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If there’s one thing that everyone knows about the Red Hot Chili Peppers‘ Flea it’s that the veteran funk-punk bass slapper is never shy about letting it all hang out. And while 61-year-old rocker doesn’t hit the stage in the all together as often as he used to back in the band’s sock-only days, while chilling with his pal actor Woody Harrelson on this week’s episode of the Woodman’s SiriusXM Where Everybody Knows Your Name podcast with former Cheers co-star Ted Danson, Flea told a chillingly hilarious story about a naked adventure he had with the Triangle of Sadness star.
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Flea opened by asking Harrelson is he remembered the time the two of them went on a nude snowboarding run. “He and I snowboarded naked. I have footage of Woody Harrelson and I snowboarding stark naked down a big snowy mountain,” Flea told Danson about the trip to Utah by the two pals.
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Harrelson said the footage is “great,” with Flea noting that he was ready to post it on Instagram before Woody’s wife, Laura, “cautioned me against it.” Always a gentleman, Danson joked that it was cold, after all, so the footage might have come up short, if you know what he means. Woody added that he and Flea always have a great time and good laughs when they hang out, some of his greatest times, in fact, even though Flea balances his Zen nature with a competitive side.
That explained how a friendly buff bomb down the mountain almost ended in fisticuffs.
Flea confirmed that he is super-competitive, though he doesn’t really care if he wins or loses, before throwing friendly shade when Harrelson said he also doesn’t care whose on top when they play basketball or race on their snowboards.
“I’ve seen you sulking after losing. I remember one of the last times we went, we were racing, and we were both reckless ’cause let’s face it. We go very fast, but we’re very average snowboarders. We have to admit that we’re average,” Flea said. “Wo we’re racing and I’m like out of control rocketing down this mountain and I nearly take a lady out, but I don’t. I see her and I’m like, ‘Whoa.’ Swerve out of her way and I miss her. All’s good. We’re racing. I can’t remember who won. Probably me, probably me, and we get down there, but then the lady, we’re getting ready to get on the lift and we’re laughing and yelling at each other, and this lady comes up and she’s infuriated.”
Flea said the woman chewed him out for nearly running into her, saying he was out of control and prompting the bassist to apologize and admit she was right. “‘I’m so glad that I didn’t hit you, but I’ll be much more careful next time. Please forgive me. I’m very sorry,’” he said he told her. “As you know, I’m neighborly. I’m polite, I’m considerate.”
When Danson asked if Flea meant it, the Chili Pepper said absolutely, acknowledging that it was probably a bit scary to see a naked man ripping by her on the mountain. “I didn’t even touch her, and she was like, ‘Well, you’re an a–hole.’ Blah, blah, blah, and I was like, ‘Ma’am, I’m very sorry,’” he reiterated. But then things got weird when Flea said the woman stuck her ski pole in his face, which agitated him. That’s when Harrelson skied up and saw the tense pole dance and came to his pal’s defense.
“And then she goes, ‘Well, my husband’s gonna come down here and he is gonna show you what for,’ and then that’s when you’re like, ‘Bring the f–king husband. I want to see her bring the husband,” he said Harrelson told the woman. The pair decided to exit the tense scene and hop on the lift, but not before Harrelson, “itching for a brawl,” started yelling, “‘I’m waiting at the top of the lift. I’ll be waiting up top!’”
Harrelson, who says he’s much more chill now, told Flea at the time, “nothing could make me happier,” than if the woman’s husband joined them at the top of the mountain, acknowledging back then — they didn’t specify when this adventure happened — the time the actor used to derive great joy from “impending chaos.”
Watch Flea and Harrelson tell their naked ski skirmish story below.
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On April 27 and 28, Ado performed two shows at the National Stadium, entitled [Ado SPECIAL LIVE 2024 “Heart”].
She had just finished [Wish], her first world tour, which took her to Asia, Europe, and the U.S. She carried that momentum with her into the “Heart” shows. This was the first time a female solo artist had ever performed at the National Stadium, whose extensive renovation project ended in November 2019. Tickets for the two day event sold out immediately, and 140,000 people were there to see this historic moment. On the first day of the shows, Ado made a vow.
