Award-winning artist Shakira surprised fans at Coachella last night when she joined Bizarrap on stage to perform their global smash hit “Shakira: Bzrp Music Sessions, Vol. 53” and “La Fuerte,” both featured on her record-breaking new album, Las Mujeres Ya No Lloran. Before exiting the stage, Shakira teased the crowd that they’d be seeing her performing again later this year with her own tour.
Shakira at Coachella – Credit: Nicolas Gerard
Shakira’s surprise Coachella performance comes on the heels of the release of her new album, Las Mujeres Ya No Lloran – listen HERE!
The record boasts 16 tracks, 8 new songs, a new remix, and 7 previously released hit singles. In the first 24 hours of its release, the album became the most streamed album of 2024, was certified 7x platinum, and has now surpassed 7 billion global audio and video streams to date. The album debuted at #1 on Billboard’s Latin Album and Latin Pop Album Charts, while “Puntería” with Cardi B holds the #1 spot on both the Billboard Latin Airplay and Latin Pop Airplay charts.
Multi Platinum-selling recording artist, songwriter, producer, and philanthropist Zayn has released a stunning live performance video to debut ‘Alienated,’ the second single from his forthcoming album, Room Under The Stairs, due 17th May, 2024 via Mercury Records / Island Records UK
The performance marks the first time Zayn has performed live since 2016 and showcases his soaring falsetto within the intimate song. About the song, Zayn commented, “‘Alienated’ was the first song I wrote for the album, so it kind of set the tone for the whole project – it shaped the way I wanted to approach the sound of my own voice, the styling of the guitars and the overall sonic direction.”
For the past six years, Zayn has been writing and crafting Room Under The Stairs at his home studio in rural PA. This album marks his most personal release to date, reflecting where he is in life, while exploring the complexities of healing, stillness, and growth. It also sees the genre-bending artist explore a new sound, leaning into his soulful vocals, live instrumentation, and poetic lyricism as a songwriter.
Reflecting upon Room Under The Stairs, Zayn says “This is my favorite album that I’ve made to date, mainly because it comes from a place of sheer honesty and vulnerability. I wanted each song to feel as if it was just me sitting beside you telling you how I feel, singing directly to you. It’s raw and stripped back and the type of music I always hoped to make.”
He continues, “Working with Dave Cobb has been an amazing experience. The way he’s elevated the music is second to none, and he has done an incredible job helping me create this record. I hope we can take listeners on some whimsical, magical journey, and that they enjoy listening to it as much as I enjoyed making it.”
“I think just being where I was at that time, staying away from things and living with my own thoughts inspired me to want to write something from that place. I’ve got to put this out as a whole body of work, it’s something for myself, not even just for the world,” says Zayn.
Room Under The Stairs was co-produced by Zayn with 9x Grammy award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell, A Star Is Born, Brandi Carlile). Cobb came on board after hearing the songs Zayn had crafted, marveled by how raw and honest it was. In a recent interview with Rolling Stone, Cobb said “What got me about Zayn was his voice, you can hear love, loss, pain, triumph and humanity in it. Zayn has really created his own universe on this record, he really has no fear and is speaking straight from his soul.”
Room Under The Stairs is available for preorder HERE
Content warning: this article discusses mental health, addiction and eating disorders.
Back to Black is a new biopic about the life of musician Amy Winehouse. It covers the time from when she gets her record deal aged 18, until her tragic death from alcohol poisoning in 2011 at the age of 27.
Ahead of the film’s release, reactions to promotional material suggested the critical response could be mixed. This was borne out in early reviews, which ranged from resoundingly positive to somewhat scathing. Others have and will discuss the filmmaking, musical performances and storytelling, or compare Back to Black’s retelling against existing accounts of Winehouse’s life.
As someone who researches alcohol and its effects, I was interested in how Winehouse’s addiction to alcohol and other substances would be portrayed.
