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Deluxe version of Kanye West’s ‘DONDA’ reportedly teased on Apple Music

Kanye West fans spotted a new message seemingly posted on some European versions of the ‘DONDA‘ Apple Music page that appeared to point to an incoming deluxe album.

  • READ MORE: Kanye West – ‘DONDA’ review: some gems among lots – and lots – of filler

Eagle-eyed fans reportedly noticed over the weekend that the streaming service’s Italy and Germany pages for ‘DONDA’ read, “A deluxe version of Yeezus’ tenth recording miracle” and, “Ye expands his epic artwork with new songs” respectively.

However, when accessed today (November 1), the descriptions appear to have returned to the notes that are standardised across the ‘DONDA’ pages worldwide – with no mention of a deluxe version of the album.

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NME has reached out to Apple Music and West’s representatives for comment.

If a deluxe version did materialise, it could see Ye expand on his already mammoth 10th studio effort, which runs at 27 tracks and clocks in just shy of an hour and 50 minutes.

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Elsewhere, yesterday (October31) West announced a last-minute Halloween Sunday Service livestream.

The rapper, who is now legally known as Ye, sparked controversy because the event featured Marilyn Manson who has been accused of sexual assault, misconduct and abuse by multiple women in the past year, including his former partner Evan Rachel Wood. Manson has denied the allegations, calling them “horrible distortions of reality”.

Kanye West
Marilyn Manson, Justin Bieber and Kanye West at the Sunday Service – Credit: Still/Press

West also brought out the musician at a listening party for new album ‘DONDA’ at Soldier Field in Chicago in August. When the album in question finally dropped, Manson was credited as a co-writer on the songs ‘Jail’ and ‘Jail Pt. 2’.

Appearing alongside the pair at yesterday’s Sunday Service was Justin Bieber and Roddy Ricch.

The rooftop performance saw performances of a number of ‘DONDA’ songs including ‘No Child Left Behind,’ ‘Hurricane,’ ‘Moon,’ and ‘Come to Life.’

 

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Bop Shop: Songs From Megan Thee Stallion, Lana Del Rey, Kim Petras, And More

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — it's a snapshot of what's on our minds and what sounds good. We'll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Kim Petras ft. Elvira, Mistress of the Dark: “Turn Off the Light”
    https://www.youtube.com/watch?v=DSbgQE5x2QM

    Halloween is queer Christmas. In lieu of providing actual evidence to substantiate that claim, I raise you the title track from Kim Petras’s 2018 EP Turn Off the Light, Vol. 1. The transgender pop star’s collab with Elvira was already a dark, dance-pop banger before the Mistress of the Dark came out of the coffin; now it’s canonical LGBTQ+ excellence. Turn off the light and hit play, ghoulfriend! —Sam Manzella

  • Space Kiddettes: “Dead to Me”
    https://www.youtube.com/watch?v=tOTb4G_mQvo

    Texas electro-pop duo Space Kiddettes kick the synths into overdrive on their latest single "Dead to Me," an emotional and evocative bop in the vein of some of Halloween queen Kim Petras's spookier offerings. From its opening notes, the track sounds like Devo on a sweat-drenched, late-night dance floor as vocalists Trent Lira and Devin Will begin to spill on a toxic romance. However, it's the sugary sweet-sounding chorus and its deceptively severe lyrics that stick long past the first listen: "Dead to me / You don't remember what you said to me / I know you'd like to be a friend to me / But baby, you are dead to me." Throw in a reference to dancing on graves, some haunting background vocals, and a quirky visual that's as fun to watch as it surely was to make, and we've got another Halloween banger. —Carson Mlnarik

  • Megan Thee Stallion: "Eat It"
    https://www.youtube.com/watch?v=DF_Obg8jocs

    On newly released collection Something for Thee Hotties, Megan Thee Stallion delivers 21 tracks from her career so far — one that in a lot of ways feels like it's just begun — that showcase precisely why she's at the top of both the industry and her own game. "Eat It," a spiritual successor to "WAP," is hard as hell. Apart from being a two-minute list of commands ("Eat it 'til I faint / Kick you out, here's a towel, n---a, wipe your face") and incredible flexes ("I got so much plaque buildup, RIAA my dentist"), it's just so much fun, showcasing Meg's singular confidence and her ability to make a moment her own. —Patrick Hosken

