Rüfüs Du Sol Talk New Album, Share ‘Dream’ Red Rocks Performance

Rüfüs Du Sol has a mighty impressive strike rate. In a handful of years, the Sydney electronic act has upped their game from playing clubs in their homeland, to filling stadiums on the other side of the globe, topping charts and cracking critics’ lists.

Since the pandemic killed all the fun, the trio have worked on their forthcoming fourth studio set, splitting time between studios in Joshua Tree and Hollywood.

On Monday night (Aug. 31), the lads Zoomed in to The Late Late Show for a chat with James Corden on that new LP, and their pre-and-post-show rituals, which involve ginger shots, stretching and breathing exercises.

“We’ve got to finish it first,” says singer Tyrone Lindqvist of the new record. “We’re really excited about it. We’ve spent the last year and a half working on it…we basically just had time to have structure and write and be with family and friends. We’re really excited about the songs we’ve made and the album that’s coming out.”

One of those tracks is “Alive,” which the act performed for late-night TV, by way of a pre-recorded clip from Red Rocks Ampitheatre, filming during a two-night sold-out run earlier this month.

“It was very surreal,” recounts bandmate James Hunt. “There was a lot that made it a very crazy moment for us. We hadn’t played a show for 18 months, I guess the crowd had been waiting a year.” When Rüfüs Du Sol (formerly Rüfüs) was up on stage, it “felt like actually a dream,” he explained.

The group is coming off a career-defining album, 2018’s Solace, which was nominated for two Grammy Awards (for best dance/electronic album and best dance recording) and three ARIA Awards (winning for best dance release) and was voted as the best electronic album of 2018 by Billboard’s Dance.

Solace peaked at No. 6 on Top Dance/Electronic Albums chart and reached No. 2 on the Heatseekers Albums chart and the ARIA Albums Chart. Previous LPs Atlas (from 2013) and Bloom (2016) went to No. 1 in Australia.

Rüfüs Du Sol will support the new effort with a previously-announced headline run at L.A.’s Banc of California Stadium this November.

Watch the performance below.

Peter Rosalita Delivers Powerful Cover of ‘Without You’ on ‘AGT’: Watch

Peter Rosalita is living proof that good things really do come in small packages.

For his semifinal appearance on America’s Got Talent, the 10-year-old singer performed “Without You,” the epic ballad written by members of Badfinger, made famous in the ‘70s by the late Harry Nilsson, and covered by Mariah Carey in the ‘90s.

Aged just 10, the Filipino singer wasn’t around when Carey cut her cover. Like Mariah, Rosalita delivered a package of drama, high notes and a key change.

Rosalita’s run in season 16 of AGT has featured a steady dose of diva songs. He auditioned with Celine Dion’s “All by Myself” and hit Whitney Houston’s Bodyguard classic “I Have Nothing” for the quarterfinals.

Watch his performance of “Without You” below.

Kane Brown & Nelly Bond Over Being Seen as ‘The Bad Guy’ in ‘CMT Crossroads’ Clip: Exclusive

“All the traditional hates the new, always,” Nelly tells Kane Brown and Breland, as the three country performers discuss their experiences working in music, during a scene from the forthcoming CMT Crossroads: Nelly and Friends, which premieres  Wednesday at 9 p.m. CT on CMT. “Like people will call ‘Country Grammar’ a classic now. They didn’t call it a classic when I first came out.”

Brown, known for country hits including “Heaven” and “What Ifs,” as well as his cross-genre collaborations with artists like Marshmello, Khalid and Swae Lee, deadpans in response, “They look at me like I’m the bad guy.”

“Who?” Nelly asks.

“Like a lot of the country people,” Brown clarifies.

“Traditional hip-hop looked at me like I was the bad guy,” Nelly responded.

Since CMT Crossroads debuted in 2002, the series has become known not only for smart musical pairings of country artists with musicians from other genres, but also for bringing fans deeper into the creativity and mutual respect the artists have for music.

The conversation with Brown, Breland and Nelly showcases a vulnerable, honest moment between the hitmakers on CMT Crossroads: Nelly & Friends, which also features Blanco Brown and Florida Georgia Line.

Several of the performances featured during the 60-minute CMT Crossroads special will highlight Nelly’s collaborative, country-inspired Heartland EP, which came out on Friday. The album features Nelly’s current radio hit with FGL “Lil Bit,” plus “Grits & Glamour” with Kane Brown, “High Horse” with Blanco Brown and Breland, and more.

Nelly, of course, is no stranger to the country scene, having teamed with Tim McGraw for the 2004 hit “Over and Over,” followed by his smash hit collaboration with FGL on the remixed version of the duo’s “Cruise” in 2012. His collaboration with Jimmie Allen on “Good Times Roll” appears on Allen’s Bettie James EP (the song also appears on Nelly’s Heartland).

