Billie Eilish says filming of new documentary was “very invasive but very fun”


Billie Eilish has spoken in a new interview about the three-year process of making her upcoming new documentary.

The pop star’s life and career so far is the subject of the R.J. Cutler-produced Billie Eilish: The World’s A Little Blurry, which will arrive on Apple TV+ this coming Friday (February 26).

Speaking on The Late Show With Stephen Colbert last night (February 23), Eilish described the experience of allowing a film crew to capture her life behind-the-scenes as “very invasive but very fun”.

She also shared a new clip from the documentary, which sees her receiving the news of her multiple Grammy nominations from her mother while in bed. You can check out the interview in full below.

“As human beings I think we all tend to feel pretty irrelevant all the time,” Eilish said of making the film. “And even though it was very invasive – and a lot [invasive] at some points, sometimes I was just like, ‘You gotta go” – it was fun.

El dúo francés Daft Punk anuncia su separación definitiva


Daft Punk, el mítico dúo musical francés especializado en música house, ha anunciado su separación definitiva, después de 28 años de carrera. Lo han hecho a través de un vídeo llamado ‘Epilogue’, que han publicado en su cuenta oficial de Youtube, y que contiene fragmentos extraídos de su película ‘Electroma’.

Han utilizado una emotiva escena en la que se ve a Guy-Manuel de Homem-Christo alejándose, lo cual han creído conveniente utilizar para decir adiós definitivamente a los escenarios. De momento no se saben los motivos exactos de esta separación, y es que, el dúo anunció que se tomarían un descanso por la pandemia, pero parece que han decidido aprovechar y no retomar, de nuevo, su carrera.

Tal y como informa el medio Pitchfork, Katrhyn Frazier, publicista de la banda, habría confirmado que esto significa el punto y final a la carrera de Daft Punk tal y como la conocemos. Lo que no se sabe es si será un final definitivo o seguirán componiendo por separado.

First trailer for Demi Lovato’s docuseries bares it all: ‘She should be dead’


The first trailer for Demi Lovato’s docuseries is here, and it isn’t holding back.

The powerful four-part YouTube documentary Demi Lovato: Dancing With the Devil chronicles what led to the singer’s nearly fatal overdose in 2018 and the aftermath. And based on the trailer that just debuted — along with a sneak peek at her new song «Dancing With the Devil» — Lovato and her friends and family are not shying away from the most difficult and darkest moments of her struggles with addiction.

«She should be dead,» one of her best friends says in the trailer, before using the word others were afraid to: «Are we talking about heroin? Are we doing that?»

The docuseries aims to give fans «unprecedented access to the superstar’s personal and musical journey during the most trying time of her life as she unearths her prior traumas and discovers the importance of her physical, emotional, and mental health» featuring «an intimate portrait of addiction, and the process of healing and empowerment,» according to the official description.

«I’ve had so much to say over the past few years, wanting to set the record straight about what it was that happened,» Lovato says. «I don’t even know why I’m sober anymore.» Later in the trailer, when she’s asked if she’s «entirely sober now,» she looks into the camera and doesn’t respond.

The intense trailer also reveals more information about what happened in the hospital after Lovato overdosed. «I had three strokes,» Lovato says. «I had a heart attack. My doctors said that I had five to 10 more minutes.» Watch the video below:

Demi Lovato: Dancing With the Devil premieres March 23 on YouTube.

Tomorrowland One World Radio Celebrates 2 Years with Tiësto, Armin van Buuren & Many More [LIVE SETS]


Tomorrowland‘s One World Radio celebrates its 2-year anniversary with an epic run of live sets, available to stream now.

Running five days and 50 artists, each with an exclusive 30-minute set, the Tomorrowland One World Radio takeover features some of dance music’s finest from around the world. Until People of Tomorrow are able to reunite together IRL, this festival standard lineup is the next best thing to hit the air waves.

With two days down and three to go, live sets have already started making way onto SoundCloud. Check out the playlist below, featuring Armin van Buuren, Afrojack, Nora En Pure, W&W, Bassjackers, Netsky and more.

Still to come, a special Friendship Mix from Tiësto, plus CamelPhat, Dimitri Vegas & Like Mike, Nervo, Vini Vici, Morten, Dillon Francis, Timmy TrumpetMatisse & Sadko, Gorgon City, Imanbek and many more.

Listen live here and see the full lineup below.

One World Radio – Two Year Anniversary Live Sets



Source: YourEDM

Alesso & Armin van Buuren Tease Their First Collaboration


As a special Valentine’s Day treat, Alesso and Armin van Buuren have teased a new collaboration, “Leave A Little Love.”

Surprisingly, as far as we can tell, this will be the first time the two have ever worked on a track together, original, remix, or otherwise. Despite both of them being such massive stars, either their styles never matched or the opportunity just never came up… until now.