Winehouse died in 2011 of alcohol poisoning and an inquest into her death found that she had a blood alcohol level of 0.416. This level of intoxication is life threatening, and is associated with loss of consciousness and suppression of vital life functions.
The film focuses on Winehouse’s (Marisa Abela) relationship with Blake Fielder-Civil (Jack O’Connell). His substance use is first shown in opposition to Winehouse’s (him: “cokehead”, her: “drinker”), but their behaviour come to mirror each other. Fielder-Civil talks about “toxic codependence” in one scene, when Winehouse visits him in prison.
More striking than the codependency, though, is the lack of agency Winehouse seems to have despite her talent and success. In her relationships with Fielder-Civil and her father (Eddie Marsan) she is almost deferential. Her manager and label hold power over her career. But most shocking of all is how normal life is made impossible by the intrusiveness of the paparazzi.
The trailer for Back to Black.
Depicting Winehouse’s addiction
Alcohol is present in the film from the first scene, a family party that introduces us to Winehouse’s close relationship with her nan, Cynthia (Lesley Manville). Before it becomes an overt part of the storyline, viewers are given clues about Winehouse’s relationship with alcohol.
She is shown drinking neat vodka in a pub with her soon-to-be manager, drinking a murky-looking “Rickstasy” (Southern Comfort, vodka, Bailey’s and banana liqueur) cocktail alone the day she meets Blake Fielder-Civil for the first time. In one scene she tells her nan that she’d had “a couple of drinks” for courage before appearing on the Jonathan Ross show.
Less clearly signposted, however, are her concurrent mental health problems. It is well documented that Winehouse experienced mental health difficulties including depression and bulimia.
There is a strong link between substance use and mental health problems and they often coexist.
The filmmakers’ choice not to show Winehouse’s other mental health problems too heavily is arguably a fair one, as the director, Sam Taylor-Johnson, has said she wanted the film to “joyfully honour” Winehouse. But the result is that Winehouse’s relationship with alcohol and other substances lacks nuance on the screen.
Viewers are reminded of what Winehouse has lost or does not have (her parents’ marriage, Fielder-Civil, her nan, a baby), in ways that validate the notion of “drinking to cope” or self-medication.
Most of us understand the idea of self-medicating intuitively. But depictions of it on screen should not be too simplistic. Research into post-traumatic stress disorder and alcohol use disorder found there was a lack of good evidence for the self-medication model. Alcohol use and mental health also have relationships that go in both directions, with evidence that mental health drives alcohol use and vice versa.
Towards the end of the film, Winehouse’s request to go to rehab comes as a rapid acceleration through the psychologists’ classic “stages of change” theory of behaviour, which claims that people move through six stages of change: precontemplation, contemplation, preparation, action, maintenance and termination. We see little of her time in rehab, and while we later get a sense of the chronic and relapsing nature of addiction, viewers are left to fill in the blanks at the end.
On the whole, while Back to Black succeeds in avoiding harmful and stigmatising representations of addiction and mental health problems, viewers don’t get a deep insight into the realities and complexities of addiction.
The Jonas Brothers are set to rock the stage at Rock in Rio Lisbon! Despite the postponement of their European tour “THE TOUR” due to scheduling conflicts, the North American band has confirmed their concert at Rock in Rio Lisboa on June 22, marking their first European show of the Summer 2024.
Headlining the World Stage, the trio, consisting of Nick Jonas, Joe Jonas, and Kevin Jonas, will make their Portugal debut alongside other renowned acts such as Macklemore, Ivete Sangalo, and Carolina Deslandes. The electrifying lineup also includes performances by James, Filipe Karlsson, and Kura on the Galp Stage, all on the same day.
Renowned for their chart-topping hits and massive fan base, the Jonas Brothers have sold over 20 million albums, secured 26 Billboard Hot 100 hits, and earned a coveted star on the Hollywood Walk of Fame, solidifying their status as one of the most successful groups of the 21st century.
