Is rap less dominant now because rock is more prevalent or because rap is turning into rock? This will be a fun quandary to ponder as more and more prominent hip-hop artists expand their purview, following ostensible rappers like Lil Uzi Vert and Lil Yachty in dabbling in experimental sounds of alt, psych, and heavy metal.
That number apparently now also includes Kevin Abstract (because of course it does). Per Stereogum, at the former Brockhampton frontman’s first solo show in six years, he played tracks from what may very well be his own rock project. According to Stereogum’s Tom Breihan, the established genre-bender went full-on grunge at his show at the Masonic Lodge at Hollywood Forever Cemetery, rocking out with a full band and playing nine new songs including “Blanket,” the song he teased earlier this week with his “Sleepover” trailer.
This one sounds very New Wave-y, like if someone listened to nothing but The Cure for a year straight.
It sounds like Abstract certainly has enough material for a new solo album, and from these early previews, it’s beginning to look like we might have to switch sections for our coverage. It’s also encouraging to see some of the hottest contemporary hip-hop acts branch out, making room for both new faces on the scene and new (read: reclaimed) sounds under the Black music umbrella.
The ceremony is scheduled for November 3 at Barclays Center in Brooklyn, New York and will livestream on Disney+. According to Billboard, the stream will begin at 8 p.m. EST, and, rather than air on HBO at a later date like in years past, a three-hour “edited broadcast of highlights will air on ABC” on January 1, 2024, beginning at 8 p.m. EST.
Additionally on Thursday morning, September 28, the Rock Hall announced this year’s performers: Sheryl Crow, Missy Elliott, Chaka Khan, Willie Nelson, Brandi Carlile, Dave Matthews, Chris Stapleton, St. Vincent, and New Edition. The Rock Hall also promised that more performers will be revealed between now and the ceremony.
The 2023 inductee class was confirmed in May. Upon the news, Missy Elliott “cried all morning. Many people felt the weight of her induction, as Missy is the first-ever female rapper to earn the honor.
“Missy Elliott got in first ballot, just like Eminem got in first ballot last year and Jay-Z the year before,” So if there’s a throughline we’re seeing, it shows the power of hip-hop music culture now, as if we didn’t know it already, as far as how quickly these artists are being recognized on the first ballot,” Rock And Roll Hall Of Fame Chairman John Sykes told Variety in May.
Missy Elliott is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Making a living as a touring musician can be a challenge, especially if you’re not a household name act who gets tens of thousands of fans out to every concert. Live Nation Entertainment, the parent company of Ticketmaster, recognizes this, and now they’re doing something about it.
Today (September 26), the company announced a program called “On The Road Again,” and if that reminds you of Willie Nelson, it should, as they’ve teamed with the country icon to launch the initiative. There are two major factors here that serve to help making touring a more viable commercial enterprise for musicians.
One is that at all of Live Nation’s club-sized venues (of which there are 77, as Consequence notes), artists will no longer have to pay fees to sell merchandise, which has been known to take as much as 30 percent of an artist’s merch sale income. The second is that Live Nation clubs are also “investing in developing artists by providing $1,500 in gas and travel cash per show to all headliners and support acts, on top of nightly performance compensation.”
They company notes, “By helping with these core expenses, we aim to make it easier for artists on the road so they can keep performing to their fans in more cities across the country.”
Nelson also said, “Touring is important to artists so whatever we can do to help other artists, I think we should do it. This program will impact thousands of artists this year and help make touring a little bit easier.”
The program will also provide “financial bonuses to local promoters that help execute at shows, tour reps that live life on a bus, as well as venue crew members that have worked over 500 hours in 2023.”
Learn more about “On The Road Again” here and watch the announcement video above.
There’s a new Spotify feature in town: Jam. So, what is it?
Spotify introduced Jam in a blog post today (September 26) and described it as “a personalized, real-time listening session for your group to tune into together,” adding, “Jam builds on some of our popular social features and combines them with our personalization technology to take real-time listening with pals to the next level.”
Head here for specifics on how to use Jam, but broadly speaking, it works like this: One user (who must have a Premium account) sets up a Jam and invites other users (Premium or not) to join it. Then, all users can add new songs to the queue, allowing people to come together and craft a shared playlist as a team. The user who created the Jam has a bit more control, though, as they’re able to decide what users are allowed into the jam, change the order of songs, and remove songs from the queue.
