K-pop soloists HyunA and DAWN have opened up about their departure from Psy-led agency P Nation.
READ MORE: TWICE: “Through honesty, we can protect ourselves”
On August 29, P Nation released a statement, per News1, sharing that the two idols would be leaving the agency as their contracts had recently expired. In it, the agency had praised HyunA and DAWN, as soloists and as a duo, for their “bold music and unrivalled visuals and performances that only they could take on”.
“Their passion as artists and their consideration and care for the staff became examples for everyone,” continued the agency. “All the members of P Nation will treasure the enjoyable memories with HyunA and DAWN for a long time, and we will continuously support their future activities going forward.” said P Nation.
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Later that day, both HyunA took to her personal Instagram account to share a screenshot of the agency’s statement, extending her thanks to P Nation. DAWN also uploaded the statement to his Instagram story, adding: “Thank you. I’ll show you an even better side of me in the future.”
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DAWN also left a comment on HyunA’s post, writing: “Moving forward, let’s freely and coolly make music, perform and love. I love you.”
This marks the end of both artists’ nearly four-year partnership with the agency. HyunA and DAWN left their previous agency, CUBE Entertainment, in 2018 after revealing that they were in a romantic relationship. The couple later signed with P Nation in January 2019, shortly after the agency was founded by singer Psy.
During their time with the agency, HyunA released two mini-albums, ‘I’m Not Cool’ and the recent ‘Nabillera’, while DAWN dropped several singles including ‘Money’ and ‘Stupid Cool’. The couple also debuted as a duo in September 2021 with their mini-album ‘1+1=1’.
The news comes just over a month after Korean-American rapper Jessi, who had been P Nation’s first artist, left the agency. Her last solo release with the agency was her April 2022 single ‘Zoom’.
Korean-American singer-rapper Jessi has parted ways with management agency P Nation, which is headed by South Korean musician Psy.
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According to reports by the Kpop Herald and Herald Pop, P Nation announced the K-pop idol’s departure through a statement issued to the press. Notably, Jessi was the first artist who signed to the label in early-2019, followed by South Korean power couple DAWN and HyunA shortly after
“First of all, we express deep gratitude to everyone who has sent much love and interest to Jessi,” P Nation said in its statement, as translated by Soompi. “We inform you that our exclusive contract with Jessi recently expired.”
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“Being with P NATION since the beginning until now as P NATION’s first artist, Jessi has secured her position as an artist who is loved by more fans through her warm passion and endless efforts. That process and her achievements became positive and enjoyable sources of motivation for every member of P NATION.”
“We will continue to cheer on Jessi’s future path as an artist, and we will continuously support her diverse activities,” the label added. “We thank the many fans who cherish Jessi, and we ask that you continue to send warm encouragement and support.”
Jessi had previously opened up about joining P Nation and how she did not say yes to PSY’s offer right away. “I was not convinced at first, let’s get that straight. It took a while for him to really get me,” she explained at the time.
In her three years with P Nation, Jessi has released a number of hit and viral singles, including the 2020 single ‘Nunu Nana’ in 2020, ‘What Type Of X’ in 2021 and the TikTok hit ‘Zoom’ this April.
When Rhea Raj calls in from her home in Los Angeles, a week has passed since the news officially dropped that the nascent popstar inked a joint venture with HYBE America, Republic Records, and 5 Junction Management. The deal—which bears resemblance to the HYBE x Geffen contract that formed her younger sister Lara’s multinational girl group KATSEYE—has been a long time coming, she says.
“I think about the timeline of my life so much,” she adds. “Where I’m at right now feels like all the stars have aligned themselves in a way that I always hoped they would. I couldn’t have been better poised for it than I am right now.”
Courtesy of HYBE/Republic
Even though many have discovered Raj in the past few years, the singer has been pursuing superstardom for a decade. Her first parlay with the spotlight was as a contestant on season 15 of American Idol in 2016. In the last few years she has bubbled up on her own through two album releases and a slew of confident and slinky capital-P pop singles like 2022's "Devil In A Dress." But only now, she says, does she feel like she has the tools to finally be able to build the full extent of her dreams. “For the first time in my life, I’m creating music and visuals of my next project from the most genuine, innocent, childlike space I’ve ever been in before,” she says.
A New Chapter with Industry Titans
Reflecting on her journey, Raj notes that her path to this moment was paved by years of independent hustle. After moving from New York to Los Angeles five years ago, she focused on writing and producing for herself and others. A pivotal moment came when she reconnected with her manager, Anjula Acharia—the powerhouse behind Priyanka Chopra. “She’s our it-girl icon who came from India and did her thing in the U.S.,” Raj explains. With Acharia’s guidance, Raj secured meetings with Republic Records founder Monte Lipman and HYBE America’s CEO Isaac Lee, effectively assembling what she calls her “Avengers” team.
Courtesy of HYPE/Republic
Championing South Asian Representation
For Raj, this career milestone is about more than just personal success; it is about visibility. Growing up as an Indian-American, she balanced her love for classical Indian dance with a deep appreciation for Western pop icons like Britney Spears and Rihanna. “Growing up, I didn’t see people from India or South Asian artists on big stages,” she says. “I hope that by signing with a big label, I can reach more people and versions of little Rhea. I want them to see all the things that I’ll do over the course of my life as an artist and think, ‘I can do this too.’”
It’s so crazy to me that when you see women in general, but especially a woman of color, breaking boundaries, people always want to find a way to undermine how someone got there.
Addressing the inevitable online criticism regarding her rapid rise and industry connections, Raj remains focused on her craft. She chooses to ignore the noise, preferring to let her work speak for itself. Looking ahead, she is excited about the prospect of collaborating with her sister, Lara, and continuing to turn her personal experiences—including the challenges of her early career—into art. “I’m going to use all of the fear, sadness, and pain and continue turning them into art,” she concludes. “That’s the beauty of life.”
When The FADER arrived at the Nike Football TOMA National Finals last weekend, the atmosphere was electric. While the arrival of Travis Scott as a surprise guest was a major highlight, the true story was the sheer intensity of the competition. The event marked the first Nike TOMA tournament in New York City, drawing a diverse crowd of dedicated soccer fans, from local enthusiasts to travelers who journeyed from as far as Toronto and Los Angeles to witness the action.
The rainy conditions did little to dampen the spirits of the participants. On the contrary, the rain-slick pitch seemed to heighten the stakes, as players engaged in fearless, high-energy play. The matches were defined by aggressive slide tackles, precise ball control, and a palpable competitive drive that kept the spectators on their feet. Every successful maneuver—from rainbow flicks to perfectly executed Cruyff turns—was met with roaring enthusiasm from the crowd.
The energy on the field was matched by the intensity of the spectators, who remained fully engaged throughout the tournament. Photographer Tommy Maidment captured the raw emotion and athleticism of the day, documenting the fierce matches and the unique culture surrounding this inaugural NYC event. Below are the exclusive highlights from the tournament.
The suit was first filed in 2024 and it alleges that the company had used the monopoly to help stifle competition, dominate the ticketing market and gain money from fans via high prices and surcharges.
However, according to the Associated Press, the trial will now resume on Monday (March 16) after more than 30 US states decided not to join the Justice Department in the settlement.
The crowd at the first stop of the Oasis Live 25 reunion tour in Cardiff, Wales on July 4, 2025. Credit: Andy Ford for NME
In fact, only seven states – Arkansas, Iowa, Mississippi, Nebraska, Oklahoma, South Carolina and South Dakota – have joined the department’s plan to settle their claims.
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32 plaintiff states and the District of Columbia have instead chosen to go ahead with the trial, with Massachusetts attorney general Andrea Joy Campbell saying: “The DOJ’s settlement falls far short of protecting consumers, artists and venues from the harms that Live Nation and Ticketmaster have caused.
The suit claims that Live Nation requires artists to use its concert promotion services if they want to perform at the venues it also owns, and that it dominates ticketing services through exclusive, long-running contracts with major concert venues.
The lawyer representing Live Nation has argued that the company has never made threats, makes minimal profits, and still has to fight for every deal it makes due to the “marketplace [being] more competitive than ever it has been before.”
In the hearing earlier this month, the Justice Department claimed that Ticketmaster handled ticketing for 86 per cent of “major” venues in the US, and Live Nation dismissed the claims as “cherry picking” venues to present a skewed representation of the ticketing landscape.
AdvertisementThe crowd for Declan McKenna live at Reading 2023. Credit: Andy Ford for NME
Live Nation’s attorney shot down the claims that their “technology is held together by duct tape”, saying that the issues with the ‘Eras’ tour sale was due to bots, and that the issue was promptly resolved.
The calls for Live Nation to create a more balanced ticketing landscape have been seen in the UK too, with the Association Of Independent Festivals (AIF) claiming that the ticketing company had exceeded “market dominance” and pushing for Live Nation and Ticketmaster to be broken up.
It alleged that while “the UK monopoly threshold is 25 per cent [and] market dominance position is 40 per cent, Live Nation control is 66.4 per cent.” In response, a rep for Live Nation told NME that the data shared wasn’t “credible and [is] likely to be misleading.”
Now, the Monroe Carell Jr. Children’s Hospital at Vanderbilt in Nashville has thanked her for a major donation to their Adolescent and Young Adult Cancer Program, which helps patients between 15 and 25. “We are so grateful to Taylor Swift for her generous gifts to Monroe Carell,” the hospital’s chair Juan C. Salazar has said. “She is a true partner as we strive to provide a brighter, healthier future for the children and communities we serve.”
“These gifts are so timely – of course, it is the holiday season, when a hospital stay is especially tough. And we are also seeing continued increases in the number of patients and families who turn to us for care,” he continued. “This makes a difference for us all.”
Debra Friedman, director of Pediatric Hematology and Oncology at the hospital, added: “The future of adolescent and young adult cancer research and care is full of progress and possibilities because of the generosity of donors like Taylor Swift. Her gift enables our teams to personalize cancer care for the unique challenges these patients face, leading to improved outcomes.”
Operation Breakthrough in Kansas City, meanwhile, which provides a “safe, loving and educational environment for children in poverty”, have revealed that she also made a significant contribution to their case.
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“Thank you @taylorswift for supporting Operation Breakthrough. We are so grateful for your kindness and for championing creativity, education, and opportunity for our over 750 students!” they said.
In a three-star review of The End Of An Era, NME described the series as “solid content for Swifties wanting to relive the tour’s huge collective dopamine hit”.
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“There’s a great documentary to be made about the ‘Eras Tour’, but it’s probably an unofficial one exploring the unique sense of community it fostered among the singer’s fanbase,” it reads.
Kendrick Lamar leads the way at the 2026 Grammy nominations with nine nods – see the full list of nominations below.
The Recording Academy announced the full list of nominees on their YouTube channel today (November 7) and the ceremony is due to take place in Los Angeles on February 1, with CBS and Paramount+ set to broadcast the show live.
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Lamar leads the way thanks to his sixth album ‘GNX’, which was released last November. His nine nominations put him two places ahead of Lady Gaga, Jack Antonoff and producer Cirkut, who all sit on seven, while Sabrina Carpenter, Leon Thomas, Serban Ghenea and Bad Bunny all have six.
Lamar, Gaga, Carpenter and Bad Bunny are also all up for all three of the ‘major’ Grammy categories – Album of the Year, Record of the Year and Song of the Year, with Justin Bieber, Billie Eilish, Chappell Roan and Tyler, The Creator among the other artists picking up nominations in those categories.
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There are four nominations for ‘Golden’, the hit song from KPop Demon Hunters, while Bon Iver, The Cure, Wet Leg and Hayley Williams will fight it out with Tyler, The Creator for Best Alternative Music Album.
The eligibility period was from August 31, 2024 to August 30, 2025, meaning records released since that date, including Taylor Swift’s ‘The Life Of A Showgirl’, were ineligible.
The 2026 Grammy nominations are:
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Album of the Year Bad Bunny – ‘DeBÍ TiRAR MáS FOToS’ Justin Bieber – ‘Swag’ Sabrina Carpenter – ‘Man’s Best Friend’ Clipse – ‘Let God Sort Em Out’ Lady Gaga – ‘Mayhem’ Kendrick Lamar – ‘GNX’ Leon Thomas – ‘Mutt’ Tyler, the Creator – ‘Chromakopia’
Record of the Year Bad Bunny – ‘DtMF’ Sabrina Carpenter – ‘Manchild’ Doechii – ‘Anxiety’ Billie Eilish – ‘Wildflower’ Lady Gaga – ‘Abracadabra’ Kendrick Lamar with SZA – ‘Luther’ Chappell Roan – ‘The Subway’ Rosé and Bruno Mars – ‘APT.’
Song of the Year Lady Gaga – ‘Abracadabra’ Doechii – ‘Anxiety’ Rosé and Bruno Mars – ‘APT.’ Bad Bunny – ‘DtMF’ Huntr/x (Ejae, Audrey Nuna, Rei Ami) – ‘Golden’ (from KPop Demon Hunters) Kendrick Lamar with SZA – ‘Luther’ Sabrina Carpenter – ‘Manchild’ Billie Eilish – ‘Wildflower’
Best New Artist Olivia Dean KATSEYE The Marias Addison Rae Sombr Leon Thomas Alex Warren Lola Young
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Songwriter of the Year, Non-Classical Amy Allen Edgar Barrera Jessie Jo Dillon Tobias Jesso Jr. Laura Veltz
Producer of the Year, Non-Classical Dan Auerbach Cirkut Dijon Blake Mills Sounwave
Best Pop Solo Performance Justin Bieber – ‘Daisies’ Sabrina Carpenter – ‘Manchild’ Lady Gaga – ‘Disease’ Chappell Roan – ‘The Subway’ Lola Young – ‘Messy’
Best Pop Vocal Album Justin Bieber – ‘Swag’ Sabrina Carpenter – ‘Man’s Best Friend’ Miley Cyrus – ‘Something Beautiful’ Lady Gaga – ‘Mayhem’ Teddy Swims – ‘I’ve Tried Everything But Therapy (Part 2)’
Best Pop Duo/Group Performance Cynthia Erivo & Ariana Grande – ‘Defying Gravity’ Huntr/x (Ejae, Audrey Nuna, Rei Ami) – ‘Golden’ KATSEYE – ‘Gabriela’ Rosé and Bruno Mars – ‘APT.’ SZA with Kendrick Lamar – ‘30 for 30’
Best Dance Pop Recording Selena Gomez & benny blanco – ‘Bluest Flame’ Lady Gaga – ‘Abracadabra’ Zara Larsson – ‘Midnight Sun’ Tate McRae – ‘Just Keep Watching’ PinkPantheress – ‘Illegal’
Best Traditional Pop Vocal Album Laila Biali – ‘Wintersongs’ Jennifer Hudson – ‘The Gift Of Love’ Elton John & Brandi Carlile – ‘Who Believes In Angels?’ Lady Gaga – ‘Harlequin’ Laufey – ‘A Matter Of Time’ Barbra Streisand – ‘The Secret Of Life: Partners, Volume 2’
Best Dance Electronic Album FKA twigs – ‘Eusexua’ Fred again.. – ‘Ten Days’ PinkPantheress – ‘Fancy That’ Rüfüs Du Sol – ‘Inhale / Exhale’ Skrillex – ‘Fuck U Skrillex You Think Ur Andy Warhol But Ur Not!! <3>
Best Dance/Electronic Recording Disclosure & Anderson .Paak – ‘No Cap’ Fred again.., Skepta, & PlaqueBoyMax – ‘Victory Lap’ Kaytranada – ‘Space Invader’ Skrillex – ‘Voltage’ Tame Impala – ‘End of Summer’
Best Rap Album Clipse – ‘Let God Sort Em Out’ GloRilla – ‘Glorious’ JID – ‘God Does Like Ugly’ Kendrick Lamar – ‘GNX’ Tyler, The Creator – ‘Chromakopia’
Best Rap Song Doechii – ‘Anxiety’ Clipse featuring John Legend and Voices of Fire – ‘The Birds Don’t Sing’ Tyler, The Creator featuring GloRilla, Sexyy Red, and Lil Wayne – ‘Sticky’ GloRilla – ‘TGIF’ Kendrick Lamar featuring Lefty Gunplay – ‘TV Off’
Best Melodic Rap Performance Fridayy featuring Meek Mill – ‘Proud Of Me’ JID featuring Ty Dolla $ign & 6Lack – ‘Wholeheartedly’ Kendrick Lamar with SZA – ‘Luther’ Terrace Martin and Kenyon Dixon featuring Rapsody – ‘WeMaj’ PartyNextDoor and Drake – ‘Somebody Loves Me’
Best Rap Performance Cardi B – ‘Outside’ Clipse featuring Kendrick Lamar and Pharrell Williams – ‘Chains & Whips’ Doechii – ‘Anxiety’ Tyler, The Creator featuring Teezo Touchdown – ‘Darling, I’
Best R&B Album Givēon – ‘Beloved’ Coco Jones – ‘Why Not More?’ Ledisi – ‘The Crown’ Teyana Taylor – ‘Escape Room’ Leon Thomas – ‘Mutt’
Best R&B Song Kehlani – ‘Folded’ Summer Walker – ‘Heart Of A Woman’ Chris Brown Featuring Bryson Tiller – ‘It Depends’ Durand Bernarr – ‘Overqualified’ Leon Thomas – ‘Yes It Is’
Best R&B Performance Justin Bieber – ‘Yukon’ Chris Brown featuring Bryson Tiller – ‘It Depends’ Kehlani – ‘Folded’ Leon Thomas – ‘Mutt’ (Live From NPR’s Tiny Desk) Summer Walker – ‘Heart Of A Woman’
Best Traditional R&B Performance Durand Bernarr – ‘Here We Are’ Lalah Hathaway – ‘Uptown’ Ledisi – ‘Love You Too’ SZA – ‘Crybaby’ Leon Thomas – ‘Vibes Don’t Lie’
Best Progressive R&B Album Durand Bernarr – ‘Bloom’ Bilal – ‘Adjust Brightness’ Destin Conrad – ‘Love on Digital’ Flo – ‘Access All Areas’ Terrace Martin & Kenyon Dixon – ‘Come As You Are’
Best Spoken Word Poetry Album Queen Sheba – ‘A Hurricane in Heels’ Marc Marcel – ‘Black Shaman’ Omari Hardwick & Anthony Hamilton – ‘Pages’ Saul Williams, Carlos Niño & Friends – ‘Saul Williams Meets Carlos Niño & Friends At Treepeople’ Mad Skillz – ‘Words For Days Vol. 1’
Best Rock Album Deftones – ‘Private Music’ Haim – ‘I Quit’ Linkin Park – ‘From Zero’ Turnstile – ‘Never Enough’ Yungblud – ‘Idols’
Best Rock Song Nine Inch Nails – ‘As Alive As You Need Me To Be’ Sleep Token – ‘Caramel’ Hayley Williams – ‘Glum’ Turnstile – ‘Never Enough’ Yungblud – ‘Zombie’
Best Rock Performance Amyl and The Sniffers – ‘U Should Not Be Doing That’ Linkin Park – ‘The Emptiness Machine’ Turnstile – ‘Never Enough’ Hayley Williams – ‘Mirtazapine’ Yungblud – ‘Changes’ (Live From Villa Park, Back To The Beginning)
Best Alternative Music Performance Bon Iver – ‘Everything Is Peaceful Love’ The Cure – ‘Alone’ Turnstile – ‘Seein’ Stars’ Wet Leg – ‘Mangetout’ Hayley Williams – ‘Parachute’
Best Alternative Music Album Bon Iver – ‘SABLE, fABLE’ The Cure – ‘Songs Of A Lost World’ Tyler, The Creator – ‘Don’t Tap the Glass’ Wet Leg – ‘Moisturizer’ Hayley Williams – ‘Ego Death At A Bachelorette Party’
Best Música Urbana Album Bad Bunny – ‘DeBÍ TiRAR MáS FOToS’ J Balvin – ‘Mixteip’ Feid – ‘Ferxxo Vol X: Sagrado’ Nicki Nicole – ‘Naiki’ Trueno – ‘Eub Deluxe; Yandel – ‘Sinfónico (En Vivo)’
Best Música Mexicana Album (Including Tejano) Fuerza Regida, Grupo Frontera – ‘Mala Mía’ Grupo Frontera – ‘Y Lo Que Viene’ Paola Jara – ‘Sin Rodeos’ Carín León – ‘Palabra De To’s (Seca)’ Bobby Pulido and Friends Una Tuya Y Una Mía – ‘Por La Puerta Grande (En Vivo)’
Best Latin Pop Album Rauw Alejandro – ‘Cosa Nuestra’ Andrés Cepeda – ‘Bogotá (Deluxe)’ Karol G – ‘Tropicoqueta’ Natalia Lafourcade – ‘Cancionera’ Alejandro Sanz – ‘¿Y ahora qué?’
