Categoría: Billboard

Starting Monday (Sept. 1), several MTV channels will kick off a week of airing current and classic music videos 24/7. The move is designed to celebrate MTV’s legacy and to promote the 2025 MTV Video Music Awards, which are set to go live Sunday, Sept. 7. The videos will air across MTV2, MTV Live, MTV Classic and the Pluto channel “MTV Biggest Pop” — but, unfortunately, not the flagship channel itself. The lineup will feature 700-plus music videos, many airing for the first time in more than a decade, curated into these 12 themed categories: Best of the 1980s Best of the 1990s Videos That Go Bump in the Night (scary videos) Videos That Make Us Howl (videos starring animals) Best Celebrity Cameos Most VMA Victories (Taylor Swift, Beyoncé, Madonna and more) Most Headline-Worthy Videos (most talked-about/viral videos) Most Scandalous Videos (sexiest videos) Bank-Breaking Videos (most expensive videos) Craziest Videos of All Time The Birth of MTV (videos aired on the day MTV launched: Aug. 1, 1981) TRL #1s The videos were selected with an eye to representing all genres and as many artists as possible. But MTV revealed to Billboard the nine artists with the most videos among the 700 set for play in this weeklong video feast. Counting up, they are (with ties listed in alphabetical order): Mariah Carey, 9 *NSYNC, 9 Justin Timberlake, 9 Backstreet Boys, 11 Michael Jackson, 12 Eminem, 15 Madonna, 17 Beyoncé, 18 Britney Spears, 21 All nine of these acts are MTV royalty. All but Eminem and the two groups on the list (*NSYNC and Backstreet Boys) have received (or will soon receive) the Video Vanguard Award; Mariah Carey is slated to receive it this year. Combining the nine Justin Timberlake videos on the list and the nine videos with his old group *NSYNC, JT pulls ahead of Eminem as the male artist with the most videos on the list. The MTV channels also plan to air “interstitials” that celebrate music video fandom from iconic MTV personalities and such top stars as Alex Warren, Benson Boone, Carmen Electra, Chappell Roan, Connor Wood, Dasha, Davis Durleson, Doja Cat, Johnny Knoxville, Jon Bon Jovi, Mya, Olivia Rodrigo, Paris Hilton, Pauly D, Steve-O, Teddy Swims and Wyclef Jean. The 2025 MTV VMAs are set to go live live coast-to-coast on Sunday, Sept. 7, at 8 p.m. ET/5 p.m. PT airing on CBS, simulcast on MTV and streaming on Paramount+ in the U.S. Source link

Nobody expected Sabrina Carpenter to return this quickly. One year and six days after releasing Short n’ Sweet — her commercial breakthrough that elevated her to arena headliner, the album that spawned her first No. 1 single and Grammy award, the project that contained four radio smashes, the moment that a longtime entertainer became a household name — she’s already back with its follow-up, Man’s Best Friend. Instead of basking in the glow of a pivotal moment, Carpenter has moved on to a new era — yet anyone paying attention to her greater trajectory understands that this new album is not a cash grab, or victory lap. After spending years as a Disney Channel star and even more as a prolific pop ingenue searching for a wider audience, Carpenter has discovered her true potential, and grabbed hold of her aesthetic. She’s not letting go anytime soon. As such, Man’s Best Friend finds Carpenter fully locked in to her current groove — writing the songs she wants to write (funny, sneakily heartfelt reflections on love and lust), operating within her preferred sound (huge, mainstream-focused pop flecked with rhythmic curiosities), working with the people who know how to unlock her creativity (Jack Antonoff, Amy Allen and John Ryan). If the general outline of Man’s Best Friend marks a continuation of the winning playbook of Short n’ Sweet, the deepening of Carpenter’s artistic persona is what separates, and elevates, her latest project from its predecessor.  