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Cardi B Album Rollout: Using Real Life Experience
Music

Cardi B Album Rollout: Using Real Life Experience

by jummy84 September 17, 2025
written by jummy84

More than any artist, Cardi B paved the way for social media personalities and reality stars to parlay their internet following into a music career. In the lead-up to her sophomore album, Am I The Drama?, she’s taking it back to reaching her audience through a string of viral skits, public appearances, and an emphasis on physical sales. At the risk of sounding like an armchair A&R, Cardi’s grabbed the rollout baton from Clipse and stoked our collective anticipation for her album, out Friday. 

Her first skit, on September 3, doubled as a celebration of winning her civil battery case against former bodyguard Emani Ellis. “Just because I won this case…I still got lawyers.” she joked, imploring fans to buy Am I The Drama? CDs for $9.99. The special “Courtroom Edition” CD covers showcase her different viral hairstyles during the trial. “I swear to God, if I don’t sell these albums, I’m gonna have to give up my Rolls-Royce,” she mock cried. She dropped the following promo video days later in Harlem, lampooning 125th Street’s infamous vendors with CDs and vinyl strewn on the sidewalk. The video’s caption read, “My label said I gotta get out in these streets and sell this album,” as she hawked the $9.99 physicals (and incense) while Bob Marley’s “One Love” played in the background. 

Her next clip was in a boardroom, where she joked that after shooting her lavish “Imaginary Players” music video, Atlantic Records had scaled back its spending. With expert comedic timing, she opened an envelope and revealed that her “budget” had dwindled to just $50. “I have to get out on the road and sell these CDs and [vinyl] myself,” she said. And the beginning of that journey took her to New York’s MTA, where she did a skit selling CDs and vinyl on a train. She had so much attention to detail that she used the same Welch’s candy box that candy sellers on the train typically use. The latter two clips felt especially familiar to New Yorkers used to people selling items on sidewalks and in between trains. 

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Collectively, the videos didn’t just help promote the album; they needled wannabe industry insiders. Nowadays, music fans can’t just enjoy the music, they need to speculate about first-week sales and the permutations of an artist’s label situation like they’re a manager. Cardi’s meta promotion gets at how invasive music fandom has become while placating those same fans. 

The theme of the videos, chronicling her selling music like a starving busker, is another example of Cardi playing into her biomythography. She’s repeatedly expressed her frustration with Atlantic Records over the past few years, especially since the regime that signed her was replaced last September. In July, she made an X post about “being tried by these new people,” shortly before the release of her single,  “Outside” — a release that she’s said was contentious between her and the label. In August, she likened  Atlantic to a “correctional facility” in a since-deleted Instagram post. She’s seen fans speculate about acrimony at Atlantic, and how it may play into the rollout of her new album. Instead of ignoring the fracture, she’s comedically leaned into the turmoil. 

Even during her recent rollout, she’s criticized Atlantic for “underestimating” the turnout for her New York City Bodega Baddie pop-up. In an Instagram post, she explained that she wanted to give attendees QR code coupons for her digital store, but the crowd was too ruckus to do so. That snafu might be a good problem for Am I The Drama?, however, demonstrating that her demand is still there.

It’s been a long wait for her latest project. Since the Invasion of Privacy, she has released songs and done features, but her fans have been anticipating a second album. In her June 2024 Rolling Stone cover story, she told writer Mankaprr Conteh about the perfectionism that’s delayed the project: “I take my music so fucking seriously that that’s why I don’t put it out. Because if it’s not perfect to my ear, if every fucking word doesn’t sound like it’s pronounced right, if the beat is overpowering the words or the words is overpowering the beat, I don’t want to put it out.” It’s also worth wondering how pregnancy may have delayed the album; she’s given birth to three children since her April 2018 debut release. Today, she revealed to Gayle King that she’s pregnant with her fourth child and her first with her boyfriend, NFL star Stefon Diggs. Even so, it looks like it’s all steam ahead on her new album; she tweeted shortly after clips from the interview went viral that “by the time tour comes I’ll be doing splits, somersaults, backflips and handstands.”

