Adele is gearing up to release her fourth studio album, which fans believe is titled 30 due to mysterious billboards that have popped up around the world. The British singer recently sat down with British and American Vogue to share several details about the upcoming release, including lyrical content, song inspirations and overarching themes on the album.

Below, we’ve rounded up the most important revelations from Adele’s interviews with Vogue.

Don’t Expect a “Hello” Anthem

In Adele’s interview, she mentioned that she hasn’t tried to replicate the success of “Hello,” which hit the No. 1 spot on the Billboard Hot 100 in 2015. “I don’t want another song like that. That song catapulted me in fame to another level that I don’t want to happen again. I’m not saying I’ve got ‘Hello’s in my pocket. I was just conscious that I didn’t want my story on this album to sound like that,” the singer explained.

It’s Her Most Personal Album

“It’s sensitive for me, this record, just in how much I love it,” Adele told American Vogue. “I always say that 21 doesn’t belong to me anymore. Everyone else took it into their hearts so much. I’m not letting go of this one. This is my album. I want to share myself with everyone, but I don’t think I’ll ever let this one go.”

The “Rolling In the Deep” singer also shared that she placed her personal interests at the forefront of making the record. “I was drunk as a fart on 21; I really don’t remember much, I just remember being really sad. On 25, I was obviously sober as anything, because I was a new mum. That one, I was sort of more in tune with what I thought people might want or not want. With this one,” she said of the upcoming release, “I made the very conscious decision to be like, for the first time in my life, actually, ‘What do I want?’”

“I feel like this album is self-destruction,” Adele added, “then self-reflection and then sort of self-redemption. But I feel ready. I really want people to hear my side of the story this time.”

Though the 33-year-old spent a large portion of her interview discussing her divorce from ex-husband Simon Konecki, fans shouldn’t expect the album to be solely about their split. “I assumed it would be about my divorce, but it’s kind of not,” with the magazine describing the body of work as “her usual singer-songwriter gear to midnight chanteuse to chilled Balearic club at sundown.”

Several Lyrics Have Been Released 

The singer revealed that “Easy On Me” will be the first single from the album after sharing a snippet of the song on Oct. 5. The clip didn’t include any lyrics, but the feature revealed some lines from the piano-heavy track: “Go easy on me baby/ I was still a child/ Didn’t get the chance to/ Feel the world around me.”

Adele did not share any of the song’s titles with the interviewers, but the writers shared two additional sets of lyrics: “My little love/ I see your eyes/ Widen like an ocean/ When you look at me/ So full of my emotions” and “I just want to love you for free/ Everybody wants something from me/ You just want me,” lines from two separate songs.

There Are No Traditional Features

While there are no official artist features on Adele’s album, the singer did incorporate VoiceNotes from Tyler, the Creator and Skepta on the record. “I thought it might be a nice touch, seeing as everyone’s been at my door for the last 10 years, as a fan, to be like, Would you like to come in?” she said.

Adele’s friends also make an appearance on the record, singing the words “Just hold on, just hold on,” over and over on a gospel-infused track. “The thing that they’re all singing is what my friends used to say to me,” she explained. “That’s why I wanted them to sing it, rather than an actual choir.”

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Organizers of the annual South by Southwest festival in Austin are suing Federal Insurance Company for not covering the event’s legal fees in an ongoing class action suit from attendees wanting thousands of dollars in refunds for last year’s canceled event.

After being told it’s policy excludes coverage for refunds, Austin attorney Peter D. Kennedy filed a complaint Wednesday in the U.S. District Court for Western Texas, saying SXSW purchased a $1 million policy from Federal Insurance in August 2019 and argued that the company is not living up to its obligation to defend and indemnify the event.

SXSW was one of the first major music events to be canceled in March 2020 due to the coronavirus pandemic. Organizers could not provide refunds “because SXSW must spend enormous sums of cash to prepare to host a festival,” Kennedy wrote, but the event did offer the option to defer 2020 credentials to a future date as well as the right to purchase credentials for another year at a 50% discount. Approximately 80% of credential purchasers accepted this offer. A number of attendees did not, however, leading to an April 27 class action lawsuit against South by Southwest filed by attendees Steven Leventhal, Maria Bromley and Kleber Pauta alleging breach of contract, conversion and unjust enrichment.

Kennedy argues that South by Southwest’s Federal Insurance policy includes liability coverage and requires the company to pay for SXSW’s legal defense in the class action lawsuit, but Federal Insurance says there is language in the policy excluding coverage related to contractual disputes and professional services. Kennedy argues that Federal Insurance is misreading the contract and is still obligated to defend the organization against the conversion and unjust enrichment claims.

Kennedy is asking a district court judge to force the insurance provider to fund SXSW’s legal defense and pay damages, interests and legals costs as a result of charges of breach of contract and violations of Texas’ insurance codes.

Billboard’s parent company P-MRC made a 50% investment in SXSW in April.

