News

The Rose Reflect on ‘Heal Together’ World Tour & Their Own Healing Journey

There are inevitable psychological scars that all people need to address once they reach adulthood. Whether tackled through therapy, medication, meditation, music, exercise, supplements or any other means, The Rose came to learn that they could address trauma as private individuals and members of their chart-topping Korean rock band. The quartet says their new, record-breaking album Heal is not just words of wisdom to share with fans but nightly mantras for themselves, too, while touring the album throughout the globe.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

After more than two years apart to settle drama with their previous Korean label and take care of South Korea’s mandatory military enlistment, The Rose reemerged in August last year with a new partnership alongside Transparent Arts (the entertainment agency founded by Billboard Hot 100 hitmakers Far East Movement) to release their first full-length album Heal. Preceded by the singles “Childhood” and “Sour,” Heal landed in the Top 20 of both the Top Album Sales and Top Current Album Sales charts, while peaking at No. 4 on the Heatseekers Albums too. Since its release, Heal has earned 12,000 equivalent album units, according to Luminate while their 2018 EP Void is their biggest release in the U.S. with 25,000 units earned to date.

After The Rose’s 2017 debut with “Sorry” led to the band earning a breakout K-pop artist to watch honor by Billboard, these career highs nearly five years after their mainstream introduction mark the band’s all-encapsulating dedication to what initially brought them together.

“The main message of The Rose when we first created the band was ‘healing together with music,’” explains the group’s Korean-American leader Woosung, who built up his solo pop career alongside Transparent during the band hiatus. “Coming into this new chapter of The Rose, we really wanted to remind ourselves and also remind our listeners.”

Those reminders came via Heal‘s creative process (The Rose handles nearly everything on this LP with contributions from pop and K-pop songwriter-producer Brian Lee on the stadium-sized anthem “Cure” and vocals from Transparent labelmate James Reid on the euphoric collaboration “Yes”), plus singing their lyrics back to themselves throughout their ongoing Heal Together world tour (that’s already played North and South America, Asia, and is currently in its final leg in Europe).

“We try to keep connecting with what we write and what we sing, trying to remind ourselves that life can be beautiful,” Woosung adds before vocalist-guitarist-keyboardist Dojoon adds how often a “lyric comes to us and it hits different every time. That’s a really good thing to have as a musician.” Bassist-singer Jaehyeong admits certain songs on the road make him tear up, while drummer-singer Hajoon lets the setlist take him back to moments in time.

Speaking with Billboard during some downtime amid touring, go on The Rose’s healing journey to dig deeper into Heal, reflections from tour, future music plans and more.

Woosung

Woosung

Jack Vu

Hajoon

Hajoon

Jack Vu

Congratulations on the chart success of Heal. You set new records for Korean-rock groups; how did that feel?

Woosung: We’re just very thankful and blessed, to be honest; that’s what we’ve been feeling. We don’t feel overly excited honestly, because our fans have been pushing so hard for us that the numbers made sense for us. All we want to do is just thank them. And we’ve been trying to give our best show and keep our conditions strong so that we could, at least, have that time be enjoyable for fans—that’s how we give back.

Dojoon: It might be a more common Korean expression but we “don’t feel it in our skin yet.” It doesn’t feel real, but we’re so thankful.

This is your first album in partnership with Transparent Arts, which Billboard broke the news about in August. What was different with this album behind the scenes?

Woosung: The biggest difference is, now, we have our partners that trust our visions. We are creating visions together and we trust their vision. The biggest thing is just the openness and the honesty that makes us who we are and makes Transparent who Transparent is. It’s funny because Kev [Nishimura, Transparent Arts co-CEO] came up with this phrase, “We’re the guns to the Roses.” We’re learning so much with James Roh [COO/Management at Transparent] and Daniel “Dpd” Park being part of our team.

Dojoon: We learned a lot and we’re learning all the time, but the most important lesson and thing has been teamwork.

Woosung: There’s a phrase we always say, right? [Transparent co-CEO] Kirby [Lee]’s son says…

All: “Teamwork makes the dream work.” [Laughs]

Dojoon: It could be a cliché, but we really mean it and believe in that phrase. They have different personalities and different thoughts, and, likewise, we have different personalities and different thoughts. We know how to pay respect; every time we see them and they see us, we learn a lot from each other. I think it’s a really good synergy.

Did Transparent Arts bring James Reid onto “Yes”? He’s such a perfect vocal fit.

Woosung: No, James brought himself. [Laughs] We were finishing up the album in Joshua Tree, and James was there just hanging out with us…

Dojoon: James even said, “I want to go. I really want to come! Can I come?”

