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Rihanna Performs First Full Concert in Almost 8 Years at Private Wedding Party in India: ‘The Show Was the Best’

Rihanna made her return to the stage at a pre-wedding gig for Anant Ambani and Radhika Merchant in Jamnagar, India, on Friday (March 1).

The singer and Fenty mogul performed at a lavish party that was part of a multi-day celebration for the soon-to-be newlyweds, who will officially tie the knot July 12 in Mumbai. The nearly 1,200-person guest list included Rihanna as well as Bill Gates, Mark Zuckerberg, Sunder Picha, Ivanka Trump and Bollywood celebrity Shah Rukh Khan, the AP reports.

Ambani is the son of multi-billionaire Mukesh Ambani, the chairman and managing director of Reliance Industries, and Nita Ambani, founder of the Reliance Foundation. Merchant is the daughter of Viren Merchant, CEO of Encore Healthcare Pvt. Ltd., and entrepreneur Shaila Merchant.

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“The show was the best,” Rihanna was seen saying on camera post-concert, while being approached by paparazzi. “I haven’t done a real show in eight years.”

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Although Rihanna performed for the Super Bowl halftime show and at the Oscars last year, she hasn’t put on a full concert since her Anti World Tour in 2016. There were reportedly 19 songs on Friday night’s set list.

The Ambani dynasty is well-known for extravagant wedding festivities. When Mukesh’s daughter Isha got married in 2018, Beyoncé performed at the ceremony, and when the business titan’s oldest son Akash tied the knot in 2019, Coldplay’s Chris Martin and the Chainsmokers were hired.

See clips of Rihanna in India below, including videos of her performing “Bitch Better Have My Money,” “Work,” “Umbrella,” “Stay,” “All of the Lights,” “We Found Love,” “Diamonds” and more.

Here Are the Winners of the 2024 Brit Awards: Updating Live

The 2024 Brit Awards – the U.K.’s equivalent of the Grammys – are unfolding at The O2 Arena in London. Dua Lipa was set to open the show, just as she opened the Grammy telecast on Feb. 4. Kylie Minogue, who will receive the Global Icon Award, is set to close the show.

RAYE led the nominations for this year’s Brits with seven nods, which made her the most nominated artist in a single year since the Brits began in 1977. Central Cee and J Hus each received four nods. Lipa received three. 2024 also saw the first Brit nomination for The Rolling Stones in more than a decade. The legendary band is nominated for alternative/rock act.

Clara Amfo, Maya Jama and Roman Kemp are co-hosting the ceremony, which is being broadcast in the U.K. on ITV1, STV, ITVX and STV Player. Fans outside the U.K. can watch the show via an exclusive YouTube livestream.

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For 2024, The Brits increased the number of nominees for both artist of the year and international artist of the year from five to 10, a change aimed at improving representation and inclusion. The Brits have a whopping 15 nominations in two categories – song of the year and international song of the year.

The British pop/R&B act category was split in two this year — British pop act and British R&B act. Winners in both categories, as well as the three other genre categories – alternative/rock, dance and hip-hop/grime/rap – were decided by a public vote via Instagram from Feb. 1-15.

In December, The Brits announced The Last Dinner Party as the winner of the 2024 Rising Star award.

RAYE won Songwriter of the Year. The two previous winners of that award are Ed Sheeran and Kid Harpoon, which makes RAYE the first woman to receive the honor.

Chase & Status are this year’s Producer of the Year winners. The electronic music duo, consisting of Saul Milton (Chase) and Will Kennard (Status), is also nominated for group of the year. They have produced not only their own releases, but the works of such other acts as Becky Hill, Rihanna, Rita Ora and Tinie Tempah. Chase & Status are the fourth multi-person production team to win Producer of the Year, following Stock Aitken Waterman (1988), Chris Potter, The Verve & Youth (1998) and Alan Moulder & Flood (2014).

Here’s the complete list of 2024 Brit Awards nominees, with winners marked as they are announced.

