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Hot on heels of their separation, the Gone West duo are expected to put aside their differences to perform together for a livestream concert this coming weekend.
Apr 5, 2020
AceShowbiz – Colbie Caillat and her former fiance Justin Young are to put their recent split behind them for a weekend livestream concert.
The Gone West bandmates, who announced their break-up on Thursday, April 2, 2020, will host a virtual concert on Sunday evening as part of the ongoing Uncancelled Music Festival. The show will start at 8 P.M. EST.
Confirming the end of her engagement in a statement on Thursday, Colbie wrote, “This is difficult for us to share, but we want to be honest with you all. After 10 wonderful years, Justin and I have ended our relationship. We started out as best friends and we will continue to be best friends.”
“It will be hard, but often times the hard choice is the right choice and the path that will allow each of us to move forward and to grow. We continue to be overwhelmed with gratitude for our love and time together.”
Meanwhile, other weekend musical highlights for self-isolating music fans include G. Love’s Martin Guitar Presents Jam in Place gig at 4.30 P.M. EST on Saturday, April 4, 2020, Diplo’s latest DJ set from his Corona World Tour on YouTube, Instagram and Twitch at 11 P.M. EST on Saturday, and country star Baylee Littrell’s virtual gig, which will livestream on YouTube, Facebook and Instagram at 4 P.M. EST on Saturday.
Grand Ole Opry bosses will also host a livestream featuring Terri Clark, Lauren Alaina, and Ashley McBryde at 8 P.M. EST on Saturday, while Seasick Steve will host his Concert in an Empty Room at 3 P.M. EST, and hitmaker/producer Jermaine Dupri will be part of the 404 Day Presented by: Butter.ATL virtual event from 4 P.M. EST.

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The ‘Take It Easy’ star and his tour mate James Taylor have decided to pull the plug on their upcoming tour following coronavirus diagnosis amid the global pandemic.
Apr 5, 2020
AceShowbiz – Coronavirus sufferer Jackson Browne and James Taylor have postponed their joint summer 2020 tour.
The trek was slated to begin in New Orleans, Louisiana on May 15, 2020, but the two singer/songwriters have decided to shelve the dates and plan a road trip later in the year.
A statement from the duo reads, “As this summer’s tour of 27 towns and cities across the U.S. drew near, we’ve been increasingly excited to hit the road again, so it’s deeply disappointing for both of us to have to call it off and reschedule (and reschedule we WILL)!”
“As we all now realize, COVID-19 is a serious, real and present danger. Moreover, our public health is all of our responsibility. So let us listen to and follow the directions of our public healthcare people and support their efforts in this unprecedented time of global pandemic. Love those around you and, above all, stay safe and healthy.”
Browne recently tested positive for COVID-19, telling Rolling Stone he has mild symptoms and is spending time in quarantine at his home in Los Angeles.
Meanwhile, Niall Horan has been forced to cancel his upcoming “Nice to Meet Ya World Tour” due to the pandemic, also announcing the news to fans on social media on Friday, April 3, 2020.
“Given the unprecedented circumstances I have decided to not move forward with the ‘Nice To Meet Ya’ world tour this year,” he writes. “This was a difficult decision, but the well-being of my fans and touring family is always my top priority.”
“Not being able to tour for what is effectively most of 2020 just didn’t feel right and I’m so sorry to all you amazing people who bought tickets. I look forward to being able to bring new music and a new tour for all of my fans around the world in 2021. I want to announce new dates soon but I don’t think it’s fair on you guys to do so until the dust has settled and things have gone back to normal.”
“For the time being, please stay safe everyone. Love you all.”
The pandemic has forced the cancellation or postponement of a series of top tours headlined by the likes of Green Day, Foo Fighters, BTS (Bangtan Boys), Slipknot, and the Zac Brown Band, as well as all major music festivals and events around the world.

