Sean Paul takes us out to Status Hollywood, where he and host Chelley Bissainthe from Love Island USA go course-by-course through the menu of Jamaican dishes. Together, they discuss Sean Paul’s music, including his historic Billboard Hot 100 No. 1s “Get Busy,” “Temperature,” “Baby Boy” with Beyoncé and “Cheap Thrills” with Sia.
Chelley Bissainthe:
We have the infamous Sean Paul in the building. Hello, I’m Chelley. So nice to meet you!
Sean Paul:
Same, likewise.
Chelley Bissainthe:
In person, in the flesh, not just on my radio. So I heard that you chose this restaurant for us, so we’re here at Status Hollywood. So what made you choose it?
Sean Paul:
I’ve been hearing about it, and I just kind of wanted to see for myself.
Chelley Bissainthe:
Oh, so you’ve never been before?
Sean Paul:
No, I’ve been hearing about it from friends, so I wanted to see how it compares. I’m pretty sure it’s very good, but we’ll see how it is. The decor is awesome, already.
Chelley Bissainthe:
It’s crazy, right? I’m looking around. I see the chandeliers. I’m like, wait, whoever did this? Kudos to them.
Sean Paul:
Yeah, right.
Chelley Bissainthe:
So do you have anything like you’re looking forward to trying today?
Sean Paul:
I’m a real fan of curry, like curry goat, curry chicken, mostly what they have right here. Love rice on peas.
Chelley Bissainthe:
Same, and that’s why I’m excited because, like you said, like the LA scene and Caribbean food, like, I don’t know, I haven’t heard too much about it. You don’t get a lot of places.
Sean Paul:
Exactly what people been telling me about this spot, so…
Chelley Bissainthe:
This spot? And what’d they say, 10 out of 10?
Sean Paul:
Yeah. Them say, go on, good.
Chelley Bissainthe:
Okay, let’s get to your music. So first I wanted to ask: Is there anything we should be looking forward to? You’ve been working on some stuff.
Sean Paul:
This year alone, I released a song with Inna, she’s a European pop star, that was kicking off over there. And then I went on tour for about five months of this year so far, released a song called “Ginger,” and that’s been going on good.
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In 2006, The Devil Wears Prada featured “Suddenly I See,” from the British singer-songwriter’s 2004 debut album Eye to the Telescope, as the soundtrack to its opening credits. That plum placement turned the upbeat pop track into a No. 30 hit on the Billboard Hot 100.
“That was the universe shifter,” Tunstall tells Billboard now. “I still love the film. If it ever comes on, I can’t stop watching it. The really extraordinary thing about it was my manager at the time said, ‘Enjoy this — it probably won’t happen again,’ where they used the whole song, unedited, without any dialogue over the top of it. So it was basically a music video with Meryl Streep and Anne Hathaway, which was just crazy. It’s like the sound of the movie, and that was really my golden ticket to the rest of the world.”
The Devil Wears Prada 2, meanwhile, is in production for a planned spring 2026 release, and Tunstall says she’d certainly like a chance to see if lightning can strike twice. However, she adds, the filmmakers “haven’t been in touch. I would love to pitch them a follow-up, so my brain is crunching at the moment because it would be so fun to send them another song. They might not use it, but it’s a fun thing to pitch for.”
An executive with the film tells Billboard that the Prada team is “in the very early stages” of making those decisions while the movie is being shot, and cannot yet share any information.
Tunstall adds that she had “no idea” what “Suddenly I See” could become when she recorded it. “These guys (at the record company) all say that they knew; they didn’t f–king know,” she says. “They knew it was catchy. I think they knew it had potential to be popular, but I don’t think they knew what that potential really was. We did okay with the first two singles, and this was like saving the poppiest thing for last. And then we got The Devil Wears Prada.”
