Music

Drummer Dino Danelli, Co-Founder of the Rascals, Steven Van Zandt Band Member, Dies at 78

Drummer Dino Danelli, an original member of 1960s New Jersey rock group The Rascals has died at 78. His death was confirmed by Rascals archivist and friend Joe Russo on Danelli’s Facebook page, where Russo wrote, “To know Dino, you must understand that art was his life. Art, music and film consumed his mind and his heart. He was an insomniac, sometimes staying awake for days, because he was always writing, reading, painting, drawing, watching films. He was beyond private and for someone who many consider one of the greatest drummers of all time, humble to a fault.”

Russo said the drummer who manned the kit for the Rascals from 1965-1971 — and also performed with E Street Band member and solo rocker “Little” Steven Van Zandt’s Disciples of Soul from 1982-1984 — was the “most private person I knew.” While he did not disclose a cause of death, Russo wrote that Danelli was “acutely disappointed” about the “abrupt” conclusion of the Rascals’ 2013 “Once Upon a Dream” reunion tour and he noted that after it fell apart the timekeeper was “almost obsessed” with trying to find a way to “keep the ball rolling” as his health began to decline.

“When this project attempt failed, it seemed Dino’s intense artistic spirit began to drift away,” Russo wrote of the musician who was born in Jersey City on July 23, 1944 and formed the Young Rascals with singer Eddie Brigati, keyboardist Felix Cavaliere and guitarist Gene Cornish in 1964.

“Around this time in 2017, I noticed subtle changes in his movements and ability to walk steady. One day, he asked me to pick him up from a doctor’s visit. We returned to his apartment where he began indicating to me certain wishes he would like honored after his passing,” Russo continued. “It wasn’t alarming for a man his age to do so, but it seemed unusually sudden and out of left field.”

With his musical ventures drying up, Russo said Danelli’s desire and ability “to do the creative things he loved suddenly began dissipating. He stopped being ‘Dino.’ Almost overnight it seemed, a huge aspect of the the tremendous personality I knew since I was a teenager virtually began to vanish.” Russo said Danelli ended up in a hospital and then checked out in Dec. 2019, only to return in early 2022 to a rehab center where his condition quickly deteriorated.

“He’d spend every day there until his passing,” Russo explained. “His primary challenges were coronary artery disease and congestive heart failure, but there were many others. He had already required an angioplasty over a decade earlier.” (Read the full Facebook post here.)

Driven by Danelli’s swinging, high-energy drum sound, the Young Rascals (as they were originally known) scored nine Billboard Hot 100 singles, including their signature No. 1 1966 recording of Rudy Clark and Arthur Resnick’s “Good Lovin’,” as well as the 1967 No. 1 “Groovin’,” and 1968’s chart-topping civil rights anthem “People Got to Be Free,” written by Brigati and Cavaliere in the wake of the murders of Martin Luther King Jr. and Robert F. Kennedy. The band — who shortened their name to just The Rascals in 1968 as they moved away from their more eclectic garage soul vibe to a more psychedelic sound — was inducted into the Rock and Roll Hall of Fame in 1997.

After the departure of Brigati and Cornish in the early 1970s, Danelli and Cavaliere carried on and released two more albums to diminishing returns before breaking up in 1971. Danelli formed the group Bulldog with Cornish that year and the duo released a pair of albums before breaking up three years later. Danelli then bounced around, playing with Mountain’s Leslie West and the short-lived power pop act Fotomaker before joining Van Zandt’s band in the early 1980s and playing on the groups first two records, 1982’s Men Without Women and 1984’s Voice of America.

The Rascals reformed in 1988 briefly, with all four original members on hand for their Rock Hall induction in 1997 and then again for a run of shows entitled “One Upon a Dream” in 2012-2013 — which was co-produced and co-written by Van Zandt — before taking that show on the road for a North American run. In a Facebook message, Cornish wrote, “It is with a broken heart that I must tell you of the passing of Dino Danelli. He was my brother and the greatest drummer I’ve ever seen. I am devastated at this moment. Rest In Peace Dino I love you brother.”

