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13 Jan 2023

Black Twitter Drags Tory Lanez After Smiley Face Mugshot Goes Viral

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Nothing quite says, “yeah, I’m guilty AF” like when a convicted criminal’s mugshot is indistinguishable from a high school yearbook photo.

As you all know, Tory Lanez was found guilty of shooting Megan Thee Stallion in the foot, and now his mugshot has recently been released and is currently being dragged up and down Black Twitter for looking like a stock photo used for Devry University ads.

If Lanez ever gets out of prison, he can use his mugshot as a headshot when he auditions to play Ron Johnson in the A Different World remake.

Tory Lanez’s mugshot is what you get when you order “Prison Bae” on Wish.

This mugshot just tried to sell me a stolen gold chain for a buck-fiddy.

I blame Jay-Z and Roc Nation for this display of photographic wickedness.

Lanez needs to stop playin’ like that’s him in this mugshot. We know Stephan Urkel when we see him. (That one was for the ’90s kids who two years ago were saying, “Who TF is Tory Lanez?”)

OK, now that I’ve got you all warmed up, here are some of our favorite Black Twitter reactions to Lanez’s mugshot.

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IKYFL!

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Honestly, this would be far less funny if Lanez wasn’t being held accountable for his violent actions. But since he is, it’s probably OK to laugh at this GAP diversity day-a** mugshot photo. We’ll see if he keeps that same energy when he appears in court for sentencing.

13 Jan 2023

First Stream Latin: New Music From Tiago PZK, Carlos Rivera, María Becerra & More

First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

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Yandel, R3SISTENCIA (Y Entertainment/Sony Music Latin)

On the eve of his 46th birthday (Jan. 14), Yandel unleashes his seventh solo studio album R3SISTENCIA (resistance), best showcasing how he’s still standing strong in the ever-evolving reggaetón world. Home to 17 tracks, including this latest single “Yandel 150” with Colombian star Feid, the album not only boasts Yandel’s high-pitched, husky vocals and innovative beats, but also spotlights the new generation: Young Miko (“Cuando Te Toca”), Tiago PZK (“Delincuente”) and his Y Entertainment artist Catalyna (“Palabras”). “This project defines what I am living at this very moment, because no matter the hustle, the pressure, the time, years, or transitions; I’m still here,” the Puerto Rican artist says in a statement, “stronger than ever, flowing with the movement without altering my essence, and revealing all the elements that are in every single part of me.” Other collaborators on the set include Wisin, Baby Rasta y Gringo, Maluma, Arcángel and Eladio Carrión. — JESSICA ROIZ

Lasso, “Plástico” (Universal Music Group México)

The year 2022 was a remarkable one for Venezuelan singer-songwriter Lasso, due to his massive hit “Ojos Marrones.” Now, he’s released his new single, “Plástico,” a track that finds him navigating electronic sounds and ’80s pop rock, which he fuses with synth sounds. It all makes the perfect canvas for his raspy vocals and melancholic lyrics. “Plástico” is about how strong a heart can become, no matter how many heartbreaks it’s gone through. “I keep going, I don’t need you to live/ You are not air or medicine for me,” he sings. — INGRID FAJARDO

ROBI, “Tu Mundo” (Interscope Records) 

With its carefree and flirtatious spirit, “Tu Mundo” by Puerto Rican upstart ROBI dazzles. In fact, the song is an indicator that he might likely be on his way to attaining stardom, like that of a pop chameleon who will show you the world with uncanny genre versatility. He first became known as a reggaetón-pop force, making waves with his viral reggaetón song “Pantysito” alongside Alejo and Feid; his follow-ups gained him Billboard’s seal of approval as an Artist on the Radar. Equipped with poppy synth riffs and brilliant electric guitar, which harken back to the kitschy electro-pop productions of indie vets like Circo and Dënver, ROBI sings about an otherworldly love with playfulness. It’s rhythmically insatiable and conjures the exhilaration of a new crush. — ISABELA RAYGOZA

Carlos Rivera & Melissa Robles, “Un Viaje a Todas Partes”