All of this comes as Tunstall is about to celebrate Eye to the Telescope‘s 20th anniversary — it was first released during December 2004 and then re-released the following month with an altered track sequence. The 20th anniversary edition, due out Oct. 31 via BMG, adds three new tracks packaged as The Stargazer EP — most interestingly including the actual song “Eye to the Telescope,” which was not part of the original release.
“I had decided on the name for the album because my dad was a physicist, and he used to take me and my brothers to the observatory,” Tunstall explains. “The telescope used to flip my head open at a very young age, looking at the universe. So once I named the record I set about writing a title track. What I was coming up with was this very tender, gentle, balladic piece of music, and I just felt like with your first record, if you’re going to do a title track, it needs to be a banger — or so I thought at the time. So I just abandoned it after one verse and a chorus.
“Then when we came around to this (re-release) we were talking about what we could put on it, and BMG said, ‘Why don’t you finish that song?’ It was a really strange experience of trying to write something that felt cohesive from a 20-years-ago version of myself; I wrote a brand new intro and stayed true to the verse and chorus, then I wrote a completely new bridge with this wonderful flutist, Shabaka. There’s a beautiful string arrangement by David Davidson, who also worked on the original record, and Martin Terefe, who’s my oldest collaborator, produced, so that was awesome. I’m just thrilled with it. “
Stargazer also includes the outtake “Cancerian,” with a new vocal by Tunstall, and “Anything At All,” which she also felt was “too slow” for Eye to the Telescope and considered for other albums. “It just never has found its home until now,” Tunstall says. “It’s very interesting because it’s my original vocal; I’m actually singing backing vocals to myself on it, which was wild in the studio, listening to a younger version of myself and being the backup singer for that person.”
“I think it still sounds fresh,” she says of the album. “I don’t listen to it and go, ‘Wow, that sounds so 2000s…’ It really doesn’t. It sounds like musicians in a room, making music. I was very inspired by old Alan Lomax blues recordings at that time, so it has that timeless quality to it.” However, she does remember that she had to compromise her desire for a “raw” album during the post-production process.
“The label sent the record off to be mixed,” she explains, “and I didn’t know the artist should really be part of that process. So when it came back I felt like it had just been attacked with a hot iron. It felt so tamed to me…but the sweetening they did to it was probably what made it go on to sell a squidilliion copies. My garage version wouldn’t have hit in the same way. It was really tough at the time…which is crazy ’cause when I listen to it now I’m like, ‘It’s so raw! How could it be more raw?!’”
Tunstall has released six more studio albums since Telescope. Her latest outing is 2023’s Face to Face, a collaborative effort with Suzi Quatro. She’s mostly been immersed in musical theater, penning the music for Clueless, the Hit Musical — a revised edition of the stage adaptation of the 1995 film — and is working with comic Craig Ferguson on a rendering of his 2000 film Saving Grace. Tunstall says the idea of a musical built around her own songs has “definitely crossed my mind.”
“I think what I’ve learned is that the script, the book, is so important,” she says. “The music is your meat but the book is the skeleton, and if you don’t have a strong skeleton the meat’s just on its own, lying in a pile on the floor. You have to have this fantastic structure to hang the music on to actually make it really meaningful from song to song. My songs are very storyteller songs, so I feel like they’re made for (the theater), but I need to find a really phenomenal writer to work with to get a great story. I would love to do that, though.”
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.pngYveto2025-10-09 15:57:392025-10-09 15:57:39KT Tunstall Would ‘Love’ to Do a Song for ‘The Devil Wears Prada 2’: ‘My Brain Is Crunching at the Moment’
Nearly a century after its 1932 opening, Radio City Music Hall is getting a futuristic upgrade. Madison Square Garden Entertainment announced that Sphere Immersive Sound, billed as the most advanced concert audio system in the world, will debut at the legendary venue this fall — marking a major step in the company’s plan to bring the groundbreaking technology from Las Vegas’ Sphere to its broader portfolio of venues.
