Tame Impala, Sampa The Great Dominate 2020 ARIA Awards

Tame Impala, Sampa The Great, Amy Shark and Archie Roach were among the big winners at the 2020 ARIA Awards, held Wednesday (Nov. 25) in a virtual format from The Star Event Centre in Sydney, with performers and guests beamed realtime from around the globe.

Just hours after scoring a pair of nominations for the 2021 Grammy Awards, Kevin Parker’s psychedelic pop masters filled their boots with ARIAs. Tame Impala scooped five awards including best group and album of the year for The Slow Rush, the Perth outfit’s chart-topping fourth LP.

Sampa The Great made history in 2019 when she became the first woman of color to win the ARIA for best hip-hop release. The Melbourne-based artist made history again by snagging the award for a second time, one of a hattrick of ARIA wins on the night.

The Zambian-born, Botswana-raised singer and rapper also took out best female artist and best independent release for her debut full-length album The Return, winner of the 2019 Australian Music Prize.

Sampa also delivered one of the ARIA Awards’ highlights, a performance of “Final Form” shot in Africa.

On receiving the hip-hop honor, she noted: “This award means a lot to me because hip-hop has been redefined in the past five, 10 years in Australia. Young black artists, colored people, keep doing what you’re doing. Keep bringing your stories to the forefront, because now we get to see a side of Australia that wasn’t shown.”

Amy Shark opened the gala with a performance of “Everybody Rise.” Soon after, the Gold Coast singer won her seventh ARIA for best Australian live act, one of four publicly-voted ARIA Awards. She doubled-up later with best pop release, the third time she has won the award.

A breakout year for Lime Cordiale climaxed with ARIAs glory, as the Sydney indie outfit bagging their first ARIA Award, for breakthrough artist. Led by brothers Oliver and Louis Leimbach, the band enjoyed their first chart-leader during the year with their sophomore album, 14 Steps To A Better You.

The heart of the ARIAs program is, in a typical year, the induction ceremony for the ARIA Hall of Fame. This year’s honoree, Archie Roach, is the heart of Australia’s indigenous music community.

2020 marks the 30th anniversary of the release of Charcoal Lane, Roach’s debut full length album which featured “Took The Children Away,” a heartbreaking tale of the enforced separation of Indigenous children from their families.

It was based on Roach’s own life and experiences.

The album received two ARIA Awards in 1991 and “Took The Children Away” received an international Human Rights Achievement Award, the first time that the award had been bestowed on a songwriter. It’s now preserved in the National Film And Sound Archive Of Australia.

Roach, now frail after several health battles, led a moving performance of the song with support from Paul Kelly, pianist Paul Grabowsky and others, filmed from his hometown Warrnambool.

On receiving the spiky trophy, Roach quipped: “They’re as lethal looking as they ever were. I’d hate to trip and fall on one.” He’ll need to be careful about the house, because he collected another two sharp trophies on the night, for best contemporary album (Tell Me Why) and male artist of the year, beating out a shortlist that included Guy Sebastian, Ruel, The Kid LAROI and Troye Sivan.

“They didn’t make a mistake?” he asked when his name was called out for best male.

With induction into the Hall of Fame, Roach now sits alongside the greats of Australia’s music scene, from AC/DC to the Bee Gees, Dame Joan Sutherland, INXS, Peter Allen, Olivia Newton John, Nick Cave and others.

The evening closed with a powerhouse tribute to the late feminist trailblazing icon and ARIA Hall of Fame Inductee Helen Reddy, who passed away Sept. 29 at the age of 78. An all-star cast of Australian female artists joined forces for a performance of “I Am Woman,” a No. 1 hit on the Billboard Hot 100 back in 1972.

Amy Shark, Christine Anu, ARIAs host Delta Goodrem, Tones And I, Jessica Mauboy, Kate Miller-Heidke, Katie Noonan, Missy Higgins and Mo’Ju were among the 30-strong chorus.

