See Drake’s Unplanned, But Nonetheless Impressive, Halloween Costume


Drake didn’t have to look too far when it came to his costume on Wednesday night (Oct. 30), as the 6 God dressed up as his father, Dennis Graham.

Drizzy posted a photo with his dad in the wee hours of Halloween morning, and the resemblance is uncanny.

When the father-son duo linked up, Drake noted that their nearly identical outfits were «not planned.» Aubrey matched his dad with a heavy mustache, white top, cap, and glasses.

Earlier in October, the two engaged in a public disagreement, but it seems they’ve agreed to move past it. Dennis Graham joined Nick Cannon for an interview, where he claimed that Drake exaggerated their strained relationship in his music to move more records, which Drizzy quickly refuted.

«Woke up today so hurt, man. My father will say anything to anyone that’s willing to listen to him,» Drake wrote in response. «It’s sad when family gets like this, but what can we really do? That’s the people we are stuck with. Every bar I ever spit was the truth and the truth is hard for some people to accept.»

Check out Drake’s costume of his dad below.


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Not planned.

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This article was originally published by: Billboard

Filming P!nk’s ‘There You Go’ Video Involved a Lot of Weed and Near Misses On Her Motorcycle


This week’s Billboard cover star P!nk took some time during her photo shoot to reflect upon some iconic moments from throughout her career, including filming her very first music video, her breathtaking aerial Grammys performance, and her 2018 Super Bowl appearance that she braved the flu to make happen.

First, the singer is shown a clip of the music video for her 2000 debut single “There You Go,” which saw her epically get revenge on her cheating ex as she flew her motorcycle into his apartment window.

“I think this is the prettiest I’ve ever looked, and will ever look,” she tells Billboard of the video as she watches it back. “I’d just started riding motorcycles. I almost crashed 85 times.”

She also recalls that she smoked a lot of weed during the shoot, and that director Dave Meyers had to keep asking her to stop since she could barely keep her eyes open during the beauty shots.

Shown her hilarious 2006 video for “Stupid Girls,” P!nk shares that while she enjoys making fun of other people, she also really likes making fun of herself. Speaking of the scene when she’s dancing next to what’s meant to represent 50 Cent, she reveals that the actor playing him was named Quarter Cent (he also goes by Two Five). “I’m not kidding. It’s 50’s cousin. At least that’s what he told me,” she adds.

As for her stunning, gravity-defying 2010 Grammys performance for her song “Glitter in the Air,” P!nk discloses that she still can’t believe that she was allowed to pull that off. “They let me do a song that wasn’t a single, that no one ever heard before,” she notes. “They let me fly 100 feet in the air, with no harness, with water. It was so much fun.”

She also admits that she was really nervous at the time, even when she walked down the catwalk before being lifted into the air. “I couldn’t walk in a straight line. I’m pretty sure in the first verse I almost fell over twice,” she says of walking in that white dress. “That was awesome. And LL Cool J looked at my butt. But so did Rihanna. It was a good butt.”

Looking at her 2013 video for “Just Give Me a Reason” with Nate Ruess, P!nk remembers going to her fitting and thinking that she was fat and not wanting to wear anything revealing. Now, however, looking back at it, she thinks to herself, “I was so thin.”

“That’s what we do to ourselves and we should stop it,” she adds. “And now I’m almost 150 pounds and I look fucking awesome.”

The final moment that P!nk is shown is when she sang the national anthem at the 2018 Super Bowl. Aside from noting that she had an “interesting outfit choice,” the singer expresses shock that she was even able to sing that day, since she had the flu at the time.

“I had planned this Super Bowl experience for my whole family, cause the Eagles were playing and we’re from Philly,” she says. “And then of course, the one thing the camera finds, the first place they find me is me spitting out my lozenge onto the grass. I was like, ‘Well, I tried!’ Aw, memories.”

You can check out the full video above to see P!nk react to even more memories from her career, including shooting the cover for her album M!ssundaztood and when she was names Woman of the Year by Billboard at Women in Music 2013.