During a separate interview segment with Nelly for the show, Kane Brown gives Nelly credit for pulling him back into country music, saying, “I grew up on ’90s country, then I got into hip-hop and everything, and that kind of rooted me back in country, when I heard you on the ‘Cruise’ track.”

Elsewhere in the episode, Nelly sits down with longtime friends and collaborators, FGL’s Brian Kelley and Tyler Hubbard, for a discussion on the impact hip-hop has had on country music, saying, “Hip-hop is the ‘youngest’ music, so it only goes back maybe 40, 50 years. But now, you can’t have anybody 45 years or younger that don’t have some type of affinity for some form of hip-hop. And hip-hop is the only genre of music that touches every other genre.”

Over the years, CMT Crossroads has offered unique pairings, including Ray Charles with Travis Tritt; Kelly Clarkson with Reba McEntire; Def Leppard with Taylor Swift; Alicia Keys with Maren Morris; Halsey with Kelsea Ballerini; and more.

Lizzo, Run the Jewels, Jason Isbell & More React to Bonnaroo 2021 Being Canceled

At this weekend’s Bonnaroo, Lizzo was set to make history as the festival’s first-ever female headliner. Instead, due to heavy rains from Hurricane Ida flooding the fest’s Manchester, Tenn., grounds, the 2021 event was canceled Tuesday (Aug. 31), and the weekend’s scheduled performers are lamenting the loss on social media.

“Honored to be your first female headliner @bonnaroo,” Lizzo wrote Tuesday on her Instagram Stories. “Take care of yourselves everyone who is in the path of the storm. Safety first,” she wrote, adding a red heart emoji.

Run the Jewels, Jason Isbell, Incubus and more also shared their disappointment on social media, with Isbell tweeting, “I’m sorry y’all had to make this choice but I believe it was the right one. I was really REALLY looking forward to it, but ya gotta be safe and smart. Love to everybody on the crew with a broken heart today.”

Electronic pop duo Sylvan Esso didn’t let the news get them down, writing on their IG Stories: “Anybody gotta good outdoor venue in Tennessee for this sick ass band? @Bonnaroo got cancelled but we are still practicing anyway cuz music is joy.”

Bonnaroo hasn’t hosted a festival since 2019, with the coronavirus pandemic forcing organizers to pull the plug in 2020 as well.

See all the performer reactions below:

Britney Spears’ Attorney Demands Dad’s Immediate Resignation From Conservatorship

Weeks after Britney Spears’ father announced in a court filing he’d be willing to step away from her conservatorship at some point, the singer is again telling an L.A. judge that he needs to be removed as soon as possible.

In a supplemental petition to suspend and remove Jamie Spears filed Tuesday (Aug. 31), Britney’s attorney argues that an Aug. 12 filing is further proof Jamie is concerned about his own well-being instead of his daughter’s.

“The thrust of his response is that although (i) he expressly recognizes that a ‘public battle’ regarding his departure would not be in Ms. Spears’s best interests and (ii) for that reason, he even intends to support ‘an orderly transition,’ his idea of ‘orderly’ is to hang on until someone first brands him ‘father of the year’ and awards him a gold star for his ‘service,’” writes Rosengart in the filing, which is embedded below. “In other words, although Mr. Spears has, at last, been forced to recognize that it is best for his daughter if he departs now, he claims the right to drag his feet because it is best for him to cling to this conservatorship until he feels sufficiently-vindicated.”

Rosengart argues that Jamie is trying to redeem his image and use his remaining leverage to ensure the pending accounting is approved, which includes about $2 million in fees to third parties including his attorneys.

“A ‘transition’ can just as easily occur while Mr. Spears is suspended, as opposed to while he lingers as conservator waiting for his inevitable removal,” argues Rosengart. “The only difference is that the former is in his daughter’s best interests, while the latter severely undermines those interests.”

In a statement to The Hollywood Reporter, Rosengart reiterated that the situation reeks of quid pro quo. “Britney Spears will not be bullied or extorted by her father,” he says. “Nor does Mr. Spears have the right to try to hold his daughter hostage by setting the terms of his removal. This is not about him, it is about the best interests of his daughter, which as a matter of law, mandate his removal. Even putting aside the legal issues requiring his prompt removal, if he loves his daughter, Mr. Spears should resign now, today, before he is suspended. It would be the correct and decent thing to do.”

A hearing on the petition is currently set for Sept. 29. Representatives for Jamie Spears have not yet responded to a request for comment.

This article was originally published by The Hollywood Reporter.

CMA & ACM Respond to Bobby Bones’ Claims About ‘Manipulated’ Awards Show Voting

Radio and television personality Bobby Bones — host of the Premiere/iHeartMedia nationally syndicated radio program The Bobby Bones Show – took to social media on Sunday to allege that voting for the Academy of Country Music and Country Music Association Awards are “manipulated” by labels and that behind-the-scenes dealings at country labels affect which songs reach No. 1 and for how long, claiming that half of chart-topping country hits are illegitimate No. 1 hits. His comments have drawn considerable feedback in the country community and refutation from the awards shows.