Carlos Rivera is a hopeless romantic in his new single “Un Viaje a Todas Partes,” which previews his upcoming album due later this year. Penned by Rivera and produced by Julio Reyes Copello, the gorgeous ballad — which features Matisse’s Melissa Rivera — unites two powerful vocalists, who exchange heartfelt verses about hoping that life lasts many years, so they can keep dedicating love songs to each other. “This is the most honest and direct album I’ve written and this song is one of the most special ones — it represents a lot to me,” Rivera says about the track and his upcoming set. “I wanted it to have a feminine voice that could give it that depth that I was looking for. Of course, it couldn’t be with anyone else other than my beloved Mel.” — GRISELDA FLORES

Los Dos Carnales, “Se Me Soltó el Hocico” (AfinArte Music)

Los Dos Carnales present their first single of 2023, the heartfelt “Se Me Soltó el Hocico,” which loosely translates to “my tongue loosened” or “I talked too much.” Penned by Aarón Martinez, the heartbreak ballad — backed by a romantic norteño melody and a weeping accordion — narrates the story of a man who’s had one too many drinks and drunk-dialed his ex. “I see how you treat him, hugs and kisses/ You’re using the same tricks as when we first met/ Sorry for the call, it’s already past:00 5 a.m. but I got drunk and talked too much,” goes part of the lyric. — J.R.

María Becerra, “Desafiando El Destino” (300 Entertainment)

María Becerra displays a softer and frankly more powerful side in her poignant “Desafiando el destino,” a bonus track to her previously released La Nena de Argentina. A love letter written to her parents, it begins with a slow, bluesy piano intro that gives way to Becerra’s vocals, tinged with melancholy as she sings to a video of old home movies that’s hard not get teary-eyed about. Backup gospel-choir touches, tastefully placed over the sparse arrangement, lend even more pathos to this very beautiful track. Parents will be proud, and Becerra would do well to explore more material of this ilk. — LEILA COBO

Tiago PZK, “Bemaste” (Warner Music Latina/Grand Move Records)

On Tiago PZK’s confessional ballad “Bemaste,” the Argentinian trap star delivers his heart in a song that can simply be described as chilling. The single reveals another side of the Argentinian trap star that feels extraordinarily intimate. Its beautiful, stripped-down keys and lo-fi production set the stage for Tiago’s lyricism, as he candidly articulates what finding love and devotion can feel like, while navigating the all-consuming vortex of fame. “I consider this song the first work of art of my career, conceptually and audio-visually, from the bottom of my heart,” Tiago PZK tells Billboard Español in an email exchange. “I don’t have any expectations, because before I have one, I’m simply fulfilled to have created this song and what it means to me. Do not put barriers to love.” The song will be included on his upcoming album Portales Deluxe. — I.R.

TINI, La Joaqui & Steve Aoki, “Muñecas” (Hollywood Records)

TINI strikes again with an irresistible cumbia, this time in collaboration with emerging rapper La Joaqui from Argentina, and EDM icon Steve Aoki. After releasing back-to-back cumbias with “Miénteme” alongside María Becerra and the L-Gante-assisted “Bar” last year, the Argentine singer-songwriter kicks off the new year with an equally danceable track fused with electronic beats. “Muñecas” effortlessly combines TINI’s sweet vocals, La Joaqui’s razor-sharp lyricism and Aoki’s signature sound. — G.F.

Justin Quiles & Myke Towers, “Whiskey y Coco” (Warner Music Latina)

“Whiskey y Coco” finds Justin Quiles and Myke Towers chanting what could possibly become a 2023 anthem for the ladies. “She has a cool combo, a nice butt, and everything she wears looks great/ She doesn’t cry for an a–hole/ She has a mission, a colorful vision/ It doesn’t matter if she wins or loses, she’s always righ,” Quiles kicks off the track. As always, Towers surprises with his slick rap verses when the song (produced by BK, Dimelo Flow, and Slow Mike) transforms from edgy reggaetón to old-school perreo. — J.R.