Best Latin Rock or Alternative Album Aterciopelados – ‘Genes Rebeldes’ Astropical – ‘Astropical‘ Ca7riel and Paco Amoroso – ‘Papota’ Los Wizzards – ‘Algorhythm’ Fito Paez – ‘Novela’
Best Tropical Latin Album Rubén Blades, Roberto Delgado & Orquesta – ‘Fotografías’ Gloria Estefan – ‘Raíces’ Grupo Niche – ‘Clásicos 1.0’ Alain Pérez – ‘Bingo’ Gilberto Santa Rosa – ‘Debut y Segunda Tanda, Vol. 2’
Best Traditional Country Album Charley Crockett – ‘Dollar A Day’ Lukas Nelson – ‘American Romance’ Willie Nelson – ‘Oh What A Beautiful World’ Margo Price – ‘Hard Headed Woman’ Zach Top – ‘Ain’t In It For My Health’
Best Contemporary Country Album Kelsea Ballerini – ‘Patterns’ Tyler Childers – ‘Snipe Hunter’ Eric Church – ‘Evangeline Vs. The Machine’ Jelly Roll – ‘Beautifully Broken’ Miranda Lambert – ‘Postcards From Texas’
Best Country Solo Performance Tyler Childers – ‘Nose On The Grindstone’ Shaboozey – ‘Good News’ Chris Stapleton – ‘Bad As I Used To Be’ Zach Top – ‘I Never Lie’ Lainey Wilson – ‘Somewhere Over Laredo’
Best Country Duo/Group Performance Miranda Lambert and Chris Stapleton – ‘A Song To Sing’ Reba McEntire, Miranda Lambert, Lainey Wilson – ‘Trailblazer’ Margo Price and Tyler Childers – ‘Love Me Like You Used To Do’ Shaboozey and Jelly Roll – ‘Amen’ George Strait and Chris Stapleton – ‘Honky Tonk Hall Of Fame’
Best Country Song Tyler Childers – ‘Bitin’ List’ Shaboozey – ‘Good News’ Zach Top – ‘I Never Lie’ Lainey Wilson – ‘Somewhere Over Laredo’ Miranda Lambert and Chris Stapleton – ‘A Song To Sing’
Best American Roots Performance Jon Batiste featuring Randy Newman – ‘Lonely Avenue’ I’m With Her – ‘Ancient Light’ Jason Isbell – ‘Crimson And Clay’ Alison Krauss and Union Station – ‘Richmond On The James’ Mavis Staples – ‘Beautiful Strangers’
Best Americana Performance Sierra Hull – ‘Boom’ Maggie Rose & Grace Potter – ‘Poison In My Well’ Mavis Staples – ‘Godspeed’ Molly Tuttle – ‘That’s Gonna Leave A Mark’ Jesse Welles – ‘Horses’
Best American Roots Song I’m With Her – ‘Ancient Light’ Jon Batiste – ‘Big Money’ Jason Isbell – ‘Foxes In The Snow’ Jesse Welles – ‘Middle’ Sierra Hull – ‘Spitfire’
Best Americana Album Jon Batiste – ‘Big Money’ Larkin Poe – ‘Bloom’ Willie Nelson – ‘Last Leaf On The Tree’ Molly Tuttle – ‘So Long Little Miss Sunshine’ Jesse Welles – ‘Middle’
Best Bluegrass Album Michael Cleveland & Jason Carter – ‘Carter & Cleveland’ Sierra Hull – ‘A Tip Toe High Wire’ Alison Krauss & Union Station – ‘Arcadia’ The Steeldrivers – ‘Outrun’ Billy Strings – ‘Highway Prayers’
Best Traditional Blues Album Buddy Guy – ‘Ain’t Done With The Blues’ Taj Mahal & Keb’ Mo’ – ‘Room On The Porch’ Maria Muldaur – ‘One Hour Mama: The Blues Of Victoria Spivey’ Charlie Musselwhite – ‘Look Out Highway’ Kenny Wayne Shepherd and Bobby Rush – ‘Young Fashioned Ways’
Best Contemporary Blues Album Joe Bonamassa – ‘Breakthrough’ Samantha Fish – ‘Paper Doll’ Eric Gales – ‘A Tribute To LJK’ Robert Randolph – ‘Preacher Kids’ Southern Avenue – ‘Family’
Best Folk Album Rhiannon Giddens and Justin Robinson – ‘What Did The Blackbird Say To The Crow’ Patty Griffin – ‘Crown Of Roses’ I’m With Her – ‘Wild And Clear And Blue’ Jason Isbell – ‘Foxes In The Snow’ Jesse Welles – ‘Under The Powerlines (April 24 – September 24)’
Best Gospel Performance/Song Kirk Franklin – ‘Do It Again’ Tasha Cobbs Leonard, John Legend – ‘Church’ Jonathan McReynolds & Jamal Roberts – ‘Still’ (Live) Pastor Mike Jr – ‘Amen’ Cece Winans featuring Shirley Caesar – ‘Come Jesus Come’
Best Global Music Performance Bad Bunny – ‘EoO’ Ciro Hurtado – ‘Cantando en el Camino’ Angélique Kidjo – ‘Jerusalema’ Yeisy Rojas – ‘Inmigrante Y Que?’ Shakti – ‘Shrini’s Dream’ (Live) Anoushka Shankar featuring Alam Khan & Sarathy Korwar – ‘Daybreak’
Best Global Music Album Siddhant Bhatia – ‘Sounds Of Kumbha’ Burna Boy – ‘No Sign of Weakness’ Youssou N’Dour – ‘Eclairer le monde – Light the World’ Shakti – ‘Mind Explosion’ (50th Anniversary Tour Live) Anoushka Shankar featuring Alam Khan & Sarathy Korwar – ‘Chapter III: We Return To Light’ Caetano Veloso And Maria Bethânia – ‘Caetano e Bethânia Ao Vivo’
Best Musical Theater Album ‘Buena Vista Social Club’ ‘Death Becomes Her’ ‘Gypsy’ ‘Just In Time’ ‘Maybe Happy Ending’
Best Reggae Album Lila Iké – ‘Treasure Self Love’ Vybz Kartel – ‘Heart & Soul’ Keznamdi – ‘Blxxd & Fyah’ Mortimer – ‘From Within’ Jesse Royal – ‘No Place Like Home’
Best Comedy Album Bill Burr – ‘Drop Dead Years’ Sarah Silverman – ‘PostMortem’ Ali Wong – ‘Single Lady’ Jamie Foxx – ‘What Had Happened Was…’ Nate Bargatze – ’Your Friend, Nate Bargatze’
Best Audio Book, Narration, and Storytelling Recording Kathy Garver – Elvis, Rocky & Me: The Carol Connors Story Trevor Noah – Into The Uncut Grass Ketanji Brown Jackson – Lovely One: A Memoir Dalai Lama – Meditations: The Reflections Of His Holiness The Dalai Lama Fab Morvan – You Know It’s True: The Real Story Of Milli Vanilli
Best Compilation Soundtrack For Visual Media Timothée Chalamet – A Complete Unknown Various Artists – F1® The Album Various Artists – KPop Demon Hunters Various Artists – Sinners Various Artists – Wicked
Best Song Written For Visual Media Nine Inch Nails – ‘As Alive As You Need Me To Be’ (from Tron: Ares) Huntr/x (Ejae, Audrey Nuna, Rei Ami) – ‘Golden’ (from KPop Demon Hunters) Miles Caton – ‘I Lied to You’ (from Sinners) Elton John and Brandi Carlile – ‘Never Too Late’ (from Elton John: Never Too Late) Jayme Lawson – ‘Pale, Pale Moon’ (from Sinners) Rod Wave – ‘Sinners’ (from Sinners)
Best Score Soundtrack For Visual Media (Includes Film and Television) John Powell – How to Train Your Dragon Theodore Shapiro – Severance: Season 2 Ludwig Göransson – Sinners John Powell & Stephen Schwartz – Wicked Kris Bowers – The Wild Robot
Best Music Video Sade – ‘Young Lion’ Sabrina Carpenter – ‘Manchild’ Clipse – ‘So Be It’ Doechii – ‘Anxiety’ OK Go – ‘Love’
Best Music Film Devo – Devo Raye – Live at the Royal Albert Hall Diane Warren – Relentless John Williams – Music by John Williams Pharrell Williams – Piece by Piece
Best Album Cover Tyler, The Creator – ‘Chromakopia’ (Shaun Llewellyn & Luis “Panch” Perez) Djo – ‘The Crux’ (William Wesley II) Bad Bunny – ‘Debí Tirar Más Fotos’ (Benito Antonio Martinez Ocasio) Perfume Genius – ‘Glory’ (Cody Critcheloe & Andrew J.S.) Wet Leg – ‘Moisturizer’ (Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki & Rhian Teasdale)
Katy Perry has released a new single, ‘Bandaids’ – check out its grisly Final Destination-inspired music video below.
Released today (November 7), the track marks her first since the critically-panned 2024 album ‘143‘. ‘Bandaids’, released with little to no prior teases, comes in the middle of the singer’s world tour.
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The track’s accompanying music video sees Perry in various settings that draw inspiration from the Final Destination franchise, albeit with her own twists. These include getting her hand ripped to shreds by a garbage disposal system, getting her shoelaces caught in an escalator, being struck by a stray log while driving and more.
Watch the grisly music video for ‘Bandaids’ below.
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‘Bandaids’ sees Perry sing about having tried her best in a failed relationship – most likely inspired her recent split from longtime beau Orlando Bloom in July. Over the course of the track, she makes her case, singing about how she did the best she could to keep the relationship alive.
She sings in the opening verse: “Hand to God, I promised, I tried / There’s no stone left unturned / It’s not what you did, it’s what you didn’t / You were there, but you weren’t.”
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Elsewhere during the track, she looks back on the relationship with a softer lens: “On the bright side, we had good times / Nеver faked our pictures / Wе were perfect ’til we weren’t… If I had to do it all over again / I would still do it all over again / The love that we made was worth it in the end.”
The two of them have been romantically involved since 2016, and first split back in 2017, before getting back together shortly afterwards. They got engaged in February 2019, and now share a four-year-old daughter together called Daisy.
A joint statement was shared with US media outlets, with representatives for both Perry and Bloom saying that the two have “been shifting their relationship over the past many months to focus on co-parenting” (via BBC). It added that “they will continue to be seen together as a family, as their shared priority is – and always will be – raising their daughter with love, stability and mutual respect.”
The album itself wasn’t well received by critics, with NME scoring it two out of five stars: “Pop fans have a fondness for resurrecting “flop” albums that were given short shrift when they first came out: Mariah Carey’s ill-fated soundtrack album ‘Glitter’ and Christina Aguilera’s sonic hodgepodge ‘Bionic’ have both become cult classics of sorts. But even this fate seems unlikely for ‘143’, a serviceable but slightly dull collection on which Perry struggles to relocate her old sense of fun.”
Pulp have revealed they are “not itching” to make another album, despite their 2025 comeback record ‘More’ being nominated for the Mercury Prize.
The Sheffield greats spoke to NME on the red carpet at the ceremony at Newcastle’s Utilita Arena last night (October 16), where they were shortlisted alongside the likes of CMAT, Wolf Alice, Fontaines D.C., Pa Salieu and the eventual winner Sam Fender.
Drummer Nick Banks and keyboardist Candida Doyle spoke to NME at the event about being nominated for the Mercury Prize again, having taken home the prize for their classic album ‘Different Class’ in 1996.
“It’s always really nice to get on the shortlist, because, you know, a hell of a lot of music gets released every year, so to be picked out as one of the 12 to look at, then that’s really great,” Banks said. “We never expect it, you never do a record saying you’re aiming to get on the shortlist this year or next year.”
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When asked if the success of ‘More’ has left them eager to get to work on a follow-up, Doyle responded: “No, we’re not itching. An EP, maybe, or a single. An LP…”
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“It’s a big undertaking,” Banks explained. “You have to do all this kind of malarkey.”
NME awarded ‘More’ four stars, writing: “Just as Blur did with ‘The Ballad Of Darren’ and Suede have managed on their immaculate run of post-reunion albums, Pulp have retained their original spirit and flair into a statement of middle age without feeling any less vital. As Cocker pines on the cinematic closer ‘A Sunset’, all things end, so just make the most of the time you have. It’s strangely beautiful, now they’re all fully grown.”
In the winner’s room afterwards, Fender added: “We didn’t think we were going to win anything so I’m still in shock. It’s an absolute honour and it’s amazing it’s happened up here, for the first time outside of London. I think it’s a really important thing that’s happened right now in the music industry – I think it’s great.”
Back in 1992, Saint Etienne issued the insouciant invitation to “Join Our Club”. For indie pop lovers of style and taste, it was an easy RSVP. The Britpop-adjacent trio of Bob Stanley, Pete Wiggs and Sarah Cracknell were well connected but never exclusive. If anything, they were nerdy enthusiasts, hymning their hip vision of a swinging London, which drew fondly across decades of post-war British, nay European, pop culture – film, literature and visual art as much as music – while deftly bodyswerving the more jingoistic connotations of Cool Britannia.
More than 30 years on, their 13th album is a similarly celebratory summons to their leaving party. Although they have not announced a hard split, International will be Saint Etienne’s last album and, like the final scene of It’s A Wonderful Life, there’s a heart-warming gathering of old friends, new kids, well-wishers and elder statesmen queuing up to mark the occasion, from Vince Clarke and Nick Heyward to Erol Alkan and Confidence Man. No tears – okay, some tears – for this beloved band.
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They carved their own niche as a renaissance pop act
The guestlist is bolstered by spoken word cameos from the likes of longtime Saint Etienne backing singer Debsey Wykes, actor Caroline Catz and broadcasters Colin Murray and Katie Puckrik, connecting the tracks with mock news items, continuity announcements and pastiche adverts in a variety of languages. It’s a charming throwback to the film dialogue samples which peppered their early albums. Murray, in particular, has a blast referencing the Countdown samples from Foxbase Alpha’s “Stoned To Say the Least”.
Producer Tim Powell corrals the whole shebang with ease and poise, bringing unimpeachable pop pedigree from his Xenomania work with Sugababes, Girls Aloud and Pet Shop Boys. Saint Etienne may not have the commercial reach of the latter but they carved their own niche as a renaissance pop act, as comfortable producing both film and soundtrack for their 2002 project Finisterre as they were colonising the indie dancefloor throughout the ’90s. In a further nod to their electro crossover roots, both Paul Hartnoll of Orbital and Tom Rowlands of The Chemical Brothers contribute to International.