  • Payday ft. Danny Brown: "Vampire"
    https://www.youtube.com/watch?v=7BDjtnMRq3A

    Here's another spooky one. Over a bracing backbeat, teen rapper Payday admits, "I'm a vampire and I just might bite ya," and it's easy to believe. Throw in an appropriately bloody video — set in the daytime to show the artist's true vampiric power — and an alternately intense and whimsical guest verse from Danny Brown, and you get a potent, haunted sonic cocktail. The whole thing has shades of "So What’cha Want" and just might make your Halloween playlist in time. —Patrick Hosken

  • Anaïs Mitchell: "Bright Star"
    https://www.youtube.com/watch?v=ijMnvVmkaRU

    The Anaïs Mitchell Musical Universe just keeps growing. After conquering Broadway with her musical Hadestown, a near-perfect album with folk trio Bonny Light Horseman, and lending her voice to some key Big Red Machine collaborations, the singer-songwriter is returning to her roots. Her latest single, "Bright Star," nods to that restoration, showcasing her knack for gorgeous, compelling narratives that pull at you. There's so much more to come on her self-titled LP, due out in January. —Patrick Hosken

  • Lana Del Rey: “Black Bathing Suit”
    https://www.youtube.com/watch?v=vr8TN9Yhl4g

    Lana Del Rey’s eighth album, Blue Banisters, arrived last week, nearly seven months after her last release, finding the storied siren reflecting on her more topical thoughts: cryptocurrency, quarantine, and an iPhone 11 (which she very skillfully rhymes with “Fuck you, Kevin.”) Though she’s recently found comfort in understated arrangements, lyrical zingers, and swinging slow tempos, perhaps no track ties together her past and present like “Black Bathing Suit.” She seems to reflect on her own growth as an artist and individual: “The only thing that still fits me is this black bathing suit,” before spinning the track into a Born to Die-esque jazzy chant: “He said I was bad / Let me show you how bad girls do.” And when she said, “If this is the end / I want a boyfriend?” Eternal mood. —Carson Mlnarik

  • Tasha: "Bed Song 1"
    https://www.youtube.com/watch?v=O9P6zgDTa4g

    Tasha, an evocative singer-songwriter from Chicago, is gearing up for the release of her new LP, Tell Me What You Miss The Most, on November 5. A great introduction to her abilities comes in "Bed Song 1," where a direct, circular guitar rhythm is enough to entrance you, leaving you completely open to hear Tasha bare her soul. "It is a song about love ending, and wanting to linger in the imagining of it at its best, its warmest, and its most tender, while you try to let it go," she says in a statement. —Patrick Hosken

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Joni Mitchell – The Joni Mitchell Archives Vol 2: The Reprise Albums

What a time it was, 50 years ago and more, when Joni strode to power, part of a musical royalty whose clarions shouted dominion over a broad Earth. Fans waited, breath bated, for the latest album/bulletin from lives lived in luxurious wonder. Hearth ballads for McLuhan’s global campfire. Picaresques and intrigues from the fabled Canyon came alive in the music she made between 1968 and ’71, as the poet collapsed sideways into the pop star. Songs are barely concealed public missives (pigeon-posted tweets?) between friends and lovers, minstrels-in-arms and the hopelessly love-smitten.

  • ORDER NOW: David Bowie is on the cover of the December 2021 issue of Uncut

This moment of possibility for the pop song – when it held the world’s attention on a scale unimaginable today – is when Joni Mitchell’s music, with its passions and its probings, came alive. The fifth disc of this boxset – five CDs or 10 LPs totalling six hours of home tapes, studio outtakes and live recordings – finds her at London’s Paris Theatre in December 1970 in duo with James Taylor, performing A Case Of You, inspired by her previous affair with Leonard Cohen, and California, about a fling with another man on Ibiza. As she and Taylor dovetail and harmonise, we know the couple are romantically involved, although we’re also aware that, three months hence, the relationship is toast.

This second volume flows from the compilation, released earlier this year, of the freshly stirred early run of Joni albums, Song To A Seagull (1968), Clouds (1969), Ladies Of The Canyon (1970) and Blue (1971). Where those remasters largely enhanced the originals’ meltwater clarity, Volume 2 cherrypicks from Mitchell’s extensive archive of informal recordings, demos and experiments from the same time frame. It plays like a sketchpad and commonplace book, but hangs together much better than the grab-bag of doodles it could have been.

