Music

06 Aug 2024

Yungblud on His Disruptive New Festival, Keeping Ticket Prices Down & His New Label Move

In 2017, Yungblud met the world with a riotous show at The Water Rats, a dingy club in London’s Kings Cross area that also hosted Bob Dylan’s first live performance in the U.K. — as well as the first ever by Irish group The Pogues.

They went on to even bigger things and this weekend Yungblud will, too. On Aug. 11, the Doncaster-born artist will host the inaugural Bludfest, a 30,000 capacity, one-day event at Milton Keynes Bowl, England. Previous performers at the venue include Queen, Green Day, Metallica, Foo Fighters and Michael Jackson.

The 27-year-old – real name Dominic Harrison – will be joined by a diverse bill including his recent collaborator Lil Yachty, Soft Play (fka Slaves), Jazmin Bean, Lola Young and feature a slot by The Damned; the headline performance will mark his first full U.K. live show in over a year. Harrison released his most recent LP, Yungblud, in 2022, which charted at No. 1 in the U.K. and landed at No. 45 on the Billboard 200.

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Across two stages and alongside fairground attractions, an art exhibition and a nod to the beloved Camden boozer The Hawley Arms, Bludfest is an all-encompassing proposition. “I’ve said from the start that it cannot be a gig wrapped in a festival, it needs to be a whole world,” he tells Billboard. “When I spoke with the team it became clear that it was important that part was nailed.”

Disillusioned with the state of the live music industry, Harrison has also been vocal about keeping ticket prices affordable for his young, passionate fanbase. He joins British artists like Paul Heaton and Tom Grennan in trying to buck industry trends for rising entry costs for fans amidst an uncertain and costly landscape for touring artists. An entry ticket for the event is capped at £49.50, though he has partnered with AEG to ensure a sound and slick production on the night.

A week out from the big night, Harrison tells Billboard about why the ticket market inspired Bludfest, advice from the Osbournes and his new label moves for album number four.

Why did now feel like the right time for Bludfest?

It’s something I’ve wanted to do for ages and this was the first opportunity in between tours and albums to do something on this scale. I wanted to build a physical space where the fans can all come together and realize how far this community has come. It needed to be a statement piece as a lot of critics don’t take me or the fans seriously, so I’m like “well, look what we can do.”

You’ve strived to keep ticket prices down to a reasonable amount at £49.50 ($63). Where did that desire come from?

I was in the U.S. last summer and it was the first time playing amphitheaters – our biggest venues in America yet – and it was the first time I experienced tiered seating and experiences. The floor and upper seats were totally full and there was this bullsh-t area in the middle, about 500 seats that were empty and I had no control over the price of them. There were kids outside of the venue who said they had to listen to the concert from outside because they couldn’t afford to come in. It hurt me when I heard that.

The global ticket market doesn’t understand people’s real lives. £250 for a ticket is making me sick. There’s a tour that just went on sale – which I won’t name – and I’m like “Are you f–king joking with me?” It makes me really angry.

There’s concern that young people in particular are being priced out of gigs by their favorite artists…

A lot of artists aren’t as in control of their career as you would think, or don’t pay as much attention to anything other than the art – which is fine and works for some artists, but that’s not me. The only explanation for where I am now, really, is my relationship to my fans. I wanted to make something feasible in a world where music has become a thing of privilege.

Looking at what The Cure’s Robert Smith did with Ticketmaster last year was so inspiring [Ticketmaster refunded what Smith called “unduly high” fees on tickets for the band’s U.S. arena tour in 2023.] That’s an artist at his stage of his career where they’re playing for original fans, but also for new, young fans and he’s still thinking about those people coming through. I don’t want my shows to only be full of people who can afford it.

How has the industry responded to you trying to do something different and less centered around profits?

I’m getting pushback from “the boardroom.” It’s so easy for artists to sit in the pub and say “f–k the label, promoters and corporate system” and do nothing about it. I got some heat from people because Bludfest is co-promoted by AEG but for me, the way to change the corporate system is not by betting angry but going and changing it from within. Most people on the ground floor at these labels or promoters just love music passionately as the fans do.

By taking something into my own control, I can get an insight into something I never would have come across and get an idea on costs and challenge them on why we’re charging a higher amount than what we need to. We’ve already got plans to take Bludfest to Paris or Prague; Japan, Australia and America all want it, it’s gone amazingly well. We have such a strong core fanbase in all of these places and we could really unite a bit of a scene around it.

You’re not the first to have the idea. Lollapalooza started as an outlet for Jane’s Addiction frontman Perry Farrell and your collaborator Ozzy Osbourne [star of the music video for Yungblud’s “The Funeral”] hosted Ozzfest for decades. Have you reached out for advice?

