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      Coldplay Set for Glastonbury Livestream, Lizzo and Megan Thee Stallion Tapped for Live Bonnaroo

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      WENN/Instagram

      The Chris Martin-fronted band will headline the Glastonbury Festival livestream while the ‘Juice’ hitmaker and the ‘Savage’ femcee are back on stage for Bonnaroo.

      Apr 1, 2021

      AceShowbiz –
      Coldplay, Haim, Jorja Smith, and Wolf Alice are among the stars set to perform during a “spectacular” livestream from the Glastonbury Festival site on 22 May (21).

      Organisers have made the decision to stage a special event after having to cancel the festival for a second year due to the ongoing Covid-19 pandemic.

      Performers will take to the stage at various landmarks around Worthy Farm in Somerset, including the Pyramid field and the stone circle, during the five-hour event.

      Damon Albarn, Kano, Michael Kiwanuka, and Idles are also on the line-up, while organiser Emily Eavis also teased some “very special guest appearances and collaborations” will be taking place.

      Paul Dugdale, who shot Ariana Grande and Taylor Swift’s world tours for Netflix, is in charge of directing the livestream, which will see the musical performances linked by “a spoken word narrative, written and delivered by some very special guests.”

      Tickets are on sale now, with proceeds going towards Oxfam, Greenpeace and WaterAid, as well as helping to “secure the Festival’s return in 2022.”

      In addition, a commemorative poster of the livestream gig is to be sold in support of the stage crew workers who have been struggling to make ends meet during the global health crisis.

        See also…

      For tickets, visit: glastonburylivestream.seetickets.com.

      Meanwhile, Lizzo, Megan Thee Stallion, and the Foo Fighters are helping to revive the live music industry by signing on to headline the 2021 Bonnaroo Music & Arts Festival.

      The four-day bash in Tennessee was initially set for June, 2021, but was recently moved to 2 to 5 September due to ongoing COVID concerns but, when the event returns, fans will be treated to an all-star line-up, which also features Lana Del Rey, Janelle Monae, Tame Impala, and Tyler, the Creator.

      Other acts on the bill for the 20th anniversary include Run the Jewels, Young Thug, Deftones, My Morning Jacket, G-Eazy, Phoebe Bridgers, Jason Isbell & The 400 Unit, Lil Baby, Deadmau5, and Leon Bridges.

      In a statement celebrating the line-up news, Governor Bill Lee says, “It’s exciting to see Tennessee stages come back to life in time to celebrate the 20th anniversary of this internationally acclaimed festival.”

      “Fans are ready to gather together and celebrate their shared love of music once again. We welcome them back for a full Bonnaroo and what is sure to be a truly unforgettable event!”

      Tickets for the festival, which had its in-person gigs cancelled last year (20) due to the coronavirus pandemic, are on sale now.

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      Justin Bieber Defends Himself Following Backlash Over Use of MLK Speech on New Album

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      Instagram/Rory Kramer

      The ‘Yummy’ hitmaker insists he didn’t mean any disrespect and he, instead, hopes to help spread the awareness of racism and the importance of Black Lives Matter.

      Apr 1, 2021

      AceShowbiz –
      Justin Bieber has answered critics who slammed his decision to feature a Martin Luther King, Jr. speech on his new album, “Justice”, insisting he just wants to continue the Black Lives Matter “conversation.”

      The MLK Interlude wasn’t popular with many people, even though the pop star sought permission to use the civil rights icon’s words from the King estate.

      And after debuting Justice at the top of the charts, Bieber has tackled the issue head on in a new chat with Kristal Terrell, one of the co-founders of Clubhouse’s Bieber Nation.

        See also…

      “Being Canadian… they didn’t teach us about Black history,” he said. “It was just not a part of our education system. I think for me, coming from Canada and being uneducated and making insensitive jokes when I was a kid and being insensitive and being honestly just a part of the problem because I just didn’t know better… For me to have this platform to just share this raw moment of Martin Luther King in a time where he knew he was going to die for what he was standing up for (sic).”

      Bieber was also criticised for opening the album with a King speech at the beginning of its first track “2 Much”, and for the placement of the MLK Interlude, just before “Die For You”, a love song to his wife.

      But Justin insists he made the right choice, “I want to keep growing and learning about just all social injustices and what it looks like for me to be better, what it looks like for my friends to be better,” he added. “And I know I have a long way to go. I love that when people are listening to my album, these conversations are coming up and they’re like, ‘Well, how is he going from Martin Luther King into a love song?’ ”

      “I’m not trying to make a connection between me and Martin Luther King. That’s why I never try to talk about social injustice or I didn’t want to be the one to talk about it, because I just have so much more learning to do. But I have this man who was ready to die and what he believed to be true. If I’m not willing to face some sort of ridicule or judgment of people wondering my motives or whatever that is, for me, it was a no brainer.”

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      Dua Lipa Dominates Nominations at 2021 BRIT Awards

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      Instagram

      The ‘Don’t Start Now’ hitmaker, along with Arlo Parks and Celese, leads this year’s nominees of the upcoming BRIT Music Awards with a total of three nods each.

      Apr 1, 2021

      AceShowbiz –
      Dua Lipa, Arlo Parks, and Celeste are among the acts leading all nominees for the 2021 BRIT Awards, scoring three mentions apiece.