Saint Etienne are seemingly determined to go out with an unabashed pop bang
Saint Etienne are seemingly determined to go out with an unabashed pop bang. The contrast to last year’s The Night is striking, but both albums were conceived concurrently as flipsides of the trio’s vivid soundworld. Audacious ambient lullaby The Night was their most experimental work to date, but now it’s time to rekindle their love of a hookline. Happy-sad opener “Glad” chimes in like a remix of their early indie pop nuggets. Co-written and produced with Rowlands and featuring Doves’ guitarist Jez Williams, it finds uplift in nature. Guitars ring, tambourines shake and the whole arrangement brightens as Cracknell sings “don’t it make you glad when the sun shines on your eyes” with a lush yet plaintive tone reminiscent of Karen Carpenter.
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Powell shows his form with the sleek disco rapture and synthesized harp strokes of “Dancing Heart”, while DJ/producer Erol Alkan casts a classy spell on “Sweet Melodies” with executive traveller Cracknell transported to pop music paradise across “Paris, London, New York”.
Moods swing gently but surely, from the bittersweet breakbeat of “Fade” via the tougher brush-off mantra “Why Are You Calling” to the elastic electro funk of “Save It For A Rainy Day”, a collaboration with Bradford’s shadowy Flash Cassette. Make way also for pop royalty as Haircut 100’s Nick Heyward brings a honeyed glow and pop positivity to his duet on “The Go Betweens” and Vince Clarke co-writes “Two Lovers”, a breathy tale of a clandestine affair. It’s not difficult to imagine the disco whirl of a possible Erasure interpretation, but Cracknell takes it slower, standing outside the drama and watching with empathy.
Saint Etienne bow out on top form
Even in this self-possessed company, “Brand New Me” stands out as another pop nugget in the “Nothing Can Stop Us” school of spry invincibility. Grace Stephenson, aka Janet Planet of Aussie dance duo Confidence Man, delivers a pop vocal hook to match her own “Holiday”, tripping on the irrepressible enthusiasm of a fresh start while Cracknell positively purrs at her reversal of fortune over swaying string samples and blasts of Bacharachian brass.
Too soon, it is time for Murray’s countdown to “The Last Time”, a twinkly synth valediction taking in droll thoughts on social media, Adam Ant and Frantic Five references and a glimmer of autobiography from a band who usually prefer just to let their love of music hang out. It’s a wispy, understated finish to a vibrant au revoir. Like all the best goodbyes, Saint Etienne bow out on top form and affectionate terms.
The song is titled after the film and will play during its end credits. Both Cave and Dessner are credited as co-producers on it alongside Luis Almau, while Dessner composed the film’s score.
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It appears on the film’s official soundtrack, which will be released digitally on November 7 and on vinyl on November 14. Train Dreams will then premiere on Netflix on November 21.
Directed by Clint Bentley, Train Dreams is an adaptation of the novella by Denis Johnson and stars Joel Edgerton as Robert Grainier, a logger and railroad worker who “leads a life of unexpected depth and beauty in the rapidly-changing America of the early 20th Century”.
“When we started thinking about making a song for the film, Nick felt like the perfect artist to do it,” said Bentley in a press release. “It turns out that Train Dreams is one of his all-time favorite books, but he initially feared there wouldn’t be time to do something because he was getting ready to go on tour. Then he watched the film and was inspired to write something and the whole thing came together really quickly.
“I knew he would craft something beautiful and resonant, but the film has such a delicate tone at the end, one that was really hard to get right, and I didn’t want a song that would push the audience in another direction emotionally. But Nick and I were very much on the same page from the outset. He read some early lyrics to me that he was working on and I was just really a bit overwhelmed with the whole situation — I’ve been a fan of his for such a long time and there I was, not only having a really lovely conversation with him about life and art, but he was also reading lyrics to me that he was writing for a film I made. It was a really special moment.
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“He’s a very rare artist and one I admire immensely. There’s no one thing that defines a Nick Cave song — sonically, lyrically, or otherwise — he’s got songs about everything, all the varieties of our experience here. There’s a deep poeticism alongside rock and roll. And that just felt like the perfect fit for a film like this that’s telling the story of this person who lived a beautiful resonant life, even if it did include heartache and pain.”
On hearing the song for the first time, Bentley said: “I was blown away. It surpassed anything I felt like it might be. It took all the feelings that I was trying to communicate at the end of the movie and expanded them into another place. I was so struck by how the song builds to the end when other voices start to drift in, as if on the wind. His lyrics are so evocative and there’s a deep mystery to the song, especially when thinking about Grainier’s story. Every time I listen to it, I’m more moved by it.
He continued: “I think that Nick and Bryce were able to collaborate so closely on the song just makes it fit the score so beautifully. They were both very open artistically in the process. The piano music that Bryce laid down as the bed of the song feels like an extension of the gorgeous score he created and then Nick’s lyrics just seem to grow organically out of that. It all just feels so natural and of a whole because of that collaboration they found.”
On Dessner’s soundtrack, he said: “Bryce is such an open and generous artist,” says Bentley. “This is our second film together and with Train Dreams, there was a lot of back and forth throughout the edit as he sent over different ideas and threads he was working on based on the footage and the script. It really helped shape the rhythm and the feeling of the film and lifted it to a whole new place. His music is transcendent.”
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This isn’t Cave’s only film-related project of late, as earlier this month, it was confirmed that he and Warren Ellis are set to score the new television adaptation of his 2009 novel The Death Of Bunny Munro.
The BBC has delayed its plans to block access to BBC Sounds for listeners outside of the UK.
Earlier this year, the corporation announced plans to restrict the availability of the app for international audiences, with the proviso that access to Radio 4 and the World Service would remain for all through a new audio section on the BBC website.
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BBC Sounds is the service that allows listeners to listen to the full range of the corporation’s national and local radio stations and podcasts, and it is currently fully accessible to people around the world.
Instead of following through with their initial plans, they have now said they intend to “continue to make other BBC stations available to listeners outside the UK”, saying they “will not close BBC Sounds outside the UK until we have confirmed these plans”.
(Credit: Peter Dazeley/Getty Images)
It added that it still intends to close BBC Sounds to audiences outside the UK later this year, but it is now working “in parallel” on plans to make a range of stations remain available internationally when that happens.
“This includes the BBC’s music stations. BBC Radio 1, Radio 2 and Radio 3, 6music, 1xtra and the Asian Network, as well as the BBC stations from around the Nations and Regions, including Local Radio,” the corporation clarified.
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The plans were particularly criticised by audiences in the Republic of Ireland, who would have access to the local stations BBC Radio Ulster and Radio Foyle made unavailable under the current plans.
In the video for “Knowledge”, the first single from Edwyn Collins’ 10th solo album, the clan chief of Postcard Records stands like a monument in the wintery landscape around his home in Helmsdale, on the north-east coast of Scotland. It is a grey day. There is snow on the ground. The joyous gospel harmonies can’t disguise the note of disquiet that leaks from the song. “Knowledge” is about unease, the loss and recovery of fond memories. Knowledge, Collins sings, with a nod to Amazing Grace, “first was lost and now it’s found”. The chorus underlines the point, while the video cuts through subliminal flashes of the singer’s musical trophies, rolling into a series of fast cuts of Collins in his popstar pomp, all arch sideburns and long spear collars. He pouts like Elvis, he machine-guns the audience like Eddie Cochran. “Hard to let my old self go,” Collins sings, repeating the point for emphasis. “So hard…”
It’s a strange thing, listening to “Knowledge”. It sounds so familiar, as if the melody has been around forever. It is, as Donny and Marie once sang, a little bit country, a little bit rock’n’roll. There is a bit of Memphis, some Nashville and – departing from the Osmonds’ formula – in place of Motown, a little bit of Northern Soul. The mood seems to echo the melody of “Rehab”, a song by Collins’ former comrade in Orange Juice, James Kirk. The more you listen, the more that similarity dissolves. Something else, an old country tune, crackles through the static, then that, too, fizzles in the haar.
“All my life, I draw from music I love,” Collins tells Uncut. “There’s so much to dig into. I used to call it cross-pollinating. I’m influenced and then I influence. On this record it’s the same as always, loads of things inspire me. Soul music, gospel music, country music, synthy pop music, guitar players, everything.”
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Before we go forward, it’s worth going back. Such is the myth surrounding Collins’ first band, Orange Juice, that the music tends to get lost. In the traditional shorthand, the Creamola Foam rush of Orange Juice came from a chemical blend of The Velvet Underground and Chic, a formula which gives an entirely misleading sense of what they actually sounded like. Postcard-era Juice delivered their tunes in an adolescent blood-rush, a punk ballyhoo made strange by the vagaries of Collins’ voice. The Juice turned left when they heard the Northern Soul iteration of Vic Godard’s Subway Sect. (Could Vic sing swing? Could Edwyn sing Al Green? The calculation is roughly the same).
As Orange Juice developed, they became a vehicle for Collins’s ambitions, scoring a hit when Collins coaxed a liquid bass line from a Roland TB-303. To this, he added an impression of Nile Rodgers shredding a Burns Nu-Sonic guitar, and lyrical nods to Buzzcocks and Eddie Cochran. Cross-pollinating. This time, the formula worked. “Rip it Up” ripped it up. But, be careful what you wish for. It was fun, and then it wasn’t. Tired, perhaps, of the unglamorous reality of being a pop star in pursuit of a second hit, Collins turned the perversity up to 11. Bit by bit, he exploded the group.
Orange Juice and Postcard need no special pleading. What is less appreciated is the consistency of Collins’ solo career, a long arc in which Collins leaned more directly into his influences, culminating with a worldwide hit with “A Girl Like You”.
There is, of course, a before and an after. Collins suffered two strokes in 2005, which robbed him of the ability to play guitar and, for a time, the power of speech. Through sheer force of will, the singer found his voice in music, and there may be a way in which the familiar patterns of song lyrics act as an aid to communication. Aphasia leaves no room for irony. As Collins sings on the title track, “Back when the words came easily/I had the answer to everything/Revelling in a smart alec comeback.”
With Collins’s post-stroke material, there is no disguising the fact that the words are freighted. In Orange Juice, feyness was an aggressive statement. Now, directness becomes a matter of resilience. For a while, it seemed remarkable that Collins was performing at all. He has moved beyond that. In the song, “Nation Shall Speak Unto Nation” his struggle with articulacy – that feeling of voicelessness – is projected outwards, with a twist on the founding motto of the BBC. “If I can’t talk to you, and you can’t talk to me,” Collins sings, “How shall nation speak unto nation?” He is, to paraphrase “A Girl Like You”, talking allegorically.
If this seems bleak, it doesn’t sound it. Working with his regular collaborators – co-producers Jake Hutton and Sean Read, musicians James Walbourne and Carwyn Ellis, and son Will (on bass) – Collins collates his influences into a carnival of understatement. Less becomes more. Midway through “The Heart Is A Foolish Little Thing” – a fairground waltz of Northern Soul – there’s a thunderous xylophone solo. The winsome “Paper Planes” sounds like a tune that could have been showered in bombast by Roy Orbison or Neil Diamond, but Collins respects the flimsiness of the lyric’s central metaphor and keeps it small, sounding vulnerable rather than operatic. There’s a note of sweet simplicity in “A Little Sign”, childishness even, though the tune does wander into a dub postscript. “Strange Old World” is a montage of twang and punk guitar, a bit 1960s, a bit James Bond, with Collins warbling in a shower stall of reverb “it’s a strange old world, but it’s my world.”
Musically, the tunes blend pop stickiness with sonic experimentation, but there is a strong sense of place. “The Mountains Are My Home” reflects Collins’ move to the highlands. It’s also a traditional roaming song in the style of Glen Campbell, propelled by a train-track rhythm. Has Collins ever sung more sweetly than on “It Must Be Real”? Never with such directness. The way he performs now has the conversational bluntness of Lou Reed refracted, perhaps, through the sunny disposition of Jonathan Richman. “When you love, love, love again, you succeed,” Collins sings on “Rhythm Is My Own World”. When he does admit to doubt, the notion is quickly dispelled. “Sometimes it brings me down,” he sings on “Sound As A Pound”, “the pain inside, but I’m ok.”
Mostly, it’s the sound of optimism turned into a tune, informed by the fresh geography of Collins’s life. It helps that his metaphors can be located on the map, but that shouldn’t diminish their universality. An unlikely highlight is “The Bridge Hotel”, a summery incantation which namechecks the venue where Collins celebrated being made chieftain of the highland games in 2010. “It’s a B&B now,” Collins tells Uncut, “run by a nice guy called Hans.” In the song, the hotel is in the midst of an endless summer day, where “the song thrush sings past 10 o’clock in the evening”. So yes, it’s getting late, but the sun is refusing to set. Edwyn is in his happy place, home again. Not falling, but laughing.
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Dubbed the ‘Grand National Tour’, the upcoming shows arrive on the heels of their North American tour, and initially included four stops in the UK. These were at Glasgow’s Hampden Park, Birmingham’s Villa Park, Cardiff’s Principality Stadium and London’s Tottenham Hotspur Stadium.
Now, it has been confirmed that another night in the UK capital has been locked in, taking place at the Tottenham Hotspur Stadium on July 23 – the night after Lamar and SZA take to the stage there for the first time.
On top of that, another date has been added for Paris. This will take place at the La Défense Arena in the French capital on July 16 – also one night after their initially announced performance there.
Other European tour dates already listed on the schedule include stops in Amsterdam, Lisbon, Barcelona, Rome and Warsaw, before wrapping up in Stockholm on August 9.
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Tickets go on sale tomorrow (February 14) at 9am local time, and pre-sale options are live now. Visit here to buy tickets and find an updated list of tour dates below.
Kendrick Lamar and SZA’s UK and European tour dates are:
JULY 2 – Cologne, Germany @ RheinEnergieSTADION 4 – Frankfurt, Germany @ Deutsche Bank Park 8 – Glasgow, UK @ Hampden Park 10 – Birmingham, UK @ Villa Park 13 – Amsterdam, Netherlands @ Johan Cruijff ArenA 15 – Paris, France @ Paris La Défense Arena 16 – Paris, France @ Paris La Défense Arena [NEW] 19 – Cardiff, UK @ Principality Stadium 22 – London, UK @ Tottenham Hotspur Stadium 23 – London, UK @ Tottenham Hotspur Stadium [NEW] 27 – Lisbon, Portugal @ Estadio do Restelo 30 – Barcelona, Spain @ Estadi Olímpic Lluís Companys
AUGUST 2 – Rome, Italy @ Stadio Olimpico 6 – Warsaw, Poland @ PGE Narodowy 9 – Stockholm, Sweden @ 3Arena
The 11-track album was recorded at Collins’ own Clashnarrow Studio in Helmsdale, North East Scotland and was co-produced by Collins with Sean Read and Jake Hutton, who all play on the album.
Also featuring James Walbourne on guitar, William Collins on bass, Carwyn Ellis on guitar, Lena Wright and Bianca White on backing vocals and including two co-writes – “The Mountains Are My Home” with Ellis and “Strange Old World” with Collins.
The tracklisting is:
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Knowledge Paper Planes The Heart Is A Foolish Little Thing The Mountains Are My Home Strange Old World Nation Shall Speak Unto Nation Sounds as A Pound The Bridge Hotel A Little Sign It Must Be Real Rhythm Is My Own World
Taylor Swift has credited her fans for her six Grammy nominations at a show in Toronto, thanking them and describing it as “unbelievable”.
The all-conquering Eras Tour is now in its final leg, which kicked off at Toronto’s Rogers Centre on Thursday (November 14). During the show, the singer took the time to share her reflections on being recognised in so many awards categories.
“You guys did something so amazing over the course of the last few months,” she said. “I just mean what you did with embracing ‘The Tortured Poets Department’, the album. It’s truly blown my mind because it’s really emotional for me that this album, I wrote it during the Eras Tour, right?”
“I wrote that album, made that album, all trying to keep it a secret from you guys,” she continued. “And then announced the album, and then we basically were, like, working really hard to secretly put together a new chapter in the Eras Tour of ‘The Tortured Poets Department’, and we wanted to surprise you with it, and we did.”
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“And you guys have been so wonderful about digging into this album and really understanding where I was coming from with it. You made it by far the biggest debut week I’ve ever had with an album and you kept that album at number one for nearly four months.”
“And the most recent thing that you did, because everything that happens is a direct reflection of the passion that you show, is you guys got this album nominated for six Grammys. It’s so unbelievable, so thank you.”
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‘The Tortured Poets Department’ is up for Album of the Year and Best Pop Vocal Album, while ‘Fortnight’ is nominated for the prestigious Record of the Year and Song of the Year awards. ‘Us’, Swift’s collaboration with Gracie Abrams, is also up for Best Pop Duo/Group Performance. The ceremony takes place on February 2 2025 in Los Angeles.
She was also a big winner at last week’s MTV Europe Music Awards, picking up a total of four gongs: Best Artist, Best Live, Best Video and Best US Act. While she was not present in Manchester for the ceremony, she did send a video acceptance, in which she said, “I had to best time touring Europe this summer, so it’s just wonderful for you to do this.”
The Eras Tour became the first tour in history to gross over $1billion, hitting the ten-digit threshold after sixty shows and eight months of being on the road. She will play a total of six shows in Toronto before finally drawing the tour to an end with three dates in Vancouver from December 6 to 8.
Nation Of Language have shared a cover of Darlene Love’s festive classic “Christmas (Baby Please Come Home)’ – check it out below.
The Brooklyn indie synthpop trio – made up of Ian Devaney, Aidan Noell and Alex MacKay – have put a distinctive spin on the 1963 track that was famously part of Phil Spector’s A Christmas Gift For You compilation.
