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Woah, we’re halfway there! Bon Jovi is the subject of an upcoming deep-dive four-part docuseries that drops next month on Hulu. Thank You, Goodnight: The Bon Jovi Story chronicles the band’s epic, four-decade career, a journey that began in Jersey Shore Clubs and reached rock music’s zenith.
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In a two-and-a-half minute trailer that dropped on Thursday (March 7), singer Jon Bon Jovi excitedly says “I’ve got a story to tell” over the strains of the band’s iconic hit “You Give Love a Bad Name,” as estranged guitarist Richie Sambora jokes, “I’m excited… are we telling the truth, are we gonna lie? What are we gonna do?”
Bon Jovi reveals that making it as a rock band was the only path forward for him. “There was no plan B in my life, ever,” he says over images from his early days grinding it out in bars. “Bon Jovi was all or nothing.”
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There is, of course, plenty of footage of the band’s early shaggy-haired period, with elder Garden State statesman Bruce Springsteen remembering the first time he saw that “young kid” from his backyard “makin’ some noise.” The group’s members recall the rocket ride to fame they embarked on, which got super-charged with their third studio album, 1986’s Slippery When Wet. That album marked the beginning of Jon Bon Jovi and Co. dominating sales charts around the globe, unleashing a stream of hits, including the Billboard Hot 100 leaders “You Give Love a Bad Name” and “Livin’ on a Prayer.”
The singer recalls the day they wrote “Prayer,” saying the group didn’t “think much of the song,” which Sambora boasts is still their best effort to date. “Jon’s choruses demand to be sung by 20,000 people in an arena,” Springsteen says.
Slippery When Wet was the first of the band’s six leaders on the Billboard 200, an album that ignited a global fanbase and ensured the New Jersey favorites would, indeed, play arenas and stadiums for as long as they remained active.
It hasn’t all been a bed of roses. The ride has been stacked with triumphs and setbacks, good times and bad, and “public moments of friction,” all of which are captured in the series. The trailer hints at the wages of success, with Bon Jovi saying the global fame and wild antics “almost killed us,” and Sambora adding that he didn’t regret leaving in 2013, but lamenting “how I did it.”
All episodes will arrive for streaming April 26, retelling the Bon Jovi story with personal videos, unreleased early demos, original lyrics, and never-before-seen photos, according to Hulu.
The series joins the band in February 2022, an uncertain moment in their odyssey, four years after their induction into the Rock and Roll Hall of Fame and a decade after guitarist/co-songwriter Sambora’s departure at a time when Bon Jovi was battling a vocal injury which required major reconstructive surgery.
In addition to Springsteen and the other members of the band, longtime manager Doc McGee appears in the series.
Thank You, Goodnight: The Bon Jovi Story is directed and executive produced by Gotham Chopra (“Kobe Bryant’s Muse,” “Man in the Arena,” “Tom vs. Time”). Executive producers are Giselle Parets and Ameeth Sankaran for ROS, and the series is produced and edited by Alex Trudeau Viriato.
Watch the trailer below.
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Spotify will pass-on the music streaming tax imposed by the French government by hiking its subscription prices in that market.
As previously reported, France’s National Assembly last December approved a so-called “CNM Tax” on streaming brands, the funds from which would finance the national public body, The Centre National de la Musique (CNM), which was created in 2020 and is already partly financed by the live music industry.The tax was predictably decried by the streaming services. For platforms that earn more than 20 million euros ($22 million) in annual turnover — including Spotify, Apple Music and Deezer — a new tax charge of 1.2% would be applied on all streaming revenue generated in France in addition to their existing tax duties. Social media platforms including Facebook and TikTok, which license and feature music, would also be subject to the taxes.
Spotify, the global market leader, said it couldn’t absorb the Macron government’s new costs and would offset them one way or another.After announcing back in December that the streaming giant would pull its financial support to a number of local music festivals, Spotify today (March 7) confirms a price increase for its premium packages – applied only to subscribers in France. Reps from Spotify claim the tax doesn’t add up. This new fee “will generate approximately 15 million euros, when the CNM’s administrative budget (office fees, personnel, capital expenditure, media monitoring or professional training etc.) sits at 20.2 million euros,” reads an open statement issued today.
