Music

Nickelback to Be Inducted Into Canadian Music Hall of Fame at 2023 Juno Awards

Nickelback will be inducted into the Canadian Music Hall of Fame as part of the 2023 Juno Awards. The show, which is Canada’s equivalent of the Grammys, will be held at Rogers Place in Edmonton, Alberta, on March 13. The band was formed in the town of Hanna, Alberta.

“Returning home to Alberta, where everything started for us, is truly a full circle, milestone moment for the band,” Nickelback frontman Chad Kroeger said in a statement. “We take so much pride in our Canadian roots and are extremely humbled by this honour.”

Nickelback will perform on the show as part of the tribute. It will be their sixth performance on the Junos.

Since winning their first Juno in 2001 for best new group, Nickelback has amassed a total of 12 awards at the show. They won group of the year four times between 2002 and 2009; single of the year for “How You Remind Me” in 2002; album of the year for Dark Horse in 2009; and the Fan Choice award in both 2004 and 2009, among other awards.

Nickelback has a mixed track record at awards shows outside of their native Canada. They have yet to win a Grammy (despite six nods over the years, including record of the year for “How You Remind Me”). They have, however, won seven Billboard Music Awards, two American Music Awards, two MTV Video Music Awards and one People’s Choice Award, among others.

Nickelback will debut their tenth studio album, Get Rollin’ on Nov. 18. The group’s last seven studio albums made the top 10 on the Billboard 200. They topped that chart with All the Right Reasons in 2005.

The Canadian Music Hall of Fame was established by CARAS in 1978 to acknowledge artists who have made an outstanding contribution to Canadian music.

Previous Hall of Fame inductees include both solo artists (such as 2022 recipient Deborah Cox) and groups. Other pop and rock bands that have receive the honor include The Guess Who, The Band, Rush, Triumph, Loverboy, April Wine, Bachman-Turner Overdrive, Barenaked Ladies and Cowboy Junkies.

Calgary, Alberta native and four-time Juno nominee Tate McRae will also perform at the show. McRae, 19, made the top 20 on the Billboard Hot 100 with “You Broke Me First

Manager and promoter Ron Sakamoto will be the recipient of the Walt Grealis Special Achievement Award. A longtime collaborator of Canadian superstar Shania Twain, Sakamoto has represented some of the biggest names in music, including The Guess Who, Bryan Adams, Bee Gees, KISS, and Keith Urban. Sakamoto will receive the honor at the 2023 Juno Opening Night Awards on March 11.

This will be the Juno Awards’ first time in Edmonton in 19 years. The show, produced by Insight Productions, will broadcast and stream live across Canada at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen, and globally at CBCMusic.ca/junos and on CBC Music’s Facebook, YouTube and Twitter pages.

Everything You Need to Know About the Music at LA3C Festival

Penske Media Corporation’s new music, art and food festival LA3C is just weeks away, aiming to celebrate the rich culture and diverse communities in the metropolis over a star-studded two-day event.

“This will be the first festival of its kind to fortify a city that combines talent, diversity and culture like no other while engaging with organizations solving some of the city’s pressing challenges,” said LA3C Chief Executive Juan Mora of the upcoming festival in an official statement. “[PMC CEO] Jay [Penske]’s vision and the commitment to positively impact the city of Los Angeles is inspiring. I plan to leverage the expertise of Penske Media’s iconic brands to create an experience for all visitors, and we invite creatives, musicians, and artists to join in our mission.”

Besides performances from Maluma, Megan Thee Stallion, Snoop Dogg, SEVENTEEN and more, LA3C will support the next generations of creative talent in Los Angeles through partnerships with nonprofit arts organizations Heart of Los Angeles (HOLA) and Film Independent.

See below for everything you need to know about the festival celebrating the city of Los Angeles.

Penske Media Corporation is the parent company of Billboard.

Watch ONEUS’ First Rehearsals for 2023 Reach for Us World Tour: Exclusive

Since ONEUS‘ 2018 debut on the K-pop scene, the boy band has consistently toured across countries like Japan and the U.S., but 2023 will see them meeting more of their fans in their first proper world tour.

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Following the conclusion of their ‘USA Blood Moon’ tour earlier this year, ONEUS revealed the 2023 Reach for Us World Tour with stops announced in Asia, North America, and South America so far. The group will kick the new year off by opening the U.S. leg on January 12, 2023, at New York’s Apollo Theater, before visiting countries like Mexico, Chile, and Brazil in February.

Since wrapping their last U.S. tour in March, ONEUS released two new EPs—Trickster in May and Malus in September—which led to the group’s best album sales yet in Korea. The group’s record label RBW says their return to the States will deliver a mix of ONEUS hits and other pop culture–inspired performances.

