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Taking the stage at Billy Bob’s Texas in Fort Worth, Texas, the Grammy-winning singer breaks into tears while singing ‘The House That Built Me’ in front of a socially-distanced audience.

Apr 27, 2021

AceShowbiz –
Miranda Lambert could not help but get emotional while performing at her first concert since the COVID-19 pandemic. When taking the stage at Billy Bob’s Texas in Fort Worth, Texas, the country singer broke down in tears.

The 37-year-old shared on TikTok a video of herself crying on stage while singing “The House That Built Me” in front of a socially-distanced audience at the Thursday, April 22 concert. Alongside the footage, she wrote, “First show back in over a year. I missed y’all so much.”

Miranda told the crowd, per Entertainment Tonight, “No matter what I’ve ever done in my career and what I’m still gonna do, somehow I still feel most at home on a barstool under a neon sign,” She added, “I walked in here and I took a little tour around, and I just felt so at home. I remembered why I do this and why I missed y’all’s faces so damn much.”

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The “Mama’s Broken Heart” songstress performed at the concert from Thursday to Saturday, April 24. She is set to take the stage again on Saturday, April 30 and Sunday, May 1.

Miranda, who will release “The Marfa Tapes” album in May along with Jack Ingram and Jon Randall, revealed that she took a break from music in the beginning of the coronavirus pandemic. “The first six months of 2020, I didn’t write anything. I didn’t do anything,” she told Entertainment Weekly for its June issue. “I painted and cooked. Like everyone else, I ate too much and tried out all the wine and found all the places we had it hidden.”

“After about six months, I started to miss it so much I was like, ‘I need to create. I don’t feel like myself.’ That’s where Marfa came in. It was my burst of creativity,” the ex-wife of Blake Shelton added. “When you slow down that much, you’re like, ‘Wow. I was really going 100 miles an hour, not only physically but mentally.’ It was nice to just check out.”

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Gwen Stefani Plays Cupid in New Music Video for ‘Slow Clap’

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In the visuals, the fiancee of Blake Shelton can be seen riding her white scooter to an elementary school where she helps a young man to express his feelings to his crush.

Apr 27, 2021

AceShowbiz –
Gwen Stefani is back with a new music video for her latest single “Slow Clap”. In the visuals, the fiancee of Blake Shelton can be seen riding her white scooter to an elementary school where she helps a young man to express his feelings to his crush.

Donning a bomber jacket with a cupid drawn on the back, Gwen sings her heart out while walking down the school hallway. She guides the young boy to show off his dancing skills in front of his schoolmates and his crush. However, they laugh at him instead of being impressed. That, however, doesn’t stop him from trying to get better with his moves.

After practicing hard, he eventually asks his crush to meet him at the field. The two later dance to the song. They are not the only ones having a blast with the song though as their teacher is also seen dancing in the hallway.

“Clap, clap/ Clap, clap, clap, clap/ Clap de-clap de-clap clap/ Slow clap/ Walk into the room like a boss (slow clap)/ Putting on a little extra sauce,” Gwen sings on the energetic track. “Clap, clap/ Clap, clap, clap, clap/ Clap de-clap de-clap clap/ Slow clap/ Side stepping people down the hall (slow clap)/ Winter, Spring or Summer or the Fall.”

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Prior to this, Gwen unveiled another version of music video for “Slow Clap”. Teaming up with raptress Saweetie for the remix version of the song, the music video saw the pair taking over a high school.

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Of the song which she co-wrote along with Ross Golan and producer Luke Niccoli, the No Doubt singer said in an interview with “Good Morning America”, “Generally, I just wanted to make an album that was full of joy and hope. I think the one line in [‘Slow Clap’] is, ‘Are you rooting for me like I’m rooting for you?’ I feel like that was just kind of where I was at in that moment when I wrote the song.”

“I’m still writing,” she continued. “I think that’s what’s been really fun about this project, is to be able to drop singles and actually still be working on new music as I’m doing it. That’s new for me, so that’s kind of what I’m doing right now, just in the studio writing and being creative.”