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“Our concern is that possibly less than half of its overall 146.9 million euros budget will find its way toward effectively aiding music.”Spotify, the message continues, “has proudly championed French artists for the past 15 years; we certainly didn’t wait for the CNM to be created in 2020 to help artists find success in France, and outside of France; to help promote French repertoire and grow the royalty pool for French rights holders. Spotify’s payments have totaled close to 225 million euros in 2022 alone (or about 1/4th of all the French recorded music industry revenues for that year). That is up more than 200% percent since 2017.”The price increase isn’t laid out, though Spotify promises to update its French subscribers over the coming weeks with full details.
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“To put it bluntly, all French users will see their subscription plan fee go up,” the message confirms. “French users will now pay the highest subscriptions across the European Union.”
Read Spotify’s open-letter below.
Spotify Premium subscribers in France will soon experience a price increase due to additional costs on music streaming services imposed by the government, as part of the “CNM Tax.” While we worked very hard to encourage the government to avoid adding this tax, unfortunately they decided to move forward.
Perhaps you’ve never heard of the CNM – it’s a public body that commissions studies on the French music industry, and provides financial aid to record labels and the live industry. At the end of 2023, as part of its 2024 budget, the French government decided that digital music streaming services will now have to pay a new tax in order to finance it. Our worry, on top of what would be equivalent to a double payment on our part, has been that this tax will not go directly to artists, nor will it have a tangible output visible to fans; instead, it will simply come at the expense of listeners, and create an additional middleman – the CNM. In fact, this tax will generate approximately 15 million euros, when the CNM’s administrative budget (office fees, personnel, capital expenditure, media monitoring or professional training etc.) sits at 20.2 million euros. Our concern is that possibly less than half of its overall 146.9 million euros budget will find its way toward effectively aiding music.
Spotify has proudly championed French artists for the past 15 years; we certainly didn’t wait for the CNM to be created in 2020 to help artists find success in France, and outside of France; to help promote French repertoire and grow the royalty pool for French rights holders. Spotify’s payments have totaled close to 225 million euros in 2022 alone (or about 1/4th of all the French recorded music industry revenues for that year). That is up more than 200% percent since 2017.
Yet, with the creation of this new tax, Spotify would be required to give approximately two-thirds of every euro it generates to music to rights holders and the French government. Of course, this is a massive amount and does not allow for a sustainable business. As we have long said, we simply can’t absorb any additional taxes. Even after making the difficult decision to reduce our artist marketing budget and support of French music festivals – which is an essential vehicle for Spotify to continue to drive hundreds of millions of euros to the music industry – it still continues to impede our ability to operate in France. Accordingly, over the coming weeks and months, we’ll need to make changes to our price plan in France.
To put it bluntly, all French users will see their subscription plan fee go up. French users will now pay the highest subscriptions across the European Union.
Spotify is increasing prices in France in order to offset these new costs. We’ll come back to our French subscribers over the coming weeks with the full details on the upcoming price increase.
For more information on the global streaming economy, the players, and the process, visit our website Loud & Clear.
Nick Cave & the Bad Seeds will unleash Wild God later this year, the alternative rock outfit’s 18th studio album. Led by the title track, Wild God is the followup to Ghosteen, the critically-lauded two-disc longplay from 2019, which explored Cave’s exposure to grief and pain, following the sudden death of his son Arthur in 2015.
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That record went on to crack the top 10 on national charts in Australia (at No. 2) and the U.K. (No. 4) and impacted the Billboard 200 (at No. 108), and was shortlisted for several major music awards, including the Australian Music Prize and the U.K.’s Ivor Novello Awards. The album will drop Aug. 30 through Cave’s own label Bad Seed, via a new, exclusive worldwide licensing agreement with Play It Again Sam, an imprint of the independent [PIAS] label group.
“The new album is incredible,” enthuses Kenny Gates, co-founder and CEO of [PIAS], “in my opinion his best ever, and we will go over the barricades to deliver the global success it deserves.”
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Led by the ARIA Hall of Fame-inducted Cave, the current Bad Seeds lineup consists of Thomas Wydler, Martyn Casey, Jim Sclavunos, George Vjestica and longtime collaborator Warren Ellis, who produces the album with Cave.
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Mixed by David Fridmann, Cave began work on the album on New Year’s Day 2023, news of which he shared on his blog The Red Hand Files. “My plan for this year is to make a new record with the Bad Seeds,” he wrote at the time. “This is both good news and bad news. Good news because who doesn’t want a new Bad Seeds record? Bad news because I’ve got to write the bloody thing.”Spanning 10 track, the forthcoming LP was cut at Miraval Studios in Provence, France and Soundtree Studios in London, England, and features contributions from Radiohead’s Colin Greenwood (bass) and Luis Almau (nylon string guitar, acoustic guitar).
