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The lineup for A Grammy Tribute to the Beach Boys will be stacked with a mix of modern pop, rock, R&B and country acts influenced by the iconic California sunshine pop group. The special that will tape on Feb. 8 at the Dolby Theatre in Hollywood — three days after the upcoming 65th annual Grammy Awards — will feature appearances from Beck, Brandi Carlile, Weezer, Fall Out Boy, Lady A, John Legend, Charlie Puth, St. Vincent and Hanson, among others.
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The concert will air on CBS and be available live and on demand on Paramount+ at a later date, with tickets to the live event available through Ticketmaster here. Other acts slated to take the stage for the tribute to the group known for such 1960s sand and surf hits as “Wouldn’t It Be Nice,” “Surfin’ U.S.A.,” “God Only Knows,” “I Get Around” and “Fun, Fun, Fun,” among many others include: Norah Jones, Little Big Town, Michael McDonald, Mumford & Sons, My Morning Jacket, Pentatonix, LeAnn Rimes and Take 6.
The special honoring the group who’ve been nominated, but never won, a Grammy in competition is the latest in the series of “Grammy Salute” specials, taping just six weeks after Homeward Bound: A Grammy Salute to the songs of Paul Simon aired on Dec. 21.
Despite four nominations, the Beach Boys have never won a Grammy, with even their acclaimed 1966 single “Good Vibrations” going 0-3 at the Grammys, though voters have since decided they appreciate the band quite a bit. The group received a lifetime achievement award from the Recording Academy in 2001. Singer Brian Wilson was also named MusiCares person of the year in 2005. Five Beach Boys recordings have been voted into the Grammy Hall of Fame, which functions as a second chance for the Grammys to reward worthy records they may have missed the first time around.
The Kid LAROI unveiled his newest single “Love Again” on Friday (Jan. 27) via Columbia Records.
On the upbeat track, the rising pop star yearns, “Can we find love again?/ Is this time the end?/ Tell me,” over a loose acoustic guitar line and fuzzed out instrumentation. The accompanying music video finds him wallowing in a darkened bedroom as he reflects on the sunnier days of the relationship at the song’s core.
“Love Again” follows the soul-searching “I Can’t Go Back to the Way It Was” as the second taste off The Kid Laroi’s forthcoming debut album, The First Time, which is set for release later this year. Previously, he collaborated with Fivio Foreign on their 2022 collab “Paris to Tokyo” and dropped one-off single “Thousand Miles.”
To promote the single, The Kid Laroi is utilizing his ongoing partnership with Epic Games for the track to be featured in his special Fortnite experience “Wild Dreams.” The customized island experience in the game will be available to players for three months starting Friday at 6 p.m. ET and will be the very first time multiple new songs will narrate a Fortnite quest, which includes an excursion through “Laroitown” and offers players the chance to earn XP and attend an in-game concert.
Expectations for the singer’s major-label full-length are certainly sky high, considering he’ll be delivering the album in the wake of two back-to-back No. 1 hits in 2021: “Stay” with Justin Bieber and “Without You” featuring Miley Cyrus.
Stream The Kid LAROI’s “Love Again” below.
Taylor Swift encouraged her fans to “meet me at midnight” on Friday (Jan. 27), when she unveiled the much anticipated music video for her Midnights opening track, “Lavender Haze.”
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Swifties have been waiting for the “Lavender Haze” music video for months, especially since the “Bejeweled” music video premiered in late October. Swift shared the Cinderella-inspired “Bejeweled” visual just two weeks after dropping the first Midnights music video, which was for the album’s No. 1 lead single, “Anti-Hero.”
Swift actually shared a teaser video for all of the album’s music videos during Thursday Night Football, mere hours before Midnights hit streaming services Oct. 21. “Those projects are the Midnights Music Movies, the music videos that I made for this album to sort of explore visually the world of this record,” she said at the time. “I love storytelling, I love songwriting, I love writing videos, I love directing them … I’m really proud of what we made and I really hope you like them. We worked with some amazing actors.”
Watch the “Lavender Haze” music video below.
Sam Smith fans, lift your hands in exaltation. After three long years, the singer’s fourth studio album, Gloria, finally arrived on Friday (Jan. 27).
The new LP drops after almost a year of public preparations from Smith — the album’s first single, the tender “Love Me More,” arrived in April 2022. Smith then took TikTok by storm with their viral hit single “Unholy” featuring Kim Petras, marking Smith and Petras’ first No. 1 hits on the Billboard Hot 100.
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Writing about the album on their Instagram back in October 2022, Smith shared that they were “feeling overwhelmed and emotional” about finally unveiling the set. “It has been magical in every way to make this piece of music, and by giving this record to you I am giving you part of my heart and soul,” they wrote. “Gloria got me through some dark times and was a beacon for me in my life. I hope it can be that for you.”
The new album charts Smith’s journey from heartbroken crooner to joyful pop superstar, with tracks detailing their self-image (“Perfect”), sex life (“I’m Not Here to Make Friends,” “Gimme”) and finally, learning to accept and love themselves (“Gloria”). Smith is joined on the album by Petras, Ed Sheeran, Jessie Reyez and Koffee as featured artists, while long-time collaborators Jimmy Napes, Stargate and ILYA helped Smith write and produce the project.
Speaking to Billboard for the August cover story in 2022, Smith explained that they wanted Gloria to bask in “queer joy of it all,” which meant taking a risk. “Maybe the music I make in the future won’t sit as well on the radio. It takes a bit of courage to maybe try something that maybe people aren’t going to like,” they said. “But I like it, and that’s all that matters.”
