Music

Yeah Yeah Yeahs Announce Summer Tour Dates & Share Subdued ‘Blacktop’ Video

Yeah Yeah Yeahs is coming to a city near you! On Tuesday (Feb. 7), the group — which consists of members Karen O, Brian Chase and Nick Zinner — announced that it will hit the road this summer for a tour across North America, Europe and Asia.

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The North American leg of the tour will kick off on May 3 with a date at Washington, D.C.’s The Anthem. The trio will make stops, for solo gigs and on the festival circuit, throughout Atlanta, Houston, Minneapolis, Chicago and more before concluding on June 10 at The Greek Theatre in Berkley, Calif. After performing at Japan’s Fuji Rock Festival, the band will hit up London, Paris, Amsterdam and Berlin in August. The Faint and Perfume Genius will be supporting the band on select dates.

Fans wanting to see the Yeah Yeah Yeahs can score pre-sale tickets starting on Wednesday, Feb. 8, at  8 a.m. PT (password is COOLKIDZ23). General on-sale begins on Friday, Feb. 10, at 10 a.m. local. If your city has been skipped this time around, don’t worry. “We’ll be announcing some more dates soon!” the group wrote on Instagram.

In addition to the tour dates, the group dropped the video for “Blackdrop,” which hails from its fifth studio album, Cool It Down. The visual features lead singer Karen O in glittering eye makeup and glossy red lips, singing the track’s emotive lyrics in a fuzzy video reminiscent of the ’80s.

“‘Blacktop’ stuck out to me early on — the demo was very stripped down instrumentally and emotionally. It was a step towards what radical closeness feels like after a long separation,” the singer explained in a press release. “Each record has one of these diamonds in the rough that just feels like flying to me. It felt right to keep the video as stripped down and dare I say beautiful in its naïveté. David Black put us in front of his ’70s analog video camera with the intention to pull stills for band shots. He had me sing to ‘Blacktop’ before I had even memorized the lyrics — I thought I knew the song by heart but it felt like an introduction, like meeting it for the first time. It wasn’t intended to end up as a video and as a return to the earliest visuals from the record it completes a circle. We’re so happy we have it, a simple layered performance for a deceptively simple song. We hope you enjoy.”

Watch the visual for “Blacktop” in the video above. See the dates for Yeah Yeah Yeahs summer tour below.

YEAH YEAH YEAHS 2023 TOUR DATES

Rihanna tiene nueva figura de cera con tema de Gala del Met

Madame Tussauds anunció el martes (7 de febrero) que Rihanna tendrá una nueva figura de cera en su museo de Nueva York.

La representación de cera se inspira en el emblemático look de la superestrella en la Gala del Met de 2018, “Heavenly Bodies: Fashion and the Catholic Imagination” (Cuerpos celestiales: la moda y la imaginación católica). Como copresidenta junto a Anna Wintour, Donatella Versace y Amal Clooney, RiRi subió los escalones del Museo Metropolitano de Arte en un despampanante minivestido de corsé con cuentas y una bata de Margiela que le hacía juego. En un homenaje al tema religioso del evento, combinó estos detalles de moda con un sombrero de obispo papal y un ostentoso collar con crucifijo.

La más reciente figura de Rihanna se develará en el salón Glow Gala del Madame Tussauds New York, en Times Square, el miércoles (8 de febrero), y encajará a la perfección con la temática de neón de la sala gracias a las luces LED insertadas en su atuendo.

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La presentación llega pocos días antes de que la artista nominada al Oscar suba al escenario para su muy esperado espectáculo del medio tiempo del Super Bowl LVII. La actuación marcará su regreso oficial al escenario en más de siete años desde que lanzó Anti, su más reciente álbum de estudio, en 2016.

“Rihanna seguramente hará historia con su próximo show en vivo este domingo, por lo que es el momento perfecto para que develemos su nueva figura exclusivamente en Madame Tussauds New York, donde los fans pueden admirar y posar con el ícono”, dijo Joerg Hanel, gerente general de Madame Tussauds New York, en un comunicado.

Según un comunicado, se agregará otra figura de cera de Rihanna al Madame Tussauds Orlando en algún momento antes que finalice este año, con su atuendo del Super Bowl.