The show began with the sound of a guitar — the bridge part of the song “KokoroToIuNaNoFukakai.” The volume gradually rose, accompanied by the audience clapping in rhythm, creating a sense of unity. The sound of a heartbeat pulsed through the stadium, followed by a dynamic opening movie, raising expectations. And then Ado herself appeared on stage, above the band, in a box-shaped cage. Her intimidating voice boomed out “What is just? What is folly? I’ll show you.” The first song, unleashing a tidal wave of excitement, was her major label debut, “Usseewa.” The heavy, almost metal-sounding instrumentation and the powerful, shouted lyrics blended to produce a new song that went far beyond the original. It was the kind of sonic world that only Ado could create. A song needs to touch your heart. That’s far more important than how intelligible its lyrics are. This was brought home by the song “Tot Musica.” Ado’s awe-inspiring voice was an embodiment of the movement of the smoke shown on the enormous center screen. The impact of her voice commanded the stadium, like venom, a work of art in itself. Although her singing frequently dipped into growling vocals, it maintained an exquisite balance, never sounding coarse. Her aesthetic sensibilities never faltered.
In contrast to the energy of these two songs, she set a more mature mood with “Lucky Bruto,” which she sang laying on her back, one leg raised high, and “Domestic De Violence,” which she performed laying down, putting on a sensuous dance. In “Aishite Aishite Aishite,” her natural expressiveness shined to its fullest. As if possessed by the song’s protagonist, she held nothing back, expressing the true tragedy of the piece. Every time her vocals seamlessly shifted from a keen voice, sharp as a blade, to a beautiful singing voice, the audience broke out in goose bumps, breath bated. The song climaxed with her shouting out the lyrics “I am so happy! AAAAHHHH!” The crowd broke out in loud exclamations of admiration as her screams paired with the frenzied, flashing lights and the visuals, which faithfully reproduced the feel of the song’s music video. It was an unforgettable moment.
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Her cage rose into the air as she sang “Kagakushu,” followed by “Motherland,” which featured expert vocalization, supported by the crowd clapping to the rhythm. In “Gira Gira,” her rhythmic steps evoked the image of tap-dancing. The cage came down to its original position and a new arrangement of “Eien No Akuruhi” began. Ado’s voice was a genuine expression of a young girl’s mind, like a princess dancing with a prince at a ball. Then the audience looked up at the night sky as one in a moment of reflection on the memories of their youth. As the ballad drew to an end with a majestic outro that was far longer than anyone had been expecting, drones took to the open sky above the National Stadium, depicting a heart, the line of a heartbeat monitor, and then Ado’s symbol, a blue rose, accompanied by fireworks. The crowd broke out in cheers.
A euphoric Ado then performed “I’m invincible,” wearing a large, billowy dress. Her performance made it evident how deep her understanding of the song was, and showed the richness of her expressive abilities. She reproduced every ounce of feeling that went into the song, down to the finest details. In “Readymade” and “Kura Kura,” the crowd sang along. This was followed by the bittersweet “Chocolat Cadabra,” where a wild spirit and dynamism intertwined. On “Value” and “Hello Signals”, her voice was relaxed and smooth, heightening expectations of what was to come. There were many moments in the show in which one felt oneself drawn in by Ado’s humanity and rich expressiveness, demonstrated not only in her almost scream-like vocals, but also in each and every movement of her vivid dancing. Sometimes powerful, sometimes delicate, her steps were always elegant.
Once freed from her cage, she sang “Ibara,” followed by “Show” and “Odo,” the frenzied peak of the night. Stepping one level lower on the stage, she swaggered from one edge of the stage to the other. Flames shot into the air, the crowd clapping in rhythm along with Ado’s flexible voice. Ado’s vitality was truly moving.
Speaking to the audience, Ado reflected on [Wish], her first world tour, how she used that experience in her “Heart” performance, and how the tour made her come to love Japan even more.
“I came to really feel how important it was for the people of the world to learn about what a wonderful country Japan is, and to learn of our culture. I want to become an even bigger global presence, and I hope people can learn about what a great country this is through me.” “I swore to myself that if I could achieve this, I’d bring joy to the people of Japan, whether it be through music or something else.”