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Emerging from the post-Baez/Dylan North American folk scene, Mitchell was a storyteller and poet, a woman of letters whose voice was amplified by the sudden rise to power of the pop star. Re-hearing these songs in the concert tapes and demos here, one is again struck by the impression of a female voice both strong and vulnerable, painting fleeting glimpses of a modern world – LA boulevards, hipster cafes, transatlantic flights – in the musical idiom of the medieval troubadour. At the same time a track like Get Together, from a Carnegie Hall concert in February 1969, reminds you what a shit-hot guitarist she was.

The big scoop here is the full live set from Le Hibou Coffee House in Ottawa, Ontario, on March 19, 1968. It documents a highly eventful period: Mitchell had already been in residency there for a week, and just a couple of days earlier had hooked up with Graham Nash for the first time, as The Hollies swung through town. Not only is this a remarkable solo set in impressively high fidelity, but the owner and operator of the tape recorder that night, rapt in the front row at this “fantastic girl with heaven words”, was none other than Jimi Hendrix. The guitarist –Joni’s Reprise labelmate, even though they had never met – was engaged at the Capitol Theatre across town, called her up in advance, and showed up at the door with a reel-to-reel under his arm. The wonderful mental image of Hendrix the fanboy kneeling at her feet, with his Mexican moustache and wide-brimmed hat, twiddling knobs and adjusting the sound for his own private collection, greatly enhances an already lovely solo set.

In his diary Hendrix described the tapes as “marvelous sound on first show. Good on 2nd”. It’s not clear how much postprocessing has been applied, but the recording paints an extremely vivid picture of the unamplified Joni from a couple of meters away. Even so, we’re lucky to be able to hear it at all, as someone nicked the original tapes from Hendrix a few days afterwards. They eventually turned up in another collector’s stash that had been donated to Canada Library and Archive, who handed them back to Mitchell.

On all the live recordings here (Ann Arbor, Carnegie Hall, University Of California, The Dick Cavett Show, Saskatchewan, Vancouver, London), Joni’s between-song chats remain affable yet never self-belittling. It wasn’t always easy for female solo artists, amid the macho camaraderie of the road. Considering she’s navigating the spaghetti interchange of these fleeting relationships, holding the act together under heavy label manners and touring discomforts, Joni’s composure on stage deserves to be marvelled at. In London, four months after the Isle Of Wight debacle, she’s still taking her time to spin stories about sagacious kids, or the history of the dulcimer. The way she ends Big Yellow Taxi trilling “They paved paradise”, dipping down to a false baritone for “put up a parking lot” is always charming. John Peel is compere, and the compilation also includes her live session for Peel’s Top Gear from September 1968, with the John Cameron Quartet cloaking her in neo-Renaissance apparel more familiar in the Albionic folk of the time.

These few tracks aside, this Volume 2 contains very little trace of the jazz pivot her music would take later in the decade. The outtakes covering that period are going to make fascinating listening. Meanwhile, this feels like a completist’s dream –because even Joni Mitchell’s storeroom sweepings are spangled with diamond dust.

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Hayes Carll – You Get It All

Despite a run of consistently fine releases since first making his mark nearly 20 years ago, Hayes Carll has never quite received the credit that his talent demands. Maybe it’s his low-key demeanour, perhaps it’s the disregard for showiness, or it could be the simple fact that he’s operating in an increasingly overcrowded field. But at his best, as on 2011’s pithy KMAG YOYO (& Other American Stories) or 2019’s Dualtone debut What It Is, the Texan singer-songwriter invites comparisons to Guy Clark or Jerry Jeff Walker.

  • ORDER NOW: David Bowie is on the cover of the December 2021 issue of Uncut

You Get It All shows no dip in quality either. Co-produced by wife Allison Moorer, who also oversaw What It Is, it’s a set of deceptively simple songs that cover regret, relationships, triumph and despair. There’s droll satire too, not least on Nice Things, co-written with the Brothers Osborne. Over a twanging country stomp, God, in female form, comes down to Georgia for a fishing trip, only to wind up in jail. Appalled by the lack of compassion she encounters and the environmental havoc wrought by her subjects, she scolds humanity as if it were a petulant child: “This is why y’all can’t have nice things”. At the other end of the scale sits Help Me Remember: a moving study of dementia set to soft guitar and pedal steel, the track examines the slow disintegration of memory and, by extension, identity. “Did I light up your life?” he asks, “Like a full moon at night in December”.

