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The Point Break Festival, an all-new two-day music festival in Virginia Beach, announced today that Sublime and Rebelution will headline the event coming to the Virginia Beach Oceanfront June 1-2. Featuring more than 20 bands throughout the weekend, the first-time festival will take place at 5th Street on the beach.
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As part of a limited run of tour stops in 2024, Sublime will take the stage on Saturday, June 1, with new lead singer Jakob Nowell, the son of the beloved original lead singer Bradley Nowell, alongside founding members Bud Gaugh (drums) and Eric Wilson (bass). The Grammy-nominated band Rebelution, best known for their soulful modern reggae, mixed with pop hooks, alt-rock grit, and hip-hop grooves, will anchor Sunday’s stacked line-up.
The inaugural event will also feature performances by Wiz Khalifa, Stephen Marley, Steel Pulse, Pepper, Tribal Seeds, Fortunate Youth, Hirie, The Expendables, Bumpin Uglies, Denm, Tropidelic, Artikal Sound System, Ballyhoo, Passafire, REGLDGRN, Kash’d Out, Joe Samba, The Supervillians, Of Good Nature, Quasi Kings, Cultivated Minds, and Ganja Cat.
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Presale details will be available on the festival’s official website starting Thursday, March 7 at 10 a.m. ET, with the general on-sale for tickets begins Friday, March 8 at 10 a.m. ET.
The Point Break Festival is produced by IMGoing, the Virginia Beach promoter and producer of concerts and events throughout the state of Virginia. IMGoing operates the Atlantic Union Bank Pavilion in Portsmouth and Virginia Beach Events, the entertainment and events program for the city of Virginia Beach. In addition, IMGoing promotes events at venues throughout the state, including The Hampton Coliseum, Chrysler Hall, Altria Theater, Roanoke Performing Arts Center and Carpenter Theatre. In addition to the nationally touring artists and festivals, IMGoing has produced many community and military events.
Reyna Tropical is set to release its first full-length album later this month — despite being a band for nearly eight years. Formed as a duo in 2016, and now the solo project of guitarist and songwriter Fabi Reyna, the act will release the 20-track Malegría via independent label Psychic Hotline this month.
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A stunning amalgam of inspirations including guitarist-singer Chavela Vargas and the cultural traditions of Columbia, Puerto Rico and more, Malegría “is something that I really needed to do for myself that’s full of life that I hope will continue far beyond my existence,” says Reyna, 32, who persevered with the band following the passing of its cofounder in 2022. “I hope that people listen to it from beginning to end, at least once. It’s a documentary piece to me.”
The 45-minute journey that includes spoken interludes between Reyna and collaborators that cover topics such as queer love, connecting and protecting the earth and detangling from the Western concept of “productivity.”
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“All the parts [of the album] have meaning,” says Reyna. “You can go as deep as you want with it or just dance to it and go to the beach with it. I’m excited to hear how it hits people.”
Foundation
At 9, Fabi Reyna had to fight to play guitar. The summer camp she attended in Austin didn’t want girls playing instruments — but she practiced tirelessly until she mastered the lead guitar for Chuck Berry’s “Johnny B. Goode” and the camp relented. “Music, for me, is always alongside activism and having a purpose,” Reyna says. In 2012, she launched She Shreds Media, an outlet dedicated to women and gender-nonconforming guitarists and bassists. A few years later, at a Red Bull Music Academy event, she met musician Nectali “Sumohair” Diaz, and they formed Reyna Tropical, which combined her expert guitar playing with his production prowess. In 2022, Diaz died in an e-scooter accident, leaving Reyna to continue solo.
Discovery
With only four tracks released, all of which featured Afro Indigenous drum patterns and environmental samples, Reyna Tropical scored a major break in 2018 when Li Saumet of Colombian group Bomba Estéreo asked the duo to join the act on tour. Reyna and Diaz had never played live together — and Reyna had yet to cultivate her commanding stage presence — but they filled the opening slot by improvising and playing beats, some of which inspired the 2019 six-track EP Sol y Lluvia. A steady drip of tantalizing singles followed, and Reyna Tropical soon began to sell out domestic and international shows before realizing, as Reyna says, “we hit our capacity of what we could do by ourselves.”