Carpenter was always the type of knowingly quirky pop star that was able to effortlessly use a word like “agoraphobia” in a chorus, but Man’s Best Friend is by far her most idiosyncratic album yet, full of self-possessed and unabashedly sexual lyricism, genre explorations via nifty instrumental hooks, and vocal takes ranging from sarcastic whispers to large-hearted cries. As much as she’s dominated the mainstream over the past 18 months, Carpenter is still abiding by her weirdo-pop impulses, being driven to make music that only she can make — and the results are often spectacular. Let’s hope she doesn’t stop anytime soon. While all of Man’s Best Friend is worth absorbing, here is a preliminary ranking of every song on Sabrina Carpenter’s latest album. “Don’t Worry I’ll Make You Worry” Reading the lyrics to “Don’t Worry I’ll Make You Worry” suggests a sprightly kiss-off, with Carpenter dancing circles around a guy who can’t keep up with her — but instead of packaging the song as an uptempo pop track, Carpenter opts for a soulful, slightly sorrowful tone, as if she’s sadly aware of the relationship’s power dynamic. As such, “Don’t Worry I’ll Make You Worry” is a late-album curveball, highlighted by the bundle of yearning vocal harmonies that comprise the bridge. “We Almost Broke Up Again Last Night” “We Almost Broke Up Again Last Night” is a masterful synthesis of influences: after opening with acoustic guitar strums and murmured vocals, the song blooms into a bubblegum sing-along with spiraling-higher vocals, as Sabrina impressively splits the difference between Lana and Britney. Carpenter’s own superpowers as a singer and songwriter most clearly shine through on the bridge, which distills the point of the song in four whiz-bang lines: “You say we’re drifting apart / I said, ‘Yeah, I f–king know’ / Big deal, we’ve been before / And we’ll be here tomorrow.” “Goodbye” Carpenter has been wronged on “Goodbye,” and her feelings have turned acidic toward the ex who’s still trying to act like a pal: “Can’t call it love, then call it quits / Can’t shoot me down, then shoot the s–t,” she spits. Instead of hiding her pain, however, Carpenter lifts it up to the sun with a rollicking big band arrangement, full of bubbling horns and supportive harmonies — turning “Goodbye” into an open-armed spite-fest as a means of catharsis, and a fitting conclusion to Man’s Best Friend. “Never Getting Laid” The title suggests that Carpenter is about to mourn her lack of sex life post-breakup, but on “Never Getting Laid,” she flips that expectation on its head and openly wishes for her ex to embrace celibacy. Over a dreamy lounge-music arrangement, Carpenter maintains her cool until she reaches moments in which she anger and confusion spill over, her voice rising up sharply to betray her hurt; instead of abruptly concluding the song, she drops a coda at the three-minute mark, turning the climactic line “And abstinence is just a state of mind” into a future live-show highlight. “My Man on Willpower” Sabrina is bewildered: the guy who was obsessed with her is now obsessed with self-discovery, and none of her calls for attention are working (“My slutty pajamas not tempting him in the least,” she laments). “My Man on Willpower” features one of Carpenter’s most nuanced vocal takes on the album: she, Antonoff and Ryan concoct another country-leaning clap-along, and Carpenter balances crooning and punchlines with aplomb, never tipping the song too much towards comedy to betray the genuine emotion at its core. “Go Go Juice” “A girl who knows her liquor is a girl who’s been dumped,” Carpenter concludes on “Go Go Juice” — a proverb of sorts, which encapsulates the spirit of a song about drinking beyond the point of numbing heartache, to where you’re drunk-dialing every bad decision in your contact list. The chipper energy of “Go Go Juice” belongs to Carpenter, although the extended instrumental breakdown, which swerves from fiddle blasts to drinks-up gang vocals, sounds indebted to the stage energy of Bleachers, co-producer Jack Antonoff’s own band. “When Did You Get Hot?” A spiritual sequel to “Good Graces” from Short n’ Sweet, “When Did You Get Hot?” approaches the good fortune of a glow-up with sumptuous R&B: cushy percussion and “uh-huh, uh-HUH” backing vocals soundtrack the tale of an ugly kid-turned-sexy man whom Carpenter now hopes to play naked Twister with back at his place. Not only does Carpenter sell the one-liners and inject personality the corners of the track, but she wisely places “When Did You Get Hot?” after

