Music

Subterms

    More stories

    • 138 Shares159 Views

      in Music

      Connie Francis, Whose Ballads Dominated ’60s Pop Music, Dies at 87

      by

      Ms. Francis, who had a natural way with a wide variety of material, ruled the charts with songs like “Who’s Sorry Now” and “Don’t Break the Heart That Loves You.”Connie Francis, who dominated the pop charts in the late 1950s and early ’60s with sobbing ballads like “Who’s Sorry Now?” and “Don’t Break the Heart That Loves You,” as well as up-tempo soft-rock tunes like “Stupid Cupid,” “Lipstick on Your Collar” and “Vacation,” died on Wednesday. She was 87.Her publicist, Ron Roberts, announced her death in a post on Facebook. He did not say where she died or cite a cause.Petite and pretty, Ms. Francis had an easy, fluid vocal style, a powerful set of lungs and a natural way with a wide variety of material: old standards, rock ‘n’ roll, country and western, and popular songs in Italian, Yiddish, Swedish and a dozen other languages.Between 1958 and 1964, when her brand of pop music began to fall out of favor, Ms. Francis was the most popular female singer in the United States, selling 40 million records. Her 35 Top-40 hits during that period included 16 songs in the top 10, and three No. 1 hits: “Everybody’s Somebody’s Fool,” “My Heart Has a Mind of Its Own” and “Don’t Break the Heart That Loves You.”She was best known for the pulsing, emotional delivery that coaxed every last teardrop from slow ballads like “Who’s Sorry Now?”, and made “Where the Boys Are” a potent anthem of teenage longing. Sighing youngsters thrilled to every throb in “My Happiness” and “Among My Souvenirs.”“What struck me was the purity of the voice, the emotion, the perfect pitch and intonation,” said Neil Sedaka, who wrote “Stupid Cupid” and “Where the Boys Are” with Howard Greenfield. “It was clear, concise, beautiful. When she sang ballads, they just soared.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares151 Views

      in Music

      Tomorrowland Music Festival Is Still On After Blaze Wrecks Main Stage

      by

      Organizers of the major electronic festival in Belgium said it would continue as planned despite the destruction of its focal point.Thick smoke rose from Tomorrowland’s main stage in Boom, Belgium, on Wednesday.Morgan Hermans, via ReutersA fire on Wednesday evening destroyed the elaborate main stage at Tomorrowland, a major electronic music festival scheduled to begin on Friday in Belgium.Nobody was injured in the fire, organizers said. They did not identify its cause.“The Orbyz Mainstage of Tomorrowland Belgium 2025, a creation born from pure passion, imagination, and dedication, is no more,” the festival said on its website on Thursday morning. “It’s impossible to put into words what we’re feeling.”Other areas and stages of the festival grounds were unaffected and the festival will go on as planned, organizers said.As of Thursday morning, the fire had been extinguished and firefighters had left the festival site, according to Brandweerzone Rivierenland, the local fire department.The fire department said it received a call about a fire around 6 p.m. local time on Wednesday. Around three hours later, the fire was under control, but firefighters stayed through the night to put out flare-ups.The main stage was destroyed by fire a day before the opening of the festival.Belga, via Agence France-Presse — Getty ImagesThe fire left ticket holders disappointed. “The main stage is what gives the festival its atmosphere and is what makes it so special,” said Jules Adam, 28, who went to Tomorrowland last year and is planning to be there again on Friday.The elaborate main stage, which is different every year, is a highlight of the festival grounds. This year, Tomorrowland’s theme is Orbyz, “a magical universe made entirely out of ice.”“This wasn’t just a stage. It was a living, breathing world,” the festival’s organizers said in a statement. “From the very first sketch on a blank page, to countless hours of conceptual design, artistic collaboration, engineering, crafting, building, every single piece of Orbyz carried part of our soul.”The elaborate stage included fireworks, which were set off by the fire, according to the fire department. Video recorded Wednesday showed fireworks exploding above the stage within billowing plumes of smoke.Tomorrowland, which is held in Boom, a town south of Antwerp, attracts more than 400,000 people every year, along with some of the biggest names in electronic dance music. The 2025 edition was scheduled to run over the next two weekends. Stjepan Grgic, 33, traveled from London with his fiancé to attend the festival, together with two friends who came over from Australia. “The main event is the main stage,” he said. “It’s a massive loss.”The campground opened on Thursday morning for attendees as planned, organizers said. They said they were working on a solution for the loss of the main stage.Performances on the main stage were scheduled to start on Friday. David Guetta, Swedish House Mafia and Steve Aoki are among the artists scheduled to play.“It’s such a shame for the people who worked on it,” said Mr. Adam, the attendee, who lives about an hour’s drive from the festival in the south of the Netherlands. “I’m glad it happened before the festival and not during the festival,” he said. “Then things would be much worse.” More