Greenwood will accompany the multihyphenate Cave on a solo tour of Australia, set to kick off April 25 with the first of a three-night stand at the MCEC Plenary Melbourne. Cave is expected to perform songs from his extensive catalog on the trek, presented by Billions.“I hope the album has the effect on listeners that it’s had on me,” Cave says of the new album. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.”Wild God track listing: 1. Song of the Lake2. Wild God3. Frogs4. Joy5. Final Rescue Attempt6. Conversion7. Cinnamon Horses8. Long Dark Night9. O Wow O Wow (How Wonderful She Is)10. As the Waters Cover the Sea
GYROstream, the Australian-owned music distribution company, assembles a new-look leadership team at home and abroad, as the business pursues its goal to become the country’s No. 1 net exporter of music, Billboard can exclusively reveal.
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Leading the changes is Adrian Burke, former label partnerships lead at Spotify Canada, who is tapped to steer its North America activities, which include GROUP SPEED, GYROstream’s recently-launched boutique artist services company.
Based in Toronto, Burke is named GM at GROUP SPEED, with duties for guiding strategic direction for the new business in North America and liaising with the group’s team to help “elevate artist careers,” reads a statement.
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Burke completed a seven-year stint with Spotify, where he cultivated key partner relationships for the streaming giant, developed global artist campaigns and implemented data-driven strategies to help create millions of incremental streams for artists worldwide, reads a statement.
Burke is one of several new faces at GYROstream, which, across all brands, boasts 39 employees in seven countries, including company co-directors Andy Irvine (CEO), Viv Mellish (CMO) and Alex Wilson (head of distribution and customer service).
New faces at the tech business include Harry Young, who steps into the newly-created role as senior A&R manager role across the group, working alongside Burke. Young served in A&R capacities for more than a decade with Dew Process Records + Publishing, where he discovered Mallrat and worked with a roster that includes Spacey Jane, Tkay Maidza, Allday, YNG Martyr, Tyne-James Organ, Alice Ivy and more.
The fleshed-out A&R team includes Benjamin James, now appointed as global head of A&R across all brands; and Australia-based A&R and streaming partnerships coordinators Molly Jackson and Taylor Dwyer, a new recruit based in Los Angeles with a primary focus on GROUP SPEED.
Among the key arrivals at GYROstream is trailblazing digital strategist Alison Bremner, who is named as head of artist marketing strategy, a prominent music post working across both GROUP SPEED and GYROstream. Bremner is recognized for her part in @thexhan’s success on TikTok as the short-video platform’s most-followed creator in Australia with 18 million fans, and for facilitating partnerships with Gucci, Red Bull and other blue-chip clients.
(From left to right) GYROstream’s Alex Wilson, Adrian Burke, Viv Mellish and Andy Irvine.
GYROstream
Based in Brisbane, GYROstream expands its core operations team at its headquarters, adding staff in customer service, distribution operations, product development and royalty management, topped off with a fresh website.
“Expanding our artist services offering globally through GROUP SPEED and opening it up to new markets as a standalone product is the next evolution of our business and we can’t wait to see what this team achieves together,” comments group CEO Irvine. Exporting Australian and New Zealand music to the world is a critical piece. “We believe we are well on the way to becoming Australia’s leading net-exporter of recorded music within five years and this new team are determined to achieve that goal,” he continues.
Founded in the Queensland capital in 2018, GYROstream represents thousands of artists across Australia and New Zealand for artist services and global digital distribution, and delivers to upwards of 100 digital platforms, including Spotify, Apple, TikTok, Amazon and YouTube.
In 2021, GYROstream took out The Music Network’s Tinnie award for Music Distributor of the Year; the following year launched Find My ISRC, a tool to assist DIY artists, managers and labels to keep track of their recordings online; and in 2022 established the GYROrecords label.
Today, its suite of activities include royalty payment splits, publishing administration via GYROpublishing, publicity through GYROpr, digital marketing through GYROdigital, and the white-label distribution platform DistroDirect.
Key staff have made the long haul for SXSW 2024 for DistroDirect’s official showcase event next Tuesday, March 12 at Las Perlas, in Austin, TX.