“ONEUS is so excited and honored to be coming back to the U.S.,” RBW shares in a statement to Billboard. “The boys have been working hard on giving America the ultimate mix of music, dance, and fashion, including an electrifying Top Gun-inspired dance number and a BLACKPINK cover. The band can’t wait to meet all their American friends and show them they have many musical surprises and even more new moves.”

Take a first look at ONEUS’ rehearsals for Trickster lead single “Bring It On” and 2020 hit “Come Back Home” in the exclusive video below, and then peep the dates and locations for the Reach for Us World Tour below.

ONEUS 1st World Tour Reach for Us dates:

January 12 – New York (Apollo Theater)
January 14 – Washington, DC (The Theater at MGM National Harbor)
January 16 – Atlanta (Coca-Cola Roxy)
January 18 – Orlando (House of Blues Orlando)
January 21 – Madison (Orpheum Theater)
January 24 – St. Louis (The Factory)
January 27 – Dallas Fort Worth (Will Rogers Auditorium)
January 29 – Houston (713 Music Hall)
February 2 – Phoenix (Marquee Theatre)
February 4 – Los Angeles (The Pasadena Civic)
February 7 – Puerto Rico (Coca-Cola Music Hall)
February 10 – Mexico City (Pepsi Center WTC)
February 12 – Santiago (Teatro Coliseo)
February 15 – São Paulo (Audio Club)

ONEUS

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Mora’s ‘Paraíso’ Debuts in Top 5 on Latin Albums Chart

Puerto Rican producer Mora notches his third top 10 on Billboard’s Top Latin Albums chart as his third-studio album Paraíso, debuts at No. 4 on the Nov. 19-dated list. The set was released Nov. 3 via Rimas Entertainment.

Paraíso earned 9,000 equivalent album units after its first full tracking week ending Nov. 10, according to Luminate. Most of the set’s opening sum stems from streaming-equivalent album units. That sum equals 12.8 million official on-demand streams of the album’s songs.

On the multimetric Top Latin Albums chart each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

The 26-year-old, born Gabriel Mora Quintero, debuts in the top 10 on Top Latin Albums mirroring his predecessor effort Microdosis. His sophomore studio album likewise launched at No. 4 (April 16-dated ranking) and held in the upper region for two weeks within its 34-week period and counting (No. 44 on the current list). Previously, Mora secured a first top 10 through his album debut Primer Día de Clases (No. 7 high in 2021).

Elsewhere, Paraíso arrives at No. 3 on Latin Rhythm Albums, also his third straight top 10 there. Further, it grants Mora his second and highest entry on Billboard 200, debuting at No. 114.

Unlike Mora’s previous efforts, the 14-track set parades through his usual reggaetón mold, yet it also dives into dance-styled and pop-peppered tunes, products of his long stay in Europe (in support of his last project, Microdosis) induced mainly by Ibiza’s “party vibe,” as he’s referred to. The album features an amalgam of artists: De La Ghetto, Quevedo, Danny Ocean, YOVNCHIMI and paopao.

As Paraíso launches, two of its songs debut on the all-metric Hot Latin Songs chart, which blends airplay, streams and digital sales: “Domingo de Bote” at No. 34, and “Modelito,” with YOVNCHIMI, at No. 42.

“Domingo de Bote” leads in streams, with 1.74 million official on-demand streams in the week. Meanwhile, “Modelito” generated 1.49 million in its first week.

On the Global front, “Domingo” debuts at No. 193 on the Billboard Global Excl. U.S. chart. Meanwhile, “Apa,” with Quevedo,” yields a better start, at No. 132, while locks the album’s only entry on the Billboard Global 200 tally, at No. 198.

(G)I-DLE Open Up About Pressures Ahead of ‘Nxde’ Release & The Teamwork Guiding Them Today

From a profane, punk-rock single to a modernized opera aria inspired by Marilyn Monroe — not to mention, a world tour in between — (G)I-DLE has made 2022 their year to show the ways they are shaking up norms in the K-pop scene with the perspective to refresh everything they previously knew.

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While more than a year without new music in the fast-moving K-pop scene is risky for a younger group like (G)I-DLE, the outfit spent most of 2021 focusing on their individual careers with solo albums, acting, TV work, overseas trips and more. When they returned in March this year, the group could have opted for something safe—this comeback made all the more complicated following member Soojin’s departure in August 2021—and rehashed an easy return to the top of the charts. Their electro-pop collab with Madison Beer “Pop/Stars” was (G)I-DLE’s first No. 1 on World Digital Song Sales, plus all five of their past EPs have charted on World Albums since their first appearance in 2018—they knew what worked.

Instead, (G)I-DLE looked in a new direction with bolder messages and sounds and, as they say, begin “starting from scratch” again.