It’s the most popular show of them all on Nexflix, and now KPop Demon Hunters can claim to be most popular album in Australia for 2025. The soundtrack for KPop Demon Hunters clocks up seven consecutive weeks at the top of the ARIA Albums Chart, for the longest reign by any album for the year. Over on the ARIA Singles Chart, soundtrack hit “Golden” retains top spot for the fifth straight a row, and is one of KPop Demon Hunters songs in the top 10. Explore See latest videos, charts and news Earlier this week, Netflix announced the animated action/musical had accumulated more than 236 million views since its June 20 premiere, good enough to beat Red Notice and into first place on the streaming platform’s all-time rankings for English-language films. Laufey leads the new arrivals on the ARIA Chart, published Friday, Aug. 29, as A Matter of Time clocks up a No. 2 debut, the classical-adjacent artist’s career best in Australia. Deftones complete the podium with Private Music, their 10th studio album. It’s new at No. 3 for the alternative rock heavyweight’s sixth ARIA Top 20 appearance. Meanwhile, Royel Otis enjoy a second consecutive top 10, as Hickey, their sophomore collection, opens its account at No. 5. That’s a career best for the Sydney duo of Royel Maddell and Otis Pavlovic, after the No. 10 peak for 2024’s Pratts & Pain, winner of four ARIA Awards, including best rock album and best group. Hickey houses “Moody,” which last month reached No. 1 on Adult Alternative Airplay chart, their first leader on a Billboard chart. “Moody” bested the No. 2 peak of the indie-rock act’s cover of Sophie Ellis-Bextor’s “Murder on the Dancefloor,” which hit No. 2 on Alternative Airplay in July 2024. Another act with an Australian connection, Stray Kids debut at No. 4 with Karma, for the K-pop boyband’s sixth top 10 appearance in Australia. That tally includes Maxident (No. 4 in 2022), 5-Star (No. 2 in 2023), Rock-Star (No. 2 in 2023), Ate (No. 2 in 2024) and Hop (No. 4 in 2024). Band mate Felix was born and raised in Sydney, while Bang Chan was born in Seoul but also grew up in Sydney. US country artist Lainey Wilson lassos a new chart peak with Whirlwind, which enters at No. 8 following the release of a deluxe edition. Whirlwind reached No. 19 in August 2024. Tyler, The Creator’s CHERRY BOMB blows up for a new chart peak of No. 10, eclipsing its best of No. 13 in 2015. Tyler is currently working his way across Australia and New Zealand on the domestic leg of his Chromakopia tour, produced by Frontier Touring, and on Friday opened the flagship GOLF store in Sydney. Further down the list, British indie rock outfit Wolf Alice snag a No. 14 debut with Clearing, their fourth album, while Bleak Squad, the Melbourne-based “super group” comprising Mick Turner (Dirty Three, Mess Esque), Mick Harvey (Nick Cave & The Bad Seeds, PJ Harvey, The Birthday Party), Adalita (Magic Dirt) and Marty Brown (Art of Fighting) are new at No. 40 with Strange Love, their first album. Finally, the top debut on the ARIA Singles Chart belongs to Doja Cat, whose “Jealous Type” leaps in at No. 28. “Jealous Type” is Doja’s 16th top 50 hit as a solo or featured artist on the ARIA Chart, including “Paint The Town Red,” which logged 10 weeks at No. 1 in 2023. Source link

It’s been said countless times since Liam and Noel Gallagher buried the hatchet last year to launch their rapturously received Oasis Live ’25 reunion run, but the formerly quarrelsome siblings who used to make Cane and Abel look like the Kelce brothers have found that special magic again. And then some. When the tour finally hit U.S. shores on Thursday night (Aug. 28) at a sold-out Soldier Field in Chicago for one of only five American dates, there was an unmistakable, heart-warming majesty to the display of true brotherhood between the Gallaghers. From their now signature hand-in-hand walk out to subtle nods and hip-check nudges between them, the years of estrangement seemed like an ancient memory, leaving in their place a dedication to playing their most beloved songs as loudly, brashly and tightly as ever. Despite the unwavering setlist and even somewhat similar between-song banter, the first Oasis show on U.S. soil in nearly 17 years made it feel like no time at all had gone by the second the band’s signature party-starting go song — the beat-attack, mostly instrumental “F—kin’ in the Bushes” —  blared from speakers to a jubilant mob geeked for the return of the Britpop kings. One thing