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Veteran rockabilly musician Brian Setzer has revealed he’s currently unable to play guitar, with an unspecified autoimmune disease halting his celebrated abilities.

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Setzer shared the news on social media on Thursday (Feb. 13), giving fans an update as to his current status following a few months away from the stage. In his post, he revealed that towards the end of the Stray Cats’ 2024 summer tour (which wrapped in August), he was left with cramping hands and a diminished ability to play guitar.

“I’ve since discovered that I have an auto-immune disease. I cannot play guitar,” he told his followers. “There is no pain, but it feels like I am wearing a pair of gloves when I try to play. I have seen some progress in that I can hold a pen and tie my shoes. I know this sounds ridiculous, but I was at a point where I couldn’t even do that. 

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“Luckily, I have the best hospital in the world down the block from me. It’s called the Mayo Clinic. I know I will beat this, it will just take some time.”

Setzer first rose to fame at the start of the ‘80s as the guitarist and vocalist of New York rockabilly outfit Stray Cats. Following a string of successful albums and singles (including Hot 100 top ten hits “Rock This Town” and “Stray Cat Strut” from their 1981 self-titled debut), the group split in 1984 before reforming two years later.

Alongside further splits and reunions, Setzer has also been the leader of the eponymous Brian Setzer Orchestra since 1990. His most recent solo album, The Devil Always Collects, arrived in 2023, while Stray Cats returned in 2019 with 40, their first studio album in 26 years.

Setzer’s battle with an auto-immune disease isn’t the first time the acclaimed musician’s health has kept him away from the stage. In 2019, he was forced to cancel 26 dates of his Christmas Rocks! Tour due to being diagnosed with a severe case of tinnitus – a condition that causes sufferers to hear a constant noise or ringing in their ears.

“I’m truly sorry for the inconvenience this has caused all of the amazing people who make my tour happen and to my unbelievably loyal and devoted fans,” Setzer wrote at the time. “I hate to let you down and I hope you’ll understand.”

Though no touring plans have been affected by Setzer’s recent diagnosis, his positive demeanor bodes well for a swift return to the stage.

“Rata inmunda, animal rastrero, escoria de la vida, adefesio mal hecho.”

Loosely translating to “filthy rat, creeping animal, scum of life, shoddy monstrosity” in English, these are the opening lyrics to one of Paquita la del Barrio’s most popular songs, “Rata de dos Patas.”

Whether the lyrics to her songs — most penned by other composers, including Manuel Eduardo Toscano — were poetic is subjective, but they were very much the essence of Paquita. She was refreshingly honest, which made her one of the most unique artists of her generation.

It was announced on Monday (Feb. 17) that the great and oh-so-blunt Paquita la del Barrio had died at age 77, leaving behind a hefty catalog of female anthems that have soundtracked Spanish-language households in Mexico and beyond for decades.

“With deep pain and sadness, we confirm the sensitive passing of our beloved ‘Paquita la del Barrio’ at her home in Veracruz [Mexico], being a unique and irreplaceable artist, who will leave an indelible mark in the hearts of all who knew her and enjoyed her music,” reads a statement posted on her official Instagram account. “In this moment of great pain, we respectfully ask all media and the public to give us space and understanding so that her family can experience their mourning in privacy and peace.”

Paquita la del Barrio was a force to be reckoned with in regional Mexican music, a genre historically and still dominated by men. Her perspective and take on rancheras — often calling out the macho culture — was not only unique, but extremely important. No one was else was singing what Paquita la del Barrio was singing about, and for that, she will go down in history as one of the most iconic singers in Latin music.

Injecting pathos into her delivery, Paquita made women feel seen. Our point of view mattered, too, she proclaimed, singing about the peaks and valleys of womanhood and, more often than not, singing directly to the men who disrespected her. “I should shut up like a lady would,” she sings in “Taco Placero.” “But now they will know that you are a dud in bed.”

While most of Paquita la del Barrio’s songs became anthems, here are five emblematic ones (in no particular order).

“Rata de dos Patas”

Back in September of 2021, during the Billboard Latin Music Awards in Miami, Paquita la del Barrio — all 4 feet, 11 inches of her — struggled to reach the too-high microphone set up for her to accept her Lifetime Achievement Award.
It was one of those totally impromptu TV moments, and for a few seconds, the stage and the audience froze, uncertain of what to do. Then, Bad Bunny bounded up from his front row seat, climbed onto the stage, lowered the microphone and held it up for Paquita as she delivered a teary thank you.

There was a one-foot height gap between Paquita at 4′ 11″ and Bunny at 5′ 11″, and a 47-year age gap between Bunny, 27 at the time, and Paquita, 74. But standing side by side — Bunny, in an elegant cream suit, and Paquita, resplendent in a pink evening gown adorned with sequins — they were both unicorns in their respective worlds.