Aquí la figura de cera inspirada de Rihanna inspirada en la Gala del Met:

Rihanna Madame Tussauds

Rihanna

Courtesy of Madame Tussauds

Jack Antonoff Weighs in On the Problem With Dynamic Concert Ticket Pricing: ‘We Know Who’s Making It Impossible’

With his second producer of the year non-classical trophy in hand after the 2023 Grammy Awards on Sunday (Feb. 5), Jack Antonoff took some time during his press chat after accepting to weigh in on the recent controversies around ballooning concert ticket prices and on-sale snafus for some of the industry’s biggest acts.

The producer-songwriter and frequent Taylor Swift collaborator made one thing perfectly clear during his chat with reporters on his feelings about mega-promoters: Them, they’re the problem, not us.

“The whole thing is incredibly tough. There’s no reason why … if I can go online and buy a car and have it delivered to my house, why can’t I buy a f–king ticket at the price that the artist wants it to be? So it’s that simple,” Antonoff said of the distress facing some fans when buying tickets to shows by their favorite acts.

“And you know the reason why. And it’s not ’cause of artists,” he added, without naming names of any industry ticketing agencies in particular. “So the one thing that I would say while holding a microphone is everybody’s got to chill on the artists. Because everyone’s trying to figure it out. We know who’s making it impossible.”

Antonoff, who has held forth on the topic of touring and dynamic ticket pricing before, said that he would like to see the industry allow artists to opt-out of the format that often results in sky-high prices for fans. He also stumped for the industry to stop “taxing merch” and allow artists to sell tickets at a “price they actually believe.”

In the wake of January’s contentious Senate Judiciary hearings on Ticketmaster, Ineffable Music Group announced a plan to cut merch fees for bands at its venues.

“Don’t turn a live show into a free market,” Antonoff said. “Because that’s really dirty. Charge what you think is fair … but if [for] one person $50 is nothing and for one person $50 is more than they can ever spend … you’re creating a situation where a different group of people can come together at one price. The second everything fluctuates is the second it goes K-shaped and turns into a weird free market is not what we do.”

Back in November, Antonoff tweeted out a similar complaint in which he blasted music venues for taking a cut of artist’s merch sales. “While we are having the discussion can venues simply stop taxing merch of artists? This is literally the only way you make money when you start out touring,” he wrote. “The more we make it tenable for young and small artists to make a living on the road the more great music we will get. Touring is one of the most honest ways to make a living. Some of the hardest and most heartfelt work you can do. So why must [they] f— artist[s] so hard?”

Antonoff added, “[Simple] solutions, stop taxing merch, stop lying to artists about costs of putting on shows, include artists in more areas of revenue. The stories I could tell from my years of touring are bananas. Young artists on tour are the last to see any money.”

Watch him discuss ticket pricing and merch in the Grammys press room below:

Chartbreaker: charlieonnafriday Flooded the Market — And Earned a Breakthrough Hit

In early 2022, charlieonnafriday had just finished recording the last song for his first project and was about to drive away from the studio. Then his producer Tyler Dopps called. “He was like, ‘Wait, there’s one more thing that we have to do before you leave,’” the 19-year-old artist recalls. Dopps played him a languid loop, and the singer-rapper wrote down the lyrics that ultimately became the hook to his pop-leaning breakup track, “Enough.”

The song wasn’t ready at the time to make the project, so he stashed it away in his phone. But months later, ready or not, “Enough” took off on social media. While driving to Los Angeles from his native Seattle with a friend last June, charlieonnafriday (born Charlie Finch) played the song and belted along to the chorus — which his friend filmed and posted on TikTok. The clip not only went viral but became charlieonnafriday’s breakthrough hit — two things he’d been building toward since childhood.

He started uploading vlogs to YouTube at eight years old and continued creating content on TikTok with his friends throughout high school. Inspired by his hometown hero Macklemore, he developed an interest in music, and in the eighth grade, after seeing his friend’s older brother producing in a home studio, started making his own. Over the next few years, the two stockpiled “hundreds of songs” as charlieonnafriday honed his rap skills during their daily sessions. “Every time I made a song, I felt like I was getting better slowly,” he says. “That’s what really interested me. I wanted to see how far I could take it and how good I could get.”