      They join Young T & Bugsey and Joel Corry as the triple award threats, with Dua, Arlo, and Celeste all competing for Female Solo Artist and Album of the Year.

      This year’s ceremony will take place at London’s O2 Arena on 11 May, with performances by Dua Lipa and Griff confirmed.

      Parks has taken to Twitter to rave about her three nods, writing, “All I know is that I wouldn’t be here without my team, my family, every single person who’s played my tunes in their cars, bedrooms, kitchens & living rooms.”

      “I take none of this for granted I hope you know that. What a moment… all words are escaping me right now except for thank you. From sketchy demos on my £30 mic in my basement to the BRITs – dreams come true.”

      YUNGBLUD, who is up for Male Solo Artist, alongside Corry, J Hus, Headie One, and AJ Tracey, also posted on social media, writing, “I have watched the brits every year since i can remember. its what makes the British music scene so rock n roll. I would watch oasis and the artic monkeys cause trouble and i always wanted to be there and now to be nominated is mental (sic)!!!”

      The full list of 2021 BRIT Awards nominations is:

      Male Solo Artist:

      AJ Tracey
      Headie One
      J Hus
      Joel Corry
      Yungblud

      Female Solo Artist:

      Arlo Parks
      Celeste
      Dua Lipa
      Jessie Ware
      Lianne La Havas

      British Single:

        See also…

      220 Kid & Gracey – “Don’t Need Love”
      Aitch & AJ Tracey ft. Tae Keith – “Rain”
      Dua Lipa – “Physical”
      Harry Styles – “Watermelon Sugar”
      Headie One ft. AJ Tracey & Stormzy – “Ain’t It Different”
      Joel Corry ft. MNEK – “Head & Heart”
      Nathan Dawe ft. KSI – “Lighter”
      Regard & Raye – “Secrets”
      Simba ft. DTG – “Rover”
      Young T & Bugsey ft. Headie One – “Don’t Rush”

      British Group:

      Breakthrough Artist:

      Arlo Parks
      Bicep
      Celeste
      Joel Corry
      Young T & Bugsey

      International Group:

      International Female Solo Artist:

      International Male Solo Artist:

      Mastercard Album of the Year:

      Arlo Parks – “Collapsed In Sunbeams”
      Celeste – “Not Your Muse”
      Dua Lipa – “Future Nostalgia”
      J Hus – “Big Conspiracy”
      Jessie Ware – “What’s Your Pleasure”

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      FKA twigs Thanks Lil Nas X for Publicly Acknowledging Similarities Between Their Music Videos

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      Instagram

      The ‘Cellophane’ singer is grateful to the ‘Old Town Road’ hitmaker for admitting there are similarities between her music video and his newly released ‘Montero’ visual.

      Apr 1, 2021

      AceShowbiz –
      Lil Nas X has thanked FKA twigs for informing him of the similarities between his video for “Montero (Call Me by Your Name)” and the visual for her track “Cellophane”.

      Upon the release of Nas’s new video, fans were quick to point out the likenesses between the two videos, with some accusing him of ripping off Twigs’ concept.

      However, the “Old Town Road” star insisted in a post on Instagram on Tuesday (30March21) that he was “unaware” of the similarities between the two videos until he received a phone call from Twigs herself.

      “I want to show love to @fkatwigs & (Cellophane video director) @andrewthomashuang ! the cellophane visual is a masterpiece. i was not aware that the visual would serve as a major inspiration for those who worked on the effects of my video.”

        See also…

      “I want to say thank u to twigs for calling me and informing me about the similarities between the two videos, as i was not aware they were so close. was only excited for the video to come out. i understand how hard you worked to bring this visual to life. you deserve so much more love and praise.”

      Following his comment, Twigs was quick to praise him for his honesty about the situation, writing, “Thank you @lilnasx for our gentle honest conversations and for acknowledging the inspiration cellophane gave you and your creative team in creating your iconic video!”

      “I think what you have done is amazing and i fully support your expression and bravery in pushing culture forward for the queer community. legend status.”

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      Listening to Music in the Desert at Dawn