Nation Of Language join the likes of U2, Cher, Mariah Carey and Death Cab For Cutie in covering the song, which Spector also wrote alongside Ellie Greenwich and Jeff Barry. In this version, the band infuse the track with eerie, spacious production and slower pacing, eking out the song’s bittersweet emotional inner life.
The single is the first new music from Nation Of Language since the release of their third studio album ‘Strange Disciple’ in September 2023. In a four-star review of the record, NME wrote: “‘Strange Disciple’ is a testament to the band’s growth in the brisk three years since their debut. With their third album, Nation Of Language prove they’re able to stretch their auditory imagination, all while sticking to their roots. In just 10 quick tracks, the NYC band demonstrate that their reminiscent sound has always been more about the future than the past.”
National Album Day (NAD) has announced its return this year with a stacked slate of limited classic LPs being reissued on vinyl be some of Britain’s greatest acts – see the full list below.
National Album Day will take place on October 19 this year, and will follow the theme “Great British Groups”. This year, the event is presented in association with official broadcast partner BBC Radio 2. As part of this year’s celebrations, NAD has announced over 40 classic records that are being reissued on vinyl.
All of these special titles will be made available for purchase in retailers across the UK and via NAD itself – a large number of these records will be available for pre-order from 10am BST today (September 12).
Idlewild’s ‘Warnings/Promises’. Credit: National Album Day
The records available for pre-order later today (September 12) are:
All Saints – ‘All Saints’ Babyshambles – ‘Shotter’s Nation’ Daughter – ‘Music From Before the Storm’ Dodgy – ‘Homegrown’ Embrace – ‘Out Of Nothing’ Gomez – ‘How We Operate’ Idlewild – ‘Warnings/Promises’ Jeff Wayne – ‘Jeff Wayne’s Musical Version Of The War Of The Worlds: ULLAdubULLA – The Remix Album’ Judas Priest – ‘British Steel’ Longpigs – ‘The Sun Is Often Out’ Mike & the Mechanics – ‘Living Years’ Oysterband & June Tabor – ‘Freedom & Rain’ Prefab Sprout – ‘Jordan: The Comeback’ Scouting For Girls – ‘Scouting For Girls’ SHACK – ‘H.M.S. FABLE’ Simple Minds – ‘Big Music’ Simply Red – ‘Simplified’ Slowdive – ‘Slowdive’ Suede – ‘Dog Man Star’ T. REX – ‘The Slider’ Take That – ‘Everything Changes: 30th Anniversary’ The Animals – ‘The Animals’ The Chemical Brothers – ‘Exit Planet Dust’ The Fall – ‘Hex Enduction Hour’ The Lightning Seeds – ‘Jollification’ The Proclaimers – ‘This Is The Story’ The Sisters Of Mercy – ‘Floodland’ The Specials – ‘The Specials’ The Stranglers – ‘La Folie’ The Subways – ‘Money & Celebrity’ (Red & White split vinyl) The View – ‘Cheeky for a Reason’ The Waterboys – ‘Fisherman’s Blues’ Travis – ‘The Man Who’ Utah Saints – ‘Utah Saints’ Wedding Present – ‘Bizarro’ World Party – ‘Goodbye Jumbo’
All Saints’ ‘All Saints’. Credit: National Album Day
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A number of records have also been announced to go on sale on October 19 from 8am BST. These include Culture Club‘s ‘Kissing To Be Clever’, Dire Straits‘ ‘Making Movies’, Mumford & Sons‘ ‘Sigh No More’, Sugababes‘ ‘Angels With Dirty Faces’, The Rolling Stones‘ ‘Get Yer Ya-Ya’s Out!’ and more.
The albums available for purchase on October 19 are:
Culture Club – ‘Kissing To Be Clever’ Dire Straits – ‘Making Movies’ Mumford & Sons – ‘Sigh No More’ Siouxsie & The Banshees – ‘Through The Looking Glass’ Soul II Soul – ‘Club Classics Vol.1’ Spice Girls – ‘Spice’ Stereophonics – ‘Just Enough Education To Perform’ Sugababes – ‘Angels With Dirty Faces’ The La’s – ‘The La’s’ The Rolling Stones – ‘Get Yer Ya-Ya’s Out!’ The Slits – ‘Cut’ UB40 – ‘Labour Of Love’
Dire Straits’ ‘Making Movies’. Credit: National Album Day
Previously, National Album Day has held a variety of activities to celebrate monumental musical releases, including street art murals, record store promotions and exhibitions that showcase album sleeve artwork.
Paramore have made a call for donations to support aid to Gaza via their Instagram Stories.
It comes as Israel has intensified its military operations in Rafah. A report from The Associated Press explained that Israel’s recent shelling and airstrike attacks killed at least 37 people between Monday and Tuesday this week (May 27-28). It also shared that more than 36,000 Palestinians have been killed since October.
Rafah was home to thousands of displaced Palestinians from all over the Gaza Strip, and came under both ground and air offensive last Sunday (May 26). NDTV also reported how the attack left several tents on fire, which then swept through the area, killing more people, including children.
Now, Paramore have become the latest to urge their fans to support the humanitarian effort to help those suffering in Gaza.
On Instagram Stories, they wrote: “Back in December, Paramore – along with many of our fans – supported an [organisaiton] called Save The Children, who had people on the ground in Gaza providing humanitarian aid to children with life threatening needs. They still need our support.”
On their website, Save the Children explain that their teams “have been working around the clock” to “get vital supplies to families” in the area.
They continue: “Nearly all children in Gaza are at imminent risk of famine. And after over seven months of siege and bombing, children’s mental health in Gaza is being pushed beyond breaking point.” The charity has asked for donations to their Emergency Fund to “provide children and families affected by the war in Gaza, as well as other disasters across the world, with life-saving essentials like food, water and crucial mental health support.”
Paramore’s Instagram Story – CREDIT: Instagram/Paramore
Elsewhere on their Stories, Paramore also asked for help to support another charity, Doctors Without Borders, which “provides medical assistance to people affected by conflict, epidemics, disasters, or exclusion from healthcare,” according to the charity’s website.
Doctors Without Borders has “teams are made up of tens of thousands of health professionals, logistic and administrative staff” and their “actions are guided by medical ethics and the principles of impartiality, independence and neutrality.”
Paramore said “they will be donating” to the charity and urged their fans too as well.
Their post concluded: “Lastly, we do not believe that support for our Palestinian friends and family equals anti-Seminism. We love our Jewish friends and family and pray for the safe return of the remaining hostages. That being said, we simply cannot support a genocide.
“We stand in solidarity with those calling for an immediate and permanent ceasefire.”
The pop star expressed her support for Palestine in a new update on Instagram, making a nod to the viral image spearheaded by activists and humanitarian groups. The AI-generated image shows tents at a camp arranged to read ‘All Eyes On Rafah’ – and comes in a bid to gather support for those forced to live in cramped refugee camps in the southern city of the Gaza Strip with no humanitarian aid.
The slogan also gathered momentum in light of Israel’s intensified military operations in Rafah over the last several days.
‘All Eyes On Rafah’ has since been adopted by groups like Save The Children, Oxfam, Americans For Justice In Palestine Action, Jewish Voice For Peace and the Palestine Solidarity Campaign. It has also gone viral on social media, and has been shared over 29million times on Instagram in less than one day.
“Burning children alive can never be justified,” Dua Lipa wrote on her Instagram Stories. “The whole world is mobilising to stop the Israeli genocide. Please show your solidarity with Gaza. #AllEyesOnRafah.”
“My existence is kind of political, the fact that I lived in London because my parents left from the war… I feel for people who have to leave their home,” she said.
“From my experience of being in Kosovo and understanding what war does, no one really wants to leave their home. They do it for protection, to save their family, to look after the people around them, that kind of thing, for a better life. So I feel close to it.
“I feel so bad for every Israeli life lost and what happened on Oct. 7. At the moment, what we have to look at is how many lives have been lost in Gaza, and the innocent civilians, and the lives that are just being lost. There are just not enough world leaders that are taking a stand and speaking up about the humanitarian crisis that’s happening, the humanitarian cease-fire that has to happen.”
Others who have shared the ‘All Eyes On Rafah’ graphic on social media include Pedro Pascal, Bella Hadid, Susan Sarandon and former Little Mix singer Leigh-Anne Pinnock.
Artists from across the music world have come together to speak out on International Women’s Day 2024 – celebrating and promoting the movement of women’s rights.
Taking place today (March 8), the annual event comes as a worldwide day of acknowledgement for the achievements of women, and serves as a reminder of how far we’ve come in striving for gender equality.
Gaining momentum across the early 20th century, the event was officially recognised by the UN in 1996 and also sheds light on the issues of inequality still prevalent in society, including domestic abuse, the gender pay gap, patriarchal structures and more. Each year, the event is celebrated with a unique theme, with 2024’s being ‘Invest In Women: Accelerate Progress’.
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Now, countless artists and companies from across the music industry have spoken out in celebration of IWD, and taken to social media to celebrate the accomplishments of the women around them.
“It’s international women’s day and I hope you are using your voice to fight for equality today, as well as the other 364 days in the year,” wrote Norwegian pop punk band Sløtface, who also used the post to promote their new single ‘Final Gørl’ which is about “badass women”.
“Happy International Women’s Day everybody! As Allies, we need to show solidarity for our trans friends today,” wrote Lambrini Girls, who also took aim at Harry Potter author JK Rowling in their update, following her transphobic past comments. “IWD is for all women. No excuse for pricks like JK Rowling to hijack it with hate. If your *Feminism* is diminishing Women, then you are a misogynist. Trans rights always”.
Similarly, both The Blessed Madonna and Witch Fever shared their support for the trans community on X, with the latter writing: “Trans women are women, and queer and trans liberation is a feminist issue. Happy IWD to our trans sisters, we see u & stand in solidarity”.
Singer Rakel Mjöll added: “Happy international women’s day to women, those who love women, support women & to empathetic creatures… We’re put here on this planet to love, support each other & then watch many beautiful wild gardens grow. And that I will continue to do so & hope you will too.”
Happy International Women’s Day everybody! As Allies, we need to show solidarity for our trans friends today
IWD is for all women. No excuse for pricks like JK Rowling to hijack it with hate. If your *Feminism* is diminishing Women, then you are a misogynist
Oh and incase ur unsure, trans women are women, and queer and trans liberation is a feminist issue 🏳️⚧️ happy IWD to our trans sisters, we see u & stand in solidarity
— The Blessed Madonna (@Blessed_Madonna) March 8, 2024
Independent Venues Week also took to X to “celebrate all the incredible women in the IVW team that support independent venues around the UK,” going on to share an article about the women helping to keep grassroots venues alive.
Similarly, Fabric revealed that it had launched “a brand new 14 mix series featuring some of the scene’s most formidable established and emerging talent,” with all mixes available to stream now.
Check out more responses from the music world below.
This International Women’s Day, we want to celebrate all the incredible women in the IVW team that support independent venues around the UK 💜
The moment took place at Madonna’s recent show at the Kia Forum in Los Angeles, where she took to the stage as part of her ongoing ‘Celebration’ tour. During the collaboration, the two sang both the Australian pop star’s 2001 hit ‘Can’t Get You Out Of My Head’ and Gloria Gaynor’s girl-power anthem ‘I Will Survive’.
Khruangbin have today (January 16) shared their blissful new single, ‘A Love International’ and have announced details of their first album in four years, ‘A La Sala’. Check out the new single below.
The album, which translates from Spanish as ‘To The Room’, will arrive on April 5 on Dead Oceans in partnership with Night Time and you can pre-order the album, which has seven varied album covers available to purchase, here.
A statement about the album explains that “the building blocks…for ‘A La Sala’s’ 12 songs were jigsaw pieces found in Khruangbin’s creative past” that were made up of “parts of the band not lost, but not yet tapped into.”
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It continued: “Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio for ‘A La Sala’.”
Check out the new song here and the album track list below:
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‘A La Sala’ Tracklist 1. ‘Fifteen Fifty-Three’ 2. ‘May Ninth’ 3. ‘Ada Jean’ 4. ‘Farolim de Felgueiras’ 5. ‘Pon Pón’ 6. ‘Todavía Viva’ 7. ‘Juegos y Nubes’ 8. ‘Hold Me Up (Thank You)’ 9. ‘Caja de la Sala’ 10. ‘Three From Two’ 11. ‘A Love International’
The American trio worked with singer-songwriter Leon Bridges on a second collaborative EP, entitled ‘Texas Moon’, back in 2022 and the new album marks their first original music as a band since 2020, aside from various remixes.
Reviewing their last album ‘Mordechai’, NME awarded it a full five stars and wrote: “No wonder Khruangbin, who make psychedelic music that travels between eras and continents, have become low-key stars in the past decade. Guitarist Mark Speer and drummer Donald “DJ” Johnson played in a gospel band together at St. John’s United Methodist Church in downtown Houston – the same church that Beyoncé, Solange and the rest of the Knowles family frequent.
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“…‘Mordechai’ is Khruangbin at their most grounded and energetic, the tempo slightly raised with vocals infiltrating nearly every track — all three members sing throughout. The band artfully showcase their musical knowledge to create a project which marks a clear distinction for the largely instrumental band. With ‘Mordechai’, Khruangbin have at once expanded their horizons while rooting their latest project in a sound they’ve made their own.”
The band also graced NME‘s cover back in 2020. Speaking about their perceived rapid rise to fame at the time, the band’s Laura Lee said: “You have no idea how long it’s going to last when you’re starting out. The whole of last year was a real ‘Holy shit!’ moment. We set out to be a worldwide band – and we got it.”
While Donald Johnson added: “People on the outside look at our trajectory and go, ‘Oh, it happened so fast…But, y’know, not really. We’ve been at this for nearly 10 years, I have no idea how we ended up where we did…We can only take this band one day at a time.”
K-pop boyband NCT have announced the release date for their upcoming concert film, NCT NATION: To The World.
Today (November 2), Trafalgar Releasing announced in a press release that NCT’s upcoming concert film NCT NATION: To The World will hit cinemas worldwide this December. Notably, Trafalgar Releasing previously distributed NCT Dream’s 2022 concert film, NCT Dream The Movie: In A Dream.
The movie will follow the K-pop boyband during their concert at the Incheon Munhak Stadium in South Korea, which took place on August 26 earlier this year. The show, held in celebration of NCT’s ‘Golden Age’ album, was the first-ever live concert by the boyband, following the online ‘NCT: Resonance Global Wave’ show in 2020.
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According to a press release, NCT NATION: To The World will feature performance by sub-groups NCT 127, NCT DREAM and WayV, as well as the rotating unit NCT U. The film will also include “exclusive behind-the-scenes glimpses that promise to add an extra layer of excitement”.
NCT NATION: To The World will be available in theatres on two nights only, on December 6 and December 10. Tickets go on sale next Wednesday (November 8) via nctnationincinemas.com.
“We are excited to work together with the group once again, this time bringing all current units together in an unmissable cinema event for fans to experience around the world,” said Marc Allenby, CEO of Trafalgar Releasing.
“As one of the leading lights in K-pop, we look forward to presenting the group’s awe-inspiring concert on a global scale,” he added.
Fatboy Slim has released a 25th anniversary reissue of his seminal album ‘You’ve Come A Long Way, Baby’ to celebrate National Album Day today (October 14).
The reissue is part of an exclusive list of limited edition albums reissued especially for National Album Day. This year’s event, which is organised by the BPI and is now in its sixth edition, is themed around big albums from the ’90s.
For its sixth year, the annual event commemorating the album as an art form is focusing on albums from the ’90s and to celebrate, numerous big albums for the decade are getting special limited edition reissues.
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The album was remastered at Abbey Road Studios at half-speed for the best audio quality possible.
Fatboy Slim ‘You’ve Come A Long Way Baby’ artwork. Credit: Press
Reflecting on the landmark anniversary, Fatboy Slim said: “I’m still surprised and gladdened by the response that ‘You’ve Come A Long Way, Baby’ has had. I didn’t see it going global, I thought it was a very ‘English’ sounding record. I definitely did not imagine people would still be talking about it 25 years later. I remember saying as much at the time! Thank you to everyone to has enjoyed it over the years.”
‘You’ve Come A Long Way, Baby’ spawned the singles ‘Rockafeller Skank’, ‘Gangster Trippin’, ‘Praise You’ and ‘Right Here Right Now’, all of which reached the Top 10. The producer earned a BRIT Award for Best Producer and two further nominations, for Male Solo Artist and British Single.
Fatboy Slim is set to appear at the second edition of All Back to Minehead Festival, which will take place from November 10-13. Tickets are available now and can be found here.
The 2023 line-up includes Jodie Harsh, Marshall Jefferson, Mella Dee, Sally C, Saoirse and Shanti Celeste. Elsewhere on the bill, there’s Joshua James b2b Bryony Masters, Ell Murphy, Kilimanjaro, Myd and more.
Lore and storytelling play an outsized role in every album The National release, and on their ninth album ‘First Two Pages of Frankenstein’, released in April, the narrative was more central than ever. Following their collaborations with Taylor Swift on her pandemic albums ‘Folklore’ and ‘Evermore’, their profile had increased, even if the band dynamics felt “fragile” amidst life changes and frontman Matt Berninger’s writer’s block. Those struggles felt blatant in the music, though NME called it “their best in a decade” and said they’d succeeded in “proving that they can do this as much to themselves as to a waiting world”.