Woosung: We’re like, “Yeah, of course, you’re always welcome.” He came, hung out with us, and then he was hearing what we had made so far and he’s like, “I like this one, I want to be on this one.” We thought, “Yeah, it makes sense. You’re on it.” [Laughs] And he knew he was a perfect fit too. James was like, “This is my sh-t right here.”

Dojoon: And, naturally, there was a trade. Sammy [Woosung] got to be on James’ song [“Hold on Tight” off Reid’s Lovescene: album released in October 2022].

Heal is The Rose’s first full project since your break to handle military enlistment and other projects. What did you learn on your own that you brought to this project?

Dojoon: Individually, we got to spend time on our own, and we had a lot of time thinking about ourselves and the team individually, which made us realize how taking this time isn’t a bad thing. So, we got more peace of mind. We really got to learn more about how to stay calm and keep going—I think that’s the best lesson we learned from that hiatus.

Woosung: Honestly, we matured in our own way, which is very helpful for our group. Now, I think there’s peace of mind where we can think more about what others feel and truly try to understand how each other feels which grows us as a team because we couldn’t always really understand where the other person is coming from. We’re bringing that into our album, our daily lives, everything.

Jaehyeong: I met new people, so they influenced me in terms of music. There were a lot of things; some of the people I met during that time played classical or traditional music, so they influenced me.

I can hear some of that in “See-Saw.” I want to get into some of the topics in the album and songs. The title is simple but very powerful. When did you decide that Heal was the name of the album?

Woosung: It was just random, we were just talking.

Dojoon: Oh, but it was a four-letter word: H-E-A-L.

Woosung: Our albums have only been four letter words: Void, Dawn, Heal. That’s on purpose but when we first got together, all four of us were just catching up, sharing our stories of what we went through and how we had kind of gone through life without each others’ presence. And we really felt how that the main message of The Rose when we first created the band was “healing together with music.” Coming into this new chapter of The Rose, we really wanted to remind ourselves and also remind our listeners. And just in general, we felt like people had a lot of healing to do in terms of little things or big things in this life: it can be childhood trauma, traumas that you don’t even remember that you need to heal from, a recent incident that you want to heal from. We honestly believe that music is a universal language that does a lot of healing so we just wanted to create this tool for everybody that listens to the music to kind of guide them, and guide us as well, through this healing journey.

Why is that world “heal” so important to you guys, whether it’s as a band or independently?

Woosung: Well, I learned over the past two or three years of my traumas, the childhood traumas that I had which brought out certain behaviors, certain thinking, certain actions, certain way of talking, certain way of handling things. I think, really, the root of it was from a childhood trauma that I had even forgotten. I didn’t really understand it until I thought about it so, that was a big turning point for me for sure; how to conversate and how to really handle things.

Dojoon: I had a little difficulty expressing my feelings to friends or people who I love. By talking a lot with our members and going through that, I’m trying more to express myself a little more. And that’s my task from now on, but I’m on a healing journey as we go.

It sounds like you guys can help one another in your healing journeys.

Woosung: For sure. We’re in it together.

Dojoon: We have a song called “See-Saw” and writing it was a very healing experience. It’s a story of its own, there’s a part in the lyrics where we reply back to Jaehyeong. I think that’s a great thing to have as a band where we actually can heal by performing it every time.

Jaehyeong: We just had a concert in Toronto where we sang “See-Saw,” it was only our fifth concert on tour. I didn’t cry at the show, but I don’t know, our fans grabbing their phones, turning on their flashlight, our members singing, and that part that made me so emotional. I was crying, and I think that crying helps me find more clarity and overcome my own trauma. That’s my healing time.

So “See-Saw” is the song that makes The Rose cry?

Dojoon: One of them, yeah! [Laughs]

Dojoon

Dojoon

Jack Vu

Jaehyeong

Jaehyeong

Jack Vu

Everything I’m hearing makes it clear that “Childhood” was the perfect single to begin this album and these topics. Was that on purpose?

Woosung: That’s correct. Because everything starts from our childhood, right?

Dojoon: We were all a child once, every person.

The lyrics of “Childhood” say, “Don’t forget when you were a child…/ Let it stay in your mind.” How do you guys live that lyric?

Woosung: Well, that’s the thing: when we write the songs, it’s not us saying that we’re better and already know how to do it—it’s also reminding ourselves. We’re just like the listeners; there’s nothing more special between listener and performer. The music is what’s special and we’re trying to live and remember these messages through music. So, we try but we’re human as well—we forget. It’s hard to chase those childhood dreams sometimes and reality makes it hard. But we try to keep connecting with what we write and what we sing, trying to remind ourselves that life can be beautiful, life is beautiful, and we want to live it beautifully.

Dojoon: Speaking of forgetting, we tend to forget our songs. Then when we listen back, after a few months or a few years, we’ll realize, “Oh yeah, we talked about this.” And this lyric comes to us and it hits different every time. That’s a really good thing to have as a musician.

