Music News

Jonas Brothers, Pitbull, Gayle Among Performers for AT&T Playoff Playlist Live! 2023 College Football Playoff Concerts

It will be a while before we know who is playing, but you can be sure the 20023 college football playoff national championship will have a hype soundtrack. The lineup for the AT&T Playoff Playlist Live! series of concerts around the championship game, slated to take place at Los Angeles’ SoFi Stadium on Jan. 9 and air on ESPN at 7:30 p.m. ET.

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The weekend will kick-off on Jan. 7 with a show featuring the Jonas Brothers and singer/songwriter Em Beihold. The next night will bring the heat from Pitbull and grammy-nominated singer Gayle. The free shows will take place at L.A.’s Banc of California Stadium. Fans will need to pre-register for tickets beginning on Dec. 2 at 1 p.m. ET, with access to the shows doled out on a first-come, first-serve basis based on a digital ticket.

If you can’t make it out to the shows, AT&T will bring it to you at home with the interactive livestream experience AT&T 5G Concert Lens. The feature will broadcast multiple camera angles simultaneously, letting fans select their own vantage point for the show; the concerts will also be streamed on the ESPN app.

After a virtual concert in 2021 in Miami featuring Jason DeRulo in the midst of the COVID-19 pandemic, last year’s concerts in Indianapolis featured Twenty One Pilots, Doja Cat, Ava Max, AJR, Pink Sweat$ and Huckleberry Funk. Other previous performers include Meghan Trainor, H.E.R., Nas and Trombone Shorty in 2020 and One Republic, Ellie Goulding, Logic, Leon Bridges, Alessia Cara and The Regrettes in 2019.

Tom Petty Estate Demands Failed Candidate Kari Lake Back Down After Unauthorized Use of Song in Ad

One day after the estate of Isaac Hayes threatened legal action against twice-impeached one-term president Donald Trump for unauthorized use of a song, one of the former reality TV star’s most vocal supporters got a similar do not play request.

“The Tom Petty estate and our partners were shocked to find out that Tom’s song ‘I Won’t Back Down’ was stolen and used without permission or a license to promote Kari Lake’s failed campaign,” the estate of the late rock icon tweeted on Thursday night (Nov. 17) after Lake released a campaign video cued to the beloved 1989 single.

Lake, one of a raft of prominent Trump-endorsed election deniers who failed in their bids in the midterm elections, dropped the ad on Wednesday. The two-minute spot features a montage of Lake posing with Trump, wielding a rifle while hunting, smashing TVs playing CNN and speaking to Arizonans with no voice-over or sound beyond Petty’s track.

“This is illegal,” Petty’s camp continued. “We are exploring all of our legal options to stop this unauthorized use and to prohibit future misappropriations of Tom’s beloved anthem. Thank you to all of the fans who brought this to our attention and who help us protect his legacy every day.”

Former local Fox news anchor Lake lost her bid for the Arizona governorship to democrat Katie Hobbs, but in keeping with her election denialism stance has so far refused to concede the race while offering up baseless, unproven allegations of voter fraud. Petty’s estate had a similar reaction when then-president Trump used “Won’t Back Down” at a June 2020 campaign rally.

Over the five years of his campaigns and presidency, artists ranging from Adele to Bruce Springsteen, Elton John, R.E.M., Aerosmith, Panic! at the Disco, Guns N’ Roses, The Rolling Stones, Rihanna and the estates of Leonard Cohen, Petty and Prince vociferously objected to Trump playing their music at his rallies. At press time a spokesperson for Lake could not be reached for comment on the Petty estate’s tweet.

Hayes’ estate said it was exploring all legal options after Trump played Sam & Dave’s “Hold On I’m Coming” — co-written by Hayes — at his Tuesday campaign event, in which the legally embattled real estate developer announced his third bid for the White House.

See the Petty estate’s statement below.