This article was originally published by: Billboard

Good Morning, Here Are Some Photos Of Rihanna With a Newborn Baby


Auntie RiRi! On Tuesday (Oct. 29), Rihanna took to social media to share pictures with her best friend’s newborn baby.

In the adorable snaps, the superstar cuddles up to the baby, Justus Joshua Davis, who belongs to her longtime personal assistant Jennifer (Jenn) Rosales. «I’m so grateful I was here for your first day on the playground kid!!» RiRi captioned one picture of the baby sleeping on her shoulder. «Aunty loves you so much already.» In another post, she’s seen tenderly kissing the newborn’s cheek, captioning the pic, «Aunty Oh NaNa x JJ.»

While the Fenty Beauty mogul’s baby pictures are certainly delightful, they won’t do anything to quell the Navy’s desire for a new Rihanna album. The star has been teasing her long-awaited follow-up to 2016’s Anti since early last year, hinting about the reggae-influenced project’s sound in not one, but two separate Vogue cover stories over the past eighteen months.



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Did Lady Gaga Just Reveal Her Next Song Title?


It all started with a pumpkin.

Some simply saw a funny message on a pumpkin. Others saw what could be a hint at new music. Either way, fans cannot stop talking about Lady Gaga’s latest post on her social media.

On both her Twitter and her Instagram, Gaga posted multiple photos of what appear to be a pumpkin carving session on Tuesday (Oct. 29). One pumpkin in particular made fans laugh out loud, as it wasn’t carved, but simply painted with the words «f–k this» scrawled across its face, and a knife sticking out of its stem.

But some eagle-eyed Little Monsters immediately caught wind of what they believe is a new hint toward Gaga’s new music. In the photo of her aforementioned pumpkin, an iPod can be seen sitting on the same table: when fans zoomed in, they saw that the song playing was titled «Stupid Love.»

It’s possible that Gaga could have been listening to already-released tracks from Jason Derulo or Dan + Shay. But the Twitter sleuths were skeptical, noticing that the track title was in all-caps, and had no cover art or artist information listed on the pop-up. Others kept digging, finding that rumors regarding a Gaga song called «Stupid Love» have been floating around the internet for a few months.

One stan account even went as far as to find an old post where a copyright claim was made against another user’s tweet from August, where they had retweeted a snippet of an unreleased song. According to a screenshot they took, there was a reference made in the claim to a track from Lady Gaga called, you guessed it, «Stupid Love.»

Check out Gaga’s pumpkin carving session and some of the best Twitter detective work below:




Billboard has reached out for comment.

This article was originally published by: Billboard

Watch Out, Miley Cyrus and Cody Simpson Are On TikTok and They’re Armed With Cute Dance Moves


Miley Cyrus took to TikTok on Monday (Oct. 28) to choreograph a cute dance with her boyfriend Cody Simpson.

The star, clad in a black lacy bra and shorts, welcomed her boyfriend, dressed in a black t-shirt and shorts, to the app with a video of them dancing to the song «Stupid» by Ashnikko. In the perfectly in sync clip, the two mouth the lyrics while shaking their hips to the beat.

On Simpson’s newly-created TikTok account, the Australian singer shared a similarly sweet video. Both Cyrus, in a white tank top and jeans, and Simpson, in a black t-shirt and jeans, jump and sway their arms in the air to Shania Twain’s «You’re Still The One.»  (The video has since been deleted, but you can check it out here.)

Watch the adorable video of the musical couple below.

This article was originally published by: Billboard

Five Burning Questions: Billboard Staffers Discuss Selena Gomez’s Resounding ‘Lose You to Love Me’ Debut


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In just a few months, it’ll be five years since Selena Gomez released Revival, still her most recent album. But she’s hardly been absent from pop over that time, releasing a steady stream of singles and collaborations, consistently showcasing new sides and shades to her sound. And her latest hit might be on its way to being her biggest since the Revival era.