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      Terry Tempest Williams, an author and environmental activist, on bird song, Keith Jarrett and slowing down.For a series of conversations about music with nonmusicians, I am swapping songs: exchanging pieces with my interlocutors to spark ideas about how their areas of expertise might relate to organized sound.Terry Tempest Williams is an author and environmental activist whose work celebrates the red-rock deserts of Utah, where she calls home. Her most recent book, “Erosion: Essays of Undoing,” describes the personal and political repercussions of the depredation of public lands.For our chat, I chose the “Abyss of the Birds” section from Olivier Messiaen’s “Quartet for the End of Time.” She picked “First (Solo Voice)” from Keith Jarrett’s “Invocations.” These are edited excerpts from the interview.In your book “When Women Were Birds,” you describe childhood memories of your grandmother creating candlelit listening parties, where she would play records for you and your brother. They included classical music, but also field recordings of bird song.That’s why I picked the clarinet solo from Messiaen’s “Quartet for the End of Time,” first performed in a German prisoner-of-war camp in 1941; it has stretches of desolate, sustained long notes alongside transcriptions of bird song.I hear it as breath. I knew the story before I knew the music, and I was struck by how, in the presence of war, you could have two minds: one watching out for the enemy and one listening for the call of a blackbird or a mockingbird. And when I first heard it, I was just devastated by the beauty.That first note appears to come out of nowhere and then builds through the power of one breath. Especially now, in the time of coronavirus, as a country we can’t breathe. We can’t breathe because of the virus. We can’t breathe because of politics, because of the Black and brown bodies that are being killed on the streets. And here, there is that one opening breath, and at the beginning, it feels like melancholy, it feels like a lament. But then as it progresses, there is that building of the silence to voice that becomes a lighter voice, the voice of birds, a fluttering and flourishing.The clarinet sets vibrations in motion so subtly that by the time we notice them as sound, they’ve already wormed their way into us.It also felt like light. I had heard that the piece was created at dawn, so this morning, I took my music outside and sat in the desert. As light spread, against that building of voice, it felt like the music mirrored the dawn itself. And I was absolutely stunned by the birds that were drawn in. The robins were the first ones. At moments, I couldn’t tell: Was that a fluttering from Messiaen or a fluttering from the robins? Then starlings came in, and it was almost like they were trying to copy the music, and then the desert mourning doves came in. And then the larks took over.Sitting in this grove of junipers, I thought about Messiaen and his musicians creating this music in a time of such confinement — and that is the power of community.Messiaen was a Catholic who believed in eternity as something both comforting and terrifying. As someone who fights for the preservation of wilderness, to what extent do you also have to think of time outside of how it is measured by humans?I was a child in 1962, when my grandmother read Rachel Carson’s “Silent Spring.” We were in her garden putting seeds in bird feeders. And she said, “Terry, can you imagine a world without bird song?” It was a terrifying thought. Birds allow us to be present in the moment, but they also link me to a time before the human record and to what will be as we live our own apocalypse in terms of climate collapse. So they’re an arrow pointing in both directions.Messiaen said, “It is in a spirit of no confidence in myself, or I mean in the human race, that I have taken bird songs as a model.” And he goes on to talk about the “sovereign freedom” of birds.That is a beautiful paradox I hear in his music. Birds are the ultimate symbol of freedom. They are also the symbol of presence. They hold their past, and we pray that they will carry the earth into the future. Here he was a devout Catholic, and yet he sought his spiritual source not from God but from God’s creation.The classic instrument to represent a bird would be the flute, but here it’s brought down a few octaves. It’s mediated, or translated.He slows their song down so we can really hear. And birds feel like they are the mediators between us and heaven. I also think that since birds travel within the realm of air, to choose a clarinet, a single reed instrument that requires breath, is such a beautiful manifestation.I was really touched by the piece you chose. While the Messiaen exists in this pure darkness with no echo coming back, Keith Jarrett’s saxophone solo plays with the acoustics of the German abbey where it was recorded, a man-made space designed for transcendence.The two pieces feel interlinked. They’re both single-reed, solo voices. One is highly composed, the other born of improvisation. And both of them felt like invocations. With Keith Jarrett’s solo, it was the echo that moved me most. This energetic vibration that I feel especially attuned to now as we are a year into a pandemic that we first thought was a pause and we now know is a place. The echoes we feel in our isolation, our own solo voices.Jarrett invites us to ask how well can we live with uncertainty. He offers us a path of improvisation, and the echo turns it into a call and response.At the heart of improvisation is listening. Jarrett is listening to the echoes, to the spaces in between his notes. You can almost hear him wondering: What happens if I push this note through the resonance trail of the last one, like concentric smoke rings? Can I smudge the difference between the note I play in this moment and the residue that’s still lingering from the previous one?It’s in the listening that you open up creative space. I was astonished by a passage about two minutes and 50 seconds in, where the music builds to this fullness. For a while, I lost all track of time.That’s where he stays on one note and bends the pitch. It develops these microtonal inflections that no longer belong to Western music. He allows the note to wilt and revive. He seems to be exploring the spaces in between notes.If someone were to say, “Tell me where you live, what do you experience,” I would point to this piece. It is this spaciousness. It is the echo of wall against wall in the narrow confines of these red-rock canyons.Both of these pieces are filled with memory. How do we access that? For me the bridge is silence and stillness.As harrowing and as grief-filled as this pandemic has been, it has brought us to this place of slowing down and listening. And that has been part of the blessing. If we are going to survive, that is what is required. More

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      Kevin Shields on My Bloody Valentine’s Return: Time Is ‘More Precious’

