pulled together a strong framework for “Jack Daniel’s,” made a simple demo, then let it simmer. Eventually, K. Michelle decided “Jack” was worth finishing, and she called on songwriters Rocky Block (“Cowgirls,” “Man Made a Bar”) and Jordan Dozzi (“Pour Me a Drink”) to bring it home. One of their most important duties was to ensure the listener didn’t know Jack was a whiskey, rather than a guy, in the song’s opening frames. “We double-checked everything and made sure we didn’t give it away until the chorus,” Dozzi says. “That was definitely intentional.” K. Michelle was adamant that it needed a bridge — “I just don’t think a record is complete without one,” she says — and they fashioned one around a “shot in the Broadway dark,” pushing the melody to a higher, more challenging peak. “She’s so aware of her voice and not afraid to sing that high and that powerfully,” Dozzi notes. “That’s her just going, ‘Hey, I’m going to sing my ass off here.’ That’s all her.” Producer Jeff Balding (Megadeth, BeBe Winans) lined up a recording session at Blackbird Studio D, where the goal was to create a track full of intensity. “She wanted it to have a raw feel, to push it,” Balding says, “to really just have some angst to it.” Guitarist Tom Bukovac developed a 1990s alt-flavored guitar opening with a simple riff that changed the phrasing on the descending melody from the chorus. The rhythm section, bassist Craig Young and drummer Shannon Forrest, borrowed from R&B, with Young playing an active, aerobic part. K. Michelle belted her vocals without restraint. “The headphones are a huge part of it, making sure we’ve got the right mix,” Balding says. “Once we get that locked in, she doesn’t seem to be shy about just going for it.” She wanted to give “Jack Daniel’s” every chance to succeed, so she asked Kristian Bush if he had any further production ideas, and they ended up doing more work on it. Guitarist Benji Shanks offered a fiery solo before the bridge and stabbing, descending lines at the end of the chorus. “We have this awesome little place in Atlanta,” Kristian says. “It’s like a 600-square-foot room with a bathroom in it and a kitchen, and we leave the doors open, and all the high school kids walk by. It’s just a Downtown Atlanta thing, and Benji was in there screaming that lead.” Brandon Bush also tailored a new Hammond B-3 part to suit K. Michelle’s vocals. “You can control the Hammond in such a way that you figure out where the singer’s actual frequency of their voice

Barbra Streisand is remembering one of her most iconic onscreen love interests following Robert Redford‘s death at the age of 89 on Tuesday (Sept. 16). Shortly after the legendary actor’s publicist confirmed in a statement to the press that he’d passed away in his Utah home earlier that morning, the Broadway icon shared a black-and-white photo of herself and Redford circa 1973 on Instagram. “Every day on the set of The Way We Were was exciting, intense and pure joy,” Streisand wrote in her caption, referencing the quintessential Sydney Pollack romance in which the pair starred as star-crossed lovers. “We were such opposites: he was from the world of horses; I was allergic to them!” she continued. “Yet, we kept trying to find out more about each other, just like the characters in the movie. Bob was charismatic, intelligent, intense, always interesting — and one of the finest actors ever.” “The last time I saw him, when he came to lunch, we discussed art and decided to send each other our first drawings,” she added. “He was one of a kind and I’m so grateful to have had the opportunity to work with him.” Though both Streisand and Redford boast two of the most illustrious acting careers in Hollywood history, their performances in The Way We Were are arguably some of their most beloved. The former played Katie Morosky while the latter starred as Hubbell Gardiner, two opposites who nevertheless found themselves attracted to one another. Streisand’s performance of the film’s theme, “The Way We Were,” won best original song at the Academy Awards. “It was great fun to work with Bob,” the actress wrote of Redford in her 2023 My Name Is Barbra memoir, according to People. “He and I had a real rapport and the audience could sense it. It’s hard to explain why a certain combination of two actors works, but in one interview, Bob tried: ‘Barbra … her femininity brings out the masculinity in a man, and her masculinity brings out a man’s femininity, vulnerability, romanticism, whatever you want to call it.’ No wonder I liked him. He’s very perceptive.” In her statement on Redford’s death, publicist Cindi Berger noted the acclaimed performer had died “at his home at Sundance in the mountains of Utah — the place he loved, surrounded by those he loved.” “He will be missed greatly,” she added. “The family requests privacy.” Redford’s career extends far past his unforgettable performances in films such as Butch Cassidy and the Sundance Kid and All the President’s Men. He was also a distinguished director of projects such as Ordinary People — for which he won the best director Oscar in 1980 — as well as a devoted environmentalist. He is a five-time Golden Globe winner. He is survived by his wife, artist Sibylle Szaggars, daughters Shauna Redford Schlosser and Amy Redford, and seven grandchildren. Source link