I also really want to give you props for the “Childhood” music video too. It’s so well done and not like anything I feel like I’ve seen from a pop group based in Korea. I loved how you showed so many different bodies, you showed your bodies, tell me about conceptualizing the video.

Woosung: The main message behind that visual was just that we’re all born naked, we’re all equal, we’re all children once, we’re all humans. That was what we want to showcase. You don’t have to be perfect—as you can see, we don’t even have perfect bodies. We got a little gut. Hajoon had a pretty nice body, he’s been working out. [Laughs] But me, I just hang out. But we wanted to showcase the naturalness of just human beings and the beauty of being natural. And also showcase nature because that’s as natural as it could get.

What’s the best song to perform on tour?

Woosung: My favorite performance is “Definition of Ugly Is,” the first song on the setlist. I think it really sets the mood. I really love the messaging behind the song, which is like the Ugly Duckling: you’re a swan, you don’t know yet, but everybody thinks you’re special, they pick on you, but you become a swan, you were just in the wrong group…that’s my favorite song to play.

Dojoon: I think, “Sour.” “Definition of Ugly Is” is the leading, first song for the show but “Sour” is the very last song. Well, when the audience is really into the concert and really, feeling it, that’s the time when “Sour” comes out. I feel like everybody can relate to the melody, they sing along with us really well, and I have so much fun doing that song.

Jaehyeong: For me, the first one is “See-Saw” but the second one is “Black Rose.” You know, it is our first time to sing this song to our [fans known as] Black Roses. We’re not playing our instruments; we only sing and sing together to our fans. It feels like very special and so emotional. I love it. A lot of fans come up to us to say, “I really loved the ‘Black Rose’ out of the whole setlist.”

Hajoon: For me, “Sorry” is my favorite to perform because the song is our first song. So, when I play that, I feel like when we started the band, it’s like coming back to the beginning. I think our fans feel the same too. They know the lyrics very well because it’s been out there for almost six years.

Looking ahead, what’s coming next as the new year starts?

Woosung: We have the world tour and everything wraps around March-ish. We’re really excited to just be on the road, see our fans, really perform. Between those times, we’re visiting these cities and doing publicity. We’re even doing news platforms in new cities, it’s been great. We’re excited to finish that up strong, give a good performance to each city, and we’re going to go on a break for one month, from March to April 1st. Then after that, it’s start over. We’re going to get ready for another album, talk about where we want to take that album and get back into it.

Dojoon: Yeah, we’re really excited for the next production.

Any hints you can give? Or influences you guys have been feeling lately?

Woosung: The album’s going to be four letters.

I guess we could expect that.

Dojoon: We’re going to make something very…

Hajoon: Cool!

Dojoon: A cool, city-ish vibe?

Woosung: Yes, city vibes. You know how Heal was our Joshua Tree vibe? In nature?

Dojoon: It’s going to be the opposite now—maybe.

That’s a good tease. Anything else to add for the fans?

Woosung: We honestly just want to thank our Black Roses. They’ve been amazing, making us trend on Twitter for like every day on tour. They’ve been doing fan events together. We’re very thankful just to be building this community and being a part of this community. We want to share our experiences as well, and we’re happy that we have a community that we can engage in and talk with, even keeping up with them on Discord. So, thank you, Black Roses, we “Rose” you. We Rose all of you. And we hope to see you very soon.

Lil Baby Gets Mistaken for ‘Little Babies’ in New ‘SNL’ Promo

Michael B. Jordan is taking over Saturday Night Live for his hosting debut this weekend (Jan. 28), with Lil Baby taking the stage as musical guest.

However, in a new promo for the episode, SNL favorite Heidi Gardner was a bit confused when the Black Panther actor introduced the rapper. “What? No way! Where? I love little babies,” Gardner shouted, before Lil Baby cleared up the misinterpretation.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“You see how that could be confusing?” the comedian asks the rapper in response.

In another cut, Gardner asks Jordan to be her Valentine, as the holiday of love is coming up in a few weeks. When the SAG Award winner took too long to make his decision, Lil Baby quickly offered to be the SNL cast member’s valentine. “You snooze, you lose,” Gardner tells Jordan.

Saturday Night Live airs every Saturday live on NBC at 11:30 p.m. ET/8:30 p.m. PT. For those without cable, the broadcast will also stream on NBC’s streaming service, Peacock, which you can sign up for at the link here. Having a Peacock account also gives fans on demand access to previous SNL episodes as well.

Watch the new series of promos below.

Cordae ft. Anderson .Paak “Two Tens,” Desiigner “Bigger And Bigger” & More | Daily Visuals 1.26.23

HipHopWired Featured Video
2022 Lollapalooza - Day 2

Source: Josh Brasted / Getty

Now that Cordae is expecting a bundle of joy with his wifey, tennis superstar Naomi Osaka, y’all knew he was going to get back on his grind. And today, he does just that with the help of Anderson .Paak.