‘Laugh Track’ is billed as a “surprise double album”, though whether that’s based on the no-notice release (aside a few pesky fan forum leaks), or that the desire to release this material crept up on them. Speaking to NME earlier this year, Aaron Dessner revealed that over 25 songs had been completed in the earlier sessions and that he was proud of the “conviction” the band had when selecting the 11 tracks that made up ‘First Two Pages…’.
That was until early June, when the band began soundchecking what would become closing track ‘Smoke Detector’, a near-eight minute jam that packs the jagged edges that some thought were missing from ‘First Two Pages…’. The performance from that stage is preserved here in mostly-original form, stunningly raw, Berninger’s spark of a phrase “Smoke detector, smoke detector / All you need to do is protect her” as stark and memorable as his best. The song has since become a live staple on their recent summer tour.
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That immediacy, reminiscent of ‘Alligator’, contributes to ‘Laugh Track’’s success. The band re-recorded nine of the new songs from that existing batch, as well as making room for their 2022 Bon Iver collaboration ‘Weird Goodbyes’. Bryan Devendorf’s drumming – thunderous, complex, cutting – is more crucial to each song: ‘Deep End (Paul’s In Pieces)’ feels instantly memorable, as does the anchoring on ‘Dreaming’. The crescendo of ‘Space Invader’ is as hard as the “dad-rockers” have gone in a while, his live drumming blowing away ‘First Two Pages…’’s largely electronic contributions.
There are welcome links between the two records: Phoebe Bridgers appears again with backing vocals on ‘Laugh Track’’s title track, while ‘Coat On A Hook’ and ‘Hornets’ are punctuated with oblique Berninger-isms of a relationship in crisis: “What does it mean when your arms fall asleep? / And how do you get rid of hornets before the weekend?” he muses on the latter. We’ll get back to you on that. ‘Crumble’ is elevated by the duet with Roseanne Cash – daughter of Johnny and June – and her country twang, and ‘Alphabet City’ simmers with sonic tension much like the previous records’ material.
The tightness of ‘First Two Pages…’’s singles like ‘Tropic Morning News’ and ‘Eucalyptus’ are somewhat absent, though the looser structures and decision to allow the songs room to grow, melodically and lyrically pays off. In a statement shared with the record, Berninger says the period “feels like the shedding of a skin” and the band walk into the unknown once again for their next creative cycle: a thrilling new chapter will surely emerge.
Featuring recent singles ‘Space Invader’ and ‘Alphabet City’, along with a re-recorded version of Bon Iver collaboration ‘Weird Goodbyes’, the 12-track record features material originally started in the same sessions as ‘First Two Pages of Frankenstein’ – before being “honed in live performances on tour this year” before being captured in “impromptu sessions at producer Tucker Martine’s Portland studio, Flora Recording & Playback”.
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Phoebe Bridgers returns to feature on the title track, while Rosanne Cash lends guest vocals to penultimate track ‘Crumble. The nearly eight-minute album closer ‘Smoke Detector’ was recorded in June during a Vancouver soundcheck.
Speaking of the more spontaneous and invigorated method of putting the album together, guitarist Aaron Dessner said: “It’s not because we don’t enjoy sitting in a room banging around ideas. It’s just that it wasn’t that productive, so we developed a fairly elaborate way of building songs in which [drummer] Bryan [Devendorf] had a very important but compartmentalized role. This time we had the desire to make something that was more alive so that Bryan’s playing would drive more.”
“Let’s just turn everything off and walk away,” said Berninger. “Bail out of your head, of all the things you’re worried about, your career, your whole identity, how strong you thought you were.”
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In a four-star review of the album, NME concluded of ‘Laugh Track’: “The tightness of ‘First Two Pages…’’s singles like ‘Tropic Morning News’ and ‘Eucalyptus’ are somewhat absent, though the looser structures and decision to allow the songs room to grow, melodically and lyrically pays off. In a statement shared with the record, Berninger says the period ‘feels like the shedding of a skin’ and the band walk into the unknown once again for their next creative cycle: a thrilling new chapter will surely emerge.”
The ‘Laugh Track’ tracklist is:
‘Alphabet City’ ‘Deep End’ (Paul’s in Pieces) ‘Weird Goodbyes’ (feat. Bon Iver) ‘Turn Off the House’ ‘Dreaming’ ‘Laugh Track’ (feat. Phoebe Bridgers) ‘Space Invader’ ‘Hornets’ ‘Coat on a Hook’ ‘Tour Manager’ ‘Crumble’ (feat. Rosanne Cash) ‘Smoke Detector’
Credit: Graham MacIndoe
The band’s remaining tour dates are below. Visit here for tickets and more information on UK and Ireland shows, here for the US and here for Australia.
SEPTEMBER 2023 21 – Dublin, IRE – 3 Arena * 23 – Leeds, UK – First Direct Arena * 24 – Glasgow, UK – OVO Hydro Arena * 26 – London, UK – Alexandra Palace * 27 – London, UK – Alexandra Palace * 29 – Amsterdam, NL – Ziggo Dome ^ 30 – Berlin, DE – Max-Schmeling-Halle ^ OCTOBER 2023 1 – Munich, DE – Zenith ^ 4 – Madrid, ES – WiZink Center ^ 5 – Porto, PT – Super Bock Arena ^ 6 – Lisbon, PT – Campo Pequeno ^ 7 – Lisbon, PT – Campo Pequeno ^ NOVEMBER 2023 10 – San Francisco, CA – Bill Graham Civic Auditorium % 11 – San Diego, CA – Cal Coast Credit Union Open Air Theatre % 13 – Phoenix, AZ – Arizona Financial Theatre % 14 – Albuquerque, NM – Kiva Auditorium % 16 – Tulsa, OK – Tulsa Theater % 17 – Austin, TX – Moody Center % 18 – Houston, TX – Lawn at White Oak % 19 – Irving, TX – The Pavilion at Toyota Music Factory % FEBRUARY 2024 28, 2024 – Brisbane, Australia – Riverstage ~ ) MARCH 2024 1 – Sydney, Australia – Aware Super Theatre ~ ) 5 – Melbourne, Australia – Sidney Myer Music Bowl ~ ) 9 – Perth, Australia – Kings Park & Botanic Garden ~ )
Support: *Soccer Mommy ^ Bartees Strange % Hand Habits ~ Very Special Guests Fleet Foxes ) Annie Hamilton
Jay-Z is now tied with Beyoncé for the most nominations in Grammy history, having clocked up 88 nods in total each.
READ MORE: Grammys nominations 2023: Beyoncé, Kendrick Lamar, Adele and Harry Styles score the most nods
Both acts picked up a significant amount of nods yesterday (November 15) for the 2023 Grammys with the former picking up five nominations and the latter picking up nine nods including Record Of The Year and Album Of The Year for ‘Renaissance’.
As a result, both are now tied on 88 nominations since their careers began.
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They are closely followed by Paul McCartney, who has 81 nominations overall and Quincy Jones who has 80.
Beyoncé, Kendrick Lamare, Adele and Harry Styles lead the way in the 2023 Grammy nominations CREDIT: Getty
As well as Beyoncé, Kendrick Lamar scored eight Grammy nominations, Adele picked up seven while Future, Harry Styles, Mary J. Blige and DJ Khaled each scored six nods.
Notably, the 2023 Grammy Awards will be the first time Beyoncé and Adele will go head-to-head for Record, Album and Song Of The Year since 2017, when Adele swept all three categories.
Meanwhile, both Wet Leg and Måneskin were both nominated in the Best New Artist category. You can view the full list of nominations here.
The winners are set to be announced at the 65th Grammy Awards ceremony on February 5, 2023.
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Elsewhere, Denzel Curry has criticised the 2023 Grammy nominations, taking particular aim at the Recording Academy’s list of Best Rap Album nominees.
Taylor Swift meanwhile, said she could “scream for 10 minutes straight” following her Grammy nomination for Song Of The Year for the 10 minute re-recorded version of ‘All Too Well’.
Taylor Swift has said she could “scream for 10 minutes straight” following her Grammy nomination for Song Of The Year.
The singer-songwriter’s 10 minute re-recorded version of ‘All Too Well’ appears in the aforementioned category along with the likes of Adele (‘Easy On Me’), Beyoncé (‘Break My Soul’) and Harry Styles (‘As It Was’).
READ MORE: Taylor Swift’s ‘All Too Well’ short film highlights the emotional power of her storytelling
Despite having achieved 11 Grammy wins over the course of her career, Swift hasn’t yet bagged the Song Of The Year award.
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Last night (November 15), the star took to Instagram Stories to react to the nod after the full list of nominees for next year’s ceremony was announced.
“So many reasons to lose my damn mind today but… All Too Well 10 is the song I’m the most proud of, out of anything I’ve written,” Swift began.
“The fact that it’s nominated for Song of the Year at the Grammys, an award I’ve never won, that honours the songwriting… it’s momentous and surreal.”
She continued: “Just got off the phone with [Liz Rose], my co writer on ATW, and reminisced about how we started writing together when I was 14. She believed in me then and we are nominated together now. It’s just so cute I can’t cope.
CREDIT: Taylor Swift/ Instagram Stories
“I want to ramble about the magic and mystery of time and fate and reclaiming my art but instead I think I’ll go scream for ten minutes straight. And think about how this wouldn’t have happened without you.”
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Swift posted the message alongside a snippet of the ‘All Too Well’ short film, which is up for the Best Music Video award. The emotional clip stars Sadie Sink (Stranger Things) and Dylan O’Brien (Maze Runner).
The 65th Grammy Awards ceremony is scheduled to take place at the Crypto.com Arena in Los Angeles on February 5, 2023.
Last Sunday (November 13), Swift took home the Best Video award at the MTV EMAs 2022 for ‘All Too Well (10 Minute Version)’. She also picked up the statues for Best Artist, Best Pop and Best Longform Video (‘All Too Well’).
Taylor Swift released her 10th studio album ‘Midnights’ on October 2021. The singer is set to embark on her North American ‘Eras Tour’ in March.
BTS have been nominated for three separate awards at the 65th annual Grammy Awards, including an Album Of The Year nod as a featured artist.
READ MORE: BTS star Jin’s ‘The Astronaut’ is a galaxy-gazing Coldplay collab full of wide-eyed romanticism
The full nominations list for the 2023 Grammy Awards was unveiled today (November 16), confirming that the K-pop juggernauts are vying for a total of three nominations for the upcoming awards, making them the most nominated K-pop act in history. This also marks the third consecutive year they’ve been nominated at the coveted Grammy Awards.
BTS are in the running for Best Pop Duo/Group Performance for the third year in a row with ‘My Universe’, a joint single released last year in collaboration with Coldplay.
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BTS have also earned themselves their first Album Of The Year nomination this year as a featured artist on Coldplay’s ‘Music of the Spheres’ record, on which members J-hope, Suga and RM are credited as songwriters. Their collaborative single with the band, titled ‘My Universe’, was also featured on the ‘Music of the Spheres’ album.
The seven-piece are also up for Best Music Video with ‘Yet To Come’ from their anthology album ‘Proof’ released in June.
The 65th Grammy Awards will air live from the Crypto.com Arena in Los Angeles on February 5, 2023. A livestream of the ceremony will be made available on streaming service Paramount+, and will also be available to watch on the CBS Television Network.
Closer to home, BTS are also nominated for five awards at this year’s MAMA Awards, set to be held later this month on November 29 and 30 at the Kyocera Dome in Osaka, Japan. As a separate artist, member J-hope received six nominations at the same awards for his solo work this past year, making him the most nominated artist at the 2022 MAMA Awards. He was also announced earlier today (November 16) to be performing solo on the second day of the awards, marking the first time he is set to perform his solo material on broadcast.
The nominations for the 2023 Grammys have been announced with Beyoncé, Kendrick Lamar, Adele and Harry Styles leading the way.
READ MORE: Ukraine, Billie Eilish, Louis CK: the biggest talking points from the Grammy Awards 2022
The official Grammys YouTube hosted a livestream today (November 15) for the announcement which you can watch below, with the winners set to be announced at the 65th Grammy Awards ceremony on February 5, 2023.
Beyoncé clocked up the most nominations with nine nods including Record Of The Year and Album Of The Year, closely followed by Lamar with eight nominations.
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Adele picked up seven nominations while Future, Harry Styles, Mary J. Blige and DJ Khaled each scored six nods. Jay-Z, who picked up five nominations, is now tied with Beyoncé for the most nominated artists in Grammy history, having clocked up 88 nods in total.
Notably, the 2023 Grammy Awards will be the first time Beyoncé and Adele will go head-to-head for Record, Album, and Song Of The Year since 2017, when Adele swept all three categories.
Meanwhile, both Wet Leg and Måneskin were both nominated in the Best New Artist category.