The creative team behind the 2024 Oscars is lifting an idea from the 2009 Oscars, when they had five past winners in each of the four acting categories pay tribute to the current nominees before announcing this year’s winner.
In a press conference Wednesday (March 6) on Zoom, four days before the Oscars telecast on March 10, Raj Kapoor, executive producer and showrunner of the Oscars, said “I think one of the things we’re most excited about is what we call Fab Five. We did a deep dive into so many of the past Oscar shows, and even though we’ve been a part of previous shows, even though I think all of us have watched the show since we were kids, we always feel like we learn.
“So, we went back, we did a deep dive into Oscars history, and one of the best moments that we loved, and has not been repeated till this year, was the year that Bill Condon [screenwriter of Gods and Monsters and Chicago] did it, and it was this lovely storytelling. And, again, it came down to connection. It was past winners speaking to present nominees, and just that lovely connection and that human interaction.
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“And so we thought we’d love to try it again. So, we tasked Erin [Irwin], who is one of our other producers, and she’s done an amazing job. … And so during the show in our acting categories, five former winners will present to the five nominees, and we think it’s just going to be a great piece of storytelling and connection at home that you will maybe get to hear these personal stories and these personal interactions, and you get to root for your favorite actor or actress in this really personal way. So, we’re really excited to have that come to life.”
If you missed the 2009 show, Whoopi Goldberg, Goldie Hawn, Anjelica Huston, Eva Marie Saint and Tilda Swinton presented the nominees for best supporting actress.
Alan Arkin, Cuba Gooding Jr., Joel Grey, Kevin Kline and Christopher Walken presented the nominees for best supporting actor.
Halle Berry, Marion Cotillard, Nicole Kidman, Sophia Loren and Shirley MacLaine presented the nominees for best actress.
Adrien Brody, Michael Douglas, Robert De Niro, Anthony Hopkins and Ben Kingsley presented the nominees for best actor.
While the Academy has not yet announced who will be presenting which awards this year, these announced presenters have won in these categories. (Jessica Lange and Al Pacino have won in both lead and support. We put them where they seemed likeliest to land on Sunday).
Best actress: Sally Field, Charlize Theron, Jessica Lange, Jennifer Lawrence, Michelle Yeoh
Best actor: Ben Kingsley, Forest Whitaker, Nicolas Cage, Brendan Fraser, Matthew McConaughey
Best supporting actress: Mary Steenburgen, Jamie Lee Curtis, Regina King, Rita Moreno, Lupita Nyong’o, Octavia Spencer
Best supporting actor: Christoph Waltz, Mahershala Ali, Ke Huy Quan, Sam Rockwell, Al Pacino
In addition, the show has booked Ariana Grande and Cynthia Erivo, stars of the upcoming film Wicked, as presenters. It’s a good bet they’ll do something together.
Rickey Minor, who is serving as music director of the Oscars for the fourth time in the past six years, was also on the panel. He was asked how he picks the music to play on the show, and explained some of the obvious factors – looking for a range of emotions and a diversity of source material. “But it’s about the energy of the room,” he said. “So, we have a plan, but I’ll call an audible just like that. You know, if I feel the audience needs something that needs to pump them up, I’ve got it right in the pocket. And so the band’s always ready. And I think they love it, too, because they never know what’s coming.”
Kapoor added, “This year, the orchestra is live on our stage. So, we are celebrating 42 incredible musicians that will be seen throughout the evening. … And we are treating the music performances very different. Sometimes, it’s full orchestration. Sometimes, they may be a little bit more intimate. And that will lend itself when we get to the In Memoriam performance.”
In response to a question from the session’s moderator, Rotten Tomatoes’ awards editor Jacqueline Coley, Kapoor spoke highly of Jimmy Kimmel, who is hosting the Oscars for the fourth time.
“I could not speak more highly of anybody than Jimmy,” he said. “He’s been an amazing partner, and he has just been so involved from the very beginning in the summer. He’s involved in all our creative decisions, from the presenters to pairings to the pace of the show to musical performances. Like, Jimmy’s touch, he is a producer on this show. He is one of our partners, and he has a really strong creative vision. And I think what makes him so great is just his investment. We don’t just get him for rehearsals this week. We get him for months before.”
The panelists were asked which was their favorite Oscar show they had worked on. Molly McNearney, executive producer of the Oscar telecast and an executive producer of Jimmy Kimmel Live!, had a surprising answer – the show seven years ago that was capped by the biggest debacle in Oscar history, when La La Land was named best picture before the award was presented to the rightful winner, Moonlight.
