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“Gin and Juice” wasn’t just an anthem from Snoop Dogg and Dr. Dre, it was a lifestyle. In promotion of their Gin & Juice cocktails, the iconic West Coast duo linked up with Big Boy on Tuesday (Oct. 1).
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Snoop put Dre’s drinking habits on blast when recalling how the legendary producer would pull up to the studio with a milk gallon jug, but instead of milk, it was filled up with gin and juice as the beverage of choice.
“That’s all we were drinking in the studio. This n—a would come in there with a gallon — you know the milk gallons? He’d pour the milk out — half gin, half orange juice,” Snoop explained.
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Dre quickly interjected to provide some context in his defense: “We were in our 20s, man.”
“I come in with the bumpy face gin and juice,” Snoop reminisced. “It just was our drink. Super Socco gin. It was just the s–t. It was our drink. It was some hood s–t. What I love about Dr. Dre is when he work with you, he finna learn everything about you.”
“Gin and Juice” landed on Snoop’s Doggystyle debut album and peaked at No. 8 on the Billboard Hot 100.
Snoop and Dre are looking to leave their mark on the spirits industry with the launch of Gin & Juice, which arrived in February. The cocktails come in four flavors: capricot, citrus, melon and passion fruit.
There’s also new music on the way from the two. Dr. Dre and Snoop Dogg are joining forces for their first full-length project since 1993’s Doggystyle. The sequel to Snoop’s debut is fittingly titled Missionary, and is slated to be released in November.
Dre revealed there will be some superstar collaborators involved, including Sting. “We have Sting on the song,” he told Entertainment Tonight in August. “Man, it’s an amazing roster of artists that’s on this album. I shouldn’t have revealed that, to be honest.”
Watch the clip of Snoop and Dre recalling their days of drinking in the studio below.
Central Hall Westminster was alive with the energy of cross-cultural musical exchange as the Saudi National Orchestra and Choir took to the stage alongside the Royal Philharmonic Orchestra to present an evening of musical dialogue. This conversation culminated when both orchestras were joined in concert together in several key moments, chief among them, their rendition of Adele’s “Rolling in the Deep” mashed up with Saudi classic “Adeet fi Marqab” (I Passed in Marqab) to the stunning medleys of iconic Saudi music presented with a Western twist.
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On Sept. 28, London became the fourth stop in the Saudi National Orchestra and Choir’s “The Marvels of Saudi Music” performance alongside the Royal Philharmonic Orchestra in celebration of the 94th Saudi National Day. Under the patronage of Prince Badr bin Abdullah bin Farhan Al Saud, Minister of Culture and Chairman of the Music Commission, the concert was a vibrant tribute to Saudi heritage and cultural diversity, blending authentic Saudi music with top-tier international performances at the iconic Central Hall Westminster, featuring a hundred talented Saudi musicians. Here are some standout moments from the concert.
Tribute to the Late Poet Badr bin Abdul Mohsen
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The concert opened with a heartfelt homage to the late Saudi poet, His Royal Highness Prince Badr bin Abdul Mohsen. The orchestra performed “Ana Min Hal Ardh” (I Am From This Land) , a song originally penned by Prince Badr and sung by the legendary Mohammed Abdo. Abdo was celebrated as Billboard Arabia’s first cover in December 2023, with an interview about the artist’s 60-year legacy and deep impact on Arabic music. In the Saudi Orchestra and Choir performance in London, the tribute of his famed song “Ana Min Hal Ardh” (I Am From This Land) elegantly captured the poetic legacy of the late Prince, serving as a significant gesture of appreciation for one of Saudi culture’s most beloved icons.
Samri Art and Esmahili yal Gharam
The Saudi National Orchestra and Choir delivered a captivating rendition of Samri art, a traditional Saudi folk art, set to the enchanting melody of “Esmahili yal Gharam” (The Wound of Betrayal), another iconic Mohamed Abdo song. This intricate blend of traditional art with a contemporary interpretation stood out as a remarkable moment of the concert, highlighting the rich artistic heritage of Saudi Arabia.
