Month: January 2023

The music industry frets about AI music, but is it just a new form of Muzak?

Posted on


The following op/ed comes from Eamonn Forde (pictured inset), a long-time music industry journalist, and the author of The Final Days of EMI: Selling the Pig. UK-based Forde’s new book, Leaving The Building: The Lucrative Afterlife of Music Estates, is out now via Omnibus Press. 

There is a fabulous, possibly apocryphal, quote attributed to Nick Cave.

“I’m forever near a stereo saying, ‘What the fuck is this garbage?’ And the answer is always the Red Hot Chili Peppers.”

Which leads us to his latest fabulous set of quotes. In the January edition of his Red Hand Files newsletter, he responds to a letter from a fan, Mark from Christchurch in New Zealand, who tasked the ChatGPT bot writing some lyrics “in the style of” Nick Cave.

Cave wearily replies that he has been sent similar things since November when ChatGPT launched. He calls the Cave-esque lyrics “replication as travesty” and then really rolls his sleeves up.

“It could perhaps in time create a song that is, on the surface, indistinguishable from an original, but it will always be a replication, a kind of burlesque,” he says, arguing that “algorithms don’t feel and [d]ata doesn’t suffer” like true artists do in order to write their lyrics, calling what he does “a blood and guts business” that a machine can never come close to.

“What makes a great song great is not its close resemblance to a recognizable work,” he continues. “Writing a good song is not mimicry, or replication, or pastiche, it is the opposite. It is an act of self-murder that destroys all one has strived to produce in the past […] [T]his song is bullshit, a grotesque mockery of what it is to be human.”

There is a lot more and all of it is stirring and beautifully written, as one would expect from someone like Cave.

He was, however, talking as a lyricist reacting to AI-generated lyrics. If the best lyricists aspire to be poets, to always reach for something beyond, then AI-generated lyrics will always be found desperately lacking.

Cave is probably as withering and damning about AI-generated music, seeing it as a toothless, bloodless, pointless simulacrum.

But – and without wanting to provoke a Red Hand Files newsletter aimed at my head – is there still a certain place for a certain type of AI-generated music?

To answer that, we will have to separate out different kinds of music. Cave is coming at the debate, as he absolutely should, from the perspective of the profound power of music: music as a means of emotional explanation and human connection. His starting point is music as the apotheosis of art, but a) lots of music will fall pathetically short of such lofty expectations and b) not all music has to even try to achieve this kind of transcendence.

Indeed, following Cave’s artistic hierarchy argument, it overlooks the fact that a tremendous amount of human-written lyrics (not his) are absolute doggerel or insipid/mawkish nonsense. But that’s OK. And maybe, just maybe, AI could help improve the output of some of the shockingly bad lyricists out there who have publishing deals. (I will not name names, but there are thousands of them out there. You hear them every day.)

So AI could become a type of shuttering for terrible lyricists, holding up the feeble structure of the songs they have somehow thrown together without proper architectural rigour. AI might even become a total replacement for a pitiful lyricist whose work is beyond all help and hope. Is either result necessarily a bad one?

Setting lyrics aside, there is an argument that AI music composition does have its place. A small place, but a place nonetheless.

Doubtless composers will argue this is driving them out of work, but that depends on what the music is required to do. It’s not quite the MU trying to ban the synthesiser in the 1980s, but music can sometimes exist as a sonic space-holder that has no great artistic aspirations. It’s nothing more than the sound it makes.

We perhaps need to think of music as existing in two very different configurations.

1) Functional/utilitarian music

There to serve a distinct role where music is in the background and which only works when it is in the background. This is music that has no use, power or beauty outside of that specific use case. The music is there only to fill the silence. It is very distinct from library music which has a creative form of its own and can adapt to different use cases.

2) Artistic/aesthetic music

This is music written to connect with humans and to distil human emotion, capturing and expressing something that exists beyond words. At its apogee, this is the “blood and guts business” that Cave is actively engaged in. Sometimes it is gristle, but it is at least grasping for something more.

These two types of music could, as long as we understand the distinctions and how and where they can or should be deployed, co-exist.

The level of creativity/genius involved in the latter will never be replaced by machines. But the use contexts of the former are very different from the aesthetic underpinnings of the latter.

It is really a case of the split between music, on the one hand, as hyper-industrialised and, on the other hand, music as highly artisanal.

