Categoría: Billboard

Ed Sheeran made a bit of history on Friday morning (Sept. 12) when he played the first-ever livestreamed NPR Tiny Desk concert of this scale to celebrate the release of his eighth album, Play. Taking to the office with his trusty loop pedal set-up, a keyboard and acoustic guitar, Sheeran got right down to business and proved he was in the moment by asking, “is it live now?” Wearing a pink shirt cued to the color of the album cover, Sheeran first explained to the crowd how the loop rig works before bringing up a sample on his keyboard and playing the new album track “Sapphire.” Layering in a guitar bit, banging on his acoustic to drop in a beat and recording his own backing vocals, Sheeran quickly built what sounded like full backing band accompaniment as he crooned the song’s keening chorus, “The lights, your face, your eyes/ Exploding like fireworks in the sky/ Sapphire!” and busted into the rap-like verses. Sheeran recalled that he’d visited the Desk before, though it was during COVID, so he filmed it remotely in a house in upstate New York, or maybe Jersey. “It’s kinda mad being here and seeing the actual desk, it’s great,” he said, thanking the NPR staff for showing up to the place they already work to see him. Warning the rapt audience that he’d only played the second selection once before on loop pedal and asking for forgiveness in advance in case he messed up, Sheeran proceeded to do just that and start over. Plucking a bluesy figure on his acoustic, Sheeran then smoothly leaned into the lyrics to the Play bad break-up single, “A Little More.” “You think I was born to ruin your life/ But you did most of that before I arrived,” he sang over a spare, strummy background before sliding into the stinging falsetto chorus, “I used to love you/Now every day I hate you just a little more/ Life got better when I lost you/ But every day I hate you just a little more and more and more.” “The Desk has always been about breaking down the walls between artist and audience,” said Bobby Carter, the series producer and host said in a statement released before the episode. “With this livestream, we’re taking that intimacy worldwide. And trust me — Ed Sheeran is going to make history.” Though by now he’s used to playing for tens of thousands of screaming fans in stadiums around the world, Sheeran admitted to being “a little nervous” to perform for the modest crowd of public radio staffers. “I don’t usually get nervous, but this is fun,” he said. He then set aside the loop pedal for a run through the new album track “Camera,” a moving acoustic ballad about the beauty we can’t always see in ourselves. “You should see the way the stars illuminate your stunning silhouette/ You’re glowing in the dark/ I had to count to ten and take a breath/ You think that you don’t have/ Beauty and abundance but you do/ And that’s the truth,” he crooned. The chorus was a heart-swelling expression of true love, with Sheeran singing, “I don’t need a camera to capture this moment/ I’ll remember how you look tonight for all my life/ When everything is black and white, your color’s exploding/ There’s somethin’ in the way you shine/ I don’t need a camеra when you’re in my eyеs.” Before his final song, Sheeran took time to thank NPR for letting his use his loop pedal, saying he could count “on one hand” the amount of times other American media outlets allowed him to schlep in his trusty rig in place of a full live band. The set ended with the first Play single, the skittery “Azizam,” which he recreated via a thumping bass keyboard backing track and layers of acoustic guitars and backing vocals. Sheeran is gearing up to take his Play show on the road with upcoming December stadium Loop Tour shows in Europe in December, followed by a run of gigs in Australia and New Zealand in January, February and March. At press time no U.S. dates have been announced for the Loop Tour. Watch Sheeran’s Tiny Desk show below. Source link

Russell Dickerson earns his fifth No. 1 on Billboard’s Country Airplay chart as “Happen to Me” ascends a place to the top of the tally dated Sept. 20. During the Sept. 5-11 tracking week, the single increased by 18% to 31.6 million audience impressions, according to Luminate. Explore See latest videos, charts and news The song was co-written by Jessie Jo Dillon, Chris LaCorte and Chase McGill. Dickerson co-produced it with Josh Kerr and LaCorte. It’s from Dickerson’s new LP, Famous Back Home (he’s from Union City, Tenn.), which arrived at No. 34 on Top Country Albums (Sept. 6) with 9,000 equivalent album units. The 38-year-old Dickerson, who is based in Nashville, linked four straight career-starting Country Airplay No. 1s: “Yours” (for two weeks beginning in January 2018); “Blue Tacoma” (one week, October 2018); “Every Little Thing” (one, November 2019); and “Love You Like I Used