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In April, the fifth annual Summit At Sea departs from Miami for a four-day cruise, with programming stacked with health and wellness sessions and conversations on politics, culture, medicine, climate and much more.

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Woven through the voyage is music, with a flurry of artists coming onboard for both talks and performances.

Featured in the programming is a conversation between Diplo and Just Blaze, who’ll engage in a talk titled “A Beat on Culture, Music and Art” with Diplo also playing a set while at sea. D-Nice, who became a sensation with his pandemic DJ set livestreams, will take part in a conversation with writer, filmmaker and cultural critic Dream Hampton, who’s also the executive producer of the 2019 documentary Surviving R. Kelly.

Just Blaze will also take part in another conversation with musician Rich Medina and DJ, producer and radio personality Stretch Armstrong. Elsewhere, musician East Forest, whose work focuses on music for psychedelic experiences, will host the session Music For Mushrooms: A Sonic Journey.

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Elsewhere, Detroit legend Moodymann will do a DJ set, with performers also including Detroit-based vocal trio Dames Brown, Mexican producer Mandrake, New York City duo musclecars, a multimedia performance by Eduardo Castillo and a flurry of other DJ sets throughout the boat.

Outside of music, programming will feature luminaries including soccer star Megan Rapinoe in conversation with Olympic gold medalist Sue Bird, author and academic Robert Thurman, former Colombian president Iván Duque, Ocean Conservancy CEO Janis Searles Jones and many more.

Founded in 2008, Summit is a membership organization of leaders and entrepreneurs from various cultural sectors including art, food, business, health, sports, finance, spirituality and beyond. Anyone can apply to be a member, and membership is required to take part in Summit At Sea. Tickets for the cruise start at $5,200.

“Summit’s music and artistic performances blend with an alchemy of style and vibe,” Summit’s director and CEO tells Billboard. “We host up-and-coming artists, the eccentric experimenters, and the genre-defining masters. Imagine a three-day, choose your own adventure where you get to choose what your heart and curious mind desire. A dive into the Grammy-winning spoken poetry of J. Ivy, an exploration on how the Punk spirit has defined the entrepreneurial world we’re all living in with John Varvatos and Steven Kotler, a dance to Detroit’s enigmatic Moodymann, the Amapiano sounds of Blaq Pages, and the rich rock and roll of Stolen Nova. From Diplo to Detroit’s Dames Brown, D-Nice to the Egyptian sound artist DREEEMY, or a night filled with Soul in the Horn featuring Natasha Diggs, L3Ni, and DProsper…we are so excited to host our Summit community out at sea next month.”

Even for casual dance fans, the format is immediately recognizable. A tight shot of a DJ behind the decks, with a heaving, usually very enthusiastic, typically quite stylish crowd packed behind them, going for it.

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Launched in 2010, as it so often touts “with a webcam taped to a wall,” Boiler Room has become one of the most influential brands in dance music, using a globally understood visual language to telegraph dance music from around the world to a sprawling online fanbase of roughly seven million subscribers across YouTube, Instagram and Tiktok. Based in London, Boiler Rooms claims its content reaches 283 million viewers every month.

They’re tuning in to watch DJ sets from Uzbekistan, Mumbai, Johannesburg, Osaka and other locales far from the standard-issue club circuit. This year, the platform will release a documentary on a pair of simultaneous shows it did in Damascus, Syria and in Berlin, home to a large population of the Syrian diaspora.

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“These kind of breaking ground events, like in Soweto, or Syria, or Uzbekistan, really come from the belief that there is club culture everywhere,” Boiler Room’s creative director Amar Ediriwira tells Billboard over Zoom from London. “In some cases it might exist as a form of political resistance, like in Palestine or in Syria. In other cases, it’s just a lens on youth culture, but it’s really our remit to go there and switch on the camera.”

The brand has also become an IRL juggernaut. Its 2023 World Tour hosted nearly half a million attendees in dozens of cities, drawing an average of 5,500 people to not just well-trod club culture capitals like New York City, Paris and Amsterdam, but to Seoul, Mexico City, Mumbai and Bristol. 20,000 showed up for Boiler Room’s festival at London’s Burgess Park last September, marking the platforms biggest ever show. Launching this spring, Boiler Room’s 2024 World Tour will hit 24 cities including Delhi, Bogota, Edinburgh, Rio de Janeiro and Las Vegas.