Other performers on the night included Tame Impala, Lime Cordiale, Sia, and international stars Billie Eilish and Sam Smith.

“2020 has been a challenging year for the Australian music industry, but it’s clear that the quality of the music has not suffered,” comments outgoing ARIA CEO Dan Rosen. “I’m especially pleased to see the winners come from all parts of our music community, and that we could celebrate with audiences from all around the world.”

YouTube streamed performances online through an ongoing partnership, and free-to-air broadcaster Nine Network aired the show across Australia.

2020 ARIA AWARD RECIPIENTS

Album Of The Year
DMA’s – THE GLOW (I OH YOU / Mushroom)
Jessica Mauboy – Hilda (Sony Music)
Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Sampa The Great – The Return (Ninja Tune / Inertia Music)
Tame Impala – The Slow Rush (Modular Recordings/Island Records Australia/Universal Music Australia): WINNER

Best Male Artist
Archie Roach – Tell Me Why (Bloodlines / Mushroom): WINNER
Guy Sebastian – Standing With You (Sony Music)
Ruel – Free Time (RCA / Sony Music)
The Kid LAROI – F*ck Love (Columbia / Sony Music)
Troye Sivan – In A Dream (EMI Music Australia)

Best Female Artist
Amy Shark – Everybody Rise (Wonderlick Recording Company / Sony Music)
Miiesha – Nyaaringu (EMI Music Australia)
Sampa The Great – The Return (Ninja Tune / Inertia Music): WINNER
Sia – Together (Monkey Puzzle, Inc., under exclusive license to Atlantic Recording Corporation for the United States and WEA International for the world outside of the United States)
Tones And I – Bad Child / Can’t Be Happy All the Time (Bad Batch Records / Sony Music)

Best Dance Release
Alice Ivy – Don’t Sleep (Dew Process / Universal Music Australia)
Dom Dolla – San Frandisco (Sweat It Out / Warner Music): WINNER
Flume – Rushing Back feat. Vera Blue (Future Classic)
Northeast Party House – Shelf Life (Stop Start Music / Sony Music)
Stace Cadet & KLP Energy – (Medium Rare Recordings / Sony Music)

Best Group
5 Seconds Of Summer – CALM (Interscope / EMI Music Australia)
DMA’s – THE GLOW (I OH YOU / Mushroom)
Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Tame Impala – The Slow Rush (Modular Recordings/Island Records Australia / Universal Music Australia): WINNER
The Teskey Brothers – Live At The Forum (Ivy League Records / Mushroom)

Breakthrough Artist presented by PPCA
Alex the Astronaut – The Theory of Absolutely Nothing (Minkowski / AWAL Recordings): WINNER
Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Mallrat – Driving Music (Dew Process / Universal Music Australia)
Miiesha – Nyaaringu (EMI Music Australia)
The Kid LAROI – F*ck Love (Columbia / Sony Music)

Best Pop Release
Amy Shark – Everybody Rise (Wonderlick Recording Company/Sony Music): WINNER
Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Sia – Together (Monkey Puzzle, Inc., under exclusive license to Atlantic Recording Corporation for the United States and WEA International for the world outside of the United States)
Tame Impala – Lost In Yesterday (Modular Recordings/Island Records Australia / Universal Music Australia)
Troye Sivan – In A Dream (EMI Music Australia)

Best Hip Hop Release presented by Hennessy
Baker Boy – Meditjin feat. JessB (Danzal Baker/Island Records Australia / Universal Music Australia)
Briggs – Always Was EP (Adam Briggs / Island Records Australia)
Illy – Last Laugh (Sony Music)
Sampa The Great – The Return (Ninja Tune / Inertia Music): WINNER
The Kid LAROI – F*ck Love (Columbia / Sony Music)

Best Soul/R&B Release
Genesis Owusu – Don’t Need You (OURNESS / AWAL)
KIAN – Every Hour (EMI Music Australia)
Miiesha – Nyaaringu (EMI Music Australia): WINNER
Tash Sultana – Pretty Lady (Lonely Lands Records / Sony Music)
Tkay Maidza – Last Year Was Weird, Vol.2 (Dew Process / Universal Music Australia)