Man Charged With Arranging Young Dolph’s Killing

A man charged with arranging the killing of Young Dolph pleaded not guilty Thursday (Nov. 18) — one year after the rapper and record label owner was ambushed and shot to death while buying cookies at a bakery in his hometown of Memphis, Tennessee.

Hernandez Govan, 43, made a brief appearance in Shelby County Criminal Court in Memphis. He was arrested last week after he was indicted on charges including first-degree murder and conspiracy to commit first-degree murder in the killing of the rapper, who was 36 when he died. The judge scheduled Govan’s next hearing for Dec. 16.

Govan is the third man charged in the Nov. 17, 2021, slaying of Young Dolph, whose real name was Adolph Thornton Jr. The killing in broad daylight stunned Memphis and shocked the entertainment world. Police said two men exited a white Mercedes-Benz and fired shots into Makeda’s Homemade Cookies, which is near the rapper’s boyhood home in the Castalia neighborhood. Police released photos taken from surveillance video that captured the shooting, and authorities later found the car abandoned.

Justin Johnson and Cornelius Smith Jr., have pleaded not guilty to first-degree murder and other charges in the shooting and are being held in jail without bond. They are scheduled to appear in court on Jan. 20.

In a weekly newsletter, Shelby County District Attorney Steve Mulroy said Govan “solicited the murder and put it in motion.” But no evidence has been made public to support that statement, and a suspected motive has not been disclosed. The investigation is ongoing.

“I know that you all are wanting details, you’re wanting facts, you’re wanting sort of answers to some of these mysteries and things like that,” prosecutor Paul Hagerman told reporters after Thursday’s hearing. “Even if we knew them, we couldn’t tell you. As a matter of ethics and our requirements under the law, we’ve got to confine ourselves to what’s made public.”

Govan’s lawyer, Bill Massey, said he was seeking the prosecution’s evidence in the case, which Massey said may not go to trial until after next year due to the amount of evidence and the number of defendants.

Known for his depictions of tough street life and his independent approach to the music business, Young Dolph was admired for charitable works in Memphis. He organized Thanksgiving turkey giveaways, donated thousands of dollars to high schools, and paid rent and covered funeral costs for people in the Castalia Heights neighborhood where he was raised.

His work as a rapper, producer and owner of the independent label Paper Route Empire took him away from Memphis, but the father of two had returned to the city days before his killing to visit a sick relative and organize a turkey giveaway that took place without him.

After Young Dolph’s death, a section of a street near his boyhood home was renamed for him. A private funeral was held and he was honored during a public celebration at FedExForum, the home of the Memphis Grizzles of the NBA and the University of Memphis men’s basketball team.

City officials and community activists also pointed to the killing as a symbol of the scourge of gun violence in Memphis. Since the rapper’s death, Memphis has seen several other high-profile killings this year, including the shooting of a United Methodist Church pastor during a carjacking in her driveway; the kidnapping and shooting of an elementary school teacher who police said was abducted during an early morning run; and a man’s daylong shooting rampage that was partially livestreamed and led to the death of three people.

Young Dolph is one of several prominent hip-hop artists to be killed in recent years. His independent approach to the music business drew comparisons to Los Angeles rapper Nipsey Hussle, who was fatally shot in 2019. Other rappers who have lost their lives to gun violence since 2018 include XXXTentacion, Pop Smoke and, most recently, Takeoff, who was killed outside of a bowling alley after a party in Houston on Nov. 1.

In an article in The Atlantic dated Tuesday, rappers Too Short and E-40 called for the hip-hop community to find ways to come together and support each other amid the spate of gun deaths in the industry.

Young Dolph was born in Chicago and moved to Memphis with his parents when he was 2. He released numerous mixtapes, starting with 2008′s Paper Route Campaign, and multiple studio albums, including his 2016 debut King of Memphis. He also collaborated on other mixtapes and albums with fellow rappers Key Glock, Megan Thee Stallion, T.I., Gucci Mane, 2 Chainz and others.