Both Alesso and Armin shared tweets with matching captions and nearly identical images — Alesso’s featured his logo, and Armin’s featured his own.

Stay tuned to find out when this one is going to drop!

Hayley Williams says she’s ready to restart Paramore: “Let’s go!”


Hayley Williams has said she has no plans to make another solo record but will instead turn her focus back to Paramore.

The singer-songwriter, who released her second solo album ‘Flowers for Vases / descansos‘ earlier this month, told fans online that she’s ready to work on the next Paramore record.

When asked if she has unused songs for her solo work and whether she’d consider using them for Paramore, she replied on Twitter: “There are more songs, yeah. but I’m not planning on another solo album. and I’m not sure if they’d be great for Paramore. I’m ready for the next Paramore album. let’s go.”

In January Williams reassured fans that the band aren’t breaking up in light of her recent solo efforts.

Confusion arose when Williams shared a link to a collection of essays written by fans of her debut solo album ‘Petals For Armor‘. “Long read, especially if you’re not a fan of me/my solo album lol,” part of Williams’ comment read, to which a fan responded: “Omg I thought paramore was breaking up.”

The singer clarified that wasn’t the case by replying in a quote tweet: “lol y’all been worried about that too long. aint happening.”

Williams also opened up recently to Zane Lowe about feeling “proud” of her achievements over the past 12 months. She also spoke about playing all the instruments on her new album, the importance of therapy and detailed how she made a “heartbreak” album during coronavirus isolation.

Paramore’s last album was 2017’s ‘After Laughter’. They’ve released five studio albums to date since 2005’s ‘All We Know Is Falling’.

Source: NME

Justin Timberlake pide perdón a Britney Spears y Janet Jackson


El cantante y actor estadounidense publicó un sentido mensaje en su cuenta de Instagram después de ser criticado en redes sociales por el trato a su colega en aquel polémico y recordado show del Super Bowl y también a su ex novia.

Taylor Swift Announces Re-Recorded ‘Fearless’ Album: Updated ‘Love Story’ Out Tonight


Taylor Swift’s first No. 1 album and breakthrough full-length will be the first to be released in its re-recorded version. On Thursday (Feb. 11), Swift announced that she has re-recorded her blockbuster 2008 album Fearless, as Fearless (Taylor’s Version), and that the updated lead single, “Love Story (Taylor’s Version),” will be unveiled on Thursday night (Feb. 11).

«This process has been more fulfilling and emotional than I could’ve imagined and has made me even more determined to re-record all of my music,» Swift wrote in a note to fans. «I hope you’ll like this first outing as much as I liked traveling back in time to recreate it.»

While Swift did not announce the release date of the re-recorded version of Fearless, the “new” album will include «6 never-before-released songs from the vault.» In December, a snippet of the re-recorded “Love Story” was used in a commercial directed by actor Ryan Reynolds.

Swift announced her intention to re-record her first six albums — released between 2006 and 2017 by Big Machine Label Group — in 2019, following the acquisition of her master recordings by Scooter Braun. Swift had tried to buy back her masters for years prior to the sale, and began re-recording her back catalog last November.

“It’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine,” Swift told Billboard in 2019 of rerecording her catalog. “When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.”

Instead of kicking off the release of her rerecorded albums with her 2006 self-titled debut, Swift has gone with Fearless, which spawned the top 20 hits “Love Story,” “You Belong With Me,” “White Horse” and its title track. Fearless has earned 10.2 million equivalent album units (through Feb. 4) according to MRC Data. Of that sum, 7.2 million are in album sales.

Fearless was Swift’s first album to top the Billboard 200 chart, spending 11 nonconsecutive weeks at No. 1. The album also earned Swift her first Grammy Awards, including album of the year; she later won the same award with 2014’s 1989, and could win her third album of the year trophy next month with Folklore.

Stars react to ‘Framing Britney Spears’ documentary: “My heart goes out to her”


Stars of the music world have responded to the new documentary Framing Britney Spears, which is out in the US now.

The documentary looks at the US pop star’s career so far including #FreeBritney campaign and fans’ concerns about the conservatorship that she is still under.

Spears’ assets have been controlled by her father Jamie since 2008 when she was placed on an involuntary psychiatric hold and lost her visitation rights to her children. Her dad and a lawyer are given the legal right by the conservatorship to make decisions about a range of things in the singer’s life, including her finances, business projects and personal life.

After Framing Britney Spears aired on FX in the States on Saturday (February 6), a number of other artists shared their thoughts on it.

“Just watched the “Framing Britney Spears” documentary and have to say, there is something VERY weird, very wrong going on,” Garbage tweeted.

“No artist today would have to endure the literal torture that media/society/utter misogynists inflicted upon her,” wrote Paramore’s Hayley Williams. “The mental health awareness conversation, culturally, could never be where it is without the awful price she has paid.”

