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The fallout from the Kendrick Lamar and Drake feud has been picked apart, and it will be further delved into as part of IMPACT x Nightline: Kendrick v. Drake: The Feud episode coming to Hulu on Thursday (Feb. 6). Ahead of its streaming premiere, Billboard exclusively shares a clip from the ABC News Studios program […]
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated Feb. 15, we look at the biggest threats to capture the No. 1 spot after Travis Scott’s “4×4” debuted atop the listing this week.
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Morgan Wallen, “I’m the Problem” (Mercury/Big Loud/Republic): Perhaps the most consistent artist in the upper stretches of the Billboard charts the past two years has been Morgan Wallen, who has racked up three Hot 100 No. 1s since 2023 (with his own “Last Night” and “Love Somebody” and the Post Malone-led “I Had Some Help”) and another five top 10 hits. On Friday (Jan. 31), he returned with the new single “I’m the Problem,” a bitter song about a toxic relationship that will serve as the lead single and title track for his upcoming fourth album, his first since 2023’s behemoth One Thing at a Time (still in the Billboard 200’s top five nearly two years later).
Unsurprisingly, “Problem” is off to a strong start on streaming, topping both the Spotify Daily Top Songs USA and the real-time Apple Music chart after its Friday release. The song has started to slide on both listings perhaps a little quicker than expected, with it being replaced by SZA’s Kendrick Lamar-featuring “30 for 30” atop the Apple Music chart and falling all the way out of the top 10 already on the Spotify listing. But it remains in the top 10 on iTunes even after getting passed by a number of Grammy-boosted songs, and it’s off to a hot start at country radio, with over eight million airplay impressions in its first four days of tracking (through Feb. 3), according to Luminate.
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“Problem” might not quite have the streaming start to be on the inside track for a No. 1 debut, but it should at least be another top 10 hit for the dominant country superstar.
Lady Gaga & Bruno Mars, “Die With a Smile” (Streamline/Interscope/Atlantic/ICLG): Despite Lady Gaga being present and performing at the two most high-profile multi-artist gigs of 2025 so far – Thursday’s FireAid concert at the Intuit Dome, where she closed out the multi-hour fundraising event, and Sunday’s Grammys, where she actually performed with Bruno Mars – she did not play her and Mars’ four-week No. 1 at either show. (Gaga and Bruno instead covered The Mamas and the Papas’ ‘60s classic “California Dreamin’” at Music’s Biggest Night.) Nevertheless, the song could get a bump from its win for best pop duo/group performance, and for Gaga’s headline-capturing acceptance speech standing up for the trans community.
In any event, “Die With a Smile” remains a monster on streaming, sticking in the top 10 on Apple Music and climbing back to No. 1 on Spotify’s Daily Songs Top USA chart. It also continues to threaten the reign of Shaboozey’s “A Bar Song (Tipsy)” on radio, though that 27-week Radio Songs No. 1 might not give up that spot so easily. Regardless, its continued strong showing across streaming, sales and radio, it should be a pretty strong contender to return to No. 1 for a fifth frame next week.
The Weeknd, “Cry for Me” & “Timeless” (w/ Playboi Carti) (XO/Republic): The Weeknd had a pretty enormous weekend, appropriately, as he both released his new album Hurry Up Tomorrow on Friday and then made a surprise return to the Grammys stage on Sunday after essentially boycotting the awards for four years after his After Hours blockbuster was shockingly ignored by the Recording Academy in 2021. The two songs he performed at the Grammys are also the two leading early performers from Tomorrow: “Timeless,” the Playboi Carti teamup that has already reached No. 3 on the Hot 100, and “Cry for Me,” a newly released early-album highlight.
Both songs should be a factor in the top 10 race next week. “Cry for Me” has the edge on Apple Music, while “Timeless” leads on Spotify – and “Timeless” is obviously ahead on radio, having a months-long head start building airplay (though “Cry for Me” should debut on Pop Airplay and Rhythmic Airplay this week). Neither is likely to be No. 1 next week, but The Weeknd always has tricks up his sleeve to give his hits a little extra boot, so they can’t be totally counted out in the weeks to come.
