Music
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From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.
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Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.
In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.
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He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.
Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.
Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”
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Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.
Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.
Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”
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In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.
The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.
Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars
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On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.
The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.
The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.
Stage 4: London, England – A New Stage and Fresh Horizons
This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.
On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.
The first year of the TikTok Billboard Top 50 chart featured an array of music that reached the fledgling ranking’s upper reaches, with 21 songs topping the weekly ranking from its inception as of the Billboard charts dated Sept. 16, 2023.
Tommy Richman’s “Million Dollar Baby,” however, was a leg above the rest.
From its coronation at No. 1 on the May 18 survey (after debuting at No. 2 the previous week) to its to-date final week atop the ranking (July 20), Richman’s summer hit crowned the TikTok Billboard Top 50 for 10 uninterrupted weeks. What’s more: as of this writing, “Million Dollar Baby” has never fallen below No. 6. In fact, the latest weekly chart (Sept. 14) finds it up one spot to No. 5.
But “Million Dollar Baby” is a fitting longest-running No. 1 for the chart’s inaugural year. To recap the story you’ve probably already been told: on April 13, Richman uploaded a 14-second clip of the song to his TikTok. It exploded immediately, having racked up nearly 14 million plays as of mid-September. Two days later, he was posting more clips featuring different music, but the demand in the comments was clear: “Drop million dollar baby rn,” one read. He released the song “Selfish” a few days later on April 19, and yet the pleas persisted: “More million dollar baby clips.”
The next week, it happened. After a few more videos promoting its impending release (including one from April 23 that has even more views – over 18 million – than the original), Richman dropped “Million Dollar Baby” on April 26, and the song immediately shot to the top of the TikTok Billboard Top 50, as well as charts worldwide. On the multimetric Billboard Hot 100 (which does not include any TikTok activity), it both debuted and peaked at No. 2 on the May 11 tally and spent the next nearly four months in the top 10.
Pent-up demand for the song helped drive initial numbers, but in the months since, “Million Dollar Baby” has had its own dance trend that’s dominated the conversation. By the end of the summer, TikTok crowned the tune its song of the summer.
Read on for more highlights of the TikTok Billboard Top 50’s chart’s first year. You can see the latest TikTok Billboard Top 50 chart here, and you can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
‘Love’ for Mitski
Tito Jackson, 70, one of the five founding members of the beloved Motown group the Jackson 5, died on Sunday (Sept. 15) of a suspected heart attack in Gallup, NM. Billboard contributor Fred Bronson interviewed Tito over three days in 2016 for his book, The Jacksons Legacy. Check out a few excerpts from their many hours together, including Tito talking about his brothers, signing to Motown, his missed chance to pursue a career in baseball and what he believed his legacy would be.
Before there was a Jackson 5, it was just you, Jackie and Jermaine. Did you play ang gigs as a trio?
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No, we weren’t doing any gigs. It was just us singing around the house, Jackie, Jermaine and me. Then we heard Michael sing at a school function, an elementary school play, and that’s when we put him in the band. Marlon said, “me too!” Both of them has been asking. We had been telling them they were too young. It was for big boys.
Did any of your sisters ask to be a part of your group?
No, the girls hung out with each other. They were around mama all the time. The five of us worked out our harmonies, and with Michael singing songs, it started sounding even better. Father would tell us to be quiet, and our mother told him, “Joe, you need to listen to them. I think they really can sing. I think they have talent.” He would say, “Those boys don’t have any talent. Those boys can’t sing.” [She said] “No, Joe, I really think you should listen to them. They sound pretty good.” So one day, we sang for him and he was blown away. The next day when he got his paycheck, he bought all kinds of equipment. He rehearsed us every day. After school, we’d drop our books. He had the mics already set up, the amps on standby. The guitars were out already.
What do you remember about being signed to Motown?
We had heard that Motown wasn’t going to sign us because Stevie Wonder was on the label and there were a lot of laws about minors working. You could only work so long and then you had to take a break. If you are there longer than six hours, your day is over. You’ve got to go to school for an hour now. Producers hate it. With Stevie they only had one minor. There were five of us.
But that didn’t stop from Motown signing you.
We did the audition for Berry, and he was there. Suzanne de Passe was there. [Motown artist] Bobby Taylor was there and Berry was in the corner, checking it out and listening, trying to not like it. But he really enjoyed it. He wanted us to sing at Diana Ross’s party that he was giving. He told us our first four or five records were going to go to No. 1.
That party for Diana Ross was at Berry’s home in Detroit. I understand he offered you a hundred dollars to make a hole-in-one in his back yard.
He gave us the wrong iron. Some putter or something. We tore the yard up trying to do that.
Is that the first time you met Diana Ross?
Yes. That was the first time we met any of the stars. Marvin Gaye was there and Tammi Terrell. Some of the Four Tops and some of the Temptations. It was like a family. The Motown staff was very kind to us. They treated us like children. That’s what we were. Everybody was our father and mother. They were just very nice to us. We did our performance, singing their songs to them and watching their reactions, and they seemed to really like it. They told us, “You guys are great, but remember, don’t get a big head.” They would give us little tips like that, and we looked up to them, of course. I remember going back to Indiana, bragging to all of our friends that we signed to Motown and our friends were very supportive.
Tell me about your relationships with your brothers.
Our relationships were always good because we did everything together. We hung out together. We stayed together. When we went on the road, we shared rooms. If we were going to the movies, we all went to the movies together. We made our own fun and had our little basketball team, the five of us. We also played a lot of baseball and softball.
Were you good at baseball?
That was my whole thing. I enjoyed playing the game, and I played about two years in Little League before the music took off. I could’ve done something with it if I had kept playing, but I stopped playing at a young age. I guess the music looked better to our father. Jackie was really good at baseball. But I learned when I got older that I was probably just as good, if not better. Especially if I had kept playing, because I was always trying to keep up with my oldest brother.
After three bubblegum pop songs – “I Want You Back,” “ABC” and “The Love You Save,” your fourth single was very different. Tell me about “I’ll Be There.”
I think it was a good move to show the versatility in the group, that we weren’t just about up-tempo young songs. We could deliver love songs and “I’ll Be There” was perfect. It was an adult lyric, but it sounded good for the young voice of Michael with us doing the backgrounds. We didn’t know it was going to be a single. We just recorded the songs that they gave us and we would finish an album and the company chose the songs that it felt strongly about.
What does it mean to you to have been a part of the Jackson 5?
A person comes into this world and it’s what you leave behind, I don’t know if I left enough behind, because what I have left behind is music and if you can bring happiness to some people, that’s more than most people have brought. So I look at it in that context, but it’s not everything that I can leave behind. I’m always trying to do something that’s going to help myself or help society and make myself a better person. But to be a part of the Jacksons, to have that and bring smiles to people’s faces who enjoy the music, who enjoy the image or to name a kid after one of our family members is a good feeling. It means a lot. It means that you’ve done something with your life, other than just lived a life. At the end of the day, when we get called, it’s all about what we did with our time. I still have a lot to give as do the brothers, because the music just flows through our family. I think I was put here to do music.