Mastercard album of the year

 Blur, The Ballad of DarrenParlophone/Warner Music

J Hus, Beautiful and Brutal Yard, Black Butter/Sony Music

Little Simz, NO THANK YOU, Forever Living Originals/AWAL

RAYE, My 21st Century Blues, Human Re Sources/The Orchard

Young Fathers, Heavy Heavy, Ninja Tune

Artist of the year

Arlo Parks, Transgressive

Central Cee, Columbia Records/Sony Music

Dave, Neighbourhood/Live Yours

Dua Lipa, Warner Records/Warner Music

Fred Again.., Atlantic/Warner Music

J Hus, Black Butter/Sony Music

Jessie Ware, EMI / Universal Music UK

Little Simz, Forever Living Originals/AWAL

Olivia Dean, EMI/Universal Music UK

RAYE, Human Re Sources/The Orchard

Group of the year

Blur, Parlophone/Warner Music

Chase & Status, EMI/Universal Music UK

Headie One & K-Trap, One Records & Thousand8/The Orchard

Jungle, Caiola/AWAL

Young Fathers, Ninja Tune

Best new artist

Mahalia, Asylum/Atlantic Records/Warner Music

Olivia Dean, EMI/Universal Music UK

PinkPantheress, Warner Records/Warner Music

RAYE, Human Re Sources/The Orchard

Yussef Dayes, Brownswood Records/ADA/Warner Music

Song of the year

“Miracle,” Calvin Harris/Ellie Goulding, Sony Music/Universal Music UK

“Prada,” cassö/RAYE/D-Block Europe, Ministry Of Sound/Sony Music

“Let Go,” Central Cee, Columbia Records/Sony Music

“Sprinter,” Dave & Central Cee, Neighbourhood/Live Yours

“Dance the Night,” Dua Lipa, Atlantic Records/Warner Music

“Eyes Closed,” Ed Sheeran, Asylum/Atlantic Records/Warner Music

“Who Told You,” J Hus Ft Drake, Sony Music/Universal Music

“Strangers,” Kenya Grace, Warner Music

“Wish You the Best,” Lewis Capaldi, EMI/Universal Music Group

“Boy’s a Liar,” PinkPantheress, Warner Records/Warner Music

“Escapism.,” RAYE ft 070 Shake, Human Re Sources/The Orchard

“Dancing Is Healing,” Rudimental/Charlotte Plank/Vibe Chemistry, Columbia/Sony Music

“Firebabe,” Stormzy Ft Debbie, #Merky Records/0207 Records/Universal Music UK

“REACT,” Switch Disco & Ella Henderson, Relentless Records/Sony Music

“Messy in Heaven,” Venbee & Goddard, Room 2/Columbia Records/Sony Music

International artist of the year

Asake, YBNL Nation/Pri.me

Burna Boy, Spaceship/Bad Habit/Atlantic Records

Caroline Polachek, Perpetual Novice/The Orchard

CMAT, CMATBABY/AWAL

Kylie Minogue, BMG Records

Lana Del Rey, Polydor/Universal Music UK

Miley Cyrus, Columbia/Sony Music

Olivia Rodrigo, Polydor/Geffen/Universal Music Group

SZA, RCA/Sony Music

Taylor Swift, EMI/Republic/Universal Music Group

International group of the year

Blink-182, Columbia/Sony Music

Boygenius, Polydor/Interscope/Universal Music Group

Foo Fighters, Columbia/Sony Music

Gabriels, Parlophone/Warner Music

Paramore, Atlantic/Warner Music

International song of the year

“What Was I Made For?,” Billie Eilish, Darkroom/Interscope/Polydor/Universal Music Group

“Daylight,” David Kushner, Miserable Music/Virgin Music Group/Universal Music Group

“Paint the Town Red,” Doja Cat, RCA/Sony Music

“Giving Me,” Jazzy, CHAOS/Polydor/Universal Music UK

“People,” Libianca,5k Records/Sony Music

“Made You Look,” Meghan Trainor, Epic Records/Sony Music

“Flowers,” Miley Cyrus, Columbia Records/Sony Music

“Stick Season,” Noah Kahan, Mercury Records/Republic Records/Island UK/Universal Music Group

“Miss You,” Oliver Tree & Robin Schulz, Atlantic Records / Warner Music

“vampire,” Olivia Rodrigo, Polydor/Geffen/Universal Music Group

“(It Goes Like) Nanana,” Peggy Gou, XL Recordings

“Calm Down,” Rema, Mavin Records/Jonzing World/Virgin Music Group/Universal Music Group

“Kill Bill,” SZA, RCA/Sony Music

“greedy,” Tate McRae, RCA/Sony Music

“Water,” Tyla, Epic Records/Sony Music

Alternative/rock act

Promoted by Radio X

Blur, Parlophone/Warner Music

Bring Me The Horizon, RCA/Sony Music

The Rolling Stones, Polydor/Universal Music UK

Young Fathers, Ninja Tune

Yussef Dayes, Brownswood Records/ADA/Warner Music

Hip-hop/grime/rap act

Promoted by KISS Fresh

CASISDEAD, XL Recordings

Central Cee, Columbia Records/Sony Music

Dave, Neighbourhood/Live Yours

J Hus, Black Butter/Sony Music

Little Simz, Forever Living Originals/AWAL

Dance act

Promoted by Capital Dance

Barry Can’t Swim, Ninja Tune

Becky Hill, Polydor/Universal Music UK

Calvin Harris, Columbia/Sony Music

Fred again.., Atlantic/Warner

Romy, Young Recordings

Pop act

Promoted by HITS Radio

Calvin Harris, Columbia/Sony Music

Charli XCX, Atlantic/Warner Music

Dua Lipa, Warner Records/Warner Music

Olivia Dean, EMI / Universal Music UK

RAYE, Human Re Sources/The Orchard

R&B act

Promoted by Capital XTRA

Cleo Sol, Forever Living Originals

Jorja Smith, FAMM/The Orchard

Mahalia, Atlantic/Warner Music

RAYE, Human Re Sources/The Orchard

SAULT, Forever Living Originals

Brits rising star

Caity Baser, EMI / Universal Music UK

Sekou, Island / Universal Music UK

WINNER: The Last Dinner Party, Island / Universal Music UK

Producer of the Year

Winner: Chase & Status

Songwriter of the Year

Winner: RAYE

Global Icon Award

Winner: Kylie Minogue

Right On?: Hip-Hop Is Platforming Instead Of Fighting The Power

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Fat Joe Trump sneakers

Source: @fatjoe / Instagram

“I never had dinner with the president!” – Ice Cube (“No Vaseline”)

