State Champ Radio Concerts
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Luke Combs dropped his new album Fathers & Sons on Friday, and that same night — appropriately, on Father’s Day Weekend — he was in front of 70,000-some fans at SoFi Stadium in Inglewood, California, to celebrate his love of family… and his love of beer too.
Ahead of performing a string of love songs written about his wife of four years Nicole, Combs said fans often ask him why he records so many romantic ballads.
“I still sing beer-drinking songs too. I still like beer-drinking songs,” Combs said to wild applause. “But I love my wife. I love my kids. And if it wasn’t for her, I’d be about five No. 1s short of where I am right now. So these next couple of songs are about her.” (For the record, Combs has scored 17 No. 1 hits on Billboard‘s Country Airplay chart, so apparently he’d be down to a dozen without those love songs.)
Combs dedicated the newest song he performed, “The Man He Sees in Me,” to his two young sons: Tex, who was born on Father’s Day 2022 and turns 2 next week, and 10-month-old Beau. It’s the lead single from his new album, and it captures Combs’ drive to be a great dad while understanding that his kids will grow up and realize he’s not Superman (“One day between him leaving home and driving on my knee/ Maybe I’ll finally be the man he sees in me”). While the song was only released on June 6, he’s been playing it since April on his Growin’ Up and Gettin’ Old Tour.
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Ahead of the song, he talked about the release of his 12-track new album Fathers & Sons. “Thank you for listening to it,” he humbly told the crowd, wearing a Los Angeles Chargers hat on the home field of both the NFL’s Chargers and Rams. “If you listened to it, thank you. If you haven’t, I hope that you do.”
But just like he said onstage, there was plenty of time for beer-drinking songs too.
The final two tracks before his encore really drove that home, starting with Combs’ 2019 Brooks & Dunn collab “1, 2 Many.” More than halfway through the song, Combs was joined by actor Luke Wilson and Miami Heat star Jimmy Butler to shotgun a beer onstage. (Well, at least one of the Lukes shotgunned a beer; Wilson took a few generous swigs before chucking his Miller Lite can into the crowd.) And next up was arguably Combs’ biggest party-starter of a song: one of those 17 Country Airplay No. 1s, 2019’s “Beer Never Broke My Heart.”
Combs returns to SoFi Stadium for night 2 on Saturday (June 15). On Friday, he was joined by The Avett Brothers, Charles Wesley Godwin, Hailey Whitters and The Wilder Blue as opening acts, and he’ll have a full new slate of openers on Saturday night: Jordan Davis, Mitchell Tenpenny, Drew Parker and Colby Acuff.
Watch the Wilson and Butler moment below, along with a little taste of “1, 2 Many.”
At 76 years old, Stevie Nicks — who breezily brought up her age a few times on stage Sunday night (June 9) — maintains the distinct, strong vocal performance for which she’s become iconic. She carries it through a showtime of about two hours, with a 15-song set and several stories spanning her fascinating journey in rock ‘n’ roll.
Nicks brought her headlining tour to the Mohegan Sun Arena, a well-designed, 10,000-seat venue in southeastern Connecticut that’s within the Mohegan Sun casino/entertainment complex owned by the Mohegan Tribe.
She has plenty to play, and so much to say — and with the life experience she’s had as an entertainer for so many years, rightly so. On Sunday Nicks was a lively conversationalist, letting her sense of humor shine while telling the crowd about her early days with Fleetwood Mac in the 1970s, how her debut solo album hit No. 1 on the Billboard 200 in 1981, and what’s currently on her mind in 2024.
Who wouldn’t want to hear what Stevie Nicks has to say? This January it’ll be 50 years since the 1975 lineup of Fleetwood Mac (with Nicks) came to be, a musical ride that followed humble beginnings alongside eventual Mac co-star Lindsey Buckingham with the Buckingham Nicks project, and preceded the ascent of her solo career.
Nicks’ concert at Mohegan Sun Arena featured setlist staples like “Dreams,” “Stop Draggin’ My Heart Around,” “Stand Back,” “Leather and Lace,” “Rhiannon,” “Gypsy” and an encore of “Landslide,” a beautiful tribute to late best friend and bandmate Christine McVie. Mixed in with the chart-toppers were the singer-songwriter’s stories, almost like mini lessons on the history of Nicks’ path.