Spotify explains in the blog post, “There are few things more powerful than connecting over a shared love of music. So over the past few years, Spotify has unveiled a wide range of new features, including Collaborative Playlists and Blend, that make sharing the music you love easier than ever. […] Today we’re introducing Jam, a personalized, real-time listening session for your group to tune into together. Jam builds on some of our popular social features and combines them with our personalization technology to take real-time listening with pals to the next level. […] Get ready for a deeper way to connect through the artists, songs, and albums that unite you — and to discover some unexpected gems with those around you.”
Check out Spotify’s promo video about Jam above and learn more about Jam here.
Today (September 26), Spotify announced Jam, a new feature that aims to bring music listeners together, but what is it and how does it work?
Spotify lays it out in a blog post and describes Jam as “a personalized, real-time listening session for your group to tune into together,” adding, “Jam builds on some of our popular social features and combines them with our personalization technology to take real-time listening with pals to the next level.”
As for how to use the feature (which is rolling out globally today), the first step is to make sure you have an up-to-date version of the Spotify app. From there, one user (who must have a Premium account) can start a Jam, which any Spotify user (Premium or not) can join.
More specifically, Spotify explains, “To get grooving, select a playlist or song you’re feeling excited about. You’ll see a “Start a Jam” button by clicking the speaker icon at the bottom of your screen or by hitting the three dot menu within your favorite playlist or song. You can also select a device to play on, whether that’s your phone or speaker. Those in your household on your shared Wi-Fi will also be prompted to join the Jam when they open Spotify.”
Then, the user who started the jam can invite others to join in one of three ways: “Turn on Bluetooth, then tap your phones together,” “Have your friends scan the QR code on your host screen,” or “Hit ‘share’ to send the link through social, text, SMS, and more.”
Once the Jam has been set up and multiple users are in, anybody in the Jam can “add songs to the queue, see who added which song, and receive recommendations, all from their own devices.” The Jam’s host has advanced control, though, as they can “determine who’s in the Jam, change the order of the tracks, or remove a song that doesn’t fit the vibe.”
Spotify also shared a promotional video showing off the feature, so check that out above and learn more about Jam here.
Every Monday, Billboard unveils the top 10 songs on the latest Hot 100 chart. The most recent rankings, for the chart dated September 30, are out now, so let’s run down who had this week’s biggest hits.
10. Dua Lipa — “Dance The Night”
The Barbie movie has come and gone, but Dua Lipa’s soundtrack highlight is sticking around. It previously peaked at No. 6 and is still managing to hang with the rest of the big dogs in the top 10.
Earlier this summer, “Last Night” became the biggest solo song in Hot 100 history in terms of weeks at No. 1, with 16 total. It’s now tied for second all time, behind just Lil Nas X’s “Old Town Road.” This week, though, it finds itself at No. 8.
Bryan and Kacey recently had their first No. 1 with their collaboration from Bryan’s new self-titled album, and the song’s still doing quite well as it remains in the top 5.
4. Luke Combs — “Fast Car”
Combs’ rendition of the Tracy Chapman classic is yet another country song that has spent time at No. 1 in 2023, and like Wallen’s hit, it was one of Billboard‘s songs of the summer.
3. SZA — “Snooze”
“Snooze” had a major week: It previously peaked at No. 7, and after ranking at No. 8 last week, it vaulted up to a new high at No. 3 in the latest frame.
2. Doja Cat — “Paint The Town Red”
“Paint The Town Red” was No. 1 a couple weeks ago, but it hangs onto the silver medal at the moment as it rests comfortably at No. 2.
1. Drake — “Slime You Out” Feat. SZA
What a week for SZA: “Snooze” is No. 3, and now she has herself another No. 1 by linking up with Drake on “Slime You Out,” which debuts on top. The song is significant for Drake as his sixth No. 1 of the 2020s, tying him with BTS for the most this decade.
This week’s #Hot100 top 10 (chart dated Sept. 30, 2023)
Last night (September 22), Måneskin delivered a killer performance at Madison Square Garden. Over the course of the night, the Italian rock band, who won the Eurovision competition in 2021, performed several songs from their third studio album, Rush, as well as their cover of The Four Seasons’ “Beggin’,” which carried them over from Eurovision to TikTok fame. Later into the night, they added their spin on a fan-favorite Kendrick Lamar hit.
“We cannot be the last rock band… but maybe we can be the first rap band,” said Måneskin’s lead vocalist Damiano David, before diving into a cover of the 2017 hit single, “Humble.”
Humble (Kendrick Lamar’s cover)September 21, 2023; Madison Square Garden – New York City, USA.
This particular rendition of “Humble” was a lot more guitar-and-drum-driven, but maintained the powerful spirit of the original version.
This performance wasn’t the first time the band has displayed the influence they take from a multitude of genres. In an interview with Esquire, David revealed that this type of genre-fluidity comes naturally to him and the band.
