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04 Oct 2024

How Luke Combs Landed a Country Airplay Milestone With ‘Ain’t No Love In Oklahoma’

When “Ain’t No Love in Oklahoma” reached No. 1 on Billboard’s Country Airplay chart, it became Luke Combs’ 18th chart-topper on the tally. But this one was different from its 17 predecessors for the Sony Music Nashville artist. “Oklahoma” was the lead-off single from Atlantic Records’ Twisters soundtrack and his first hit spawned from a movie. Also, as the song spends its second week atop the chart, it brings Combs’ cumulative weeks spent at  No. 1 on Country Airplay to 53, making him only the sixth artist in history to have spent more than a year at the summit. 

Every one of those 18 No. 1s has been promoted to country radio by Sony Music Nashville senior vp of promotion Lauren Thomas, who oversees promotion for SMN’s RCA and Columbia imprints. And that feat earns the radio veteran, who joined SMN in 2009, the title of Billboard’s Executive of the Week.  

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Here, Thomas explains how Sony Nashville and Atlantic worked together to promote both the song and the movie, how Combs’ previous No. 1, his remake of Tracy Chapman’s “Fast Car,” paved the way for a broader audience and how Combs integrated the song into his sold-out summer stadium tour. “Honestly, [‘Oklahoma’] is a Luke Combs song through and through and perfect for the live stage,” Thomas tells Billboard. “Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.” 

“Ain’t No Love in Oklahoma” is No. 1 for the second straight week on Billboard’s Country Airplay chart. What key decisions did you make to help that happen?  
 
We are fortunate to have a hit song along with an incredible track record with Luke at country radio. The team’s relationships paired with communication with our partners on our goals —  and ultimately their support — drove this one home. 

“Ain’t No Love in Oklahoma” is from the Twisters  soundtrack, which Atlantic released. How did you and Atlantic work together to take “Oklahoma” to country radio, while also promoting the film?   
 
Working with Kevin [Weaver, Atlantic Records president, West Coast] and his team from the beginning was exciting. From the beginning, their team wanted to make some noise.  With the teases of the trailer directly [to] moviegoers inside the theaters to the massive music video with Luke and all the film footage, we were given the ball to make this Luke’s next No. 1 single and their team trusted us to do so.  

The song leans more into rock than Combs’ songs usually do. Did you receive any initial pushback from radio?  
 
Luke has a solid track record and his sound covers a wide range. Tempo from a superstar like Luke was embraced fairly quickly and given a real opportunity with immediate airplay from a world premiere across all chains. 

Though written specifically for the soundtrack, what about the song do you think appealed to Combs’ existing fan base and did you work it as if it were a standard Combs’ single release or were there different elements that came into play because of the film?

Honestly, it’s a Luke Combs song through and through and perfect for the live stage. If you’ve never seen a Luke show before, it fits perfectly into his set.  Whether a ballad or something more hard-hitting, they love Luke and are here for him and I think Luke did the perfect job of writing something for this massive film and soundtrack and making sure it was original to him as well.  

How did you tie in with the success of the movie to help promote the song?  

It was all Luke. Luke was on his massive sold out stadium tour at the time of the movie so there was an easy tie-in to have Luke talk about the song as well as what it was like to shoot the music video for such a big blockbuster — which, as Luke explained, was a very different process from a standard music video shoot, most notably having debris flying at him during filming. That, and of course the weekend the movie came out Luke invited Glen Powell and some of the cast up on stage for his shotgunning beer moments. 

“Ain’t No Love in Oklahoma”  is Combs’ 18th  No. 1 on Billboard’s Country Airplay chart. What has been the strategy when taking him to radio in terms of picking singles and working with him and his manager, Chris Kappy?  
 
It is very much collaborative with Kappy, Sophia [Sansone] and our respective teams. Luke definitively knows his audience and speaks into the decisions we make — he leans in and always has with both his fans and our partners. It’s wild to think about the days of driving Luke around in a rental car to radio station shows and visits and now Kappy, Sophia and I get on bi-weekly calls to talk through things like multiple sold-out stadium dates. Wild.

Combs’ songs have now spent a cumulative 53 weeks at No. 1 on Country Airplay, making him only the sixth artist to have registered more than a year. Is there one thing you and your team have consistently done when taking Combs to radio that has resulted in such a huge number?  
 
It really is the perfect marriage of compelling music and communication to partners. Luke has done an incredible job of consistently delivering music that moves people in a variety of ways. The enthusiasm from Luke and his team is contagious and the Columbia promotion team carries that energy into the promotion of his music and the execution of our goals. 

He took his cover of Tracy Chapman’s “Fast Car” to No. 1 in 2023 and that song also received some crossover play on pop formats. How did that increase his audience?  

The whole collective team — management, marketing, press, promotion, etc. — came together to push this in front of new audiences. It really wasn’t one thing alone. The song and story behind it were everywhere and people who had never heard of Luke Combs now know who he is. 

This might be a really silly example, but I have worked every Luke Combs number one. When “Fast Car” came out, it was the first time my dad spoke to me about Luke Combs’ music. He knew who Luke was but this song and story behind why Luke cut it was familiar and clearly spoke to him. In contrast, same story with my little brother.  Working with [senior vp of pop promotion] Brady Bedard and the team at Columbia was a dream and opened the door for both Luke and that song to have another moment with audiences at the different formats. 

The song also made history for Tracy Chapman and brought us one of the most memorable Grammy performances to date. They both just looked so happy. I will always be honored to have been a small part of that song. 

What did you learn from this rollout that you can use with other songs from soundtracks, and do you think the Twisters’ soundtrack success will lead to more country artists having songs on soundtracks?  

I think we always have to be open to different ways to promote music and this song helped our team do that.  Having an extra bonus of a song being in a film and as the lead from the soundtrack just helps add the exposure of any song no matter the genre. 

Country music is about storytelling so I think music supervisors should certainly pay more attention to the genre to help tell the stories of their films and shows.  This soundtrack helped bring the genre to the forefront at a time when country music is shining. I can only hope that the music teams at these film companies realize the power a song can have to really amplify their story. 

04 Oct 2024

Kerry Washington Invests In Spill, The Black-Owned Alternative To Elon Musk’s X

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Kerry Washington Invests Spill The Alternative To Twitter

Source: Gilbert Flores / Getty / Kerry Washington

Spill, the Black-owned alternative to Elon Musk’s floundering platform X, formerly known as Twitter, has a big backer in Kerry Washington.

Tech Crunch reports that actress Kerry Washington is now an investor in the Black-owned social media platform Spill. The news comes as the platform celebrates its second year in existence.

Spill is the brainchild of Alphonzo Terrell, a former global head of editorial at Twitter who was laid off by the company following Musk’s reluctant acquisition of the platform, which he stupidly rebranded as X. 

