Music

U2 Say ‘Achtung Baby’ Showed Fans the Band Wasn’t Taking Itself ‘As Seriously As People Thought We Were’

To celebrate the release of their Disney+ documentary Bono & The Edge: A Sort of Homecoming, With Dave Letterman, U2‘s Bono and The Edge reflected on their illustrious career with Apple Music’s Zane Lowe, premiering Thursday (March 16) and previewed exclusively on Billboard below.

The Edge discussed the release of the band’s 1991 album, Achtung Baby, which incorporated more alternative rock and electronic dance music into their sound. “We started to become caricatures on that basis, like the Joshua Tree period had way overexaggerated this sense of earnestness and responsibility,” the guitarist explained. “We just had to own up and say, ‘Actually… we’re very silly, we’re not those characters.’”

While The Edge noted that the group “absolutely” wanted to help society through their music, the public seemed to have the wrong impression about who they were as people. “We were also not taking ourselves nearly as seriously as people thought we were, and we were able to laugh at ourselves,” he shared. “Achtung Baby was that antidote for us as much as for music fans to that overly sanctimonious, pious and earnest sort of image that had grown up around us. We needed to flesh out the truth about who we were and give ourselves the freedom then to be in both. Because that was the thing we loved about Bob Marley. He was able to, without any issues, blend the spiritual into the political and sexual. To him, these weren’t different baskets. These were all part of who he was.”

Directed by Academy Award winner Morgan Neville, the A Sort of Homecoming documentary will debut Friday (March 17) on Disney+ and showcase Bono and The Edge‘s special concert performance in Dublin.

Check out The Edge’s thoughts below — plus another exclusive clip of Bono talking about considering himself a songwriter first and foremost — and catch the full interview at 1 p.m. ET. on Apple Music 1 at apple.co/_Zane.

The Cure’s Robert Smith Rages Against the Ticketmaster Machine Over Added Fees: ‘I Am Sickened’

After warning fans in a tweet spree earlier this week that Ticketmaster’s “Verified Fan” system was “far from perfect,” The Cure singer Robert Smith continued his Twitter rant on Thursday after his band’s 30-date Shows of a Lost World North American tour went on sale.

“I AM AS SICKENED AS YOU ALL ARE BY TODAY’S TICKETMASTER ‘FEES’ DEBACLE,” Smith raged in his latest all-caps broadside against Ticketmaster. “TO BE VERY CLEAR: THE ARTIST HAS NO WAY TO LIMIT THEM. I HAVE BEEN ASKING HOW THEY ARE JUSTIFIED. IF I GET ANYTHING COHERENT BY WAY OF AN ANSWER I WILL LET YOU ALL KNOW.”

Smith’s tweet came as fans complained that despite the band offering reasonably priced tickets for the outing and making sure the tickets will be non-transferable to minimize resale and keep prices at face value, in some cases the added-on service fees, facility charges and order processing fees added up to more than the cost of entry.

By making the tickets non-transferable, scalpers will be unable to purchase tickets and then resell them for a profit since the original owner will have to be present to enter the venue. For fans who purchase tickets but can’t make it to the event, they will be able to resell the ticket on a face-value ticket exchange.

Before the VF onsale, Smith assured fans that he was doing everything he could to alleviate ticketing pain points, including avoiding platinum packages and dynamic pricing, referring to those practices as “a bit of a scam.” But when he saw the complaints about the service charges during Thursday’s onsale, the singer could not hold back; at press time a spokesperson for Ticketmaster had not returned Billboard‘s request for comment.

Following up on his “scam” tweet, on Wednesday (March 15), Smith explained, “I HAD A SEPARATE CONVERSATION ABOUT ‘PLATINUM’, TO SEE IF I HAD MISUNDERSTOOD SOMETHING… BUT I HADN’T! IT IS A GREEDY SCAM – AND ALL ARTISTS HAVE THE CHOICE NOT TO PARTICIPATE… IF NO ARTISTS PARTICIPATED, IT WOULD CEASE TO EXIST.”

If nothing else, Smith implored his fans to avoid buying tickets secondhand from scalpers, writing, “I HAVE BEEN TOLD: StubHub has pulled listings in all markets except NY, Chicago, Denver (IE. CITIES IN STATES THAT HAVE LAWS PROTECTING SCALPERS). PLEASE DON’T BUY FROM THE SCALPERS – THERE ARE STILL TICKETS AVAILABLE – IT IS JUST A VERY SLOW PROCESS… I WILL BE BACK IF I GET ANYTHING SERIOUS ON THE TM FEES… IN THE MEANTIME, I AM COMPELLED TO NOTE DOWN MY OBVIOUS RECURRING ELEPHANT IN THE ROOM THOUGHT… THAT IF NO-ONE BOUGHT FROM SCALPERS… THEN.”