In a follow-up tweet, Williams responded to a fan saying that many of the problems seen in the documentary still exist. “i’ll say this- as an artist, my very personal experience with misogynistic journalists/media is that over the last 15 years, it’s improved,” Williams responded.

“maybe bc there is a diff kind of accountability with cancel culture? but you’re right… misogyny hasn’t disappeared. it’s shape-shifted.”

In an Instagram story, Kacey Musgraves added: “Never has one person been so used and abandoned by every facet around her. My heart goes out to her. She has always been such an inspiration to me my whole kid/teen life. Wish she could get a re-do.”

See more reactions to the documentary below.




At the time of writing, there is no UK release date for the Framing Britney Spears documentary.

Last year, Jamie Spears defended his role as his daughter’s conservator after the star lost a legal attempt to remove his control over her estate.

“When a family member needs special care and protection, families need to step up, as I have done for the last 12-plus years, to safeguard, protect and continue to love Britney unconditionally,” he said.

Source: NME

No Lights Too Blinding For The Weeknd With Superstar Set at Super Bowl 2021 Halftime


Halfway through his headlining set at Super Bowl LV, with the opening strains of his «I Feel It Coming» smash audible in the background and yet another round of fireworks about to light up the Tampa night, The Weeknd briefly broke superstar character to give a little chuckle and a near-wink to the camera. I know, he seemed to be saying. It’s crazy, right?

It certainly is, when you bother to remember that a decade ago the artist born Abel Tesfaye had just started recording subterranean R&B mixtapes north of the border, with lyrics (and grooves) too filthy for radio, let alone for a viewership of 100 million. Back then, The Weeknd was purposefully anonymous, but now his face (when not hidden behind a cartoonish amount of bandages) is nearly as universally recognized as his songs — which include several of the biggest hits of the last 10 years, following a mid-’10s pivot to pop that saw him make a bald-faced play for star status without either falling on his face or falling out with his old fans. It was an unlikely journey to TV’s biggest stage, to say the least.

It’s one that Tesfaye was more than willing to relive for the folks at home on Sunday night (Feb. 7), though, as he ran through many of those smashes in a 14-minute set that presented a pretty convincing argument for him having one of the strongest catalogs of any modern pop hitmaker. Running around Raymond James Stadium in his now-signature red sequin jacket, with the million-watt lights of his After Hours era’s music videos guiding his way at every turn, it probably was a pretty good preview of Abel’s eventual Vegas Years: one of the era’s premier entertainers playing the hits, smiling and shuffling and determined to have more even fun performing than anyone watching.

Still, you never forgot exactly who you were watching. With his first two full songs — after a «Call out My Name» intro welcomed him to the stage via robot demon choir — he played «Starboy,» whose pre-chorus includes Tesfaye admiring his girlfriend for her ability to snort large amounts of cocaine, and «The Hills,» a straight up sexual horror movie with the singer gleefully playing the slasher. Even «Can’t Feel My Face,» the wedding-ready pop-funk banger that finally earned Tesfaye the MJ comparisons he so desperately sought, sounded more claustrophobic than ever when performed in a a backstage light maze, with the performer ultimately overwhelmed by a gang of bandaged doppelgangers. But no matter how strange the song or staging, The Weeknd’s showman energy never wavered, always acting as if there was no real difference between him and shirtless Adam Levine performing «Sugar» two years ago. Considering all three of those Weeknd songs were also Billboard Hot 100 No. 1s, maybe there isn’t.

If there was one fault to be found with the performance — outside of occasional sound issues that even Tesfaye’s  wail couldn’t pierce through — it might be a lack of truly stunning moments. Tesfaye said he didn’t invite any guests for his halftime show because there «wasn’t any room to fit it in the narrative»; given that whatever narrative there was primarily focused on his own evolution to solo superstardom, it’s not a surprising conclusion for him to reach. But it did rob the mini-set of perhaps a welcome midway jolt to not have any of the artists who have played supporting roles of various sizes in his journey — a list that ranges from Drake to Lana Del Rey to Daft Punk to Kenny G — make an appearance; a different energy from Tesfaye’s trademark monomania could’ve gone a long way.

Longtime fans were gifted to one true «whoa» bit, however: A brief dip into the title track to The Weeknd’s House of Balloons title track, a Siouxsie and the Banshees-quoting, vertigo-inducing anthem of decadence and decay that arguably marked the defining jam of The Weeknd’s exhilarating, unsettling early years. Played at marching band tempo with Abel now flanked by a small army of bandaged dressalikes, the song gradually sped up into the unmistakeable driving speed of the still-ubiquitous «Blinding Lights,» eventually exploding into a scene that was part «Another Brick in the Wall,» part «Real Slim Shady» and part 100-yard mosh pit, an incredible victory lap moment for a true modern classic. And like all of The Weeknd’s 10-year career to this point, the transition was smoother than you’d expect.