Music

Pitbull Says Dalé! to ‘Bridgerton’ Using ‘Give Me Everything’ During Carriage-Rocking Sex Scene

Pitbull is always up for a party, especially if it involves people getting down to his music. That’s why Mr. 305 couldn’t help commenting when the new season of Bridgerton used one of its signature instrumental classical takes on his iconic 2011 hit “Give Me Everything” to score a window-fogging make-out carriage scene between Colin (Luke Newton) and Penelope “Lady Whistledown” Featherington (Nicola Coughlan) in an episode from the just-released third season of the Netflix costume drama.

“This again shows the world how music is the international language that transcends over boundaries more so how a hit song can remain timeless,” Mr. Worldwide wrote on X on Tuesday along with a clip of the carriage-rocking lip lock. “Thank you @bridgerton and @netflix for the opportunity, Dale!”

The shout-out got an official response from the Bridgerton crew on Instagram, where they wrote, “This author would most certainly agree with Lord Worldwide… Music speaks when words cannot.”

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As in previous seasons, Pitbull isn’t alone in having one of his songs get a violin and viola makeover. Last season featured reworked songs from Nirvana (“Stay Away”), Madonna (“Material Girl”), Rihanna (“Diamonds”), Miley Cyrus (“Wrecking Ball”), Robyn (“Dancing on My Own”) and Harry Styles (“Sign of the Times”), among others. The current season is going all-in again, with classical covers of tracks from Gayle (“abcdefu”), BTS (“Dynamite”), Nick Jonas (“Jealous”), Billie Eilish (“Happier Than Ever”) and Taylor Swift and Lana Del Rey (“Snow on the Beach”).

Check out Pitbull’s post and the response below.

ChartCipher’s Analysis of Billboard’s Streaming, Airplay & Sales Charts for 2023: Country, Latin & Rock on the Rise

What were the most notable highlights regarding the sonic characteristics of hits on Billboard’s Streaming Songs, Radio Songs and Digital Song Sales charts in 2023?

AI-powered hit song analytics platform ChartCipher has released its latest report – its first encompassing the Billboard Hot 100’s three weekly component charts – spotlighting key findings from surveys dated Jan. 7 through Dec. 30, 2023.

In October 2023, ChartCipher launched publicly, as announced jointly by MyPart and Hit Songs Deconstructed. The platform utilizes analytics from 10 of Billboard’s most prominent charts dating to the start of the 2000s: the Hot 100, Streaming Songs, Radio Songs, Digital Song Sales, Hot Country Songs, Hot R&B/Hip-Hop Songs, Hot Dance/Electronic Songs, Hot Rock & Alternative Songs, Pop Airplay and Country Airplay.

Here are three takeaways from Chart Cipher’s newest report, reflecting performance on the Streaming Songs, Radio Songs and Digital Song Sales charts for 2023.

Which Genres Led Each Metric

“Hip-hop/rap and pop both commanded the lion’s share of streaming, each accounting for 27%” of all Streaming Songs entries in 2023, ChartCipher’s report notes. “Country followed at one-fifth and rock, at 19%.

“When it came to radio airplay, pop music dominated the airwaves with a 37% share,” per the report’s analysis of the Radio Songs chart for 2023. “Country also maintained a strong presence on the radio with a 31% share. Hip-hop/rap completed the top three, capturing 23% of airplay.

“The rock genre led digital sales with a 35% share,” ChartCipher reports of the Digital Song Sales survey over 2023. “Pop followed close behind at one-third. Country rounded out the top three at one-fifth of songs.”

Country, Latin & Rock on the Rise

Country, Latin and rock made noteworthy gains in streaming, among other metrics, on the Hot 100’s component charts in 2023.

Country

ChartCipher

“Radio has been a stronghold for country music, though it experienced a slight but steady decline between 2019 and 2022, falling from 33% to 27%. However, in 2023, it rose back to 31%,” ChartCipher reports. “Digital sales for country music have been relatively stable, fluctuating between 19% and 24%. Notably, country music surged on the Streaming Songs chart in 2023 to one-fifth of songs, more than double its 2022 presence.”

Regarding Latin, while the genre’s share has been “consistently low” across all three metrics over the last five years, per ChartCipher, it saw “significant growth on Streaming Songs, rising from a steady 1% of the chart between 2019 and 2021 to 6% in 2023.”

