Anyone who skipped Charli XCX and Troye Sivan’s Monday (Sept. 23) night concert at Manhattan’s Madison Square Garden will likely spend the rest of this week brat-green with envy. Not only did surprise guest Addison Rae beam in to duet with the Sweat Tour co-headliners on her bubbling viral hit “Diet Pepsi,” but Lorde descended from the heavens to give the Internet-crashing “girl, so confusing” remix its live debut.
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While the New Zealand trailblazer previously attended Charli XCX’s Brooklyn Paramount concert in June, Monday night marked the first time that the two performed their therapeutic Hot 100 hit together. The historic moment was felt throughout MSG – quite literally, as a wave of sound from shrieking fans hit your eardrums the moment it became clear that Lorde herself had emerged from beneath the stage for the remix duet.
If the “girl, so confusing” studio recording sounds like an olive branch, earnestly offered but swaying unsteadily in the wind, the live performance at MSG made it feel like the duo’s relationship was truly taking roots. Charli, who previously dominated the stage like a wildcat on the prowl, politely held back while Lorde delivered her confessional verse. But by the time they hit the “you walk like a bitch” lyric, both singers were strutting in unison toward the back of the stage with the kind of confidence and verve usually reserved for models during Fashion Week.
Addison Rae, the TikTok star-turned-pop singer whose viral hit “Diet Pepsi” is quickly establishing her as a pop singer to watch, also enjoyed a huge roar of applause when she made her surprise entrance to sing the aforementioned fizzy single. Even better, Charli and Troye joined in to provide vocal support (Sivan’s voice was particularly well-suited to the sugary song). And those two weren’t the only surprise guests: During “Apple,” Charli turned the cameras upon the audience, where Kelley Heyer – the creator behind the viral “Apple” dance on TikTok – was front and center, ready to deliver her signature moves while flaunting a brat-branded skirt.
Those pinch-me moments were social-ready highlights, but even without special guests, the Sweat Tour should go down as a model for other pop stars to follow. Instead of having one co-headliner’s set followed by the other’s, Sivan and XCX traded the stage every three-to-four songs, offering up a seamless, unpredictable two hours of sensual, thumping dance-pop that felt more like a Bushwick gay bar or a U.K. rave than Midtown Manhattan. Not too surprising given the spots where Charli cut her chops, but still quite an achievement to take an arena famous for Billy Joel residencies and Knicks games and turn it into a queer party.
A lot of the credit for the Sweat Tour’s unrepentant, inspirational and liberating queerness goes to Sivan. From the moment he hit the stage, it was clear that the Aussie singer-songwriter has found the perfect negotiation between the sweetness of the voice, the vulnerability of his lyrics and the dancefloor-ready grooves that make for a proper party.
Opening the night with “Got Me Started” (from Billboard’s third-best album of 2023, Something to Give Each Other), Sivan set the tone when he dropped to his knees toward the end of the song, crooning the last few lyrics while one of his well-toned backup dancers dangled the microphone suggestively in front of his crotch. Shades of Madonna, certainly, and not the only time during the night that Sivan drew on past pop icons, from his *NSYNC-esque choreography on “My My My” to some Shania Twain-styled line dancing during the evening’s encore. But despite paying homage to pop icons before him, Sivan’s Sweat set stood on its own – no small feat given that Charli’s setlist was centered around the summer-defining brat album.
Toward the end of the night, Sivan and XCX duetted on both “1999” as well as their “talk talk” remix. While the latter is certainly an unstoppable banger (though it’s kind of funny to watch the two cosplay seducing each other while singing the sex-drenched lyrics), the former offered up the emotional core of the night. As a platform stage housing both raised above the MSG crowd, Troye and Charli traded vocals on the nostalgic banger and fed off each other’s energy in a loose, friendly fashion. Both have been low-key luminaries of the last decade in pop, and we’re lucky to have a co-headlining tour that finds both of them at singular (and sweaty) artistic peaks.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-24 06:13:412024-09-24 06:13:41Charli XCX & Troye Sivan Bring Out Surprise Guests Lorde & Addison Rae As Sweat Tour Drenches NYC
With P1Harmony‘s new album Sad Song released on Friday (Sept. 20), the K-pop boy band continues to rise in creative maturity and chart success. Last summer’s Harmony: All In debuted at No. 51 on the Billboard 200 to mark the group’s first appearance on the albums chart, while their first full-length LP Killin’ It, released in February, peaked at No. 40 entry and secured their first No. 1 on Billboard’s World Albums chart. The Christopher “Tricky” Stewart–produced “Fall in Love” earned them a certified top 40 on the Pop Songs airplay chart and, now, the sextet is taking even bigger steps—on stage as well as behind the scenes.
