Music

21 May 2024

Lil Nas X Talks Beyoncé & Shaboozey’s Country Music Success: ‘I Wish This Would Have Happened for Me’

Lil Nas X‘s Billy Ray Cyrus-assisted “Old Town Road” might be the longest-running No. 1 single in Billboard Hot 100 history (19 weeks), but that doesn’t erase the conflicted feelings the Grammy-winning “Industry Baby” rapper has regarding his controversial reception in the country music space back in 2019, compared to how Beyoncé‘s and Shaboozey‘s country tunes have been embraced in 2024.

While he’s “happy” for the two, Lil Nas X told the BBC on May 19, “I wish this would have happened for me. I wasn’t even able to experience this.”

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Lil Nas and Billy Ray took home the 2019 CMA Award for musical event of the year, but, for the “Montero” singer, even that triumph pales in comparison to how Black artists are currently being received in the mainstream country space. Half a decade after the domination of “Old Town Road,” Black artists are making history in the genre.

At the top of 2024, Beyoncé’s smash hit “Texas Hold ‘Em” became the first song by a Black woman to top Hot Country Songs, as well as the first country song by a Black woman to reach No. 1 on the Hot 100. Months later — following the release of Queen Bey’s Cowboy Carter, the first album by a Black woman to top Country Albums — Shaboozey’s J-Kwon-interpolating “A Bar Song (Tipsy)” reached No. 1 on Country Songs, making him and Beyoncé the first Black artists to score back-to-back leaders in the chart’s 66-year history. “A Bar Song” has since reached No. 3 on the Hot 100, marking Shaboozey’s third appearance on the ranking in 2024, following his dual Cowboy Carter features: “Spaghettii” (No. 31, with Linda Martell) and “Sweet * Honey * Buckiin’” (No. 61).

Cowboy Carter also features collaborations with several ascendant Black country stars, including Tanner Adell, Brittney Spencer, Reyna Roberts, Tiera Kennedy and Willie Jones. Upon the release of “Texas Hold ‘Em,” Billboard reported massive streaming boosts for Black women in country music, ranging from Martell to Rissi Palmer and K. Michelle.

Lil Nas’ own post-“Old Town Road” music has further explored his affinity for rap, pop and rock, but he’s hinting at a return to country music, confirming to the BBC that he’s been “trying out some country [sounds] here and there over the last couple of years.”

“I want to feel connected to it and not force it,” he said.

Five years ago, “Old Town Road” — which ultimately won the Grammy for best pop duo/group performance — achieved the rare feat of simultaneously appearing on the Hot 100, Hot Country Songs and Hot R&B/Hip-Hop Songs. The song spent a single week at No. 19 on Hot Country Songs before Billboard removed the country-trap hit from the ranking for “not [embracing] enough elements of today’s country music” despite Lil Nas X labeling the song as “country” in the track metadata upon its Dec. 3, 2018 release.

The ejection of “Old Town Road” from the Billboard country charts sparked a flurry of debate regarding the acceptance and recognition of Black artists in the country music space, and the industry’s apparent compulsion to solely box Black artists into the hip-hop and R&B genres despite the musical composition of their songs. Some even drew parallels to 2016’s “Daddy Lessons,” widely regarded as Beyoncé’s first proper country song, which did not chart on Country Songs despite a No. 26 peak on R&B/Hip-Hop Songs and a subsequent remix with The Chicks.

Since “Old Town Road,” Lil Nas X has successfully transitioned from viral meme to bonafide pop star cultural lightning rod. Both of his official projects — 2019’s 7 EP and 2021’s Montero LP — reached No. 2 on the Billboard 200. He’s also added a bevy of Hot 100 hits to his arsenal, including “Montero (Call Me By Your Name” (No. 1), “Industry Baby” (No. 1, with Jack Harlow), “Panini” (No. 5) and “Thats What I Want” (No. 8).

21 May 2024

Charlie Puth Thanks Taylor Swift for Inspiring His New Era After ‘Tortured Poets Department’ Shout-Out

Taylor Swift declared on The Tortured Poets Department that Charlie Puth should be a bigger artist, and now, the 32-year-old musician is stepping up to the plate.

On Tuesday (May 21), Puth revealed plans to release a new single titled “Hero” and explained in an Instagram post that the decision was inspired by the 34-year-old pop star’s shout-out. “I’ve never put out a song like this before,” he wrote. “It’s very different for me, but I want to thank @taylorswift for letting me know musically that I just couldn’t keep this on my hard drive any longer.”

The “Attention” singer also shared the single’s cover art, a warm-hued photo of him lounging in a rose garden. “My new song HERO is about when you see someone you love hurting themselves, ruining the things in their life that are good, but you just can’t save them,” he added. “I’m very excited to share my next album with you, especially this song because it’s a great representation of what’s to come. HERO is yours on May 24th.

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The announcement comes just over a month after Swift’s Billboard 200-topping Tortured Poets arrived, featuring the lyric, “We declared Charlie Puth should be a bigger artist,” on its title track. A couple weeks later, the “See You Again” musician teased “Hero” on TikTok, writing, “These last couple weeks have been really crazy for obvious reasons, but I wanted to share something with you.”

“Sometimes I get a little nervous being overly honest in my music which is why this was sitting on my hard drive for awhile,” Puth added at the time. “But I think someone out there was giving me a sign that I needed to release it. So…. I declare ‘Hero’ will be out everywhere on May 24th as the first single of my new album. Thank you for your support…you know who you are.”

“Hero” will follow Puth’s recent singles “Lose My Breath” with Stray Kids, “Lipstick” and “That’s Not How This Works” with Dan + Shay and Sabrina Carpenter. He hasn’t released an album since 2022’s Charlie, which peaked at No. 10 on the Billboard 200.

With Tortured Poets, Swift surpassed her own personal best first-week sales numbers with 2.61 million equivalent album units. The project has also broken numerous records — including first-week vinyl sales and biggest streaming debut — and recently made the 14-time Grammy winner the first artist to ever simultaneously occupy the top 14 spots of the Billboard Hot 100.

See Puth’s thank-you message to Swift below.