    • 113 Shares148 Views

      in Music

      Drake Returns With Reinforcements at Wireless Fest in London

      by

      At the end of the first night of Wireless Festival on Friday, after Drake had been hoisted out over the tens of thousands of fans who had taken over the bottom half of London’s Finsbury Park while Whitney Houston’s “I Will Always Love You” blared over the speakers and fireworks brightened the night sky, he asked the audience, and also festival organizers, for a little indulgence. Curfew was firm, but art has its own clock.This year’s three-day Wireless Festival, at Finsbury Park in London, was given over to Drake and his many spheres of influence.Emli Bendixen for The New York TimesBoom, there was Lauryn Hill, suddenly onstage performing the feisty Fugees classic “Ready or Not.” Drake had dropped down into the pit below the stage, and was looking up at Hill with joyful awe. He popped back onstage while Hill performed her biting kiss-off “Ex-Factor,” which formed the base for one of his breeziest songs, “Nice for What,” which he performed alongside her until the festival cut their mics off.This year’s Wireless Festival was a three-day affair given over to Drake and his many spheres of influence, and in a weekend full of collaborations and guest appearances spotlighting various corners of his very broad reach, this was perhaps the most telling. During her career, Hill has been a ferocious rapper, a gifted singer, a bridge between hip-hop and pop from around the globe. She is the musician who, apart from Kanye West (now Ye), provided perhaps the clearest antecedent for Drake and the kind of star he wished to be: eclectic, hot-button, versatile, transformative.Drake on night three with the British rap star Central Cee, one of many guests who shared the stage.Emli Bendixen for The New York TimesApart from a few dates on an Australian tour earlier this year that got cut short, this was Drake’s first high-profile live outing in over a year. That public retreat came in the wake of last year’s grim and accusation-filled battle with Kendrick Lamar — in which Lamar’s Not Like Us,” which suggested Drake had a preference for too-young women, became a pop anthem, a Grammy winner and a Super Bowl halftime showstopper, as well as the focus of a lawsuit by Drake against Universal Music Group, the parent company both rappers share.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 163 Shares165 Views

      in Music

      The Gospel Star Tasha Cobbs Leonard Takes a New Leap: A Studio Album

      by

      Inspired in part by a book she published last year, the singer and songwriter reveals more of herself on “Tasha,” an album blending gospel and pop.“Tasha,” the new album from the gospel music star Tasha Cobbs Leonard, tucks messages of salvation, hope and encouragement into songs shaped by hip-hop, R&B and even bluegrass. Guest appearances include a gospel music icon and an EGOT winner.But fans of the singer and songwriter, 44, will be most surprised by what the LP, releasing July 25, doesn’t feature: the sound of an audience. Since her major-label debut 13 years ago, Cobbs Leonard has only released live albums. As a worship leader, she is most comfortable singing in front of a gathering, whether in a church or in Nashville’s Ryman Auditorium.“I’ve been doing this for almost 13 years,” she said during a recent video interview. “What keeps me relevant is stretching myself and doing the uncomfortable thing — not something completely new, but building on the foundation.”Walter Thomas, the senior vice president of Motown Gospel and TAMLA Records, said the goal was giving audiences a more three-dimensional picture of Cobbs Leonard. “We wanted to showcase who Tasha is outside of church,” he said. “There’s a pop side, there’s a fun side, there’s a family-oriented side. This body of work reflects that.”Cobbs Leonard has been slowly revealing herself for years. She’s a busy touring musician, a mother of a blended family of four and a pastor of the Purpose Place Church in Spartanburg, S.C., with her husband, the music producer Kenneth Leonard Jr. Chatting from her living room, wearing a baby-blue short-sleeve top that was nearly the same color as the walls behind her, a flourish of flaxen curls cascading across her forehead, Cobbs Leonard spoke candidly, smiling and laughing with the same infectious and welcoming enthusiasm she brings to her singing.“I’ve been doing this for almost 13 years,” Cobbs Leonard said. “What keeps me relevant is stretching myself and doing the uncomfortable thing.”Will Crooks for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares127 Views

      in Music

      Weird Al Is Enjoying His Rock-Star Moment

      by

      At 65, Weird Al still commands the stage like a natural-born rocker, with high kicks and the panache to pull off what few other artists can (including a fat suit). During “Eat It,” a riff on Michael Jackson’s “Beat It,” audience members — many in Hawaiian shirts and sporting curly locks — were on their feet. Even a seen-it-all security guard danced. For “White & Nerdy,” Weird Al arrived via scooter, to the thump of Chamillionaire’s “Ridin’.” Father-son pairs, arm-in-arm, knew every lyric. More