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The ‘She Looks So Perfect’ band dominates the albums chart across the pond with their new album ‘Calm’, beating ‘Future Nostalgia’ from the ‘IDGAF’ hitmaker.
Apr 4, 2020
AceShowbiz – 5 Seconds of Summer have beaten Dua Lipa to number one in a knife-edge U.K. albums chart battle.
The Aussie pop rockers’ new record “Calm” recorded just 550 more chart sales than Dua’s sophomore collection “Future Nostalgia” to top Friday’s April 3, 2020 Official Charts Company rundown.
It is the band’s second British number one album after 2015’s “Sounds Good Feels Good”.
In third place is the collaboration from British rappers Skepta, Chip and Young Adz, Insomnia, with The Weeknd’s “After Hours” at four and Lewis Capaldi’s “Divinely Uninspired to a Hellish Extent” completing the top five.
The best-selling track of the year so far, The Weeknd’s “Blinding Lights”, returns to the top of the singles chart for a third stint at number one, knocking Saint Jhn’s “Roses” down to two.
There’s also consolation for Dua Lipa after missing out on the albums chart crown as she has two tracks in the top five of the singles rundown, with “Physical” and “Don’t Start Now” rising to three and four respectively, ahead of Joel Corry’s “Lonely”, which slips down one spot to five.

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The music of Bill Withers radiated a quality that’s rare in pop songs and, really, anywhere else: selflessness.It’s in the subjects that Withers, who died on Monday, chose to sing about: his grandmother’s hard-won wisdom in “Grandma’s Hands,” the suicidal regrets of a failed husband in “Better Off Dead,” and in one of his most indelible songs, “Lean on Me,” a churchy pledge of unconditional help and compassion.Perhaps it was because Withers was already a grown-up, in his early 30s, when his recording career started. He was raised in a large family in West Virginia coal country, served in the Navy and worked factory jobs before getting the chance to record. He hadn’t been sheltered from the everyday lives that he would write about.Withers’s most triumphant years, the early 1970s, were also an idealistic time for soul music. Marvin Gaye, Stevie Wonder, Curtis Mayfield, Earth, Wind & Fire and others were writing community-minded songs that melded urban realism and utopian aspiration. Withers could be every bit their peer, particularly in the ways he brought big issues down to personal stories, like his portrait of a badly wounded Vietnam veteran, “I Can’t Write Left-Handed.” And when he wasn’t observing outside characters, Withers could also depict the deepest jealousy, loneliness and melancholy, in songs like “Who Is He (And What Is He to You),” “You,” and his despondent megahit, “Ain’t No Sunshine,” a model of profound simplicity.His voice was at the center of every song, reedy and gritty, strong enough for preacherly declamations and smooth enough to carry a lover’s endearments. Yet he chose to treat that utterly distinctive voice modestly — as a vehicle, not a centerpiece. He sang his stories with down-home fervor, but he was also more than willing to let the sense of the words dissolve into rhythm and incantation, into impulses and feelings.Withers made it seem — with deep-rooted knowledge and virtuoso skill — that each song was creating its own borderless style and groove on the spot, steeped in but never beholden to blues, gospel, country, jazz, folk, rock or any other defined idiom. Imagine Withers’s voice removed from songs like the defiant “Use Me,” and the grooves he devised (with his top-notch studio bands) nearly capture the mood on their own — though Withers’s vocals would also engage those grooves with every phrase.Withers was ill-used by a recording business that second-guessed his songwriting. In his acceptance speech at his long-belated 2015 Rock & Roll Hall of Fame induction, he defined A&R, record label jargon that stands for artists and repertoire, as “antagonistic and redundant.” After his 1974 album “+‘Justments,” filled with brooding songs about love gone wrong, Withers and his new label, Columbia, recast him as a more conventional romantic crooner. He had some suavely commercial moments: “Lovely Day” in 1977, which for its final minute flaunts one almost impossibly sustained note after another, and “Just the Two of Us,” which appeared on a 1980 album by the saxophonist Grover Washington Jr.Withers’s musical ingenuity lingers on his later albums in some eccentric rhythm tracks and sly chord progressions — and he did manage to resist