Travis Scott, “4×4” (Cactus Jack/Epic): The current No. 1 song on the Hot 100 is likely to have a considerable drop in week two, as the gargantuan first-week sales number the song posted (167,000) inevitably recedes, and the streaming numbers continue to slide. (The song is already out of the top 50 on both Spotify and Apple Music.) Nonetheless, Travis Scott‘s “4×4” won’t disappear completely, and has started to make gains on radio, with the song expected to jump on Mainstream R&B/Hip-Hop Airplay in its second week, and possibly even make the top 20 on Rhythmic Airplay.
Doechii, “Denial Is a River” (Top Dawg/Capitol/ICLG): It won’t be a top 10 contender just yet, but the breakout hit from Doechii’s now-Grammy-winning mixtape Alligator Bites Never Heal (which she performed, along with “Catfish”) should be the biggest beneficiary from her post-Grammy-night bump in streams and sales — and had already started to make pretty big waves on the charts, climbing to No. 55 on the Hot 100 this week. Radio is starting to kick in for the track as well, with “Denial” also a threat to make the top 20 on Rhythmic Airplay while shooting up Mainstream R&B/Hip-Hop Airplay.
One of the many benefits of the internet is one that 20-somethings likely take for granted: immediate access to song lyrics.
Prior to the advent of Google and Safari, consumers who wanted confirmation of a song’s words generally needed to buy the album – and hope that it contained the lyrics – or pick up the sheet music. A few publications, such as Country Song Roundup or The Tennessean, regularly printed the text to hit songs, but other than that, fans were left to debate if they were hearing things right.
Still, the lyric sites aren’t always spot-on. Songwriters regularly laugh about the misprints of their material, which get passed from site to site, correctly or not.
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One obvious example comes with the new Parmalee single, “Cowgirl,” where lyric sites include this verse-one line: “Drivin’ a Range, but now I wanna giddy hard.”
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Clearly wrong, right? Wrong, it’s right!
“It’s like, ‘giddy up hard,’ man,” says Parmalee lead singer Matt Thomas. “You want to get it, get with it, you know? Like, ‘giddy hard.’ It’s one of those things where it doesn’t make any sense, but it kind of does, if you think about it.”
The thing that stands out most, though, about “Cowgirl” is a hard, syncopated backbeat. It feels like a cousin to the Bo Diddley groove or, as Thomas suggests, the cheerleader rhythms of the 1982 Mickey Basil pop hit “Mickey.” That alone should have programmers paying attention: sports-based riffs formed the foundation of Shania Twain’s “Any Man Of Mine” and “Man! I Feel Like A Woman!”
Despite the Western motif of the “Cowgirl” title, the song’s drumbeat is imported from the United Kingdom, where four songwriters – James Daniel Lewis, Peter David Newman, Robbie Jay and Thomas Frank Ridley Horsley – fashioned the bulk of it before shipping it off to 33 Creative co-owner Tina Crawford, who found it intriguing. She shared the programmed demo with her co-owner, writer-producer David Fanning (“Take My Name,” “Tennessee Orange”), who in turn brought it to Thomas. And they played it for Parmalee on the band’s bus.
“I don’t think there was a bridge in there, but for the most part, it was pretty much there,” recalls the band’s bassist, Barry Knox. “It was a solid, solid idea.”
The group’s other members, drummer Scott Thomas and guitarist Josh McSwain, agreed. Parmalee’s first single, 2012’s “Musta Had a Good Time,” had set expectations for a career built on hard-hitting uptempos, but the group’s biggest successes have leaned toward midtempos and ballads. That includes their last four singles, three of which – the Blanco Brown collaboration “Just the Way,” “Take My Name” and “Gonna Love You” – reached No. 1 on Country Airplay. Matt and Fanning thought the time was right for a song that grooved like “Cowgirl,” if they could fit it to Parmalee.
“We needed something unique and fresh,” Fanning says. “Coming from the U.K. and everything, they’re trying to write towards country music and get into this genre. And they just send us something that we really were like, ‘Hey, that sounds fresh. How do we make this Parmalee?’”
Batting it around for much of May, they changed a few lyrics, made some melodic tweaks and wrote a bridge to generate a change of pace. “We needed something catchy, something fun in there,” Matt says. “We needed something to sing that’s going to be abstract, kind of like the ‘giddy hard’ thing, and we came up with the ‘24-karat palomino.’ I was like, ‘Yeah, man – palomino, golden horse. That’s it.’ Like, everybody’s yell that during the break.”
