soul
In November 2019, Michael Kiwanuka released his third album Kiwanuka at what felt like the edge of the world; the decade was coming to a close, and the pandemic that sent the globe into lockdown was just months away. He sings of such a place on the LP’s highlight “Solid Ground,” ruminating on how “it feels to be on your own” away from all the noise and bluster, imagining himself standing at the precipice of “where there’ll be no one around.” It was a moment and message that proved prescient.
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Kiwanuka was, by design, the singer-songwriter’s magnum opus. The record charted at No. 2 on the U.K.’s Official Album Charts and The Guardian named it “one of the greatest albums of the decade” right at the buzzer. It soon landed a Grammy nomination for best rock album, and won the prestigious Mercury Prize in the U.K.. How does one follow up an album with such acclaim?
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You don’t, Kiwanuka tells Billboard in the offices of Universal Music in London, where he is signed to Polydor Records: “All I knew is that I wanted to do something different, so that it was harder to compare. It was a good impetus to choose another direction creatively without losing who I am.”
That switch-up is his fourth album Small Changes, released Nov. 22. The London-born, Southampton-based artist retains his signature sound, blending sweet soulful grooves and melodies with elements of psych music and funk, but pares things back a touch.
He deliberately focused on making his vocals more of a presence, something he had been reluctant to do over his decade-long career. Hear it on “Rest of Me,” where his rich voice sits atop a lolling bassline and shuffling beats; in the past, additional production flushes would have guided the listener’s ears elsewhere, but here his voice stands central to the success of the song.
“I’ve got this obsession now with the idea that if a busker can play the song, and it sounds good going through a really sh-tty amp and their voice is through a bad mic,” he says. “If the song and the lyrics still move you, you’ve done the hardest thing.”
Michael Kiwanuka
Marco Grey
Kiwanuka signed to Polydor in 2011 and a year later won BBC’s Sound of… poll, a new music-focused list which has also been won by Adele, Haim, Sam Smith and PinkPantheress. He released his debut Home Again in 2012, and then topped the U.K. Albums Chart with 2016’s sophomore LP Love & Hate. His song “Cold Little Heart” appeared on the latter, and was selected by HBO to be the opening theme to hit TV drama Big Little Lies, starring Reese Witherspoon and Nicole Kidman. The song now sits at over 307 million streams on Spotify.
It was at this time that Kiwanuka formed a formidable relationship. It came with super-producer Danger Mouse, one half of pop group Gnarls Barkley, and London-based producer Inflo, the mastermind behind mysterious project Sault, which Kiwanuka has briefly performed as part of. The triumvirate have since worked together on what Kiwanuka is calling a “trilogy” of records, across Love & Hate, Kiwanuka and Small Changes.
“In 20 years time, this will still be the most poignant creative relationship that I’ll ever have,” Kiwanuka says. He feels that the trio all met each other “right at the time when we needed it.” Danger Mouse – whose production credits include Adele’s 25, Gorillaz’ Demon Days and U2’s Songs of Innocence – found a “passion for producing records again,” and was drawn to Kiwanuka and Inflo as “two young Black guys trying to prove ourselves” in the music industry. “I had this double-whammy of my mind being opened by two different people at the same time, in different ways.”
The comfortability and confidence in that relationship has enabled Kiwanuka to make his most authentic record, and usher in a stylish new era. Small Changes’ accompanying visuals are arresting in their simplicity: the video for single “Lowdown” makes six minutes out of a lone bike rider at dusk. During his performance at Glastonbury Festival in June, Kiwanuka paid homage to his upbringing by wearing a Kanzu robe, a traditional outfit in Uganda where his parents emigrated from prior to his birth.
Kiwanuka has spoken before about his feeling of “imposter syndrome,” but that the shifting sands that the music industry is built upon now provide artists with opportunities. “They’re [major labels] nowhere near as powerful as they once were when I was starting out, running the shop and telling people what to do. It felt like everything they said was gospel. It affected how you made music, or at least affected your confidence.”
Kiwanuka points to Irish rock band Fontaines D.C. and rising U.S. guitarist and producer Mk.gee as examples of artists who have pushed past the noise to release strikingly original LPs in recent months.