This, of course, should not give AI-generated music carte blanche to infiltrate DSPs as part of a terribly topical game of fraud.

Songwriters, who already feel they are being fleeced, belittled and erased in the digital age, might argue that AI music is not just taking food off their table, it’s taking the crumbs. And setting fire to the table. It’s the thin end of a miserable wedge for them.

But AI is not replacing them. It is (or it should) only be used to put up temporary aural wallpaper that is not dependent on skill, craft or art. No songwriter worth their salt would want to create music devoid of these attributes. This is music that is less “blood and guts” and more “bland and ruts”.

AI music is really just a new form, arguably even a lesser form, of Muzak.

Just as Muzak was a homonym, we therefore need a new name for this utilitarian sound to separate it out from the music that wants to stir or soothe your soul. For the sake of argument, let’s call it MusAIc.

Or, in a nod to Brian Eno and his experiments on Ambient 1: Music For Airports that he wanted to be “as ignorable as it is interesting”, we could name it Proxy MusAIc.

 Music Business Worldwide



Paramore Pop-up Stores Are Coming To Melbourne & Sydney | theMusic.com.au

Posted on


A Paramore pop-up store will be at Sydney’s Golden Age Cinema in Surry Hills on Saturday, 11 February from 10 am to 5 pm, and at the Oshi Gallery in Collingwood – from 12 pm to 5 pm on Sunday, 12 February – to celebrate the release of the band’s sixth album; This Is Why to be released on 10 February. 

The event is hosted by Warner Music Australia and will boast “brand new and exclusive merchandise, music and more, including items from their recent US tour merch range.” Anyone who walks in the door also has the chance to win a Paramore flexi disc. Find the Facebook event page here.

Paramore are making a statement with their new album, This Is Why.

The American band returned after a lengthy hiatus in September, releasing the title track and their first new song since 2017’s After Laughter (vocalist Hayley Williams put out two excellent solo albums in 2020, Petals For Armor and 2021, Flowers For Vases / Descansos).

This Is Why is an ear-worm of a track that explores a “plethora of ridiculous emotions” and “the rollercoaster of being alive in 2022”. On the other hand, their latest single, The News, is pointed in commentary and drumming work.

“The News is one of those songs that came together pretty quickly and felt exciting from the start,” Williams revealed in a statement. “It feels like a happy medium between classic Paramore angst and bringing in some influences we’ve always had but never exploited. Watching Zac [Farro] track drums for this one was one of my favourite memories from the studio.”

Lyrically, The News tracks the incomprehensible 24-hour news cycle and the guilt we feel when we switch off to protect our mental health. Talk about relatable.

Recorded in Los Angeles, California, with long-time collaborator Carlos de la Garza, This Is Why features ten new Paramore songs with cover art shot by Zachary Gray.

Paramore performed at the inaugural When We Were Young festival last year – where fans witnessed All I Wanted‘s live debut, and after that, Paramore ran through hits from all their albums, from the tour debuts of Here We Go Again from All We Know Is Falling to Last Hope from their self-titled album.

This Is Why, Paramore’s sixth album, will be released via Atlantic Records on Friday, 10 February 2023. Pre-order the album here.  

Reuben Vincent Drops “Trickin” Video

Posted on


Recently dropping his debut album, Love Is War, Roc Nation/Jamla signee Reuben Vincent shares the latest visual from the project in “Trickin.”

“I worked on Love Is War for two years. Conceptually, Love Is War is an acknowledgment that as young black men, I feel like we aren’t taught, and given the tools of how to love properly. We don’t know how to love our people, our women, our brothers; and most importantly ourselves,” Reuben says. “My goal is to love myself properly, and that comes with exploration (internally and externally). That is why I titled the album, Love Is War, because it is a constant battle to get to that center in your life.  We all battle ourselves to get to a place where we can both love and be loved.”

Alongside Domani (and a quirky Katt Williams vocal sample), the video can be seen below.

Reuben Vincent Drops “Trickin” Video was last modified: January 30th, 2023 by Meka



Tronsmart Halo 100 review: Portable, punchy and ready to party

Posted on


Following on from its trio of Bang speakers in 2022, Tronsmart has kicked-off 2023 by releasing an all-new party speaker: the Tronsmart Halo 100.