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Cardi B is a natural star. Before she was a rapper, she was a well-known stripper and social celebrity who parlayed outrageous Vine skits into a spot on Love & Hip-Hop: New York — the rest is history. Her career ascended quickly in part because of her sense of humor and charisma. She radiates a bold, no-filter charm that feels familiar to her fellow New Yorkers and captivates the rest of the world. It’s why, despite not dropping an album since 2018, she’s been on shows such as Rhythm + Flow and films like Hustlers, and F9, also doing voice acting for Baby Shark’s Big Movie!  No matter how this album performs, there will always be opportunities for her in front of a camera. 

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It’s refreshing to see Cardi get back to having fun. As entertaining as she is, she’s also been in the social mediasphere too often behind civil suits, back-and-forths with other rappers, label drama, and issues with Offset, her ex and the father of her children; her latest album title isn’t surprising. With these self-deprecating skits, she’s going back to what worked for her on day one. In a cheesy movie about a rapper, their manager or partner would have a come-to-Jesus moment with them about reminding fans why they love them, and they’d go to a cipher, or hold a free concert in the park to reacquaint the people. For Cardi, returning to her essence is just about doing silly skits back home in New York. 

Clipse were able to parlay a concentrated media press run into commercial success, turning their buzz into a Vatican performance. While Cardi hasn’t done as many interviews, speaking with Billboard, Kelly Rowland, and King, she’s still won goodwill with fans and shifted the discussion from controversy to her comedic chops. If she can put effort into promoting her album, get outside, and head on a national meet and greet tour, there’s no excuse for pretty much anyone else.

September 17, 2025 0 comments
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Ed Sheeran: Play Album Review
Music

Ed Sheeran: Play Album Review

by jummy84 September 17, 2025
written by jummy84

“Old Phone”’s literal attempt to mine the past for inspiration is, at the very least, slightly new territory for Sheeran. On “Camera,” he taps back into the I-love-you-despite-your-flaws clichés of his One Direction co-write “Little Things” (“You think that you don’t have beauty-in-abundance but you do/That’s the truth”) before inverting the premise of his 2015 hit “Photograph”: “I don’t need a camera to capture this moment/I’ll remember how you look tonight for all my life.” But then again, isn’t it every childhood Clapton obsessive’s dream to one day rip off “Wonderful Tonight?” Again?

The box-ticking doesn’t end there: Play contains unworthy successors to both “Perfect” (“In Other Words”) and “Thinking Out Loud” (“The Vow,”) as well as “A Little More,” a vintage Sheeran breakup track in that it is too bilious by half. When he sings “I can’t call you crazy/’Cause you could be diagnosed” it reinforces two things we already knew about Sheeran: he’s never been able to save any of his famous empathy for his exes, and he’s never been able to really land a joke.

These obvious, odious songs pad out a couple of singles that vindicate my perhaps-unpopular feeling that Sheeran is at his most dynamic when drawing from nonwhite musical traditions. “Azizam,” named after an Iranian term meaning “my darling,” is his catchiest, most energized song since “Shape of You” thanks to its tight hook and producer Ilya’s subtle incorporation of unconventional rhythms and traditional Iranian instruments. “Sapphire,” a collaboration with the Punjabi superstar Arijit Singh, and “Symmetry,” built around a frisky, hypnotic tabla rhythm by Jayesh Kathak, are heavy-handed, but Sheeran’s sheer enthusiasm on each track—the same level of investment that made “South of the Border” work despite its profound cringe factor—sells them entirely. (I am almost certain that non-diasporic Indians will go crazy for these songs, and that’s before you factor in the appearance of Shah Rukh Khan, India’s Tom Cruise, in the video for “Sapphire.”)