When Spill was created, he raised a $2 million seed extension and grew the app’s user base to around 200,000. One of those users was Emmy-Award-winning actress Kerry Washington.

Washington’s presence on Spill was very loud. She hosted Tea Parties, the platform’s name for live video conversations, and actively engaged in discussions with other users, encouraging people to vote.

Speaking with Tech Crunch, Terrell spoke about Washington’s presence on the platform.

“She’s incredibly accessible and knowledgeable, especially around these topics, and is not scared in any way, shape, or form about really engaging with people directly,” Terrell told the website. “I think it really does represent the kind of environment we want to cultivate on Spill … We’re all human here, too. Let’s connect.”

Washington, who is no stranger to making investments, added, “In a digital world where marginalized groups, especially Black, Brown, and LGBTQIA folks, rarely feel prioritized, Spill stands out. I’m proud to be part of this community as both a user and an investor.”

Spill Is Offering A New Space For Black & Brown Users To Be Creative On Social Media

Since Musk took over Twitter, users, specifically Black users, have sought a new platform to express their creativity. Spill, BlueSky, and Instagram Threads were among those options.

Spill has made significant strides in keeping people engaged on the platform. One reason is that it has found success in that area thanks to launching a live multiplayer Spades game.

We hope Spill continues to make a splash in the social media space.

04 Oct 2024

WWE Universal Champ Cody Rhodes Talks Metro Boomin, Roman Reigns’ Redemption & John Cena’s Final WrestleMania Match

Last year, WWE superstar Cody Rhodes was on the verge of “finishing the story,” a phrase that captured the collective anticipation of the WWE universe. They were fervently hoping for the blonde protagonist to clinch the one belt that had always been out of reach for his bloodline — the WWE Universal Title.

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Now, 12 months later, Rhodes joins Billboard on Zoom while proudly displaying a new addition to his collection. This shiny new toy, a symbol of his hard-earned victory against the once-indomitable Roman Reigns at WrestleMania 40 this past April, would undoubtedly bring a smile to the face of his late father, Dusty Rhodes.

“When we spoke, I did not have the North Star of our business in terms of the WWE Championship,” says Rhodes, referencing our 2023 conversation about his documentary, American Nightmare: Becoming Cody Rhodes. “It’s a nice piece of hardware to bring around with me now.”

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Undoubtedly the new face and quarterback of WWE, Rhodes is enjoying his champion run, including wins over AJ Styles, Logan Paul and Kevin Owens. Rhodes’s popularity has also crossed over to the music side, where he spoke to Jay-Z last month at Michael Rubin’s Fanatics Fest, shot a commercial with Metro Boomin for the WWE’s upcoming premium life event Bad Blood, and was a presenter this past week at this year’s ACM Awards.

Bad Blood will occur this Saturday (Oct. 5) at 6 PM EST on Peacock in Rhodes’ home state of Georgia. His homecoming should be memorable, as he’ll team up with his one-time adversary Roman Reigns in a tag-team match against Solo Sikoa and Jacob Fatu. Billboard spoke to Rhodes about working with Metro Boomin for their Bad Blood commercial, WWE enjoying its golden era, chatting with Jay-Z and more.

You thought I was crazy for giving you the LeBron comparison when you returned to the WWE. You have to see the similarities now in terms of you winning your first belt and him winning the ring in Cleveland, right?

Well, he came back home and he got it for the city. In terms of his story, you really had to hang in, you had to stay on-board. It took a detour in terms of him being away from his home. Then to come back and to fulfill that promise is incredibly special.

For me, I think a lot of people maybe looking outside of my journey in pro wrestling and sports entertainment this was how it was meant to be and this was how it was always gonna be. I look at this with the moment that we’re in now and it’s a gifted period. It’s a chapter I did not truly expect. I had taken such a detour. I had been so away from my roots and my original goal in the industry that new goals had popped up. But to be able to drop back in, to go and get [the title] and to be one of the leaders in its most prolific era for a company that’s really has had prolific eras, I’m not taking this for granted. This is a very blessed time.

After 20 years, Bad Blood is coming back to your state this Saturday. Talk about this full-circle moment for you in terms of coming home with the title in-hand.

It always feels Game of Thrones-like in a sense. Here’s the belt from formerly the World Wide Wrestling Federation and the Northeast Territory and I was just this Georgia Championship Wrestling, Jim Crockett Promotions, WCW kid. To be able to be the first Rhodes to have it, but also bring it back to where The Omni once stood. I mean, I got goosegumps when they put The Omni in the scene from [Smackdown’s] Georgia Tech [episode] because being able to be on the ground of that building and to have this [belt], was not expected. It’s a homecoming. I’m very much looking forward to it.

Speaking of the Georgia Tech episode where you and Roman met up and cut an intense promo, that was high-level cinema on display. 

I think wrestling fans, if they could be sitting in the stands at Bobby Dodd Stadium when it happened, they would have been so rewarded because the thing that is not being reported and by no means needs to be reported, is none of the verbiage was discussed — none of it. Maybe he thought I’m going to make my point and I thought I was going to make mine as well, but to be able to have that moment and to say things to one another [was special].

When pro-wrestling is at its best, it’s very real. That situation that we find ourselves in at WWE now with the individual who carried it through the pandemic and who held it for all those days as the perennial main-eventer now not being the quarterback of that company, that’s a very real thing. Roman has my utmost respect. If anything, he pulled something out of me that I didn’t know I had. I hope I did the same for him. 

Why do you think Roman’s redemption tour is having such a strong start with the fans?

What’s not to like, right? In terms of confidence, we saw the fitness TikTok of how dialed in physically he is and what he’s already contributed. You’ll hear people say, for so long that they were trying, and trying and the fans were rejecting it. I think if you look back at those times, it’s all contextual and different reasons. Perhaps, they didn’t react the way you thought, but I think you’re now seeing for the first time not just admiration, not just, “I wanna cheer for this guy and buy his t-shirts,” you’re seeing respect.

When you have the respect of the fans, you’re in rare air. He has the respect of every fan. People forget WWE has a massive audience of young children, and they’re just incredibly important as us. When you have their respect and they can look at you and feel that presence, man, it’s a classic case of what’s not there to like. Now, if I look at it from a narrative perspective and look back at Smackdown and Raw, he’s made a lot of people’s life a living hell. That could be what’s not to like, but going into Bad Blood, I’m doing my best not to look at any of that. 

You recently spoke to Jay-Z at Fanatics Fest. How does it feel seeing wrestling so valued and appreciated by not just hip-hop, but pop culture, overall?