As for rock, the genre experienced year-over-year growth across all three Hot 100 component charts in 2019-22, according to ChartCipher. While it “slightly dropped” among radio hits, “rock’s prominence continued to increase in streaming and digital song sales in 2023,” from 12% in 2022 to 19% in the former metric and from 32% to 35% in the latter.

Meanwhile, hip-hop/rap and pop have experienced setbacks. “Since 2020 there has been a clear downward trend in hip-hop’s streaming presence, from 53% in 2019 to 27% in 2023,” ChartCipher reports. Still, “hip-hop’s radio presence declined between 2019 and 2022 before rebounding to nearly one-quarter of songs in 2023.”

For pop, despite taking top honors in streaming (tied with hip-hop/rap) and airplay, as noted above, the genre slipped across all three metrics in 2023. Its 37% share on Radio Songs marks a fall from a leading 54% in 2022, ChartCipher notes. Pop also backtracked slightly from a 38% share of all Digital Song Sales hits to 33% and from a 28% take of Streaming Songs entries to 27% year-over-year.

Brighter Ideas

“Brighter timbres have seen consistent growth” in songs across all three metrics that contribute to the Hot 100 over the last five years, ChartCipher states of titles’ overall tones, with brighter sounds consistently more prevalent in sales and airplay hits than highly streamed songs.

Brighter Timbres

ChartCipher

Still, among Streaming Songs, Radio Songs and Digital Song Sales hits in both 2023 and the past five years, “brighter-timbred songs saw the greatest growth in streaming,” according to ChartCipher. Their prominence in the metric more than doubled from 16% of entries in 2019 to 37% in 2023, including a vault from 27% in 2022.

Such hits in 2023, covering a wide range of genres, included “Barbie World” by Nicki Minaj and Ice Spice with Aqua; “Bubbles Up” by Jimmy Buffett; “Ella Baila Sola” by Eslabon Armado and Peso Pluma; “Fast Car” by Luke Combs; and “Snooze” by SZA.

Luciano Luna to be Saluted at 2024 SESAC Latina Music Awards

On June 26, SESAC Latina will mark its 30th anniversary of representing top-tier songwriters globally with its annual SESAC Latina Music Awards Gala at the Beverly Hills Hotel in Los Angeles, Billboard Español can exclusively announce.

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The event will recognize the exceptional talent and achievements of its affiliated songwriters and publishers, awarding honors such as song of the year, publisher of the year, and more.

Additionally, the SESAC Legacy Award will be presented to Latin Grammy-winning songwriter/producer Luciano Luna, celebrating his illustrious career and significant contribution to Latin music. “I am very grateful for this distinction; it motivates me to continue dedicating myself to writing stories with my songs and being a good example for new generations of songwriters,” Luna said in a press release.

The Sinaloa creator has recorded over 250 productions, mostly in the regional Mexican music genre, with iconic acts such as Julión Álvarez, Gerardo Ortiz, Banda Los Recoditos, Banda MS, Régulo Caro and more. As a co-author, his collaborations include Joss Favela, Edén Muñoz, and others.

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“We’re thrilled to celebrate the magnificent and vibrant talent within the Latin songwriting community,” remarked SESAC’s CCO, Sam Kling. “The SESAC Latina Music Awards always showcase exceptional songs and songwriters, making it an unforgettable evening.”

Celeste Zendejas, senior vp of SESAC Latina, added, “SESAC Latina’s 30th anniversary is a celebration of continued growth, endless creativity, and the global success of the exceptional talent behind the music. On this milestone year, we honor all our incredible songwriters who continue to inspire us with their profound lyrics and soulful melodies,” 

She continued, “We are thrilled to present the Legacy Award to one of the most distinguished songwriters of our generation, Luciano Luna, who has sustained a remarkable career throughout the years.”

The award ceremony is sponsored by City National Bank and Rossi, P.C.

Katy Perry Changes Profile Pic to Sleek Silver Logo That Fans Think Signals the Kick-Off of KP6 Era

It’s only been a few days, but it seems like Katy Perry is already pivoting from American Idol to the KP6 era. KatyCats were quick to notice on Tuesday (May 21) that the singer had changed her social media profile pic to a sleek, futuristic silver logo on a deep red background with her shiny initials floating inside a pair of parentheses. On X, the new logo was accompanied by a red bar filled with bubbles.