The Cure’s efforts to combat resale ticketing comes after a season of in-demand tours facing astronomical price increases due to dynamic ticketing and scalpers. Ticketmaster is currently facing government inquiries into its handling of the disastrous Taylor Swift Eras Tour presale, which left many fans outraged when service delays and website crashes (caused in part by bots) prevented many of them from securing tickets.

See Smith’s tweets below.

How Nyla XO Used Her ‘DIY Queen’ Skills to Win the Samsung NXT 2.0 Competition, And Finally Take Center Stage

In a northeastern suburb of Los Angeles, a devout Radio Disney fan played tween pop’s most successful songs on repeat — and then, queuing up her cassette player, she tried to create her own track that would outshine them.

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Balancing two separate Record buttons while the radio played, Nyla Hammond synchronized the tracks by artists like Vanessa Hudgens with the recording of her own vocals harmonizing along. With one take, she reduced Disney’s brightest stars to backup singers and unwittingly cut her first cover. At that moment, Nyla XO was born.

“I was a hacker,” the singer-songwriter remembers. “I found the way.”

Nearly two decades later, in a small trailer in southwest Hollywood, Nyla was 20 minutes away from performing another cover — though this time, the stakes were a lot higher. Established stars Tinashe, Eric Nam and Natti Natasha would be assessing her delivery. A voting audience would determine her artistic potential. Extended family would watch a livestream in Puerto Rico and beyond. The 32-year-old was one of three finalists in Samsung NXT 2.0, a nationwide competition to discover the next unsigned music superstar, and she was having a panic attack.

Nyla’s mother, a classically trained singer, was greeted at the trailer door by a face streaked with tears. “Sing a song you know like the back of your hand as many times as you can,” she advised her daughter. Together, they sang Corinne Bailey Rae’s “Put Your Records On” until Nyla began to breathe easier. “I hope you get your dreams,” the mother-daughter duo sang, over and over. “You’re going to find yourself somewhere, somehow.”

And she did: That night, Nyla XO was crowned the Samsung NXT 2.0 champion during a finale that was musically rousing and personally gratifying. “I have a saying: ‘If there’s anyone who can figure it out, it’s Nyla,’ ” says Henry McDaniel, her husband, business partner and producer, known professionally as H.A.N.K. “She doesn’t quit until she finds the answer to whatever it is she’s searching for.”

H.A.N.K knew that Nyla — a descendant of Puerto Rican immigrants who was named after the birthplace of her mother (New York) and her own (L.A.) — was destined for stardom long before the NXT competition. When the pair met at Musicians Institute in Hollywood in 2012, Nyla was already multidisciplined: a classical pianist-singer who was also a graphic artist-designer. Soon thereafter, she became a director-video editor. She left college in 2013 after accepting an opportunity from *NSYNC star JC Chasez to join the lineup of an in-the-works girl group. But when the act disbanded a year later, Nyla began searching for musical work and fielding a slew of requests as a keyboardist.

In 2016, she performed in the house band of America’s Got Talent, and her hands plinked across the big screen as Nina Simone in the Zoe Saldana-starring biopic Nina; the following year, she hit the road on Betty Who’s Party in the Valley Tour. Nyla committed to finally pursuing an artistic career full time in 2018, and with the newfound freedom to indulge her creative impulses, her technical prowess took center stage.

“I call her ‘the DIY queen,’ ” H.A.N.K says. “I have watched her make full-blown music videos with a camera and piece of cloth where the result will give you the impression she spent thousands. I have seen her living room photo shoots turn into some of the most beautiful album artwork that I’ve seen. Even today, I rank the quality of my content on the scale of, ‘Would Nyla approve?’ ”

To that point, Nyla recalls the one request she had for her 16th birthday: to record a song, for real this time. Writing poetry as a reprieve in between hours dedicated to classical piano, she decided to try her hand at composing music, so she booked studio time, designed album artwork on Microsoft Word and distributed her debut single as a party favor to her classmates at her sweet 16 party. “For Who I Am,” a heartfelt coming-of-age track, was visually represented with a Clipart icon of a pink handprint.