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By now, of course, the whole world beyond our Latin corners knows all about Bad Bunny, superstar. But they were just starting to wake up to the exploits of Paquita la del Barrio, the diminutive ranchera singer who died today (Feb. 17) at 77 years old.

Although she released more than 30 albums throughout her career, and performed thousands of shows, the life of the woman born Francisca Viveros Barradas in Veracruz, Mexico, was little-known outside the Latin realm until last year, when Netflix released a series memorializing a hard-scrabble, colorful life.

Born poor, and married young to a man 18 years her senior — who, as it turned out, had another family — and pummeled by life and hardship, Paquita rose against all odds, thanks to a powerful voice and an impervious stage presence.

That alone would have garnered fame. But Paquita became legendary because she loudly and publicly excoriated men with extraordinarily harsh songs whose titles, like “Rata de dos Patas” (Two-Legged Rat) and “Piérdeme el Respeto” (Lose My Respect), often said it all. Paquita knew what she sang. She’d given her heart to a two-timing scoundrel, after all, and in every song that voiced her anger and the deceit (“Horrible rat, crawling animal, scum of life, misshapen monster”), she voiced the anger and deceit experienced by legions of fans.

But she could also sing of love and lust: “Lose my respect,” she begged in “Piéerdeme el Respeto.” “Stop being coy and ask of me, I beg you, the most indecent proposals.” She was also sweet and emotional, often breaking down in tears during interviews.

In the realm of Latin music, where women so often have to fit into a glamorous, beautiful mold, Paquita defied convention. Her nickname was literally Paquita from the barrio, of the people. She was a portly, elegant matron who notched her biggest hits — including “Taco Placero” and “Rata de Dos patas” — when she was well in her 50s.

Many of those hits were written expressly for her by songwriter Manuel Toscano, who once told Billboard: “I write specifically for each artist. Particularly what I write for Paquita la del Barrio. Through her songs, women love me, but men hate me!”

Except, they didn’t. Paquita triumphed in the world of regional Mexican music, which continues to be a notoriously tough nut to crack for women. But Paquita didn’t care about tradition or niceties. She just let it all out, and men loved her for it. In the vastly male-dominated live concert circuit of Mexican music, she was often the headliner, and men flocked to her shows.

On the charts, however, Paquita struggled as an unconventional woman. She placed eight releases on Billboard’s Top Latin Albums charts, but none of them made the top 10. She never had a top 10 on the radio charts, either.

Paquita eventually found her love. Her second marriage lasted 30 years, until her husband’s death. And her power and influence was such that in 2021, Billboard honored her with its Lifetime Achievement Award.

That night, Bad Bunny couldn’t figure out how to lower the microphone stand for Paquita. “You’re useless,” she deadpanned, referencing the famous line in “Rata de dos patas,” in which she shouts, “Are you listening to me, useless one?”

Bunny shrugged, and valiantly held that mike. Coming from Paquita, he knew this was the ultimate compliment.

Camila Cabello is taking C,XOXO on the road on the Yours, C Tour this summer. The singer announced the upcoming trek on Monday (Feb. 17), as well as presale details.
“I have been dying to tell you this. you have been so patient, and now it’s finally happening,” Cabello wrote on Instagram, where she shared a promo clip with snippets of singles from Camila, Romance and C,XOXO to tease the tour.

The summer itinerary takes Cabello around Europe for festivals and headlining shows in June and July. Fans in Spain, France, the Netherlands, Germany, Finland, Poland, England and Ireland will get the chance to see her live.

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In September, she’ll head to São Paulo, Brazil, to perform at the Town Festival, with Katy Perry also on the lineup.

No U.S. tour dates have been announced.

To get presale information and first dibs on tickets, sign up for Cabello’s mailing list here by Feb. 18 at 6 p.m. GMT. Presale tickets will go on sale on Feb. 19 at 9 a.m. local time. General sale tickets will be available beginning Feb. 21 at 9 a.m. local time.

On Sunday, Cabello appeared at the 2025 BRIT Awards as a presenter, announcing the winner of the children’s and family film award (Wallace and Gromit: Vengeance Most Fowl). She hinted at Monday’s tour announcement in a post from the event, writing, “announcing something exciting tomorrow.”

Last month, she penned a heartfelt ode to fandom, and to her own fans, on Instagram.

“The people who I’ve chosen to be a fan of, since I was 12 to now, from musicians to authors to painters, have made me who I am,” she wrote. “Being a fan is a transformative and creative and sacred endeavor. And the artist who gives to their community also gets, in the form of love, inspiration, and trust. I’m honored to be that for you. It’s one of the sweetest relationships I’ve known. I have fans that have been more loving, loyal, and ride or die than people in my real life. Make no mistake, regardless of distance and time apart and proximity, the love in that room, the love between us is very real. I feel it too. I hold it close to my heart like a little light on a dark night. Yesterday, today, and tomorrow.”

