Switzerland’s annual Montreux Jazz Festival unveiled the lineup for 2024, with Raye, Janelle Monáe, The National, Jessie Ware, and Jon Batiste among those headlining the festival.
Other key acts on the lineup include Tyla, PJ Harvey, Kraftwerk, Trombone Shorty, James Arthur, Lenny Kravitz, D4vd, Laufey, André 3000, and more. Given that the event will run from July 5 through July 20, there is sure to be a lot of performances throughout the two weeks from the stacked lineup.
Those who are subscribed to Montreux Jazz Festival’s insider program will be able to purchase tickets today, as part of an Early Bird pre-sale. Tomorrow, April 19, passes for the festival will open to the general public at 6 a.m. ET, according to NME.
“Steeped in musical history, this intimate setting has also proved the ideal stage for established artists to present special, unique projects,” the festival’s description reads, pointing out that the lineup intends to blur “the lines between jazz, afrobeats, pop, and rap” — providing something for every type of listener.
“The lake and the mountains will be the natural backdrop to this breathtaking stage,” Montreux added about the main stage. “Like all stages of the Festival, sound will be provided by Meyer Sound, a historic partner that has helped make Montreux a benchmark in this regard.”
For more information about Montreux Jazz Festival 2024, visit their website.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Afrofuturism in music is deeply rooted in the African diaspora’s history and experiences. It envisions alternate realities where Black culture thrives in futuristic settings. Artists often draw inspiration from African mythology, cosmology, and folklore, weaving these elements into their sonic landscapes. While its growing popularity in music has brought it some attention recently, the concept of Afrofuturism is not new.
It has been present in art, music, and literature for several decades. Artists like Octavia Butler, George Clinton, and Sun Ra are pioneers and practitioners of the cultural aesthetic. Other acts like Parliament-Funkadelic, Public Enemy, OutKast, and Missy Elliott have also made significant contributions to the growth of Afrofuturism over the years. The following artists have also helped push the boundaries of this stylistic musical approach.
With his innovative approach to electronic music, Flying Lotus has pushed boundaries and expanded the sonic universe of Afrofuturism. The producer and DJ has crafted a distinct sound that fuses elements of Hip Hop, jazz, and electronic music. While embracing Afrofuturist themes and aesthetics, Flying Lotus seamlessly blends these elements. As a result, he creates fresh and immersive sonic experiences that transport listeners to alternate dimensions. Through his albums like Cosmogramma(2010)and You’re Dead (2014), he explores and experiments with different sounds.
A visionary artist whose work embodies the essence of Afrofuturism, FKA Twigs is a leading figure in the movement. She blends avant-garde aesthetics with futuristic soundscapes and themes of identity, empowerment, and spirituality. Emphatically, through her music, visuals, and performances, FKA Twigs promotes the Afrofuturism aesthetic. Furthermore, her use of ethereal vocals, intricate beats, and atmospheric textures feels both futuristic and rooted in the African diasporic experience. Her debut album, LP1 is an example of an excellently executed Afrofuturist project.
Shabazz Palaces
This avant-garde Hip Hop duo occupies an influential position within the realm of Afrofuturism. Undeniably, with their groundbreaking music, they have redefined the boundaries of Hip Hop. One of the most significant aspects of Shabazz Palaces’ contribution to Afrofuturism is their innovative sonic palette. Drawing from a diverse array of influences, the duo crafts otherworldly soundscapes that defy traditional Hip Hop conventions. From their self-titled debut album to Robed In Rareness (2023), each of their projects is a sonic delight.
When Thundercat released his debut album The Golden Age Of Apocalypse in 2011, it marked the arrival of a new musical visionary. Since then, he has released three additional albums and one EP, all great Afrofuturism projects. Thundercat’s distinctive bass-playing style, characterized by intricate melodies and virtuosic techniques, is the backbone of his sound. It creates a lush sonic tapestry that transcends traditional genre boundaries. Through albums like Drunk,and It Is What It, he invites listeners on a journey through the depths of his imagination.
The world was first introduced to Janelle Monáe in 2003 when she released The Audition, a demo album. However, it was on her debut EP, Metropolis: Suite I (The Chase) that she first explored Afrofuturism. Subsequently, she followed it up with the remaining projects in her seven-part Metropolis concept series. These include The ArchAndroid (2010), The Electric Lady (2013), and the eclectic Dirty Computer (2018). Through these albums, Monáe created a dystopian sci-fi universe known as “Metropolis.” In them, she portrays an android alter ego called Cindi Mayweather. Altogether, the storytelling, genre-defying music, and bold visual aesthetics are all masterfully executed.