At press time Perry had not commented on the switch or explained what it means, but last month Perry teased that she’s preparing a new single, one that she promised could be one of her biggest hits ever. She described the unnamed track, whose release date has not yet been announced, as “one of my biggest songs that has yet to come out.” She revealed that the song was co-written by 28-year-old Canadian-Congolese singer Lu Kala, best known stateside for her feature on Latto’s 2023 song “Lottery.”

Perry also told Access Hollywood that same night that the long-awaited follow-up to her 2020 album Smile is one of her happiest LPs to date. “I just have yet to make a record from a place of feeling really happy and whole and full of love,” she said. “Sometimes artists are like, ‘Oh, that’s boring, you want to make music from kind of like a tougher place,’ but actually it’s very bright and joyful, like pure joy and fun and playful and celebratory and a party.”

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Last August during a show on her now-shuttered Las Vegas residency, Perry told the crowd, “If you can’t love me at my Witness and Smile era, then you can’t love me in my KP6 era.” Technically, the upcoming album is the singer’s seventh, though she did release her debut LP, Katy Hudson, in 2001, which had a more Christian rock-themed vibe than her subsequent major label albums.

Around that time she also told GMA that despite not putting out any new material since the birth of daughter Daisy Dove three years earlier, “I think that I’m writing a lot and have written a lot from a place of love because I’m feeling so much of it – so much unconditional love, that love you never knew existed,” 

Check out the new logo below.

Carlos Vives Named Latin Recording Academy’s 2024 Person of the Year: ‘It’s Still Surprising to Me’

Twenty-five years after leading the list of nominees to the first edition of the Latin Grammys, Carlos Vives will receive the highest honor from the Latin Recording Academy: the Colombian artist has been named the 2024 Person of the Year.

Vives — winner of 18 Latin Grammy Awards, two Grammy Awards and a Billboard Latin Music Awards Hall of Fame inductee — “will be honored for his more than three-decade career as a multifaceted singer and composer, as well as for his continued commitment to environmental and social initiatives,” according to an official statement released Wednesday (May 22) morning.

“Carlos Vives is one of the most prolific and beloved artists of our time, whose commitment to Latin music and support for the new generations truly personifies the values of our Academy,” said Manuel Abud, CEO of The Latin Recording Academy. “We honor him as our Person of the Year for his vast contributions to our musical heritage and for his many philanthropic initiatives.”

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“It’s still surprising to me,” Vives told Billboard Español this week in an exclusive interview. “It’s like a message that the Academy gives at the end, because 32 years ago I chose a path [that was unconventional]. To be successful, to be commercial, there was one way. This other path that’s cultural or has to do with your identity, that doesn’t work, [they would say].”

In Wednesday’s press release, he added: “I am honored and moved to have been chosen as the 2024 Latin Recording Academy Person of the Year. It is the reward for an authentic journey, for a wonderful team and, above all, it is the recognition of the musical spirits of our Latin American diversity. These spirits taught us to love and enrich our language, to take care of it and to respect it in order to exalt humanity with it.”

Born in Santa Marta, Colombia, Carlos Vives is one of the most respected artists in Spanish-language music and a pioneer of a new Latin American sound, redefining traditional Colombian vallenato by incorporating to it pop and rock sounds. With No. 1 hits on the Billboard charts such as “Volví a Nacer,” “Fruta Fresca” and “La Bicicleta” with Shakira, among others, has become an ambassador of Colombian and Latin American culture around the world.

His commitment to good causes transcend the musical realm. In 2015, he created the Tras La Perla initiative to promote the sustainable development of Santa Marta and its ecosystem. In addition, he created the Escuela de Música Río Grande to offer artistic experiences to children and young people, and founded the record label Gaira Música Local to promote new Colombian talent. He’s also been a strong advocate and generous supporter of the Latin Grammy Cultural Foundation since its inception, the Latin Recording Academy highlights, and sponsored its annual Prodigy Scholarship in 2018.

His latest album, Escalona: Nunca Se Había Grabado Así, earned him his 18th Latin Grammy when it was crowned best cumbia/vallenato album in 2023. This year he was also recognized with the ASCAP Founders Award from the American Society of Composers, Authors and Publishers (ASCAP).