As is the case with most Chinese manufacturers, Tronsmart tends to undercut its competition with aggressive pricing and the Halo 100 is no exception, offering powerful audio, alluring LED lighting and a number of connectivity options for under £100.

Tronsmart Halo 100 review: What do you get for the money?

The Tronsmart Halo 100 is priced at £90 and is available via Amazon. It was released alongside the Tronsmart Halo 110, which is ostensibly the same speaker but has a microphone socket and includes a mic for karaoke. The Halo 100 operates wirelessly over Bluetooth 5.3 with codec support limited to SBC, which is understandable given its price.

Measuring 198 x 150 x 287mm (WDH) and weighing 2.72kg, it is larger and heavier than your average portable Bluetooth speakers – albeit, still marginally lighter and more compact than the four-star rated Tronsmart Bang. Like that model, the Halo 100 has a handle to make it easier to carry and is IPX6 rated for water resistance meaning it’s protected against powerful, multi-directional water jets.

The Halo 100’s speaker configuration is visible from its front, showcasing two mid-tweeters and a large woofer that together resemble an open-mouthed face. A smaller, less visible tweeter also sits above the ‘eyes’, while a 5.6in passive radiator hides behind the ‘mouth’. The design most closely resembles the Soundcore Rave Neo which is available for £40 more, however, the Halo 100 offers an additional 10W of power at 60W. For even greater oomph, there’s the JBL Boombox 2 (80W when plugged-in), Soundcore Motion Boom Plus (80W) or the JBL Xtreme 3 (100W), however, you’ll be paying between £80 and £150 more for that extra audio muscle.

The Halo 100 takes five and a half hours to fully charge and has a stated battery life of up to 18 hours, though this figure is impacted by how loud you’re playing your music and whether you’re using the LED lighting. The speaker’s USB-C charging port is located at the base of its rear alongside an impressive range of ports. There’s a 3.5mm input to support a wired connection, a TF card slot for playing externally stored files, and a USB-A port that supports flash drives while also enabling the speaker to function as a power bank.

LED lighting is found on the cone of the woofer and the two mid-tweeters, with the effects controlled via the Tronsmart app or simply turned on/off via a physical button on the crest of the speaker. Other physical controls for audio playback, stereo pairing with another Halo speaker, and activating Tronsmart’s proprietary equaliser mode, SoundPulse, are also found here. Four more EQ presets can be found in the Tronsmart app, along with a customisable five-band graphic equaliser.

Tronsmart Halo 100 review: What do we like about it?

Sound quality is key to the success of any speaker and I’m happy to report that the Tronsmart Halo 100 produces spectacular results for the money.

The deep, guttural bass on Amnesia Scanner’s industrial electronic track “AS Too Wrong” hit just right and made me want to push the volume up higher, while metallic and squeaky drum fills and alien vocals remained crisp and lively at higher volumes. Pushed to its limits, the Halo 100 almost proved too loud for my flat and moved the neighbours above me to ask what the commotion was about.

The way the Tronsmart app and its equaliser dovetail with the Halo 100 is pleasingly slick. It’s easy to switch between the various EQ presets – Default, Deep Bass, Rock, Classical, SoundPulse – and each distinctly alters the Halo 100’s default U-shaped sound signature. Its patented SoundPulse mode is the most universally useful, providing increased detail and volume, but the custom EQ is also effective at allowing you to create a profile tuned to your personal tastes.

It’s not all about the app, either. While the physical controls feel a little cheaply constructed, the amount of control offered by them is impressive, with 18 different functions in total. Double-tapping the play button to activate your device’s voice assistant is a particularly convenient one, with Siri, Cortana and Google Assistant all effectively answering queries. Unlike some speakers I’ve tested, responses are broadcast through the speaker so there’s no need to check your phone for written results either.

Likewise, the ability to switch between sources by simply pressing the mode button is very handy. Doing so allows you to cycle through the Bluetooth, TF/SD card, USB-A drive and AUX-in modes quickly and having such a range of playback options is very welcome. The lack of a digital display to view and select tracks on external storage is a little frustrating but is to be expected – incorporating one would push the price up considerably.

When connected to two devices simultaneously over Bluetooth, the Halo 100 will automatically switch to the device that’s playing audio, a nice touch given Bluetooth is likely to be the primary form of connection for most people.