Matt brought in the “giddy hard” thing, and all told, the song struck a balance between the abstractions and more standard images from mainstream country. “It’s got a lot of clichés in it, too,” Fanning notes. “You’re talking about [trucks] and Levi’s and Bud Light, all the things that are country. But that’s the thing about country music. That stuff never does get old. It’s just, how are you gonna say it differently?”
Halie Welch, the “Hawk Tuah girl,” was recording at the studio across the hall when Fanning produced “Cowgirl” at Nashville’s Sound Stage in early July, building on top of the percussive loop from the original demo, for which Lewis received a co-producing credit. Fanning assembled a small studio band, better enabling them to get through all five of the day’s songs speedily. Parmalee, though, watched from the control room to guide the studio players to performances that captured some of the nuances of the band.
“We’ve been playing together for 25 years, so we call it the Parmalee groove,” Knox says. “It’s more of a laidback kick drum groove, as opposed to a heavy forward[-leaning] punk kick drum. There’s a little more space in the Parmalee groove.”
The band would overdub instrumental parts later to get more of the band’s imprint on the recording, around the time that Matt threw down the final vocal, working the upper part of his register. Knox and McSwain joined him for an intense day of harmonies intended to enhance the light nature of “Cowgirl.”
“We were working in the afternoon, and I was like, ‘Alright, this is the song. We got to have a party,’” Matt recalls. “The idea was to go down to the strip club and have some tequilas, spend a couple hours in there, and then come back to the studio. But that didn’t happen.”
“Plan A didn’t quite work out, but plan B was we were still gonna have a little bit of tequila,” Knox says.The guys chased down harmonies from multiple spots in the studio, creating perhaps 30 or more total voices to fashion a party atmosphere.
“You’re singing eight feet from the mic, two feet from the mic, right on the mic, just going all around the room to try to create that crowdy kind of effect,” Fanning says. And yet, listeners paying close attention will discern an additional voice on the final chorus, a high-harmony enhancement that Matt wasn’t sure he could do until he nailed it.
Parmalee considered several different tracks as the next single, though “Cowgirl” got the nod once Knox broke the ice. “Barry walked on the bus one night,” Matt remembers, “and he’s like, ‘What are we doing? What are we doing? Why are we listening to any of these other songs to be the first single? We’re crazy if we don’t go with “Cowgirl.” ’
As it turned out, the rest of the band agreed. Stoney Creek released “Cowgirl” to country radio via PlayMPE on Jan. 8. It ranks No. 50 on the Country Airplay chart dated Feb. 8 in its fourth week on the list.
Meanwhile, the odd lyric could prove to be one of its most beneficial traits.
“It’ll probably be the one word in the song that people hear and have no idea what it is, and it’s gonna make them Google it,” Knox says. “So I’m like, ‘Put it in there. I’m in.’ That’s kind of our go-to word now. Like, ‘Hey, man, we gonna giddy hard tonight.’”
American jam band Phish will headline Bourbon & Beyond this year, promising fans that their appearance at the Sept. 11-14 festival held annually in Louisville, Ky., and organized by award-winning festival producers Danny Wimmer Presents will be the band’s only festival stop for 2025.
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Joining Phish at the four-day festival held annually at the Highland Festival Grounds at Kentucky Exposition Center are the Alabama Shakes, who are reuniting in 2025 for a Thursday performance at the festival that will also include Thursday headliners The Lumineers and Benson Boone. Friday night headliners include Phish, Khruangbin and Joe Bonamassa, while Sturgill Simpson, performing as Johnny Blue Skies, takes the stage with Jack White and Vance Joy on Saturday. Noah Kahan, Goo Goo Dolls and Megan Moroney close out the festival on Sunday.
Now in its seventh year, Bourbon & Beyond will feature more than 120 artists total performing on five stages, including Cage the Elephant, TV On the Radio, Nathaniel Rateliff & The Night Sweats, Lake Street Dive, Ringo Starr & His All-Starr Band, Foreigner, Third Eye Blind, Pat Benatar & Neil Giraldo, and many more.