Best Independent Release
Archie Roach – Tell Me Why (Bloodlines / Mushroom)
DMA’s – THE GLOW (I OH YOU / Mushroom)
Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Nick Cave & The Bad Seeds – Ghosteen (Ghosteen / AWAL Recordings)
Sampa The Great – The Return (Ninja Tune / Inertia Music): WINNER

Best Rock Album
Cold Chisel – Blood Moon (Cold Chisel / Universal Music Australia)
DMA’s – THE GLOW (I OH YOU / Mushroom)
Ocean Alley – Lonely Diamond (Independent / Unified Music Group)
Tame Impala – The Slow Rush (Modular Recordings/Island Records Australia / Universal Music Australia): WINNER
Violent Soho – Everything Is A-OK (I OH YOU/ Mushroom)

Best Adult Contemporary Album
Archie Roach – Tell Me Why (Bloodlines / Mushroom): WINNER
Donny Benét – Mr Experience (Dot Dash Recordings / Remote Control Records)
Gordi – Our Two Skins (Liberation Records)
Josh Pyke – Rome (Wonderlick Recording Company)
Nick Cave & The Bad Seeds – Ghosteen (Ghosteen / AWAL Recordings)

Best Country Album
Casey Barnes – Town of A Million Dreams (Chugg Music Pty Ltd)
Fanny Lumsden – Fallow (Cooking Vinyl Australia): WINNER
Jasmine Rae – Lion Side (ABC Music / Universal)
The McClymonts – Mayhem To Madness (Island Records Australia / Universal Music Australia)
Travis Collins – Wreck Me (ABC Music / Universal)

Best Hard Rock/Heavy Metal Album
King Gizzard & The Lizard Wizard – Chunky Shrapnel (Flightless Records): WINNER
Parkway Drive – Viva The Underdogs (Resist / Cooking Vinyl Australia)
Polaris – The Death Of Me (Resist / Cooking Vinyl Australia)
The Amity Affliction – Everyone Loves You…Once You Leave Them (The Amity Affliction. Marketed & Distributed by Warner Music Australia under exclusive license)
The Chats – High Risk Behaviour (Bargain Bin / Cooking Vinyl Australia)

Best Blues & Roots Album
Busby Marou – The Great Divide (Warner Music Australia Pty Ltd)
Frank Yamma – Tjukurpa: The Story (Wantok Musik/MGM)
Lucky Oceans – Purple Sky (Songs Originally By Hank Williams) (ABC Music / Universal)
The Teskey Brothers – Live At The Forum (Ivy League Records / Mushroom): WINNER
Tracy McNeil & The GoodLife – You Be The Lightning (Cooking Vinyl Australia)

Best Children’s Album
Teeny Tiny Stevies – Thoughtful Songs for Little People (ABC Music / Universal): WINNER
The Vegetable Plot – Season Two (ABC Music / Universal)
The Wiggles – Choo Choo Trains, Propeller Planes & Toot Toot Chugga Chugga Big Red Car! (ABC Music / Universal)
Tiptoe Giants – Colour the World (Tiptoe Tunes / ABC Music)

Best Comedy Release
Anne Edmonds – What’s Wrong With You? (Guesswork Television): WINNER
Bev Killick – Crummy Mummy (Rivershack Records / MGM)
Celia Pacquola – All Talk (Guesswork Television)
Crossbread feat. Chris Ryan and Megan Washington – Just Jesus (ABC Music / Universal)
Tom Gleeson – Joy (Guesswork Television) PUBLIC VOTED AWARDS