“The volatile relationship of the industry has actually made it artist-friendly, because no-one knows what to do,” he says. “So they let you create and let you make records and experiment because they don’t know what to say… which is fantastic!”
Kiwanuka
Marco Grey
Building confidence in his creative output and vocals has been a journey that has been hard-won. He credits the move away from London as giving him additional conviction in his capabilities: “You hear your own voice a bit louder, but you have to have a bit more conviction because you have no choice. You don’t have as much to compare it to.”
What would he tell his younger self, the one eager to please the public, his label and to meet his own personal standards? “There’s strength in your voice. People always try to tell you but you don’t hear it,” he says. “You’re always accepting advice from other people so you always think the validation is going to come from outside, and then one day you realize it’s not.”
He adds, “I was always trying to sound like my favorite singers, or [thinking] that [my vocals] weren’t good enough. But now I think I just want to sound like me.”
Otis Redding is about to get a little “Respect” – to borrow the title of one of his most famous compositions – from the Hollywood Walk of Fame.
The late soul music legend will be honored posthumously with a star on Friday, Oct. 4, at 11:30 a.m. PT at 6150 Hollywood Blvd. Redding’s star is in the category of live theatre/live performance.
Five-time Grammy-winning producer (and previous Walk of Fame honoree) Jimmy Jam will emcee the star ceremony. Killer Mike, who won three Grammys in the rap field in February, will speak. Accepting the award will be the singer’s daughter, Karla Redding-Andrews.
“The Hollywood Chamber of Commerce is honored to dedicate a star to the legendary Otis Redding, whose music continues to inspire generations,” Ana Martinez, producer of the Walk of Fame ceremonies, said in a statement.
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Redding has long been regarded as one of the greatest soul singers in popular music history. He was inducted into the Rock and Roll Hall of Fame in 1989, the Songwriters Hall of Fame in 1994 and received a lifetime achievement award from the Recording Academy in 1999. Three of his recordings are in the Grammy Hall of Fame – his 1965 hit “I’ve Been Loving You Too Long (to Stop Now),” his 1967 reinvention of the 1933 pop standard “Try a Little Tenderness” and his deeply moving 1968 classic “(Sittin’ on) the Dock of the Bay.” Aretha Franklin’s classic 1967 version of “Respect,” which Redding wrote and had the initial hit with in 1965, is also in the Grammy Hall.
Redding had a volley of hits between 1964 and 1967. He even played at the Monterey International Pop Festival in June 1967. But less than six months later, on Dec. 10, 1967, he died in a plane crash in Madison, Wisc. en route to a concert. He was just 26.
The first sign that his music would live on came when “(Sittin’ on) the Dock of the Bay” shot to No. 1 in early 1968 on both the Billboard Hot 100 and Top Selling R&B Singles (as the chart was then called). Redding also had a pair of top 10 albums on the Billboard 200 in the spring of 1968 – History of Otis Redding and The Dock of the Bay. In early 1969, “Dock of the Bay” won two Grammys – best rhythm & blues song and best rhythm & blues vocal performance, male.
Redding’s influence continues through the work of the Otis Redding Foundation, ran by his widow Zelma and daughter Karla Redding-Andrews, which seeks to preserve his legacy through empowering music education for all youth.
The star ceremony will be streamed live at WalkOfFame.com.
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Frankie Beverly, long known as the frontman for the soul and funk band Maze, has died according to a statement released by the family. Beverly began his career as a teenager before eventually honing his sound which later became one of the foundations of modern R&B.
Beverly was born December 6, 1946, in Philadelphia, Pa., and lived in the East Germantown section. Beverly began singing in church and joined his first band at the age of 13. At 16, much to the dismay of his father who wanted him to take a more traditional route, Beverly formed an acapella group known as The Blenders. While still trying to find his signature sound, Beverly formed a new band known as The Butlers, who cut their first record in 1963.
In 1970, determined to make it in music, Beverly formed the band Raw Soul and moved west to San Francisco to pursue a career in the industry. A chance meeting with the sister-in-law of Marvin Gaye at the time led to a fruitful connection leading to opportunities for the band. The group toured with Gaye as his opening act and according to several accounts, the legendary R&B star urged Beverly to change the band’s name from Raw Soup to Maze.