These are the only songs on Play where Sheeran doesn’t sound like he’s going through the motions; he’s talked about finishing the album in Goa, and they’re sparky enough to make you wish he had done the whole album there. And of course, Sheeran is not “Mr. Political,” as he put it in 2017, but there is a bitter aftertaste to his collaborations with Indian and Iranian musicians on an album released just a day before more than 110,000 far-right anti-immigrant protesters roiled through the streets of London. These are escapist songs landing in inescapably awful times; Sheeran might be the only everyman in England who can ignore the fact that this kind of apolitical, commerce-minded Choose Love thinking ran out of steam a long time ago.

Play ends with “Heaven,” one of the album’s strongest songs, and also the song that best encapsulates all its problems. On one hand, it taps into a narrative that’s dogged Sheeran through his entire career: He may have “won both cases,” as he raps on “Opening,” referring to copyright infringement cases he won in 2023 and 2024, but that doesn’t change the fact that a lot of Sheeran’s music bears uncanny resemblance to other hits, and this one is fairly similar to both Jason Mraz’s “I’m Yours” and Charli XCX’s “Everything Is Romantic.” On the other hand, its combination of an easy ghatam-led groove and sweetly generic lyrics seems to find a healthy middle ground between the innovation that Sheeran says he’s too old for and the timeworn cliché that sounds so stale on the rest of the album. Then again, attentive listeners might find repetition of the same old images too much to bear when he drops lines like “Chemicals bursting, exploding/As every second’s unfolding.” Take a double shot.

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September 17, 2025 0 comments
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Cardi B Promotes New Album, Tour on ‘Tonight Show’
Music

Cardi B Promotes New Album, Tour on ‘Tonight Show’

by jummy84 September 17, 2025
written by jummy84

The Tonight Show is Jimmy Fallon’s vehicle, sure. But only when Cardi B doesn’t stop by.

The “Bodak Yellow” rapper made a classic entrance on Fallon’s late night show Tuesday, Sept. 16, as he was delivering his monologue.

First, Cardi Facetimed the talkshow host. Then — voila! — she strolled onto the set, to share some important information.

Carrying the vinyl of her forthcoming album Am I The Drama?, Cardi showed off the artwork, announced a tour, and urged viewers to get off their armchairs and buy a copy of her long-awaited collection.

“Tell people on your show to get my album. Thank you.” She quipped, “tell your audience or I’m gonna be homeless.”

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As previously reported, the Bronx native’s second album, Am I The Drama?, is due out this Friday, Sept. 19, and is the followup to her 2018 debut, Invasion of Privacy, which logged one week atop the Billboard 200 chart. All told, Cardi has landed five leaders on the Billboard Hot 100.

Her Miss Drama Tour will play 30 arenas up and down North America and will go on sale the following Friday, Sept. 25, Fallon announced.

The trek is booked to kick off Feb. 11, 2026 in Palm Desert, Calif. and take Cardi to Las Vegas, Los Angeles, Portland, Vancouver, Seattle, Sacramento, San Francisco, Phoenix, Houston, Austin, Dallas, Denver, Minneapolis, Indianapolis, Detroit, Kansas City, Cincinnati, Chicago, New York, Newark, Toronto, Boston, Hartford, Baltimore, Philadelphia, Washington, D.C, Raleigh and Charlotte, N.C. and Sunrise, Fla. before winding down on April 17 in Atlanta.

Earlier this week, Cardi revealed that the new LP will feature eight guest artists: Cash Cobain, Janet Jackson, Kehlani, Lizzo, Megan Thee Stallion, Selena Gomez, Summer Walker and Tyla. So far, she’s released two singles from the collection, the Hot 100 top 10 “Outside” and the Jay Z-sampling “Imaginary Playerz.”

Watch Cardi’s Tonight Show spot below.