During a quick restroom break my husband overheard someone making small-talk wisecracks at the urinal: “She talks a lot, huh?” I grew up with a parent who’d listen to Fleetwood Mac albums on repeat. I could listen to her voice telling stories 100 times over and still find it soothing. We didn’t find the bathroom joke funny, but it was amusing timing.
As though she could sense what someone, somewhere, was saying, a charming Nicks was actually on stage poking fun at herself: “I’m trying, I’m making a big effort to shorten down my stories. My stories are starting to become as long as the show,” she quipped at the start of a 13-minute introduction to her performance of 1982 single “Gypsy.”
“Every time I do it, I mess up,” she said. “I take a part off, it’s impossible to understand where I’ve stopped and where I should start up again. I’m only sharing this with you because it’s part of the fun of being my age.”
“I’m so old … What’s everybody gonna say to me? ‘Stop! You can’t do this anymore!’ I’ll say, ‘OK. Fine. I’ll just go home and be alone in a rocking chair with my dog Lily,” Nicks said with a grin.
Below, see five of the best moments from Stevie Nicks’ concert at Mohegan Sun Arena. Nicks is currently on tour through June 21 in North America, then heading to Europe in July. See the full tour date list on her official website.
Stevie Arrives in Style for Her Show
06/10/2024
The weekend was packed with performances of new songs, killer costumes and more.
06/10/2024
In their early days, LOCASH earned their stripes playing the bars on Nashville’s Lower Broadway, so it was a return to their past when they took the stage at the Tin Roof to get Saturday’s party started with a rowdy, infectious, non-stop set that had the packed venue hopping from their opening tune, the 2019 hit “One Big Country Song.”
“Let’s get this party rockin’,” exclaimed Chris Lucas, as the duo followed with “Buzzin’ in the Country,” a surefire crowd pleaser with its sing-along chorus, before segueing into their first No. 1 on Billboard’s Country Airplay chart, 2016’s easygoing “I Know Somebody.”
Like many acts playing the event, LOCASH had a cover song in their back pocket. In this case, it was a sultry, slow-jamming take on the Prince-penned “Waterfalls,” made famous by TLC 30 years ago. The duo quickly brought it back to the present with “Hometown Home,” their first song released through the new label they started, Galaxy Label Group. “We pushed all the chips in and bet on ourselves,” Preston Brust said. And it’s paying off. The gently swaying song, which features the duo’s layered harmonies, was the Hot Shot Debut on the Country Airplay chart, bowing at No. 56.
Of all the acts playing Billboard Presents Bud Light Backyard, LOCASH got the award for traveling the most distance. Three hours before their set, the group arrived from Wisconsin, where they had played the night before, and immediately left for a show Saturday evening in Indiana.
LOCASH then called an audible and veered from the set list, diving into a breathless medley of classic rock songs, starting with The Outfield’s “Your Love,” Bryan Adams’ “Summer of ’69” and Fountains of Wayne’s “Stacy’s Mom,” before launching into Lit’s “My Own Worst Enemy” and calling up the group’s lead singer, A. Jay Popoff, who lives in Nashville, to sing with them. For those several moments of pure unadulterated joy, there is no doubt that there was not a better time to be had on Lower Broadway. “Are we in trouble?” Lucas playfully asked after completing the rock segment. “I don’t know. I don’t care,” answered Brust.
After leading the audience in a chant of “Ain’t no party like a Billboard party because a Billboard party don’t stop,” complete with a spinning disco ball, LOCASH wound their segment down with their 2015 hit “I Love This Life,” which reached No. 2, before throwing signed drum sticks and guitar picks into the dancing crowd.
“What a charming Saturday” it was for Taylor Swift fans, just like the singer-songwriter narrates on “The Bolter,” one of the tracks she played live for the first time ever last night (June 8).
The Eras Tour sets Swift up to pull deep from her discography when she wants to, during her ever-changing acoustic section of the concert. Nearing her 100th show on the sprawling trek (Saturday night in Edinburgh, Scotland, was No. 98), the star got particularly unpredictable in her choice of surprise songs when she sat at the piano at the Scottish Gas Murrayfield Stadium.
First, on guitar, Swift debuted one of her newer songs live. She played “The Bolter,” one of the last tracks on the Anthology edition of 2024’s The Tortured Poets Department, her new album that’s so far spent six consecutive weeks at No. 1 on the Billboard 200 chart.