To” (two, November 2020). “Happen to Me” follows Dickerson’s “Bones,” which hit No. 36 on Country Airplay last July; “God Gave Me You” (No. 2, November 2023); “She Likes It,” with Jake Scott (No. 16, October 2022); and “Home Sweet” (No. 11, March 2022). Dickerson’s four-year, nine-month and three-week break between Country Airplay leaders marks the longest since Brad Paisley waited seven years, nine months and three weeks between “Perfect Storm” in 2015 and “Freedom Was a Highway,” with Jimmie Allen, in 2022. Meanwhile, “Happen to Me” continues crossing over, rising 23-21 on the Adult Pop Airplay chart and reentering Pop Airplay at No. 40 (after reaching No. 39). Currently on tour, Dickerson makes his next stop on Wallingford, Conn., on Sept. 18. ‘Darlin’ ’ of a Tune Chase Matthew scores his second career-opening Country Airplay top 10 as “Darlin’,” which he co-authored, pushes 12-10 (17.5 million, up 10%). The Sevierville, Tenn., native, 27, sent his rookie entry, “Love You Again,” to No. 9 last September. “Darlin’ ” is from Matthew’s album We All Grow Up, released in February 2024. Source link

Billboard Japan caught up with ORANGE RANGE for its Monthly Feature interview series spotlighting currently noteworthy artists and works. The five-man J-pop band is soon celebrating its 25th anniversary and showering fans with a string of releases both nostalgic and new. On July 2 — a Japanese numeric pun, as “7/2” can be read as “natsu,” meaning summer — the band hailing from Okinawa dropped a brand-new music video for one of its signature hits called “Ikenai Taiyo”（”Naughty Sun”). The updated “Reiwa” version visuals star the popular comedy duo Mayurika, who previously referenced lyrics from OR’s hit “Shanghai Honey” in their routine, and feature 72 Japanese throwback pop-culture references from the aughts, a period that falls under the country’s Heisei era. The comic video resonated with Japan’s thirty to forty-something demographic that grew up on the pop band’s hits, topping the Billboard Japan’s video views metric for two consecutive weeks and continuing to chart in the upper ranks today.  Additionally, the group’s “Oshare Bancho feat. Soy Sauce” is going viral on TikTok, with numerous influencers, idols, and other celebrities posting dance videos set to this song from 2008. ORANGE RANGE’s current resurgence in mainstream popularity, where people from all generations are responding to the band’s highly addictive pop music, can be attributed not only to the strength of the songs themselves but also to the success of Sony Music’s strategy after reuniting with the band. Back in July 2010, OR established its own independent imprint called SUPER((ECHO))LABEL, continuing its music activities independently in recent years. The band returned to Sony Music Records in May and dropped its first CD single from the label in about 12 years called “Maji de sekai kaechau 5 byou mae.” Currently promoting its Natsui Natsu★Project (roughly meaning “Summery Summer Project”), the band is hyping up the summer of “Reiwa 7” (2025) with signature party tracks including “Hadashi no ceccoli.” The members and label staff chatted with Billboard Japan about their thoughts behind the band’s latest project with SMR and series of releases in this latest interview. “Ikenai Taiyo” from 2007 was featured as the theme song for the TV drama series Hana-Kimi and became one of your signature tracks, partly due to the popularity of the show. How do you view its resurgence in the summer of 2025? RYO: Looking at the comments on YouTube’s THE FIRST TAKE and our music videos, I think the core audience is probably in their 30s, and it really hit home just how many people were listening to our songs. Then the teenagers and 20-somethings who see those comments realize that those were the people who used to listen to ORANGE RANGE back in the day, and that’s a very modern phenomenon. It wasn’t really a thing when we first made our debut, so it genuinely makes me happy. NAOTO: I have a personal anecdote related to this. I got a LINE message out of nowhere from a relative, a kid in high school, who hadn’t spoken to me at all until last New Year’s. And this kid was like, “I never knew ‘Oshare Bancho feat. Soy Sauce’ was a song you did, Uncle.” I didn’t want to pry too much, so I just replied, “Thanks.” [Laughs]  YAMATO: Honestly, I’m really happy about it. But we haven’t really changed what we’ve been doing. We’re currently riding the wave and experiencing firsthand what it means to go viral, but intend to continue doing what we do and should do, as we always have. HIROKI: While it wasn’t just a sudden, spontaneous phenomenon and there was definitely a strategic element to it, we never expected it to reach this level. I think we were incredibly lucky. But I also genuinely want to give ourselves credit, since the fact that we’ve been doing this