O’Shea Jackson’s jab at Eric Wright on the scathing diss track aimed at his former N.W.A family carried significant weight in 1991. At the time, the president represented the power that was oppressive to the Hip-Hop community. A group like N.W.A didn’t participate in a lunch benefiting the Republican Senatorial inner circle, which was hosted by then-President George H. W. Bush. And the idea that Eazy-E did just that painted him out to be a traitor to the community. 



We fought the power for change in our community, we didn’t fraternize with the power in an attempt to join their fraternity. And any individual in the Hip-Hop community who didn’t adhere to these unwritten laws was subject to being publicly tarred and feathered. No questions asked. 

Fast forward to 2024 and, as The Notorious B.I.G. once said “Things Done Changed.”

The power that we were up against in the 80s and 90s has changed shape over the years. It’s a little more complicated to figure out who “The Power” is now when the economics and landscape have been modified, altered and remodeled. In some ways it has changed for the better but, as they always say—the more things change, the more they stay the same.

Sharing our platforms and our audiences with individuals who have spent the majority of their careers in the spotlight disparaging the very communities we come from is a dangerous proposition.”

The idea of having dinner with the president shifted dramatically once Barack Obama took his seat in the Oval Office on January 20, 2009. But a Black man being head of state didn’t prevent unarmed Black men and women from being gunned down by those sworn to protect them in the years that followed. There are more prominent millionaires of color in America but the same structural issues that oppress minorities in the alleged “Land of the Free” are still present. 

What happens when you begin sharing a tax bracket and oxygen with the power you once thought you were fighting against? It becomes really difficult to fight the power when you become the power and start to think, “Oh, this isn’t so bad after all.” And for a lot of these rappers, it’s reaching Laurence Fishburne levels of Deep Cover where those who think they are being undercover agents of chaos become swept up in the life and end up doing more harm than good.  

West & Trump In The White House

Source: Consolidated News Pictures / Getty

Kanye West infamously wore the “Make America Great Again” hat in support of Donald Trump while recently Ice Cube galavanted through South Central LA with conservative and racist pundit Tucker Carlson. Obviously, there is a lot of nuance to be had when it comes to these interactions because they aren’t all bad, but it oftentimes takes on the guise of the Hip-Hop community being subservient to those who would have never allowed us in the esteemed country club several decades ago if we weren’t cleaning toilets and sweeping the debris from the crustless cucumber sandwiches. There is no tradeoff or challenge of ideologies. Instead, it’s empowering those who have spent their energy trying to destroy us by giving them our platform to espouse their overtly bigoted and immoral views. 

We let our guard down just long enough for someone like Donald Trump to sneak into the back door of the White House in 2016 and empower fellow bigots and sexists to believe that their behavior isn’t just okay, it should be paraded. 

And we’re dangerously close to it happening again. 

Candace Owens & Joe Budden

Source: handout / Candace Owens

Just recently, Joe Budden was photographed with notorious self-hating conservative commentator Candace Owens for a future episode of The Joe Budden Podcast while Fat Joe shared a post on social media where he purchased Donald Trump’s new sneaker the Ayran Nation 12s (I kid, I think).

Sharing our platforms and our audiences with individuals who have spent the majority of their careers in the spotlight disparaging the very communities we come from is a dangerous proposition. 

Pivoting back to the Deep Cover analogy mentioned earlier, in the film DEA Agent Russell Stevens Jr. (Fishburne) became a police officer after witnessing his drug-addicted, alcoholic father getting murdered while robbing a liquor store. The “power” he wanted to fight was against those who provided the poison that led to his father’s demise. After being tasked to go undercover as “John Hull” to infiltrate a drug cartel, Stevens Jr. finds himself in too deep, disillusioned and becomes enamored with the lifestyle afforded him. He eventually pulls himself out for a somewhat happy Hollywood ending but the damage to his integrity is already done. 

We’re seeing quite a bit of this in the Hip-Hop community today as many of these rappers with high-profile platforms are far too eager to share it with the people who have routinely disparaged people who look like them and come from the same neighborhoods they grew up in. But the wine tastes different when you’re able to afford a decanter, and educating your community on why can become a chore. It’s easier to trade stories with people who can relate to your financial position while those matters of materialism tend to make them forget the circumstances they were once in and trying to remedy for the future.    

What’s happening is that we are making it okay for these people to use us for their benefit. We’re in too deep to realize who is really in control of the narrative. What gets lost in Fat Joe being a sneaker collector who just had to have a pair of Trump’s sneakers is the fact that he said “I’m not a Trumper, I dislike Trump, I’m not voting for him—not now, not never.” Instead, Trump’s campaign will point to Fat Joe having a pair of these sneakers as a means of gaining the community’s support. 