Solange
Another contemporary contributor to Afrofuturism, Solange is a multifaceted artist whose work embodies the spirit of the art. Over the years, she has achieved this through her innovative music, striking visuals, and commitment to exploring themes of identity, empowerment, and social justice. Solange blends elements of R&B, funk, soul, and electronic music, creating a sound that is both modern and timeless. Her critically acclaimed albums A Seat At The Table and When I Get Homeexplicitly depict Afrofuturism. The singer continues to inspire and empower individuals to envision and create a better world for themselves.
Erykah Badu is one of the most prominent contributors to the movement and growth of Afrofuturism in music. Over time, her innovative music, eclectic style, and exploration of themes related to identity and spirituality have helped shape the movement. She has been making music that’s ahead of its time since her debut album in 1997. However, her most significant contribution to Afrofuturism is arguably New Amerykah Part One (4th World War) (2008). While she has not released a new album since 2010, Erykah Badu remains a visual and sonic representative of Afrofuturism.
Each decade has its Black female pop music mainstay. In the 1970s, Donna Summer relished in international stardom with a husky voice and seductive image. Late powerhouse Whitney Houston took over the 1980s, possessing smoky and robust melodics that placed both her debut and sophomore albums atop the Billboard 200 upon release. Mariah Carey rightfully earned her ‘Songbird Supreme’ title in the 1990s for balladry and honeyed anthems that coated her five-octave range.
The aforementioned women – and tons more, including Janet Jackson, Beyoncé, and Rihanna – are Grammy-winning pop icons whose hits have defined generations. But as the musical landscape continues to appease the tastes of introspective-yet-lively Gen-Z listeners, standards for the quintessential Black female pop star have changed, and it’s reflected in the 2024 Grammy Awards nominations.
Three top contenders in this year’s ‘Big Four’ categories were once underdogs who had their eyes set on proving the mainstream wrong: SZA, Victoria Monét, and Coco Jones. Whilst SZA has one Grammy under her belt, split with Doja Cat for their 2021 collaboration “Kiss Me More,” Monét and Jones are meeting their breakthrough with seven and five respective introductory Grammy nominations. (Monét has previously been nominated as a writer, but not as the featured artist.)
The women were previously underappreciated as solo acts; SZA didn’t win a single trophy out of her five nominations for Ctrl, Monét was snubbed for her 2020 EP, Jaguar, and Jones was dropped from her first record deal as a teen. But where the emergence of the three is distinct, they all share a commonality: delivering vulnerability and rawness in their material rather than solely relying on a polished image and expert choreography.
Nabbing the most nominations (nine) at this year’s Grammys is SZA, who rose to the occasion in 2023 despite taking a five-year hiatus following her landmark 2017 debut Ctrl. Non-single standouts from SZA’s latest album are dominant in the categories of Best Traditional R&B Performance (“Love Language”), Best Melodic Rap Performance (“Low”), and Best Pop Duo/Group Performance (“Ghost In The Machine”), and in December, 16-time Grammy-winner Adele told THR that she believes SZA “will win all of them.” It’s fair to say that SOS is the singer-songwriter’s current magnum opus, as it succeeded Whitney Houston’s eponymous 1987 album in spending its first seven weeks at No. 1 on the Billboard 200. It later sat ten non-consecutive weeks atop the chart, one of several historic feats that the LP would achieve in 2023. The “Snooze” vocalist also launched a massive headlining tour, her first arena outing since Top Dawg Entertainment’s ‘The Championship Tour’ in 2018.
Embarking on their first concert series last fall was Monét, who established herself as a household name during the Jaguar II rollout. Passing the torch to the Sacramento-raised artist on the album were past Grammy winners Lucky Daye (“Smoke”), Buju Banton (“Party Girls”), Kaytranada (“Alright”), and Earth, Wind And Fire (“Hollywood”). The latter even gave Monét’s 2-year-old daughter, Hazel, the recognition of becoming the youngest Grammy nominee in history for her bubbly cooing and laughter towards the song’s end. But it was Monét’s groundbreaking track “On My Mama” that gave the singer her first entry on the Billboard Hot 100 as a solo artist, also becoming anthemic for unapologetic mamas and HBCU marching bands. 2023 signaled Monét getting long overdue flowers from nearly every aspect of the music industry, including MTV – who was previously unaware of her greatness – to veteran R&B acts. Since 9-time Grammy-winner Mary J. Blige danced alongside her sister to “On My Mama” in a nightclub, Monét could be a headlining performer for the third installment of Blige’s Strength Of A Woman Festival & Summit.