I have to thank Michael Rubin at Fanatics for that. He was just having a normal, regular chat like he does with somebody like Jay-Z. That whole moment was incredible for me to go Fanatics Fest, first time ever, and to hear from the horse’s mouth himself what I only been told about some of WWE’s merchandising numbers and my own specifically. To be in the top five of all of the athletes represented, as a kid, trying to tell everyone around him, “Hey, wrestling is really cool. You should come over to my house, you’ll like it. Hey, come to the show with me, you’ll be a fan,” to see it hit this mainstream level again, I don’t wanna take it for granted.

With Bad Blood, Triple H and Nick Khan, they asked me to do the packages and sizzle reels with Metro Boomin. I’m thinking, “Yes!” This is what we do. This is what we want. To be able to have done the stakeout [with Metro] and hopefully it goes somewhere as we head towards Bad Blood, that was such a really sweet moment. It was really cool to connect with someone like that, not just an artist in a different medium, but with someone trying to tell stories like how we’re trying to tell stories.

You’ve become a beloved figure in the Black community, from people on social media changing your name to “Raheem Rhodes” to even Arkansas Pine Bluff, an HBCU, having its school band play your theme song “Kingdom” at their college football game. How does all the love feel?

You mentioned the band. They played that on primetime when they played Arkansas, and it’s quite possible you might see them playing it live in the State Farm Arena at Bad Blood. That was incredibly touching. In terms of your question, I’m always so careful about how I answer because the truth is, I don’t know. I just want to do all I can to keep it going. That’s such an honor.

I know some of the memes are meant to be funny and I’ve seen the name and all that stuff, but that was my dad’s biggest fan base. I could see things like the Southern Baptist church and things that connected the tissue. With me, I’m not sure so much, but I don’t wanna do anything to disrespect it or lose it, because not only do they do that fun stuff online, the community has also been really active in the arenas and as part of the journey. I don’t get to WrestleMania 40 without that group of fans. I’m touched just hearing it. I try to do everything that I can not to screw it up. 

You mentioned your father, and there’s a quote that you’ve said a while back that’s resurfaced on social media: “Sometimes, I just revert back to Dusty’s kid. I’m trying to chase his ghost and it’s a pretty hard ghost to chase.” Even after finally winning that elusive belt that once haunted your family, do find yourself still chasing that ghost of Dusty, professionally or personally?

In the latter, I remember saying this in my documentary: Following him as a pro wrestler is one thing, but he was a superb father. You know when you meet someone who had a superb father, mother or both, that’s a special thing you have an opportunity to do as a parent. Now I have the opportunity with my daughter, Liberty, and I just hope that I can be remotely as good as he was with me because he was absolutely the best parent you could possibly get.

In terms of chasing the ghost, it might feel or sound somewhat negative and by no means is it, that’s the greatest ghost to chase. This guy had such an impact on pro wrestling and sports entertainment. Time has passed and there’s still things that he’s linked to. Just the cage dropping, that’s a Dusty concept and here I am watching the cage drop on the Smackdown premiere. These were things that he brought to the game and I always said after a certain point in my career that I want to be the most influential person of my era.

That’s a difference between being the best champion, the biggest superstar, and the best in-ring wrestler. I always wanted to be the most influential person in my generation, and the reason was is because I felt that he was. His influence is still being felt today. That ghost, I gladly try to get to as close as possible. 

Your buddy Jey Uso won his first singles title after 14 years in the business. Knowing the struggle it took for you to reach that mountaintop, from a fan’s perspective, what was it like seeing him being able to capture that moment for himself?

That’s the business, right? That’s the good stuff. I remember Kerry Von Erich hitting the backslide on Ric Flair. I remember Bret Hart putting Ric Flair in the sharpshooter. The feeling of what we do in the ring, the stories being told, the good stuff. So much surrounds our wrestling space whether it’s controversy or whether it’s internal discussion of this and that, ultimately, the most important thing we do is in the ring.

Jey Uso is so beloved, and they got to have this real moment with him winning his first singles title. I feel like they purposely kept me away from the building because we would have just showered Wheatley Vodka on that entire arena. I’m so happy for Jey. That dude is the man. You can tell from the post-match interview that he did with Jackie, it was all real. When it’s real, that’s when it’s at its best. We gotta aim for it to be as real as possible. Very happy for Jey and cheers to a long run I hope. 

Next year is John Cena’s final year wrestling full-time for the WWE. From a fantasy booking perspective and removing yourself, who would you want to see go against John for his final WrestleMania match?

Such a great question. I think maybe it’s ultimately something that’s up to John. Wrestling John in any capacity — he has a championship, you just don’t see it. The mantle of responsibility, the individual that he was in terms of how he carried himself as the quarterback of WWE, I’m very curious what goes down.

I can’t fantasy book it, because there’s things that make sense and there’s past adversaries he’s had that would be great matches, but the idea of one more WrestleMania with the champ, I hope wrestling fans have strong opinions on it and I hope he has the same, because whoever that is, not just being in that match but what comes after having that match win, lose, or draw, that’s a huge selection to make. That might be the most important decision in WWE.

04 Oct 2024

Sabrina Carpenter Wakes Up ‘Tonight Show’ With a Fizzy Jolt of ‘Espresso’: Watch

She’s working late, ’cause she’s singing on The Tonight Show. Sabrina Carpenter returned to the late night program to perform her smash hit “Espresso” on Thursday night (Oct. 3), giving Jimmy Fallon’s audience an after-dark jolt of caffeine.

Taking the stage in a baby-blue leotard — surrounded by a full band and back-up singers dressed in white — the 25-year-old pop star served up silky vocals and perky choreography before slinking over to Fallon’s interview set-up, taking his spinning chair for a ride and laying across his desk. “Now he’s thinking ’bout me every night, oh/ Is it that sweet? I guess so,” she sang. “Say you can’t sleep, baby, I know/ That’s that me espresso.”

The performance came a little over a month after Carpenter dropped by The Tonight Show to perform her Billboard Hot 100-topping single “Please Please Please.” Since that appearance, the musician’s album Short n’ Sweet has spent three weeks at No. 1 on the Billboard 200, marking her first LP to reach the chart’s summit.

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Carpenter has also since kicked off her first-ever arena tour, opening Sept. 23 in Columbus. Four days before her latest Tonight Show stop, she headlined New York’s Madison Square Garden.

Amid the trek, the Girl Meets World alum has spoken out against lip-syncing accusations and critics of her embracing her sexuality on stage. On a recent TikTok speculating about the former, Carpenter commented: “i sing live every show 100% would you like to speak to my audio engineers.”