13 Jan 2023

Damson Idris Confirms Dating Lori Harvey In Cuddly New Pics

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The sixth and final season of Snowfall will return to FX on February 22 at 10 p.m. But, before Franklin Saint returns to the small screen–actor Damson Idris has broken the internet with pictures that seem to confirm that he is dating socialite and beauty entrepreneur–Lori Harvey. 

The photos were featured in the actor’s Instagram story and show one of the two cuddling with Idris kissing Harvey who is smiling. A second photo is of Harvey on what appears to be the set of Snowfall–according to Bossip. 

The photos coincide with Harvey’s 26th birthday, January 13th. She also shared the same photos in her IG story. 

Harvey, who was recently featured on the cover of Essence Magazine, is the Founder and CEO of SKN by LH–a skincare line that features a five-step beauty regimen. Harvey had previously been linked to actor Michael B. Jordan. The hot couple dated for over a year before calling it quits. 

In her Essence feature, she shared, “I know my worth, and I know my value. I’m not going to compromise that, or settle, or accept anything less than what I know I deserve,” she shared of her self-worth and not settling in a relationship. “That’s where I’m at in my life right now. I’m not compromising my peace and happiness for anything or anybody.”

The release of the new photos of Harvey and Idris have elicited mixed responses on social media. 

The comments weren’t all great. There was definitely some shade, even by some celebs who were quickly reminded of their past comments. 

13 Jan 2023

Dolly Parton Sends Condolences to Priscilla Presley After Lisa Marie’s Death: ‘I Know How Sad You Must Be’

Dolly Parton has offered her condolences following the sudden death of Lisa Marie Presley on Thursday (Jan. 12) at age 54.

In a social media post, Parton addressed Priscilla Presley, Lisa Marie’s mother, directly. “Priscilla, I know how sad you must be. May God comfort you at this time,” she began before turning to the late King of Rock n’ Roll and his daughter. “Elvis, I know how happy you must be to finally have her home and to have her back with you. Lisa Marie, may you rest in peace. We all love all of you.”

The “Lights Out” singer was rushed to the hospital on Thursday (Jan. 12) after going into cardiac arrest at her home in Calabasas, Calif. Priscilla confirmed in a statement on social media that her daughter had been hospitalized.

The Naked Gun actress announced her child’s passing later that evening. “It is with a heavy heart that I must share the devastating news that my beautiful daughter Lisa Marie has left us,” she said in a statement. “She was the most passionate strong and loving woman I have ever known. We ask for privacy as we try to deal with this profound loss.”

Lisa Marie Presley was born Feb. 1, 1968, in Memphis, Tenn., and was the only daughter of Elvis Presley and actress Priscilla. Following her parents’ divorce in 1973, she lived in Los Angeles with her mother, though she also regularly visited her father at Graceland in Memphis until his death on Aug. 16, 1977.

In 2003, Lisa Marie launched her own music career, beginning with her debut album To Whom It May Concern (via Capitol Records), which was certified Gold by the Recording Industry Association of America. The single “Lights Out” reached the top 20 on Billboard‘s Adult Pop Airplay chart. To Whom It May Concern reached the top 10 on the Billboard 200, as did its 2005 followup album, Now What. Her 2005 single “Dirty Laundry” reached the top 40 on Billboard’s Adult Contemporary chart. She would release her third album, the T Bone Burnett-produced project Storm & Grace, in 2012. That same year, she made her debut on the Grand Ole Opry.

Lisa Marie will be buried at Graceland in Memphis, with her final resting place being alongside her son, Benjamin Keough, who died in 2020. Elvis, as well as other members of the Presley family, are also buried at Graceland. Lisa Marie is survived by her mother, Priscilla, as well as three daughters, including Riley Keough.

See Dolly Parton’s message below:

13 Jan 2023

‘Elvis’ Director Baz Luhrmann Mourns Lisa Marie Presley: ‘We Will Miss Your Warmth’

Following the devastating news that Lisa Marie Presley had died at age 54, Baz Luhrmann — who directed the 2022 critically acclaimed biopic about her father Elvis Presley — took to Instagram to honor her.