Van Zandt also paid tribute, tweeting, “RIP Dino Danelli. One of the greatest drummers of all time. Rascals 1965-1971. Disciples Of Soul 1982-1984. On Broadway at the Richard Rodgers Theater in Once Upon A Dream 2013.” While heartbroken over the inability to carry one with the Rascals, Russo said Danelli continued to work with him on video, art and photography projects as well as writing, recording and producing “entire albums worth of songs together” that have not been released.

“He was the epitome of ‘cool’ and never ceased to impress me with his seemingly endless reservoir of ideas and approaches,” Russo said of his friend and collaborator. “The word ‘artist’ is so commonly used to describe even the slightest level of self expression, but let me assure you Dino Danelli possessed a mindset, a creative philosophy and a set of skills as profound as any of the great artists you’ve ever read about.”

Watch the Young Rascals performing “Good Lovin’” on the Ed Sullivan Show in 1966 below.

Kelly Clarkson Promises She’ll Be ‘Home’ for the Holidays With Christmastime Classic: Watch

Kelly Clarkson spread holiday nostalgia on Friday’s episode (Dec. 16) of The Kelly Clarkson Show with her cover of “I’ll Be Home For Christmas.”

Forgoing the song’s intro, the talk show host launched right into its famous first verse, singing, “I’ll be home for Christmas/ You can count on me/ Please have snow and mistletoe/ And presents under the tree/ Christmas Eve will find me/ Where the love light gleams/ I’ll be home for Christmas/ If only in my dreams.”

Clarkson previously recorded the track, which was made famous in 1943 by Bing Crosby to honor soldiers overseas during the holidays, for her 2013 Christmas album Wrapped in Red. Since then, she’s also released a couple more holiday one-offs like 2017’s “Christmas Eve” and the 2020 duet “Under the Mistletoe” with Brett Eldredge before unveiling her second yuletide record, When Christmas Comes Around…, in Oct. 2021.

The superstar has filled the week of “Kellyoke” picks with her original Christmas songs as well, including “Merry Christmas (To the One I Used to Know),” “Christmas Isn’t Canceled (Just You)” and a solo version of “Santa Can’t You Hear Me” sans collaborator Ariana Grande. Jewel also stopped by at the top of the week to perform a jazzy “Have Yourself a Merry Little Christmas” when the host was filming from home due to COVID.

Next year, Clarkson will return for her ninth season on The Voice after taking this past season off, opposite Blake Shelton and incoming coaches Niall Horan and Chance the Rapper.

Watch Clarkson perform “I’ll Be Home For Christmas” below.

TINI, Becky G and More Latin Music Stars You Didn’t Know Were Soccer WAGs

Soccer and music have always meshed well. Some of Latin music’s biggest artists, such as Maluma, Carlos Vives, Melendi, and Fito Paéz have proven to be passionate fútbol aficionados and vice versa. Soccer stars such as José Manuel Pinto (former goalkeeper for Barcelona FC) and Jese “Jey M” Rodriguez (former striker for Real Madrid), for instance, have not shied away from kicking off music careers. The former has collaborated with CNCO and Lali; The latter has a remix with Alexis & Fido, De La Ghetto, and Alex Rose.

Soccer and music are also a match made in heaven when it comes to romance. The best example is soccer superstar David Beckham and former Spice Girl Victoria Beckham, whose dreamy love story began 25 years ago, and who have since welcomed four children: Brooklyn, Romeo, Cruz, and Harper.

Another popular soccer-and-music power couple was Shakira and Gerard Piqué, who met during the 2010 World Cup and share two children, Sasha and Milan. Unfortunately, after a 12-year relationship, the Colombian artist and Barcelona defender announced their split in June this year.  “We regret to confirm that we are separating,” the two said in a joint statement released by Shakira’s public relations firm. “For the well-being of our children, who are our highest priority, we ask that you respect our privacy. Thank you for your understanding.”

There have been several famous soccer WAGS (the term given to the wives and girlfriends of athletes) from the Latin pop world over the years. Below, check out some past and present real-life couples who blended the two worlds.

TOMORROW X TOGETHER’s New EP ‘The Name Chapter: Temptation’ Finally Has a Release Date

TOMORROW X TOGETHER‘s EP officially has a release date and a longer title to match. After teasing the mini album in a surreal concept trailer on Dec. 2, the K-pop group — which consists of members Yeonjun, Soobin, Beomgyu, Taehyun and Hueningkai — revealed on Friday (Dec. 16) when The Name Chapter will be released through a handy schedule of events.

