This week, Olivia Rodrigo scored her second No. 1 debut on the Hot 100 (after “Drivers License”) with “Good 4 U,” the third single off her acclaimed freshman album Sour. The feat makes Sour the first debut album ever to score two No. 1 debuts on the pop chart.

“Good 4 U” racked up 43.2 million U.S. streams and sold 12,000 downloads in the week ending May 20, according to MRC Data, while also drawing 3.8 million radio airplay audience impressions in the week ending May 23. The song also debuted atop the Billboard Global 200 and at No. 5 on the Billboard Global Excl. U.S. tally.

Explore the team of musicians, producers and more behind the track with recording credits provided by Jaxsta below.

Artists:
Main Artist – Olivia Rodrigo

Songwriters:
Composer Lyricist – Daniel Nigro
Composer Lyricist – Olivia Rodrigo

Producers:
Producer – Alexander 23
Producer – Daniel Nigro

Production Team:
Drum Programming – Alexander 23
Drum Programming – Daniel Nigro

Engineers:
Asst. Recording Engineer – Ryan Linvill
Mastering Engineer – Randy Merrill
Mixer – Mitch McCarthy
Recording Engineer – Daniel Nigro

Performers:
Acoustic Guitar – Daniel Nigro
Background Vocalist – Alexander 23
Background Vocalist – Daniel Nigro
Bass – Alexander 23
Bass – Daniel Nigro
Electric Guitar – Alexander 23
Electric Guitar – Daniel Nigro
Synthesizer – Daniel Nigro

Labels:
Distributor – Universal Music Group
Label – Olivia Rodrigo PS / Interscope / Geffen

Explore the full “Good 4 U” credits on Jaxsta here.

LONDON – The U.K. faces another lost summer of cancelled festivals unless the government steps in to provide urgent financial support, a report from Parliament’s Digital Culture, Media and Sport Committee warns.

The report backs calls from across the live industry for a government-backed insurance scheme that would cover the cost of last-minute cancellations as a result of COVID-19 for music events scheduled to take place after June 21. That’s the earliest possible date that the British government has said that concerts and festivals can resume without restrictions in the U.K.

Despite repeated calls from live execs for the government to introduce insurance protections in the U.K., ministers have ruled out such support before all pandemic-related restrictions are lifted. That would be too late for festival promoters looking to stage events later this summer, says the DCMS committee, which is also holding a separate inquiry into the streaming business. (The results of that probe are expected to be published in the coming weeks.)

“The vast majority of music festivals do not have the financial resilience to cover the costs of another year of late-notice cancellations,” said committee chair Julian Knight in announcing the inquiry’s findings. “If the commercial insurance market won’t step in, Ministers must, and urgently.”

Similar government-backed insurance schemes exist in the Netherlands, Belgium, Austria and Denmark, and, after months of delays, were recently finalized in Germany. They provide a much-needed safety net for promoters committing non-recoupable upfront costs for future events amid the uncertainty of a pandemic.

The committee’s inquiry into the future of U.K. music festivals began on Nov. 6, with Massive Attack’s Robert Del Naja, Paul Reed, chief executive at the Association of Independent Festivals, and Sacha Lord, co-founder of Parklife festival, among the execs called to give evidence before members.

UK Music CEO Jamie Njoku-Goodwin welcomed the committee’s recommendations and said the report arrived at a “make or break moment for this year’s summer festival season.”

In 2019, almost 1,000 music festivals took place in the U.K., attended by more than five million people and contributing £1.7 billion ($2.4 billion) to the economy, according to the umbrella industry association LIVE. Last year, all but a handful of socially distanced events were cancelled as a result of COVID-19, leading to a 90% fall in revenues.

This year has also seen the cancellation of more than a quarter of U.K. festivals with capacities of 5,000 or more, including Glastonbury, Download, BST Hyde Park and Bluedot, according to research cited by the committee.

Many more cancellations will follow if insurance is not immediately provided, with independent promoters and festivals hardest hit, the committee says. “Without the backing of large, transnational companies, they cannot take the financial risk,” says the final report. It goes on to criticize government ministers for refusing to “take multiple opportunities to address the market failure” around insurance provisions for live events.

Promoters are feeling the pressure. According to the Association of Independent Festivals, for a festival taking place in early July organizers will have paid around 40% of total costs by June 14 – the date when the government is due to announce whether restrictions are to be lifted one week later.