ITZY’s Crazy in Love: The 1st Album debuts at No. 1 on Billboard’s Top Album Sales chart (dated Oct. 9), marking the first leader, and second entry, for the Korean pop group. The set, which is promoted as the act’s debut full-length studio album, sold 22,000 copies in the U.S. in the week ending Sep. 30, according to MRC Data.

Crazy follows one other entry for the group, the Guess Who EP, which peaked at No. 23 this May.

Crazy in Love: The 1st Album leads five debuts in the top 10 on Top Album Sales, as new efforts from Angels & Airwaves, YoungBoy Never Broke Again, Billy Strings and Sufjan Stevens and Angelo De Augustine arrive.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the measurement solely utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram. 

Of Crazy in Love: The 1st Album’s sales of 22,000, physical album sales comprise 21,000 (all from CD sales) and 1,000 via digital download. Like many K-pop releases, the CD edition of the album was issued in multiple collectible packages (including a Target-exclusive edition).

ITZY replaces another Korean pop act at No. 1, as NCT 127’s Sticker: The 3rd Album falls from No. 1 to No. 2 in its second week (15,000; down 76%).

Angels & Airwaves’ new studio album Lifeforms bows at No. 3 with 13,000 sold while YoungBoy Never Broke Again’s Sincerely, Kentrell starts at No. 4 with 10,000. Metallica’s self-titled former No. 1 is up one spot to No. 5 with 9,000 (down 26%) and Olivia Rodrigo’s chart-topping Sour climbs 7-6 with nearly 9,000 (down 26%).

Billy Strings’ Renewal launches at No. 7 (8,000 sold), Billie Eilish’s former No. 1 Happier Than Ever climbs 11-8 (7,000; down 9%), Sufjan Stevens and Angelo De Augustine’s A Beginner’s Mind debuts at No. 9 (nearly 7,000) and Kacey MusgravesStar-Crossed falls 4-10 in its third week (nearly 7,000; down 54%).

Billboard’s Top Holiday Albums chart returns for the 2021 holiday season, with Carrie Underwood’s 2020 release My Gift leading the list (dated Oct. 9).

The Top Holiday Albums tally will continue to be published on a weekly basis through early January of 2022, when it will jingle away until the next holiday season. (The chart generally returns every October.)

My Gift spends a seventh nonconsecutive week atop the tally, after six weeks at No. 1 last season following its release on Sept. 25, 2020. The album was reissued on Sept. 24, 2021 with three bonus tracks.

The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

The Oct. 9-dated Top Holiday Albums chart is filled with familiar favorites in the world of seasonal albums, including Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas, Michael Bublé’s Christmas, Mariah Carey’s Merry Christmas and Nat “King” Cole’s The Christmas Song. The chart’s highest debut is Chris Tomlin’s Emmanuel: Christmas Songs of Worship, which starts at No. 8 following its release on Sept. 24.

Upcoming holiday album releases that will likely impact the Top Holiday Albums chart include: Darren CrissA Very Darren Christmas (due out Oct. 8), Josh Turner’s King Size Manger (Oct. 8), Kelly Clarkson’s When Christmas Comes Around (Oct. 15), Norah JonesI Dream of Christmas (Oct. 15), Jim Brickman’s A Christmas Symphony (Oct. 22), Kristin Chenoweth’s Happiness Is… Christmas! (Oct. 22), Brett Eldredge’s Mr. Christmas (Oct. 22), Zach WilliamsI Don’t Want Christmas To End (Oct. 22), Brett Young & Friends’ Sing the Christmas Classics (Oct. 22), Pistol AnniesHell of a Holiday (Oct. 22), Rob ThomasSomething About Christmas Time (Oct. 22), Nat “King” Cole’s A Sentimental Christmas With Nat “King” Cole and Friends: Cole Classics Reimagined (Oct. 29), Pentatonix’s Evergreen (Oct. 29), Matthew West’s We Need Christmas (Oct. 29) and Steve Perry’s The Season (Nov. 5).

When Alanis Morissette released her blockbuster Jagged Little Pill album in 1995, she painted a picture of a woman who contained multitudes — or, really, she painted a picture of a multitude of women. It was like Chaka Khan’s “I’m Every Woman” in album form, only grittier.

Which is why it was such a beautiful, full-circle moment to see Morissette bring her breakthrough album — which spent 12 weeks at No. 1 on the Billboard 200 and made her the youngest artist to that point to win a Grammy for album of the year — back to life for the final U.S. date of the Jagged Little Pill 25th Anniversary Tour on Wednesday night at the Hollywood Bowl, the second of two nights at the venue. This time, instead of a 21-year-old raging against her shady ex with wild hair shrouding her face in the blurry, desert-set “You Oughta Know” music video, we saw a 47-year-old thrashing her now-blonde (but just as wild) locks and delivering just as much of the song’s trademark vitriol even though she’s now a happily married mom of three. Jagged Little Pill still represents 2021 Alanis, just as the ripped-from-her-diary songs somehow managed to encapsulate the complicated and complex worlds of a lot of women back in 1995 through today. It’s all at once intimately personal and surprisingly universal.

