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03 Feb 2023

Doja Cat Tells ‘Boring’ Fashion Critics to ‘Leave Me the F–k Alone’ & Selena Gomez Approves

In recent weeks, Doja Cat has painted herself red and glued Swarovski crystals onto every visible inch of her skin, and worn a goatee made of fake eyelashes. At this point, the wackiest thing she could do next would be to dress in something more “normal.” But wait: That’s exactly what she just did.

As usual, Doja was one step ahead in a recent Instagram post in which she showed off simple brunette waves, a smoky eye and neutral lip makeup look, and an elegant, lacy black top. “Felt like doing a pretty beat for you boring a– lemon water b—–s out there,” she captioned the post. “So you can shut the f–k up now and leave me the f–k alone ciao.”

The expectation-flipping statement caught the attention of none other than Selena Gomez, who commented, “Lol I love and feel you.”

The “Woman” rapper’s latest look is definitely a palate cleanser compared to the show-stealing looks she rocked at Paris Fashion Week in January. The most notable of these was when she showed up to Schiaparelli’s runway show covered in 30,000 red Swarovski crystals — like, completely, as in, only the whites of her eyes weren’t glittering like Dorothy’s ruby slippers. After that, she attended Viktor & Rolf’s show in a whimsical pantsuit and faux facial hair made of fake eyelashes (eyebrows and all), trolling haters who criticized her previous red makeup look’s lack of lashes.

A few months prior, she attended a string of October Paris Fashion Week shows in equally unorthodox outfits, including a face full of blue paint and a full-body gold moment.

See Doja Cat’s surprisingly unsurprising new look below:

03 Feb 2023

64 Grammys, 64 Moments: The Greatest Moment From Every Grammys Ceremony So Far

This Sunday (Feb. 5), the Grammys will celebrate a landmark anniversary, as the show enters its 65th year of serving as music’s biggest night.

When the awards first debuted in 1959, there were only 22 total categories and no live performances, and the ceremonies were held in New York and Los Angeles at the same time and never aired nationally. This year, there’ll be 91 total awards given out – including five brand new ones – as well as much-anticipated performances from nominated stars like Harry Styles, Bad Bunny and Lizzo, with the ceremonies airing live on CBS and streaming on Paramount+.

To commemorate the milestone Grammys, we at Billboard are digging back into show’s history to find the moment from each of the previous 64 years that most defined that year’s ceremony. Sometimes those are dramatic wins or unforgettable performances – but they also include unexpected fashion statements, memorable presentations, and, of course, a stage crasher or two. Some of them speak to the power of the Grammys in commemorating (or even creating) the most important and impactful musical moments of the year, and some of them are just the kind of surreal and unnerving happenings that tend to transpire when you get dozens of the biggest names in music in the same room for the evening.

From Chubby Checker to Stevie Wonder to Jethro Tull to SOY BOMB to the Chicks to BTS, come relive six and a half decades’ worth of Grammys greatness and weirdness with us — and find out which moments will be joining this proud legacy come Sunday night.

03 Feb 2023

As Beyonce Renaissance Tour Tickets Roll Out Senate Judiciary Committee Has Ominous Warning For Ticketmaster

As the first tickets for Beyoncé‘s eagerly anticipated Renaissance world tour begin to roll out, the Senate Judiciary Committee issued a strong warning to Ticketmaster: “we’re watching.” The tweet from the Democrat members of the committee issued on Thursday afternoon (Feb. 2) included a clip from a CNN report about the Beyhive keeping a close eye on the ticketing giant in the wake of the disastrous roll-out of tickets for Taylor Swift’s Eras Tour.

The tweet came just hours before NPR reported that the initial roll-out of Renaissance tour tickets in the UK on Thursday morning had already led to fear from superfans that they may not get to see the show. With pre-sales beginning in England, NPR spoke to several fans who said that a combination of high prices — up to a reported $2,400 for some seats — and a reported snag in the ticketing system that knocked it offline 15 minutes before sales started has already led to some frustration in the Beyhive.