Linking up with the rap/R&B artist for the visuals to “Two Tens,” Cordae and .Paak hit up the club where AP gets rubbed up on by an overzealous groupie while Cordae drops some bars off in the men’s room. We know what that sounds like, but that’s literally what he did.

Back in Brooklyn, Desiigner looks to get his post-Kanye career back on track for his clip to “Bigger And Bigger” turns into a giant who walks the streets of New York like Cloverfield, but luckily he didn’t knock down any buildings or eat any people. We ever gonna get a sequel to Cloverfield?! Just sayin.’

Check out the rest of today’s drops including work from Sauce Walka, Sosamann and Migos, Kenny Muney and more.

CORDAE FT. ANDERSONN.PAAK – “TWO TENS”



DESIIGNER – “BIGGER AND BIGGER”



SAUCE WALKA, SOSAMANN & MIGOS – “ON TOP”



KENNY MUNEY – “IN A RUSH”



MIDWXST & DENZEL CURRY – “TALLY”



BLOCBOY JB – “MURSIC”



TOOSII – “FAVORITE SONG”


https://youtube.com/watch?v=U05Nq4lDRkc&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

MOZZY & BABY MONEY – “EVERY NIGHT”



Bizarrap & Shakira’s ‘Bzrp Music Sessions, Vol. 53’ Rules Billboard Argentina Hot 100 Chart

Bizarrap and Shakira team up atop the Billboard Argentina Hot 100 chart as “Bzrp Music Sessions, Vol. 53” ascends from No. 6 to lead the Jan. 21 dated ranking. It’s a third No. 1 for Shakira, while Bizarrap captures his eighth. All champs, except for his featured role in Trueno and Nicki Nicole’s “Mamichula,” which also features Taui and Tatool, derive from his music sessions.

Steve Aoki secures his first top 10 thanks to “Muñecas,” with Tini and La Joaqui, which takes the Hot Shot Debut of the week, arriving at No. 5. The collaboration grants La Joaqui her third top 10. Tini, meanwhile clocks her 14th top 10 which places her into tie with Bad Bunny and Bizarrap for the second-most top 10s since the chart launched in 2018.

Miley Cyrus claims her highest ranking with latest single “Flowers,” at No. 11. Previously she scored a No. 40 high with “Midnight Sky” in 2020.

Elsewhere, Yandel earns his fourth chart appearance as “Yandel 150” bows at No. 45. The song is the fourth single from his album La Resistencia which debuts at No. 11 on the current Billboard Latin Rhythm Albums chart (dated Jan. 28). Plus, Argentinian Lauty Gram notches his first chart entry with “Vida Gangster” at No. 53.

This week’s Greatest Gainer honors goes to Pepper and Axel Caram’s “Sesión – 6,” which climbs 35 slots, 96-61. Plus, Maria Becerra scores her 36th chart entry, the fifth-most among all acts, as “Desafiando El Destino” starts at No. 67.

Further, seven more songs debut this week: Chano and Luckra’s “Nunca Nos Fuimos” opens at No. 74, Tiago Pzk’s “Bemasté” at No. 84, LIT Killah’s “Neón” at No. 85, Gusty Dj, La Joaqui and L-Gante’s “Ęy Pa La Guacha Loca? (Con Salastkbron) – Remix” at No. 86, Rema and Selena Gomez’s “Calm Down” at No. 91, La K’Onga and Matías Valdez’s “Latidos” at No. 94, and Feid’s “Feliz Cumpleanos Ferxxo” at No. 98.

DJ Khaled Thanks Rihanna for Casting Him in Savage X Fenty Valentine’s Campaign

DJ Khaled is ready to become America’s next top model. The producer dished on his role as a Savage X Fenty brand ambassador and model in a new interview on Thursday (Jan. 26).

“I’ve been trying to tell the world I wear a lot of hats. You see me in that robe,” he told BET of modeling for the brand’s Valentine’s Day campaign. “I’ve got a modeling career ahead of me, you know.”

Khaled continued: “I want to thank Rihanna and Savage X Fenty for letting me be part of this campaign. Rihanna is a visionary, and for her to give me the opportunity to wear the clothes, it was so dope and organic. I love that she lets me be myself. I promote to the world to always be yourself. She inspires me.”

The Savage X Fenty Valentine’s Day drop, which Rihanna modeled herself in a series of steamy uploads to social media earlier this month, isn’t the only collection the superstar has released lately. She’s also unveiled her limited edition Game Day line in anticipation of her halftime show at Super Bowl LVII next month, and just this week added a Fenty x Mitchell & Ness collab as well.