He had three albums reach the top 10 on the Billboard 200, with 2020′s “Rich Slave” peaking at No. 4. Makeda’s, the bakery where he was shot, was boarded up and closed before it reopened in September.

BROCKHAMPTON Bids Farewell to Fans With ‘The Family’ & ‘TM’: Stream Now

After 12 years as a group, hip-hop collective BROCKHAMPTON is saying goodbye with their final album, The Family, released on Thursday (Nov. 16), and TM, which dropped on Friday (Nov. 17) and is billed as a “parting gift” to fans.

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The release comes seven months after the band announced that their next album would be their last during a much-hyped Coachella set in April. During the performance, they played a clip of Kevin Abstract sitting everyone in the band down and telling them he’d made a “group album” in New York, before showing a screen that read “THE FINAL ALBUM 2022.”

The Family has 17 tracks and was recorded in the spring of 2022 by Abstract, Bearface and Romil Hemnani of BROCKHAMPTON with artist and producer boylife serving as the executive producer alongside Bearface. The album features previously released singles “Big Pussy” and “The Ending” and is available in three limited edition box sets. 

TM, meanwhile, is made up of songs that were started by the group during a two week trip to Ojai, Calif., in 2021, but were never fully completed. Earlier this year, the group’s Matt Champion took on the role of EP and finished the album.

To commemorate the group’s final releases, Abstract took to social media to share a statement in which he reflects on moving on and how BROCKHAMPTON has changed his life. “I think about all of the good that came from my pain. That pain, those dreams – that was the coal in the furnace of my creativity – and still, as we got big and cool s— started happening, those embers never left,” he wrote. “The pain has found a way to adapt for the new life. Maybe that s—’s just the human condition or whatever. This project is the culmination of all that. And all that smoke from that furnace was making us all cough, for all our sakes it was time to air it out, to move into the future. Fresh air.”

Listen to both The Family and TM in full below.

TEN Talks Embracing New Sides of His Personality on New Single ‘Birthday’

While some of history’s greatest artists have a distinct look for fans to recall instantly, many musical greats are shape-shifting chameleons, finding different looks, styles and eras throughout their careers.

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TEN falls strictly in the latter category, with the Thailand-born K-pop star using his songs and music videos to express the different creative concepts, characters, and, at times, confusion inside his mind.

After trying out shouty punk-pop with “Paint Me Naked,” festival-ready EDM on “New Heroes,” and the hypnotic “Dream in a Dream” with fusions of traditional East-Asian instruments, TEN has paired sultry R&B sound with vigorous group choreography. His new single “Birthday” dropped as part of the NCT LAB project under K-pop super-label SM Entertainment to spotlight the different members in its ever-expanding NCT boy-band project that currently boasts 23 members.

While TEN has already proven his superstar status as a part of groups like WayV and NCT U, as well as one of seven members in SM’s K-pop supergroup SuperM that hit No. 1 on the Billboard 200, TEN refuses to sit comfortably as an artist.

“I get bored easily and the audience will get bored of me doing the same thing,” the singer says during a Zoom call from Seoul. “So I keep finding what kind of stuff I haven’t done yet.”

Wrapped in a flannel shirt for this giggly Billboard interview, TEN’s bubbly warmness strays far from the seductive, slithering soloist rocking chains and veils throughout the “Birthday” video. Even as TEN speaks with a lightness, there is compelling duality in his seriousness in accepting who he is while simultaneously wanting to level up in his work. Even when the star admits he’s lost inspiration, there’s still a guiding force pushing TEN into new, creative areas.

Read more from TEN on all the vocal, thematic and dance elements behind “Birthday” and what else is on the way.

Billboard: Congratulations on the new song. “Birthday” is your fourth solo single, what’s the difference this time compared to past releases?

TEN: This song has no connection with my past singles or whatever you see in “Paint Me Naked” or “New Hero.” They’re different in genre, style, makeup, and choreography. Even the use of my vocals changed. I’m not really interested in doing the same thing over again, like this deep and strong vocal that’s at the same time very soft. If you listen to the verses, I’m using a lower register and then a high falsetto on the chorus. I want to show the contrast between strong and soft.