“This is who I’ve always been,” she says with a laugh. “When I have the vision, I want to see it through.”

Nyla XO photographed using a Samsung Galaxy Z Flip4 on February 17, 2023 at El Rey Theatre in Los Angeles.

Nyla XO photographed using a Samsung Galaxy Z Flip4 on February 17, 2023 at El Rey Theatre in Los Angeles.

Christopher Patey

As comical as the earnestness of “For Who I Am” now seems to Nyla, the song hinted at what would become her songwriting signature: unflinching vulnerability. She’ll willingly divulge her darkest moments as a means of connection, lyrically disrobing to reveal depression or plaguing self-doubt. During the pandemic, she personally reached out to each new Instagram follower to thank them for their support, often receiving perspective-shifting feedback about her artistry in exchange. While performing her original song “Perfect View,” a genre-blurring love letter to her symbiotic relationship with her husband, Nyla paused and addressed the audience at the NXT finale. “Let’s get intimate,” she said.

“For me, music is a conversation,” she explains. “Saying, ‘Flaws and all, here I am.’ It does not matter how big I get. I always want to maintain some kind of relationship with people. That’s a core value for me.”

“Lyrically, she has always had this innate ability to paint vivid pictures through her musical storytelling, and the pictures have only become more and more clear,” adds H.A.N.K. “You feel as though you were there alongside her when she wrote the song.”

With a penchant for sonic spontaneity, Nyla is reluctant to define her sound. At one point, she says, it was “Popsical” — a pop-classical amalgam. Now each original track is more of a melting pot; jazz, R&B and bubble-gum hyper-pop are all anchoring ingredients, but at any given moment, she might sprinkle in an octave-spanning vocal run or melodic rap. “Perfect View” was the result of significant “trial and error,” says H.A.N.K, resulting in a 28-hour session in the lead-up to the NXT finale. “I wouldn’t say ‘obsessive,’ but it’s borderline,” he quips.

But such perfectionism often comes at a personal cost. For Nyla, that was heightened pressure — and a perception that it could possibly all be for nothing.

“There are so many different pathways to success that it can be overwhelming,” she says. “I’ve always loved creating, but you reach a point of, ‘Is all this in vain? Does any of this actually matter? Am I supposed to be releasing more music or do more live shows?’ It can feel discouraging to feel like no one is seeing the work you’re putting in.”

After five years of drip feeding her artistic persona, NXT forced Nyla to open the floodgates. With the defined parameters of each challenge — from 10-part a cappella covers with heavenly harmonies to self-styled and -edited music videos, all using the Samsung Galaxy Z Flip4 — serving as springboards, Nyla delivered a masterclass in capturing the attention of social media users in 60 seconds or less. Her online presence became synonymous with scroll-stopping content: “I Iike this version of the song so much better!!” reads a top comment on Nyla’s performance of BTS’ “Butter.”

In the weeks leading up to the NXT finale, Nyla often visualized being named as the winner; the concept was so all-consuming, she says she would “tear up” at the thought. However, days prior to flying to Atlanta to meet her assigned artist mentor, rising Alabama rapper Flo Milli, Nyla’s grandmother died. She had been a beloved high school math teacher in Pasadena, Calif., until she was 89 and watched 26 former students become teachers themselves. Consequently, Nyla eschewed the questions she might once have had about Flo Milli’s inspirations or the industry and instead asked her if she had considered her legacy.

“We talked about how all this is great, but it can’t be what defines me as a person,” Nyla says. “My legacy will be the things I say and the music I create, the person that I am — that’s what’s going to matter the most.”

Hearing her name called as the winner of the competition, Nyla felt a sense of solace: that all those many late nights were not in vain, that her sound resonated in spite of all of the sonic experimentation and that the aspiring singer-songwriter — patiently waiting for the perfect beat before hitting Record all those years ago — had realized her dream on her terms. She knew that somewhere, another little girl would be singing over the radio, and maybe someday sooner than later, the song playing would be from Nyla XO.

“I feel relieved,” Nyla says of her win. “But mostly, I feel seen.”

Nyla XO Samsung NXT 2.0 Billboard Cover

Posthumous Coolio Album, ‘Long Live Coolio,’ Features Too $hort, Naughty By Nature’s Treach

Fans will get a taste of the final music recorded by Coolio on Friday (March 17) when the first single from the “Gangsta’s Paradise” star’s posthumous album hits streaming. The song, “TAG ‘You It’,” features legendary West Coast MC Too $hort and it will preview the full-length, LONG LIVE COOLIO, whose release date has not yet been announced.