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In addition, Bourbon & Beyond includes daily workshops and demonstrations showcasing America’s best chefs and Louisville’s vibrant bourbon and culinary culture on the festival’s workshop stage for The Bourbon Experience and The Culinary Atelier. Hosted by bourbon expert Chris Blandford, chef Amanda Freitag, chef Ed Lee and chef Chris Santos, the festival’s bourbon tastings and culinary workshops pair world-renowned master distillers and some of the country’s top chefs, with some workshops featuring celebrity guest appearances.
“Bourbon & Beyond is the best lineup of the year — bringing together the biggest names in rock, Americana and alt, alongside country icons and breakout artists,” said Wimmer in a statement. “It’s a festival that doesn’t just celebrate one sound, but the best of all of them, paired with world-class bourbon, incredible food and that unmistakable Kentucky vibe. The crowds are huge, the energy is unmatched and every year, we take it up a notch.”
For information on festival passes, visit the Bourbon & Beyond website. All passes include a charity fee for the DWP Foundation, which gives back to local and national charities throughout the year.
See the full lineup below:
In a few days, Donald Trump will become the first sitting president to attend a Super Bowl — something Travis Kelce thinks is a “great honor,” despite the politician’s history with Taylor Swift.
During a press conference Wednesday (Feb. 5), the Kansas City Chiefs tight end — who will face off against the Philadelphia Eagles at Caesars Superdome with his teammates this weekend — was asked for his thoughts on the White House’s recent announcement that the POTUS will be in attendance. “That’s awesome,” Kelce said. “It’s a great honor.”
“No matter who the president is, I know I’m excited because it’s the biggest game of my life,” he continued. “Having the president there — it’s the best country in the world — and that’s pretty cool.”
Someone who will also be present at the Feb. 9 game will be the New Heights podcaster’s superstar girlfriend, who has famously opposed Trump’s administration for years. A couple months prior to the 2024 presidential election, for example, the “Fortnight” singer endorsed the twice-impeached billionaire’s Democratic opponent, Kamala Harris, and slammed the Trump campaign’s use of artificially generated images that falsely painted Swift as a MAGA supporter.
In response, Trump said the following in a Sept. 11 post on Truth Social: “I was not a Taylor Swift fan. It was just a question of time … She’s a very liberal person, she seems to always endorse a Democrat and she’ll probably pay a price for it in the marketplace.”
Four days later, he wrote, “I HATE TAYLOR SWIFT!”
Months before that, Trump brought up both the 14-time Grammy winner and Kelce in a Truth Social blast. “There’s no way [Swift] could endorse Crooked Joe Biden, the worst and most corrupt President in the History of our Country, and be disloyal to the man who made her so much money,” he wrote in February last year.
“Besides that, I like her boyfriend, Travis,” he added at the time. “Even though he may be a Liberal, and probably can’t stand me!”
Watch Travis Kelce share his thoughts on Donald Trump’s Super Bowl attendance below.
What started out as something Howie Mandel thought would be a funny bit for his Howie Mandel Does Stuff podcast last month quickly devolved into a super-tense, awkward moment the America’s Got Talent host is now expressing regret for. “I want to apologize,” Mandel said on this week’s episode of the pod he hosts with his daughter, Jackelyn Schultz.
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“I feel horrible and I’m sorry, Bill. I’m sorry, Billy. I only tried to do something good,” Mandel added. Mandel noted that he has not heard a “peep” from his longtime friend and fellow comedian Bill Burr since the Jan. 21 episode in which he blindsided him by bringing on Smashing Pumpkins leader Billy Corgan for an episode he called “Family Reunion with Bill Burr & Billy Corgan.”
Back in November, Corgan said he told Mandel that his step mom informed him years ago that Burr “might be” one of the children that Corgan’s late father “sired in his days being a traveling musician.” Corgan also recalled that his dad once mentioned that he had a half-brother who was close to his age named Bill; Corgan is 57, Burr is 56.
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As soon as Corgan came out to join the pod, Burr was immediately on edge, which the rocker sensed, saying, “he didn’t tell you? He told me you were totally cool with me coming.” Clearly peeved at Mandel, Burr hissed, “that’s what he does.” Sensing the awkwardness, Corgan offered to leave, but Burr said it was fine, going on to refer to his dad as a “piece of s–t with two kids this close together [and] he named them the same f–king name.”
