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HHW Gaming: ‘Call of Duty: Modern Warfare III’ Will Be A Premium $70 Release

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'Call of Duty: Modern Warfare II' Will Cost $70 At Launch

Source: Activision / Sledgehammer Games / Call of Duty: Modern Warfare III

The next installment in the rebooted Call of Duty: Modern Warfare franchise has a date, and now we know how much it will cost.

Activision is slowly prepping COD fans for Call of Duty: Modern Warfare III with teases of the title and recently a reveal trailer teasing the return of notorious villain Makarov and Verdansk location. Insider Gaming reports that Modern Warfare III will also be a premium $70 release when it launches, throwing cold water on the idea that the game will be on a DLC add-on for 2022’s Modern Warfare II.


https://youtube.com/watch?v=C_6J06wdgXY&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

Notable Call of Duty reporter, CharlieIntel, confirmed the news from Activision that game will be a premium $70 release.

Per CharlieIntel:

Activision has confirmed that Modern Warfare III is a full premium release and will be priced at $70. There is no upgrade price, and it’s not an expansion. “As stated in numerous Activision Blizzard quarterly conference calls, Modern Warfare III is a premium release. It will be price accordingly at $70 USD,” an Activision spokesperson tells CharlieIntel.

In a follow-up post on X, formerly known as Twitter, CharlieIntel explained why Modern Warfare III is listed as an add-on on Steam, and that is due to all Call of Duty games being added to the Call of Duy HQ app.

Is Call of Duty’s Annual Release Strategy Here To Stay?

Activision’s current plans with Call of Duty are a deviation from the rumored strategy change in releasing Call of Duty games. In January 2022, there were rumblings that Activision would ditch the annual release model for the game after Call of Duty: Vanguard flopped.

It appears following the success of Modern Warfare II, Activision hit the pause button on that strategy and is still sticking with its annual release strategy with the Modern Warfare III coming on November 10.

We will have to see what Activision and Sledgehammer will have in store for us in just two days when the MWIII reveal goes down.

Keep it locked on HHW Gaming for all news on Modern Warfare III.

Photo: Activision / Sledgehammer Games / Call of Duty: Modern Warfare III

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Signed: ‘Cowboys Did Cocaine’ Singer Riley Thomas Lassoes Elektra/DBLBLK; Daughtry Connects to Big Machine

Rock-country artist Riley Thomas has signed with Elektra/DBLBLK Records, which will release his new single, “I’ll Be Damned,” on Friday (Aug. 18). Thomas scored a sleeper success with his debut single, “Cowboys Did Cocaine,” which has racked up nearly 14 million streams on Spotify since its release in June.

“I’ve had the pleasure of knowing and watching Riley develop as both a writer and artist for years,” said DBLBLK Records founder Jameson Roper in a statement. “It’s always been a question of when — not if — his moment would arrive. I am beyond thrilled to lock arms with my true partners at Elektra. They have always identified great music and supported our artists fully. For Riley, the music may be dark, but the future is bright.”

Thomas added, “As an artist focused on the reach of my music, I knew I wanted to be with Elektra after meeting the team. I’ve long admired Gregg Nadel, Johnny Minardi, and the staff’s ability to develop and sustain career artists. Moreover, their respect for good music and commitment to fostering growth gave me confidence that this is the place for me. With the addition of a tenacious Jameson Roper and DBLBK, I’m looking forward to a long ride with this family.”

Thomas is managed by Mike Easterlin at Glen West Entertainment and Jameson Roper at DBLBLK Management. His booking agent is Nate Towne at WME.


Daughtry signed with Big Machine Records, which released the band’s latest single, “Artificial,” on Aug. 11. Fronted by Chris Daughtry, the band has released a total of six albums to date.

Country singer-songwriter Walker Hayes announced a new partnership with Monument Records and RCA Records. Under the deal, Hayes recently released a new two-track bundle titled Strait Two Stepping featuring “Stetson” and “Show Me The Country.” Hayes is managed by Robert Carlton at SMACKSongs and represented by Aaron Tannenbaum at WME.

Nashville-based alternative singer-songwriter Max Frost signed to Nettwerk, which will release his new single, “Creep Back,” on Friday (Aug. 18.) Frost is represented by Ron Shapiro and Joe Hegleman at Have Fun Management and Marsh Vlasic and Craig Bruck at IAG for booking. He was formerly signed to Atlantic Records.

CMW Entertainment struck a partnership with Sony Music’s AWAL Recordings for CMW’s flagship artist, Mudrigo, whose latest single, “UH HUH,” was released under the pact on Aug. 2. The companies will collaborate to support Mudrigo with a full suite of services globally; AWAL will support his development by offering services including A&R, global marketing, creative, synch, brand partnerships, distribution and access to real-time analytics.