that hasn’t changed is singer Liam Gallagher’s punkish swagger, as evidenced by the shades that never left his face for the duration of the two-hour, 23-song gig and his playful shout-out to the “drug takers” and “glue sniffers” before “Bring It On Down.” Whereas in years past the band’s formerly volatile vocalist might have tossed the occasional tambourine or maraca in frustration — he’s now banned from letting any instruments fly for safety reasons, if you can believe it —  the closest he got to maligning one of his instruments in Chicago were the few times he playfully clamped his tambo between his teeth during instrumental passages. The professionalism extended to the sharp, all-black ensembles worn by the entire band, which gave off an us-against-the-world gang vibe as tight as the song’s arrangements. When Liam leaned into the microphone to howl the chorus of “Morning Glory” as the 60,000-plus crowd expertly backed him with an elongated “wellll,” it was clear American fans have studied the tapes from the group’s U.K. and Irish gigs last month and came prepared to do their part. And boy did they. From the unending sea of Adidas stripes on track suits, football jerseys and sneakers, to what must have been a Midwest record for the most bucket hats in a single place at once, the crowd came to sing along and hoover up as much merch as possible. And off course they did the turn around and jump up and down Poznan dance during “Cigarettes & Alcohol,” making the ground shake like a Britpop earthquake. In the bad old days, Liam would sometimes wander off stage, or sulk on the drum riser during his vocal breaks over some perceived slight or agitation. But what a difference time has made, as 2025 Liam now blows kisses before “Some Might Say” before making the sign of a cross after dipping his fingers in his water bottle to get some holy mojo rolling. He joked “we invented all this madness” before brother Noel unleashed the primal roar of “Supersonic,” peeling off the gigantic, clear-as-a-bell riffs that had Liam swaggering over after “Roll With It” to give his older brother a friendly hand slap. The band’s songwriter and occasional singer returned the favor by giving Liam a break during a mid-set ballad showcase featuring the Noel-led “Talk Tonight,” “Half the World Away” and clear crowd favorite “Little By Little.” The Stones-y opening set from Bowling Green, Ky. brother band Cage the Elephant set the stage with a tight, kinetic performance that had singer Matt Shultz leaping into the air and bounding from one end of the stage to the other like a Bluegrass State Jagger, with no signs of the 2024 foot injury that had him scooting around stage in a medical boot for a while. In keeping with the sibling revelry on display all night, at one point Shultz sauntered over to older brother guitarist Brad Shultz and gave him a sweet brotherly shove after a bit of teasing. Liam didn’t say much to the crowd, but when he did speak it was to spread the love, telling his Chicago fans that it was “f–kin’ mega to be back in America,” noting that “we always loved ya” as the band dove into 1997’s Be Here Now classic “Stand By Me.” There were other playful gestures, such as the “c’mon now” flick of the ears urging the audience to sing along to that song or his cheeky search for “any lovers in the house” before the 1994 Definitely Maybe track “Slide Away.” For a band that used to be dogged by obvious Beatles comparisons, Thursday’s show felt less wedded to Fab formula and more focused on delivering waves of sonic overload and straight-up melodic stadium rock, as when “Live Forever” roped tens of thousands into reaching onto their tiptoes to get high enough for the falsetto “You and I we’re gonna live forever” bit. “Rock ‘N Roll Star” needed no such encouragement, with the audience doing the heavy vocal lifting on the track that ends in a swirl of psychedelic eddies. There were still the low-key, subtle nods to the Beatles, though, as in the familiar inclusion of a bit of Ringo Starr’s “Octopus’s Garden” at the end of “Whatever.” But truth be told, this set was mostly focused on giving the people what they came for, packed in one of the most epic show closers in rock. Noel took lead vocals on 1998’s “The Masterplan, a lesser-known track that got No. 1 hit treatment from the passionate audience, who jumped up and down and pumped their fists with a kind of polite mayhem that never tipped over into loutish behavior. On a perfect 65-degree night, Oasis landed the plane with the undisputed murder’s row trifect of encores,