The project, officially titled The Name Chapter: Temptation, will be released on Jan. 27. Leading up to the mini album’s arrival, several concept teasers will be rolled out in early January. The album’s tracklist and official poster will be dropped on Jan. 19, while the album preview will arrive on Jan. 22. Two teasers for the project’s lead single will be shared on Jan. 24-25. Following the album’s release, the K-pop group will perform a special showcase on Jan. 28.

The Name Chapter: Temptation will be the first music release the quintet has released since the arrival of its fourth mini EP, minisode 2: Thursday’s Child. That project was a hit for the K-pop stars. It spent a total of 14 weeks on the all-genre Billboard 200 chart, where it peaked at No. 4. The project achieved even more success on the Top Current Album Sales chart, where it spent 20 weeks on the tally and hit No. 1.

Speaking about Thursday’s Child in a May interview with Billboard, Soobin looked ahead to the future. “As we have more years and even more albums under our belts, we’re getting better outcomes and better numbers,” he said. “We have [also] tried many genres in music. As we work on more and more albums, [I feel like] we don’t have any limits. We’ve taken this musical journey step by step.” 

See the full schedule of event for TXT’s The Name Chapter: Temptation below.

From Rosalía & Cardi B to The Weeknd, What’s Your Favorite New Music Release of the Week? Vote!

We’re officially less than 10 days from Christmas, and new music remains the gift that keeps on giving. This week, everyone from Rosalía and Cardi B to The Weeknd dropped new songs, and we want to know which release you love the most.

The Weeknd unveiled “Nothing Is Lost (You Give Me Strength)” just in time for the premiere of Avatar: The Way of Water. The grandiose ballad, which plays over the end credits of the long-awaited alien sequel from James Cameron, was produced by Swedish House Mafia and takes a sonic cue from Gerard McCann’s “Cry Little Sister” from the 1987 cult classic The Lost Boys as The Weeknd sings, “I thought I could protect you from paying for my sins/ And I been walking this earth long enough that that’s a gift.”

Rosalía reinvents her MOTOMAMI smash “DESPECHÁ” by enlisting none other than Cardi B on the official remix. Cardi jumps into the groove headfirst, taking over both of the song’s verses and the cooing, dual language refrain of “Baby, please don’t call me/ Why you on my line? ‘Cause I got a new body?/ I have decided que voy pa’ la calle/ With all my motomamis y no hay quién me pare.

As far as new albums go, Little Simz followed up her 2021 breakthrough Sometimes I Might Be an Introvert with her fifth studio album NO THANK YOU. Meanwhile, Juice WRLD‘s latest posthumous release arrives in the form of “Face 2 Face,” rising girl group FLO builds on the momentum they’ve earned throughout 2022 with their latest single “Losing You,” and PinkPantheress finally crosses the three-minute mark with new synth-pop banger “Take Me Home.”

Vote for your favorite new release in Billboard‘s weekly poll below.

Billboard’s Greatest Pop Stars of 2022: No. 1 — Bad Bunny

For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard is counting down our staff picks for the top 10 pop stars of 2022 all this week. At No. 1, we remember the year in Bad Bunny — who made the jump from being the world’s greatest Latin pop star to simply the world’s greatest pop star.

In the summer of 2021, Billboard talked to Bad Bunny about him producing Tommy Torres’ new album, El Playlist de Anoche – his first run at producing an album outside the urbano realm. “Everything in life is a risk,” he said then. “I made this album because I wanted to do it and because it fulfilled me.” If there’s one that’s clear about the Puerto Rican chart-topping artist, it’s that any project he works on, he does it for those two reasons — which allows him to deliver genuine projects that connect with countless millions of fans across the globe.  

