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Here’s How Taylor Swift Should Update Her Eras Tour Setlist to Include ‘The Tortured Poets Department’

ADD:

  1. “Fortnight”
  2. “The Tortured Poets Department”
  3. “Down Bad”
  4. “So Long, London”
  5. “Who’s Afraid of Little Old Me?”
  6. Mashup: “Teardrops on My Guitar” x “I Can Do It With a Broken Heart”
  7. “But Daddy I Love Him”

Note: As Swift’s newest album, Tortured Poets deserves to be the finale. And while, upon first listen, the record may not seem like it has enough stadium-ready bops to close out the show, the above songs 100% have the potential to be converted into the high-energy moments the Eras Tour commands. Just imagine the theatrical potential of “Who’s Afraid,” the meta-ness of a real-life crowd chanting “More!” during “Broken Heart,” and confetti falling from the sky during the final chorus of “But Daddy…” We picture gothic visuals, writing desks, typewriter props, period costumes and lightning strikes during this section.

Now, about that mashup. It’s absurd that Swift has never included any songs from her 2006 self-titled debut album — aka her first-ever era — on the main Eras Tour setlist. But it’s not too late to rectify that.

Picture this: The lights go down after Swift performs “Who’s Afraid of Little Old Me?” Costumes change, a tiger cage and other circus-themed set pieces are wheeled away. Then, the songwriter — her silhouette barely visible under the dim glow of an aquamarine spotlight — sings a cappella the final chorus of the first song about faking smiles in the face of heartbreak she ever released: “Teardrops on My Guitar.” Emphasis on the lyric, “the only one who’s got enough of me to break my heart.”

After she trails off on the last line — “Drew looks at me, I fake a smile so he won’t see” — the stadium comes to life once more as the crowd’s multi-color light-up bracelets go haywire, an explosion of sound filling the space. “I can read your mind,” Swift jumps in, surrounded by dancers as the lights suddenly go up, revealing one last fabulous costume. “‘She’s having the time of her life…’”

Once that’s done, she’ll move on to the finale, flipping off the haters, embracing her truest fans and proudly proclaiming her love for the man of her dreams in one fell swoop with “But Daddy I Love Him,” disappearing offstage before concertgoers have even finished singing along. Fin.

Slipknot Announces 2024 North American Summer Tour

Slipknot is heading back out on the road! The heavy metal legends announced the dates for the North American leg of their Here Comes the Pain Tour on Tuesday (April 30), which arrives amid the 25th anniversary of their debut self-titled album.

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“We loved what we did with the first record but we didn’t even know if there was gonna be anything after that,” recalls guitarist Jim Root of 1999’s Slipknot in a press statement. “We just wanted people to hear it. Selling out of records and shows, having successful tours– those are goals for any band. But the dream scenario in some ways, came true for us.”

The North American Here Comes the Pain Tour will kick off on August 6 in Noblesville, Ind., before hitting iconic venues like Madison Square Garden in New York City, the Scotiabank Arena in Toronto and Moody Center in Austin, Texas before wrapping up with Knotfest Iowa at Waterworks Park on September 21. Knocked Loose, Orbit Culture and Vended will be joining the gig as special guests on select dates.

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See the full list of tour dates below.

Aug 06: Noblesville, IN – Ruoff Music Center *
Aug 07: Burgettstown, PA – The Pavilion at Star Lake *
Aug 09: Baltimore, MD – CFG Bank Arena *
Aug 10: Camden, NJ – Freedom Mortgage Pavilion *
Aug 12: New York, NY – Madison Square Garden *
Aug 14: Gilford, NH – BankNH Pavilion *
Aug 15: Mansfield, MA – Xfinity Center *
Aug 17: Toronto, ON – Scotiabank Arena *
Sep 07: Auburn, WA – White River Amphitheatre #
Sep 08: Ridgefield, WA – RV Inn Styles Resorts Amphitheater #
Sep 11: Nampa, ID – Ford Idaho Center Amphitheater #
Sep 13: Inglewood, CA – Intuit Dome #
Sep 15: Phoenix, AZ – Talking Stick Resort Amphitheatre #
Sep 17: Austin, TX – Moody Center #
Sep 18: Dallas, TX – Dos Equis Pavilion #
Sep 21: Des Moines, IA – Knotfest Iowa at Waterworks Park #