Sharon [Osbourne, Ozzy’s wife and longtime manager] has been so helpful to me. I said to her that I don’t feel like people don’t take me seriously, and she replied “we’ve felt that our whole f–king lives, that’s why we started Ozzfest.” She gave such positive feedback and advice to look after the people because they keep us here. They’ve been so amazing as a family to me.

You’ve got an eclectic mix of artists on the bill from U.S. rappers like Lil Yachty to punk legends The Damned. How did you decide who would be right for Bludfest?

I didn’t want it to be a genre-focused festival. I wanted to think about artists in their own lane and doing their own thing from across the whole scene, so I hit up Lola [Young] who I think is amazing, Jazmin [Bean] who is in their own world, The Damned for the icon slot. I asked about Placebo but they couldn’t make it so maybe we’ll get them next year. I was speaking to Robert Smith, The Smashing Pumpkins and just all my contacts for suggestions, and they all love the idea.

I wanted it to be young, emerging artists. I didn’t want to call up Tyler [Joseph] of Twenty One Pilots, or Oli [Sykes] from Bring Me The Horizon, I wanted it to feel like it is the first year and have a bit of bite and punkiness.

You’ve just moved labels to Island (U.K.) and Capitol (U.S.) for your upcoming record. How is work coming along?

My next album is a rock opera… it’s mental! It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that. The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.

In the past I was stuck on the treadmill – to the point that even some of my previous albums felt rushed – or taking external ideas that would damage the art because I was trying to satisfy someone else’s idea for what Yungblud is and not what’s in my gut. But now I feel more excited than ever.

06 Aug 2024

11 Bogotá Artists for Your Playlist: Morat, Fonseca, Ela Taubert & More

Bogotá — the capital and largest city of Colombia — was founded 486 years ago today (Aug. 6), and Billboard is celebrating by spotlighting some of its musical gems.

Our list (in alphabetical order below) includes a mix of renowned and emerging artists from the likes of Latin rock giants Aterciopelados to up-and-coming pop star Ela Taubert. The former is a three-time Latin Grammy-winning band and five-time Grammy nominee. The latter, who’s gained traction on social media with her suave, melancholy vocals, recently nabbed the new generation – female award at the 2024 Premios Juventud.

Colombia, overall, is known for its rich musical culture — represented across genres by top-tier artists such as Cali’s Grupo Niche (salsa), Medellín’s Karol G (reggaetón), Montería’s Aniceto Molina (cumbia), and La Guajira’s Diomedes Díaz (vallenato).

In Bogotá — which was founded on Aug. 6, 1538 by Spanish conquistador Gonzalo Jiménez de Quesada and became Colombia’s capital on August 7, 1819 — the music scene is varied, but far more edgy, indie, alternative and pop-centric. Its music and live scene is so powerful and vibrant that in 2012 it was named a UNESCO City of Music.

“What is happening currently with Colombian music is, first, the reflection of a country that has many geographies and therefore also a lot of sound richness,” Aterciopelados’ singer, Andrea Echeverri, previously said to Billboard Español. “There are not only Caribbean sounds but there are Pacific sounds, sounds from the coasts but also from the inland. All this richness is now being shown to the world with a very powerful infrastructure.”

Below, check out a list of Bogotan artists to have on your playlist.

06 Aug 2024

What Impact Will Chappell Roan’s Success Have on the Music Industry?

One of the fastest-rising artists of the 2020s takes another step up the ladder this week, as Chappell Roan hits new highs on both the Billboard 200 albums chart and the Billboard Hot 100.

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Thanks to a summer-long crescendoing of public interest (and less clutter this week from big album debuts), Roan’s The Rise and Fall of a Midwest Princess albums climbs 8-4 on the Billboard 200 dated Aug. 10. Meanwhile “Good Luck, Babe!” ascends 10-8 on the Hot 100 — highest of her six separate entries on the chart this week, with all except the newer “Babe” hailing from Midwest Princess.

Which of the two charts is Roan likely to top first? And what impact will the tremendous success she’s enjoying have on the larger music industry? Billboard staffers discuss these questions and more below.

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1. Chappell Roan’s The Rise and Fall of a Midwest Princess jumps four spots to a new high of No. 4 on the Billboard 200 this week, reaching the peak in its 19th week on the chart, while “Good Luck, Babe!” climbs 10-8 this week to also hit a new peak on the Hot 100. If you had to bet on one of them to reach No. 1 on their respective charts, which would it be? 

Christopher Claxton: If I had to bet on one of them reaching No. 1 on their respective charts, I would choose “Good Luck, Babe!” Singles often have an easier upward trajectory on the charts because they stand alone. Often times a single is its own story allowing it to capture the audience attention in a shorter time frame and then generate sales and streams. On the other hand, The Rise and Fall of a Midwest Princess is a combination of 14 tracks, so its chart performance depends on the reception of all the songs. This makes its rise potentially slower as multiple factors contribute to its overall success.