Yanbu Art and Hana Talabana Allah
A highlight of the evening was the performance of the Yanbu art through the song “Hana Talabana Allah” (We Ask God), which showcases the depth of Saudi cultural heritage. This performance underscored the importance of traditional arts in preserving cultural identity and demonstrated the orchestra’s commitment to presenting authentic Saudi music to a global audience, celebrating the richness of the 13 regions that the orchestra has been working to present in the “Marvels of Saudi Music” show.
Saudi Twist on Adele’s “Rolling in the Deep”
In a bold and innovative move, the Saudi National Orchestra and Choir concluded the concert’s first half with a unique Saudi rendition of Adele’s “Rolling in the Deep.” This mash-up creatively fused Adele’s song with the Saudi classic “Adeet fi Marqab,” generating exceptional moments showcasing the orchestra’s talent blending international music with an Arab twist. The song was a breakthrough moment in the performance, when the Saudi Orchestra and Choir entered into a contemporary dialogue with the Royal Philharmonic Orchestra.
Royal Philharmonic Orchestra Plays Zarqa’ al-Yamama
In the concert’s second act, the Royal Philharmonic Orchestra showcased a selection of Western and Arabic classical music pieces, including the composition Zarqa’ al-Yamama. The renowned opera singer, Dame Sarah Connolly, added a special touch by singing in Arabic, enhancing the cultural fusion. The opera originally premiered in Saudi Arabia in April 2024, featuring Dame Sarah Connolly performing alongside Saudi opera singer Sawsan Al Bahiti and Italian soprano Serena Farnocchia.
Collaboration with the Royal Philharmonic Orchestra
In the final act, the Saudi National Orchestra and Choir collaborated with the Royal Philharmonic Orchestra to present medleys of songs by some of Saudi Arabia’s musical icons. They collectively performed various medleys by famed Saudi musicians including Mohammed Abdo, Talal Maddah, Rashed Al Majed, Fawzi Mahsoun, Abdel Majeed Abdullah, Khaled Abdul Rahman and Ayed.
Concert Finale with Ashginag
The concert concluded with Rashed Al Majed’s “Ashginag” (We Loved You), released in honor of the 90th Saudi National Day on Sept. 23, 2020. The song’s lyrics celebrate the beauty and diversity of Saudi Arabia, making it a fitting choice to close the event, spreading the enchantment of Saudi music and culture from the heart of London to the world. It was in these closing medleys that the conversation that was promised between British and Saudi culture culminated with a sense of possibility.
This London concert marked the fourth stop in the “Marvels of the Saudi Music” series, following successful performances in Paris’ Théâtre du Châtelet, Mexico City’s Grand Teatro Nacional and New York’s Metropolitan Opera House. The Saudi National Orchestra and Choir plans to continue its journey, bringing its art to additional locations around the globe. Their mission is to introduce the international community to the masterpieces of Saudi music and foster cultural exchange worldwide.
American jam band Goose is launching its own destination festival, Viva El Gonzo, taking place May 8-10, 2025, in San José del Cabo, Mexico. Presented by 100x Hospitality, the destination festival promises “an immersive discovery journey where attendees can choose their own adventure” with an “all-in-one ticket purchase [that] includes festival access as well as customizable lodging, wellness offerings, beach access and more in Cabo’s tropical desert oasis,” according to a statement from the band.
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Anchored by three consecutive nights of performances by Goose, the festival will feature sets from The War on Drugs, Tycho, Dawes, LA LOM, LP GIOBBI and more. Goose, known for its genre-blending sound and exploratory live performances, will deliver two sets each night, setting the stage for a weekend full of unforgettable musical discovery.