Meanwhile, DJ Khaled is still riding high off the success of his 2022 album God Did, which not only debuted as his fourth No. 1 album but also contained top five hit “Staying Alive” featuring Drake and Lil Baby as well as follow-up single “Big Time” featuring Future and Lil Baby.

Taylor Swift, Rihanna, Selena Gomez & More: What’s Your Favorite Animated Role Voiced by a Musician? Vote!

Call it the world-renown musician to animated movie character pipeline. Several of your favorite pop stars have dabbled in the realm of animated films, for feel good children’s comedies, story book to screen adaptations and otherwise, and it’s not hard to understand why: A voice that sells millions of records would be great for narrating an animate movie character. But Billboard wants to know which one is your favorite.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

One of the most recent stars to turn into an animated movie character was Shawn Mendes in 2022’s Lyle, Lyle Crocodile. The “Wonder” singer was cast as the titular character of the movie — which is adapted from the 1965 Bernard Waber book of the same name — a crocodile named Lyle who lives a charmed life in New York City with the Primm family, assisting them with chores and being kind to their neighbors’ children. Unfortunately, things go awry when one neighbor insists Lyle be placed in a zoo.

Among other artists that have showed up on the big screen as animated characters are: Taylor Swift in The LoraxRihanna in HomeBeyoncé in EpicKaty Perry in SmurfsSelena Gomez in the Hotel Transylvania franchise, and Nicki Minaj and Jennifer Lopez in Ice Age and more.

If you have a favorite, cast your vote in our poll to see what readers’ favorite animated character voiced by a musician is. Or, if we missed your favorite, you can add it to the other box so your vote can count.

Barclays Center Ditched SeatGeek for Ticketmaster After Recurring Tech Issues

In December, Barclays Center and BSE Global chief executive Sam Zussman arranged a meeting with officials at SeatGeek and offered the ticketing company an ultimatum: Either terminate the seven-year contract they signed with his predecessor, John Abbamondi, the year before, or else Zussman would publicize SeatGeek’s tech failures as they happened, multiple sources tell Billboard.

SeatGeek quietly complied and the ticketing company’s third NBA contract would come to an end, losing one of New York’s most popular venues. Starting this month, all new concerts at the arena are now ticketed by the team’s previous ticketing provider, Live Nation’s Ticketmaster — the world’s biggest ticketing service — under a deal term that runs for three to five years, according to sources familiar with the situation.

“The Barclays Center team met with our execs to figure out a way to amend the contract which would offer us the ability to continue ticketing the teams, but not third party events,” a SeatGeek spokesperson told Billboard in a statement. “Several months later we offered Barclays the opportunity to simply end the agreement, in consultation with our other clients, on good terms.”

A separate statement from Barclays Center confirmed that BSE Global and SeatGeek’s partnership would “wind down” beginning with the New York Liberty’s 2023 season in May. “SeatGeek provided our fans with a first-class gameday ticketing experience,” the statement reads, “and we’re appreciative of the time and energy they put into our work together.”

“They Just Aren’t Designed for High-Demand Ticket Sales”

A Barclays Center representative would not comment on the reason behind the arena’s dramatic turn face, or why Zussman had been frustrated with SeatGeek’s fulfillment of its contract — most ticketing agreements have clearly defined “service level agreements” governing response expediency and site uptime — but an incident from October 2021 provides insight into the issues SeatGeek may have been struggling to rectify.

Booking agents Jared Arfa and Marsha Vlasic at Artist Group International whose agency represents New York indie rock icons The Strokes, claim SeatGeek mishandled an October 2021 presale that cost the group several hundred thousand dollars. That concert, originally scheduled for Dec. 31, 2021, was postponed to April 2022 due to concerns over the omicron COVID-19 variant and ended up selling 13,548 tickets and grossing $1.57 million. That total was 2,000 tickets and $400,000 less than the band’s 2019 New Year’s Eve show at Barclays Center, which Arfa and Vlasic blame on SeatGeek’s user interface— not The Strokes’ popularity.

“They just aren’t designed for high-demand ticket sales, like concerts,” says Arfa, who describes SeatGeek as “a secondary ticketing company that dabbles in primary ticket sales” and struggled during large sales. “There’s things that we have become accustomed to in the music business that SeatGeek can’t do that as well.”

By contrast, says one prominent Brooklyn concert promoter familiar with both ticketing systems, “Ticketmaster has a ton of marketing power and reach in New York” through its huge email lists, search engine optimization and decades of work in the city. “For better or worse,” the booker adds, “Ticketmaster sells the most tickets in New York hands down.”

This wasn’t a one-time instance, either. Sources tell Billboard that concert promoters S2BN booked and then cancelled a Genesis 2022 tour date for Barclays Center due to issues with SeatGeek. The show, which was to be a surprise fourth New York date of the band’s Last Domino run (Genesis played two nights at Madison Square Garden and one at UBS Arena in Belmont), suffered from technical issues after going on sale and never came close to hitting the promoter’s sales goals.