Through the late 1970s and mid-1980s, Maze notched several hits that charted on Billboard’s Hot 100 and U.S. R&B charts, including “Joy & Pain,” “Southern Girl,” “Back In Stride” and the backyard two-step classic, “Before I Let Go” which was covered in 2019 by Beyoncé.
In the world of Hip-Hop, Maze has been sampled by a few notables of the genre including 50 Cent, T.I., Tha Dogg Pound, Rob Base & DJ EZ-Rock, 2Pac, and more. Maze was also a huge touring act, which featured Beverly in his signature all-white attire complete with a white baseball cap.
The statement from the Beverly family was shared on Instagram and reads as follows:
Grieving the loss of a loved one is a deeply personal and emotional experience. During this time, as we are navigating feelings of sorrow, reflection, and remembrance we kindly ask for privacy and understanding, allowing us the space to grieve in our own way. This period for is one of healing, and your respect for our need for solitude is appreciated as we honor the memory of our beloved Howard Stanley Beverly known to the world as Frankie Beverly.
He lived his life with pure soul as one would say, and for us, no one did it better. He lived for his music, family and friends.
Love one another as he would want that for us all.
On X, formerly known as Twitter, fans of Beverly expressed their sorrow and celebrated the life and legacy of the singer. We’ve got those reactions below.
Beverly was 77.
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Photo: Brian Stukes / Getty
Nearly 50 years after being forced to close its doors in 1975, venerable label Stax Records became a Grammy winner once again in 2024. During the 66th annual Grammy Awards in February, the golden gramophones for best album notes and best historical album were awarded to the seven-disc box set Written In Their Soul: The Stax Songwriter Demos.
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Now in further testament to the gifted artists, songwriters, producers, musicians and engineers behind the label’s treasured catalog — and the team of dedicated and persevering executives helming operations behind the scenes — comes Stax: Soulsville U.S.A. Produced and directed by Jamila Wignot, the HBO Original documentary series premieres tonight (May 20, 9 p.m.-10 p.m. ET/PT) with two back-to-back episodes. The final two episodes will air tomorrow (May 21) in the same time slot. The series is a production of Laylow Pictures and White Horse Pictures in association with Concord Originals, Polygram Entertainment and Warner Music Entertainment.
The four-part series tells the story of the family-owned Memphis label, founded by Jim Stewart in 1957 and co-owned by his sister Estelle Axton, whose color-blind approach to music turned a deaf ear to the prevailing segregation of the times. The result? Music that hurdled racial barriers to become mainstream classics by artists such as Otis Redding ([Sittin’ On] the Dock of the Bay”), Isaac Hayes (“Theme from Shaft”), Sam & Dave (“Soul Man”) and Booker T. & the MG’s (“Green Onions”).
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In relaying its story, Stax: Soulsville U.S.A. integrates restored and remastered archival performance footage and interviews with the creatives and executives who helped shape the label’s musical and cultural impact amid its business highs and lows. Stewart and Axton, former Stax president and owner Al Bell, guitarist Steve Cropper, musician/songwriter David Porter, singer-songwriter Carla Thomas and Bar-Kays members James Alexander and Willie Hall are just a few of those recalling their experiences in Soulsville.
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In advance of the documentary’s HBO premiere, director Wignot and former Stax director of publicity Deanie Parker (co-writer of the Grammy-winning notes for Written In Their Soul: The Stax Songwriter Demos) share their reflections about the label’s legacy with Billboard.
Why does Stax still resonate with music fans today?
Parker: Because it’s distinctive. Stax music — a fusion of Negro spirituals and gospel, influenced by white country music and nurtured on the downhome blues of Blacks – was not a sheet music rendition. But rather authentic, heartfelt, cadenced expressions recorded in legendary Studio A. It’s a style of music birthed in our souls and dubbed rhythm and blues (R&B). Stax music is a feeling.
Wignot: Because it’s great art. It gives voice to powerful and universal human themes — love, sorrow, joy, tenacity, freedom. It’s music that’s original. You can feel in it that these were artists who had the determination to make their music their way. They were in search of and achieved honest expressions.