Mette signed to Since ’93 and RCA Records in the United States. The labels will release her upcoming EP, METTENARRATIVE, on Sept. 22, preceded by Mette’s new single, “VAN GOGH.” She is managed by Caron Veazey at ThreeSix Zero; booking is handled by Mary Hannon and Craig D’Souza at WME for the United States and United Kingdom, respectively.

SMACK has launched SMACKRecords, adding a label branch to the company and announcing its first signing, singer-songwriter-actress Jenna Davis. SMACKRecords marks the fourth enterprise to launch under SMACK, following publishing company SMACKSongs, SMACKManagement (which reps Walker Hayes and Kylie Morgan) and digital marketing company SMACKTok. Davis will also be represented by Marissa Turk at SMACKManagement. Her debut single, “DiCaprio,” was co-written by Hayes, Kelsea Ballerini and Ross Copperman. Davis also recently voiced the main character in the horror-thriller M3GAN. – Jessica Nicholson

Rock band Sheer Mag signed with Third Man Records, marking the group’s first partnership with a larger independent label. Under the deal, Third Man will physically and digitally re-release Sheer Mag’s entire back catalog — including EPs I, II and III as well as albums Need To Feel Your Love and A Distant Call — on Oct. 27. Third Man just released the band’s latest single, “All Lined Up.” Sheer Mag is represented by manager Mike Sneeringer at Another Management Company and booking agent Timmy Hefner at Ground Control Touring.

Country duo Neon Union signed with CAA. The duo, which has played over 50 tour dates so far this year, is signed to Red Street Records and managed by Tristan Kirkbride.

Country singer-songwriter Annie Bosko signed a joint-venture management deal with Randy Bernard and Brown Sellers Brown (BSB) Management; she will be represented at the latter by Benny Brown, Jason Sellers and Angela Wheeler. Bosko also signed a label deal with Brown’s Stone Country Records and is now represented by CAA for booking.

Emerging country singer-songwriter Eli Winders signed to Atlantic Records/Bad Realm Records, which released his debut single, “Pack My Hometown,” on Friday (Aug. 11). He is managed by Layne Lindroth at C3.

Morgan Myles, the country singer-songwriter who was formerly a contestant on The Voice, signed with KZZ Music/Blue Élan, which released her new single, “Vertigo,” on Aug. 8. She’s represented by manager Ann Henningsen and booking agents Jennifer Hludzik at APA and Jared Caleb.

Singer-songwriter Rissi Palmer signed with New York-based management/distribution/merchandising company Invasion Merch and has signed a new contract with talent and literary agency Paladin Artists. Palmer recently earned two Grammy nominations and hosts the Apple Music show Color Me Country with Rissi Palmer. Earlier this year, Palmer’s Still Here documentary film was featured on PBS’ American Masters: In the Making series. – Jessica Nicholson

Singer-songwriter Ryan Larkins signed with CAA, where he will be represented by Marc Dennis. Larkins previously signed with Red Street Records, which released his debut songs as an artist — “Man That Holds the Beer” and “She’s the Tough One” — on Friday (Aug. 11).

Adele Sweetly Stops Las Vegas Show to Help Couple With Baby Gender Reveal: ‘That Was Amazing’

Adele has issued a stern warning to fans who would dare to throw any objects up at her on stage during her Las Vegas residency. But nobody said anything about signs. Though it’s apparently verboten to bring placards into the singer’s Weekends with Adele residency at the Colosseum at Caesars Palace, one sneaky couple secreted one in over the weekend that read “Adele will you do our gender reveal?,” and it was totally worth it.

In a video shared on his TikTok and Instagram, Chris Dare and wife Shantelle Lord managed to stop the show and rope Adele into helping them with their big announcement. The singer — mother to 10-year-old son Angelo with her ex — invited the New York couple up the front of the stage and after getting their names, she told the audience, “Shantelle and Chris are having a baby,” before finding out that Shantelle is 18 weeks along and had waited to find out the baby’s gender until they attended Adele’s show.

“No one’s really allowed signs in here, I’m just obsessed that you got one in,” Adele told the couple. “I’ve never done this,” she added while taking a slip of paper from the pair. “Oh my God, I think it’s [the note] like from a doctor!” Asking if there was anything in particular they wanted her to say and making sure they had someone filming the blessed moment, Shantelle told the singer, “I’m just honored that you’re going to do this for us. We’ve known since 12 weeks and we have been waiting for this moment.”

The latter comment drew an audible “awwww” from the crowd and compelled Adele to take a seat on the stage so she could properly rip open the envelope. “So… Shantelle and Chris are having a baby… BOY!” she said as the couple exploded into excitement, with Chris raising his arms in triumph and both sneaking in a quick hug with the singer.