Travel packages for Viva El Gonzo go on sale Wednesday, Oct. 9, at 1 p.m. ET via VivaElGonzo.com, with a presale starting Tuesday, Oct. 8, at 1 p.m. ET for fans who sign up in advance. More than a dozen hotel choices will be available, from intimate boutique stays to luxurious all-inclusive resorts. A limited number of “music only” tickets will be available for those who want to attend the festival and take care of their own lodging and transportation.
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“We’re stoked to be headlining Viva El Gonzo in such a beautiful spot like San José del Cabo,” says Rick Mitarotonda of Goose. “This festival is going to be something special — a chance for us and our fans to dive into the music, the vibe and the incredible surroundings. We’ve got some wild stuff planned, and we’re really looking forward to sharing this adventure with everyone who takes the ride with us.”
“Viva El Gonzo is the first event of its kind in Cabo, offering a multifaceted experience where music, art, and culture intertwine. The heart of the festival is El Ganzo Oasis, where Goose will perform amidst lush tropical growth, open fields, and elaborate installations,” according to a release from the band. “The venue, just steps from the Sea of Cortez, will host multiple stages, pop-up experiences, wellness events, and an eclectic marketplace of local vendors and cuisine, all designed to create a sensory-rich environment that reflects the festival’s ‘choose your own adventure’ ethos.”
Each night, fans can take a short walk from the El Gonzo Oasis leads to Crania, a beachside club that transforms into “a post-apocalyptic neon world of art and music,” the band explains, noting “festival-goers can explore immersive installations and dance to rhythmic music that channels the vibrant energy of the West Coast, creating a unique late-night experience.”
Visit VivaElGonzo.com to learn more.
Viva El Gonzo
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Lady Gaga has anything but a bad romance with Michael Polansky, who proposed to her in April.
And during an interview with Jimmy Kimmel Tuesday (Oct. 1), the pop superstar detailed the full story of how the entrepreneur popped the question during a rock-climbing trip. “He proposed to me right after my birthday, so my birthday passed and I was like, ‘Well, I thought he was gonna propose …,’” Gaga began, an enormous diamond glittering on her left ring finger. “I do [rock climb] now. I would do anything for love.”
The 13-time Grammy winner went on to say that Polanksy waited until after they had finished their climbing expedition to ask her to marry him. “We were just walking back to the room and talking,” she continued. “He actually — it was very Michael — asked me if he could ask me. He wanted to know if it was OK to propose before he proposed. And I was like, ‘Yes, it’s so OK!’”
“He had the ring in his backpack, so it was so super cute,” Gaga added, noting that Polansky didn’t get down on one knee for the occasion. “But you know what? I’m a modern lady. I like what he did.”
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Kimmel then pressed the “Rain on Me” singer about her plans for the wedding, something Gaga said has her feeling conflicted. “We actually talk a lot about just going to a courthouse just the two of us and ordering Chinese food,” she explained. “But knowing me, it could become like a circus with unicorns.”
Gaga previously confirmed that Polansky proposed to her during a rock-climbing trip in an interview with Vogue, during which she also revealed how her mom set them up before the couple’s first meeting at Sean Parker’s birthday party. In September, the pair made their red carpet debut at the Venice International Film Festival, where the musician promoted her new film, Joker: Folie à Deux.
“I just love my fiancé so much,” she told People Sept. 30. “He’s my best friend. He’s my partner, and I just feel like when you are with your best friend, everything changes.”
Watch Gaga tell the story of her proposal on Jimmy Kimmel Live! above.
Despite co-starring alongside Lady Gaga in Joker: Folie à Deux, Joaquin Phoenix wasn’t always a Little Monster. In a new interview with Capital FM, Gaga reacts to a throwback video in which Miley Cyrus introduces the actor to her music 14 years ago. In the video, a teenage Cyrus tells Phoenix that she’s a fan […]
A string of Nashville hitmakers and rising artists will take over Ascend Amphitheater Wednesday night (Oct. 2) for the inaugural Red Bull Jukebox Nashville concert, headlined by Grammy-winning duo Brothers Osborne.