The system will make its Radio City debut with the 2025 Christmas Spectacular Starring the Radio City Rockettes, before rolling out across all concerts and live events at the Music Hall in January 2026. The upgrade, MSGE says, will transform how artists and audiences experience sound in the storied theater.
“The introduction of Sphere Immersive Sound at Radio City is the next evolution in the nearly 100-year legacy of this iconic venue,” said Josephine Vaccarello, evp of live at MSG Entertainment. “It represents a significant investment that will benefit both artists and guests. With Sphere Immersive Sound now at the Beacon Theatre and Sphere in Las Vegas, we’re proud to continue expanding this technology across our venues.”
Originally developed for Sphere in Las Vegas, the 18,600-seat venue known for its giant LED exosphere and fully immersive audio-visual experiences, Sphere Immersive Sound employs next-generation 3D audio beamforming and wave field synthesis to deliver consistent, crystal-clear sound to every seat in the house.
Instead of sound dissipating unevenly through a space, the system precisely directs over 7,000 individually amplified loudspeakers, creating what MSG calls “headphone-quality sound without the headphones.” The result: identical clarity and volume whether a listener is sitting in the front orchestra or the back mezzanine.
Radio City’s signature production — the Christmas Spectacular, returning for its 92nd season — will serve as the system’s inaugural showcase. The Christmas Spectacular has long been a testbed for new entertainment technology, from holographic projections to drone choreography.
“With Sphere Immersive Sound, we can creatively play with music and sound effects to immerse audiences in Christmas like never before,” Jessica Tuttle, evp of productions for MSG Entertainment said. “It allows us to transform the Music Hall into a true holiday wonderland.”
The Radio City installation will also mark the rollout of 3D Differential Beamforming, allowing artists and engineers to digitally sculpt and localize sound within the venue, fine-tuning acoustics for both audience and performers. The rollout will also debut
Intelligent Audio System Synthesis, which integrates non-HOLOPLOT speakers into the Sphere ecosystem, ensuring even sound coverage across the hall — including previously challenging architectural areas.
These advances also open the door for Sphere Immersive Sound to be deployed in a wider range of venues and configurations beyond MSG’s properties, potentially establishing a new industry standard for concert sound.
From its first opening-night concert to generations of Rockettes performances, Radio City Music Hall has been synonymous with New York entertainment. The installation of Sphere Immersive Sound reinforces MSG Entertainment’s commitment to preserving that legacy while pushing it forward.
Tickets for the 2025 Christmas Spectacular are on sale now. The show opens November 6, 2025, with performances running through the holiday season before the venue’s full sound rollout in January.
“Radio City has always been about creating unforgettable moments,” Vaccarello said, “and with Sphere Immersive Sound, those moments will now sound better than ever.”
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.pngYveto2025-10-09 15:49:032025-10-09 15:49:03Radio City Music Hall Upgrading to Sphere Immersive Sound in Time for Rockettes
In 1995, Björk was a phenomenon without a genre: a critically acclaimed singer-songwriter who mixed dance beats with rock attitude and pop flair, just as likely to release a grinding, ass-kicking industrial anthem as an exuberant ’50s big-band vocal pop cover. She didn’t have big hits — not a single song from her rapturously received ’95 sophomore solo album Post even reached the Billboard Hot 100 — but through her unique personality, her singular talent and her truly spectacular visuals, she still became a celebrity on both sides of the Atlantic, flirting with pop stardom in her own right, and even freelancing for the biggest pop star of them all.
This month on the Greatest Pop Stars podcast, we’re launching a new mini-series spin-off of our Vintage Pop Stardom series, titled Vintage Almost-Pop Stardom — welcoming on some first-time guests to look at four really interesting artists during years in which they brushed against pop stardom, but perhaps never quite got all the way there. First up, Lina Morgan of the excellent Song Vs. Song podcast stops by to discuss one of her all-time favorite artists, Björk, during a year in which she became practically unavoidable in MTV and culture, even if she never scored hits in the conventional sense.