“That was amazing! I’m so happy for you,” Adele said weeping as the couple kissed. “That’s so emotional. Oh my God! If and when I get pregnant will you do my gender reveal?” In a 2022 Elle interview, Adele said she “definitely” wants more kids some day,” but is currently focused on her residency, which runs through November.

Check out the reveal below.

No College? No Problem. Grammy U Expands Eligibility to All Who Are Actively Working Toward a Career in Music

In an effort to make its Grammy U program more inclusive and accessible, the Recording Academy is no longer requiring that applicants be full-time college students — or college students at all. It has now added a second path to membership for individuals aged 18-29 who are actively taking an alternate path toward a career in music.

As before, full-time students of any age qualify. They must be currently enrolled in an accredited college, university or trade school full-time (nine credits) and pursuing associate, bachelors, masters or PhD degrees.

But now there is a second option: professional/creative, which is open only to people aged 18-29. This option is for professionals or creatives pursuing a career in music as well as students studying at college part-time or taking any certificate course or program.

“For many years, Grammy U has invested in the development of emerging young music creators and professionals by providing resources and a supportive ecosystem committed to helping them thrive in the music industry,” Recording Academy CEO Harvey Mason jr. said in a statement. “With this expansion, Grammy U is ensuring that membership will be more inclusive and accessible for the next generation of music creators and professionals, no matter their career path.”

Jessie Allen, who was in the first Grammy U class of 1,000 students in 2006 and has headed the program for the past two-and-a-half years as Grammy U senior director, notes, “Not everyone has the same path to success. … Everyone has their own story. Maybe they are having financial hardships and they can’t go to college full-time. Maybe they are just taking a different route and they want to be on tour all year. Maybe they started their own business right after high school – if they went to high school, even. This is what we’re looking at from an inclusivity standpoint and also just making sure that we are representative of what the actual industry looks like. That is why we are making the change.”

Does Allen think this change will make Grammy U membership more representative in terms of having more women or more people of color? “All of the above,” she replies. “By taking away the college requirement, that just opens the door to the whole, entire emerging music industry of creators and professionals.”

Allen says the old rule was too restrictive and sometimes confounding even to people at the Academy. “We often saw people who were in technical school. Is that full-time? Is that accredited? We thought, ‘You are really taking that step for yourself. You are pursing music. You are taking a certificate program or you’re a part-time student.’ That was when we [decided], ‘Let’s not make this such a grey zone.’ [Before, we sometimes thought], ‘We can’t really let them in, but we should be letting them in.’”

Allen says the rule change was “a natural evolution.”

“This is one of the most organic things that has happened in my time at the Academy,” says Allen, who joined the full-time Academy staff 10 years ago as project manager for the Florida chapter. Allen credits Tammy Hurt, chair of the Recording Academy’s board of trustees; J. Ivy, a fellow trustee; and Ruby Marchand, chief awards & industry officer, for spearheading the change, which required a vote of the trustees.

“It was the easiest yes from the Academy,” she says. “It was almost like, ‘Yes, we all know this needs to be happening.’”

While the Academy is broadening access, it is not simply throwing the doors open to all who want to join Grammy U. Applicants must document what active steps they’re taking to build a career and must provide a letter of recommendation from someone in the industry.

“I would say ‘active’ is the most important word here,” Allen says. “We’re looking to see that you’re taking your career seriously and that this is something that you’re really invested in. [You can do that by documenting that] you’re playing regularly in your area or maybe you’re releasing music.”

In recent years, the Academy has been keenly sensitive to being inclusive, but it added a strict age requirement on this new, second option of Grammy U membership. That being: Anyone who has turned 30 is ineligible. Isn’t that inconsistent with the Academy’s overall philosophy of inclusivity?

“The room that you’re in when you’re in a Grammy U program event is a room of your peers,” Allen says, by way of explaining the age restriction. “We want to make sure that the programming and the opportunities we’re offering match. …As they grow later into their careers, there are still places for them at the Academy. But our programs are really tailored to this place in somebody’s journey and creating that peer community. While we want to be as inclusive as possible, we also want to make sure that everyone feels like they are having relatable opportunities in that room.”

Later, Allen doubles back to this point. “Just because you can‘t be a full-time member of Grammy U doesn’t mean that there aren’t other ways that we can support you; have you volunteer and have you part of our community until you are hopefully ready for voting or professional membership.”

Earlier this year, a Grammy U alumnus, Michael Repper, won a Grammy for best orchestral performance for conducting the New York Youth Symphony. Other Grammy U alumni include musician, singer and songwriter Jake Wesley Rogers; singer/songwriter Megan Winsor; Naledi Nyahuma Seck, VP of DEI at The Orchard; Erin Hanson, director of content partnerships at Audible; and Christine Busanelli, Esq., MBA–entertainment lawyer.