The SeatGeek Deal Points

SeatGeek officials dispute the claims about problems with their system, telling Billboard in a lengthy statement, “Being the fastest growing tech company and a newer entrant to the primary ticketing space, SeatGeek is unencumbered by legacy technology, historical relationships, and outdated biases, allowing us to invest where the most impact can be felt.”

“In the last twelve months,” SeatGeek’s statement continues, “we’ve bolstered our entertainment team with key hires and have completely revamped our entertainment product offering, including making a number of fan-friendly strides in how we handle onsales, from utilizing state-of-the-art 3D view-from-seat imagery to providing ‘similar seat’ recommendations when multiple customers are vying for the same inventory.” The changes have resulted in “resounding appreciation from both AEG and Live Nation’s teams.”

Abbamondi signed the SeatGeek deal in 2021 with a $10 million signing package, sources say, that included cash, savings on the fees SeatGeek charged and a lucrative sponsorship agreement. The contract was seen as a means of helping reduce owner and Alibaba co-founder Joe Tsai’s $50 million to $100 million annual losses operating the team and arena since he bought out majority owner Mikhail Prokhorov in 2019. Just seven months later, however, Tsai agreed to accept Abbamondi’s resignation, despite the executive signing a record number of sponsorship agreements for the Nets that brought in an additional $30 million in annual revenue.

For SeatGeek, one of the largest ticket resale services in North America, the Barclays Center deal marked a major win in the company’s move from secondary ticketing into the primary, direct-to-consumer ticket business. Partnering with venues for primary ticketing services also drives significant traffic to SeatGeek’s secondary marketplace. That’s because ticket buyers don’t generally know if they are buying tickets from the team or from a reseller, since all primary and secondary tickets are listed together without any differentiation. The company’s other clients include the NBA’s New Orleans Pelicans and Cleveland Cavaliers, the NFL’s Dallas Cowboys and Arizona Cardinals, most of Major League Soccer and a growing number of Broadway theaters due to an alliance with Shubert Tickets.

Ticketmaster Regains Control

Ticketmaster has been under scrutiny this week, following a high-profile hearing before the U.S. Senate Judiciary Committee on Tuesday, examining competition in the ticketing industry and the company’s disastrous Nov. 15 ticket sale for Taylor Swift’s record-breaking The Eras tour. SeatGeek chief executive Jack Groetzinger testified during the hearing that Live Nation and Ticketmaster’s 2010 merger should be unwound due to a monopolistic behavior, saying it “it stifles competition completely.” (He was not, however, asked about his company’s own outages selling tickets to five of the concert dates for which the company has exclusive deals — including one reported instance where it charged a woman’s credit 14 times for $9,000 in total.) With Barclays Center’s move back to Ticketmaster, and the opening of the UBS Arena in late 2021, Ticketmaster now tickets all four of New York’s major arenas.

Barclays Center’s switch is likely to be examined by the Department of Justice, which monitors Ticketmaster as part of a 13-year-old consent decree dating back to Live Nation’s 2010 merger with Ticketmaster. One area of inquiry will likely be the drop in the number of concerts brought to Barclays Center in 2022, compared to 2019, the last full year of concerts prior to the COVID-19 pandemic.

Six months after signing with SeatGeek, Barclays Center saw the number of especial events and concerts at the building drop 13% from 2019 to 2022. The number of Live Nation concerts at the building fell 23% compared while the revenue generated from those Live Nation 2022 shows — $14.6 million — was less than half of the $31 million Live Nation concerts generated at Barclays Center in 2019.

The precipitous drop in Live Nation content, if done to retaliate against the venue for signing with Ticketmaster, could be a serious violation of the consent decree and could be grounds for challenging the merger in court.

Billboard found that other major buildings experienced similar fluctuations, though, including Madison Square Garden, which saw its total show count from 2019 to 2022 drop 11%. Revenue from Live Nation touring shows dropped 20% during that same period, while the number of touring shows brought to the arena was only down 2%. The 02 Arena in London, Scotiabank Arena in Toronto and FTX Arena in Miami each also experienced double-digit event night declines at their venues in 2022 compared to 2019.