Along the way, we answer all the most pressing questions about Iceland’s greatest musical export during her (arguable) peak year: Why didn’t top 40 have any interest in her back in the mid-’90s? How did her least obviously Björk-y single — one she didn’t even write — arguably become her signature song? What did the critics get wrong about Björk in 1995? Is Tank Girl worth revisiting? Why hasn’t Björk ever had a major viral moment or TikTok breakout in the modern era? And most importantly: Was 1995 Björk actually a pop star, and would we answer that question differently in 2025 than we would have 30 years ago?
Check it out above — along with a YouTube playlist of some of the most important moments from Björk’s 1995, all of which are discussed in the podcast — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!
And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:
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While Amazon Prime Day 2025 is over, you can still buy HUNTR/X merch. The best part? Some of it is still on sale.
The success that is Netflix’s KPop Demon Hunters isn’t dying down anytime soon. While you might be torn between HUNTR/X and their boy-band counterpart Saja Boys, the animated girl group’s success is undeniable. HUNTR/X’s uplifting track “Golden,” sung by EJAE, Audrey Nuna and Rei Ami, is still number one on Billboard Hot 100 for the eight week. With all this in mind, you’ve got plenty of reasons to shop the girl group’s merch before it’s gone for good, especially with the drop in price. From t-shirts to tumblers and so much more, you can shop sale HUNTR/X merch below.
The retailer has a slew of options for everyone, from unisex cotton tees to insulated tumblers, all up to 15% off. This is official licensed merchandise. Some of our favorite pieces include the HUNTR/X sweatshirt with a large graphic on the front depicting members Rumi, Mira and Zoey in purple, blue and pink hues. The sweatshirt, like a majority of the clothing items featured in this article, ranges in size from small to XX-large.
You’ve also got a HUNTR/X iPhone case affixed with a graphic of the members posed in an action shot, ready to battle some demons. The case is a two-parter made from a premium scratch-resistant polycarbonate shell layered over a shock-absorbent TPU liner that protects against drops from high heights. The case fits the iPhone XR. The HUNTR/X hoodie is another winner in our book. It comes in three different colorways and is made of a cozy mix of cotton and polyester. Sizing options range from medium to XX-large.
KPop Demon Hunters Band Logo Officially Licensed Pullover Hoodie
This film aptly capitalizes on the success that the K-pop genre has seen not only in South Korea, but all over the world. You’ve got crisp and colorful animation brought to you by the same crew that did Spider-Man: Into the Spider-Verse, along with punchy action sequences and foot-tapping original music tracks that take inspo from the best of K-Pop, and you’ve got a clear recipe for success.
So we know the inspiration for this film was K-Pop, but how did it all come about? Demons and K-Pop aren’t really the first two things we think of when playing word association. Well, the film draws heavily from director Maggie Kang’s South Korean roots along with South Korean folklore surrounding demons and mythology. Of course, Kang’s love of K-pop was also a huge inspiration. The film is currently available to stream exclusively on Netflix.
If you’ve missed the viral phenomenon, we’ll catch you up to speed: The movie centers around world-renowned K-pop girl group HUNTR/X, as the members balance their lives in the spotlight with their secret identities as demon hunters. Each group and musical number was based loosely on some of your favorite K-pop acts, including MONSTA X and BLACKPINK to Itzy and EXO. K-Pop is interwoven throughout this endeavor. In fact, tracks featured in the film are even sung by former and current K-pop idols such as Kevin Woo from UKISS to Twice’s track “Takedown,” sung by members Jeongyeon Jihyo and Chaeyoung.