Full-length album I Never Die from March was centered around songs meant to inspire confidence to break prejudices. (G)I-DLE leader Soyeon spoke to the heart of the LP’s message like the the hard-hitting rock-pop single “Tomboy” (with its “Yeah I’m f—ing tomboy” hook) alongside tracks like “Never Stop Me.” At the same time, members Yuqi and Minnie contributed in production and songwriting across other tracks. “Tomboy” resulted in the group’s biggest hit in Korea to date, helped them reconnect with fans across the world during their Just Me ( )I-dle World Tour that ran from June to October, and attempt to break records again with their next step.

For the newly released I Love EP, Soyeon, Minnie and Yuqi are once again all over the album credits that explore the concept of love by being, literally, stripped down to one’s most genuine self, and incorporating inspiration from Kurt Cobain’s famous quote, “I’d rather be hated for who I am than loved for who I am not.”

Ahead of the release of I Love, (G)I-DLE opened up more the honesty that comes from such punk inspirations. “‘Nxde’ uses the word ‘nude’ metaphorically to explain the genuine and confident side,” Soyeon explained. “The word ‘nude’ can be perceived as a provocative word, and people may think, ‘Why is it ‘nude’? Isn’t it too explicit?’ But when I thought of the word ‘nude,’ I thought of my true self, not an undressed version of me…your true self isn’t you with makeup on but your bare face is. You don’t call it ‘makeup-less face.’ It’s just a face. I think that’s how I saw ‘nude,’ wearing the real version of yourself.”

Miyeon added, “Just like the name itself, this album is an album that only talks about love. And the one who receives love can be our family, friends, or one of the many kinds of love out there. So we left the object blank [in I Love] on purpose because we respect all those kinds of love.”

(G)I-DLE also pointed to starlets like Marilyn Monroe as another point of inspiration. “When Marilyn Monroe was active as a star, she was the blonde beauty, being consumed as a sex symbol,” Soyeon says of the Hollywood icon. “I heard that she was actually very intelligent and into books, especially philosophical ones. The standards change with time. Nowadays, if you carry designer-brand bags, then people would judge you by your looks. Each era has a different stereotype.” While Miyeon added, “Regardless of positive or negative stereotypes, you can’t judge a book by the cover.”

The group’s messages are connecting more than ever: I Love became (G)I-DLE’s first album to enter the Billboard 200, debuting at No. 71, after nearly four-and-a-half years into their careers. The six-song also starts at No. 9 on Top Album Sales (dated Nov. 5) with 10,000 copies sold, according to Luminate.

Read on for more reflections from Soyeon, Minnie, Yuqi, Miyeon and Shuhua on their rebuilding process, reuniting with worldwide fans, and continuously pushing each other to the next big step.

First, I want to congratulate you on how successful things have been since the I Never Die album. Have you had a moment to think about why you’re connecting so well with the audiences? 

Soyeon: I think what we presented with this album was very bold and audacious for a K-pop group, which is why a lot of people loved it. It was very honest too. 

Minnie: I Never Die was the first full album—many fans were waiting for this album for so long because we hadn’t made a comeback in a year and a few months.

Do you feel a sense of relief about the fact that it did well? You’ve shared that it was a tumultuous journey to get here. What’s your mindset these days?

Soyeon: I’d have to say “no” right away. Because now that we’ve brought ourselves back to this position, we want to make sure what we present next is also just as amazing, just as fresh and surprising to the audience. 

Yuqi: No one knew how pressured we were at the time because (G)I-DLE always looks like we are strong and really stable in our team, but we were apart for about a year. We separated to our countries to do personal activities. So when we came back to Korea, we got together and just said, “Wow.” We didn’t realize how strained we were at the time. We came back thinking this was our last time together—that’s how strained we were at that time.

Minnie: We put everything into it. 

Yuqi: No one knew it because we always look so strong and like nothing happened, but it actually wasn’t like that. And life is like that! [Laughs] Life is about challenges, life has ups and downs, but if you give up, everything will just end. Actually, our fans were our kind of energy at that time too because everyone was waiting for us and we couldn’t just give up. So, we just put everything into it and just didn’t want to let down the people loving and supporting us.

What does that look like when you say you put everything into it? Lots of rehearsing? Late nights in the studio?

Yuqi: It’s not only about the physical practicing, but a collective feeling. We were apart for a long time, but when we just gathered up again, I could feel the vibe and strength everyone gave. That’s teamwork. That’s just called teamwork because everyone has the same goal, they have the same dream they are trying to achieve, so I just feel “That’s (G)I-DLE.” It’s our teamwork, right? It’s mental, not physical. I think the mental had to be super different.

Minnie: But even the choreography, we’re always brainstorming, like, “Oh, should we do this or that?” We want to pick best version of everything.

Soyeon: And “Tomboy” has the censored beep, right? But there were many different versions of the beep. And also, aside from “Tomboy,” there were a lot of other candidates, many other candidates for the lead single. I had a lot of thoughts on how should we approach this single and what kind of song do we do for this type of track? I worked on the songs with the mindset, “Oh, maybe I should try this genre for the type of music. Maybe I should talk about this or try this kind of concept.” We also did additional recordings a thousand times; we were very careful when making a decision. 