The arena shows that Live Nation did bring to Barclays Center were some of the company’s most popular tours, according to Boxscore data, including Kendrick Lamar ($3.7 million gross), My Chemical Romance ($4.4 million gross) and Arcade Fire ($1.3 million gross). Barclays Center was also likely impacted by the opening of the OVG-managed UBS Arena, which booked $50 million in shows in 2022. Often the opening of a new venue can temporarily affect older venues as touring shows line up to be among the first to play the new facility. Barclays Center was able to make up for much of the loss caused by the decrease in Live Nation shows with higher grossing events from other promoters. By doing so, executives were able to minimize the venue’s drop in revenue from 2022 to 2019 to a difference of only $2 million, according to Boxscore data. Among those were Elton John’s March 1-2 concerts that generated $4.9 million in sales and Tame Impala’s March 14-15 shows that generated $1.9 million in sales, both promoted by AEG Presents. As well, Bad Bunny’s March 19-20 dates from Latin promoter Henry Cardenas generated more than $7.9 million in sales.

Looking ahead to 2023, Barclays Center already has three of the year’s biggest shows on the books – Madonna, as well as Blink-182 and Bruce Springsteen. Blink and Springsteen are both Live Nation tours booked at the venue prior to the switch back to Ticketmaster.

How to Watch Jennifer Lopez in ‘Shotgun Wedding’ for Free

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Jennifer Lopez, Josh Duhamel, Jennifer Coolidge, Cheech Marin and Lenny Kravitz are inviting you to attend the ultimate destination wedding in Shotgun Wedding. The romantic comedy will premiere on Prime Video on Friday (Jan. 27).

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

In the film, Darcy (Lopez) and Tom (Duhamel) gather their loved ones for an unforgettable destination wedding — just as the couple start to get cold feet.

Apprehension isn’t the only thing threatening their happy celebration. The entire wedding party is taken hostage tasking Darcy and Tom with saving their loved ones.

The cast of Shotgun Wedding includes: Sonia Braga, Selena Tan, D’Arcy Carden, Callie Hernandez, Desmin Borges and Steve Coulter are included in the cast.

Todd Lieberman, David Hoberman, Alexander Young, Lopez, Elaine Goldsmith-Thomas and Benny Medina are executive producers.

How to Stream Shotgun Wedding on Prime Video

Shotgun Wedding is an Amazon exclusive, which means that it’s only available for Prime members and Prime Video subscribers. If you’re not a Prime member, join with a free 30-day trial to stream Shotgun Wedding and other content in the mega-library free of charge.

Prime Video houses a massive collection of movies, TV shows and concert specials, including M3GAN and other digital releases that you can rent or buy.

‘Shotgun Wedding’ (free with Prime membership)

Prime is $14.99 a month, or $139 a year, after the free trial ends. The membership includes free same-day, one-day or two-day delivery, exclusive deals, two-hour grocery delivery, unlimited photo storage, plus access to Prime Video, Prime Reading, Amazon Music, Prime Gaming, savings on prescriptions, a free membership to Grubhub+ and other great benefits (Amazon offers discounts for qualifying students and EBT/Medicaid recipients).

Stream Harlem, The Lord of the Rings: Rings of Power, The Boys, Making the Cut, Invincible, Tom Clancy’s Jack Ryan, The People We Hate at the Wedding, Argentina, 1985 and other Prime Video exclusives.  

Prime Video allows subscribers to stream content from HBO Max, Paramount+, Starz, Discovery+, BET+, Showtime and other platforms.

Watch the trailer for Shotgun Wedding below.

Why Miley Cyrus‘ ’Flowers’ Doesn’t Need to Credit Bruno Mars

With all the many fan theories bouncing around the internet in the weeks since Miley Cyrus released her Billboard Hot 100-topping new single “Flowers,” a particular amount of attention has been paid to its relationship to Bruno Mars‘ own No. 1 hit from a decade earlier, the torch song ballad “When I Was Your Man.”

Countless fans have pointed out the lyrical similarities between the two songs — particularly their respective choruses — with “Flowers” echoing many of Mars’ regretful sentiments from an opposing, unmoved perspective. (For example, Mars laments on “Your Man,” “I should’ve bought you flowers… take you to every party, ’cause all you wanted to dance,” while Cyrus protests on “Flowers,” “I can buy myself flowers… I can take myself dancing.”) Speculation behind the extended reference has centered around the song being a favorite of Liam Hemsworth’s, furthering the idea of the song as a kiss-off to Cyrus’ real-life ex. The buzz over the two songs was even enough to give “Your Man” a nearly 20% bump in weekly streams in the frame following the release of Cyrus’ new single.

With the relationship between the two songs appearing obvious to fans, many have wondered over social media whether Mars or “Your Man” co-writers Andrew Wyatt, Philip Lawrence and Ari Levine deserve writing credits on “Flowers.” To a degree, this sort of thing — offering writing credits to obvious sources of musical inspiration — has become common practice in new songs by popular artists, even if a direct sample is not present and the use of an interpolation is an arguable matter of interpretation. Well-publicized cases of that phenomenon include Olivia Rodrigo adding Paramore’s Hayley Williams and Josh Farro to the credits of her “Good 4 U” due to the song’s musical similarities to their “Misery Business,” and Beyoncé including “Show Me Love” scribes Fred McFarlane and Allen George in the credits to her “Break My Soul” due to some overlapping sonic elements with the Robin S. smash.