«Lose You to Love Me,» one of two new songs released by Gomez last week, debuts at No. 15 on the Hot 100. That’d be an impressive landing for the pop star in nearly any context — the second-best chart debut of her career — but it’s especially so considering the song was released last Wednesday, meaning it had less than two full days of streams and downloads (and less than five full days of radio play) to work with in its debut frame.

What is the song’s excellent performance due to? And does she already have another hit ready to go right after it? Billboard staffers debate this questions and more below.

1. So in a debut week that includes less than two full days of tracking, «Lose You to Love Me» has already outpaced every Selena Gomez single as a lead artist since «It Ain’t Me» hit No. 17 in May 2017. How surprised are you at the song having such a resounding debut? 

Tatiana Cirisano: I expected “Lose” to debut 10 spots or so lower, but still, I’m not too surprised. Even while releasing hit collaborations like “It Ain’t Me” and “I Can’t Get Enough” Selena has kept her personal life private to an impressive degree for the past two years, and I think listeners are hungry to hear from her, if not at least curious to know how she’s doing. As someone who once held the title of the most-followed person on Instagram, Selena has only recently returned from a planned break from social media — which made the teasers and clips for “Lose” feel all the more like treasures.

There’s also the Bieber-sized elephant in the room. It’s hard not to read “Lose” as a goodbye to Gomez’s famous ex, and even those who aren’t interested in her music probably gave the song a curiosity listen for the gossip factor alone. Of course, I’m not giving enough credit to the quality of the song itself here — but more on that later.

Eric Frankenberg: Kinda surprised but not really. I was more surprised to watch her momentum cool after the Revival singles. She had some good features and surprising artistic choices (see below) since then but the heat from “Good for You” and “Same Old Love” made me think she might be poised for a non-stop Rihanna-style takeover of Top 40 radio and the Hot 100. Perhaps with a new album on the way, the new single(s) will revive (pun unintended but I’m proud of it regardless) some of that energy.

Josh Glicksman: A passing eyebrow-raise level of surprised. It’s Selena’s first proper album rollout since 2015, and she has a primarily younger fan base in a streaming-reliant era for charts success. The formula isn’t a lock for success with just any old artist, but for one of Selena’s magnitude — especially after she teased the new single to increase anticipation — I’m certainly not stunned by the notable debut, even after the incomplete week of tracking. The feat is nevertheless mighty impressive, and shows the depth of Selena’s following.

Jason Lipshutz: I’m not really surprised, based on a combination of the high quality of “Lose You to Love Me,” the star power of Gomez and the general anticipation for a new lead single — not a one-off single or cross-genre team-up, but the actual start of a new Selena era, her first in four years. Sprinkle in a bit of “Is that who this song is about?” lyrical gawking as well, and you had a song released in the middle of last week that even casual pop fans needed to experience, and subsequently re-play once its highly produced power washed over them.

Andrew Unterberger: After two-plus years of soft-ish commercial landings for new Selena singles — not counting collabs with star producers like Kygo and DJ Snake — I’ll admit to being a little surprised at the quick start here. I had wondered if Gomez had become more bulletproof as a celebrity than as a marquee pop star. But when you have a following like Selena’s, you’re always just one undeniable single away from being back on top, and looks like she found the right single again.

2. What’s the secret sauce with «Lose You to Love Me» that’s allowed it to really detonate on impact like this, in the way that some of her other recent singles maybe haven’t? Does the «Lose» debut say more about Gomez, the song, or about the Hot 100 in 2019? 

Tatiana Cirisano: It says the most about Gomez. I just don’t think the same song would’ve hit as hard, or garnered as much interest, coming from anyone else but her. With its sparse piano and strings melody, “Lose” has to sell almost entirely based on its lyrics — and it succeeds because the words are so specific to her story. For those of us who have grown up with Gomez, the whole thing feels like a satisfying heart-to-heart. (Shoutout here to Selena’s talented group of co-writers, too.)

