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      in Music

      5 Notes From a Quiet Year: How Music Survived the Pandemic

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      By the beginning of lockdown in Dormont, Pa., Amy Kline had already watched the viral videos of Italians isolated in their homes, singing on their balconies to pass the time. Inspired, she posted a meme about it in a local Facebook group: “Messaging all my neighbors on Nextdoor, telling them they all better [expletive] have every single god damned line from Les Miz memorized for when we do the singing out our windows together thing.” It started getting some traction, so she wrote, “If 100 people like this by tomorrow morning, I’m in.” And then, overnight, she — and at least 99 of her neighbors — were.

      Some days later, after a 30-person Zoom rehearsal, the Dormont “CoronaChoir” sang “Do You Hear the People Sing?” a protest anthem from “Les Misérables,” in front of their homes. Kline estimates that 700 neighbors participated. On some blocks, at least one person represented each household; on others, families joined in via Zoom, half a second off from the rest of the group. A few singers wore French revolutionary costumes; the mayor waved his own enormous flag. “It turned out so perfectly — people felt connected to each other,” Kline said. “I knew this sort of thing was happening in other parts of the world, but it still felt really special.”
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      Those first few weeks of shelter-in-place were especially bewildering and lonesome, our fingers and shoulders itching to make contact with another patch of skin, our brains struggling to find anything to discuss beyond Netflix. Neighborhood singing was a balm — connection without the pressure of having to make conversation.

      Music, blessedly, morphed to fit the pandemic with relative ease, be it professional musicians sitting around on Instagram Live playing their hits, like on the webcast Verzuz, or gig musicians streaming tiny concerts, trying to expand their fan base. For some, web shows were a financial lifeline: Even if they brought in only a fraction of what artists would be making from in-person gigs, they were better than nothing.

      When shelter-in-place orders began in New Orleans, Sam Williams, a bandleader and horn player, figured that he and his band would hold off playing for two weeks, and then the world would return to normal. But as the lockdown stretched on, Williams, who goes by Big Sam, told his bandmates they had to do something, even just prop up a phone to livestream sets from his driveway. If they were lucky, maybe they could get some tips.

      Williams is the sole provider for his family; as the pandemic continued, his bank account dwindled. Music had been his career for 25 years. So he kept playing, and sometimes after his shows, viewers would contribute to his Venmo account, or his neighbors would come by with tips or even a dish of food. How else was he supposed to survive an edict that banned horn players from performing indoors?

      He and the band did shows every Sunday: first church music, then funk. They didn’t face the street when they performed and never told their online audience exactly where they were — Williams, worried about social distancing, was reluctant to draw a crowd — but that didn’t keep neighbors from creeping out of their front yards and onto the sidewalk to watch. People would drive to Williams’s block and listen from their parked cars; delivery workers might take a quick break to enjoy a song or two. “It helps the whole neighborhood to feel some type of normalcy when they can have live music,” he said. Indoor entertainment is limited in New Orleans, but Williams is still singing, trying to give something to his people in the hope that they can give back to him.

      Jennifer Parnall, a Canadian transplant locked down in Spain, also wanted to give back: One day last March, she plugged her keyboard into an amp and played “All You Need Is Love.” Soon her neighbors started requesting songs, shouting them from their windows or scrawling them on a chalkboard and hanging it where she could see. Armed with only a guitar and a keyboard, Parnall tried her best at the Cranberries and Radiohead. In all, Parnall played four songs a day for 100 days.

      For the very last song of her very last show, she ran up to her roof with her guitar and performed “Dreams,” by Fleetwood Mac; passers-by and neighbors joined for the chorus, their voices undoing all those months of silence. Not even the GoPro she brought with her could fully capture the exuberance of that moment: Parnall saw one woman across the way, who had been pregnant for months, watching the concert while cradling her newborn baby. It felt like magic, creating something so beautiful for her community in a time of such isolation.

      In Brooklyn, a year later, I watched everyone’s videos: Kline and her neighbors in Dormont, recorded by a local videographer. Williams in New Orleans, doing the two-step in his driveway. Parnall in Barcelona, playing to the building facing her own; in one video, she began a song, only to be interrupted by a blaring car horn.