The case of “Flowers” and “When I Was Your Man” is a little different, though. Those previously mentioned examples were mostly based around sonic similarities — melodic, rhythmic and textural — which were close enough in nature that a case could have been made that the original’s copyright was infringed upon. However, not only are there no direct samples or obvious interpolations between “Flowers” and “Your Man,” there are no major sonic overlaps either — no obvious shared melodies or rhythms, no major similarities in production textures. When Cyrus sings “I can buy myself flowers,” for instance, she does so in a cadence and melody of her own, without any significant similarity to how Mars sang “I should’ve bought you flowers.”

The only obvious similarities, then, are in the songs’ lyrics — which are not identical, but do share elements and ideas — and merely using some of the same words as an older song is not considered grounds for infringement.

“This is great fodder for fan theories, but lawyers should have nothing to do with it,” says Joseph Fishman, a professor at Vanderbilt Law School in Nashville and an expert in music law. “There are no songwriter credits for the ‘When I Was Your Man’ writers because no license should be necessary.”

Cyrus’ arguable use of Mars’ lyrics as a reference point for her own expression is certainly not without precedent, with the “answer song” serving as a longtime staple of popular music. Famous examples include any number of responses (The Miracles’ “I Got a Job,” The Heartbeats’ “I Found a Job”) to The Silhouettes’ ’50s doo-wop staple “Get a Job,” Lynyrd Skynyrd’s rejoinder to Neil Young’s “Southern Man” in their ’70s southern rock classic “Sweet Home Alabama” (“I hope Neil Young will remember/ Southern man don’t need him around anyhow”) and countless rap diss records dating back to the ongoing “Roxanne Wars” of the mid-’80s, when male rap group U.T.F.O. and female rappers Roxanne Shanté and The Real Roxanne (among others) all traded barbs with new singles. While many of these singles included lyrical references to their predecessors, most did not include additional writing credits for those songs’ performers.

“Lyrically, sure, there’s enough similarity to make listeners think that ‘Flowers’ is deliberately responding to the earlier song,” Fishman offers. “But even if we assume that’s true, so what? Using one song to issue a retort to an earlier song is not, by itself, infringement. John Mayer and Taylor Swift don’t need to cross-license anything when they write songs at each other.”

Does all this mean that there’s no chance of Mars and his co-writers eventually being added as co-writers to the “Flowers” credits? Not necessarily: Whether or not Cyrus is protected legally from legal recourse from the “Your Man” writers, she may ultimately decide to add them anyway as an act of goodwill and out of a desire to avoid further conflict, particularly with all the media attention the similarity between the songs has received. It’s not uncommon for additional songwriting credits to be added to a song after its initial release — as was the case with “Good 4 U” in 2021 — often following a period of negotiations between the concerned parties. But if the names of Mars and his co-writers stay absent in the credits, Cyrus is not likely to have any legal responsibility to give them their “Flowers” there.

Shemar Moore Recounts Being Turned Down By Alicia Keys in the Early ’00s: ‘I Walked Away So Uncool’

Shemar Moore swung by The Jennifer Hudson Show on Thursday (Jan. 26) to share an amusing story about being turned down by Alicia Keys in his Soul Train days.

“I tried to get at Alicia Keys, I ain’t gonna lie,” he said with a laugh after naming the many, many famous faces he met during his stint hosting the musical variety show from 1999 to 2003. “I tried! And no, I’ve told this story from time to time but the short version of it is, I saw her at the Soul Train Awards, I was in my dressing room. I looked at the monitor, there she was with her cornrows. And this is when her song ‘Fallin’ was first blowing up, she was just getting ready to explode.

“So she’s playing the piano, doing her thing,” the Criminal Minds alum continued. “And my favorite instrument is the piano. So fast forward about four months, she’s having a listening party here in L.A. So me and my homie, I was like, ‘Yo, Alicia’s performing, we gotta go, we gotta go!’”

From there, Moore gathered up the courage to approach Keys at the rooftop listening party, and even inquired about what her “man situation was like.” However, the R&B star’s reaction was not what he expected.

“And she goes, ‘Check this out, son,’” he recalled to a giddy Jennifer Hudson, “‘I respect your flirt game. But my man situation is handled.’ I walked away so uncool, I was like [drops head in shame].”(At the time, Keys was dating Kerry Brothers Jr., though she’s since married longtime love Swizz Beatz.)

This week, Keys hit No. 1 on the Adult R&B Airplay chart with her KEYS II single “Trillions” featuring Brent Faiyaz (chart dated Jan. 28).

Watch Moore recount the story of Keys’ blunt rejection below.