I’m glad you brought that up because it was a great vocal performance and something we haven’t heard from you before. Was it a challenge or did you know how to approach it?

I did find recording the vocals very challenging because R&B is different, you know? “Paint Me Naked” is a pop song so you just hit the melody, which is simpler than R&B because when you sing R&B you need to have that delay and draw things out. At first, I was singing it similar to “Birthday,” but I thought, “This is not how I want it to sound.” So, we re-recorded after I listened to more R&B songs to see how they ride the rhythm. And I was trying too hard at first, but the next session was just chill; I just felt the lyrics, listened, and laid back.

There are many NCT members and a lot of SM Entertainment artists, but it seems like we can always look forward to a TEN single each year. Do these opportunities come because you always try to show something new?

I keep finding new concepts by watching movies, looking at tattoo pictures from Instagram, other artists’ photoshoots, fashion shows. If you see luxury brands’ fashion shows, they have their own concept and each year it changes. I’m into that. I’ll say, “Okay, I like this kind of stuff so let me keep it to myself, look at other stuff and mix it together.”

Do you save a lot of things on Instagram? 

I take a lot of screenshots on my phone! I was even watching an animation recently and was like, “Okay, I like this concept, let me do it like this guy here, then let me use this color as an outfit…”

How much of your inspirations came out in “Birthday”?

I was very lucky at this time with all the people that help me make “Birthday.” They really asked for my opinions, “What kind of stuff do you want to represent? How do you want to express yourself?” I chose all four outfits. There’s the suit because I want to show a mature side of me. Another one had the chain on my chest, an essential look; I need one look that is very sexy. The other one is an outfit where I wear a hat and there’s a black sheet covering my face. It’s a traditional, flowy kind of outfit because I don’t want to only show mature sides.

I wanted to show the fluid side of me too. It was very hard to find a lot of references at that time, it took me a week to find everything that I wanted, but I sent it to my stylist and video directing team. They just say, “Okay, let us figure everything out for you.” We had a lot of talking going on during the making.

Tell me about the choreography.

This one is mainly by my friends Bada Lee and Jrick [Baek]. They really helped make my vision come to life. I told them how there are a lot of K-pop groups out there with choreography that has a signature move. But for this one, I didn’t want it to be like that, I wanted it to be like artwork. I want fans to see little sparkles in the choreography and say, “Oh, I like that moment.”

Do you have a favorite moment throughout the whole video? 

Well, the first verse is very challenging for me. You can see the full choreography in the dance video and in the first verse there are so many B-boy-like moves. I got bruises all over my body, it’s very hard. But what was best about that is that I was working with my dancer friends on moves I can’t do alone. We’re all in contact as they pull me up, I kick out, there’s like a wave—it’s not just me doing the work but we are all connected as a team.

Like “Birthday” or “Paint Me Naked,” your songs are confident in their elements of sexuality. It’s not raunchy but very free and open. How do you prepare your mindset in these kinds of performances?

Wow, well, I don’t really think about that much. It’s like, “Okay, I want to wear these clothes.” It’s just me. This is my body and this is how I want to express it. Wearing too many clothes sometimes in dancing can block your body line. I don’t want to feel like I’m not confident with my body so I was like, “Let’s just do it.” That’s why I don’t really do fitness or try to build muscle for certain clothes. I’m skinny so that’s just me. I don’t need to build it up to impress someone else.

You want to show your natural self.

Yes, but maybe a little exercise for my belly fat. [Laughs] Just a little!

Oh, come on! Don’t worry about that. It sounds that you’ve found confidence in your own body which is great because many struggle with that.

It’s like, everyone has a charm, but I’m still trying to learn how to use mine. I also think about being seductive, right? In music videos, you can try everything—you can’t really do that in real life but there’s no right and wrong in the music video. It’s just, “Let’s try.”