    • 113 Shares153 Views

      in Music

      Putting Stars in the Sky With a Halftime Stage

      by

      Global Citizen, which organizes charity musical festivals and is producing the halftime shows for FIFA, quickly learned some lessons for next summer, when 48 nations compete throughout the United States, Canada and Mexico. Hugh Evans, Global Citizen’s chief executive, said it must keep the performers cooler (temperatures were over 80 degrees) and improve the exposure of cameras because of the sun. But he was pleased overall, shedding a tear after watching the show. More

    • 163 Shares170 Views

      in Music

      Billy Jones, Baby’s All Right Owner and NYC Nightlife Impresario, Dies at 45

      by

      He opened Baby’s All Right and three other nightclubs, a restaurant and a record store in a dozen years, helping the city maintain its cultural verve.As a recent college graduate in the early 2000s, Billy Jones lived with his parents in Richmond, Va., but his fantasy life was elsewhere: in Williamsburg, the Brooklyn neighborhood that had become the world capital of indie rock. The closest he could get was visiting his local Barnes & Noble, where he would read magazines covering New York’s music scene.Then one day in 2002, he made the leap: He was leaving home, he told his father. He and the high school friends who made up his band, Other Passengers, had decided to try to make it big in New York.In Williamsburg, Mr. Jones began working as a barista, with dreams of indie-rock stardom. It wasn’t so far-fetched. At a cafe down the block, another barista, Kyp Malone, would soon gain renown as a singer and guitarist with the group TV on the Radio.There was passion in the moans of Mr. Jones’s singing, but he did not become a rock star. In time, the Williamsburg concert venues that had launched some of his peers — clubs like 285 Kent, Glasslands, Death by Audio — all closed. Rents in the neighborhood had skyrocketed. Aspiring young musicians left.And instead of achieving his own dreams, Mr. Jones wound up doing something else: He made it possible for other people to keep dreaming.In 2013, he and a friend, Zachary Mexico, opened Baby’s All Right, a club at 146 Broadway in Williamsburg. It became, as The New York Times wrote in 2015, the “nightlife preserver” of the neighborhood. It was a small enough venue to offer major acts an indie spirit that they could no longer find elsewhere in New York City, yet big enough to make unproven musicians feel that they had made it.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares84 Views

      in Music

      Songs for the Heat of Peak Summer: Welcome to Lizard Season

      by

      Hear 10 songs from yeule, Momma, Four Tet and more.yeulePatrick LeDear listeners,A week ago, I went to two backyard barbecues and two rooftop hangs in the span of 24 hours. This past weekend, I crisscrossed from a block party to the beach to an outdoor concert to a different block party.In general, it has been a gray and mild summer in New York City, which has felt like treachery. We’re not supposed to do mild here. So I’ve relished the occasions this month when days of unfettered sun have trailed one after the other. Endorphins from UV rays gallop through my bloodstream. Blue skies hypnotize me out of my inhibitions. Agendas slip away like steam from a hot spring. At last, Lizard Season.Lizard Season, to borrow a term from my friend Morgan, is that stretch of mid-July and August when summer is at full force. Those of us who celebrate feel our moods soar along with the sun’s highest and longest route across the sky. Embracing Lizard Season means welcoming its sweet, hot sting against your skin; leaning into the melt; basking in the too-muchness, knowing that one day soon there won’t be nearly enough.This week, as guest host filling in for my culture desk colleague Lindsay Zoladz, I’ve made a playlist of 10 new songs that channel the spirit of peak summer. Tracks by Fade Evare, Wishy and yeule shimmer with the languorous luxury of an afternoon picnic. It closes out with more up-tempo jams by Georgie & Joe, Deki Alem and deBasement — music for dancing on a rooftop under a 9 p.m. sunset.Find me outside,ReggieListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More