“Not to brag, but for us, it comes easy,” he says. “We have four different and very strong backgrounds—Ethan and Thomas are very into rock n’ roll, punk, more classical, so they bring that energy. And I’m very, very into mainstream music, mainstream hooks, mainstream melodies. So I bring that kind of idea, and they put steroids in what I do.”
You can see a clip of the cover of “Humble” above.
Noah Kahan recently did a new interview with Billboard, where he opened up about the success of his Stick Season (We’ll All Be Here Forever) album. Most interestingly, he spoke about his collaboration with Post Malone on “Dial Drunk” — and what the rapper was really like behind the scenes.
Kahan described their meeting as “exactly what I wanted an experience with Post Malone to be; he was sitting crossed-legged, drinking Bud Lights [and] smoking cigarettes.”
According to the publication, the two became close because they apparently both really love the movie Walk Hard.
Because of this, Kahan pointed out that “the hang is not over.”
“I would love to get in the room and write music with him [together from scratch],” he added. “What I love about [him] is he is so untethered by genre… I would love to make some weird sh*t.”
Over the past few months, Kahan has seen a surge in popularity after going viral on TikTok. While the album is his third, he made it during the pandemic and truly loved the result.
“There was a feeling in the studio of like, ‘Woah, this is something special,’” he described. “I felt so creatively in control… and I think, at the time, I couldn’t see that as a sign of success or relatability, it just felt so right for me that I was fine with whatever happened.”
Fans can check out Kahan’s collaboration with Post Malone here.
Just in the nick of time, the iHeartRadio Music Festival organizers have revealed the official set times for tonight’s (September 22) broadcast. The highly publicized show was initially announced back in June with musicians Lil Wayne, Kelly Clarkson, Fall Out Boy, and more billed as featured acts.
Other entertainers listed on the performance bill include Kane Brown, Miguel, Tim McGraw, Lil Durk, Bakar, Sheryl Crow, TLC, Lenny Kravitz, and Agnez Mo. View the full iHeartRadio Music Festival 2023 set times below.
Other acts slated to perform at the festival include Kane Brown, Lenny Kravitz, Miguel, Public Enemy, Sheryl Crow, Tim McGraw, TLC, and Thirty Seconds To Mars. However, the show is known for its surprise performances. Also, in the past, organizers suggested that other recording artists could appear, although they are not listed on the initial flyer.
In the past, artists such as U2, Bono, and Miley Cyrus have had sets that set the internet ablaze thanks to their shocking sets.
The iHeartRadio Music Festival 2023 will be exclusively streamed on Hulu beginning today, September 22, at 7 p.m. PT and will run approximately until midnight. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The Taylor Swift-ification of The National is complete.
The process began many years back, when Swift was just making playlists in her post-1989 era and including songs from The National, Bon Iver, and others who would go on to intertwine themselves with the pop star. And it peaked this last weekend, as The National returned to their hometown for the appropriately named Homecoming Festival. It was not the first time they’d thrown such an event, though this one was in some way a makeup for their canceled 2020 edition that was meant to celebrate 10 years of High Violet, one of their most beloved releases.
The influence could be seen among the fans, particularly those who made friendship bracelets spelling out songs from High Violet and Trouble Will Find Me, the other album whose anniversary would be honored over the weekend. And while there weren’t fans dressing up like song lyrics — cherry trees? alligators? a swarm of bees? — fans of all ages did adorn their favorite National merch representing the 20+ year history of the band. And, mirroring what Taylor Swift managed to do a couple times on her Eras Tour, The National let the IRL fans be the first to know that they had an album of new material dropping. (The National didn’t simply announce, either, they even had autographed vinyl copies of Laugh Track ready to be purchased days before the record was set to hit streaming, giving their diehards a first-listen opportunity and a chance for rare merch.)
It’s not surprising that The National’s influence on Swift, which includes Aaron Dessner working as a songwriting and production partner on her last three albums and the band guesting on the track “Coney Island,” has been mutual. Swift, for her part, appeared on songs for both The National and their offshoot Big Red Machine. When The National were canceling their own Homecoming Festival in 2020, Swift was having to squash plans for her Lover Festival. Heck, even The National’s speedy succession of First Two Pages Of Frankenstein and Laugh Track this year recalls Swift’s pandemic prolificacy with her offerings of Folklore and Evermore.