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      Eight years after the shoegaze pioneers’ last album, the band is bringing its catalog to streaming services, reissuing records on vinyl and recording two new albums.For nearly four decades, Kevin Shields, the leader of the very loud, very fuzzy rock band My Bloody Valentine, has been described using synonyms for “eccentric” and “reclusive.” But the truth is more … what’s another word for mundane? He cooks with his wife, Anna, and they have two dogs. He listens to music on Spotify, and loves Frank Ocean. He practices Wing Chun. He likes to go for walks on his sprawling property in Ireland, where he’s learned a few things about the local deer population.“The more overconfident ones have this thing where they like to stand within 10 feet of the dogs, and make these kind of high-pitched noises like, ‘What are you going to do about it?’” he said in a recent interview.Shields didn’t appear on camera, and the band hasn’t taken new photos since the 1990s, but he was having this conversation to make a conventional announcement: My Bloody Valentine is making the majority of its catalog available for streaming, and reissuing it on vinyl. The group has signed with the influential independent label Domino, and plans to release two new records.“Our original plan was we would record both the albums back-to-back and then go tour on that,” he said. “And that would have been this year, you know, but everything really did slow down.”The news, however, is still remarkable, because My Bloody Valentine has truly always done things its own way. Sometimes, that has meant calling up vinyl factories in different countries to see which manufactures the best and most specific sound. Other times, it has meant letting its label sue Shields rather than release music it didn’t like. (That happened in 2001, after My Bloody Valentine had been signed with Island Records for nearly a decade without turning out a new album.)My Bloody Valentine is most famous for elevating “shoegaze,” a dreamy style of guitar music named for the activity of manipulating the technology — literally, gazing at the pedals next to your shoes — required to conjure such a swirling sound. The band is also famous for disappearing: After releasing its second album, “Loveless,” in 1991, it was mostly inactive for nearly 20 years, as rumors of a follow-up swelled and dispersed. After reuniting to perform live, the band surprised everyone in 2013 with “m b v,” a new record that appeared online in the middle of the night with no advance notice, instantly crashing the band’s website as fans swarmed to download it.As the music industry transitioned to a streaming model over the last decade, “m b v” — along with much of the band’s earlier catalog — was not digitally available, affording it a new kind of mystery in an era when recorded music is expected to be accessible at a button’s click. “My nieces and nephews — they would complain to me, because when they would try and show their friends, they can’t find it anywhere,” Shields said. “They’re like, ‘Why are you so purposely obscure? You know, it seems stupid.’ That kind of stuff that made me think, ‘Yeah, I guess my perception of the world isn’t the world.’ There’s a whole world out there I know nothing about.”My Bloody Valentine was formed by Shields and the drummer Colm O’Ciosoig in the early ’80s. Initially, it sounded like any number of spiky, moody guitar bands, but a few years later, Shields recruited the guitarist-vocalist Bilinda Butcher and the bassist Debbie Googe, and reconfigured the band’s sound entirely. The group became notorious for the volume of its physically overwhelming live performances, and learned how to harness that noise across a series of increasingly acclaimed releases exploring the ambient and textural potential of the guitar.“For me, it’s very difficult to relate to sound but not feel it,” Shields said. “It’s kind of the fundamental thing of my association with music.”Steve Gullick“Patience is a virtue in this band,” Butcher wrote in an email, when asked how she managed the experience of waiting to record the sequel to “Loveless.” “I had two more children and did a lot of flamenco dancing.”My Bloody Valentine’s back catalog was previously managed by Sony, which inherited the rights after purchasing Creation Records in the ’90s. While the Sony relationship wasn’t unfriendly, the band wanted to own the rights to future releases. “We definitely wanted to work with an independent label, opposed to a major,” Shields said. The decision to sign with Domino was preceded by his friendship with its founder, Laurence Bell, whom he met in the mid-90s: “Domino was the ultimate kind of independent setup — they have as many facilities as most majors, but they’re owned by one person.”Bell said he first wanted to sign Shields in the early days of their friendship, but settled for finalizing the deal in 2020, right as the Covid-19 lockdown started in the United Kingdom. “He had a very, very clear idea of what he wanted to do,” he said of Shields’ plans. “He can hear things and see things in a way few people can.”In addition to “m b v,” the band will reissue a series of EPs recorded between 1988 and 1991 as a compilation, along with “Loveless” and the 1988 album “Isn’t Anything,” all on vinyl. And “m b v” will join “Loveless” and “Isn’t Anything” on streaming services and online stores worldwide; the EPs won’t be digitally available in North America, as those rights are held by Warner. Shields said he’d also like to reissue the band’s earliest releases, recorded with the singer David Conway, once they can be properly remastered.Right now, the band’s members are waiting to see when they can get together in person at Shields’s home studio — O’Ciosoig also lives in Ireland, while Butcher and Googe are in England — to begin recording. If that can’t happen, they’ll explore remote options. Shields said the first of the two albums will be “warm and melodic,” while the second will be more experimental — a stark evolution from what he called his otherwise “very traditional” writing process to date.“I’m not describing it properly on purpose,” he said, after a somewhat vague explanation. “I don’t want to give too much away because I could lay it out verbally, and then someone’s going to go, ‘That’s a really good idea.’” As for a timeline for release, he didn’t say. (“I think once I can get over to Ireland it will get done very quickly as my vocals are often the last thing to be recorded,” Butcher wrote. “They’ll probably be finished by the end of the year.”)Despite the band’s scant digital presence, new generations have continued to find My Bloody Valentine; its live audiences skew younger, which Shields counted as a nice surprise in a world where artists are encouraged to overwhelm their fans with content. “There’s always going to be a certain kind of music fan that discovers things and checks it out,” he said. “When I meet young people, I’m like, ‘Oh, I have hope for the future.’ They seem bright, and they seem alive.”(Of the younger generation’s emergent nostalgia for his ’90s era, he remarked, “It’s kind of amusing because I’m literally incapable of grasping it.”)Not long after “m b v” came out, Shields worried his hearing was beginning to permanently decline, a consequence of the band’s deafening performances. (They pass out earplugs at shows — highly recommended.) Luckily, that deterioration has stopped, and the band has found subtle ways to mitigate the lasting effect of their loudness without sacrificing it altogether.“For me, it’s very difficult to relate to sound but not feel it,” he said. “It’s kind of the fundamental thing of my association with music. And it seemed really strange to me that you would play live and the audience don’t get to experience the same thing that you experience.”For years, the idea of My Bloody Valentine releasing music was treated like a distant possibility. Bell did acknowledge the inherent uncertainty of signing a band known for taking its time. But Shields has no intention of going another 22 years between releases. He mentioned artists like Paul McCartney, who’ve continued regularly recording decades after their careers began, and said working with Brian Eno on a pair of 2018 singles had encouraged him to take a more agile approach to making music.When he was young, Shields said, he thought he needed to peak before he turned 25; after My Bloody Valentine achieved some success, he stopped thinking about time altogether, hence the long layover. Those days have passed. “Time is a bit more precious,” he said. “I don’t want to be 70-something wanting to make the next record after ‘m b v.’ I think it’d be cooler to make one now.” More