Kpop Demon Golden Merch Rumi Zoey Mira Inspired Bracelets
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.pngYveto2025-10-09 15:30:352025-10-09 15:30:35We Found the Best Merch for ‘KPop Demon Hunters’ Girl Group HUNTR/X Sill in Stock on Amazon
It sounds like Oasis are not ready to say they are outta time on their rapturously received reunion tour. With just 13 dates left on the Live ’25 outing that has blown away fans in the U.K., Ireland and North America this summer and fall, singer Liam Gallagher responded to a fan’s complaint about one of his favorite songs not making the set list so far on Wednesday (Oct. 8) with a cryptic tease that the Gallaghers are just getting started.
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“How the f–k did ‘The Hindu Times’ not make it on the setlist?,” a Twitter user asked about the 2002 fan-favorite U.K. No. 1 hit single from the band’s fifth studio album, Heathen Chemistry that was once in semi-regular rotation on their pre-reunion set lists.
And then Liam (kind of) said the thing that superfans have been waiting for him to say since the first run of shows were announced. “Chill Winston it’s not even HALF TIME yet it’s a tour of 2 half’s,” Gallagher wrote. The setlist for the reunion tour to date has been rigidly predictable, with the group performing the same 23 songs, in the same order, at all the shows to date.
But aside from hinting that there might be more gigs in the future, the reliably inscrutable singer did not fall for the bait of follow-up questions and left it at that. At press time, spokespeople for Oasis had not returned Billboard‘s request for additional information on potential future dates.
It’s not the first time Oasis have hinted that they want to keep the good times rolling. At the conclusion of their Sept. 28 gig at Wembley Stadium in London Liam thanked the fans for “keeping the faith” before offering up the first tease of what’s to come when he said “see you next year.“
Though they have not addressed them, rumors continue to swirl that the band could be gearing up for a return to Knebworth for a 30th anniversary celebration of their legendary 1996 double-down attended by 250,000, which at that time were the largest U.K. concerts ever held. At press time no 2026 Knebworth shows have been announced.
After a messy sibling rivalry-fueled break-up in 2009, Gallagher reunited with older brother songwriter/guitarist Noel Gallagher earlier this year to reform the group for a sold-out run that kicked off on July 4 at Principality Stadium in Cardiff, Wales. They followed up with a five-night run at Heaton Park in their hometown of Manchester, U.K. and moved on to London, Edinburgh and Dublin before a series of North American summer shows in Toronto, Chicago, New Jersey and Los Angeles, followed by Mexico City and a return to Wembley Stadium in London last month.
The final push will kick off on Oct. 21 at Goyang Stadium in Goyang, South Korea and hit Tokyo, Melbourne and Sydney before heading to South America for shows in Argentina and Chile and the final, for now, two scheduled gigs at MorumBIS in São Paulo, Brazil on Nov. 22-23.
In the meantime, fans can await an as-yet-untitled reunion movie produced by Peaky Blinders creator Steven Knight and the upcoming Oasis Live ’25 OPUS book with live shots from the tour.
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Justin Bieber isn’t looking for prayers about his well-being, not even from his mom.
A couple of weeks after Pattie Mallette posted a message on Instagram calling on God to “heal every wound” in her famous son’s “heart, mind and body,” the pop star left a comment that basically boils down to “Thanks, but no thanks.”
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“Only thing I need healing from is my rolled pinky toe from playing ping pong,” Bieber wrote recently under his mom’s post.
Mallette had also shared a carousel of black-and-white stills from her son’s “Speed Demon” music video, in which he wears, ironically, a T-shirt that says “Pray for me” on the back. “We’re cheering you on and praying for you always Justin,” her full message read. “I declare freedom, strength, clarity and healing over you Justin. Every chain of fear, confusion, heaviness, and pain — be broken in Jesus’ name.”
“Holy Spirit, surround him with TRUTH, LIGHT, and PROTECTION,” she’d continued. “HEAL EVERY WOUND in his heart, mind and body, seen and unseen, restore what’s been stolen, and cover him in WHOLENESS … Silence every voice that doesn’t come from You, and let his life be a bold witness of Your power, love, and healing grace. Say amen if you agree.”