In between, the title track finds Carll balancing a list of personal flaws and merits as an illustration of the realities of marriage. Brandy Clark co-write In The Mean Times is a waltzing country duet that reaches deep into questions of everyday faith and hope, while To Keep From Being Found is a big, ripe chugger that sounds like Billy Joe Shaver at his most laconic. But it’s the warm and soulful Different Boats, conceived with Moorer and Adam Landry, that perhaps best expresses Carll’s stoical worldview: “We get what we are given/ And we hope that it floats”.

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Corey Taylor talks his favourite ABBA song: “I just love the yearning feeling”

Slipknot’s Corey Taylor has spoken about his favourite ABBA song and recalled growing up with the band’s music in a new interview.

The Swedish pop group are set to return with their first studio album in 40 years next week (November 5) with ‘Voyage’.

  • READ MORE: The ABBA ‘Voyage’ producers on what to expect from the “magical space circus” live show

Speaking to the New York Times, the Slipknot frontman shared his first experiences of hearing ABBA as a kid. “Growing up in the ‘70s, there was such a weird amalgam of music all over the place,” he said. “I had Elvis; I had Motown; I had weird disco.

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“Through all of that, I remember hearing ABBA’s music. It seemed like it was always on, and it was clearly different from everything else. It had this full-spectrum lush production that felt and sounded big. It was only four people, but those songs sounded like there were a thousand people being recorded. The math didn’t add up to me.”

Taylor cited the band’s 1978 single ‘Take A Chance On Me’ as his favourite song by the reunited pop group. “I love the juxtaposition; the beginning sets the whole tone for the song, with this weird Gregorian monk-like chant going on, and all of a sudden the crazy European production kicks in,” he explained.

“The modulation in those songs is beautiful; it hooks you in, the way it plays between the major and the minor,” he added. “I just love the yearning feeling. When you put it on, I’m instantly in a good mood.”

ABBA confirmed their reunion in September, announcing the new album ‘Voyage’ alongside a “revolutionary” concert experience that will see them take up residency at London’s Queen Elizabeth Olympic Park in 2022.

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The shows will see a “digital” version of ABBA “in their prime” of 1979 – not holograms – perform alongside a 10-piece live band, which includes musicians like Little Boots and Klaxons’ James Righton. The imagery of the band was made in collaboration with George Lucas’ special effects company, Industrial Light & Magic – using motion capture technology and created by an 850-strong team.

Meanwhile, ABBA’s Björn Ulvaeus has said they were treated like the “enemies” of progressive music in Sweden in the ‘70s. “Personally I didn’t pay attention to all that – it didn’t mean shit to me, even if they hated us,” he said of their home country’s response to them. “Because we got so much response from the whole world. Right from the start, we had contemporary colleagues, musicians, who liked what we were doing.”

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Yaeji returns with two singles ’29’ and ‘Year to Year’

Yaeji has released two new singles in collaboration with HYUKOH lead vocalist OHHYUK, ’29’ and ‘Year to Year’.

The singles follow on from Yaeji’s July track ‘PAC-TIVE’ and her 2020 mixtape ‘WHAT WE DREW 우리가 그려왔던’. The tracks will be available as a seven-inch vinyl, released from February 11.

  • READ MORE: Yaeji – ‘WHAT WE DREW 우리가 그려왔던’ review: a dazzling, genre-blurring tribute to communal spirit

’29’ and ‘Year to Year’ both arrive with music videos, directed by DQM and Nam Eunuk respectively.

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Watch the clips below:

In a statement, Yaeji explained how OHHYUK helped her “find the joys of creating again” after feeling stuck.

“We spent many days together in the studio in Seoul, sometimes not even making music but just chatting about how we grew up and sharing meals together, and our musical collaboration blossomed as our friendship grew,” she said.

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NME gave ‘WHAT WE DREW 우리가 그려왔던’ four stars upon its release, writing it “expands and elevates her intricate electronic sound”.

“It may feel a little bittersweet set to the current backdrop of global self-isolation but a record as richly textured as this, and with its focus on communal connection, makes it a ripe world to explore in trying times like these.”

In 2020, Yaeji also reworked Dua Lipa’s ‘Don’t Start Now’ for the pop singer’s ‘Club Future Nostalgia’ remix album.