21 May 2024

Cam’ron’s CNN Interview Goes Off the Rails When Asked About Diddy: ‘Who Booked Me for This?’

Cam’ron can turn any interview into a viral moment — just ask Bill O’Reilly. The Dipset rapper appeared on CNN on Monday night (May 20), but claimed he didn’t know he was being booked to talk about Sean “Diddy” Combs and the assault allegations made against him.

The interview quickly went left when host Abby Phillip asked Cam about recognizing Diddy in the video of the “I’ll Be Missing You” artist physically assaulting his then-girlfriend Cassie in a Los Angeles hotel in 2016 that CNN obtained last week.

“I don’t know him like that. What do you mean did I recognize him? I seen him,” Cam said. “What do you mean my experiences? I seen him and I thought it was disgusting, I didn’t do a zoom in to see if it was really him or nothing, but he admitted it was him so yeah, it was him.”

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Phillip’s facial expression seemingly gave away she knew the interview was headed down a disastrous path, but she continued to attempt to get Cam’ron’s thoughts on Diddy’s apology video, in which Combs called his actions “inexcusable.”

“The apology ain’t for me, it’s for Cassie,” Cam replied. “He ain’t do nothing for me. What I think about it don’t matter. You need to ask Cassie if she accepts the apology. I said what I said.”

While CNN replayed a heartfelt clip from It Is What It Is about Cam’ron asking Ma$e why he had him sign with The Notorious B.I.G. instead of Diddy, Cam took the chance to promote his Pink Horse Power libido supplement.

He slugged back a cup of the intimacy juice. “Sorry, I’m going to get some cheeks after this Horse Power joint,” Cam said, admitting he was headed to see a woman after the interview.

After one final attempt to pry information and give Cam a chance to speak on Diddy, the “Oh Boy” rapper snapped and asked who booked him to appear on CNN before wrapping up the three-minute segment.

“Who’s the talent agent for this joint? You think I be sitting around watching what Diddy do? I didn’t know this was a Diddy joint that y’all invited me to,” he fired back. “Who booked me for this joint?”

Cam’ron addressed the viral interview on Tuesday’s episode of It Is What It Is and explained he wasn’t appreciative of how CNN didn’t ask him about any of the positive things he’s doing in the community and insisted to harp on the allegations of abuse made against Diddy.

“I just felt you tried to use me, pause,” he said. “I don’t know why they ain’t watch 60 Minutes. They ain’t watch Bill O’Reilly? That’s what I do on them joints… You call me on CNN for the bulls–t, I’ma give you the bulls–t.”

Billboard has reached out to CNN for comment.

Watch Cam’ron’s CNN appearance and his response on It Is What It Is below.

21 May 2024

5 Takeaways From Jay Wheeler’s Chat on Billboard TalkShopLive

At a fan meet in Fresno, Jay Wheeler was moved by a story of a girl who shared that his music had prevented her from ending her life. This heart-wrenching testimony and others helped inform Música Buena Para Días Malos, his seventh studio album. “The fact that my music is doing that, that’s my grand prize,” he told Billboard Español.

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With 13 tracks exploring themes from love (“14 15 de febrero”) and regret (“Admítelo”) to empowerment (“Maquillaje” ft. Noreh) and self-discovery (“Historia”), the singer’s album acts as a sonic refuge, the singer’s album acts as a sonic refuge, dancefloor-ready in some parts and offering solace and inspiration in others. He extends this therapeutic ethos to his merch, with a sci-fi twist: the aim is to parallel the auditory comfort his music provides with tangible memorabilia from hoodies to t-shirts, stickers and trucker hats.

During a conversation on Billboard TalkShopLive, the Puerto Rican star discussed how he wants to provide a “safe place” for his listeners through his music, his upcoming U.S. TRAPPii tour which kicks off on June 13 at the Madison Square Garden and more. Here are five key takeaways from our discussion with Jay Wheeler, in his own words.

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His music helped save someone’s life

When I was in Fresno, I was gonna be taking pictures with [fans]. This girl came [up] and she was crying and crying. I asked her what happened, and she said that she was gonna commit, you know, and she heard my music on the radio and stopped. Everybody [that was there] stopped to hear her story. I wanted to make that moment special for her. We hugged her and gave her merch. We took a whole bunch of pictures and I know for a fact that she went home happy.

Visually [with my merch and videos], I want you to feel the same way as you’re hearing it. The way I feel when I hear my music is like I’m going to a different world, where my spirit just left my body. This therapy is helping me just to forget the world, forget the problems, and just listen to that good music. That’s why my album is called Good Music for Bad Days [Música Buena Para Días Malos], because that’s all I was trying to focus on, making people feel like they can have a place to escape, or a safe place like music.

Bad Bunny impacted his career

I don’t want to sound like I’m fanboying but I do love Bad Bunny. I love how he merchandises his brand and how he [navigates] the music industry, because he’s very different. I think he opened the door for different people. As soon as he came out, trap [blew up]. 2016 was the era of trap, then Bad Bunny stepped away [from the genre] for a couple of months. Then he came back with something different, “Estamos Bien” and “Si Estuviésemos Juntos,” and sad songs. 

I think he opened the door for me — because as soon as he started doing that, I started [rising]. I was already making romantic music, but nobody was listening to it, because trap was the main focus. But as soon as he did [more vulnerable songs], he opened up that door. People started to look at my work. He showed the world that being different is not bad. 

Faith, Loyalty and working with DJ Nelson

It’s complicated being a new artist. Everyone sees you as a dollar sign, but that’s not necessarily a bad thing… The people who want to sign you don’t know you; they know the product you are offering. If they want to sign you to make more money with you, it means your product is doing good. At the same time, you have to be very careful, because not everyone has good intentions; some people are just trying to take all the money. Trying to see what type of [contract] we were going to sign was very difficult, because almost every single person wanted me and not my team.

I am a very loyal person — I did not want to let go of my team. And then I met DJ Nelson in his studio. I went with my team and I told him, “This is my team, I don’t want to leave them.” He told me, “If you had come without your team, I wouldn’t have signed you.” So I was like, okay, this is the place. Besides that, I also had asked God, “Father, I want to sign where you are.” And the first thing [DJ Nelson] told me was, “my children are Christians,” so I was like, “This is the way.”