Scoring big in 2022 and 2023 was Jones, who received watershed praise for her affectionate single “ICU” and its accompanying EP What I Didn’t Tell You. The project showed maturation in the Bel-Air star, whose origins stemmed from being a former Disney Channel notable. Although Jones initially shied away from ballads, the tracks on WIDTY were appropriate fits for the passionate and husky-voiced chanteuse. Despite Jones originally being hesitant about recording slower-paced music, her growth was acknowledged at last year’s BET Awards, NAACP Image Awards, and Soul Train Awards, where she won in all three Best New Artist categories, albeit over ten years apart from her self-titled EP.
However, the Grammys could surprise us by giving a long-delayed gramophone to Janelle Monáe, who stripped down and soaked up good vibes on their fourth album, The Age Of Pleasure. To date, the Kansas City-born visionary — who doesn’t solely identify as a woman and has come out as non-binary — has lost all eight of their previous Grammy nominations, including Album Of The Year for the radical third LP, Dirty Computer. Regardless of stepping away from a concept album run on TAOP, Monáe has proven their star power for nearly 15 years, also giving us an occasional show-stopping film performance.
African artists Ayra Starr and Tyla are primed to be the leaders of tomorrow’s pop music class, due to both being nominated in the new Grammy category Best African Music Performance. Whereas many in the U.S. are newly discovering Starr – who’s been a pillar in Afropop since 2021 – Tyla’s amapiano smash “Water” was unavoidable across block parties and TikTok last summer. The latter has frequently affirmed wanting to introduce her South African roots to the world as a pop artist, and since crossing over from local notoriety to reaching global stages, she’s on the right track.
We’d be remiss not to mention the projects from the unsung women in pop and R&B that either went unsubmitted or slept on by the Recording Academy. Kelela bared her soul and gave us ripened singing on her first album in over five years, Raven. Tinashe kept pushing the boundaries of experimental pop on her sixth overall album, BB/Ang3l. Amaarae’s diverse sophomore LP Fountain Baby was refreshing in a time when modern pop can sometimes be monotonous and gimmicky. More names that deserve a shot in the Grammys spotlight: Ama Lou, Jorja Smith, Liv.e, Chlöe, and Arlo Parks. As the public readies themselves for a post-Beyoncé and post-Rihanna pop climate – although both are undisputed in their own right – the next female Black pop star standard could be anyone’s to gain because these women have already made their mark.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The 2024 Grammy Awards are just around the corner, and much like previous iterations of the annual ceremony, there likely won’t be a shortage of show-stopping performances. But above all, fans are hoping to see if their favorite artists’ hard work will pay off with a win, and the chance to take home their own golden gramophone trophies as they secure their spot in music history.
When it comes to the Grammys in particular, half of the fun is trying to understand the voting criteria, which remains elusive from year to year. While music journalists are just as in the dark as average music fans about who gets to win a Grammy, nerding out over this stuff is what we do best. (Though we’re aware that we may end up dropping some potentially controversial viewpoints, thus testing the pressure cooker that is the internet in the process.)
In anticipation of the big night, this music journalist is taking a look at 10 stacked nomination pools, and will distinguish which artists probably will win, and who probably should win that coveted Grammy gold. (But please, go easy on me if you don’t agree!)
Best Pop Dance Recording
“Baby Don’t Hurt Me,” David Guetta, Anne-Marie and Coi Leray
“Miracle,” Calvin Harris featuring Ellie Goulding
“Padam Padam,” Kylie Minogue
“One in a Million,” Bebe Rexha & David Guetta
“Rush,” Troye Sivan
Will win: “Padam Padam” Should Win: “Padam Padam”
“Padam Padam” is Kylie Minogue’s first single in two years, and with its infectious dance-pop sound, energetic synths, and sweet, sticky chorus, it was almost guaranteed to be a hit. To create a song that penetrates the pop landscape, social media, and the LGBTQ+ community this deep into her decades-long career proves Minogue’s affinity for hit-making. A win in this inaugural category would be justified and incredibly appropriate.