“We’re able to sell out these shows largely based on trust,” says Ediriwira. “People trust our curation, and they trust the experience and the special-ness you get our shows, which I think means we can platform more emerging artists, be more conceptual and present interesting programs.”

Boiler Room’s signature livestreams, invite-only events where the crowd is made up of people closest to the artist, have maintained the sort of underground authenticity that’s heavily valued in certain sectors of the dance scene, even while drawing its share of stars, with M.I.A. performing for 50 people in the Boiler Room office in 2022 and a 2023 reunion show from U.K. pop outfit Sugababes. A livestream from U.K. greats Chase & Status was the platform’s most viewed stream of 2023. But despite this star power, Ediriwira says the company is “fully focused on grassroots sounds, documenting local stories, spotlighting emerging artists.”

Boiler Room New York City 2023

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To find these scenes, Boiler Room employees a 50-person London-based staff and “a giant network” of researchers, artists, curators, producers, designers, technicians, stage managers and promotion partners who offer expertise and the support often especially needed more off the beaten path locales. A 2022 livestream in Karachi, Pakistan required the team to locate CDJs and speakers when organizers ran into, Ediriwira recalls, “a complete lack of equipment.” Livestreams have also happened from a fish-and-chips shop, from beaches and from the top of a mountain.

Boiler Room’s ambitious efforts have had a huge impact in showing grassroots club culture — via programming that’s vastly more diverse and equitable than most U.S. club and festival lineups — to the world. So too has it turned local artists into global names. Palestinian producer Sama’ Abdhuladi became a star after her 2018 Boiler Room set, as did Pakistani producer Lyla. Fred again..’s viral 2022 Boiler Room set put a rocket launcher on an already rising name, with his stream generating 30 million YouTube views to date.

Boiler Room was acquired by ticketing platform Dice in 2021, and Ediriwira says the integration with DICE’s platform “has been transformative to us as a business” in how it allows for seamless ticket sales and a better connection with fans. The Dice deal also centralized operations like finance and human resources, leading to “a much happier and more aligned team.” While Boiler Room makes almost nothing from its YouTube content, as it doesn’t own any rights to the music (Ediriwira says the channel generates “significant revenues” for rights holders,) its revenue comes from brand partnerships — including long-term deals with Pernod Ricard and Ballantine’s — along with ticketed events and its apparel brand.

The rise of TikTok has also fueled the expansion of Boiler Room and its star-making power, with its easily recognizable, audio-lead format uniquely suited to create viral moments. Such moments help turn hyper-local artists into globally known names, with subsequent bookings on Boiler Room World Tour show offering a pipeline of exposure for some of these acts.

The brand has become so ubiquitous in the dance vernacular over the last 14 years that when Skrillex, Fred again.. and Four Tet announced they’d be closing out Coachella 2023 with a show in the round, many declared they’d be doing it “Boiler Room-style.”

“Boiler Room invented this type of communication that didn’t exist before, and so anyone from Fred again.. and Skrillex and Four Tet to these smaller localized streams could replicate that format,” says Ediriwira. “I don’t think we really see it as competition.”

Here, he discusses the past, present and future of the project.

Boiler Room puts on so many livestreams. With the number of events you’re doing, how do you assure each experience feels special?

The biggest conversation we have is about being cautious and protecting Boiler Room. I think we’ve gotten to this point by being super consistent and investing in this format. One of the most important goals for us is growing slowly and staying grounded in our values. We could probably double the capacity of some of our festivals next year, but we want to nurture what we’re doing.

One of the ways [we do that] is by limiting the number of broadcasts and productions each year [to] 100, which still sounds like a lot. But in the past, we’ve been doing 150 and even more. Scaling back in this way sounds counterintuitive, but it allows us to focus on the curation and experience of all these shows.

What was lost when you were doing 150-plus shows?

When you don’t have necessarily a limit, it means there isn’t competition for ideas. If there’s a potentially a never-ending supply of productions and broadcasts, you can just keep adding things in. As soon as you put a limit of 100, it just forces this idea of quality. Like, we’re only going to do one broadcast in Seoul this year, so what’s the one idea the world should see.