After taking a break to focus on school and football, he was motivated by the pandemic lockdown to pick the craft back up — this time on his own. Charlieonafriday started recording with Logic Pro and leaned heavily on YouTube tutorials to show him the ropes, admitting the hardest part was learning how to mix his own vocals. On the production side, he decided to trade in the trap drums that grounded his early music for more melodic beats, creating a pop-rap hybrid. “The artist always has that vision in their head,” he says, “but if you know how to do it, then it’s seamless.”

Charlieonnafriday

Charlieonnafriday photographed on January 23, 2023 in Los Angeles.

Michelle Genevieve Gonzales

He then “started flooding TikTok” with snippets of new songs — advising viewers to “live every day like it’s Friday,” inspiring his moniker — in hopes of building a fan base outside of Seattle. At the start of 2021, he made his first significant splash when he teased the intoxicating “After Hours.” Months later, the song caught the attention of Geoff Ogunlesi, CEO of The Ogunlesi Group, who signed on to co-manage charlieonnafriday (along with the company’s Sam Weiss, charlieonnafriday’s day-to-day manager, as well as Anthony and Ameer Brown, CEO and president, respectively, of digital marketing company Breakr). By the end of the year, “After Hours” surged to a new level of virality, with two live performance clips that have collected more than 13 million views.

Record labels were calling, but Ogunlesi was intent on waiting for the rising artist to release a body of work before committing to a deal. “It was risky because in this music landscape, moments are fleeting,” he admits. “You’re rolling the dice where, if and when ‘After Hours’ dies down, do the labels disappear? Do you lose an opportunity? [But] we felt really strong with our strategy.”

The artist’s debut project, the eight-track Onnafriday, arrived in April 2022 and soon after, he started taking meetings with the labels competing for him. He was immediately sold on Island, saying he was swayed by the label’s “family vibe,” and signed a record deal that summer. “A lot of the labels I met with two or three people, but with Island, I met everybody,” he says. “I knew that Island would put in a lot of effort. Labels are amazing for dumping gas on a flame.”

But “Enough” still didn’t have more than a refrain at that point — and as it began to take off online, he started feeling the pressure. He recalls with a laugh his team’s mentality: “Get [co-writer] Club 97, Tyler [Dopps] and Charlie in a room and finish it, [because] there are videos with five million views on a song that’s not done.”

“Enough” was finally released in August, and soon crossed over from social media to streaming services to radio airwaves — which Ogunlesi refers to as “icing on the cake” — fueled by a promotional run set up by the label. “At the end of the day, a lot of life is built on relationships,” says Ogunlesi. “Nothing really beats meeting people, winning them over [and] having programmers that are fans.” By November, charlieonnafriday made his debut on Billboard’s Pop Airplay chart, where “Enough” has since reached a No. 22 high on charts dated Jan. 28.

Having recently moved to Los Angeles — where he lives in a house “full of the same homies I started with” — charlieonnafriday kicked the year off with his new single “That’s What I Get,” amid a 10-date college tour across the country that wraps in February. He’ll then head overseas, playing to some of the biggest crowds of his career and opening for an artist he calls “one of the greatest performers ever”: Macklemore. And though hesitant on announcing a release date, he’s planning to drop a deluxe version of Onnafriday later this year.

“We’re not just trying to build a song, we’re trying to build an artist,” says Ogunlesi. “It has to extend beyond just one moment.”

Charlieonnafriday, Geoff Ogunlesi

Charlieonnafriday and Geoff Ogunlesi photographed on January 23, 2023 in Los Angeles.

Michelle Genevieve Gonzales

A version of this story originally appeared in the Feb. 4, 2023, issue of Billboard.

Skywriter Declares Beyoncé Still ‘Made Music History’ Following Grammys Album of the Year Upset

Justice for Renaissance! A skywriter appeared above the city of Los Angeles on Monday (Feb. 6) to remind Beyoncé exactly who she is after her loss at the 2023 Grammy Awards.