Best African Music Performance
“Amapiano,” Asake and Olamide
“City Boys,” Burna Boy
“Unavailable,” Davido featuring Musa Keys
“Rush,” Ayra Starr
“Water,” Tyla
Will Win: “Water” Should Win: “Unavailable”
A win by any of these artists would be a win for the culture, Africa, and Afrobeats, which continues to be overlooked by the Recording Academy in all-genre categories despite its influence. This is the first time this award will be presented, though few can deny the impact this style has made to the sonic landscape of modern-day music as a whole.
“Unavailable” in particular became the first song by a Nigerian act to hit 100 million streams on Spotify in 2023. This achievement is merely a footnote for Davido when observing the larger picture of his success and musical contributions, achieved through his artistic and cultural integrity. A Davido win would be incredibly overdue, but Afrobeats’ oft-omitted importance places all nominated acts in a deserving light.
Best Rap Song
“Attention,” Doja Cat
“Barbie World,” Nicki Minaj & Ice Spice ft. Aqua
“Just Wanna Rock,” Lil Uzi Vert
“Rich Flex,” Drake & 21 Savage
“Scientists & Engineers,” Killer Mike and André 3000 feat. Future and Eryn Allen Kane
Will win: “Barbie World” Should win: “Scientists & Engineers”
Women have (rightfully) been running the hip-hop game for the better part of the last few years. A win by either the Queen of Rap and the new pop-rap princess—or even rap’s resident chameleon Doja Cat—would be a welcome, tide-shifting moment for the macho genre.
However, in “Scientists & Engineers,” one of rap’s most respected voices Killer Mike shines through conscientious bars, while Future’s undeniable flow showcases why he’s one of the biggest names in contemporary music. Elsewhere in this link-up for the ages, fellow ‘Dungeon Family’ member André 3000 provides what very well could be his final rap verse on wax. “Scientists & Engineers” carries attributes that continue to stand the test of time in hip-hop: authentic rhymes, rhythm, and collaboration.
Best R&B Song
“ICU,” Coco Jones
“Angel,” Halle
“Back to Love,” Robert Glasper ft. SiR & Alex Isley
“Snooze,” SZA
“On My Mama,” Victoria Monét
Will win: “Snooze” Should win: “ICU”
As one of the highlights on an album full of highlights, the smoothness and soothing vibes found in SZA’s “Snooze” would cap off an incredible year for the Jersey girl.
Though in her breakout single “ICU,” Coco Jones’ lower register and unbelievably velvety vocals display that the hallmarks of R&B live on in our newest stars. A win in this category for Jones would solidify her place among one of the brightest lights in the genre today, and would bring a happy ending the former Disney darling’s Cinderella story.
Alternative Music Album
The Car, Arctic Monkeys The Record, Boygenius Did You Know That There’s a Tunnel Under Ocean Blvd, Lana Del Rey Cracker Island, Gorillaz I Inside the Old Year Dying, PJ Harvey
Who will win: The Record Who should win: The Record
The debut studio LP from the supergroup (comprised of Julien Baker, Lucy Dacus, and Phoebe Bridgers) is crafted in a way that showcases each member’s individual strengths, but also proves the power of collaboration and teamwork. Their long-awaited link-up remains modern while still evoking the sounds and styles that inspire them, from rock to folk. Christened the best album of 2023 in UPROXX’s Music Critics Poll, this is virtually a no-brainer.
Record of the Year (awarded to the song itself)
“Worship,” Jon Batiste
“Not Strong Enough,” Boygenius
“Flowers,” Miley Cyrus
“What Was I Made For?” from “Barbie,” Billie Eilish
“On My Mama,” Victoria Monét
“Vampire,” Olivia Rodrigo
“Anti-Hero,” Taylor Swift
“Kill Bill,” SZA
Who will win: “Kill Bill” Who should win: “Flowers”
“Kill Bill” spins the idea of breakup anthems on its head through thematics and sonics that slay. However, what gives “Flowers” the edge is the commercial and personal triumphs on top of its thematics. The funky, rockin’ self-love anthem feels like a cathartic return to form for the musical shapeshifter, whose personal life has undergone as many changes as her sonic identity.