Without some form of insurance, “whatever happens with the reopening timetable, the vast majority of events could pull the plug in the coming weeks,” says Greg Parmley, the CEO of LIVE.

Despite the ongoing uncertainty, the U.K.’s vaccination effort — which has so far seen 70% of British adults receive at least one COVID-19 vaccine shot – has given execs some cause for hope that Europe’s largest touring market will reopen by mid-summer, despite a recent rise in COVID-19 infections relating to the Indian variant.

Two of the U.K.’s biggest festivals — the 185,000-capacity dual-site Reading and Leeds festivals headlined by Liam Gallagher, Stormzy and Post Malone and the 70,000-capacity Creamfields — sold out their late-August dates. A number of other festivals that traditionally run between May and July, such as Isle of Wight, All Points East and Neighbourhood Weekender, have rescheduled to later in the summer.

Meanwhile, a 10,000-capacity, three-day “Download Pilot” festival run by Festival Republic/Live Nation — headlined by Frank Carter & The Rattlesnakes and Enter Shikari — is scheduled to take place at Donington Park, Derby June 18-20 as part of the second phase of the government’s Events Research Program – a series of pilot concerts set up to provide scientific data on how small and large-scale events can safely resume.

The first phase of the program saw two club nights take place in Liverpool as well as a one-day music festival, headlined by Blossoms, in front of 5,000 fans. Ticket holders were encouraged to take a PCR test on the day of the event and a second one five days later. Having analyzed the data, public health officials found that the events did not cause any detectable spread of Covid-19 across the region.

Reflecting on the Events Research Program, the DCMS committee report said that despite initial positive data it was “not confident the pilots will deliver the evidence needed in time to lift all restrictions on live events from 21 June.”

Other recommendations made in the 40-page report include tougher measures requiring festivals to reduce their environmental impact and a change in legislation to allow illegal drug-checking services to operate lawfully at U.K. festivals.

The report also addresses some of the barriers that exist for British and European touring artists as a result of the U.K. leaving the European Union. It warns that tours and festivals are at risk “unless the Government finds a solution to Brexit-related costs and complexities.”

Ministers now have eight weeks to respond to the committee’s findings. Although they aren’t obliged to enact its recommendations, they are expected to engage with them.

A prominent Lebanese singer and composer known for his strong opinions said he has been deported from Saudi Arabia after a 50-day detention — mostly in solitary confinement — because of opinions expressed online in support of Lebanon’s president and his ally the Iran-backed Hezbollah.

Samir Sfeir arrived in Beirut Thursday from Saudi Arabia. He looked haggard and grizzled — having lost his trademark long black bob. He also said he was forgiving of the authorities in Saudi Arabia, telling The Associated Press in a telephone call that he is holding no grudge.

Sfeir, who had residency in the kingdom for five years, said he is now banned from returning.

“I was bothered by the manner. I wish they just told me to leave and not come back. I would have done it,” he said.

Sfeir said he was “a political prisoner” in the Kingdom and his captors only questioned him on political issues, including his links to Hezbollah and President Michel Aoun. No charges were pressed, he said.

“My investigator told me that I am making political statements,” Sfeir said. “In their system, they don’t have such thing. They disapproved.”

After several interrogation sessions by different Saudi investigators, Sfeir was released and sent to Lebanon. Other than solitary confinement, Sfeir said he was treated respectfully. His wife, Marie, told a local TV station that Sfeir refused to eat in the first days of his detention and didn’t have his medicine.

There was no official comment from Saudi Arabia about the reasons and conditions of his detention and release.

Sfeir’s detention raised concerns at home that he was the latest victim of rising tension between Lebanon and its traditional ally, Saudi Arabia, which has increasingly used pressure, instead of assistance, in dealing with the small Mediterranean country where the Iran-backed Hezbollah dominates.

Only last month, the kingdom barred all fresh produce arriving from Lebanon from entering Saudi Arabia after drug smuggling was found in such shipments. It was a sharp measure that dealt a major blow to one of the main sources of foreign currency to the embattled Mediterranean country.

Tension between the two regional powerhouses — Saudi Arabia and Iran — often translated into a deadlock in decision-making in Lebanese politics. Saudi Arabia, which is seeking new allies in Lebanon, has imposed sanctions on Hezbollah, labelled a terrorist group by the United States and other Gulf countries.