And in her new TIME cover story, Carpenter said her piece on the latter. “You’ll still get the occasional mother that has a strong opinion on how you should be dressing,” she told the publication. “And to that I just say, don’t come to the show and that’s OK. It’s unfortunate that it’s ever been something to criticize, because truthfully, the scariest thing in the world is getting up on a stage in front of that many people and having to perform as if it’s nothing. If the one thing that helps you do that is the way you feel comfortable dressing, then that’s what you’ve got to do.”

Watch Carpenter sing “Espresso” on The Tonight Show below.

04 Oct 2024

Ozzy Osbourne’s RRHOF Induction to Feature Jelly Roll, Jack Back, Billy Idol, Zakk Wylde & More

When Ozzy Osbourne celebrates his second Rock and Roll Hall of Fame induction later this month in Cleveland he will have an impressive roster of A-list help on hand to do the honors. The 75-year-old Prince of Darkness will be fêted by friends and colleagues who will take the stage on Oct. 19 to celebrate Osbourne’s induction as a solo artist; he was previously enshrined in 2006 with Black Sabbath.

“I don’t know what to think. I’m still in shock that I’m getting inducted for a second time,” Ozzy told Rolling Stone in an email. “But at the same time, I’m very excited.” He’s got reason to be, since among the performers who will help usher him in are actor/singer Jack Black, who famously ripped a School of Rock-like version of Ozzy’s 1980 occult metal classic “Mr. Crowley” with a group of teenagers last year.

“Jack invited my family to the School of Rock movie premiere in 2002,” Osbourne told the mag. “I’ve always been a big fan of his. Jack is one of the few great actors that is also a genuine rock & roller and not acting the part.” The RRHOF announced that Black will be joined by a number of other artists paying tribute to the metal icon, including Tool singer Maynard James Keenan, Jelly Roll, Billy Idol and a gilded gang of guitarists who will honor Ozzy’s history of working with unique stylists.

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Among that group are Osbourne’s longtime collaborator Zakk Wylde, recent producer Andrew Watt, Idol’s longtime guitarist Steve Stevens and Wolfgang Van Halen, with Metallica and former Ozzy bassist Robert Trujillo and Red Hot Chili Peppers drummer Chad Smith holding down the rhythm section.

Ozzy had kind words for those stepping up to honor him, calling Idol a “rock icon” whose music is “timeless,” while noting that the snarling punk-turned-pop star should be in the RRHOF. He referred to Keenan as a “true family friend since 1997… He is such a creative force. There are few artists who can keep three successful bands going for multiple decades,” he said in reference to the singer’s trifecta of hard rock acts: Tool, A Perfect Circle, and Puscifer.

And in a year when Jelly Roll is on a truly epic roll, Ozzy said having the country singer on board makes perfect sense. “Who doesn’t love Jelly Roll? His voice is soulful, pure, and dirty. I’m so honored that someone would do this for me who I’ve never had the pleasure of meeting,” Osbourne said.

Osbourne was nominated for his solo work for the first time this year and will be inducted after first becoming eligible in 2006 for a solo run that has produced such beloved hard rock anthems as “Crazy Train,” “Bark At the Moon,” “Mama I’m Coming Home” and “No More Tears.”

At press time it was unknown if Osborne — who retired from touring last year following a series of serious health issues over the past few years — will perform at the event that will also feature the inductions of Mary J. Blige, Cher, Dave Matthews Band, Foreigner, A Tribe Called Quest, Peter Frampton and Kool & the Gang.

The Hall recently revealed an extensive list of performers and presenters for this year’s induction at the Rocket Mortgage Fieldhouse in Cleveland, including: Busta Rhymes, Dr. Dre, Demi Lovato, Dua Lipa, Ella Mai, James Taylor, Julia Roberts, Keith Urban, Kenny Chesney, Lucky Daye, Mac McAnally, Method Man, Roger Daltrey, Sammy Hagar, Slash and The Roots.

The 2024 RRHOF induction ceremony will livestream on Disney+ on Oct. 19 at 7 p.m. ET. ABC will air a primetime special featuring the evening’s biggest moments on Jan. 1, 2025, at 8 p.m. ET, which will be available on Disney+ and Hulu on Jan. 2.

Check out the announcement below.

04 Oct 2024

Chappell Roan Canceled Two Major Shows Due to ‘Overwhelming’ Pressure. It Didn’t Have to Be That Way (Guest Column)

Chhappell Roan recently canceled two shows just one day before they were due to take place, saying that she felt overwhelmed and needed to take a break. She’s not alone — over the past few years, artists including Adele, Rihanna and The Rolling Stones have all done something similar, and likely at an eye-watering cost for all involved.

People will always get sick, but the kind of health issues artists state are often more complex. While it seems that labels and management companies have put an increasing amount of investment into mental health programs over the last few years, is there anything more that could help cancellations like these to be prevented?

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One area of the business slow to change is allowing adequate recovery time on tour for emerging artists. Costs are high and labels want to get the maximum amount of exposure for new artists, but scheduling proper breaks is so important when it comes to preventing illness, overwhelm and vocal issues. A quick glance at Chappell Roan’s tour dates shows her playing in three different cities on three consecutive nights. Combine this approach with a meteoric rise in profile and you’ll have an exhausted, overwhelmed artist in no time.

It is in this state that pre-existing health issues can raise their head. Exhaustion and stress will do that to any of us. No amount of mental health support can compensate for an over-tired artist who can’t cope. But also, for artists, exhaustion and stress impact their live performance in ways that executives often forget. An artist experiencing visceral symptoms of overwhelm, as Chappell stated, will find it incredibly hard to perform. She even said: “I want to be present when I perform and give the best shows possible,” suggesting that her current state is preventing her from doing that.

For singers, their body is their instrument, and signs of tiredness, illness or stress will show in their voice. Tension in the body can result in feelings of tightness, vocal fatigue and an inability to reach high notes. Sharing their music onstage with fans is incredibly meaningful to artists, so they want to be fit and strong enough to do the material justice. The world of social media is brutal — any significant vocal issues or performance mistakes will likely end up being shared online, inviting a wealth of stress-inducing (and often unfair) criticism. No artist wants to go onstage worrying that their voice might give out at any point, so they need to be properly supported to prevent this from happening. Additionally, increased stress can raise performance anxiety levels to unmanageable states, even for those who haven’t suffered from it before.

How can things change? Firstly, executives need to work with artists to find out what a reasonable tour workload is for them, remembering that everyone is different. Be mindful that promo is tiring for the voice, and the body doesn’t process a TV or radio appearance as a “day off” from performance, no matter how tempting it is to squeeze an opportunity into a scheduling gap. Travel days are also exhausting.