Vives will be feted as Person of the Year at a special star-studded gala and tribute concert where an array of artist and friends will perform renditions of his renowned repertoire. Details of the event, to be presented in November during the 2024 Latin Grammy week in Miami, will be announced at a later date.

The Latin Recording Academy Person of the Year honors musicians and their artistic achievements in the Latin music industry as well as their humanitarian efforts. Past honorees are Laura Pausini (2023), Marco Antonio Solís (2022), Rubén Blades (2021), Juanes (2019), Maná (2018), Alejandro Sanz (2017), Marc Anthony (2016), Roberto Carlos (2015), Joan Manuel Serrat (2014), Miguel Bosé (2013), Caetano Veloso (2012), Shakira (2011), Plácido Domingo (2010), Juan Gabriel (2009), Gloria Estefan (2008), Juan Luis Guerra (2007), Ricky Martin (2006), José José (2005), Carlos Santana (2004), Gilberto Gil (2003), Vicente Fernández (2002), Julio Iglesias (2001) and Emilio Estefan (2000).

The Cast Album for Sufjan Stevens’ ‘Illinoise: A New Musical’ Is Coming Soon

A Pitchfork-celebrated LP from 2005 that crested at No. 121 on the Billboard 200 is unlikely source material for a Broadway musical, but Sufjan Stevens’ career has long defied expectations. Branching out from intimate folk to expansive chamber pop to hypnotic electronica, Stevens’ unpredictable career has seen the singer-songwriter veer into the worlds of moviemaking (both directing and soundtracking), ballet, classical, essay writing and even Christmas music.

Earlier this year, acclaimed choreographer and frequent collaborator Justin Peck brought a stage musical version of Illinois (rechristened Illinoise: A New Musical) to Manhattan’s Park Avenue Armory – a fitting enough place for the kind of suggestive, balletic storytelling director/choreographer Peck delivered (he also co-wrote the musical’s book with Jackie Sibblies Drury). But when Illinoise: A New Musical successfully hopped to Broadway shortly thereafter, playing to rave reviews and sold-out crowds, it felt like a new trail was being blazed. Sure, Broadway has always trafficked in nostalgia, and we’ve seen beloved albums (American Idiot, Jagged Little Pill) inspire hit musicals before. Never has an album this uncommercial blossomed into a structurally experimental musical and succeeded with Broadway crowds and critics, nabbing four 2024 Tony nominations, including best musical.

Now, those who haven’t had the chance to catch it on Broadway – or who have and simply want to relive it – can experience the emotionally charged glory of Illinoise: A New Musical when Nonesuch Records releases the original cast album on May 31.

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Ahead of its release, Billboard can share an exclusive preview of two of the songs: “The Predatory Wasp of the Palisades Is Out to Get Us!” and “Chicago (Reprise).” With Timo Andres providing arrangements that punctuate the songs subtly and expressively, vocalists Elijan Lyons, Shara Nova and Tasha Viets-VanLear are able to offer performances rich with yearning, heartache, hope and tender joy. Lyons, in particular, takes us on a cross-country emotional road trip with “Wasp,” his voice building from dulcet fragility to heartbroken fervor on the nearly seven-minute musical odyssey courtesy an 11-piece band deftly guided by Nathan Koci.

Check them out below.





The cast album is produced by Dean Sharenow, Timo Andres, Nathan Koci, Garth MacAleavey and executive produced by Orin Wolf & Nate Koch. It was edited, mixed and mastered by Sharenow at Steel Cut Audio and Garth MacAleavey served as recording engineer. The album’s band includes Elijah Lyons, Shara Nova, Tasha Viets-VanLear, Christina Courtin, Sean Peter Forte, Domenica Fossati, Daniel Freedman, Kathy Halvorson, Nathan Koci, Eleonore Oppenheim, Brett Parnell, Brandon Ridenour, Kyra Sims and Jessica Tsang.

Illinoise Album Cover

Nonesuch Records

Megan Thee Stallion & GloRilla Bring Fiery Raps And Twerk-Filled Bops to Madison Square Garden

Just days after the New York Knicks were eliminated from the Eastern Conference Semifinals by the Indiana Pacers, the mood in Madison Square Garden on Tuesday night (May 21) was instantly transformed. Once heavy with gloom and despair, the air became charged with anticipation. The World’s Most Famous Arena not only hosted a double-shot of raps and twerk-filled stunts by Megan Thee Stallion‘s Hot Girl Summer Tour, but also celebrated a warm homecoming for some of the city’s brightest stars, including Cardi B and A Boogie Wit Da Hoodie. 