Unlike her previous pop efforts like “Malibu” and “Prisoner,” which felt forced in some respects, “Flowers” found the superstar and the audience meeting at the right place and time. The song brings a sophisticated, confident maturity, and for the first time in a long time, it truly felt like Miley was just being Miley.
Song of the Year (awarded to the songwriter/songwriters)
“A&W” — Jack Antonoff, Lana Del Rey & Sam Dew, songwriters (Lana Del Rey)
“Anti-Hero” — Jack Antonoff & Taylor Swift, songwriters (Taylor Swift)
“Butterfly” — Jon Batiste & Dan Wilson, songwriters (Jon Batiste)
“Dance the Night” (From “Barbie the Album”) — Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt, songwriters (Dua Lipa)
“Flowers” — Miley Cyrus, Gregory Aldae Hein & Michael Pollack, songwriters (Miley Cyrus)
“Kill Bill” — Rob Bisel, Carter Lang & Solána Rowe, songwriters (SZA)
“Vampire” — Daniel Nigro & Olivia Rodrigo, songwriters (Oliva Rodrigo)
“What Was I Made For?” [From the Motion Picture “Barbie”] — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
Who will win: “Anti-Hero” Who should win: “What Was I Made For?”
“Anti-Hero” marks the seventh time Taylor Swift has been nominated in this category, now a Grammy record. The single serves as the pulse of her LP, has been virtually inescapable for over a year, and shows the depth of her pen and personal glossary. A T.S. win in this category would amplify the Grammy’s love of “making moments” at the ceremony.
However, the perfect, tear-jerking placement of “What Was I Made For?” in Barbie solidifies the power of Billie Eilish and brother Finneas’ lyrical simplicity. The (future Oscar-winning) song showcases what we love about Billie’s more subdued tracks: the palpable optimism underneath surface-level melancholia — which is befitting of the film’s underlying theme — as well as the general feelings of modern-day womanhood.
Best New Artist
Gracie Abrams
Fred Again..
Ice Spice
Jelly Roll
Coco Jones
Noah Kahan
Victoria Monét
Who will win: Ice Spice Who should win: Victoria Monét
High-profile friendships, a masterful social media pull, and even a Chia Pet made in her likeness — it would seem as though Ice Spice would be the clear-cut favorite to win. High honors here would crown the Bronx artist as the third woman rapper in history to win Best New Artist, which could be a controversial bestowment amongst rap purists who deem Ice to be “too pop.”
But when was the last time we had a true blue triple threat in our midst? Victoria Monét has been under our noses the entire time. Her incredible stage presence, deeply quotable lyrics, and overall star power make her the full package, and a win of this magnitude would be worth the wait. Noah Kahan would also be a great choice, as his musicianship has steadily earned a following amongst both fans and artists alike.
Album of the Year
World Music Radio, Jon Batiste The Record, Boygenius Endless Summer Vacation, Miley Cyrus Did You Know That There’s a Tunnel Under Ocean Blvd, Lana Del Rey The Age of Pleasure, Janelle Monáe Guts, Olivia Rodrigo Midnights, Taylor Swift SOS, SZA
Who will win:Midnights Who should:SOS
As mentioned earlier, the Grammys love “making moments.” Taylor Swift is far and away the biggest name in contemporary music, and a win in this category will provide the moment. If honored with the biggest award of the night, Taylor could surpass Stevie Wonder, Paul Simon, and Frank Sinatra for the most Album of the Year wins by any artist in history. However, some could argue that — though thematically sound — Midnights is not a career high. Although a win would be the cherry on top of her banner year, star power and fanfare don’t always warrant an automatic win.
SOS on the other hand, is a true career high for SZA, solidifying her status as thee reigning R&B superstar. It was her first No. 1 album, it nabbed the biggest streaming figures for an R&B album in U.S. history, and it’s the longest-running No. 1 album by a woman in this decade. A much-deserved win in this category would also create a “moment”: SZA would be the first Black woman since Lauryn Hill in 1999 to win Album of the Year, and only the fourth ever after Natalie Cole, Whitney Houston, and Hill. The personal triumphs, coupled with the album’s successes, will feel like a win for all.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Janelle Monae, the multi-talented singer, songwriter, actress, and producer, has accumulated an impressive net worth over the years. But, what is her net worth as of 2024? We’ll be taking a look at her success and accumulated wealth in this article.
As of 2024, the singer’s estimated net worth is a staggering $12 million, according to Celebrity Net Worth.