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The lineup will also feature Shaboozey (who is in his 12th week atop Billboard’s Hot 100 with his song “A Bar Song (Tipsy),” BRELAND, Tucker Wetmore, Priscilla Block, Muscadine Bloodline and sibling trio The Castellows.
Ward Guenther, founder/owner of the popular music discovery series Whiskey Jam, will be on hand to host the event. He tells Billboard he and his team “worked very closely with them on curating the lineup.”
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“We try to include Whiskey Jam family members, ‘Jam Fam,’ as we like to call ’em, people that have played our shows through the years and honestly just bring the best blend of music and entertainment that we could find,” Guenther said. “Brothers Osborne has one of the best live shows you’ll ever see. So as a headliner, they’re going to encompass exactly what we want to do with this event, having a high-energy set that is as much for the audience as it is for the artists involved. We chose [outdoor venue] Ascend Amphitheater as a good place to start — it feels like a mini-festival.”
The Nashville show will be the Red Bull Jukebox series’ first event within the United States, having previously been held in countries including Japan and Switzerland (the Switzerland show featured the artist Hecht).
A key differentiating factor in the Red Bull Jukebox shows is the setlist, which is curated through fan voting. Fans offer their choices to a set of questions posted on the Red Bull Jukebox website and on artists’ socials, such as selecting whether they would prefer Brothers Osborne to play with a marching band or a bluegrass band, whether they would want to see Block covering hit songs from Jason Aldean, Keith Urban, Paramore or Riley Green, or if BRELAND should welcome one of his musical cohorts from the genres of country, hip-hop or songwriting as a guest. Fans will also have the opportunity to vote in-person during the show on Oct. 2 through using wristbands that will be distributed to attendees.
“It’s all going to be as much a surprise for us and the artists as it is for the people in the crowd,” Guenther said.
The event’s houseband will be led by celebrated Nashville musicians including ACM Award-winning guitarist-producer Derek Wells.
“It’s going to be fun to watch the artists do [their performances] on the fly,” Guenther says. “We’ve got a world-class band that’s backing up all the artists and they’re having to learn tons of songs so they can be prepared for whatever happens. But I think that is going to be a big part of the magic of this show. If you’ve seen everybody on the lineup, you’ve never seen this show.”
Red Bull Jukebox Nashville
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Since launching in 2011, Whiskey Jam has put on over 1,000 shows, spotlighting rising Nashville songwriters and artists, with Luke Combs, Chris Stapleton, Lainey Wilson, Morgan Wallen and Jelly Roll being among those who have appeared at Whiskey Jam over the years. The Red Bull Jukebox show’s similar mission was part of the appeal for Guenther.
“The focus on the upcoming artists is a big deal. As we’ve done in Nashville with Whiskey Jam, you have to have some kind of recognizable names to get people in the door, but the hope for this event, and the future of this event, is we are bringing the future of music,” Guenther said. “When you come and see a Red Bull Jukebox show, you’re getting a sampler of what’s to come. It’s been a great collaborative effort…it’s like Whiskey Jam magnified with the power of Red Bull.”
Red Bull Jukebox Nashville show will put rising artists in the spotlight—though in this case, one of those rising artists, Shaboozey, has seen his artist profile skyrocket since he signed on for the show.
“When we started the conversation with Shaboozey, he hadn’t even been featured on the Beyonce record [Cowboy Carter], and then when [“A Bar Song (Tipsy)”] came out, and he had that [packed show in the middle of downtown Nashville at] CMA Fest, we were like, ‘Wow, we’re about halfway to Red Bull Jukebox and this is already the response. We can’t wait for the October roll around.’”
Guenther says another Nashville-based Red Bull Jukebox show could be a possibility, as could holding Red Bull Jukebox concerts in other U.S. cities.