Allen, 35, is one of “at least a dozen” Grammy U alums who have joined the Recording Academy staff, by her count. The Miami-based executive is one of two full-time Grammy U staffers, along with Cat Sornmayura, project manager.

Grammy U dues are a one-time payment of $50 for four years of membership. The program just added a renewal feature where members can renew for $50 for each additional year.

“The idea is that you are pretty close at this point – we hope—to moving into voting and professional membership,” Allen says. “We wanted to create that bridge where you are still with us; still getting the benefits as you go into the next phase of your career.”

Grammy U has had more than 32,000 members since its inception. Grammy U finished this past year with more than 6,000 current members. Approximately 1,500 students were accepted during the 2022-23 program year which is primarily from August – May.



Grammy U members cannot vote for the Grammys or vote in chapter elections, but they can submit awards proposals and participate in select chapter events and Academy-wide initiatives like District Advocate, in addition to dedicated Grammy U programs.

There are 14 Grammy U representatives across the Recording Academy’s 12 chapters. The representatives co-produce all events and oversee membership within their chapters, with the help of more than 100 Grammy U “ambassadors.” In the 2022-23 program year, the membership program hosted more than 80 events and programs locally and nationally.

Events this past year include separate master classes with Jacob Collier, Armani White and Andrew McMahon; SoundChecks featuring such artists as Steve Lacy, Lizzy McAlpine, Stephen Sanchez, Gracie Abrams, Carly Rae Jepsen, MUNA, Sabrina Carpenter and Death Cab for Cutie; an all-day conference in Miami focused on Latin music creators and professionals; and mentorship programs with executives from such companies as Sony Music Entertainment, Universal Music Group, Warner Music Group, SiriusXM and ASCAP.

For more information about Grammy U and how to apply, visit grammyu.com.

RM Promises That BTS Will Be ‘Back For Sure’ in 2025: ‘This Is Like a Vacation’

How can you miss them if they don’t go away? That’s essentially what BTSRM said during a Weverse livestream over the weekend, during which the singer promised ARMY that the K-pop supergroup is on target to regroup right on schedule.

After reading a heartfelt letter from an ARMY member expressing how much the group has meant to their fans over the past decade, RM offered some assurance, and hope, that things will be back to normal soon.

“I hope our songs and solo projects could be another reminder to you guys of how important ARMY was, has been and will be in our lives at the same time,” he read, speaking in English after listening to the ARMY-created tribute song “Love Letters” during the chat. “I hope that it is a reminder that spring will come again. Please continue to keep BTS alive in your hearts, in this moment and perhaps throughout your entire life.”

After sharing the ARMY thoughts, RM got personal, noting that band mate Suga talked “a lot” about the feelings he had during his 28-show solo run this year and how much love he felt from ARMY, who are patiently “waiting for the reunion in 2025”; BTS’ seven members announced last year that they were taking a group break to focus on solo projects while the men prepare to take part in South Korean’s mandatory military service requirement.

“Even though we’re doing our solo activities on our own… what I’m thinking these days when I’m doing my solo projects is… this is just like a vacation,” RM said of his solo efforts, which include his recent hot trending songs No. 1 collab with Colde on “Don’t Ever Say Love Me.”

“To get back to where I was, which was BTS and ARMY. All the solo [activities] is just a journey,” he said. “But it is a very important journey for Chapter 2. But it’s a journey to get back home safe.”

And then RM uttered the words all of ARMY have been waiting to hear.

“Eventually, when we get back and reunite together in 2025… [we will] be back for sure. We’ll be joining together again. And that will be in 2025.”

During the 40-minute video chat, RM also commented on his buzz cut (“no reason” he said when someone asked why he’d shorn his locks) and busted out some dance moves, admitting that he’s “scared” he’s going to forget the group’s choreo if he doesn’t keep practicing. He also munched on a candy bar and fessed up that he doesn’t really watch soccer unless it’s the World Cup.

So far, Jin and J-Hope have entered the military and Suga is expected to go next.

Watch RM’s live chat below.



Urban One Founder Cathy Hughes Lands On “50 Greatest Hip-Hop Executives” List

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Represent: Nurturing Change with Cathy Hughes

Source: TV One / TV One

Cathy Hughes is a G on all levels. The Urban One founder has been named one of the “50 Greatest Hip-Hop Executives of All Time” by Variety.

The latest acknowledgment should be no surprise to anyone familiar with the Black radio pioneer. Hughes is in some historic alongside the likes of Bad Boy Records founder and current Revolt CEO Sean “Diddy” Combs, Epic Records Chairperson Sylvia Rhone and rapper turned mogul Jay-Z, amongst others. Considering Hip-Hop’s 50-year legacy of hustle, including Hughes was a no-brainer.