The title of these shows, “Heart,” represents all of the feelings people have: anger, pain, temptation, transience, sorrow, joy, reminiscence. At the same time, Ado explained, it represented the Vocaloid and utaite culture that led Ado to become a musician. “The next song is the final song. You’re ready for more? You haven’t had enough?? You want more???” With that, as silver confetti fluttered through the air, she sang “New Genesis.” The words to the song, “Let’s go to the New World,” “I’ll show you my dreams,” filled the stadium, inviting listeners to a wonderful future.
There were three special guests on the 27th. Opening DJ TeddyLoid, who worked on “Show” and “Odo,” played remixed versions of Ado songs. In the encore, “DIGNITY,” a giant blue balloon appeared on stage. Inside it were Ado and Tak Matsumoto of B’z, who helped write the song. In “missing,” Ado boarded a birdcage cart that took her around the arena, and then Ado, electrifying the audience with “Backlight” and “FREEDOM,” returned to the stage.
“Vocaloid and utaite are at the center of my heart. I hope these two wonderful cultures will grow around the world. If I can, I want to be a bridge between the two. And now is the moment when I do just that.”
Next to Ado, who had changed into elegant, flared pants, appeared the night’s final guest, Hatsune Miku. Dancing symmetrically, the two sang “Sakura Biyori to Time Machine,” a new song written by mafumafu debuting for the first time. Ado’s singing voice was tearful, like she remembering the past as she sang. It was a voice of genuine warmth.
Ado began to reflect on her own past. She used to hate herself, and couldn’t allow herself to rely on others. The only place for her in this world was social media. She wasn’t smart, she said, or skilled. She was gloomy. And yet, she had a desire for recognition and approval, stronger than anyone. She was saved from this tumult of emotion by music and singing, her great loves, so she chose to keep singing…
“Nobody knows that the future holds. That’s why I felt, so strongly, that maybe things would work out. My beloved Vocaloid and utaite cultures gave me faith in the future. Now, here I am, standing in that future I so longed for.” “I hope the song (“Sakura Biyori to Time Machine”) I sang with her (Miku), and this show this evening, can give back to the Vocaloid and utaite cultures, and help lead the way to the future. Please, don’t forget these cultures I love so much.”
The encore ended with a passionate performance of “KokoroToIuNaNoFukakai,” a song with a special significance for Ado. The lyrics “How can I decide my emotions?” had a rawness to them that made the audience’s hearts go out to her. Ado bowed deeply and left the stage and, as if in celebration of her birthday, the sky was lit ablaze with gorgeous fireworks. The magic lingered on, even after Ado’s departure.
This was a night that embodied Ado’s past, present, and future. The most captivating part was her sincere, humble personality. Her character may be why she keeps evolving while never forgetting where she came from, as her performance made so clear. On July 10, she released her second album, Zanmu, and from July 14th she launched her first nationwide arena tour, [Ado JAPAN TOUR 2024 “Mona Lisa’s Profile”]. The passion she exudes never wanes. Her desires have grown to a global scale, as she wants to share the wonders of Japan through the cultures of Vocaloid and utaite. With Ado, we are truly seeing the new genesis of a pop icon.
This article by Mio Komachi first appeared on Billboard Japan.
Full setlist:
1. Usseewa2. Tot Musica3. Lucky Bruto4. Domestic De Violence5. Aishite Aishite Aishite6. Kagakushu7. Motherland8. Gira Gira9. Eien No Akuruhi10. I’m invincible11. Readymade12. Kura Kura13. Chocolat Cadabra14. Value15. Hello Signals16. Ibara17. Show18. Odo19. New Genesis
Encore20. DIGNITY21. missing22. Backlight23. FREEDOM24. Sakura Biyori to Time Machine25. KokoroToIuNaNoFukakai
Snow Man’s “BREAKOUT” blasts in at No. 1 on the Billboard Japan Hot 100, dated Aug. 7.
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The new single is being featured as the theme song for Honeko Akabane’s Bodyguards, a new movie starring Snow Man member Raul. The track launched with 1,088,373 CDs to rule sales and also hit No. 1 for radio. This is the nine-member boy band’s ninth single to top the Japan Hot 100 and the first since “Dangerholic” released last September.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2. This track is still going strong after 17 weeks on the chart, with video views up 135% from the previous week and the consistently climbing karaoke metric up 10% this week. The popular three-man band has 14 songs charting this week including “Lilac.” In particular, “Blue Ambiance (feat. asmi),” released in July 2022, has returned to the top 100 for the first time in three weeks, powered by karaoke.