making disco. But the joyful, risky self-invention of his early albums had given way to professionalism. He made his last album in 1985, then earned a living from his publishing catalog, refusing offers to record again.The Withers album to savor is the one he recorded live at Carnegie Hall in 1972. He brought a band of first-call studio musicians and gathered all of his best early material, seasoned by serious touring. Songs that had been limited to three minutes in studio versions get a chance to groove longer and harder: “Use Me” rides a backbeat of audience handclaps to syncopated ecstasy, and tops that with a reprise. Withers’s voice had a rawer tone than his studio performances without sacrificing any improvisational subtleties.And the songs were populated not with one singer’s ego, but with friends, relatives, lovers, rivals and, in an all-out 13-minute, key-changing, wah-wah throwdown, a week in the life of an entire neighborhood, “Harlem.” It’s not about Withers; it’s about music where everybody lives. More

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During a chat with Capital Breakfast radio host Roman Kemp, the ‘Don’t Start Now’ hitmaker also reveals that she is open to a collaboration with ‘Shout Out to My Ex’ hitmakers Little Mix.
Apr 4, 2020
AceShowbiz – Dua Lipa’s dream duet with Miley Cyrus has edged a little closer after revealing the pop stars have “a song” they’re working on.
The Brit didn’t talk about a studio hook-up when she recently appeared on Miley’s “Bright Minded Instagram Live” show, but she reveals plans are in the works.
“There is a song,” she told Capital Breakfast radio host Roman Kemp. “I don’t know. We don’t know. We aren’t sure if the song is the one we want to release, so it’s in waiting, and maybe we’ll do something different.”
Dua also revealed she’s open to collaborating with fellow Brits Little Mix.
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“I think that would be quite fun,” she said. “It would be all girls. They all look so cute; I might be sticking out like a sore thumb a bit.”

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Bill Withers always sounded like he was strumming the guitar from a seat at his kitchen table — or maybe, at his most luxurious, an easy chair in the living room.The ultimate homespun hitmaker, he had an innate sense of what might make a song memorable, and little interest in excess attitude or accouterments. Ultimately Withers reminded us that it’s the everyday that is the most meaningful: work, family, love, loss. None of that needs dressing up to feel real; it just needs a good melody. And maybe an unswerving beat.Withers, who died on Monday, is remembered for his hits (“Lean on Me,” “Use Me,” “Just the Two of Us”) more than for his albums, but maybe that’s an error. By virtue of how he made music, there’s often little difference between the great songs and the very-good ones: His singles weren’t surgically constructed to be smashes, and his non-hits were written in roughly the same way. Idea, groove, hook — and that’s it.As a result, his LPs from the early to mid-1970s, which contain most of his best-known songs, are stuffed with lesser-known gems too. Here are 10 of those easily overlooked classics.‘Sweet Wanomi’ (1971)A steadily strummed acoustic guitar mixes it up with a clavinet, bass and drums; later, a string section drifts in. Some combination of these parts covers most of Withers’s debut album, “Just as I Am.” The record’s fabulously stripped-down quality commands you to focus on Withers’s melodies, to get cozy with his winningly imperfect voice, to feel the hands being lain on the instruments in the studio. After the LP’s first three tracks, all classics (“Harlem,” “Grandma’s Hands” and “Ain’t No Sunshine”), we get to “Sweet Wanomi,” with a summery groove and lyrics celebrating the tender side of desire. Like so many of his songs, there are only a couple of chords and no bridge, plus a beat that subtly turns folk music into funk.‘I’m Her Daddy’ (1971)One of the most tenderhearted songs in the Withers songbook is also one of his most aggrieved. It’s written from the perspective of a man who has just found out that a long-ago lover had his child without telling him. “Can I see her?” he pleads. “Does she know/I’m her daddy?” It starts with a lonely acoustic guitar and a drizzle of fingers on a hand drum. By the time he arrives at the title line, letting his syllables linger and sometimes verge into a growl, Withers sounds bewildered by his own sadness.