Best Video presented by YouTube Music
Baker Boy – Meditjin feat. JessB (Danzal Baker/Island Records Australia / Universal Music Australia)
Guy Sebastian – Standing With You (Sony Music): WINNER
Lime Cordiale – Robbery (Chugg Music Pty Ltd)
PNAU feat. Vlossom – Lucky (etcetc Music)
Sampa The Great – Time’s Up (feat. Krown) (Ninja Tune / Inertia Music)
Tame Impala – Is It True (Modular Recordings/Island Records Australia / Universal Music Australia)
The Chats – The Clap (Bargain Bin/Cooking Vinyl Australia)
Tones And I – Ur So F**kInG cOoL (Bad Batch Records / Sony Music)
Troye Sivan – Easy (EMI Music Australia)
Violent Soho – Pick It Up Again (I OH YOU / Mushroom)

Best Australian Live Act
Amy Shark – Amy Shark Regional Tour (Wonderlick Recording Company/Sony Music): WINNER
Baker Boy – Falls Festival (Danzal Baker/Island Records Australia / Universal Music Australia)
Cold Chisel – Blood Moon Tour (Cold Chisel / Universal Music Australia)
DMA’S – Unplugged & Intimate | Laneway Festival (I OH YOU / Mushroom))
King Gizzard & The Lizard Wizard – St Jerome’s Laneway Festival (Flightless Records)
Paul Kelly – Paul Kelly – Making Gravy 2019 (GAWD AGGIE / EMI Music Australia)
PNAU – All Of Us Australian Tour (etcetc Music)
RÜFÜS DU SOL – 2019 Summer Festival Tour (Rose Avenue Records under exclusive license to Reprise Records.)
Sampa The Great -The Return Australian Tour 2019 (Ninja Tune / Inertia Music)
The Teskey Brothers – Run Home Slow (Ivy League Records / Mushroom)

Song of the Year presented by YouTube Music
5 Seconds Of Summer – Teeth (Interscope / EMI Music Australia): WINNER
Flume Feat. Vera Blue – Rushing Back (Future Classic)
Hilltop Hoods Feat. Illy & Ecca Vandal – Exit Sign (Hilltop Hoods / Island Records Australia/UMA)
Lime Cordiale – Robbery (Chugg Music Pty Ltd)
Mallrat – Charlie (Dew Process/Universal Music Australia
Ruel – Painkiller (RCA / Sony Music)
Sam Fischer – This City (Sony Music)
The Jungle Giants – Heavy Hearted (Amplifire Music / Together We Can Work Together / The Orchard)
The Rubens – Live In Life (Ivy League Records)
Tones and I – Never Seen the Rain (Bad Batch Records / Sony Music)

Best International Artist
Dua Lipa – Future Nostalgia (Warner Music Australia Pty Ltd)
Eminem – Music To Be Murdered By (Interscope/Universal Music Australia)
Halsey – Manic (Capitol/EMI Music Australia)
Harry Styles – Fine Line (Columbia/Sony Music):WINNER
Juice WRLD – Legends Never Die (Interscope/Universal Music Australia)
Justin Bieber – Changes (Def Jam Recordings/Universal Music Australia)
Lewis Capaldi – Divinely Uninspired To A Hellish Extent (Universal Music Group/Universal Music Australia)
Lizzo – Cuz I Love You (Atlantic/Warner Music Australia Pty Ltd)
Taylor Swift – Folklore (Republic Records/Universal Music Australia)
The Weeknd – After Hours (Universal Music Group/Universal Music Australia)

Telstra ARIA Music Teacher Award
CJ Shaw – Palmerston District Primary School, Canberra ACT
Kathryn McLennan – Virginia State School, Virginia QLD
Sarah Donnelley – Wilcannia Central School, Wilcannia NSW: WINNER
Thomas Fienberg – Evans High School, Blacktown, NSW ARTISAN AWARDS

Best Cover Art
Tim Rogers for Donny Benét – Mr Experience (Dot Dash Recordings / Remote Control Records)
Made In Katana for Jessica Mauboy – Hilda (Sony Music)
Louis Leimbach for Lime Cordiale – 14 Steps To A Better You (Chugg Music Pty Ltd)
Luke Henery for Violent Soho – Everything Is A-OK (I OH YOU)
Adam Dal Pozzo, Megan Washington and Michelle Pitiris for WASHINGTON – Batflowers (Washington / Island Records Australia / Universal Music Australia):WINNER