It’s unclear why Mallette asked for prayers for her son, but both Bieber and his mom have long been open about their faith. This year in particular, the singer has posted a number of musings on spirituality, including one in July in which he thanked Jesus for “his patience with me.”
“I can be extremely selfish and impatient yet Jesus always has his arms open toward me,” Bieber added at the time.
The month prior, he wrote on Instagram that despite feeling “broken” and struggling with “anger issues,” “Jesus is the only person who keeps me wanting to make my life about others.”
Bieber has since dropped not one, but two albums: Swag and Swag II. The former marked his first LP in four years and reached No. 2 on the Billboard 200.
He’s now gearing up to headline Coachella in 2026 alongside Sabrina Carpenter and Karol G.
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.pngYveto2025-10-09 15:21:052025-10-09 15:21:05Justin Bieber Playfully Shuts Down Mom Pattie Mallette’s Public Prayer for His ‘Healing’
Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, dominates as the No. 1 song on Billboard’s Top Hot Latin Songs of the 21st Century chart. The recap is based on performance on the Hot Latin Songs chart from January 2000 through December 2024.
Imagine a world without “Despacito,” the global phenomenon that shattered the boundaries of the Latin market. Co-written by Luis Fonsi, Daddy Yankee, Erica Ender, Bieber, Poo Bear and Marty James, the track became a cultural juggernaut. Brought to life by producers Mauricio Rengifo and Andrés Torres, it gained even more momentum with Bieber’s remix contribution. Together, this powerhouse collaboration ruled the Hot Latin Songs chart for an unprecedented 56 weeks in 2017-18.
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“When I look back, what really hits me is the fact that it opened a huge door for the non-Latin world to vibrate to Latin music,” Fonsi told Billboard in 2019. The track, which also crossed to the top of the Pop Airplay chart and dominated the Billboard Hot 100 for 16 weeks, “spearheaded a global Latin movement,” Fonsi added at the time. “I don’t mean to take credit and to say it was all me or the song; it was the sum of many songs and many artists. But this song definitely kicked the door open.”
Reflecting the biggest names in Latin from Y2K to today, check out the top 10 titles on Billboard’s Top Hot Latin Songs of the 21st Century chart below and the entire 100-position ranking in Billboard’s Greatest of All Time charts menu.
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Following the Tuesday (Oct. 7) reveal of Billboard’s Top Latin Artists of the 21st Century chart and the Wednesday (Oct. 8) unveiling of Billboard’s Top Latin Albums of the 21st Century chart, check back Friday (Oct. 10) for Billboard’s rundown of The Top Producers of the 21st Century on the Hot Latin Songs Chart, with all coverage of Billboard’s 21st Century Charts here.
Billboard’s Top Latin Artists, Top Latin Albums and Top Hot Latin Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Latin Artists category ranks the best-performing acts in that span based on activity on Top Latin Albums and Hot Latin Songs. (Titles released prior to mid-1999 are excluded, although such entries that appeared on Top Latin Albums or Hot Latin Songs in that span contribute to the calculation of the Top Latin Artists chart.) The Top Producers of the 21st Century on the Hot Latin Songs Chart reflects producers with the most No. 1s on weekly Hot Latin Songs charts dated Jan. 1, 2000, through Dec. 28, 2024, with ties broken by most top 10s and most overall chart entries.
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.pngYveto2025-10-09 15:16:262025-10-09 15:16:26Here Are the Top 10 Hits on Billboard’s Top Hot Latin Songs of the 21st Century Chart
At the height of the COVID-19 pandemic, when many artists were weathering career blows left and right, Priscilla Block experienced the kind of breakthrough many artists crave. Her heartbreak ballad “Just About Over You” went viral after she posted it on TikTok. Soon, the North Carolina native signed with UMG Nashville (now MCA). The song went on to reach the top 15 on Billboard’s Country Airplay chart, and she followed it with the top 5 hit “You, Me & Whiskey,” her collaboration with Justin Moore. In 2022, she released her full-length debut, Welcome to the Block Party, marking her arrival as one of country’s most charismatic, entertaining new voices. She also became a champion for body positivity and acceptance on songs such as “Thick Thighs” and “PMS.”