‘Do It Good’ (1971)“I can’t play the guitar or the piano, but I made a career out of writing songs on guitars and piano,” Withers told The New York Times in 2015, soon after he was elected to the Rock & Roll Hall of Fame. “I never learned music. I just did it.” That may be more or less true, but on his debut album, the executive Clarence Avant brought in a crack team that included Booker T. Jones and Stephen Stills. On “Do It Good,” over a two-chord vamp, Withers acknowledges in a spoken interlude that when he first came into the studio, he felt as green as a sprout. He quotes the counsel Jones gave him: “Don’t worry about it. Just do what you do, and do it good.”‘Who Is He (and What Is He to You)’ (1972)With novelistic intrigue, Withers sings of walking down the street with his lover and watching her exchange a seemingly familiar glance with another man. “Dadgummittuh,” Withers spits in a jealous neologism. “Who is he, and what is he to you?” The song would get a second life a quarter-century later, when Meshell Ndegeocello’s largely faithful cover became a No. 1 hit on the Billboard dance chart.‘I Can’t Write Left-Handed’ (1973)Before becoming a household name, Withers spent nine years as a Navy mechanic. He left shortly after the Gulf of Tonkin affair, and never had to serve in Vietnam. But “I Can’t Write Left-Handed” is written from the perspective of a G.I. whose right arm was shot off in the Vietnam War; it’s the closest Withers ever came to penning a protest song. As the narrator asks someone to help him write a letter to his mother, there’s no big climax or rousing chorus — just a slowly unfolding story of heartbreak, as a young man tries to make sense of what’s transpired and searches for a way forward.‘Stories’ (1975)This is a rare sort of Withers song: It’s got hymnal chord changes, a set of “come one, come all” lyrics, and a flourishing harp played by the great Dorothy Ashby. But ultimately, it’s no less than a declaration of artistic purpose. In the bridge, he makes his mission clear:Young and old, we all have storiesThat we all must try to sellTales of how you get to heavenAnd how we’ve been through hell‘Liza’ (1975)Think of “Liza” as a more intimate (and, yes, far less anthemic) counterpart to “Lean on Me.” After dedicating the song to his niece, accompanied only by an electric piano evoking nursery lullabies, Withers sings: “I know what it means to need a shoulder/So lay your head on mine.” Whereas on “Lean on Me,” his voice was hoisted up by a full string section, on “Liza” it stays at a single register, like an elder telling a long story where the plot is not really the point. As he sings, you can almost feel the warmth of his breath.‘City of the Angels’ (1976)This is the closest Withers ever got to an epic work, but it’s still Bill we’re talking about: Even a 10-minute track has a certain modesty to it. For the first half, a throbbing beat and a textured blend of acoustic and electric piano carry the track along as he sings a paean to Los Angeles, where he settled after serving in the military and eventually found stardom. For the second half, with the rhythm gone, he drifts back through those same lyrics as if savoring a memory. There’s no big new formal section, or dazzling instrumental solo. Simply not his style.‘It Ain’t Because of Me Baby’ (1977)Call it the “Hotline Bling” of the ’70s — a song whose lyrics basically say: Things used to be so good between us. I’m still just a phone call away. Don’t you know better than not to call? And just as with Drake, the self-righteousness manages to reconstitute as charm. “It Ain’t Because of Me Baby” comes from “Menagerie,” which to that point was Withers’s most thoroughly produced album. But even through a slick architecture of strings and horns, his unpretentious romanticism cut straight through.‘Something That Turns You On’ (1985)Withers’s last album was a full-on embrace of the by-then-omnipresent “quiet storm” sound. Yet again, he made the style work for him without really changing his mode of delivery at all. Instead of cool bravado or false reassurances — the coin of the realm in a lot of the gussied-up balladry that followed disco — he opens “Something That Turns You On” with a humble prayer for connection:I hope you find in meSomething that turns you onA tie that binds with meAnd holds us together from now on More

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‘Toosie Slide’ marks the Canadian rapper’s first official solo single in 2020 after previously joining forces with Future on ‘Life Is Good’ and with Lil Yachty and DaBaby on ‘Oprah’s Bank Account’.