“This might be an unpopular answer, but when there was the mix-up with the envelope, I actually enjoyed the spontaneity of a moment because when Jimmy is in an uncomfortable situation, that’s where he’s most comfortable,” McNearney said. “And I think that when there’s moments you don’t expect in a live television broadcast, I think we’re in really great hands with this team.”
McNearney also spoke to the process of writing the monologue. “You know, the monologue is scripted,” she said. “It gets reworked up until the very last minute. He will obsess now over every joke. He has pages and pages and pages. He has a rough outline of the monologue that I read this morning that I think is brilliant. I know it will change six more times before Sunday. But then there are those moments in the show that are completely unscripted. There have been several in every show he’s ever hosted. And those are the moments I love the most because we get to be surprised.”
Katy Mullan, executive producer, spoke to an interactive portion on this year’s show involving a QR code. “One of the really successful parts of last year’s show was profiles of a lot of the nominees, and they got huge, huge views from global audiences. So, at the end of each act, there will be a QR code, and people can scan that and go to the Academy website where they can watch profiles of a ton of the people that are nominated. They’re beautifully made by The Academy team and really insightful.”
“And there’s also an ability to go and watch the speeches from the Governors Awards, which happened earlier this year. … It was a really, really memorable night. So, if you want to go and do a deep dive during the commercial breaks or after the Oscars, all of that content will be there.”
Brian Kelley and Tyler Hubbard, both previously part of Florida Georgia Line, are each prepping new solo projects, with Hubbard’s Strong to release April 12, and Kelley’s Tennessee Truth to release May 10.
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Kelley just released one new song off the album, titled “Kiss My Boots,” along with a new music video for the song, and some music fans seem to think the track is a dig at his former FGL bandmate Hubbard.
The song includes lyrics aimed at someone who has wronged him, even in the opening lines, “You’ve been throwin’ dirt on my name ’round this town like it ain’t small/ Like your friends ain’t my friends, and I wouldn’t end up hearin’ it all.” The chorus goes on to muse, “I don’t know how you act sweet after how you did me/ Here’s a middle finger to you through a song.”
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In teasing the song a week ago, Kelley said on Instagram, “My mental health coach told me a couple years ago as I was navigating through an extremely difficult, hurtful, and confusing time, ‘the person with the highest emotional intelligence has the highest responsibility.’ So as hard as it was in those moments to take the high road, I took her advice and I sat back and ‘ate my popcorn’. Everyone processes differently. I went inward. And it all came out in a song. Now it’s time for y’all to get your popcorn 🍿”Kiss My Boots” available next Wednesday, March 6th.”
The video for the song centers around Kelley hunting down a snake in the woods, while some fans began speculating about the video’s final scene, which shows Kelley, wearing a belt buckle emblazoned with the word “Florida,” slicing up a peach (the official state fruit of Hubbard’s homestate of Georgia) with a knife.
Hubbard previously addressed Kelley’s new song in an interview with Holler, saying, “Just like I’ve always said, I’m happy for BK. This is what he wanted and this is what he initiated, and I hope he’s happy and that he’s doing his thing and I’m doing my thing.” Hubbard further added, “I wish him the best, and yeah, as far as that’s concerned that’s about all I have to say about it.”
Meanwhile, Kelley said of the inspiration behind the song, “You know, this is a really personal song, it was born from a deep wound and a relationship. It’s a song about betrayal, and I just took a deep dive and put it all out there in a song, just like so many other artists have done over the years.” He went on to add, “I really hope that people can find their own ‘Tennessee Truth’ in this song. What I love about [‘Kiss My Boots’] is I know what it means to me, and I think it has a universal message that people can relate to. A lot of people have been betrayed, and so I hope that this song helps them as much as it has helped me.”
Billboard reached out to reps for both Hubbard and Kelley for comment.
Ormond Beach, Florida native Kelley and Monroe, Georgia native Hubbard met while both were students at Nashville’s Belmont University. In 2012, they released their debut album, and FGL’s career skyrocketed thanks to their breakthrough song “Cruise,” which would ultimately become certified “Diamond” by the RIAA. They earned two Billboard Hot 100 top 10 hits (“Cruise” peaked at No. 4 while their Bebe Rexha collaboration “Meant to Be” peaked at No. 2). FGL has collected 16 Country Airplay No. 1 hits, among them “Stay” and “‘Round Here.”