“Because this is a Beyonce solo show, and it’s her first one in seven years, the demand is going to be really, really high,” BBC music correspondent Mark Savage told NPR, adding that in addition to reportedly going down for a period, Ticketmaster’s system was “inaccessible for a lot of fans until all of the tickets were gone.”

At press time a spokesperson for Ticketmaster had not returned a request for comment on the Judiciary Committee tweet or the NPR report.

Ticketmaster’s president/CFO Joe Berchtold appeared before the Senate Judiciary Committee last week to defend the company over the high-profile Swift ticketing mess, with witnesses calling for drastic action to break up what they claim is a monopoly. Ticketmaster issued a formal apology to Swift and her fans after the chaotic ticket sale process for the 2023 Eras tour, in which the system crashed shortly after launch as 14 million fans and billions of bots flooded the site during the presale, causing service disruptions.

Tickets for the U.S. Beyoncé dates are slated to go on sale on Monday (Feb. 6) after Bey recently added more dates at seven North American stadiums due to high demand. Second shows have been tacked on in Toronto on July 9, Chicago on July 23, East Rutherford on July 30, Washington, DC on August 6, Atlanta on August 12, Los Angeles on September 3 and Houston on September 24.

According to a press release from Live Nation, fan demand for Renaissance seats has already exceeded the number of available tickets by more than 800% based on current registration numbers. However, even with these added dates, “it is still expected that the majority of interested fans will not be able to get tickets because demand drastically exceeds supply.”

See the Judiciary Committee’s tweet below.

03 Feb 2023

Here Are Karol G & Romeo Santos’ ‘X Si Volvemos’ Lyrics Translated to English

Karol G and Romeo Santos have come up with a clever way of saying goodbye to an ex lover. “It didn’t work out, we gave it our all, so we’re leaving but before we leave, let’s do it one last time,” they sing in the newly-released “X Si Volvemos.”

Following the announcement of her her highly anticipated fourth studio album Mañana Será Bonito, the Colombian hitmaker dropped the track on Thursday with surprise collaborator Romeo Santos. The Ovy on the Drums-produced song marks the first time the two artists work together.

The sultry reggaeton bop finds the artists lamenting a failed relationship but leaving the door open because, “our relationship didn’t work, but we understand each other in bed.”

How the collaboration came about? According to a statement, Karol had already recorded the song on her own and uploaded a teaser on TikTok. Then she thought Santos would be a good collaborator for this song and called to invite him.

Check out the lyrics translated into English “X Si Volvemos” with Romeo Santos below:

We didn’t work out (We didn’t work out)

We gave it all, but it didn’t work out for us (No)

That’s why we’re leaving (We’re leaving)

But before we go

Let’s do it for the last time, baby (Baby)

Because not in love, but in bed we understand each other (Oh)

It’s porn, I love how we do it

I won’t delete your contact and I’ll be aware in case we make up

But if not (Hey)

The little shore takes care of itself (Ey)

But call when you want me to give you in bed attended

The sex games are not forgotten (Are not forgotten)

No one trustworthy is denied a farewell sex, ey

I’m down to repeat (Repeat)

You put the bed, I put the krippy (Krippy)

Now we hit it at beach in DR, Punta Cana (Ah)

In the window looking at the city

I know that in love we are a disaster (-aster)

I’m a bandit, and you’re a gangster

I don’t know how long you wasted trying something serious

I know I’m not what you thought (Eh-eh)

But since you kissed me

You became addicted with my malice

This is not healthy but

Let’s do it one last time, baby

Because not in love, but in bed we understand each other

It’s porn, I love how we do it

I won’t delete your contact and I’ll be aware in case we make up

But not like this

Our love is f—-d

But what a feeling when the messes end in bed

Could it be that sex with you is my addiction?