      The pandemic changed our relationship to noise: With people stuck inside, the atmospheric sounds of the world — car alarms, barking dogs, ambulance sirens — felt amplified. The human sounds, though, lessened. Even the online concerts were sort of eerie without applause. Parnall waited until the car horn stopped, then began her song again. When she finished, more noise trickled in from the outside: clapping and whooping. People had been there, listening. Somehow, it was the best part.

      Jazmine Hughes is a reporter for The Times’s Metro section and a staff writer for the magazine. More

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      in Television

      Jason Mantzoukas Has Had Time to Really Geek Out on Music

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      Behind the wide-eyed, high-decibel comedy of Jason Mantzoukas, there is a consummate, almost archetypal music geek. Before his roles on shows like “The League,” “The Good Place” and “Big Mouth,” Mantzoukas spent years playing drums, collecting hundreds of records and researching transcendental religious music in North Africa and the Middle East. His love of music is effusive and encyclopedic, and during the anxious, idling days of the pandemic, he found it suddenly reignited. But the kinds of music he was drawn to had shifted entirely.

      Was there a moment last year when you realized your listening habits were changing? When my normal life exists, it’s busy and chaotic. I listen to a lot of music that is slower, melancholy — stuff that juxtaposes against the larger chaos of my life. When life became incredibly simple, that music became too overwhelmingly sad for me to listen to. I can’t listen to Joni Mitchell right now. Even like an album that I loved, Phoebe Bridgers’s record — still so sad. So I slowly started realizing that I was choosing to listen to soul, funk and R.&B., because it just didn’t trigger those emotions. It allowed me to keep my head above water.

      Everything was so scary and stressful in March, in April and May, and I’m a very anxious person by nature. I’ve been in complete solo isolation for nearly a year now; I’ve not touched another person in a year. So my music tastes changed simply because I didn’t want to completely fall apart. I listened to a lot of Meters. I listened to a lot of the Numero Group’s “Eccentric Soul” compilations. My No.1 song I listened to the most — hold on, I made a playlist for this call. It’s the Del-Reys’ “Don’t You Know.” It’s such a beautifully simple song.

      I was obsessed with a lot of music that I literally have no reference for. I feel like I’m having another adolescence — being stuck in my room, just listening to music and watching movies. It’s like a second go at being a teenager, when the only way to access stuff was to try to find new music. Which is why I think I’m drawn to all these reissue labels, all these labels that are finding stuff that I just have not known about: Numero Group or Tompkins Square or Mississippi Records or Awesome Tapes From Africa.

      I know that you studied transcendental music. Was that something you came back to this year? Huge. I feel like holy music has been reintroduced into my life. I’ve gone back to Moroccan Gnawa music. Also a lot of great spiritual jazz stuff — the Alice Coltrane record from a couple of years ago. Did you watch “Ragas Live,” by any chance? You can sign up and watch the whole thing: 24 hours of uninterrupted, absolutely incredible music performances. They had Zakir Hussain, Terry Riley, all these names. They’re all playing from home, so they’re like, “Here’s Terry Riley from Japan!” They went to Venezuela and played this band I’ve never heard of, fronted by this woman named Betsayda Machado. Do you know who this is? I’m going to send you a song. The visual of them out in this beautiful, idyllic, lush green setting, with the river behind them and people going by and boats, and they’re singing and playing this — I was, like, mouth agape. I stood up, I got so excited.

      One of the true surprises of the year was that I listened to a lot of music that made me want to dance around. The Machado song makes me move. All I do is sit and read, sit and type, sit and watch — I don’t need music that just pushes me further into the chair. There’s something about forcing myself to expend energy, even if it’s just out on my porch for 10 minutes. There’s something about that release. That is such a part of my normal life, either through performing or being with friends.

      Or even just getting the experience of two people in a room, being like, “Here, listen to this.” I could literally do this for the next three hours!

      I would love for you to send me your playlist. The playlist is five hours long. I was like: You know what? I’m just going to dump a bunch of songs in there, because I could talk about any of them as part of this year. And then suddenly, it’s five hours.