Users across social media spotted the airplane’s message in the sky, which couldn’t be any more loud and clear: “BEYONCÉ, YOU MADE MUSIC HISTORY.”

Indeed, while the icon lost out on her fourth chance at album of the year after Harry Styles was named the winner for Harry’s House, she broke the record for the most Grammy win in history by adding four new gramophones to her collection of 32 wins out of 88 total nominations.

And while no one has yet to take credit for the BeyHive-approved message in the sky, Bey’s husband Jay-Z shrugged off the awards show jockeying entirely in an interview with TIDAL published after his wife’s loss. Calling the whole process behind the Grammys race “a marketing thing,” the rapper still lobbied that Renaissance was more than worthy of The Recording Academy’s top prize, saying, “Look what it’s done to the culture. Look how the energy of the world moved…Everyone’s inspired. It has inspired the world.”

Instead, Queen Bey did take home Grammys for best dance recording for Renaissance lead single “Break My Soul,” best R&B song for fan-favorite track “Cuff It,” best traditional R&B vocal performance for deep cut “Plastic Off the Sofa” and best dance/electronica album for the house-inspired studio set as a whole.

Check out the message to Beyoncé over L.A. below.

Five Burning Questions: Lil Uzi Vert’s ‘Just Wanna Rock’ Hits the Hot 100’s Top 10

They were the final rapper to appear in the Grammys’ 50th anniversary tribute to hip-hop mega-medley, and now they’re back in the top 10 of the Billboard Hot 100: Lil Uzi Vert, whose “Just Wanna Rock” climbs from 12 to 10 on the chart dated Feb. 11.

Uzi started the 2020s as one of the biggest artists in popular music, with their Eternal Atake album blanketing the Hot 100 and posting one of the year’s best first-week numbers. But they haven’t released a new album since then, and their single and EP releases over the last three years failed to generate the same level of excitement — until the Jersey Club-influenced “Rock” started taking off in late 2022.

Is Uzi officially back? And what might be able to put “Rock” over the top on the Hot 100? Billboard staffers answer these questions and more below.

1. “Just Wanna Rock” peeks into the top 10 this week, in its 16th week on the listing. What do you think the biggest reason is behind its late growth into a top 10 hit? 

Carl Lamarre: I think it took people time to get it. The Jersey Club sound has a place in hip-hop but picked up incredible steam as of late, courtesy of “Rock” and the DJ Smallz 732 remix of Coi Leray’s “Players.” Later, it became a huge hit — as most of Uzi’s records do — on social media. And, of course, Uzi’s penchant for showy dance moves also gave the track an extra boost, as previously proven with their “Futsal Shuffle.” 

Cydney Lee: Good question. I’m going to throw a dart and say the timing of its release. Uzi dropped this in October and the video came a month later then the holidays hit which slowed things down. Now it’s a new year, people’s energy is different and the countdown to spring and summer has started. Maybe that’s it. But “Just Wanna Rock” and Jersey Club in general, has been going crazy on TikTok, being the soundtrack to viral dance trends and I think this popularity and growth is mostly coming from the youth. (Also, the song will climb even higher when my (the) Philadelphia Eagles win the Super Bowl!!!)

Elias Leight: The track’s growing presence at radio helped push it into the upper reaches of the Hot 100. “Just Wanna Rock” has been earning more than 18 million on-demand streams a week (including UGC) since back in November, according to Luminate. (That number was actually above 21 million for much of December.) Radio often lags behind streaming, and sure enough, the audience that encountered “Just WannaRock” on the airwaves has grown more slowly. But it has risen considerably since Christmas, closing in on 30 million and helping to propel Lil Uzi Vert back into the top 10.

Jason Lipshutz: “Just Wanna Rock” is a proudly strange single that rejects normal song structure, swerves away from Lil Uzi Vert’s established sound and deploys hooks that take time to worm their way into your heart; I was reluctant to embrace “Rock” when it was first released, and now, I play it multiple times a day. I’d bet that plenty of Uzi fans and casual hip-hop listeners have experienced a similar evolution — perhaps spurred on a little by hearing the song in a sports arena, where it’s been absolutely inescapable this winter. “Just Wanna Rock” is not a one-listen type of smash, so it makes sense that it needed a few months (a several dozen NBA arena spins) to surge into the top 10.