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Future
By 2021, labels came calling — but the duo wasn’t ready to sign a deal. After Diaz’s death, Reyna spent a year meeting with one team in particular: Psychic Hotline, an artist-run recording company founded by Sylvan Esso’s Amelia Meath and Nick Sanborn. On March 29, Reyna Tropical will release its debut album, Malegría (which combines the Spanish words for “bad” and “happiness”), on the label. While the album features familiar Congolese, Peruvian and Colombian rhythms, it also showcases Reyna’s growth. And although she is still getting used to performing alone — Reyna Tropical will tour with Portugal. The Man this spring — she’s finding comfort in the unknown. “I’ve opened the doors to be available for anything this album wants to take me into.”
A version of this story originally appeared in the March 2, 2024, issue of Billboard.
Gregg Alexander‘s music career could have taken a much different path had he not had a very bad night in Detroit 30 years ago. The reclusive singer/songwriter and leader of the New Radicals recently revealed that his band’s signature 1994 debut single, the up with (positive) people anthem “You Get What You Give,” almost didn’t make the grade thanks to an equally catchy song he ended up handing off.
“I had a moment of annoyance that I couldn’t go to the house clubs in Detroit. So he reached for the acoustic guitar in the back, channelling his emotion into a song beginning ‘It’s murder on the dancefloor, but you’d better not kill the groove,’” Alexander told the Guardian about a 1994 night when his old blue Ford Mustang wouldn’t start, depriving him of an evening of clubbing.
What he got instead, though, was the groove for “Murder on the Dancefloor,” the song that became a No. 2 hit for Sophie Ellis-Bextor in the UK and then hit the top 20 again this year after it was memorably used in the viral hit movie Saltburn. “You know how Paul McCartney originally sang about scrambled eggs in ‘Yesterday?;” Alexander said. “‘Murder on the Dancefloor’ wasn’t anything deep from my subconscious. It was just a dummy lyric that was kind of sung for fun, but then I couldn’t better it.”
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Alexander’s lost-to-time demo of the song has the same driving disco meter, but shot through with his signature keening vocals and his band’s eternal sunshine vibe, enhanced by a string section played on a keyboard. Alexander and the Radicals only released one album, 1998’s Maybe You’ve Been Brainwashed Too, which featured the equally bouncy “You Get What You Give,” which hit the top five in the U.K.
“I almost flipped a coin between the two songs,” Alexander, 53, told the Guardian. “The record company wanted something urgently and I didn’t have the time or the budget to finish both. I felt like ‘Murder’ was a monster but ‘You Get What You Give’ was a masterpiece. It was everything I’d always wanted to say inside five minutes.”
In a way, Alexander won on both accounts, since the co-write with Ellis-Bextor (Alexander also co-produced “Murder”) has now become as iconic as the New Radicals’ hit, which has more than 440 million Spotify plays to date. “A publisher told me that in January it [‘Murder’] was the most heard music on the planet,” Alexander said of the track for which he recorded a “master quality” demo at the time. “That’s just incredible.”
Just two years after writing the double dose of pop wonderment, Alexander disbanded the New Radicals and receded from the spotlight to focus on songwriting, penning a Grammy-winning track for Santana (2002’s “The Game of Love”), as well as writing and producing tracks for Enrique Iglesias, Rod Stewart, Hanson, Ronan Keating and S Club 7.
After moving to Notting Hill, England following the New Radicals’ break-up, Alexander’s demo got into the hands of Ellis-Bextor, at which point they finished the track together. “‘Murder’ was a song I always wanted the world to hear,” Alexander said, recalling that during sessions for the song he would walk down the halls at the studio and see people dancing along to “Murder,” which made him think they were on to something. “And when I met Sophie we embarked on a creative journey, the first of three or four Top 10 hits we had.”
The original demo also had the “I know, I know, I know” ad lib, which Alexander said he’d been told was a songwriting no-go. “I’d been told you can’t use the same words over and over because it’s too repetitive,” he said. “So I used ‘I know’ seven times.”
The reboot of “Murder” has also reconnected him with Ellis-Bextor, with Alexander realizing that sometimes things work out just as they were supposed to. “She’s so talented and humble but a great pop star. I think her genius, slightly deadpan delivery helped make it a hit,” he said. “Everything would have been different if I’d put out ‘Murder on the Dancefloor,’ but I feel that everything happened as it was meant to be.”