Surf Curse has been steadily releasing music for more than a decade and now, for the first time, the surf rockers debut on the Billboard Hot 100 with their five-year-old song “Disco.” Explore Explore See latest videos, charts and news See latest videos, charts and news Released in June 2019 via Danger Collective and more […]
A decade ago, Midland’s Mark Wystrach, Jess Carson and Cameron Duddy holed up at the iconic Sonic Ranch studios in Tornillo, Texas, and made their initial recordings as a trio. They refined their simultaneously modern and retro sound, fused by their contrapuntal harmonies, in a process that was later highlighted with the release of their 2021 project The Sonic Ranch (and its corresponding documentary). That same year, Sturgill Simpson released his seminal, Dave Cobb-produced album Metamodern Sounds in Country Music.
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“We were referencing a lot of stuff from the ‘70s and ‘80s,” Midland’s lead singer/guitarist Wystrach tells Billboard. “When we heard [Simpson’s] album, we felt like it was exactly, in so many ways, like what we were trying to capture to pay homage to the music we love, but in a modern and contemporary way.”
From that point, Cobb, also known for his work with Chris Stapleton and Jason Isbell, became an aspirational producer for the trio. They realize that ambition with their new, eight-song project Barely Blue, out Sept. 20 on Big Machine Records.
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Though the two projects were recorded approximately 1,600 miles apart (Barely Blue was recorded Cobb’s Georgia Mae Studios in Savannah, Ga.) and are separated by 10 years of touring and recording, two top 5 Billboard Country Airplay chart hits in “Drinkin’ Problem” and “Burn Out,” and an ACM Award win for new vocal duo/group of the year, there are distinct similarities between the two projects.
“It completes a full circle back to our first album, where it was a fully immersive, experiential recording process, as opposed to going in with a set list of songs that we had to cut,” Wystrach says, adding, “I think he was probably the most fun we’ve ever had in the studio. Getting to work with Dave was one of the best musical experiences, I think collectively, of our lives.”
As much as Midland’s top-flight musicianship itself, the aura of Savannah is baked into the grooves of Barely Blue.
“It’s important for Dave to get you into the spirit and set the table,” bassist/vocalist Duddy says. “Because we were in his hometown, the first thing he did was we got in the car, and he drove us around the neighborhood. He’s very proud of Savannah and the culture. He was a great tour guide and historian for the city, so you feel like you’re part of the surroundings.”
“I don’t think it’s a coincidence that Johnny Mercer grew up right there and wrote [the lyrics to] ‘Moon River’ about that area,” adds lead guitarist/vocalist Carson. “It’s so storybook and picturesque, I think it comes through on the album, too.”
Far removed from the daily workhorse vibe of Nashville, the trio found a free-flowing creative spirit at Cobb’s studio. There, a process marked by recording time, followed by dinner, wine, relaxed conversations and more recording late into the evening, sparked what Duddy describes as “freedom to experiment, because there’s no ticking clock.”
The trio entered the studio with nearly 20 songs they were considering for the project, eventually trimming the slate to Barely Blue’s succinct set, constructing and deconstructing each song until it fit with the album’s overall vibe.
“It’s a way we’ve always wanted to record because when we read stories of how some of our favorite albums were made, like the Rolling Stones in France making Exile [on Main St.], they’re in this sort of live-in space and they have time on their hands to tinker with things. ‘Lucky Sometimes’ is a song that we recorded, listened back to, and went back and tore down to the studs. The original version of it had drums and it was just a very different-sounding song.”
“Dave was pretty opinionated when it came to the songs that he felt worked together,” Duddy recalls. “There’s a dark art to picking songs that work together, and sometimes you’re too close to the material to know what’s best for it. Dave was very instrumental in finding and threading those songs together.”
The members of the group contributed writing to seven of the album’s eight songs, including the slow-rolling romance of “Baby It’s You,” the tumbling harmonies of “Old Fashioned Feeling,” the languid swagger of “Lucky Sometimes” and the Carson solo write “Halfway to Heaven.”
The lone outside cut is “Vegas,” written by Ryan Beaver, Jeff Hyde, Jeremy Spillman and Ryan Tyndell. The song is the first the trio has recorded from outside writers, other than recording occasional cover songs.
“The work tape we had [for “Vegas,”] we really blew that up and made it something that felt like it fit into this puzzle we were constructing,” Wystrach says of the song that hinges on revamping the long-standing phrase “What happens in Vegas stays in Vegas.” “You can almost smell the heartbreak on that song, and the longing and nostalgia to it. It does really sound like a firsthand experience, and I think all of us have collectively kind of lived the story of that song — and it’s such a classic turn of a phrase that’s been part of the pop culture vernacular for so long.”
Wystrach, Duddy and Carson were joined in the studio by Cobb, keyboardist Philip Towns, percussionist Chris Powell, and multi-instrumentalist Leroy Powell for a recorded effort they feel captures the energy of their live shows for the first time in a long time, while still sounding radio ready.
“I think the three of us collectively feel the last three albums didn’t really reflect what we sound like live. I think all of our favorite albums sound kind of like the live show, and that’s something we wanted to pursue and incorporate in this album,” Wystrach said. “What people are hearing is a live-tracked album that is imperfect, human, it’s got a rawness to it.”
The UTA-booked group will take the new songs on the road when their The Get Lucky Tour launches Sept. 19 including stops at Red Rocks Amphitheater and at ACL Live. They’ll also return to Indio, California’s Stagecoach Festival in 2025.
In a world that is filled with over-saturation in so many facets, Midland adheres to the ethos of “keep people wanting more.”
“We certainly did that when it came to building our live show,” Duddy says. “We never tried to jump ahead and play into a venue that might’ve been bigger. We specifically tailored our live show to where it’s going to sell out. Not everybody can just walk up at the door and there might be some empty seats.
“That’s kind of way this album is — we wanted to really be able to spotlight each of those songs because we believed in them,” he continues. “We do feel like those eight songs are able to tell such a story and have such a landscape both through us and Dave.”
Over the past decade-plus, Illinois native Brett Eldredge has earned five No. 1 Billboard Country Airplay hits (including the two-week chart-toppers “Don’t Ya” and “Wanna Be That Song”) and has seen two of his albums rise into the top 3 on the all-genre Billboard 200 chart.
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Thanks to his velvety, timeless vocal delivery, his annual holiday-themed Glow concerts and two albums comprised of primarily classic holiday songs (2016’s Glow and 2021’s Mr. Christmas), he’s also earned a reputation as an essential artist to help usher in the spirit of the holiday season.
On Sept. 27, Eldredge will extend that reputation with his third holiday album, Merry Christmas (Welcome to the Family), an eight-song collection of original holiday songs. Eldredge, who is managed by Q Prime South, is also turning a new page professionally, as the album will be the first released on Eldredge’s own independent label, Warm and Cozy Records. Eldredge previously parted ways with his longtime label home, Warner Music Nashville.