How he overcomes fear for future ambitions

Every time I do these types of tours, the only thing that makes me a little bit nervous or stress — not even the shows — is the traveling. I’m scared of airplanes. Really. I’ve been traveling my whole life. That’s the only part that gets me a little bit stressed out. Mentally, I try to prepare myself. Every time I have to make those sacrifices, I think about my future kids. I’d be like, “You know what, I gotta do it for my future family and the future.” Eventually, I want to have a whole bunch of kids. My wife wants two, but I’m trying to convince her to have more.

He loves performing with his wife Zhamira Zambrano

If I had to choose one [song I enjoy performing live], I would probably say “Dícelo,” with my wife. The fact that people love a song that I have with my wife is beautiful. Sometimes you can do songs with the person that you love, and it probably doesn’t go that well. But every time that song is [performed], people go crazy, people go absolutely wild. Sometimes what people do a lot of songs and then eventually get a hit. It’s funny because the first time we collaborated on a song, it became a hit. People loved it.

She’s an artist too. She’s doing a whole tour on her own. We try to be together everywhere we go, as long as I can and she can. I admire her and I always support her no matter where I am.

21 May 2024

Katy Perry Calls Ariana Grande the ‘Best Singer of Our Generation’

Katy Perry has spent seven seasons on American Idol searching for the best vocalists in the country, but according to her, only one singer is the blueprint: Ariana Grande. 

On the red carpet following the competition series’ season 22 finale Sunday (May 19), the “Firework” musician said that this year’s newly crowned Idol winner, Abi Carter, reminds her of the former The Voice coach. “[Carter’s] voice is unlike anything I’ve heard in pop music,” Perry told Extra.  

“The last time I said that, I said that about Ariana Grande when she went on The Ellen Show,” she continued. “Like, ‘Oh, this girl is the best singer of our generation.’ I don’t say that lightly.” 

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The close of Idol‘s latest season marks Perry’s final turn as a judge. She, Luke Bryan and Lionel Richie have served on the panel since the ABC show was rebooted in 2018. 

The singer will now set her sights on crafting her next record, which will follow up 2020’s Smile. “I’m pregnant with my next album,” she joked to Extra, teasing that the project is coming soon. 

Idol still hasn’t revealed which superstar will replace Perry following her exit, but if she has her way, it’ll be a certain country star who served as a guest mentor on the show earlier this season. “I gotta say Jelly Roll was crazy when he came on the show,” she told E! News in April. “I was convinced at anything he said.” 

“He could run for president, he could be my pastor, I might go back to church for him,” she continued at the time. “He could sell me anything … To have any of these guys plus Jelly on the show would be amazing. I love you, Jelly!” 

For the record, the “Son of a Sinner” singer is totally down. “Of course!” he said when asked at Stagecoach in April whether he’d consider the gig. “Consider? I’ve accepted the job and they haven’t offered it.” 

Watch Perry gush about Grande below. 

21 May 2024

Perry Farrell Talks Lollapalooza Documentary Series and Three Decades of ‘Blowing People’s Minds’

Imagine a hardcore Black gangsta rapper going toe-to-toe with a wild-eyed white indie rock freak in makeup and shiny black leather pants, as the two repeatedly, gleefully, refer to one another using racial slurs. Then imagine those two men clasping hands and giddily doing a same-sex waltz on stage in front of 15,000 screaming suburban kids to celebrate their transgressive tango.

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That is one of the first images — as well as the very last — that you will see in the new three-part Paramount+ documentary series Lolla: The Story of Lollapalooza, which premieres today (May 21). The sprawling doc, directed by Michael John Warren (Free Meek), uses the electric scene of Jane’s Addiction singer (and Lolla co-founder) Perry Farrell singing Sly and the Family Stone’s incendiary 1969 anthem “Don’t Call Me N—er, Whitey” with OG gangsta rapper Ice-T during the tour’s inaugural 1991 run as a framing device, to explain how and why Lolla changed music festivals in America forever.

It is one of Farrell’s favorite moments from the madcap ride through the fest’s three decade run, during which it blossomed from a multi-act touring anomaly to the industry standard for touring fests, before shrinking, floundering and finally relaunching in the early 2000s as a stay-put in Chicago — with tentacles that now reach throughout South America, Europe and India.

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“I wasn’t thinking [about a] documentary at all,” says the eternally bright-eyed, future-focused Farrell, 65, during a Zoom call. “Because I feel our best work is ahead of us… people usually do documentaries at the end of things and I feel that Lolla is just getting started.”

It’s a classic Farrell forward spin on the festival he originally launched in 1991, as a swan song for his genre-defining alt rock band Jane’s Addiction. After falling in love with such well-established multi-day English festivals as Reading, Farrell and his partners — late promoter Ted Gardner, agent Don Muller and SAVELIVE CEO Marc Geiger — cooked up the idea for a traveling fest that would bring the best of indie rock to the masses.

Before the commercial internet, before cell phones or texting, freaks and geeks could only go to their hometown rock clubs or find each other in their local record store as they browsed the racks and flipped through zines like Maximum Rocknroll. After launching with an initial 1991 lineup topped by Jane’s and featuring Siouxsie and the Banshees, Living Colour, Nine Inch Nails, Ice -T & Body Count, the Butthole Surfers and the Rollins Band, Lolla quickly became a safe haven for the indie diaspora.

For a generation of musical misfits who loved art, nature and peace, it was the place where no one judged you based on how you looked, who you loved or what you listened to. Goths sat side-by-side with metal heads, grunge moppets shared space with indie nerds and hip-hop heads and everyone realized that they were not the only outsiders in their hometown.

The full story of Lolla is a wildly sprawling one, and director Warren says wrestling it into a three-plus-hour doc meant crawling through 20,000-30,000 hours of footage, much of it courtesy of MTV News, which thoroughly covered the fest for years. Luckily, there was no one on the planet who seemed like a better fit for the job.