Their global “THE TOUR” kicked off in 2023 with the release of “The Album” and promises to be their biggest and most extensive tour yet, spanning throughout 2024. The eagerly anticipated debut in Portugal at Rock in Rio Lisboa marks an exciting new chapter for the band and is expected to be a highlight of the festival’s 20th anniversary edition.
Roberta Medina, Executive Vice-President of Rock in Rio, expressed enthusiasm for the event, stating, “The European tour may have been postponed, but we’re still ready to welcome the Jonas Brothers on June 22… It’s sure to be an emotional day!”
With additional performances by music icons like Ed Sheeran, Doja Cat, Scorpions, Camila Cabello, and Ne-Yo, among others, Rock in Rio Lisboa promises to deliver an unforgettable experience across two weekends in the picturesque city of Lisbon.
Scheduled for June 15, 16, 22, and 23, 2024, at the new venue in Parque Tejo Lisboa, the 10th edition of Rock in Rio Lisboa celebrates two decades of musical history in Portugal. With an exciting lineup and surprises in store, this historic festival is a must-attend event for music enthusiasts worldwide.
Streaming may still be the preferred method of music consumption for the vast majority of us in 2024, but vinyl, cassettes, and even the long-unloved CD format have shown resurgence in recent years.
According to Lawrence Montgomery, the managing director of Rough Trade record stores, Swift owes her success in part to appealing to a younger contingent of fans by turning her albums into collectables. She has done this through the release of multiple alternate album covers or disc colours.
A recent trip to HMV made me realise just how true Montgomery’s observation was. On a large vinyl display sat the album 1989 (Taylor’s Version) in three “special editions” of “rose garden pink”, “aquamarine green” and “sunrise boulevard yellow”, plus a “Target Exclusive” LP. Each on sale for a cool £39.99.
Soon after announcing the April 19 release of her new album, The Tortured Poet’s Department, multiple special editions of the new album had been made available for presale. With a suitably aggressive marketing strategy on social media, purchasers were invited to “complete their collections” by buying three separate vinyl releases within 72 hours via Swift’s online store. Each contains a different “bonus track”.
It’s not just Swift, of course. Ariana Grande’s Eternal Sunshine album, released in March 2024 came in five CD and six vinyl variants, as well as a deluxe edition.
Harry Styles’ 2022 album Harry’s House is available from his online store in standard vinyl, picture disc, exclusive yellow vinyl, as well as on CD and limited edition yellow cassette.
And K-pop boy band ATEEZ’s 2023 mini-album The World EP2: Outlaw is more extras than music, with posters, stickers, a photo book, stencil card, trading cards, and temporary tattoo sheets accompanying the CD.
Perhaps the most troubling aspect of all this is how children are being targeted as consumers of these expensive products. Researchers have observed that Swift’s 2019 album, Lover, was focused on a “tween identity”. A 2022 report from Audiense identified that 18.80% of Swift fans are aged between 13-17, and The Sports Business Journal observed that a huge amount of Swift’s fans are teen and tween girls aged nine to 17.
A 2021 poll suggested that 67% of fans of ATEEZ were under the age of 17, Grande has a target market of 13-21 year olds, and although Styles is more popular among Millennial fans, his appearances on the cover of Teen Vogue, Today Teen, J14 and Seventeen magazines attest to his appeal to the tween audience.
Cross-generational collecting
It’s not only Gen Z audiences that are being targeted, though. Millennials like me are also being suckered in by the allure of special editions.
I’m a Beatles and Pink Floyd fan, and I’m not oblivious to the numerous re-releases both acts have been party to over the decades. I have three copies of Abbey Road, three White Albums, three versions of Let it Be, and more editions of McCartney than anyone rightfully needs. Just like those Swifties, I’ve bought them because each is slightly different to the others, be it remixed, remastered, different format, extra tracks, new artwork, out-takes, or a hundred other reasons.