until now and strength of our songs have something to do with it, too. Receiving renewed attention means we have a better chance of getting more people to listen to our future releases, and I’m really happy this whole chain of events was successful. Of course, this isn’t the end goal, so I’m excited about what to do with our next song and so on. You left gr8!records, a label within Sony Music where you’d been for nine years, and rejoined Sony Music Records in May. There was a strategic intent behind that move as a band, right? YOH: Let’s say the band is a robot. It started out as a small robot with just the members. But by the time our songs started reaching more people, it had grown massive, and it was like our weapons kept changing too. Then, to go back to basics, we decided to operate it on our own again, which meant leaving the company. There was always plenty to learn, no matter the environment, and we’ve taken steps in building our careers. So personally, I was eagerly waiting for the moment to use those super-powerful weapons and high-defense shields we used before. It wasn’t a decision made in the past year or two, and was always in the back of my mind. I’m glad we got good results, and think we’ve taken the first step towards next year’s 25th anniversary. Did you have any conflicted feelings when you left the major label? YOH: More and more people got involved as we rose to stardom, which meant the members were talking to each other less and it became harder to know what everyone was thinking. It felt like tension just kept building up inside the group. That was incredibly stressful for me. After going back to the indie scene, I got to hear stories from people I probably never would have connected with otherwise, and had all kinds of encounters. Sometimes people looked at us in a biased way, so being able to shed that was huge. I’m pretty sure each of us has our own experiences. It feels like all of that has come together and connected to created this good

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, Ed Sheeran is ready to Play, Drake showcases a surprising guest and Twenty One Pilots conclude another story. Check out all of this week’s picks below: Ed Sheeran, Play  Following a pair of somber albums in 2023, Ed Sheeran returns to brightly lit pop with Play, which combines explorations of global sounds (the upbeat singles “Azizam” and “Sapphire”), wistful reflections (“Old Phone” and “Heaven”) and more fodder for wedding playlists (“The Vow,” a touching ode to his marriage which actually sounds primed for your vow-renewal gatherings).  Drake feat. Yeat & Julia Wolf, “Dog House”  Although Drake and Yeat spend the majority of “Dog House” trading bars about money, sex and power — with Drizzy even quoting his own No. 1 smash “One Dance” at one point — the surprise star here is indie singer-songwriter Julia Wolf, who provides a jolt of energy on the song’s introduction before the zapped beat, and Drake’s chest-thumping boasts, are crashed in. Twenty One Pilots, Breach  If 2024’s Clancy didn’t exactly end the multi-album narrative arc that Twenty One Pilots had been crafting for years, then new full-length Breach places a period on this particular journey — while also offering some of the long-running alt-rock duo’s most bruising riffs and immediate hooks to date, climaxing with the five-and-a-half minute centerpiece “Downstairs” in the middle of the track list. Kali Uchis feat. Ravyn Lenae, “Cry About It!” A few years after Kali Uchis successfully transcended a viral hit to set up a sturdy mainstream career, Ravyn Lenae is attempting to do the same as “Love Me Not” continues racking up streams by the million; together, the singer-songwriters spin gold together on the hypnotic “Cry About It!,” which pairs Uchis’ sighing harmonies with Lenae’s probing tone, and lets the swaying chorus contain both of their colorful personalities. John Summit feat. Inéz, “Crystallized”  Few dance artists have enjoyed multi-year runs as explosive as John Summit in the first half of the 2020s, and the producer continues that success with “Crystallized,” a surprisingly emotional banger in which a propulsive beat and laser-beam synths coalesce around singer Inéz’s vulnerabilities, resulting in some delectable late-summer beat drops. Editor’s Pick: JADE, That’s Showbiz Baby!  Although Jade Thirlwall spent over a decade as a member of the great UK girl group Little Mix, That’s Showbiz Baby!, her debut solo album as JADE, is easily the boldest, most forward-thinking project of her career: pre-release singles like “Angel of My Dreams” and “IT Girl” still dazzle in a full-length setting, while deeper cuts like the futuristic R&B track “Glitch” and the disco-adjacent ode to her mother, “Unconditional,” show the breath of JADE’s pop artistry. Source link