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“The run we had together at Warner was very special and it ended with respect and love,” Eldredge tells Billboard via email. “I am so grateful for the wonderful team of humans at Warner and the work and belief they always had for me. At the end of the day, I missed the feeling of betting on myself. That feeling when you first get to town, knocking on doors and playing anywhere they would let me in the doors with my guitar and an eager voice that wanted to be heard…I have that hunger to bet on myself and starting my own label felt like the perfect way to do that.”According to Q Prime South’s Randi Tolbert, ADA will handle distribution for the label, with Q Prime South and Q Prime New York label services handling duties including marketing, press, radio and digital.
Asked if there are plans to sign additional artists to his Warm and Cozy label, Eldredge notes that at the moment, his sights are set on releasing his own music, and he’s immersed in “making music that I love by cutting out expectations or outside pressures and anything that would influence my creative spirit. I love the freedom of it all so far…I am going to focus on that for now, but who knows what the future holds!”
Among the original songs on the new album is “Sweet December,” a duet with Kelly Clarkson (the two previously collaborated on “Under the Mistletoe,” featured on Clarkson’s 2021 holiday album, When Christmas Comes Around).
“After singing ‘Under the Mistletoe’ together, I knew there was no one else in the world I wanted to sing this song with,” Eldredge says in a statement. “Kelly’s voice has this soulful retro feeling. I’ve never done a Christmas song in this style, and I really love it.”
Clarkson adds in a statement, “I’ve been fortunate enough to record songs with Brett, go see him live, and have him on my show! He has one of my favorite voices and I will sing with him anytime, anywhere! I hope people dig ‘Sweet December’ as much as we do!”
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The vinyl edition of the upcoming album will be released Oct. 25, bolstered by Welcome to the Family: The Game, an exclusive board game printed onto the vinyl edition’s gatefold.
For Eldredge, seeing the growing success of his holiday-centered music is a fulfillment of the dreams and ideas he had as a young vocalist, inspired by the sounds of timeless holiday songs each season.
“I think the success of this Christmas business or any business is to dig into what sparked it before it mattered to anyone else but yourself,” he tells Billboard. “That’s how I feel about this whole Christmas dream that has blown up to a level I only used to dream about as a kid, sitting by the tree singing along to Nat King Cole and Bing Crosby. That whole feeling of, ‘What if one day I could make music classic and cool like this, with my own holiday original songs? What if I could make people feel the way I do right now just listening and dreaming?’ When it all gets overwhelming, which indeed any type of success or ‘business’ does, I like to imagine taking a seat next to that 12-year-old me and saying, ‘Can you believe we are doing this?’”
Eldredge also notes to Billboard that fans can likely expect to hear a variety of sounds from him in the future as he explores musical avenues.
“I love so many types of music and I am inspired that we now live in an era where there can be a home on different playlists for different styles,” he says. “It honestly makes the live shows more fun and expansive too. I have a lot of different styles and sounds in my bag of magic tricks that I can’t wait to get out to the world!”See the tracklist for Merry Christmas (Welcome to the Family) below:
1 “Merry Christmas (Welcome to the Family)”
2 “It Must Be Christmas”
3 “Sweet December” (featuring Kelly Clarkson)
4 “Warm and Cozy”
5 “The Night St. Nick Got Sick”
6 “Season of Lights and Wonder”
7 “Who Will You Be Kissing on New Year’s Eve?” (featuring Idarose)
8 “Welcome to the Family” (Reprise)
After more than 50 years of rocking, REO Speedwagon will permanently park the tour bus at the end of the year. The long-running soft rock band known for such 1980s hits as “Keep on Loving You,” “Take It On the Run” and “Can’t Fight This Feeling” announced on Monday (Sept. 16) that their upcoming U.S. dates will be their last due to intractable conflicts between the two longest-tenured members.
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“Bruce has intended to be Back On the Road Again by now. If it were up to just him, he’d be back on tour… but it’s not up to just him,” read a statement from the group in reference to bassist Bruce Hall, who has been off the road recuperating from back surgery while the band was touring with Train this summer.
“The consensus opinion was that he had not recovered sufficiently to be able to perform at the level the fans have come to expect,” they continued. “Bruce respected that opinion and is grateful that [replacement bassist] Matt [Bissonette] has been around to keep the Wagon rolling through the summer tour. Bruce never had any intention of retiring or walking away from the band, fans, and crew he has loved for almost 50 years.”
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The message also noted that singer Kevin Cronin also “never had any intention” of leaving the band, but that things came to a head over unexplained stressors, leading to the difficult decision to call it a road day.
“Due to this complex situation, irreconcilable differences arose between Bruce and Kevin. So, it is with great sadness that we announce REO Speedwagon will cease touring effective January 1, 2025,” they announced. “[Keyboardist] Neal [Doughty], Kevin, and Bruce thank their fans for all their years of loyal support and for giving back to the band such wonderful memories that will remain with each of them forever.”
Writing on Facebook, Hall wrote his own goodbye, telling fans, “Never ever thought it would end like this and I’m heartbroken. Please know Neal and I did everything in our power to try and keep the Wagon rolling. I am so appreciative of ALL the amazing love & support. You guys have been very vocal and clear in your wishes for me to return to the stage. Trust me…that’s all I wanted too. We all deserved a farewell tour.” He noted that he wanted to the band to continue touring as it was prior to his successful, planned back surgery.
Last week, the band had to cancel shows in Chula Vista, CA and Phoenix, AZ after Cronin was felled by an undisclosed illness. Train and REO Speedwagon launched their 44-date co-headlining Summer Road trip on July 8 and wrapped it up on Sept. 11; only Train peformed at the latter show in Phoenix due to Cronin’s illness. The group has a final round of headlining dates slated to kick off on Sept. 27 at the Agua Caliente Casino in Rancho Mirage, CA before playing what will now be their swan song on Nov. 23 at Rupp Arena in Lexington, KY.
After missing the final two shows, Cronin wrote a note from his hospital bed on FB over the weekend in which he reminisced about the great time on the road with Train this summer and his own future. “Lying here tethered to various beeping machines, makes a guy think. I have had plenty of free time this past week to appreciate the love in the eyes of my wife and kids, as they have gathered around me here every single day. I have so much more life to live, and have re-examined what I want to do with the rest of my time here, and who I want to be surrounded by while I do it,” he said.
“I need to be lifted by those around me, and in return, to lift them. I feel excited at the prospect of creating and playing the best music I have in me, with the best artists, musicians, and people who will have me. And I promise to continue giving my best, and appreciating the gift of music which has allowed me this life.”
REO Speedwagon formed in Champaign, IL in 1967 with an initial lineup featuring lead singer Terry Luttrell and a rotating roster of guitarists, releasing three albums with as many lead vocalists before Cronin joined in time for 1972’s R.E.O./T.W.O. LP; Cronin split before 1973’s Ridin’ the Storm Out album. After sitting out three additional studio albums, Cronin returned for 1976’s R.E.O., which set the stage for their breakthrough with 1978’s punny You Can Tune a Piano but You Can’t Tuna Fish.