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At No. 3 is =LOVE’s “Zettai aidoru yamenaide” (meaning “don’t ever quit being an idol”). The single was fueled by physical sales alone; it sold 260,304 copies in its first week — a career-high for the ten-member girl group — to hit No. 2 for the metric, while not ranking in any of the others that count towards the chart’s measurement.
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LIL LEAGUE from EXILE TRIBE’s “Youth Spark” bows at No. 5, selling 62,680 copies to hit No. 3 for sales, while also coming in at No. 7 for radio.
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Notable chart moves outside the top 10 include YOASOBI’s “Butai ni tatte” (“standing on stage”), which jumps 43-16 on the Japan Hot 100 this week. After dropping July 26, streams for the track have increased by about 3 times and radio by about 2.5 times compared to the song’s debut week (though the track only had three days to count towards the chart week then).
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Meanwhile, J-pop summer favorites have returned to the chart this week. aiko’s “Hanabi” charted for the first time in 11 months since Sept. 6 of last year after streams went up 111% and karaoke 115% from the week before, and DAOKO x Kenshi Yonezu’s “Uchiage Hanabi” also charted for the first time in a year since Aug. 16, 2023.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from July 29 to Aug. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Just six months after Fuerza Regida debuted in the top 10 on Billboard’s Top Latin Albums chart with Dolido Pero No Arrepentido (EP), the group sets foot in the album ranking’s upper region with Pero No Te Enamores, its eighth studio album, which debuts at No. 2 on the Aug. 10-dated list.
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Pero No Te Enamores, released July 25 on Street Mob/Rancho Humilde/ Sony Music Latin, launches with 23,000 equivalent album units earned in the U.S. during the tracking week ending Aug. 1, according to Luminate. Most of the 15-track set’s first week total is powered by streaming activity equating to 30.5 million official on-demand U.S. streams for the album’s songs. The album also bows at No. 19 on the all-genre Top Streaming Albums chart, where it ranks as the only Latin album debut of the week. It’s one of two Latin sets in the top 20, behind Peso Pluma’s Éxodo, which lifts 13-11 after its No. 3 debut in July.
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On Top Latin Albums, one unit equals one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
With Pero No Te Enamores, Fuerza Regida ties regional Mexican music with contrasting genres such as jersey club, Latin rhythmic, pop, dance and drill in collaborations that include Major Lazer and Alok, Maluma with Gordo, Afrojack and Bellakath. The album was also produced by Afrojack, Alok, Gordo and Major Lazer.
Further, as the album debuts at No. 2, Fuerza Regida banks its seventh top 10 and its second No. 2 start, after Pa Las Baby’s y Belikeada (November 2023), which landed at the summit in its 26th week where it held for three consecutive weeks starting the April 27-dated survey. Beyond those two, the San Bernardino, Calif.-based band has collected five other top 10s dating back to 2019 when it earned its first top 10 through the No. 8-peaking Del Barrio Hasta Aquí.
Fuerza Regida becomes the second regional Mexican act to debut in the top two rankings on Top Latin Albums in 2024, trailing only Ivan Cornejo whose album Mirada bowed at No. 1 on last week’s chart (dated Aug. 3). Notably, only two other acts of any genre have debuted that high this year, both female pop artists: Kali Uchis with Orquídeas and Shakira with Las Mujeres Ya No Lloran, both which launched at No. 1 on the Jan. 27 and the April 6-dated tallies, respectively.
Elsewhere, Pero No Te Enamores starts at No. 25 on the overall Billboard 200 tally, for the group’s fifth chart entry.
As Pero No Te Enamores arrives, eight of the project’s cuts debut on the multi-metric Hot Latin Songs chart, giving Fuerza Regida a total of 46 career visits on the airplay-, streaming- and digital sales-blended list. That said, the Mexican-American act enters an exclusive group of regional Mexican bands with as many or more entries on Hot Latin Songs since its inception in 1986. The list is led by Los Tigres del Norte with 67 total entries, followed by Intocable (57), Banda El Recodo de Cruz Lizárraga (54), Los Tucanes de Tijuana (47) and now Fuerza Regida (46).