Coolio died at 59 in Sept. 2022 of suspected cardiac arrest; to date no official cause of death has been announced. According to a statement announcing the project, the first single from rapper’s follow-up to 2009’s From the Bottom 2 the Top was produced by and also features the rapper’s longtime friend DJ Wino. The statement about the collection and the video for “TAG” — which will also drop on Friday — says it was originally intended for release while Coolio was still alive and that they pay “homage to 90s hip-hop… the song is catchy, raunchy, and raw in all of the right ways. Paired with an extravagant video, this song is certain to create controversy and buzz.”

Indeed, the boxing-themed visual featuring a bevy of video vixens twerking finds $hort and Coolio dropping R-rated rhymes over a bouncy West Coast beat and the chorus, “Freeze tag, you it/ Freeze tag, she’s it/ Freeze tag, you it never gone be yours cuz it’s all about the bag.” After $hort’s predictably bawdy first verse, Coolio pulls up for his own NSFW run, including the lines, “Still livin’ with yo mama no plan to move though/ Common hoe, average hoe, Obama hoe/ She full of drama bro/ Find you a real one funky feel one/ One you can trust not have to kill one.”

Following his death, Coolio’s longtime manager, Jarez Posey, confirmed that the rapper (born Artis Leon Ivey Jr.) was found on the floor of a bathroom at his friend’s house and pronounced deceased at the scene.

Coolio placed six hits on the Billboard Hot 100 songs chart, including the No. 1 smash “Gangsta’s Paradise,” featuring L.V, from the film Dangerous Minds. The single spent three weeks atop the list in 1995 and finished as the year-end No. 1 song on the Hot 100. It also ruled the Hot Rap Songs list for 11 consecutive weeks. The track would go on to win the Billboard Music Award for single of the year, and a Grammy Award for best rap solo performance. In 2021, “Gangsta’s Paradise” ranked among the 100 Greatest of All Time Hot 100 Songs.

Jack White Posts Loving Poem Honoring Former White Stripes Drummer Meg White, Calling out ‘Demons, Cowards and Vampires’

Jack White often prefers the inscrutable, twisty gesture over the obvious, spell-it-out one. Which is why the singer/guitarist’s seeming counterpunch to a blow-up about his former White Stripes bandmate Meg White’s drumming skills is a chef’s kiss “nothing to see here, and, by the way, you are wrong” response.

In case you haven’t been paying attention, earlier this week political journalist Lachlan Markay opined in a since-deleted tweet that “the tragedy of the White Stripes is how great they would’ve been with a half decent drummer… I’m sorry Meg White was terrible and no band is better for having a sh—y drummer.”

That unprovoked broadside against the timekeeper who has all-but-vanished from public view since the dynamo duo called it quits in 2011 drew a torrent of support for Meg from, among others, Roots drummer Questlove, Against Me’s Laura Jane Grace, Jack White’s ex-wife singer/model Karen Elson and many others; Markay has since apologized for the comment he said was “petty, obnoxious, just plain wrong.”

But it was Jack White’s pointed, subtle rejoinder on Wednesday night (March 15) — in the form of a poem, of course — that shut it down in an artful manner. Check out the text of White’s poem below.

To be born in another time,
any era but our own would’ve been fine.
100 years from now,
1000 years from now,
some other distant, different, time.
one without demons, cowards and vampires out for blood,
one with the positive inspiration to foster what is good.
an empty field where no tall red poppies are cut down,
where we could lay all day, every day, on the warm and subtle ground

and know just what to say and what to play to conjure our own sounds.
and be one with the others all around us,
and even still the ones who came before,
and help ourselves to all their love,
and pass it on again once more.
to have bliss upon bliss upon bliss,
to be without fear, negativity or pain,
and to get up every morning, and be happy to do it all again
.”

The poem was accompanied by an image of Meg White peeking out from behind a curtain of hair while thwacking a kit featuring the duo’s signature peppermint swirl color scheme. The White Stripes are among the nominees for this year’s Rock and Roll Hall of Fame.

Jelly Roll Headlines CRS’s Lively New Faces Show

You certainly can’t blame even the most confident of artists for feeling a little nervous when performing before hundreds of radio programmers who can control their fate. 