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The anticipation was palpable as fans streamed in, eager to rally behind The Captain of the Hotties. They adorned themselves with cowboy hats, skin-tight shorts, and T-shirts emblazoned with Megan’s name, a testament to their fervent support. By 8:10, the party kicked off with CMG’s GloRilla, who was clearly ready to go. Though she was billed as Meg’s opener, Big Glo had the charisma of a headliner, oozing with swagger. The extra pep in her step was felt by The Garden crowd as they reveled in her hard-hitting performance of “Lick Or Sum.”

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With an army of dancers in tow, they looked to match Glo’s bulldog energy with hard stomps and twerks strong enough to reverberate through the stage set. Glo dug deep into her catalog and performed songs such as “Bop,” “All Dere,” and “In My Mode.” She even had time to joke with the crowd while dealing with a minor wardrobe malfunction. “I’m not gonna try to cause an earthquake with all this ass,” she quipped. 

Before steamrolling through her Hot 100 hits “Tomorrow” and “Yeah Glo,” Glo brought out A Boogie, who she said was initially set to perform three songs but was left to only do one because of his tardiness. Despite the lateness, fans cheered Boogie, who dove deep in his bag to perform his 2017 track “Jungle.” Quickly after, Boogie passed the baton back to Glo, who revved up the energy level when she dived into “FNF (Let’s Go).” Glo relished the NYC atmosphere with a toothy grin as fans standing at the edge of the staircase used the rail to support their twerking theatrics. 

Following Glo’s impressive outing, it was Meg’s turn. Considering the Hot Girl Summer Tour is her first headlining trek, Meg savored the moment and proved exacttly why she’s an arena-caliber superstar. Dressed in a bright red outfit, Meg’s fiery intentions were clear from the jump as she was ready to party. From the onset, Meg sought to create separation between her and her adversaries as she performed her Hot 100 chart-topper “HISS.” Rapping every bar with vigor and intent, Meg applied pressure, looking to see if fans could match her swagger. And when she wasn’t in attack mode, she tested her stamina, flaunting her flexibility and elite twerk abilities. The self-proclaimed “Megan Knees” were on display, most notably during throwback anthems like “Freak Nasty” and “Kitty Kat.” And when she finally got a breather, she took in the crowd’s electric energy, exclaiming: “This my first tour, y’all.” 

Megan also had brilliant spots during certain songs. When she performed “Gift And a Curse,” she reiterated her stance on abortion laws, rapping, “My mother–king body, my choice,” with her fist in the air. The three-act set hosted many nostalgic moments for day-one fans as Meg revisited songs including “Big Ol Freak,” “Girls in the Hood,” and more. She even quizzed fans by rapping a capella to see if they could rap alongside her. Later, she placed a pseudo-Instagram Live filter on the big screen to gauge who had the best twerking moves, regardless of gender.

The show reached its apex when Megan brought out Bronx native Cardi B to perform “Bongos” and their 2020 Hot 100 chart-topper “WAP.” The crowd roared as the chemistry between Meg and Cardi was undeniable. Despite Cardi struggling to catch the beat due to sound delays, the crowd didn’t care, as they enjoyed watching two rap superstars in their prime adore each other. The lovefest didn’t stop there. Once Cardi unleashed her classic verse from “Tomorrow 2,” GloRilla returned on stage, creating a moment between all three female MCs. The thunderous crowd marveled at the camaraderie, especially after much of the year consisted of lyrical warfare in hip-hop. It was refreshing and a much-needed moment after months of contention in the genre. 

After bulldozing through the song, Cardi sat back and watched Megan and GloRilla perform “Wanna Be.” Following the performance, Glo teased a surprise, which Meg later pulled out of her: an upcoming remix of “Wanna Be” featuring Cardi. Meg thanked Cardi and Glo while acknowledging the importance of banding together as women in hip-hop before returning back to her solo mission of conquering The Garden. 

Following “Stalli Freestyle” and “Cash Sh-t,” Meg encouraged everyone of all sizes and shapes to embrace their “Body” as she feverishly rapped her signature 2020 hit. The proverbial cherry on top came when she closed the show with her Grammy-winning single “Savage.” 