Kyle Denis: This is hard – especially because a No. 1 on both charts (perhaps the same week?) is definitely not out of the question! If I had to bet on one of them, I would put my money on Midwest Princess topping the Billboard 200. It’s one of the few albums in recent memory that’s genuinely being consumed as a unit versus individual songs. The singles chart also feels more competitive right now; the chart’s top ten has been relatively stagnant in recent weeks. Nonetheless, should a “Good Luck, Babe!” music video arrive soon, all bets are off.

Lyndsey Havens: I think “Good Luck, Babe!” is well on its way to a becoming a Hot 100 chart topper. As evidenced by the gradual climb of both the hit and its respective album, Chappell manages to grow more and more powerful with each passing week. And on the heels of her epic Lollapalooza performance in Chicago this past weekend – where she garnered the biggest crowd to date across the fest’s global franchise – I would expect to see “Babe” jump into the chart’s top 5, at least. And as we should all know by now, it’s only up from there, as it seems Chappell has all the luck she needs.

Andrew Unterberger: We’re getting to the point where it feels like she could make the jump on either chart with a single lever pull — either a music video or official remix for “Babe” or a deluxe reissue of Princess would likely do the respective tricks. (A deluxe Princess reissue featuring a new remix of “Babe” could possibly even accomplish the double whammy.) But assuming she doesn’t do any of that, I’d probably vote for “Babe,” just because it’s still massive on streaming and growing on radio, and every new bump in momentum she gets — a gigantic festival set here, a political endorsement there — seems to hoist it higher. But it very well might end up being a photo finish between the two.

Christine Werthman: I’m going with “Good Luck, Babe!” going to No. 1 on the Hot 100. I’ve heard it on the radio multiple times a day, in coffee shops, at rest stops — the song is everywhere. I know the album has a shorter climb to the top, but I’m skeptical that it would dethrone Taylor.

2. While “Babe” remains her lone top 10 hit, the Hot 100 is increasingly overrun with Roan songs the past couple months — also including “Hot to Go!” (No. 26), “Pink Pony Club” (No. 42), “Red Wine Supernova” (No. 52), “Casual” (No. 76) and “Femininomenon” (No. 86) — most of which are still rising on streaming and/or radio. If you had to bet on one of those songs eventually joining “Babe” in the top 10, which would it be?

Christopher Claxton: I would have to say “Hot to Go!” — it’s my favorite out of the bunch. The song has a catchy melody that’s infectious and lyrics that are easy to remember. “Hot to Go!” is also filled with a joyful message of self-love, which resonates with many listeners and allows the track to connect with a wide audience. Additionally, the track features an easy-to-learn dance routine that pairs perfectly with the chorus, making it even more engaging and shareable, especially on TikTok.

Kyle Denis: Although “Hot to Go!” is punchier and already has a head start, I’m betting on “Red Wine Supernova” — that melody is undeniable, and her voice drips with charisma on that track. I can also see a case being made for “Pink Pony Club,” given how emotional its message is.

Lyndsey Havens: Impossible to pick just one. The magic of Roan is that any of these songs – if not all – could have sleeper hit potential. I’ve lost count of all the times I have heard someone humming “Casual,” or blasting “Pink Pony Club” from their car — and even my mom has become familiar with the “Hot to Go” arm moves after seeing enough Lolla clips on social media. But while I think “Pony” and “Hot” are rightfully leading the charge right now – as both are amped up summer-ready hits – I wouldn’t count “Casual” out just yet. As the season cools down and we head into fall, that song falls more in line with the aesthetic of the season and could ultimately surpass its frontrunners.

Andrew Unterberger: The fact that any of the five are highly credible and conceivable candidates here is pretty insane to begin with — but I’m leaning towards “Pink Pony Club,” which has a sorta slow-building anthemic quality to it that seems like it could prove kinda inextinguishable in the months to come. Hell, even Blink-182 is riffing on it now.

Christine Werthman: I could see “Casual” getting used in a show or movie and that being the boost it needs to take a run at the top. “Casual” is the first Roan song I ever heard in 2022, and I thought it was so clever in its summation of situationship confusion (also accurately described the same year in the beginning of the FKA twigs song “oh my love”). It’s not as bombastic as some of the other Hot 100 options from Roan, but it’s still quirky, smart and honest, with a big belting moment, highly specific scenes and a singalong chorus. It remains one of my favorites.

3. We’re practically starting to run out of Rise and Fall songs that aren’t already Hot 100 hits — but if you had to bet on one more to join the party at this point, which would it be?

Christopher Claxton: I think “California” has great potential to join the Hot 100. “California” is Roan’s reflection on the pursuit of dreams and the inevitable disappointment that sometimes comes with them. She sings about someone who leaves their home to chase their dreams in California, a land of opportunity much like New York. However, upon arriving, Roan realizes she may have been disillusioned, yearning to return home and relive what she left behind. This is a deeply relatable story, as many people leave their hometowns for school or their dream jobs, only to face unexpected challenges and homesickness. In this track, Roan is raw and honest, and I believe her audience can respect and connect with the complex emotions she shares.