Toxic loves only work for —less

We are so explicit, but it came to an end (So nasty)

Say goodbye naked, with my phone I’m recording you

I tell you goodbye inside you

I save this video for when you need it

And you’re wet thinking of me

Let’s do it for the last time, baby (Baby)

Because not in love, but in bed we understand each other (We understand)

It’s porn, I love how we do it (How we f–k, how we f–k)

I won’t delete your contact and I’ll be aware in case we make up

But not like this

Baby, give me one night

That never ends

Today is a night of sex

Are you coming?

Haha, you knew

My Romeo, The King

With La Bichota

O-O-Ovy On The Drums

03 Feb 2023

Bill Anderson on His Grammy Nomination for Dolly Parton Collaboration: ‘I’ve Been So Blessed’

Throughout his six-plus decades in country music, Bill Anderson has been lauded for his considerable talents as both an artist and a songwriter, with more than 30 top 10 Billboard Country Songs hits to his credit as an artist, including seven chart-toppers. As a songwriter, he’s seen his songs recorded by artists including George Strait, Brad Paisley, Aretha Franklin, James Brown and Dean Martin.

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But even as a member of the Songwriters Hall of Fame and the Country Music Hall of Fame, the 85-year-old Anderson is still notching career firsts. Leading into Sunday’s (Feb. 5) Grammy Awards, Anderson is celebrating his first Grammy nomination as an artist, as “Someday It’ll All Make Sense (Bluegrass Version)” earned a nomination in the best American roots performance category.

The nomination is Anderson’s fifth overall Grammy nomination, with his four previous nominations stemming from his skill as a songwriter. He was the sole writer on Connie Smith’s 1964 hit “Once a Day” and Porter Wagoner’s “Cold Hard Facts of Life,” which were each nominated for a Grammy in the best country & western song category. His work as a co-writer on Steve Wariner’s “Two Teardrops” and George Strait’s “Give It Away” earned nominations in the same category, after it was renamed best country song.

“I knew I had Grammy nominations for writing. I have never won one. It’d probably be my last shot at it,” he says with an unassuming chuckle, seated at a table in his business office just outside of Nashville.

Anderson recalls playing the song for Sony Music Publishing Nashville CEO Rusty Gaston: “I didn’t even tell him I was going to play it, and he didn’t know Dolly was involved. He’s sitting there listening to it and of course, I sing the first verse of the song myself. When Dolly’s voice came on, he was like, ‘A Grammy!’ So he believed in it from the beginning.”

“Someday It’ll All Make Sense,” which Anderson wrote with Bobby Tomberlin and Ryan Larkins, is featured on Anderson’s most recent album, As Far as I Can See: The Best Of, which released in June on MCA Records/Ume.

As Far as I Can See is also the title of his current exhibit on display at the Country Music Hall of Fame and Museum, detailing Anderson’s journey from being the 19-year-old disc jockey in Georgia who wrote “City Lights,” which would become a No. 1 hit for Ray Price in 1958. In 1960, Anderson earned his own first top 10 Country Songs hit with “Tips of My Fingers,” followed in 1962 by his first No. 1, the seven-week chart-topper “Mama Sang a Song.” He earned another seven-week chart-leader in “Still,” as well as later chart-toppers “I Get the Fever,” “For Loving You” (with Jan Howard) and “Sometimes” (with Mary Lou Turner).

By the 1980s, he parlayed his affable, humorous personality into work as a television game show host on The Better Sex and the now-defunct cable outlet Tennessee News Network’s country music-themed quiz show Fandango (he had previously hosted his own The Bill Anderson Show). However, in the 1990s, he began collaborating with Vince Gill, notably on the song “Which Bridge to Cross (Which Bridge to Burn).” That ushered in a renaissance for his songwriting career, leading to him writing with and for a new generation of artists and crafting fine-tuned hits including Kenny Chesney’s “A Lot of Things Different,” Strait’s “Give It Away,” and the Brad Paisley/Alison Krauss duet “Whiskey Lullaby” (which won the CMA’s song of the year honor in 2005).