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Boosie Badazz responds to backlash over homophobic Lil Nas X comments

Boosie Badazz has responded to backlash over his homophobic tirade aimed in the direction of Lil Nas X last weekend.

  • READ MORE: Lil Nas X – ‘Montero’ review: ‘Old Town Road’ prankster makes his case as a Serious Artist

On Saturday (October 23), Lil Nas X decided to troll Boosie by claiming he had a collaboration on the way with the Louisiana rapper, who for the past few months has been publicly voicing his dislike for the ‘Old Town Road’ rapper’s openness with his sexuality.

While the ‘Industry Baby’ artist’s fans understood it was a joke, with many of them laughing through the livestream, Boosie didn’t take kindly to rapper’s comments.

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In a since-deleted tweet, Boosie launched into a homophobic rant using slurs and suggesting that the star to kill himself.

“Stop trolling me f****t Lol. U a whole bitch playing with a gangsta SMH U can keep sucking dick n getting fucked n your ass n peace,” the tweet began. “N #uhateyourself I would too if I was you LOL.”

He ended the tweet, writing: “NasX if you #commitsuicide you would do this world a huge favor Nobody wants U here.”

After experiencing a lot of backlash for his comments, Boosie took to social media on Sunday (October 24) to respond to the online chatter.

“If yall think the whole world hate me ‘yall trippin’,” he wrote. ”I have international love N respect for how I am N what I stand for N never forget theres a ghetto N every city, state, country etc who rock with boosie FRFR #therealest.”

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Back in July, Boosie told the 22-year-old that he would “beat his ass” while using homophobic slurs against him. The video clip saw Boosie defending DaBaby‘s homophobic comments about HIV and AIDS at Rolling Loud Miami as well as calling Nas X “the most disrespectful motherfucker in the world”.

Meanwhile, earlier this month, Lil Nas X revealed that he wants to work with SZA, Tyler, The Creator, Lady Gaga and a number of other high-profile artists.

The ‘Montero (Call Me By Your Name)’ rapper took to TikTok on October 10 to share a series of images of the artists who are on his collaboration wish list.

Elsewhere, Dolly Parton recently gave her stamp of approval to Lil Nas X‘s recent cover of her signature song ‘Jolene’.

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John Lydon show cancelled “due to the aggression” of his tour manager

John Lydon was scheduled to play Glasgow tonight (October 25) as part of his ‘I Could Be Wrong, I Could Be Right’ book tour, but according to the venue, the show has been cancelled “due to the aggression and intimidation” of his tour manager.

  • READ MORE: Does Rock ‘N’ Roll Kill Braincells?! – Sex Pistols’ Glen Matlock

“Unfortunately, due to the aggression and intimidation made to various members of my staff by John Lydon’s tour manager, tonight’s show will not go ahead,” said the post by The Pavilion Theatre.

“The days of this kind of behaviour is long gone,” it continued. “We have a zero tolerance policy of abuse, both physical and verbal, and this behaviour has been ongoing for the past two weeks.”

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“We are sorry if this affects you but as a company we will not accept this kind of attitude to our staff from anyone, including members of the public and touring staff. Our box office will be in contact with you directly to organise refund of your tickets.”

The show was originally meant to take place last November but was rescheduled due to coronavirus. According to the event page, the gig was supposed to see Lydon “talk about how he sees life, along with his unique and extraordinary career, and take audience questions.”

While Lydon and his team are yet to comment about the accusations, his official Twitter account did share the news of the cancelation. NME has reached out for comment.

Last month  Lydon said that he was “seriously in a state of financial ruin” following the outcome of a court case against his former Sex Pistols bandmates in August.

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Lydon was sued after he refused to license the band’s music for inclusion in Danny Boyle’s upcoming biopic series Pistol, with guitarist Steve Jones and drummer Paul Cook legally challenging his objection.

Lydon has also opened up about his time in the Sex Pistols, saying: “I don’t know that there was much glory. It was mostly hell on earth.”

“I was discussed in the Houses of Parliament under the treason act. And you go, ‘Ohh, ha ha’, but that [treason] carried a death penalty! For words! A few soppy little pop songs like ‘Anarchy In The UK’ and you can be dead. Off with his head!”

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Paul McCartney has stopped signing autographs: “We both know who I am”

Paul McCartney says he has stopped signing autographs, calling the process “a bit strange”.