September 17, 2025 0 comments
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JADE Talks 'THAT'S SHOWBIZ BABY!' Album, Her Love of Pop & New Tour
Music

JADE Talks ‘THAT’S SHOWBIZ BABY!’ Album, Her Love of Pop & New Tour

by jummy84 September 17, 2025
written by jummy84

It’s no mistake that JADE’s debut solo album THAT’S SHOWBIZ BABY! is a thoroughly poptacular affair. “I live and breathe pop, I always have done,” she tells the Billboard Pop Shop Podcast (listen to her full interview, below). “I just am obsessed with it.”

Billboard has called the album “a distinct, dazzlingly ornate record” that takes sonic cues from divas like Diana Ross, Madonna and Janet Jackson, and demonstrates the breadth of her “taste as a pop student and skills as a wide-ranging vocal dynamo.”

JADE first made her mark on the pop landscape as Jade Thirlwall, a member of the British girl group Little Mix. The ensemble was formed in 2011 on the U.K. reality competition program The X Factor and notched numerous hit albums on both sides of the Atlantic, including a whopping 19 top 10-charted hits on the U.K. Official Singles Chart. In 2022, the act went on hiatus while the individual members explored solo endeavors.

Fast-forward to 2024, and JADE’s debut solo single “Angel of My Dreams” hit No. 7 on the U.K. Official Singles Chart. She followed it with another top 40 hit in “FUFN (F— You For Now)” this past March, and won her first solo BRIT Award for Best Pop Act that same month. Through the summertime, JADE played major festivals including Glastonbury, and opened for Chappell Roan in Edinburgh. Her THAT’S SHOWBIZ BABY! – THE TOUR kicks off Oct. 8 in Dublin and continues on into the U.K. through Oct. 22 in London, which she has “hope” will come to the U.S.

The Billboard Pop Shop Podcast caught up with JADE quite literally a few hours before THAT’S SHOWBIZ BABY! was released on Sept. 12. Here are some excerpts of her chat with the podcast, which you can listen to in full below.

On when the writing process for the album began.

The album writing process started, I think, like three years ago now, right off the back of the Little Mix hiatus. I went straight into the studio, writing nonstop, figuring out what my sound was on my own. And then I think just over, maybe, a year and a half ago was when “Angel of My Dreams” was written. And I think once that happened, that kind of became the catalyst for what the album would be, and everything just fell into place from that point onwards.

How she’s staying in the moment and celebrating the album’s arrival.

In the next few weeks, I just want to be super present with this record. It’s something I’m so proud of and waited a long time for. And I want it to feel like a celebration between me and my fans and see as many of them as possible. And I think in this job, in this music industry, you’re constantly on the move, and you can easily just sort of get swept up in all the politics and the promotion and marketing and all that stuff. And just forget that actually it’s really f—ing cool. And you are able to just make an album, and you should take time to be proud of that and be present for it.

On how SHOWBIZ has an “element of chaos.”

And then I think the album itself has an element of chaos to it, just sonically. And each song is different to the next. I consciously didn’t want it to be a super cohesive or conceptualized album, because the truth is that I was experimenting for this and trying different sounds, figuring out who I am. So I wanted the album to literally sound like that. And with songs like “Angel of My Dreams” or “It Girl,” and, you know, even to “Fantasy,” every song has its own identity. And I guess that’s where the kind of chaos of the record lies. I feel like you can hear it … so that day she was, she was trying this sound, and she was merging these genres. It’s a very sort of experimental pop record, I would say.

On JADE’s love of pop music.

I live and breathe pop. I always have done. I just am obsessed with it. And I’ve done a lot of research. Ever since I was a little girl, it’s always been something I’ve been obsessed with — not just the music, but, like, just every part of it. Like, I’d have the dolls of my favorite artists, and the CDs, and I’d open it up, and I’d look at all the credits and the lyrics and take it all in and study the artwork and the videos. So for me, the best pop artists are the ones that don’t just focus on the music and they see it as a whole brand, I suppose. And so I have a lot of fun with that. And, you know, making a pop record that feels very visual, too. So, yeah, I always knew, and I always will be like a pop girly. But, it was interesting, and it was essential to sort of find out what the JADE sound is. And, like, how do I stand out and make my mark in the pop world?