      The flip side of all this dance-music stuff is that I also spent a tremendous amount of the year deep-diving into ambient and New Age music. This artist who goes by Green-House. And then there was also the Hiroshi Yoshimura reissue of the album “Green.” That Mary Lattimore record “Silver Ladders” — just very calming, a record that really helped me not to spiral out. Beverly Glenn-Copeland. In years past, I would lean more toward harder, experimental ambient stuff — Fennesz, Tim Hecker.

      I’m constantly searching for and trying to find ways to discover new music. One thing that has been hardest for me, in the last 10 years, is that so many of those avenues have been closed, because a lot of them were physical. For me, a lot of discovering music came from being able to walk into Other Music in New York. Amoeba Records in Los Angeles. Aquarius Records, out of San Francisco — they would put out a comprehensive list of new releases, with big, chunky write-ups.

      One thing I’ve spent the last year doing — and again, I’m 48 years old — is trying to understand Bandcamp and use it as a portal to discover stuff. Digging deep and unearthing stuff that was like: “I don’t know what this is. But because I’ve been listening to this other thing, now that weird label has shown me this thing.” Now I’m listening to this Brazilian artist who I’ve never heard of who’s blowing my mind.

      This interview has been edited and condensed for clarity. More

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      in Theater

      The Night New York's Theaters, Museums and Concert Halls Shut Down

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyMarch 12, 2020: The Night the City Sighed to SleepChocolate fountains, Debbie Harry and an artist’s swan song cut short. We gathered scenes from the New York City cultural landscape in the last moments before lockdown.The view from Sardi’s on March 12, 2020, as Broadway and much of New York locked down.Credit…Spencer Platt/Getty ImagesMichael Paulson, Julia Jacobs and March 11, 2021, 5:00 a.m. ETMarch began with an ominous drumbeat. A packed cruise ship with a coronavirus outbreak was left floating for days off the coast of California. South by Southwest was canceled. The N.B.A. suspended its season. And then, on March 12, Broadway shut down, and with it every large gathering in New York City.By the time the grates came down, it was not much of a surprise. The city that never sleeps was grinding to a halt.But it was impossible to imagine what was to come. The staggering death toll. The vast job losses. The isolation. The endlessness.That evening, a group of Broadway bigwigs — theater owners and producers, mostly — gathered to drown their sorrows at Sardi’s, the industry hangout famous for its celebrity caricatures. They noshed, they drank, they commiserated, and they hugged. Several of them wound up infected with the virus, although there were so many meetings, and so few masks at that point, who knows how they got it.They posted signs on their theaters saying they expected to be back four weeks later.Now it’s been 52.Do you remember your final nights out? We gathered scenes from around the city as the curtains closed. MICHAEL PAULSONFondue Fountains, Buckets of Bouquets and Fresh DolceThe dressing rooms at the Brooks Atkinson Theater were filled with flowers. The ruby chocolate fondue fountain was booked for the after-party. Brittney Mack’s mother and her brother and her best girlfriends had all flown into town, not about to miss the moment when the 30-something Chicagoan made her long-awaited Broadway debut as a 16th-century English queen.But it was not to be. Ninety minutes before the scheduled opening of “Six,” an eagerly anticipated new musical about the wives of King Henry VIII, Broadway shut down.“I got to the theater early, and there were gifts from all over — buckets and buckets of plants, and cookies, and so much love, and I was like, ‘Hell, yes,’” Mack recalled. “And then the assistant stage manager came in and said the show is canceled, and I just said, ‘How dare you!’”Credit…Lucas McMahon“It was very, very overwhelming, and all of a sudden I felt incredibly alone. And then I was like, ‘But my dress! And the earrings!’ So many perspectives hit me, and I realized this happened to our entire industry, and I thought, ‘What the hell are we all going to do?’”What most of the “Six” family did was to gather. Mack went out for drinks with her friends at Harlem Public, near her apartment. Meanwhile, the show’s producer, Kevin McCollum, fresh off canceling an 800-person opening night party at Tao Downtown, hosted about 100 members of the show’s inner circle at the Glass House Tavern, a few doors down from the theater.“Looking back, it was ridiculous that we did that, but we didn’t know what we didn’t know, so we had a buffet of crudités, and a host of droplets, I’m sure,” he said. “We were in shock. There were people crying. We were giving it our best stiff upper lip, for the British, but we were emotionally devastated.”The notice posted on the doors of the Brooks Atkinson Theater, home to the Broadway production of “Six.”Credit…Lucas McMahonBundled playbills that would have been distributed to the sold-out audience.Credit…Lucas McMahonGeorge Stiles, an English composer, was among many British friends of the show who had flown over for the opening. Stiles was once in a band with the father of Toby Marlow, who wrote “Six” with Lucy Moss, and had become a mentor and then a co-producer.“Never before has something that I’ve been involved with felt so poised to go off with a crack,” Stiles said of “Six” — quite a statement given that he wrote songs for the stage musical adaptation of “Mary Poppins.” “I was anticipating the euphoria of the crowd, and the fun of the red carpet-y nonsense, and the everyone wanting to be the last one to sit down.”Instead, he and his husband and Marlow’s father licked their wounds at Marseille. What was on the menu? “The sheer awfulness of being this close to a wonderful Broadway run.” Stiles has since put his “suitably regal” gold and black Dolce & Gabbana outfit “into very careful mothballs,” anticipating that there will yet be an opening night to celebrate. “We are very gung-ho,” he said, “and hopeful, fingers crossed, that it wont be too many months away.” PAULSON“We Love You, New York! Don’t Touch Your Face!”Only about half of the people who bought tickets to the March 12 show at Mercury Lounge had turned up, but there were still throngs of people drinking, talking and grooving to the band. Debbie Harry of the band Blondie was there, and so was the music producer Hal Willner. He would die less than a month later from Covid-19.Onstage, Michael C. Hall, the star of “Dexter” and lead singer of the glam rock band Princess Goes to the Butterfly Museum, belted and wailed into the microphone.The staff members at Mercury Lounge knew they were watching their last live concert for a while; what “a while” meant, they had no idea. Bands had been canceling their appearances at an increasing rate, and on a call earlier that day, the owners had asked the staff members if they were still comfortable working, said Maggie Wrigley, a club manager. The line was silent for a moment, before one employee spoke up to say that no, it was no longer comfortable.Michael C. Hall, the star of “Dexter,” and his glam rock band, Princess Goes to the Butterfly Museum, were the last act to perform at Mercury Lounge prior to shutdown.Credit…Evan Agostini/Invision, via Associated PressOthers piped up to agree: They felt exposed and vulnerable to the virus at work. Because the late show had already canceled, the owners decided that the club would shut down that night after the early show.At about 9:30 p.m. — painfully early for a Thursday night on the city’s club scene — the audience was asked to leave. “We love you, New York! Don’t touch your face!” Hall yelled at the end of his set.Alex Beaulieu, the club’s production manager, sanitized the microphones and packed the drum kit, amps and cables for longer term storage.“We locked the door and sat at the bar and had a drink,” Wrigley said of the club’s staff, “and we just kind of looked at each other, with no idea what was going to happen.”JULIA JACOBSA Swan Song, Cut ShortFor Sheena Wagstaff, chairman of modern and contemporary art at the Metropolitan Museum of Art, the spring of 2020 was destined to be bittersweet. The Met Breuer, the museum’s experimental satellite space, was going to close, three years ahead of schedule. But its final show was one she’d spent years preparing: “Gerhard Richter: Painting After All,” a survey of the stern and skeptical German artist, filling two floors of the landmark building and including