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“Over the last year, the entire Elvis movie family and I have felt the privilege of Lisa Marie’s kind embrace,” he captioned a photo of Lisa Marie laughing with actor Austin Butler, who portrayed her legendary father in Luhrmann’s Elvis. “Her sudden, shocking loss has devastated people all around the world. I know her fans everywhere join me in sharing prayers of love and support with her mother, Priscilla, and her wonderful daughters Riley, Finley and Harper.”

Luhrmann concluded by writing, “Lisa Marie, we will miss your warmth, your smile, your love.”

“It is with a heavy heart that I must share the devastating news that my beautiful daughter Lisa Marie has left us,” Priscilla Presley said in a statement on Thursday (Jan. 12). “She was the most passionate, strong and loving woman I have ever known.”

The announcement came just hours after Priscilla had confirmed that Lisa Marie was rushed to the hospital earlier Thursday.

Los Angeles County paramedics were dispatched to a Calabasas home at 10:37 a.m. following a report of a woman in full cardiac arrest, according to Craig Little, a spokesperson for the county’s fire department. Property records indicate Presley was a resident at that address. The Los Angeles County Sheriff’s Department said paramedics performed CPR and “determined the patient had signs of life” before taking her to the hospital immediately.

Lisa Marie attended the Golden Globes on Tuesday, on hand to celebrate Butler’s award for playing her father in Elvis.

13 Jan 2023

First Country: Chris Young Pays Tribute to Dogs, Diplo Returns to Country, Lukas Graham Teams Up With Mickey Guyton For ‘Home Movies’ & More | Billboard News

First Country is a compilation of the best new country songs, videos & albums that dropped this week. Chris Young shares his love for dogs, Diplo returns to country with Kodak Black and Koe Wetzel and Lukas Graham teams up with Mickey Guyton for their latest track ‘Home Movies.’

13 Jan 2023

SZA Is Making a ‘Kill’-ing on Pop Radio, Drawing Praise for Her ‘Creativity and Storytelling’

Like her character in “Kill Bill,” the real-life SZA is sizing up the competition on pop radio and taking action.

The singer-songwriter sports two tracks from her new album, SOS, on Billboard’s mainstream top 40-based Pop Airplay chart (dated Jan. 21), led by “Kill Bill,” which soars in at No. 24, up 865% to 2,257 plays on 129 reporting stations (or, an average of 18 plays per panelist) Jan. 6-12, according to Luminate.

Meanwhile, SZA’s “Nobody Gets Me” pushes 37-30 on Pop Airplay, up 115% to 1,632 plays on 107 reporters (a 15 plays-per-station average) in its third week on the list. The tracks claim the second- and fifth-greatest gains, respectively, among all songs on the survey.

SOS, released on Top Dawg/RCA Records, has held the top spot on the Billboard 200 albums chart in its first four weeks, marking the first R&B album by a woman to achieve such a start since Janet Jackson’s janet. nearly 30 years ago.

Radio ‘Gets’ Two Tracks

RCA originally targeted ballad “Nobody Gets Me” for the pop format, but as streaming has stayed strong for “Kill Bill” – SZA’s not-her-best-idea-turned-murder fantasy (hopefully) – the label decided to formally promote both together. The latter debuted with 36.9 million official U.S. streams Dec. 9-15, followed by frames of 32 million (Dec. 16-22), 26.6 million (Dec. 23-29) and 28 million (Dec. 30-Jan. 5).

“Nobody Gets Me” started with 25.1 million streams Dec. 9-15 and drew 10.4 million Dec. 30-Jan. 5.

“Kill Bill” has so far hit No. 3 on the streaming-, airplay- and sales-driven Billboard Hot 100, debuting at the spot on the Dec. 24 chart and returning to its high on the Jan. 14-dated ranking, and ascends to the top of the Jan. 14 Billboard Global 200. “Nobody Gets Me” debuted at its No. 10 Hot 100 best (Dec. 24).

“When SOS came out this December, we immediately heard from pop programmers saying they wanted to play ‘Nobody Gets Me,’” says RCA head of promotion Keith Rothschild. “Heading into the holidays, most stations went into year-end countdowns [and paused on adding new music]. During that time, ‘Kill Bill’ became a streaming monster. On Jan. 2, I called [the RCA] pop team – [led by] Joe Daddio, Jessie Maldonado [and] Jeff Rizzo – and said, ‘What if we impacted both records at top 40 coming out of the break?’ I also asked a few key programmers, and everyone agreed: ‘Let’s do it.’”