Did the genesis of SHOWBIZ begin before Little Mix went on hiatus?

I think, like musically, I kind of had an inkling of where I might go. There was a song I wrote for the girls on our fifth album called “Wasabi,” and it kind of became a fan favorite, and it became almost known as like, as my song within the group. And so, I kind of knew that that would be a good starting point. But I think lyrically, it wasn’t until after, I think because I was so used to writing lyrics that were very universal or very relatable for everyone, because in a group you can’t be too personal. It’s not just about you. So, it wasn’t until afterwards, when I was in rooms on my own, and getting more confident and sort of realizing, oh, I actually can just literally write about anything now, and I can be, almost uncomfortably honest at times with, like, my own experience.

On her love of Madonna.

She is one of the best pop stars we will ever get. She reinvents herself with every era, which I find hugely inspiring. As someone that wants a long career, for me, Madonna is the epitome of longevity as a pop artist, and I think that’s when you are so sure of who you are, and you speak up and speak out for things you feel passionate about. I watched her documentaries as a teenager, and I always respected that she wasn’t afraid to be controversial, or afraid to stand up for what she thought was right. So, I’ve took that with me as a solo artist.

On what to expect from her THAT’S SHOWBIZ BABY! tour.

I think my THAT’S SHOWBIZ BABY concert will play on that sort of theatrical theme. And I’m actually really excited to be in theaters, because it means I can really delve into taking advantage of those stages and making it almost feel like a musical theater production or a cabaret show. So I’m very excited for that. And, all the songs are all very different. So it’s going to make for a, well, a show that won’t be boring. (Laughs.) You know, obviously I love to go in with the costumes, and we’ll have the band and the choreography. So, yeah, I’m really working hard with my creative director on how we make this smaller stage feel like you’ve entered my world and you leave there being like, ‘Oh, fuck, you know, she really made that work.’

Could the tour visit America?

I think so. Yeah, I hope so. We hope so. We’re all putting our heads together of how to make this work. Because I really, really want to get over to the U.S. and do shows there and in Europe and just everywhere. You know, it’s always been a dream of mine to be able to say that I’m doing my own headline show, whatever that is.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)  

September 17, 2025 0 comments
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Demi Lovato's Husband Jutes Inspired Music, New Album
Celebrity News

Demi Lovato’s Husband Jutes Inspired Music, New Album

by jummy84 September 16, 2025
written by jummy84

Demi Lovato is feeling confident thanks to her relationship.

The “Cool for the Summer” singer shared that her ninth studio album It’s Not That Deep—out Oct. 24—marks the return of “Popvato,” in part thanks to husband Jutes.

“I think it’s really a reflection of where I’m at personally,” Demi told Paper Magazine in an interview published Sept, 15. “I’m not in this place in my life where I need these huge emotional ballads to release some sort of deep emotional trauma I’m going through.”

The 33-year-old explained that when she started to work on the new album, she began writing songs that featured “heavy topics,” but quickly found that they weren’t resonating with her. Instead, she gravitated towards lighter fare—especially after her May marriage to the rapper and songwriter (real name Jordan Lutes).

“I’m in a place in my life where my energy feels very light,” Demi continued. “I just got married. It was a learning curve for me to take what I’ve always known about music, which is write what you know now. I had to learn how to write what was new to me, and that’s what this album is a reflection of.”