Gushing over Ross, Gwen said, “Ross is really good at getting in your head and investigating, and he has the right tone for me right now. I always feel like my songs have a bit of a kitschy, fun, silly side to them lyrically, even if I’m talking about something serious, and he’s really good at that as well.”

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The group has teamed up with Encore Live for the production company’s Encore Drive-In Nights 2021 concert series to welcome fans back to real live music next month

Apr 27, 2021

AceShowbiz –
Bon Jovi have lined up a drive-in experience to welcome fans back to real live music next month (May 2021).

The group has teamed up with Encore Live for the production company’s Encore Drive-In Nights 2021 concert series, and Jon Bon Jovi and his bandmates will perform a show that will be beamed to drive-in and outdoor theaters across the world.

Bon Jovi’s show on 22 May follows the Encore Drive-In Nights 2020 series, which featured shows hosted by Metallica, Blake Shelton, Gwen Stefani, and Kane Brown.

“Bon Jovi is a global icon and we’re so happy that the band will be launching our 2021 concert season!” Encore Drive-In Nights CEO Walter Kinzie said in a press release. “The pandemic has taught us that there are new avenues for live entertainment and this model is one of the safest and most innovative options for world-class, fun events for the whole family.

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“There are millions of fans who don’t usually attend live shows, whether it’s because they live far away from the big touring arenas or because of the cost. Artists can now connect with these fans in a completely new way.”

Prior to this, the group honored George Floyd by turning his life into a new song, titled “American Reckoning”. “God damn those eight long minutes/Laying face down in cuff on the ground/ Bystanders pleaded for mercy/ As one cop shoved a kid in the crowd,” Jon Bon Jovi sings. “When did a judge and jury/Become a badge and a knee on these streets?”
He also questions the state of America’s soul as he belts the notes, “America’s on fire/ There’s protests in the streets/ Her conscience has been looted/ And her soul is under siege/ Another mother’s crying as history repeats/ I can’t breathe.”

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The No. 1 song in the United States is Polo G’s “Rapstar”; Rod Wave’s recent album “SoulFly” recently debuted at the top of the Billboard album chart; and one of the most in-demand collaborators in hip-hop is Lil Tjay. The current sing-rap generation is thriving, and utilizing a variety of approaches, from saccharine pop to gospel-esque blues.This genre takeover has been in motion for more than a decade now — even though most artists in the current wave operate under the long shadow of YoungBoy Never Broke Again, the arc dates back to Future and Young Thug; and before that, Drake; and before that, Kanye West; and so on.On this week’s Popcast, a conversation about the many stripes of sing-rap success, and how melody has reshaped hip-hop over the last few years in the work of Polo G, Rod Wave, Lil Tjay and rising artists including NoCap, Rylo Rodriguez, Mooski and Morray.Guest:Alphonse Pierre, Pitchfork staff writer More