Stream Gloria here:
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.
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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
Jack Vu
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
Jack Vu
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.
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.
Ever watched an animated movie and heard a voice that you couldn’t quite place? That could have been because a character — be it a blue-haired troll or a singing crocodile — was actually played by someone whose tone you’re much more used to hearing in song.
Over the years, dozens of celebrity musicians have added a whimsical film project or two to their resumés by lending their certified platinum voices to colorful 2D characters. There was Taylor Swift in The Lorax, Rihanna in Home, Beyoncé in Epic, Katy Perry in Smurfs, Selena Gomez in the Hotel Transylvania franchise, and Nicki Minaj and Jennifer Lopez in Ice Age. At this point, it’s practically a trend. No family-feature film made by the folks at DreamWorks, Illumination or Disney Animation Studios feels complete these days without at least one cameo from a star singer-songwriter, whether it’s queen of pop Madonna or a hip-hop icon such Snoop Dogg. (They were actually both in the same movie, but more on that later.)
In some cases, these guest musicians become part of a voice cast simply to try out something new. In others, they contribute their own expertise to the project by working on an animated film’s soundtrack — oftentimes to great success. One of Justin Timberlake‘s best-charting songs, “Can’t Stop the Feeling!” was written for Trolls 2, in which he also starred, and took home the Oscar for best original song in 2017.
Keep reading to see which of your favorite musicians have starred in an animated film below:
Priyanka Chopra shared a fun fact in a new interview with British Vogue on Wednesday (Jan. 25): she and Nick Jonas have a pair of matching tattoos.
“I don’t have too many tattoos,” she said in the video sit-down. After gesturing to the phrase “Daddy’s lil girl…” on her arm in her father’s handwriting, she added, “Then I have a check and a box behind my ears. My husband has them on his arms because when he proposed, he asked me that, you know, I checked all his boxes and would I check another one?
Elsewhere in the video, the actress opened up about one of the things she loves most about Jonas. “My husband is super thoughtful,” she said. “When he’s around, everything feels like it’ll be OK. He’s taught me to approach things from a much calmer place. I was a tornado — still am — mile a minute, bee in a bonnet kind of person and he’s not.”
Earlier this month, Jonas confirmed on The Kelly Clarkson Show that the Jonas Brothers’ next album is complete and ready to be released sometime in 2023. (“Later this year, there will be a tour,” he also revealed.) In the same interview, the singer opened up about celebrating daughter Malti’s first birthday after a premature delivery that left the baby in the neonatal intensive care unit for more than 100 days.
Currently, Jonas and his brothers are gearing up for three more dates on their Sin City residency, Jonas Brothers: Live in Las Vegas, as well as their upcoming Hollywood Walk of Fame ceremony.
Watch Chopra’s British Vogue interview below.
Niall Horan announced his brand new single “Heaven” in a social media post on Thursday (Jan. 25).
“I could not be happier to let you know that my new single Heaven is being released February 17. Pre-save and pre-order heavenwontbethesame.com,” the former One Direction-er captioned a photo of the single’s artwork, which features him dressed a denim button-down, light pants and two-tone loafers while seated in front of a drum kit.
The special landing page where fans can presave the single depicts a blue candle melted down to its wick in front of an airy window flanked by golden curtains. The tab, meanwhile, promises users “NH3 Loading…”
“Heaven” will serve as Horan’s first new release since “Our Song” and “Everywhere,” his pair of 2021 collaborations with Anne-Marie. The singer’s last full-length album, Heartbreak Weather, contained singles “Nice to Meet Ya,” “Put a Little Love on Me,” “No Judgement” and “Black and White,” and originally peaked at No. 4 on the Billboard 200 upon its March 2020 release.
Horan previously teased the existence of “Heaven” by sprinkling snippets of the song on TikTok and sending mysterious gifts to a few lucky fans in the form of candles and QR codes.
At the start of the year, the pop singer’s erstwhile romance with Ellie Goulding surfaced again after a TikTok follower accused the latter of cheating on Ed Sheeran with Horan. “False!!!! But also slay,” Goulding replied in the comments, reminding fans that she and Horan dated briefly almost a decade ago, while maintaining that she and Sheeran were never more than friends.
Get a look at Horan’s “Heaven”-ly single announcement below.
Zara Larsson is fresh off the release of her empowering new single “Can’t Tame Her,” released on Thursday (Jan. 26), and the 24-year-old pop star sat down with Billboard‘s Rania Aniftos to discuss the track.
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“If you are in the public eye of any sort, I think a lot of people have a perception of who you are and who you should be,” the singer says of her new song. “People want to put girls in a box of what you should do or not. In the public eye, you have a lot of people telling you what’s wrong or how you should do something differently. I’m out there, I’m very loud and I try to stay true to myself and surround myself with people who care about me, so we can all help each other and protect each other. Really good friends.”
While Larsson says that “Can’t Tame Her” is a pop song that “fits well in my catalog,” there is something “a little different” about the sound. “It’s a banger and hits you right in the face. When I played it to people, it gets people excited. I want every album to be a better version of what I’ve done previously.”
While the star is only 24 years old, she’s been in the music industry for years. She appeared on Sweden’s Got Talent when she was just 10 years old and released her first single when she was 15. “I feel like i’m just starting out,” she explains of her decade-long career. “I’m so far from where I want to go and what I want to do. I think it’s a blessing and a curse, where I’ll never really be satisfied.”
She adds with a laugh, “I still want that number one on Billboard.”
Watch Billboard‘s full interview with above.
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