Manchildren and pearl-clutchers, beware — Sabrina Carpenter‘s new album Man’s Best Friend is here. On Friday (Aug. 29), the pop star dropped her highly anticipated seventh studio LP, complete with 12 tracks. That includes lead single “Manchild,” which earned Carpenter her second-ever No. 1 on the Billboard Hot 100 in June, and “Tears,” a music video for which dropped at the same time as the album. Produced by Jack Antonoff and released via Island Records, Man’s Best Friend arrives just over a year after the Grammy winner’s breakout album, Short n’ Sweet. Featuring hits “Espresso” and “Please Please Please,” the 2024 project spent four weeks atop the Billboard 200, marking Carpenter’s first No. 1 album on the chart. With Short n’ Sweet and now Man’s Best Friend, the singer has established herself as a lyrical master of double entendre, oftentimes charging her lyrics with brazenly sexual themes. Though she’s received some criticism for that — as well as the racy Man’s Best Friend album cover, which features her on all fours as a man grips her hair — Carpenter has stayed true to who she is. “The album is not for any pearl clutchers,” Carpenter told Gayle King on CBS Mornings in a clip posted Thursday (Aug. 28). “But I also think that even pearl clutchers can listen to an album like that in their own solitude and find something that makes them smirk and chuckle to themselves.” “But I think about being at a concert with, you know, however many young women I see in the front row that are screaming at the top of their lungs with their best friends,” she added at the time. “You can go like, ‘Oh, we can all sigh [in] relief like, ‘This is just fun.’ And that’s all it has to be.” Listen to Man’s Best Friend below. Get weekly rundowns straight to your inbox Sign Up Source link

As they’re currently ruling the world on their sold-out reunion tour, it’s hard to imagine Oasis as anything other than legendary, stadium-filling rock stars. But of course, there was a time when they were just a promising young band from Manchester, England. It’s an era for which renowned British music photographer Kevin Cummins had a front-row seat, as he took pictures of the Gallagher brothers and crew in the early ’90s. Many of Cummins’ images from this era now form the photo book Oasis: The Masterplan, released this past March. Now, as Los Angeles prepares itself for the band’s first shows in the city since 2008, an exhibition of Cummins’ photos of the band is debuting at the Musichead Gallery in Hollywood. This exhibition, Oasis: Be Here Now, opens Sept. 4 with an artist talk and book signing by Cummins and will remain open to the public through early November. The gallery is also offering a limited-edition Oasis: Be Here Now poster, with 500 copies available for purchase. Like his book, Cummins’ exhibition will display images of Oasis in the year following their 1993 signing with Creation Records, the Sony subsidiary that released the band’s 1994 debut Definitely Maybe and its 1995 followup (What’s the Story) Morning Glory? See select images from Oasis: The Masterplan below. “We are excited that Kevin Cummins will be at our gallery to speak about not only all things Oasis, but all things Manchester,” Musichead founder and curator Sam Milgrom says in a statement. “His new book and the photo exhibition promise to bring a new awareness to his great talent and let all Oasis fans get a much closer look at the enigmatic music legends.” The exhibition opening happens two days before the band’s Oasis Live ’25 tour stops in L.A. going down Sept. 6-7 at the Rose Bowl in Pasadena, California. The opening of Cummins’ exhibition furthers Oasis Fever in Los Angeles, with the band’s L.A. pop-up store — the first Oasis Live ’25 Fan Store to open in North America — opening Aug. 20 on Hollywood Boulevard. Meanwhile, Oasis plays Thursday night (Aug. 28) at Chicago’s Soldier Field, with the tour then moving to East Rutherford, New Jersey, Los Angeles and Mexico City before returning to London on Sept. 27-28. The band then has