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Nine singers progressed, and three were eliminated Tuesday night (May 7) on NBC‘s The Voice, as the live round once again dished up its share of drama.
Earlier, on Monday night, each of the Top 12 hit the stage and sang for their lives in the competition. On this occasion, America voted while coaches Reba McEntire, John Legend, Chance the Rapper and newbies Dan + Shay were on hand to give input.
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During Tuesday night’s Top 9 announcement, the four singers with the lowest vote count were returned to the stage. The prize – the “Instant Save,” bringing with it entry into next week’s semi-finals.
For their last chance, Nadège hit “Smooth Operator” by Sade; L. Rodgers performed Elton John’s “Don’t Let the Sun Go Down On Me,” Zoe Levert covered Kacey Musgraves’ “Slow Burn,” and Tae Lewis’ tackled “The Church on Cumberland Road” by Shenandoah.
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There could be only one. Team Dan + Shay’s Lewis got the nod. “That was like a finale performance,” Dan Smyers told Lewis. “We are so proud of you, how far you’ve come. I hear it in your voice, I see it in your eyes (and) I feel it in your soul. You want to be here. You deserve to be here.”
The 32-year-old Goldsboro, NC native joins Bryan Olesen (Team Legend), Maddi Jane (Team Chance), Madison Curbelo (Team Dan + Shay), Asher Havon (Team Reba), Karen Waldrup (Team Dan + Shay), Serenity Arce (Team Chance), Josh Sanders (Team Reba) and Nathan Chester (Team Legend) in the semis.
Perhaps it’s beginner’s luck. Perhaps they’ve got the secret sauce. What we do know is that Dan + Shay lead the way, representing three of the final nine contestants.
Watch Tae Lewis’ performance on season 25 of The Voice below.
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Dua Lipa’s Radical Optimism will be hard to catch in the U.K. chart race.
Based on midweek sales and streaming data captured by the Official Charts Company, the British pop singer’s third studio album has a healthy lead.
Radical Optimism is outselling the next-best-placed LP, Taylor Swift’s The Tortured Poets Department, by 2 to 1, and should storm home for Lipa’s second leader.
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Assuming it continues on its path, Radical Optimism will become Lipa’s first album to debut at No. 1. Her self-titled 2017 debut Dua Lipa peaked at No. 3 and has logged 354 weeks on the frame, while her sophomore effort from 2020, Future Nostalgia, climbed to No. 1 in its second week. Future Nostalgia logged four weeks at No. 1, and has now clocked 203 weeks on the Official Chart – and counting.
Radical Optimism is already a U.K. hit, yielding three top 10 singles chart entries: “Houdini (No. 2 peak), “Training Season” (No. 4) and “Illusion” (No. 9).
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With Dua Lipa’s latest effort flying high, Swift’s Tortured Poets looks set to dip 1-2 after two weeks at the chart penthouse. It’s TayTay’s 12th U.K. No. 1 album.
Meanwhile, Hampshire, England rock artist Frank Turner is on track for a podium finish with Undefeated. It’s new at No. 3 on the Official Chart Update, and is set to become Turner’s sixth U.K. top 10 appearance.
Kelly Jones, frontman of Welsh indie-rock favorites Stereophonics, could nab his solo career best with Inevitable Incredible, his second LP. Inevitable Incredible is on course for a No. 4 start, well ahead of the No. 8 best for his debut solo effort Don’t Let The Devil Take Another Day from 2020. As a member of Stereophonics, Jones has eight U.K. No. 1s.
Finally, Scottish indie-pop act Camera Obscura is peering in on a first-ever U.K. top 10 appearance with Look To The East, Look To The West, their first studio album in over a decade. It bows at No. 10 on the chart blast, and should give Camera Obscura a third U.K. top 40.
All will be revealed when the Official U.K. Albums Chart is published late Friday, May 10.
Myke Towers captures his highest-charting hit yet on Billboard’s Hot Latin Songs chart as “Adivino,” with Bad Bunny, debuts at No. 2 on the list dated May 11. It’s the 52nd chart hit for the former, and 11th to reach the top 10. For Bunny, the collab marks his record-extending 75th top 10 out of 170 total chart hits (again, a record).
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“Adivino,” released April 25 on One World International/Warner Latina, traces its No. 2 debut on Hot Latin Songs almost entirely to streaming activity. The song logged 9.9 million official U.S. streams in the U.S. during the April 26-May 2 tracking week, according to Luminate. That sum yields an equal No. 2 start on Latin Streaming Songs, Towers’ highest debut, and it equals his highest charting song (“La Jeepeta,” with Nio Garcia, Anuel AA, Brray and Juanka).