The sound of “Tomboy” was striking. This harder, punk sound wasn’t expected and I’m curious how you decided to go that way to make such a long-awaited comeback?

Soyeon: I grew up listening to a lot of punk rock, I liked Avril Lavigne a lot too. I had always thought that I want to try pop-punk, or like teen rock, kind of music at some point. With this group comeback, I wanted to do something that no one else has done so I thought this was the time to give that genre and that kind of sound a try.

Yuqi: I’m a super fan of rockers and in my solo album, I did a rock too so I was super excited about the track the first time. 

Minnie: I think we all love “Tomboy” and its style. It’s very challenging for us to try a new style too, but we enjoyed preparing for it.

How was the U.S. leg of your Just Me ( )I-dle tour?

Soyeon: Since this is our first U.S. tour, we’re really happy and grateful to meet our Neverland, our fans, in the U.S. for the first time. Although this is our first time touring the U.S., we’re amazed by how the fans will sing along to everything and enjoy everything. It’s been just great for us to feel all our fans’ excitement and passion.

Minnie: We went to cities like Dallas, Houston, Chicago and, except for New York and San Francisco, it was the first time we visited these cities so it was all very new.

Miyeon: I like to capture my own moments in each of the cities because all the cities are so different and I want to enjoy all the different vibes. That’s why fans saw so many of my updates through social media every day.

You describe the “Tomboy” single as taking on a new persona. Do you embrace different personas on tour?

Yuqi: Before, we just attended KCON or joined another concert with the other artists, but this is the first time for us to have a full concert. So, we can show the title track [singles], b-side tracks, and other genres. We’re doing rock, ballads or hip-hop for the first time and I think our fans will feel, “Oh, it’s so fresh for seeing idols in this kind of music genre.” We all do the raps in “My Bag,” you know? It’s the first time we’re doing something like that and it’s very fresh. But we can also have an emotional mood like when we sing a lot of ballads whenever we hold a concert in Seoul. I think it’s a good to show a lot of different sides to our fans. 

Soyeon: I think rather than seeing it as a new persona of us, I think that the lyric “just me I-DLE” [from “Tomboy”] is real. We had never shown people this side of (G)I-DLE before, but it’s our true selves, and we’re just being honest with what we’re doing.

I also liked how you spoke about how you want to be “I-DLE,” with not as much focus on the “G.” There’s your lyric, too: “It’s neither man nor woman, just me I-DLE.” I’d like to hear more about the inspiration behind that.

Soyeon: As you know, the “G” represents yeoja, or “girl” [in Korean], right? We came from a mindset that we do not want to conform to any kind of social boundary or prejudice. It doesn’t just have to do with gender but that was one of the easiest ways of showing that mindset, especially since we have the “G” in our names. That’s just one of our ways of showing that we don’t want to be stuck in any boundaries, regardless of gender—and not just gender but prejudices in general.

Artists are opening up when they’re more comfortable using gender-neutral pronouns for themselves and in their lyrics. When there can be certain expectations of girl groups, is this a related idea?

Soyeon: We’re very aware of gender-neutral terminology, but what we’re doing now isn’t primarily because we want to find a gender-neutral term but it’s more of trying to make a genre of our own. We want (G)I-DLE to be a genre of our own, regardless of gender, age, anything.

Minnie: And we respect everything.

Does being on tour help you find more of the (G)I-DLE genre?

Soyeon: We are fascinated by how we can still interact and communicate with their audience when we’re singing in Korean so we’ve felt that music does not have any language boundaries. 

Yuqi: When I do the concerts, I receive a lot of different responses from our fans. Different countries have different cultures, as we know, so maybe when I do it in Korea, the Korean fans have certain kinds of responses for us. But when we do this in America, I can get to a part like, “Oh, they are more excited about this part.” So I can get inspiration actually to make my music more fun and have more of those “killing” parts.

Miyeon: The hotel that we were staying in New York is right in front of where we did our flash mob a few years ago. So, we looked back at that moment and thought a lot. That was a big motivation for us to come back to New York, see that spot, and think back to our rookie days.  

Minnie: Because at that time, we were a very new group with only one single and one mini album. But now we are having a world tour, which is like, “This is crazy.” It’s a big dream come true.

We met for Billboard then. Can you think back to that time and remember your mindset?

Minnie: We were such rookies and so young.

Yuqi: Yeah, we were such rookies but super excited to be here for the first time in New York City. We had our very first flash mob, I think we did a cover “Fake Love”? We had the BTS cover and we didn’t perform “Hann,” right? Because we were preparing for our “Hann” comeback.

Minnie: But we’re happy to be back.

This tour is about old material, new material, everything, including “Hann.” How was it been preparing specifically all these songs as five now? 