loans from 30 different collections.The exhibition, intended by the now 89-year-old artist to be his last major show, opened March 4. It had the makings of a blockbuster, and it ought to have introduced New York to four paintings called “Birkenau” (2014): streaked, abraded abstractions that obscure imagery of the titular death camp. On March 12, the show’s ninth day, Wagstaff realized it had to close.The Richter exhibition at the Met Breuer had all the makings of a blockbuster when it closed on its ninth day.Credit…Charlie Rubin for The New York TimesAt first the gravity of the crisis wasn’t fully clear. “I had every anticipation that it was going to reopen in May at the very latest,” Wagstaff said recently. But soon she realized that “Birkenau” — a culmination of Richter’s 60-year engagement with German history and the ethics of representation — would not find an audience. “Beyond a kind of personal huge disappointment, it was that the artist, so aware of his own mortality, was denied the possibility of actually making a mini-manifesto to the world. Alongside that was the curtailment of the Breuer. What we ended up with was this implosion.”Richter never saw the show. A few days before it came down, Wagstaff stood alone with “Birkenau”: paintings about the possibility of perceiving history that, now, no one could perceive at all. “It was a kind of haunting experience,” she said. “They became almost anthropomorphic. They’re sitting there on the walls, and there’s nothing, there’s no one to witness them. The paintings are witnessing something, and that witnessing cannot be conveyed any further.”By autumn, the Met had ceded occupancy of the Breuer to the Frick Collection. Most of Richter’s paintings had been crated up and shipped back to their lenders. Yet “Birkenau,” which belongs to the artist, stayed in New York. Wagstaff brought these most challenging works into the Met’s main building, introducing into the lavish Lehman Collection these four speechless acts of remembrance and horror. “It was a trace of the show. The viewing conditions weren’t perfect,” Wagstaff conceded. “We had really limited attendance; we still do. But people stayed in that room for a really long time. For those who came to see it, it was a revelation.” JASON FARAGOOne Final SetBy March 15, Broadway theaters and concert halls were empty, but in the dim light of the Comedy Cellar, audience members sat shoulder to shoulder sipping drinks and watching stand-up comedy. Masks were not required.The comedian Carmen Lynch was hesitant about showing up that night: Her boyfriend was heading out of the city to stay with his family in Connecticut, and she planned to join him — it seemed like it was time to hunker down. But, Lynch said, she knew that the days of doing multiple shows in a single night were ending, and she wanted to make as much money as possible before the inevitable shutdown. She exchanged texts with fellow comedians to feel out who was still performing.“I thought, ‘I’m not doing anything illegal. I’ll just do this one show and then leave,’” Lynch recalled.In the last stand-up shows at the Comedy Cellar before it closed on March 15, comedians joked about Corona beer and the newly clean state of the subway.Credit…Gabriela Bhaskar for The New York TimesSo her boyfriend took her suitcase to Connecticut while she stayed to perform — one set at 7:45 p.m. another at 8:30. Before each comedian would walk onstage to tell jokes in front of the club’s famous exposed brick wall and stained glass, they would reach into a bucket to take a microphone that had been recently cleaned.Just before Lynch went on, the comedian Lynne Koplitz took the stage, removed the sanitized microphone from the stand and theatrically wiped it down with a white cloth another time, saying, “I’ve wanted to do this for years!”When Lynch finished her second set, she didn’t linger. She called an Uber and felt relieved when the driver accepted her request for an hour-and-a-half drive to Connecticut, not knowing how long she’d be gone (until summer) or what the city would be like when she returned (eerily empty, store windows boarded up).She drove away, and in retrospect, she remembers it like a scene in a disaster movie. “It’s like you’re in the car,” she said, “and you turn around and there’s an explosion behind you.” JACOBSAdvertisementContinue reading the main story More