(Fellow SOS track “Shirt,” which helped introduce the album with its release in October, is being worked to R&B/hip-hop and rhythmic radio. It climbs to new highs of Nos. 7 and 8 on the Jan. 21 Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay charts, respectively.)

Programmers: ‘The Data Speaks Loudly’

“There has been a great deal of interest in SZA from our [pop] programmers,” says Jon Zellner, iHeartMedia president of programming operations/digital music, citing growing support on the chain’s Pop Airplay reporters including WHTZ New York, KIIS Los Angeles, KYLD San Francisco and WHYI Miami.

“Typically, programmers tend to gravitate toward one emphasis single,” Zellner says. “‘Kill Bill’ is way ahead at this point. It’s always tough to determine whether any song will have staying power, but the song has a strong hook and a powerful message.”

“The data speaks loudly,” says Erik Bradley, assistant program director/music director at Audacy-owned Pop Airplay panelist WBBM (B96) Chicago. “Our core loves this album and these two singles feel like they’re strongly leading the way. They’re mainstream radio-friendly. It’s really hard to design a plan to have dual singles, but in this instance, the data demanded it, and that creates a no-brainer decision to have both songs simultaneously in regular rotation. Add to that the launch of SZA’s tour and it just feels like everything is teed up for a major 2023 win for her.”

“In radio and programming, we have rules about artist separation, and sometimes those rules need to be adjusted to mirror what our listeners are showing they want,” shares Molly Cruz, regional brand manager for Audacy’s Milwaukee, Wis., stations, including Pop Airplay reporter WXSS, noting prior success with simultaneous pop radio singles for Doja Cat, Ariana Grande, Taylor Swift and The Weeknd, among others.

‘I Might (blank) My Ex’

Hedging against any potential concerns about the lyrics in “Kill Bill”– “I might kill my ex … his new girlfriend’s next …,” later the more damning “I just killed” – RCA has serviced two edits to radio, one in which “kill”/“killed” is simply omitted and one in which the words are replaced by the sound of a slicing knife. (So that’s how she did it! The song’s Christian Breslauer-directed official video, released Jan. 10, as well as its title, an ode to the 2004 film of the same name directed by Quentin Tarantino, with its focus on samurai swords, should’ve also given clues.)

RCA chuckles that while the edit for the song – which SZA wrote with Rob Bisel and Carter Lang – is being promoted, some programmers prefer the original version with the “kill” lyric to the “I might/just (blank) my ex” mix, as the latter could invite listeners’ minds to wander toward tawdry territory.

Historically, songs with similar sinister plots have become hits, however rare, often with the same tongue-in-cheek vibe as SZA’s. Johnny Cash famously boasted that he “killed a man … just to watch him die” in “Folsom Prison Blues,” a No. 32 Hot 100 hit that also topped the Hot Country Songs chart for four weeks in 1968; Eric Clapton confessed “I Shot the Sheriff” in his Bob Marley-penned Hot 100 leader in 1974; and The Chicks’ “Goodbye Earl” reached No. 13 on Hot Country Songs in 2000 – notably, ending a streak of seven consecutive career-opening top 10 singles for the trio (even with the video’s serious portions offset by “Earl,” aka, Dennis Franz, dancing with the trio from the afterlife).

“I applaud her creativity and storytelling,” Bradley praises SZA.

“‘Kill Bill’ is my personal favorite,” Cruz says of SOS’ tracks. “It’s always fun when your favorite song is doing well and you have solid metrics to increase rotation. I think the songwriting on ‘Kill Bill’ is relatable to so many because it’s about the pain of seeing an ex move on and appear happier with their new partner.”

Muses Zellner about “Kill Bill,” “While violent, [it] certainly is creating a buzz. Are there really people who would rather go to jail or hell than be alone?”