In addition to the new arrivals on Hot Latin Songs, “Tu Name,” the first single from Fuerza’s Dolido Pero No Arrepentido (EP) holds at No. 6 for a fifth week, after the song reached No. 2 high in March. Here’s the rundown of Fuerza Regida’s simultaneous songs on the current Hot Latin Songs chart:
No. 5, “Nel” (debut)
No. 6, “Tu Name”
No.12, “Pero No Te Enamores” (debut)
No. 24, “TUQLO” (debut)
No. 27, “Secreto Victoria” (debut)
No. 32, “Sofia,” with Major Lazer & Alok, (debut)
No. 40, “Kylie” (debut)
No. 41, “Bella” (debut)
No. 42, “Valeria,” with Maluma featuring Gordo, (debut)
In April, rising pop singer-songwriter Chappell Roan released “Good Luck, Babe!”, a sleek, synthy single with nonchalant verses and an emphatically dismissive chorus. Her album Midwest Princess had failed to crack the Billboard 200 when it came out the year before, but “Good Luck, Babe!” immediately showed signs of commercial promise, handily out-streaming previous tracks. It chugged onto the Billboard Hot 100, starting at No. 77, and eleven weeks later, with some coaxing, made it all the way to the top 10.
A version of this path used to be commonplace: It took time, usually months, to propel a single into the top 10. Today, however, it’s hard to find a trajectory like Chappell Roan’s; as of the third week of July, 75% of this year’s top 10 hits have debuted in the top 10. Launching a single has become more like launching a new album, or even a new movie — focus on pre-release marketing, live and die by first-week results.
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This has its advantages. Because so much of pre-release marketing involves teasing songs on social media, artists and labels often know how the public feels about a track before it comes out, so they can spend promotional dollars more efficiently. And unlike movies, songs are relatively cheap to make, so if teasing one fails to arouse interest, an artist can cut bait quickly, or even trash a track and not bother to put it out.
“The industry used to front-load any strategy before they had the confidence that it’s working,” says Nick Bobetsky, who manages Chappell Roan. “You don’t have to do that now.”
But there’s a potential downside, too. Executives say that many artists and labels are often unwilling, or unable, to execute the sort of monthslong campaigns that create hits over time — think Latto’s “Big Energy,” Teddy Swims’ “Lose Control,” or Noah Kahan’s “Stick Season,” which all took more than 20 weeks to climb the chart and peak in the top 10.
“If you don’t have a song react immediately, if it doesn’t stream an extraordinary amount right away, everyone’s like, ‘It’s not working,’” says J Grand, a former major label A&R who owns the label 88 Classic. “In the same way we need to be patient building artists, we’ve got to be patient with songs we really believe in.”
Twenty-five years ago, it was nearly impossible for a song to explode off the starting line and debut in the Hot 100’s top 10. Chart position was determined by airplay, which usually grew as radio stations took time to gauge the success of a song in their market, and single sales, which often rose in conjunction with airplay and TV appearances and the release of a music video.
Back in 2000, an average top 10 hit took 11.6 weeks — nearly three months — to reach its peak. “Both the flow of information was slow and purchasing was slow,” says Glenn McDonald, a former Spotify employee and the author of You Have Not Yet Heard Your Favorite Song: How Streaming Changes Music. “It took a while for anybody to know that a thing was happening, and then it’d be a while before they worked up the enthusiasm to actually go to a record store and buy whatever it was.”
Now, of course, social media ensures that news travels instantly, and the widespread adoption of streaming means that new music is just a click or two away. But an eight- or nine-week climb up the chart was routine until around 2018.
Planning, funding and executing that climb was the chief function of the record labels. “Back then, it was really governed by whether you went to radio, whether you were on TV, whether you had a big press story, or even whether your release was available at a store for people to buy,” says John Fleckenstein, COO at RCA Records.