Andrew Unterberger: Not sure if it’s the biggest reason, but I do think its increased use within the sports world — as both a go-to jock jam in arenas and stadiums and a locker-room favorite of teams (including Uzi’s Super Bowl-bound hometown Philadelphia Eagles) has helped its momentum, and given it much-needed pop culture context for those who might’ve otherwise found it confusing. Regardless, I look forward to hearing it during pre-game intros and timeouts for the next few decades.

2. “Rock” already marks the seventh top 10 hit of Lil Uzi Vert’s career — though it’s their first in three years now. Are you surprised that “Rock” would be the song to return Uzi to the chart’s top tier? 

Carl Lamarre: Again, with Uzi, I think you never know what to expect. The unpredictability of their music makes them an enviable threat in rap culture. Sonically, Uzi rarely misses, but you never know if the records will be appreciated commercially the same way it’s received culturally. Thankfully for them, they’ve been able to straddle the lines seamlessly. 

Cydney Lee: Not surprised! Given the type of artist Uzi is and the fact that Philly, Jersey and Baltimore club are so similar, them making a Jersey Club song seemed bound to happen. Uzi is no stranger to tying dance moves with their songs also (their little shoulder move and 2020’s “Futsal Shuffle”?) so adding a hip dance to “Just Wanna Rock” was the perfect recipe for TikTok creators to recreate and even add their own moves.

Elias Leight: “Just Wanna Rock” is a ferocious intro, a frenzied ramp-up, the musical equivalent of a violently shaken champagne bottle. But it never fully explodes — it’s a lot of build with little release. Lil Uzi Vert’s music is often deliciously off-kilter, and “Just Wanna Rock” fits the bill.

Jason Lipshutz: I am, simply because Uzi is prolific enough that I would have assumed a new single attached to a major album, or a high-profile guest spot, would have gotten them there first. And maybe “Rock” will lead into a new Uzi full-length to follow 2020’s Eternal Atake, or at least point to where their sound is headed next, but regardless, its success is divorced from any larger project or grand plan. “Rock” is a singular smash, accentuating itself from the rest of Uzi’s discography and becoming one of the more uncompromising top 10 hits of the decade.

Andrew Unterberger: A little, just because Uzi had been trending so far in the wrong direction over the few years leading up to it, and because the song seemed pretty alien and unfamiliar to the current mainstream, even by the artist’s already-extraterrestrial standards. But maybe I just didn’t realize how much Jersey Club had begun to spread nationally, or how much fans were just waiting for the right Uzi song to jump back on board with.

3. When Uzi released Eternal Atake in early 2020, it debuted to blockbuster numbers and mostly rave reviews. After a tumultuous past three years — both commercially and legally — is the strong response to “Rock” an indication to you that Uzi’s next full-length will be similarly greeted as Atake? Or are they unilikely to match that level of pre-pandemic stardom again?

Carl Lamarre: Their new album, which I believe is the Pink Tape, will be greeted with incredible fanfare. Since their 2017 mainstream breakout Luv Is Rage 2, Uzi’s fanbase has grown exponentially, and the demand for their music has since followed suit. If you check out the festival lineups, they’ve ascended to headline status. There’s been pandemonium for them, whether a single or a mixtape. For the younger generation, only Uzi and Playboi Carti can accrue that type of interest and eagerness in new music –because they’ve also mastered the beauty behind the rollout, making every release an event. 

Cydney Lee: This might be a toss-up, and I say this because they released an EP Red & White last year, and I don’t remember hearing too much buzz around it. It peaked at No. 23 on the Billboard 200, so obviously people were listening, but “Just Wanna Rock” seems so niche that I’m not sure which way their next full-length will lean.

Elias Leight: Lil Uzi Vert fans are a dedicated bunch. While it may be hard for the rapper to match Eternal Atake‘s 400 million first-week streams, they’ll almost certainly have a big bow with their follow-up and debut at No. 1 (barring a surprise album from someone like Drake). 