  • READ MORE: ‘McCartney 3, 2, 1’ review: a gimmick-free deep dive into The Beatles’ oeuvre

Speaking to Reader’s Digest (via Contact Music), the Beatles legend discussed being stopped by fans and asking for autographs across his career, and why he has grown tired of the idea.

“It always struck me as a bit strange,” he said. “‘Here, can I write your name down on the back of this till receipt please?’ Why? We both know who I am.”

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McCartney also said he doesn’t particularly understand the idea of taking selfies with fans, and that he’d much rather have a conversation with them.

“What you’ve usually got is a ropey photo with a poor backdrop and me looking a bit miserable,” he said. “Let’s chat, let’s exchange stories.”

Paul McCartney
Paul McCartney performs live in London in 2018 (Picture: Samir Hussein/WireImage)

Elsewhere, McCartney recently set the record straight on who instigated the break-up of The Beatles, claiming that it was actually John Lennon.

Probably the most analysed break-up in rock history, the Fab Four split over 50 years ago, prompting McCartney, John Lennon, George Harrison and Ringo Starr all to go their separate ways.

For years it was believed that McCartney was unilaterally behind the band disbanding after he answered a question from a journalist in 1970 with the claim that The Beatles no longer existed. However, in an upcoming episode of new BBC Radio 4 interview series This Cultural Life, he claims this isn’t the case.

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“I didn’t instigate the split. That was our Johnny,” he tells interviewer John Wilson (per The Guardian). “This was my band, this was my job, this was my life, so I wanted it to continue.”

Elsewhere, a trailer recently arrived for Peter Jackson’s forthcoming Disney+ Beatles documentary, The Beatles: Get Back. The film will focus on the making of ‘Let It Be’ and will showcase their final concert as a band, on London’s Savile Row rooftop, in its entirety.

Disney+ has confirmed the documentary will arrive in three separate parts on November 25, 26 and 27. Each episode is approximately two hours in length.

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Watch Coldplay’s Chris Martin cover Spice Girls classic with Mel C

Coldplay‘s Chris Martin covered Spice Girls’ ‘2 Become 1’ with Mel C at a charity concert in LA last night (October 23).

  • READ MORE: Coldplay: “This is our period of having no fear”

The band performed at Audacy’s We Can Survive show at the Hollywood Bowl on Saturday night, which was held in honour of National Breast Cancer Awareness Month in the US.

The sixth annual concert was held in collaboration with Young Survival Coalition and also featured appearances from the likes of Black Eyed Peas, Doja Cat, Shawn Mendes and The Kid Laroi.

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Towards the end of the band’s set, Martin performed an acoustic cover of the 1996 track with member Mel C. Introduced the singer on stage, Martin said: “She arrived! Please welcome from England and Great Britain and the Spice Girls, Melanie Chisholm – aka Mel C, aka Sporty Spice, aka a total legend.

“Mel, thank you for coming. We asked you this morning and you’ve been amazing.”

The show also saw the British band play songs from their new album ‘Music Of The Spheres’, including ‘Human Heart’ with We Are KING. Martin also dedicated ‘Yellow’ to Riley Keough’s brother, Benjamin.

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Keough shared fan-shot footage of Coldplay playing the song on her Instagram page earlier today (October 23). During the track, Martin said: “This is for our friend Benjamin, who’s… Benjamin’s gone. Wherever you are right now, we’re sending this song all the way to you.”

View this post on Instagram

A post shared by Riley Keough (@rileykeough)

 

The actor captioned the post: “@coldplay dedicated Yellow to my brother tonight at @wecansurvivela […] I wasn’t ready for it but it was such a beautiful surprise. And me love you @dakotajohnson and credit and thank you to whoever captured this video.” Watch a clip of the performance above now.

Benjamin Keough, who was also Elvis Presley’s grandson, died by suicide last year. He was 27 years old.

Coldplay played:

‘Higher Power’
‘Viva la Vida’
‘Fix You’
‘People Of The Pride’
‘Human Heart’
‘Yellow’
‘2 Become 1’
‘My Universe’
‘A Sky Full Of Stars’

Meanwhile, during a performance in Seattle last week (October 22), Coldplay covered Pearl Jam’s ‘Nothingman’. “So because we’re here in Seattle we wanted to pay tribute to all of the bands that we fell in love with when we were just young teenagers in the ‘90s,” Martin introduced the track.