Per Variety:

She may not be a household name, but Hughes is a trailblazer for both female music executives and hip-hop culture. As the first female VP and general manager at WHUR in Washington, D.C., she pioneered the “Quiet Storm” format. She then founded Urban One (originally known as Radio One) in 1980, which became the largest Black-owned and -operated radio and television broadcast company in the U.S., and in 1999 was the first Black female to head a company listed on NASDAQ; by 2007, the company owned 70 stations in 22 markets. She has been listed as the second-richest Black woman in the United States — after Oprah Winfrey.

Nothing but respect, Cathy Hughes. Learn a bit more about her incredible and inspiring career in this 2019 feature in the PBS special BOSS: The Black Experience in Business below:



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‘Kick Out the Jams’ Collects the Best of Pivotal Music Critic Dave Marsh, With Essays on Elvis, Bono, Madonna & More

A new anthology published today (Aug. 15) titled Kick Out the Jams: Jibes, Barbs, Tributes, and Rallying Cries from 35 Years of Music Writing makes the case for Dave Marsh as one of the most influential critics of popular music in recent decades.

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One of the first editors of Creem magazine; a veteran contributor to Rolling Stone and other publications; the author of 25 books (including two best-selling biographies of Bruce Springsteen); the co-founder of the newsletter Rock & Rap Confidential and a longtime host on SiriusXM, Marsh has redefined the the limits of music writing throughout his career. His criticism has offered insights into issues of community, class, race, politics, health, the environment, the music industry and more.

“Dave Marsh has always been a tireless advocate of justice, human rights, and rock’n’roll,” writes Tom Morello, co-founder of Rage Against The Machine, in his cover quote for this collection. “His pen and voice are an important player in the history of the music we love and the struggle for a more just and decent world.”

In this collection — edited by Daniel Wolff and Danny Alexander, with a postscript by Pete Townshend — Marsh writes as a historian, a skeptic, an agitator, a sentimentalist and, above all, a fervent fan and true believer in the power of music.

“Since 1969, Dave Marsh has been writing about music like our lives depended on it,” writes educator Lauren Onkey, the former senior director of NPR Music, in her introduction to Kick Out the Jams. (She references Marsh’s decades of criticism that precedes the work covered in this collection and Marsh published an earlier anthology, Fortunate Son, in 1985).

The opening piece in Kick Out The Jams illustrates how Marsh draws connections like few other critics. In “Elvis: The New Deal Origins of Rock ‘n’ Roll,” Marsh writes: “Like everything else, Presleymania has a political dimension.” Observing that Elvis Presley and his family in Tupelo were “extraordinarily poor,” Marsh notes that, after moving in Memphis, the family benefited from the social safety net created by Franklin Roosevelt’s New Deal legislation during the 1930s, that included income support and public housing. 

For all of Presley’s immense talent and vision, the opportunities he seized “were the result of living in a society which, by design, offered people as poor as the Presleys a chance for that breathing space,” writes Marsh in this 1982 essay — pointedly contrasting that era with the dismantling of the social safety net under by conservatives led by then President Ronald Reagan.

(This essay, by the way, is one of several here that was originally published in Musician magazine, one of the most acclaimed music publications of its time, under editor Bill Flanagan and, subsequently, Robert Doerschuk. Once owned by a former parent company of Billboard, Musician folded in 1999 and its rich content has never been archived online).

Marsh knows how to write a great lead. In 1989, Madonna courted controversy (again) by filming a video for her hit “Like a Prayer” in which, amid images of burning crosses, she caresses the statue of a Black religious icon, who comes to life to embrace her.

“The worst thing about the furor over Madonna’s Like a Prayer may be that it obscures a great album,” writes Marsh. “But that just proves that Madonna has entered the rarified ranks of those pop stars who function as lightning rods for a–holes.”

Stars at rarified heights have never escaped Marsh’s sharp pen. Bono’s Product (RED) campaign to raise awareness and funds to halt the spread of HIV/AIDS in Africa, drew the writer’s criticism — which Marsh extended widely to celebrity-driven causes. He quotes Zambian economist Dambisa Moyo, who “observes that she met [Bono] ‘at a party to raise money for Africans—and there were no Africans in the room except for me.’”

In this summer marking the 50th anniversary of hip-hop, it is worth recalling Marsh’s comments about the genre in a 1991 essay “The Death of Rock,” in which Billboard’s Paul Grein makes a cameo appearance. Grein, who then wrote the magazine’s Chart Beat column, observed in his 1990 year-end commentary that no rock bands had topped the Billboard 200 albums chart in that year. However, Marsh writes that the music industry’s segregation by genre “means that the most exciting, rebellious, hardest-rocking music of the early 1990s — rap and hip-hop — can’t be considered rock.”