It’s your opportunity to try things because everyone knows TEN’s personality as very bubbly. But on stage, you become very different.

Thank you. It just speaks to a different character of myself and the right time for me to express myself. I can’t do it at any time.

You mentioned you don’t want to be too covered up when dancing. I was wondering about the hat and veil look. Was it difficult to master that look? 

The veil was not the problem, but the hat kept falling off while dancing. I had to fix my hat all the time, but it’s fun to dance with a hat like that. I felt like I’m a mystery guy and no one knows me.

Outfits can help people to feel more confident. A different outfit helps you represent yourself and your personality differently. It helped me become that character. Every outfit has its own reason that I choose it, and I like every outfit, but this time the hat outfit is what I really enjoyed wearing. It really helped me embrace the concept. “Birthday” has a very strong drum and bass sound, but that outfit kind of helped to soften it down and become a bit more mysterious.

After “Birthday,” fans were saying they want a full album from you. Would that be something you’d be interested in?

Yes, I would. I love working as a team, but I also want to do my solo stuff because you can put in your thoughts and personality. Even though I sometimes didn’t write my song, I can check out the demos and say, “Okay. I want to try this or try that.” And when you read the lyrics, it’s like acting. You’re trying to change yourself for that song as you work on it. It’s like, a song can be very groovy or hip-hop or—can I say swag?—swag.

I can simply work on the song process and it’s going to be a lot of fun. As a group it’s also fun, but it’s different. As a team, you put in the element of yourself but you’re still trying to be in motion with your team. Both are fun for me to work so I have to do both.

Speaking of your teams, do you have any teasers about what’s coming with WayV and NCT?

Right now, WayV is preparing for their new comeback. And I can’t spoil anything about NCT yet. If I spoiled it, Mark will send me a text, “Hyung! Bro. What did you just say?!”

We can’t have Mark upset with us. But as we look to the end of the year, are there any ways you want people to remember you in 2022?

Right now, I’m just focusing on myself. To be honest, I don’t know what happened to me but I need more motivation right now. I need to inspire myself. After I filmed “Birthday,” I lost track of something that I don’t even know so I’m kind of figuring that out. I want to improve myself in singing and dancing so I can get to do more unique concepts and better songs in terms of a different genre.

If I don’t practice for that, it’s going to be harder for me to do different kinds of stuff. So, that’s my goal for this year to improve myself and figure out stuff that I’d been thinking about lately. The process for “Birthday” helped me to focus again and be more creative with my work. It was like a fuel that helped keep my engine moving.

That’s very honest. Many struggled with motivation during the pandemic, for example. Do you know what happened? Or do you have advice on how to get over the hump?

I think everyone has that moment in life. So, I don’t really think about it that much, I just need to figure it out. I don’t know what it is and I don’t know if I’d be able to give helpful advice to those who might be feeling down because realistically everyone has their own problems or confusion that only they can relate to.

But for me, I sit down, breathe slowly and talk to myself by asking myself questions in order to break down the situation into small fractions and better understand. That does help me figure things out most of the time! Sometimes I have these moments but it’s happening to me, like, now. So, let me figure it out and then I can tell you next time. 

Adele Has ‘Never Been More Nervous Before a Show’ Than on the Eve of Her Las Vegas Residency

Back in January, in a tearful video posted to Twitter, Adele canceled her original Las Vegas residency dates the night before the Weekends With Adele concerts were set to open. Ten months later, she once again fired up her Twitter account on the night before her rescheduled residency is set to kick off — but this time, it was to marvel at just how excited and anxious she is for her Sin City shows.

“I’m feeling all sorts as I write this,” Adele started a series of four tweets on Thursday night (Nov. 17). “I’m highly emotional, incredibly nervous but can’t sit still because I’m so excited. I feel a million miles away from home, I can’t stop thinking about when I was little and saw Tom Jones in Mars Attacks and thought blimey how did he get from Wales to Las Vegas!?