Burr then said he appreciated Corgan’s music, but that he would “prefer if you just kind of… not [tell] these f–king stories.” The tension continued to mount as Corgan explained that Mandel made it seem as if Burr would be okay with repeating the story he’d originally told Howie in private and then having the men meet on-air.
“He always does that. Because that’s the thing,” Burr said angrily of the comedian he’d earlier praised as one of his inspirations and a longtime friend. “He’s bringing it here, not because he’s trying to heal the bulls–t that we went through growing up. He’s getting here just for the f–king ratings.”
Mandel eventually left the room and the Bills traded stories about the man they both described as their dad as Burr continued to mock Mandel’s IMDb credits mercilessly. “At least we’re not on some f–king awful network show judging plate spinners or whatever the f–k Howie’s career has become,” Burr said of Mandel’s gig co-hosting AGT.
Burr — whose beloved stand-up act is often filled with his irate annoyance, and rage, about what he thinks is the idiotic, inexplicable behavior of others — eventually told Mandel that he still loved him, “even though you did this,” wondering what his friend expected to happen. “Are we going to play catch? We’re both in our 50s,” Burr seethed, with both bald performers agreeing on one thing: that Mandel (also famously bald) is “a d–k.”
Once Corgan had assured him that it was all Mandel’s idea, Burr admitted he was not upset with the Pumpkins singer/guitarist and that he just didn’t like that their first meeting was the result of subterfuge. The two then had a funny exchange about possibly hanging out after the taping, with Burr immediately taking a dig at Corgan’s vegan diet after Corgan said he assumed Burr was a meat-eater. “I can have a cup of coffee while you eat your f–king Brussels sprouts,” Burr spat.
On this week’s pod, Mandel said he texted Burr to congratulate him on a good episode, but has not heard back from his friend since. “The next thing I see is… headlines,” Mandel said while posting a series of news reports about Burr’s anger over the incident. Burr went on the Rich Eisen pod shortly after and referred to Mandel as a “Hollywood whore” for the stunt. “I legitimately thought I was doing something nice, I swear to you,” Mandel said this week. “I thought it was funny.”
Watch Mandel’s mea culpa and a snippet of the original podcast below.
La Original Banda El Limón de Salvador Lizárraga, one of the longest-running Sinaloan bands in the genre, is celebrating its 60th anniversary and is preparing to celebrate throughout 2025.
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“I am happy to announce that Alex Lora, frontman of El Tri, has joined our celebration with one of his songs, “La Raza Más Chida,” which we will unveil in due time,” reveals Juan Lizárraga, grandson of the group’s founder and current music producer, in an interview with Billboard Español. “There are several guests for duets that we will be announcing in the near future.
“We would like to include some of the vocalists who have been in the band, like Julio Preciado,” continues Lizárraga, referring to the first official singer not only of La Original Banda El Limón but of any banda music of its kind.
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La Original Banda El Limón was formed in 1965 in a small town in Sinaloa called El Limón de los Peraza, from which it took its name. Following in the footsteps of its predecessor, Banda El Recodo de Don Cruz Lizárraga, it began as a wind band and, already with a defined style and an earned reputation, served as accompaniment for great stars such as Lola Beltrán, José Alfredo Jiménez and Antonio Aguilar. In 1990 they released their first album, Puro Mazatlán, with which they innovated by putting their own vocalist in a Sinaloa band for the first time.
Since then, the band has released more than 50 albums, 10 of which have appeared on Billboard‘s Top Latin Albums chart and seven on the Regional Mexican Albums chart. The group has also placed 33 songs in Regional Mexican Airplay, reaching No. 1 with “Al Menos” (2010) and “Di Que Regresarás” (2011), among other achievements. Banda El Limón has received multiple awards such as Latin Grammys for best banda album, twice, for Soy Tu Maestro (2010) and La Original y Sus Boleros De Amor (2013), as well as the Billboard Mexican Music Award for Excellence in Regional Mexican Music in 2012.
On Jan. 29, the group received recognition from the Promotores Unidos USA association in Las Vegas, kicking off his anniversary celebrations.