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      APRA Music Awards 2021 Unveils Kevin Parker, Guy Sebastian and Amy Shark Among Its Nominees

      by

      WENN/Instagram/Sakura/Adriana M. Barraza

      The three musicians will be battling it out for the Song of the Year honor, while Dua Lipa is up against Harry Styles, Lewis Capaldi, The Weeknd and Maroon 5 for Most Performed International Work.

      Mar 31, 2021

      AceShowbiz –
      Tame Impala star Kevin Parker, Guy Sebastian and Amy Shark are preparing to battle it out for the Song of the Year honor at the 2021 APRA Awards.

      “Lost It Yesterday” has earned Parker a nod, while Sebastian’s “Standing with You” and Shark’s “Everybody Rise” have also received recognition in the top category, alongside Tim Minchin’s “Carry You” and Midnight Oil’s “Gadigal Land”.

      The peer-voted award is one of the highest honors given to Australian songwriters.

      “Everybody Rise” and “Let Me Drink” will additionally go up against Tones And I’s “Never Seen the Rain”, Jessica Mauboy’s “Selfish” and “Break My Heart” by Dua Lipa for Most Performed Pop Work, as “Lost in Yesterday” competes for Most Performed Alternative Work.

      Included in the Most Performed Rock Work shortlist are Wolfmother’s “Chase the Feeling”, Cold Chisel’s “Getting the Band Back Together” and Spacey Jane’s “Good for You”, with Martin Garrix and Dean Lewis’ “Used to Love” facing off with Joel Corry and MNEK’s “Head & Heart”, and “Rushing Back” by Flume featuring Vera Blue in the dance category.

      The hip-hop/rap contenders include Day1’s “Boss, I’m Good?” by Hilltop Hoods and ONEFOUR’s “In the Beginning”, while Becca Hatch’s “2560”, “Rain” by The Teskey Brothers and Milan Ring’s “Say to Me” are in the running for the R&B/Soul accolade.

      Meanwhile, The Kid LAROI, Mallrat, Miieha, Thelma Plum and Lime Cordiale are up for Breakthrough Songwriter of the Year, and Dua Lipa picks up another mention for Most Performed International Work for “Don’t Start Now”, which faces stiff competition from “Adore You” by Harry Styles, Lewis Capaldi’s “Before You Go”, The Weeknd’s “Blinding Lights” and “Memories” by Maroon 5.

      The 2021 APRA Awards, organized by officials at the Australasian Performing Right Association, will take place in-person in Sydney on April 28, when the late Helen Reddy will be honored with the Ted Albert Award for Outstanding Services to Australian Music.

      The list of 2021 APRA Music Awards nominees is below.

      Peer-Voted APRA Song of the Year:

      Missy Higgins, “Carry You” (Writer: Tim Minchin; Publisher: Kobalt Music Publishing)
      Amy Shark, “Everybody Rise” (Writers: Amy Shark / Joel Little; Publishers: Mushroom Music / Sony Music Publishing)
      Midnight Oil, feat. Dan Sultan, Joel Davison, Kaleena Briggs & Bunna Lawrie “Gadigal Land”, Writers: Joel Davison / Rob Hirst / Bunna Lawrie, Publishers: Sony Music Publishing / Universal Music Publishing)
      Tame Impala, “Lost in Yesterday” (Writer: Kevin Parker; Publisher: Sony Music Publishing)
      Guy Sebastian, “Standing with You” (Writers: Guy Sebastian / Jamie Hartman / Greg Holden; Publishers: Universal Music Publishing / Mushroom Music obo Reservoir / Warner Chappell Music)

        See also…

      Breakthrough Songwriter of the Year:

      Charlton Howard pka The Kid LAROI (Publisher: Sony Music Publishing)
      Grace Shaw pka Mallrat (Publisher: Kobalt Music Publishing obo Dew Process)
      Miiesha Young pka Miiesha (Publisher: Sony Music Publishing)
      Louis and Oli Leimbach (Lime Cordiale) (Publishers: Universal Music Publishing obo Chugg Music)
      Thelma Plum (Publisher: Sony Music Publishing)