Below, find some of the best full-circle moments from Morissette’s final U.S. tour stop, where she was joined by Garbage and Cat Power as openers and a crowd full of fans who have made Jagged Little Pill their own over the past 25 years.

The Vocals

Capturing the powerful wails and crystal-clear yodels that she recorded more than a quarter-century ago might seem like a tall order, but Morissette far exceeded expectations when it came to her live vocals. The way her intonation cut through the Bowl crowd singing along to every word and how she held on to notes for an impossibly long time (especially on the seething JLP standout “Wake Up”) was, honestly, extraordinary.

Evolving Lyrics

In the final pre-chorus of “You Learn,” Morissette acknowledged her trio of kids with a knowing smile, swapping the original line “The way a 3-year-old would do” for “Like a 10-year-old, and a 5-year-old, and a 2-year-old would do.” She also gave a cheeky update to “Ironic” by changing “It’s like meeting the man of my dreams and then meeting his beautiful wife” to “meeting his beautiful husband,” with the big screens focusing on a gay couple kissing in the crowd to rapturous cheers.

‘And the Other One Is Givin’ a Peace Sign’

While playing the final harmonica line of the sweetly romantic “Head Over Feet,” Morissette held the instrument with one hand while throwing a peace sign in the air with the other — a cute callback to her “Hand in My Pocket” lyric.

Leave the Beach Ball at Home

During her opening set with Garbage, frontwoman Shirley Manson went off on the crowd when someone in the pit started tossing a beach ball around, calling the display “disappointing and, quite frankly, pathetic.” “This is enough already,” she added. “How musicians are treated in this culture is f—ing insane. Stop with the f—ing balloons unless you want to go back to being 5 years old, yeah? F— you,” she said, before seamlessly launching into 1998’s “I Think I’m Paranoid,” an Alternative Airplay top 10 hit for the band. Lest you think concertgoers felt chastised by Manson’s speech, it was quite the opposite: The crowd positively ate up Manson’s dressing-down.

A Group Sob-Fest

Morissette wrapped her encore with 1998’s non-Jagged Little Pill Billboard Hot 100 top 20 hit “Thank U,” and when she got to the lyric “how ’bout unabashedly bawling your eyes out?,” fans cheered wildly because they either: A) Already had cried at some point during Alanis’ set, or B) Were currently weeping as the cathartic concert came to a close.

A Fond Farewell

As the last U.S. date of the anniversary tour, Morissette expressed her gratitude to her crew and opening acts ahead of the final song. She acknowledged the weight of touring during a pandemic by saying, “We’re so grateful — and we’re alive.” She also shared a message to her socials on Thursday (Oct. 7) about wrapping up the trek, calling it “the most intense tour of my life.”

The set list for night 2 of Alanis Morissette’s Jagged Little Pill 25th Anniversary Tour at the Hollywood Bowl:

All I Really Want
Hand in My Pocket
Right Through You
You Learn
Hands Clean
Forgiven
Everything
Mary Jane
Diagnosis
Reasons I Drink
Head Over Feet
So Unsexy
Ablaze
Nemesis
Perfect
Losing the Plot
Wake Up
Not the Doctor
Ironic
Sympathetic Character
Smiling
I Remain
You Oughta Know

Encore:
Your House
Uninvited
Thank U

On Thursday (Oct. 7), Tears for Fears announced their return to rule the world once again with their long-awaited seventh album The Tipping Point. Their first new album since 2004, The Tipping Point is a reflection of the pop rock duo’s personal and professional “tipping points” and is set to arrive Feb. 25 via Concord Records.

In anticipation, Tears for Fears duo Roland Orzabal and Curt Smith also dropped the title track and music video inspired by Orzabel’s own life and struggles with grief and the loss of a loved one. The music video, directed by Matt Mahurin, conveys the imbalance of death and disease through dark imagery.

Despite their legendary status, the band opens up about their failed attempts at artistic compromise with management suggestions to work with “hit songwriters.” Ultimately, this cycle came to a halt with Orzabel stating, “That pressure and tension divided us not just from our management, but from one another too.”

This album was created alongside Tears for Fears’ longtime collaborator Charlton Pettus, with songwriters and producers Florian Reutter and Sacha Skarbek. Smith also shared, “If that balance doesn’t work on a Tears for Fears album, the whole thing just doesn’t work. To put it in simple terms, a Tears for Fears record and what people perceive to be the sound of Tears for Fears  is the stuff we can both agree on.”

The Tipping Point is available for preorder now. Watch the video for “The Tipping Point” and find the album track list below.

The Tipping Point  track list:

1. No Small Thing
2. The Tipping Point
3. Long, Long, Long Time
4. Break The Man
5. My Demons
6. Rivers Of Mercy
7. Please Be Happy
8. Master Plan
9. End Of Night
10. Stay

Additional Tracks On The Deluxe CD Edition

11. Let It All Evolve
12. Secret Location
13. Shame (Cry Heaven)

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