“Every morning [my research team] would send me an email that felt like Christmas,” says Warren of the difficulty of discerning what to keep in the project given his embarrassment of taped riches. As much as he wanted to include the incredible full Pearl Jam sets from 1992 — during which singer Eddie Vedder would climb perilously high into the stage rigging and take death-defying leaps into the crowd — Warren says he had to remind himself to put his fan boy hat to the side, despite the huge impact the fest had on his life and later, career.

“It was personal for me, since I was at the first Lollapalooza when I was 17 years old in [my hometown of] Mansfield, Massachusetts,” he says. “I had not seen the world at all and me and my weird friends in an avant garde jazz band thought we were the only ones who felt the way we did about things that we were pissed about.” But as soon as he walked onto the Lolla grounds, he says, he found his tribe.

“There were thousands of us there — and if there were thousands there, there must be millions all over the country and the world!,” Warren recalls thinking. It’s a sentiment repeatedly driven home in the film by the pierced, punk haired and black-clad masses who may have come in the first few years for for Alice In Chains, Smashing Pumpkins, Beastie Boys and Dinosaur Jr., but who left turned on to Fishbone, Sebadoh, Royal Trux, A Tribe Called Quest, Stereolab, Shonen Knife and dozens of other less radio-friendly alternative acts.

Undaunted by the mountain of material, Warren set out to tell a roughly chronological tale of how Lolla grew from a scrappy idea for a traveling carnival, using just a handful of key voices instead of the sometimes overwhelming barrage of talking heads in other music docs. Farrell and his partners are key players, of course, with the former Jane’s singer acting as a kind of spirit guide for the entire journey, on which he’s joined by artists including tango partner Ice-T, Metallica drummer Lars Ulrich, Chance the Rapper, Rage Against the Machine’s Tom Morello, Red Hot Chili Peppers bassist Flea, Living Colour’s Vernon Reid and L7’s Donita Sparks.

“It felt like a revolution,” Nine Inch Nails’ Trent Reznor says in the doc of the accepting, electric vibe that saw audiences embrace his then-new band’s industrial earthquake of sound and chaotic vision.

They all tell the tale of how Lolla not only blew minds with the music on three stages, but also expanded them by providing space for a wide breadth of social, environmental and political voices.

With an early focus on offering information from a diversity of interests — from PETA to the National Rifle Association, pro-choice group NARAL, Greenpeace, vegetarian organizations and petitions to overturn the nomination of Clarence Thomas to the Supreme Court, Lolla looked to blow minds with information as well as sonics. “I didn’t realize we were so ahead of the curve with gun control [and abortion rights],” Farrell says, adding, “It’s an ongoing process of blowing people’s minds from year-to-year.” Farrell continues to believe that the purpose of the festival is to expose the audience to the new, young rebels in music and to spread their message across the globe: “We never thought about the status quo, we only thought about he truth, what I considered radical fun with my friends.”

The film elegantly takes you through an initial year nobody was sure would hit, to a sold-out second run with the Chili Peppers, Lush, Jesus & Mary Chain, Pearl Jam, Ice Cube and Soundgarden. It chronicles registering thousands of voters each day, adding the stomach-churning Jim Rose Sideshow Circus to the mix, as well as a second (and later third) stage that exposed audiences to such then up-and-coming acts as Rage, Tool and Stone Temple Pilots.

All along, in addition to focusing on the attitudes and gratitude of the audiences, the doc weaves in elements of the larger culture at the time, from Tipper Gore’s PMRC slapping profanity stickers on albums (and Rage’s full-frontal protest of that move from the Lolla stage), to the missed opportunity to book Nirvana during their prime and the constant gripes that the event had gone “too mainstream.”

It traces the path of increasingly mega lineups, a return to punk roots and a 1996 Metallica-topped lineup that was not only controversial, but also the initial sign that just five years in, things may have begun to go sideways for the festival as a panoply of other package tours — including Ozzfest, Smokin’ Grooves, H.O.R.D.E. and Lilith Fair — took flight. After a final 1997 run with a mostly techno/electronica-focused lineup of Prodigy, Orbital, the Orb, Tool, Tricky and Korn, Lolla petered out and went silent for several years.

All along, though, Warren says the footage showed him that — as Morello says in the film — Lollapalooza was like a “Johnny Appleseed,” spreading the word about hip-hop and alt rock, and how much bigger the world outside your hometown was. Elsewhere in the film, Morello calls the trip from the underground to suburban amphitheaters across the country, the “Declaration of Independence of the alternative nation.”

“It was really important to tell the story of the cultural context, which happens in the very first episode,” says Warren. “What I’m proud of in our film is that you actually understand what is going on in America — not just about the music, but about the cultural revolution in youth culture. How kids were f–king pissed about the environment, gun safety and these things that are so painfully relevant today. It was almost mind-numbing to go through these things and see that the stuff we were so upset about are as bad as ever today.”

Warren points to that first taste, in which he saw Ice-T and his hardcore band play their then-controversial anthem “Cop Killer,” and his fear that they were all going to get arrested for indecency, along with the nearly naked Farrell and Jane’s. Warren says his impression of that inaugural tour was how “extremely dangerous” the whole prospect felt to him then. That narrative line of pushing the boundaries and connecting the dots between formerly disjointed music tribes is the crucial through-line of the film, and the festival.

After the 1997 meltdown, the third episode focuses on the fest’s phoenix-like rebirth in Chicago on the shores of Lake Michigan, where Lolla put down roots in 2005. Taking the show off the road has allowed it to sprout wings, growing into a massive annual event in the Windy City, as well as at satellite locations in Chile, Argentina, Brazil, Germany, Paris and India.

“I think [Farrell] wanted it to be truthful and I know when he started seeing cuts it really struck him — this sounds self-serving — how good it was, and he was really relieved,” says Warren of the journey through the highest highs, lowest lows and almost inconceivably eclectic lineups over the years. This year’s event in Chicago will feature headliners SZA, Tyler, the Creator, Blink-182, the Killers and more.

With one eye always focused on the next adventure, Farrell takes a long, considered pause while contemplating the question of what Lollapalooza has changed in the larger culture and whether the movie gets any closer to capturing that shift.