Just in the last year fans like me have been “treated” to different versions of The Beatles’ Red and Blue compilations (now expanded and with additional sleeve notes) and Pink Floyd’s seminal Dark Side of The Moon (remastered yet again and with a number of different buying options including a limited collector’s edition vinyl picture disc). And yes, I’ve bought them, even though I already own more than one copy of each.
I’ve been suckered in, and my world-weariness and cynicism knows no bounds. So what chance does a tweenager in that golden initial stage of fandom have? The loyalty of fans has been exploited ever since big business realised music could be commercialised.
Do we really think the world needed 31 Elvis feature films? Twenty compilations of Frank Sinatra’s greatest hits? Or more and more anniversary editions of Rumours, Thriller and Graceland? Well, supply equals demand, so yes, it seems it did. And that’s an even more disturbing thought than owning 20 different copies of the same Taylor Swift album – especially as they come in so many lovely colours.
Thirty years from his death on April 5 1994, the impact of Kurt Cobain and his band, Nirvana, and their values, still resonates in today’s culture and music.
Since launching in 2017, BBC Introducing’s monthly events have showcased rising talent from all corners of the UK music scene. Kickstarting careers for the likes of Sam Fender, Mahalia, Wet Leg, Easy Life, Celeste and many more, this is the place to find the next big thing.
KISS is injecting some new energy into its classic vibe as self-proclaimed KISSTORY enthusiasts Marvin Humes and Alex Scott step into the presenter spotlight.
Prior to the release of “Cowboy Carter,” Beyoncé explained that her album’s links to country were motivated by industry gatekeeping. She was likely referencing the hostile reception she experienced after her performance of “Daddy Lessons” with The Chicks during the 2016 Country Music Awards.
Feeling “unwelcome,” Beyoncé said she decided to delve into Black Americans’ “rich musical archive” for inspiration, and “Cowboy Carter” became a project akin to her previous album, 2022’s “Renaissance” – a way to teach listeners about Black music and Black history.
One of the songs, “Blackbiird,” is a rendition of the Beatles’ “Blackbird,” from their 1968 White Album. The Beatles’ “Blackbird” has a folk bent, but they were certainly influenced by country and other American genres, especially Black rhythm and blues. All of this musical history comes together in Beyoncé’s cover of “Blackbird,” whose composer, Paul McCartney, has a producer credit.
Beyoncé’s version appears to retain the Beatles’ instrumentation, incorporating McCartney’s acoustic guitar and foot tapping. But, importantly, Beyoncé also includes the voices of four Black female country singers: Tanner Adell, Tiera Kennedy, Reyna Roberts and Brittney Spencer.
Black musicians have long used the symbol of the blackbird to describe their careers – the isolation they’ve felt and the discrimination they’ve faced along the way. To appreciate Beyoncé’s “Blackbiird,” we think it’s important to go beyond the shadow McCartney’s song has cast over the symbol.
After the release of the White Album, McCartney did mention “civil rights” and “riots” during a recording that captured a conversation about the track with the singer-songwriter Donovan. McCartney also mentions the “offense” Diana Ross took when he played “Blackbird” for her.
For the next three decades, though, he didn’t publicly connect the track to civil rights. Then, in Barry Miles’ 1997 biography of McCartney, McCartney says “a Black woman” was the inspiration for “Blackbird.”
In the 21st century, however, McCartney has been keen to make connections to various places and events associated with the movement during live performances. He mentioned “the Southern states” in 2002; by the 2010s, he started regularly identifying “Alabama” and “Arkansas.” Then, once McCartney specified “Little Rock,” he drew an even clearer connection to the Little Rock Nine, who integrated Central High in 1957. That year, a teenage McCartney was auditioning for John Lennon at the Woolton Village Fete in Liverpool, England, 11 years before “Blackbird” was composed and recorded.
Whatever the origins, McCartney now clearly wants listeners to hear his song in relation to civil rights and current movements like Black Lives Matter.
We aren’t suggesting McCartney’s feelings about these movements are insincere. But when we trace the evolution of his stories, we see the former Beatle working in earnest to emphasize “Blackbird” as a civil rights anthem after the fact.