But it also says something about the Hot 100 in 2019 that a pop star can make a comeback with a barebones piano ballad and still land in the top 15. I’ve been thinking a lot about how Gomez’s approach to handling health problems, a breakup and other turmoil in her personal life (by laying low, fighting her battles privately and returning years later with a raw diary entry of an explainer) is exactly the opposite of Ariana Grande’s horns-blaring approach to her own tumultuous 2018, which she sung about in real-time, to the tune of radio-friendly, strikingly honest hits like “thank u, next.” Both approaches worked, but only because they were fitting for the particular artist. Maybe in 2019, the real key to breaking the Hot 100 is authenticity.

Eric Frankenberg: The song is a great amalgamation of what works for Selena. It points to widely publicized personal turmoil and recalls the soft reflection of previous top 10 hit “The Heart Wants What It Wants,” perhaps taking influence from recent pop breakthroughs for Ariana Grande and Kesha. All that said, Gomez’s comeback does feel well-timed, coming at the end of a year when her brand of pop music has officially joined hip-hop at the streaming party after the relative struggle of 2017-18.

Josh Glicksman: Well, it says something about all three, but perhaps the most about the Hot 100 in 2019. After an extended run of hip-hop domination on the Hot 100, the pendulum has swung back toward pop this calendar year. Ariana Grande, Halsey, Lady Gaga, the Jonas Brothers, and most recently, Lewis Capaldi, have all notched No. 1’s in 2019. Even the tracks that may not be most closely associated with pop — “Old Town Road,” for example — surely are classifiable as it under some definition of the ever-evolving genre.

Jason Lipshutz: When you lead a high-profile pop project with a ballad — or any type of single that radically deviates from standard top 40 radio tempo — you better bring something that clearly cuts through the clutter and allows for a more contemplative pace. Fortunately, “Lose You to Love Me” comes correct: Gomez’s careful vocal delivery in the verses allows for the wallop of her vulnerability in the pre-chorus, and the main hook functions as an immediate sing-along moment. “Lose You to Love Me” reminds me a little bit of Adele’s “Hello,” another pop superstar’s high-profile return that was an instant stunner and smash hit.

Andrew Unterberger: It’s definitely a little of all three, but I’ll also say that timing probably helps the most with the Hot 100 placement here. Gets me wondering how «Bad Liar» and «Wolves» could’ve performed if they’d come a couple years later.

3. «Lose You to Love Me» isn’t the only new song we’ve gotten from Selena in the past week. Which do you prefer between «Lose You» and «Look at Her Now,» and which do you think will ultimately prove to be the bigger hit? 

Tatiana Cirisano: “Lose You” for both. Don’t get me wrong, “Look at Her Now” is catchy as hell, but its electro-pop beat and vocal clips are so specific to 2019 music trends that I don’t think the song will age well. (Plus, the song’s “mm-mm-mm” hook is a little too similar to that of “I Can’t Get Enough.”) By contrast, “Lose You” has a classic feel, and I find its focus refreshing: It’s not only about knowing when to let go of a toxic relationship, but having the courage to actually leave. I like the way she assigns blame to both parties (“You promised the world and I fell for it”) and how she calls the relationship a “dance” — this is not someone who’s bitter and angry, but someone who has taken stock of a painful and beautiful relationship, found the strength to move on, and become a stronger person for it. I mean, whew.

Eric Frankenberg: Definitely “Lose You to Love Me.” Following Camila Cabello’s 1-2 punch last month, it’s interesting to see another major pop artist follow suit with a simultaneous single release. But while “Look at Her Now” is more danceable and radio-friendly in an obvious way, “Lose You” is simply the better song – more memorable, more evocative, and more effective. The chorus’s “to-love-love” builds nicely at the end (a slew of heightened gay-club dance mixes is inevitable) and there are some Instagram-caption-friendly lyrics that brings it closer to the zeitgeist.