Equally handy for a party, and one of the most appealing aspects of the Tronsmart Halo 100, is its LED lighting. While portable speakers like the LG XBOOM Go XG7 offer more impressive customisation choices, the effect produced pales in comparison. This is chiefly down to the size of the respective models: the larger frame of the Halo 100 allows for bigger lights with more impactful effects.

There are five LED modes to select from: Ballet, Party, City of Phantoms, Carousel and Starry Night. I won’t break down exactly what each does but my favourite was ‘Carousel’ mode, which sees sufficiently bassy beats change the colour of the dual mid-tweeter lights and increase the oscillation speed of the woofer light. The large LEDs are a practical design choice too, since the woofer light shows the current volume level as a percentage of its wheel shape when changed. Speakers that have a slim strip of lights, like the Tronsmart Bang, get nowhere close to matching the show on display here.

All of that functionality and fun is packaged into a build that, while not lightweight or luxurious, is carried fairly easily via its handle and is sufficiently waterproofed for use outdoors.

Tronsmart Halo 100 review: What could be improved?

Something that majorly impacted my day-to-day usage of the Tronsmart Halo 100 was the static noise it produces. It’s always there, but is typically masked by what you’re playing, assuming you have the volume above 25% and aren’t in very close proximity to the speaker.

However, its presence did limit when I used the Halo 100. I was less inclined to employ it for low-volume listening late at night or early in the morning, or when wanting to enjoy ambient music genres, podcasts or films since I found myself at best distracted and at worst irritated by the electrical hissing.

Since the Halo 100 is designed for loud partying, and performs well at this task, this shouldn’t be a massive concern for most buyers. But it does shape how you use the Halo 100 and limit its effectiveness as an all-round speaker.

Battery life is another agitation. After less than four hours of usage at 80% volume and lighting effects activated, the battery dropped to 50%. Within another four hours, the battery was dead. Eight hours of high-volume listening isn’t terrible for a speaker of this size and you can get closer to the stated figure of 18 hours by turning the LED lights off and dropping down the volume. But by doing so you’ll be missing out on the Halo 100’s most distinctive feature and 18 hours is still a figure bettered by a number of our favourite Bluetooth speakers.

The customisation of the Halo 100’s lighting effects could be improved to make the most of its large LEDs, too. Speakers such as the LG XBOOM Go XG7 let you create millions of colour combinations by selecting different hues and saturations from a colour wheel. The Halo 100’s preselected colour ranges feel a little restrictive by comparison. This is a minor criticism considering the presets offer a solid range of expressive patterns, but those looking to create a particular mood via specific colours might be a tad disappointed.

Tronsmart Halo 100 review: Should you buy one?

The Tronsmart Halo 100 is a speaker that attracts attention for the right reasons. Its roaring power will turn heads and keep their attention through sonic clarity and stunning lighting. The level of control and customisation it offers is impressive, as is the range of sources from which it can play audio. Throw in power bank capabilities and decent waterproofing and you’ve got yourself a well-rounded portable party speaker.

It’s not all good news, however. The static noise it produces makes it a poor choice for low-volume listening and battery life isn’t great if you’re making the most out of the Halo 100’s punchy delivery and eye-catching lights.

Forgive those ills and the Tronsmart Halo 100 is well worth considering for those seeking a powerful party speaker at a very reasonable price.

Sole Massif – Encircle – 5:4

Posted on


i’m bringing my annual January exploration of free music to a close with an album that, as happens every year, should have appeared in my Best Albums of 2022 but i ended up listening to it just too late. That being said, when i first spent time with Encircle by Lithuanian musician Sole Massif, in the final days of 2022, i made the mistake of listening through headphones: it sounded good enough, at times even quite impressive, but not necessarily outstanding. Revisiting it again in the last week or so, however, i’ve allowed it to speak properly through speakers, and the difference is absolutely extraordinary.

The album’s title suggests being surrounded, enclosed even, and that’s absolutely the impression created by the 10 tracks that make up Encircle. Furthermore many of the track titles reference industrial objects or processes, ideas that again make their presence felt in the music. One of the primary characteristics of Encircle is a startling level of intensity. This manifests in various ways, most obviously in the recurring sense that we’re caught in the midst of a debris-filled maelstrom, with massive collisions happening on all sides. Sole Massif likes to place these in the unnervingly close foreground, where the resulting assortment of accents, frictions and drones smash, scrape and bombard our eardrums. Opening track ‘Disintegrate’, as its name suggests, almost seems to be setting up the debris field, throwing sound objects together and observing the reverberant aftermaths of each forceful contact.