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So it was completely understandable that many of the developing acts playing at the 2023 New Faces show, which closed out Country Radio Seminar in Nashville Wednesday night (March 15), expressed jitters. 

“I’ll be honest with y’all, I always get a little nervous before a show, but I’m f—ing trembling tonight,” said Stony Creek/BBR act Jelly Roll, who closed the show. This sentiment came from a man who recently sold out Nashville’s Bridgestone Arena. “It’s not often you get to play for the people that changed your life,” he added, expressing largely the same words as his fellow Class of 2023 members.

Like Jelly Roll, Arista’s Nate Smith has already scored a No. 1 on Billboard’s Country Airplay chart, but he admitted to butterflies as well. “I’m shaking… I guess I’m alive,” he said. “Thank you country radio for letting me do this for a job.”

Hosted by Nights With Elaina syndicated radio host Elaina Smith, the evening opened with a tribute to Charlie Monk, co-founder of CRS and a 40-time host of the New Faces show, before Stoney Creek/BBR artist Frank Ray took the stage.

The smooth-voiced crooner started with “Country’d Look Good on You,” which the former cop took to No. 17 on Country Airplay in 2022. He multitasked on the next song, the beachy “Tequila Mockingbird,” breaking into Redbone’s 1974 hit “Come and Get Your Love” halfway through, while taking a shot of tequila from the audience. The energetic Ray followed with his new single, out March 20, the kiss-off song “Somebody Else’s Whiskey.” Next came party ode, “Y’all Showed Up,” before he concluded with “Streetlights,” which showed off his Latin roots, as he incorporated salsa dancers on stage and switched from English to Spanish, while adding bits of Luis Fonsi/Justin Bieber’s smash “Despacito” into the lyrics.

Big Machine’s Jackson Dean, who is on the road with Blake Shelton, followed Ray with his own brand of intense, brooding country rock, opening with an extended version of the thumping “Wings,” before segueing into unreleased track “Heavens to Betsy,” which he declared, “this is a damn good one.” His set included current single, “Fearless,” a mid-tempo love ballad (or as close as Dean gets to a love song).  “Y’all have changed my life and the life of my band up here,” he said, thanking the radio programmers in the room. “Thank you for changing my life,” he said before he and his tight band broke into his swampy, driving No. 3 Country Airplay hit, “Don’t Come Lookin’”

Mercury/UMG Nashville act Priscilla Block, who is opening for Shania Twain on her spring tour, kicked off her set with “My Bar,” her feisty tune about not letting her ex run her off from her favorite watering hole, which reached No. 26 on the Country Airplay chart. She kept the drinking songs coming with stomping “Off the Deep End.” Discovering her glittery blue guitar was unplugged, she got a big laugh when she told the audience, “If this thing wasn’t a little bit of a shit show, y’all would probably be disappointed.” She found her stride on mid-tempo, twangy “Me Pt. 2,” written after she saw her ex boyfriend with his new girlfriend. She followed with “Just About Over You,” the TikTok viral song that helped her land her major label deal after it soared to No. 1 on iTunes Country Chart in June 2020. “I’ve always believed in myself, I was just waiting for other people to start believing in me,” she said before thanking Mike Dungan, outgoing CEO/chairman of UMG Nashville, for signing her. She finished by shot gunning a beer and throwing the can into the audience.

Smith’s rock leanings showed even before he hit the stage through his opening video that included Guns N’ Roses’ “Welcome to the Jungle,” Skrillex’s “Bangarang” and AC/DC’s “Back in Black.” The leather jacket-clad Arista/Sony Nashville artist  took the stage with up-tempo track, “Name Stores After,” a tune off his self-titled debut coming April 28. Segueing into an impassioned performance of ballad “Wreckage,” Smith confessed his nerves, but it certainly showed no affect on his vocals, as he launched into the moving “Better Boy,” a recently-released track from the upcoming set before he powered through his recent two-week Country Airplay No. 1 “Whiskey on You,” showing off his considerable vocal power. 

The evening ended with Jelly Roll, who took the audience to church with his songs of sin and redemption, storming onto stage screaming, “What’s up, mother f—ers?”

He raised  the energy level in the room with the pulsating, “Halfway to Hell,” before moving into his current single, the rocking “Need a Favor,” which includes the trenchant line “I only pray when I ain’t got a prayer.” His January chart-topper “Son of A Sinner,” inspired one of the few singalongs of the night as radio programmers raised their phones in unison to film Jelly Roll, who jumped into the crowd to kiss Tracy Lawrence, who has received the Tom Rivers Humanitarian Award only moments before. 