Labels still have these tools at their disposal — RCA took Latto’s “Big Energy” to radio earlier than expected, according to Fleckenstein, after seeing listeners “were skewing a little older than they had on Latto’s previous releases.” “We don’t feel that growing records is a lost art,” he adds. Radio tends to play a crucial role in this process because stations typically add songs, and then play them more frequently, as they see them build, rather than immediately throwing a single into heavy rotation.
But radio doesn’t drive as much music discovery as it used to, especially for young people, and TV viewership is way down; on top of that, driving listeners to a song is considerably harder in a climate where they have seemingly infinite choice.
So the marketing process starts earlier, usually weeks before a track is released, and sometimes before the track is even finished. “You try to get people’s anticipation up for that song to come out,” Fleckenstein says. Otherwise, it’s just another track adrift in “a sea of content.”
The biggest stars seem to generate anticipation simply by existing. And since multimetric charts incorporate streams, acts like Taylor Swift or Drake routinely enjoy multiple top 10 debuts on the Hot 100 whenever they release a new full-length; Swift has single-handedly occupied the whole top 10. (Before streaming, there was no way of measuring on-demand listening after the purchase of an album, constraining the amount of songs likely to appear on the Hot 100, particularly simultaneously.)
Lesser known acts typically build excitement by previewing a track on short-form video platforms and encouraging fans to pre-save it, so they’ll listen the instant it arrives. The Swedish singer Benjamin Ingrosso shared snippets of “Look Who’s Laughing Now” 32 times across TikTok, Instagram Reels and YouTube Shorts over five weeks before releasing the track in June. “The entire intention was to collect pre-saves,” says Tim Collins, the singer’s manager. “The whole f–king country knew the song before it came out,” the single’s release date was moved up because fans were clamoring for it on TikTok, and it debuted at No. 1 on the Sweden Songs chart.
In the old regime, labels would pick singles ahead of time and spend lavishly to support those tracks, but they were flying blind, with no indication of how listeners felt about the song. Now that’s unnecessary. “If you throw up a brick, you’re probably not going to get the marketing that you want for your project,” Grand says.
“Every song has to prove itself,” Bobetsky adds. “And with every new phase, the artist, in a lot of ways, has to re-prove themselves.” This can be mentally taxing — an artist’s position is never safe — and cruelly Darwinian.
This landscape may also foster a fickle approach to promotion. “Artists who have had a viral moment and leaned into it can be afraid to work other songs that don’t instantly go viral,” says Ethan Curtis, founder and CEO of PushPlay, a management company and marketing agency.
“They think, ‘It didn’t have the sauce, it’s not that good,'” he explains. But “you might hit a nerve [on TikTok] because there’s a certain topic that’s trending that day, and if you posted that video yesterday, it wouldn’t have gone.”
Persistence paid off for one of Curtis’ management clients, the singer JVKE, whose song “Golden Hour” took 22 weeks to peak in the top 10 early in 2023. “A handful” of initial posts with the track sank like a stone, according to Curtis. Some teams might have moved on.
But then JVKE generated excitement on TikTok with a clip where he played the song for his childhood piano teacher. After a few more videos in this vein, interest on the app started flagging, so JVKE’s team encouraged other pianists to post their own clips playing the song “to showcase their chops.”
They made more than two dozen remixes of the single as well – picking collaborators that would expand the song’s geographical reach – then booked JVKE an appearance on The Tonight Show, and paid to push the track to radio. Later, they created their own TikTok fan pages to “repurpose and repost all the content we and others had made,” Curtis says, which “extend[ed] the momentum just long enough to break into the top 10.”
Would other singles benefit from the same sort of patient, sustained, multi-prong push over several months? “I don’t think you should ever give up on a song,” Bobetsky says. Still, he allows, “If you do justice to the song’s promotion and exposure, and it’s not sticky, then trying to keep amplifying it is pretending that we know better than the public.”
The rap legend is doing it all at the Paris Games.
This article was created in partnership with White Claw.
Christian Karlsson, better known as “Bloodshy,” has been producing for almost two and a half decades. What started as producing and songwriting in Sweden quickly evolved into working with high-profile pop stars around the world. After landing on Galantis as his mainstay project, Karlsson has amassed over 6.6 billion worldwide streams and a No. 1 album on Billboard’s Top Dance/Electronic Albums chart with Pharmacy.Galantis has been busy over the years since its inception, playing venues and festivals across the globe and releasing four albums— most recently, Rx in May 2024, featuring collaborations with 5 Seconds of Summer, JVKE, Little MIX, MNEK and more. Ahead of his festival appearance in Chicago, Galantis delighted fans with a performance and intimate Q&A at the White Claw Shore Club Sessions Powered by Billboard. Get a glimpse into the international producer/DJ’s life and latest album Rx below.