dates in South America and Asia through the end of November. Image Credit: Kevin Cummins / Iconic Images British rock band Oasis (Noel Gallagher, Liam Gallagher, Paul McGuigan, Paul Arthurs, Tony McCarroll) on Market St, Manchester, 2 August 1994 Image Credit: Kevin Cummins / Iconic Images British rock band Oasis (Noel Gallagher, Liam Gallagher, Paul McGuigan, Paul Arthurs, Tony McCarroll) on Flitcroft St, London WC2, 15 March 1994 Image Credit: Kevin Cummins / Iconic Images Noel and Liam Gallagher of British rock band Oasis at Sly St Studio, East London, 8 May 1994 Image Credit: Kevin Cummins / Iconic Images Noel and Liam Gallagher of British rock band Oasis at Sly St Studio, East London, 8 May 1994 Image Credit: Kevin Cummins / Iconic Images Liam Gallagher of British rock band Oasis performing at TJ’s, Newport, 3 May, 1994 Image Credit: Kevin Cummins / Iconic Images Noel and Liam Gallagher of British rock band Oasis outside Maine Road stadium, Manchester, 2 August 1994 Image Credit: Courtesy Photo Kevin Cummins Source link

A new bombshell enters the villa! Elephant Man took a moment on Billboard‘s Caribbean Music Awards red-carpet livestream to serenade Love Island USA star Chelley Bissainthe with his latest hit “Pretty Baby.” Chelley co-hosted Billboard‘s live pre-show (which streamed on the Billboard News YouTube page and the Billboard Hip-Hop/R&B X page) alongside Billboard staff writer Kyle Denis, and when the Jamaican legend stopped by, the duo asked if he would sing a little of his Connie Francis-interpolating track. “Well, you know, because she’s so beautiful, I just gotta say…” Elephant Man said as he turned to serenade Bissainthe, lamenting the fact that he didn’t have a rose to offer her. The dancehall star then performed a (heavily edited) version of his raunchy track, singing to Chelley: “My pretty, pretty baby/ This ain’t no maybe/ Whenever you’re lonely, girl you can phone me/ My pretty, pretty baby, have me runnin’ back to you-ooh-ooh.” He then notably changed his lyric “we can f— for hours next to the flowers” to “we can talk for hours next to the flowers” — this was a live broadcast, after all. Elephant Man’s “Pretty Baby” dropped last month and takes many lyrical liberties compared to the late Francis’ “Pretty Little Baby,” which went viral this year — more than six decades after its 1962 release — thanks to its popularity on TikTok. After spending her summer in Fiji as part of the Love Island USA cast, Chelley left the villa paired up with Ace Green, and the couple are still together more than a month later (though Green was back home in Los Angeles on Thursday night while Bissainthe hosted the Billboard livestream in New York). The Haitian-American reality star is a vocal fan of dancehall music and jumped at the chance to co-host Billboard‘s Caribbean Music Awards red-carpet show, telling Denis that she’s been introducing her villa bestie Olandria to her favorite island music too. You can rewatch the almost three-hour livestream below, or watch Elephant Man serenade Chelley in the video above. The Caribbean Music Awards will air Sept. 12 on BET at 8 p.m. ET. Get weekly rundowns straight to your inbox Sign Up Source link

Known for innovating within the regional Mexican genre, Edén Muñoz is always on the lookout for new ideas and fusions. However, he’s been wanting to return to his musical roots, which he does in his new album, Piedras A La Luna. “Personally, it’s one of my most beautiful projects because it touches on my roots — it embraces banda, norteño — done as it should be, with the traditional sound. There are songs with double meanings; it’s my essence, what people want to hear from me,” Muñoz tells Billboard Español. “I had forgotten how wonderful it is to make that kind of music.” Released on Thursday (Aug. 28) under Sony Music Mexico, the 15-track set — including the previously released singles “Qué Loco El Plebe,” “Te Juro Que Te Amo,” “La Dama,” and “Mi Primer Día Sin ti” — evokes the sound of iconic groups like Banda El Recodo and La Arrolladora Banda El Limón, who recorded in the legendary Estudio Hugos in Los Mochis, Sinaloa. For this album, Muñoz’s team included people who worked in that studio. “We achieved the classic touch, the roots of our music,” explains the singer-songwriter. “In the end, that’s