Many major artists further along in their careers now demand recovery to be built into their tour schedules, but it’s harder for younger acts to feel they can ask for this. It can also be tough for teams to facilitate — it’s well-documented how long it takes for touring to become profitable, especially when taking into account the rising costs faced by the industry post-pandemic. However, it’s worth taking a long-term view. As we mentioned earlier, cancellations are also expensive and risk harming the important dynamic of trust between artist and fan.

Secondly, invest in some proper performance psychology training for artists. Classical musicians know the importance of this — all major conservatories around the world now educate their students on how to perform under pressure, using virtual reality and mental skills training techniques, among others, to help musicians cope with the challenges of a high-level performance career.

Researchers have suggested that performing live can be compared biologically to sky-diving, in terms of the levels of stress in the body. Without proper management, recovery and support, cortisol levels can stay heightened, contributing to health issues in the long term. This is why management of performance anxiety is vital. All artists need a pre- and post-performance routine to help the body, mind and voice prepare for, and recover from, performance. You’ve probably heard of them from the world of sport, where they’re commonplace for athletes. Classical musicians use them too, but pop is slow to catch on — and to its detriment.

Finally, a routine performance health check-in with artists should be mandatory. These look at vocal health, performance psychology, hearing health, musculoskeletal issues and general mental health. Research suggests that musicians are slow to seek help for health issues, leaving problems until they become chronic, at which point many are harder to deal with and can even be career-ending. These early, cheap interventions can prevent problems from escalating. A standardized offer across the industry for all artists to access support would make a huge difference in reducing performance health-related cancellations long-term.

We cover all of this and more in the upcoming international edition of our health-focused career guide for artists (and those who work with them), Sound Advice, which aims to help prevent health and performance issues before they escalate, through a combination of research, interviews, professional advice and resources.

There’s been so much discussion and headway made on the health issues faced by artists in recent years. However, as Chappell Roan’s example and many others show, there are big gaps in care and provision that need to be addressed if the industry wants to prevent last-minute cancellations and move towards a more sustainable (not to mention ethical) future.

Rhian Jones is a respected freelance journalist who specializes in the business of music. She writes for The Guardian, Music Business Worldwide and Hits, amongst others.

Lucy Heyman runs a performance health and psychology consultancy, Elevate, where she works with industry organizations, advising artists and those that work with them on how to optimize performance. She has an MSc in Performance Science from the Royal College of Music and has published original research on the health and well-being experiences of artists in popular music.

04 Oct 2024

Rebel Wilson Countersues ‘The Deb’ Producers, Alleging Theft and Sexual Misconduct

Rebel Wilson is countersuing The Deb producers Amanda Ghost, Cameron Gregor and Vince Holden, accusing them of a “troubling pattern” of “theft, bullying and sexual misconduct.”

The cross-complaint comes months after Ghost, Gregor and Holden sued Wilson for defamation in July after she initially accused them of sexual harassment and embezzlement in an Instagram video. The producing trio alleged in their lawsuit that Wilson lied in an attempt to release her movie The Deb — which Wilson directors, produced and starred in — at the 2024 Toronto International Film Festival, as well as secure a writing credit on the film.

Wilson’s new suit alleges that Ghost was sexually harassing the film’s lead actress, Charlotte MacInnes, and “forced MacInnes to live in her Bondi Beach penthouse apartment with her,” where “Ghost took a shower and a bath with MacInnes.” It also claimed that “Ghost was overheard making overtly sexual remarks to MacInnes on set.”

In a statement to The Hollywood Reporter, MacInnes said, “There is no truth to the allegations made involving me. I made a statement to the film team when this was first said in September 2023, and I am saying this again now to draw a line under it. Making false accusations undermines real victims, and I won’t be the subject of a fabricated narrative.”

In Wilson’s suit, Ghost, Gregor and Holden are also accused of scheming to inflate the film’s budget and pocket the excess funds, according to the complaint. The suit said they “embezzled AU $900,000 from the film’s budget to be split between them.”

When Wilson reported the allegations to executive producer Danny Cohen, which he allegedly ignored, according to the suit, that’s when the producing trio “orchestrated a malicious and unyielding retaliatory campaign directed at her.”

Wilson claimed that the ongoing threats and intimidation tactics led her to hire “personal security on the set of The Deb,” so she could finish filming. The complaint also alleged that Gregor threatened to “terminate” the project and “fire its approximately 300 cast and crew members,” unless she signed a document “stating she withdrew her complaint about Ghost’s sexual misconduct” allegations.

Wilson’s attorney Bryan Freedman wrote in a statement, “Amanda Ghost, Cameron Gregor, and Vince Holden attempted to manipulate the narrative by recklessly filing an outlandish lawsuit. Their real problem? Only a fraction of their outrageous conduct has been revealed thus far. In their desperation to shift the story, they neglected to consider that this strategy would only lead to RW’s filing of a cross-complaint which exhibits a plethora of their shocking misconduct which there are many witnesses to. Many brave people have come forward who have had similar dealings with Amanda Ghost. While unfortunate, this was not a surprise. Stay tuned, this is just the tip of the iceberg. There is much more to come.”

THR has reached out to reps for Cohen, Ghost, Gregor, and Holden for comment.

This article was originally published by The Hollywood Reporter.

04 Oct 2024

Nate Smith Talks Tying Morgan Wallen’s Record & Making New Album: ‘I Trust My Gut More’

Ask Nate Smith what keeps him up at night and the list tumbles out of the rising country star’s mouth.

“Are we gonna get a No. 1 album debut? I slipped up on my diet today; let’s get back at it tomorrow. I think about my family [and] missing everybody. I think about am I calling my mom enough? I think about a lot of things at night.”

One thing he doesn’t have to worry about is making the record books. Smith’s first two singles, the high-octane kiss-off  “Whiskey on You” and the searing, rock-edged “World on Fire,” both hit No. 1 on Billboard’s Country Airplay chart, with the latter tying Morgan Wallen’s “You Proof” for the most weeks at No. 1 (10) in the chart’s 34-year history this February.  

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His success has helped him achieve a milestone: “I just bought a house in Nashville,” the California native tells Billboard. “I’ve got some acres, and I’ve got a nice private entry. It’s gonna be really good. I’m looking forward to the peace and quiet.”

There likely won’t be any peace and quiet any time soon. His new album, California Gold, out today on Sony Nashville, is a wide-ranging 18-song effort that makes great use of his husky, emotion-filled voice.

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There are stylistic nods to ‘90s bands like Lifehouse and Goo Goo Dolls on the set, acts that he says are “ingrained in my DNA,” especially on songs like  the driving “Want Me Back” and percolating “Perfect,” while first single, “Bulletproof,” recalls Tom Petty.