“Memories, there are too many to count,” Barbra Streisand said on video at an all-star concert celebrating the life of lyricist Alan Bergman on Thursday (Sept. 11) at the Broad Stage in Santa Monica, Calif. You can see what she did there, opening her personal tribute to two of her closest colleagues and friends with the opening word of “The Way We Were,” their most famous song (and her first No. 1 hit on the Billboard Hot 100). Streisand said she first met Alan and his wife Marilyn Bergman in 1960 when she was just 18, performing at a tiny club, the Bon Soir, in Greenwich Village. She was just starting out. They had already achieved success, co-writing “Nice ’N’ Easy,” a hit that year for Frank Sinatra. “We had been close friends for 62 years when (Marilyn) passed three years ago.” Streisand said. Streisand recorded 63 songs by the Bergmans, including another of her No. 1 Hot 100 hits, “You Don’t Bring Me Flowers” – a 1978 duet with Neil Diamond – and an entire 2011 tribute album, What Matters Most – Barbra Streisand Sings the Lyrics of Alan & Marilyn Bergman,which received a Grammy nomination for best traditional pop vocal album. “We all became a family,” Streisand said. She noted that Marilyn “was a mother figure to me,” and that Alan “made all women, including me, feel safe and seen.” This concert event was originally planned as a 100th birthday celebration for Alan Bergman – yesterday would have been his 100th birthday. It pivoted to a celebration of his life after he died on July 17. Comedian Paul Reiser, a long-time friend of the Bergmans, hosted. Trey Henry served as musical director. Musicians included Mitch Forman, Peter Erskine, Greg Phillinganes, Bob Sheppard, Bill Cantos, Jason Crosby, Serge Merlaud, Tamir Hendelman, Shelly Berg and David Finck. The event also included video messages from Bill Charlap and Pat Metheny. Bergman finished writing the lyrics to nine Metheny tunes for an upcoming album shortly before he passed. The Bergmans are best-known for writing exquisite ballads such as “What Are You Doing the Rest of Your Life,” “Pieces of Dreams” and “How Do You Keep the Music Playing?,” but they couldn’t be typecast. They also wrote witty and zesty theme songs for such TV series as Maude, Good Times and Alice. The Bergmans won three Academy Awards, three Grammys (including song of the year for “The Way We Were”), four Primetime Emmys and two Golden Globes. They were inducted into the Songwriters Hall of Fame in 1980 and received that organization’s highest honor, the Johnny Mercer Award, in 1997. They received a trustees award from the Recording Academy in 2013. Not a word of this was mentioned in the concert program, or even in the printed program that was handed out at the event. When songs are this good, and talent this evident, you don’t need the hype. Here are the seven best moments from “Celebrating the Extraordinary Life of Alan Bergman,” followed by a full set list. They are listed in the order they appeared in the show. Aloe Blacc Shines on a Ray Charles Classic Image Credit: Lester Cohen/Getty Images Aloe Blacc did an excellent job on the bluesy “In the Heat of the Night,” which the Bergmans co-wrote with Quincy Jones for the 1967 Oscar winner for best picture. Ray Charles sang the original version, which became a top 40 hit on the Hot 100. The song showed the Bergmans’ range. Though best-known for highly literate pop/adult contemporary ballads, they could excel in other styles. (They demonstrated that again on their streetwise lyric for the theme song to Good Times – not performed here, unfortunately). Blacc, who had a pair of top 10 Hot 100 hits in 2013-14 (Avicii’s “Wake Me Up!,” on which he was featured, and his own “The Man”) made a very strong impression. To paraphrase Taylor Swift in her recent lyric about Charlie Puth, I declare Aloe Blacc “should be a bigger artist.” Patti Austin and Jason Gould Nail It on (Probably) the Bergmans’ Best Song Image Credit: Lester Cohen/Getty Images What’s the Bergmans’ best song? That’s impossible to say, but very high on the list would be “How Do You Keep the Music Playing?” which they co-wrote with Michel Legrand for the 1982 Burt Reynolds/Goldie Hawn movie Best Friends. (That would probably also top the list of famous songs that originated in barely-remembered films.) Austin recorded the version heard in the film with the late James Ingram. She sang it here with Jason Gould, whose mother, Barbra Streisand, recorded it for her 2003 album The Movie Album. Austin is a superb (and under-heralded) singer. Gould admirably kept up with her. Michael Feinstein Scores Twice Feinstein excelled on another of of the Bergmans’ best songs, “Where Do You Start?,” a song about a break-up and how hard it is to separate two lives that have become entwined. (It was a work of projection on their part, because they had, by all accounts, a happy and stable marriage.) The Bergmans