where all regional Mexican artists come from. Let’s say it’s music made with grandma’s recipe.” The album, his fourth studio effort as a solo artist since departing Calibre 50 in 2022, is a musical journey through the sounds of the traditional Sinaloan banda and norteño music that he grew up with. From love songs like “Raite Pa’ Con Diosito” with a ranchera style, to heartbreak tunes like “Mi Primer Día Sin Ti,” where the tuba adds drama, and the norteño track “La Dama” featuring Óscar Maydon — the only collaboration — Piedras A La Luna appeals to the classic sounds of regional Mexican music. The album also includes a track surprisingly inspired by Gustavo Cerati, “Gracias Por Venir,” whose title is a lyric from the song “Puente” by the late Argentine rocker. “[He’s] one of my favorite artists,” Muñoz reveals. “I study him a lot on a musical level.” There’s also one cover, “Te Juro Que Te Amo,” made famous in the 1970s by the Venezuelan group Los Terrícolas, and which now receives the norteño-banda treatment. Overall, the album’s lyrics are family-friendly. Muñoz, who expanded his fan base to include children after recording a 2023 version of “La Nena” by Banda Pequeños Musical, along with Cosme Tadeo, has been more mindful of his lyrics since then, understanding the responsibility that comes with this new audience. “The show is now a bit more family-oriented,” he adds. “Now I stop myself from saying something inappropriate because there are minors, and they deserve respect. I owe myself to the audience of all ages and from all places in my country. I want to sound like Mexico in every sense.” Below, Edén Muñoz breaks down five essential tracks from Piedras A La Luna. Listen to the full album here. “Raite Pa’ Con Diosito” When the idea for this song came to me, I got excited. Whether it came from Joan Sebastian, God, or whoever dictated it to me, it’s very gratifying because it’s been a long time since I made a song with the characteristics of “A La Antigüita” [from Calibre 50] or “Como Quieras Quiero,” two tracks in that style. However, “Raite Pa’ con Diosito” is even more retro in terms of sound. The banda, playing with all its strength, envelops the lyrics, which tell the story of a man in love asking a father for permission to date his daughter, but warns that, if he’s denied, he’ll take her anyway. It’s a story straight out of the 1950s. “Gracias Por Venir” One of my favorite artists is Gustavo Cerati. I study him a lot musically. This phrase is from one of his iconic songs, [“Puente”], and it gave me the line and the idea for a song with a very beautiful metaphor. It’s about the reconstruction of a human being, about when you break. It’s one of my favorites. Musically, the sound of the accordion gives it the dramatic touch that makes it so special. “Sin Yolanda” This is very much in the vein of “Ni Que Estuvieras Tan Buena” or “Te Estoy Engañando Con Otra,” that kind of humor I played with in Calibre 50. This line from the lyrics says it all: “I’m going to grab whatever moves/ Watch out because I’m hurting/ So you can take advantage of the offer/ The ones you’ve always wanted/ Now there will be plenty for everyone and for an indefinite period of time.” Musically, it’s an intense norteño track, with the accordion played the way it should be. “Maldito Dinero” This song talks about the two ways of seeing money: one, from the perspective of those of us fortunate enough to have a job, an income, and maybe even some extra; and the other, from the perspective of those who are chasing every peso just to get by. I think it’s a very deep song. The banda sound is very special. I brought in the best trumpet and the best trombone from the old school. “Lejos Estamos Mejor” This is a song about a love that ended and, with time, has healed, becoming something of the past, putting each person in their rightful place. The title says it all: “Lejos Estamos Mejor” (We’re Better Off Apart), each one creating the best version of themselves. It’s a norteño-banda ballad with a smooth rhythm, mixing nostalgia with a welcome to a new life. Source link