The double platinum LP — the first to feature Hall on bass — finally broke them on radio and on the charts, hitting No. 29 on the Billboard 200 album tally and landing their first hit singles with “Time For Me to Fly” (No. 56 on the Billboard Hot 100) and “Roll With the Changes” (No. 58). But it was 1980’s High Infidelity that cemented their reputation as AOR radio soft rock gods thanks to Hot 100 charting hits “Keep On Loving You” (No. 1), “Take It on the Run” (No. 5), “In Your Letter” (No. 20) and “Don’t Let Him Go” (No. 24). The band released six more albums, including their final original studio effort, 2007’s Find Your Way Home; the holiday album Not So Silent Night… Christmas with REO Speedwagon was released in 2009.
See the band’s statement below.
For the second year in a row, Edgar Barrera leads the list of nominees for the Latin Grammy Awards. On Tuesday morning (Sep. 17), the Mexican hitmaker received nine nominations for the 2024 annual ceremony, including songwriter of the year and producer of the year.
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He appears in the main categories of album of the year, as a songwriter on Carín León’s Boca Chueca, Vol. 1; record of the year, as Karol G’s “Mi Ex Tenía Razón” co-producer; and song of the year as co-writer of three hits — Karol G’s “Mi Ex Tenía Razón,” Shakira and Grupo Frontera’s “(Entre Paréntesis),” and Maluma and Carín León’s “Según Quién.” He also has two nods for best regional song as a songwriter.
Barrera is followed by superstars Karol G and Bad Bunny, who got eight nominations each. Benito also competes for record of the year, with “Monaco,” while Karol is also nominated to album of the year for Mañana Será Bonito (Bichota Season), the follow up to her Latin Grammy winning set of 2023 Mañana Será Bonito.
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On its 25th anniversary, the Latin Grammy Awards are incorporating a new field of electronic music, and two new categories: best Latin electronic music performance, and best contemporary Mexican music album. Nominees for the former include Ale Acosta, Valeria Castro, Vikina, Deorro, Bizarrap and Shakira, among other. For the latter, the contenders are an impressive group of artists and creators who have contributed to the rise of the genre: Natanael Cano, DannyLux, Grupo Frontera, Carín León, Michelle Maciel and Peso Pluma.
The nominees for the coveted best new artist prize are Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Latin Mafia, Cacá Magalhães, Os Garotin, Iñigo Quintero, Sofi Saar y Ela Taubert.
“As we approach the 25th edition of the Latin Grammys our awards process is more robust than ever, with our membership evaluating over 23,000 entries this year,” says Manuel Abud, CEO of The Latin Recording Academy, in a press release. “The Latin Grammys have grown in an amazing way to become a fundamental platform for music and culture. We are proud to share this year’s nominees, an international and diverse group of creators representing the richness and vastness of today’s Latin music.”
Other big contenders this year: Keityn, with six nods; Juan Luis Guerra with five; and Feid, Kany García, Carín León and Kali Uchis with four each. Among those with three nominations are Camilo, Jorge Drexler, Fonseca, Mon Laferte, Nathy Peluso, Residente, Peso Pluma, Shakira and Elena Rose. While with two are Pepe Aguilar, Anitta, Marc Anthony, Rubén Blades, Mau y Ricky, Danny Ocean, Nicole Zignago and more.
The 25th annual Latin Grammy Awards will air live from Miami on Thursday, Nov. 14 beginning at 8 p.m. ET/PT (7 p.m. Central) on Univision, Galavisión and ViX. Preceding the telecast will be the Latin Grammy Premiere, where the winners in most categories will be announced.
Check out the complete list of nominees for the 2024 Latin Grammys below.
Record of the year
“Mil Veces,” Anitta
“Monaco,” Bad Bunny
“Una Vida Pasada,” Camilo & Carín León
“Catalina,” Cimafunk & Monsieur Periné
“Derrumbe,” Jorge Drexler
“Con Dinero y Sin Dinero,” Fonseca & Grupo Niche
“Mi Ex Tenía Razón,” Karol G
“Mambo 23,” Juan Luis Guerra y 4.40
“Tenochtitlán,” Mon Laferte
“Igual Que Un Ángel,” Kali Uchis & Peso Pluma
Album of the year
Bolero, Ángela Aguilar
Cuatro, Camilo
Xande Canta Caetano, Xande De Pilares
Mañana Será Bonito (Bichota Season), Karol G
García, Kany García
Radio Güira, Juan Luis Guerra 4.40
Autopoiética, Mon Laferte
Boca Chueca, Vol. 1, Carín León
Las Letras Ya No Importan, Residente
Las Mujeres Ya No Lloran, Shakira
Song of the year
“A Fuego Lento,” Daymé Arocena & Vicente García, songwriters (Daymé Arocena & Vicente García)
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“Caracas En El 2000,” Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters (Elena Rose, Danny Ocean & Jerry Di)
“Derrumbe,” Jorge Drexler, songwriters (Jorge Drexler)
“(Entre Paréntesis),” Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters (Shakira, Grupo Frontera)
“Mi Ex Tenía Razón,” Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters (Karol G)