September 16, 2025 0 comments
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Jens Lekman: Songs for Other People’s Weddings Album Review
Music

Jens Lekman: Songs for Other People’s Weddings Album Review

by jummy84 September 16, 2025
written by jummy84

Lekman had long corresponded with author David Levithan, who co-wrote the 2006 novel Nick and Norah’s Infinite Playlist, before they collaborated on songs for a novel, also called Songs for Other People’s Weddings, about a fictional but familiar wedding singer. But then, rather than just recording the songs he wrote for the book, Lekman went further, delving into the characters’ POVs to create a Sinatra-inspired standalone musical. Appreciating the resulting album isn’t contingent on the book—it’s pure Lekmanalia. But it’s contingent on how much pleasure you can stand. If the record has a defect besides the preciousness that Lekman, to his devotees, turns into an indispensable virtue, it’s the whopping length. My nervous system just can’t endure 17 tracks of uncut Jens at once; it’s a giddy squee! sustained for 80 minutes. But it has variety and inspiration throughout, and it works great when taken in two chunks, one spinning a relationship together and the other gently tugging it apart.

The story traces the arc of the romance between J, the Lekman proxy, and V. They meet at a wedding where all the guests are dressed as songs (he’s “Raspberry Beret,” she’s “Crazy in Love”), and after taking a pill that tastes like hairspray, they fall into the playful connection that will define their intimacy. It’s about being in love while also being love’s outsider, both participant and observer, a split that blurs the line between life and music—as Lekman adores doing. When V moves overseas, seeking space, J starts booking gigs just to be near her. Throughout, V is powerfully sung by Matilda Sargren, whom Lekman recruited through a youth orchestra in his hometown. V has the last word on their relationship, and J learns that his music’s purpose is not to bottle permanence but to celebrate connection, however fleeting.

The music has as many moods as love does: now light and irrepressible, now crackling with an erotic charge, then turning tentative or questioning, cozy or desolate. Duets peel off into monologues; what was joyous returns as profound. Lekman’s storytelling is exceptionally detailed and funny, kind of like a Swedish David Sedaris, and his wedding-singer avatar gives him a chorus of toothsome characters and milieus to weave through J and V’s evolving dynamic. “GOT-JFK” kicks off an ingenious suite set at a performance-art wedding in Brooklyn; later J finds himself at a singles table in Leipzig with “two sisters who look like Patty and Selma from The Simpsons/An elderly man whose lungs sound like a broken whistle/And a man who’s the embodiment of a full blown incel.” We come to realize that Lekman’s side hustle, rather than taking away from his songwriting, must inestimably feed it.

September 16, 2025 0 comments
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Megan Thee Stallion, Kehlani, Janet Jackson, Selena Gomez & More Featured On Cardi B's Upcoming Album
Celebrity News

Megan Thee Stallion, Kehlani, Janet Jackson, Selena Gomez & More Featured On Cardi B’s Upcoming Album

by jummy84 September 16, 2025
written by jummy84

Megan Thee Stallion, Kehlani, Janet Jackson, Selena Gomez & More Featured On Cardi B’s Upcoming Album

#CardiB is coming and it looks like she’s bringing friends!

Cardi has shared what appears to be a list of some of the artists fans can expect to hear on Am I the Drama?, dropping on Friday (Sept. 19). The list includes Cash Cobain, Janet Jackson, #Kehlani, Lizzo, Megan Thee Stallion, #SelenaGomez, Summer Walker and #Tyla. Hinting that there’s more to come, she captioned the post, WHO ELSE IS THE DRAMA?

Who else are you hoping Cardi has collaborated with for her sophomore album?


September 16, 2025 0 comments
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Julieta Venegas Signs With WME Ahead of New Album Release
Music

Julieta Venegas Signs With WME Ahead of New Album Release

by jummy84 September 15, 2025
written by jummy84

Mexican singer-songwriter and musician Julieta Venegas has signed with global talent agency WME, Billboard can exclusively announce. The partnership comes as Venegas prepares to release new music and strengthen her reach on the international stage.

“I’m really happy recording songs that will soon be part of my new album,” the Tijuana-born artist tells Billboard Español. “I’m excited to add people to my team who bring the kind of enthusiasm and experience that WME has, so we can work together to develop this new chapter.”