“I think that I can’t take credit for anything Lollapalooza does,” Farrell says with a smile before unleashing a perfectly Lolla notion of what it all has, or does, mean. “I work, I serve [Rastafarian God] Jah, Jah makes the decisions … I just try to follow Jah’s direction.”

Check out the trailer for Lolla: The Story of Lollapalooza below and watch it on Paramount+ now.

21 May 2024

Here’s the Date of the 2025 Grammy Awards

The 67th annual Grammy Awards are set to take place on Sunday, Feb. 2, 2025 at Crypto.com Arena in Los Angeles. Crypto.com Arena, formerly known as Staples Center, has hosted all but four Grammy telecasts since 2000.

First-round voting, to determine the nominations, will be conducted from Oct. 4 to Oct. 15. Nominations will be announced on Friday, Nov. 8. Final-round voting to determine the winners will be conducted from Dec. 12 through Jan. 3, 2025. As is the Recording Academy’s usual practice, voting will conclude nearly a full month before the results are announced on the show.

The 67th Annual Grammy Awards will broadcast live on CBS, the Grammys‘ home network since 1973, and stream live and on demand on Paramount+.

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The 66th annual Grammy Awards were held on Sunday, Feb. 4. Trevor Noah hosted the show for the fourth year in a row. Ben Winston, Raj Kapoor and Jesse Collins were executive producers. Eric Cook, Jeannae Rouzan-Clay and Patrick Menton were co-executive producers. Hamish Hamilton directed. The Recording Academy has yet to announce the host, producer or director of the 2025 show.

Key dates for the 67th annual Grammy Awards season, announced on Tuesday (May 21) are as follows:

  • Sept. 16, 2023 – Aug. 30, 2024: Product eligibility period
  • July 8, 2024 – Aug. 23, 2024: Media company registration period
  • July 17, 2024 – Aug. 30, 2024: Online entry period
  • Oct. 4, 2024 – Oct. 15, 2024: First-round voting
  • Nov. 8, 2024: Nominees announced
  • Dec. 12, 2024 – Jan. 3, 2025: Final-round voting
  • Feb. 2, 2025: 67th annual Grammy Awards

21 May 2024

Billie Eilish’s Audacious ‘Hit Me Hard and Soft’ Completes Sublime Coming-of-Age Trilogy: Critic’s Take

Billie Eilish begins and ends Hit Me Hard and Soft, her endlessly impressive third studio album, as a caged bird. The haunting imagery reframes her idiosyncratic introspection in the context of a youth that is inextricably tied to — and sometimes nearly completely consumed — by her towering fame. Five years removed from the seismic success of her nightmare-dwelling, Grammy-sweeping debut studio album, Eilish comes back home to herself on this succinct 10-song set, while also further exploring the shape-shifting song structures she explored on 2021’s Happier Than Ever. 

In a recent Rolling Stone profile, Eilish remarked, “I feel like this album is me… it feels like the When We All Fall Asleep, Where Do We Go? version of me. It feels like my youth and who I was as a kid.” And she’s right: The adolescent verve of her debut LP – which she often eschewed on the more reserved, plaintive Happier — returns in the form of pulsating synths and pitched-up vocal takes, but with a melancholic maturity that she’s gleaned from spending crucial years in the scorching heat of the limelight. Those years were also hounded by stalkers and body image woes, while she was exploring her sexuality and learning to balance self-preservation with selflessness in romantic relationships – all of which she unpacks across her new record. 

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With brother Finneas once again joining her at the helm, Hit Me Hard and Soft creeps into being with “Skinny,” a finger-picked guitar ballad that returns to the breezy sonics of Happier Than Ever to dismantle the destructive false equivalency of thinness and happiness. “Twenty-one took a lifetime/ People say I look happy/ Just because I got skinny/ But the old me is still me and maybe the real me/ And I think she’s pretty,” she coos forlornly, before going on to call out society’s hunger for wickedness (“The internet is hungry for the meanest kinda funny/ And somebody’s gotta feed it”). Here, Eilish’s voice takes on a quietly choral quality, as if she’s singing in an empty underwater cathedral; her tasteful riffs on the back half preview the unexpected parts of her range she’ll flaunt later on the record, while the intentionality of her phrasing recalls the incisive heartbreak of 2023’s Oscar-winning tearjerker “What Was I Made For?” 

From there, Eilish launches into “Lunch,” an immediate standout and clear radio single. Reminiscent of the winking whimsy of 2019’s Billboard Hot 100-topping “Bad Guy,” “Lunch” is a glorious queer awakening. The hook is obviously sticky, but Eilish’s greatest display of her handle on quirky pop-isms comes in the lyric, “Said, ‘I bought you somethin’ rare/ And I left it under “Claire”’” — a playful rhyme that builds on her admission of alias usage in 2021’s “Billie Bossa Nova.” “Lunch” unquestionably returns Eilish to the bass-driven feel of her debut, but she’s older, wiser, and freer – from both her own mind and outside expectations. 

“Chihiro” — named after the main character of Hayao Miyazaki’s Oscar-winning Spirited Away – continues the reemergence of her debut’s aesthetics, with a symphony of synths slowly swelling into a shimmering haze. “Open up the door, can you open up the door,” she asks repeatedly, nodding to both her own closet and the walls put up by a lover she is willing to sacrifice anything for. In the song’s refrain, Eilish employs falsetto that, at its peak, sounds just short of manic, emphasizing the frantic reverberations of obsession, the overarching theme of Hit Me Hard and Soft. Across the album, she delivers a virtually peerless understanding of how to manipulate her voice to best amplify the storytelling of her lyrics. The wistful, conversational tone she opts for on “Birds of a Feather” morphs into a breathtaking display of range and balance across “Wildflower” and “The Greatest.”