“I always get scared before shows, and I take it as a good sign because it means I care and means I just want to do a good job,” she continued. “Maybe it’s because I didn’t start when I was supposed to. Maybe it’s because it’s opening night, maybe it’s because Hyde Park went so great, maybe it’s because I love the show, I don’t know. But it’s safe to say I’ve never been more nervous before a show in my career, but at the same time I wish today was tomorrow! I can’t wait to see you out there x.”

The thread came alongside a photo of the 34-year-old British singer/songwriter inside the Colosseum at Caesars Palace, holding a mic and standing amid the seats that will be filled with 4,000-plus adoring fans come Friday night. Behind her on the stage is a giant video screen projecting images of the star as a little girl and as a baby, similar to the projections that played as she sang “When We Were Young” during her Oprah-hosted Adele One Night Only TV concert special late last year.

It’s a big week for Adele, who also scored seven nominations for the 2023 Grammy Awards on Tuesday, including album of the year for her 2021 project 30 and record and song of the year for lead single “Easy on Me.”

Find Adele’s residency dates here, and see just how excited she is to get this thing started below:

Silk Sonic Scores Again as ‘After Last Night’ Hits No. 1 on Adult R&B Airplay

Silk Sonic reasserts its might on Billboard’s Adult R&B Airplay chart as the duo’s “After Last Night,” with Thundercat and funk legend Bootsy Collins, ascends to No. 1 on the list dated Nov. 19. The coronation gives the pair, comprised of Bruno Mars and Anderson .Paak, their fourth champ from their first five singles.

“After Last Night” rises from No. 3 after a 12% gain in weekly plays that made the single the most-played song on U.S. monitored adult R&B radio stations in the week ending Nov. 13, according to Luminate. The track evicts Tank’s “Slow,” featuring J. Valentine, after its two weeks on top.

As noted, the new champ is the fourth No. 1 for Silk Sonic out of five singles since the duo’s first release in early 2021. The pair first reigned on Adult R&B Airplay with debut effort “Leave the Door Open” for 13 weeks in April – June 2021, returned to the summit with third single “Smokin out the Window” for one week in January 2022, and ran up another 13-week stay on top for fourth release “Love’s Train” in April – July of this year. Of their first five singles, the only one to miss the top slot was the second, “Skate,” which peaked at No. 4 in October 2021.

Four of the five tracks, sans “Love’s Train,” all originally appeared on Silk Sonic’s An Evening With Silk Sonic album upon its release in November 2021 (“Train,” released in February 2022, was added to the album’s digital and streaming versions.) An Evening With Silk Sonic debuted at No. 1 on the Top R&B/Hip-Hop Albums and Top R&B Albums charts, leading the former for one week and the latter for two terms.

With all four No. 1s now on the album, An Evening With Silk Sonic is only the second album to generate four Adult R&B Airplay No. 1s. Toni Braxton’s self-titled 1993 LP was the first, thanks to the chart-topping runs of “Another Sad Love Song,” “Breathe Again,” “Seven Whole Days” and “You Mean the World to Me” between September 1993 and March 1994.

As Silk Sonic also contributes to Mars and Anderson .Paak’s individual chart accounts, “After Last Night” gives Mars his eighth career No. 1 on Adult R&B Airplay, while Anderson .Paak notches his fourth. Thundercat claims his first champ on the list with his first entry, while Bootsy Collins earns his first leader with his second appearance on the 29-year-old list, after “Don’t Take My Funk” featuring Catfish Collins and Bobby Womack, stopped at No. 32 in 2011.

Elsewhere, “After Last Night” rides its adult R&B momentum to push 19-16 on the R&B/Hip-Hop Airplay chart, which measures songs by audience listenership from both adult R&B and mainstream R&B/hip-hop stations. There, the song improves 6% to 7.5 million in audience in the week ending Nov. 13. The rebound brings the song within two places of its No. 14 peak thus far, achieved four weeks ago.