What new revelations does the documentary unveil or is there any mis-information that it corrects?
Wignot: It was my hope that the series would provide a complex and nuanced portrait of the label’s story and of the rich community of artists who comprised that story. I think it will surprise audiences familiar with the likes of Otis Redding, Sam & Dave, Isaac Hayes and The Staple Singers to know just how tenacious the label had to be to achieve the success it did. And how determined it had to be in the face of the powerful forces — industry bias, racism, corporate greed —that stood in the way of its dream, which was a simple one: to make great music and have it reach audiences hungry for that singular sound. The emphasis we place on Stax’s latter chapter, 1968-1975, will illustrate what a profound effect the label had on the industry and the possibilities it created for Black artists.
Parker: The documentary producers’ interviews with Stax Records employees, in first person, expose the depth of the pain and trauma most of us experienced that resulted from the company’s forced bankruptcy. It also validates the joy and happiness of the authors of the hits produced and respected worldwide. The documentary reveals our pride over the music catalog’s longevity and musical influence that continues today, thanks in part to Concord and our Stax Music Academy.
What do you hope fans will remember the most after viewing the documentary?
Parker: I hope music fans will appreciate the value of teaching and preserving a uniquely soulful style of music produced collectively by talented men and women with diverse backgrounds – Black and white. Stax Records happened because we practiced and perfected creating together harmoniously.
Wignot: Stax is a music story. But it’s also a story about what can happen when you refuse to accept limitations imposed upon you by the world. Its tragic ending is made less so by the music that survives and reminds us every day of possibilities.
STAX: Soulsville U.S.A.
Courtesy of HBO
Jimmy James, the beloved frontman of The Vagabonds and the voice behind the enduring ballad “Come to Me Softly,” died on Wednesday (May 15). He was 84 years old. The musician died in London at Northwick Park Hospital, his family told Jamaica Observer. James reportedly had Parkinson’s disease and a heart condition that ultimately led […]
It’s been five years since SiR launched a full-length album – and the world is a very different place from what it was back in 2019. More importantly, however, SiR is also a different person. The Inglewood-bred R&B crooner has kept a relatively low profile over the past half-decade, as he took some time to […]
SZA was the top winner at the 2023 Soul Train Awards, which premiered Sunday, Nov. 26, at 8 p.m. ET/PT on BET and BET Her. The red-hot star won four awards: best R&B/soul female artist, album of the year for SOS, and both song of the year and the Ashford & Simpson songwriter’s award for “Snooze.”
This is the sixth consecutive year that a female solo artist has won album of the year at the Soul Train Awards. H.E.R.’s H.E.R. won in 2018, followed by Lizzo’s Cuz I Love You, Summer Walker’s Over It, Jazmine Sullivan’s Heaux Tales, Beyoncé’s Renaissance and now SOS.
This marks the second time SZA has won best R&B/soul female artist; she previously won in 2017.
SZA, who was Billboard’s woman of the year for 2023, is this year’s leading Grammy nominee with nine nods, including album of the year and best progressive R&B album for SOS (which logged 10 weeks atop the Billboard 200) and best R&B song for “Snooze” (which reached No. 2 on the Billboard Hot 100).
Usher was runner-up at the Soul Train Awards with three awards, followed by Victoria Monét with two. Keke Palmer hosted the show, which was billed as “the soulful house party of the year.”
Usher won best R&B/soul male artist for the second time. He previously won in 2010 in a tie with Trey Songz. He also won the certified soul award and best collaboration for the hit “Good Good,” on which he teamed with Summer Walker and 21 Savage. That was the only award for Walker, who went into the night with nine nods (tied for the lead with SZA and Usher) and 21 Savage, who was the nominations runner-up with eight.
Monét won best dance performance and video of the year, both for “On My Mama.” That track is up for two Grammys: record of the year and best R&B song.
Coco Jones was named best new artist. She also won in that category at the BET Awards on June 27. Jones, 25, is nominated in that category at the Grammys as well.
Kirk Franklin won the best gospel/inspirational award for the fifth consecutive year, and the sixth time overall, for “All Things.”