See the full list of Grammys 2023 nominations below:
Record Of The Year
ABBA – ‘Don’t Shut Me Down’
Adele – ‘Easy On Me’
Beyoncé – ‘Break My Soul’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Mary J. Blige – ‘Good Morning Gorgeous’
Steve Lacy – ‘Bad Habit’
Album Of The Year
ABBA – ‘Voyage’
Adele – ’30’
Bad Bunny – ‘Un Verano Sin Ti’
Beyoncé – ‘Renaissance’
Brandi Carlile – ‘In These Silent Days’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Lizzo – ‘Special’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’
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Song Of The Year
Adele – ‘Easy On Me
Beyoncé – ‘Break My Soul
Bonnie Raitt – ‘Just Like That
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Gayle – ‘ABCDEFU’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’
Taylor Swift – ‘All Too Well’
Best New Artist
Anitta
Domi & JD Beck
Latto
Måneskin
Molly Tuttle
Muni Long
Omar Apollo
Samara Joy
Tobe Nwigwe
Wet Leg
Best Pop Solo Performance
Adele – ‘Easy On Me’
Bad Bunny – ‘Moscow Mule’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’
Best Pop Duo/Group Performance
ABBA – ‘Don’t Shut Me Down’
Camila Cabello Featuring Ed Sheeran – ‘Bam Bam’
Coldplay & BTS – ‘My Universe’
Post Malone & Doja Cat – ‘I Like You (A Happier Song)’
Sam Smith & Kim Petras – ‘Unholy’
Best Traditional Pop Vocal Album
Diana Ross – ‘Thank You’
Kelly Clarkson – ‘When Christmas Comes Around…’
Michael Bublé – ‘Higher’
Norah Jones – ‘I Dream Of Christmas’
Pentatonix – ‘Evergreen’
Best Pop Vocal Album
ABBA – ‘Voyage’
Adele – ’30’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Lizzo – ‘Special’
Best Dance/Electronic Recording
Beyoncé – ‘Break My Soul’
Bonobo – ‘Rosewood’
David Guetta & Bebe Rexha – ‘I’m Good (Blue)’
Diplo & Miguel – ‘Don’t Forget My Love’
Kaytranada Featuring H.E.R. – ‘Intimidated’
Rüfüs Du Sol – ‘On My Knees’
Best Dance/Electronic Music Album
Beyoncé – ‘Renaissance’
Bonobo – ‘Fragments’
Diplo – ‘Diplo’
Odesza – ‘The Last Goodbye’
Rüfüs Du Sol – ‘Surrender’
Best Contemporary Instrumental Album
Brad Mehldau – ‘Jacob’s Ladder’
Domi & JD Beck – ‘Not Tight’
Grant Geissman – ‘Blooz’
Jeff Coffin – ‘Between Dreaming And Joy’
Snarky Puppy – ‘Empire Central’
Best Rock Performance
Beck – ‘Old Man’
The Black Keys – ‘Wild Child’
Brandi Carlile – ‘Broken Horses’
Bryan Adams – ‘So Happy It Hurts’
Idles – ‘Crawl!’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Turnstile – ‘Holiday’
Best Metal Performance
Ghost – ‘Call Me Little Sunshine’
Megadeth – ‘We’ll Be Back’
Muse – ‘Kill Or Be Killed’
Ozzy Osbourne Featuring Tony Iommi – ‘Degradation Rules’
Turnstile – ‘Blackout’
Best Rock Song
Brandi Carlile – ‘Broken Horses’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Red Hot Chili Peppers – ‘Black Summer’
Turnstile – ‘Blackout’
The War On Drugs – ‘Harmonia’s Dream’
Best Rock Album
The Black Keys – ‘Dropout Boogie’
Elvis Costello & The Imposters – ‘The Boy Named If’
Idles – ‘Crawler’
Machine Gun Kelly – ‘Mainstream Sellout’
Ozzy Osbourne – ‘Patient Number 9’
Spoon – ‘Lucifer On The Sofa’
Best Alternative Music Performance
Arctic Monkeys – ‘There’d Better Be A Mirrorball’
Big Thief – ‘Certainty’
Florence And The Machine – ‘King’
Wet Leg – ‘Chaise Longue’
Yeah Yeah Yeahs Featuring Perfume Genius – ‘Spitting Off The Edge Of The World’
Best Alternative Music Album
Arcade Fire – ‘WE’
Big Thief – ‘Dragon New Warm Mountain I Believe In You’
Björk – ‘Fossora’
Wet Leg – ‘Wet Leg’
Yeah Yeah Yeahs – ‘Cool It Down’
Best R&B Performance
Beyoncé – ‘Virgo’s Groove’
Jazmine Sullivan – ‘Hurt Me So Good’
Lucky Daye – ‘Over’
Mary J. Blige Featuring Anderson .Paak – ‘Here With Me’
Muni Long – ‘Hrs & Hrs’
Best Traditional R&B Performance
Adam Blackstone Featuring Jazmine Sullivan – ’Round Midnight’
Babyface Featuring Ella Mai – ‘Keeps on Fallin’’
Beyoncé – ‘Plastic Off The Sofa’
Mary J. Blige – ‘Good Morning Gorgeous’
Snoh Aalegra – ‘Do 4 Love’
Best R&B Song
Beyoncé – ‘Cuff It’
Jazmine Sullivan – ‘Hurt Me So Good’
Mary J. Blige – ‘Good Morning Gorgeous’
Muni Long – ‘Hrs & Hrs’
PJ Morton – ‘Please Don’t Walk Away’
Best Progressive R&B Album
Cory Henry – ‘Operation Funk’
Moonchild – ‘Starfuit’
Steve Lacy – ‘Gemini Rights’
Tank And The Bangas – ‘Red Balloon’
Terrace Martin – ‘Drones’
Best R&B Album
Chris Brown – ‘Breezy (Deluxe)’
Lucky Daye – ‘Candy Drip’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’
PJ Morton – ‘Watch The Sun’
Robert Glasper – ‘Black Radio III’
Best Rap Performance
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Doja Cat – ‘Vegas’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Hitkidd & Glorilla – ‘F.N.F. (Let’s Go)’
Kendrick Lamar – ‘The Heart Part 5’
Best Melodic Rap Performance
DJ Khaled Featuring Future & SZA – ‘Beautiful’
Future Featuring Drake & Tems – ‘Wait For U’
Jack Harlow – ‘First Class’
Kendrick Lamar Featuring Blxst & Amanda Reifer – ‘Die Hard’
Latto – ‘Big Energy (Live)’
Best Rap Song
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Future Featuring Drake & Tems – ‘Wait For U’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Jack Harlow Featuring Drake – ‘Churchill Downs’
Kendrick Lamar – ‘The Heart Part 5’
Best Rap Album
DJ Khaled – ‘God Did’
Future – ‘I Never Liked You’
Jack Harlow – ‘Come Home The Kids Miss You’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Pusha T – ‘It’s Almost Dry’
Best Country Solo Performance
Kelsea Ballerini – ‘Heartfirst’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘In His Arms’
Willie Nelson – ‘Live Forever’
Zach Bryan – ‘Something In The Orange’
Best Country Duo/Group Performance
Brothers Osborne – ‘Midnight Rider’s Prayer’
Carly Pearce & Ashley McBryde – ‘Never Wanted To Be That Girl’
Ingrid Andress & Sam Hunt – ‘Wishful Drinking’
Luke Combs & Miranda Lambert – ‘Outrunnin’ Your Memory’
Reba McEntire & Dolly Parton – ‘Does He Love You (Revisited)’
Robert Plant & Alison Krauss – ‘Going Where The Lonely Go’
Best Country Song
Cody Johnson – ‘’Til You Can’t’
Luke Combs – ‘Doin’ This’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘If I Was a Cowboy’
Taylor Swift – ‘I Bet You Think About Me (Taylor’s Version) (From the Vault)’
Willie Nelson – ‘I’ll Love You Till the Day I Die’
Best Country Album
Ashley McBryde – ‘Ashley McBryde Presents: Lindeville’
Luke Combs – ‘Growin’ Up’
Maren Morris – ‘Humble Quest’
Miranda Lambert – ‘Palomino’
Willie Nelson – ‘A Beautiful Time’
Best New Age, Ambient, Or Chant Album
Cheryl B. Engelhardt – ‘The Passenger’
Madi Das, Dave Stringer & Bhakti Without Borders – ‘Mantra Americana’
Mystic Mirror – ‘White Sun’
Paul Avgerinos – ‘Joy’
Will Ackerman – ‘Positano Songs’
Best Improvised Jazz Solo
Ambrose Akinmusire – ‘Rounds (Live)’
Gerald Albright – ‘Keep Holding On’
John Beasley – ‘Cherokee/Koko’
Marcus Baylor – ‘Call Of The Drum’
Melissa Aldana – ‘Falling’
Wayne Shorter & Leo Genovese – ‘Endangered Species’
Best Jazz Vocal Album
The Baylor Project – ‘The Evening: Live At Apparatus’
Carmen Lundy – ‘Fade To Black’
Cécile McLorin Salvant – ‘Ghost Song’
The Manhattan Transfer & The WDR Funkhausorchester – ‘Fifty’
Samara Joy – ‘Linger Awhile’
Best Jazz Instrumental Album
Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade – ‘LongGone’
Peter Erskine Trio – ‘Live In Italy’
Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens – ‘New Standards, Vol. 1′
Wayne Shorter, Terri Lyne Carrington, Leo Genovese & Esperanza Spalding – L’ive At The Detroit Jazz Festival’
Yellowjackets – ‘Parallel Motion’
Best Large Jazz Ensemble Album
John Beasley, Magnus Lindgren & SWR Big Band – ‘Bird Lives’
Remy Le Boeuf’s Assembly Of Shadows – ‘Architecture Of Storms’
Ron Carter & The Jazzaar Festival Big Band Directed by Christian Jacob – ‘Remembering Bob Freedman’
Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted by Michael Abene – ‘Center Stage’
Steven Feifke, Bijon Watson & Generation Gap Jazz Orchestra – ‘Generation Gap Jazz Orchestra’
Best Latin Jazz Album
Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective – ‘Fandango At The Wall in New York’
Arturo Sandoval – ‘Rhythm & Soul’
Danilo Pérez Featuring The Global Messengers – ‘Crisálida’
Flora Purim – ‘If You Will’
Miguel Zenón – ‘Música de las Américas’
Best Gospel Performance/Song
Doe – ‘When I Pray’
Erica Campbell – ‘Positive
Maverick City Music & Kirk Franklin – ‘Kingdom’
PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls – ‘The Better Benediction’
Tye Tribbett – ‘Get Up’
Best Contemporary Christian Music Performance/Song
Chris Tomlin – ‘Holy Forever’
Crowder & Dante Bowe Featuring Maverick City Music – ‘God Really Loves Us (Radio Version)’
Doe – ‘So Good’
For King & Country & Hillary Scott – ‘For God Is With Us’
Maverick City Music & Kirk Franklin – ‘Fear Is Not My Future’
Phil Wickham – ‘Hymn Of Heaven (Radio Version)’
Best Gospel Album
Doe – ‘Clarity’
Maranda Curtis – ‘Die To Live’
Maverick City Music & Kirk Franklin – ‘Kingdom Book One (Deluxe)’
Ricky Dillard – ‘Breakthrough: The Exodus (Live)’
Tye Tribbett – ‘All Things New’
Best Contemporary Christian Music Album
Anne Wilson – ‘My Jesus’
Chris Tomlin – ‘Always’
Elevation Worship – ‘Lion’
Maverick City Music – ‘Breathe’
TobyMac – ‘Life After Death’
Best Roots Gospel Album
Gaither Vocal Band – ‘Let’s Just Praise The Lord’
Karen Peck & New River – ‘2:22’
Keith & Kristyn Getty – ‘Confessio – Irish American Roots’
Tennessee State University – ‘The Urban Hymnal’
Willie Nelson – ‘The Willie Nelson Family’
Best Latin Pop Album
Camilo – ‘De Adentro Pa Afuera’
Christina Aguilera – ‘Aguilera’
Fonseca – ‘Viajante’
Rubén Blades & Boca Livre – ‘Pasieros’
Sebastián Yatra – ‘Dharma +’
Best Música Urbana Album
Bad Bunny – ‘Un Verano Sin Ti’
Daddy Yankee – ‘Legendaddy’
Farruko – ‘La 167’
Maluma – ‘The Love & Sex Tape’
Rauw Alejandro – ‘Trap Cake, Vol. 2’
Best Latin Rock or Alternative Album
Cimafunk – ‘El Alimento’
Fito Paez – ‘Los Años Salvajes’
Gaby Moreno – ‘Alegoría’
Jorge Drexler – ‘Tinta y Tiempo’
Mon Laferte – ‘1940 Carmen’
Rosalía – ‘Motomami’
Best Regional Mexican Music Album (Including Tejano)
Chiquis – ‘Abeja Reina’
Christian Nodal – ‘EP #1 Forajido’
Marco Antonio Solís – ‘Qué Ganas de Verte (Deluxe)’
Natalia Lafourcade – ‘Un Canto por México – El Musical’
Los Tigres del Norte – ‘La Reunión (Deluxe)’
Best Tropical Latin Album
Carlos Vives – ‘Cumbiana II’
Marc Anthony – ‘Pa’lla Voy’
La Santa Cecilia – ‘Quiero Verte Feliz’
Spanish Harlem Orchestra – ‘Imágenes Latinas’
Tito Nieves – ‘Legendario’
Best American Roots Performance
Aaron Neville & The Dirty Dozen Brass Band – ‘Stompin’ Ground’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bill Anderson Featuring Dolly Parton – ‘Someday It’ll All Make Sense (Bluegrass Version)’
Fantastic Negrito – ‘Oh Betty’
Madison Cunningham – ‘Life According To Raechel’
Best Americana Performance
Asleep At the Wheel Featuring Lyle Lovett – ‘There You Go Again’
Blind Boys Of Alabama Featuring Black Violin – ‘The Message’
Bonnie Raitt – ‘Made Up Mind’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Eric Alexandrakis – ‘Silver Moon [A Tribute to Michael Nesmith]’
Best American Roots Song
Anaïs Mitchell – ‘Bright Star’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bonnie Raitt – ‘Just Like That’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Robert Plant & Alison Krauss – ‘High And Lonesome’
Sheryl Crow – ‘Forever’
Best Americana Album
Bonnie Raitt – ‘Just Like That…’
Brandi Carlile – ‘In These Silent Days’
Dr. John – ‘Things Happen That Way’
Keb’ Mo’ – ‘Good To Be…’
Robert Plant & Alison Krauss – ‘Raise The Roof’
Best Bluegrass Album
The Del McCoury Band – ‘Almost Proud’
The Infamous Stringdusters – ‘Toward The Fray’
Molly Tuttle & Golden Highway – ‘Crooked Tree’
Peter Rowan – ‘Calling You From My Mountain’
Yonder Mountain String Band – ‘Get Yourself Outside’
Best Traditional Blues Album
Buddy Guy – ‘The Blues Don’t Lie’
Charlie Musselwhite – ‘Mississippi Son’
Gov’t Mule – ‘Heavy Load Blues’
John Mayall – ‘The Sun Is Shining Down’
Taj Mahal & Ry Cooder – ‘Get On Board’
Best Contemporary Blues Album
Ben Harper – ‘Bloodline Maintenance’
Edgar Winter – ‘Brother Johnny’
Eric Gales – ‘Crown’
North Mississippi Allstars – ‘Set Sail’
Shemekia Copeland – ‘Done Come Too Far’
Best Folk Album
Aoife O’Donovan – ‘Age Of Apathy’
Janis Ian – ‘The Light At The End Of The Line’
Judy Collins – ‘Spellbound’
Madison Cunningham – ‘Revealer’
Punch Brothers – ‘Hell On Church Street’
Best Regional Roots Music Album
Halau Hula Keali’i o Nalani – ‘Halau Hula Keali’i o Nalani (Live At The Getty Center)’
Natalie Ai Kamauu – ‘Natalie Noelani’
Nathan & The Zydeco Cha-Chas – ‘Lucky Man’
Ranky Tanky – ‘Live At The 2022 New Orleans Jazz & Heritage Festival’
Sean Ardoin & Kreole Rock And Soul Featuring The Golden Band From Tigerland – ‘Full Circle’
Best Reggae Album
Kabaka Pyramid – ‘The Kalling’
Koffee – ‘Gifted’
Protoje – ‘Third Time’s The Charm’
Sean Paul – ‘Scorcha’
Shaggy – ‘Com Fly Wid Mi’
Best Global Music Performance
Arooj Aftab & Anoushka Shankar – ‘Udhero Na’
Burna Boy – ‘Last Last’
Matt B & Eddy Kenzo – ‘Gimme Love’
Rocky Dawuni Featuring Blvk H3ro – ‘Neva Bow Down’
Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode – ‘Bayethe’
Best Global Music Album
Angélique Kidjo & Ibrahim Maalouf – ‘Queen Of Sheba’
Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago – ‘Between Us… (Live)’
Berklee Indian Ensemble – ‘Shuruaat’
Burna Boy – ‘Love, Damini’
Masa Takumi – ‘Sakura’
Best Children’s Music Album
Alphabet Rockers – ‘The Movement’
Divinity Roxx – ‘Ready Set Go!’
Justin Roberts – ‘Space Cadet’
Lucky Diaz And The Family Jam Band – ‘Los Fabulosos’
Wendy And DB – ‘Into The Little Blue House’
Best Audio Book, Narration, And Storytelling Recording
Jamie Foxx – Act Like You Got Some Sense
Lin-Manuel Miranda – Aristotle And Dante Dive Into The Waters Of The World
Mel Brooks – All About Me!: My Remarkable Life In Show Business
Questlove – Music Is History
Viola Davis – Finding Me
Best Spoken Word Poetry Album
Amanda Gorman – Call Us What We Carry: Poems
Amir Sulaiman – You Will Be Someone’s Ancestor. Act Accordingly.
Ethelbert Miller – Black Men Are Precious
J. Ivy – The Poet Who Sat by the Door
Malcolm-Jamal Warner – Hiding In Plain View
Best Comedy Album
Dave Chappelle – ‘The Closer’
Jim Gaffigan – ‘Comedy Monster’
Louis C.K. – ‘Sorry’
Patton Oswalt – ‘We All Scream’
Randy Rainbow – ‘A Little Brains, A Little Talent’
Best Musical Theatre Album
Original Broadway Cast – ‘A Strange Loop’
New Broadway Cast – ‘Caroline, Or Change’
‘Into the Woods’ 2022 Broadway Cast – ‘Into the Woods (2022 Broadway Cast Recording)’
Original Broadway Cast – ‘MJ The Musical’
‘Mr. Saturday Night’ Original Cast – ‘Mr. Saturday Night’
Original Broadway Cast – ‘Six: Live On Opening Night’
Best Compilation Soundtrack For Visual Media
Various Artists – Elvis
Various Artists – Encanto
Various Artists – Stranger Things: Soundtrack From The Netflix Series, Season 4
Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer – Top Gun: Maverick
Various Artists – West Side Story
Best Score Soundtrack For Visual Media (Includes Film and Television)
Germaine Franco – Encanto
Hans Zimmer – No Time To Die
Jonny Greenwood – The Power Of The Dog
Michael Giacchino – The Batman
Nicholas Britell – Succession: Season 3
Best Score Soundtrack For Video Games And Other Interactive Media
Austin Wintory – Aliens: Fireteam Elite
Bear McCreary – Call Of Duty: Vanguard
Christopher Tin – Old World
Richard Jacques – Marvel’s Guardians Of The Galaxy
Stephanie Economou – Assassin’s Creed Valhalla: Dawn Of Ragnarök
Best Song Written For Visual Media
Beyoncé – ‘Be Alive
Carolina Gaitán – La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto – Cast – ‘We Don’t Talk About Bruno’
Jessy Wilson Featuring Angélique Kidjo – ‘Keep Rising (The Woman King)’
Lady Gaga – ‘Hold My Hand’
Taylor Swift – ‘Carolina’
4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo & Grayson Villanueva – ‘Nobody Like U’
Best Arrangement, Instrumental or A Cappella
Armand Hutton Featuring Terrell Hunt & Just 6 – ‘As Days Go By (An Arrangement of the Family Matters Theme Song)’
Danny Elfman – ‘Main Titles’
Kings Return – ‘How Deep Is Your Love’
Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer -‘Scrapple From The Apple’
Remy Le Boeuf – ‘Minnesota, WI’
Best Arrangement, Instruments and Vocals
Becca Stevens & Attacca Quartet – ‘2 + 2 = 5 (Arr. Nathan Schram)’
Cécile McLorin Salvant – ‘Optimistic Voices / No Love Dying’
Christine McVie – ‘Songbird (Orchestral Version)’
Jacob Collier Featuring Lizzy McAlpine & John Mayer – ‘Never Gonna Be Alone’
Louis Cole – ‘Let It Happen’
Best Recording Package
Fann – ‘Telos’
Soporus – ‘Divers’
Spiritualized – ‘Everything Was Beautiful’
Tamsui-Kavalan Chinese Orchestra – ‘Beginningless Beginning’
Underoath – ‘Voyeurist’
Best Boxed or Special Limited Edition Package
Black Pumas – ‘Black Pumas (Collector’s Edition Box Set)’
Danny Elfman – ‘Big Mess’
The Grateful Dead – ‘In And Out Of The Garden: Madison Square Garden ’81, ’82, ’83’
They Might Be Giants – ‘Book’
Various Artists – ‘Artists Inspired By Music: Interscope Reimagined’
Best Album Notes
Andy Irvine & Paul Brady – ‘Andy Irvine / Paul Brady’
Astor Piazzolla – ‘The American Clavé Recordings’
Doc Watson – ‘Life’s Work: A Retrospective’
Harry Partch – ‘Harry Partch, 1942’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’
Best Historical Album
Blondie – ‘Against the Odds: 1974 – 1982’
Doc Watson – ‘Life’s Work: A Retrospective’
Freestyle Fellowship – ‘To Whom It May Concern…’
Glenn Gould – ‘The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’
Songwriter of the Year, Non-Classical
Amy Allen
Laura Veltz
Nija Charles
The-Dream
Tobias Jesso Jr.