Billboard’s Greatest Pop Stars of 2022:
Introduction & Honorable Mentions | Rookie of the Year: Steve Lacy | Comeback of the Year: Sam Smith | No. 10: Nicki Minaj | No. 9: Future | No. 8: Jack Harlow | No. 7: Doja Cat | No. 6: Lizzo | No. 5: Drake | No. 4: Beyoncé | No. 3: Taylor Swift | No. 2: Harry Styles

Benito Antonio Ocasio Martínez, or in his own words, “Benito Martínez el más hijueputa (the biggest motherf–ker),” has proven to be a force to be reckoned with — and, in a matter of two years, has unsubtly transitioned from Latin star to global superstar, penetrating the mainstream in a way that no other Latin artist has. Just last year, Bad Bunny was No. 10 on our Greatest Pop Stars of 2021 list. This year, he’s unequivocally No. 1. 

Statistically both Billboard’s Top Artist of the Year and (for a third consecutive year) Spotify’s most streamed artist globally, El Conejo Malo been on a wild ride since he made his grand return to the stage with El Último Tour del Mundo at the top of 2022, winding his way to the spring release of his blockbuster album Un Verano Sin Ti — which catapulted Bunny to unprecedented heights, on and off the charts.  

By 2022, Bad Bunny’s success was already an anomaly. Between 2020 and 2021, he had released three consecutive Top Latin Albums-topping sets (YHLQMDLG, Las Que No Iban a Salir and El Último Tour del Mundo), had a WWE sting during a tag-team match against The Miz and John Morrison at Raymond James Stadium in Tampa, and produced that album for Torres — which landed the veteran singer-songwriter his first top 10 entry on Top Latin Albums in nearly a decade. He’d also announced an ambitious tour for 2022, which would mark his grand return to live touring since the pandemic. “POR FIN!!! ESTÁN LISTOS??? (Finally! Are you all ready?),” he captioned the announcement on social media.  

Boy, were they ready. After becoming the fastest-selling trek since 2018, with 480,000 tickets sold in less than a week, Bad Bunny finally kicked off his El Último Tour del Mundo stint in the U.S. in February, marking the start of a blockbuster year for the artist. With El Último Tour, Bunny embarked on his biggest stage tour yet, earning $116.8 million in North American arenas, according to figures reported to Billboard Boxscore. It then became the highest grossing Latin tour in Boxscore history, breaking local records in more than half of the markets where he played. (It’s worth noting that even before he began the U.S arena tour, in January, he announced an ambitious 29-date stadium tour that would kick off in the summer, following El Último Tour.) 

It made sense that he’d tour again. When Bunny revealed plans for a second trek, he also announced he was releasing a new album. The new set would be a follow up to 2020’s El Último Tour del Mundo, which earned him his first No. 1 on the Billboard 200 albums chart, marking the first all-Spanish-language album to reach No. 1 in the then-64-year history of the all-genre chart. Could Bad Bunny best his last album? Probably, given his career-long upward trending. But no one was expecting that Un Verano Sin Ti, which was released in May, would rewrite records broken not just by a Latin artist, but by any artist in general.  

Un Verano Sin Ti debuted at No. 1 on the Billboard 200 (dated May 21), earning 274,000 equivalent album units in the U.S., according to Luminate. And with 356.66 million on-demand official streams for the set’s songs in its first week, the album registered the largest streaming week ever for a Latin music album. Verano – which spent 13 nonconsecutive weeks at No. 1 on the Billboard 200 – also placed 22 songs from the set on the May 21-dated Billboard Hot 100, the most in a week for a core Latin music artist and the most in a week performed all in Spanish. 

There’s no one reason for the unprecedented success of this particular album, but there are many contributing factors. For one, Latin music market share has been on the rise for some five years now after “Despacito” opened the floodgates for a wave of Spanish-language songs to become global. And, for the first time ever, Latin music expected to reach billion dollars in revenues by year-end in the U.S., according to the RIAA. Its 23% increase is outpacing overall market growth.  

Then there’s the obvious. Bad Bunny’s Un Verano Sin Ti is packed with back-to-back hits that, sonically, all sound completely different (from dembow to mambo and alt-rock). He’s completely deviated from the traditional to innovate, pushing all popular music forward and expanding pop in a way few major artists are right now. There weren’t just one or two singles that were being pushed from Verano — rather, the entire album was being streamed on repeat. Everyone had a different answer when asked which song was their favorite from the set, because there’s a song that just about everyone can relate to – which helps explain why a stunning 11 of the tracks stuck on the Hot 100 for double-digit weeks.   