Burna Boy, Chris Brown, Janelle Monáe and October London, each of whom received four nominations, were shut out, though Monáe received the Spirit of Soul Award. The show tweaked the name of its Lady of Soul award, which it has presented annually since 2015, “to honor the diversity and inclusivity of this year’s recipient.” Monáe identifies as nonbinary.
Connie Orlando, EVP, specials, music programming & music strategy, oversaw the annual show and executive produced for BET with Jamal Noisette, VP, specials & music programming. Jesse Collins, CEO of Jesse Collins Entertainment, served as executive producer, along with Jesse Collins Entertainment’s Jeannae Rouzan–Clay and Dionne Harmon.
Fans can watch encore presentations of the show on Monday, Nov. 27, at 9 p.m. ET/PT and on Wednesday, Nov. 29, at 6 p.m. ET/PT on BET. The show will air internationally on BET Africa on Monday, Nov. 27, at 3 CAT, and on BET France on Tuesday, Nov. 28 at 20:45 PM CET. The show will also be available to watch on My5 and Sky On-Demand in the U.K. beginning Thursday, Nov. 30.
Here’s the complete list of 2023 Soul Train Awards nominees, with winners marked:
Album of the year
The Age of Pleasure, Janelle Monáe
Age/Sex/Location, Ari Lennox
Clear 2: Soft Life EP, Summer Walker
Girls Night Out (Extended), Babyface
I Told Them…, Burna Boy
Jaguar II, Victoria Monét
WINNER: SOS, SZA
What I Didn’t Tell You (Deluxe), Coco Jones
Song of the year
“Back to Your Place,” October London
“Favorite Song,” Toosii
“Good Good,” Usher, Summer Walker, 21 Savage
“ICU,” Coco Jones
“Kill Bill,” SZA
“Lipstick Lover,” Janelle Monáe
“On My Mama,” Victoria Monét
WINNER: “Snooze,” SZA
Video of the year
“Back to Your Place,” October London
“Boy’s a Liar Pt. 2,” PinkPantheress & Ice Spice
“Boyfriend,” Usher
“Good Good,” Usher, Summer Walker, 21 Savage
“ICU,” Coco Jones
“Kill Bill,” SZA
“Lipstick Lover,” Janelle Monáe
WINNER: “On My Mama,” Victoria Monét
“Special,” Lizzo
Best R&B/soul female artist
Ari Lennox
Beyoncé
Coco Jones
H.E.R.
Janelle Monáe
Summer Walker
WINNER: SZA
Victoria Monét
Best R&B/soul male artist
6lack
Babyface
Brent Faiyaz
Burna Boy
Chris Brown
Eric Bellinger
October London
WINNER: Usher
Best group
Dvsn
Flo
Jagged Edge
Kool & The Gang
WINNER: Maverick City Music
Phony Ppl
Ronald Isley & The Isley Brothers
Tank and The Bangas
Wanmor
Best collaboration
“America Has a Problem” (Remix), Beyoncé Feat. Kendrick Lamar
“Boy’s a Liar, Pt. 2,” PinkPantheress & Ice Spice
“Creepin’ (Remix),” Metro Boomin, The Weeknd, Diddy Feat. 21 Savage
“Fly Girl,” Flo feat. Missy Elliott
WINNER: “Good Good,” Usher, Summer Walker, 21 Savage
“Sittin’ on Top of the World,” Burna Boy Feat. 21 Savage
“Special,” Lizzo feat. SZA
“To Summer, From Cole (Audio Hug),” Summer Walker, J. Cole
Best new artist
Ambré
Ayra Starr
WINNER: Coco Jones
Doechii
Flo
Fridayy
Tyla
Wanmor
Certified soul award
Anthony Hamilton
Ashanti
Ciara
Eric Bellinger
Monica
PJ Morton
Ronald Isley & The Isley Brothers
T-Pain
WINNER: Usher
The Ashford and Simpson songwriter’s award
“Back to Your Place,” October London
“Favorite Song,” Toosii
“Good Good,” Usher, Summer Walker, 21 Savage
“ICU,” Coco Jones
“Kill Bill,” SZA
“On My Mama,” Victoria Monét
“Sittin’ on Top of the World,” Burna Boy Feat. 21 Savage
WINNER: “Snooze,” SZA
Best dance performance
“Better Thangs,” Ciara Feat. Summer Walker
“Boyfriend,” Usher
“Good Good,” Usher, Summer Walker, 21 Savage
“How We Roll,” Ciara & Chris Brown
WINNER: “On My Mama,” Victoria Monét
“Snooze,” SZA
“Summer Too Hot,” Chris Brown
“Under the Influence,” Chris Brown
Best gospel/inspirational award
“All of the Glory,” Shirley Caesar
WINNER: “All Things,” Kirk Franklin
“Came Too Far,” Fridayy Feat. Maverick City Music & My Mom
“Cry,” Koryn Hawthorne
“Feel Alright (Blessed),” Erica Campbell
“God Problems,” Maverick City Music, Chandler Moore, Naomi Raine
“The Journey,” H.E.R.