“You could do a Red Bull Jukebox event in a place like Miami that would be the polar opposite of the one we’re doing in Nashville. You could have one in Texas or New York and they would all feel completely different,” he says, adding, “I can see it repeating again [in Nashville] if it goes as well as we are expecting it to. And there’s room to grow with a lot of potential in Nashville for doing bigger, even completely different shows here.”
Inside the inaugural New York edition of the celebrated All Things Go music festival, including exclusive portraits of MUNA, Soccer Mommy, Towa Bird and more performers.
The thing about Portola that’s emerged over the festival’s three years of existence is that if you’re there, you feel like you’re in on the joke. And everyone likes being in on the joke.
Through its stylish and legit funny social channels and wry on-site messaging (“we know that music feeds your soul or whatever, but please remember to eat some actual food” implored signage), the event has developed a trait that can often feel scarce at big festivals: actual personality. Portola is your dryly funny and sort of silly, but also extremely intelligent friend with low-key style and impeccable taste in music.
“This is a festival where it’s not about spectacle, it’s about vibe,” Portola founder Danny Bell told Billboard onsite at the fest.
This appealing amalgamation of traits brought roughly 45,000 attendees a day and a motherlode of artists to third edition of Portola, which took over San Francisco’s Pier 80 this past weekend, Sept 28-29. Primarily presenting the styles of electronic music commonly grouped together as indie or alt or just non-EDM, the lineup gathered some of the scene’s biggest, buzziest and most respected artists for a show that also, like in years past, featured a powdered sugar sprinkling of pop (in the form of Rebecca Black, Natasaha Bedingfield, etc.) and a bit of hip hop.
But the emphasis was dance music, with the stature the Goldenvoice-produced festival has gained over its three years of existence emphasized by the fact that people are now flying in for it from across the U.S., Australia and Europe. Rüfüs du Sol played their only set of the year, debuting new music from their comign album and playing the hits for one of the weekend’s biggest crowds. On the mainstage, Disclosure reminded everyone that they’re simply, consistently the best, playing many of their biggest songs, bringing out a brass section for the feel-good “Tondo,” closing with the classic Flume remix of “You & Me” and giving each other a big old brotherly hug at the end. Two more of the many (many) Brits on the lineup, Chase & Status played a satisfying, tough as nails set that included their new hits (“Disconnect,” “Baddadan”) and classics like their 2008 “Eastern Jam.” (“This is for my original Chase & Status fans,” the pair’s Will Kennard announced before dropping the track.)
While often overlooked on the global circuit, San Francisco has a rich and mighty electronic history, and certainly the many locals in attendance demonstrated that the Bay Area parties hard, and also well: the crowd was loose but from our vantage point never out of control, stylish in mostly non-cliché ways and generally friendly, with none of the too cool (or too self aware) atmosphere that elsewhere can, and does, stifle the dancing.
“It’s a work hard play hard town,” says Bell. “When people here come to play, they’re out just to have a good time; there’s no agenda.”
The weather was also classically San Franciscan, with each day’s morning fog burning off for sunshine daydream afternoons that maintained enough of a chill that many attendees who didn’t bring layers were spotted buying hoodies from the merch stand. The site, an actual working shipping pier, created a built-in industrial aesthetic, with the looming crane and hulking naval ship doing a lot of the heavy lifting in terms of decor. The vessel even blew its horn daily, to wide applause.
These are ten of the best things we saw over the weekend.
Jesse Ware Takes a Victory Lap
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One of the enduring joys of watching The Masked Singer is seeing how totally wrong judge Ken Jeong is from week-to-week. The joyful panelist is impressively confident in his often wildly off-base guesses and in a Billboard exclusive sneak peek at Wednesday night’s (Oct. 2) Footloose-themed episode the good doctor again pushes all his chips in on last week’s bold guess at the identity of the celeb inside the towering Woodpecker costume.