Engineer Of The Year
Alice Ivy – Don’t Sleep (Dew Process / Universal Music Australia)
IAMMXO (aka Mohamed Komba) for Miiesha – Nyaaringu (EMI Music Australia)
Eric J Dubowsky for Ruel – Free Time (RCA / Sony Music)
Kevin Parker for Tame Impala – The Slow Rush (Modular Recordings / Island Records Australia / Universal Music Australia): WINNER
Greg Wales for Violent Soho – Everything Is A-OK (I OH YOU / Mushroom)

Producer Of The Year
Kevin Shirley for Cold Chisel – Blood Moon (Cold Chisel / Universal Music Australia)
DNA & Louis Schoorl for Jessica Mauboy – Hilda (Sony Music)
IAMMXO (aka Mohamed Komba) for Miiesha – Nyaaringu (EMI Music Australia)
M-Phazes for Ruel – Free Time (RCA / Sony Music)
Kevin Parker for Tame Impala – The Slow Rush (Modular Recordings / Island Records Australia / Universal Music Australia): WINNER

FINE ARTS AWARD

Best Classical Album
Alicia Crossley – Muse (Move)
David Greco & Erin Helyard – Schubert: Die schöne Müllerin (ABC Classic / Universal)
Jayson Gillham, Adelaide Symphony Orchestra, Nicholas Carter – Beethoven Piano Concertos (ABC Classic / Universal)
Richard Tognetti & Erin Helyard – Beethoven & Mozart Violin Sonatas (ABC Classic / Universal): WINNER
Slava & Sharon Grigoryan -Our Place: Duets For Cello And Guitar (ABC Classic / Universal)

Best Jazz Album
Katie Noonan – The Sweetest Taboo (ABC Jazz / Universal)
Luke Howard – All That Is Not Solid (Live At Tempo Rubato, Australia / 2020) (Mercury KX / Universal Music Australia)
Mike Nock; Hamish Stuart; Julien Wilson; Jonathan Zwartz – This World (Lionsharecords / The Planet Company)
Nat Bartsch – Forever More (ABC Jazz / Universal)
Paul Kelly & Paul Grabowsky – Please Leave Your Light On (GAWD AGGIE / EMI Music Australia): WINNER

Best Original Soundtrack or Musical Theatre Cast Album
Chelsea Cullen – I Am Woman (Original Motion Picture Soundtrack) (Sony Masterworks):WINNER
Dan Golding – Untitled Goose Game (Original Soundtrack) (House House / Decca Classics Australia / Universal Music Australia)
Grigoryan Brothers – A Boy Called Sailboat (ABC Classic / Universal)
Matteo Zingales & Antony Partos – Mystery Road (Original Score: Seasons 1-2) (ABC Music / Universal)
Sally Seltmann & Darren Seltmann – The Letdown (Music from Seasons 1+2) (ABC Music / Universal)

Best World Music Album
Grace Barbe – FANM:WOMAN (Afrotropik / MGM)
Joseph Tawadros – Live at the Sydney Opera House (ABC Music / Universal):WINNER
Melbourne Ska Orchestra – Live At The Triffid (ABC Music / Universal)
The Crooked Fiddle Band – Another Subtle Atom Bomb (Bird’s Robe Records / MGM)
Xylouris White – The Sisypheans (ABC Music / Universal)

Andrea Bocelli Earns 10th Top 10 on Album Sales Chart With ‘Believe,’ Bows at No. 1 on Classical Albums

Andrea Bocelli earns his 10th top 10 on Billboard’s Album Sales chart (dated Nov. 28), as his latest release, Believe, bows at No. 5. The set was released on Nov. 13 via Sugar/Decca Records, and sold 20,000 copies in the U.S. in the week ending Nov. 19, according to Nielsen Music/MRC Data.