Josh Glicksman: It has to be “Lose You to Love Me,” right? “Look at Her Now” is a fun, upbeat follow-up single, but there’s only so many mm-mm-mm’s we can all hum before queueing back up the vulnerable, harmonic “Lose You.” From its opening piano chords to its “Time”-reminiscent closing notes, Gomez has you hanging on by a thread at every moment of the track. The song begs you to belt “to love, love!” at the top of your lungs whether it’s in an empty apartment on a Tuesday evening or in the back of an Uber late on a Saturday night. Just ask your driver to crank up the volume when you play it back for the third time in a row.

Jason Lipshutz: “Look at Her Now” has a slippery vocal hook and some excellently detailed percussion, but “Lose You to Love Me” is the standout, and one of the strongest singles of Gomez’s career. It’s already the bigger hit and will stay that way.

Andrew Unterberger: «Lose You to Love Me» is easily the more emotionally resonant of the two, and will likely end up the bigger chart hit, but I find myself gravitating a little more towards the limber shuffling of «Look at Her Now.» It reminds me of about a dozen different songs — none of which I can actually place mentally — which is usually a sure sign of a pretty dynamite pop song.

4. Billboard’s staff named Selena’s «Bad Liar» the No. 1 song of 2017. How are you feeling about that decision two years later? 

Tatiana Cirisano: I think Jason put it well in his No. 1 blurb when he said that “Bad Liar” honors the Talking Heads’ quirk that “pop can be bizarre and irresistible at the same time.” You can say what you want about “Bad Liar,” but you can’t say it’s not fascinating — here’s a subtle, seductive hit by a former Disney star that samples Talking Heads’ “Psycho Killer.” It’s weird and lovely, and it works. It’s funny: Back in 2017, I honestly wasn’t so sure about “Bad Liar” claiming the No. 1 over cultural moments like “Bodak Yellow” and “Despacito,” but two years later, the song holds up. Maybe we were right after all.

Eric Frankenberg: When “Green Light” and “HUMBLE.” immediately come to mind, I can safely say I disagree with that pick. But it’s probably Selena’s best single and the “Psycho Killer” sample is easily the boldest musical move of her career. While that song wasn’t a major hit on the charts, I hope she brings some of that free spirit and whimsy (?) to her next album. The directness and vulnerability of “Lose You to Love Me” can be balanced with the wink and breeziness of her 2017 standout.

Josh Glicksman: “Bad Liar” is one of those songs that prompts subconscious foot-tapping and shoulder swaying from the listener. It’s sticky, it’s bouncy, it’s the perfect grab-your-hairbrush and put on a three-and-a-half minute mirror concert kind of song. However, it’s not the best song of 2017. Kendrick Lamar dropped DAMN. in 2017. Lorde dropped “Green Light” in 2017, and I’m nearly positive that song morphs you into a superhero for the four minutes you listen to it. It’s one of the best, sure, it’s just not the best.

Jason Lipshutz: As one of main advocates for “Bad Liar” landing at No. 1, I feel great! The song holds up, and has inspired several car ride sing-alongs and awkward hand-dancing since it crowned our list back in 2017. One concern, though: with so much time passed between its release and Gomez’s next album, is it possible that “Bad Liar” will ultimately never have a full-length to call its home?

Andrew Unterberger: I don’t know if it was the Right choice, but I’m still glad it’s the choice we made: «Bad Liar» is an absolutely one-of-a-kind top 40 single, an unrepeatable formula, and its commercial underperformance merely ensures that it will always be a Real Heads Know kind of shared favorite among true pop fans. For that reason (among others), affection for it should only grow in the years to come.

5. Assuming it doesn’t drop in the next two months, Selena Gomez will be five years removed from her most recent album when her next LP is released. Do you think the layover will ultimately be a positive thing or a negative thing for her new album and its reception when it does come out? 

Tatiana Cirisano: Positive. If «Lose» is any indication, the layover has been transformative for Gomez, and I expect that growth to show up on the album, just as it has in the lead single. Plus, the pop landscape itself was very different five years ago. Today’s listeners are more receptive to risk-taking — all bets are off for what a pop star “should” be, and Gomez should and probably will take advantage of that.