Yet it also reveals the music’s dual primary aspect: sustained tones that throughout Encircle act as both a foil and a counterweight to the percussive elements that threaten to pummel everything into oblivion. In ‘Disintegrate’ it’s a somewhat fuzzy, middlegrounded drone, one that appears to vanish two-thirds through but which we realise is still present at great depth below the track’s powerful conclusion. Pitch often coalesces into drone formations, though usually coloured or inflected by the surrounding mayhem, such as the razor-sharp tones that cut through the texture in ‘Frontline Replicant’ or the far-off tolling of detritus-encrusted bells at the close of ‘Tempered Glass Deploy’.

Perhaps the aspect of Encircle that i find most compelling is the deft balancing act between these sustained (usually pitched) elements and the enormous violence (both percussive and noise) of each track. It’s not remotely the kind of balance that one could plausibly call an ‘equilibrium’, as the volatility is such that at almost no point does the music sound stable. yet regarding the album as a whole, which of those two primary elements is ultimately the more pervasive, or has greater agency, or proves more compelling, is impossible to say.

Hearing such ferocious caprice play out is exhilarating and often completely overwhelming. This is reinforced by the highly tactile timbral quality of Sole Massif’s palette. Big abrasive splashes in ‘Precalibrated Dispersion’ sound as if we were being sprayed with acid; ‘Tempered Glass Deploy’ gives the impression of tangible materials being handled, occasionally discharging energy, streaming a jet of white-hot matter directly at us; ‘Pact of Multiplication’ combines pounding crunchy accents and squalling noise bursts in an almost absurdly ferocious display of playfulness.

However, these are consistently matched and militated against by the longer-term pitch elements which, in the closing tracks on the album, seem to have proved dominant. ‘Directional Enquiries’ features resonant chords trying to emerge through a gentle, dronal industrialscape, in a liminal music that suggests imminent explosions from implied internal power but which is somehow held in check, in the process projecting soft warmth. In ‘Glowing White Indicator’ the softness of the drone paradoxically turns out to prove resilient against a barrage of intense impacts and scratches, hovering behind and, towards the end, evaporating seemingly by choice. Closing track ‘Controlled Machinery Formation’ pushes this unbalanced balance to an extreme, pelting squelch and noise left and right, triggering huge accents that transform everything, yet despite the effervescence and instability of the soundworld, following a series of shimmering metallic ripples what transpires is radiance, floating chords that equal the entirety and the enormity of everything that’s their opposite, leading to a majestic climax of impure glory.

Encircle is available as a free download from the Sole Massif Bandcamp site.

Country Music Star Dierks Bentley will perform pre-Daytona 500 concert | Arts & Entertainment

Posted on


Multi-platinum recording artist Dierks Bentley will take the stage ahead of the 65th running of the Daytona 500, Sunday, Feb. 19, Daytona International Speedway announced Monday, Jan. 30.

The 14-time Grammy-nominated entertainer will perform a setlist of hit songs just before drivers take the green flag, signaling the start of the 2023 season and NASCAR’s 75th anniversary.

“I’m ready to get back to Daytona with all the biggest NASCAR fans,” Mr. Bentley said in a news release. “The energy there is unmatched and I know we will have a blast getting them ready for the race.”

A man with his own history at the World Center of Racing, Mr. Bentley has long been a favorite for NASCAR fans, previously performing at the 2011 Daytona 500 and during Speed Weeks in 2009. He most recently played before a NASCAR crowd at Phoenix Raceway in 2021. 

Now, the “Somewhere on a Beach” singer returns to perform the award-winning tune and other hit songs, just a little ways down the road from the beach where NASCAR first began.

In a career spanning more than two decades, Mr. Bentley has built an impressive discography, with his debut album producing an instant No. 1 single – the first of many. Since stepping onto the music scene, he has had multiple chart-topping albums, resulting in 21 No. 1 hits, 8 billion streams, three CMA Awards and 14 Grammy nominations. His success also earned him membership into the Grand Ole Opry – one of country music’s greatest honors.

Mr. Bentley is gearing up to release his 10th album, “Gravel & Gold,” marking another milestone in his impressive career. The album is set to arrive Feb. 24 of this year – just days after his performance at DIS.