“Fat Joe has a pair, you should too,” will be the war cry (and was partially why it was trending on social media). And you can’t shake the stench of it.

Joe Budden expressing his admiration for Candace Owens’ work and then gifting her his audience gets us to put our guard down just enough as the well-documented political grifter attempts to wrangle more support from within our community. And while her commitment to the gimmick can be admired simply because of how dedicated she is to destroying Black people in front of a cheering group of right-wingers, the damage it does to have a Black woman relentlessly run down the community with half-truths and right-wing propaganda is beyond irreparable. Those who aren’t smart enough to sniff out the agenda will be swept up in it. And if Budden and his cohorts aren’t mentally equipped to challenge Owens—who is very intelligent and persuasive—then what exactly are we doing here? Providing a springboard for “The Power” to infiltrate our community?

There are ways to handle this kind of interaction to prevent our community from being used. New Orleans rapper Dee-1 appeared on Jason Whitlock’s show Fearless to discuss Christianity and their different perspectives of the Black community.  Dee-1 didn’t have to share his stage and instead walked into the lion’s den to have a nuanced conversation. While giving any Black man who makes a career out of trashing other Black people the time of day is dangerous, Dee-1 wasn’t completely taken advantage of and was smart enough to avoid the traps Whitlock set. 



But not everyone is Dee-1. 

The trend of sharing our platforms with those who made a career out of hating us needs to end soon before we end up with another four years of Donald Trump giving power to the racist and xenophobic voices within our country while disguising it as “free speech.” 

They don’t deserve us and we have to remember that while “The Power” will change shape and even befriend you, they are still the reason we fight. 



Taylor Swift Livestreams ‘Reputation’-Era Surprise Song Mashup From Singapore

“A message from the department” was livestreamed by Taylor Swift from Singapore. With no explanation, a mashup of “I Don’t Wanna Live Forever” and “Dress” — both originally released during the pop star’s Reputation era — could be viewed directly from Swift’s official Instagram account by fans around the world on Saturday (March 2).

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The stream went live during the surprise song set, or as Swift called it, the “crazy acoustic section,” of the first of six Eras Tour dates in Singapore — the portion of the concert where he plays a couple surprise songs (or, lately, mashups). She will go on to perform at the Singapore National Stadium on March 3, 4, 7, 8 and 9.

As the stream happened, Swifties noticed that the official Taylor Swift webstore was blacked out. Visitors could not access the store, which was closed for a period of time, without a site admin’s password, leaving fans wondering whether something new was about about to launch for sale. At press time, her webstore is up and running, with no new products.

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The “a message from the department” message that popped up along with the livestream is a reference to Swift’s upcoming album, The Tortured Poets Department, coming on April 19. The message was ended with a black heart.

Swift has already announced three variants of the album, each featuring a different bonus track: “The Manuscript,” “The Bolter” and “The Albatross.” She revealed “The Bolter” and “The Albatross” editions at previous tour dates in Melbourne and Sydney, Australia. Fans guessed another announcement might have been made at the first Singapore concert of the tour — maybe a fourth bonus song — but no announcement was made.

And given her choice of songs to perform and livestream (and the fact that only this mashup was streamed, not her full acoustic set), Swifties theorized that the Easter egg-loving musician might have been giving some Reputation-related signs from Singapore.

“I Don’t Wanna Live Forever” is Swift’s duet with Zayn Malik that was first released in December 2016 and included on the Fifty Shades Darker soundtrack when it dropped in February 2017.

“Dress” is track No. 12 on Swift’s sixth studio album, Reputation, released in November 2017.

So far Swift has released the “Taylor’s Version” of all of the albums she’s expected to re-record except for Reputation and her debut, self-titled album. No release date has been announced for either re-recording yet.

Just before the “I Don’t Wanna Live Forever”/”Dress” mashup in Singapore, Swift performed a mashup of Speak Now opener “Mine” and Red track “Starlight” on guitar that was not livestreamed on her official account, but captured by others at the stadium. Watch both mashups in the clips below.


https://youtube.com/watch?v=OawHEfua818&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

Megan Thee Stallion Shuts Down The Crunchyroll Anime Awards With Her JoJo’s Bizarre Adventure-Inspired Drip

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Megan Thee Stallion Anime-Inspired Looks Are Unmatched

Source: Courtesy of Crunchyroll / Megan thee stallion


Megan Thee Stallion
is the hottest blerd on the planet.

The eighth annual Crunchyroll Anime Awards went down in Tokyo, Japan, on Saturday, March 2, celebrating the fan-favorite anime series, characters, and creators across streaming, film, and music.

Hip-Hop’s most famous anime fan, Megan Thee Stallion, was on hand and a presenter during the awards show. Of course, the Houston hottie understood the assignment, showing up to the awards show rocking a look inspired by JoJo’s Bizarre Adventure.