Best Engineered Album, Non-Classical
Baynk – ‘Adolescence’
Father John Misty – ‘Chloë And The Next 20th Century’
Harry Styles – ‘Harry’s House’
Robert Glasper – ‘Black Radio III’
Wet Leg – ‘Wet Leg’
Producer of the Year, Non-Classical
Boi-1da
Dahi
Dan Auerbach
Dernst “D’Mile” Emile II
Jack Antonoff
Best Remixed Recording
Beyoncé – ‘Break My Soul (Terry Hunter Remix)’
Ellie Goulding – ‘Easy Lover (Four Tet Remix)’
The Knocks & Dragonette – ‘Slow Song (Paul Woolford Remix)’
Lizzo – ‘About Damn Time (Purple Disco Machine Remix)’
Wet Leg – ‘Too Late Now (Soulwax Remix)’
Best Immersive Audio Album
Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene – Tuvayhun – ‘Beatitudes For A Wounded World’
The Chainsmokers – ‘Memories…Do Not Open’
Christina Aguilera – ‘Aguilera’
Jane Ira Bloom – ‘Picturing the Invisible: Focus 1’
Stewart Copeland & Ricky Kej – ‘Divine Tides’
Best Orchestral Performance
Berlin Philharmonic & John Williams – ‘John Williams: The Berlin Concert’
Los Angeles Philharmonic & Gustavo Dudamel – ‘Dvořák: Symphonies Nos. 7-9’
New York Youth Symphony – ‘Works by Florence Price, Jessie Montgomery, Valerie Coleman’
Various Artists – Sila: ‘The Breath Of The World’
Wild Up & Christopher Rountree – ‘Stay On It’
Best Opera Recording
Boston Modern Orchestra Project & Odyssey Opera Chorus – ‘Anthony Davis: X: The Life And Times Of Malcolm X’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Blanchard: Fire Shut Up In My Bones’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Eurydice’
Best Music Video
Adele – ‘Easy On Me’
BTS – ‘Yet To Come’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Taylor Swift – ‘All Too Well: The Short Film’
Best Music Film
Adele – Adele One Night Only
Billie Eilish – Billie Eilish Live At The O2
Justin Bieber – Our World
Neil Young & Crazy Horse – A Band A Brotherhood A Barn
Rosalía – Motomami (Rosalía TikTok Live Performance)
Various Artists – Jazz Fest: A New Orleans Story
BTS will reportedly be allowed to participate in “national-level” events in South Korea even while serving in their compulsory military terms, the defence ministry has announced.
READ MORE: BTS live in Busan: a dizzying celebration of a once-in-a-lifetime act
On October 18, Moon Hong-sik, the acting spokesperson for the South Korean defence ministry, told press that the members of BTS will still be allowed to participate in events while serving in the military.
“Our position is that we will provide an opportunity if they wish to participate when there is a national-level event for the public good or an event designed in light of the national interest,” Moon said, per The Korea Times.
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Typically, K-pop artists in active service are not able to perform outside of military events. While some acts have released music recorded in advance while serving, they are usually unable to hold concerts or make public appearances for promotional purposes.
The statement comes after Big Hit Music announced yesterday (October 17) that all seven members of the boyband would fulfil their compulsory military terms. Big Hit’s announcement came after a lengthy debate amongst South Korean politicians discussing the possibility of a military exemption or alternative service for BTS.
“Big Hit Music has focused [on] the milestone moment when it would be possible to respect the needs of the country and for these healthy young men to serve with their countrymen, and that’s now,” said the agency. It added that eldest member Jin would be the first to enlist later this year, as soon as he concludes promotions for his upcoming solo single.
The remaining members of the group will schedule their own enlistment dates around their individual upcoming solo projects. The agency also revealed that BTS plan to reconvene some time in 2025, which suggests that younger members Jimin, V and Jungkook (born in 1995 and 1997) may enlist earlier than expected, well ahead of their 30th birthdays.
The MTV Europe Music Awards (EMAs) announced its list of nominations for its 2022 edition on October 12, which included a nomination for BLACKPINK in the Best Video category for their ‘Pink Venom’ music video. This makes them the first-ever K-pop act to receive a nomination in this category.
Aside from their Best Video nomination, BLACKPINK have also been nominated in three other categories at the awards: Biggest Fans, Best Metaverse Performance (for their PUBG Mobile in-game concert ‘The Virtual’) as well as Best K-pop. BLACKPINK member Lisa was also nominated as a separate contender for Best K-pop for her work as a soloist.
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Meanwhile, boybands BTS and SEVENTEEN bagged three nominations each – BTS are up for Biggest Fans, Best Metaverse Performance (for their ‘Butter’ and ‘Permission To Dance’ Minecraft concert) and Best K-pop, while SEVENTEEN have been nominated for Best New, Best Push and Best K-pop categories. The remaining acts rounding out the Best K-pop nominations list are girl groups ITZY and TWICE.
Tomorrow X Together (TXT) also received a nomination for Best Asia Act, making them the only Korean act in this category. See the complete list of 2022 MTV EMA nominees here.
Voting is now officially open via the MTV EMAs website and will close on November 9 at 11:59pm CET. However, the Biggest Fans category has yet to be opened for voting at the time of writing. The awards ceremony is scheduled to take place in Dusseldorf, Germany on November 13, and will simultaneously air live on MTV.
BLACKPINK broke another record just late last month by being the first female K-pop act to top the Billboard 200 with their recent full-length effort ‘Born Pink’. It also marked their second Top 10 entry on the chart, after their 2020 debut studio album ‘The Album’ debuted at Number 2.
BLACKPINK will kick off their ‘Born Pink’ world tour this weekend over two nights in Seoul followed by stops in North America, United Kingdom, Europe, Asia, and Australia.
National Album Day returns for its fifth edition on Saturday (October 15) with the 2022 event set to celebrate debut albums from across multiple genres and decades.
Franz Ferdinand and Sam Ryder will serve as ambassadors this year alongside KSI, The Mysterines, The Staves, Jake Bugg, India Arkin and others. Around 30 classic debut albums will be reissued alongside new debut LPs to coincide with National Album Day.
READ MORE: Sam Ryder on his debut album and life after Eurovision: “Who knows what will happen next?”
“What a glorious medium the album is,” Franz Ferdinand frontman Alex Kapranos said in a statement.
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“On the most basic level it’s a bunch of songs that sound good together, but what I love is that it is a moment in time for the artist and the listener, a way to define a period of a lifetime. It’s the long form: a novel rather than a short story, a film rather than a trailer.”
The ‘Take Me Out’ icon continued: “Sure, you can get a panel of writers to construct a song to meet the criteria of the algorithm, and that’s a distinct skill, but it will never have the complexity or richness and deep reward of a good album.”
National Album Day 2022 will put on hundreds events across the UK. HMV is set to stage its ‘Live and Local’ shows by unsigned talent, while Tim Burgess will host special ‘Tim’s Twitter Listening Parties’ with Jake Bugg and Ash. Pitchblack Playback, meanwhile, is due to present a run of immersive listening experiences.
In celebration of this year’s National Album Day, official partner and renowned audio brand Bowers & Wilkins is offering you the chance to win their new award-winning Px7 S2 over-ear noise cancelling wireless headphones.
The new headphones, which retails at £379, are described as “a truly immersive listening experience that allows you to hear more of what the artist wants you to hear”. See the preview image above.
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Additionally, the prize contains a selection of limited edition vinyl debuts from from Nas, The National and Wu Tang Clan.
To be in with a chance of winning the prize, answer the below question:
The full list of National Album Day CDs and vinyl for 2022 is as follows:
Alexander Ullman – Liszt: Piano Concertos 1&2, Sonata in B Minor (CD) alt-J – An Awesome Wave (limited fern green colour vinyl) Black Sabbath – Black Sabbath (limited black & purple splatter vinyl) Blossoms – Blossoms (limited edition orange vinyl) Bunny Scott – The Love Somebody (expanded edition CD) Christone “Kingfish” Ingram – Kingfish (limited edition 140-gram translucent yellow vinyl) The Clash – The Clash (transparent pink vinyl) The Damned – Damned Damned Damned (limited edition yellow vinyl) Finley Quaye – Maverick A Strike (yellow vinyl) Jake Bugg – Jake Bugg (10th Anniversary remastered with 16 bonus tracks 3-CD set and 2-LP black & gold vinyl set) Jamiroquai – Emergency on Planet Earth (2-LP transparent vinyl) Jennifer Lopez – One The 6 (peach coloured vinyl) Mariah Carey – Mariah Carey (coloured vinyl) Marine Girls – Lazy Ways and Beach Party (new edition CD) Nas – Illmatic (limited edition red & blue vinyl) The National – The National (white vinyl) Nessa Barrett – Young Forever (debut album release on CD) The Police – Outlandos d’Amour (limited edition blue vinyl) Rainn Byrns – New In Town (vinyl & CD) Sharky – People Are Strange (Digital fomat) Smith & Burrows – Funny Looking Angels (limited edition picture disc vinyl) The Staves – Dead & Born & Grown (recycled black vinyl) Supergrass – I Should Coco (remastered black vinyl)
Stereophonics – Word Gets Around (gold vinyl) The The – Soul Mining (remastered vinyl LP) Travis – Good Feeling (25th Anniversary vinyl re-issue with ‘fan thank you’ sleeve) Wu Tang Clan – Enter The Wu-Tang (36 Chambers) (limited edition gold vinyl)
National Album Day 2022 is presented in association with Bowers & Wilkins and BBC Sounds. For more information visit NAD ’22’s official website, and find details about the Px7 S2 headphones here.
The organiser of an illegal rave has been banned from entering Exmoor National Park in Devon for a year.
The ban comes after Forestry England – the owners of Exmoor’s land – teamed up with Somerset police to remove organisers of illegal events from the area.
READ MORE: NME Investigates — the rise of illegal raves
According to Mixmag, the organiser of two illegal raves in the national park – on June 25 and July 2 this year – has been banned from the area for 12 months under a Community Protection Warning (CPW).
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Sergeant Max Priestley said: “Issuing the Community Protection Warning with the support of our Antisocial Behaviour Team is a great success, made possible by our collaborative response to these illegal events.”
Priestley went on to praise local resident Jennifer Duke, who alerted authorities to the raves. He said: “Jennifer and local residents like her are our essential eyes and ears to provide evidence after events and – ideally – intelligence before they happen so we can stop them before they start.”
A report from Somerset Live says that if the individual breaches the ban, they could face arrest and jail time.
Police have now enforced locals to patrol the area during the summer months. They are encouraging anyone who sees a “large number of vehicles” in a rural area or an “unloading of speakers” to contact the police.
Forestry England’s John Ebsary said: “As a rural land manager, we are left with the fallout from illegal music events far too often. They cause misery for our neighbours and immeasurable harm to wildlife and forest habitats.”
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Earlier this year, police shut down an illegal rave that was being held in an under-construction police station in Amsterdam. Around 300 people were reportedly in attendance.
Last summer, it was reported that former UK Home Secretary Priti Patel relied on false data about illegal raves to push for a clampdown during the coronavirus lockdowns. A study by Mixmag showed that figures were inflated due to flawed methodology in how the data was collected.
In the summer of 2020, police introduced new fines for those who organise and attend illegal raves in England. Police in the country will be able to fine organisers of illegal gatherings of more than 30 people up to £10,000.
Nation Of Language have returned with a brand new single – listen to ‘From The Hill’ below.
READ MORE: Nation Of Language: Brooklyn’s synth-pop romantics realising their dreams
The track will appear on a new 7″ single set to come out on December 9 alongside vinyl exclusive B-side ‘Ground Control’. The release follows the band’s second album, 2021’s ‘A Way Forward’.
On their new track, singer Ian Devaney said: “‘From the Hill’ is a song reflecting on times when friendships fall apart over romantic entanglement, accompanied by the sensation that you’re somehow watching it happen from above with a more zoomed-out perspective.
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“It can feel at times like certain parts of life are a story with which you’re just following along – the characters enter, they play their role, and then they leave. Often it’ll feel sudden and catch you off guard, and other times you’re able to see that it’s the only way things could have played out despite what you may have wanted.”
Devaney added: “For us, we’re in a moment right now where it feels good to get this out into the world. It’s one that didn’t really feel like it fit the vibe of A Way Forward, nor is it any real indication of where the next record is likely heading. When that situation arrives we like to use these 7” releases to step outside the larger framework that the albums provide and just release a track that we love, so this is us doing that once again.”
Listen to the new track below.
Next month (October 12), Nation Of Language will play a Brooklyn show as part of NME and Brooklyn Brewery’s Brooklyn Sound gig series.
The gigs will showcase homegrown talent from New York City’s incredible pool of musical talent across multiple genres, kicking off on October 12 at Elsewhere with Nation Of Language alongside Infinite Coles. The series will continue at the Bell House on October 25 with MICHELLE and Sarah Kinsley, and then at Union Pool on November 2 with CLIP and Rebounder. Tickets for all shows will be free, and fans can RSVP in advance for the Nation Of Language show here.
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After that show, the band will head to the UK for a tour that stretches through late November into early December.
See the full list of dates below and buy tickets here.
NOVEMBER 2022 21 – Brighton, Chalk 22 – Bristol, Fleece 24 – London, Electric Brixton 26 – Birmingham, O2 Institute 2 27 – Newcastle, Cluny 29 – Edinburgh, The Caves 30 – Glasgow, Classic Grand
DECEMBER 2022 1 – Manchester, Gorilla 2 – Liverpool, O2 Academy
Nominations for the BET Hip Hop Awards have been announced, with Kanye West and Drake leading with 14 and 10 nods respectively.
Both West and Drake have been nominated for Hip Hop Album Of The Year for last year’s ‘Donda’ and ‘Certified Lover Boy’ respectively, and are up against Future (‘I Never Liked You’), Pusha T (‘It’s Almost Dry’), Nas (‘King’s Disease II’) and Kendrick Lamar (‘Mr. Morale and The Big Steppers’).
Me ?? classic Hip Hop albums
The #HipHopAwards nominations for Hip Hop Album of the Year are: @Latto@Drake@KanyeWest@1Future@Pusha_T@Nas@KendrickLamar#BET pic.twitter.com/SPu7nCyVgk
— BET (@BET) September 12, 2022
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Notably, Drake has received nominations twice in two categories, Best Hip Hop Video and Song Of The Year, and three times in another two categories; Best Collaboration – for ’21’ with 21 Savage, ‘Wait For U’ with Future and Tems, and ‘Way 2 Sexy’ with Future and Young Thug – and Sweet 16: Best Featured Verse.
Future’s ‘Wait For U’, which features Drake and Tems, is among those nods coming up three times, while Drake’s ‘Way 2 Sexy’ – lead single of ‘Certified Lover Boy’ – appears in three categories.
Elsewhere among this year’s nominations, Cardi B’s ‘Hot Shit’, a collaboration with Kanye West and Lil Durk, has been nominated three times, appearing in the Song Of The year, Best Hip Hop Video and Best Collaboration.
Other artists to receive multiple nominations include Tems with four, Young Thug and Lil Durk with three, and Doja Cat and Latto with two each.
This year’s Artist Of The Year nominees include Cardi B, Doja Cat, Drake, Future, Kanye West, Kendrick Lamar and Megan Thee Stallion.
Meanwhile, Song Of The Year nominees also features Latto for ‘Big Energy’, Hitkidd and Glorilla for ‘F.N.F (Let’s Go)’, Jack Harlow for ‘First Class’ and Kodak Black for ‘Super Gremlin’.
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Find the full list of BET Hip Hop Awards 2022 nominations below.
See this year’s nominees for Song of the Year! #HipHopAwards #BET @Latto@0hitkidd0 & @GloTheofficial@jackharlow@IamCardiB@1future@Drake#KodakBlack pic.twitter.com/3eo9QdrKJu
— BET (@BET) September 12, 2022
The 17th annual BET Hip Hop Awards will take place on September 30 in Atlanta, Georgia, at the Cobb Energy Performing Arts Center. Hosted by Fat Joe, the ceremony will be televised at 9pm EDT on Tuesday October 4.
At this year’s BET Awards back in June, West made a surprise appearance to honour Sean “Diddy” Combs, as the rapper and producer received the Lifetime Achievement Award.
The event also saw Lil Nas X express dismay at being excluded from the list of nominations, the rapper saying his “relationship with BET has been painful and strained for quite some time”.
BET then responded to Lil Nas X, explaining that no one at the awards body was on the voting panel. “Unfortunately, this year, he was not nominated by BET’s Voting Academy, which is comprised of an esteemed group of nearly 500 entertainment professionals,” the organisation’s statement read. “No one from BET serves as a member of the Voting Academy.
“At BET, we are passionate advocates for the wonderful diversity that exists within our community. We are committed to using all of our platforms to provide visibility and inclusion for all of the many intersections of the Black community.”