Marsh often has devoted his writing to celebrating music pioneers. Included here are his essays on John Hammond, Robert Johnson, Woody Guthrie and Pete Seeger, among others. Just as often, he has sought to raise the profile of deserving musicians like those profiled in this collection: Ani DiFranco, Patty Griffin, Alejandro Escovedo, China’s Cui Jian, gospel singer Dorothy Love Coates, or the late Jimmy LaFave.

In May 2017, the month that Marsh’s profile of LaFave ran in the Austin Chronicle, the folk musician died of sarcoma, a rare form of cancer — the same cancer which took the life of Kristen Ann Carr, the daughter of Marsh and his wife, Barbara Carr, in 1993. She was 21.

“I need to eulogize Kristen Ann Carr because her death means I’ll never write about music in the same way,” Marsh wrote in the newsletter Rock and Rap Confidential in March 1993, noting that a decade had passed since he co-founded the newsletter.

“Kristen… belongs here because, however you may have received these past ten years of ranting and raving, I’ve seen RRC as an espousal of life against death. After watching my own child wage that struggle in literal terms, I know there’s a way to live that message to your final breath. You do so by choosing the spirit of hope and affirmation that Kristen held so completely that she awed even her doctors.”

In Kick Out the Jams, amid all the “jibes, barbs and rallying cries,” the work of Dave Marsh pays tribute to the spirit of hope and affirmation that the best music brings into our lives.

(Editor’s note: Thom Duffy is a former contributor to Rock and Rap Confidential and is a supporter of the Kristen Ann Carr Fund, which focuses on supporting research in the treatment and cure of sarcoma, and improving the lives of young adult cancer patients and their families).

Shania Twain Sets 2024 Las Vegas Return With ‘Come On Over’ Residency: ‘The Whole Theater Is My Playroom’

Shania Twain is inviting fans to “Come On Over” when she launches her latest Las Vegas residency in May 2024 at the 7,000-seat Bakkt Theater at Planet Hollywood Resort & Casino.

The upcoming slate of 24 shows — titled Shania Twain: COME ON OVER – The Las Vegas Residency – All The Hits! — are set for May, August, September, November and December. This marks Twain’s third career residency, following her Still the One residency (2012-14) and the more recent Let’s Go! Residency (2019-22).

“If you want to change things or you want the show to evolve, it’s as if the whole building, the whole theater is my playroom for a while,” Twain told Billboard via Zoom of why she loves residencies. “I love that I get consistency that I can build a show that I don’t have to worry about moving around. It’s a very different approach to the production when you have the luxury of things being maybe a little more fragile and if there are things you couldn’t take on the road. It’s a controlled environment, no variables you have to worry about — you can get the sound and lights the way you want it. That custom element of the production is a luxury.”

Of her Planet Hollywood venue, she adds, “The Bakkt Theater feels more intimate to me than some other theaters. It’s a real party vibe and inspires me to be close to everybody. This residency is going to be more interactive, with more fan interaction.”

The new slate of shows will take place in May (10, 11, 15, 17, 18, 23, 25 and 26), August (23, 24, 29 and 31), September (1, 4, 6 and 7), November (29 and 30) and December (4, 6, 7, 11, 13 and 14).

General on-sale begins Monday, Aug. 21, at 10 a.m. PT at Ticketmaster.com, while Citi card members will have access to presales beginning Aug. 16 at 10 a.m. PT through Aug. 20 at 10 p.m. PT, and Live Nation/Caesars Entertainment presales will happen Aug. 17-20. Twain’s fans will have access to a presale beginning Aug. 16 at 2 p.m. PT.

Shania Twain: COME ON OVER – The Las Vegas Residency – All The Hits! takes its name from Twain’s 1997 album Come On Over, which yielded massive international hits including “That Don’t Impress Me Much,” “Man! I Feel like a Woman!,” “You’re Still the One,” “From This Moment On” and “Don’t Be Stupid (You Know I Love You).” On Aug. 25, Twain will release the multiple expanded U.S. and International “Diamond” editions of Come On Over, in celebration of the project’s 25th anniversary.

Twain, who was named the Country Music Association’s entertainer of the year in 1999, recalls of those heady music-making and tour years, “It’s funny, because I don’t have very vivid memories of that time, because it was such a whirlwind. It was single after single, and video after video. It was as if I couldn’t keep up. And I was on tour for the first time since I had had my first radio hit. Everything bottlenecked, so it was the tour, trying to fit in choosing the next single, and what the video would be like, styling the videos, editing the videos. I was hands-on with everything, and it exhausted me. So I didn’t get to enjoy a lot of it in the moment. But I’m celebrating now.”

Twain tells Billboard that fans can expect the Come On Over residency to be filled with many of her classic hits — including, of course, songs from Come On Over — but also songs from her recently released Queen of Me album.

“On the Queen of Me Tour, I change out the set list quite often, so it’s giving me ideas [for the residency],” Twain says. “I haven’t settled in entirely to my set list for the Come On Over residency because of that exact factor, so I’m still working that out. Everyone loves ‘Giddy Up!,’ and ‘Waking Up Dreaming’ is a total bop for everyone. I have kids come up onstage and their parents would’ve grown up with Come On Over, and a few times I will ask the little kid, who might be like 5 or 6 years old. I’ll ask them what their favorite song is, and they will say ‘Queen of Me.’”

Whether on her current tour (which will launch its second leg in September in the United Kingdom) or as part of a residency, Twain’s concerts are known to be eye-popping spectacles of color, upbeat music and high fashion — something Twain says won’t change during the upcoming residency.

“I’m in a new chapter of creative expression that I’m obsessed with,” the five-time Grammy winner says. “For the Queen of Me Tour, I went through all my boxes, and deep in to all my closets and in storage, for all the fabulous garments. I hadn’t touched a lot of them in 25 years. It’s re-imagining them, and in some cases dismantling them and putting them back together in a new way. I have this new passion for how I see myself in them onstage, and that’s going to apply to the residency as well.

“I have so much experience, from touring, with performing in fashionable clothes and thinking about how they move, how they wear when I’m sweating. I’m always thinking, ‘Can I kick and run in them? How do they look in motion and in still photographs?’ I enjoy building these clothes. I’m great with the scissors. I’m not a good sewer, but I have a great team. I’m a great pinner and I’m in there literally designing the looks for every show.”

As a hands-on, creative professional, Twain says she still has more ideas she would love to incorporate into her residencies.

“I haven’t done this yet, and I don’t know if I can. I’ll have to find a way. I want to have a huge, inflated sphere that I can run around in over the audience — I should never have said that out loud,” she says with a laugh. “But I really want to do that, because I think the fans always have so much fun when balls are thrown into the audience, and I want to be in that. I’m gonna make a giant transparent beach ball and I’m gonna get in it and roll around while I’m still young enough to do it without getting hurt. I don’t know how I would do it — I always get a ‘No’ from production; they’re like, ‘That’s not even possible.’ I’m gonna figure out a way to do it at some point, so I can get out there and go everywhere in the room.”

Outside of the residency, Twain has other dreams — including one very collaborative one she has her sights set on.

“One of my dreams is to do a whole album of duets,” she says. “It’s a common dream, I think, to sing with your favorite singers, and I would get a chance at quite a few by doing a whole album of duets.”

However, she notes, one of those dream collaborations would have included the late Country Music Hall of Famer Glen Campbell, who died in 2017 after his battle with Alzheimer’s Disease. “Glen was one of my dream duet singers,” Twain says, “so that isn’t going to happen now and that’s sad. So I better get to it while everybody else on my list is still around.”

Beyonce Slots Lizzo Back Into ‘Break My Soul’ Remix, Shouts Her Out in Atlanta: ‘I Love You, Lizzo!’

Beyoncé showed some love for Lizzo during her Renaissance gig in Atlanta on Monday night (Aug. 14). After previously appearing to leave the “About Damn Time” singer out of the lyrics to the “Break My Soul (The Queens Remix)” earlier on the tour after Lizzo was hit with a lawsuit from three former dancers accusing her of creating a hostile environment and sexual harassment, Bey slotted Lizzo back in and added a shout out during the last of three gigs at Mercedes-Benz Stadium.

“Lizzo. I love you, Lizzo!” Beyoncé shouted during the performance of the song that finds her ticking off a list of legendary female artists including Bessie Smith, her sister Solange, Erykah Badu, Janet Jackson, Lauryn Hill and many others.

Just a week after being hit with the lawsuit from the former dancers — which also included allegations that they were pressured to touch nude dancers during a live sex show — the lawyer representing the three dancers said last week that “we have received at least six inquiries from other people with similar stories since we filed the complaint.”

The original complaint covering alleged harassment that allegedly took place between 2021-2023, was filed on behalf of dancers Arianna Davis, Crystal Williams and Noelle Rodriguez. It accused Lizzo (born Melissa Jefferson) and her Big Grrrl Big Touring Inc. of a wide range of legal wrongdoing, including racial and religious discrimination. They also included allegations that the captain of Lizzo’s dance team, Shirlene Quigley, forced her religious beliefs on the plaintiffs and took repeated actions that made them uncomfortable, including commenting on their virginity and simulating oral sex on a banana in front of them.