After conquering The Garden as a first-time headliner, Meg’s showmanship shouldn’t be questioned. She embodies the value of playing the long game and why, sometimes, good things come to those who wait.

Billie Eilish Calls ‘Hit Me Hard and Soft’ the ‘Most Genuine Thing I’ve Ever Made’ on ‘Late Show’

Billie Eilish is not what you think she is. Except now, she told Stephen Colbert on Tuesday night’s (May 21) The Late Show, she finally is what she’s always wanted to be. “I think that with Hit Me Hard and Soft it’s like the first time since I’ve been an adult and maybe ever in my kind of creative life… it truly is the most genuine thing I’ve ever made,” she said of her just released third studio album.

“It feels very, very me and it feels like all of the music is exactly who I am, all the visuals are exactly who I am and that’s honestly terrifying and that’s why I’m literally shaking right now,” she told Colbert, who parried back that exposing yourself like that requires vulnerability and removing the mask from the character you’re created to protect you.

Asked what she meant in a recent Rolling Stone cover story in which she said up until now she felt like she was playing a character, Eilish said after putting out her first songs as a “very young” teenager, she felt like audiences thought of her as “one thing,” leaving her little room to do anything but what people thought she was.

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She called her previous album, 2021’s Happier Than Ever, a “reaction of, ‘you can’t tell me what to do! I’m gonna do whatever I want to do and here it is!’ And I think I may have gone a little… I really wanted to prove a point and so I think I went so far, but that’s kind of what I needed to do. I needed to play this whole thing of, ‘I’m not what you think I am.’ I thought at the time that it was very me and I realized in hindsight I was just trying to be seen and express myself and show that people can be multi-faceted and I am one of those people.”

Eilish also noted that she’s willing to suffer for her art, describing waking up at 7 a.m. the day after the most recent Grammy awards and driving to some “random” place in Santa Clarita to spend six hours inside a 10-foot deep water tank, fully clothed, to shoot the cover of the album. “Dude, I was wearing big, long pants, like giant Pro Club shorts. I was wearing a thermal long sleeve, a button-up flannel, a tie, rings, arm warmers, bracelet and a weight. I had a weight strapped to me,” she said, proudly affirming that it was all her idea.

In another segment, Eilish had a laugh when Colbert asked about a quote from her 2021 doc, The World’s a Little Blurry in which she described her family as “a song” in painting her musical upbringing. “Dude, my family is so musical and we always have been, and we remain that way,” Eilish said. “I grew up thinking that every family was like that. I thought that everyone was singing all the time and playing music with their family.”

When the audience chuckled, Eilish turned to them and swore that she actually thought all families were like that. “We’re big fans. Our whole family, we are music fans,” she said. “We love music and I think that’s really what it all stems from.” The night before, she noted, the whole fam sat around singing and playing guitar while harmonizing to the Beatles. “That’s what it’s always been and it’s so wonderful.”

Colbert also mentioned that Lana Del Rey introduced Eilish at Coachella last month, calling the 22-year-old singer “the voice of our generation. No pressure. How did it feel to have an artist you admire describe you that way?” he asked.

Eilish said it was “ridiculous,” returning the compliment by calling LDR the voice of her own generation, doubling-down by saying that Del Rey is one of the “top three reasons” that she is the person and artist that she is, as well as the reason she started making music to begin with. “It was crazy to hear her say that,” Eilish said. “I love her so much.” Then, while ticking off her early musical inspirations — which included such throwback legends Ella Fitzgerald, Chet Baker, Julie London and Johnny Mathis — Colbert asked if Eilish would ever consider recording a standards album and she lit up with a sly smile.

“Yeah, yeah, I would love to do that some day,” Eilish said with a happy grin.

When Colbert asked what song she was planning to perform that night, Eilish blushed a bit, laughed and said she would be performing “Lunch.” She then closed out the night with brother/producer Finneas and her band, singing the homage to sapphic love on a dark stage lit by strobing lights while rocking a backwards plaid cap, oversized baseball jersey and striped tie and plaid culottes.