Anderson talked with Billboard about his current Grammy nomination, working with his longtime friend and fellow singer-songwriter Dolly Parton, his thoughts on touring and songwriting and his memories from his decades in music.

How did Dolly come to be part of this song?

Her hairstylist is a girl named Cheryl Riddle, and we’ve been friends for many years. She’s had a lot to do with my career in some interesting ways. When I kind of quit songwriting for a while and backed away from it, she’s the one who encouraged me to do some co-writing. She was also doing Vince Gill’s hair at the time, and was trying to get me and Vince together to co-write. She finally succeeded, and that started my whole second songwriting career — and evolved into a wonderful friendship between me and Vince.

Bobby Tomberlin is also good friends with Cheryl, and he played some of it for her, with just me singing it. Cheryl said, “Oh my god, Dolly should be singing on that with him.” And asked for a copy. Dolly loved it, and next thing I know, they sent me a copy of her singing it with me. I told Dolly the day we filmed the video, I said, “This sounds like something you would’ve written,” and she said, “I wish I had! I love it,” which I took as a great compliment.

This is not the first musical collaboration you have had with Dolly. As Far as I Can See also features an early demo from around 1964 with Dolly, “If It Is All the Same to You,” a song you later recorded with Jan Howard.

It was lost for a long period of time. I’m almost positive that we did that session out at [Owen] Bradley’s barn. Dolly was new in town. Walter Haynes was working for the publishing company I was writing for at the time, and I said, “I need a girl singer to help me on this duet.” He said, “I know this girl from East Tennessee and she’s pretty good.” So she was hired and we sang the duet together. I think we recorded six or seven songs that night, and I went up there not long after to get a copy of the session, and someone had taken the duet and cut it out. There were seven songs on the demo but only six on the copy. Until recent years, I thought it had disappeared, until the Bear Family put out a box set of my music and uncovered it.

The two of you also filmed the video together for “Someday It’ll All Make Sense.” What do you recall about the day of filming?

She set aside from 10:00 a.m. until 1:00 p.m., so we had three hours to do the video. When we finished filming all the scenes she would be involved, we got finished a little before one. There were all kinds of people coming to watch and Dolly stopped and said, “Okay, if anybody would like to get pictures or an autograph, we’ve got 15 minutes.” She stood there and took pictures with everybody in that room.

And then she turned to me and said, “Ok, I gotta go change clothes. I’m doing a video for the Queen of England” [for Queen Elizabeth’s Platinum Jubilee in 2022, marking 70 years of service]. So she finished filming a video with Bill Anderson, changed clothes into something very prim and proper, a black dress with a set of pearls and did a video for the Queen of England, then changed again and did a video for NASCAR. She’s amazing.

In addition to being artists, writers and all-around entertainers, both you and Dolly were were part of impactful duos — Dolly and Porter were on the Porter Wagoner Show, and Jan Howard was part of your show and a frequent duet partner. Do you have any memories that stand out from that time?

There were occasions where promoters would book my show and Porter’s show together. There were some pretty big fairs up in the Northeast where Jan and my group, we’d do the first half of the show, and then there would be an intermission, and then Porter and Dolly would do their part of the show. One time, we did this cool thing where we decided to do a swap. Jan and I guested on the Porter Wagoner Show, and Dolly and Porter guested on the Bill Anderson Show, and we all sang songs together. I would love to have a copy of those shows.

You have several books here on your table, including a book about your Country Music Hall of Fame exhibit As Far as I Can See. What music or music business books have been some of your favorites?