“Try Love,” Kirk Franklin
In February, during a writing camp in Palm Springs, Calif., singer-songwriter Teddy Swims had a professional breakthrough — amid a period of personal turmoil, following a breakup. “I was so unhinged at the time,” he remembers. “I just needed to say a lot of stuff.” Over the course of five days, he poured his emotions into half of the songs that would ultimately comprise his debut album, including his biggest hit to date, “Lose Control.”
Rooted in piano-driven production — and an impressive ability to stretch his vocal runs — the R&B-pop ballad details a relationship that’s been tainted by substance abuse. “Lose Control” has steadily grown since its release in late June, leading to Teddy Swims’ first entry on the Billboard Hot 100. “When it was finished, I was showing everybody before the song came out,” he says. “I just felt that energy, like, ‘This is lighting in a bottle.’ I knew this was going to change my life.”
Born Jaten Dimsdale, the 31-year-old began performing a decade ago at his suburban Atlanta high school, trading football for musical theater (he joined with a friend, who still plays guitar in his live band today). His senior year was particularly pivotal: he helped the theater department out of debt prior to graduation with an in-school production of a Star Wars musical parody he created with his teacher. That same year, his band at the time, Heroic Bear, released its first EP, a hardcore project he now deems “really bad.”
In the years that followed, he explored countless genres including country, alternative, funk and metal in various musical projects. “He was in, I kid you not, like eight bands,” says Luke Conway, who started managing Teddy Swims while he was touring as an opening hip-hop act in early 2019. “He was doing every single thing that you could possibly do.”
From left: Teddy Swims and manager Luke Conway photographed on September 15, 2023 in New York.
Meredith Jenks
In June 2019, on the 10th anniversary of Michael Jackson’s death, Teddy Swims uploaded a YouTube cover of “Rock With You” that soon went viral. The success prompted him to ask his friends for a six-month commitment to help him keep momentum. During that time frame, he sang classics (Bonnie Raitt’s “I Can’t Make You Love Me”) and hits of the moment (Lewis Capaldi’s “Someone You Loved”) alike, with his spins on Shania Twain’s “You’re Still the One” and Mario’s “Let Me Love You” each eclipsing 100 million YouTube views. Publishers called first, then booking agencies, and before long, a dozen record labels had made offers. On Christmas Eve 2019 — a day short of six months from when he uploaded “Rock With You” — he signed to Warner Records.
While the covers helped grow Teddy Swims’ audience on a global scale, his priority upon signing was to create an identity all his own. “Some people get stuck in that world and never really make it out,” he says. “There was a lot of fear in no one caring about my [original] songs. I wanted to be an artist with my music.”
Warner placed him in rooms with veteran songwriter-producers like Julian Bunetta and John Ryan to help him hone his voice, and over the next few years, he wrote hundreds of songs, releasing singles across four EPs (including the holiday-themed A Very Teddy Christmas) and getting featured on tracks by Meghan Trainor, X Ambassadors and others. “I go back and listen to some songs that I did four years ago,” Teddy Swims reflects. “They started this idea of the signature Teddy sound that I feel like I’m finally nailing now.”
Teddy Swims photographed on September 15, 2023 in New York.