13 Jan 2023

Nick Carter to Perform at Benefit Concert Inspired by Aaron Carter

Nick Carter will be performing his new tribute song to his late brother Aaron Carter, “Hurts to Love You,” for the first time at a special benefit concert in Los Angeles on Wednesday (Jan. 18).

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The Songs for Tomorrow benefit concert, hosted by Angel Conrad and Lance Bass, will raise awareness for mental health and was inspired by the life of Aaron, who died in November at age 34. All money from ticket sales will go toward On Our Sleeves, the national movement supporting children’s mental health. 

In addition to Nick, the concert will also feature performances from various early 2000’s superstars including O-Town, LFO, Ryan Cabrera, B. Howard, and David Archuleta. Other performers include *NSYNC members Lance Bass, Joey Fatone and Chris Kirpatrick, and BackSync — consisting of Nick Carter and AJ McLean of the Backstreet Boys. The night will conclude with a special surprise finale performance.

Tickets for the Songs for Tomorrow benefit concert can be purchased here, and a livestream link is also available for purchase here.

Aaron Carter’s manager confirmed the singer’s death to Billboard on Nov. 5 without a cause of death immediately given. A spokesperson for the Los Angeles Police Department also told The Hollywood Reporter that a suspicious death took place at his address, but did not confirm the identity.

Nick took to social media to mourn his younger brother a day after the devastating news. “My heart is broken. Even though my brother and I have had a complicated relationship, my love for him has never ever faded,” he wrote on Instagram alongside a photo gallery of childhood photos with his brother. “I have always held on to the hope that he would somehow, someday want to walk a healthy path and eventually find the help that he so desperately needed. Sometimes we want to blame someone or something for a loss, but the truth is that addiction and mental illness is the real villain here.”

13 Jan 2023

First Spin: The Week’s Best New Dance Tracks From M83, SG Lewis, Whyte Fang, The Chainsmokers & More

This week in dance music: Everything But the Girl announced their first album in 24 years is coming this April; Calvin Harris, The Chemical Brothers, Eric Prydz’s renowned HOLO show and a strong crew of other dance acts were included on the 2023 Coachella lineup, Marco Carola, Camelphat, Gordo and more were announced for March’s SXM Festival in Saint Martin/Sint Maarten, The Chainsmokers shared some personal news, Iranian producers Dubfire, Lady Faith and Starfari reflected on the ongoing protests in Iran, the aforementioned Harris shared a selfie of he and longtime collaborator Ellie Goulding in the studio together, Richie Hawtin announced an education-focused techno tour happening this March, Skrillex, Fred again.. and Flowdan’s “Rumble” debuted on Hot Dance/Electronic Songs and Insomniac Events announced a rave cruise called, naturally, EDSea.

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That’s a lot! But is there more? You know there’s more. Let’s dig in.

M83, “Oceans Niagara”

Prepare thyself. M83 is back, and we’re going “beyond adventure” into epic territories where synths shine like neon diamonds and the horizon glows in massive walls of sound. “Oceans Niagara” is a cinematic overture of a lead single, the first taste of things to come from the project’s forthcoming album Fantasy, due out March 17. The album is the first from M83 since 2019’s DSVII.

“I wanted this record to be very impactful live,” says M83’s Anthony Gonzalez, the man behind the music. “The idea was to come back with something closer to the energy of Before the Dawn Heals Us. The combination of guitars and synths is always in my music, but it’s maybe more present on this new record than on the previous ones.”

“Oceans Niagara” is bold, explosive and mostly instrumental. It’s got a cool, colorful music video that feels warm and fuzzy with ‘80s nostalgia. It’s definitely got us hyped for this new era.