Alicia Keys’ ‘Santa Baby’ Bows on Billboard’s Top Holiday Albums Chart

Alicia Keys’ first seasonal effort, Santa Baby, jingles onto Billboard’s Top Holiday Albums chart (dated Nov. 19) as the list’s highest debut of the week, arriving at No. 19. The 11-track effort is Keys’ first independently released album after a career in the major-label system, first with J Records and then RCA. The download and streaming editions of the album are exclusive to the iTunes Store and Apple Music, respectively, while the physical album is widely available to all retailers.

The set bows with 3,000 equivalent album units earned in the U.S. in the week ending Nov. 10, according to Luminate, with traditional album sales powering 74% of that sum.

Meanwhile, Keys’ cover of “Please Come Home for Christmas,” from the Santa Baby project, enters at No. 27 on the Adult Contemporary airplay chart – her seventh visit to the list.

A second debut joins Santa Baby on Top Holiday Albums as Switchfoot’s first Christmas release, This Is Our Christmas Album, enters at No. 400 (1,000 units). Coincidentally, both include covers of a pair of classics: “Christmas Time Is Here” and “The Christmas Song.”

Elsewhere on Top Holiday Albums, Michael Bublé’s Christmas crowns the chart for a 37th nonconsecutive week (rising 2-1 with 13,000 units; up 107%), while the various artists compilation A Christmas Gift for You From Phil Spector jumps 10-2 (a new peak) as holiday streaming programming kicked into gear post-Halloween in the chart’s tracking week of Nov. 4-10.

The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each units equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram. The seasonal Top Holiday Albums returned for another festive season with the Oct. 22-dated list and will continue as part of Billboard’s weekly chart menu until it dashes away in January 2023.

Nicky Jam Performs ‘El Perdón’ Alongside Scholarship Recipients at 2022 Latin Grammys

Nicky Jam is lending a hand to the new generation of musicians.

The superstar sang his hit “El Perdón” alongside Latin Grammy Cultural Foundation scholarship recipients Xavier Cintrón, Valentina García, Nicolle Horbath and Sergio de Miguel Jorgequera — who are all performing for the first time at a Latin Grammys ceremony.

“Those that know my story know that music saved my life and from many things. And if it wasn’t for music, I probably wouldn’t be here tonight sharing with you all,” the chart-topping artist said before announcing the creation of a new scholarship and thanking the Latin Recording Academy for letting him be part of this special moment. “I want to thank Latin Grammys for letting me be part of this project and donate this scholarship for young people. I’m so excited, the scholarship is called Nicky Jam and I’m helping these new artists to do great things and be great global artists. God bless you all.”

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Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.

The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Nov. 17 at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.

Rauw Alejandro Performs Eclectic Medley at 2022 Latin Grammys

Puerto Rican star Rauw Alejandro was one of the first artists to take the stage at the 2022 Latin Grammys live from the Michelob Ultra Arena in Las Vegas.

In a dark stage that gave an illusion of space, which his been the concept of his latest album titled Saturno, Alejandro performed an eclectic and trippy medley of his songs “Lejos del Cielo,” “Más de Una Vez,” “Desesperados” and “Punto 40”. Dressed in a metallic outfit styled with large, dark sunglasses, he started his set singing alone but was then joined by a troupe of dancers who wore all black and who’s faces were covered with white masks.

Most recently, Alejandro, born Raúl Alejandro Ocasio Ruiz, unleashed his new studio album Saturno, home to 18 tracks including the previously-released “Lokera,” “Punto 40,” “Dime Quien????,” and focus single “Lejos Del Cielo,” which all set the tone for his new galactical era. 

The ever-chameleonic singer steps away from his signature trap and perreo, and continues honing his art with a more experimental sound. Think old-school hip-hop, ’80s and ’90s freestyle, and even punk rock laced with otherworldly, innovative rhythms.

And in true Rauw fashion, he couldn’t escape to Outerspace without edgy reggaeton songs and some of his best collaborators, including veterans Arcangel and DJ Playero. 

Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.

The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Nov. 17 at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.