“We’re honored to welcome Dierks back to the World Center of Racing,” said DIS President Frank Kelleher. “Having an entertainer who knows how to start a party, preforming at the 65th DAYTONA 500 and kicking off NASCAR’s 75th anniversary season, is a combination fit for a fantastic Sunday.”

Speed Week begins Wednesday, Feb. 15, with Daytona 500 Qualifying determining the front row for the Daytona 500. That’s followed up on Thursday, Feb. 16, with the Bluegreen Vacations Duel, where drivers in the NASCAR Cup Series battle it out for the chance to race on Sunday.

Friday sees the return of the NASCAR Craftsman Truck Series in the Next Era Energy 250. Then, the racing continues with a double header on Saturday, Feb. 18, with the ARCA Menards Series Race, followed by the NASCAR Xfinity Series’ Beef. It’s What’s for Dinner 300.

The concert will take place on pit road, visible from the grandstands, but fans with a UNOH Fanzone Pass can watch Mr. Bentley’s set up close. A special VIP add-on is available for fans who want an exclusive view of the concert in an area next to the stage. Purchase of Fanzone passes also grants access to driver and VIP appearances, a glimpse into the NASCAR Cup Series garages, up-close access to driver introductions and more. Fans who have already purchased a ticket to The Great American Race can upgrade to include the UNOH Fanzone package to their experience.

For more information, visit daytona500.com or call 800-PITSHOP.



Bill Conti Boards ‘Roselli’s Way’ As Composer – Deadline

Posted on


EXCLUSIVE: Academy Award and 3x Emmy winner Bill Conti (The Right Stuff) has been tapped to pen the score for Roselli’s Way, a new biopic on Italian American pop singer Jimmy Roselli.

The film scripted by J.D. Zeik (Ronin) will watch as Roselli looks back on a career, in which he was forever the underdog in comparison to contemporary Frank Sinatra, among others.

Michael Besman, James Deutch, Roger Birnbaum and Mark Kimsey will produce for EMP Productions, along with Spike Seldin and Neil Jesuele of Remarkable Media, and veteran music exec and record producer Ron Fair, who will also serve as music supervisor. James Ivory and Stephen Dembitzer will serve as exec producers. A director is not yet attached to the project, though the casting search for its title character is now under way.

“The story behind one of the greatest voices of his era needs to be told,” Conti told Deadline. “Roselli’s life, though unknown is most compelling.”

Conti won an Academy Award for his The Right Stuff score in 1984, after securing Original Song noms for the films For Your Eyes Only and Rocky in 1982 and 1977, respectively. He’s scored more than 90 features in total, including such other notable titles as The Thomas Crown Affair, Necessary Roughness, Broadcast News and The Karate Kid. He also served as Musical Director for the Academy Awards for nineteen years and won his three Emmys for his work on the broadcasts.

The composer is repped by Final Cut Management.



Quinta Brunson to Host Billboard Women in Music Awards

Posted on







© Provided by The Hollywood Reporter


Quinta Brunson has been tapped to host the 2023 Billboard Women in Music Awards, which will take place March 1 at the YouTube Theater at Hollywood Park in Los Angeles.

The Golden Globe- and Emmy-winning star and creator of Abbott Elementary will emcee the annual event, which honors artists, creators, producers and executives for their contributions to the industry and community.

More from The Hollywood Reporter

Among this year’s honorees are Becky G, who will receive the Impact Award presented by American Express; rapper Doechii, who will receive the Rising Star Award presented by Honda; reggaeton pioneer Ivy Queen, who will receive the Icon Award; singer-songwriter Kim Petras, who will receive the Chartbreaker Award; Grammy-nominated rapper Latto, who will receive the Powerhouse Award; country singer-songwriter and actress Lainey Wilson, who will receive the Rulebreaker Award; Grammy-nominated singer-songwriter Lana Del Rey, who will receive the Visionary Award; and South Korean K-pop girl group Twice, who will receive the Breakthrough Award.

“We’re thrilled to recognize these groundbreaking artists across genres and generations who are defining today’s sound — and paving the way for tomorrow’s women in music,” Billboard editorial director Hannah Karp said. “With the inspiring Quinta Brunson as our host, this year’s Billboard Women in Music Awards is going to be an incredible night.”