co-wrote the song with composer Johnny Mandel. Streisand included it on her 2009 album Love Is the Answer, which topped the Billboard 200. Later in the show, Feinstein sang “Nice ’N’ Easy,” which, as he noted, was the Bergmans’ first big hit. The Bergmans co-wrote the song with Lew Spence, who is credited with introducing the couple. Frank Sinatra’s original version reached the Hot 100; his album of the same name topped the Billboard 200 for nine weeks in 1960, longer than any of his other albums. The song brought the Bergmans their first of four Grammy nods for song of the year. “Nice ’N’ Easy” extols the virtues of taking it slow in a romance. As with most Bergman songs, the lyric is smart and witty: “We’re on the road to romance/ That’s safe to say/ But let’s make all the stops along the way/ The problem now of course is/ To simply hold your horses/ To rush would be

Earlier this year, at the age of 70, Chandrika Tandon won her first Grammy — and it may not be her last. After taking home the award in February for best new age, ambient or chant album for her project Triveni, Tandon — a renowned businesswoman, philanthropist and grandmother — is now vying for her third Grammy nomination, but this time in the best global music album category, with a new project called Soul Ecstasy that she quietly released just before the Aug. 30 deadline to submit nominations for the 68th Grammy Awards. “I was really trying to show [Indian] classical music in a simpler light — make it more accessible, make it more singable,” Tandon tells Billboard of the album, her seventh, which features 14 classical Indian ragas — melodic frameworks — with complex 6-, 7-, 8-, 10- and 16-beat rhythms. Having built what she describes as a “mini cult following” around her first six albums, now, she says: “I would really love to broaden the audience.” Blending ancient Vedic verses and Indian classical traditions with vibrant instrumentation and choral arrangements, Soul Ecstasy is part of Tandon’s mission of spreading joy through both economic and emotional empowerment. The eight-song collection was recorded in New York and India with Tandon’s longtime collaborator Pandit Tejendra Narayan Majumdar. “This album is about giving listeners access to their own joyous state in a blissful way,” says Tandon. “The songs are more high-energy than my past work, and the choral elements invite people to experience that ecstasy together.” But producing the new album wasn’t easy: To do it, Tandon and her collaborators assembled 75 musicians from Calcutta who played more than 25 different traditional Indian instruments, as well as 16 classical singers whom they trained to sing together as a choir — a tall order and unorthodox idea given that “a lot of Indian music, classical music, is about individual expression.” Chandrika Tandon, “Soul Ecstasy” Shervin Lainez Born and raised in India, Tandon now lives in New York, serving as the current artist-in-residence for Young People’s Chorus of New York City. She was the first Indian-American woman to be made partner at consultancy giant McKinsey and Co. and then founded her own Tandon Capital Associates, but studied music at every opportunity, taking vocal lessons in her free time, training between her business meetings with Indian music masters and singing for 10 hours a day on days her daughter was occupied at summer camp. In recent years, she has devoted herself to philanthropy, supporting education and economic empowerment through the Krishnamurthy Tandon Foundation, donating $100 million with her husband 10 years ago to establish the NYU Tandon School of Engineering, and earning honors that include the Ban-Ki Moon Award for Women’s Empowerment and NYU’s Gallatin Medal. She releases her music through her nonprofit label Soul Chants Music. To promote her new album, Tandon is planning immersive performances at The Town Hall in New York and Carnegie Music Hall in Pittsburgh, where she’ll lead meditation, sing-alongs, and “sacred sound experiences.” “I want my music to be a beautiful offering to the world,” Tandon reflected. “My prayer is that Soul Ecstasy helps listeners begin their own journey into inner bliss.” Tandon talked to Billboard about her devoted fanbase, and the goal of traditional Indian music and why Grammy voters and contenders should listen. You have a cult following, receiving thousands of messages after the release of your Grammy-nominated debut album, Soul Call, in 2009. Who are your fans? Funnily enough, the 18- to 40-year-old man is my biggest demographic. Which is not what I would expect. There’s a big demographic who like India and Indian classical music. And there’s also a big demographic of that group that likes spiritual music of any kind — anything devotional. The yoga community. I would love to broaden the audience, so that’s part of the idea. You’ve spent time