Jason Lipshutz: I think Uzi’s next project will be even bigger than their last. Although some of its commercial effect got overshadowed by the pandemic shutdown of March 2020, Eternal Atake (including its full-length deluxe edition that followed a week after its release) was a blockbuster, particularly when it came to Uzi’s younger audience (400 million streams in its first week!) — and keep in mind, the album thrived even without a mainstream-courting single, mostly functioning as a showcase for Uzi’s heliocentric flow. If its follow-up includes hits with the chart impact of “Just Wanna Rock,” watch out: we are in for one of the biggest album releases of the year.

Andrew Unterberger: They’re probably closer than I would’ve guessed a few months ago, certainly. I do think it’s worth remembering that it wasn’t just underwhelming song releases that have hurt Uzi’s momentum — they were accused of felony assault in 2021, with some pretty gnarly specifics, to which they ultimately pleaded no contest. But have those headlines really stuck to them, to the point of altering their career trajectory? Maybe not.

4. The clear Jersey Club influence evident in “Just Wanna Rock” has been much discussed as a potential bellwether crossover moment for the dance subgenre. Do you see “Rock” as the start of a larger Jersey Club presence in the mainstream, or do you see it mostly being kept to the underground outside of this hit?

Carl Lamarre: The dance subgenre can swell into something bigger if another notable artist takes a crack at it. Dance enjoyed a splashy moment with Drake and Beyonce dipping their feet in the genre last year, and artists are becoming a bit captivated with what they can deliver on their own accord. With “Rock” and the “Players” remix generating interest on the mainstream level, all it takes is a resounding third hit to shift the paradigm. 

Cydney Lee: I think the song is exposing a wider audience to the Jersey Club sound, but I do think its popularity will stay regional. Like NYC drill. In other words, we’ll probably only hear songs like this by artists from the mid-Atlantic region, with maybe a few exceptions (NLE Choppa and 2Rare’s “Do It Again”).

Elias Leight: Rap that nods to Jersey Club has already been seeping into the mainstream. Not surprisingly, the breakneck tempos make it popular for TikTok dance videos, and one of the scene’s rising stars, Newark rapper Bandmanrill, landed a deal with Warner Records last year. (Bandmanrill works frequently with Mcvertt, who co-produced “Just Wanna Rock.”) Philadelphia also has its own variant of this sound, which has helped rapper 2Rare go viral and score collaborations with Lil Durk and NLE Choppa. 2Rare is signed to a joint venture with Warner as well, and he appeared in Drake’s “Sticky” video.

Jason Lipshutz: I’d love a full-on Jersey Club movement in the upper reaches of the Hot 100, but I’m predicting that “Just Wanna Rock” is instead a lone crossover moment. That propulsive sound is simply difficult to translate into a mass-appeal single, and even “Just Wanna Rock” took months until it beguiled enough listeners and grew into a top 10 hit. Happy to be proven wrong, but I doubt we look back on this moment as the start of a major trend.

Andrew Unterberger: Jumping on a Jersey Club trend is perhaps easier said than done, since it requires an adjustment to energy and flow that a lot of rappers might not be inclined (or equipped) to make — though it’s a great fit for an already frenetic, right-brained MC like Uzi. More likely perhaps, we’ll see the trend explode through DJs remixing established hits; lord knows folks can’t seem to get enough of sped-up versions these days, so at least going the Jersey Club route with remixes would allow producers to be a little more creative and specific with their edits while cranking up the BPMs.

5. A climb into the top 10 for “Rock” is impressive, but it’ll be hard for the song to threaten the top five without major radio support — which it seems unlikely to get, as a two-minute and largely structureless song without an obvious format radio base. If you were to commission a new remix to help get it over the top, which special guest would be your first call to be the remix’s featured star?

Carl Lamarre: Playboi Carti. If anyone can fully immerse themselves into the jungle gym of Lil Uzi Vert, it’s their one-time partner in crime. Let’s make it happen and finally get the album we’ve been dying to hear.

Cydney Lee: Coi Leray. She’s from Jersey and has already dabbled in Jersey Club. A Jersey or Philly artist is the only right answer here and I think she has the right energy for a track like this.