Soyeon: We had to practice our blocking—all the movements, transitions, and everything—from scratch. So our mindset was, “Okay, we’re starting from scratch…again.” That’s how hard we worked for it and we wanted to show a new side of (G)I-DLE by preparing this way. 

Shuhua, I’ve seen you taking up many more lines now too, specifically. How has your experience been? 

Shuhua: Aside from all the group practices, I also dedicated a lot of my time doing individual practice. I would have private lessons with our teachers and share ideas to think, like, “How can I put my style into this? What kind of gesture should I do to make this my style?” I practiced a lot with that mindset for this tour. 

You’ve all worked on your own in 2021. How does that contribute to your group work as (G)I-DLE this year?

Minnie: I went to Thailand where I had some time promoting solo and I started to realize again how important and how precious that I have my members by my side. When I have to do everything on my own, it’s hard and tiring. I think it was a good experience to try things on my own, but when I came back to Korea and I met them, I was like, “Oh yeah. I feel like I’m home.” 

Soyeon: There is no time where we are not working on new music so we’re always thinking about the next album and the new music. We want to present a new kind of fun and new message with I Love and “Nxde.”

Anything else to add right now?

Yuqi: (G)I-DLE never die.

Minnie: We’re back! We’re all back. We were so happy to have a world tour finally and very touched and happy to meet our fans in the States in person. Thank you for always waiting and supporting us. We will never let you down, and we’re back again with a new album, so please continue to stay tuned.

Best Quotes From the 2022 Latin Academy’s Leading Ladies Luncheon: ‘I Became My Own Role Model’

The Latin Recording Academy honored and celebrated this year’s Leading Latin Ladies during an intimate luncheon on Tuesday (Nov. 15) that officially kicked off Latin Grammys week.

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Hosted by Gloria “Goyo” Martínez, the emotional event offered a space for both women and men in the industry to applaud the contributions made by the honorees, which included singer-songwriter Kany García; pianist, arranger and musical director Janina Rosado; Amazon Music’s global head of Latin music Roció Guerrero; and Rosa Lagarrigue, CEO of artist management company RLM.

The nearly three-hour ceremony included moving speeches by the honorees who were presented with the award by their mentors, fellow recording artists or executives who’ve supported them along the way.

Rebeca Leon, who was part of the Leading Latin Ladies class of 2017, was the first to take the stage to present the award to Guerrero for her strides in Latin music and for pioneering the first-ever Latin playlist: Spotify’s Baila Reggaeton.

Other executives who took the stage were Afo Verde, chairman/CEO of Sony Music Latin-Iberia, who, along with Sony Music Latin Puerto Rico’s VP, Tuti Bou, presented García. “Kany is intelligent, talented, and I have the honor of working with her for a long time. She defends her flags, opens many roads, and gives voice to the voiceless,” he expressed. Meanwhile, merengue icon Milly Quezada introduced Rosado and Spanish artist Ana Torroja took the stage to present the award to her longtime manager Lagarrigue.

Launched in 2016, the Academy’s Leading Latin Ladies initiative was created to honor and recognize “professional and socially-conscious women within the arts and entertainment fields who have made significant contributions and inspired the next generation of female leaders,” according to the Academy.

Additionally, the Leading Ladies of Entertainment joined forces with She Is The Music for a second consecutive year on their collaborative “Leading Ladies Connect TogetHER” mentorship program, where a former honoree will be invited to mentor a She Is The Music mentee. 

The 2022 Latin Grammy Awards ceremony is taking place Thursday (Nov. 17) live from the Michelob Ultra Arena at Mandalay Bay Resort and Casino in Las Vegas. The telecast will air on Univision at 8 p.m. ET, and it will also be available on HBO Max.

Below, check out five best moments from the luncheon:

Rocío Guerrero on her message to the next generation of female leaders: “This is a responsibility I don’t take lightly,” she started her speech. “To the new generations of girls and young women that will be our future: I hope you grow up understanding that anything is possible with hard work, risk taking, ambition and ethics. I mean each of those things. No matter what you look or sound like, you can do it. I hope you can see yourself in women like us. I hope we can be a reminder that there are no limits to your growth.”

Kany García on becoming her own role model: “Why am I shaking? It’s easier to sing than to do this speech,” the “Aguita e coco” singer joked. “Since I was little I’ve felt different and I’m not talking about that moment when you feel ‘special’ but when you feel like you don’t fit anywhere. They told me so many things about my voice, so many no’s accumulated that they made me a woman who was scared and filled with insecurities. I remember that little girl who never found a woman on television who represented her. A woman who didn’t have shake her hips or a woman who liked women but also liked wearing high heels, dresses and putting on makeup. Not the typical stereotype of the women in my community who is supposed to be the opposite of that. So, I had to become my own role model. I owe this to my younger self, who struggled so much to feel represented.”