Apr 4, 2020
AceShowbiz – Drake has released the full version of his song “Toosie Slide” following its huge popularity on TikTok after he posted the snippet of the spot. Making its way out online on Thursday, April 2, the video sees the Canadian star demonstrating how to execute the “Toosie Slide” moves in his luxurious mansion.
Taking fans to a virtual tour to his $100M crib, Drake dances around for the OZ-produced track. “It go right foot up, left foot, slide/ Left foot up, right foot, slide,” the OVO star raps. “Basically, I’m saying, either way, we ’bout to slide/ Can’t let this one slide.”
The song set social media ablaze after social media influencer/dancer Toosie posted a how-to video of the record’s titular dance on Sunday, March 30. Talking about his collaboration with the “In My Feelings” hitmaker, Toosie previously revealed to Rolling Stone, “Drake hit me up and was like, ‘Yo, I need your help.’ So he sends the record. It was just an idea at the time.”
“It was just the hook and a verse. I came up with this dance. [Drake said,] ‘What you think? You think you can come up with a dance for this song that I made?’ So I sit down, listen to it. Luckily, I’m at Ayo and Teo’s house with Hii Key and all of us. We all chilling. We came up with it pretty fast. We just all pieced it together. We all contributed,” he went on to explain.
“Toosie Slide” marks Drake’s first official solo single in 2020. He previously joined forces with Future on “Life Is Good” and collaborated with Lil Yachty and DaBaby on “Oprah’s Bank Account”. Additionally, he released, “When to Say When” and “Chicago Freestyle”.

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Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at [email protected] and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Mavis Staples, ‘All in It Together’[embedded content]No one else does solidarity, reconciliation and mutual uplift with the soulful dignity of Mavis Staples. “All in It Together” proclaims, “I don’t need any enemies/I want you to be my friend.” Produced by Jeff Tweedy, the song feels loose-limbed and unpolished, hinting at the Rolling Stones’ forays into country. Tweedy leans into his slide guitar and Scott Ligon slings honky-tonk piano flourishes as Staples insists, “I need you/you need me.” The song benefits My Block, My Hood, My City, a Chicago group helping seniors through the pandemic. JON PARELESMoses Sumney, ‘Cut Me’Moses Sumney takes the underpinnings of a vintage soul ballad — an unhurried bass line, a pure and airborne falsetto vocal, gospel tropes of weariness and longing — and thoroughly twists them in “Cut Me,” a sweetly harmonized song about a compulsion toward self-harm, recognized but not conquered. The bass line is spattered with stop-start piano clusters; the song lopes forward through sweet falsetto harmonies, surreal electronics and — why not? — trombones answering Sumney’s voice. It’s one more advance puzzle piece from Sumney’s “Grae,” due in May. PARELESserpentwithfeet, ‘A Comma’[embedded content]“Life’s gotta get easier,” sings serpentwithfeet — the songwriter Josiah Wise — backed by metronomic ticking, impassive minor-key piano arpeggios, a muted beat and something that squeaks. It’s not a prediction — it’s a plea. PARELESPowfu featuring beabadoobee, ‘Death Bed (Coffee for Your Head)’Finally, a video for one of the year’s most infectious pop songs, a casually-loping lite hip-hop ballad full of regret tempered with pity. Pofwu raps with a kind of tender lethargy, or maybe a lethargic kind of tenderness — either way, he’s sweetly compelling. The Dido-ish countermelody by the singer beabadoobee injects a dose of early ’90s melancholy. JON CARAMANICATroye Sivan, ‘Take Yourself Home’An understatedly lush quasi-soul thumper from Troye Sivan, whose songs’ production has often communicated more emphatically