For Sad Song, P1Harmony took a more hands-on approach than ever. “We’ve never been this involved with an album before,” the group’s leader Keeho explained to Billboard during an early album preview in Los Angeles. “It’s a huge stepping stone from the other albums.”
Keeho and his band mates Jiung, Theo, Intak, Soul and Jongseob say the late-summer weather of September marked the perfect chance to finally experiment with Latin music on the title track single, while the EP also brings their first sub-unit track with “WASP,” a standout rap cut performed by Intak and Jongseob.
“Now that we’re becoming more senior, we’re starting to hear the company listening to what we have to say and trusting us a lot more,” Theo says of working closer with their agency, the influential K-pop agency and talent management firm FNC Entertainment. “I’m in a much more comfortable of a position to really talk to our in-house staff about what we want to do .”
Beyond the actual music itself, Intak stepped up to help develop the stage choreography for “Sad Song” (“I really wanted to capture, ‘How can we look more emotionally invested?’” he says). At the same time, Theo’s expanding role into a musical director of P1Harmony’s live shows specifically inspired Jiung to produce the EP’s rock concert anthem, “Last Call.”
As P1Harmony look to climb higher on the charts, diving deeper into their creative instincts is producing more confident and comfortable energy in the boy band who aren’t afraid to speak up for their interests without abandoning what has made them unique since Day 1.
Read on for more into P1Harmony’s process of producing their latest EP, Sad Song.
Billboard:Tell us about “Sad Song” and how this title track single fits within the album?
Keeho: I’m sure you already know, but P1Harmony loves to experiment with new genres and try to mix in different types of vibes. I feel like we never want to stay in one place. We’re always trying to move around, but also add P1Harmony’s color into it, right? The whole Latin inspiration was something that we really wanted to experiment with and I feel like we really brought it out with this title track [single]. It’s out in September so I feel like it’s right when it’s still warm, but starting to get cooler — I feel like with the weather’s vibe, it’ll just suit the song so well.
Especially with this album, we did a lot, a lot, of experimenting within the the songs in the album as well too. We’ve never been this hands-on with an album before. It’s a learning curve, so we’re also very scared. We have one song called “WASP,” which is Intak and Jongseob’s [as a] sub-unit, so the two of them are just rapping. Actually, it’s one of my favorite songs on the album. You’ll listen to the album and it’ll be a completely different vibe. So, it’s like really cool that they have that in there. Also, Jiung and I did separate songs for the album. He did “Last Call,” and I did “It’s Alright.” Mine is a little bit of a reggae-like guitar vibe, but he is more like a band guitar vibe.
On the albums before, we usually only had one song where we would be very involved in its production, but this time, we’ve had three. So, it’s a huge stepping stone from the other albums; we’re really excited to see what the fans are going to think. I’m a little scared, but we’re really, really excited. And this is the first time where our mini album has seven tracks. So we’re including the English version of “Sad Song” in the album as well, so that’s three out of seven tracks that we are very deeply — like whole foot in — involved.
But P1Harmony has always been involved in music, especially when it comes to songwriting. What was so different this time?
Keeho: Before, I think it was more like, “We want to have a song that’s this vibe” and we kind of just write to the tracks. But this time, we were really in the structure of it, so we talked to producers and were like, “This is a vibe we want, this is a melody we want,” and we would actually be in the song camps with like other really great amazing writers and producers. We would sit down with them, bounce off each other’s ideas and really be a part of this song-making process. Whereas [the past] was kind of like, “This is the vibe; you guys kind of just write on top of it.” And I feel like Jiung and Jongseob also have a lot to say about it because, while I wouldn’t say they were restricted, I would say that there’s definitely a limit to what they wanted to do creatively. But I feel like this time they were allowed to kind of run wild and be able to really just do what they want. This is our first time having a unit song as well, in general, too; I mean, creatively, they gave us a lot of freedom this time.