Kyle Denis: Probably “My Kink Is Karma,” people love that one!

Lyndsey Havens: As someone who’s not even on TikTok, I know that “Super Graphic Ultra Modern Girl” sure is. That song is so much fun and, as such, so very Brat.

Andrew Unterberger: The smart bet is definitely “My Kink Is Karma,” since that’s built enough streaming momentum to already be on the cusp of making the chart. But “Super Graphic Ultra Modern Girl” feels like the most single-ready of the remaining non-Hot 100 hits — and it’s being used in a suddenly unavoidable Marshall’s commercial — while “Naked in Manhattan” is forever just a big synch away from going absolutely nuclear. We’ll see.

Christine Werthman: I’m putting my chips on “My Kink Is Karma.” Like “Casual,” it’s a mid-tempo song filled with super-specific, clever callouts and an explosive vocal moment. As we’ve seen with other Hot 100 hitmakers (see: Olivia Rodrigo, Gayle), artists find success with tell-off tracks. Roan’s is a takedown, but her delivery is too cool to care, as she coos, “Wishing you the best in the worst way/ Using your distress as foreplay.” It’s a wicked little number, and though it made it onto the Bubbling Under chart, it deserves to jump to the Hot 100.

4. Chart success is one thing, but last Thursday Chappell Roan also played to a late-afternoon Lollapalooza crowd so packed to the back of Grant Park that the photos and videos almost defied belief — especially considering she only made her first appearance on either the Billboard 200 or Hot 100 just four months ago. What do you think is the biggest reason Roan has been able to experience such exponentially expanding success over such a short period of time?

Christopher Claxton: Chappell Roan has a sound that feels both fresh and familiar, making her music incredibly accessible. Her voice and style bring to mind a combination of Taylor Swift and Lana Del Rey, with songs like “Casual” echoing the youthful charm of early Taylor Swift. Moreover, her songs are versatile — they’re perfect for a commute to work, energizing for a workout at the gym, and captivating for live performances. Many artists struggle to create songs that are equally good for streaming and performing, but Chappell Roan seems to have mastered this balance. This versatility, along with her relatable lyrics and engaging melodies, has allowed her to connect with a wide audience and experience rapid success.

Kyle Denis: In addition to Midwest Princess being stacked with stone-cold bangers, Chappell’s live show has really helped her exponential rise. From opening up for Olivia Rodrigo to this latest Lollapalooza set, her theatrical, campy and intensely physical performances have captivated audiences across the country – even those who may not have been enamored with her music off a casual Spotify listen. She’s also making pop music that truly feels fresh; she’s unabashedly queer, her songwriting is evocative yet accessible, and she’s speaking directly to the rising generation of pop music consumers.

Lyndsey Havens: Something I’ve been talking about a lot lately is the idea of a narrative – something that, in an era of TikTok-propelled stars – has felt like less of a driving factor for stardom today. But with Chappell, not only is the music incredible but her story is, too: being dropped by a major label only to move back home only to not lose faith and work even harder only to reemerge more herself and have those songs be the ones that connect so deeply. What has made her rise so much fun for fans new and old is that it feels incredibly earned, and she doesn’t shy away from just how long her journey to the top has been – which is exactly why it feels so special to be a part of it now.

Andrew Unterberger: The biggest thing for me with Chappell is that she seems to be pulling in fans from all age groups. She obviously has the teens and early 20-somethings in her pocket, but I also can’t remember another new pop artist in my adult lifetime who’s inspired more visible excitement in grown folks I know who don’t normally follow or care about contemporary pop music. I’m still not totally sure what to attribute that to, aside from the fact that she’s reminiscent of the best parts of pop stars who emerged a generation earlier (namely Lady Gaga and Katy Perry), so she feels instantly familiar to older fans — but with a modern spin and underdog edge that makes her feel fresh and fun to root for. It’s fascinating stuff, and we’re going to be unpacking all of it for a long time to come.

Christine Werthman: Roan’s album dropped in September 2023, but 2024 brought her a host of live performance opportunities that catapulted her to a wider audience: opening slots on Olivia Rodrigo’s tour, legendary sets at Coachella, Governors Ball and Bonnaroo, and an epic Tiny Desk concert. The Rise and Fall of a Midwest Princess is a no-skips album, but Roan really shines live, and this year, she got the proper stages to showcase her talents, which has led people back to her album.

5. Roan’s runaway success is so staggering that it’s bound to cause ripple effects throughout the industry. What’s one way you could (or already do) see her breakout having either a short-term or long-term impact on the music world?