Meredith Jenks
That “signature” sound punctuates his September debut album, I’ve Tried Everything But Therapy (Part 1), which is full of “sad boy breakup songs,” as he puts it. His powerhouse vocals (“Some Things I’ll Never Know,” “The Door”) and poignant writing chops (“Suitcase”) are on display throughout its 10 tracks, but no song better illustrates the style he’s created than “Lose Control.” After its June release, he shared three new versions — live, strings and piano — as the song gained steam on digital service providers and radio. By the end of August, “Lose Control” debuted on the Hot 100, where it has since reached a No. 67 peak. On Adult Pop Airplay, it climbs to a new No. 26 high on the Oct. 7-dated chart.
As the hit keeps growing, Conway says the strategy isn’t to strike while the iron is hot with unrelated follow-up content. In fact, it’s the opposite: he hopes the song becomes “cemented in culture” in the months to come, likening “Lose Control” to Chris Stapleton’s “Tennessee Whiskey” and Gnarls Barkley’s “Crazy.”
“We have to be protective,” he says. “It’s his story. This is the golden egg we’ve been searching for and fighting to dig out of the ground for five years. There have been a lot of conversations about finding a feature, but we see the lifespan of this song. We can’t dilute it by giving it anybody else’s identity.”
Teddy Swims is currently on a 43-date North American tour in support of the project, studying how each city reacts to the new material. “There’s no A&R that [compares to] when you’re at a show and you see what really moves people,” he says. As the title of his album suggests, there are plans for another installment. He says it could arrive by the middle of next year, though both he and Conway share that the writing likely won’t begin until after the tour wraps.
However, Teddy Swims does suggest that, if all goes well, the follow-up will contain brighter content. “I’m really hoping the next time is me falling back in love and moving on,” he says, taking a beat and then laughing. “Or it’s more sad s–t. You never know. Life is happening to us, what are you going to do?”
Teddy Swims photographed on September 15, 2023 in New York.
Meredith Jenks
A version of this story will appear in the Oct. 7, 2023, issue of Billboard.
Back before Cleveland was tapped to be the home of the Rock and Roll Hall of Fame, its downstate rival, Cincinnati, was also (briefly) in the mix for the honor of being the institution’s host. The city got on the short list thanks to its legacy as the home of pioneering label King Records, where a number of very early rock n’ roll, funk and R&B sides were cut by the likes of James Brown, Bootsy Collins, Otis Williams and others; not for nothing, but Billboard was founded in the city in 1894.
And while the Queen City missed out on that Rock Hall of Fame, on Saturday (July 22), Cincinnati will get its own circle of honor when the long-awaited Cincinnati Black Music Walk of Fame opens to the public in a splashy ceremony that will unveil a years-in-the-works project to honor the city’s unique place in music history.
“The historical part of this place is that African-American slaves lived in this flood plain and [the Hall of Fame] is across from Paycor Stadium, where the annual Cincinnati Music Festival takes place,” says Hamilton County Commissioner Alicia Reece, the main driver behind the project in reference to the 61-year-old locally promoted gathering that has brought the best of funk, soul, R&B and jazz to her hometown for six decades.
Reece’s passion for the Walk of Fame is evidence by her bubbling enthusiasm over a recent Zoom call, as well as a voice already hoarse from her duties hyping her passion project in the lead-up to this weekend’s grand unveiling. And she comes by it naturally. Her mother, Barbara Howard, was a national recording artist, and her father, Steven Reece Sr., was a local rep for Motown Records who helped to bring both the Beatles and Aretha Franklin to town for their first-ever Cincinnati dates.
When her mother died at 57, Reece says she realized her purpose was to make sure that she left something for future generations. “These stories can’t die when we die,” she says. So she began the yearslong process of pushing to convert an empty downtown lot into her vision of a free-to-the-public Hall of Fame honoring the city’s Black music legends of pop, rock, funk, gospel, hip-hop, jazz and classical music.
Describing the multi-level Hall of Fame layout — a necessity due to its proximity to the Ohio River floodplain — Ron Bunt, senior VP of design firm JRA tells Billboard that visitors will descent a series of ramps with a number of interactive displays that will bring the city’s music history to life. After entering through a towering stainless steel arch that explains the various features, visitors will see a series of 13 podiums that each feature the stories of two prominent Black Cincinnati artists.