Elias Leight: Several radio formats are actually embracing “Just Wanna Rock.” The single has become Lil Uzi Vert’s third most-played track of all time on the airwaves — behind “XO Tour Llif3” and “You Was Right” — according to Mediabase, and it’s currently inside the top 5 on both Mediabase’s Rhythmic chart and its Urban chart. Where “Just Wanna Rock” lags behind other Hot 100 hits right now is pop airplay, a format that isn’t always receptive to rap singles. A remix may not help sway pop radio, but Cardi B had fun last year jumping on tracks like Kay Flock’s “Shake It,” and she’s on the same label as Lil Uzi Vert…

Jason Lipshutz: How about Quavo and Offset? Following the death of Takeoff last year and reports of feuding between the remaining Migos members, a reunion on a “Just Wanna Rock” remix would be major news and a must-listen. Plus, Migos gave Uzi their star-making turn on their No. 1 hit “Bad and Boujee” — time for Uzi to return the favor.

Andrew Unterberger: Too much to hope Dee Snider has a great-nephew or someone who’d be willing to introduce him to Uzi? Even if not, maybe let’s just imagine a cut-up duet with Snider barking those “ROCK!” response vocals. There’s some Billy Ray + Lil Nas cross-generational potential here, certainly.

Maná Cancels Viña del Mar Performance Due to Lead Singer’s Knee Injury

Mexican band Maná has canceled its Feb. 20 performance at the 2023 Viña del Mar International Song Festival due to a health problem for its lead vocalist, Fher.

In a press release issued on Tuesday (Feb. 7), the organizers of the Chilean festival explained that last year, Fher injured his knee and continued touring despite “immense pain,” until he had to undergo surgery at the beginning of this year in the United States.

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“The doctors’ prognosis was a speedy recovery in a couple of weeks. Unfortunately, it has been slower and more complicated, so the doctors have warned him that he will not be able to travel to Chile,” they said, adding that the rocker hopes to be well as soon as possible to continue with his other commitments.

That includes their 19-date U.S. tour, México Lindo y Querido 2023, which was supposed to begin this Friday, Feb. 10 with two consecutive nights at the Kia Forum in Los Angeles. Those shows have been rescheduled to May 26 and 27. On Maná’s official website, the first U.S. tour date on the calendar is now March 17 at the SAP Center in San Jose, California.

“To the Manátics in Chile, see you soon and a heartfelt apology,” Maná said in the festival’s release.

In the next few days a replacement for the Mexican band will be announced. Tickets already purchased will be valid for the new show, but those who want to request a refund can do so between Feb. 9-18 here.

In its 62nd edition, the Viña del Mar Song Festival is scheduled from Feb. 19-24 and will feature performances by Fito Páez, Karol G, Christina Aguilera, Alejandro Fernández and Camilo, among other Latin stars.

Prince Royce, Gloria Trevi & More to Perform at Premio Lo Nuestro 2023

Premio Lo Nuestro has unveiled its first round of performers set to take the stage at the 35th annual awards ceremony on Feb. 23. Confirmed artists include Prince Royce, Christian Nodal, Tini, El Alfa, Gloria Trevi, La Adictiva and Lupita Infante. Hosts Paulina Rubio and Sebastián Yatra are also set to perform.

This year, Yatra leads the list of nominations with 10 nods. The Colombian artist’s entries include the all-genre artist of the year, song of the year and album of the year categories. He is also nominated for tour of the year and other pop categories. His PLN-nominated album Dharma (2022) peaked at No. 2 on Latin Pop Albums and No. 13 on Top Latin Albums.

He is closely followed by Bad BunnyCamiloBecky G and Grupo Firme, who each garnered nine nods; urbano household names MalumaDaddy Yankee and Ozuna take eight each. Rauw Alejandro and Rosalía tie with seven, as well as Carin LeónKarol GCarlos Vives and J Balvin.

In total, 192 artists across diverse musical backgrounds are nominated within 39 categories. The nominations for Premio Lo Nuestro are based on Uforia radio airplay during the eligibility period of Oct. 1, 2021 through Sept. 30, 2022. Streaming counts and the assessment of a committee of music and entertainment experts also factor in this list. 