I read all the time and have books stacked up. I’ve never thrown away a music book and an awful lot of ‘em are autographed. Probably the music book that got me the most, emotionally, was the Louvin Brothers book, Satan Is Real [written by Charlie Louvin with Benjamin Whitmer]. If I was a movie producer, I’d make a movie out of that book so quick. I knew Charlie [Louvin] quite well, and Ira as well as you could know Ira. They recorded quite a few of my songs. That book was just so brutally honest and it really moved me. But I’ve read Shania Twain’s book [From This Moment On], and Anne Murray [All of Me] and everything from Willie — Willie’s book of the month. I feel like I know Willie awfully well.

What Is ahead for you in terms of touring and recording?

I want to make some more records. [UMG Nashville president] Cindy Mabe has been a real champion for this whole project, and UMG re-released a lot of my older catalog digitally for the first time. So I’m just seeing what is ahead.

I’m not going out on the road right now. I haven’t been out on the road since [the] COVID [pandemic] started. Surprisingly, I haven’t missed it like I thought I probably would. I was on the road for over 50 years and I figured I couldn’t live without it. But I’ve kind of enjoyed just kicking back a little bit, writing a little bit more, taking time off and being with my kids and grandkids.

I’m not saying I’m never going back on the road — as soon as I say “Never,” something will change. I want to make more records and keep performing occasionally at the Opry. I’m not saying I’ll never work the road again, but it’s not on the top of my priority list.

You have had so much success, both as a solo writer and a co-writer. Who are some of your favorite rising songwriters?

I like Ryan Larkins, the third writer on “Someday.” And I like this kid, Drake Milligan. I’ve got two writing dates with him and one is going to be me and him and Vince. Ryan and Drake are two that I have connected with. They are young kids with old souls.

What are your thoughts on the nomination as we head into the Grammys?

I’ve been so blessed. I mean, I pinch myself sometimes that this has really all happened. If we do win a Grammy on Sunday, that’ll be the cherry on top of the sundae. And if we don’t, it’s still been a fun ride.

03 Feb 2023

First Stream: New Music From GloRilla, Shania Twain, Morgan Wallen and More

Billboard’s First Stream serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, GloRilla feeds the “Trolls,” Shania Twain is ready to come back over, and Morgan Wallen previews a huge new release. Check out all of this week’s First Stream picks below:

GloRilla, “Internet Trolls” 

After breaking through last year with the Hitkidd team-up “F.N.F. (Let’s Go)” and proceeding to establish herself as a riveting new voice in hip-hop, GloRilla takes aim at those who have hid behind keyboards and tried to tear her down, with Hitkidd back to provide the soundtrack. “Internet Trolls” is a relatively short but dramatically rendered check-in, with GloRilla sneering, “They don’t wanna clap for you, they just want you to clap back,” while simultaneously proving those same haters wrong.

Shania Twain, Queen of Me 

While Shania Twain has plenty of hits to enshrine her legacy and bring in packed audiences whenever she heads out on the road, Queen of Me, her new album and second since kicking off a comeback with 2017’s Now, continues to forge ahead with rollicking country-pop and a seasoned perspective. More than any one song on Queen of Me, Twain’s sense of perspective and determination shines through: the album offers more cup-hoisting anthems that recall her Come On Over days, but their fabric is time-honored, and their sense of joy is hard-earned.

Morgan Wallen, “Last Night” / “Everything I Love” / “I Wrote the Book” 

A press release for Morgan Wallen’s forthcoming One Thing at a Time previews the 36-song effort as a “deeply personal album that combines Wallen’s musical influences — country, alternative and hip-hop.” And while the gargantuan LP will no doubt take some stylistic detours, this three-pack of songs ahead of its release finds Wallen in the crowd-pleasing modern country sphere that he’s become a force within: “Last Night” in particular sounds like it will be inescapable for months, its snappy rhythm and warbled harmonies ripe for endless country radio replays.

Karol G & Romeo Santos, “X Si Volvemos” 

“X Si Volvemos” is a breakup song, with both Karol G and Romeo Santos acknowledging that lingering physical temptations bring complications to a clean split — and while both artists understand how to deliver wide-reaching choruses, the nuances of their vocal deliveries make this collaboration shine. Both artists’ vocals ache over Ovy On The Drums’ scintillating production, as they try to move on from a fractured reality but their tones keep circling back toward each other.