Within a few months, Verano had grown into easily the biggest non-English-language album of the century — without Bunny having to record in English or do a major non-Latin collaboration – and in early August, he expanded his multi-platform stardom with his first major film role, as an assassin in the Brad Pitt-starring action-comedy Bullet Train. But despite being intended as a summer album, UVST’s dominance carried over to Fall — thanks to Bunny’s stadium tour, which kicked off with three sold-out performances at El Choli in his beloved Puerto Rico in July.

The U.S. leg officially opened in August, with shows that began very much on brand for the album: a seagull call filled the stadium; Bad Bunny appeared sitting on a beach chair with a neverita (cooler) next to him. His UVST vision literally came to life in every show. Later that month, his Yankee Stadium performance was beamed into the VMAs, with the superstar stealing the awards show without even attending. “I always knew that I could become a huge artist without changing my culture,” he said while accepting the artist of the year award — the first Latin act to win that category. 

His second tour of 2022 doubled the gross of his prior record-breaking trek: The World’s Hottest Tour grossed $232.5 million and sold 944,000 tickets from just 21 shows in the U.S. The combination of El Ultimo Tour Del Mundo & World’s Hottest Tour landed him at the top of Billboard‘s annual Boxscore recaps. Moreover, Un Verano Sin Ti became the first non-English album to ever top the year-end Billboard 200 albums ranking, and tied Drake’s Views and Disney’s Frozen soundtrack for the most weeks at No. 1 on the chart in the last decade. In November, it also earned the first ever nomination for album of the year at the Grammys for an all-Spanish release, one of three nods Bad Bunny garnered for the 2023 ceremonies. 

Bad Bunny wasn’t the only artist who dominated this year. There were Harry Styles and Taylor Swift, too, and many other stars who had stellar years with new album releases. But while those artists had years that felt momentous, Bunny’s was truly historic — capturing the zeitgeist not just of Latin music, but for all of global pop. 

Watch Billie Eilish & Dave Grohl Honor Taylor Hawkins With a ‘My Hero’ Duet at Her L.A. Show

Warning: You may experience strong emotions once you see the surprise performances Billie Eilish treated her crowd at Los Angeles’ Kia Forum to Thursday night (Dec. 15). The 20-year-old pop star carved out time in her Happier Than Ever, The World Tour setlist to bring out Dave Grohl for a stunning tribute to his late Foo Fighters bandmate Taylor Hawkins, and later, Phoebe Bridgers for a duet of “Motion Sickness,” one of the indie rocker’s biggest tearjerkers.

Eilish first welcomed Grohl onto her stage. “I would like to invite a friend of mine,” she said, while thousands of fans cheered as the former Nirvana drummer walked on stage.

Grohl went on to share with the crowd how he, his Foo Fighters bandmates and their families gathered earlier this year to watch the Grammys, at which Eilish — who wore a Taylor Hawkins T-shirt at the ceremony — was one of the performers. “The room was filled with real tears of love and gratitude,” Grohl recalled of the night, which was just over a week after Hawkins’ shocking death. “Let’s sing it for Taylor.”

Sitting on stools with Grohl playing guitar, the two went on to duet Foo Fighters’ 1998 track “My Hero.”

Later in the show, Bridgers came out on stage, nothing but an acoustic guitar in tow. “This is so cool. I’m, like, shaking,” the L.A. native confessed. “Everybody close their eyes and I’ll be way less nervous.”

She then started strumming her 2017 breakthrough hit “Motion Sickness,” with Eilish adding soft harmonies to Bridgers’ lead vocals. When the “Everything I Wanted” singer took the lead on the song’s second verse, her crowd let out a brief cheer of wild excitement before quieting down so that everyone could properly hear the performance.

The show marked the second of three concerts Eilish has lined up at the Kia Forum this December, with the final show slated for Friday (Dec. 16). At the concert prior to Bridgers’ and Grohl’s appearances, she invited Labrinth onstage to sing “I’ve Never Felt So Alone,” a song from the Euphoria soundtrack.