Jiung: Actually, I talked a lot about our album with Theo. Because he does a lot of things for the stages of our concerts and tours. So, I asked him, “What do we need for our concert? What do we need for the next tour?” he said, “We need a song that can hype people up — make people enjoy us on stage even more and just jump.” I then made the concept of the song [“Last Call”], then I talked with our producer and the top liner from the very beginning of the process. Knowing that we would use it for a certain occasion, it was a lot easier for me to create my song and map out what I wanted to make sonically. Theo is really the one who sets up our whole setlist for our tours and conceptualizes and creates the whole show.
Theo, have you always been interested in musical direction, or is this a role you naturally stepped into?
Theo: I’ve always been interested in musical directing and loved the idea of musical shows and concerts. It’s not something I did out of the blue, but I’ve been coming up with ideas and communicating with the company since the beginning. And now that we’re becoming more senior, we’re starting to hear the company listening to what we have to say and trusting us a lot more in what we want to do for shows, so a lot of my ideas have come to life. Now, I’m in a much more comfortable of a position to really talk to our in-house staff about what we want to do for our next tour, the current tours, and what we’re doing right now. I think we’re gradually expanding our horizons.
Keeho: Yeah, they’re really listening a lot now, and Theo is always at the forefront of that.
I love that. Sad Song is your seventh mini album. Previously, you had three Disharmony EPs, three Harmony EPs, KillinIt was a full album. Is this the beginning of a new era or trilogy?
Keeho: I think our trilogies, like Harmony and Disharmony, and then what’s happening after Killin’ It are very two different things. I had talked to our people because I’m a part of a lot of the visualization and conceptualizing of the albums. With the storytelling aspect of it, I told our company that it’d be really dope to not make trilogies anymore but kind of make it, like, a standalone project each time. That way for each album, we can really bring in something new and different without having to feel like we need to tie everything together. It gives us more freedom to creatively create something new just for the album without having to be like, “Okay, but how is this going to tie into ‘Killin’ It’?”
Visually, it’s very different too. But as you know, we debuted with a movie and the whole story of the six of us being superheroes that are coming together to save the world figuratively, and also literally at the same time with our music, I wanted to keep that concept going. So, even if the songs and the concepts are different, I still wanted to bring [the idea] that we’re still superheroes. Visually, I think you’ll be able to see it in the music video and the concepts. That’s the one thing that we’re keeping consistent.
Tell me about creating the choreography and what we should look out for?
Soul: By the time of KCON in July, we had learned all the choreography for Sad Song tracks. Difficulty-wise, “Sad Song” is not that difficult compared to our other releases because I feel like in the chorus, there’s a simple point choreography that anyone can really just look at and kind of understand. Intak was very involved in how the choreography was made this time.
Intak: Yeah, when I listened to the song, I really wanted to capture, “How can we look more emotionally invested in the stage?” So, I thought about how it’s called “Sad Song,” but there’s also a lyric where it says “mad song,” and we repeat those two lyrics a lot. When creating the choreography, I wanted to be able to portray that on stage as well so that when people see they can just understand the sadness and the madness in the choreo. I talked to our performance director back in Korea and we really kind of curated this choreography to hopefully portray that emotion.
Keeho: And if I put my little two cents in, we actually get “skeleton” choreographies from, like, four different dance teams. That’s what’s really fun about K-pop. I don’t know if other people do it too or if other dancers do it, but we’ll pick out choreographers that we really think are super cool and good at what they do, and ask them to create a choreography for the song. Then, we’ll have four different choreographies for the same song. And Intak and the creative director would then sit down, look at the videos, and sort of mix and match to see which choreo suits us best and how we can make it better, right? Intak was super, super involved in that process.
I remember when P1Harmony started, you shared how it was very important for you not to lose yourselves or feel like you’ve sold out. As you go more global and experiment with different genres, how have you stayed true to yourselves?
Keeho: Honestly, I don’t think it’s that difficult anymore. I feel like it’s become really simple and easy for us because we really understand that no one can be us — and we can’t be anyone else. As long as we’re really in tune with what we think is cool, what’s hot, and what we feel is good, that automatically becomes P1Harmony.
So, no matter what you throw at us — it can be rock, pop, R&B, jazz, Latin — if it goes through us, it still comes out as P1Harmony. And I feel like that’s so simple and easy now because we’re so confident and so in tune with what we know our strengths and our weaknesses are; I feel like it’s not something we have to think about; whatever we do, there’s always that feeling of P1Harmony in there.
Since we’re almost four years into our careers now, I feel like it’s more of a subconscious thing. A couple years ago, I would be like, “Okay, how do we make this ours?” or “If this is this experimental, how do we make it without sounding like someone else?” That was always something in the back of our heads, but now it’s coming through subconsciously.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-24 05:06:232024-09-24 05:06:23P1Harmony Discuss ‘Huge Stepping Stone’ Towards Creative Freedom In ‘Sad Song’ Album: ‘We’ve Never Been This Hands-On’
SYDNEY, Australia — Empire now has an outpost in Australia.
The Bay Area hip-hop juggernaut recruits label veteran Cameron Walsh to lead its activities in Australia as Australian territory manager.
“I’m privileged and elated to be joining the empire that is Empire, leading the label’s expansion into Australia,” Walsh comments on LinkedIn. “Empire Australia is open for business.”
Based in Sydney, Walsh brings to the role a stack of experience accumulated from major and independent labels, from Sony Music to Universal Music, EMI, Comes With Fries, and most recently with [PIAS] Australia/Inertia Music, where he served as director of label services & head of digital – Australia, New Zealand.
Empire founder and CEO Ghazi Shami confirmed the business’ latest move during an onstage interview last week at All That Matters 2024 in Singapore.
“It was something that we were looking for, for a long time,” Ghazi said during a Q&A at Hilton Singapore Orchard. “We’re really picky about the people that we select in territories to plant the flag because they have to be representative of our ethos of our cultural composition, and there has to be some type of commitment to excellence that we perceive.”
Empire launched in San Francisco back in 2010 as a digital distribution specialist. A year later, Spotify arrived in the United States.
As its name would suggest, the company grew into a vertically-integrated powerhouse with some 250 global staff, active in every conceivable part of the music industry.
Ghazi’s company is recognized as a force in hip-hop and the surging Afrobeats genre. This year, Empire has enjoyed a smash hit this year with Shaboozey’s “A Bar Song (Tipsy),” which logged multiple months at No. 1 on the Billboard Hot 100, smashing chart records along the way. The single also went to No. 1 on Australia’s ARIA Chart and cracked the top 10 in the U.K.
“The music that they’re making here is, honestly, the most culturally important thing I’ve done in my entire career, and I’ve been in the music business since I was 14,” Empire founder/CEO Ghazi told Billboard in 2023. “These guys are the kings of where they come from, and they’re about to be the kings of everywhere if we keep doing what we’re doing. It’s phenomenal to see what’s happening.”
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Halestorm and I Prevail’s collaboration “Can U See Me in the Dark?” is the newest No. 1 on Billboard’s Mainstream Rock Airplay chart, rising a spot to top the tally dated Sept. 28.
The song becomes Halestorm’s seventh No. 1 and first since “The Steeple” ruled for a week in June 2022. The Lzzy Hale-fronted band ties the Taylor Momsen-led The Pretty Reckless for the most rulers by women or women-fronted acts in the Mainstream Rock Airplay chart’s 43-year history.
I Prevail notches its third No. 1 and first since “Bad Things” in November 2022.
“Can U See Me in the Dark?” marks the first Mainstream Rock Airplay No. 1 by at least two multi-person entities – Halestorm is a four-piece band; I Prevail is a quintet – since Metallica and the San Francisco Symphony led with “All Within My Hands” in September 2020.
Concurrently, “Can U See Me in the Dark?” lifts 10-9 on the all-rock-format, audience-based Rock & Alternative Airplay chart via 2.7 million audience impressions, up 15%, in the week ending Sept. 19, according to Luminate. It’s I Prevail’s highest-charting song, surpassing the No. 10 peak of “Bad Things”; Halestorm’s best remains “The Steeple,” which hit No. 8.
“Can U See Me in the Dark?” is currently a standalone single that helped promote the bands’ co-headlining tour that ran from July through mid-August. Halestorm’s most recent album, Back From the Dead, peaked at No. 2 on the Top Hard Rock Albums chart in May 2022 and has earned 97,000 equivalent album units to date. I Prevail’s latest LP is True Power, which reached No. 3 on Top Hard Rock Albums in September 2022 and has earned 258,000 units.
All Billboard charts dated Sept. 28 will update on Billboard.com on Tuesday, Sept. 24.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-24 00:06:042024-09-24 00:06:04Halestorm & I Prevail’s ‘Can U See Me in the Dark?’ Tops Mainstream Rock Airplay Chart
Luis R Conríquez answers some questions during his Billboard cover shoot, including how his “Siempre Pendientes” with Peso Pluma came about and how the performance of “Martes 13” with Canelo came to life.
Luis R Conriquez:
Hi! I am your friend Luis R Conriquez, and I’m gonna be fishing answers with Billboard. Ideal vacation spot and why? I really like going to Puerto Vallarta, it’s calm. Going to the beach. I go on the yacht. I go to have dinner at a chill place, and I like the view of the hills, it’s very calm and chill. What was it like to sing “Martes 13” with Canelo Alvarez and how did that come about? This corrido was made after everything that was said in the previous fight of my friend Canelo. I was at the after party and we had met there, we hanged out and sang some songs, and the friendship continued. And he said to me, “You’re going to sing at my fight next year.” And I told him, “Okay, I’ll make a corrido for you. A good corrido for you.” We started working on it and released “Martes 13” with violin and everything. It was his most bélico exit, he says. So, Viva the Mexicans. Let’s see what’s next. Where do I see myself in 5 years? Well, over there in Paris, right? In Paris, buying some Louis Vuitton. What’s your dream collaboration? The truth is I don’t have any collaboration that I say, “Oh, I would like to do this.” I feel I admire all the artists I’ve recorded with. And if there is anyone who I feel I would like to… I greatly admire Marco Antonio Solís, and I really like his music, but I don’t see myself singing a song with him.
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Following her success with four medals at the 2024 Paris Olympics, she has reunited with Athleta to introduce an exciting new capsule collection, featuring versatile and comfortable athleisure wear. For those of you who don’t know, Biles has been sponsored by Athleta since 2021, marking a strong partnership focused on empowering athletes and women around the world. With the excitement surrounding her National Gold Over America Tour, which has captivated fans worldwide, this partnership encourages fans to embrace an active lifestyle.
On Tuesday (Sept. 17), Biles posted a video sharing the news on her Instagram account, captioning it, “LET’S 👏🏾 GET 👏🏾 HYPED 👏🏾 Y’ALL…My limited edition collection with @athleta is here — time to get moving 💪🏾🏃🏽♀️🤸🏾♀️ Tap to shop.”
This dynamic collaboration includes a range of workout essentials, such as the transcend top, sateen bomber,puff belt bag, crop bra, and more.
To make it easier for you to get your hands on Biles-approved apparel, ShopBillboard has put together a short list of our favorite pieces from the limited-edition Athleta x Simone Biles collection.
If you are looking for a form-fitting top, this Athleta Transcend Top is a great options. You can use this top for your next Pilates or Yoga class. It’s available in five different colors: Cardinal, Bone, Black, Simone Navy, and Lotus.
Take on the cold weather with this Altheta Sateen Bomber. You’ll be sure to stay warm while also level up your bomber collection looking like a fashionable gold-winning gymnast.
Keep all your essentials in one place with this Athleta All About Shine Puff Large Belt Bag. Whether you’re running errands or simply want a pouch that’s completely hands-free, you can’t go wrong with this one.
Looking for a comfortable and stylish crop top? Consider adding this form-fitting crop top to your next workout. With its shiny and sleek design, you’ll feel ready to take on your day. You can get it in five different colors: Simone Navy, Berry, Black, Spiced Cabernet, and Bright White.
Stay cozy this fall season with this Athleta Girl All Day Half Zip Hoodie. Whether you’re are heading out for a casual event or lounging with friends, you can add this half zip hoodie and layer it up any way you like.
If you are looking for pieces to mix and match this fall season, make sure to stock up on this exciting limed-edition collection. From snug, form-fitting items to a stylish bomber jacket ideal for the chilly season, you’ll find a variety of options to upgrade your activewear and while staying fashionable.
What are you waiting for? Channel your inner Olympic gold-medalist style and add one or more of these items to your fitness collection.
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Myles Smith earns his first No. 1 on a Billboard songs chart, ruling the Alternative Airplay tally dated Sept. 28 with “Stargazing.”
The song became Smith’s first Alternative Airplay entry when it debuted in June. The British singer-songwriter is the first act to reign in a first appearance this year and the first since Bad Omens with “Just Pretend” in September 2023.
Smith is also the first artist to score a first Alternative Airplay No. 1 in 2024.
Smith scores the second straight Alternative Airplay leader for RCA Records, after Cage the Elephant’s “Rainbow” ruled for two weeks. It’s the first time that a label has linked two consecutive No. 1s since April 2021, when MGK and blackbear’s “My Ex’s Best Friend” led for two weeks, followed by Imagine Dragons’ “Follow You,” both via Interscope Records.
RCA last led in succession with three titles in December 2014-March 2015: “Something From Nothing” by Foo Fighters, “Cigarette Daydreams” by Cage the Elephant and “Shut Up and Dance” by Walk the Moon.
Concurrently, “Stargazing” jumps into the top 10 of Adult Alternative Airplay (12-8) to become Smith’s first top 10, also on his first try. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it bullets at its No. 3 high with 5.1 million audience impressions, up 5%, in the week ending Sept. 19, according to Luminate.
A multi-format radio hit, “Stargazing” also lifts 18-16 on Adult Pop Airplay and 26-24 on Pop Airplay, both new best ranks.
“Stargazing” ranks at No. 6 on the latest multimetric Hot Rock & Alternative Songs chart. In addition to its radio airplay, it earned 8.3 million official U.S. streams and sold 2,000 downloads in the week ending Sept. 19.
All Billboard charts dated Sept. 28 will update on Billboard.com on Tuesday, Sept. 24.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-23 23:52:522024-09-23 23:52:52Heavenly Ascent: Myles Smith Scores First No. 1 Song With ‘Stargazing’
After 12 years of appearing on Billboard’s Adult Alternative Airplay chart, Michael Kiwanuka achieves his first No. 1, as “Floating Parade” marches to the top of the tally dated Sept. 28.
The British singer-songwriter and producer first reached the chart with “I’m Getting Ready,” which peaked at No. 8 in October 2012. He logged his previous best with “Hero,” a No. 3-peaking track in March 2020. He has earned seven career top 10s, including an ongoing streak of five in a row dating to “Love & Hate” in 2017.
Kiwanuka’s dozen-year wait for his first No. 1 marks the longest on Adult Alternative Airplay since an exceptionally fab break: The Beatles went a record 27 years, 10 months and two weeks between “Free as a Bird,” which ranked on the inaugural list in January 1996, and the coronation of “Now and Then” in December 2023.
Kiwanuka is also the first artist to claim a maiden Adult Alternative Airplay No. 1 since Pharrell Williams, the co-lead act alongside Mumford & Sons on “Good People,” in April. Prior to Smith, Noah Kahan last did so with no accompanying acts, with “Dial Drunk” in September 2023.
Concurrently, “Floating Parade” rises 26-25 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.2 million audience impressions, up 4%, in the week ending Sept. 19, according to Luminate. It’s Kiwanuka’s highest-charting song on the list, having surpassed the No. 42 high of “Rolling” in 2020.
“Floating Parade” is the lead single from Small Changes, Kiwanuka’s fourth studio album, due Nov. 15. Predecessor Kiwanuka peaked at No. 3 on the Americana/Folk Albums chart in November 2019 and has earned 100,000 equivalent album units to date.
All Billboard charts dated Sept. 28 will update on Billboard.com on Tuesday, Sept. 24.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-23 23:45:582024-09-23 23:45:58Michael Kiwanuka Collects First Adult Alternative Airplay No. 1 With ‘Floating Parade’
Incubus, Lollapalooza and music entrepreneur Steve Rifkind are among those who will be honored by Music Forward Foundation at its second annual awards brunch on Sunday, Oct. 6 at City Club Los Angeles. Music Forward Foundation is a national non-profit and Live Nation’s charity partner.
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The awards brunch will honor these six individuals or organizations:
Incubus will receive the tour award celebrating not only their music but also their philanthropic efforts through the Make Yourself Foundation. That foundation, established in 2003, supports a wide range of causes including sustainability, disaster relief and arts education.
Lollapalooza will receive the festival award for revolutionizing the music festival landscape – growing a small, innovative festival in Chicago’s Grant Park in 1991 that blended genres and introduced multiple stages into a global phenomenon, all while supporting arts education in Chicago public schools through the Lollapalooza Arts Education Fund with programs like Immersion Day and the Lollapalooza & Sueños Festival Job Fair.
Rifkind will be presented the executive award by Grammy-winning musician and producer Eric Krasno for his impact on the industry through Loud Records, SRC Records and Spring Sound. Rifkind has been instrumental in the success of such hip-hop acts as Wu-Tang Clan, Remy Ma and Mobb Deep.