This year’s inductees include soul superstar Brown, who recorded some of his more iconic songs at King Records, as well as The Deele, an early 1980s R&B group featuring future superstars and local legends L.A. Reid and Kenneth “Babyface” Edmonds. Also on the list is late Spinners (“Could It Be I’m Falling In Love”) singer Philippé Wynne and Louise Shropshire, who penned the original lyrics to what became the civil rights anthem “We Shall Overcome.”
The two previous classes included the first inductees, funk bass master Bootsy Collins, the Isley Brothers, gospel singer Dr. Charles Ford and The Charms doo-wop singer Williams; the 2022 class featured Klymaxx/Snap! singer Penny Ford, hip-hop producer Hi-Tek (50 Cent, Snoop Dogg), R&B/jazz guitarist Wilbert Longmire and funk group Midnight Star.
“Each podium has a brief bio, and album cover, which, when you scan the QR code, will make the artist pop out with more information,” Bunt says of the displays that will also feature copy in braille and a haptic panel that will allow hearing impaired visitors to “feel” the music. In addition, they will allow users to listen to a 30-second clip of the artist’s music, with the QR code providing access to the Walk of Fame’s website, where you can read more about all the inductees.
There is also a feature called the “Beatmaker,” with 8 drum heads that interact with the lights and an adjacent fountain, acting like a kind of Simon Says game in which visitors follow Hi-Tek’s instructions to keep up with the music, as well as areas with three-minute video clips about each act and panels with the stories of local music influencers.
“It’s a holistic experience that tells an important story that’s never been told,” says Bunt of the hands-on displays that will include an AR component allowing visitors to “jam” on stage with Bootsy and Ford’s avatars. He and Reece are also both excited about a twice-nightly “Takeover Dance party” where the speakers on all the displays will synch up for a music and light show that will encourage attendees to boogie to the music. “It’s kind of an ‘a-ha’ moment for a lot of people when you hear songs you grew up with that most people didn’t know were by people who are from here, which tells yo how worldwide this story is,” Bunt says.
The final iteration of the multi-million project will have room for up to 200 honorees and Saturday’s grand opening will feature a free show by the Ohio Players. “We wanted something that will bridge the gap between generations… grandmas and their grandkids can come and see something educational and entertaining,” says Reece.
Watch a video about the grand opening below.
The Cincinnati Music Festival will take over the city’s Paycor Stadium for two nights in July with its patented mix of old school soul and R&B legends and hip-hop superstars, with Snoop Dogg, Al Green, Babyface and Jill Scott topping the bill on July 21 and 22.
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The annual gathering of the vibe will kick off on July 20 at the adjacent Andrew J. Brady Center with a tribute to the 50th anniversary of hip-hop with a lineup to be announced soon. Night one will feature Green and Scott joined by Jodeci, Midnight Star and Gerald Albright, while the second evening will include a visit from intergalactic funk icons P-Funk, as well as sets from Avery Sunshine and Norman Brown.
Tickets for the shows are on sale now through Ticketmaster and the festival’s office (513) 924-0900.
“We are thrilled with this year’s lineup for the Cincinnati Music Festival presented by P&G,” said producer Joe Santangelo in a statement. “It’s the first time for Snoop Dogg to perform at the Festival and Al Green last performed in 1974. We know they will both be huge draws for our fans. It’s also an honor for us to plan a Thursday performance to pay tribute to the 50th Anniversary of Hip Hop.”
After cancelling two go-rounds due to the COVID-19 pandemic, the beloved fest returned last summer with a stacked lineup featuring Janet Jackson, Charlie Wilson, Anthony Hamilton, the O’Jays and more.
CMF began life as the Ohio Valley Jazz Festival in 1962 as an all-jazz event and has evolved over the year to embrace a wide variety of acts, from Aretha Franklin, Miles Davis and Duke Ellington to Luther Vandross, New Edition, Whitney Houston, Earth Wind and Fire and many more, drawing more than 50,000 fans to the concerts and the adjacent Festival 513 street party.