Janina Rosado on not being mediocre: “I have to start by thanking God because He wanted me to be here and for me to be a musician and to be born into a family where music was our language. We only spoke about music,” Rosado, who’s produced for artists such as Juan Luis Guerra, said. “I come from a family that marked me. They gave me the confidence and my father would tell me, ‘You can do it. Don’t be mediocre. If you’re going to go to school and study, you can’t expect to pass by with mediocre grades. You have to put in all your effort to everything you do.” Which is what I have always done, and it’s gotten me here.”

Rosa Lagarrigue on being an optimist: “I’m so emotional,” said Lagarrigue, who’s managed the careers of artists like Alejandro Sanz and Miguel Bosé, to name a few. “After working in the music industry for 44 years, I feel so proud to be recognized. We’re still missing many women in relevant positions, but I’m an optimist. I want to especially point out the good relationships there are between us and a sort of complicity. We will achieve to fill in those positions. We should give opportunities to women, to diversity and young people.”

Shania Twain Says a Collaboration With Harry Styles ‘Would Be My Dream’: ‘Magic Will Happen, I’m Sure’

Shania Twain is clearly a big Harry Styles fan — so much so that she hopes to work with the former One Direction member on some music in the future, when the time is right.

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The country singer — who previously joined Styles onstage at Coachella in April to perform “Man! I Feel Like a Woman” and “You’re Still the One” — sat down on the Monday episode of TalkShopLive with TV personality Nancy O’Dell to talk about her forthcoming album, Queen of Me, the amount of music she’s sitting on and a possible Styles collab.

“I went up onstage with Harry Styles [at Coachella]. He invited me on his stage, which was so wonderful and [he’s a] lovely, lovely person. I want to say lovely kid, but I mean he’s not a kid anymore, is he? He’s a man,” she said of the “Watermelon Sugar” singer. “[A collaboration] would be my dream, yes. He’s busy making movies right now. I would love that. Put it out there! Make it happen, absolutely. And magic will happen, I’m sure.”

As for Twain’s latest album Queen of Me, she told TalkShopLive that the pandemic allowed her a significant amount of time to step back and write. The lockdown period was a prolific one for the singer, who says she developed multiple albums’ worth of material during the Queen of Me writing sessions.

“The COVID period gave me more time than I expected,” Twain said. “So I basically wrote four albums worth of music. This is just the beginning. I was so productive, I wrote a lot of music. So it was very difficult to narrow it down to what would then be this album, Queen of Me, but, of course, once I determined the real focus of the sentiment of the album, what I want to express personally out there right now, which is the Queen of Me message, be the queen of yourself, the boss of you and take responsibility for the good and the bad and everything that comes in between, so the songs naturally fell into place after that, once I had a good beginning, which was the title.”

When asked to clarify if it’s “truly” four separate albums from Queen of Me, Twain said: “Oh yes. Definitely.” Those albums will sadly not see the light of day anytime soon. “I think we’re going to have to wait for awhile. It’s going to be well over a year because I still have a tour coming up, I’ve got so many projects,” Twain added. “I’d say well over a year. Could be a couple years.”

Queen of Me will be released via Republic Nashville on Feb. 3, 2023. Watch Twain talk about the record and the Harry Styles collab in the video above.

Molly Tuttle Talks Best New Artist, Best Bluegrass Album Grammy Nominations: ‘I Was Shocked’


When the Grammy nominations were revealed on Tuesday (Nov. 15) for the upcoming 2023 ceremony, Nashville-based artist and first-time Grammy nominee Molly Tuttle found herself among the 10 artists nominated in the all-genre best new artist category. Tuttle is also nominated in the best bluegrass album category, for her Nonesuch Records-released album Crooked Tree, recorded with band Golden Highway.

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“I was just in complete shock. I’m still shaking a little,” Tuttle tells Billboard.

“I was hoping for the bluegrass album category because that community means so much to me. I was trying to keep my expectations reasonable, like, ‘Well, if I don’t get it this year, I can try again next year,’” she adds. “But this means so much to me because I grew up playing bluegrass and going to bluegrass festivals. Then this whole new flood of messages came in that were like, ‘Holy s—, that’s crazy! Congrats!’ And I was like, ‘What happened?’ I had to look it up again and then I saw the best new artist nomination.”

She will compete for the best new artist title against Anitta, Domi & JD Beck, Latto, Måneskin, Muni Long, Omar Apollo, Samara Joy, Tobe Nwigwe and Wet Leg.

Of course, Tuttle is no stranger to upsetting an awards category–in 2017, Tuttle made history at the International Bluegrass Music Association’s IBMA Awards in 2017 when she was the first woman to be nominated for—and win—the IBMA’s guitar player of the year honor.  She won the honor again the following year, and was also named instrumentalist of the year at the 2018 Americana Music Awards.