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A song in which she tells a story that comes to the realization “hearts are hers for the breakin’” and that there’s “escape in escaping,” “The Bolter” flawlessly pivoted to 2017’s “Getaway Car,” from Reputation.
Swift performing well thought-out mashups during the surprise song part of the Eras show has become customary on the international leg of The Eras Tour, ever since the singer announced her intention to “be as creative as possible with the acoustic set moving forward,” back in February.
Saturday night in Edinburgh, she followed the mashup of “The Bolter” and “Getaway Car” with another song combo, this one more surprising than the first. On piano, she paired “All of the Girls You Loved Before,” a one-off track she released from the vault of 2019’s Lover, with a song Swift wasn’t even sure her crowd would recognize: “Crazier,” found only on the soundtrack for the 2009 film Hannah Montana: The Movie.
But the stadium had no problem recalling the swooping chorus of “Crazier,” and sang with her: “You lift my feet off the ground/ You spin me around/ You make me crazier, crazier/ Feels like I’m fallin’ and I am lost in your eyes/ You make me crazier, crazier, crazier.”
“Oh my god,” Swift said, laughing at how many people knew the words.
Watch both of Swift’s Saturday night Scotland surprises in the fan-captured clips below, and enjoy Billboard‘s complete list of all the songs we’ve heard in the Eras acoustic set (it gets updated with every tour date).
Wistful Folklore single “Cardigan” was the soundtrack to a couple’s engagement in Edinburgh, Scotland, on Friday (June 7), and Taylor Swift watched it happen. Apparently moved by the emotional moment, Swift commented on the marriage proposal she’d just seen from the stage, in front of a packed stadium.
“You put me on and said I was your favorite,” Swift sang with a smile. She looked out to the Scottish Gas Murrayfield Stadium crowd as she finished the song performed atop the The Eras Tour’s Folklore cabin.
“I love performing this entire show in the sunlight ’cause I’m pretty sure I just saw somebody get engaged over here,” she said to cheers confirming she wasn’t imagining things. “Did it happen?” Swift eagerly asked, and then threw her arms up, giggled and yelled, “YES!”
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“You have no idea,” continued Swift. “I never get to see that, right? ‘Cause it’s dark, usually, at night. But it’s not right now, so congratulations! Wow.”
“I just saw that whole thing!” she marveled. “Man, that’s amazing.”
Picking up her guitar, she added to the couple, “Thanks for doing that at my concert. That’s a big moment. Huge!”
Later in the concert, the extra light in Edinburgh helped the singer make sure her fans stayed safe during her always-anticipated acoustic set, when she performs solo and enjoys some audience interaction at the endstage.
Mid-strum during “Would’ve, Could’ve, Should’ve” from the 3am edition of Midnights — which she combined with pieces of 1989‘s “I Know Places,” as one of her surprise performances at the show — the star stopped singing the bridge.
To the tune of the song, she said, “I need help right in front of me, please, right in front of me. Just gonna keep playing until we notice where it is.”
Pointing her guitar in the direction of a person in need of assistance in the general admission floor area of the venue, she said, “Right there,” and then, “I’m just gonna keep playing ’til somebody helps them … We’re not gonna keep singing. We’re just gonna keep talking about the people that we help in front of me … Just let me know when. I could do this all night,” eventually resuming her song when she was sure the person got the attention they needed.
Swift followed the guitar performance with a mashup of Evermore‘s “‘Tis the Damn Season” and Lover‘s “Daylight” on piano.
Below, watch the newly engaged couple’s romantic moment, seemingly documented by fellow Swifties with cell phones, and a closeup clip of Swift’s reaction from the stage.
Plus, see Swift’s interaction with the crowd during “Would’ve, Could’ve, Should’ve.”