      Most Performed Australian Work:

      Dua Lipa, “Break My Heart” (Writers: Andrew Farriss / Michael Hutchence / Dua Lipa / Jordan Johnson / Stefan Johnson / Ali Tamposi / Andrew Watt; Publishers: Warner Chappell Music / Universal Music Publishing / BMG Rights Management / Mushroom Music obo Reservoir / Kobalt Music Publishing)
      The Rubens, “Live in Life” (Writers:Scott Baldwin / Elliott Margin / Sam Margin / Zaac Margin / William Zeglis; Publishers: Mushroom Music obo Ivy League Music)
      Tones And I, “Never Seen the Rain” (Writer: Toni Watson; Publisher: Kobalt Music Publishing)
      Flume ft. Vera Blue, “Rushing Back” (Writers: Harley Streten / Celia Pavey / Eric Dubowsky / Sophie Cates; Publishers: Kobalt Music Publishing obo Future Classic / Universal Music Publishing / Kobalt Music Publishing / Sony Music Publishing)
      Martin Garrix & Dean Lewis, “Used to Love” (Writers: Dean Lewis / Martijn Garritsen / Kristoffer Fogelmark / Albin Nedler; Publishers: Kobalt Music Publishing / Universal Music Publishing)

      Most Performed Alternative Work:

      The Rubens, “Live in Life” (Writers: Scott Baldwin / Elliott Margin / Sam Margin / Zaac Margin / William Zeglis; Publishers: Mushroom Music obo Ivy League Music)
      Tame Impala, “Lost in Yesterday” (Writer: Kevin Parker; Publisher: Sony Music Publishing)
      Lime Cordiale, “Robbery” (Writers: Louis Leimbach / Oli Leimbach / Shane Abrahams / Daniel Choder / Jonathan Pakfar; Publishers: Universal Music Publishing obo Chugg Music / Downtown Music / Kobalt Music Publishing)
      DMA’s, “Silver” (Writers: Matt Mason / Tommy O’Dell / Johnny Took / Thomas Crandles / Joel Flyger / Liam Hoskins; Publishers: Mushroom Music / Sony Music Publishing)
      Birds of Tokyo, “Two of Us” (Writers: Ian Berney / Ian Kenny / Glenn Sarangapany / Adam Spark / Adam Weston; Publisher: Mushroom Music)

      Most Performed Blues & Roots Work:

      Ash Grunwald ft. The Teskey Brothers, “Aint My Problem” (Writer: Ash Grunwald; Publisher: Mushroom Music)
      Dope Lemon, “Give Me Honey” (Writer: Angus Stone; Publisher: Sony Music Publishing)
      Busby Marou, “Over Drinking Over You” (Writers: Thomas Busby / Jeremy Marou / Ivy Adara / Jon Hume / Lindsey Jackson; Publishers: Sony Music Publishing / Kobalt Music Publishing / Native Tongue Music Publishing)
      Tash Sultana, “Pretty Lady” (Writers: Tash Sultana / Matt Corby / Dann Hume; Publishers: Kobalt Music Publishing obo Tash Sultana / Sony Music Publishing)
      Ziggy Alberts, “Together” (Writer: Ziggy Alberts; Publishers: Kobalt Music Publishing obo Alberts & Co Music)

      Most Performed Country Work:

      Casey Barnes, “A Little More” (Writers: Casey Barnes / Michael Delorenzis / Michael Paynter; Publisher: Mushroom Music)
      Morgan Evans, “Diamonds” (Writers: Morgan Evans / Evan Bogart / Chris de Stefano; Publishers: Warner Chappell Music / Kobalt Music Publishing / Sony Music Publishing)
      Brad Cox, “Give Me Tonight” (Writers: Brad Cox / Joseph Mungovan; Publisher: Sony Music Publishing)
      The McClymonts, “I Got This” (Writers: Brooke McClymont / Mollie McClymont / Samantha McClymont / Andy Mak; Publishers: Sony Music Publishing / Native Tongue Music Publishing)
      Melanie Dyer, “Memphis T-Shirt” (Writers: Melanie Dyer / Emma-Lee / Karen Kosowski; Publisher: Sony Music Publishing)

      Most Performed Dance Work:

      PNAU ft. Ollie Gabriel, “All of Us” (Writers: Nick Littlemore / Sam Littlemore / Peter Mayes / Oli Gabriel; Publisher: Universal Music Publishing)
      Joel Corry & MNEK, “Head & Heart” (Writers: Jonathan Courtidis / Neav Applebaum / Joel Corry / Daniel Dare / Robert Harvey / MNEK / Kasif Siddiqui / Lewis Thompson; Publishers: Sony Music Publishing / Universal Music Publishing / Mushroom Music obo Minds on Fire / Warner Chappell Music / Kobalt Music Publishing)
      Flume ft. Vera Blue, “Rushing Back” (Writers: Harley Streten / Celia Pavey / Eric Dubowsky / Sophie Cates; Publishers: Kobalt Music Publishing obo Future Classic / Universal Music Publishing / Kobalt Music Publishing / Sony Music Publishing)
      Dom Dolla, “San Frandisco” (Writer: Dominic Matheson; Publishers: Sweat It Out Publishing administered by Kobalt Music Publishing)
      Martin Garrix & Dean Lewis, “Used to Love” (Writers: Dean Lewis / Martijn Garritsen / Kristoffer Fogelmark / Albin Nedler; Publishers: Kobalt Music Publishing / Universal Music Publishing)