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“This is a clue-based guess,” Jeong says of the singer who impressed the panel in last week’s season 12 kick-off with her bouncy cover of Miley Cyrus’ “Flowers.” Admitting that “for the first time ever” he had no idea who the singer was, a cowboy hat-wearing Jeong said he was doubling-down on his previous prediction: Willow Smith.
Now, pay attention as we try to follow Jeong’s logic, which, it’s worth noting drew a subtle eye-roll from host Nick Cannon.
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“That director’s chair? Willow Smith also directs as well as performs in her own music videos,” Jeong said of the daughter of Will Smith and Jada Pinkett Smith who first broke through in 2010 with her No. 11 Billboard Hot 100 single “Whip My Hair” and whose most recent album is this year’s jazzy Empathogen.
On the subject of bird clues, Jeong also noted that Willow has performed with past Masked Singer contestant Rubber Ducky (aka Anthony Anderson) in “perhaps the best and most precious Mother’s Day special of all time on VH1 called ‘Dear Mama.’” Fellow panelist Robin Thick says that, clue-wise, Jeong’s theory makes sense, but vocally he warned, “you’re going down the wrong tree hole.”
In an earlier clue package, season 11’s Miss Cleocatra, film/TV actress Jennifer Lewis spilled the tea on someone she said she has known “from her start. She’s been called a mogul, a chic CEO,” Lewis said as Woodpecker held up a roll of tape reading “NEXT.” Other clues: she’s friends with Beyoncé and is a “baddie.”
Woodpecker herself teased that “the only doors that open are ones you knock on” as she rapped on a gate next to a panel reading “Family” and said she is on a path to becoming the “youngest billionaire.”
Last week’s season premiere revealed the identity of Leaf Sheep, NFL legend quarterback John Elway, who was booted after singing Tim McGraw’s “I Like It, I Love It.” For the record, Jeong somehow got that one right.
Check out the preview video below and tune in to The Masked Singer on Fox tonight at 8 p.m. ET.
Sabrina Carpenter is TIME‘s latest cover star, earning a place among the publication’s 100 Next list with a cosign from another short-statured pop superstar: Christina Aguilera.
In addition to a cover story published Wednesday (Oct. 2), the 25-year-old “Espresso” singer was honored with a brief tribute penned by Xtina. “She may claim to be short and sweet, but never underestimate the mighty power behind Sabrina Carpenter’s talent,” the Burlesque star wrote. “As a fellow 5-ft. female with a similar working-adolescent Disney history, I firsthand recognize and respect what it takes to maintain clarity while delivering within the demands of this business.”
“While she is at the tender age of 25, I realize our symbolic, full-circle connection, as my own [self-titled] debut album turns 25 this same year,” Aguilera continued. “As exciting generations of pop princesses continue to emerge, I feel adoration and protectiveness, knowing the journey at hand and ahead.”
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The article comes just a couple weeks after Carpenter and the “Beautiful” vocalist met up mid-September, filming a TikTok together in which the Girl Meets World alum joked that she was Aguilera’s “favorite” child. The pair also teamed up for Xtina’s recent Spotify Anniversaries episode around the same time, singing “What a Girl Wants” as a duet.
Aguilera also came up in Carpenter’s cover story interview with TIME, with the “Please Please Please” hitmaker opening up about owning her sexuality while following in the footsteps of pop icons such as Xtina and Britney Spears. “You’ll still get the occasional mother that has a strong opinion on how you should be dressing,” she told the publication.
“And to that I just say, don’t come to the show and that’s OK,” continued Carpenter, who often sings about sex in her music and incorporates a few NSFW elements into her live shows. “It’s unfortunate that it’s ever been something to criticize, because truthfully, the scariest thing in the world is getting up on a stage in front of that many people and having to perform as if it’s nothing. If the one thing that helps you do that is the way you feel comfortable dressing, then that’s what you’ve got to do.”
See Carpenter’s TIME cover below.