Christopher Claxton: While the full impact of Roan’s success may still be unfolding, one notable short-term effect is her influence on fashion and performance aesthetics. Her elaborate outfits, ranging from the Statue of Liberty to a wrestler and a fairy, have become major talking points. This emphasis on theatrical and eye-catching costumes is likely to inspire other artists to invest more in their visual presentation, enhancing both their performances and their overall appeal. In the long-term, Roan’s success highlights the growing importance of platforms like TikTok in an artist’s career. The platform’s ability to turn snippets into viral sensations can significantly amplify a song’s reach and impact, leading more artists to harness TikTok and platforms like it to advance their music and connect with audiences in creative ways.

Kyle Denis: Opening slots on major tours have always been coveted gets, but I think after the explosive growth of Gracie Abrams and Sabrina Carpenter post-Eras Tour and Roan post-Guts Tour will make artists and their teams even more hellbent on securing those spots. I wouldn’t be surprised if Amaarae, who is opening up for Carpenter’s upcoming trek, experiences a similar jump in success. And the same goes for whoever Roan picks to open her inevitable headlining tour.

Lyndsey Havens: I think both in and out of the industry people are driving with their eyes on the rear-view mirror much more – pushing ahead, but also giving much more thought, time and attention to artists who may have previously been overlooked or pushed in a wrong direction or simply not afforded patience. I think – and hope – the success that Chappell is having right now is placing an emphasis back on slow growth and supported artist development. Now that we have all caught up to Chappell, maybe we’ll be more ready for whomever comes next.

Andrew Unterberger: Folks are learning they need to pay attention to opening acts! Between Sabrina Carpenter going supernova post-Eras Tour and Chappell becoming massive following her run kicking off the Guts World Tour, it’s clear that the opener slots on these big-ticket tours — which are increasingly central events in pop culture, even for those not attending — can function as sort of a minor-league feeder system for burgeoning talents who are already ready for the big show. We’re going to see far more eyes on those artists, hoping to catch a future superstar in an embryonic stage, and hopefully we’re going to see those artists doing everything they can to step their own games up and seize the opportunity in front of them.

Christine Werthman: I don’t know that I’ve seen much yet, but I hope her success throws open the door for more queer pop stars on the main stage.

06 Aug 2024

Elle King Reflects on Drunken Opry Set, Says She Was Experiencing a ‘High Level of Pain’

Elle King is opening up about her controversial performance on the Grand Ole Opry stage in January.

The star sat down with Kaitlyn Bristowe for her Off the Vine podcast, where she opened up about the difficulties that she was going through, and noted that she “went to a different type of therapeutic program” after the incident.

“I was very sad, and nobody really knows what I was what I was going through behind closed doors,” King explained. “And I just took that as, if it wasn’t this, it’s gonna be something else.”

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During the Grand Ole Opry’s tribute concert for Dolly Parton’s 78th earlier this year, King appeared on stage, where she declared that she was “f–king hammered” while trying to cover Parton’s song “Marry Me.” When she struggled to remember the lyrics, King sang, “I don’t give a s–t” and “I don’t know they lyrics to these things in this f–king town… Don’t tell Dolly ’cause it’s her birthday.”

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She continued that she’s a “different person” now. “I’ve had to heal and deal and go through things and, someone said to me, I think you might find a silver lining or something good that comes out of your experience with that,” she shared. “Ultimately, I couldn’t go on living my life or even staying in the situation that I had been going through. I couldn’t continue to be existing in that high level of pain that I was going through at the time.”

Following King’s performance, the Grand Ole Opry issued an apology via X, responding to one disgruntled attendee’s comment, and saying, “We deeply regret and apologize for the language that was used during last night’s second Opry performance.”

Parton quickly forgave King and offered empathy. In an interview with Extra, the Country Music Hall of Fame inductee shared. “Elle is a really great artist. She’s a great girl. She’s been going through a lot of hard things lately, and she just had a little too much to drink.”

06 Aug 2024

Watch The Oak Ridge Boys’ First Ever Video for ‘Elvira’ and the Late Joe Bonsall’s Last Video with the Iconic Group

The Oak Ridge Boys’ enduring, lovable classic, “Elvira” came out in 1981 and quickly became the legendary quartet’s fourth No. 1 on Billboard’s Hot Country Singles chart — as well as its biggest pop hit, reaching No. 5 on the Billboard Hot 100.

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But the song came out two years before the launch of The Nashville Network, the first country music cable television network — and, unbelievably, it never had an accompanying video. Until now.

The joyous video clip, which premieres below, features the band surrounded by some famous friends (including Trace Adkins, Kid Rock, Lorrie Morgan, The Gatlin Brothers, Ray Stevens and Big & Rich) performing the song. Filmed in October at John Rich’s Redneck Riviera bar on Nashville’s Lower Broadway, it was 50-year Oaks member Joe Bonsall’s last video before his July 9 death at age 76.  