“Según Quién,” Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters (Maluma & Carín León)
“Te Lo Agradezco,” Rafa Arcaute, Kany García, Carín León & Richi López, songwriters (Kany García & Carín León)
“313,” Leo Genovese, Residente & Silvia Pérez Cruz, songwriters (Residente, Silvia Pérez Cruz & Penélope Cruz)
Best new artist
Agris
Kevin Aguilar
Darumas
Nicolle Horbath
Latin Mafia
Cacá Magalhães
Os Garotin
Iñigo Quintero
Sofi Saar
Ela Taubert
Best pop vocal album
Tofu, Caloncho
.mp3, Emilia
El Viaje, Luis Fonsi
Hotel Caracas, Mau y Ricky
Orquídeas (AOP), Kali Uchis
Escrita, Nicole Zignago
Best traditional pop vocal album
Obras Maestras, Diego El Cigala
García, Kany García
Mar Adentro, Juliana
Aún Me Sigo Encontrando, Gian Marco
Almas Paralelas, Laura Pausini
Best pop song
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“A Las 3,” Paty Cantú, Ángela Dávalos, León Leiden & Saibu, songwriters (Paty Cantú & León Leiden)
“Ahora,” David Bisbal, Pablo Preciado & Carlos Rivera, songwriters (David Bisbal & Carlos Rivera)
“Amor,” José Andrés Benitez, Christian Bermudez, Richard Bermudez, Rodney Kumbirayi Hwingwiri, Juan Diego Linares, Luis Alejandro Márquez, Anibal Morin Diaz, Danny Ocean & Rafael Salcedo, songwriters (Danny Ocean)
“Dime Quién,” Lagos, songwriters (Lagos)
“Feriado,” Rawayana, songwriters (Rawayana)
“Igual Que Un Ángel,” Carter Lang, Manuel Lorente Freire, Kali Uchis & Dylan Wiggins, songwriters (Kali Uchis & Peso Pluma)
Best Latin electronic music performance
“La Ceniza,” Ale Acosta, Valeria Castro
“Drum Machine,” Alok
“Pedju Kunumigwe,” Alok, Guarani Nhandewa
“Bzrp Music Sessions, Vol. 53 (Tiësto Remix),” Bizarrap, Shakira
“BAMBOLE,” Vikina Featuring Deorro
Best urban/fusion performance
“Nadie Sabe,” Bad Bunny
“Corazon Vacío,” Maria Becerra
“Young Miko: Bzrp Music Sessions, Vol. 58,” Bizarrap Featuring Young Miko
“S91,” Karol G
“Tranky Funky,” Trueno
Best reggaeton performance
“Perro Negro,” Bad Bunny Featuring Feid
“Un Preview,” Bad Bunny
“Triple S,” J Balvin Featuring Jowell & Randy & De La Ghetto
“Byak,” Alvaro Diaz Featuring Rauw Alejandro
“Qlona,” Karol G Featuring Peso Pluma
“Labios Mordidos,” Kali Uchis Featuring Karol G
Best urban music album
Nadie Sabe Lo Que Va A Pasar Mañana, Bad Bunny
Sol María, Eladio Carrión
Sayonara, Álvaro Díaz
Ferxxocalipsis, Feid
Mañana Será Bonito (Bichota Season), Karol G
El Último Baile, Trueno
Best rap/hip hop song
“Aprender A Amar”, Pablo Drexler, Alberto Escámez López & Nathy Peluso, compositores (Nathy Peluso)
“Bendecido”, Eladio Carrión, compositor (Eladio Carrión)
“Blam Blam”, Al2 El Aldeano & Vico C, compositores (Vico C Featuring Al2 El Aldeano)
“La Sabia Escuela”, Akapellah, Leonardo Daniel Díaz, Jose Gonzalez Ollarves, Marlon Luis Morales Santana, Luis Jacinto Muñoz Hernandez & Pedro Elias Querales, compositores (Akapellah Featuring Canserbero & Lil Supa)
“Teléfono Nuevo”, Bad Bunny & Luar La L, songwriters (Bad Bunny Featuring Luar La L)
“Thunder y Lightning”, Bad Bunny & Eladio Carrión, compositores (Bad Bunny Featuring Eladio Carrión)
Best urban song
“Bonita”, Daddy Yankee, compositor (Daddy Yankee)
“Columbia”, Quevedo, compositor (Quevedo)
“El Cielo”, Feid, Nicolás Jaña Galleguillos, Gabriel Mora Quintero, Andres David Restrepo Echavarria, Sky Rompiendo & Myke Towers, compositores (Sky Rompiendo, Feid, Myke Towers)
“La Falda”, Julio Emmanuel Batista Santos, Carlos Alberto Butter Aguila, Orlando J. Cepeda Matos, Ralph Jemar Milln Calderon, Jose Reyes, Myke Towers & Siggy Vazquez Rodriguez, compositores (Myke Towers)
“Luna”, Feid, compositor (Feid Featuring Atl Jacob)
Qlona, Karol G, Daniel Esteban Gutiérrez, Ovy On The Drums & Peso Pluma, compositores (Karol G Featuring Peso Pluma)
Best rock album
El Dorado (En Vivo), Aterciopelados
Diáspora Live Vol. 1, La Vida Bohème
Herencia Lebón, David Lebón
Alicia En El Metalverso, Mägo De Oz
Mi Mejor Enemigo, Viniloversus
Best rock song
“Algo Bueno Tenía Que Tener (Bogotá)”, Diamante Eléctrico & Andrés Kenguan, compositores (Diamante Eléctrico)
“Animal Temporal”, Viniloversus, compositores (Viniloversus)
“Camaleónica”, Ali Stone, compositora (Ali Stone)
“No Me Preguntes (Live)”, Jesús Quintero & Draco Rosa, compositores (Draco Rosa)
“Qué Más Quieres”, Anton Curtis Delost, Shaun Lopez, Kathryn Ostenberg, Monica Velez & The Warning, compositores (The Warning)
Best pop/rock album
Cuando Ella Me Besó Probé A Dios, Bruses
Jet Love, Conociendo Rusia
Jay De La Cueva, Jay De La Cueva
Reflejos De Lo Eterno, Draco Rosa
Adentro, Francisca Valenzuela
Best pop/rock song
“Acapulco,” Emmanuel Horvilleur, Siddhartha & Rul Velázquez, songwriters (Siddhartha Featuring Emmanuel Horvilleur)
“Afilá,” Ali Stone, songwriter (Ali Stone)
“Blanco y Negro,” Christian Mauricio Aloisio Zavala, Lagos & Elena Rose, songwriters (Lagos Featuring Elena Rose)
“5 Horas Menos,” Conociendo Rusia & Natalia Lafourcade, songwriters (Conociendo Rusia Featuring Natalia Lafourcade)
“Diciembre,” Los Mesoneros, songwriters (Los Mesoneros)
Best alternative music album
Por Cesárea, Dillom
Híper, Hello Seahorse!