Dreams of the skies
With “Blackbiird,” Beyoncé reasserts a legacy of Black artistry that predates McCartney. Centuries before the Beatles, birds and flight served as powerful symbols in Black storytelling and arts.
Enslaved Africans in the Americas imagined freedom by circulating tales about gaining the ability to fly. Their return home to Africa became possible when a spiritual leader arrived with a “secret password,” one that would allow them to soar as a flock.
Children’s author Virginia Hamilton’s illustrated retelling of the myth compares flying Africans to “blackbirds” with “Black, shiny wings flappin’ against the blue up there.”
The trope finds expression in lonely birds, too; some versions of the myth center on a single bird or flying person. The absence of a flock and the inability to fly are metaphors for slavery’s brutality, particularly the ways in which families were torn apart.
Blackbirds take flight
Black musicians in the 20th century often used birds to explore themes of isolation and discrimination. Sad, dejected birds populate the blues, including Lonnie Johnson’s 1926 song “Blackbird Blues.”
“If I was a blackbird, I’d pack my troubles on my back,” he mournfully sings. “I would leave this world, and I never would look back.”
Then there was Florence Mills, one of the most famous Black American stage performers in the 1920s.
Mills debuted “I’m a Little Blackbird Looking for a Bluebird” in 1924. The lyrics are explicit: She wants to find “a bluebird” – a metaphor for happiness – the kind that “white folks” are allowed to pursue.
In interviews, Mills also detailed the song’s symbolism, connecting the bird’s predicament to the lack of opportunities Black Americans faced. With her talent and success, she felt an obligation to her community.
The blackbird of show business
Nina Simone co-wrote and released “Blackbird” in September 1963, five years before the Beatles released the White Album.
While Mills’ blackbird yearns for something better, Simone’s pessimistic speaker tells “little sorrow” not to bother trying to fly. McCartney’s “Blackbird” is upbeat, and its entreaty to “Take these broken wings and learn to fly” seems like a hopeful response to Simone’s “Blackbird,” although he has never mentioned the connection.
Like Mills, Simone has used the image of a blackbird to describe her career and its obstacles.
“I am the blackbird of show business,” Simone announced in a 1963 interview with Newsweek.
The discrimination Simone experienced throughout her life included a rejection from Philadelphia’s Curtis Institute of Music – a racially motivated exclusion that echoes Beyoncé’s own experiences with the country music industry.
Bringing Black artists into the light
Beyoncé is far from the only Black artist to cover the Beatles’ “Blackbird.”
Ramsey Lewis was first to do so, in 1968. He was followed by Billy Preston, the Paragons with Roslyn Sweat, Sylvester James, Jr., Bobby McFerrin, Alicia Keys and Bettye LaVette, the last of whom we interviewed for our book.
LaVette has performed her interpretation since 2010. She tweaks the lyrics, reciting them in the first person and turning the song into a meditation on her own struggles and triumphs. The song appears on LaVette’s 2020 album, “Blackbirds,” a tribute to Black women forebears.
“My bridges,” LaVette called the artists whose songs she interprets, including Simone’s “I Hold No Grudge.”
Bettye LaVette performs ‘Blackbird’ in 2021.
In the myth of the flying Africans, a community’s leader is responsible for its uplift. There are echoes of this imperative in “Cowboy Carter,” a record premised on recovering Black contributions to the country genre. The album is full of collaborations with other musicians, from the famous to the relatively unknown.
Beyoncé’s platform has already elevated the four young Black women featured on “Blackbiird.” In this way, the artist continues her broader project of linking the past to present, of giving other Black artists the space to come out of the darkness and into the light.
Perhaps the familiar sounds from the Beatles’ 1968 track will encourage listeners to think about what’s different in 2024: Black women’s voices harmonising with each other. The effect prevents listeners from planting their feet in one voice, one genre, or one century – an experience that can be both destabilising and liberating.