Listen to the “Murder on the Dancefloor” demo here (paywalled).
Brit Turner, a founding member and the drummer for rock band Blackberry Smoke, died on Sunday (March 3). He was 57 years old. Turner was battling glioblastoma, a form of cancer in the brain, and in November 2022, underwent a surgery to remove a brain tumor. The band confirmed the news of his death via […]
Co-op Live, the Oak View Group-owned and operated entertainment arena set to open next month in Manchester, U.K., announced Monday (March 4) that The Black Keys will perform at the arena on April 27, during its opening week.
The acclaimed duo is preparing to release their 12th studio album, Ohio Players, on April 5 via Nonesuch Records, just two weeks before taking the stage at Co-op Live. The new record features collaborations with friends and colleagues including Beck, Noel Gallagher, Greg Kurstin, Dan “The Automator” Nakamura and more.
Gary Roden, executive director and general manager of Co-op Live, says: “We are thrilled that a band of The Black Keys’ caliber will be taking to the stage. The show will be part of an amazing week of performances that kicks off a jam-packed opening season.”
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Co-op Live’s opening season will see the arena feature more than 30 artists across more than 50 shows, including a seven-night Take That residency, a five-night U.K.-exclusive residency as part of the Eagles’ final tour, Barry Manilow‘s only U.K. arena show and Eric Clapton’s first Manchester performance in 10 years. Legendary comedian and Manchester local Peter Kay will open the arena with two shows on April 23 and 24.
In addition to seeing an array of international artists perform, Co-op Live was recently announced as host of the 2024 MTV European Music Awards – the first time music’s biggest global awards show will be staged in Manchester – and the awards return to the U.K. for the first time in seven years.
Co-op Live, a joint venture between Oak View Group and City Football Group, will be the country’s highest-capacity arena and the U.K.’s most socially responsible arena, operating 100% electric, with pledges for zero waste direct to landfill, rainwater harvesting and use of reusable cups to significantly reduce plastic usage across the site.
Co-op members will gain first-in-line access to The Black Keys tickets through a designated pre-sale from 10 a.m. Wednesday, March 6. General sale tickets will be available through Co-op Live from 10 a.m. on Friday, March 8. Tickets available here.
With a title like All Born Screaming, you’d be forgiven for assuming St. Vincent’s upcoming new album might be a dark affair. But according to the artist, one song in particular pays loving tribute to a late icon. Speaking to The Guardian in an interview published on Saturday (March 2), the singer — otherwise known […]
U2 wrapped the inaugural residency at Las Vegas‘ $2.3 billion technical and visual marvel Sphere this weekend, closing out a 40-show run that started in September. Fittingly, the legendary band did so by bringing things full circle.The shows commemorated one of U2’s most successful records, the chart-topping 1991 release Achtung Baby, played in its entirety with selected tracks from other U2 efforts over the years. To further honor the album, U2 bandmates Bono, The Edge, Adam Clayton and Bram van den Berg (sitting in during the residency for an ailing Larry Mullen Jr.) welcomed Achtung Baby producer Daniel Lanois to the stage on Saturday night to play guitar and sing backup on the track “One.”“There would be no Achtung Baby without Daniel Lanois,” Bono said in welcoming him up the back stairs with a request to the audience. “Show him your light,” and they did by holding up smartphone flashbulbs in a beautiful scene. And there would be no U2 without Mullen, who was given a special shout-out from the band during both the Friday and Saturday night performances at Sphere, located at The Venetian Resort. But it was on Friday when the following happened.“The rumors that Larry will be playing with us tonight are not true, sadly. But he is here with us,” Bono said of the drummer, who spent 2023 recuperating from surgery and injuries he sustained over a career rocking out. “That is the man who pinned the note on the notice board at Mount Temple Comprehensive School all those years ago. We are very grateful that he did, and that he’s here with us tonight. We wish him a speedy, speedy, speedy recovery. We love you, Larry Mullen Jr.”
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Cameras then cut to a VIP box where Mullen was seen beaming in front of the capacity crowd close to 20,000, as the audience erupted with cheers and chants of “Larry!” There were other VIPs on the scene for the final weekend of Sphere shows starring U2. Fellow rocker Lenny Kravitz checked out Friday’s show and on Saturday night, when The Hollywood Reporter was in attendance, rock star Dave Grohl and Brett Ratner were spotted. On the microphone, Bono also offered happy birthday wishes to Coldplay’s Chris Martin and Mick Jagger’s daughter, Elizabeth Jagger, both of whom turned a year older on March 2 birthdays and presumably celebrated inside Sphere.But there was one more extra special VIP in attendance. Ahead of performing “All I Want Is You,” a song from their 1988 album Rattle and Hum, Bono had a few words to say and some news to break about that boldfaced name in the building.“This song, when we wrote it, I tried to write the lyrics from the point of view of the woman or the bride, in this case, which is pretty arrogant, I suppose. That was a trick for me to get to the lyric I was playing on myself,” explained Bono. “Tonight, I want to dedicate it to all the great women in our lives — our partners, our mothers, our daughters, all the women on the U2 crew, all the great women in our audience that we feel we know, and all the great women in parts of the world going through very difficult circumstances that we could never know. And one woman in particular who is with us tonight, she’s a teacher. She’s your First Lady, so this is for Jill Biden.”
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SOME NEWS: Bono takes U2 on a break from Achtung Baby to perform “All I Want is You” and dedicates song to all women in world, on their crew, women experiencing hardship in world. Then he dedicates it to special guest in Sphere audience…”your First Lady, Jill Biden.” pic.twitter.com/CF4nGlYmYV— Chris Gardner (@chrissgardner) March 3, 2024
The audience cheered, and the woman seated next to THR whispered, “That explains all the extra security and bomb-sniffing dogs at the VIP drop-off and in the garage.” According to local reports, Biden touched down in Las Vegas on Saturday for a campaign event for her husband President Biden’s re-election efforts in the important swing state of Nevada. No word on whether she experienced any issues, though countless Vegas visitors faced massive delays and canceled flights due to heavy winds in the area.Saturday night’s show, which kicked off at 9 p.m. following an opening DJ set from Pauli Lovejoy aka Pauli the PSM, also featured other notable moments. U2 closed out the concert by playing “40,” a 1983 tune from War that they previously leaned on to close many gigs during the 1980s. In another fitting moment, it was the 40th show. “It’s been 40 days and 40 nights in the desert,” Bono noted. “What’s a fellow with a messianic complex going to do? Here’s a song we wrote in 40 minutes. I opened up the sacred text of the Psalm of David. I just kind of read it out. That was the lyric.”
Closer to the top of the show, Bono explained how the band was feeling at the end of this groundbreaking run. “Look where we get to go to work. Welcome to the last night of Achtung Baby at the Sphere. This evening we are not just getting married in an Elvis chapel, we are getting married in an Elvis cathedral. We are feeling very much alive. Grateful to be alive, and in quite a flirtatious mood actually.”The mood also got profoundly political later in the night when Bono and the band turned their attention to Alexei Navalny, something they’ve been doing during the shows since the death of the Russian opposition leader on Feb. 16. They’ve dedicated performances of the Crowded House hit “Don’t Dream It’s Over,” and the song was included on Saturday’s setlist once again but became brand new thanks to Crowded House founding member Neil Finn.“This is a tightly constructed show, but as it’s our last night, we wondered if it might be OK to experiment on you a little bit. The idea is to record something special to honor Alexei Navalny’s widow, Yulia, who is continuing a fight against Vladimir Putin for a free, free Russia, which is what we want for the Russian people,” Bono announced in setting up the special moment. “The other day we got a beautiful email from Neil Finn, who wrote this bewildering beautiful song and he attached to the email a version of this song that he said we could play on or whatever we wanted. It’s a new version that he did, and we thought if we are going to record it, well, maybe if you would be on that recording and we could make that session the last night recording session and dedicating it to Yulia.”He called the track “a song about freedom,” and before they got going, he made a request of the audience. “Let’s try and record this if we might. Neither parties have spoken to our record labels, so this might be the only recording that ever exists so please take out your phones and send it to whoever loves freedom that you know,” Bono said of the recording, seen in its entirety below. “And maybe send it to some people that don’t — there’s a few of them around.”
NEWS: Bono announces they will break from Achtung Baby for experiment: Next song will be recorded as they perform new rendition of Crowded House’s “Don’t Dream it’s Over” thanks to Neil Finn who sent in vocals so they could dedicate it to Alexei Navalny widow Yulia. For freedom! pic.twitter.com/kv0Mma41jb— Chris Gardner (@chrissgardner) March 3, 2024
Following the U2: UV Achtung Baby residency, the Irish rockers are said to be focusing their attention on a rock heavy album. As for Sphere, U2 will be replaced on the schedule with upcoming dates by Dead & Company, Phish and other special events like Darren Aronofsky’s immersive film experience Postcard From Earth.
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This article originally appeared in THR.com.
After reaching Billboard’s country charts for the first time with “Texas Hold ‘Em,” Beyoncé makes her first appearance on a rock radio airplay tally with the buzzy, banjo-inflected single.
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The song debuts at No. 36 on Billboard’s Adult Alternative Airplay chart dated March 9. It’s Beyoncé’s maiden placement on any of Billboard’s rock-based airplay lists (Adult Alternative Airplay, Alternative Airplay, Mainstream Rock Airplay and Rock & Alternative Airplay). Adult Alternative Airplay reflects songs’ weekly plays on a panel of 50 adult alternative-formatted stations, with data, as monitored by Mediabase, provided to Billboard by Luminate. The format encompasses music under the umbrella of Americana, including material considered more specifically folk, country, blues, soul and other related styles.
The leader in spins for “Texas Hold ‘Em” on the Adult Alternative Airplay panel Feb. 23-29 was KVYN in Napa Valley, Calif. The station played the song 45 times in that span.
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“KVYN decided to get on this Beyoncé track right away, mostly to support her musical evolution and dabbling in American roots music,” KVYN program director Nate Campbell tells Billboard. “So far, it’s working in our rotation and we’re happy to have ‘Country Beyoncé’ in our mix.”
Adult Alternative Airplay is the latest airplay chart on which “Texas Hold ‘Em” has debuted. The song bounded 54-34 in its second week on Country Airplay (March 2) and dips to No. 38 on the March 9 survey. Concurrently, it bounds 28-16 on Adult Pop Airplay, 25-17 on Pop Airplay and 36-23 on Rhythmic Airplay – as the Greatest Gainer on each chart – as well as 28-24 on Adult R&B Airplay, 36-32 on R&B/Hip-Hop Airplay and 40-32 on Mainstream R&B/Hip-Hop Airplay.
Thanks to Country Airplay and Adult Alternative Airplay now on her résumé, Beyoncé ties Pharrell Williams for the most airplay charts – 18 – on which any artist has appeared. (Among women, she surpasses Mariah Carey, with 17.) The 18 airplay charts, among 25 in Billboard’s menu, that Beyoncé has graced: Adult Alternative Airplay, Adult Contemporary, Adult Pop Airplay, Adult R&B Airplay, Country Airplay, Dance/Mix Show Airplay, Gospel Airplay, Latin Airplay, Latin Pop Airplay, Latin Rhythm Airplay, Mainstream R&B/Hip-Hop Airplay, Pop Airplay, R&B/Hip-Hop Airplay, the all-format Radio Songs chart, Rap Airplay, Rhythmic Airplay, Smooth Jazz Airplay and Tropical Airplay.
“Texas Hold ‘Em” and counterpart “16 Carriages” are expected to be on Beyoncé’s eighth studio album, the follow-up to the Houston native’s 2022 LP Renaissance, due March 29. Both tracks were released Feb. 11 – with the latter having launched atop the multi-metric Hot Country Songs chart dated Feb. 24. It added a second week at No. 1 on the most recently published, March 2-dated chart, when it also ascended to the top of the all-genre Billboard Hot 100. In addition to 16.1 million in all-format radio airplay audience, the song drew 29 million official U.S. streams and sold 29,000 Feb. 16-22, according to Luminate.
All Billboard charts dated March 9 will update on Billboard.com Tuesday, March 5.
The fifth No. 1 debut in the history of Billboard’s Rock & Alternative Airplay chart belongs to Linkin Park, whose “Friendly Fire” premieres atop the March 9-dated tally.
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“Friendly Fire” bows with 7.9 million radio audience impressions earned Feb. 23-29, according to Luminate.
The last song to debut at No. 1? Linkin Park’s “Lost,” which started atop the Feb. 25, 2023-dated survey.
In fact, Linkin Park owns three of the five No. 1 debuts since the ranking began in 2009. The group notched the first when “The Catalyst” debuted atop the Aug. 21, 2010, list.
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The other No. 1 starts belong to Foo Fighters’ “Rope” (March 12, 2011) and Green Day’s “Oh Love” (Aug. 4, 2012).
Linkin Park now boasts five No. 1s on Rock & Alternative Airplay, tying The Black Keys and Imagine Dragons for the fifth-most in the chart’s history. Foo Fighters lead all acts with 11.
Most No. 1s, Rock & Alternative Airplay
11, Foo Fighters
7, Green Day
6, Cage the Elephant
6, twenty one pilots
5, The Black Keys
5, Imagine Dragons
5, Linkin Park
4, Red Hot Chili Peppers
3, Weezer
Linkin Park’s other Rock & Alternative Airplay No. 1s are “New Divide” in 2009 and “Burn It Down” in 2012, both of which debuted at No. 2.
Concurrently, “Friendly Fire” launches at No. 8 on Mainstream Rock Airplay and at No. 9 on Alternative Airplay. It’s the band’s 19th top 10 on each tally. On the latter, Linkin Park pulls into sole possession of the sixth-most top 10s in the chart’s 35-year history. Foo Fighters lead with 30.
Most Top 10s, Alternative Airplay
30, Foo Fighters
28, Red Hot Chili Peppers
26, Green Day
23, U2
21, Weezer
20, Pearl Jam
19, Linkin Park
18, Pearl Jam
17, Muse
17, The Smashing Pumpkins
As “Friendly Fire” was released Feb. 23, the song is also expected to appear on the multimetric Hot Rock & Alternative Songs ranking via its first-week streams and sales, in addition to its radio airplay. All Billboard charts dated March 9 will update on Billboard.com on Tuesday, March 5.
“Friendly Fire” was originally recording during sessions for One More Light, Linkin Park’s 2017 final studio album, before the death of frontman Chester Bennington that year. The song will be on Papercuts, the band’s singles collection spanning its career, due April 12.
After more than two decades away, Sum 41 is back at No. 1 on Billboard’s Alternative Airplay chart, as “Landmines” crowns the tally dated March 9.
It’s Sum 41’s second Alternative Airplay ruler, after “Fat Lip” reigned for a week in August 2001.
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That break of 22 years, five months and three weeks between No. 1s is by far the longest in the chart’s 35-year history, surpassing the 13 years and six months that The Killers waited between “When You Were Young” in October 2006 and “Caution” in April 2020.
In between “Fat Lip” and “Landmines,” the Deryck Whibley-fronted Sum 41 charted nine Alternative Airplay titles, paced by the No. 7-peaking “Still Waiting” in 2003, with a pair of additional top 10s in “In Too Deep” (No. 10, 2001) and “We’re All to Blame” (No. 10, 2004). Upon its debut in October, “Landmines” marked Sum 41’s first appearance since “Screaming Bloody Murder,” which reached No. 37 in 2011.
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“Landmines” takes over No. 1 on Alternative Airplay from Blink-182‘s “One More Time,” which sported a 20-week run atop the chart, tying it with Portugal. The Man‘s “Feel It Still” for the most weeks at No. 1 in the chart’s history.
Concurrently, “Landmines” lifts 40-37 in its second week on Mainstream Rock Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it rises 6-5 with 4.8 million audience impressions, up 11%, Feb. 23-29, according to Luminate. It’s Sum 41’s top-performing song on the ranking, which began in 2009, having surpassed the No. 46 showing for “Out for Blood” in 2019.
“Landmines” is the lead single from Heaven :x: Hell, Sum 41’s eighth studio album and first since 2019’s Order in Decline, due March 29. It’s billed as the band’s final release, as the group, which formed in Ontario in 1996, plans to disband following a final tour supporting the LP.
All Billboard charts dated March 9 will update on Billboard.com Tuesday, March 5.