* w/ Special Guests Knocked Loose and Orbit Culture
# w/ Special Guests Knocked Loose and Vended

Afrobeats Fresh Picks: Young Jonn, Bloody Civilian, Ruger x Bnxn, Tems, Black Sherif & More

This month has produced the biggest bounty of great releases from African artists in 2024 so far, with some of the most exciting, innovative and fastest-rising artists and veterans releasing not just big singles, but long-awaited albums — and with much more promised for the coming months as summer approaches.

Tems released her reimagining of Nigerian singer-songwriter Seyi Sodimu’s 1997 smash “Love Me Jeje” following her debut performance of the single at Coachella. It’s the first single from her upcoming debut album Born in the Wild, which will be released in May. Meanwhile, Joeboy linked with teenage sensation Qing Madi, ODUMODUBLVCK and Blaqbonez lined up a distinctive collaboration and Black Sherif turned up the aggression with a new banger.

Nigerian Afropop singer Minz talks a big game on his new single “shadow” with German trio 255, who also produced 1da Banton and Bella Shmurda’s “Evidence” collaboration, which has been featured in this column. Speaking of collabs, Ruger and Bnxn put their past troubles behind them and celebrate their harmonious relationship on their joint album RnB. And Young Jonn helped Jamaican dancehall hitmaker Sean Paul earn his career-first entry on Billboard‘s U.S. Afrobeats Songs chart this month with “Hold On,” from the latter’s long-awaited debut album Jiggy Forever.

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“I’m an artist and I go to Africa, and they are so appreciative of what we brought to the table. It’s been a symbiotic relationship back and forth over the years,” he told Billboard in an interview last week about the dynamic between Afrobeats and dancehall music. “We’re using drums from the sound that’s been Afro music, people like Fela Kuti and all of these great musicians, and we’re producing it the way we hear it [and] feel it. In Afrobeats [now], they have taken the hint from how we produce and done their own thing with it.”

We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.

Minz & 255, “shadow” 



Minz dials up 255 for his bouncy new single “shadow.” “It’s certain, you know I’m killing it,” he flexes in the first verse, while assuring his haters won’t go far in the chorus. His self-assured flow fits perfectly with his and 255’s spirited production.  

Bloody Civilian, “Head Start”



On the heels of her electrifying debut EP Anger Management, Bloody Civilian remains a force to be reckoned with on her first single of 2024, “Head Start.” She leaves her opps quaking, so much so “you go think say they be dancers. Congratulations, you’re the best dancers,” she jeers in the chorus. But the track’s stirring Afropop production, with its alarming sirens, ominous synths and intoxicating percussion, will leave listeners dancing right alongside her opps. “This track is quite raw. Basically, I made a vengeance track that’s Afrobeats but is also low-key Travis Scott coded,” Bloody says in a press release.  

1da Banton & Bella Shmurda, “Evidence” 



Nigerian singer-songwriters 1da Banton and Bella Shmurda join forces for the first time on their summery two-track pack, Evidence / Holy Man. The first single, “Evidence,” is a vibrant, mid-tempo celebration of their success, with its hook “And the evidence choke/ Evidence choke, and the boys dem know/ Boys dem know, and the everywhere I go” proving its up for the boys. Produced by 255, the track’s acoustic guitar drives its laidback production, while the atmospheric pitched-up melodies interspersed throughout “Evidence” adds an extra touch of levity.  