He played harmonic, guitar and piano, often all at the same time. He died of complications of the coronavirus.This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.Paul Oscher was 20 when he started playing harmonica for Muddy Waters. It was 1967, and he was a rare sight for the times: a white man playing in a Black blues band of such prominence. He more than held his end up for Mr. Waters, the legendary star. Mr. Oscher later recalled his old boss saying, “I don’t care what color he is as long as he plays the soul I feel.”Rick Estrin, a harmonica player from San Francisco, in a phone interview, recalled seeing Mr. Oscher play behind Mr. Waters in Chicago, baby faced but sounding like he’d been born decades earlier.“He had an emotional intensity to his playing that he could turn up and down like a preacher,” Mr. Estrin said. “An internal rhythmic groove, relaxed and seductive. The blues were like a religion to him.”Mr. Oscher died on April 18 at a hospital in Austin, Texas. He was 74. The cause was complications of Covid-19, Nancy Coplin, his former manager, said.Mr. Oscher had been living in Austin since 2013, playing locally and on tour. His most recent album, “Cool Cat,” was released in 2018.“You know, the one thing about playing the blues is the older you get, the more respect you get,” Mr. Oscher told the filmmaker Jordan Haro, who made a short film about him in 2017. “It’s not like a rock star who’s seen and then he’s gone. I just play low-down blues, and I play it the same way I played it 50 years ago.”Paul Allan Oscher was born on Feb. 26, 1947, in Brooklyn, N.Y., and grew up in the East Flatbush section. His father, Nathan Abraham Oscher, owned a factory that made false teeth; his mother, Mildred Marie (Hansen) Oscher, was a homemaker who later worked in local and state politics. An uncle gave Paul a harmonica when he was 12, but he didn’t learn how to make the most of it until one day, in his after-school job delivering groceries, a customer who just happened to be a blues musician overheard him trying to play “Red River Valley” and proceeded to teach him the ropes.By 15 he was playing in Black clubs in Brooklyn and had become part of a network of musicians in that scene. He was 17 when he was introduced to Mr. Waters one night after a Waters show at the Apollo Theater in Harlem; three years later, when Mr. Waters returned for a gig in New York City and was short of a harmonica player, he invited Mr. Oscher to sit in. At the end of the show, Mr. Waters offered him a job.For a time Mr. Oscher lived in the basement of Mr. Waters’s Chicago house, sharing the space with Otis Spann, the noted Chicago blues pianist and member of Mr. Waters’s band. Mr. Oscher later said that he had learned his blues timing from Mr. Spann.He toured with the band throughout Europe and the United States, often clad like his bandmates in a red brocade Nehru jacket. (Mr. Waters wore a black suit.) When they hit the segregated South, he was typically not allowed to stay in the same hotel as his bandmates, and he remembered how the group fell silent one day on the road as they passed a sign declaring, “You Are Entering Klan County.”Mr. Oscher left the band in the early 1970s to pursue a solo career back home in New York City. Over the years he performed with Eric Clapton, Levon Helm, T-Bone Walker, John Lee Hooker and many others.In addition to the harmonica, he played the piano and the guitar, often all at the same time — his harmonica in a neck rack, his guitar on his lap and one hand on the keyboard. He also played the accordion and the vibraphone.In the late 1990s, Mr. Oscher was playing at Frank’s Cocktail Lounge in Brooklyn when he met Suzan-Lori Parks, the playwright and author, and she asked him to teach her to play harmonica. They married in 2001 and parted amicably in 2008, later divorcing but remaining friends. Mr. Oscher had no immediate survivors.“Paul was a righteous guy, a real sweetheart and a real blues man,” Ms. Parks said in an interview. “That meant there were a lot of blues. He’d learned how to be an adult by hanging out with blues cats. The older Black men in Muddy’s band helped him become whole.”When she was working on her Pulitzer Prize-winning play Topdog/Underdog, a darkly comic fable of sibling rivalry and Black manhood that uses three-card monte as a narrative spine, Mr. Oscher taught her the mechanics of the card game. He just happened to be a whiz at that street hustler’s old standard. More

The compilation featuring the Atlanta rapper and various artists from his Young Stoner Life label bested Taylor Swift for the top spot on Billboard’s album chart.Mixtape, playlist or compilation album — what’s the difference?These days, on streaming services, not much. But whatever you call it, “Slime Language 2,” the new project from the Atlanta rapper Young Thug’s Young Stoner Life label, is No. 1 on the album chart.“Slime Language 2” topped the latest edition of the Billboard 200 with the equivalent of 113,000 sales in the United States, according to MRC Data, Billboard’s tracking arm. That total was largely dependent on streams — 143 million of them — while sales of the full album topped out at 6,000 copies.Credited to Young Thug and various artists — many from under Thug’s YSL umbrella — “Slime Language 2” features 23 songs from a mix-and-match collection of Atlanta rappers like Lil Baby, Gunna, Lil Keed, Lil Duke and Unfoonk, plus less local guests like Drake, Big Sean and Lil Uzi Vert. (A week after the album’s release, a deluxe version of the album added eight more tracks for a total of 31.)First-week streams for “Slime Language 2” — the sequel to a compilation released in 2018 — matched Taylor Swift’s total the week before, for her rerecorded version of “Fearless,” which also hit No. 1 with the year’s biggest numbers to date. This week, “Fearless (Taylor’s Version)” fell to No. 2 with 57,000 in equivalent sales, down 80 percent.The rest of the Top 5 includes the semi-sidelined country singer Morgan Wallen’s “Dangerous: The Double Album” at No. 3; “Justice” by Justin Bieber, at No. 4; and, in its chart debut, “Heart” by Eric Church, at No. 5. More

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In a new magazine interview, the Foo Fighters frontman recalls the conversation he had with the ‘Like a Rolling Stone’ hitmaker when he and his band were invited to open for the latter’s 2008 tour.