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As “Adivino” launches at No. 2 on Hot Latin Songs, which blends streaming data, airplay, and digital sales for its results, it pushes Xavi’s former No. 1 “La Diabla” from 2-3, following its 14-week domination which started in January. The track marked the second-longest run at No. 1 this decade (Eslabon Armado and Peso Pluma’s “Ella Baila Sola” dominated for 19 consecutive weeks in 2023). Meanwhile, FloyyMenor and Cris MJ’s “Gata Only” remains at No. 1 four a fourth consecutive week.
By reaching No. 2, Towers outpaces his career-best, as he previous topped out at No. 3 on the multi-metric tally with both “La Jeepeta” (Nio Garcia, Anuel AA, Towers, Brray and Juanka), and “Caramelo” (Ozuna, Karol G and Towers), a week from each other in August 2020.
Benito, meanwhile, scores his first debut on the chart since the Oct. 28, 2023-dated list, when he landed 19 concurrent debuts alongside the release of his Nadie Sabe Lo Que Va a Pasar Mañana album, including the entire top 10, led by “Mónaco.” The track spent 10 weeks at No. 1 – the second-most of any No. 1 in 2023, trailing the 19 weeks of “Ella Baila Sola.”
Notably, as “Adivino” becomes the third song to debut at No. 2 or higher in 2024 –after two Peso Pluma songs– Bad Bunny extends his record for the most top 10s, with 75.
On the all-genre Billboard Hot 100, “Adivino” opens at No. 63, Towers’ highest-debut yet. Only one other Latin song ranks higher: FloyyMenor and Cris MJ’s “Gata Only” continues its winning streak, as it rallies 58-44 on the Hot 100 and continues at No. 1 on Hot Latin Songs for a fourth turn.
While streaming activity fuels the bulk of “Adivino’s” high start, sales assist its launch in the upper tier: the 1,000 downloads sold in the tracking week targeted for a No. 1 debut on Latin Digital Song Sales.
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It’s Tuesday, May 7th, and we have a lot to cover after the Met Gala yesterday. In case you missed the biggest night in fashion, we’ve got you covered. From best looks at the Met Gala, to behind the scenes action on the red carpet, to performances we go through it all. Jennie & Rosé […]
Ava Max shares her creative process behind some of her singles including “My Oh My,” “Whatever” and “Sweet But Psycho.” She dives in-depth about her collaborations with Kygo, David Guetta and Tiësto and why she emphasizes the importance of vulnerability and authenticity in creating her music. She explains her new era, what it was like […]
There’s no such thing as a certainty, a guarantee, when NBC’s The Voice reaches the Live round.
That’s exactly where the contestants find themselves. The Top 12 singers have reached the Lives, the sweaty-palms moment in the season. It’s all nerves and sweaty-palms from here.
Asher HaVon wasn’t showing it.
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On Monday night’s episode (May 6), the Team Reba standout stood up and delivered a cover of Boyz II Men’s ‘90s classic “I’ll Make Love to You,” a single that logged 14 weeks at No. 1 on the Billboard Hot 100.
HaVon did it justice, and made the song his own by blending power, pitch and soul.
Speaking in a package before the Lives, the Selma, Alabama native was glowing following rehearsals. “It was as big as I wanted it to be,” HaVon remarked. “I just hope that I make everybody proud, I just hope that you all feel my heart, and please, vote for me.”
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HaVon hit hard during this 25th season of The Voice.
With his commanding performance of Sia and David Guetta’s “Titanium” during the Playoffs, Shay Mooney of Dan +Shay remarked. “this felt like a Grammy moment for you, man.”
And McEntire enthused, “he could sing the phonebook and make it a hit.”
John Legend likened the effort to a religious experience. “There are certain things about you that remind me of Whitney Houston. She would take these songs that weren’t written for a soul singer and have that restraint and regal presence on the sound but also throw in a dope run that you would hear in church,” Legend said. “In church, we save a descriptor for certain vessels, we say they’re anointed. I just felt that anointing on you. That was divine.” Legend will be kicking himself; he’s the only coach who didn’t turn during HaVon’s Blind Audition.
HaVon is somewhat used to the big stage. His resume includes a spot singing for former President Barack Obama during one of his hometown’s Civil Rights commemorations.
Now everyone’s watching.
America has its chance to vote on the Top 12: Asher HaVon, Bryan Olesen, Josh Sanders, Karen Waldrup, L. Rodgers, Maddi Jane, Madison Curbelo, Nadège, Nathan Chester, Serenity Arce, Tae Lewis, and Zoe Levert. When the votes are tallied, the results will be revealed on Tuesday night. Three artists will eliminated, and next week the Top 9 will perform.
See HaVon’s performance in the Lives round below.
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Australian post-punk rock act Trophy Eyes has spoken publicly for the first time following a devastating injury to a fan during a concert last week in Buffalo, NY.
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“As the result of a tragic accident on the night of April 30th, a Trophy Eyes fan was injured at our Buffalo NY show,” reads a post to X. The band “immediately shut down” the show as frontman John Floreani accompanied the supporter to hospital, joined with family.