Ruger & Bnxn, “Not Done” 



Ruger and Bnxn make it clear that they’re “Not Done” with their past relationship (even if their ex feels otherwise) on the midtempo closing track of the Afropop stars’ remarkable joint album RnB. Produced by Blaisebeatz, “Not Done” tells the toxic tale of a man who won’t accept the end of a relationship, with Ruger questioning why she would ever want to leave him and Bnxn reminding her who treats her better in the bedroom. “When two artists like us come together, it’s sending a message to everyone around the industry,” Ruger said in a recent Billboard News interview. “For Afrobeats right now, many of us don’t really work together. People don’t drop joint projects like that. But this project actually is taking us to another level.” 

Young Jonn feat. Sean Paul, “Hold On”  



Young Jonn links up with reggae legend Sean Paul on the sensual highlight “Hold On” from his debut album Jiggy Forever. With its stirring string arrangement, melodic vibes, Jonn’s come-hither vocals and Paul’s lustful lyrics, “Hold On” is the kind of record you sing while whining up on your significant other or even a stranger on the dance floor on a warm summer’s night. “I recorded this song in Madrid and was actually in the studio with Memphis Depay. He was actually gonna take the beat, but before you know it, I’d recorded the chorus!” he told Apple Music about the song. “I sent the song to my manager — she’s a very imaginative person and was like, ‘We should get Sean Paul on it.’ Earlier this year she sent me a message saying we got Sean Paul; it was crazy!”

Young Jonn, “Bahamas”



The super-producer has been stringing us along with top-shelf single after top-shelf single for more than a year now, but his Jiggy Forever album is finally here, and it’s no surprise that there are a slew of absolutely beautiful songs sprinkled throughout. His songs have always had a touch of nostalgia, or yearning, to them, both lyrically and musically, and “Bahamas” fits into that lineage perfectly the latest in what is becoming a formidable catalog of big, aspirational hits.

Tems, “Love Me JeJe”



As she gears up for the release of her debut album Born In the Wild in May, Tems comes with a new single that’s perfectly in her pocket, showcasing her voice and her laid-back style, on a track that takes its name from Seyi Sodimu’s 1997 hit. The hook “I’m on your wave right now/ I’m on your vibe now” — finds Tems right where she’s always been best: feeling her way through the music as effortlessly and coolly as any of us could ever hope to.

Black Sherif, “Shut Up”



The Ghanaian street MC has been on a roll lately, with his latest single a fiery, in-your-face cut that takes a derisive swipe at the competition, both inviting attacks from others while chronicling his no-doubt rise to the point he’s at now. It’s more aggressive than the “January 9th” single he dropped earlier this year, which took a more introspective approach, but it’s a status he’s earned by this point.

Joeboy feat. Qing Madi, “Adenuga”



Reliable hitmaker Joeboy recruits the young Nigerian singer Qing Madi to assist him on his latest, a platform for their two voices to dovetail in unexpectedly gorgeous ways as the song winds its way towards its finish. Before that, Joeboy himself tells the story of melting an icy tough exterior as he falls in love, displaying the melodic chops that helped him rise to the top of the Nigerian pop scene. It’s a duet that simply works fantastically.

ODUMODUBLVCK & Blaqbonez feat. Lekaa Beats, “Technician”



There may not be a more distinctive voice in African music in the past two years than ODUMODUBLVCK, whose flow and style are instantly recognizable and add an element to his music that others could wish to have. But if anyone could rival him for originality it might be Blaqbonez, and this collaboration is two fighters sparring at the highest level, with Lekaa Beats’ vocals the perfect icing.

Young Miko Announces the XOXO Tour 2024: Here Are the Dates

Just three weeks after releasing her debut studio album Att.Young Miko has announced she’s hitting the road in 2024 in support of the set.

Her nearly 20-date headlining tour will kick off on July 31 in Denver, Colo., at the Fillmore Auditorium, and will make stops major cities such as Los Angeles; Austin, Texas; New York City; Boston; and Atlanta before concluding in Hollywood, Fla., on Sept. 11 at the Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood.