On “Wildflower,” Eilish poses the question: Is it crossing the line to get with the person you’re helping another person get over? At 22 years old, she’s finally understanding what makes love so enticing – its innate messiness and tension. Drawing on the soft rock of Fleetwood Mac, Billie embodies the ethereal longing of the band’s biggest classics, pairing her emotive vocals with some of the most gut-wrenching narratives of her career: “But every time you touch me, I just wonder how she felt/ Valentine’s Day, cryin’ in the hotel/ I know you didn’t mean to hurt me, so I kept it to myself,” she croons, effectively rejecting verbosity for simplicity. The steady build of the song’s instrumentation provides the perfect segue into “The Greatest,” which is arguably Eilish’s strongest, most arresting vocal performance yet. 

The complexities of love and obsession and the ways in which the two concepts inform each other are laid bare in “The Greatest,” with her voice capturing the devasting self-pity that comes with realizing a stark imbalance of love and affection in a relationship she’d do anything to maintain. It’s a harrowing tale through which Billie eventually finds some semblance of peace in the song’s cathartic, string-laden breakdown. By its close, Billie finally accepts that her commitment to the relationship means that she deserves a partner who will match the depths of her love and patience. “I shouldn’t have to say it/ You could’ve been the greatest,” she sings. Billie isn’t philosophizing anything new in regard to romance and relationships, but you can hear the youthful naïveté fracturing in her tone. Through her eyes, it’s all brand new. 

After that brief detour through Happier Than Ever-esque pop-rock amalgamations, hints of her debut return. “L’Amour de Vie” blends a Édith Piaf-inspired groove with a post-disco synth-pop explosion that finds Eilish throwing shots at a no-good ex; “Wanna know what I told her/ With her hand on my shoulder?/ You were so mediocre/ And we’re so glad it’s over now,” she smugly taunts. Here, Billie skews apathetic, juxtaposing the song’s rose-tinted title with a story of a former partner who proved anything but the love of her life. 

“The Diner” brings Billie back to the macabre trenches of her Billboard 200-topping debut LP. She assumes the perspective of a stalker, giving us a “Stan” for the 2020s. Probably the darkest moment on the album, “The Diner” pairs a campy carnival-of-horrors feel with lyrics that explore the bone-chilling lengths obsession drives people to. “You’re lookin’ right at me/ I’m here around the clock/ I’m waitin’ on your block/ But please don’t call the cops,” chillingly illustrating the unsettling experience of dealing with manic infatuation mistaken for love. Are we talking about stans, an Eilish ex– or Billie herself? 

The two closing tracks — “Bittersuite” and “Blue” — end the record with a pair of shapeshifters that combine and innovate on the grounding sounds of her first two albums. The former is a musical triptych that blends bossa nova influences with blaring synths, further exploring the conflicting feelings of self-preservation and self-sacrifice. Hotels are a major symbol across Eilish’s lyrical oeuvre, in part because of the demands of her touring life, but mostly because they’re the perfect environment to riff on emotional and physical impermanence. Between “do not disturb” signs and a distinct lack of homelike warmth, hotels amplify how cold clandestine meet-ups can feel. “I’ll see you in the suite/ We can be discrete,” she coos before offering, “L’amour de ma vie/ Love so bittersweet/ Open up the door for me/ ‘Cause I’m still on my knees.”  

“Blue” closes the album in the spirit of 2019’s “Goodbye” and 2021’s “NDA.” Eilish alludes to the titles and lyrics of the other tracks on the album – save for “The Diner” because that’s not from her perspective… right? — and draws on synth-rock to internalize the fact that she can understand her ex-lover’s troubled past without holding herself responsible for their “saving” or “fixing.” It’s heady stuff for sure, but she brings the whole affair back to the light with the cheeky question, “But when can I hear the next one?” 

Whether that’s a tease for a rumored companion album or a reference to how quickly we collectively move through new works of art, Hit Me Hard and Soft stands as the sharpest volume of of Eilish’s three-album bildungsroman. With each of her studio albums, Eilish has soundtracked the breakneck speed of the maturity and life-experience arcs you experience between age 18 and 21. Her question at the close of her latest is as tongue-in-cheek as it is forward-thinking; now that she’s completed the odyssey of adolescence, where does the openness of the rest of her 20s take her? 

21 May 2024

‘Corazón de Piedra’ de Xavi lidera la lista Regional Mexican Airplay


Xavi logra su segundo No. 1 en la lista de Regional Mexican Airplay de Billboard con “Corazón de piedra”, que avanza del No. 3 para liderar el ranking con fecha del 25 de mayo.

“Corazón de piedra” alcanza el primer puesto como el Greatest Gainer de la semana, con 7,8 millones de impresiones de audiencia en estaciones de radio de Estados Unidos que reportan durante la semana de seguimiento del 10 al 16 de mayo, según Luminate. Eso representa un aumento del 27% respecto a la semana anterior. El líder de la semana pasada, “(Entre paréntesis)” de Shakira y Grupo Frontera, baja al No. 2 después de una caída del 15% en audiencia, a 6,3 millones.

Hasta la fecha, los mayores partidarios de “Corazón de piedra” entre las emisoras que reportan datos para la lista Regional Mexican Airplay son KOND Fresno, California, KISF Las Vegas y KLNO Dallas, todas con más de 400 reproducciones desde su lanzamiento, seguidos de cerca por WOJO Chicago y KHOT Phoenix (las cinco estaciones son propiedad de Univision).

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Gracias a “Corazón”, el cantautor mexicano obtiene su segundo No. 1 en Regional Mexican Airplay, solo tres meses después de que “La diabla” le mereciera su primer campeón en la lista fechada el 10 de febrero (la canción baja del No. 24 al No. 38 en el chart más reciente, con una caída del 31% en audiencia, a 2 millones). Entre sus dos No. 1 en la lista, el joven de 19 años basado en Phoenix alcanzó el No. 20 con “La víctima” (en la lista fechada el 2 de marzo).

Más allá de su coronación en Regional Mexican Airplay, “Corazón de piedra”, lanzada el 23 de marzo a través de Interscope/ICLG, alcanza un nuevo pico en la lista general Latin Airplay, donde salta 9-5 en su séptima semana.

21 May 2024

20 Questions With Henry Lau: On Headlining MetaMoon Music Festival 2024, New Songs & Finding His ‘Purpose’ in Mixing Genres

Expanding into a two-day event to uplift Asian and AAPI artists, culture and connection, the 2024 MetaMoon Music Festival hits New York this fall with Henry Lau and Eric Nam as headliners, Billboard can exclusively reveal.