Megan Thee Stallion closed out the award’s show, hitting the stage wearing a dress drawing inspiration directly from JoJo’s Bizarre Adventure‘s Bruno Bucciarati.

The look features a corset complimented by a white leather dress with gold detailing, nails, and a jet-black bob.

The “HISS” crafter presented the “Anime of The Year Award” to one of her favorite anime, Jujutsu Kaisen.

Before the Anime Awards, Thee Stallion stepped out and showed off her Gojo Satoru-inspired drip for rehearsals.

The inspiration for the fit is the special-grade sorcerer and teacher from Jujutsu Kaisen. For the look, Thee Stallion rocked fang nails, like the ones she showed off before she hit the world with “HISS,” an icy platinum blonde wig with bangs, a cropped leather turtleneck jacket, matching low rise flared pants, and a blindfold.

She also wears two pairs of glasses in other shots to compliment the look.

Megan Thee Stallion continues to prove that her love and appreciation for anime and cosplay and how she introduces it into her stage swag and personal style is unmatched.

You can hit the gallery below to see why she is Blerd’s dream girl.

1. We would love this version of Sailor Moon

2. She always unferstands the assignment

3. We need this anime immediately

4. Hot Girl Mirko

5. She never misses

6. Tokyo Ghoul

7. My Hero Academia

Megan Moroney Leads 2024 CRS New Faces of Country Music Show

With radio programmers spread across the country, it’s not often that artists have a chance to interact with the programmers and personnel who have aided them in their respective journeys to earning their first country radio hits — at the same time, all in one room. But each year, they do get that chance when radio programmers — along with plenty of label personnel — gather in Nashville for the Country Radio Seminar.

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On Friday (March 1), following three days of radio and streaming-focused panels and label luncheons, the conference concluded by highlighting five highly-promising new artists.

This year’s class featured Records Nashville’s George Birge, Riser House’s Dillon Carmichael, Sony Music Nashville/RCA’s Corey Kent, Sony Music Nashville/Columbia’s Megan Moroney and Valory Music’s Conner Smith.

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The night’s performances were tightly focused, with artists largely running through their familiar breakthrough hits, while also offering glimpses into what lies ahead musically.

First up was Kent. In an introductory video that played on the main screens prior to his performance, Kent began by thanking country radio for “helping us to deliver the biggest axe blow we’ve ever had,” in making his single “Wild as Her” a top 5 Country Airplay hit. “There will be many more to come,” he promised. Taking the New Faces stage, Kent introduced his set with the brooding “Gold.”

“If you know anything about me, you know this. I believe tomorrow isn’t guaranteed and what you do today matters. What we do tonight is take a few risks … you either getting busy living or you’re getting busy dying.”

He then offered his most recent radio single, “Something’s Gonna Kill Me,” a churning, freewheeling song which made great use of his rock-woven, rugged voice. From there, he offered his breakthrough hit “Wild as Her.” He largely stayed close to center stage throughout his set. Not that he needed to roam the stage — his voice, full-bodied and shot through with rock influences, permeated the room.

“Thank y’all so much, country radio!” he told the packed ballroom of radio executives, before offering a preview of a new song, titled “This Heart,” which Kent noted will soon impact country radio.

Next up was Birge, who reached No. 2 on the Country Airplay heart earlier this year with “Mind on You.” Microphone in hand, he stalked the stage as he offered the hard-rock influenced “Hard on the Bottle.” He later gave the audience an early look at new song “Damn Right I Do,” and concluded with “Cowboy Songs.”

“I’ve dreamed about this day for a long, long time and damn it did not disappoint,” he said. “I couldn’t come here and not play the song that you changed my life with,” he added before taking up a guitar to perform “Mind on You.”

“Thank you for believing in me,” he told the audience. “I don’t take for granted for one second that I get to be up here on this stage and it’s because of you guys.”

Before Nashville native Smith took the stage, screens on both sides of the stage showed home videos of Smith as a young child, around five or six years old, performing covers of hits from Kenny Chesney and Montgomery Gentry, followed by footage of Smith earning a standing ovation during his Grand Ole Opry debut in 2022.

Smith, clad in a white shirt and black leather jacket, began his high-octane set with “Smoky Mountains,” the title track from his January-released full-length album.

He noted that he’s attended the New Faces of Country Music Show a few times. “I would always watch and just pray that I would get a chance to be on this stage,” he said, thanking the crowd. “It means so much more than you know.” He then rolled into another song from the album, “Heatin’ Up.”

He also offered up with the tender, fiddle-laced duet “Roulette on the Heart” (though his duet partner on the song, Hailey Whitters, wasn’t in attendance). Still, Smith’s solo rendition connected with the audience just fine, thanks to his warm, smoothing vocals.

Smith also thanked country radio for changing his life by making the revved-up “Creek Will Rise” a hit. “It’s like Luke Bryan says — rain is a good thing,” Smith said before launching into the careening, rock-fueled, slightly bluesy track. ”Long live country radio!” he said, exiting the stage.

Kentucky native Carmichael, who is currently out on tour opening shows for Cody Johnson, launched his set with “Raised Up Wrong.”