Apr 26, 2021

AceShowbiz –
Folk rock icon Bob Dylan was once eager to record a cover version of Foo Fighters hit “Everlong”.

Dave Grohl and his bandmates were invited to open for the “Like a Rolling Stone” hitmaker on his 2008 tour, and the frontman recalls being terrified when he was summoned to meet with the legendary singer, only for Dylan to heap praise on the group and its music.

Speaking to Uncut magazine, Grohl said, “All I could see was his silhouette, he had a black hooded sweatshirt pulled up over his head, a black leather jacket, black jeans and black boots on. He was leaning against the wall with his arms crossed.”

“I walked up to him and said, ‘Hey Bob, how’re you doing?’ He’s like, ‘Hey man, how’s it going?’ We talked for a little bit and he thanked us for being on the tour and then he said, ‘Man, what’s that song you guys got?’ ” before reciting a line from the 1997 classic.

“I said, ‘Oh, that’s Everlong.’ He said, ‘That’s a great song man, I should do that song,’ ” Grohl remembered. “I was like, ‘You know, I think you’ve got enough good songs to hold you over.’ ”

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The brief meeting remains one of the highlights of former Nirvana drummer Grohl’s career.

“Honestly, it was one of the most incredible experiences of my entire life,” he shared. “It was f**king terrifying – but he couldn’t have been nicer.”

Producer Arthur Baker also recalled hearing Dylan sing a surprising choice of cover during some downtime in the studio when they were working on his 1985 release, “Empire Burlesque”.

He said, “I was mixing something one night and hearing something really weird beneath it. So I turned the volume down quickly and it was Bob singing Like a Virgin on acoustic guitar.”

“He was figuring out how to play Madonna. We’d already finished the record and he’d say to me, ‘I’d like to make a record like Prince [or] Madonna. Can we do that?’ He was a joker. He liked to f**k with me, y’know?”

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Speaking about his future in the industry, the ‘West Ten’ hitmaker expresses his hope to emulate 50 Cent and drop tunes occasionally rather than continue to ‘force’ himself to put out music.

Apr 26, 2021

AceShowbiz –
Rapper AJ Tracey has vowed to retire “gracefully” when people aren’t “feeling” him any more.

The “West Ten” hitmaker would like to emulate 50 Cent and drop tunes occasionally rather than continue to “force” himself to put out music when he’s reached his “shelf life.”

Speaking to The Agenda Radio on Apple Music 1, AJ said, “Boy, I’ll be honest with you, I’ll retire as soon as everyone’s not feeling me no more.”

“I’m gracefully bowing out, there’s no more forcing it, old man thing. I’ll just bow. 100 percent there’s a shelf life. We ain’t gotta say no names.”

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“You’ve heard rappers, and you’re just like, ‘Bro, you’re like, however old you are, wearing Nike Tech like the youth dem. And on that little electric scooter, you are trying to force it. And it’s not that honestly, bro, it’s not that.’ ”

He added, “You can hold me to that. I’m never going to be that guy, never. I’m going to do the 50 Cent thing. If I feel like putting out something random, I’ll just put something out random, but I’m not going to force the thing at all [sic].”

In another interview, Tracey shared his thought on performing live again after COVID-19 put a halt to shows. “Honestly, not even to sound like a hippie, but just sharing moments with the fans, man. Because making music and you’re disconnected from everyone in life, just over the internet, it’s not the same is it? It’s just not the same,” he shared.

“I just want to go out there, get the energy from the fans, give it back. And everyone who knows me like, yeah, cool, the studio thing is great,” he added. “The radio, I’m doing quite well. But my shows is where I can really show off and impress people, you know what I’m saying? I’ll turn it mad and I just haven’t been able to do that for a long time. So I’m really looking forward to getting back on stage.”

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