recording music all over the world, from Lebanon to Brazil. What makes traditional Indian music different? In Indian music, you have to really settle your mind, because a lot of it is around pitch and resonance. There are a lot of areas around a note, but the best teachers try to get you to the purity of that thin point of the note. That requires your mind to be quiet. I’d walk into a class and the teacher would say, “You know, you’re not here, you’re elsewhere, your mind is distracted. Let’s spend the next 45 minutes on one note.” You do that for 10 minutes and it’s a little boring. By about the 20th minute, you’re in a bit of a zone. And then remaining 10 minutes, you’re in a space of such a peace that you find yourself. So then I said, “Well, this is very interesting. I’ve got to get into meditation. I’ve got to understand why I feel so happy.” Because that’s what was happening. Music helped me find myself. I started writing “love, light, laughter” on every email I wrote. What can other Grammy contenders take from this album? If you look at the goal of what Indian music is, what my earliest teachers have told me, from the very beginning is that music is, you do music to find the divine in you. And then, and then they say when you step out of the way, the divine takes over. Soul Ecstasy is a very important title, and a very important goal, and a state of being that we can always aspire to, because when we reach deep inside us, it’s not just about peace and quiet. There’s a part when you really get to a beautiful, quiet spot and you can really bubble up with joy. Where do you keep your Grammy that you won for Triveni? In my prayer room. Source link

Limp Bizkit are back with their first new song in four years and it is a classic Bizkit banger. “Making Love to Morgan Wallen” bursts out of the gate with a funky wah-wah guitar riff before a marching band beat bubbles up and singer Fred Durst launches into a sung-rap tribute to some fallen rock heroes. Explore See latest videos, charts and news “Damn, I miss you Chester/ Sending love from a bass compressor/ Ground control with a soul like Bowie/ And I’ll chop you up if I’m under pressure,” Durst raps in the opening couplet paying homage to late Linkin Park singer Chester Bennington and rock icon David Bowie. From there, if you can believe it — and if you’ve ever listened to a single Bizkit song before, you can — it gets way, way weirder.  “Bizkit beats from the pirate band/ Signed this deal with a lobster hand/ Freestyle like a bowling pin/ Flex these bars on a dolphin fin,” Durst raps over the spare backing track. “Life’s too short, but I can’t complain/ Doin’ backflips on a candy cane/ Ride my scooter with a cape at night/ And I’ma high-five me a traffic light.” Naturally. By the time the explosive, Beastie Boys-nodding “Hey, ladies” chorus comes around, true Bizkitheads might be having flashbacks to the band’s beloved 2000 Billboard 200 No. 1 album Chocolate Starfish and the Hot Dog Flavored Water, which featured similarly absurdist shout-it-out-loud nu-metal anthems such as “Rollin’ (Air Raid Vehicle)” and “My Way.” Durst isn’t done climbing to the top of mount weird, also claiming in the lengthy first verse that he got “kicked out of the Trump resort” in a seeming reference to Donald Trump’s Florida Mar-a-Lago residence. The second verse is no less random, with lyrics about moonwalking on a UFO, dropping bars while brushing teeth and a shout out to legendary 2001 blaxploitation-adjacent comedy Pootie Tang.  Propelled by one of guitarist Wes Borland’s hypnotic riffs, crunching beats, old-school record scratches and the group’s signature shouty choruses, the whole thing comes crashing to a close with a pummeling final chorus that finally nods to the country star in the title. “I make this motherf—ker diamond plated/ Makin’ love to Morgan Wallen in an elevator/ I’ll be turnin’ on you b–ches like a generator,” Durst spits over the titanic beat with no context whatsoever for the shout-out to the country chart dominator.  In keeping with their determination to put the biggest target on their own back, Durst ends with a classic DGAF Bizkit kiss-off, “I’ll be the greatest motherf—ker that you ever hated/ That you ever hated.” The new single is the first fresh music from the band since 2021’s “Dad Vibes” single from their sixth studio album, Still Sucks. They teased it in their patented jokey fashion last week by pretending to be outraged that L.A. drummer Kristina Rybalchenko “leaked” the song by playing along to it in a video. “Kristina, that’s our new song, it’s now out yet, how did you get that?” an annoyed Durst says in the clip after busting through the door and wagging his finger at her while warning not to post it online. Listen to “Making Love to Morgan Wallen” below. Source link