Sfeir said he was the victim of an online smear campaign that used his old tweets and TV comments which he claimed were misrepresented to appear offensive to the kingdom. Sfeir said his investigators viewed some of his statements as offensive to Lebanon’s army.

Sfeir is known for his political statements in the media and on other platforms to criticize opponents of Aoun, and has expressed his unwavering support to Hezbollah as a defender of the country’s unity. He said the alleged smear campaign was launched after he posted a picture of himself receiving a vaccine in Saudi Arabia — something his detractors thought he did not deserve.

“Social media and electronic flies [armies] are ruining things,” he said. “They asked me many questions … They said, I am not allowed to be offensive to any Arab country.”

It’s the battle of the founders this weekend, as Timbaland and Swizz Beatz face off in the next Verzuz event, going down Sunday night at 8 p.m. ET.

The pair first dueled onstage in 2018 at the Hot 97 Summer Jam in East Rutherford, N.J., as part of a producer clash battle — long before Verzuz premiered virtually in 2020 amid the COVID-19 pandemic.

The superproducer rematch follows the girl-group vocal-off between SWV and Xscape that went down May 8 and the Easter Weekend face-off between The Isley Brothers and Earth, Wind & Fire.

Co-created by Timbaland and Swizz Beatz as a form of socially distanced entertainment in the midst of COVID-19, Verzuz is now in its second season. In recent months, we’ve seen Method Man vs. Redman and D’Angelo & Friends, as well as Ashanti vs. Keyshia Cole, Jeezy vs. Gucci Mane, and E-40 vs. Too Short.

Speaking of Tim and Swizz, they made industry headlines in March when news broke that Verzuz had been acquired by the Triller Network, parent company of the Triller app. While Saturday night’s Verzuz will still be watchable on Instagram Live — as every battle has been since the start — fans can also check it out on Triller or with the FITE streaming app.

You can watch it all go down Saturday night, May 8, at 8 p.m. ET/5 p.m. PT on VerzuzTV’s Instagram Live, or you can also stream the battle with Triller or the FITE app.

This week in the wide world of dance we saw the launch of a new collaborative label from famed Ibiza teche fête CircoLoco and Rockstar Games, we caught up with Alison Wonderland about her recent social media break, we chatted with Spotify’s Ronny Ho about in honor of AAPI Heritage Month, we found out what Prince William thought of Kate Middleton’s DJ beat (tl;dr: he didn’t love it) and we celebrated the 30-year anniversary of Crystal Waters’ house classic “Gypsy Woman (She’s Homeless)” hitting No. 1 on Dance Club Songs.

In other moves and grooves, Ultra Music Festival got the green light to move back to downtown Miami in 2022, Martin Garrix hit the Dance Electronic Songs chart with his U2 collab, Skream told us about his days as a adolescent club kid and we tracked down the dozen best Memorial Day Weekend events happening online and across the U.S.

And, of course, we’ve got the best new dance tracks of the week. Let’s dig in.

Sofi Tukker x Amadou & Mariam, “Mon Cheri”

Dance scene busy bees Sofi Tukker link with legendary Malian husband and wife duo Amadou & Mariam for a hot track that’s a true sonic melting pot. Produced between Paris, Mali and Sofi Tukker’s base in Florida, the song is sung in Portugese, French and Bambara, the national language of Mali. The track sounds like all of these places too, fusing African percussion, Brazilian rhythms and good old Florida synth into a sophisticated, joyfully energized vibe. Even better is that “Mon Cheri” is a good time for a good cause — the track comes from the forthcoming Red Hot + Free compilation, which benefits The Ally Coalition, Trevor Project and SAGE, groups working for LGBTQ equality, suicide prevention in LGBTQ youth, and the elderly LGBTQ community affected by HIV/AIDS.

“This song is a dream come true,” Sofi Tukker gushes in a statement“About a year ago, when Red Hot approached us about doing a collaboration, they asked us who our dream collaborators would be. We said Amadou & Mariam. Soph grew up listening to Amadou & Mariam all the time and in college, studied West African dance and music. We couldn’t believe it when they came back to us saying they’d be interested….his is one of our favorite songs we’ve ever made and couldn’t be more grateful to Amadou & Mariam for sharing it with us!” – KATIE BAIN

Solomun, “Never Sleep Again”

House hero Solomun has long been a proponent of the idea that music is better when shared. His Solomun +1 event series sees him paired on stage with a like minded artist, and he’s hosted some of the best names in the house, tech-house and techno scenes. How fitting that his sophomore album, more than 10 years in the making, comes after a year-and-a-half of social isolation. 