Check out Cabello’s Yours, C Tour announcement below.

The BRIT Awards has finalized its performer lineup for the 2025 ceremony with two new additions. Sam Fender and Lola Young will both play live during the broadcast on March 1 at The O2 Arena in London. They join a stacked bill of performers including Sabrina Carpenter, Shaboozey, Teddy Swims, JADE, The Last Dinner Party […]

Lady Gaga is giving fans a sneak peek into her upcoming album. A visit to the 38-year-old pop star and actress’ official website reveals a series of floating black letters against an orange backdrop, which may be lyrics from her forthcoming album, Mayhem, set to drop on March 7. When users click and drag their […]

Doechii has something to say to anyone questioning the authenticity of her jaw-dropping performance at the 2025 Grammy Awards. On Saturday (Feb. 15), the 26-year-old rap star addressed rumors suggesting she was lip-syncing during her innovative delivery of “Denial Is a River” and “Catfish” at the Feb. 2 ceremony in Los Angeles, where she also […]

Ezra Collective have teamed up with British-Colombian singer-songwriter Sasha Keable on new single “Body Language,” marking their first release of 2025.
The track, which contains elements of cumbia music and celebrates movement and Latin American culture, arrives off the back of a stellar year for the contemporary jazz group. In October, they broke the top 10 of the Official U.K. Albums Chart for the first time with their third LP, Dance, No One’s Watching. The following month, they performed their biggest headline show to date at London’s 12,500-capacity OVO Wembley Arena.

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“‘Body Language’ is a tribute to the Latin American communities of London that deeply inspire us,” the band said in a press release. “A collaboration with a friend who has been part of the EZ family for years. The language of the body is dancing and this song is a celebration of this.”

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Keable added, “I’m so happy to be coming full circle with the boys on this collab after touring years ago together. It feels like the timing couldn’t be better as we get ready to road test ‘Body Language’ in Latin America, my motherland. This record holds a special place in my heart on so many levels.”

Ezra Collective have also gone on to receive four nominations for this year’s BRIT Awards, including a nod for album of the year. They also crop up in the group of the year, best new artist and alternative/rock act categories. 

“Our BRITs nominations for 2025 are a celebration of a 12-year journey — starting out playing at pubs to our friends and family, to loads of special firsts along the way,” the band posted to social media upon announcement of the news. “We’re beyond grateful for the support and encouragement at every step of the journey.”

The five-piece first rose to mainstream prominence through winning the Mercury Prize 2023 with their album Where I’m Meant To Be, becoming the first jazz act in history to do so. They have since released three albums and collaborated with Loyle Carner, Jorja Smith, Kojey Radical and rising British pop star Olivia Dean.

The band — comprising drummer and bandleader Femi Koleoso, bassist TJ Koleoso, keyboardist Joe Armon-Jones, trumpeter Ife Ogunjobi, and saxophonist James Mollison — met at the London jazz youth programme Tomorrow’s Warriors as teenagers. They have since spoken about the importance of ensuring that musical education remains accessible for those from working-class backgrounds across the country. 

“You’re investing into the community and people around you,” said Femi of the band’s mission statement when speaking to Billboard last October. “That’s what the Ezra Collective is all about, and that’s why I’m so proud to be considered a part of the U.K. jazz scene because it’s such a beautiful community.”

Listen to “Body Language” below.

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Source: Taylor Hill / Getty
Roots Picnic is back for 2025, and the headliners are once again top-notch. On Monday, February 17, the Roots and Live Nation announced that the headliners for the annual event include D’Angelo (wth the Roots), Lenny Kravitz, and Meek Mill along with GloRilla, Miguel, Tems, Latto and Kaytranada, and more.

Source: Live Nation / Live Nation
The two-day festival will go down back at The Mann in Fairmount Park in Philadelphia, PA on Saturday, May 31 and Sunday, June 1, 2025. In its continued spirit of collaboration, attendees will also get to see who’s who of musical talents that already includes Jeezy (who will be celebrating 20 years of his TM: 101 album), Pusha T and 2 Chainz (as part of J. Period’s Live Mixtape with Black Thought), Musiq Soulchild, Jagged Edge, Backyard Band featuring CeeLo Green, Crystal Waters (as part of DJ Rich Medina’s Black House Set), Laila! and more.