But with her sophomore major label album Things You Didn’t See, out Friday (Oct. 10), Block lets fans in on the three-year journey of self-discovery beyond the stage lights, the effervescent, unfiltered personality, and the bold fashions.
“I feel like this record kind of wraps up my twenties in a whole,” says Block, who turned 30 in August. “It’s all the emotions that you kind of go through in your twenties where you feel like you have life figured out, then you realize you have nothing figured out and you’re falling in love. Your heart’s broken, then you’re finding love again. It’s all just navigating life.”
Working with producers including Jesse Frasure, David Garcia and Dave Cohen, Block shaped Things You Didn’t See into a reflection of both her artistic and personal growth, after Block’s conversations with trusted industry colleagues caused her to upend plans for the album’s title, content and release schedule.
“Initially, it was going to be released last year, and called Vanilla Ain’t Me,” Block says. “But I had a moment that really shifted this record. I felt like there were parts of me that the industry wasn’t understanding. I started calling people — business management, songwriters, label people, my band — that I really respected in the industry. I opened myself up to criticism and was like, ‘What do you think might be missing? What do you think I should really show on this record?’ And I kept hearing, ‘The branding is really strong. We want people to know you the way we know you.’ It inspired me to go write my story.”
Since her debut, Block has evolved from an ambitious newcomer into an artist who has twice been nominated for ACM new female artist of the year and opened shows for Shania Twain and Cole Swindell. But where humor and invincible confidence have become her hallmarks, the songs on the new album, such as “Couldn’t Care Less,” which she calls one of “the most vulnerable, raw songs I’ve ever written,” show some of the vulnerable cracks in the armor.
“There’s no denying that it’s a tough industry and you got to have thick skin,” she says. “I’ve always been known to be this confident, positive, bold personality girl. Writing ‘Couldn’t Care Less’ was kind of my diary. People might think that I couldn’t care less, but I really couldn’t care more. This is all I’ve ever wanted. I felt like I was in this vibe of the girl that likes to have fun, party songs and good vibes all the time. So it was important for me to just get back to the roots of just writing my life.”
She touches on old heartbreaks in “Phones and Radios,” but lets fans into her present romantic state, with tributes to her boyfriend on songs such as “He’s My Man” and “Elijah.”
“I wanted to challenge myself on this record to just go outside my box or go outside of my comfort zone, whether it’s sonically or creatively,” she says. “I wanted to do something that my fans haven’t seen from me.”
That boldness extends to her reimagining of Simon & Garfunkel’s 1970 classic “Cecilia,” which Block transforms into the bold anthem (“You’re Breaking My Heart (Cecilia)”). “My mom grew up listening to that and it was her jam,” Block says. “It feels like a modern-day ‘Jolene,’ and it’s very sassy because it’s like, ‘You dare try to come up on my man and I’m going to come for you.’ I love the feel of it.”
Block’s signature sass still shines, especially on “Goodwill to Gucci,” inspired by a real-life airport encounter. “I was at the airport getting a drink before a flight and I just got my new merch hat that said ‘Sass n’ A–’ on it—which happens to be one of my best-selling merch items,” she says. “These older ladies were so disturbed that I would wear something like that and they were talking just loud enough so we could hear them. So, this song is just like, ‘Whatever you are wearing, rock it.’ I hope it inspires others to be bold with their style.”
That drive to have fans see deeper into her story and every facet of Block as a human and artist striving to be her best on every front is evident even the smeared oil painting of Block that graces the cover of Things You Didn’t See.