Watch clips from Eilish’s duets with Grohl and Bridgers below:

BLACKPINK Takes Over the VMAs in Third ‘Born Pink Memories’ Video: Watch

BLINKs, the newest episode of BLACKPINK‘s “Born Pink Memories” has finally arrived. The Friday (Dec. 16) episode sees members Jennie, Jisoo, Lisa and Rosé preparing to make their debut at the VMAs — which took place at New Jersey’s Prudential Center in August — and sharing their excitement leading up to the show.

“We are now at the Incheon International Airport. Lisa went to check her bag for a second. Our cute plane … see its head over there? We’re headed to New York! For the VMAs!” Rosé says as she kicks off the video, appearing to be near the plane’s boarding gate.

The video then cuts to Jennie and Jisoo seated next to each other on the plane, taking turns explaining the purpose of the trip. “BLINKs, we are on a flight to the VMAs,” Jennie starts, with Jisoo adding, “It’s been a while since we’ve been to New York, so I’m very excited.”

Jennie reveals BLACKPINK’s appearance at the awards show was a big deal because “this is our first time presenting ‘Pink Venom’ on a big stage besides last week’s music show, so we’re very much looking forward to it.”

Jisoo also expresses her happiness at attending the VMAs. “It’s exciting to perform in front of a large audience after such a long time,” she shares in the cli. “We’ll make sure to have a good time on stage. I hope I won’t be crying while watching this video in the future!”

After a brief stop in NYC, the girls then head to Prudential Center to rehearse their performance for “Pink Venom.” Lisa had fun backstage showing off her VMAs talent badge before rehearsal kicked off; Jennie experienced trouble with her microphone staying in place, but was able to pull it together when it was time to hit the stage.

The video then cut to footage of the K-pop quartet attending the VMAs red carpet. Reflecting on the rehearsal experience backstage, Jisoo says, “During yesterday’s rehearsals, I got excited because it felt like we were doing a concert.”

Other highlights from the video include BLACKPINK meeting up with fans and fellow musicians Anitta and Khalid, the group’s performance of “Pink Venom” and Lisa’s win for best K-pop.

Watch the third installment of BLACKPINK Memories in the video above.

Why Stephen Sanchez Wants to ‘Flirt With the Audience’ In His Lyrics & Live Show

Stephen Sanchez is infatuated with love — but he’s not interested in approaching it from a 21st century lens. “I think it’s a lost art to tell somebody that you’d pull the moon down for them,” he tells Billboard. Growing up listening to ’50s and ’60s records on vinyl in Northern California, he has always been drawn to an old-school charm within his own music. The inspiration ultimately led to his breakthrough hit, “Until I Found You,” which became his first Billboard Hot 100 hit and has remained on the chart for months.

Penned in May 2021, just six months after moving to Nashville, Sanchez felt there was something special about the heartfelt song straight away — and another six months after its release that September, it debuted on the all-genre songs chart at No. 100. Since, it has spent 23 weeks on the list, reaching a No. 38 high this October, and continues to climb elsewhere, hitting a new No. 3 peak on Billboard‘s Hot Rock & Alternative Songs chart dated Dec. 17.

Despite being more than a year old at this point, the timeless-sounding pop hit has experienced one resurgence after the next, be it through an Em Beihold version of the track that arrived this April, on TikTok or radio airplay. But even as the song still reaches new listeners, the 20-year-old isn’t slowing his output: in August, he released EP Easy On My Eyes; in November, “Missing You,” with Ashe, arrived; and in 2023, he’ll kick off the year with a new single, followed by his first headline tour and then a debut record that’ll come in the summer.

Below, Sanchez reflects on “Until I Found You,” teases an impending sonic shift in his music, discusses why he wants to “flirt with the audience” during his live shows and more.

Where did the inspiration for “Until I Found You” come from?

I was in a serious relationship at the time. There was a lot of back-and-forth toward the beginning because I was super fearful of it, and I pushed her away because of that. We had established a very solid friendship before then, and it isolated us from even having that. I moved to Nashville months later, we reconnected and I took her out on a date. The song is just reflecting that time: When I was without her friendship and loving, it was so hard. I just remember how shallow that time felt in my life. [When] I wrote the song, we were very much in love, and it made that moment of our lives more beautiful.