Nica, Nicole Horts
Autopoiética, Mon Laferte
Pandora, Ali Stone
DESCARTABLE, WOS
Best alternative song
“Cabecear”, J Noa, Jeffrey Peñalva “Trooko” & Skai, songwriters (J Noa)
“Déjalo Ir,” Francisco Rojas & Francisca Valenzuela, songwriters (Francisca Valenzuela)
“El Día Que Perdí Mi Juventud,” Devonté Hynes & Nathy Peluso, songwriters (Nathy Peluso)
“Insomnia,” Goyo, Illmind, Omar Isaiah Lupuku, Don Mills, Carlos Santander & Telly, songwriters (Goyo)
“Lloro,” Nicole Horts, Camilo Velez & Maria Vertiz, songwriters (Nicole Horts)
Best salsa album
Yo Deluxe, Christian Alicea
Muevense, Marc Anthony
Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022), Rubén Blades and Roberto Delgado & Orquesta
Joyas Que Bailan, Ronald Borjas
Coexistencia, Luis Figueroa
Best cumbia/vallenato album
‘Ta Malo, Silvestre Dangond
De La Uno A La 1000 (Primera Temporada), Omar Geles
Se Agradece, Los Ángeles Azules
Vallenatos Pa Enamorar, Osmar Pérez & Geño Gamez
La Sociedad De La Cumbia (Big Band Live), Puerto Candelaria
Best merengue/bachata album
Radio Güira, Juan Luis Guerra 4.40
Agradecido Live!, Eddy Herrera
Superhéroe Merengue, Magic Juan
Lo Tengo Todo, Oscarito
Llamada Perdida, Prince Royce
Best traditional tropical album
Rodando Por El Mundo, José Alberto “El Canario”
Tengo Algo Que Decirte, Luis Fernando Borjas
Voces De Mi Familia, Alex Cuba
Los Mismos Negros, Yelsy Heredia
A Mis Ancestros, Yeisy Rojas
Best contemporary tropical album
Epílogo: La Clave Del Tiempo, Jeremy Bosch
Cuatro, Camilo
Tropicalia, Fonseca
Monte Adentro, Gusi
La Fiesta, Ilegales
Best tropical song
“Baila y Goza”, Renesito Avich & Rafael “Pollo” Brito, compositores (Renesito Avich Featuring Rafael “Pollo” Brito)
“Con Dinero y Sin Dinero”, Jorge Luis Chacín, Fonseca & Miguel Yadam González Cárdenas, compositores (Fonseca & Grupo Niche)
“Hasta Que Aguante El Cuerpo”, Jorge Luis Piloto, compositor (Dayhan Díaz & Pupy Santiago)
“Llorar Bonito”, Luis Figueroa & Yoel Henríquez, compositores (Luis Figueroa)
“Mambo 23”, Juan Luis Guerra, compositor (Juan Luis Guerra 4.40)
Best singer-songwriter album
Compita Del Destino, El David Aguilar
Scratch De Versos, El Riqué
Pausa, Leonel García
De Magia Imperfecta, Nicolle Horbath
El Abrazo, Rozalén
Best singer-songwriter song
“Antes Que O Mundo Acabe,” Tiago Iorc, songwriter (Tiago Iorc)
“Derrumbe,” Jorge Drexler, songwriter (Jorge Drexler)
“Entonces,” Rozalén, songwriter (Rozalén)
“García,” Kany García, songwriter (Kany García)
“Luz De Cabeza,” El David Aguilar, songwriter (El David Aguilar)
Best ranchero/mariachi album
Mariachi y Tequila (Deluxe), Majo Aguilar
Que Llueva Tequila, Pepe Aguilar
Te Llevo En La Sangre, Alejandro Fernández
Romances Eternos, Mariachi Sol de México de José Hernández
Best banda album
Presente, Julión Álvarez y Su Norteño Banda
Yo Te Extrañaré, Luis Angel “El Flaco”
Diamantes, Chiquis
Best Tejano album
Imperfecto, El Plan
Siempre Gabriella, Gabriella
Ganas (Deluxe), Vilax
Best Norteño album
El Comienzo, Grupo Frontera
Modus Operandi, Intocable
LNDT, Los Nietos de Terán
Te Amaré, Pesado
Terca, Sofi Saar
Best contemporary Mexican music album
Nata Montana, Natanael Cano
Evoluxion, DannyLux
Jugando A Que No Pasa Nada, Grupo Frontera
Boca Chueca, Vol. 1, Carín León
Trastornado, Michelle Maciel
Génesis, Peso Pluma
Best regional song
“Aquí Mando Yo,” Héctor Guerrero, songwriter (Los Tigres Del Norte)
“Canción Para Olvidarte,” Mango, Nabález, Chris Zadley & Nicole Zignago, songwriters (Majo Aguilar)
“El Amor De Su Vida,” Edgar Barrera & Kevyn Mauricio Cruz, songwriters (Grupo Frontera, Grupo Firme)
“Por El Contrario,” Edgar Barrera, Kevyn Mauricio Cruz & Elena Rose, songwriters (Becky G Featuring Angela Aguilar & Leonardo Aguilar)
“Tienes Que Ser Tú,” Salvador Aponte & Yoel Henríquez, songwriters (La Energía Norteña)
Best instrumental album
Impronta, Omar Acosta
Claude Bolling Goes Latin – Suite For Flute And Latin Music Ensemble, Carlomagno Araya, Jose Valentino & The Latin Music Ensemble
Capriccio Latino, Alexis Cárdenas
Encontro Das Águas, Yamandu Costa & Armandinho Macêdo
Tembla, Hamilton De Holanda & C4 Trío
Best folk album
Canto y Río, Martina Camargo
C4 Suena a Navidad, C4 Trío
Raíz Nunca Me Fui, Lila Downs, Niña Pastori, Soledad
Paisajes, Ciro Hurtado
Bullerengue y Tonada, Tonada
Best tango album
El Cantor de Tangos, Guillermo Fernández Featuring Cristian Zarate
Tangos Cruzados, Franco Luciani, Fabrizio Mocata
¿Y El Fin Del Amor?, Mariana Mazú
Apiazolado, Diego Schissi Quinteto
Ya Está En El Aire, Ullmann Cuarteto
Best flamenco album
Andenes del Tiempo, Vicente Amigo
Rumberas, Las Migas
Historias De Un Flamenco, Antonio Rey
Best Latin jazz/jazz album
Collab, Hamilton De Holanda & Gonzalo Rubalcaba
Searching For A Memory (Busco Tu Recuerdo), Sammy Figueroa Featuring Gonzalo Rubalcaba & Aymée Nuviola
My Heart Speaks, Ivan Lins
Pra Você, Ilza, Hermeto Pascoal & Grupo
El Arte Del Bolero, Vol. 2, Miguel Zenón & Luis Perdomo
Best Christian album (Spanish language)
Necesito De Ti, Jesús Israel
No Yo, Sino Cristo, Majo y Dan
Maverick, Redimi2
Kintsugi, Un Corazón
Tu Iglesia, Marcos Witt
Best Portuguese language Christian album
Ele É Jesus – Ao Vivo, Bruna Karla
Deixa Vir – Vol II (Ao Vivo), Thalles Roberto
In Concert (Ao Vivo), Rosa de Saron
Vida (Ao Vivo), Eli Soares
Temporal, Vocal Livre
Best Portuguese language contemporary pop album
Afrodhit, Iza
Super, Jão
Amaríssima, Melly
Os Garotin De São Gonçalo, Os Garotin
Escândalo Íntimo, Luísa Sonza
Best Portuguese language rock or alternative album
Erasmo Esteves, Erasmo Carlos
No Rastro de Catarina, Cátia de França
Me Chama de Gato Que Eu Sou Sua, Ana Frango Elétrico
Ontem Eu Tinha Certeza (Hoje Eu Tenho Mais), Jovem Dionisio
Lagum Ao Vivo, Lagum
Best Portuguese language urban performance
“Joga Pra Lua,” Anitta Featuring Dennis & Pedro Sampaio
“Cachimbo da Paz 2,” Gabriel O Pensador, Lulu Santos, Xamã
“Da Braba,” Gloria Groove Featuring Ludmilla & Mc Gw
“Carta Aberta,” Mc Cabelinho
“Fé nas Maluca,” Mc Carol, Iza
“La Noche,” Yago Oproprio Featuring Patricio Sid
Best samba/pagode album
Alcione 50 Anos (Ao Vivo), Alcione
Xande Canta Caetano, Xande De Pilares
Iboru, Marcelo D2
Tardezinha Pela Vida Inteira (Ao Vivo), Thiaguinho