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But before fans see the band and the familiar faces, the video opens on a number of burgeoning artists, including Chase Matthew and Danni Stefenetti, singing along to the song they have heard since birth. Featuring a new generation of artists served as an intentional passing of the torch, the video’s director Brandon Wood says: “My goal since working with the Oak Ridge Boys has been to help them expand their reach to younger demographics through creative means of promoting their new albums and releases. It just made sense that our group of unsuspecting karaoke singers would be a group of influencers, with respectable audiences of their own.”

That angle helped turn around Oak Ridge Boy singer Duane Allen, a member of the band since 1966. “When they started talking about doing a video of ‘Elvira,’ I wasn’t really on board,” he tells Billboard. “It took a while for me to rally around the idea. Then I [realized] what they were doing was really paying tribute to the song, not us, and how that song affected everybody who heard it. [Then], I was gung-ho — because I really feel like once anybody hears that song, it’s just magic.” 

To be sure, between Richard Sterban’s inimitable bass delivery on the “Um-poppa-um-poppa, mow, mow” chorus, Bonsall’s effervescent vocals and the Oaks’ trademark harmonies, the song has charmed fans of all ages for five decades. (As if any proof were needed, tacked on to the end of the video is footage of a four-year old Wood singing the song.)

Allen knows the song’s appeal. He remembers when he first heard it in 1966, after coming across the original version — recorded by the song’s writer, Dallas Frazier. “I sat up in my bed when I heard it the first time. Fast forward to 1981 and [Oaks producer] Ron Chancey calls. We were about finished with recording [the album], and he says, ‘Ace, I’ve got an idea of a song that I’ve just found. I’d like to show it to you guys. It will be a major hit for you if we do it Oak Ridge Boys-style…’ Within about 30 minutes, everybody gathered at my house and the song he played, I knew it already — because I never forgot that song. I could almost sing it word-for-word, having never heard it again in those 15 years.”

Unlike on the original, Bonsall modulated up on the last pass on the chorus, which, with Sterban’s delivery, made the song truly the Oaks’ own. The new version of “Elvira” will be featured on a forthcoming album by the Oaks that includes remakes of past hits and new songs.

Bonsall was in high spirits the day of the video shoot, Wood says: “Joe was a pro. He always gave 1000 percent and always had fun doing it. This day was no different. The energy he got from being in that room with his peers who love him was magical. We all felt it, but I think he particularly had a blast hugging necks and celebrating this amazing song. At one point when we were on a break, he grabbed my hand across the table and shared some words with me. He ended it with ‘I love you man.’ I’ll always remember that.”

In the video, Bonsall looks radiant as he sings the song and gladhands with friends singing along. Although he had already been diagnosed with Amyotrophic Lateral Sclerosis (ALS) four years prior, the group shot the video “while he was relaly feeling good,” Allen says. “It was just a great day. It was just like creating another piece of magic. You turn the cameras on and the song starts playing and everybody has fun.” 

The final shot of the video features Bonsall smiling, which Wood says was “serendipitous… This was in the first cut from the beginning. The focus was never intentionally more on Joe than any of the other Boys.”

For Allen, performing “Elvira” never gets old. “The song has meant so much to the Oak Ridge Boys’ career,” he says. “It still does every time we perform it. There’s something magical that happens.” 

And the band has been performing it a lot — both over the decades and recently. The Oaks started their American Made Farewell Tour celebrating their legacy last September. Bonsall made it through the end of the year.

“He told me, ‘I’m going to do my best to make all the Christmas dates. If I make the Christmas dates, I’m going to try my best to make all the dates you put in the book for [2024],’” Allen recalls. “Well, we got to the last Christmas date, we carried him off stage, we put him in a wheelchair, and he said, ‘I’m done.’ And the next morning, he called Ben James, and said, ‘I’m done. The position is yours. Put your singing britches on.’ [Joe] was a trooper all the way to the very end, he never gave any kind of complaint. He didn’t want anybody pitying him or feeling sorry for him. And his voice was strong, all the way up to the very last note on the very last Christmas song we did. I loved him like a brother and I  miss him every day that comes around. I miss him so much.” 

It’s been an unspeakably brutal few months for the Oaks personally. In addition to Bonsall’s death, Nora, Allen’s wife of 54 years, died March 31. Then on July 1, eight days before Bonsall’s passing, William Lee Golden’s son, Rusty, died.

Allen says the unbreakable bond between the group and their fans has become more special than ever following the tragedies, and that the road has been a respite from the sorrow. In fact, following his wife’s burial, Allen changed his clothes, got on the tour bus and headed to Florida for a show.

“I needed to feel the love from not only from my singing partners — I needed to feel the love from the people,” he says. He broke down singing the second verse of “Fancy Free,” and the line “Oh Lord, you just don’t know how it hurts to say goodbye/ She did her best to stay I can’t say she did not try.” “When I started singing that second verse, man, I exploded and the crowd knew what I’d been through and they started standing up and cheering and I got what I needed,” he says, tearing up. “And they’ve been there ever since.” 