In 2021, they posted a video on Instagram, stating that they would each begin working on solo music, even as they geared up for the release of their album Life Rolls On, which dropped on Feb. 12, 2021. That same year, Hubbard said during an interview on The Bobby Bones Show, “We’re not breaking up, we’re just taking a break.”
A year later, in July 2022, Hubbard said during an appearance on Bones’ podcast that Kelley initiated each of them releasing solo projects, and noted that though there was “no bad blood between the two of them,” he did point out that any reunions would likely be years in the making, saying they “might revisit getting the duo together 10 or 15 years down the line.” Hubbard and Kelley last played a show together back in 2022.
Meanwhile, Hubbard released his debut, self-titled solo project via EMI Nashville and Hubbard House Records in 2023, including the hit songs “5 Foot 9” and “Dancin’ in the Country.” Kelley released the EP BK’s Wave Pack in 2021, followed that same year by Sunshine State of Mind, out on Nashville South/Warner Music Nashville. Kelley’s upcoming album, Tennessee Truth, will release via Big Machine Records, spearheaded by the top 30 Country Airplay single “See You Next Summer.”
Listen to Kelley’s “Kiss My Boots” below:
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Camila Cabello talks about her rumored relationship with Drake and teases her upcoming track “i luv it” on the latest episode of ‘Call Her Daddy.’ BTS’ V teases his new single with a short film, and the guys of TXT announce their 6th mini album titled ‘minisode 3: TOMORROW.’ Stray Kids’ Felix took over the […]
Angela Aguilar and Leonardo Aguilar snatch their first No. 1 on Billboard’s Latin Airplay chart as “Por El Contrario,” their first pair-up with Becky G, soars 7-1 on the March 9-dated ranking. Explore See latest videos, charts and news See latest videos, charts and news The track, released via Kemosabe/RCA/Sony Music Latin, is one of […]
The Boss is back, and he’s heading home.
As previously reported, Bruce Springsteen and The E Street Band will hit the road for their latest world tour, kicking off March 19 at the Footprint Center in Phoenix, AZ and stretching across 52 dates in 17 countries.
One of those dates is a recent addition. Springsteen and Co. are now booked for a homecoming spot headlining the second of two nights at the Sea.Hear.Now Festival, set for Sept. 15 at Asbury Park, New Jersey (“Stick Season” singer Noah Kahan will headline the previous day’s program).
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The 74-year-old rock legend singer is now symptom free from a peptic ulcer disease that plagued him last year, forcing the band off the road and postponing a long run of shows into 2024. Those postponed dates are worked into the forthcoming tour, set to wrap up Nov. 22 at Rogers Arena in Vancouver, British Columbia.
Springsteen warmed up the trek with performances at the 2024 MusiCares Person Of The Year gala, the 17th annual Stand Up For Heroes benefit and at the New Jersey Hall of Fame induction honoring Patti Scialfa.
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To celebrate the trans-Atlantic tour dates, Springsteen’s longtime label home Sony Music will release a career-spanning collection of the Rock And Roll Hall of Famer’s original music, on April 19.
The Best of Bruce Springsteen will house 31 songs in digital formats. Sony Music will also issue an 18-track set across two LPs or one CD. The vinyl edition will also be available as an Amazon exclusive “color variant,” reps say.