For her now-Grammy nominated album, Tuttle worked with co-producer Jerry Douglas, recording the album live at Nashville’s Ocean Way Studios. The album features collaborations with Billy Strings, Margo Price, Old Crow Medicine Show, Hull and Douglas’ Alison Krauss & Union Station bandmate Dan Tyminski.

“Jerry was one of the first people to call me and it was so cool because we worked so hard on it together. And my band, we were all on a text thread together today, and then old friends like Sierra Hull, Sarah Jarosz, Aoife O’ Donovan, who was also nominated for quite a few things today. Those are all people I’ve known since I was really young and it makes me proud to be part of that bluegrass community, but also the general Nashville music community as well.”

Old Crow Medicine Show guests on the unifying, folksy “Big Backyard” (“Come on out to the big backyard/ It ain’t mine it ain’t yours it’s all of ours”) which Tuttle wrote with Old Crow member Ketch Secor.

“We wrote it with them in mind, and then reworked the lyrics to make it fit my voice,” Tuttle says.

Price appears on “Flatland Girl,”  a song about the farm Tuttle’s father grew up on in Illinois, the farm that helped launch the Tuttle family tradition of bluegrass. 

“That’s where my grandfather used to play banjo and got that love of bluegrass started in my family,” Tuttle says. “I’m a fan of Margo’s songs and I read in an interview that her family had a farm as well, so it kind of tracked with the story of the song I was writing, about the family selling the farm and moving. So I wanted to have a fellow Midwestern farm girl on the song.”

Tuttle herself grew up in Northern California, playing at bluegrass festivals and becoming known as a deft guitar picker. She moved to Nashville in 2015, and her keen songwriting and the fleetness of her guitar picking quickly garnered attention in music circles. She released her debut full-length album, When You’re Ready in 2019, followed by the covers project But I’d Rather Be With You in 2020.

Tuttle says she’s written most of her next record and is getting ready to head into the studio.

“People can definitely expect some music coming out next year,” she says. Though she says she hasn’t completely set all of the details of the upcoming album, she says that working with Douglas again is “a high probability.”

With her awards accolades, Tuttle says she hopes young female musicians will take inspiration in forging their own careers.

“I would hope for young women who wanna make this a career to just see that the sky’s the limit, and if you set your mind to something, you can achieve it. It might feel hard at times. I know it is a hard life sometimes when you’re out touring so much and it doesn’t feel like things are moving forward, but sometimes it just takes time. The biggest lesson I’ve had to learn is just to be patient, because everything adds up. So many of my favorite bluegrass singers and songwriters are women from Hazel Dickens to Alison Krauss. They were people who really inspired me. I don’t know if I’d be doing this without them.”

Recording Academy CEO Harvey Mason jr. on 2023 Grammy Nominations: ‘I Love the Diversity’

This year’s rollout of the Grammy nominations was much smoother than last year’s. Last year, on the eve of the nominations announcement, the Academy expanded the number of nominations in each of the Big Four categories from eight to 10. Recording Academy CEO Harvey Mason, jr. was concerned that hip-hop representation in the Big Four categories was light and saw that it would improve if they went a little deeper.

There were no frantic, last-minute moves this year. The Academy continues to have 10 slots in each of the Big Four categories, something Mason likes and plans to continue. Mason spoke with Billboard on the eve of this year’s nominations announcement.

What did you think of the nominations?

I love the diversity. I love the range of different genres; the fact that we have six or seven different genres in the general field categories – in the Big Four categories – is crazy. We have almost 50% gender parity, which is great to see. I love that people of color are over 50%, which is exciting. In general, I thought the voters did great work.

I’m pleased that the voters are doing the due diligence to really give music a fair listen. You see some music that’s very popular. You see some other music that is not as popular but [is] just as great. You see younger, older – just a lot of variety.

Mary J. Blige has two of the Big Three nominations, which is a little surprising for a veteran artist. What’s your take on that?

It’s a tribute to her obvious talent; her long-standing career. She’s been putting out great music for such a long time and she’s so well-respected. I’m really happy that voters are acknowledging her work this year.

Steve Lacy also has two of the Big Three nominations, but he wasn’t eligible for best new artist because he had been nominated previously. What do you think of that rule?

That’s a really tough rule. How do you decide when somebody is considered new and when they’re not? It’s so subjective. We’ll continue to look at all of our rules and keep trying to refine them. We just want to make sure we’re doing the best we can to honor as many excellent artists as possible. We’ll see where this thing goes.

I picture you getting the nominations list each year and thinking, “OK, who’s going to beat us up this year?” Inevitably, there will be somebody.

I’m never happy to hear complaints from people who are unhappy. We want these awards and nominations to really represent the year in music. I want to make sure that we’re being accurate with our nominations.

Again this year, country music is missing from the Big Four categories. A lot of things that could have been nominated just didn’t get there. I’m thinking especially of Miranda Lambert and Luke Combs for album of the year and Lainey Wilson for best new artist. Do you feel that you could strike a better balance there?