Watch Eilish perform “Lunch” and talk about her new album below.


https://youtube.com/watch?v=XsiBJ2IUr-8&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent







Reba McEntire Surprises Lainey Wilson With Grand Ole Opry Invitation on ‘The Voice’ Finale

Asher HaVon didn’t have the only big surprise during Tuesday night’s (May 21) finale of The Voice season 25.

Lainey Wilson‘s lifelong dream came true when The Voice mentor Reba McEntire invited her to become a member of the Grand Ole Opry.

“Lainey, I’m so proud of you,” McEntire remarked, after Wilson, Billboard’s recent cover star, performed her new single “Hang Tight Honey”. “You did a wonderful job. And I have heard that I have inspired you and what you’ve done so far. I’m thrilled that I have had anything to do you with your career because you are blowing it up.”

And with that, McEntire made it official. Wilson will be inducted into the Opry.

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Hailing from Baskin, LA, Wilson kicked off the recent 2024 ACM Awards with a mini-medley performance (including a sweet taste of “Hang Tight Honey”) and won for female artist of the year, one of her five nominations on the evening.

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“I was so proud of you at the ACMs the other night,” McEntire continued, “and I couldn’t be more proud to be the one that helps you continue to bridge the gap between our generations, and keep them all going.” Wilson will be elevated into the Opry during a ceremony in Nashville on June 7.

The 32-year old recounted visiting the Opry with her family at age 9. “I knew that I wanted to play there. I wanted to do it. It’s so crazy that you’re asking me to be a member because I look up to you so much.”

Watch the moment below on NBC’s The Voice.



Wilson, a Record Breaker Award at Billboard‘s Country Power Players, has been carving out her own path in country music in recent years.

“Save Me,” her duet with Jelly Roll, reached No. 1 on Billboard’s Country Airplay chart in December, soon after her coming-of-age song “Watermelon Moonshine” had summited the list — for the shortest stint between No. 1s for a female artist in the chart’s 34-year history.

“Watermelon Moonshine” nabbed both the Academy of Country Music (ACM) and Country Music Association Awards for album of the year, as well as the Grammy for best country album — only the ninth record ever to complete that trifecta. And at November’s CMA Awards, Wilson became the first woman to win entertainer of the year since Taylor Swift in 2011 and the first artist since Garth Brooks in 1991 to win best new artist one year and entertainer of the year the next.

The good times keep on rolling when Wilson opens her Bell Bottoms Up Bar, located at 120 South 3rd Ave., on May 31. The same day, the rising star launches her Country’s Cool Again Tour with two headlining shows at Nashville’s Ascend Amphitheater.

Café Tacvba Return With ‘La Bas(e),’ A Bold Anthem for Immigrants: Stream It Now

Café Tacvba officially dropped “La Bas(e)” on Wednesday (May 22), marking their first release in seven years following their eighth studio album, Jei Beibi. The new track was co-produced by the Mexican band and their longtime Grammy-winning collaborator Gustavo Santaolalla.

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The single showcases invigorating Latin rock rhythms paired with a Fender electric and a resonator guitar, creating a unique electric-twangy sound that clashes brilliantly with dynamic drumming. Its socially conscious lyrics voice solidarity with immigrants. “Rolling and rolling/ Looking for some place to work/ Night and day, day and night/ No one is illegal, the world is our home,” frontman Rubén Albarrán sings.

According to a press release, “La Bas(e)” champions themes of “unity, liberty, brotherhood, and a safe way of life for immigrants, eliminating borders,” while it “dreams of a world where all humans are watching out for each other.” The chorus (“1, 2, 3 por ti, 1, 2, 3, por mí”) is inspired by a popular Mexican children’s game.

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Serving as a preview to their forthcoming U.S. tour with Caifanes, the song will lead the band to iconic venues such as the Hollywood Bowl and Central Park SummerStage. For complete U.S. tour dates, click here.

Bassist Quique Rangel shared with Billboard Español the impacting message of the song. “Over the years during our U.S. tours, we have connected with people from our homeland and other Latin countries who sought opportunities to thrive by relocating with their families,” Rangel explains. “Our concerts become a celebration with our music, accompanying them in lands that are no longer so foreign.”

As longstanding advocates for cultural diversity and social justice, band members Albarrán, Emmanuel del Real, Enrique and Joselo Rangel use their music and public presence to fight against inequality and stand up for the marginalized.

This year, they celebrate their 35th anniversary. Stream the song below: