After a six-year wait, Snow Patrol is back with The Forest Is the Path, their first studio album since 2018’s Wildness.

Released today (Sept. 13), the 12-track project marks a new chapter for the Northern Irish band, showcasing their signature mix of introspective lyrics and sweeping melodies.

Produced by Fraser T Smith (Adele, Stormzy) and the band, The Forest Is the Path was written by Snow Patrol’s core trio: frontman Gary Lightbody, guitarist Johnny McDaid, and guitarist Nathan Connolly. The album’s lead single, “The Beginning,” offers a taste of the band’s evolution, with its melodic thrum and poignant lyrics: “There is only you and me in this life / And I don’t want to f— it up now.”

In a previous statement, Lightbody shared how the album reflects on love and memory, saying, “The album is rooted in reflection, introspection, and interrogation, with a key building block being the idea of looking at love from the distance of time passed.”

The Forest Is the Path also celebrates Snow Patrol’s 30-year career. “This album took us on many uncharted routes,” the band wrote on Instagram upon announcing the album.

“We honor the past, deeply… but while we honor the past, we also want to cherish the present and look to the future.”

The band will support the LP with a tour in 2025, which includes dates in the U.K., Europe, and the U.S.

Snow Patrol has made a lasting impact on the Billboard 200, with two albums landing in the top 10. Fallen Empires (2012) peaked at No. 5, while A Hundred Million Suns (2008) reached No. 9. Their 2006 album Eyes Open spent 66 weeks on the chart, driven by the global smash hit “Chasing Cars,” which became the most-played song of the 21st century on British radio, according to licensing body PPL. The track reached No. 6 on the Official U.K. Singles Chart, and No. 5 on the Billboard Hot 100, powered by a sync in Grey’s Anatomy.

Stream Snow Patrol’s The Forest Is the Path below.

Guess who’s back? Eminem is spinning the block for another round of The Death of Slim Shady about two months after his 12th studio album arrived in July.

The Detroit legend is getting spooky for Friday the 13th with the release of his The Death of Slim Shady: Expanded Mourner’s Edition. The deluxe edition gives fans another batch of track to get excited about as they hit streaming services on Friday (Sept. 13).

“MISSING: SLIM SHADY Have you seen him #TheDeathOfSlimShady Expanded Mourner’s Edition drops this Friday the 13th,” Eminem captioned the deluxe edition’s trailer earlier this week.

The haunted clip didn’t provide much context about the project, but stars The Alchemist as a gas station mart employee, so he could be working with Em behind the boards.

MISSING: SLIM SHADY ‼️ Have you seen him? 👀 #TheDeathOfSlimShady Expanded Mourner’s Edition drops this Friday the 13th… pic.twitter.com/ts6It3nnGi

— Marshall Mathers (@Eminem) September 10, 2024

2nite… ⚰️ #TheDeathOfSlimShady (Coup De Grâce): Expanded Mourner’s Edition!!! pic.twitter.com/BuqgN27EbE

— Marshall Mathers (@Eminem) September 12, 2024

25 years after his MTV Video Music Awards debut, Eminem added another VMAs moment to his mantle when he opened Wednesday night’s (Sept. 11) show in style.

He got the UBS Arena crowd amped up performing his 2024 “Houdini” hit, which saw him flood the aisles with a squad of Slim Shady clones equipped with blonde wigs and all. Em ditched the blonde mop and teamed up with Jelly Roll for their emotional “Somebody Save Me” collaboration.

The Death of Slim Shady (Coup de Grâce) arrived in July and debuted atop the Billboard 200 with 281,000 equivalent album units earned in the U.S. in the week ending July 18, according to Luminate. 

Stream Eminem’s The Death of Slim Shady: Expanded Mourner’s Edition below.

With a breakout hit across international charts this summer, KISS OF LIFE is ready to take an explosive year to the next level with their first-ever world tour.

The girl group’s forthcoming Kiss Road World Tour continues the momentum Julie, Natty, Belle and Haneul gained on the global stage with the infectious single “Sticky,” helping the K-pop act debut onto multiple Billboard charts: The Afrobeat-inspired summer single peaked at No. 7 on the South Korean Songs chart so far, entered the U.S.-based World Digital Song Sales chart at No. 10 in July, while also spending a solid six weeks on the Billboard Global 200 after hitting No. 87, and 10 weeks on the Billboard Glocal Excl. U.S. chart after a No. 47 peak.

With promising results early just over a year into their career alongside the quartet’s international makeup and range of industry experiences, KISS OF LIFE is proving they’re more than just a rising K-pop rookie—they’re becoming a global-pop force all their own.

“We love the song ‘Sticky,’ so it was really an honor for it to get into the charts,” says Julie, the group’s dynamic leader who was born in Hawaii, speaking to Billboard for their first-ever interview with an international outlet. “We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news.”

Seattle-raised Belle, who previously worked as a songwriter for other top K-pop groups, believes their authenticity plays a massive role in why global fans connect to them: “We honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform.”

Youngest member Haneul, born and raised in Korea, adds that the KIOF members’ diverse backgrounds fuel their artistry. “We just respect each other,” the 19-year-old says. “We acknowledge our differences and the path we went through to get here, so that makes us learn from each other and grow.”

The upcoming Kiss Road tour kicks off in Seoul with two concerts on Oct. 26 and 27 before coming to North America for an extensive, 18-date trek beginning in Minneapolis, Minn. on Nov. 10. “We are pretty confident in our performing ability,” teases Thailand-born Natty, whom K-pop fans have watched grow up on K-pop competition shows like Sixteen and Idol School before officially debuting onto the K-pop scene as an artist. “Fans can expect a show with high energy and we’re excited to bring our best to the stage.”

Get to know KISS OF LIFE’s Julie, Natty, Belle, and Haneul as the members share more about their process, viewpoint, world tour plans and messages to their fans affectionately known as Kissys, alongside exclusive photos below.

I want to begin by congratulating you on earning your first Billboard chart entries with “Sticky.” What were your reactions?!

Julie: We couldn’t believe it! We love the song “Sticky” so it was really an honor for it to get into the charts. We were so happy that people were liking it as much as us and we felt so grateful! We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news; as hard as we worked, we also know that we really couldn’t have done it without the support of our fans—love you, Kissys!

KISS OF LIFE has been rising since your debut last July, but “Sticky” has been a real breakout: Top 10 in Korea, charting in the U.S., your biggest hits on Billboard‘s Global charts. What do you think are some factors that made this such a hit?

Belle: I think we honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform as well. I feel like this song, in particular, really suited all the members, and you could feel that all the members were just having fun and enjoying themselves while recording and performing the song. Also, in regards to the visuals and performance, we focused on just feeling ourselves and being confident which fits well with summer. I mean, it is summer, why not have a little fun with it?!

I also love your latest B-side, “Te Quiero,” co-written by Belle. What did you want to show with “Sticky” and “Te Quiero” that you hadn’t shown previously in KISS OF LIFE?

Natty: We wanted to show everyone our translation of summer! The cool and refreshing side as well as the hot! We just wanted to send good vibes and make sure everyone could enjoy the summer with us. Both “Sticky” and “Te Quiero” are actually our interpretations of summer: “Sticky” would be the exciting, fun aspect of summer where you enjoy yourself to the fullest; “Te Quiero” would be the cooler, more chill and relaxing version of summer that is equally enjoyable. I don’t think we had some mastermind plan of what we wanted to show with these tracks. We just genuinely wanted everyone to enjoy the music while enjoying their summer. You work hard, you play harder!

“Te Quiero” is also significant as another English B-side track, just like “Nobody” with “Midas Touch.” Is there a more prominent reason to include these tracks, and even the English version of “Bad News,” in your larger plans as a group?

Julie: Of course! We always want to keep our international fans a big part of our music. For the Kissys all around the world, we want to continue to make music that everyone can enjoy and listen to. We are adamant in making sure our international fans know that they play a big role in our music. Again, we don’t have a master plan on how or a larger picture that we are strategizing for. We really just want everyone to feel included with our music, wherever they are and whoever they are. We just want to make music that everyone can enjoy and listen to without overcomplicating things. 

Have you begun preparations and rehearsals for your Kiss Road World Tour? What are you looking forward to the most?

Haneul: We are super excited for the tour. Absolutely, can’t wait to meet our Kissys, who have been supporting us throughout our journey. We’ve been working hard with our team in designing the show so that we are able to give all of our fans an amazing experience. There’s a little bit of pressure to show our fans the best version of ourselves but we promise we won’t let you down. I think the most exciting part about touring is really feeling everyone’s positive energy!

Natty: Well, we are actually pretty confident in our performing ability so fans can expect a show with high energy. We love what we do and we are blessed with so many people supporting us while we do what we love. In return, we want to give them the best version of us, so I hope they will all look forward to it. 

Something I always respected about KISS OF LIFE is that you shared yourselves via solo songs from your debut album. Will we get to see more solo stages on tour? 

Belle: Don’t want to give too many spoilers so…I think we can say, “maybe?!” We’ve prepared some new stages so make sure you stay tuned for it.

With that, KISS OF LIFE has also become known for your covers. Your Brown Eyed Girls “Sixth Sense” cover was even officially released, and you’ve done songs by 2NE1, Ciara, Ariana Grande, Nicki Minaj, BLACKPINK, Doja Cat, the list goes on…any special or new covers for tour?

Julie: We always sing, rap, and dance to so many different artists on a daily [basis], so hopefully, we get the opportunity to showcase it to everyone on tour. We just love all different styles and categories of music. For us right now it’s being versatile enough to explore many different types of music and to experiment with sounds so we [can] create our own specific style. There are days we focus on singing, other days we rap, and days we only dance, but we are always working to improve ourselves, so I hope we have the opportunity to showcase it for the world to see! 

The four of you came from very different backgrounds and debuted as adults. Sometimes, it can be difficult for adults to pursue their dreams or even make new friends. How did you all connect and learn from each other to make KISS OF LIFE work as cohesively as it is?

Haneul: We just respect each other. We acknowledge our differences and the path we went through to get here so that makes us learn from each other and grow! A key point in any relationship is trust and respect. The respect comes from acknowledging each other’s past experiences that led them on the path for us to be here. I believe that because we are able to share our respective experiences with each other, we are able to learn from each other and grow as a group, not just individually. We all have something to learn from each other and we respect where that knowledge came from. 

Do you have any other messages for international fans waiting to meet you?

Julie: We always want to say thank you so much for sending your love and support. Although we may be far distances, our hearts are always near! We can’t wait to meet everyone in person and I hope the time comes fast. Love you guys so much and see you soon!!!

The results of the Greater Nashville 2024 Music Census were disclosed today during a press conference in downtown Nashville with many creatives and industry members voicing concerns surrounding the cost of living, low pay rates, opportunities for younger artists, and gender and racial disparities.

The census was produced by Sound Music Cities and surveyed the Greater Nashville region, which includes the 14 counties in and around Nashville. The census, held from March 1 – April 1, drew 4,256 respondents, with music creatives making up 61% of respondents, industry members making up 31% and venue/presenters making up 7% of respondents. In terms of musical genres, 28% of respondents work in country music, with other genres including American Roots (16%), rock (12%), pop (8%) and alternative (5%). Respondents from other genres including gospel/contemporary Christian, rap and R&B were less than 5% per genre. Industry category respondents primarily work as agents/business services (20%), marketing (14%), production support (13%) and music publishing (10%).

Respondents in the creative category noted that their primary concerns are “cost of living” (48%), followed by “pay rates not increasing” (38%) and “lack of music work” (26%). Creative respondents also noted that they spend an average of $13,559 annually on music-related expenses for a total of $58 million, with 52% of that money being spent locally.

The majority of respondents noted that they have never received financial assistance (76%) and are most eager for tax incentives/relief. The census also noted that Davidson County respondents also struggle more with rent or mortgage (30%) versus respondents from other counties (20%). Davidson County respondents are also less likely to own their own home (59%) than respondents from other counties (75%). Additionally, 83% of respondents indicated they were concerned with low pay, while 65% found lack of benefits such as health insurance and retirement a challenge.

The census noted a need for greater representation of Black, African-American, Hispanic and other minority groups in local and independent music scenes. The census’s results showed that Nashville’s music ecosystem is made of primarily white/European persons (85%), which is higher than this segment in Nashville Metropolitan Statistical Area’s general population (71%). Black, African and African-American representation is at 6%, lower than the Nashville MSA general population (14%). Hispanic representation in the Nashville music ecosystem is at 4%.

Men made up 61% of the Nashville music ecosystem across all census respondents, while women made up 37%. One percent of respondents preferred not to reveal their gender, while another one percent use a different term than male or female. Among industry members, women led at 55% of respondents, with men at 44%. The creative sector revealed the most stark disparity, with men at 71% and women at 26%.

The average household income for respondents is $93,000 annually, while respondents note that income direct from music-related work is, on average, $52,000 per year, per respondent.

Local performances and touring are the major sources of income for creative professionals at 27% and 20%, respectively. Recordings and studio work also offer supplemental income, with 27% of respondents earning some income from recordings and 25% from studio work. A little over a third of respondents noted they earn very little income from songwriting, while 23% reported that they earn some income from songwriting.

The nearly 300 venue/presenters respondents offered an average of 172 events per year, collectively offering over 26,000 annually. Most are live music venues (31%) or independent promoters (15%). Aid for independent venues was also identified as a key need, including increasing the number of local independent venues that book artists and providing financial/policy support for independent venues to purchase real estate (68% of live music venues rent their spaces) and avoid displacement due to rising property values, such as models used in Toronto and Sacramento.

In terms of efforts that would help creatives continue to stay in the Nashville area, 41% say that tax incentives/relief would be helpful, followed by 37% of respondents saying creative/music-friendly policies such as parking and loading zone policies would be helpful.

Also, work is needed to increase the pipeline for new talent and diverse genres. Increasing opportunities for talent ages 18-24, developing mentorship programs and platforms for younger artists, and increasing performance spaces/opportunities for various musical genres, as well as addressing gender imbalances within the independent music ecosystem, especially for creatives, and enhancing representation of Black, African-American, Hispanic and other minority groups in local and independent music scenes were all cited as much-needed solutions to attract new talent.

Among the other music-friendly cities in the Sound Music Cities cohort are Dallas, Chicago, Minneapolis, New Orleans and Chattanooga, Tenn.

For the full census results, visit greaternashvillemusiccensus.org.

Eminem opened the 2024 VMAs on Wednesday (Sept. 11) with his recent hit “Houdini.” As it turns out, the show delivered a pretty neat magic trick of its own. In an era of flat, or even declining, ratings for awards shows, the VMAs delivered their biggest audience in four years, with more than 4 million viewers.

MTV reports that combined ratings for the premiere and encore showings were up 8% compared to a year ago (4.09 million vs. 3.78 million). Ratings for the premiere simulcast at 8 p.m. ET/PT were up 25% compared to a year ago (3.11 million vs. 2.49 million).

That premiere broadcast was simulcast across 13 networks in the U.S., the same number as last year – BET, BET Her, CMT, Comedy Central, Logo, MTV, MTV2, Nick at Nite, Paramount Network, Pop, TV Land, VH1 and Univision. That means that the casual music fan who may have been channel-surfing came across the show multiple times. That sheer repetition may have stirred their interest and made it seem like this was an event.

The black-carpet pre-show at 6:30 p.m. aired on four networks. The first encore at 11:18 p.m. (the show ran over, as awards shows tend to do) aired on 10 networks. (Two other networks started their first encore showings within that hour.) The second encore at 2:34 a.m. aired on four networks.

MTV reports that the 2024 VMAs were the No. 1 most social entertainment telecast in history, with 66.7 million interactions. The only program that beat it was the second presidential debate of the 2024 campaign season, which aired the previous night, between VP Kamala Harris and former President Donald Trump.

The show rang up 829 million video views (an 18% increase over last year) and 76.3 million engagements (a 25% increase over last year) across global owned accounts.

VMAs trended No. 1 worldwide on X (formerly Twitter) for 10 hours. Media impressions were up 8% — 107.5 billion impressions this year vs. 99.5 billion impressions last year.

The 2024 VMAs had an impressive artist lineup, including host/performer Megan Thee Stallion and such other red-hot artists as Sabrina Carpenter, Chappell Roan and Benson Boone. Taylor Swift didn’t perform, but she was in the audience (or onstage accepting awards) from start to finish. It seems fair to say that artists support the VMAs at this point more than MTV supports music videos, other than on this one night a year. Maybe, given these healthy ratings for their flagship program, the channel can address putting music videos back into its programming mix.