The Farewell tour was originally set to honor Bonsall and his final outing, but Allen says while it is still technically a Farewell tour, there is now no definite end in sight. Plus, Allen adds poignantly, “I don’t have anybody to go home to now.”

He says the tour, which was slated to end this year, will now likely go well into 2025. “I believe the Eagles are on their third farewell tour, so we can at least do our first farewell tour and end it at the end of ’25. I think we’re going to probably try to work as many dates as we can and get to the places we’ve not been able to cover this year,” Allen says. “We need the audience and we need to say thank you to all of them. The date book keeps filling up. I guess that’s God saying, ‘It’s not time yet, so keep singing.’”

06 Aug 2024

Ice Spice Breaks Down Six Essential Tracks From Her ‘Y2K!’ Debut Album

Ice Spice’s Y2K! arrived on July 26 as one of the most anticipated rap debut albums in recent memory. The 24-year-old — born on Jan. 1, 2000 — has packed a career’s worth of accolades for most artists into the last two years since becoming the face of New York’s drill scene.

While she could’ve attacked the project in myriad different ways, Ice made the conscious decision of getting back to the essence of what made her a star. She crafted a drill-heavy project alongside right-hand producer RIOTUSA, who sharply laid the sonic foundation, then had Mike Dean come in from the bullpen to lend his mixing/mastering expertise.

The Bronx princess continued to sneer at her opps and radiate unbridled charisma along with delivering some toilet-themed lyrics at the Spice Cabinet’s amusement throughout Y2K!. “We wanted to make what we like,” Ice told Billboard. “I just love drill beats, and his specifically. We just locked in for a whole year and really got to it when we could. We have the busiest schedules, but I think that’s why it’s important to have a close bond with whoever you’re collaborating with.”

At times, she experimented with her voice and flows, but never steered off the highway to crash before her destination. With 10 tracks and 23 minutes of run time featuring cameos from Travis Scott, Gunna and Central Cee, Ice Spice kept her debut concise instead of opting to overstuff a burdensome project like some of her peers.

Y2K! began to take form at the top of the year when Ice Spice had her toes in the sand while enjoying the beaches and serenity of Turks and Caicos where she recorded a few records during the trip. She would set up shop wherever her career took her while spending time in Miami, Los Angeles and back home in New York City.

Ice also revealed she was bumping a lot of Chief Keef and riding around Miami to the Chicago drill pioneer’s music, which influenced her creativity heading into the album. The Grammy-nominated MC also admits there was some turbulence and unexpected hurdles before the finish line: “For both projects that I’ve made, there’s been sample issues and feature clearances that we run into — but that’s part of the process,” she says, shrugging.

Y2K! debuted at No. 18 on this week’s Billboard 200 — and despite the outside noise, the rap star is proud of her growth while she treks across the U.S. on her Y2K! World Tour.

“Like..? did 15k so thank u to everyone who supported me then & thank u to all the new supporters,” she wrote to X. “Y2K! WORLD TOUR been so fun that these numbers are cool and all but bitch u should of seen that Boston CROWD last night NYC TOMORROW.”

Ice Spice detailed to Billboard how a handful of the album’s tracks came to fruition. Check out the converesation below.

06 Aug 2024

21 Savage’s 8th Annual Issa Back to School Drive Offers Lessons in Financial Literacy

21 Savage has been giving back to his community for nearly a decade through his Leading By Example Foundation.

During the 8th Annual Issa Back to School Drive over the weekend, the Atlanta rapper partnered with nonprofit Wealthy Habits to introduce a digital financial literacy workbook entitled Master Your Money: Financial Success 101 Guide with 21 Savage. About 3,000 people kids and parents were in attendance to receive essential back-to-school supplies and physical copies of the workbook. Some of the tips include short-term goals such as saving up for emergencies and vacations, as well as ways to pay off small debt. Long-term goals include tips on planning for retirement, home buying and education.

Master Your Money also features “SMART” goals, which should be specific, measurable, attainable, relevant and time-bound. The workbook gives tips on spending wisely, investing early, managing risk, budgeting and helping kids understand how credit works.

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This isn’t the first time 21 has tried to help with financial literacy. Back in 2018, he established the 21 Savage Bank Account program with Get Schooled. The program helped with job placements at Mercedes-Benz Stadium and featured an online education program.

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For his efforts in DeKalb County over the years, Georgia Congressman Hank Johnson and DeKalb County Commissioner Mereda Davis Johnson honored the rapper by declaring Aug. 4 as 21 Savage Day.

21 was honored by the state of Georgia with Dec. 21 being proclaimed 21 Savage Day in 2022 during his Grant-a-Wish holiday giveback, and Fulton County declared Dec. 10 as 21 Savage Appreciation Day in 2023.

06 Aug 2024

Chlöe Taps Sister Halle, Ty Dolla $ign, YG Marley & More for ‘Trouble in Paradise’: See the Tracklist

Chlöe shared the tracklist for her upcoming sophomore album Trouble in Paradise on Tuesday (Aug. 6).