Garth Brooks will play his first show in the U.K. in nearly 30 years when he takes to the stage for the 2026 BST Hyde Park festival in London on June 27. Brooks is the first announced act for next year’s series and at press time his support acts for the gig on the Great Oak Stage had not yet been announced.  Explore See latest videos, charts and news In a statement, AEG Presents UK and European Festivals CEO Jim King said, “Announcing Garth Brooks as our first BST Hyde Park headliner for 2026 is a landmark moment. He joins the line of legendary artists who have defined BST over the years. A true global icon, Garth’s songs have connected with audiences everywhere, and his influence has paved the way for many of the country stars we celebrate today.” An American Express UK cardmember pre-sale is open now and will run through 9 a.m. BST on Sept. 18. A BST Hyde Park pre-sale will go live at 10 a.m. BST on Tuesday (Sept. 16) here. The general on-sale begins at 10 a.m. BST on Sept. 18. Brooks, who has not played a show in the U.K. since 1998, only has one other gig on his roster at the moment, an Oct. 18 performance on the Germania Super Stage at the 2025 Formula 1 MSC Cruises U.S. Grand Prix in Austin, Texas. While no other acts have been announced for next year’s BST Hyde Park festival yet, this year’s lineup featured a predictably stacked roster, including Olivia Rodrigo, Zach Bryan, Noah Kahn, Sabrina Carpenter, Neil Young and the Chrome Hearts and Stevie Wonder. Check out the BST Hyde Park 2026 Brooks poster below. Get weekly rundowns straight to your inbox Sign Up Source link

Pink Floyd’s landmark album Wish You Were Here will receive a 50th anniversary edition re-release, the band announced on Friday (Sept. 12). Wish You Were Here was first unveiled 50 years ago on this date, becoming Pink Floyd’s first album to top the U.K. Albums Chart, as well as the Billboard 200. The lyrics explored longing and disillusion, marking a thematic change for the band. It is now recognized as one of the greatest classic rock records ever made, having sold more than 20 million copies worldwide. The band’s ninth studio album has been restored, remastered and expanded with an additional 25 bonus tracks, spanning alternate studio takes and live recordings by the famed bootlegger Mike Millard at Pink Floyd’s Los Angeles Sports Arena concert on April 26, 1975. The audio restoration for the latter was overseen by producer and Porcupine Tree member Steve Wilson. Rarities on the set include “The Machine Song (Roger’s demo)”, the first home demo of the song that bassist/cofounder Roger Waters originally brought to the band; an instrumental mix of the track “Wish You Were Here”; and a complete version of the nine-part composition “Shine on You Crazy Diamond (Pts. 1-9).” Wish You Were Here 50 will be released digitally on Dec. 12 via Sony Music, as well as across multiple physical formats including 3LP, 2CD, Blu-ray and a box set. The former features a new Dolby Atmos mix by James Guthrie, whose work with Pink Floyd dates back to 1979’s The Wall. The Blu-ray edition, meanwhile, will include three concert films from the band’s 1975 world tour, plus a short film directed by the late Storm Thorgerson, with details not yet revealed. In addition, the box set will house all 2CD, 3LP and Blu-Ray material, plus a fourth clear vinyl LP, Live At Wembley 1974, a replica Japanese 7” Single of “Have A Cigar” and “Welcome To The Machine”, a hardcover photo book, a comic book tour program and a concert poster.  As a preview of what Wish You Were Here 50 will entail, the band shared an early recording of “Welcome to the Machine.” Previously titled “The Machine Song,” it is shorter in length than the original and is a demo track that has never been heard until now. Listen to it below: Source link

“Everyone was invited — including the dog,” Devendra Banhart chuckles over Zoom, looking back on Cripple Crow, his sprawling 2005 opus that was part artistic manifesto, part communal love letter. Dubbed “freak folk” at the time, the genre-bending opus was, in his words, “a snapshot of community,” where Brazilian-inspired tropicalismo, psych-folk and radical inclusivity collided. Explore See latest videos, charts and news Recorded in home studios and retreats filled with friendships and free-spirited experimentation, Cripple Crow felt more like a collective effort than a solo project. Its debut at No. 24 on Billboard‘s Independent Albums chart suggested a modest arrival, but its legacy has only grown in the years since. Ahead of its time in both sound and perspective, Cripple Crow brought Banhart’s dual Venezuelan-American heritage into sharp focus, serving as an early example of bilingual experimentation. In an era when U.S. indie music rarely acknowledged deep ties to Latin American traditions, the album broke the mold, drawing inspiration from legends like Venezuela’s Simón Díaz, Argentina’s Mercedes Sosa and Brazil’s Caetano Veloso. Its impact continues to echo in a new wave of bilingual, U.S.