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Taking place at the Brooklyn Paramount on Sept. 27-28, the fest brings Lau and Nam together with rising stars Emei and SUNKIS, as well as unique educational opportunities in partnership with the Roc Nation School of Music, Sports & Entertainment at Long Island University. The one-day student conference, “The Summit: Rise of Asian Artists and their Global Fandom,” takes place on Friday, Sept. 27, with panel discussions and masterclasses by industry professionals to foster dialogue on Asian representation in the music industry as well as networking opportunities.

“The ethos of MetaMoon is to amplify Asian/AAPI talent on stage by giving underrepresented artists a consistent platform to perform in front of their fans in the U.S.,” Grace Chen, founder of MetaMoon Music Festival, tells Billboard. “Just as importantly, we want to empower Asian/AAPI voices behind the scenes, in the rooms where decisions are made and agendas are set. Our collaboration with the Roc Nation School of Music, Sports & Entertainment equips students and the next generation of music executives with the access and insight, and hopefully inspiration, to show up and get involved.”

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Produced in collaboration with Live Nation, the pre-sale for the MetaMoon concert tickets begins on May 22 and goes on general sale via Ticketmaster on May 24. Registration for the Roc Nation School x MetaMoon Summit opens on Sept. 4.

Ahead of MetaMoon Music Festival 2024, Billboard sat down with headliner Henry Lau for 20 Questions to discuss his involvement in the show for his first-ever headlining slot in a U.S. festival, latest music developments and more.

1. Where are you in the world right now, and what’s the setting like?

Right now, I’m traveling around everywhere so I tell my friends I’m like a stewardess. I’m currently in Korea. In a few weeks I’ll be going to, I don’t know, Paris. I was just in Thailand last week. It’s all over the world. But right now, I’m here in my studio/office/gym — there’s a whole entire gym area here.

2. You’re coming to the 2024 MetaMoon Music Festival for your first time headlining a U.S. festival. What can we expect?

This is the first time I can really show my stage and sing as much as I want for my fans who know that all my shows have a very unique stage. Because I don’t just go up and sing, there’s a lot of instruments and then there’s a lot of live recording, looping, I like to take a lot of props on stage and record them into songs. I’m really excited that people in America can see that from me for the first time. And, of course, mixing in classical music.

3. Is there any new music we’ll hear at MetaMoon?

I actually haven’t told anybody about this yet, but right around that time, I’ll probably be releasing a new single. I’ve already teased this with my fans very personally, but it’s a song called “Always Been You.”

4. You’ve teased your full-length album for a while now. What’s the status?

I have put the album on hold. I’ve already apologized personally to all my fans. But it is completed. It’s just that I have so many projects right now that when I release it, I have to—and my fans would appreciate it—promote it properly. I’m just waiting for the right timing; I just don’t know when that will be exactly.

5. You’ve spoken about representation in Hollywood in the past, and MetaMoon celebrates and highlights AAPI artists and culture. What’s the significance to you of being part of such an event?

I don’t really think of it. I’m there to perform music, right? There are no borders to music so I think I’m just so happy that I could perform in the States and and it could be a cross-cultural festival. That’s my opinion. For me, it’s music first — I’m not thinking that this represents anything like that.

6. You are so multifaceted in all your music inspirations, the languages you speak and sing in, or how you release music. What is your approach when you’re creating the music itself?

For every song, it’s totally different. The one really big element of my songs is not just the audio, but I think about how I will perform this onstage. For example, one of my latest singles was called “Moonlight.” I made that song and then had a different version where I used a loop station process performing on stage. And for the songs I’ll be performing at the festival this time, you will be able to see all of that. That’s one way I approach a lot of the songs. When you have too much going on in an audio track, it’s just too crazy, so I like to leave it for the performance. When you actually listen to my songs, those are probably the most basic versions.

7. if you could travel to any musical era, when and where would you go?

I used to think it would be the ’80s or ’90s because it feels like all the great melodies, the simple melodies, weren’t thought of back then. I used to think that way, but then you see the amazing pop music that comes out today, too — I’m not saying every song. But I think the earlier you go and when a new genre of music is being born, I’d say at the start of any musical era. If it’s the start of classical music, that’d be amazing. 

But right now is a really great time for mixing different genres since there are so many amazing genres out there. And if you’re arguing that a genre has already matured, if you start mixing genres and mixing cultures, then the possibilities are limitless. And I think that’s where my role is now in the music field overall — I think that’s my purpose.

6. MetaMoon is not just about the concert, but there is a summit, panels, and other ways to help build the community and music-industry network. What will you bring to these events?

First of all, I’ve never done anything like this before, so I’ll usually just go up, perform and, you know, say hi. And that’s it. So this is something very, very new and I’m very excited to do it. I have no idea what it’s going to be about but I’m just excited to share what I’ve learnt. Maybe not everything I say will be the most correct, but it’s just my experience. I think I’ve gotten to an age — I’m pretty old now [Laughs] — where there are a lot of aspiring musicians, and I hope that my experiences can help give them a good idea of what to expect and what they need to work on in certain aspects. I’m just very excited to be sharing my story.

9. The Roc Nation School of Music, Sports & Entertainment at LIU is collaborating with MetaMoon for their “The Evolution of Asian Artists and their Global Fandom” summit. You also went to a music school. How significant are these opportunities?

I think the biggest benefit was meeting my peers and fellow musicians. At that time, there weren’t a lot of forums like this. Usually, these days in music school, they have a lot of guest speakers and successful musicians come up and share their stories. And I actually watch those now and look for them on Instagram or YouTube. It’s something that I wish I had when I was younger. I think it’s very, very important because there’s no textbook for music or the music business or guide to let people actually know these are the hard things that you have to deal with…I’ll do my part and I hope it helps because everybody’s story or way to success is very different. So, I think the more you listen, the more you hear these stories, the more you can apply it to yourself.