Today, Don Salvador Lizarraga’s grandchildren, who call him papá, carry on his legacy since his passing in 2021. One of them, producer Juan Lizárraga, talks with Billboard Español about their accomplishments, their upcoming plans and the possibility of one day seeing La Original play alongside music peers like Banda El Recodo and La Arrolladora Banda El Limón.
How great is the responsibility to remain relevant after six decades?
I would start by saying that I am very excited. Time goes by very fast; ten years ago we were celebrating our 50th anniversary with a huge concert at the Zócalo in Mexico City, something that marked our history. The legacy of my papá Salvador is something that must be dignified, something that we must work hard on. My brother Carlos, my brother Andrey, Francisco and I learned from him as a professional, but also as the great gentleman he was. This celebration is a dream come true for my dad, even though he is no longer here, and for us who are carrying on his legacy.
Characters like Don Cruz Lizárraga (from Banda El Recodo) and Don Salvador Lizárraga built a very important part in the history of regional Mexican music. Did your father realize that?
My dad used to tell us that he couldn’t imagine what was going to happen to his band. At the time, the only thing he thought about was bringing home the bread. People like him and Don Cruz Lizárraga loved music and in it they found their family’s livelihood. They were not looking for success; they just enjoyed what they did. It has been a great journey in which many characters have left their lives to achieve that the bands are positioned as an important part of Mexican culture.
What is it that keeps Sinaloa’s bands alive?
There are songs that are 30 years old and are still hits. That is what makes a group great, that makes the difference. It is with music that we really transcend and remain relevant. As long as there are singers and musicians who love the band, it will never stop and will continue to be strong. Banda El Recodo and La Original Banda El Limón are recognized for their longevity, but we cannot overlook what Banda MS has done. In twenty years, they have achieved what it took others twice as long. La Arrolladora also had its golden age. Banda Los Recoditos too. In short, there are many that continue to dignify regional Mexican music.
Fashions come and go, but what is well cemented continues. It is like when a hurricane passes and does not knock down a palm tree; it will shake it, it will bend it, but it is well planted and will not knock it down. Banda sinaloense music already has a hard-earned place.
What do you have planned to celebrate these 60 years?
I am happy to announce that Alex Lora, frontman of El Tri, has joined our celebration with one of his songs, which we will unveil in due time. He is delighted with how the arrangements turned out because we took care of the two essences, we achieved a point of balance. At the end of the day, we are enhancing Mexican music. We are focused on making collaborations with artists that are joining us. It’s not about doing songs by La Original Banda El Limón; we did that not too long ago. We want the guest to choose the song, and most importantly, we want them to enjoy banda music. As for a party, we also have it in mind and we are working on it.
Throughout your history you have had some great collaborations, is there one you remember in particular?
Fortunately there are several, with very important artists like Jenni Rivera, Juanes and Becky G, but one that was definitely a big challenge was to be part of the tribute to Caifanes with “No Dejes Que.” Making it sound good with a band and making them like it was not easy, but they were very satisfied. All those moments make us feel happy and proud of our genre.
Will there be a time when we can see something together with Banda El Recodo and La Arrolladora?
With whoever, we are open. I believe that all our colleagues should have the idea of making our music continue to transcend, to make a team. I believe that there are no egos or envy, what we have are matters of negotiation. My dad used to say and he said it well: “Credits are not earned on a piece of paper or in an advertisement, they are earned on stage.” At least for La Original Banda El Limón, opening or closing is the least of it. We are very happy that Banda El Recodo and La Arrolladora are touring together. We wish that could be extended. There are many things that can be achieved if we all come together, to make a great team so that we can bring a strong musical history to the people.
Irama continues to grow, and very rapidly too – like a stone that rolls slowly and picks up speed, as he himself defined the way he would like his songs to go. His participation in the Sanremo Festival, scheduled for February 11-15, is already the 29-year-old’s sixth. For bookmakers he is among the potential winners. However, the song he presents in Sanremo – which will also be released in Spanish for the Latin American market – is titled “Lentamente,” which means “Slowly.”
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“It tells a carnal story: the destruction of a love that is seen as eternal and instead ends. Slowly, and on both sides,” is how he introduced it. “It has a British atmosphere given by the Hammond organ, but also a very Italian melody: I wanted to present a song different from the usual.”