The news follows her recent Coachella debut performance, which took place on April 12 and 19, where she featured a gigantic boombox center stage.

In announcing the trek Tuesday, she shared an Instagram reel in which the Puerto Rican rapper — who is rocking baggy blu pants and a pink long-sleeve shirt — takes a portable ghetto blaster to a graffiti-decorated alleyway. The camera pans to a fire hydrant emblazoned with the tag “XOXO Tour 2024” to announce the trek.

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Miko’s forthcoming tour backs her new 16-track album — which features songs such as “Rookie of the Year,” “ID” and “Curita” — which debuted in the top 10 of the Top Latin Albums and Latin Rhythm Albums charts. She also reeled in collaborators such as Feid, Jowell & Randy, Elena Rose, Villano Antillano and Dei V for the album.

Tickets will be available starting with an artist presale on Wednesday (May 1) at 10 a.m. local time. Additional presales will run throughout ahead of the general onsale on Friday (May 3) at 10 a.m. local time via LiveNation.com.

See her full tour dates below:

  • 7/31   Denver, Colo.                     Fillmore Auditorium
  • 8/3     Wheatland, Calif.              Hard Rock Live Sacramento
  • 8/6     San José, Calif.                 San Jose Civic
  • 8/9     Phoenix, Ariz.                    Arizona Financial Theatre
  • 8/10   Las Vegas, Nev.                 Fontainebleau Las Vegas
  • 8/12   San Diego, Calif.                Cal Coast Credit Union Open Air Theatre
  • 8/15   Los Angeles, Calif.             Peacock Theater *
  • 8/19   Austin, Texas                      Moody Amphitheater
  • 8/20   Houston, Texas                  Smart Financial Centre
  • 8/21   Irving, Texas                       The Pavilion at Toyota Music Factory
  • 8/24   Rosemont, Ill.                     Rosemont Theatre
  • 8/27   New York, N.Y.                    The Theater at Madison Square Garden
  • 8/30   Bridgeport, Conn.              Hartford HealthCare Amphitheater
  • 8/31   Philadelphia, Pa.                 The Met
  • 9/1     Boston, Mass.                      Leader Bank Pavilion
  • 9/4     Washington, D.C.                The Theater at MGM National Harbor
  • 9/6     Atlanta, Ga.                          Coca-Cola Roxy
  • 9/7     Orlando, Fla.                         Hard Rock Live
  • 9/11   Hollywood, Fla.                    Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood

Diddy’s Daughter Chance Combs Attends Prom With Chloe x Halle’s Brother Branson Bailey

They say the world’s small, but Hollywood is even smaller. As prom season takes the U.S. by storm, two major music families hosted a heartwarming crossover moment. In pictures posted to their official Instagram pages on Monday (April 29), Chance Combs, daughter of embattled music mogul Sean “Diddy” Combs and Sarah Chapman, and Branson Bailey, younger brother of Grammy-nominated musicians Chlöe and Halle Bailey, showed off their 2024 prom looks.

“Prom 2k24??✨,” Combs simply captioned her set of photos, which contained five pictures of her pastel prom look. She opted for a sleek slicked-back ponytail to match her sparkling strapless purple multi-tone gown, complete with floral embellishments, a corsage and purple-tinged earrings. Bailey sported a classic black tuxedo and matching corsage.

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A slew of famous friends and musicians left comments gushing over the young pair, including Combs’ older brother Justin Combs, who showered them with flame emojis. Yung Miami, a Billboard Hot 100-charting rapper who was romantically linked to Diddy, commented “Beautiful” alongside a string of heart-eyes emojis. Baby Phat head Kimora Lee Simmons wrote, “You’re beautiful, Chance,” while Misa Hylton, renowned stylist and mother of Justin Combs, quipped, “Gorgeous fancy Chance!!”

Bailey also shared the pics to his Instagram page, captioning his post “take a chance 2k24,” drawing emoji-filled comments of adoration from his older sisters and congratulations from Yvette Noel-Schure, their renowned publicist. DDG, rapper and boyfriend of Halle, commented, “Halo twinn ??,” alluding to how Branson and his new nephew Halo — born to Halle and DDG earlier this year — look alike.

Mary J. Blige Reveals Plan to Retire in ‘Five or Six Years’… Maybe

Mary J. Blige has been in our ears, and on our screens, for more than 35 years. The nine-time Grammy-winning queen of hip-hop soul released her 14th album, Good Morning Gorgeous, in 2022 and recently co-starred in actor Chiwetel Ejiofor’s directorial debut, Rob Peace, which debuted at the Sundance Film Festival earlier this year.

From the looks of it she’s not slowing down at all. But in a new interview with Extra, the 53-year-old music icon who will be inducted into the Rock and Roll Hall of Fame this fall revealed that she is already thinking about her exit strategy. Asked what she’s singing about these days, Blige said, “Mary is singing about life. Life… love… being stable and understanding you can have things like love. You can have a good life.”

Just as importantly, Blige is also thinking about her future, which she said could include an exit from the stage sooner than you might think. “Right now, I’m definitely gonna do some more acting and I’m definitely gonna retire in, like, five or six years,” she told Extra without specifying what retirement would look like for her.

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Now before you freak out, Blige — who has had memorable roles in films including Rock of Ages, Mudbound and the 2021 Aretha Franklin biopic Respect as Dinah Washington — said the music retirement is more of an “eventual” thing, explaining, “Right now, I’m still doing what I’m doing but not as often as I was doing it because I don’t have to now.”

For now her future includes joining Cher, Dave Matthews Band, Kool & the Gang, Foreigner, Peter Frampton, Ozzy Osbourne and A Tribe Called Quest at this year’s RRHOF induction ceremony in Cleveland on Oct. 19. In a recent interview with Tamron Hall, Blige said she was “still trying to process” the news. “It’s a big deal. I’m just so grateful because I know it didn’t have to be this way but it is this way, and I give all the credit to God. I don’t even know what else to do. It’s just so humbling,” she said. “I don’t know what to do besides be grateful and thankful.”

Anne Hathaway Calls These Madonna & Britney Spears Hits the ‘Ultimate Pop Songs’

In The Idea of You, Anne Hathaway stars as Solène, a 40-year-old mom who, despite knowing little about boy bands aside from what her teenage daughter tells her, falls in love with the 24-year-old Harry Styles-esque lead singer of pop quintet August Moon, Hayes Campell (played by Nicholas Galitzine).

And in real life, the Academy Award winner is similar to her character, at least in that department. “I don’t know that much about boy bands,” she admits to Billboard on the red carpet at the film’s New York premiere Monday (April 29) when discussing boy bands. “I was trying to be diplomatic, but the truth is, I’m going totally blank right now.”

But naming pop queens? That comes easily for her. “The ultimate pop song for me is ‘Like a Prayer’ by Madonna, followed by close second, ‘…Baby One More Time’ by Britney [Spears],” she gushes. “We’re really lucky right now — we’re living in this glory time of pop music. There’s so many ones out there right now, but those two … I think ‘Toxic’ is really amazing too.”

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Fittingly, August Moon’s frontman knows his stuff. “There’s a song that I used to perform in front of my parents and my sister,” Galitzine tells Billboard when asked what he thinks is the quintessential boy band anthem. “I think it was called ‘Incomplete’ by the Backstreet Boys. It’s so melodramatic, so I think that’s what makes it a perfect boy band song.”

Based on Robinne Lee’s 2017 novel of the same name, The Idea of You has been generating buzz from the moment its trailer dropped in March, thanks to its undeniable real-life parallels to Harry Styles and One Direction (and it probably won’t die down any time soon once the internet gets a hold of Hathaway and Galitzine’s steamier scenes). But the other four members of August Moon — played by Dakota Adan, Jaiden Anthony, Raymond Cham Jr. and Viktor White, who have a group chat with Galitzine titled “Moon Me” and bonded over Mario Kart and Nerf gun battles during filming — agree that the comparisons to 1D and other boy bands are flattering, though they feel that their onscreen group has its own legs.

“We were like, ‘We don’t want to emulate a specific boy band too much, and we want August Moon to stand on its own,’” Anthony, whose character is named Adrian, tells Billboard on the carpet. “But there’s so many iconic [groups] — Backstreet Boys, New Kids on the Block, One Direction, The Beatles, even. There were so many videos and performances we watched, just to see what it is these bands have and what makes them so special. We kind of just took tidbits and little things here and there.”

Executive music producer Savan Kotecha was also very careful to treat August Moon as if it it were a real act, he tells Billboard, composing a body of work that sounded as if it had evolved alongside the band’s growing career for years. He even has an explanation for that one lyric in August Moon’s lead single “Dance Before We Walk,” which dropped on Spotify March 6 before the film’s premiere and finds Hayes singing, “I think I need a new direction lately.”

“When you see the movie, it’s actually about Hayes Campbell considering leaving the band … It’s about him moving on from August Moon,” Kotecha clarifies. “We had to sort of write the scope of the band, like, ‘What would their first teeny singles sound like,’ and ‘What would the second song be,’ and ‘Now they’re at Coachella, what would that song feel like?’”

The Idea of You hits Prime Video May 2.

Kendrick Lamar Drops Scathing Drake Diss Track ‘Euphoria’: Listen

Grab the popcorn, because Kendrick Lamar has returned. K. Dot emerged to unleash the eviscerating “Euphoria,” taking aim at Drake on Tuesday (April 30).

The Compton artist’s Drake diss hit his YouTube channel early in the day and looks to land a knockout punch, with “Euphoria” — Drake is an executive producer of the HBO show of the same name — serving as his official response to Drizzy’s “Push Ups.”

Drake comes under fire as Lamar refers to him as a “degenerate,” “scam artist” and more, with Kendrick utilizing more of a spoken-word flow before horns come in to turn the intensity up a few notches after the first-minute warm-up.

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Next, Kendrick turns his focus to Drake and his 2018 battle with Pusha T, during which King Push revealed that the 6 God had a son, Adonis, on “The Story of Adidon.”

“Yeah, Cole and Aubrey know I’m a selfish n–a/ The crown is heavy, huh/ I pray they my real friends, if not, I’m YNW Melly/ I don’t like you poppin s–t at Pharrell, for him I’ll inherit the beef/ F–k all that pushin p, let me see you Pusha T, you better off spinning again on him you think about pushing me/ He’s Terrence Thorton I’m Terence Crawford I’m whooping feet,” he raps.

There’s no love lost between Lamar and Drake, with their long-simmering feud dating back more than a decade. K. Dot lets it be known this isn’t about competition, but there’s a genuine hatred for Drake.

“I hate the way that you walk, the way that you talk/ I hate the way that you dress/ I hate the way that you sneak dissing/ If I flight it’s gonna be direct/ We hate the b—-s you f–k because they confuse themselves with real women,” Lamar spews.

He isn’t even close to done by this point, as he brings up hating Drake’s mob boss persona, claims the OVO boss doesn’t have a classic record in his discography and questions the legitimacy of his six-pack abs.

“Yeah, my first one like my last one, it’s a classic, you don’t have one/ Let your core audience stomach that/ Didn’t tell ’em where you get your abs from,” Dot continues to fire.

Drake’s “Push Ups” largely centered around him accusing Lamar of having to give away 50 percent of his earnings as part of his deal with Top Dawg Entertainment.

Kendrick turns the tables in “Euphoria,” wondering about Drizzy’s deal in which he was signed to Lil Wayne’s Young Money, which lived under Birdman’s Cash Money Records and Universal Music Group.

He even alleges that Drake’s team served up a cease and desist over the Billboard Hot 100-topping “Like That,” which essentially lit the fuse of the feud earlier this year.

“You was signed to a n—a that’s signed to a n—a that said he was signed to that n—a/ Try cease and desist on the ‘Like That’ record/ Oh, what? You ain’t like that record,” he contests.

Lastly, Kendrick attacks Drake’s biracial identity and voices his disgust with him using n—a in his lyrics. “I even hate when you say the word ‘N—a,’ but that’s just me,” he raps before closing out the track. “We don’t want to hear you say n—a no more.”

“Euphoria” arrives 17 days after Drake’s “Push Ups” was leaked before he brought the diss record to streaming on April 19. (The track debuted at No. 19 on this week’s Hot 100.)

Listen to Kendrick Lamar’s “Euphoria” response below.



Tim McGraw FulFills a Fan’s Dream With a Little Help From Scooter Braun & Make-a-Wish Foundation

Tim McGraw, music executive Scooter Braun, Big Machine Label Group and the Make-a-Wish Foundation recently helped make a Kentucky girl’s dream come true.

Scooter Braun, artist manager and CEO of HYBE-America, shared on Instagram Monday (April 29) that “this is the feel good story we all need right now” before diving into how he first heard about Emily, who has been battling an undisclosed illness, while he was in a Make-a-Wish board meeting in Nashville in January. Emily’s dream was to meet McGraw.

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In his post — which features a carousel of photos from the country star’s visit with Emily — Braun shared that he reached out to McGraw, who immediately agreed to meet with his fan. However, two days before the meeting was to take place, a change in McGraw’s schedule meant he would no longer be in Nashville at that time. He had invited Emily to attend his concert in Nashville in April, but also decided he didn’t want to wait that long to meet with her, according to the exec.

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Braun said in the Instagram post that McGraw instead offered to make the nearly three-hour drive from Nashville to Emily’s home in Kentucky to meet spend time with her and her family.

“Grateful to Tim and our Make a Wish family and the Big Machine racing team for making Emily’s wish come true,” Braun added in his caption. “Tim is truly humble and kind ? True legend of a human! And yes Emily was at the show in Nashville with Tim this past weekend too :)”

Emily also shared her gratefulness by commenting on Braun’s post, saying, “I could never thank you guys enough for what you all did for me. @scooterbraun @thetimmcgraw @faithhill @makeawishamerica @scott.borchetta THANK YOU✨? you all are amazing and i’m so thankful to have been apart of this organization??”

McGraw continues on his Standing Room Only Tour, with its next stop being May 2 in Montreal, Quebec, Canada.

See Braun and Make-a-Wish’s post about McGraw’s visit with Emily below:

After Making Own Deepfake, FKA Twigs Heads to Senate With Warning of Danger to Artists: ‘We Must Get This Right’

FKA Twigs is slated to testify before the Senate Judiciary Subcommittee on Intellectual Property on Tuesday afternoon (April 30) to warn members of Congress about the dangers of the unsanctioned use of artificial intelligence to mimic an artist’s unique style and delivery.

The singer/dancer will also reveal that she has been developing a deepfake of herself over the past year in a bid to explore using AI to help with marketing and streamlining the creative process, as well as to head off anyone else beating her to the AI punch.

“As a future-facing artist, new technologies are an exciting tool that can be used to express
deeper emotions, create fantasy worlds, and touch the hearts of many people,” she will tell the committee, which will also hear from Warner Music Group CEO Robert Kyncl. Her appearance in D.C. is in support of the Senate’s bipartisan Nurture Originals, Foster Art, and Keep Entertainment Safe (“NO FAKES Act”) draft proposal, aimed at protecting Americans from nonconsensual AI-generated deepfakes and creating federal-level rules to protect an individual’s voice and image from being used in harmful AI-generated content.

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Her testimony — provided to Billboard ahead of her appearance — will open with the 36-year-old artist describing a life spent immersed in the arts, including the ballet, singing and acting lessons her dancer mother and stepdad dance company director sacrificed to provide for her. “From the age of 16, I began to explore both dance and music as a career, and that interest in multiple disciplines has defined my life for the past two decades both personally and professionally,” she will tell the committee.

The Grammy-nominated singer and recent soloist with the acclaimed Martha Graham Dance Company — and co-star in an upcoming adaptation of The Crow — will tell the committee that she wanted to testify because “my music, my dancing, my acting, the way that my body moves in front of a camera and the way that my voice resonates through a microphone is not by chance; they are essential reflections of who I am. My art is the canvas on which I paint my identity and the sustaining foundation of my livelihood. It is the essence of my being.”

All of that, however, is under threat, she testifies, noting that while AI can’t replicate the depth of her journey, “those who control it hold the power to mimic the likeness of my art, to replicate it and falsely claim my identity and intellectual property. This prospect threatens to rewrite and unravel the fabric of my very existence. We must enact regulation now to safeguard our authenticity and protect against misappropriation of our inalienable rights.”

At a time when bootleg AI songs claiming to feature the voices of major stars such as The Weeknd are proliferating — including the Drake AI freestyle diss track “Taylor Made” with computer-generated voices of Snoop Dogg and the late Tupac Shakur that was removed after a lawsuit threat from Shakur’s estate — Twigs says that the progenitors of the internet could not have predicted three decades ago how integral, and sometimes dangerous, it would become to our lives.

“AI is the biggest leap in technological advancement since the internet. You know the saying ‘Fool me once, shame on you… Fool me twice, shame on me,’” she says. “If we make the same mistakes with the emergence of AI, it will be ‘shame on us.’”

Having gleefully embraced technology throughout her career, Twigs will describe her bespoke deepfake, which she trained in the quirks of her personality and tuned to the exact tone of her voice to speak in several languages. “I will be engaging my AI twigs later this year to extend my reach and handle my online social media interactions, whilst I continue to focus on my art from the comfort and solace of my studio,” she says.

“These and similar emerging technologies are highly valuable tools both artistically and commercially when under the control of the artist,” she tells the committee. “What is not acceptable is when my art and my identity can simply be taken by a third party and exploited falsely for their own gain without my consent due to the absence of appropriate legislative control.”

Noting that history is littered with the stories of artists being the first ones to be exploited during moments of great technological advance, Twigs will warn that the “general and more vulnerable public” are often next. “By protecting artists with legislation at such a momentous moment in our history we are protecting a five-year-old child in the future from having their voice, likeness and identity taken and used as a commodity without prior consent, attribution or compensation,” she says.

Her testimony includes a plea to the committee to help protect artists and their work from the dangers of AI exploitation, speaking on behalf of fellow creators whose careers depend on the ability to create with the knowledge that they can maintain “tight control” over their “art, image, voice and identity.”

“Our careers and livelihoods are in jeopardy, and so potentially are the wider image-related rights of others in society,” she says. “You have the power to change this and safeguard the future. As artists and, more importantly, human beings, we are a facet of our given, learned, and developed identity. Our creativity is the product of this lived experience overlaid with years of dedication to qualification, training, hard work and, dare I say it, significant financial investment and sacrifice. That the very essence of our being at its most human level can be violated by the unscrupulous use of AI to create a digital facsimile that purports to be us, and our work, is inherently wrong.”

The testimony will end with an urgent plea, as well as a dire warning: “We must get this right … you must get this right,” she says. “Now… before it is too late.”

In January, a bipartisan group of U.S. House lawmakers announced a bill aimed at regulating the use of AI for cloning voices and likenesses, the No AI FRAUD Act, which could establish a federal framework for protecting one’s voice and likeness while laying out First Amendment protections.