You mentioned Boiler Room’s values — what’s the mandate there?

Our vision for programming has always been very consistent. Our thesis has always been around championing grassroots scenes and genres, emerging artists and hyperlocal [scenes.] That’s really in our DNA. It’s what the original streams in London were about — spotlighting and opening a vantage to a community, a scene and a sound coming out of London that happened to be incredibly fertile and had lot of artists involved that went on to have really big careers. Now, it’s that very localized emerging talent approach and the stories around those artists and the immediate community surrounding them.

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Boiler Room claims that 283 million people watch its content every month. Break that number down for me.

The format has been wildly famous. We’ve been working year after year, event after event with this one format in a very consistent way, building up an audience of fans.

I’d go as far as saying it’s become more than a brand; it’s become a global phenomenon and a dominant method of visual communication of club culture. Almost a form of documentary journalism, except that it’s very fun and entertaining and voyeuristic. And also, unlike journalism, it doesn’t have to impose a narrative, you’re simply putting a camera and decks in the room, and you can do whatever you want in that space.

There’s something remarkable in the way that spotlighting hyper-local scenes has become one of the most recognizable and influential things in the dance space. Why do you think there’s such a fascination with locations that one might not immediately associate with club culture?

I think the world has moved in that direction. I think it’s interesting, when you think of pop stars or famous people, a lot of them have some link back to an underground sensibility or something very localized. That’s increasingly happening. That’s something we’ve always been focused on, but the world has shifted in that direction.

We do also have bigger artists play the platform, obviously Fred again.. was a massive moment. We’ve had people like PinkPantheress, Sugababes, M.I.A. Largely when we work with them, we still keep to this concept of staging it in an underground setting, making it super intimate, invite-only… But at the same time, I think we’ve become known as one of the biggest early-stage springboards an artist can have. A lot of artists become overnight sensations with us, and a lot of artists kind of attribute that career-breaking moment to their Boiler Room moment. We saw that start happening with more frequency four or five years ago.

Tell me more about that.

What’s interesting is noticing how these breaking moments on our platform are starting to happen all over the world, and not just in Western or global northern cultural capitals like London or New York. The obvious example is when we did our first broadcast in Palestine [in 2018], and Sama’ [Abdulhadi] became an internet sensation overnight practically. That show’s on like, 10 million views.

Similarly, when we did Pakistan, Lyla’s went viral and hit half million plays in a matter of months. I think there’s just this fascination of, “What does club culture in Pakistan look like?” Especially when the dominant media narrative about place like Pakistan is very different.

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Obviously social media was much less of a factor when Boiler Room started in 2010. What affect have platforms like Instagram and TikTok had on Boiler Room?

In recent years, it’s completely exploded in short form. When we started out, short-form wasn’t even a consideration — but now with Instagram and Tiktok in particular, a key thing for us has been the rise of moments. You’re seeing a lot of artists break from their moments, not necessarily from their broadcasts. Tiktok has said to us that our format works really well because it’s recognizable in the feed, and it’s audio-led. Our content was popular there before we even started our own [TikTok] channel.

Then at the same time, it’s interesting, because people’s attention spans are shrinking — not to sound like an old person — but at the same time as short-form blowing up for us, we’re one of the few platforms I can think of in the music space, at least, that’s committed to long-form content. That’s our core format. That’s the archive.

Given Boiler Room’s cultural cachet, are a lot of brands vying to work with you? How judicious do you have to be about who you’re letting in?

It’s a good question. There’s a lot of brand interest in what we do. What’s interesting about that interest is people usually come to us because they know what we do, and because we’ve been investing in this one format in a very consistent way. So usually, they’re not coming to us looking to white label something or create some new concept, so much as to just invest in what we do.

It’s a really great position to be in, because I think it allows us to stay focused and consistent in what we want to do and stay true to the values we have. For us, it’s mainly about making sure we align with the brands that are interested in us, and if they’re about championing local sounds, championing emerging artists, all of those kinds of things, there’s no reason why we wouldn’t work with them, in theory.

Are there brands that come to you looking for a partnership where you’re just like, “Nah, not gonna work“?

No comment.

Is there anywhere in the world Boiler Room is particularly interested in going?