Additional honorees, including the 2023 Woman of the Year Award recipient, presenters, performers and more will be announced at a later date.

Tickets to attend the live show go on sale Feb. 3 at Billboardwomeninmusic.com. The event also will stream live; details are forthcoming. 

Best of The Hollywood Reporter

For more stories like this, follow us on MSN by clicking the button at the top of this page.

Click here to read the full article.

Lana Del Rey, Kim Petras & More – Billboard

Posted on


The Billboard Women in Music Awards are returning March 1, 2023, with Billboard honoring today’s most influential female powerhouses who are shaping the music landscape.

Emmy-winning writer/actress Quinta Brunson will host the 2023 ceremony, which will take place at the YouTube Theater at Hollywood Park in Los Angeles, Calif. The event will honor Becky G with the Impact Award presented by American Express, Doechii with the Rising Star Award presented by Honda, Ivy Queen with the Icon Award, Kim Petras with the Chartbreaker Award, Latto with the Powerhouse Award, Lainey Wilson with the Rulebreaker Award, Lana Del Rey with the Visionary Award, and TWICE with the Breakthrough Award.

More performances and talent — including the 2023 Woman of the Year recipient — will be announced at a later date. Sponsors for the ceremony include American Express, presenter of the Impact Award; Honda, presenter of the Rising Star Award; Mugler; and Nationwide.

“We’re thrilled to recognize these groundbreaking artists across genres and generations who are defining today’s sound – and paving the way for tomorrow’s women in music,” said Billboard Editorial Director Hannah Karp. “With the inspiring Quinta Brunson as our host, this year’s Billboard Women in Music Awards is going to be an incredible night.”

Tickets to attend the Women in Music Awards are available to the public. American Express card members can take part in the ticket presale taking place Tuesday and Wednesday, Jan. 31 and Feb. 1, before the public on-sale Friday, Feb. 3, at 1 p.m. ET/10 a.m. PT, at billboardwomeninmusic.com. Prices range from $85 to $275.

The 2023 Women in Music Awards will also stream live with more details about the livestream to be announced soon.



Kronos Quartet still wonderfully weird at Universal Preservation Hall

Posted on


SARATOGA SPRINGS — It’s a funny thing when an ensemble dedicated to the new and unusual causes a feeling of nostalgia.  But Kronos Quartet, which performed Sunday night at Universal Preservation Hall, has been going for almost 50 years.  They were a key element in the avant garde,  becoming fashionable and exciting during the mid- to late-80s, right there alongside Philip Glass and Laurie Anderson.  They wore funky outfits, played weird pieces nobody knew and drew enthusiastic audiences. 

         Seeing the three original members arrive on stage not only stirred up memories of concerts from long ago but also brought to mind the sight of wrinkled and stooped rock stars still on the road and doing their thing.  It feels good to report that Kronos hasn’t lost its touch.     

         The evening was anchored by a searing performance of Terry Riley’s “Cadenza on the Night Plain.” The half-hour long piece is one of many the composer has written for Kronos.  Best known for his minimalist free for all “In C,” here Riley’s music is austere and controlled, spacious but dry.  The generous solos for each player were performed with earnest concentration, while there were ensemble passages that appeared like dances in the desert.  The performance confirmed Kronos as mature artists whose work with composers has resulted in music of lasting substance.

         Kronos’ commissioning program provided material for the concert’s first half, which was more light and playful.  The works by Peni Candra Rini, Aleksandra Vrebalov, Mazz Swift and Nicole Lizee functioned almost as a suite.  They were episodic and loose and frequently invited extraneous sounds to join the party.  Pre-recorded tracks of ambient noises and voices were also common.  The most extravagant and also the tightest composition was Lizee’s “ZonelyHearts,” which came last.  It included percussive use of dial up telephones, bowing on hard cover books, and striking the strings with flimsy rolls of paper. 

When Kronos made its major label debut in 1986, the inclusion of Jimi Hendrix’s “Purple Haze” made a big impact and the song became a signature work for the group. It’s good to see the quartet still drawing from the rich well of rock and pop. After intermission came vibrant arrangements of Bob Dylan’s “All Along the Watchtower” as inspired by Jimi Hendrix, and Abel Meeropol’s “Strange Fruit” as made famous by Billy Holiday.  Dear Kronos, long may you prosper.

Joseph Dalton is a freelance writer based in Troy.