This year’s theme is “El Mundo Es Lo Nuestro” (or The World is Ours), and the show — cohosted by Yatra, Rubio, TV personality Alejandra Espinoza, and Adrián Uribe of Univision’s late-night show De Noche Pero Sin Sueño — will broadcast live on Thursday, Feb. 23 at 7 p.m. ET. It will simulcast on Galavisión in the U.S. and Canal 5 in Mexico. 

Adele Makes Hilarious Cameo in Lizzo’s Up-Close Grammys Video of Harry Styles Winning AOTY: Watch

When Harry Styles was announced as the winner of this year’s Grammy album of the year award, his good friend and fellow nominee Lizzo could be seen on live TV filming him with a big smile on her face as he walked up onstage to accept. And, after teasing fans that she might, the 34-year-old songstress has posted the up-close video — and it features a hilarious cameo from Adele, who was seated right next to her.

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In the clip, posted to TikTok two days after the Sunday night (Feb. 5) awards ceremony, Lizzo captures Styles bewildered reaction to winning the coveted prize for his May 2022 record Harry’s House from just a couple feet away. The “Special” singer can be heard screaming loud and proud in support of her pal throughout the video, and at one point, her lens goes up in the air as Styles bounds over to her and gives her a big hug, a sweet moment that was also caught on camera during the ceremony’s broadcast.

As the “As It Was” singer climbs onstage, Lizzo pans her phone camera over to zoom in on Adele, who remained in her seat even as the immediate crowd around her gave Styles a standing ovation. “Why you filming me for?” the “Easy On Me” singer, who won best pop solo performance earlier that night, hilariously protests.

Twitter speculation has it that Adele, a self-proclaimed super fan of Beyoncé, was one of many Beyhive members to be disappointed that the “Break My Soul” artist had lost album of the year for a fourth time. After all, when she was the one to beat out Bey for the same award back in 2017, Adele literally apologized to her during her own acceptance speech.

Regardless, Lizzo — who earlier that night won record of the year for “About Damn Time” and gave Beyoncé a special shoutout of her own during her acceptance speech — had a great time celebrating her former boyband star friend. When a photo of her taking a video of Styles during his big win started circulating on Twitter, she retweeted it and teased, “SHOULD I POST?!”

The Yitty founder also shared a slew of selfies with Styles, Adele and Beyoncé after the ceremony, writing, “I won.”

See Lizzo’s TikTok featuring Harry Styles and Adele below.

Rihanna Is Getting a New Met Gala-Themed Wax Figure

Madame Tussauds announced on Tuesday (Feb. 7) that Rihanna is receiving a new wax figure at its New York City museum.

The wax recreation is modeled after the superstar’s iconic ensemble from the 2018 Met Gala, “Heavenly Bodies: Fashion and the Catholic Imagination.” As a co-chair alongside Anna Wintour, Donatella Versace and Amal Clooney, RiRi walked ascended the steps of the Metropolitan Museum of Art wearing a stunning, beaded corset minidress and matching robe by Margiela. In a nod to the A-list event’s religious theme, she paired the couture with a papal bishop’s hat and ostentatious crucifix necklace.

Rihanna’s latest lookalike will be unveiled in the Glow Gala Room of Madame Tussauds New York — Times Square on Wednesday (Feb. 8), and will fit right into the neon-themed room thanks to the LED lights hidden throughout the figure’s outfit.

The planned reveal comes just days before the Oscar nominee is set to take the stage for her highly anticipated halftime show during Super Bowl LVII. The performance will mark her first official return to the stage in the more than seven years since she released her last studio album — 2016’s Anti.

“Rihanna is sure to make history with her upcoming live show this Sunday so the timing is perfect for us to reveal her new figure exclusively at Madame Tussauds New York where fans can admire and pose with the icon,” said Madame Tussauds New York general manager Joerg Hanel in a statement.

According to a release, another Rihanna wax figure is scheduled to be added to Madame Tussauds Orlando some time later this year, and will be wearing her outfit from the Super Bowl.

Get a first look at Rihanna’s Met Gala-inspired wax figure below.

Rihanna Madame Tussauds

Rihanna

Courtesy of Madame Tussauds