We just kicked off a series spotlighting music and cultures in the Pacific Islands with a show in Rarotonga, so we’re excited to make our return to this part of the world over the coming months and years. We’re also currently exploring launching a similar series in the Caribbean. 

Is there anywhere you won’t go?

I don’t know if there’s an outright ban on anywhere off the top of my head. It all just comes down to what the story is and championing a local story or scene we feel is authentic and part the club culture we care about.

Andrew Dice Clay didn’t expect to find his next Big Shot eating his lunch on the sidewalk. 
And yet there he was, sipping a Coke and softly radiating in the imperturbable tranquility of a clear skied January day when Dice approached, filming the man and sheepishly asking in a nasally voice, “You heard I got the new phone?”  

Dice’s Instagram gag is to walk up to strangers and insist they must recognize “this famous face of mine.” Most instead softly protest — “I dont know you,” one lady recently said – while most simply scurry away. Sidewalk lunch guy, on other hand, couldn’t be bothered to do either — and simply looked up at Dice and earnestly replied, ‘Congratulations.’” 

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“I couldn’t get home fast enough to show my girlfriend,” Dice tells Billboard. The sidewalk lunch man was now a Big Shot, a title Dice bestows on the people he features on his Instagram channel, which has 400,000 followers. “If there was an actual casting session for a TV show on Big Shot, he would have got the part.”

Dice is in the midst of prepping for his own showcase moment, with a big return comedy comeback show to be held at Manhattan’s Carnegie Hall on Feb. 15. “35 years ago they would not have allowed me on the same block,” says Dice of the famously classy venue.

After all, Dice made his name in the late ’80s and early ’90s with a foul-mouthed routine that exploded across television like a hand grenade, shocking TV audiences and galvanizing millions of fans who bought up his comedy records and paid to see his concerts. Dice, whose real name was Andrew Silverstein, became an overnight star and arena headliner, becoming the first (and to date only) comedian to sell out two nights at Madison Square Garden. 

His agent Dennis Arfa, now at AGI, would field calls “from every promoter in the country, from Ron Delsener to Stu Green to Bill Graham,” Dice tells Billboard. “And honestly, they didn’t know if I was a singer, a magician or a juggler. They just knew I was the guy who went on sale and in 48 minutes sold out.” 

Dice’s material would make him and those he worked with millions, but the crass nature of his jokes about sex and women — as well as his targeting of gays and immigrants — became a growing problem for those around him. His refusal to soften his material (he recently told Joe Rogan, “Dice doesn’t get f–ked, Dice does the f–king”) would eventually be his undoing, although his flame would burn out much slower than history portrays. 

While Dice’s gigs were being protested by gay rights groups like Queer Nation, it was powerful gay men in Hollywood – record producer David Geffen, 20th Century Fox’s Barry Diller and manager Sandy Gallin who developed Dice’s act and protected him for years.  

In 1990 Diller would part ways with Dice, spiking a multi-movie agreement with him on the eve of the launch of his first film the Adventures of Ford Fairlane — a move that a 2023 episode of Vice’s The Dark Side of Comedy about the comedian equated to a death knell for his career. But the truth is that Dice was far from done with television, remaining active in TV and touring for another decade. He inked deals with ABC, CBS and HBO, and launched the 1995 sitcom Bless This House on CBS without any real opposition from within the entertainment business.  

Dice performed his final show at Madison Square Garden in 2000, inked a deal with SiriusXM in 2005 and stayed busy for the next 20 years doing occasional TV work, radio appearance and standup gigs. His recent comeback began seven months ago, when comedian and longtime friend Bill Burr convinced Dice to warm up the crowd at one of Burr’s headliner gigs.

“When we walked in his dressing room for the show, Bill stood up with a big smile and went, ‘Dice, you’re gonna do some time, right?’” Dice recalls. “The minute I got introduced, the New Jersey crowd went absolutely nuts.” 

It’s not just Burr either – podcaster Joe Rogan, comedians Sebastian Maniscalco and Jim Norton, radio megastar Howard Stern and dozens of other high-profile comedians have long supported Dice and cited him as an inspiration. And while he has never apologized for his past remarks toward gays, women and immigrants, he has softened his personality, and even slightly dialed back his famously filthy routine for one of his comebacks shows at the Wiltern in LA last year. 