That fan has now been identified as Bird Piché, whose family and friends have set up a GoFundMe to cover her medical costs. Piché, reads a statement on the fundraiser page, suffered a “catastrophic spinal cord injury” while attending the concert and has undergone extensive surgery.
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Currently, almost half the $100,000 target has been raised.
Bird now faces a lengthy recovery. “It is still too early to know what her prognosis is but after leaving the hospital she will need to go to a rehab facility. She will obviously not be able to work during this time,” reads the statement.
The incident reportedly occurred when Floreani dived from the stage at Mohawk Place.
Trophy Eyes are said to be “truly heartbroken” by the news. “This situation has shaken us all to our core, and we ask for patience while we look to help Bird navigate this difficult time,” the band’s message reads. “Please, keep Bird in your thoughts. We remain in close contact with them and will expand on this as news arrives,” the statement continues.
Hailing from Newcastle, Australia, Trophy Eyes has secured spots on the Vans Warped Tour, Reading, Leeds, Splendour In the Grass, Unify Gathering and other major festivals.
The band’s three studio albums, 2023’s Suicide and Sunshine, 2018’s The American Dream and 2016’s Chemical Miracle, all peaked at No. 8 on the ARIA Albums Chart.
Trophy Eyes’ North American tour continues Tuesday night, May 7 in Denver CO.
Donate to Bird’s GoFundMe here.
SYDNEY, Australia — A new campaign that would ensure Australian artists are included on all tours by international acts in these parts has been widely supported by the music industry.
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Unveiled last Wednesday, May 1 during the 2024 AAM Awards and announced proper on Friday, the policy bears the name of Michael McMartin, the late, great artist manager who guided the career of Hoodoo Gurus for more than 40 years, and is broken down into three main pillars: every international artist must include an Australian artist among their opening acts; the Australian artist must appear on the same stage at the international artist using reasonable sound and lighting; and the Australian artist must be announced at the same time as the tour so that they benefit from all the marketing and promotion.
The Rule, presented by the Association of Artist Managers, has been met with a resounding “yes.”
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Leaders from the music industry’s trade associations and major organizations are backing the initiative in a “virtually unprecedented moment of consensus,” according to AAM, with Australian Live Music Business Council (ALMBC), APRA, ARIA/PPCA, Select Music, and the newly-formed Music Australia among them. Also, leading concert promoters Michael Chugg, Danny Rogers, Ben Turnbull, and Untitled Group have expressed their support.
The rule had once been widely accepted by the industry after lobbying from artist managers in the early 2000s. However, with Australian acts currently struggling to impact the domestic charts, and a slew of major international tours packaging foreign line-ups in these parts that feature no homegrown support, McMartin used his final public speech at last year’s AAM Awards to call for this voluntary code to be reinstated. McMartin died March 31 of this year following a lengthy illness. He was 79.
“Michael’s rule is imperative,” says Danny Rogers, co-founder of Lunatic Entertainment / St Jerome’s Laneway Festival. “We need unequivocal support at all levels of touring and festivals to ensure that we can find avenues and growth opportunities for our local talent.”
Adds Millie Millgate, executive director of Music Australia, “repairing our industry and increasing the prominence of Australian artists is going to require teamwork and many steps. Michael’s Rule is one such step that will make a huge difference.”
This initiative “has the power to play a vital role in the discovery and visibility of emerging Aussie acts,” reads a statement from Untitled Group, Australia’s largest independently-owned music and events company, which produces Beyond The Valley, Pitch Music & Arts, Wildlands, Grapevine Gathering, For The Love and Ability Fest. “We need to remember that while the live performance industry has its own challenges, there is no industry without a thriving local music culture and healthy grass roots scene. Fostering and platforming local talent must be a core responsibility for promoters – the future of Australian music and the live music sector depends on it.”
AAM, representing more than 300 artist managers, is calling for promoters to work with the industry to devise a voluntary code of conduct. If they do not engage in that process, the AAM warns it will tap government which has multiple levers at its disposal to ensure Australian fans get to explore more local live talent.
“There are instances where local talent can’t be involved but they are in a low percentage of tours,” says legendary concert promoter Michael Chugg, chairman of Chugg Entertainment. “It’s great to see the Australian music industry standing together here and I fully support Michael’s Rule.”
After scorching the U.K. singles chart last week, Sabrina Carpenter’s “Espresso” (via Island) remains hot. The U.S. singer and actor is dazzling at both sides of the Atlantic right now; she strutted the red carpet at the 2024 Met Gala, and she’s the current leader on the Official U.K. Singles Chart. Based on midweek sales […]
It’s Monday, May 6th, and the saga between Drake and Kendrick Lamar continued throughout the weekend. Drake released “The Heart Part 6” on Sunday as a response to Kendrick’s “6:16 in LA,” “euphoria,” “meet the grahams” and “not like us,” all released last week. Meanwhile, the Queen of Pop, Madonna, wrapped up her Celebration Tour […]