Also in the top 10, AC/DC’s Power Up launches at No. 1, Chris Stapleton’s Starting Over debuts at No. 2, Pentatonix’s We Need a Little Christmas arrives at No. 8 and a flurry of catalog titles see major gains thanks to sale pricing at Walmart.

Billboard’s Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The Album Sales chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Nielsen Music/MRC Data. Pure album sales were the measurement solely utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Bocelli got his first top 10 on the Album Sales chart in 1999 with Sogno, which debuted and peaked at No. 4. He landed his first No. 1 with 2018’s Si.

Through his career, Bocelli has sold 24.3 million albums in the U.S. Believe also gives Bocelli his 20th No. 1 on the Classical Albums chart and his 14th No. 1 on the Classical Crossover Albums tally. He extends his own record for the most No. 1 albums on both charts.

The Classical Albums ranks the most popular classical albums of the week based on multi-metric consumption, combining album sales, track equivalent album units and streaming equivalent album units. The Classical Crossover Albums chart ranks the top-selling classical crossover titles of the week.

Back in the top 10 of the new Album Sales list, AC/DC’s Power Up debuts at No. 1 with 111,000 copies sold. As earlier reported, the album also enters at No. 1 on the multi-metric consumption Billboard 200 chart – the band’s first No. 1 since 2008.

Chris Stapleton’s latest effort Starting Over starts at No. 2 with 75,000 copies sold, while Queen’s Greatest Hits blasts 46-3 (a new peak) with 24,000 sold (up 737%) – its best sales week since 2007. The bulk of the latter’s sales (23,000 in fact) came from vinyl LP sales, thanks in large part to a Walmart sale where all vinyl in-store on Nov. 14 was marked down to $15. Greatest Hits, which was initially released in 1981, also reaches the top 10 of the Billboard 200 for the first time.

Greatest Hits logs its best sales week since the Dec. 8, 2007-dated chart, when it sold 36,000 copies (in the tracking week ending Nov. 25 – which reflected the busy Thanksgiving and Black Friday shopping holidays that year).

Dolly Parton’s A Holly Dolly Christmas returns to its peak of No. 4 on Album Sales, as it rises two spots with 21,000 copies sold (up 90%).

Fleetwood Mac’s Rumours jumps 18-6 with 17,000 sold (up 261%), with vinyl LP sales comprising 16,000 of that sum (up 369%). Rumours was also a beneficiary of Walmart’s $15 sale pricing. Rumours additionally reaches the top 10 on the Album Sales chart (whose history dates to May 25, 1991) for the first time, and marks the band’s first top 10 since the 2003 album Say You Will debuted and peaked at No. 3 (May 3, 2003-dated chart). Rumours also tallies its best sales week since the May 21, 2011-dated chart, when it sold 30,000 copies in the wake of the premiere of the Glee TV episode dedicated to the album (May 3).

Carrie Underwood’s holiday set My Gift is pushed down 3-7 on the new Album Sales chart, but posts a gain, as it sold just under 17,000 copies (up 17%).

Pentatonix’s latest holiday album We Need a Little Christmas bows at No. 8 with 16,000 sold. It’s the 11th top 10 for the vocal group. Of those 11 top 10s, six have been Christmas titles.

Bob Marley and The Wailers’ Legend: The Best Of… vaults 48-9 with 15,500 sold (up 453%). It also was goosed by the Walmart vinyl sale, as the title sold nearly 15,000 on vinyl LP (up 639%).

Legend logs its best overall sales week since the Sept. 20, 2014-dated chart, when the album sold 41,000 copies after it was discounted to 99-cents in the Google Play store.

Closing out the new top 10 on the Album Sales chart is another title that gets a lift from Walmart, as Creedence Clearwater Revival’s Chronicle: The 20 Greatest Hits rises 59-10 with 14,000 copies sold (up 485%). Of that sum, 13,000 are in vinyl LP sales (up 776%). Chronicle nets its best sales week since the Aug. 17, 2013-dated chart, when it moved 15,000 copies.