Lizzo denied the initial allegations in a statement, in which she wrote that they are “false” and “sensationalized stories,” adding, “I am not the villain that people and the media have portrayed me to be these last few days. I am very open with my sexuality and expressing myself but I cannot accept or allow people to use that openness to make me out to be something I am not.”

She said that the allegations that she and her company created a hostile work environment were “unbelievable as they sound and too outrageous to not be addressed.” Beyoncé had pointedly left Lizzo’s name out of the live performance of the “Break My Soul” remix during an Aug. 1 show in Massachusetts, repeating Badu’s name four times instead; she reportedly slotted the singer’s call-out back into the song during a show in Maryland on Aug. 7. Bey’s mother, Tina Knowles, said the apparent Lizzo leave out was not done on purpose, pointing out that the singer also left out former Destiny’s Child member Kelly Rowland’s name that night, while fans have noted that not every name in the remix makes it into every performance.

Lizzo has kept a low profile since the lawsuit was filed and one of the only shows she had on her upcoming roster, a headlining slot at this year’s Made in America festival in Philly (Sept. 2-3), was pulled last week when organizers unexpectedly cancelled the event — which was also slated to feature SZA as a headliner — due to “severe circumstances outside of production control.”

Check out the Lizzo moment below.

Pink Expands Record-Setting 2024 ‘Summer Carnival’ Tour of Australia

Pink’s record-breaking visit to Australia and New Zealand next year will include her first stadium concert in North Queensland.

The Philadelphia pop superstar will bring her Summer Carnival to the land Down Under in 2024, for a trek that expands to 16 Australian shows. Among the newly-announced dates are a fourth and final show at Melbourne’s Marvel Stadium, and a tour-closing concert March 23 at Queensland Country Bank Stadium in Townsville, a venue that typically hosts the rough and tumble of professional rugby league matches.

Pink’s one-off show in Townsville was presented at a press conference, featuring government representatives.

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“Queensland is the only state where Pink is playing three separate cities, and this is the only regional stop,” comments premier Annastacia Palaszczuk, whose government is gearing up for the 2032 Olympics and Paralympics, which will be held in the state capital, Brisbane. “Major concerts like this bring visitors who spend millions of dollars in the tourism economy and support local jobs.”

Live Nation is producing the tour, which the concerts giant insists will be the biggest-selling Australian visit ever by a female artist.

Pink’s 16 stadium concerts is one record, the 725,000 ticket sales she is “currently well beyond,” according to LN, is another.

“Pink’s Aussie shows sold out in minutes across the country,” comments Live Nation Australia president Roger Field, “making the tour extension into North Queensland an exciting next step in meeting this unprecedented demand.”

Setting records in Australia is a regular pastime for Pink. She’s considered an “honorary Aussie,” and has certainly spent enough time here to earn that tag.

On her 2009 Funhouse Tour, she criss-crossed the country for a gobsmacking 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a population of less than 25 million at the time.

For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, hitting 42 arena dates.
On the ARIA Charts, Pink has bagged seven No. 1 albums, most recently with Trustfall.

Live Nation Australia chairman Michael Coppel is Pink’s career-long promoter for ANZ, organizing six tours since 2004. On the 20th anniversary of that association, Pink will surpass 3 million tickets sold in Australia and New Zealand, he explains.

“Only fitting that we break new ground with the record to be set at her first show in Northern Queensland at Queensland Country Bank Stadium,” he adds.

Also announced this week, Tones And I will join Pink as special guest on the ANZ swing. The one-time busker, Tones (real name Toni Watson) set new benchmarks with her global hit “Dance Monkey,” which led charts in 30 countries, including 24-week run at No. 1 on the ARIA Chart, a record, and 11 weeks at No. 1 on the Official U.K. Singles Chart, a record for a solo female artist.

Visit livenation.com.au for more.

Summer Carnival Australian Tour 2024
Feb. 9 — Allianz Stadium, Sydney
Feb. 10 — Allianz Stadium, Sydney
Feb. 13 — McDonald Jones Stadium, Newcastle
Feb. 16 — Suncorp Stadium, Brisbane
Feb. 17 — Suncorp Stadium, Brisbane
Feb. 20 — Heritage Bank Stadium, Gold Coast
Feb. 23 — Marvel Stadium, Melbourne
Feb. 24 — Marvel Stadium, Melbourne
Feb. 27 — Adelaide Oval
March 1 — Optus Stadium, Perth
March 2 — Optus Stadium, Perth
March 12 — Marvel Stadium, Melbourne
March 13 — Marvel Stadium, Melbourne
March 16 — Accor Stadium, Sydney
March 19 — Suncorp Stadium, Brisbane
March 23 — Queensland Country Bank Stadium, Townsville
With special guest Tones And I