I also think it’s exciting that, in the time since her last LP, she has applied her creativity to a few successful non-music projects, from executive-producing 13 Reasons Why to launching a line with Puma. Taking a step back from music to get her hands dirty with a different creative endeavor could bring a new perspective to her music, and I’ll be interested to see what role cross-pollination plays.

Eric Frankenberg: Absolutely a positive thing. Though she’s had multiple Hot 100 hits each year since Revival, her general quiet will only force interest in her new project, proven by the immediate splash on the Hot 100 for her first single.

Josh Glicksman: I don’t know that its reception is directly correlated to the time since the release of her last LP, but I do know that whenever it drops, it’ll go No. 1 — assuming it doesn’t coincide with a different artist’s long-awaited album (see: Rihanna, Adele, Lady Gaga). It’s the most widely-anticipated release of her career, which is a positive thing can be tied to the duration with which her fans have been waiting. Now, it’s just a waiting game to see how much her sound has evolved in the five years of build-up.

Jason Lipshutz: Gomez has been so active since the release of 2015’s Revival — as a musician, but also as an actress, producer, spokesperson and advocate — that the prolonged break between full-lengths hasn’t been felt as acutely as one would expect. Even if it wasn’t by design, Gomez’s ability to score consistent hits while working on other projects, and then offer “Lose You to Love Me” as a grand introduction to her next era, has been expertly played.

Andrew Unterberger: Until this two-pack, my answer probably would have been «negative» — it just didn’t seem like she was trending in the right direction, or in any specific direction at all. But now I’m reminded of another pop star who, after a long period of putting out albums and a near-unsustainably prolific rate, also went an unusual number of years between albums, while putting out a number of singles (on her own and with others) that saw wildly varied commercial returns — then after that long absence, returned with her most coherent, most acclaimed and (arguably) most popular album to date. In other words: Is it possible that Selena Gomez’s ANTI is imminent?

This article was originally published by: Billboard

Niall Horan Strips ‘Nice to Meet Ya’: Stream It Now


Nice to meet ya, again.

Niall Horan returns, in a way, with a stripped-down version of «Nice to Meet Ya.»

Earlier this month, the former One Direction star released his track «Nice to Meet Ya,» the first new music since his 2017 Flicker album.

At midnight, the Irishman shared the «stripped» version of «Nice to Meet Ya,» which can be heard in full below.

It’s a feast for 1D fans right now. As Horan dropped his new edit, Liam Payne released a new ballad, «All I Want (For Christmas).»

Stream «Nice to Meet Ya.»

This article was originally published by: Billboard

Coldplay Share Home Movies, Dance on the Ceiling in ‘Orphans’ Video: Watch


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Coldplay give fans a peek at the process in the jubilant video for their new single «Orphans,» which dropped on Friday morning (Oct. 25). The clip, directed by the band’s longtime friend and documentarian Mat Whitecross, opens with a shot of singer Chris Martin strumming out the joyous tune’s opening verse on some city steps as crowds walk by seemingly oblivious.

The action then bounces between the studio sessions for the song and black and white footage of the band playing it in a backyard and on a beach as a group of young people dance around them while production notes about the themes of the video scroll across the screen. With flowers bursting all around, the group performs the song upside down and sideways in a bombed-out room, in front of a green screen filled with blooms and and in box packed with more youthful dancers.

Coldplay announced on Thursday (Oct. 24) that their eighth studio album, the double LP Everyday Life, is due out on Nov. 22 via Parlophone/Atlantic Records and will be divided into two halves, Sunrise and Sunset. They also dropped the dual lead singles: «Orphans» and the Stromae-assisted «Arabesque,» both produced by The Dream Team, with the latter also featuring horns by Nigerian saxophonist  Femi Kuti and his backing band.