📹 | FULL video of Taylor performing the most chaotic surprise songs ever 😅‘Would’ve, Could’ve, Should’ve’ x ‘I Know Places’ 💙🩵 pic.twitter.com/YLbi4um8d4— The Eras Tour Singapore (@TSTheErasTourSG) June 8, 2024
The beer and music were flowing at the first day of Billboard Presents Bud Light Backyard at CMA Fest as fans took a break from the Nashville heat and took in some great performances by some of today’s hottest hitmakers at a jammed Tin Roof on Lower Broadway on Friday (June 7). Fans enjoyed line dancing lessons […]
It’s sort of a weird time to be Post Malone. On one hand, he’s coming off the two most-difficult, least-successful albums of his career — the last of which, 2023’s Austin, failed to even generate a single top 10 Billboard Hot 100 hit, marking a clear commercial low point for the pop-rap gold-spinner who was surpassed only by Drake in terms of consistent chart success for the second half of the 2010s. On the other hand, he’s already had two No. 1 hits this year, albeit both with co-stars (Taylor Swift and Morgan Wallen, respectively) whose radio and streaming clout currently easily eclipse his own. Further complicating things: The latter of those two No. 1s marks the beginning of his long-hyped full foray into country music, a genre he has some obvious spiritual kinship with, but only tangential musical relation.
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This was a lot to balance for Post Malone during his headlining set at day one of New York’s Governors Ball festival (now officially referred to as just “Gov Ball”) — or at least, it seems like it should have been. But instead of trying to thread the needle between his successful past, his muddier present and his uncertain future, Post decided to simplify things with Gov Ball setlist: He simply played the hits. And he’s got a lot of them: more than you may even remember, more than maybe seems possible for a guy who’s only been making ’em since 2015 and has been in a relatively fallow period for ’em since the decade turned. As far as streamlining strategies go, it was a pretty undeniable one.
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“My name is Austin Richard Post,” the singer-rapper introduced himself after his first two songs, “and I’m here to play some s–tty songs and get a little bit f–ked up while we do it.” Whether dismissing his signature hits as “s–tty” was a sign of residual bitterness over his heavier, more personal recent work not being received as warmly as his debauched early hits or just the artist not taking himself too seriously, it ended up not really mattering, since it became clear pretty quickly Post was not interested in relitigating anything about his career on the evening. Instead, he played one smash after another — from “Better Now” and “Wow” through “Circles” and “Congratulations” — while gleefully shimmying, screaming, two-stepping and stripping (his shirt, anyway) on stage, looking every bit the superstar he was at his commercial peak.
The question of a Post Malone gig has traditionally not been whether he’d seem like a star, but what kind of star would lead the way: rap star Post, rock star Post, pop star Post, or now even country star Post? In truth, he’s been all four for some time — well, the first three, anyway, with the fourth seemingly on its way. But if one was the most forward on Friday night, it was probably rock star Post, with the first two songs (and many subsequent cuts) both being introduced via the grungy riffs of guitarist Liv Slingerland, and more six-string-heavy (and just heavy period) borderline inclusions like Beerbongs and Bentleys‘ “Over Now” and Hollywood’s Bleeding’s “Take What You Want” making the cut. There was lots of growling and shredding; one time, Post threw up the devil horns while hunching his shoulders and he very briefly kinda even looked like Ronnie James Dio. At some point in the middle of the set, the mix of loud, chunking guitars with rapping — largely about being angry at girls — inspired me to write in my notes: Has Post Malone been nu-metal this whole time?
But if country star Post is indeed on the horizon, you would not have known it from his Gov Ball performance. Just a day after making a pair of surprise appearances at CMA Fest — including one alongside longtime Nashville fixture Blake Shelton, with the two even covering a George Jones song together — he did not bring out Shelton, or Wallen, or any guest to further shepherd his new country pivot. (Aside from a couple fans pulled out of the audience to assist on signature ballad “Stay,” there were no guests of any kind during Post’s performance, not even “Rockstar” buddy 21 Savage, who’ll perform at Gov Ball on Saturday.) No mention was made by Post of his recent sonic and geographical detour, nor did he try out any brand new or unreleased material from his rumored upcoming full length. If you didn’t know going into the set that Going Country was a thing Post was currently in the midst of doing, you probably didn’t come out of it knowing either.
There was still the one obvious clue, though you had to wait till the second song of the encore for it: “I Had Some Help,” the reigning No. 1 song in the country, did eventually make its appearance as the evening’s pentultimate track. (As for “Fortnight,” his other No. 1 of 2024, forget it — it’s one thing for Post to sing over a Morgan Wallen verse, but trying to approximate an entire Taylor Swift lead vocal on his own would’ve been potentially disastrous on multiple levels.) “Help” sounded fantastic, and the crowd went bananas for it, but aside from its placement in the setlist Post gave it no special treatment, no lead-in or extra emphasis or anything to make you think it was a particularly notable song than most in Friday’s setlist. The implication was clear: “Help” is a hit, but still just one of many for Posty, and no one player is bigger than the team in a Post Malone setlist.