Rock music from the 1980s doesn’t get a lot of respect, with much of the focus going to such dated style elements as big hair and heavy eyeliner. The curators at Grammy Museum Mississippi have decided, in the immortal words of Twisted Sister, “We’re Not Gonna Take It.” In their new exhibit “’80s Rock: The Wildest Decade in Music,” Grammy Museum Mississippi tells the story of what it calls “one of the most under-appreciated eras in rock history.” The exhibit will explore how hair metal and glam metal became so popular and why their fans remain loyal to this day. The exhibit will open to the public on Friday, Sept. 26, and will be on display through 2026. It will feature artifacts and memorabilia from bands who made a huge splash during the ’80s, including Mötley Crüe, Poison, Skid Row, Warrant, Ratt, Guns N’ Roses, Cinderella, Def Leppard, Lita Ford and Vixen. Fans will also have the opportunity to have their photo taken in front of a large backdrop depicting the exterior of the iconic Sunset Strip venue Whisky a Go Go. “We couldn’t be more excited to debut our new special exhibit ‘’80s Rock: The Wildest Decade in Music’,” Emily Havens, executive director of Grammy Museum Mississippi, said in a statement. “Not only is this genre of music one of my personal favorites, but the bands who were launching their careers on the Sunset Strip during this decade made an impact on young people that has lasted for generations. We’re here to give the bands of hair metal and glam metal their due credit and tell the story of one of the most under-appreciated genres of music in rock history.” An exclusive pre-opening event will be held Thursday, Sept. 25, at 6 p.m., featuring a reception and program with stories and conversation from members of Twisted Sister. This event is reserved for exhibit sponsors and Grammy Museum Mississippi members. Tickets for members are available at the museum’s website. The exhibit will feature artifacts, instruments and memorabilia from bands of the ’80s hair and glam metal scene, and bands from the pre-glam ’70s scene, including: Ozzy Osborne stage costume     Mötley Crüe’s drum kit     Def Leppard Washburn bass     Guns N’ Roses smashed bass and Appetite for Destruction lithograph     Pink bodice worn by Nancy Wilson of Heart     Lita Ford’s “Black Widow” guitar and outfit     Poison autographed guitars and signed memorabilia     Guitar played by Ratt     Warrant drumhead     Photographs from the era by Mark Weiss Grammy Museum Mississippi, in Cleveland, Mississippi, is open Tuesday through Saturday from 10 a.m. to 5 p.m. and Sunday from noon to 3 p.m. The museum is closed on Mondays. Tickets can be purchased in person at the box office, or by visiting the museum’s website. Source link

Estéreo Picnic has unveiled its star-studded lineup for 2026, promising another epic musical experience at the Parque Metropolitano Simón Bolívar in Bogotá. On March 20-22, fans will gather for performances from headliners The Killers, Tyler, The Creator and Sabrina Carpenter. Joining them are a mix of international stars such as  Lorde, Interpol and Turnstile, setting the stage for a genre-blurring, world-class event. The 15th edition of the festival will continue to embrace its Latin roots with performances from some of the brightest stars. Leading the charge is Peso Pluma, the trailblazing música Mexicana sensation, alongside breakout Mexican-American singer/songwriter Ivan Cornejo and Puerto Rican rapper Young Miko, who’s been making waves in Latin rap and reggaeton. Argentine punk queen Six Sex and Mexican rock band The Warning also join the stacked lineup. National pride shines through with Colombian acts such as TIMØ, Briela Veneno, Elniko Arias, and Nicolás y Los Fumadores, surely to deliver exciting homegrown performances to local fans. In addition to the Latin presence, global pop and rock heavyweights will dominate the festival’s main stage. Fans can look forward to seeing Addison Rae, Doechii, Katseye, Viagra Boys and Aitana — all adding to the event’s eclectic soundscape. Whether you crave indie, pop, rock, rap or reggaeton vibes, you’re sure to find an artist to love at Estéreo Picnic 2026. Earlier Thursday (Aug. 28), Lollapalooza 2026 in Chile, Argentina and Brazil also announced their lineup with Sabrina Carpenter, Tyler, The Creator and Chappell Roan as headliners. Tickets for Estéreo Picnic 2026 go on sale starting Wednesday (Sept. 3) at 10 a.m (COT) through the festival’s official website and Ticketmaster. Source link