[With regard to its sonic inspiration], I grew up on ’50s music. My grandpa has this amazing property in San Jose, California, and there are two barns on either side and the house sat right in the middle. It’s on top of this hill, and you can oversee all of San Jose. In the mornings, they would make me breakfast, and then they would tell me to go out in the barn and pick through vinyl. My grandpa is 85 years old at this point, so the only records he has are records from the ‘50s and ‘60s. I would pick through vinyl and just get inspired. Even now, I still do that every time I go up there.

Was there a specific moment that you knew you had a hit on your hands?

I don’t think I ever thought that a song of mine would do this well and throw me in the position to be in the shoes of my heroes. However, on the other side of that, I think the moment when I felt like I had something that was really special … I was making very poor financial decisions when I realized it. I went to Carter Vintage [Guitars] in Nashville, and I bought this old Rickenbacker and old amp, and I wrote the song on that — I [already] had the first part, and then I finished the rest of it on that. That’s what gave it that ‘50s and ‘60s sound. I was playing around with other ‘50s covers — like Paul Anka and The Penguins — and then that song popped out. It felt like it was pulling from my roots in a very huge way.

How much tinkering was there between your initial vision and the finished product?

I think the main thing I couldn’t get over [was] how much reverb was being used. There are small, petty things that I always get caught up on within every song we’ve ever released, and I feel like that’ll be true to me for the rest of my life. It took a day or two to record the whole song and get it done, and then Georgia, whom the song is about, came in and sang on the song. It made it even more special — it’s a very amazing immortalized moment in life right there.

You’ve mentioned the song’s old-school charm. Was creating that more of a concerted effort or a happy coincidence given what you were listening to at the time?

I think it was just a happy coincidence. I really just love that music so much. As far as artistry goes, I think I’ve always fallen into the category where I feel extraordinarily safe picking up a guitar and hiding behind that and adept lyricism and all that stuff. That music makes life fun. It makes love fun. It makes it really emotional. I think it’s a lost art to tell somebody that you’d pull the moon down for them. For that to fall out in such a natural way, that feels very special, and this year, I’m chasing that — but also not trying to force it at all.

It definitely takes a specific tact to write a song that adequately captures all of the emotions that get wrapped into love.

Yeah, I think artists need to flirt with their lyrics more. Your audience at a show is essentially someone that you’re trying to win over. They’re the muse, and you’re flirting with them for an hour, trying to convince them to go out on a date with you. And the same way with a song, right? We should be flirting with our lyricism. We should be slow-dancing with it. We should be taking it out to dinner — metaphorically, of course. But just enticing it into this deep romance within ourselves, that way we’re not losing sight of true artistry. I think that it’s easy to jump on TikTok and sing a song for 30 seconds. But where’s the flirting? That’s a one-night stand. Where’s the meat of it?

Is there a standout experience from the song’s success that really resonates with you?

We played [Late Night with] Seth Meyers and my manager was there. My best friends were there with me. We showed up that day, and I almost threw up because I was so nervous. We got out there, and he was saying my name and we sang the song. And then we jumped on a plane and flew right back to Nashville and made it in time [to watch the performance on TV]. All of my friends were in my little 500 square foot apartment, and they were all crammed in my living room. We were all just cheering and screaming at, like, 12 a.m. It was so beautiful.

What about the song lends itself to being such a long-lasting hit?

Gosh, I just feel like it just won’t stop. (Laughs.) Every time there’ll be a time where it simmers down, I’m like, “Cool. That was a great run. Let’s release some more great music.” And then it’ll just pick right back up, and I get texts like, “It’s going off again!” I’m like, “Why? Why is it going off again?” The only comparison that I can give is that I have this old car, and sometimes it’ll start right up, and it’ll be amazing. And then sometimes, I’ll park it back in the garage, and the next day, it won’t start at all. I’m like, “Okay, cool. Maybe tomorrow!” It’s the same with this: it’s very exciting. It’s a beautiful thing, and I’m really glad that it was this song, honestly. If it could’ve been any of [my songs], I love that it’s this one because it is very much my roots. I just love that it’s under Mercury Records, which was an old-school label, and they released old-school music, and this is an old-school song. That’s just so cool.

How has the process of creating and releasing music been impacted by having a label behind you?