than he did. This track is restrained, freeing him to sing calmly, which suits him well. But he hasn’t forsaken loudness — in the final minute, his main vocals drop out, and the song begins to swallow him, swelling into some blend of arch new wave and soulful hard techno. CARAMANICAThe 1975 featuring Phoebe Bridgers, ‘Jesus Christ 2005 God Bless America’The music couldn’t be gentler: folky strumming, breathy vocals, floating sustained horns. But as the title suggests, the 1975 is stirring the pot with “Jesus Christ 2005 God Bless America,” which has Matty Healy and Phoebe Bridgers confessing to same-sex attractions that they dare not reveal to their peers. “Fortunately I believe — lucky me,” Healy sings, leaving listeners to gauge the irony. PARELESSonic Boom, ‘The Way That You Live’Pete Kember, better known as Sonic Boom, still embraces the cavernous, neo-psychedelic mantras he brought to Spacemen 3, E.A.R. and his own Sonic Boom projects. In this single from his album due June 5, “All Things Being Equal,” the beat is steadfast, synthesizers pulse and swell and wordless “ahs” enfold him as he sings a refrain that might as well be benevolent advice about open-ended but well-connected isolation: “Make it about the way that you live/Make it about the love that you give.” PARELESDaBaby, ‘Find My Way’In which DaBaby eases up on the gas pedal, finds just a touch of melody, and spreads his typical cluster of punches out a little — not a lot, just a little — over an understated and maybe shrug-worthy bit of Nelly-esque production. CARAMANICANduduzo Makhathini, ‘Yehlisan’uMoya’When a musician considers himself basically a healer, as the South African pianist Nduduzo Makhathini does, you can look for clues to his purpose in the effect he has on others. So let’s talk about how I’ve never heard Logan Richardson play the alto saxophone like he does on “Yehlisan’uMoya,” the opener of Makhathini’s Blue Note debut, “Models of Communication: Letters from the Underworlds.” Actually, Richardson’s playing — melodic and brazen and scrawled; circling more than slicing, which is unusual for him ­— is consistently among the best things about this album. And that’s no knock on the bandleader. Because here’s another best thing: the multidirectional synthesis of Makhathini’s compositions, immersed as they are in the traditions of South Africa’s eastern region but richly shaded with Albert Ayler, Archie Shepp, Andrew Hill and John Coltrane too. GIOVANNI RUSSONELLOEverything Is Recorded featuring Infinite Coles and Maria Somerville, ‘11:55 A.M./This World’“This World” offers a hymnlike chorus like a backwoods church congregation, unknowingly transported to be joined by reverb-y guitars or stately orchestra. “This world’s gonna break your heart/There’ll be no place to lay your head,” they sing, with the dusty-voiced Infinite Cole offering somber verses: “I call your name but the truth is hard to find.” It’s the eerie finale of the album “Friday Forever” by Everything Is Recorded, the project of Richard Russell, the producer and head of XL Records; it’s supposed to be the last chapter of a narrative. PARELESWebber/Morris Big Band, ‘Coral’[embedded content]The big band is one of the unwieldiest old vehicles in jazz. But every time the saxophonists Anna Webber and Angela Morris create a piece of music together, they seem to be picking apart their 19-piece ensemble and reassembling it from scratch. On “Both Are True,” its five-years-awaited debut album, the Webber/Morris Big Band is at times a clenched fist (on “Rebonds”), elsewhere a prismatic splay of light (on the title track). On the 10-minute “Coral,” what begins as an Elysian immersion in reeds and brass grows dark and dispersed. Throughout, no steady rhythm takes hold. But at the end, when those original, idyllic harmonies return, so does a sense of peace. RUSSONELLO More