On his biggest hit “Runaway (U & I)”being a decade oldI still love to perform it and I still love working on it and changing it in terms of, like, doing mashups and stuff. I’m in a good position being an artist that could still change the song because in DJ culture, that’s something you’re supposed to do. So to me, I can always keep it fresh by just changing it for every night the way I want to perform it.
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On sharing his ADHD diagnosis with the worldIt’s scary, you know – I never talked about it with even family before, but other people came to me and helped me out by telling their stories. I thought I owed it to whoever, even if it’s one person, you know, I owe it to tell my story.
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On why Galantis has longevity in the music industryI think sticking to my guns, just doing music that I like, doing music that inspires me and taking risks and not listening to what anyone else is doing, you know? Not caring about if your stock is up or down, not following trends, whatever. I just go to the studio the same way I went to the studio when I was 14. It’s about that kick in the snare, and it’s about that chord, and it’s about that melody, and then that’s it.
See more from the White Claw Shore Club Sessions Powered by Billboard with Galantis here.
As one of the most influential stars in the world, Taylor Swift has many Americans on the edges of their seats as they wait to see whether the 14-time Grammy winner will endorse Kamala Harris‘ 2024 campaign for president.
And though she has yet to come forward with her support, some fans think Swift may have just subtly hinted that she’s on the Democratic nominee’s side. That’s because a Harris-like silhouette appears in the background of a photo the 14-time Grammy winner posted Tuesday (Aug. 6) of her Warsaw Eras Tour performances at PGE Narodowy, walking in the opposite direction upstage wearing a pantsuit and giving a presidential wave.
Swift didn’t acknowledge the ambiguous female figure in her caption, instead simply thanking her “beautiful crowds” in Poland “for making us the first tour to play 3 nights in a row in your stadium!!” A source close to the pop superstar told The Hollywood Reporter that the shadowy figure was simply the silhouette of one of the background singers, something that appears regularly in Swift’s show.
Still, several fans took to social media to speculate that the photo was the “Anti-Hero” singer’s quiet way of giving Harris her stamp of approval.
“Taylor Swift just low key endorsed Kamala Harris and MAGA is losing their minds,” one person wrote on X, while another fan tweeted, “It really feels like it should be a bigger deal that Taylor Swift left a shadow of Kamala on her Instagram post but I don’t really see anyone talking about it.”
“TAYLOR!!! Tell me more about this pic on IG from Warsaw?!?!” a third person tweeted. “We all know TS is amazing with her breadcrumbs… hope the deliberate posting of this pic hints at what #SwiftiesForHarris are hoping for!”
One fan wrote, “Taylor Swift casually dropped this photo to endorse Kamala Harris why is NO ONE talking about this 😭😭😭.”
If she did intend to back Harris with her post, Swift would be one of many musicians to join the sitting VP’s cause. Cardi B, Lizzo, John Legend, Ariana Grande and many more have also posted in support of the candidate, while Megan Thee Stallion performed at Harris’ Atlanta rally earlier this month. Quavo spoke at the same rally, and — as first reported by Billboard — Bon Iver is set to take the stage at her upcoming campaign stop in Wisconsin.
It also wouldn’t be the first time Swift has aligned herself with Harris and the Democratic party. In 2020, the musician endorsed Joe Biden’s White House bid and revealed she’d be cheering on his then-running mate during the vice presidential debate — an event for which she showed off a tray of Biden-Harris sugar cookies. “Gonna be watching and supporting @KamalaHarris by yelling at the tv a lot,” Swift tweeted at the time.