Subúrbio (Ao Vivo), Tiee
Best MPB (Musica Popular Brasileira)/MAPB (Música Afro Portuguesa Brasileira) album
D Ao Vivo Maceió, Djavan
Se o Meu Peito Fosse o Mundo, Jota.Pê
Portas (Ao Vivo), Marisa Monte
Outros Cantos, Milton Nascimento, Chitãozinho & Xororó
No Tempo da Intolerância, Elza Soares
Best Sertaneja music album
Boiadeira Internacional (Ao Vivo), Ana Castela
Paraíso Particular (Ao Vivo), Gusttavo Lima
Cintilante (Ao Vivo), Simone Mendes
Raiz Goiânia (Ao Vivo), Lauana Prado
Luan City 2.0 (Ao Vivo), Luan Santana
Best Portuguese language roots album
Mariana e Mestrinho, Mariana Aydar, Mestrinho
Aguidavi do Jêje, Aguidavi Do Jêje, Luizinho Do Jêje
De Norte a Sul, João Gomes
Night Clube Forró Latino (Volume I), Marcelo Jeneci
Faróis do Sertão, Gabriel Sater
Best Portuguese language song
“Alinhamento Milenar,” Jão, Pedro Tófani & Zebu, songwriters (Jão)
“Ata-me,” Junio Barreto, songwriter (Alaíde Costa)
“Chico,” Bruno Caliman, Carolzinha, Douglas Moda, Jenni Mosello & Luísa Sonza, songwriters (Luísa Sonza)
“Esperança,” Criolo, Dino D’Santiago, Amaro Freitas & Nave, songwriters (Criolo, Dino D’Santiago, Amaro Freitas)
“Ouro Marrom,” Jota.Pê, songwriter (Jota.Pê)
Best Latin children’s album
Navidad de Norte a Sur: Cantoalegre Big Band (En vivo), Cantoalegre, Orquesta La Pascasia
Cantemos Juntos, Claraluna
¡A Cantar!, Danilo & Chapis
Dun Dun Dara, Payasitas Nifu Nifa
Todos Podemos Cantar 2024, Todos Podemos Cantar
Best classical album
Aire, Aire… No Puedo Respirar, Ricardo Jaramillo, director; Ricardo Jaramillo, Jefferson Rosas & Marcela Zorro, productores
Credo For Orchestra, Choir And Five Soloists, Iván Cardozo, Fernando Escalona, Claudio González, Jhoxiris Medina & Grace Terán; Christian Vásquez, director; Maria Beatriz Cárdenas, Eugenio Carreño & Eduardo Martínez Planas, productores (Orquesta Sinfónica Simón Bolívar de Venezuela, Coro Nacional Simón Bolívar)
Fandango, Anne Akiko Meyers & Gustavo Castillo; Gustavo Dudamel, director; Dmitry Lipay, productores (Los Angeles Philharmonic)
Fantasies of Buenos Aires, Lincoln Trio; Daniel Binelli & Ted Viviani, productores
The Latin Rites, Josep Vicent, director; Fernando Arias, productor (Adda Simfònica Alicante)
Best classical contemporary composition
“Caribbean Berceuse,” Paquito D’Rivera, composer (Barcelona Clarinet Players, Paquito D’Rivera, North Texas Wind Symphony, Eugene Migliaro Corporon (director))
“Fandango,” Arturo Márquez, composer (Los Angeles Philharmonic, Gustavo Dudamel, Anne Akiko Meyers)
“La Minerva – III. Himno A La Mujer,” Juan Pablo Contreras, composer (Juan Pablo Contreras, Orquesta Latino Mexicana, Angélica Olivo)
“Meditation No.1,” Julien Labro, composer (Takács Quartet, Julien Labro)
“Sueño Austral,” Daniel Freiberg, composer (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
Best arrangement
“Sueño Austral,” Daniel Freiberg, arranger (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
“Night In Tunisia,” Hilario Durán, arranger (Hilario Durán And His Latin Jazz Big Band Featuring Paquito D’Rivera)
“Fuego De Noche, Nieve De Día,” Julio Reyes Copello, arranger (Ricky Martin, Christian Nodal)
“Linha de Passe,” Nailor Proveta, arranger (Orquestra Jazz De Matosinhos, Gabi Guedes, Kiko Freitas)
“Rapsodia Aérea,” Andrés Soto, arranger (Andrés Soto, Orquesta Sinfónica Nacional de Costa Rica, Carl St. Clair)
Best recording package
En Vivo – 100 Años de Azúcar, Nelson Albareda, Sebastian Aristizabal, Kemelly Figueroa-Mouriz, Omer Pardillo-Cid & Albertico Rodríguez, art directors (Celia Cruz)
Figurantes, Boa Mistura, art director (Vetusta Morla)
Karma, Carlos Ortiz, art director (Diana Burco)
Realismo Mágico, Carlos Sadness, art director (Carlos Sadness)
Tekoá, Leonardo Macias, art director (Jair Oliveira)
Songwriter of the year
Edgar Barrera
Yoel Henríquez
Manuel Lorente Freire
Horacio Palencia
Pablo Preciado
Best engineered album
Analu, Tó Brandileone, engineers; Daniel Musy, mixer; André Dias, mastering engineer (Analu Sampaio)
Era Uma Vez, Pedro Peixoto & Matheus Stiirmer, engineers; Pedro Peixoto, mixer; Fili Filizzola, mastering engineer (Mobi Colombo)
Os Garotin De São Gonçalo, Uiliam Pimenta, Julio Raposo & Pepê Santos, engineers; Bernardo Martins, mixer; Felipe Tichauer, mastering engineer (Os Garotin)
Quem É Ela?, Túlio Airold, Alex Dos Reis Silva & Gianlucca Pernechele Azevedo, engineers; João Milliet, mixer; Fili Filizzola, mastering engineer (Mariana Nolasco)
Se o Meu Peito Fosse o Mundo, Thiago Baggio, Will Bone, Leonardo Emocija, Rodrigo Lemos & Felipe Vassão, engineers; João Milliet, mixer; Felipe Tichauer, mastering engineer (Jota.Pê)
Producer of the year
Edgar Barrera
Eduardo Cabra
Nico Cotton
Juan Luis Guerra, Janina Rosado
Julio Reyes Copello
Best short form music video
“Ale Ale,” Marc Anthony; Carlos Pérez, director; Joanna Egozcue, producer
“Baticano,” Bad Bunny; Stillz, director
“Oliveira Dos Cen Anos,” C. Tangana; C. Tangana, director
“Sálvanos,” Leonel García; Nuno Gomes, director; Nuno Gomes, producer
“Glock,” Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
“313,” Residente Featuring Penélope Cruz & Silvia Pérez Cruz; Residente, director; Carolina Wolf, producer
Best long form music video
Beautiful Humans Vol 1. Documental, Alemor; Wismer Jimenez, director; Alemor & Wismer Jimenez, producers
Meu Karma, Jovem Mk; Kaique Alves, Gabriel Avelar & Beto Galloni, directors; Rodrigo Castello, Mariê Nunes & Eduardo Saraiva, producers
Hotel Caracas, Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
Grasa (Album Long Form), Nathy Peluso; Agustín Puente, director
Nacimos Llorando, Rubio; Fernando Cattori, director; Luis Betances, Fernando Cattori, Josep Pardo, Jaume Rigual, Ana Laura Solis, Aura Solis & Joe Solis, producers
After giving birth to her third child earlier this month, Cardi B says the public pressure on performers to quickly shed baby weight is both unrealistic and unfair. On Monday (Sept. 16), the “Bongos” rapper reacted to a fan who commented on Cardi’s post from the day before featuring footage of the MC’s first postpartum workout. “It’s barely been a week. Yoh, the pressure women in the industry are under? Insane,” the person wrote.