Finneas’ Christmas Song Is Coming Soon

Finneas is getting in the holiday spirit.

The star took to Twitter on Wednesday (Nov. 25) to simply write, “Christmas song on Tuesday.” While he gave no further details on the upcoming track, the song will mark Finneas’ first holiday song.

The crooner will be joining his sister Billie Eilish when she performs at the 2020 virtual iHeartRadio Jingle Ball on Dec. 10.

Megan Thee Stallion Feels Like She ‘Said Enough’ on Clapback Track ‘Shots Fired’

Megan Thee Stallion masterfully addressed the Tory Lanez shooting incident on her recently released debut album Good News with the blistering opener “Shots Fired.”

The song, which samples Notorious B.I.G.’s “Who Shot Ya?,” features fiery lyrics like, “You shot a 5’10” b—- with a .22 / Talkin’ ’bout bones and tendons like them bullets wasn’t pellets / A p—- n—- with a p—- gun in his feelings.”

In a new interview with Radio.com, Meg was asked if she felt that she properly expressed her side of the story on the track. “I feel like I said enough…,” she explained. “I don’t like to go back and forth. If I said something one time, that’s what it is, that’s what I said and I meant it, there’s no need for me to continue to go back and forth.”

“I am a rapper, and at the end of the day if you put something down on wax, I’mma do that too,” she continued. “So, you know, that’s what I had to do.”

Lanez allegedly shot Megan twice in the foot back in July, after the two were leaving a Hollywood party together. Lanez pleaded not guilty to a felony assault charge in the incident, and appeared to address the situation on “Money Over Fallouts” off his September album Daystar.

Watch the full Radio.com interview below.

Radiohead, Elbow Members Call for Better Streaming Royalties at Opening of UK Parliament Probe

LONDON — Low payouts from music streaming services are placing artists’ livelihoods and future careers at risk, four British artists testified at the opening of a U.K. Parliament probe into the streaming business.

On Tuesday, rock band Elbow frontman Guy Garvey warned that “the system, as it is, is threatening the future of music,” as more artists are struggling to make a living with the current rates streaming platforms are paying.

With streaming accounting for more than half of the global music industry’s revenue, the Digital, Culture, Media and Sport (DCMS) Committee is looking into the economic impact that streaming services like Spotify, Apple Music and Amazon are having on artists and record labels, as well as the sustainability of the wider music industry.

Garvey and Radiohead guitarist Ed O’Brien were among a group of four artists and two industry analysts that provided evidence on the first day of the inquiry, which is anticipated to stretch for several months and will call upon executives at major labels and streaming platforms to answer questions.

The Parliament probe — which so far is being done with witnesses testifying virtually, as the U.K. is in lockdown — is also addressing a lack of transparency in record contracts and opaque accounting practices, safe harbor provisions and the European Copyright Directive, which will hold online user-generated services like YouTube liable for unlicensed content.

The inquiry comes at a time when the coronavirus pandemic has decimated income from touring, focusing artists’ attention on how much — or in many cases how little — cash they actually make from music streaming.

Spotify paid labels and rights holders a blended per-stream rate of $0.00366 in 2019, while Apple Music’s rate is about $0.0070 per stream and YouTube doles out $0.0033 for ad-supported official videos.

The COVID-19 crisis “has provided an opportunity for us to really see what we’re making from recorded music [and] it’s pretty horrific,” Tom Gray, from British rock band Gomez, told the committee. He cited a “very successful” unnamed songwriter friend who recently received payment of £70 from YouTube in return for 1 million plays of his music.

“There have always been imbalances in the system, and they need to be addressed,” O’Brien told the Parliament members, “but it’s more acute now.”