In one TikTok post concerning country radio chart-toppers, Bones takes country record labels to task, saying, “Here’s the truth about No. 1 songs: It’s politics. They trade them out like baseball cards. A record label will talk to another record label and go, ‘OK, I’ll give you this No. 1 on this date; you give me that No. 1 on that date.’ Which really, it just should be the song that’s the most wanted, the most listened to, the song that people demand … and so when you hear someone talk about a No. 1 song, I would say half of them aren’t legitimate No. 1 songs. They have to be good to get to the top 10. There’s a lot of research done into these songs. But when it gets to being a No. 1 song, it’s people going, ‘OK, I’ll give you this; you give me that.’ And it’s everybody trying to create as many No. 1s as possible, because everything’s the same. Everybody gets a participation trophy at No. 1.”

Though Bones did not say which specific songs he felt were undeserved chart-toppers, he did mention Luke Combs and Maren Morris as artists whose songs he felt should have had longer stints at No. 1.

“For example, a Luke Combs song could be No. 1 for 10 weeks, but because of politics, the label will go, ‘Ah, let’s let somebody else get in that spot,’ and they’ll move Luke Combs to No. 2 and he’ll sit there for a few weeks. The same thing with like a Maren Morris.”

Billboard reached out to several label representatives regarding Bones’ statements, though no labels would comment on Bones’ statements as of press time.

On Tuesday (Aug. 31), Bones returned to TikTok to say he was “surprised at all the controversy” his comments were causing and to highlight a story from today’s Country Insider that featured some anonymous radio sources agreeing with Bones’ assessment, while others disagreed or said the issue was far more complicated.

In a separate TikTok post, Bones also alleged that bigger labels have an advantage when it comes to voting for winners for the CMA Awards and ACM Awards because of bloc voting and the ability to “manipulate” votes.

“Let’s say you work for Record Label A, which has 3,000 people that works there and they have an artist up for entertainer of the year, and Record Label B has 250 people that work there and they have an artist up for entertainer of the year,” Bones alleges. “Well, what Record Label A does is they organize everyone to bloc vote, so those thousands of votes go to their artists, and then Record Label B, that doesn’t have near the number of workers or voters, are kind of screwed unless somehow they get votes from everybody else. But bloc voting is done in the awards shows, but not illegal actually.”

He then goes on to praise the CMA and ACM organizations for trying to keep it “as legit as possible.”

Despite Bones’ assertions, both the CMA and ACM tell Billboard they have rigorous restrictions in place that prohibit bloc voting. The CMA caps all companies in terms of the number of voting members they can have so larger companies cannot manipulate the vote. The organization also works with its accounting firm, Deloitte, to review voting patterns to determine if bloc voting has occurred, even within the limited voting members. If it has, those votes are eliminated. Furthermore, the majority of CMA members are individuals without company affiliations.

The ACM caps corporate accounts at 100 total members, regardless of the number of employees and inclusive of all imprints. Similarly to the CMA, a third party auditor monitors the voting process and any unusual voting patterns are flagged and investigated.

When contacted by Billboard, a representative for Bones said he had no other comments to add to his previous TikTok statements. An iHeartRadio representative did not reply to a request for comment.

–Assistance on this story provided by Melinda Newman

What’s the Best Latin Collaboration of August 2021? Vote!

As August comes to a wrap, Billboard wants to know: What’s the best Latin collaboration of the month, according to you?

Just before the month ended, rising Argentine rapper Nicki Nicole and Puerto Rican hitmaker Mora teamed up for their first-ever collaboration “Toa La Vida,” released Tuesday (Aug. 31). A slowed-down reggaeton track, “Toa La Vida” is at its core a love song about feeling that you don’t need more than each other.

“This song with Mora came out of the blue,” Nicole said about the writing process. “We really liked each other’s work so when I was in Miami we wrote to get together and it happened. When we met in the studio we instantly had a great vibe and the song flowed very naturally and organically. He brought his style and I brought mine, and the song turned out amazing.”

Also highlighted in the fan-based poll (not affiliated with any awards show) are all the Latin collabs featured on Billboard’s weekly First Stream Latin including Greeicy and Alejandro Sanz’s rhythmic pop track “Lejos Conmigo,” Tini and Manuel Turizo’s nostalgic reggaeton-pop song “Maldita Foto” and Maria Becerra and Karol G’s girl-power anthem “Wow Wow.”

The previous winning collaborations are Enrique Iglesias and Farruko’s “Me Pasé” (July); Nobeat and Khea’s “Medio Crazy” (June); J Balvin and Maria Becerra’s “Que Mas Pues” (May); Sebastian Yatra and Myke Towers’ “Pareja del Año” (April); Danny Ocean and Justin Quiles’ “Cuantas Veces” (March); VF7 and Lunay’s “Codigo Secreto” (February); and Maria Becerra, Cazzu, “Animal” (January).

Which song should take the crown in August? Check them out and vote below!