RAYE, My 21st Century Blues 

To describe RAYE’s debut album “long-awaited” would be an understatement: the pop singer-songwriter tried for years to get her former record label to give the project a release date to no avail, eventually turned independent, and fortunately for her, scored a top 40 smash in “Escapism” to lead into My 21st Century Blues. Although her path has been winding, RAYE’s ambition has never wavered: the album soars with genre explorations (“Oscar Winning Tears” is a top-notch R&B showcase) and intimate songwriting (“Body Dysmorphia” is as harrowing as its title suggests), as she makes the most of her opportunity to finally share her story.

03 Feb 2023

Jennifer Lopez Credits Emme for Giving Her ‘All the Energy’ for 2020 Super Bowl Halftime Performance

Jennifer Lopez look back at her epic Super Bowl halftime show on Friday (Feb. 3), particularly on her child Emme performing with her at the big show.

“3 years ago …,” the superstar captioned a throwback reel on the anniversary of her star-studded set with Shakira, using a football emoji and the hashtags “#TBT #SuperBowlLIV #Halftime.”

In a separate Instagram Story and tweet, she gave Emme a sweet shout-out as well, writing, “My lil’ coconut gave me all the energy I needed to go out there… #MySunshine #MamaBearEnergy.” Memorably, the then-11-year-old joined her famous mom for a mash-up of “Let’s Get Loud” and Bruce Springsteen’s “Born in the U.S.A.,” which contained a subtly political reference to the immigration crisis at the U.S. border by having Emme and the other kids on the field boxed into glowing cage-like structures.

Later, J. Lo’s entire experience was documented in the 2022 Netflix documentary Jennifer Lopez Halftime, during which she expressed her frustration over time constraints between her performance time and Shakira’s. The film also claimed the NFL thought the “Jenny From the Block” singer’s concept for the halftime show was too controversial and tried to make her change it just 24 hours ahead of kickoff.

While Rihanna is slated to take the field for her own hotly anticipated halftime show Feb. 12 during Super Bowl LVI, Lopez’s latest big-screen rom-com, Shotgun Wedding, just premiered on Amazon Prime Video. The latter also recently attended a star-studded bash celebrating the 25th anniversary of Anastasia Beverly Hills alongside Kim Kardashian and Oprah Winfrey.

Check out J. Lo’s throwback to her Super Bowl performance and sweet moment with Emme below:

03 Feb 2023

Miranda Kerr Celebrates Katy Perry: ‘When You Love Your Son’s Step Mom’

It’s all love in Perry-Bloom-Kerr-Spiegel blended household. Miranda Kerr just took to TikTok to celebrate her ex-husband Orlando Bloom’s fiancée, Katy Perry, a few days after the pop star presented an award to the Victoria’s Secret model at the 2023 G’Day USA Arts Gala earlier this week.

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Kerr posted clips of her embracing Perry on the red carpet for the gala, set to a popular TikTok audio that says, “Me? Obsessed with you? Yes, yes I am.”

“When you love your son’s step mom,” the KORA Organics founder captioned the TikTok.

Kerr shares 12-year-old son Flynn with Bloom, whom she was married to from 2010 to 2013. Four years after their split, she married Snapchat co-founder Evan Spiegel, and the couple have two kids together. Meanwhile, the Pirates of the Caribbean star has been engaged to the “Firework” singer since 2019 and shares 2-year-old daughter Daisy with her.

Perry also paid tribute to Kerr following the G’Day USA event, posting videos from the red carpet and awards ceremony on Instagram. “Loved celebrating my fav Aussie Aussie Aussie (oi oi oi!) & sister from another mister,” the American Idol judge captioned her Jan. 30 post. “Congrats on the honor, I love our modern family … also thank u for introducing me to celery juice I just thought they were those veg stick things I stir me Bloody Mary’s with.”