“What an opportunity this is. Thank you for giving us a chance,” he said, before launching into his breakthrough hit “Son of A.” “In order to even qualify to be voted for to be a new face, one of those qualifications is you have to have at least a top 25 at country radio, so I want to thank my team for continuing to push this song we are about to play … and for country radio all of you who kept playing it … it means so much.”

He concluded with another uptempo track, one perfect for getting crowds to lift up their cups and enjoy some levity, with his current top 40 Country Airplay hit, “Drinkin’ Problems.”

The evening included a special moment to remember the life and career of the late country star Toby Keith, who died last month at age 62 following a battle with stomach cancer.

“He lived life fully, right to the end,” CRS Board of Directors president Kurt Johnson said, noting that Keith had planned to perform during Country Radio Seminar this year. CRB/CRS executive director RJ Curtis noted that 30 years ago that night, Keith made his New Faces Show debut in 1994. Then screens on either side of the main stage showed clips from Keith’s CRS New Faces of Country Music Show debut, including a performance of “Should’ve Been a Cowboy” and a short interview clip of Keith from his New Faces debut.

The lone woman on this year’s New Faces bill, Moroney closed out the lineup that evening. She is also one of the most-celebrated newcomers, thanks to her breakthrough hit, “Tennessee Orange,” and her debut album, Lucky.

“Anybody feel lucky?” she asked as she took the stage, clad in one of her signature sparkly, brightly-colored dresses to perform the title track to her album Lucky, as images of horseshoes, four-leaf clovers and boots crisscrossed the screen behind her.

Moroney’s star power was undeniable from the first song. From there she sailed through southernism-tinged kiss-off “I’m Not Pretty” and new release “No Caller ID” (which debuted at No. 13 on the Hot Country Songs chart earlier this year), led by her warm-hued voice, which cracked in all the right places, letting the emotional nuances of each song seep through.

“I have a lot of new music coming out this year that I’m excited for you to hear,” she teased, later adding, “Thank you for your support of me and my songs. I love writing songs. I love to do this and I get to do this because of you,” she said. In a departure from earlier performers on the bill, Moroney’s set offered its share of ballads, including the introspective song from Lucky “Girl in the Mirror.” Moroney closed with a faithful live rendering of her hit “Tennessee Orange.”

Since its inception in 1970, the New Faces of Country Music Show has put some of country music’s brightest new talents in the spotlight, with the members of the Class of 2024 joining the list of past New Faces performers including Tim McGraw, George Strait, Taylor Swift, Faith Hill, Keith Urban, Luke Combs, Miranda Lambert and Jelly Roll.

Maria Becerra Illuminates Viña del Mar 2024 Finale, Pays Tribute to Fire Victims

Maria Becerra shone brightly as she kicked off the final night of the 63rd Viña del Mar Festival, delivering a performance filled with dance choreographies and hits that were enthusiastically sung along by the Quinta Vergara audience.

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Dazzling in a white denim outfit, the Argentine star — who took the place of Peso Pluma after the Mexican artist canceled — opened her performance with the furious thump of “Perreo Furioso,” backed by a rock band consisting of a bassist, guitarist, drummer and keyboardist, and an Argentine trap beat. She then ignited the vibe with an invigorating cumbia, “El Amor de Mi Vida,” which she originally recorded with Los Ángeles Azules. For more than an hour, she ran through hits including “Corazón Vacío”, “Ojalá” and “Piscina.”

Later, she received sunflowers from fans as well as Silver and Gold Gaviotas, the event’s top award, which she dedicated to her parents. “Thank you so much, really. What an honor to receive this,” she added.

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The atmosphere became more serious when the Argentine singer read an emotional letter she wrote in response to the recent fires that affected the Valparaíso region.

“I want to take a moment to remember that all of us here have taken the commitment to help Viña rise again, after the tremendous tragedy they had to face. I witnessed the burning hills that showed in the marks of the fire, that less than a month ago, there were houses there. I listened with great fear to the story of a mother pulling her little child out of the fire,” she read.

She continued, “I was moved by the story of the female doctors from the small health clinic who climbed the hill beyond what we saw … It’s very sad to see how the fire swept away years of work. Life projects, memories, and above all, the more than 100 people who lost their lives. That’s why, today, I want to ask for a big round of applause for health workers, police officers, volunteers and firefighters. And to all of Chile, I want to tell you that my heart is with you. Our hearts are with every person who today is defying fate.”

Becerra, 24, was honored as a “Visionary” at the inaugural Billboard 2023 Latin Women in Music gala.

Following the performance by La Nena de Argentina, rapper Trueno — featured on Billboard’s list of the 50 most essential Spanish-language rappers of all time — took the stage to close out the event. Armed with intoxicating bars, the wordsmith opened with “Hoop Hoop” and continued the night with “Trueno: Bzrp Freestyle Sessions, Vol. 6,” “Buenos Aires en Llamas” and “Freestyle” before closing with “Dance Crip.”

Later in the evening, he also received his Gold Gaviota and Silver Gaviota awards.