All of the musicians taking part in Tuesday’s session said they were fans of music streaming but stressed that something needed to be done to address the imbalance between revenues record labels and rights holders receive from streaming services and the often-miniscule payments artists were getting for their work.

“It would be disingenuous of me to pretend that there aren’t some artists who are doing well from streaming,” Gray said. “But the problem is that they conform to one type of artist broadly speaking. They tend to be solo artists. They tend to be fully independent … and they tend to be working in a genre that is highly playlisted.”

Garvey and Gray both advocated a move towards streaming platforms and labels implementing a user-centric payment model that will see artists paid every time their music is directly streamed, rather than the current arrangement where royalties are distributed on a pro-rata model based around market share.

Gray also criticized outdated record label contracts that see rights holders withholding the lion’s share of streaming income, noting that the imbalance in artist payouts was occurring while “foreign-based multi-national” corporations reported record revenues.

Last month, Universal Music Group, the world’s biggest record label, posted €1.86 billion ($2.14 billion) in third quarter revenue, up 3.1% on the same period the previous year. Spotify’s third quarter 2020 operating income fell to a loss of €40 million from a gain of €50 million during the same time last year, while revenues climbed 14% to €1.97 billion ($2.29 billion), with the streaming giant growing its customer base to 144 million paid subscribers and 320 million total monthly active users.

Gray drew attention to physical breakage clauses — automatically deducting 10% of an artist’s royalties to cover the cost of damaged vinyl and CDs — that are still present in many record deals.

While acknowledging he was one of the lucky artists who had made a good living from playing music, O’Brien said he was taking part in the inquiry to support new acts struggling to survive in the digital music economy.

One of those is British singer-songwriter Nadine Shah, whose 2017 album Holiday Destination was nominated for the Mercury Prize. She released her fourth studio set, Kitchen Sink, on BMG this year.

Shah told MPs that, despite her success as an acclaimed artist with a substantial fanbase, she and many fellow musicians were struggling to pay their rent. “The reality is that we could lose lots of musicians,” she said.

Garvey said that if musicians could not afford to live, “then we haven’t got tomorrow’s music in place.”

Whether the Parliament hearings will have any genuine impact on the streaming industry remains to be seen. Although the DCMS committee is made up of 11 elected members of U.K. Parliament, it exists independently from the British government and does not have any regulatory power. Instead, the committee makes recommendations based on its inquiry findings that government officials can then choose whether to pass into law.

Its real power lies in shining a light on previous hidden business practices and inequalities. A two-year probe into the U.K. live music market which ended last year helped bring about major changes to the British secondary ticketing sector, culminating in Ticketmaster shutting down its two major U.K. secondary sites, Get Me In and Seatwave.

Viagogo, which made headlines when it twice snubbed a request to appear before the committee, also made changes to comply with British law following the DCMS inquiry and a number of concurrent investigations by regulatory bodies.

Additional reporting by Ed Christman.

Here’s Why Frank Ocean Inspired Yara Shahidi to Get Tattoos

Yara Shahidi is a huge fan of Frank Ocean’s. So much so, that the actress and activist revealed how the singer influenced her to get inked up.

In Vogue’s latest “73 Questions” installment, Shahidi admitted that she listens to music “every moment of the day,” while showing off her impressive vinyl record collection.

When asked if she has a tattoo inspired by Ocean, the grown-ish star had to clarify. “OK, so I have tattoos because of Frank Ocean, but they’re all inspired by different things,” she explained, before pointing out a lyric from the singer’s Chanel title track, in which he boasts, “Hide my tattoos in Shibuya.”

“I heard that, I was 16, I hadn’t had tattoos yet and so when I got tattoos, I was like, ‘When I got to Shibuya, now I have something to hide,” Shahidi continued.

What makes her such a big Ocean supporter? “His artistry and his work ethic, but also I’d have to say his music is so ripe with cultural references,” she replied. “Whether it be Kerry James Marshall or somebody else, it’s oftentimes an entry point to learn about other artists.”

Watch the full “73 Questions” segment below.