The 16-track project includes features with Ty Dolla $ign (“Might As Well”), Anderson .Paak (“Favorite”), YG Marley (“Never Let You Go”), her sister Halle (“Want Me”) and Jeremih (“Shake”). She had previously revealed in her June Nylon cover story that she would have collaborations with Halle, Anderson and Jeremih on her new LP.

While sharing the tracklist, Chlöe also shared a saucy snippet of the fourth track “Redemption.” “I’m not really big on redemption, mm, no no/ Thinking I might make an exception for you, you/ Body from another dimension, so, oh-oh/ So give me everything and then some,” she sings in the chorus.

Trouble in Paradise will be released on Friday, Aug. 9, via Parkwood Entertainment and Columbia Records.

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“It’s what a summer fling feels and tastes like,” she told Billboard of the album on the red carpet at the 2024 BET Awards. She also revealed the inspiration behind the LP’s production: “I have been obsessed with the Caribbean, so definitely Afrobeats-inspired, island vibes. That’s what I’ve been inspired by, so you’ll definitely hear some little nuances of that in there.”

Trouble in Paradise arrives more than a year after her solo debut album, In Pieces. The 14-track LP included collaborations with Chris Brown (“How Does It Feel”), Missy Elliott (“Told Ya”) and Future (“Cheatback”). The set reached No. 119 on the Billboard 200 and No. 17 on Top R&B/Hip-Hop Albums.

See the Trouble in Paradise tracklist in the third image of her Instagram carousel post.

06 Aug 2024

Tyler Hubbard Revamps The Weeknd’s ‘Blinding Lights’ in Apple Music Nashville Sessions

Tyler Hubbard is putting his own spin on a modern pop classic. The two-time Billboard Country Airplay chart-topper recently recorded a batch of songs as part of the Apple Music Nashville Sessions, and alongside some of his own hits, he reimagined The Weeknd‘s 2020 four-week Billboard Hot 100 No. 1 hit “Blinding Lights.”

Hubbard’s performance was recorded live in Spatial Audio at Apple Music’s Nashville studios. The three-song EP features — in addition to “Blinding Lights” — renditions of “Turn” from Hubbard’s new album Strong and “Me For Me” from his debut self-titled album.

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Hubbard is headlining a slate of fairs and festivals across the U.S. and will launch his headlining Strong World Tour on Sept. 6 in Indianapolis, with the tour making stops in Canada and Australia before wrapping at Nashville’s historic Ryman Auditorium.

“Blinding Lights” was featured on The Weeknd’s 2020 album After Hours. At the 2021 Billboard Music Awards, “Blinding Lights” was named top Hot 100 song, top radio song and top R&B song, while After Hours was named top R&B album.

Hubbard released his second solo album, Strong, in April on EMI Nashville. Hubbard told Billboard at the time that he felt “a little more established, found a little bit more of a rhythm. Until last year, I didn’t know who my fanbase really was, but I got to know them, being on the road so much last year. I know who my fanbase is, so this feels like the first project that I’ve written with my fans in mind.”

Listen to Hubbard’s Apple Music Nashville Sessions featuring his take on “Blinding Lights” below:

06 Aug 2024

Sam Smith & Alicia Keys Cozy Up for an ‘Intimate’ Studio Session in ‘I’m Not the Only One’ Video

Sam Smith is officially not the only one on their song “I’m Not the Only One.”

On Tuesday (Aug. 6), Smith dropped the official music video for their duet version of “I’m Not the Only One” featuring Alicia Keys. Showing clips from a live recording at Keys’ Jungle City Studios in New York City, the video tracks the duo’s cozy session as they reimagine the British singer’s beloved hit 10 years later.

The video also follows Smith at their In the Lonely Hour anniversaryparty in June, where he and Keys first performed their new version of the song the night prior to their studio session. Footage shows Smith celebrating with the evening’s emcee Lady Bunny, as well as greeting friends and fans alike before taking to the stage with Keys.

In a statement, Smith reiterated that they were “so honored” to work with Keys on the new version of the single, calling her “an incredible talent and a beautiful soul.” Keys added that the collaboration had “been on both of our wishlists,” before detailing how the recording session happened. “The vibe was super intimate … My son Egypt played Sam some keys and my son Genesis was telling jokes the whole time. Pure music, singing in the room together while I was playing piano.”

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The new version comes off of Smith’s 10th anniversary edition of their debut album, In the Lonely Hour. Along with the new collaboration, the album (out now via Capitol Records) also features a re-recorded version of Smith’s breakout hit “Stay With Me,” a new song titled “Little Sailor” and a number of other collaborations featuring artists including Mary J. Blige, A$AP Rocky and John Legend.

Check out the official video for Sam Smith and Alicia Keys’ “I’m Not the Only One” above.