And as per usual, more performers will be announced in the coming months. The Roots Picnic first launched back in 2007 and has since firmly established itself as a yearly bucket list item for Hip-Hop and music heads. One particular moment to check for will be The Roots celebrating the 30th anniversary of their landmark Do You Want More?!!!??! album.
Presale tickets will be up for grabs starting on Tuesday, February 18 at 10 AM ET through Thursday, February 20 at 10 pm ET. General ticketing kicks off Friday, February 21 at 10 AM ET and all package deals such as weekend passes and VIP packages will be found RIGHT HERE.
See a full list of performers below:

PERFORMANCE LINEUP:
D’Angelo with The Roots
Lenny Kravitz
Meek Mill
GloRilla
Miguel
Tems
Latto
Kaytranada
Jeezy celebrating the 20th anniversary of his album Let’s Get It: Thug Motivation 101
J.Period Live Mixtape Featuring Black Thought, 2 Chainz, and Pusha T
Musiq Soulchild celebrating the 25th anniversary of his album Aijuswanaseing
The Roots celebrating the 30th anniversary of their album Do You Want More?!!!??!
Adam Blackstone featuring Jagged Edge
Baller Alert Presents Backyard Band featuring CeeLo Green
Rich Medina’s Black House Set featuring Crystal Waters and Cece Peniston
Kur
Elmiene
Lay Banks
Jermaine Dolly
Laila!
Funk Flex
Diamond Kuts
DJ Aktive
Peyton
Leeyuh Neptune
And more to be confirmed…
**Lineup subject to change
ROOTS PICNIC DAY PARTY LINEUP:
Trap Karaoke
DJ Aktive Presents Chill Vibes featuring Raheem Devaughn
Doo-Wop …That R&B Party
Girls Love Karaoke
Dear Summer Festival
Kirk Franklin’s Sunday School w/ DJ Mal-Ski
The Remedy feat Rich Medina & Cosmo Baker
Snacktime
All You Can Sing
Philly Black Pride
Interna$hional Bounce
All Spice World Dance
World Series of Spades

The producers of SNL50: The Anniversary Special, the three-and-a-half-hour salute to Saturday Night Live, which aired on NBC on Sunday (Feb. 16), had five decades of music to draw on for the handful of music performance spots on the show, but chose music from the 1960s to both open and close the show. Paul Simon and Sabrina Carpenter opened the show with Simon & Garfunkel’s 1966 classic “Homeward Bound.” Paul McCartney closed the show with the prized closing medley from The Beatles’ 1969 album, Abbey Road.

On the Grammy Awards two weeks earlier, Lady Gaga and Bruno Mars bypassed their own Grammy-nominated (and ultimately, Grammy-winning) smash “Die With a Smile” to perform the Mamas and the Papas’ 1966 smash “California Dreamin’” as a tribute to Los Angeles, which was battered by wind-whipped fires in January.

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On the upcoming Oscars, A Complete Unknown, the hit biopic about Bob Dylan which focuses on the period between 1961-65, is nominated for eight awards, including best picture. It’s the first biopic where three actors received Oscar nominations for playing real-life musicians — Timothée Chalamet as Dylan, Edward Norton as Pete Seeger, and Monica Barbaro as Joan Baez.

It is not known if Chalamet or Dylan (or in the best of all possible worlds, both of them together) will perform on the Oscars, but you can bet the producers have made the calls.

On the Tonys last June, The Who’s Pete Townshend joined the cast of the revival of The Who’s Tommy to perform “See Me, Feel Me”/”Pinball Wizard” from the band’s classic 1969 album. The show was nominated for best revival of a musical.

On that same show, the cast of Cabaret at the Kit Kat Club performed “Wilkommen” from Kander & Ebb’s landmark 1966 musical Cabaret. Cabaret at the Kit Kat Club was also nominated for best revival of a musical.

So, what do we make of all this? Part of it is that smart TV producers, going back to Ed Sullivan on his long-running variety show, like to have something for viewers of all ages.

But another reason is simply the greatness of 1960s music, an era when The Beatles, Dylan, The Brill Building, Motown, Stax, Bacharach & David, Aretha Franklin, Simon & Garfunkel, The Who, The Beach Boys and The Rolling Stones, among many others, were at their peaks, spurring each other on to greatness.

Every generation likes to think their generation’s music was the best ever. But people who came of age in the 1960s can simply point to the above-named artists and hit factories to make a pretty compelling case.

Incidentally, this wasn’t the first time McCartney has closed a high-profile TV show by performing the closing medley (“Golden Slumbers,” “Carry That Weight” and “The End”) from Abbey Road. He closed the 2012 Grammy ceremony with that same medley, joined by such guest musicians as Bruce Springsteen, Dave Grohl and Joe Walsh.

Carpenter and Simon engaged in some light banter on SNL50 before their performance of “Homeward Bound.”

“I sang this song with George Harrison on Saturday Night Live in 1976,” recalled Simon. “I was not born then, and neither were my parents,” replied Carpenter, who was born in May 1999.

Simon probably could have lived without the zinger about her parents, but it points to the staying power of his songs. “Homeward Bound,” like “California Dreamin’” and the Abbey Road medley, is nearly 60 years old, but its magic holds up.