Smith co-wrote six of the 18 songs — his road schedule kept him from writing more, but, as the Nashville dictum goes, the best song always wins. “I’m looking for the best song always, whether I write it or somebody else does,” he says. “But with that said, I would have loved to have been in the studio a little bit more writing with people and stuff, [but] I was way too busy this year and I was lucky enough to get songs that I loved just as much as if I had written them.”

The road to success has had a few bumps, as Smith expressed on Instagram in mid-September when he posted about the relentless pressure artists face to produce strong social media numbers and streams. “I don’t think people realize the amount of pressure us artists face,” he wrote. “Why isn’t my reel viral? Why didn’t my last release get 7.5 million streams…It’s a constant grind of feeding the machine. It shouldn’t be about any of this. It should be about the music. I am absolutely exhausting trying to be cool.”

Nate Smith

Nate Smith

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The post resonated mightily with his fellow artists, triggering responses from HARDY, Breland, Carly Pearce and Bailey Zimmerman. “That was a really vulnerable moment,” Smith says, who adds he’s talking to his team about managing social media content better. “It was extremely relatable to the community, but it made me feel like, ‘Man, I’m not alone in this.’”

 Smith, who is managed by The Core Entertainment and booked by The Neal Agency, talked to Billboard about creating California Gold, allowing himself to be vulnerable and why he may rock out on his next album.

How did the confidence from the success of songs like “Whiskey on You” and “World on Fire”  fuel you going into making this album?

It made me trust my gut more. Here’s a perfect example: We didn’t know exactly what song we were gonna put out before, but it wasn’t gonna be “Whiskey on You,” but my gut was like, it’s gotta be “Whiskey on You.” And so, I went to the team. They trusted me. It went No. 1. And then “World on Fire” wasn’t even [initially] on the album. I was like, “Guys, you gotta put this one on the album.” And [they were like] ‘It’s too late. We already have a plan. We can’t put it on there.’” I had multiple meetings with the label. I was like, “Guys, we have to do this. There’s no way around it. We will fail.” They got on there, and then that one became the biggest song of my career.

Your instincts were right again with “Bulletproof,” the first single from California Gold, which went to No. 3.

I knew “Bulletproof” was the one. I’ve learned to trust my gut. And if it doesn’t feel right at all, I don’t do it. It’s got to be like this is an undeniable smash that people are going to connect with on a mass level.

If there’s anything I’m scared of it’s putting a song out on radio. I want to make sure there’s zero doubt in my mind whatsoever before I put it out. I’m not going to take a gamble on radio.

Was there something for sure that you knew you wanted to do differently this time from your first album?

Oh yeah. “Name Storms After” on the first album, love that song so much, doesn’t rock hard enough. I listen to it every single time, I’m like, “F—k, we should have added more guitar.” It needed to have more umph underneath it and it didn’t have it. And it bothers me every time I hear it. So, I swore to myself I will make sure that everything that’s on this album, I’m obsessed with every part of the songs in every single way.

Though it’s not an official single, last week you released your duet with Avril Lavigne, “Can You Die From a Broken Heart.”

We just filmed the music video for it in Toronto and it was really fun. I actually got to be a zombie. I’ve got in white contacts, and I got to freak everybody out. It’s really emotional. It was my highest- budget video we’ve ever been a part of. It was probably six figures to do it,

You’ve called the track the saddest song you’ve ever been a part of.

I’ve been in that place before during the heartbreak [when] it feels like nothing’s gonna fix it, nothing can make you feel better, nothing can take you out of that mindset. I remember feeling so desperate. That song is so desperate. It’s like begging to have that person back, I think the song could be life changing. It feels like “I’m With You” that was my favorite one of Avril’s, like a nod to that.

Is it hard to be that vulnerable in a song?  

It’s not. It’s really freeing to be yourself completely all the time like that. That’s the most powerful thing that I’ve noticed in my life — getting to this place where I’m fully embracing who I am in every way is the most freeing thing and that’s the good, the bad and the ugly. And then no one can ever call you out on your shit because you’re yourself all the time. I love that that’s the place that I’ve gotten to in my life. I’m so thankful for that as an as an artist.

Were you scared to do that when you started?

It’s been a slow burn because that happened to me in my personal life, where I’ve gotten more unapologetic about who I am and not afraid to speak up or set boundaries with people or tell somebody, “Hey, I really love you, but that really hurt my feelings, man.” I would have been scared to do that before because I cared so much about what people thought about me, but I think that has bled into my artistry over time.

“World on Fire” was No. 1 for 10 weeks, which is thrilling. Was there any part of you that was bummed you didn’t break the tie?

Oh gosh, man, I think it’s funny because I don’t think people realize that ours was consecutive, Morgan’s was not consecutive. So technically, I know and he knows how it really went down (laughs). I’m really thrilled. I can’t even believe that it beat  songs, like “Amazed” by Lone Star. That  feels wrong, but I’m just grateful for what it did. It means so much.

We’re seeing your dad pop up on your social media where you’re hanging with him on the porch or he’s riding with you in your car. Is your dad getting recognized as shows?

A little bit. It’s funny. My mom’s getting really jealous, too. She’s getting super, super jelly. I’m like, “Mom, take some time off from work and come out!” She’s like, “I can’t, I can’t take it off.” My mom is a hoot, she’s the funniest person you’ll ever meet in your life, but dad’s retired, so he’s got a lot of free time. I’m like, “Come out for a week or two.” He’s like “cool dude, will do.”

You’re now headlining your own tour, after being out with acts like Morgan Wallen, Thomas Rhett and Cole Swindell. What did you learn from them about holding on to an audience?

It is really thinking about the flow of the set, like if you’re going to do a piano song, make it a moment. Don’t do four in a row. You got to pace it right? I kind of look at it like a roller coaster, so you’ve got, , a high energy song, then you kind of bring them down a little bit, but you got to come right back up. I think the other thing was always telling my story on stage.

How hard has it been to learn to be a boss of your band and crew?

Heavy is the crown (laughs). My managers, from the get-go, they made me always have the tough conversations with people, and I kind of hated that at first like “Aren’t you guys supposed to do that or something?” And they were like, “nope.” I feel like I do a good job of having a conversation in respect and love and never, ever, ever making somebody feel bad, but I can still get the truth out. That was scary at first because you’re like, “I don’t want to hurt anybody’s feelings. I want everybody to like me.”

You play Foo Fighters’ “My Hero” in your shows but haven’t recorded it. Is that next?

I’ve tossed around doing an EP where I do all my favorite rock songs, like “Heart-Shaped Box” [and] “My Hero,” but I’ve also thought about my next album just being a full rock album.

It feels like we’re at a time when no artist has to limit themselves, when you look at HARDY topping both the country and rock charts, Post Malone and Beyoncé coming into country.