The Journey To Janelle Monae’s Net Worth
(Photo by Kevin Winter/Getty Images)
Monae’s initial foray into the music industry was far from glamorous. She began performing in local bars and clubs in Atlanta, slowly building a following with her unique blend of funk, soul, and R&B. A chance meeting with Big Boi from OutKast and a feature on their album led to her being introduced to Sean Combs. This connection ultimately launched her career on a larger scale.
Boosting Her Wealth
(Photo by FilmMagic/FilmMagic for Life is Beautiful Music & Art Festival)
The majority of Monae’s wealth has undoubtedly been amassed through her musical career. She’s known for her dynamic albums that blend genres and tell complex narratives. Her debut studio album, The ArchAndroid, was met with widespread acclaim and earned her a Grammy nomination. Her following albums, The Electric Lady andDirty Computer, continued this trend, solidifying her place in the music industry.
Acting Contributions
(Photo by Mark Horton/Getty Images)
In addition to her music, Monae has also ventured into acting, further increasing her net worth. She’s been part of critically acclaimed films like Hidden Figures and Moonlight, and her performances have garnered praise, proving her versatility as an artist.
Business Ventures
(Photo by Jason Howard/Bauer-Griffin/GC Images)
Apart from her music and acting career, Monae has also invested in several business ventures. She is the co-founder of the Wondaland Arts Society, a collective and record label that supports other artists. This entrepreneurial spirit has undoubtedly contributed to her net worth.
Philanthropy
(Photo by Jeff Kravitz/FilmMagic)
Despite her wealth, Monae has never lost sight of the importance of giving back. She’s known for her philanthropic work, particularly her advocacy for LGBTQ+ rights and racial equality. Although these endeavors may not directly increase her net worth, they certainly enhance her public image and reputation, indirectly contributing to her overall success.
Conclusion/TLDR
Janelle Monae’s net worth of $12 million is a testament to her talent, hard work, and versatility. Whether it’s through her unique and compelling music, her performances on the silver screen, or her entrepreneurial ventures, she continues to build upon her success. Furthermore, her commitment to philanthropy shows that her wealth hasn’t detracted from her dedication to social issues. As she continues her career, there’s no doubt that Janelle Monae’s net worth will only continue to grow.
GANGGANG, creators of the BUTTER Fine Art Fair, and Forty5, the live entertainment company behind The Vogue Theatre and Rock the Ruins, proudly present the I Made Rock ‘N’ Roll Festival. Set to be Indiana’s first one-day Black rock festival, the event aims to pay homage to the genre’s true origins, celebrate the ongoing legacy of Black rock, and promote equity within the music scene.
Taking place on Saturday, May 18 at The American Legion Mall in downtown Indianapolis, the festival boasts an impressive lineup featuring Janelle Monáe, Gary Clark Jr., Robert Randolph Band, Joy Oladokun, Meet Me @ The Altar, and Inner Peace.
“We are doing this to celebrate the significance of Black artistry in rock music, a sound with direct ties to the rhythm and blues of Black people,” said Alan Bacon, GANGGANG co-founder. “This festival is about the longstanding presence of Black artists and authorship in rock ‘n’ roll as much as it is about racism, cultural appropriation, and economic justice.”
IMRR lineup Announcement 1.10.2024
Presale tickets, starting at $75, will be available on Thursday, January 11 at 10 am, with general ticket sales opening on Monday, January 15 at 10 am on imaderocknroll.com. In the lead-up to the festival, GANGGANG and Forty5 will co-present Sonic Stories, a series of rock music listening sessions and screenings in February, March, and April, spotlighting local and regional voices and fostering conversations about race, music, and culture.
“GANGGANG and Forty5 are aligned in our mission to bring people together and build community by way of the arts,” said Forty5 CEO Jenny Boyts. “We are proud to be a part of producing this important series of events and look forward to bringing this amazing collection of artists to Indy, who will drive important conversations, create space for joy and celebration, and ultimately inspire us all.”
For additional festival information, advance ticket notifications, and to sign up for the I Made Rock ‘N’ Roll email newsletter, visit www.imaderocknroll.com. Don’t miss the chance to be part of Indiana’s historic celebration of Black rock at this groundbreaking festival.