We’re going through all our genres and we’re spending great time and care to make sure we are actively recruiting people to come and join us and be a part of what we’re doing. We have to continue to look at everything – membership, nominations, our events, our shows – and make sure we are representative, because we want to represent all music. This is not about one genre versus the other. So, if there’s an area where we’re light, we’re going to catch it.

Let’s talk best new artist. Five female pop singers – Em Beihold, GAYLE, Tate McRae, Lauren Spencer-Smith and Dove Cameron – seemed to have a good shot at a nomination. All were passed over. When you look at the list of nominees in that category, even people who know music will be saying “Who’s that?” in a few instances.

That’s the exciting part of best new artist – you can discover something amazing.

But at the expense of those five women, all of whom had big, recognizable and very good hits.

That category is not a one-and-done situation. There’s an opportunity for many of those to come back into the conversation next year. This year, these are the ones that resonated with the voters. We ask our voters to do a lot of homework. They listen to a lot of music. They’re very contentious with their votes. These are the ones they came up with this year. I think it’s a pretty cool list. We have two jazz artists on that list [DOMi & JD Beck and Samara Joy]. I think that’s very cool.

Drake and The Weeknd declined to submit their albums this year. You put out a statement saying you accepted their decision. What are you doing to reach out to them and bring them back into the fold?

I’m never pleased when somebody chooses not to submit. My hope is that we can continue to do the work; continue to evolve the organization to the point where we continue to attract great people to submit; who want to be a part of the awards process. Of course, I’m always disappointed when some of our biggest and brightest artists aren’t a part of it and we just want to continue to be better, so that everyone feels a part of our organization.

Nicki Minaj expressed her displeasure at “Super Freaky Girl” being moved from rap to pop, where she was less likely to be nominated – and where she wasn’t nominated. Are you comfortable that it was placed in pop?

I’m not comfortable when artists aren’t comfortable. In general, I do feel strongly that the screening committees work extremely hard and were very diligent. We had experts in the room to listen to all the genres and they had to make some really difficult choices. It’s a subjective thing. One person hears [something] as rap, one person hears it as rock, one person hears it as pop. So it’s not easy. I never want us to cause displeasure for an artist. That’s something we try to avoid at all costs. Going forward, we’ll continue to look at that part of our process to make sure we’re getting it right.

How did you think having 10 nominees in each of the Big Four categories worked this year?

I think you’re seeing the diversity that we always hope to have. We get a chance to celebrate more music [rather] than less. That’s always going to make things exciting for us at the Academy. Having the age, race and gender range is something that I love about the general field. I think it’s worked really well so far.

Anything you want to add?

The only thing I would add is my enthusiasm for the show this year. We’re so excited to be back on home court. [The show will return to Crypto.com Arena, formerly Staples Center, for the first time in three years.] It will be great to be in the room with all of these incredibly talent artists, music people, to celebrate each other. This is a time to look across the room and see all these incredible people. Coming out of COVID, coming out of different societal issues that we’re facing, this show to me is the chance to uplift and to start healing some of this. I’m excited to see all these different types of people from every walk of life, every age, every race, in the room or on the stage celebrating each other and celebrating music.

Offset Mourns Takeoff in Emotional Post: ‘Reality Feels Like a Nightmare’

Offset broke his silence on Tuesday (Nov. 15) to publicly honor Takeoff on social media.

“Dear Take, doesn’t feel real posting you like this….This still doesn’t feel like reality. I’ve been searching for the right words to say, but there aren’t any that will suffice. Until we meet again, Rest In Power. I love you,” the rapper captioned the Instagram post dedicated to his late bandmate and first cousin.

At the front of the slideshow of pictures and memories, Offset included a longer letter to Takeoff, who was shot down at a Houston bowling alley in the early hours of Nov. 1. “Dear Take, The pain you have left me with is unbearable. My heart is shattered and I have so many things to say, but I can’t find the words,” he wrote. “I’ve been going to sleep and waking up hoping that all of this is a dream, but it’s reality and reality feels like a nightmare. Every time you would see me, you didn’t give me a dap you gave me a hug.

“I wish I could hug you one last time,” the Migos rapper continued. “Laugh one last time. Smoke one one last time. Perform one last time. I know someone with a soul like yours is in heaven now. I hope you can see how much we love you and miss you. You have left a hole in my heart that will never be filled. Give me strength, give your brothers strength, give your family strength.”

Offset finished the letter by asking his cousin to “throw me a lil sign or a beautiful dream” to let him know he’s still with him.

While Takeoff’s public memorial took place earlier this month at Atlanta’s State Farm Arena, stars like Cardi B, Quavo, Drake and more have also memorialized their fallen friend since his tragic death.

Swipe through Offset’s memories with Takeoff below.