More of a statement, however, was the choice of the encore’s final song: “Chemical,” the biggest song from Austin, whose No. 13 peak was still fairly underwhelming by his career standards. It was the only song performed from the 2023 album — he played four times as many from 2016 debut Stoney — but it landed just like any of his bigger, longer-established hits, sounding much fuller live than on record, and making for a perfectly resounding closing number for the evening. The suggestion seemed to be that Post had never really stopped making big singles in the first place — and that regardless of whether on a given day he might be presenting more as a pop star, rap star, rock star or country star, what he truly is and always will be first and foremost is a hitmaker.
SETLIST
Better NowWowZack and CodeinePsychoGoodbyesI Like You (A Happier Song)Jonestown (Interlude)Take What You WantOver NowRockstarStayI Fall ApartWrapped Around Your FingerCirclesToo YoungWhite IversonCongratulations
Encore:
SunflowerI Had Some HelpChemical
From Motown to mobility, the “Live From Detroit: The Concert at Michigan Central” show Thursday night (June 6) covered many bases of the Motor City’s fabled music heritage — as it re-opened a historic landmark making a comeback from desolation.
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The event brought out the hometown hero likes of Eminem (who co-executive produced the concert with his manager, Paul Rosenberg), and who made the crowd go nuts when he hopped on stage for a surprise four-song mini-set that included the live debut of his new single, “Houdini” and a collaboration with Jelly Roll.
Diana Ross, Jack White, Big Sean, Slum Village and gospel greats the Clark Sisters and Kierra Sheard were also on hand to celebrate the refurbished Michigan Central. The former railroad station in the city’s southwest side had been shuttered since 1988 and became what Detroit Mayor Mike Duggan called “a symbol of our decline” as it fell into disrepair. The Ford Motor Co. purchased the building in 2018, spending a reported $940 million to turn it into a center for advanced technological development in transportation and other fields.
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That meant a lot to White, who grew up in the same neighborhood. Before the show, he told reporters he’d ride his bicycle over to the site during the 80s and watched it deteriorate as he began his music career. “If you’d have asked me then if this place was ever coming back… there’s no way. It’s just too massive a job,” White said, calling the renovation, “just incredible.”
It was also personal for Patti Smith, who attended to accept a special pre-show Michigan Central Honor — along with White, Slum Village and the late J Dilla — for contributions as global ambassadors for Detroit. Smith, who shared her honor with her late husband and MC5 veteran Fred “Sonic” Smith (daughter Jesse Paris accompanied her), told Billboard that, “Fred loved the train station, and he would fantasize about it being restored and opened to the people. He really talked about it quite a bit, so I know that this would have made him very happy. It means something to me that there honoring him, as he should be, and I’m happy to be included with him.”
During the Honors ceremony Smith also represented Eminem by reading a 2009 love letter he wrote to Detroit professing his love for the city.
The show itself — which was streamed on Peacock and will be edited into a one-hour NBC special at 7 p.m. ET/PT on Sunday (June 9) — was a nearly two-hour party celebrating the city and its musical heritage, but with a global perspective. “We’ve been invested in trying to rebrand the image of the city and how people see it for a long time,” Rosenberg, who worked in conjunction with Jesse Collins Entertainment, explained to Billboard prior to the show. “The challenge was, ‘What kind of picture can we paint here that’s going to be interesting not just locally but nationally?’ We wanted to make a compelling program that’s going to interest people across the country, not just people who are familiar with Detroit.
Rosenberg added that he and Eminem used the adage “as goes Detroit, so goes the nation” — from a 1942 Arthur Pond essay in The Atlantic — “as a framework… all these ideas about how the city is viewed not just locally but nationally to help frame the program.”
Starting with a Motown legend didn’t hurt, of course. Ross, clad in a mass of tangerine tulle, began the night with singalong version of her solo hits “I’m Coming Up” and “Upside Down,” plus the title track from her 2021 album Thank You before finishing with a soaring take of the Supremes’ anthem “Ain’t No Mountain High Enough.” “It’s so good to be home,” Ross said before leaving the stage. “I love you so much.”