I don’t ever want to depart country; country is what I’m here for. I’m here for authentic, heartbreaking songs and storytelling. That’s why I’m in country music. It’s the best fans in the world. I love country radio. I love everything that is country music, but, yes, I want to dabble in all the things that I like and whether that takes it into a direction, and we get on pop radio  or rock radio, I’m good with all that, but I’m always going to stay true to myself.

04 Oct 2024

Executive Turntable: Sweet Relief Makes It Official, Plus Universal Music Finland Appoints CEO

Welcome to the latest spin ’round the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.

We’ve seen the departure of Spotify’s global head of music and a changing of the guard at Verve, but otherwise it’s been a fairly quiet week. Read on for [mostly] good news and also check out Billboard‘s just-released annual list of Latin music’s most powerful executives, plus our weekly interview series spotlighting a single executive, our helpful calendar of notable events, and have you ever wanted to look at tchotchkes inside the office of an executive while reading their in-depth answers to the most important questions facing the biz? From the Desk Of is probably your jam.

Aric Steinberg has been elevated to executive director of Sweet Relief Musicians Fund, the 30-year-old non-profit that delivers a lifeline to musicians and industry types facing financial hardships due to illness, disabilities or other challenges. Founded by folk singer-songwriter Victoria Williams in 1994 following the release of a star-studded benefit album on her behalf, the charity offers financial assistance to artists, composers, road crew, agents and others in the form of grants to cover essential expenses ranging from medical bills to housing and food. The LA-based Steinberg joined Sweet Relief in 2010 and most recently served as executive vp of development and artist relations, though he has been essentially filling the role since the 2017 passing of former director Rob Max. “It is long overdue that in 2024 we are officially giving Aric the title of executive director … as he has been embodying that position for many years now,” noted fund president Bill Bennett. “I look forward to an extraordinary future with Aric where Sweet Relief will continue to help more and more musicians and music industry workers in need.”

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Sweet Relief has assisted a wide range of artists over the years, most recently Sick of It All frontman Lou Koller and singer-songwriter Jesse Malin — who both have benefit concerts planned for them later this year. “I see a bright future for Sweet Relief as we continue to grow and help more musicians and music industry professionals every year,” said Steinberg. “This 30th anniversary year has been our best ever, and I look forward to serving the community in the years to come.”

Meanwhile…

Alen Torosyan is promoted to general manager of Warner Music Emerging Markets, effective Oct. 1, while Jonathan Jules has joined as vice president of creative. Both will report to Alfonso Perez Soto, president of emerging markets. This division is home to artists including Calin, Diljit Dosanjh and Joeboy, and covers rapidly growing regions such as Africa, Eastern Europe, India, and the Middle East, which have expanded through strategic investments and partnerships. Torosyan, with over a decade at Warner Music, was previously vp of operations for the division. Jules, formerly vp of international marketing and operations at EMPIRE, will now drive strategic leadership to WMEM’s A&R and marketing teams. Perez Soto praised Torosyan’s “unflappable” ability to multitask and carry out detail-oriented projects “without losing his forensic focus on detail,” and lauded Jules’ entrepreneurial drive and “ability to read the shifting sands of culture and music, anticipating tomorrow’s trends.” Perez Soto added: “Together, they’ll help us superserve artists and rapidly grow our business.”

Sony Music Publishing hired Caroline Elleray as vice president of creative, songwriter services, effective immediately. In this role, Elleray will lead efforts to support songwriters, manage catalogs and collaborate with global creative teams to explore new growth opportunities. The London-based Elleray reports to co-managing directors Tim Major and David Ventura. With over two decades of experience in music publishing, including previous stints at UMPG and BMG, she has discovered and developed artists like Coldplay, Keane, Feist, Rex Orange County and Mumford & Sons. Alongside her new role at SMP, Elleray will continue managing Second Songs, a publishing and management venture she co-founded in 2022 with Mark Gale. Second Songs, in partnership with SMP UK, represents talents like Victoria Canal and songwriters Matt Hales and Dan Green. “Her track record, the songwriters and artists she has worked with speak for themselves, showcasing her immense and relentless dedication for music creators,” said Ventura, who is also SMP UK’s president and svp of international.

Nashville-based record label New West Records promoted Tommy Robinson to general manager and vp of sales, while Brady Block was boosted to senior vp of media and reissues producer. Katie Keller has been upped to vp of project management, while Meg Barron rises to director of A&R and publishing. Brooke Nixon joins as vp of digital marketing, following a role as director of streaming at Big Machine Label Group imprint The Valory Music Co. New West’s current roster includes Aaron Lee Tasjan, 49 Winchester, Ben Folds, American Aquarium and more. –Jessica Nicholson

Universal Music Finland appointed veteran executive Petri Mannonen to CEO, effective immediately. Mannonen joined UMG in 2010 as a commercial director and in 2017 expanded his responsibilities to include overseeing operations in the Baltics (Estonia, Latvia, and Lithuania). Prior to Universal, he was CEO of Viasat Finland (now Viaplay), a pay television company. The UMF roster includes KUUMAA, Mirella and Robin Packale, among others. “The Finnish music market is in a really interesting situation at the moment,” said Mannonen. “Music is now easier to release than ever, and as the selection grows, the role of major record labels is also emphasized. Our job is to focus on building long-term artist careers while taking care of artists. We want to offer our current and future artists a creative and professional place to grow and develop while making sure that their music reaches the right audiences.”

FUGA, the Downtown-owned B2B music distributor, promoted Renato Vanzella to general manager of LATAM, expanding his previous role as GM of Brazil to oversee operations in Argentina, Brazil, Colombia and Mexico. Vanzella will focus on business development, client relations, and partnerships with DSPs, reporting to Sarah Landy, the senior vp for the Americas. Since joining FUGA in 2019, Vanzella has significantly grown the team and secured key clients, including Elemess, MJC Music, Beeside Records, and Radar Records. Landy praised Renato Vanzella’s promotion, highlighting his “exceptional strategic vision and leadership” over the years. “Renato consistently has demonstrated a deep understanding of the local music landscape, and his passion for collaboration and client service has earned him the respect of our team and our partners,” she said.

Armada Music appointed Susanne Hazendonk as head of catalog, bringing over 15 years of industry experience from Spinnin’ Records and Warner Music Benelux. Having worked with top dance artists such as Lucas & Steve, Sam Feldt and Afrojack, as well as hitmakers like Bruno Mars and The Red Hot Chili Peppers, Hazendonk is well-versed in both dance music and big ol’ hits. She’ll report directly to COO Jop Bonnike, leading marketing and storytelling efforts and overseeing the expansion of Armada’s catalog department and acquisitions through the BEAT Music Fund. Bonnike praise Hazendonk’s “unwavering passion and infectious enthusiasm for dance music, adding, “As we continue to prioritize the growth and evolution of our catalog department, we’re looking forward to working alongside Susanne to seize new opportunities in the market.”