“I’m less ego and more self-deprecating,” he explains, noting that he enjoys mentoring younger talent and is more eager to share the spotlight with others — like the deadpan man eating his lunch on the sidewalk.  

“One word, that’s all he need to get the part.” Dice notes. “One word to let the world know that this man is a genius.”  

In case your FOMO over missing Friendship 2024 wasn’t already intense enough, we’ve got fresh evidence of some of the fun that went down.
The party cruise, which transported roughly 4,000 attendees and artists from Miami to Belize and back again on Jan. 6-11, featured several “Dial-a-DJ” sets, for which artists took over an attendee’s private cabin for an intimate bash.

One of these mini parties featured the event’s surprise guest Rico Nasty along with Boys Noize, who together barreled into one of the rooms with a horde of party people behind them to play their techno take on The Kinks‘ 1964 classic “All Day and All of the Night.” Rico Nasty serves vocals such as “he undress me in the bedroom all day and all of the night” on the yet-to-be-titled update that’s due out this spring.

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The heaving private party then goes mobile, with Rico Nasty — wearing sunglasses and clutching a bottle of champagne — and Boys Noize leading a party caravan through the ship’s corridors as they follow DJ decks pulled on a rolling cart.

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The mayhem then lands in the lobby by the elevators, where the crowd grows in size — and enthusiasm — as passersby realize what ‘s going on.

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Friendship is the electronic music party cruise from Gary Richards, the longtime DJ and party promoter who launched the sailing bacchanal in 2018 and also founded HARD events. This year’s Friendship lineup featured Skrillex, Bob Moses, Chris Lake, Chris Lorenzo, J. Phlip, Todd Edwards, Nina Las Vegas, Rusko, Mr Carmack and a flurry of other stars.

“We had a lot of people in that room, and then we opened up the balcony,” Richards told Billboard of the Dial-A-DJ prototype parties on Friendship 2018. “Anywhere else where you had that many people in one room, the room would break. The fire marshal would be like ‘get the f— out of here.’”

Other 2024 Dial-A-DJ performers included Bob Moses, Mikey Lion b2b Lee Reynolds, VTSS, Mersiv, Justin Martin and Nala. The party also featured the first live performance of Skrillex and Boys Noize’s Dog Blood project since 2019.

The next Friendship voyage will sail from Miami to Belize Feb. 21-26, 2025. See exclusive photos from the latest voyage below.

Rico Nasty & Boys Noize on Friendship 2024

Glenjamn

Rico Nasty & Boys Noize on Friendship 2024

Glenjamn

Skrillex, Boys Noize & Gary Richards on Friendship 2024

Glenjamn

The world’s biggest electronic music festival, Tomorrowland, has released its 2024 lineup. As always, the festival will gather many of the world’s biggest dance music artists for the event, happening in Boom, Belgium, July 19-21 and 26-28.

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You’ll need a magnifying glass to read the lineup poster, which features artists including Swedish House Mafia, Tale of Us, Alesso, Amelie Lens, Bonobo, Dom Dolla, The Blessed Madonna, REZZ and Deadmau5 performing as REZZMAU5, David Guetta, Solomun b2b Four Tet, Eliza Rose and hundreds of other artists representing techno, hard techno, house, bass, EDM and most other varieties of electronic music.

Special events include Italian duo Tale of Us curating their own lineup at the Freedom stage on July 21 and July 28 — where performers will include Anyma, Argy, Chris Avantgarde, Kevin de Vries, MRAK, Olympe and more — and playing a mainstage show on July 27. Tale of Us’ Matteo Milleri will also perform o the mainstage for the first time on July 20 under with his Anyma project.

Amelie Lens’s EXHALE label will also curate a stage, with Lens also taking her style of techno to the festival mainstage.

Tomorrowland typically hosts 400,000 people over its two weekends, with organizers reporting that attendees come from 200 countries. The festival features 16 stages, along with expansive experiential areas, a sprawling campsite and other whimsical fun including a “Symphony of Unity” that fuses electronic and classical music and is composed especially for Tomorrowland.

The festival was founded by brothers Michiel and Many Beers in 2005.