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Over the course of her career, Venegas — who sings, writes, and plays the accordion and guitar — has had a significant presence on the Billboard charts, with four of her albums reaching the top 10 of Top Latin Albums. Those include 2006’s Limón y Sal, which peaked at No. 8, and both Otra Cosa (2010) and Algo Sucede (2015), which peaked at No. 5. On Hot Latin Songs, “Algo Esta Cambiando,” “Eres Para Mi,” and “Me Voy” reached Nos. 4, 5 and 9, respectively.

Venegas has collaborated with prominent artists such as Tainy, Bad Bunny, Sen Senra, Dom La Nena, No Te Va a Gustar and Grupo Marca Registrada. Her work with Tainy and Bad Bunny on “Lo Siento BB :/” — which earned the 2022 Latin Grammy for best reggaeton performance — reached the coveted Billboard Hot 100 at No. 51 and Hot Latin Songs at No. 2. To date, the two-time Grammy and 11-time Latin Grammy-winning artist has released eight studio albums, starting with the Gustavo Santaolalla-produced Aquí (1997) and including her most recent project, Tu Historia (2022).

Last year, Venegas performed for 90,000 fans in Mexico City’s Zócalo and for 85,000 at Madrid’s Bernabéu Stadium during The Evening of the Year. Throughout her career, she has graced the stages of major international festivals, including Mexico’s Vive Latino, Primavera Sound Buenos Aires and Picnic Festival Costa Rica. Her music has earned gold and platinum certifications in markets such as Mexico, Spain, the United States, Italy, Argentina and Brazil.


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September 15, 2025 0 comments
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Liquid Mike: Hell Is an Airport Album Review
Music

Liquid Mike: Hell Is an Airport Album Review

by jummy84 September 15, 2025
written by jummy84

As far as indie rock origin stories go, “mailman moonlighting as a rock star gets word-of-mouth breakthrough, no label needed” is about as cool as it gets. Mike Maple started driving for USPS in 2020, shortly before his band Liquid Mike released its first two albums. Since then, the prolific group has put out a record a year of high-octane garage rock, drawing in a cult fanbase: Its 2023 album S/T struck a nerve on Bandcamp and Twitter, despite having almost no formal promotion; then, 2024’s Paul Bunyan’s Slingshot earned the group critical buzz and support slots with bands like Descendants, Joyce Manor, and Militarie Gun.

Like other Midwest rockers before them—The Replacements, Hüsker Dü, and Guided By Voices all come to mind—Liquid Mike like their runtimes short, their guitars loud, and their hooks easy to sing along to no matter how many beers you’ve had. The band’s first five albums were mostly inspired by Maple’s time driving the mail truck around Michigan’s Upper Peninsula, and the small-town shenanigans he and his friends got up to off the clock. Their discography is filled with “get out of this town” anthems—but on their sixth album, Hell Is an Airport, Liquid Mike asks what happens when a hometown hero’s journey takes him outside of his familiar surroundings.

A lot of what happens, it turns out, is more of the same. Most of these songs see Maple in head-on collision with the realization that the ennui of his home life won’t disappear once he hits the road. “What are you running from?/A middle-aged Houdini/Locked ice box/Works hard to take it easy,” Maple sings on “Grand Am,” pondering the hours he spent at previous dead-end jobs—now that his dream job has become his day job, was the less predictable path worth it? “AT&T” features some subtle record scratching underneath its shimmery guitar progression, as Maple drags out the line, “How the days move slow” in a way that could apply both to the hurry-up-and-wait of his life as a touring musician, or the grind that preceded it when this kind of success was just a daydream.

Maple’s fears of becoming an “out-of-touch out-of-towner” bubble to the surface of the speedy and metallic “Double Dutch,” though oftentimes Hell Is an Airport sees Maple and his band leaving town only to discover that the rest of the country embodies the same monotony they’ve been trying to escape. Abandoned malls, endless highways, and dead-eyed service workers are reminders of alienation on all fronts. Hell Is an Airport soundtracks industrial wastelands and suburban sprawl with wiry power-pop, crunched-up grunge-gaze, and even the occasional coughing fit of stoner metal.