Megan Thee Stallion, Jelly Roll, Sabrina Carpenter, Cardi B, LL Cool J, Green Day, Ludacris, Janelle Monáe, Ellie Goulding, Doechii, Thirty Seconds To Mars, Nile Rodgers and CHIC, Paul Russell, Loud Luxury, Two Friends and Bebe Rexha, Reneé Rapp and Coco Jones, Aqua, Post Malone, NewJeans, and Ivy Queen are the acts currently set to join the celebration.
Here’s what to know about how to watch it.
How To Watch Dick Clark’s New Year’s Rockin’ Eve 2024
Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest is set to air on ABC starting at 8 p.m. ET. The event is set to last until 2 a.m. ET. For those without cable, there are a few live TV streams out there. DirecTV is offering a five-day free trial through Rolling Stone, for those who want to watch on a laptop or different device. (Just be sure to cancel after, if you so choose.)
If you do want a permanent membership, that is also an option. Hulu offers a live TV package for about $77 a month, along with a few other streaming sites out there.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Janelle Monáe is bringing a whole new meaning to the holiday spirit, as they’re quite literally wearing it on their face. Moreover, they shared a new video of them donning a full costume of The Grinch that looks like it could’ve appeared in a live-action film of it. It’s unclear whether the singer and actress will use this fit for something grander or if they just wanted to pop off and go a little bit harder on the “a very extra Christmas” front. Either way, the results certainly speak for themselves, and we can’t imagine what they might do as an on-screen Grinch. After all, the Kansas City native is intertwining the worlds of movies and music more than ever these days.
Whether this Grinch outfit is for a video, some promo material, or just for fun, we’re glad that they’re celebrating with style and joy. This was an excellent year for Janelle Monae: their album The Age Of Pleasure, while not as conceptually daunting as previous work, still ranks as one of 2023’s best, waviest, and most soothing auditory offerings. In addition, they also caused a lot of noise with their tour and proudly stamped their identity into the industry as always. Hopefully 2024 yields even more great things in whatever artistic lane will be tackled next.
What’s more is that Janelle Monae is also sharing this joy and excitement with plenty of other musical icons. For example, they recently tore it up at the club with Victoria Monét and Teyana Taylor, and the chemistry between these creatives is truly special. Not only are they all accomplished as directors and world-builders, but you’d be hard-pressed to find folks who do it as stylishly as them. Even when they just go out to have fun, these artists never fail to impress and captivate with their presence.
Meanwhile, the 38-year-old recently performed with Usher at a Las Vegas show, an unlikely but very welcome crossover. That shouldn’t have surprised us, though; they often collaborate with so much diverse talent. Fingers crossed for even more special team-ups in the new year. For more news and the latest updates on Janelle Monae, log back into HNHH.
Fans are no stranger to seeing cell phone videos of celebrities having the time of their lives at a club online. That’s why it didn’t come as a surprise to many to see Teyana Taylor enjoying herself in a new clip making the rounds. But she isn’t alone, R&B darlings Victoria Monet and Janelle Monae are there alongside her. But they aren’t just watching, the clip shows the trio dancing on each other and showering Taylor in money.
“Teyana Taylor backing it up on Victoria Monet in the club” the caption of the post reads. In the comments fans discuss the clip, primarily to bring up Taylor’s ex Iman Shumpert. “Maybe she really wanted an Imani and not Iman,” one fan jokes. Others speculate that Taylor could be more into women than she lets on. “Teyanna ain’t never beating these gay allegations,” one fan comments, but “Y’all acting like T.T ain’t been told y’all she bisexual,” another clarifies. Check out the clip itself and the variety of fan reactions to it below.
It’s been a pretty busy year musically for Janelle and Victoria. Janelle released her first new album in 5 years, The Age Of Pleasure back in June. She dropped an Atlanta-themed remix of one of the album’s deep cuts a few months later that featured verses from Latto and Quavo.
Victoria Monet on the other hand has had a massive breakout in the past few months. She released her new album Jaguar II which featured some impressive contributions from artists like Buju Banton and Lucky Daye. The album also spawned her biggest hit to date, the track “On My Mama” which spent multiple weeks in the Hot 100 following the release of the album. Monet was declined a chance to perform at the VMAs this year right before she had her commercial breakthrough. Despite the slight, Monet doesn’t seem to be too upset about the missed opportunity. What do you think of the new video of Teyana Taylor dancing on Victoria Monet and Janelle Monae? Let us know in the comment section below.