The Stoney Creek artist brought out Brantley Gilbert and Struggle Jennings for the intense-mid tempo propulsive hypnotic “Behind Bars” — as in “most of my friends are behind bars” — one of two songs on his June 2 debut, Whitsett Chapel, with guest features. He closed with “Save Me,” a song that he released a few years ago, but will get a new life on the new album. Singing in his upper register, Jelly Roll, who kicks off a 44-city headlining arena/amphitheater tour in July, pled for someone to save him from himself on the emotional power ballad. His raw authenticity gained him a well-deserved, standing ovation. 

The New Faces acts, who are voted on by full-time employees involved in the programming, promotion and distribution of country music, must meet eligibility requirements, which include charting one, but no more than five, top 25 singles on any Mediabase or Luminate country chart. 

Past New Faces artists include George Strait, Kathy Mattea, Travis Tritt, LeAnn Rimes, Brad Paisley, Zac Brown Band, Miranda Lambert, Florida Georgia Line, Sam Hunt, Kelsea Ballerini, Luke Combs, Brothers Osborne, Jimmie Allen and Lainey Wilson.

Here Are Jimmy Fallon’s Best Pranks, From ‘The Voice’ Auditions to ‘Game of Thrones’ Spoilers

Jimmy Fallon loves a good prank. The late night talk show host is known for playing tricks on his fans and famous friends, and most recently made his way into The Voice auditions.

On March 7, Fallon pretended to blind audition for the NBC singing competition’s coaches Blake SheltonKelly ClarksonNiall Horan and Chance the Rapper, delivering a performance of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near).”

Clarkson, Horan and Chance all turn around to take a peek at who the mysterious singer is, but Shelton remained unfazed by the prank. Saturday Night Live alum then walks offstage and presses the country star’s button for him. “You broke the rules!” Shelton jokingly scolds him, grinning when he sees Fallon’s face.

However, The Voice mischief is just the tip of the iceberg when it comes to Fallon’s pranks. We’ve rounded up five of our favorites, which you can check out below.

MAMAMOO Announce First-Ever U.S. Concerts: See the 9 Cities on Their Arena Tour

Nine years into MAMAMOO‘s career as a leading, chart-topping K-pop girl group, the quartet has announced their first-ever tour dates for the United States.

As the next step in the act’s “MY CON” world tour that traveled across Asia in late 2022 and early 2023, Whee In, Solar, Moon Byul and Hwa Sa will visit nine arenas for their inaugural Stateside tour. The U.S. leg begins in New York on May 16 before wrapping in Los Angeles on June 4. Venue information wasn’t immediately available at press time beyond shows in arenas.

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The tour dates will mark MAMAMOO’s live Stateside return as well. The group has not performed in the States since appearing at the 2019 KCON Los Angeles festival. The trek is presented by Mammoth Inc. and Sugar Monkey Live.

The new “MY CON” tour dates follow the group’s latest EP, Mic On, released in November of last year, which included the single “Illella” that peaked at No. 5 on Billboard‘s World Digital Song Sales chart. Beyond group activities, the members have remained active with their solo music and projects. Solar and Moon Byul even teamed up as a duo for MAMAMOO+ for 2022 single “Better” and have new music together coming out later this month.

Tickets go on sale on at 10 a.m. local time on March 29 via Ticketmaster. See the full U.S. tour dates below.

MAMAMOO 2023 MY CON U.S. Tour Dates

May 16 – New York, NY
May 18 – Baltimore, MD
May 20 – Atlanta, GA
May 22 – Nashville, TN
May 24 – Fort Worth, TX
May 27 – Chicago, IL
May 31 – Glendale, AZ
June 2 – Oakland, CA
June 4 – Los Angeles, CA

Will Rihanna Get Her Flowers at 2024 Grammys After Oscar Loss?

Rihanna slayed at the 2023 Oscars on Sunday with a classy performance of her soulful ballad “Lift Me Up” from Black Panther: Wakanda Forever. She didn’t win the Oscar for best original song – the award went to “Naatu Naatu” from RRR – but RiRi will likely have more chances to win for the song at next year’s Grammy Awards.

“Lift Me Up,” which Rihanna co-wrote with Tems, Ryan Coogler and Ludwig Göransson, is a front-runner for a nomination for best song written for visual media.