“The symbolism is that ‘You might see the hoops, the big hair, but I’m smearing it all.’ I want you to focus on me and my story.” Beyond the studio, the past two years have marked a major personal evolution. After nonstop touring left her drained, Block committed to prioritizing her physical and mental health.
“I was in New Zealand about two years ago, sitting on the beach and I remember feeling exhausted. I’m touring, I’m not sleeping, everything that comes along with this, you just get wore out,” she says. “I realized I had just kind of stopped taking care of myself. I feel like with this career, you pour out so much to everyone who works for you, and for your fans and for everything. I just thought, ‘I’m going to take this next year to work on me—literally mind, body and soul. I had literally never run a mile in my life. I wanted to prove to myself that I can do really hard shit.’”
What began as a challenge has become a lifestyle. Block started running daily, completed a 5K over Christmas, and successfully finished the demanding and popular 75 Hard program. She credits motivational figures like Sydney Adams and Mel Robbins for inspiration.
“I’m mentally and physically stronger than I’ve ever been,” she says. “Looking back, I wouldn’t say this past year has been my biggest career year, but it’s been my biggest me year. My whole life, I’ve struggled with my weight and not feeling super confident. I wrote ‘Thick Thighs’ and there was power in that, but that also doesn’t mean I don’t want to continue being the strongest I can.”
Ever competitive with herself, Block is already setting new goals.
“Next up, I want to run a 10K. Maybe I would do a half-marathon? We’ll see,” she says.
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.pngYveto2025-10-09 14:29:282025-10-09 14:29:28Priscilla Block Finds Power and Perspective on Sophomore Album ‘Things You Didn’t See’: ‘It’s All Just Navigating Life’
Dua Lipa went out with a bang at her fourth and final Radical Optimism Tour stop at the Kia Forum in Inglewood, California, on Wednesday night (Oct. 8), bringing out Gwen Stefani to duet on No Doubt‘s heartbreak anthem “Don’t Speak.”
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Lipa introduced Stefani as “one of my personal heroes, one of my favorite artists, someone who I’ve grown up listening to my whole life, who’s influenced my music, influenced my style, someone who I love as a performer, and someone who just constantly keeps redefining herself and music. And I just absolutely love that this incredible woman is here tonight.”
Stefani emerged on the Forum stage to thunderous cheers, matching Dua’s all-black vibes with her own plaid-accented rocker look, and traded verses and harmonized effortlessly with Lipa on the 16-week Radio Songs chart-topper from 1996. It was a family affair on Wednesday night, as Billboard spotted Kingston and Zuma, Stefani’s two sons with ex-husband Gavin Rossdale, in the crowd for the surprise duet.
But the No Doubt frontwoman wasn’t the only surprise Lipa had in store for her L.A. crowds: On Tuesday’s night 3, she also brought out Lionel Richie to perform his four-week Billboard Hot 100 No. 1 smash “All Night Long (All Night)” together.
It’s not always a guarantee that Dua Lipa will bring out a special guest on the Radical Optimism Tour, but she has been performing a brand-new cover with her band each night. For her first two shows in L.A., Lipa stuck with a Golden State theme, covering Fleetwood Mac’s “The Chain” on Saturday night and The Mamas & The Papas’ “California Dreamin’” on Sunday night.
Of course, this being Hollywood and all, there were also famous faces peppered throughout the Forum crowd across the four nights, including fellow musicians Adele, Olivia Rodrigo, St. Vincent and Lucy Dacus.
Next up, the Radical Optimism Tour hits San Francisco for two nights (Oct. 11-12) before wrapping her U.S. leg in Seattle on Oct. 15-16 and heading to South America.
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.pngYveto2025-10-09 14:01:442025-10-09 14:01:44Dua Lipa Duets With ‘Personal Hero’ Gwen Stefani on a No Doubt Classic as She Wraps 4 Nights at L.A.’s Forum