BMG will receive the corporate award for its dedication to creating equitable opportunities and supporting the next generation of industry professionals. The company’s innovative approach extends to its partnership with Music Forward, providing paid internships and mentorships to diverse youth since 2020.
Actress, producer and civil rights activist Gina Belafonte and Sankofa.org will be presented the community award by actor Jesse Williams. Founded by Gina’s father, the late Harry Belafonte, Sankofa.org is dedicated to empowering artists to use their voices for meaningful change while addressing social justice issues.
Brooklyn Bowl, co-founded by Peter Shapiro in 2009, will receive the venue award. With locations in Brooklyn, Las Vegas, Nashville and Philadelphia, Brooklyn Bowl has become an institution. The venues are also a leader in sustainability, as the first bowling alley in the world to achieve L.E.E.D. certification, utilizing wind-powered lights and incorporating recycled materials.
The catered brunch will feature live performances.
The charity’s second annual golf classic is set for Monday, Oct. 7 at El Caballero County Club in Tarzana, Calif. Meals, cocktails, activations and gifting will be provided by local vendors. For more information, visit musicforwardfoundation.org.
Last year’s inaugural events raised more than $350,000 for programs empowering youth in the music industry.
Over more than 30 years, Music Forward Foundation has sought to transform young lives, inspire careers and champion a more inclusive music industry. To date, the organization has served over one million young people and provided more than $42 million in scholarships, workforce opportunities, relief funds and more.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-23 23:17:232024-09-23 23:17:23Incubus, Lollapalooza & More to Be Honored at Music Forward Foundation’s Awards Brunch
A Los Angeles man who was convicted of sending his then-17-year-old son to shoot and murder PnB Rock in 2022 has been sentenced to 31 years to life in prison, per ABC7.
Freddie Lee Trone, 42, was found guilty of one count of murder, two counts of robbery and one count of conspiracy to commit robbery in August before he was sentenced in court on Monday (Sept. 23).
PnB Rock — born Rakim Allen — was dining with his girlfriend in Sept. 2022 at a South Central Roscoe’s Chicken & Waffles in L.A. when he was approached by Trone’s son in an armed robbery attempt of his jewelry, which turned fatal after he struck Rock with gunfire. The rapper was transported to a local hospital, but succumbed to his injuries.
The prosecution ruled that Trone’s son wasn’t fit to stand trial and believe he was fulfilling his father’s orders, which led to him being charged in the case. Video footage caught Trone inside the parking lot 30 minutes before the murder.
A second defendant, Tremont Jones, was also sentenced to 12 years behind bars for his role in the murder on multiple robbery charges.
PnB Rock’s mother, Deannea Allen, made the trip to the hearing where she delivered a poignant victim impact statement addressing Trone, per Rolling Stone.
“I want to address you Mr. Trone, even though you’re talking [to your lawyer]. As a parent, I do not understand – and I’ve been trying these two whole years – I do not understand how a parent could directly put their child in danger,” she said. “I just can’t comprehend it. That one action had a ripple effect, and it has ruined many lives.”
Allen continued: “I hope that you can feel my pain, as a parent. I’ve watched your son’s life unfold. He has had a horrible life. I shouldn’t feel sorry for this young man, but I do. He has two parents, but he was in foster care. He had a rough go of it. And I shouldn’t feel bad for him, but I do. Just as a parent. I just want you to put yourself in my shoes and our family’s shoes.”
Rock’s mom also added that his 10-year-old daughter wanted to be in attendance, but couldn’t get on the plane to make the trip due to suffering an anxiety attack.
PnB Rock was just 30 years old. The Philly native meshed his melodic raps with a star-studded cast of collaborators including Nicki Minaj, the late Pop Smoke and XXXTENTACION, Lil Durk Quavo, Trippie Redd, A Boogie Wit Da Hoodie and more.
Rock broke through with his “Selfish” hit in 2017, which peaked at No. 51 on the Billboard Hot 100. He made other top 40 Hot 100 appearances the rest of the decade on YFN Lucci’s “Everyday We Lit” (No. 33), Ed Sheeran’s “Cross Me” (No. 25 and Meek Mill’s “Dangerous” (No. 31).
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-23 22:54:562024-09-23 22:54:56Father of PnB Rock’s Alleged Murderer Sentenced to 31 Years to Life in Prison: Report