The Viña del Mar 2024 Festival kicked off on Feb. 26 with Alejandro Sanz and Manuel Turizo. They were followed by Andrea Bocelli and Miranda! on the 26th, Maná and Men at Work on the 27th, Mora and Anitta on the 29th, and a Chilean night with Los Bunkers and Young Cister on March 1 before closing on Friday.

If you missed Friday’s performances by Maria Becerra and Trueno, or want to relive them, you can watch them below.





Alejandro Sanz Gives Back to Chile & More Uplifting Moments in Latin Music

From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

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Alejandro Sanz Gives Back to Chile

Just days ahead of his Viña del Mar performance, Alejandro Sanz visited the country’s commune, El Olivar, to show solidarity to those affected by the deadly forest fires that occurred in early February. More than 120 people have passed away and over 15,000 households were affected in Viña del Mar and Quilpué. 

“Chile, my dear Chile, the scars left by this tragedy will forever remain in our memory,” the Spanish crooner said in a statement. “The losses are immeasurable and a whisper of eternal mourning invades us. Your pain is everyone’s, and it is intertwined with the hope of uniting us to lift, with all our strength and resources, everything that you are. Because in every root, every heart, the soul of Chile beats.” 

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In addition to spending time with locals and listening to their survival stories, Sanz revealed that he would make an important donation through Desafío Levantemos Chile and Un Techo Para Chile. 

Noel Schajris Joins “Latin Grammy in the Schools”

Noel Schajris has joined Latin Grammy in the Schools, an educational program by the Latin Grammy Cultural Foundation that connects music students with key players in the Latin music industry, and supports music departments with financial limitations. This week, Schajris visited Overton High School in Memphis, TN, where he will invest $40,000 to its Creative and Performing Arts Program, including the donation of musical instruments. 

“We all know how important art is and what music is in our lives; In my personal case it has been the lifesaver, the friend, the love and even the doctor in many important moments,” he expressed in a press statement. “How important is this invitation from the Latin GRAMMY Cultural Foundation to share with those who will undoubtedly carry that torch of hope; the kids, the new generations.” 

Shakira Drops New Album’s Tracklist

For her first album in seven years, coming out March 22, Shakira has reeled in some of today’s hottest Latin acts. This week, the Colombian singer revealed the official 16-song track list to her set Las Mujeres Ya No Lloran, which includes the previously-released bangers “TQG” with Karol G, the Fuerza Regida-assisted “El Jefe,” and the unapologetic “Music Sessions Vol. 53” produced by Bizarrap. Also unveiled were eight new tracks including new songs with Biza and Rauw Alejandro, and collaborations with Cardi B and Grupo Frontera. Read more about the album, here.

Maluma’s Act of Kindness

Over at the 2024 Premio Lo Nuestro, where he was the top nominee and took center stage to perform alongside Carin León, Maluma went viral for an act of kindness backstage. A video shows the Colombian singer having a conversation with a cleaning lady and thanking her for her hard work and labor. “Thank you for your spectacular work. Thank you for cleaning so that all of us can enjoy these space,” he told the lady. “You’re so sweet, thank you,” she replied. Maluma nabbed four awards, including pop male artist of the year.

How Viewers Outside the U.K. Can Watch the 2024 Brit Awards; Performers & Presenters

Dua Lipa is set to open the 2024 Brit Awards, which will be held at the O2 Arena in London on Saturday (March 2). The pop star also opened the 2024 Grammy Awards on Feb. 4 in Los Angeles, performing “Training Day” and “Houdini.” Kylie Minogue is set to close the Brits.

The show will be broadcast live in the U.K. from 8:30 p.m. local time on ITV1, STV, ITVX and STV Player. Fans outside the U.K. can easily watch the show, just a half-hour delayed, via an exclusive YouTube livestream. The international stream will start at 9 p.m. GMT, which translates to 4 p.m. ET and 1 p.m. PT.

Clara Amfo, Maya Jama and Roman Kemp are set to co-host The Brit Awards 2024 with Mastercard – the show’s official name. Yinka Bokinni and Jack Saunders will present The Brits’ Red Carpet for ITV2 and The Brits’ Aftershow for ITVX. On the red carpet show, St. Vincent will present The Last Dinner Party with their Rising Star award. St Vincent is in London promoting her new album, All Born Screaming, ahead of its April release.

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The 2024 Red Carpet Live Stream, hosted by actor Layton Williams and KISS FM presenter Harriet Rose, will broadcast from 5:30 p.m. local time on The Brits’ Instagram and Facebook. Harriet will also speak to winners backstage on the night.

The Brits have already announced the winners of four awards. As noted above, The Last Dinner Party are the winners of the Brits Rising Star award. RAYE won Songwriter of the Year, while Chase & Status took Producer of the Year. Minogue will be presented with the Brits’ Global Icon award, an award won by Taylor Swift three years ago.

Here are the performers and presenters on the 2024 Brit Awards.