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      in Music

      Cardi B Hits Back at Troll Asking Her to Give Kodak Black Credit for 'Bodak Yellow'

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      Instagram

      Clearly not happy with one fan’s question on Twitter, the Bronx raptress responds fiercely to the troll, writing, ‘WE both getting rich with the song till we die…’

      Mar 11, 2021
      AceShowbiz – Cardi B was in celebratory mood after her breakout hit track Bodak Yellow was officially certified diamond on Tuesday, March 9. However, someone appeared to ruin her mood by checking her for allegedly not giving Kodak Black enough credit for the song as he strongly influenced the single’s flows and title.
      Clearly not happy with the question, the Bronx raptress responded fiercely to the Twitter user, “He got credit on the song.” Cardi further explained, “WE both getting rich with the song till we die.. The song is called Bodak Yellow for a reason. You h**s get on this app saying the dumbest s**t.”
      She also attached a screenshot of a headline fo Kodak praising Cardi. “Kodak Black Says He Wins If Cardi B Wins: ‘That’s My Twin’,” read the headline.

      Cardi B reacted to trolls accusing her not giving Kodak Black credit for ‘Bodak Yellow’.

        See also…

      Cardi released “Bodak Yellow” in 2017, prompting fans to accuse her of jacking te rap flow Kodak used on his 2014 track “No Flockin’ “. Cardi, however, revealed that she did receive inspiration from the “Wake Up in the Sky” spitter on her hit single.
      Kodak himself congratulated Cardi immediately after the news broke that she became the first diamond-selling female rapper with “Bodak Yellow”. “Bodak Yellow Went Diamond Dam Right @iamcardib,” so Kodak wrote on Tuesday.
      Cardi herself shared some clips including a video of her cooking up the song. “How’s its going .Thank you every1 that send me beautiful congrats on Bodak going Diamond. A couple of years ago I didn’t even understand what going diamond means or meant I just wanted to win and break in.This record changed my life.Thank you everyone who showed Bodak so much support and support and buy till THIS DAYY !!” she wrote in the caption.

      “That’s why it went diamond cause of the support YOU still give. Wap is a spicy one shorty 5X platinum in 7 months makes me really happy cause I put this song out when I was doubting myself then most. With hardly any radio play cause of how nasty it was. but babyeeee it was a shocker !” she went on saying.

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      Zara Larsson Plots 2022 New Album

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      WENN

      The ‘Lush Life’ singer is hoping to release a new studio album next year and another the following year after signing a deal with Sony Music Publishing.

      Mar 11, 2021
      AceShowbiz – Zara Larsson is determined to release a new album in 2022.
      The singer released “Poster Girl” – her first album since 2017 – earlier this month, and she’s now insisted she won’t wait as long to make another record.
      “It is so easy to look back and think, ‘Why didn’t I release an album every year?'” she told Britain’s The Sun newspaper. “But I didn’t feel comfortable. I didn’t think it made sense. I am happy and very proud.”
      The “Lush Life” hitmaker now hopes to release a new album next year and another in 2023.
      Speaking about her ambitions, she continued, “I want to release an album next year and the year after that.”

        See also…

      News of Zara’s plans comes after she admitted earlier this month that her career has lost “momentum,” likening releasing her new album to starting her career again.
      She explained, “That momentum is not there. I’m not Rihanna. People won’t wait like that in the pop world. The pop world moves fast. So I’m starting over in a way.”
      “I’m like, ‘Hey guys, what’s up? I’m alive.’ ”
      Zara Larsson recently signed a deal with Sony Music Publishing. She gushed, “I’m so excited to start working with Johnny, Katie and everyone at Sony Music Publishing. They have such an incredible team and roster and I can’t wait to be a part of it.”
      Sony Music Publishing Managing Director, Scandinavia and Senior VP A&R Johnny Tennander, added, “We’re incredibly proud to be working with Zara and to welcome her to Sony Music Publishing. Zara is a real artist and she also stands for something — she has something to say.”

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      Dizzee Rascal Would Rather Make Music Than Dabbling in Stockmarket

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      WENN

      The ‘Dancing Wiv Me’ crooner prefers investing his time into making new music to trying his luck in the stockmarket as he is asked about his to-do list.

      Mar 11, 2021
      AceShowbiz – Dizzee Rascal ensures he spends most of his time investing his time into making music, rather than dabbling in the stockmarket
      The “Bonkers” star insists the “main thing” he is always working on is his music career, rather than “investing” in any other elements and businesses.
      Asked what’s on his to-do list, he said, “Just making music as always. That’s the main thing I’m always trying to work on. I’m not the dude who is trying to find all this other stuff to get stuck into, to invest in. People throw that word around a lot now – invest, invest. Maybe I should be but I feel this is the time to throw yourself into what you actually know that you’re good at.”
      And Dizzie finds that he is always “competing with himself” rather than other artists.

        See also…

      The “Dance Wiv Me” hitmaker added, “It’s a bit of both. You see artists doing stuff and you want to get involved but in the end it is you just competing with yourself. You’ve got a different fan base and people are into you for different reasons.”
      “Social media can definitely bring a lot of unnecessary distraction. You see what other people are doing and you think that’s what you need to do.”
      He continued, “My main thing is I definitely like working with other artists. I’ve been doing that a bit more recently. Social media is good for linking up with other people.”
      The 36-year-old rapper is “looking forward” to when live shows will be returning.
      Dizzee told the Metro newspaper, “Not as much as maybe I thought I would be. Not like, ‘Oh God, I really need to get out and do a show.’ I haven’t really felt like that. I don’t know what that’s about. I’m just waiting for the world to get normal again in general. I’m looking forward to shows but I haven’t been sad that I haven’t had any … I’m taking it easy with the fact that there might not even be any this year.”