On hand to present Kerr with an Excellence in Arts award at the gala, Perry shed some light on the two women’s relationship and family dynamic during her speech. “Some of you might be confused about why I’m introducing Miranda,” she said onstage, according to People. “That doesn’t play into the antiquated narrative of ex-wives and new wives. And yes, it’s true, most of the media would like to see us mud wrestle … but we are here to lead by love because Miranda is love.”

“I’m so grateful for our modern blended family,” Perry added. “It’s like I gained another sister, one with whom I usually sidebar from the main family chat and agree with.”

See Miranda Kerr and Katy Perry’s sweet posts about each other following the G’Day USA Arts Gala below:

03 Feb 2023

Louis Tomlinson Announces Asia Dates for 2023 Faith in the Future Tour: ‘Can’t Wait to See You’

Louis Tomlinson is taking his tour east. On Friday (Feb. 3), the “Out of my System” singer announced that he will be taking his Faith in the Future tour to Asia this spring.

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“FAITH IN THE FUTURE WORLD TOUR 2023. ASIA,” the former One Direction member shared on social media, along with a red poster of the tour dates below an image of him performing on stage. “I’m really excited to be coming back to Asia for these shows in April. I can’t wait to see you all again this year!”

There are seven show set for Asia, starting with a trio of dates across Japan. Tomlinson will begin the tour with a stop at the Maruzen Intec Arena in Osaka on April 17, then heads to two additional prefectures — Nagoya and Tokyo — on April 19-20. The 31-year-old will then make stops in Bangkok, Taipei and Kuala Lumpur before concluding the trek at The Star Theatre in Singapore on April 27. Tickets are available via louis-tomlinson.com.

Tomlinson previously announced his Faith in the Future tour — named after his second studio album, which peaked at No. 5 on the Billboard 200 — in November. The newly released Asia dates come ahead of the star’s plans to tour North America in May through July, before starting the U.K. and European leg in late August.

See Tomlinson’s new tour announcement below.

03 Feb 2023

First Spin: The Week’s Best New Dance Tracks From Amtrac, John Summit & More

This week in dance music: Tomorrowland dropped the lineup for its 2023 festival this summer, Beatport announced that it’s acquired a majority stake in the International Music Summit, HARD Summer announced a return to downtown Los Angeles after a 10 year absence, Moody Jones was named the GM of Dance at EMPIRE (a newly created role that follows EMPIRE’s acquisition of Dirtybird last fall,), Skream, Tiga and DJ Minx lead the lineup for Desert Hearts’ 2023 event, Tiësto, Tate McRae and Joel Corry experienced a come-up on Hot Dance/Electronic Songs via the trio’s new “10:35” remix, and we analyzed the dance/electronic Grammy nominees ahead of the awards this weekend.

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Is there more? Absolutely there’s more. Let’s dig in.

Amtrac, “Nobody Else”

Some robots will Say Anything to get the girl of their dreams, and if you can’t tell someone how you feel in words, say it with a song! “Nobody Else” is the perfect serenade to dedicate to your special someone. Amtrac’s latest single takes its vocal from a sample of the Four Tops’ 1965 R&B classic “I Can’t Help Myself (Sugar Pie Honey Bunch),” as a nod to the producer’s love of Motown. In true Amtrac fashion, though, there’s an odd hint of unhinged darkness lurking just below the synth-laden surface — and the adorable music video serves a fresh side of sinister ‘70s horror flick, too.

“Nobody Else” is the fifth single from Amtrac’s third studio album Extra Time, which was released in full today (Feb. 3) on his Openers label. The album is a cinematic showcase of vintage synth sounds, created during his time in lockdown. It’s something beautiful that came from a dark period, and we’re happy for the chance to dance to these tunes together with friends under the sun. – KAT BEIN

Schak feat. Kim English, “Moving All Around (Jumpin’) [John Summit Remix]”

After finding crossover success with Ewan McVicar’s 2021 single “Tell Me Something Good,” Patrick Topping’s Trick label unleashed yet another big hit this past October with “Moving All Around (Jumpin’),” the debut single from English producer Schak. The song, which samples late house singer Kim English’s “Bumpin’ & Jumpin’,” bursts at its seams with an infectious energy powered by a pounding bassline and vocals inspiring dancers to shake, shimmy and get silly.