“The album title Nobody Is Not Loved speaks to the idea that music loves everyone” Solomun is quoted in a press release, “no matter who you are, what you look like or what you believe.” The 12-track offering is lively and inviting, a celebratory collection of cinematic grooves and pounding rhythms with vocal features from Oscar-winner Jamie Foxx, Planningtorock, Zoot Woman and more. We’re particularly fond of “Never Sleep Again,” which is mostly a Kraftwerkian instrumental save for an equally-Kraftwerkian robot voice that brings the album concept to its thematic peak. Who among us doesn’t have a story to tell of their first wild night on a dancefloor; how they finally understood the appeal of electronic music and in that moment dedicated their life to the pursuit of disco-laced bliss? “Never Sleep Again” is pretty much that in three minutes and 18 seconds. — KAT BEIN

Drama, “Don’t Hold Back”

Drama’s new song “Don’t Hold Back” feels like being stuck between two places. The electronic-R&B hybrid, the Chicago duo’s first solo release since their 2020 debut album Dance Without Me, has production that radiates summer chill with its warm groove, sax riffs and soft vocal hums; while member Via Rosa’s icy yet impassioned vocals (which recently featured on Gorgon City’s “You’ve Done Enough”) evoke wintry sadness and longing. The singer and her subject are similarly frozen in transition, past the honeymoon phase of their relationship but afraid of going further for fear of what could happen when you allow yourself to be raw and vulnerable, for better or worse.
“The song is a reminder to keep moving, speak your truth, and be fearless,” Drama write in a statement. “We wish for and work towards certain people or successes in life, and when they arrive, we often look at ourselves with doubt. ‘Don’t Hold Back’ tells us to, quite frankly, not to hold back – to let go and trust ourselves as we grow.” — KRYSTAL RODRIGUEZ

Bakermat Feat. LaShun Pace, “Ain’t Nobody” 

House music is church for most of us, and Bakermat’s latest single “Ain’t Nobody” takes that notion seriously. A bright, bubbly, horn-laced jam full of thumping drums and a powerful gospel choir, “Ain’t Nobody” is the soulful sing-along that aims to cure your quarantine blues. It’s also the lead single to the Dutch DJ’s forthcoming fourth LP, The Spirit.

“Since ‘Teach Me’ back in 2015, I really wanted to make a gospel inspired tune again,” Bakermat is quoted in a press release. “I absolutely love mixing genres, and when I stumbled upon the original acapella by LaShun Pace, I immediately began writing chords. I’m glad she approved me to release the end result.” He says the track is “best enjoyed in sunny environments with positive people,” and we’re sure he’s right on the money about a song that sounds like summer on a stick and arrives in a moment when we’re all ready to get outside and let the sunshine on our skin. — K. Bein

Eagles & Butterflies Feat. Shey Beba, “Rebel”

In 2019, British producer Eagles & Butterflies had a surprise summer hit with his ‘80s-influenced song “Can’t Stop,” which in addition to charting airplay in Ibiza received backing from Solomun, Dixon and Pete Tong. Two years later, he’s back with its spiritual sequel, “Rebel” featuring Shey Beba, which sounds like what would happen if Tame Impala made music for playing in grungy, hole-in-the-wall nightclubs. Beba’s vocals take flight over the psychedelic, rock-tinged beat while synths with neon auras cascade into infinity. Though “Rebel” has more traditional song structure than firm club bones, its third act could easily set a dance floor ablaze, rushing in with tangles of searing electro synths dripping in acid and angst.  — K.R.