Check out Bruce Springsteen And The E Street Band’s 2024 tour dates:
March 19 – Phoenix, AZ @ Footprint CenterMarch 22 – Las Vegas, NV @ T-Mobile ArenaMarch 25 – San Diego, CA @ Pechanga ArenaMarch 28 – San Francisco, CA @ Chase CenterMarch 31 – San Francisco, CA @ Chase CenterApril 4 – Inglewood, CA @ Kia ForumApril 7 – Inglewood, CA @ Kia ForumApril 12 – Uncasville, CT @ Mohegan Sun ArenaApril 15 – Albany, NY @ MVP ArenaApril 18 – Syracuse, NY @ JMA Wireless DomeApril 21 – Columbus, OH @ Nationwide ArenaMay 5 – Cardiff, Wales @ Principality StadiumMay 9 – Belfast, Northern Ireland @ Boucher RoadMay 12 – Kilkenny, Ireland @ Nowlan ParkMay 16 – Cork, Ireland @ Páirc Uí ChaoimhMay 19 – Dublin, Ireland @ Croke ParkMay 22 – Sunderland, England @ Stadium of LightMay 25 – Marseille, France @ Orange VélodromeMay 28 – Prague, Czech Republic @ Airport LetnanyJune 1 – Milan, Italy @ San Siro StadiumJune 3 – Milan, Italy @ San Siro StadiumJune 12 – Madrid, Spain @ Cívitas MetropolitanoJune 14 – Madrid, Spain @ Cívitas MetropolitanoJune 17 – Madrid, Spain @ Cívitas MetropolitanoJune 20 – Barcelona, Spain @ Estadi OlímpicJune 22 – Barcelona, Spain @ Estadi OlímpicJune 27 – Nijmegen, Netherlands @ GoffertparkJune 29 – Nijmegen, Netherlands @ GoffertparkJuly 2 – Werchter, Belgium @ Werchter ParkJuly 5 – Hannover, Germany @ Heinz von Heiden ArenaJuly 9 – Odense, Denmark @ DyrskuepladsenJuly 12 – Helsinki, Finland @ Olympic StadiumJuly 15 – Stockholm, Sweden @ Friends ArenaJuly 18 – Stockholm, Sweden @ Friends ArenaJuly 21 – Bergen, Norway @ DokkenJuly 25 – London, England @ Wembley Stadium connected by EEJuly 27 – London, England @ Wembley Stadium connected by EEAug. 15 – Pittsburgh, PA @ PPG Paints ArenaAug. 18 – Pittsburgh, PA @ PPG Paints ArenaAug. 21 – Philadelphia, PA @ Citizens Bank ParkAug. 23 – Philadelphia, PA @ Citizens Bank ParkSept. 7 – Washington, DC @ Nationals ParkSept. 13 – Baltimore, MD @ Oriole Park at Camden YardsSept. 15 – Asbury Park, NJ @ Sea.Hear.Now FestivalOct. 31 – Montreal, Quebec @ Centre BellNov. 3 – Toronto, Ontario @ Scotiabank ArenaNov. 6 – Toronto, Ontario @ Scotiabank ArenaNov. 9 – Ottawa, Ontario @ Canadian Tire CentreNov. 13 – Winnipeg, Manitoba @ Canada Life CentreNov. 16 – Calgary, Alberta @ Scotiabank SaddledomeNov. 19 – Edmonton, Alberta @ Rogers PlaceNov. 22 – Vancouver, British Columbia @ Rogers Arena
In art, imperfections can create character.
That’s certainly true for Anya True, the teenage singer who stopped by NBC’s The Voice on Tuesday night (March 5) to showcase her talents.
Hailing from Encinitas, CA, the recently-turned 17-year-old performed Stephen Sanchez‘s “Until I Found You” for the season 25 Blind Auditions. Wielding an electric guitar, True threw down country vibes with a vocal style that doesn’t match anything pumping out of commercial radio.
When she nailed an early, sweet run, Chance The Rapper hit the red button, followed immediately by Dan + Shay.
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Reba McEntire and John Legend kept their backs turned.
“That was a flawless performance. I love the vulnerability. You have this Olivia Rodrigo kind of thing going on,” remarked Shay Mooney. “Your voice is just phenomenal. I just love all the little imperfections that you had,” he continued. “They were…character. And they were very purposeful.”
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The country pair stood to show their respect, and maybe secure the singer’s services.
If that wasn’t enough, Shay made a pledge. “I was a good singer, and when I started working with (Dan), it made me a great singer.” Join the team, and “we will take you from being a great singer to an amazing singer. I think you’ve got a shot at winning this thing.”
Dan Smyers chimed in: “I loved your voice when it broke into the falsetto. It was vulnerable in a whisper tone. And then at the end of the performance, you hit those same notes, full voice and I was like, ‘she’s got it all.’”
Did Chance stand a chance after all that? “I think your voice is amazing. I really love all the falsetto and head-voice stuff that you were doing,” he remarked. If she joined his team, his style is to let the artist take the stage, do their thing and he leans in on their influences.
McEntire enjoyed the contestant’s voice and tone, but she’s “not what I’m looking for right now.” Legend heard nerves in her voice, but he’s excited for the youngster’s journey ahead.
True had a decision to make. After all the flattery and the recruitment, it wasn’t a tough call. True chose Dan + Shay.
Watch the performance below.
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