Big Loud Rock added Zach Siegal-Eisman as vice president of digital and viral marketing, overseeing the imprint’s digital marketing strategy and execution, as well as artist growth and digital presence of both upcoming and catalog record releases. Earlier this year, Siegal-Eisman launched the marketing consultancy Amplify Legacy and previously worked at social media agency Crowd Surf and at Artist Network Management. –J.N.

BOARD SHORTS: The Music Managers Forum appointed Niamh Byrne as chair and Jill Hollywood as vice chair, succeeding Paul Craig and Kwame Kwaten, respectively, who recently stepped down after serving two three-year terms. Byrne, co-founder of Eleven Management, has made a mark with artists including Damon Albarn, Blur and Gorillaz. She brings a wealth of experience, having held roles at Universal Music UK and her consultancy firm The Engine Room. Hollywood, founder of Echo Beach Management, has managed both legendary producers and emerging talents, including current roster Jacknife Lee, Ash Howes and Ash Workman. Hollywood previously spent over a decade at Big Life Management. MMF also said that Theory Management’s Hide Whone is joining the board, replacing Clare Wright … Newport Folk launched the Newport Folk Stewardship Program, designed to recognize individuals who have significantly contributed to Newport’s legacy and challenge the “Folk Family” to innovate for the future. The first appointee is St. Louis-born Americana artist Nathaniel Rateliff, who’ll focus on artist advocacy, mentorship and fellowship, both within the Newport Folk community and beyond. He’ll serve a three-year term, with two years as an active steward and one as an advisor to his successor.

Nettwerk welcomed Ruth Wyatt as director of sync for UK and Europe, bringing her experience from Warner Music UK, where she successfully placed artists in various sync opportunities. Her notable achievements include Sam Ryder’s “Christmas To Me.” Wyatt said she’s looking forward to helping Network build out its sync opportunities across the UK and Europe, adding, “It’s never been a more exciting time to be in the sync space, with more productions being made than ever before and we’re witnessing breakout productions from the Nordics, Spain, Germany, France Australia, all of which are attracting overwhelmingly international audiences, subsequently creating global impact for our artists.” Nettwerk co-founder Mark Jowett, said Wyatt’s “expertise in achieving syncs is matched only by her passion for supporting great music and artists.”

Alphabeats, a startup using music and neurofeedback tech to help athletes improve mental acuity, announced that chief commercial officer and U.S. president Jorrit DeVries will assume the role of global CEO. Current chief Han Dirkx, one of alphabeats’ three co-founders along with DeVries, will move into the role of chief operating officer and lead the company’s product, research and development, and technology teams based in The Netherlands. As U.S. president, DeVries has overseen sales, marketing, product development and fundraising. Prior to joining alphabeats, he was global head of category development at Spotify, and he has also held senior roles at Samsung, Vodafone and Warner Music, leading teams in the U.S. and Europe.

ICYMI:

Jeremy Erlich

Jeremy Erlich  

Verve Label Group promoted Jamie Krents to CEO and president, and Dawn Olejar to chief operating officer … Harvey Mason Jr. isn’t going anywhere … Republic appointed Mary Catherine Kinney as executive vp of artist & label strategy … Alicia Arauzo and Luis Fernández are the new co-managing directors of Universal Music Spain … Jeremy Erlich will be leaving his position as Spotify’s global head of music … and Narcís Rebollo has been appointed CEO and president of UMG’s spun-out Global Talent Services. [MORE]
Last Week’s Turntable: An Old Friend Returns to Budd

04 Oct 2024

Peso Pluma’s Éxodo Takes Over NYC With Tons of Surprise Guests, Including Ice Spice, Eladio Carrión, Los Dareyes de la Sierra

Peso Pluma electrified the Barclays Center in New York City on Thursday (Oct. 3), captivating the audience as part of his Éxodo Tour 2024, promoting his latest album of the same name. The Mexican superstar performed hit after hit for nearly three hours and was joined by an array of special guests, including Ice Spice, Eladio Carrión, Estevan Plazola, Los Dareyes de la Sierra, Tito Double P, Yng Lvcas, and Jasiel Nuñez.

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Adding to the excitement, J Balvin made a special virtual backstage appearance right before Peso Pluma took the stage, amping up the crowd as Black Sabbath’s “N.I.B.” roared through the speakers.

With a backdrop that invoked a sense of grandeur, the giant screen displayed verses with a biblical tone: “There are over eight billion people in the world, each of us different, different origins, different stories that make up our character,” the message on the screens read. “Of course, not everyone has the perfect character, perhaps those who think that are the same ones deciding that our ways are defective. But before all of them, I ask: Can a compass, moral and broken, decide which is the right direction? An anti-hero is among us.”

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Meanwhile, a floating gigantic moon added a stunning element, moving across the arena and enhancing the celestial theme.

Dressed in black pants, a white T-shirt, olive Travis Scott Air Jordans, and silver chains — and sporting a slick hairstyle in place of his classic mullet — the Guadalajara native burst onto the stage kicking off with “La Durango.” His energy was infectious, marked by a beaming smile and dynamic movement across the stage. Flanked by hip-hop-style dancers and musicians clad in black, including a brass section, a tololoche, guitars, and a bajo quinto, the ensemble impressively adapted these acoustic instruments to resonate in the sold-out Barclays arena.

Spanning such charting hits as “Lady Gaga,” “Rubicon,” and “La Patrulla,” the highlight of the night was undoubtedly the performances by the numerous special guests. Ice Spice — rocking her curly red hair and showing off her new slim figure — performed “Deli,” Yng Lvcas joined Pluma for “La Bebé,” Jasiel Nuñez — who was the first invite and whom Peso consistently called his best friend — sang “Bipolar,” “Rosa Pastel,” and “Me Activo.” His cousin Tito Double P also joined the superstar for several songs, including Tito’s “Dos Días” and Peso’s banger “La People II.”

Eladio Carrión sang a corridos alongside Peso and had his moment with the trap anthem “Mbappé.” Then, Los Dareyes de la Sierra’s frontman impressed with accordion-powered corridos on “Hasta el Día de Hoy.” Another standout moment was Peso’s performances of “Qlona” by Karol G, 2023’s song of the year “Ella Baila Sola” with Eslabon Armado, and the introspective “Hollywood” from Éxodo, during which Peso shared his personal connection with the song penned by Estevan Plazola in 2020.

Outside the arena was another story, with fans gathering to share food and beers at a tailgate party while cars nearby blasted Peso Pluma songs and an array of pirated merch was for sale, displaying that he and modern-day corridos have truly become a cultural phenomenon.