See the Tomorrowland 2024 lineup below:

Courtesy Photo

Hollywood’s ever-evolving nightlife scene is about to expand again, with a new club, The Spotlight, set to open later this month.
Located in the heart of Hollywood at 1601 N. Cahuenga Blvd., the 2,700-square-foot space will have a 300-person capacity and feature genre-spanning musical performances in an elegant, dimly lit setting. See exclusive first look images of the venue below.

Taking over the space formerly occupied by A/V Nightclub, The Spotlight will be operated by Framework. The Los Angeles-based production company is behind Hollywood’s nearby nightclub Sound and, in partnership with Goldenvoice, programs Coachella’s club-centric Yuma Tent. Framework was founded by Kobi Danan, who helped open and operate A/V from 2011-2013.

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The first round of musical programming for The Spotlight will be announced in the coming week.

Regarding The Spotlight’s programming, Danan tells Billboard that “One night, you can expect exceptional underplays, another, we transform into a platform to showcase emerging talent, but regardless of the night, our guests can expect consistency in the quality of programming all whole being encapsulated by an elevated customer experience. Our goal has always and will always be to revive Hollywood as the premier destination for music.”

While Sound is just a half-mile from The Spotlight, Danan says programming at the two clubs will be different, with Sound “built with a simple philosophy, to bring a novel and always-evolving electronic underground experience to nightlife in Hollywood. Electronic music, in all its varieties, is the true heart of what we do at Sound, and will continue to do.

“The Spotlight, on the other hand,” he continues, “is a space for versatility. At our core, we’re not just electronic dance music enthusiasts, we’re patrons of all things music, art, and culture. Having The Spotlight in our portfolio gives us the opportunity to diversify our programming, and lean into our passion for live music and fostering talent across the spectrum of every genre, while creating an intimate space for creativity in all forms to thrive.”

He adds that the club’s intimate setting is the “antithesis” to the projects in Framework’s existing portfolio.

The Spotlight has, Danan says, undergone “top to bottom aesthetic changes,” with the golden-toned lighting and curtain-draped walls recalling Hollywood’s golden era. The venue features a new stage featuring a custom DJ booth built on automatic hydraulics that can quickly transform the stage from DJ setup to live music seteup in seconds. For sound, The Spotlight was also refitted with custom L-acoustics and tuned to accommodate diverse programming.

The Spotlight is located in The Marion building, built in 1920 as a hotel. By the ’70s, the space had become a 24-hour gay bar called The Spotlight, with this new iteration paying homage to this Hollywood pedigree by returning it to its former name. The Spotlight also has the grandfathered license of the original spotlight, allowing the club to stay open until 6a.m.

The Spotlight in Los Angeles

Courtesy of Restless Media

The Spotlight in Los Angeles

Courtesy of Restless Media

The Spotlight in Los Angeles

Courtesy of Restless Media

The Spotlight in Los Angeles

Courtesy of Restless Media

The Spotlight in Los Angeles

Courtesy of Restless Media

 

Coachella has always flexed its muscle as one of the world’s most influential music festivals by booking big-name reunions and comeback shows that fans can’t see anywhere else. The desert fest hosted the reunion of Dr. Dre and Snoop Dogg (and the now-fabled 2Pac hologram) in 2012 and the return of Outkast in 2014. Prince […]

Three cheers for Dolly Parton! The superstar set tongues wagging and jaws dropping when she appeared at the Dallas Cowboys’ halftime show on Thanksgiving wearing a Dallas Cowboys cheerleaders outfit. Parton donned the squad’s trademark cropped blue top with a short white vest and tiny white shorts. Being Parton, she completed the look with pantyhose […]

The genie is officially out of the bottle: Pop superstar Christina Aguilera is heading back to Las Vegas. On Tuesday (Oct. 10), Aguilera exclusively announced with Billboard her new series of shows set to take place at the Voltaire Belle de Nuit at The Venetian Resort Las Vegas starting New Year’s Eve weekend. Taking place […]

P!nk suffers no fools, especially when they’re in the audience at her live shows. During her Summer Carnival tour stop in San Antonio on Monday (Sept. 25), the “Trustfall” singer proved yet again that she won’t hold back from clowning on concertgoers. In a fan-filmed TikTok clip, P!nk can be seen interacting with an attendee […]