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      Maren Morris to Collaborate With John Mayer for Grammy Performance

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      WENN

      The ‘Bones’ hitmaker reveals on social media that she will share stage with the ‘Your Body Is Wonderland’ singer at the upcoming Grammy Awards this coming weekend.

      Mar 11, 2021
      AceShowbiz – Maren Morris has lined up a Grammys duet with one of her musical heroes after asking John Mayer to perform with her at the prizegiving on Sunday (14Mar21).
      The “Bones” hitmaker has posted a selfie of the two singers, masked up, on Instagram on Wednesday (10Mar21) and made it clear fans could expect a collaboration on music’s big night.
      “We’ll see you at the Grammys,” she captioned the shot, tagging Mayer’s Instagram page.
      Maren’s song “The Bones” is nominated in the Best Country Song category.
      Miranda Lambert, Mickey Guyton, and Brandi Carlile are also among the country stars performing at the Grammys.

        See also…

      They are joined by the likes of Billie Eilish, Bruno Mars, Cardi B, Doja Cat, DaBaby, Megan Thee Stallion, Harry Styles, Taylor Swift, and Roddy Ricch.
      Beyonce Knowles leads the nominations with nine mentions. Dua Lipa, Roddy Ricch, and Taylor Swift follow with six nods each.
      Meanwhile, The Weeknd was snubbed despite his stellar 2020, during which he broke chart records with his album “After Hours” and single “Blinding Lights”, which this week chalked up a full year in the Billboard Hot 100 top 10.
      “The Grammys remain corrupt. You owe me, my fans and the industry transparency…,” he slammed the Recording Academy following the nomination announcement.
      The main event will be followed by a star-studded TV special which will be hosted by Common.
      Dubbed “A Grammy Salute to the Sounds of Change”, the gig is set for March 17. The line-up include Cynthia Erivo, John Fogerty, Yolanda Adams, Leon Bridges, Eric Church, Andra Day, Patti LaBelle, Terrace Martin, Brad Paisley, Billy Porter, LeAnn Rimes, Chris Stapleton, and Emily, Emilio and Gloria Estefan.

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      Cynthia Erivo, Andra Day and More Tapped for Grammy Special

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      WENN

      The biggest night in music this coming weekend will be followed by a star-studded TV special ‘A Grammy Salute to the Sounds of Change’ which will be hosted by Common.

      Mar 11, 2021
      AceShowbiz – Cynthia Erivo will perform John Lennon’s classic “Imagine” for CBS special “A Grammy Salute to the Sounds of Change”.
      For the special, which will air on 17 March (21), a host of stars will take to the stage, including Gladys Knight – who will be joined by Adam Blackstone, Sheila E., Israel Houghton, and D Smoke to perform Marvin Gaye’s “What’s Going On”.
      John Fogerty will perform “Fortunate Son” and “Weeping in the Promised Land” while other names on the line-up include Yolanda Adams, Leon Bridges, Eric Church, Andra Day, Patti LaBelle, Terrace Martin, Brad Paisley, Billy Porter, LeAnn Rimes, Chris Stapleton, and Emily, Emilio and Gloria Estefan.
      The two-hour special, hosted by Common, will also share the stories behind the music, as well as highlighting previous iconic Grammy performances.

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      In addition to airing on CBS, the show will be available to watch on livestream and on demand via Paramount+.
      Meanwhile, the main Grammy event on March 14 will be made merry by the likes of Billie Eilish, Bruno Mars, Cardi B, Doja Cat, DaBaby, Megan Thee Stallion, Harry Styles, Taylor Swift, and Roddy Ricch.
      Beyonce Knowles leads the nominations with nine mentions. Dua Lipa, Roddy Ricch, and Taylor Swift follow with six nods each.
      Meanwhile, The Weeknd was snubbed despite his stellar 2020, during which he broke chart records with his album “After Hours” and single “Blinding Lights”, which this week chalked up a full year in the Billboard Hot 100 top 10.
      “The Grammys remain corrupt. You owe me, my fans and the industry transparency…,” he slammed the Recording Academy following the nomination announcement.

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