BET Hip Hop Awards 2022 nominations are:
Best Hip Hop Video
A$ap Rocky – ‘D.M.B’
Baby Keem and Kendrick Lamar – ‘Family Ties’
City Girls – ‘Good Love (feat. Usher)’
Cardi B, Kanye West and Lil Durk – ‘Hot Shit’
Bia and J. Cole – ‘London’
Future – ‘Wait For U (feat. Drake and Tems)’
Drake – ‘Way 2 Sexy (feat. Future and Young Thug)’
Best Collaboration
Baby Keem and Kendrick Lamar – ‘Family Ties’
City Girls – ‘Good Love (feat. Usher)’
Cardi B, Kanye West and Lil Durk – ‘Hot Shit’
Drake – ’21 (feat. 21 Savage)’
Benny The Buthcher and J. Cole – ‘Johnny P’s Caddy’
Future – ‘Wait For U (feat. Drake and Tems)’
Drake – ‘Way 2 Sexy (feat. Future and Young Thug)’
Best Duo Or Group
42 Dugg and Est Gee
Big Sean and Hit-Boy
Birdman and Youngboy Never Broke Again
Blxst and Bino Rideaux
DaBaby and Youngboy Never Broke Again
Erthgang
Styles P and Havoc
Best Live Performer
Cardi B
Doja Cat
Drake
J. Cole
Kanye West
Kendrick Lamar
Tyler, The Creator
Lyricist Of The Year
Baby Keem
Benny The Butcher
Drake
J. Cole
Jack Harlow
Jay-Z
Kendrick Lamar
Video Director Of The Year
Benny Boom
Burna Boy
Cole Bennett
Colin Tilley
Director X
Kendrick Lamar and Dave Free
Teyana Taylor
Song Of The Year
Latto – ‘Big Energy’
Hitkidd and Glorilla – ‘F.N.F (Let’s Go)’
Jack Harlow – ‘First Class’
Cardi B, Kanye West and Lil Durk – ‘Hot Shit’
Kodak Black – ‘Super Gremlin’
Future – ‘Wait For U (feat. Drake and Tems)’
Drake – ‘Way 2 Sexy (feat. Future and Young Thug)’
Hip Hop Album Of The Year
Latto – ‘777’
Drake – ‘Certified Lover Boy’
Kanye West – ‘Donda’
Future – ‘I Never Liked You’
Pusha T – ‘It’s Almost Dry’
Nas – ‘King’s Disease II’
Kendrick Lamar – ‘Mr. Morale and The Big Steppers’
Hip Hop Artist Of The Year
Cardi B
Doja Cat
Drake
Future
Kanye West
Kendrick Lamar
Megan Thee Stallion
Producer Of The Year
ATL Jacob
Baby Keem
Hit-Boy
Hitmaka
Kanye West
Metro Boomin
Pharrell Williams
Best Breakthrough Hip Hop Artist
Baby Keem
BLXST
Doechii
Fivio Foreign
Glorilla
Nardo Wick
Sauch Santana
DJ Of The Year
D-Nice
DJ Cassidy
DJ Drama
DJ Kay Slay
DJ Premiere
Kaytranada
Musturd
Nyla Simone
LA Leakers: DJ Sourmilk and Justin Incredible
Best Hip Hop Platform Big Boy’s Neighbourhood
Breakfast Club
Caresha Please
Complex
Drink Champs
Hiphop DX
Milion Dollaz Worth Of Game
NPR Tiny Desk
Verzuz
Hustler Of The Year
50 Cent
Cardi B
DJ Khaled
Drake
Jay-Z
Kanye West
Megan The Stallion
Sweet 16: Best Featured Verse
Drake – ‘Churchill Downs’ (Jack Harlow feat. Drake)
J. Cole – ‘Poke It Out Wale (feat. J. Cole)’
J. Cole – ‘London’ (Bia and J. Cole)
Lil Baby – ‘Girls Want Girls’ (Drake feat. Lil Baby)
Kanye West – ‘City Of Gods’ (Fivio Foreign, Kanye West and Alicia Keys)
Drake – ‘Wait For U’ (Future feat. Drake and Tems)
Jadakiss – ‘Black Illumanti’ (Freddie Gibbs feat. Jadakiss)
Impact Track
Lizzo – ‘About Damn Time’
Fivio Foreign, Kany West and Alicia Keys – ‘City Of Gods’
Baby Keem and Kendrick Lamar – ‘Family Ties’
Nas – ‘Nobody (feat. Ms. Lauryn Hill)’
The National have shared a remix of Neu!‘s 1972 track ‘Im Glück’ – you can listen to it below.
Matt Berninger and co’s new interpretation of the song will feature as part of Neu!’s 50th anniversary boxset, which is due for release on September 23 via British-German label Grönland Records (pre-order here).
READ MORE: The National on new music: “It’s the whole history of the band, but with a new exploration”
The atmospheric eight-minute spin on ‘Im Glück’ will serve as the opening track on the 10-song ‘Tribute’ album. Other contributors include Idles, Mogwai, Alexis Taylor of Hot Chip, and Stephen Morris of New Order.
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Morris and Gabe Gurnsey shared their take on ‘Hallogallo’ back in June. You can see the full tracklist for ‘Tribute’ beneath.
Additionally, the vinyl and CD editions of the Neu! anniversary boxset will boast the group’s first three studio albums: ‘Neu!’ (1972), ‘Neu! 2’ (1973) and ‘Neu! 75’ (1975). The CD version also features 1995’s ‘Neu! 4’ (aka ‘Neu ’86’).
Listen to ‘Im Glück (The National Remix)’ here:
NEU! celebrate the 50th Anniversary of their self-titled, debut album with the NEU! 50! box set, out September 23rd via Groenland Records.
You can listen to our remix of “Im Glück” on all platforms now: https://t.co/45peQxGMX7 pic.twitter.com/1sS8ju3FoH
— The National (@TheNational) August 31, 2022
Neu! – the project of Michael Rother (Kraftwerk) and the late Klaus Dinger – reissued their debut album on cassette and picture disc earlier this summer. The band’s back catalogue was previously reissued in 2010.
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The full ‘Tribute’ tracklist is as follows:
‘Im Glück (The National remix)’ ‘Weissensee (Fink Version)’
‘Super (Mogwai Remix)’
‘4+1=5’ – Alexis Taylor
‘Hallogallo (Stephen Morris and Gabe Gurnsey Remix)’
‘Lieber Honig (Yann Tiersen Remix)’
‘Super (Man Man Remix)’
‘Negativland (Idles Negative Space Rework)’
‘Zum Herz’ – Guerilla Toss
‘After Eight’ (They Hate Change Cover)
Last month saw The National return with the single ‘Weird Goodbyes’, a collaboration with Bon Iver. Speaking about the song, Matt Berninger explained: “It’s about letting go of the past and moving on, then later being overwhelmed by second thoughts.”
As for the process of creating the track, the band’s Aaron Dessner added: “‘Weird Goodbyes’ was one of the first new songs we made. I was misusing drum machines, as usual, and stumbled onto this beat that got stuck in my head – it felt like something only Bryan could naturally play. We built the song around the beat.
“Matt’s melody and words felt so elegant and moving from the beginning – mourning a loss of innocence and motivation, holding onto memories and feelings that inevitably slip away and the grief we all suffer in weird goodbyes.”
The National. CREDIT: Josh Goleman
During a recent interview with NME, Bryce Dessner talked about what fans can expect from The National’s new material. “It’s starting to become something we’re really excited about,” he said. “It’s hard to say what shape it will take, but there’s a ton there.”
The National released their eighth and most recent studio album, ‘I Am Easy To Find’, back in 2019.
The group recently made their return to the UK, playing at All Points East in London, Connect Festival in Edinburgh, and the Mayfield Depot venue in Manchester.
The National played a surprise, secret acoustic set at Edinburgh’s Connect Festival in memory of Frightened Rabbit‘s Scott Hutchison – see footage below.
READ MORE: The National on new music: “It’s the whole history of the band, but with a new exploration”
Yesterday (August 28) festival-goers were alerted to the message, “Secret set added – 7.45pm at the Tiny Changes x Gardeners Cottage”, and soon discovered that The National’s Matt Berninger, Aaron Dessner and Bryce Dessner were performing at the Scottish festival’s new stage to pay tribute to their late friend.
The band, who were headlining the festival, played ‘Sorrow’ and ‘About Today’, telling the crowd for the latter track, “Whenever we play this one we think of Scott,” and singing the words, “Today…You were far away…and I… Didn’t ask you why“.
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The Tiny Changes x Gardeners Cottage was set up at the festival in association with Tiny Changes, the charity for supporting young people’s mental health that was set up in memory of Hutchison who died by suicide in 2018.
It’s Scotland’s first national children and young people’s mental health charity and raised more than £4,500 during the course of the festival weekend.
Scott performed at the original Connect Festival in 2006 on a similar stage.
Aaron Dessner of The National said: “Thank you so much, it’s a pleasure to support Tiny Changes. Scott was a really close friend of ours, and like you guys, we were huge fans of Frightened Rabbit.
“We were devastated when he left. This charity is amazing, and any awareness we can raise for mental health, we want to do that because we all struggle with it.”
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Kara Brown, CEO of Tiny Changes, said: “Having the National play the inaugural Tiny Changes stage at Connect Festival – a similar stage to one Scott played at back in 2006 – is something we will remember forever and the perfect ending to an incredible weekend of live music, helping young minds feel better.”
DF CEO Geoff Ellis added: “Grant from Frightened Rabbit asking The National if they’d do a secret set at our Tiny Changes Gardeners Cottage is what Connect Festival is all about – a totally unique experience and an appreciation of friendship and connections.
Meanwhile, The National returned to London last week (August 26) to headline All Points East 2022 – watch them perform new single ‘Weird Goodbyes’ with Fleet Foxes‘ Robin Pecknold here.
FOR HELP AND ADVICE ON MENTAL HEALTH:
‘Am I depressed?’ – help and advice on mental health and what to do next
YOUNG MINDS – The voice for young people’s health and wellbeing
MIND – For mental health support, advice and awareness
CALM – The Campaign Against Living Miserably for young men
Time To Change – Let’s end mental health discrimination
The Samaritans – Confidential support 24 hours a day
The National returned to London last night (August 26) to headline All Points East 2022 – watch them perform new single ‘Weird Goodbyes’ with Fleet Foxes‘ Robin Pecknold below.
READ MORE: The National on new music: “It’s the whole history of the band, but with a new exploration”
‘Weird Goodbyes’ was released last week and features Bon Iver‘s Justin Vernon on vocals. While introducing Pecknold, The National’s Aaron Dessner said that their friend and collaborator had never sung the song before.
Elsewhere in the set, The National played another new song – ‘Tropic Morning News (Haversham)’ – and hits from across their back catalogue.
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Watch them play ‘Weird Goodbyes’ with Robin Pecknold and see the full setlist below.
The National have been performing ‘Weird Goodbyes’ live since late May. They played it for the first time in Pamplona, Spain on May 28 – the first National show in three years – where it was billed on the setlist as ‘Bathwater (Mount Auburn)’.
Speaking in a statement about ‘Weird Goodbyes’, The National’s Matt Berninger said: “It’s about letting go of the past and moving on, then later being overwhelmed by second thoughts.”
On the process of making the single, the band’s Aaron Dessner added: “‘Weird Goodbyes’ was one of the first new songs we made. I was misusing drum machines, as usual, and stumbled onto this beat that got stuck in my head – it felt like something only Bryan could naturally play. We built the song around the beat.
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“Matt’s melody and words felt so elegant and moving from the beginning – mourning a loss of innocence and motivation, holding onto memories and feelings that inevitably slip away and the grief we all suffer in weird goodbyes.”
Last week, The National guitarist Bryce Dessner told NME about what to expect from the band’s new material.
Quizzed on his previous comments that the new music they’d been penning had a “classic National sound”, the guitarist remarked: “I think that is true, but other things are true as well. What I can say is that we’re at a high watermark in terms of our creativity as a band. There’s a lot happening, and a lot of music. We’re allowing ourselves to dream about it, take risks, try things and give the songs time to develop.
“It’s starting to become something we’re really excited about. It’s hard to say what shape it will take, but there’s a ton there.”
The National will return to London on Friday (August 26) to headline All Points East 2022 – check out the full stage and performance times below.
It will mark the band’s first show in the city since 2019, where they will be joined by a stellar cast of support acts including Mogwai, Fleet Foxes, Lucy Dacus, Kurt Vile and more.
READ MORE: All Points East 2021 review: generations collide to end the summer in fervent style
Across seven stages, the day also sees performances from Parcels, Tune-Yards, Perfume Genius and Rae Morris.
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The performance comes just a few days after The National unveiled their new single ‘Weird Goodbyes’, which features Bon Iver.
Speaking in a statement about ‘Weird Goodbyes’, The National’s Matt Berninger said: “It’s about letting go of the past and moving on, then later being overwhelmed by second thoughts.”
See the full stage times for The National at All Points East below, and buy your tickets here.
6 Music Stage at All Points East 2021. CREDIT: Jim Dyson/Getty Images
The East Stage
The National: 9:25pm – 10:55pm
Mogwai: 7:00pm – 8:00pm
Kurt Vile: 5:45pm – 6:30pm
Villagers: 4:35pm – 5:15pm
Tune Yards: 3:25pm – 4:05pm
Rae Morris: 2:25pm – 2:55pm
All Points East 2022 began last weekend (August 19) with Gorillaz supported by IDLES, Turnstile, Yves Tumor, Self Esteem, Femi Kuti, Obongjayar, NewDad, Remi Wolf, Gabriels, Ibeyi, Nia Archives and Willow Kayne.
This weekend also sees headline performances from Tame Impala (Thursday, August 25), Disclosure (Saturday, August 27) and Nick Cave and The Bad Seeds (Sunday, August 28).
Speaking to NME last week, The National guitarist Bryce Dessner said to expect some surprises in the set.
“We’ll probably have some friends come up and join us, for sure,” Dessner said. “We need to figure it out, but there will be some special surprises. It will be a while before we come back, and this is going to be a good one.”
Janet Jackson‘s 1989 single ‘Rhythm Nation’ is said to have the power to cause older laptops to crash.
In a recent blog post (via Hot New Hip Hop), Microsoft’s principal software engineer, Raymond Chen, explained: “The song contained one of the natural resonant frequencies for the model of 5400 rpm laptop hard drives that they [an unnamed major manufacturer] and other[s] used.”
READ MORE: Janet Jackson at Glastonbury: a pop megamix, a stadium production and the making of a new ‘legends slot’
Chen claimed that the frequency caused laptops from around 2005 to crash after playing the audio. The issue is similar to how an opera singer is able to shatter glass by singing at a certain pitch.
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“The manufacturer worked around the problem by adding a custom filter in the audio pipeline that detected and removed the offending frequencies during audio playback,” he continued.
“I would not have wanted to be in the laboratory that they must have set up to investigate this problem. Not an artistic judgement.”
Chen added: “Hopefully now their laptops no longer contain this audio filter, which is necessary to protect against damage to a hard drive that they no longer use.”
Per Sky News, the investigation also found that playing the official ‘Rhythm Nation’ music video resulted in some of the unknown manufacturer and its competitors’ laptops to crash. The visuals could even impact another nearby device.
A vulnerability report filed by The Mitre Corporation said that the issue could potentially pose a security risk, as a cyber attacker could force the system to crash using the audio signal from the ‘Rhythm Nation’ video.
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The song in question appeared on Jackson’s fourth studio album, ‘Janet Jackson’s Rhythm Nation 1814’.
The singer made her return to the stage earlier this summer. Back in February, she hinted that a new track featured in her 2022 self-titled documentary could be set for an official release.
Janet Jackson’s latest studio album, ‘Unbreakable’, came out in 2015.
The National have today (August 22) released their emotive new single ‘Weird Goodbyes’, which features Bon Iver – you can listen to the song below.
The track has been teased for some time, with the two artists finally confirming their collaboration last week.
READ MORE: The National on new music: “It’s the whole history of the band, but with a new exploration”
Speaking in a statement about ‘Weird Goodbyes’, The National’s Matt Berninger said: “It’s about letting go of the past and moving on, then later being overwhelmed by second thoughts.”
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On the process of making the single, the band’s Aaron Dessner added: “‘Weird Goodbyes’ was one of the first new songs we made. I was misusing drum machines, as usual, and stumbled onto this beat that got stuck in my head – it felt like something only Bryan could naturally play. We built the song around the beat.
“Matt’s melody and words felt so elegant and moving from the beginning – mourning a loss of innocence and motivation, holding onto memories and feelings that inevitably slip away and the grief we all suffer in weird goodbyes.”
The National have been performing ‘Weird Goodbyes’ live since late May. They played it for the first time in Pamplona, Spain on May 28 – the first National show in three years – where it was billed on the setlist as ‘Bathwater (Mount Auburn)’.
The first show to have it printed on the setlist as ‘Weird Goodbyes’ was the Cooperstown, New York date of their current North American tour, which took place on July 20.
Dessner has also explained how Bon Iver came to be featured on the track: “I somehow could hear our friend Justin’s voice and heart in this song from the beginning. We sent it to him and it moved him – he then sang with Matt so powerfully.”
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Bon Iver – CREDIT: Graham Tolbert and Eric Timothy Carlson
Last week, The National guitarist Bryce Dessner told NME about what to expect from the band’s new material.
Quizzed on his previous comments that the new music they’d been penning had a “classic National sound”, the guitarist remarked: “I think that is true, but other things are true as well. What I can say is that we’re at a high watermark in terms of our creativity as a band. There’s a lot happening, and a lot of music. We’re allowing ourselves to dream about it, take risks, try things and give the songs time to develop.
“It’s starting to become something we’re really excited about. It’s hard to say what shape it will take, but there’s a ton there.”
The National’s last official release was their Cyrano soundtrack inclusion ‘Somebody Desperate’, which marked their first new song since 2019’s ‘I Am Easy To Find’ album.
The National play London’s Victoria Park for All Points East on Friday (August 26), before Manchester’s Depot Mayfield on Saturday (August 27) and Connect Festival in Edinburgh on Sunday (August 28). Visit here for tickets and more information.
The National arrive in the UK this coming week, for their first tour here since 2019, to play All Points East and the Connect festival. To celebrate, here’s our piece on the making of their classic track “Bloodbuzz Ohio” from Uncut’s June 2020 issue.
Now read on…
In 2009, The National were burned out. They had toured solidly on the back of their Alligator (2005) and Boxer (2008) albums and found themselves in what guitarist Aaron Dessner calls “a dark place… It was exhaustion and everything that comes with being that fatigued,” he says. “Relationships were suffering. We almost broke up, actually.”
ORDER NOW: Joni Mitchell is on the cover of the latest issue of Uncut
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Instead, The National set up their own studio in Brooklyn’s Ditmas Park neighbourhood and made
Courtesy of HYBE/Republic
Courtesy of HYPE/Republic