“It’s the very first collaboration between my brother Yann Gonzalez and myself on a music video,” Gonzalez continues. “I wanted to create this sense of friendship. Listening to that song, I imagine people running, driving fast or riding spaceships together. It’s this sense of going forward, like a magic potion that you take to discover new worlds. Beyond Adventure!” – KAT BEIN

SG Lewis feat. Charlotte Day Wilson & Channel Tres, “Fever Dreamer”

With two weeks to go until SG Lewis releases his latest album, AudioLust & HigherLove, the U.K. producer has shared another preview in the form of new single “Fever Dreamer.” The song features friends old and new: Canadian singer-songwriter Charlotte Day Wilson and Compton’s Channel Tres, who previously guested on Lewis’ “Impact” in 2020. Together, they turn “Fever Dreamer” into a sultry disco daydream, a romantic fantasy which Lewis says is about “all-consuming admiration for someone.” Wilson’s smoky, rich vocals melt into the flirty bassline and swirling synths, while Channel lets flow his lyrics with his signature suave nonchalance. With a chorus that approaches transcendence, “Fever Dreamer” is near-delirious delight. — KRYSTAL RODRIGUEZ

Whyte Fang, “Transport God”

Alison Wonderland isn’t messing around with her Whyte Fang project, which showcases the Australian producer’s harder, indeed sharper-toothed side. The latest is “Transport God,” a hard, doomy, heady head-banger that delivers the first drop within its first five seconds. And we like that.

The track, like all forthcoming Whyte Fang material, is out via FMU Records, launched by Wonderland last month to service her Whyte Fang releases and music by other rising producers. Whyte Fang will also make its Coachella debut, with the project included on the lineup that dropped earlier this week. — KATIE BAIN

Amtrac, “Heard Me Right”

Time is money, especially when paying for parking in the big city. Thank goodness Amtrac is here to be the change.

The Kentucky-bred, Los Angeles-based artist is gearing up for the release of his forthcoming third album Extra Time, and to celebrate the release of his fourth LP single “Heard Me Right,” he danced through the streets of L.A., walkman and change purse in hand, doling out quarters to unsuspecting parkers throughout the urban sprawl. “It was a fun passion project between me and (director) Greg Sheppard,” he says. “A man takes it upon himself to provide the people of greater Los Angeles with little ‘Extra Time.’ He can dance, he is strong and he has plenty of coins.”

“Heard Me Right” was actually the first song Amtrac finished for the album. It came together during the peak of COVID-19 lockdown in mid 2020, and he says it stood as a “sort of light at the end of the tunnel.” The hazy synth hook does sound hopeful, if a bit trepidatious in its optimism, as Amtrac sings of pieces falling into place and something to hold on to. Let this moving mix of rhythmic bass lines and atmospheric melodies help you to lose yourself in a better tomorrow, and pay it forward if you can! – K. Bein

Ruth Royall, “Walk Through Fire”

Ruth Royall throws her sorrows to the flames on her new single, “Walk Through Fire.” The Bristol-hailing artist, a longtime vocalist for drum & bass producers like Makoto, Pola & Bryson and Mollie Collins, last year stepped into her own solo career. On “Walk Through Fire,” her soulful singing of lost love smolders and swells alongside the raging production, whose increasing percussive energy erupts with the force of a gas explosion — grief and fury, each fueled by the other. “When did we get so lost?” she cries. “I always had my heart on my sleeve / I loved you carelessly.”

“The song is about loving someone so much that you would literally walk through fire for them, but realizing that they don’t love you in the same way,” Royall says. “Feeling like you wasted your youth loving someone who doesn’t feel the same. Giving your whole self to someone and even when you are completely honest they give you nothing back.” — K.R.

The Chainsmokers feat. Cheyenne Giles, “Make Me Feel”

Okay yes, The Chainsmokers made headlines earlier this week by disclosing some of the extracurricular activities of their early tour days. (And really, no one deserves to be shamed for sexual choices made among consenting adults!) The pair also dropped a new track, and, much like the news that preceded it, it’s something of a surprise, with the pair — who as of late have been found in a more pop-forward/experimental mode — going full dancefloor, synthesizing ’90s house, tech-house, a lift of the immortal sax hook to The Lafayette Afro Rock Band’s “Darkest Light” (previously borrowed by everyone from Wreckx-n-Effect to Jay-Z) and a funky, big-ass drop. Made in collaboration with San Diego producer and friend of Les ‘Smokers Cheyenne Giles, and — surprise again! — out now via Tiësto’s Musical Freedom label. — K. Bain

13 Jan 2023

UK Report Calls on Government To Address ‘Pitiful’ Streaming Returns for Artists

LONDON — A U.K. Parliament committee is calling on the British government to address the “pitiful” returns that many artists and creators earn from music streaming and says it should develop and implement a “wide-ranging national strategy for music.”  