10. I want to give you your flowers for your place as such a unique musician in pop music. Do you see yourself having a role in shaping or changing perceptions of popular music?

I used to think that I came from a unique background, but I’m coming to realize there are so many more people who are similar to me background-wise. I have a lot of people that come up to me like, “Hey, I also learned piano, I also learned violin,” “I’m living in Canada, but I don’t have anything to do with K-pop, what do I do?” [or] “How did you do that?” Everyone from my hometown is almost identical to me background-wise. I think I have a role to let people know that it is possible. I hadn’t a probability of like 0.01% of this happening to me, but then there were certain steps I took and I think that maybe it’s my role to share that with people.

11. Looking wider, what are your hopes or aspirations in representing kids from your hometown who might want to pursue a similar path?

Right now, I’m just focused on giving all my fans the best music possible, the best stages and the best content. Before COVID, I was planning on a tour and that’s something I still want to do in the near future. And through that, they can see what is possible. But what’s different about America, compared to performing in Asia which I usually do 99% of the time, is I think in the States, they can recognize that I’m more similar to them. So, I think that one main difference when I’m performing or working in the States, it’s like, “Hey, he’s one of us and he’s doing this.” I think similar to Eric [Nam] as well. I’m very happy to let people know that things are possible.

12. You and Eric Nam are both headlining MetaMoon Music Festival together. Are you friends?

At the start of our careers, we were both on different shows and came up together. Sometimes, I would be on shows where he was the MC; I would watch it later and be like, “Whoa, he was there with me.” We basically grew up together and we came up very, very similarly from a similar background.

13. Fans have also watched you grow in your acting career. Do you have a movie that always makes you smile?

To be honest, I don’t watch many movies. I don’t have much time. I watch movies when I feel like I need to be lifted up — movies that show somebody going through a harder time than me or any movie following any genius. What’s that movie with Russell Crowe being a mathematician? A Beautiful Mind. Yes, that’s a beautiful movie. So when I watch movies like that, it’s like, “Ooh, they went through so much; what I’m going through is actually nothing.” 

14. If you don’t mind sharing, what was a hard time you went through recently and how did you overcome it?

There’s everything. Just even preparing for one stage, people see me play a lot of instruments. I record things up on stage, and [with] every little thing I do, I’m the one directing it. I make all my equipment, I make custom instruments for myself, and I do all the mixing for everything that’s recorded. If the stage performance is 30 minutes, I will spend at least five days just doing technical things: dealing with lighting, visual effects, all the LEDs, all the logos, everything. I have a habit of trying to do everything. It gets stressful when you’re dealing with that and under a tight timeline. There’s just a lot of that but what I like to show people are not the hardships.

15. You shared that you recently went to Nashville and met with the members of OneRepublic. What is the importance of traveling for music to you and did anything come from this trip?

I was actually on a journey to explore music and explore myself. This could be a whole separate interview, but in short, it was to find the best way to combine classical violin and pop music. The perfect place for that is actually country music because, if you think about it, violin is in maybe 50% of country music. So I went to the birthplace of country music, explored that, and we actually came up with something amazing. It’s all in that new album, all the new concepts, something the world’s never heard. Concept-wise, it would be “country x K-pop x violin.” That’s the reason why I’m putting off the album and waiting for the correct timing because I believe so much in this project.

16. What’s something you learned in Nashville?

I actually didn’t know, but the fiddle is violin — it’s the same thing, it’s just the way you play it. So, I actually learned how to fiddle. When you pull out a violin in Nashville, everybody plays it, so it was kind of shocking. Hopefully, if we can get one of those songs done before the festival, that would actually be really cool…maybe there’s a chance of me performing…you just gave me an idea.

17. You grew up in a musical family. What do your parents think of what you’re doing today?

Well, in the very beginning, they were against it. Sending your kid off away from home to become a singer doesn’t sound too promising, you know? But I decided to take the risk and I convinced them to let me do it. And I haven’t been doing so bad. Ever since then, they’ve been supportive. I think what’s really important for an artist, or anyone, is that the people around you support you. And I know not everybody has supporting families, bu it’s really important to build the people around you. I was thinking how that’s something really important through this forum that maybe some people who don’t have enough support can meet other people there.

18. Do you have a proudest moment of your career so far?

No, I actually don’t. I’m the type that I ask my company to remove all my trophies and awards that they like to put on display and stuff. I don’t look at those and feel satisfied; I’m not that type. Of course, I’m very thankful but I don’t think about those kinds of things. I just think about what I’m going to be doing tomorrow, what I’m going to be doing next month, when I’m going to perform at the MetaMoon Festival.

19. That’s interesting because you said your first celebrity crush was Christina Aguiler. She’s said she puts away her Grammys and awards when recording. But you said you liked her because she was not only pretty but talented. What draws you to an artist?

I actually totally forgot that I said that, but now that you’re saying it and I’m like, “Yeah, that’s actually true.” First, I think talent is very important and, until very recently, I only looked at talent. What I’m actually finding that I’m drawn to these days is the character of the artist. If you wanted to be just an artist, you should release music and not come onto the screen. But if you decide now to be in the media, to even show your face or let people know who you are, then you have a responsibility of also leading people in a good direction — not doing, you know, stupid shit. One thing that’s really inspiring to me when I see an artist is when they’re 360 [degrees], the whole picture of what they’re doing and what kind of energy they’re bringing to people. I think that’s something that also really draws me into them. Before, when there was less social media, it wouldn’t be that important; you could get by with just having art or your music because there were no platforms to constantly show your personality. 

20. What’s your relationship like with social media as an artist? 

For me, Instagram is just a way of communication between me and my fans. I don’t like to put my entire life up there and I’m very careful with what I want to put up. But I’ve done so many silly things on TV and everything that I have very little to hide from my fans. So, there’s no certain image for me to upkeep or anything — I can put up a picture of me looking horrible and it wouldn’t be so much of a shock to my fans because they’ve already seen everything they have to see of me. I’m more lucky in that aspect, but I’m still not the type to put up my whole life on Instagram. I would say everything I’m doing is all for the fans.

Tickets to MetaMoon Music Festival 2024 are available via Ticketmaster.