The comment came after Cardi shared a [since timed-out] video on Instagram Stories on Sunday in which she hit the gym for 30 minutes of hard late night cardio on a StairMaster, just two weeks after giving birth on Sept. 7 to her third baby, a girl, with estranged husband rapper Offset. “This is my third baby and postpartum is a little different from my first two… I’m not doing heaving lifting, no muscle straining, squatting none of that… just cardio,” Cardi wrote.
“Sometimes to avoid postpartum depression you gotta keep your mind busy and for me that’s work and staying active… but you know what’s funny?? Y’all dragged me down when I gained 15 pounds because I was 5 months pregnant but now yall fake concerned and wanna talk about pressure???” she added. “Y’all said I was pregnant to avoid working now that you see I’m still at it it’s something else?? So yeah I’m taking this personal but its FOR ME because either way y’all are gonna have something to say.”
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The fan quickly clarified that she didn’t “mean any harm” with her tweet and did not intend it as an indictment on Cardi, “but rather society’s expectations of women and ‘snap back’ culture. Cardi said it was all good, responding, “Totally babe!! And I do agree about society and pressure…I just was never the type to care about snap back after birth. I don’t know what it is about this time around but I have this burst of energy where I want to do EVERYTHING… It’s like I want to complete all my goals in one day.”
On Monday Cardi also posted some home movies from the hospital in which she and Offset spend quality time with their baby girl, whose name has not yet been revealed. In the TikTok clip we see Cardi breastfeeding and snuggling with her third bundle of joy, as well as Offset enjoying some skin-to-skin contact as their two other kids together, Kulture, 6 and Wave, 3, meet their new sibling.
Cardi, who filed for divorce from Offset for the second time earlier this summer, has been hard at work on her long-awaited follow-up to her 2018 debut studio album, Invasion of Privacy, whose release date has not yet been announced.
This is my third baby and postpartum is a little different from my first two… I’m not doing heaving lifting, no muscle straining, squatting none of that… just cardio. Sometimes to avoid postpartum depression you gotta keep your mind busy and for me that’s work and staying… https://t.co/I6VFBsAxGO— Cardi B (@iamcardib) September 16, 2024
Totally babe!! And I do agree about society and pressure…I just was never the type to care about snap back after birth. I don’t know what it is about this time around but I have this burst of energy where I want to do EVERYTHING… It’s like I want to complete all my goals in one… https://t.co/0NheAYu5kh— Cardi B (@iamcardib) September 16, 2024
Justin Timberlake was back in comfortable confines on Monday night (Sept. 16) when he visited The Tonight Show to hang with his good pal and frequent sketch partner host Jimmy Fallon. After a lengthy, laudatory pre-interview wind-up running down the multi-hyphenate singer’s resumé, Timberlake took a seat as Fallon assured his friend “you’re well-liked here.”
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The visit was Timberlake’s first public appearance since pleading guilty to impaired driving in New York’s Sag Harbor Village Court on Friday, where he was sentenced to 25 hours of community service and hit with $760 in fines and court fees. “I did not live up to the standards that I try to hold for myself,” he told the court, before addressing the judge, “I should’ve had better judgment. I understand the seriousness of this.”
Timberlake did not address the plea deal or the DWI incident during the visit, which focused on the singer’s Forget Tomorrow world tour; on Tuesday morning (Sept. 17), JT announced a string of 10 new 2025 dates for the outing (see below).
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The friends mostly joked around, with Fallon demurring when Timberlake repeatedly suggested that the host would come out and do a mandatory warm-up set before Justin’s upcoming Barclays Center show in New York on Oct. 7. “I’m not doing anything,” Fallon assured him. “I’m going as a fan… screaming.”
“Shouldn’t Jimmy come out and do a 15-minute set?” JT baited Fallon as the studio audience howled at the idea.
Fallon also noted that he’s always giving Timberlake advice about touring, for example, suggesting he sit on a stool and play for 45 minutes. Instead, Timberlake plays for more than two hours and as Fallon noted, does a dramatic bit during “Mirrors” where he flies out over the crowd on a giant robotic arm that looks cool, but has led to some regrets from the singer.
“I’m going to say that was my idea… After 53-54 shows,” Timberlake said haltingly before standing up and getting into an arms wide open, leaning forward pose, “I was up there one time, just, like, suspended over everyone. I was like, ‘I could be on a stool right now.’”
“Yes! I told you that!” Fallon said enthusiastically, requesting that when he comes to the show he would like to not be able to see Timberlake that well. Clarifying, Jimmy said he doesn’t want such good seats next time, getting up from his desk and standing within a foot of JT to demonstrate his usual VIP status.
“I don’t know what to do with myself,” Fallon admitted of being so up-close-and-personal. “I don’t dance… and so I just stand there and I bore your wife (actress Jessica Biel), so she leaves me [and] I’m by myself. It’s too much pressure for me.”
“Do you not want to come to the show?” Timberlake wondered. Amid the giggles and the inside jokes, Fallon teased a new holiday song the pair recorded for the host’s upcoming Christmas album, tracked at New York’s Electric Lady studio. “You’ll Be There,” described as a a “holiday bromance” tune, mixes sleigh bells and ukulele for a chilled-out island vibe, with JT singing, “The only thing on my wish list/ Is that you’ll be home for Christmas.”
The pair also played a round of “Playlist Playoff,” in which Fallon and Timberlake competed to pick the perfect song for different scenarios, including a pre-workout jam and the track they’d want on repeat if stuck in an elevator together, which prompted Justin to pay tribute to recently deceased R&B icon Maze frontman Frankie Beverly.
Check out Timberlake on The Tonight Show below.
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Timberlake’s new 2025 North American Forget Tomorrow world tour dates:
Jan. 13 – Portland, OR @ Moda Center
Jan. 15 – Sacramento, CA @ Golden 1 Center
Jan. 18 – Anaheim, CA @ Honda Center
Jan. 20 – Palm Springs, CA @ Acrisure Arena
Jan. 23 – Phoenix, AZ @ Footprint Center
Jan. 25 – Salt Lake City, UT @ Delta Center
Jan. 28 – Denver, CO @ Ball Arena
Feb. 3 – Austin, TX @ Moody Center