Irama (stage name of Filippo Maria Fanti) may seem cold and distant only if you look at it from afar. Up close, this multi-platinum artist is humorous and kind. He has his very precise ideas, especially when it comes to music. He says: “This song simply moves me deeply, which is why I presented it for the contest. In the studio I wrote down the melodies with my authors and producers, but without thinking about Sanremo.”
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Didn’t you have [Sanremo] as your goal?
No, I wouldn’t have wanted to go back to Sanremo. My record company [Warner Music Italy, ed.] and my team were warned. But then I kept listening to the song, even at night, and I liked it more and more. So at a meeting – where it is rare for me to participate – I played this song. Everyone cheered.
You had other plans at first?
Right. I wanted to focus on the tour and my new album, but Sanremo is a great opportunity to make everyone listen to your music. I’m interested in that.
“Lentamente” will also be published in Spanish for the Latin American market. How do you think you will be perceived there?
I still have to build everything in that world, but I sense a certain interest. I would like my music to have as international a vision as possible.
Have you read the journalists’ reviews?
Just because they sent them to me. It’s not something I like to do.
Was there anything that wasn’t understood, in your opinion?
Someone wrote that the songwriter is only Blanco, and this in itself is madness, because I always co-write my own songs. Then I read other things that didn’t convince me. Perhaps journalists have always seen me as too distant, which happens much less with normal people. It’s a shame. I would like to communicate well with everyone.
What does it depend on?
Sometimes we focus too much on appearances. It seems to me that we look more at aesthetics than emotion. But my songs are way more linked to the latter. I would like my songs to be conceived as boulders that roll slowly and gain speed. This was the case for my previous song “Ovunque Sarai.” However, if they had given me excellent reviews, I would have been worried: all my successes were born from low marks.
Maybe you’re not a person who opens up to everyone.
When I was a child, they taught me a certain type of education and respect for each other’s space. I don’t allow myself to joke too much with those I don’t know well, and this lack of lightness is interpreted as coldness or even arrogance. But I don’t think I’m cold.
Irama
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At the Sanremo Festival you will also sing the cover of “Say Something” by A Great Big World feat. Christina Aguilera. Was it difficult to choose the song to reinterpret?
A lot, because I’m not an interpreter: there are never covers in my albums. It’s a completely different sport. For this reason, I looked for a song with a style not too different from mine.
When will you release your new album?
I don’t know yet. Many people, when they meet me on the street, no longer ask me for a photo but ask me when my album gets released. There was also a WhatsApp group called “Album 2024” which quickly became “Album 2025.” Until it’s perfect, an album shouldn’t be released. And, for me, albums are never perfect. When I really think I’ve done everything possible to publish the best work possible, then I release it.
Do you want to explore any genre in particular?
It will be a more serious record, I think. However, it will be played a lot with analog instruments, because it is influenced by live performances which are growing more and more.
Where are you writing now? Once upon a time you went to Salento, in Southern Italy, for many days.
True. Years ago, we went there, to places that didn’t cost much. I remember that in a house we even had a stable with a pig inside! Now I love going to beautiful places, perhaps with a swimming pool and a garden, also because I generally don’t take holidays. But then I lock myself in a closet to write. I tried to write in Sardinia, for example, but how do you do it? If you find yourself in front of a sunset you look at it, not write! I think the same thing about concerts: why shoot a video without actually watching the live performance?
Who did you see in concert last year?
Just friends of mine. I went to support them, even singing myself: Annalisa, Riccardo Cocciante, Blanco.
How come you don’t like to go on holiday?
I really can’t. I’ve done it in the past, I went to Thailand, for example. At most I can last four days. After that, I feel useless, I feel like I’m wasting my time.
Would you like to change?
My dream is to get to make music inside a nature reserve, surrounded by the animals I love so much. I wish I could get to a point where I make music more slowly and sporadically.
No one ever answers yes — are you going to Sanremo to win?
I believe that there really isn’t anyone from the new generation who is too attached to the competition. Maybe it was once important to someone, but now it really isn’t. Of course, it’s a great moment if you do win and then go to Eurovision, with that incredible opportunity to make yourself known there too, like Måneskin did. But the challenge is the last thing on your mind.
Irama
Andrea Ariano/Billboard Italia
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