That said, other fans weren’t so quick to take Swift’s recent post as the “Karma” artist endorsing Harris — not yet, anyway. “It’s not a Kamala endorsement,” one person wrote on X. I promise when Taylor endorses her, the entire world will know. She won’t be subtle about it. 😂😂😂”
Ye — formerly known as Kanye West — and Ty Dolla $ign have released a digital deluxe edition to their evolving Vultures 2 album. The V2 deluxe was released on Tuesday night (Aug. 6) on Yeezy’s website. It comes equipped with updated songs and a bonus track titled “Take Off Your Dress.” Featuring a Talmadge […]
Liza Minnelli is getting ready to tell her story, her way. The legendary singer and actress is preparing a memoir for the spring 2026 that the 78-year-old EGOT icon said in a statement comes after a lifetime of requests to spill the tea.
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“Since I was old enough to put pencil to paper, people asked me to write books about my career … my life … my loves … my family,” said Minnelli in an announcement on Tuesday (August 6) from the book’s publisher, Grand Central Publishing. “Absolutely not! ‘Tell it when I’m gone!’ Was my philosophy. So, why did I change my mind? A sabotaged appearance at the Oscars, in front of billions of people … a film with twisted half-truths … a recent miniseries that just didn’t get it right. All made by people who didn’t know my family, and don’t really know me. Finally, I was mad as hell! Over dinner one night, I decided, it’s my own damn story … I’m gonna share it with you because of all the love you’ve given me.”
The memoir was written with contributions from two Pulitzer Prize winners, two-time George Polk Award winner Heidi Evans and veteran Los Angeles Times correspondent and arts/entertainment/politics reporter Josh Getlin, as well as Tony winner and Minnelli’s longtime friend performer and music historian Michael Feinstein.
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“I turned to my most beloved friend, Michael Feinstein and yelled: ‘Help!’ We’ve been joined at the hip for 40 years. As Ambassador of the Great American Songbook and my absolute favorite collaborator, Michael’s one of the greats, he’s razor-sharp and, and he tells the truth,” Minnelli continued. “That’s important because, as I fly towards my eighth decade of living, memories differ… This tome has a unique place in history. Most of you don’t know how far back we go. The Minnellis have been in show business for literally hundreds of years!”
The book promises to trace Minnelli’s path from her early years in the spotlight as the daughter of the beloved singer/performer Judy Garland and film director Vincent Minnelli, through her Oscar-winning rise to global fame as Sally Bowles in the 1972 movie musical Cabaret. It will also touch on Minnelli’s long career as an interpreter of the Great American Songbook, her struggle with drugs and alcohol and serious illness and a late-career resurgence as the belovedly daffy Lucille “Lucille Two” Austero on fourth season of the sitcom Arrested Development.
A description of the book from “one of the most iconic and enduring figures in entertainment history,” describes a journey from Minnelli’s early days as a teenage stage performer through her “high-octane marriages and struggles with substance abuse, this memoir offers an intimate look at the star we cherish. It reveals the raw and triumphant experiences that have solidified her status as one of the most compelling performers ever in entertainment history.”
The book, which will be published in hardcover print, e-book and audio editions in spring 2026, will pull back the curtain on what GCP senior vice president and editor-in-chief Colin Dickerman said is a fascinating life that has long transfixed Minnelli’s fervent fans. “From the moment she was born, people have been telling Liza’s story,” Dickerman said. “She is now, after a life of many dizzying triumphs and some terrifying lows, finally ready to tell it herself. Grand Central is absolutely thrilled to help bring this book into the world.”
Tony winner Feinstein’s contribution is described as highlighting Minnelli’s most significant contributions to the American Lexicon, with an audio edition that will feature bonus content with never-released autobiographical “recordings and musings” that the longtime friends have been working on for 15 years. In addition to her Grammy-winning recordings, Minnelli also made her mark in movies (New York, New York, Arthur) TV (Liza With a ‘Z’: A Concert For Television) and her legendary stage runs at New York’s Carnegie Hall and Radio City Music Hall.
“Today, after incredible events and life-threatening battles … I am truly ‘Lady Peaceful, Lady Happy,’” said Minnelli in a lyrical nod to “Maybe This Time” from Cabaret. “Thank you all for loving me so much … being concerned about me. I want you to know I’m still here, still kickin’ ass, still loving life and still creating. So, until this book arrives, know that I’m laughing, safe in every way, surrounded by loved ones, and excited to see what’s right around the curve of life. Kids, wait ’til you hear this!”