      Most Performed Hip Hop / Rap Work:

      Day1, “Boss” (Writers: Bailey Rawiri / Tuhi Montell)
      No Money Enterprise, “German” (Writers: Semisi Alosio / Vaha’i Finau / Junior Leaupepe / Schneider Leaupepe)
      Hilltop Hoods, “I’m Good?” (Writers: Barry Francis (DJ Debris) / Matthew Lambert (Suffa) / Daniel Smith (Pressure) / Paul Bartlett / John Bartlett; Publisher: Sony Music Publishing)
      ONEFOUR, “In the Beginning” (Writers: Spencer Magalogo / Jerome Misa / Pio Misa / Salec Su’a; Publisher: Sony Music Publishing)
      Youngn Lipz, “Misunderstood” (Writer: Filipo Faaoloii)

      Most Performed R&B / Soul Work:

      Becca Hatch, “2560” (Writers: Becca Hatch / Maribelle Anes / Jamie Muscat / Willie Tafa / Solo Tohi; Publisher: Sony Music Publishing / Universal Music Publishing)
      Winston Surfshirt, “Nobodylikeyou” (Writers: Jack Hambling / Lachlan McAllister / Brett Ramson; Publisher: BMG Rights Management)
      The Teskey Brothers, “Rain” (Writers: Josh Teskey / Sam Teskey / Liam Gough / Brendan Love; Publisher: Mushroom Music)
      Milan Ring, “Say to Me” (Writers: Milan Ring / Blessed Joe-Andah; Publishers: Universal Music Publishing / BMG Rights Management)
      Miiesha, “Twisting Words” (Writers: Miiesha Young / Stephen Collins / Mohamed Komba; Publishers: Sony Music Publishing / Mushroom Music)

      Most Performed Pop Work:

      Dua Lipa, “Break My Heart” (Writers: Andrew Farriss / Michael Hutchence / Dua Lipa / Jordan Johnson / Stefan Johnson / Ali Tamposi / Andrew Watt; Publishers: Warner Chappell Music / Universal Music Publishing / BMG Rights Management / Mushroom Music obo Reservoir / Kobalt Music Publishing)
      Amy Shark, “Everybody Rise” (Writers: Amy Shark / Joel Little; Publishers: Mushroom Music / Sony Music Publishing)
      Guy Sebastian, “Let Me Drink” (Writers: Guy Sebastian / M-Phazes / Olubowale Akintimehin; Publishers: Universal Music Publishing / Warner Chappell Music)
      Tones And I, “Never Seen the Rain” (Writer: Toni Watson; Publisher: Kobalt Music Publishing)
      Jessica Mauboy, “Selfish” (Writers: Jessica Mauboy / Antonio Egizii / Isabella Kearney-Nurse / David Musumeci; Publishers: Universal Music Publishing / Sony Music Publishing)

      Most Performed Rock Work:

      Wolfmother ft. Chris Cester, “Chase the Feeling” (Writers: Andrew Stockdale / Chris Cester / Jason Hill; Publishers: BMG Rights Management / Universal/MCA Music Publishing)
      Cold Chisel, “Getting the Band Back Together” (Writer: Don Walker; Publisher: Sony Music Publishing)
      Spacey Jane, “Good for You” (Writers: Ashton Hardman-Le Cornu / Caleb Harper / Kieran Lama / Peppa Lane; Publishers: Kobalt Music Publishing obo Dew Process)
      Hockey Dad, “I Missed Out” (Writers: Will Fleming / Zach Stephenson; Publisher: BMG Rights Management)
      The Amity Affliction, “Soak Me in Bleach” (Writers: Joel Birch / Ahren Stringer / Daniel Brown / Joseph Longobardi; Publishers: Kobalt Music Publishing / Native Tongue Music Publishing)

      Most Performed International Work:

      Harry Styles, “Adore You” (Writers: Harry Styles / Amy Allen / Thomas Hull / Tyler Johnson; Publishers: Universal Music Publishing / Kobalt Music Publishing / Native Tongue Music Publishing)
      Lewis Capaldi, “Before You Go” (Writers: Lewis Capaldi / Thomas Barnes / Peter Kelleher / Benjamin Kohn / Philip Plested; Publishers: BMG Rights Management / Sony Music Publishing)
      The Weeknd, “Blinding Lights” (Writers: Abel Tesfaye / Ahmad Balshe / Oscar Holter / Max Martin / Jason Quenneville; Publishers: Kobalt Music Publishing / Warner Chappell Music / Universal/MCA Music Publishing)
      Dua Lipa, “Don’t Start Now” (Writers: Dua Lipa / Caroline Ailin / Ian Kirkpatrick / Emily Schwartz; Publishers: Universal Music Publishing / BMG Rights Management / Warner Chappell Music / Kobalt Music Publishing)
      Maroon 5, “Memories” (Writers: Adam Levine / Jonathan Bellion / Vincent Ford / Jacob Hindlin / ordan Johnson / Stefan Johnson / Michael Pollack; Publishers: Universal/MCA Music Publishing / BMG Right Management / Kobalt Music Publishing / Warner Chappell Music)