-born Latin artists, such as Cuco and Omar Apollo, who carry their roots beyond the boundaries of the indie scene. Now, as Banhart launches his new label, Heavy Flowers, and works on a forthcoming album with Ecuadorian-American artist Helado Negro, he’s marking the occasion with the release of Cripple Crow 20th Anniversary Deluxe Edition. Out Friday (Sept. 12), the reissue features nine new songs and previously unseen photos shared by friends — retrieved after Banhart set fire to his personal archives during a pandemic-era cleansing ritual. Additionally, the singer-songwriter also kicked off a nearly 30-date global tour on Thursday (Sep. 11), performing the 20-year-old album in its entirety. The trek stars in Homer, N.Y., with stops in Brooklyn and Boston before heading internationally to Japan, the Netherlands, France, Spain, Mexico, Chile, and culminating in Santa María de Punilla, Argentina, where he will take the stage at the Cosquín Rock festival on February 14 of next year. Here, the artist takes us back to the communal spirit, creative ethos, and cultural influences that shaped Cripple Crow in this brief oral history. Looking Back at Cripple Crow Devendra Banhardt: I feel warm vibes toward the innocence of that time — a combination of a lot of embarrassment and less embarrassment. I’m not the most social person, a bit but not totally agoraphobic or misanthropic. But I’m impressed by how much community there was back then. There’s something radical about physical community. [My artist friends and I] did everything together back then — we lived together, had venues and bars that we would play at almost every night. We had this little scene, and it would rub up against these other scenes. We were all friends, supportive of each other. It was an attitude of, “if I’m playing a show, you’re invited on stage.” Everyone was invited — including the dog, who is on the record.  It applied to visual art. I have to thank the San Francisco Art Institute [and pioneers of the ’90s Mission Arts scene] that came right before us, Alicia McCarthy, Barry McGee, Margaret Kilgallen, and more. Alicia, for example, had her first show at [Jeffrey] Deitch [art gallery] in New York. Everyone from SF came and could put a piece [of art] on her wall which was a big deal, a “wall of friends.” That ethos of “if I have a show, you have a show,” was born from that time in San Francisco, and it was applied to Cripple Crow.  Devendra Banhart Nicolas Lorden The Role of Bilingualism in Music of the ‘00s and Latin American Identity I would never make Cripple Crow today, I couldn’t and wouldn’t. It really is a product of its time. There are Spanish songs on that record because I am Venezuelan-American, and I exist in both of those worlds. My brain switches from Spanish to English. At the time, I was listening nonstop to Mercedes Sosa, Atahualpa Yupanqui, and Simón Díaz, [the latter] who we cover with “Luna de Margarita.” He’s the Caetano Veloso of Venezuela, the great poet.  [Simón Díaz] is so special because he combined two things that people typically would never think go hand in hand: poetry and comedy. He was a comedian and one of the most beautiful singers ever. I got to pay homage to somebody who influenced me so much that I grew up seeing on billboards. He was the most extraordinarily subversive person, because he was so mainstream and beloved. His songs were about the beauty of nature in Venezuela. He also has a couple of direct, explicitly anti-fascist songs. I don’t know if you know this, but Venezuela is a fascist country. He celebrates the people and never the regime. I’m really happy that I got to play this.  Then there’s the whole Brazilian influence — I was so obsessed with tropicalismo: Caetano Veloso, Maria Bethânia, Gal Costa, Novos Baianos. We were so influenced and inspired by that. We didn’t see that reflected in the world that we lived in. We’d see footage of the movement there and how revolutionary and radical it was. To be yourself, express yourself in the way that you feel most comfortable, to feel safe within the community, and to be a freak.  On “Freak Folk” and Queerness as Marginalization None of us made up “freak folk,” and none of us liked it when it came up. We didn’t think it was classy. We thought we were “classy” freaks. Then with the [SF drag pioneers of the late ‘60s] the Cockettes and the Angels of Light [communal theater]. We felt marginalized. I equate queerness with marginalization, in a nonsexual way. It’s about the oddness that comes from being yourself at the cost of being ostracized. That is what I think of a queer space; that’s the ultimate safe and artistic space. I remember seeing these two subcultures parallel from one another. Tropicalismo’s attitude was