Performers

Becky Hill with Chase & Status

Calvin Harris & Ellie Goulding

Dua Lipa

Jungle

Kylie Minogue

RAYE

Rema

Tate McRae

Presenters

Aitch

Ashley Walters

Charli XCX

Green Day

Jaime Winstone

Joe Keery (Stranger Things)

Jonathan Bailey (Bridgerton)

Kingsley Ben-Adir (Bob Marley: One Love)

Luke Evans

Marisa Abela (upcoming Amy Winehouse biopic, Back to Black)

St. Vincent

Universal Music Layoffs Leave Staff and Artist Camps Lamenting the Drawn Out Process

It’s been a nerve-wracking week for Universal Music Group employees — many did not know when they went to the office on Wednesday morning if they’d have a job on Friday. Layoffs hit department heads first and then started to impact the rank and file.

Over the past year, more than a dozen companies across the music business have undergone layoffs, eliminating thousands of jobs and leaving those who remain in a state of uncertainty. In the past twelve months alone, Warner Music Group, Atlantic Music Group, SiriusXM, Amazon Music, TikTok Music, CAA, Discord, BMG, TIDAL and Spotify have all cut staff.

This week, Universal Music Group followed suit, instituting layoffs in search of around $270 million in annual savings. The process started Wednesday and continued through Friday (March 1), impacting publicity departments, radio teams, A&R, marketing and more.

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The cuts are part of a restructure of UMG’s label operations that chairman/CEO Lucian Grainge announced in an internal memo on Feb. 1. The shift reorganized the company loosely into an East Coast-West Coast orientation, with Republic Records CEO Monte Lipman overseeing Republic, Def Jam, Island and Mercury, and Interscope Geffen A&M chairman/CEO John Janick responsible for Interscope, Geffen, Capitol, Motown, Priority, Verve and Blue Note.

For UMG employees, the long runway leading into the layoffs — which were first hinted at back in October — combined with the fact that the company announced on Wednesday morning that it had earned more than $12 billion in revenue and $1.3 billion in net profit in 2023, has caused frustration, anger and anxiety, even for those who kept their jobs. That the layoffs came immediately following the annual earnings report, sources say, has led to greater frustration.

Though the scenes employees describe are typical for any company undergoing large-scale layoffs — the slow drip of news about who’s been let go, and colleagues crying as they pack up their desks, for example — UMG’s layoffs have had an outsized impact on industry morale because of the label’s position as the dominant market leader, its strong financial results and the extended period for which employees have known the cuts were coming.

In an email to staff, Grange said that “by reimagining our global structure, we are creating a blueprint for a future where our labels are empowered with new capabilities and additional agility, ensuring they can sign and support artists with enhanced access to UMG’s highest-performing internal teams and resources.” He added, “This organizational redesign represents a new paradigm for artist support and fan engagement.”

UMG first signaled its cuts during an earnings call with financial analysts at the end of October. “[We] are currently conducting a careful review of our cost base, which we will complete over the coming months, and we will update you when appropriate about an anticipated cost savings program to commence in 2024,” said Boyd Muir, the company’s executive vp and CFO. Grainge added that the company planned to “cut overheads in order to grow elsewhere.”

Earnings calls are, by nature, full of statistics and jargon like “adjusted EBITDA.” In January, the human cost of “cutting overhead” started to become clear: That would mean laying off hundreds of employees. In a statement at the time, UMG said “we are creating efficiencies in other areas of the business so we can remain nimble and responsive to the dynamic market, while realizing the benefits of our scale.”

The October earnings call did not make big headlines at the time. But many employees saw the January reports that layoffs were looming. “Every day I wake up thinking, is this the day I lose my job?” a UMG employee said in February.

“It is a particular kind of torture to leave people guessing for an extended period of time,” adds a music lawyer who has artist clients signed to UMG labels. “Your job is your No. 1 source of security. You add on top of already stressed individuals’ psyche the uncertainty of whether or not they’re gonna have a job tomorrow and draw that out for months.”

A UMG spokesperson declined to disclose any headcount for the cuts. In the meantime, sources say executives and department heads have received some generous exit packages on their way out the door.

For others outside the labels who work with them on behalf of clients, the layoffs — at UMG, at Warner, where dozens were recently let go at Atlantic Records, and amid rumors that other labels will be following suit — have also made life difficult. With UMG specifically, one manager with an artist signed to a UMG label says that the stress permeating the labels has made it hard to plan a rollout for his act. And a second music attorney notes that it’s been hard to do record deals within the UMG system knowing that the teams his artist speaks with may not be around by the time the deal is done.

Artist teams are also trying to understand how the cuts impact them. “The more I hear, the more stressed I am,” says another manager. There are “lots of firings across different positions. Some people are getting moved into jobs they aren’t in any way prepared for. And some people are now being asked to do what was previously three different jobs at once.”

There are more cuts to come in a “phase two” of the “strategic organizational redesign” next year, according to UMG’s investor presentation this week, which stated that “a combination of further ex-U.S. headcount reduction and other operational efficiencies” was set to begin in 2025. But not a single financial analyst asked questions about the extent of the layoffs on Wednesday. Instead, they asked about UMG’s battle with TikTok.