Philip Cosores
The scale is obviously not the same and the differences between the artist are plentiful, but there is something to say about how Taylor Swift has transformed the music industry and how artists going forward can borrow from her learnings. But the biggest parallel comes from the fan service that each provides. Regardless of the size of the audience, creating experiential, unique opportunities for those diehard fans is the most lasting and impactful way to maintain them. It’s the kind of move that will cause devotees to spend their free time crafting letters onto string, or spend their vacation money for a flight to the midwest to see not only their favorite band, but likeminded artists like Patti Smith, Pavement (playing the final show of their reunion tour), The Walkmen, Weyes Blood, Julia Jacklin, Bartees Strange, Snail Mail, and many others.
Philip Cosores
For their part, the moment was not lost on The National. Those hoping to hear the band wax poetic about how High Violet and Trouble Will Find Me impacted their lives on an emotional or spiritual level were left wanting, but that also isn’t typically how the band expresses themselves. Where they did not hold back was in expressing their love of their home city, using their two nights of headlining sets to shout out all sorts of Cincy-centric references, and even receiving the key to the city from the (surprisingly hot?) mayor.
They also made sure to discuss the significance of the other bands on the bill, be it talking about how seeing The Walkmen in their NYC heyday inspired the writing of “Available,” which they then performed for the first time in a decade, or dedicating “Lemonworld” to Bartees Strange, who they noted has his own excellent cover of the song. They spoke about their heroes Pavement before playing “So Far Around The Bend,” a rarity that references a desire for the California band to reunite, released shortly before they actually did in 2010. And they spoke about playing “Afraid Of Everyone” for the first time in 2009 in front of Patti Smith and R.E.M. leader Michael Stipe (who traveled to the festival with Patti and took in many acts side-stage), noting how important it was to get their crucial approval in 2009 and then welcoming Patti to the stage to duet “I Need My Girl.” Many of the acts there felt not just curated as artists their fans might like, but ones whose stories are intertwined with their own, parts of an extended family that Weyes Blood and Snail Mail and the others were now invited to.
Philip Cosores
Some other rapid-fire highlights:
The Walkmen proving just how sturdy and timeless their catalog is, and while “The Rat” rightfully gets its due as one of the best songs of this century by anyone, I nominate “In The New Year” as the peak of their achievements, which is the perfect song to ring in January 1st with, 15 years running.
Snail Mail yelling “Pavement” between songs, encapsulating the still-confounding appeal of the MOST Gen-X band appealing to a wide swath of Gen-Z women.
Pavement ending their reunion 2.0 without the fatigue that seemed to come at the end the last time around. They said it will be a long while until they perform again, but their commitment to celebrating their whole catalog and virtually delving into jam-band territory on this incarnation should be used as a playbook for how band reunions can thrive and remain special.
Patti Smith just being Patti Smith, complete with Ginsberg readings, tributes to her departed friends, and a few genuine festival-ready hits in the form of “People Have The Power,” “Gloria,” and “Because The Night.”
Weyes Blood ending her set in the same way that Babylon ends. Both rule, don’t @ me.
Philip Cosores
And while The National’s two performances were notable beyond the full-album plays — only repeating a handful of tracks each night — it was the many little details that made the event feel like a true gift. The “American Water” branded sparkling water cans; the archival shirts and posters on sale; the First Two Pages Of Frankenstein mannequin head selfie station. Even some dude who kept emerging from backstage with random catering food to pass out, including PB&Js, bags of chips, and pickles. In all, there was little to take the focus away from the music and community, with everything striking as a solid 20% nicer and more thoughtful than it had to be. (I would be remiss to not mention my only major gripe with one of The National’s tour photographers: It’s not good to stand on stage and obstruct the audience’s view. People were getting very upset in the crowd because of this. Just a note I hope someone passes along. Whatever shot you are trying to get, it’s not worth it if it ruins someone’s favorite song for them.)
Philip Cosores
We live in an era where most festivals feel like you are fighting the elements, be it weather or crowds or ticket agencies or whatever else — just ask Taylor Swift fans. Swift in turn gave her fans the show of a lifetime with the last tour, as a thank you for the difficulty in being a fan in 2023, an honoring of the wealth of material she has released, and an acknowledgment for all that we’ve been through in the past few years. For its part, Homecoming also felt like this, living up to its name even for those who traveled to be there. It had a level of comfort that doesn’t exist at most events, where the audience reveled in like-minded solidarity and the curators put the audience’s needs at the forefront. So, it is here that I present my alternate headline for this article, which was scrapped because, well, it looks psychotic: There Is No Place Like (The National’s) Home(coming Festival).
Check out some exclusive photos of The National’s Homecoming Festival 2023 below
BREAKING: Footage has leaked from Kevin Abstract’s secret concert last night in Los Angeles pic.twitter.com/enBNFvViCf
September 21, 2023;