Big Sean shared the love as well, saluting Michigan Central as “a diamond that came out of the rough” while delivering a three-song set that included the new “On Up” — a new album is coming this summer, he told the crowd — as well as hits “Blessings” and “Bounce Back,” accompanied by Adam Blackstone & the BBE All Star Band. A Detroit legend who wasn’t there, Bob Seger, was nevertheless saluted by a trio of Melissa Etheridge (“Mainstreet”), Fantasia (“Shakedown”) and Jelly Roll (“Turn the Page,” sporting a Detroit Tigers baseball cap) before the three united to close the tribute with a truncated but exuberant take on “Old Time Rock and Roll.”
“I’ll be Forever Soul, but there’s a little rock in me,” Fantasia told Billboard, invoking the name of her new company. “I wanted that challenge.”
Common was an out-of-towner in the house — though, being from Chicago, he told the Detroit crowd “we’re cousins” — as he recited “Didn’t One Know,” his tone poem about J Dilla. Slum Village also gave props to the late Baatin and Amp Fiddler as the duo performed Fail in Love” and “Get Dis Money,” the latter with Dilla’s younger brother Illa J and both with the Blackstone band. “We’re always gonna represent the legacy,” the group’s T3 said before the concert. Common joined Slum Village to close the segment with a poignant rendition of “The Light.”
The Clark Sisters, in glittery gold dresses and joined by the Greater Emmanuel Choir, then took the estimated 20,000 fans to church with “Livin’” and “Blessed & Highly Favored” before backing Sheard — daughter of Karen Clark-Sheard — on a powerhouse version of her “Miracles.” Sheard stayed on stage for the Clarks’ signature hit “You Brought the Sunshine,” a stunner even if the sky was turning dark.
A pair of DJs, Theo Parrish and Sky Jetta, represented Detroit’s famed techno heritage, while White brought the rock and the White Stripes with “some songs that were written a couple blocks from here” — debuting a new two-keyboard band lineup on “Hotel Yorba” and a “Seven Nation Army” that was literally on fire as (planned) pyrotechnics and flames erupted to accent the anthem.
And while Eminem — who filmed parts of the video for his 2009 single “Beautiful” in the then-abandoned Michigan Central — was not billed as a performer when the show was announced, it surprised few that he closed the evening. Joined by the Detroit Symphony Orchestra the hoodied rapper presented the live debut of “Houdini,” the just-released first single from his upcoming The Death of Slim Shady (Coup de Grace) album (July 5), then “Sing For the Moment” with Jelly Roll, “Welcome 2 Detroit” with Trick Trick and a bombastic “Not Afraid,” which was followed by a short show-ending fireworks display.
“Timing worked out for us fortunately great because we just dropped a single — that wasn’t always the case when we agreed to jump on board,” Rosenberg noted. “We weren’t sure we were going to have new music out. It happened to work out great, and it became an opportunity to perform a new song.”
Dionne Harmon, president of Jesse Collins Entertainment — which also produces Super Bowl halftime shows and a variety of awards shows, among other events — told Billboard that the universal appeal of the artists ultimately opened the door for “Live From Detroit” to be a streaming and network special. “Everybody knew this wasn’t just a Detroit story or an American story, but a global story,” she said. “So we started looking for a partner who could help us tell this story. We’ve done a lot of work with NBC in the past; when we took this to them they fell in love with the story and the city, the same way we did.”
The performers, meanwhile, bought into the idea of telling that story together. “These things, you never know how they’re gonna turn out, who’s gonna show up and who’s gonna be invited,” said White, who attended the same high school as Ross and Big Sean. “When they were first talking about Eminem and Dian Ross and Slum Village I thought, ‘Wow, if that really happens..’”
“It’s one of the biggest events Detroit’s ever seen,” Slum Village’s T3 gushed. “Even the other artists I just met today, like Jelly Roll, which was super cool… We’re having a good time out here, and it’s just a beautiful event.”
Niall Horan‘s “This Town” walked so Noah Kahan‘s “Stick Season” could run. That fact was made even more evident when the two stars linked up Monday for a surprise duet in Nashville. Explore See latest videos, charts and news See latest videos, charts and news Fans couldn’t help but scream with excitement when the former […]