“Lift Me Up” could also wind up with record and/or song of the year nominations. Rihanna has been nominated for record of the year three times, for “Umbrella” (featuring Jay-Z), “Work” (featuring Drake) and as featured artist on Eminem’s “Love the Way You Lie.”

If “Lift Me Up” is nominated for song of the year, it would mark Rihanna’s first nod in that category. Her only songwriting nods to date are for “Run This Town,” which won best rap song, and “Kiss It Better,” which was nominated for best R&B song.

“Lift Me Up” will also probably be nominated in a performance category – either best R&B performance or best traditional R&B performance. (The final decision on where to slot performances that seem to be on the border between two categories is made by a large screening committee. They base their decision on the sound of the performance, as they perceive it, not chart position or the artist’s image.)

Rihanna has been nominated in R&B performance categories twice, for “Needed Me” and “Hate That I Love You,” a 2007 collab with Ne-Yo. She has yet to be nominated for best traditional R&B performance.

“All the Stars,” from the first Black Panther, was nominated for Grammys in four categories (though it didn’t win in any of them). The smash by Kendrick Lamar featuring SZA was nominated for record and song of the year, best rap/sung performance and best song written for visual media.

The Recording Academy announced earlier this month that the eligibility year for the 66th annual Grammy Awards will end on Aug. 31, one month earlier than usual. So the eligibility “year” will consist of just 11 months.

Rihanna may or may not release her long-awaited ninth studio album by Aug. 31 – she has another “project” in the works just now – which would change the Grammy conversation around her. Rihanna’s best year at the Grammys in terms of nominations was 2016, when she amassed eight nods. (Alas, she lost them all.)

The early front-runners for record of the year nominations, in addition to “Lift Me Up,” include Taylor Swift’s “Anti-Hero,” SZA’s “Kill Bill” and Miley Cyrus’ “Flowers.”

This wouldn’t be the first time “Anti-Hero” and “Lift Me Up” have tangled. By holding at No. 1 on the Billboard Hot 100 for a second week last November, Swift’s smash kept Rihanna’s ballad from debuting in the top spot and becoming her 15th No. 1 single. Instead, “Lift Me Up” debuted and peaked at No. 2. “Anti-Hero” went on to log eight total weeks at No. 1 – the record for a Swift single.

Oscar-Winning Song ‘Naatu Naatu’ Posts 260% Streaming Gain in U.S.

Boosted by its high-energy performance on the Academy Awards (March 12), best original song winner “Naatu Naatu” scored a 260% increase in on-demand official streams in the United States, according to initial reports to data tracking firm Luminate (whose information powers Billboard’s weekly charts).

On March 12 and 13 combined, “Naatu Naatu,” performed by vocalists Rahul Sipligunj and Kaala Bhairava, garnered 176,000 official on-demand streams in the U.S. – up 260% from the 49,000 that the track collected in the two previous days (March 10 and 11).

In terms of digital song sales, the song sold a little over 1,000 on March 12-13 – up from a negligible sum in the two days prior.

The best original song Oscar is awarded to the writers of the song. “Naatu Naatu” was written by M.M. Keeravaani and Chandrabose, who both accepted the Oscar onstage during the live ABC-TV broadcast.

“Naatu Naatu” had the third-most streams of the five nominees for original song, all of which were performed on the Oscars, which aired live on ABC. Here’s a recap of the other four nominees and their streams on March 12-13, versus March 10-11: Rihanna’s “Lift Me Up” (1.447 million vs. 1.446 million; up less than 1%), Lady Gaga’s “Hold My Hand” (580,000 vs. 389,000; up 49%), “This Is a Life” (84,000 vs. 38,000; up 121%) and Sofia Carson’s “Applause” (37,000 vs. 5,000; up 593%).

In addition, Lenny Kravitz’s “Calling All Angels,” which he performed for the In Memoriam portion of the broadcast, collected 35,000 streams on March 12-13 – a gain of 3,449% compared to the 1,000 streams that it garnered on March 10-11.

Collectively, the six performances helped generate 2.359 million on-demand official streams in the U.S. on March 12-13 – a gain of 22% compared to the 1.929 million on March 10-11.

News of further significant streaming and sales gains will be reported in the coming days on Billboard.com. Streaming, sales and airplay activity generated in the week ending March 16 will be reflected on the weekly Billboard charts dated March 25.