John Summit has been a fan of “Moving All Around” since even before day one, rinsing it at Manchester’s Warehouse Project days before its official release. Perhaps in his biggest show of support, he has remixed the track himself. Summit nudges down the BPM a smidge, modding the original’s frenetic rave energy into something more tech-house-friendly with cryo-cannon builds and a sleek, grinding groove. “The UK hit by [Schak] has been stuck in my head for months and when [Topping] asked me to remix it i knew i had to give it my own spin,” he wrote on Instagram. Given Summit’s rapid rise in the past few years, it’s the kind of co-sign and audience expansion that can take Schak and “Moving” to the next level. — KRYSTAL RODRIGUEZ

Matt Guy, “The Devil”

Sometimes possession is fun! Let U.K. producer Matt Guy bring out your wildest urges via his latest, “The Devil,” an homage to the late ’90s/early 2000s rave hedonism that in fact samples the 2000 track “D.E.V.I.L.” by 666. (The sample isn’t just Guy being trendy either, as his The 90s Made Me Do It Radio 1 Mini Mix from last November demonstrated his true love for the ’90s rave sound.) Out via Armada, “The Devil” is pure peaktime fare as hot as the flames of hell itself. In this case that’s a very good thing. — KATIE BAIN

Habstrak, “Vision”

It’s been five years since Habstrakt left his native France to chase his dreams in sunny Los Angeles, and it’s taken about that many years to get his “Vision” clear.

“I wrote the first idea of this record when I first moved to Los Angeles in 2017, and it’s been haunting me since,” Habstrakt says. “I had a vision for it but could never get it right, until I recently decided to fully rework it after being inspired in Amsterdam for ADE and developing the album. This song is sort of a time capsule to me, with so many versions of it tied to memories of the life I started after moving from France to LA.” 

The bass-driven house single was worth the wait. Out on Insomniac Records, its funked-up rhythm is sure to bring bodies to the dancefloor — and it’s only the first taste of things to come, as “Vision” is the second single from Habstrakt’s forthcoming debut LP. – K. Bein

Softest Hard feat. Blush, “My Boo”

Softest Hard is back with her first release of the year, “My Boo,” a pastel-coated remake of Ghost Town DJ’s’ 1996 hit of the same name. The L.A.-based producer seems to be on something of a nostalgia kick: last summer, she linked up with T-Pain on the Eiffel-65-referencing “I’m Blue.” Here, she collaborates with vocalist Blush on a “My Boo” cover that’s updated for today’s bedroom ravers. Whereas the original is sultry and laidback, made for a casual block party, Softest Hard cranks up the speed with a hardcore rendition whose beaming synths, pitched-up vocals and fast-paced drums fly by like a movie watched in forward motion. It’s fast, it’s sweaty, it’s cute and it’s out now on HARD Recs. — K.R.

Austin Millz, “Nobody Khan (Ain’t Nobody)”

Chaka Khan‘s 1983 classic “Ain’t Nobody” has been begging for a modern remix, with Harlem-born, Los Angeles-based producer Austin Millz heeding the call with his steamy, sexy, pure mood house edit of the hit. This one is all sunset vibes, dripping in blissed out sex appeal while maximizing the original’s sentiment that there simply ain’t nobody that can love me better. Out via Ultra, “Nobody Khan (Ain’t Nobody)” is the first of Millz’s many delicious edits to get an official release — a perfect way to celebrate the 40th anniversary of the song (and Chaka Khan’s 70th birthday) next month. — K. Bain