Earlier this week, the band revealed the LP’s 16-song track list via the classified sections of the hometown newspapers of its four members, and the sepia-tinged cover art is based on a 1919 photo of guitarist Jonny Buckland’s great-grandfather’s band, The Wedding Band and Dance Orchestra.

Watch the «Orphans» video below.

This article was originally published by: Billboard

Thanks and Praises, Kesha and Big Freedia Are ‘Raising Hell’ in Righteous Video: Watch


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‘We can always find the trouble, we don’t need no help.’

Kesha has served up some classic t-shirt worthy lines in the past. But the quotable in her latest single, «Raising Hell,» might be an all-time keeper. The praise-worthy pop track featuring Queen of Bounce Big Freedia dropped on Thursday morning (Oct. 24) and it features the so-Kesha refrain, «But I don’t wanna go to heaven without raising hell.»

The colorful video is a parody of a ripped-from-1987, fall-from-grace story of a fire and brimstone televangelist, with Kesha playing the role of the big-haired soul saver and Freedia providing spiritual support via the exhortation, «Drop it down low, hit it, hit the pole with it/ Drop it down low, drop it down low.» Over frantic handclaps, churchy organs and a banging beat, Kesha sings, «Hallelujah/ I’m still here, stilling bringing it to ya/ Oh, like Buddha/ Good girls know how to get hard too, ya.»

A teaser for the song promised some fire and brimstone, and Kesha brings it in the video, wearing a hot pink power suit and a face full of gaudy make-up as she fronts a gospel choir while giving thanks and praise, saving souls and soaking in her marble bathtub. «I’m all f—ed up in my Sunday best/ No one can shame me ‘cause I love this dress/ Hungover, how’d it go? Holy mess/ Doin’ my best, b—h, I’m blessed,» she sings on the pre-chorus as images of an abusive husband flash on the screen in the Luke Gilford-directed clip.

As the raising hell line swells up amid honking horns and Freedia’s urging, Kesha urges her Animals to shake what the good Lord gave ya, even as her preacher character strikes back at her abusive spouse with great vengeance and furious anger.

«Raising Hell,» co-written by Kesha with Wrabel, Sean Douglas and Stint and produced by Stint and Omega, is the first single from the singer’s upcoming album, High Road, which is due out on Jan. 10 on Kemosabe/RCA Records; the album is available for pre-order now here.

Watch the «Raising Hell» video and check out the High Road track list below.

High Road tracklist:

1) «Tonight»

2) «My Own Dance»

3) «Raising Hell» feat. Big Freedia

4) «High Road»

5) «Shadow»

6) «Honey»

7) «Cowboy Blues»

8) «Resentment» feat. Sturgill Simpson & Brian Wilson

9) «Little Bit Of Love»

10) «Birthday Suit»

11) «Kinky» feat. Ke$ha

12) «Potato Song (Cuz I Want To)»

13) «BFF» feat. Wrabel

14) «Father Daughter Dance»

15) «Chasing Thunder»

This article was originally published by: Billboard

Louis Tomlinson Announces First Solo Tour: See When He’s Coming to Your City


On Thursday (Oct. 24), Louis Tomlinson has announced the dates for his first solo tour in support of his debut album Walls, due out on Jan. 31.

The 43-date solo tour kicks off on March 9, 2020 in Barcelona, Spain, and will hit Paris, Berlin, Amsterdam, London, Sydney, Tokyo and Rio De Janeiro before hitting North America on June 9 in Minneapolis and staying on the road through a July 23 date in Vancouver.

Tomlinson’s upcoming 12-track album appears to include ten new songs, as well as previous singles «Two of Us» and «Kill My Mind»; the album is available for pre-order here now.

Tomlinson also debuted the ballad «We Made It,» in which a couple’s fairy tale romance takes on a number of new, surprising wrinkles. «Cos we made it/ Underestimated/ I’m always underrated/ Now were saying goodbye/ Waving to the hard times/ Yeah it’s gonna be alright,» Tomlinson sings.

Check out Tomlinson’s tour dates below.


This article was originally published by: Billboard