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      Casting a ‘Follies’ of the Future, With Beyoncé and Ben Platt

      by

      In the 50 years since the musical’s debut, revivals and concerts have served its great songs to great stars. Who’d be our Broadway babies 25 years from now?“Follies” is every musical theater nerd’s favorite casting puzzle. It needs names that evoke nostalgia for the showbiz past but also skilled triple-threats who match the characters — and one another. Below, a look at performers who originated the six major roles, and a selection of those who followed over the last 50 years. Plus: Our dream cast for the 2046 revival, when “Follies” will be 75 and the nostalgia will be for today.Benjamin StoneDistinguished. Wealthy. Unfaithful. Depressed.From left: John McMartin, Victor Garber and Benjamin Walker.From left: Associated Press, Sara Krulwich/The New York Times and Richard Perry/The New York TimesOf all the original stars of “Follies,” only John McMartin came without nostalgic baggage. He was a theater actor first — and that’s how Ben, a philanthropist and retired politician, has been cast ever since.For the 2007 Encores! production, the four-time Tony nominee Victor Garber was Ben to Donna Murphy’s Phyllis. The pair looked perfect together, like a president and first lady.For the 75th anniversary revival, Benjamin Walker, who has played Andrew Jackson onstage and Abraham Lincoln (vampire killer) on film, seems just right.Buddy PlummerManic. Sweaty. Unfaithful. Depressed.From left: Gene Nelson, Mandy Patinkin and Ben Platt.Associated Press, Sara Krulwich/The New York Times, Sara Krulwich/The New York TimesA former Hollywood hoofer — he played Will Parker in the movie of “Oklahoma!” — Gene Nelson was dead-on casting for the salesman unfortunate enough to be in love with his wife.When the New York Philharmonic produced a concert version for a gala in 1985, Mandy Patinkin took the role — and shook it for all it was worth.Sure, he’s already got his mitts on the “Merrily We Roll Along” movie, but wasn’t “Dear Evan Hansen” a de facto audition for Ben Platt to play this walking nervous breakdown, too?Phyllis Rogers StoneElegant. Icy. Unfaithful. Angry.From left: Alexis Smith, Diana Rigg and Beyoncé.From left: Associated Press, Andrea Mohin/The New York Times and Kevin Winter, via Getty Images for The Recording AcademyBy 1971, Alexis Smith was long retired from Hollywood, where her aloof, glamorous aura made her a star of the 1940s. That persona (and timeline) made her perfect for Phyllis.Who better than Diana Rigg, that former Avenger, to take the role of a brilliantly imperious wife for the 1987 London premiere?Lucy is juicy. Jessie is dressy. Or so Phyllis sings, describing her two contrasting halves. Beyoncé is all that, and more. Case closed.Sally Durant PlummerFrilly. Romantic. Faithful. Nuts.From left: Dorothy Collins, Bernadette Peters and Ruthie Ann Miles.From left: Associated Press, Sara Krulwich/The New York Times and Sara Krulwich/The New York TimesIn the 1950s, Dorothy Collins was a lovely B-list songbird on “Your Hit Parade.” In 1971, she still had the voice — and despite a big smile, the acting chops to make Sally dark.Bernadette Peters took the role in the 2011 Broadway revival, stripping away Sally’s social skin and turning darkness into madness.Ruthie Ann Miles won a Tony Award for her impassioned rendition of “Something Wonderful” in “The King and I.” Sally’s “Losing My Mind” is another ode to longing worthy of her heart-melting voice.Hattie WalkerIndomitable. Leather-Lunged. Ancient. Ageless.From left: Ethel Shutta, Elaine Stritch and Bernadette Peters.From left: Martha Swope, via The New York Public Library for the Performing Arts, Sara Krulwich/The New York Times and Sara Krulwich/The New York TimesThe former radio star Ethel Shutta was 74 when she originated the role — and debuted its great song “Broadway Baby”; her own Broadway debut was in 1922.For the 1985 concert, no one was going to get between Hattie and Elaine Stritch, who sang “Broadway Baby” for most of the next 30 years.In 2046, Bernadette Peters will be 98 — and look 48. Having already played Sally in the 2011 revival, she’ll be perfect for a role she has never played except in real life.Carlotta CampionBruised. Tough. Hilarious. Still Here.From left: Yvonne De Carlo, Carol Burnett and Justin Vivian Bond.From left: Associated Press, Sara Krulwich/The New York Times, Deidre Schoo for The New York TimesYvonne De Carlo, the best known member of the original cast, portrayed the former B-list star who sings “I’m Still Here.”For the same 1985 concert, Carol Burnett — a bigger star than any of the “Follies” characters — was a curveball Carlotta. But no one could sell the setup for her big number better: “It was supposed to be a sad song, but it kept getting laughs.”How much Carlotta was there in Kiki DuRayne of “Kiki & Herb” fame? More than a splash. In 2046 it’ll be time for her creator, the cabaret chanteuse Justin Vivian Bond, to drink up, close the bar — and bring down the house. More