It has just given me this immense state of peace. I think that Mercury is an amazing label because it’s run by people that I have real relationships with and that truly believe in me. It’s also an extension to a label [Republic Records] that believes in me. They put their entire being into artists’ projects and it just opens up this space that feels very safe and welcoming to an artist. As far as Mercury and Republic goes, they care about maintaining the integrity of their artists’ music. I truly believe I wouldn’t be able to do that with anyone else.

As you were putting together your debut EP, Easy On My Eyes, were there any core messages or concepts about you as an artist that you wanted to get across to listeners?

Sonically, I wanted it to feel very close. It felt very tender and sensitive within the singing and how we mixed it, but [there’s] also a little bit of lightheartedness in the sense that, when love feels very joyful, you feel that. I did want to feel that differentiating, rollercoaster vibe of sonics and thematics going on, but the whole thing is about love, of course — its beauty, its downfall and its kind of weird in-betweens. That’s a consistent human experience. Whatever your perception is of the circumstance you’re living in, whether it be love or lust, I want this record to feel accessible.

You recently announced your first headline tour, which will kick off in early 2023. What can we expect for that?

Having strangers that I don’t know come out and pay money for these shows … to play in front of them is going to be so exhilarating. I’m excited to dance. I used to go to concerts when I was younger, and the consistent thing I would imagine was feeling the music from the audience, but imagining that I was moving to it on stage. To get to do that for real now is so exciting. I want to make it so that there’s a dance with the audience that’s happening, in the same way that I was saying earlier with the songwriting. Bring them into a feeling. That’s the goal: have fun and flirt with the audience as much as I can.

Is there anything else we should be on the lookout for?

Man, we got a brand new bag coming. It’s going to be really great. We’re releasing a debut record, and it’s going to come out in the summer, and I don’t want to spoil much about it. But we have a new single coming out in January. I don’t want to spoil that, either, but it’s going to be an entire sound change. The whole thing has taken a flip. We’re not doing singer-songwriter, acoustic stuff anymore. We’re hanging up the guitar and swapping it out for a mic.

A version of this story originally appeared in the Dec. 10, 2022, issue of Billboard.

Sam Asghari Defends Britney Spears‘ NSFW Photos, But Would ’Prefer’ She ‘Never Posted’ Them

Sam Asghari may not always agree with Britney Spears‘ choices, but you can count on him to defend her right to make them. After the 41-year-old pop star posted a string of mostly nude photos on Instagram Thursday (Dec. 15), attracting many concerned comments from her followers, Asghari has added his perspective to the ring.

“The only person in the world that gets bullied for posting things like this,” the 28-year-old actor wrote in an Instagram comment, which he also reposted to his Stories on Friday (Dec. 16). “I personally preferred she never posted these but who am I to control someone that’s been under a microscope and been controlled for most of her life.”

The photos in question appeared on Spears’ account a few hours before Asghari’s Story, and featured the “Toxic” singer staring straight into the camera and holding her bare breasts in her hands. Strategically placed emojis — pink flowers and lips — were placed over her chest in most of the photos, while the snaps cut off right above her crotch area.

Many of the pop star’s followers replied to the photos with worried questions about the singer’s health or safety, some of them even slamming Asghari. “Something is not ok! Who is handling this account?” wrote one fan. “Someone is messing with her. Not normal. Why does Sam say ‘the media can be very traumatizing’ yet you’re ok with this?”

“She’s not posting this and you know it deep down,” another wrote. “Something is very wrong. Pay attention.”

The comments theorizing someone else may be handling her posts recall ones directed at Spears’ posts a couple years ago, when concern for her social media content, among other things, spurred the #FreeBritney movement. Fueled by the movement’s support, the “Hold Me Closer” artist successfully had her conservatorship terminated last year.

The NSFW photos and Asghari’s statement come just a week after the personal trainer pleaded with fans to respect Spears’ privacy online after some of them noticed she’d previously deactivated and reactivated her account. “Social media can be traumatizing,” Asghari wrote in a lengthy statement posted to his Stories. “Sometimes it’s good to take a break. She has her voice and is a free woman.”

“I’ve always respected and supported her privacy with everything I’ve had,” he’d added. “I ask of you supportive and protective fans to do the same. Sometimes being over protective can cause more stress and damage.”