박혜진 Park Hye Jin Feat. Clams Casino & Take a Daytrip, “Y Don’t U”

Today Korean sensation 박혜진 Park Hye Jin leans into the stonier side of her output with “Y Don’t U” a collab with mainstay producer Clams Casino (known for his work with A$AP Rocky, Mac Miller and FKA Twigs, along with his own productions) and Take a Daytrip (Travis Scott & Kid Cudi, Lil Nas X.) The song extends the coolly hypnotic vibes of her lauded 2020 How can I EP, with Hye Jin rapping rhetorical questions about the nature of commitment in Korean and English. “I first recorded it when I lived in London,” the producer says in a statement. “I remember when I was a little more innocent and pure. Hye Jin is more innocent when she falls into such a love; not anymore though I guess.” Turn this one up if you can relate. – K. Bain

A 2017 Key West murder case ended Thursday in a plea deal that left the killer with a life sentence instead of the death penalty she was facing if convicted … Click to Continue »
Police officers were investigating a wild car chase and shooting near Casino Miami Jai-Alai that left at least three people injured on Thursday evening. Surveillance obtained by the Miami Herald … Click to Continue »

Elton John was honored at the iHeartRadio Awards at the Dolby Theatre in Los Angeles on Thursday night (May 27), with an Icon Award, as well as a medley tribute performance from H.E.R., Brandi Carlile and Demi Lovato.

John was introduced first by host Usher as “one of the greatest artists of all time,” and then by Chris Martin of Coldplay — who jokingly pretended to read a teleprompter full of factual inaccuracies, calling him one of the greatest guitar players of all-time and shouting out his classic hits “Uptown Girl” and “I Just Called to Say I Love You.” Finally, after a video career montage, Lil Nas X saluted him as a trailblazer and thanked him on behalf of all the people he inspired.

Then, the tribute performance began, with H.E.R. at the piano banging out Elton’s “Bennie and the Jets” — also singing the Goodbye Yellow Brick Road smash, and later whipping out the guitar for a ripping guitar solo. Then Carlile walked out to center stage in a very ’70s blazer and gold buttoned-down shirt to perform his mega-ballad “Don’t Let the Sun Go Down on Me.” Finally, Demi Lovato took the stage in John’s trademark square glasses to perform his ’80s classic “I’m Still Standing” — even handing the mic to Sir Elton for him to fill in on one lyric.

After the medley and a time-filling return from Chris Martin, John accepted his Icon Award — raving about how radio is “where you hear things… where you discover things” and talking about the importance of promoting new artists on his own radio show. He also gave a special thanks to Lil Nas X, calling him “a wonderful artist [with] balls of steel.”

Doja Cat paid homage to sci-fi classics including Signs, Poltergeist and the X-Files during her extraterrestrial (and extra delightful)  performance at the 2021 iHeartRadio Music Awards.

Performing a medley including “Streets” from her 2019 LP Hot Pink and “Kiss Me More” from the forthcoming Planet Her, the singer launched the performance by sitting directly in front of an old school television like that little girl from Poltergeist, until the camera panned back revealing that she was in a cornfield that was subsequently invaded by a fleet of little green men (and what looked like a few women) that also just happened to be really excellent dancers.

Doja, dressed in a kind of skimpy wedding gown, got down with her extraterrestrial cadre, twerking in the middle of a crop circle while delivering the hits. What at first seemed to be a spotlight lit up the stage, with Doja rising off the stage and slowly levitating towards what was then revealed to be the alien mothership, which had presumably arrived to take her back to her home planet.

Altogether, the performance struck the balance between weird and wonderful that’s become Doja’s calling card.

Usher pulled double duty Thursday night (May 27) by hosting the iHeartRadio Music Awards and performing his biggest hits over the last 20 years.

A harpist delicately began Usher’s heavenly performance of “Confessions” before he brought “Love in This Club” — but not actually to the club. Despite transforming Los Angeles’ Dolby Theatre into his personal club, replete with Usher Bucks he doled out to Megan Thee Stallion (who won best collaboration for her “Savage” remix, featuring Beyoncé) to the floor-length fur coat he walked out in, a group of disco ball-resembling dancers ushered him into the desert through a rainbow-colored arched doorway that was on the stage.

He proceed to slide onto the hood of a sky blue convertible for “U Don’t Have to Call” that matched his regal Game of Thrones-esque jacket and short get-up before the “DJ Got Us Fallin’ in Love” for a desert day party.

Fans “Scream”-ed when they saw the R&B hitmaker dancing on a see-through floor, with the camera capturing his footwork from below. But up above, Usher made it rain back on stage with special guest Lil Jon, who got everyone in the venue singing their 2004 Billboard Hot 100 No. 1 hit “Yeah!” while dancing on top of the convertible that magically reappeared.