September 15, 2025 0 comments
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Twenty One Pilots: Breach Album Review
Music

Twenty One Pilots: Breach Album Review

by jummy84 September 15, 2025
written by jummy84

This is Twenty One Pilots in its purest form. Opener “City Walls” is a five-minute litmus test, with gigantic “oh-woah” hooks, soaring choruses, fuzzy bass tones, overdriven drums, and yes, rapping. It’s also pure fan service; the deeply ludicrous $1 million music video frequently calls back to past work and the song itself interpolates their single “Holding on to You.” It’s fascinating to hear a Christian-adjacent band reprise the words “entertain my faith” as the video depicts Clancy’s submission to a religious cult, but this isn’t the band to handle those implications.

Having once contributed to the Suicide Squad soundtrack, Pilots now convey the bubbly energy of James Gunn’s Superman reboot. You don’t need to know about the Bishops’ necromancing powers to enjoy the frenetic snowboarding-game breakbeat and maniacal vocal processing of “The Contract.” There are dumb-clever antics throughout: “Garbage” teases an uplifting “Something Just Like This” piano part before Joseph blurts out “I feel like garbage!” The song “Rawfear” speeds up on the line “never slowing down,” then abruptly returns to the original tempo—because he can’t escape the cycle. There’s hardly a breather until “Cottonwood,” a loving tribute to Joseph’s grandfather, and the meditative closer, “Intentions.” There’s also “Downstairs,” a dolled-up demo from their pre-major label days, but the vestigial self-seriousness feels out of place on an album like this.

The most engaging motif in the Pilots catalog remains Joseph’s complex relationship with his fans. On Vessel standout (give or take a reggae break) “Guns for Hands,” he felt responsible for their mental health as his own deteriorated. On Trench ballad “Neon Gravestones,” he cautioned them not to glorify his death should he one day lose his battle with depression. The tension comes to a head on Breach. Earlier this year, somebody briefly stole a kick drum from Dun’s kit at a concert, and throughout “Center Mass,” the band samples another fan’s cautionary “I really don’t think you should take that!” On “Drum Show,” seemingly in response to this fiasco, Joseph pays tribute to his burnt-out bandmate, who’s “stuck between a rock and a home, two places he does not wanna go.” When Joseph says, “This has not been interesting in a while” on “One Way,” a fundamentally earnest band fully admits to disillusionment.

Twenty One Pilots’ pure pop songs—like Scaled and Icy’s “Shy Away”—are often their best, which makes their ongoing attempts at hip-hop all the more frustrating. Joseph once gave Zane Lowe a playlist of his greatest influences, and not only was Ben Gibbard on it twice, the only rapper was Matisyahu. On Breach, they sound like they maybe gave GNX a passing listen (the call-and-response on “Center Mass” is very “Reincarnated”), but their engagement with the genre remains shallow. No one has ever sounded less convincing than Tyler “gangstas don’t cry, therefore I’m Mr. Misty Eyed” Joseph singing about “empty Uzis” on “Rawfear.” But when they get the balance right, they wind up with some of their best material to date: “Mass” starts with a suitably moody verse over a two-chord vamp and ends with a genuinely exciting double-time outro.

Right now it’s hard to imagine a cultural re-evaluation for Twenty One Pilots, the way people who grew up in the ’00s eventually gave My Chemical Romance and Linkin Park (both obvious influences) their flowers. But seeing the likes of MGK attempt a similar style without the same ambition puts the duo’s merit into perspective, and at least Pilots are thoroughly committed to their uncool niche. They’d be more respected if they did away with the rapping entirely, but that would fundamentally change what this band is and why it got this far. As for poor Clancy, he fails to break the cycle and, in a Matrix Reloaded-esque twist, the rebels must find another “Clancy” to continue the fight. It’s a surprisingly sobering ending: No one here truly transcends their limitations, but it’s only a matter of time before they try again.

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Twenty One Pilots: Breach

September 15, 2025 0 comments
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