A report from The Digital, Culture, Media and Sport (DCMS) Committee published Friday (Jan. 13) urges the government to take a “more proactive strategic role” in the music industry to help ensure creators and performers receive a greater share of streaming revenue.  

The report doesn’t go into detail about what form an overarching national music strategy would take. But it nevertheless recommends it be developed and overseen by the DCMS and looks at the impact of new digital technologies on musicians, songwriters and composers, as well as the U.K. industry’s potential for growth.

Taking such an approach could help address many of the issues caused by the government’s current approach to policymaking for the music business, which sees policy and trade negotiations handled by multiple different government departments and, says the report, is “too scatter-gun to be effective.”  

The DCMS Committee’s recommendations come 18 months after it published a damning report in July 2021 on the economics of music streaming that called into question the major record labels’ dominance of the industry — and how they leverage that market power at the expense of artists, songwriters and independents. It concluded by saying that the global streaming model is unsustainable in its current form and “needs a complete reset.”   

In response to that report, the U.K. competition regulator carried out a market study review of the record business. It ended in November with the Competition and Markets Authority (CMA) surmising that low returns from streaming “are not the result of ineffective competition” between the three major labels — Universal Music Group, Sony Music Entertainment and Warner Music Group.     

The British government has also set up a number of working groups — led by the Intellectual Property Office (IPO) and made up of industry stakeholders — to look at issues raised in the Parliament probe, including problems around transparency and metadata.   

Reviewing the progress that has been made since July 2021, the DCMS committee commended the government and IPO for the work and research it has undertaken but said that more still needs to be done on core issues, such as creators’ share of streaming royalties.  

In particular, the committee recommends the IPO establish working groups to look specifically at remuneration and performer rights, with greater involvement from government officials and ministers. It also says there needs to be greater transparency around membership of the working groups, agendas and deadlines, none of which are currently made publicly available.  

“Over the last 18 months the Government has made some welcome moves towards restoring a proper balance in the music industry, but there is still much more to do to ensure the talent behind the music is properly rewarded,” Damian Green MP, acting chair of the DCMS Committee, said in a statement.  

Green says too many musicians and songwriters are frustrated at receiving “pitiful returns” from streaming and says the government “now needs to make sure it follows through on the work done so far to fix the fundamental flaws in the market.”  

The committee has also requested that the three major labels provide it with evidence of the royalties they have distributed to legacy artists under the various unrecouped advances programs introduced over the past two years.  

Sony Music Group was the first to announce, in June 2021, that it would start paying royalties to artists with unrecouped advances from pre-2000 record deals. Warner Music Group followed in February 2022 and Universal Music Group in March 2022. 

A spokesperson for the DCMS committee says that while it has no formal powers to compel businesses to provide them with information, businesses are expected to comply with the request. The government now has two months to respond to the committee’s recommendations and outline any actions it will be taking. (The DCMS committee, which is made up of 11 members of Parliament, is responsible for monitoring the policies and practices of the Department for Digital, Culture, Media and Sport and its associated bodies, including the BBC.)

Responding to Friday’s report, David Martin, CEO of the Featured Artists Coalition, and Annabella Coldrick, chief executive of the Music Managers Forum, said they “wholeheartedly” welcomed Parliamentary support for improved remuneration and contractual rights.  

“Our organizations are in complete alignment with other creator bodies on the need for greater fairness, transparency and remuneration.” Martin and Coldrick said in a joint statement. “These issues are not going away, and neither are we.”  

A spokesperson for U.K. labels trade body BPI thanked the committee for highlighting “the positive steps that the industry has taken” since its original 2021 report but cautioned against any calls for sweeping government reforms.

“At a time when the global music market is more competitive than ever,” the spokesperson says, “public policies must be firmly rooted in driving sustainable growth across the entire U.K. music ecosystem.”