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Yungblud

Photo: Daniel Mendoza/Recording Academy

News
Inside Yungblud's Online Rock & Roll Variety Show yungblud-talks-turning-his-tour-postponement-online-rock-roll-variety-show

Yungblud Talks Turning His Tour Postponement Into An Online Rock & Roll Variety Show

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The Brit rocker enlisted Machine Gun Kelly, Bella Thorne and Oliver Tree, hiring a full production staff to keep the music playing: "People in entertainment just wanna f**kin’ make people happy"
Nate Hertweck
GRAMMYs
Mar 17, 2020 - 4:15 pm

British rock hero Yungblud bounced into action when dates from his upcoming international tour were postponed due to the global coronavirus pandemic. In just 72 hours, he put together his own digital concert with a twist. The live audience-less "S**t's Weird Keep Calm and Carry On" is a late-night-TV-esqe live-streamed variety show, complete with guest appearances from rapper Machine Gun Kelly, actress/singer Bella Thorne and chef Oliver Tree, with plenty of extras like answering live questions from fans, playing a drinking game with his guests, a slapstick cooking segment, and more. Take a look:

"It was crazy!!! We literally played a stadium on the internet. It was them who blew the idea up so much. What started from an idea in my bedroom became a full production because of the fans. We're a family and it's them who allows me to do this s**t," Yungblud told the Recording Academy over email.

In a bold and extensive statement ahead of the event, Yungblud outlined why it was important to him to do something to honor his fans and keep the music from stopping.

"I woke up one morning after my shows were canceled and was like, 'You know what? F**k this.' I need to feel that connection and noise, that energy," Yungblud told Vulture. "There’s gonna be no literal noise from the audience, but there’s gonna be noise online. You’ll be able to comment on the livestream. I’m gonna be playing songs, gonna bring some of my friends out, do some skits, and do a late-night show — like a rock and roll version of f**kin’ Jimmy Kimmel. Try to give people a bit of positivity, laughter, and emotion."

Read More: Recording Academy And MusiCares Establish COVID-19 Relief Fund

What transpired was the rallying of production staff, special guests, and a way for everyone to keep going in some way in the face of touring coming to a halt. 

"My team hasn’t slept because everything’s going crazy. When I had the idea for the livestream, they pulled it together so incredibly quick. There’s been rehearsals, a lighting rig, a full band, a camera crew, and audio. In a world that’s going wrong right now, we feel like we’re doing some good. It’s really inspiring everyone to work hard and tirelessly," he said. "At first I was gonna be like, “F**k it, I’m gonna stick some cameras up and do a rock and roll show.” But then my friends all started calling because they wanted to be involved. People in entertainment just wanna f**kin’ make people happy."

The show gave 20 production staff jobs when they would not have had one otherwise, and they rose to the occasion. "Everyone was so incredible to work with. we had to rethink the whole way we were doing our jobs because no one was allowed to really get near each other." Yungblud told us.

During the energetic live stream, Yungblud the frontman did his best to create a connection despite being in an empty sound stage. "Let me see your hands in the air in your bedroom," he said, encouraging fans to stand on top of their bed, kitchen table or couches at home and jump. With the occasional cartoonish piped-in crowd noise, drum rolls, rim-shots and coffee mugs appearing interstitially between high-energy, full-band rock performances, it made for the perfect late-night show parody meets rock and roll circus experience.

https://twitter.com/yungblud/status/1239583520835526661

i owe you all the BIGGEST THANKYOU EVER! you have blown this up so much that what started from an idea in my bedroom has bcome a full production. were a family and its YOU who allows to do this shit. let’s go!!! i wanna do more #theyungbludshow 🖤 pic.twitter.com/ZAY2denXuA

— YUNGBLUD’s on mars (@yungblud) March 16, 2020

Musically, Yungblud delivered high-energy full band renditions of "Parents," "Anarchist," "I Love You, Will You Marry Me," "Original Me" and more, plus a touching acoustic version of "Casual Sabotage." MGK joined Yungblud, following an on-camera drinking game with Thorne, for "I Think I'm Okay" from Kelly's 2019 album, Hotel Diablo.

Fans responded to the chaos, comedy and rowdy rock show in kind, flooding the chat window with black heart emojis—a staple of Yungblud's—and praise for his energetic efforts to soothe their pain and connect from the California studio to wherever they were across the world. Ultimately, his message is one of love. 

"The world is very, very weird now, so make sure you tell everyone you love that you love them," he said during the show.

"Even though I couldn’t hear them, I felt the noise!"

The 22-year-old artist closed the 60+ minute show with inspired performances of "Hope For The Underrated Youth" and "Machine Gun (F**k The N.R.A.)," making strong statements for what music can do and say, especially now.

"As artists, we have to shift and adapt to what’s going on in culture. You just have to make it work. I think that’s what true artists will do. It’s a time to not give up and think out of the box—out of bad situations and despair comes incredible art, no matter what form that may be," Yungblud said. "I’m excited to see what happens." 

When we caught up with Yungblud in the aftermath of the show, still glowing from the experience, we asked what he thinks is next for artists trying to find a new way forward.

"I think right now is about out-of-the-box thinking about how we can connect with people without being in the same room as them. The world is in such a weird, weird, scary place. However, out of dark times comes great art. I just wanted to provide humor, hope and a little bit of light for people who feel uneasy," he said. "Even though I couldn’t hear them, I felt the noise!"

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Recording Academy And MusiCares Establish COVID-19 Relief Fund

Rufus Wainwright

Rufus Wainwright

Photo: Barbara FG (Cleared for any usage with credit)

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Rufus Wainwright & More On Their Favorite Venues sacred-spaces-rufus-wainwright-yungblud-keb-mo-and-others-reflect-independent-venues

Sacred Spaces: Rufus Wainwright, YUNGBLUD, Keb' Mo' And Others Reflect On The Independent Venues And Clubs That Changed Their Lives

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As the majority of the live concert industry across the world remains on pause, GRAMMY.com chatted with a handful of artists about their cherished concert memories at some of their favorite clubs and venues
David McPherson
GRAMMYs
Aug 3, 2020 - 6:00 am

Though it's been more than 50 years since Café Au Go Go closed, Blood, Sweat & Tears frontman David Clayton-Thomas still recalls the cultural significance of this famed NYC basement bar. Formerly located at 152 Bleecker St. and operating from 1964-1969, the Greenwich Village hotspot hosted everyone from Cream, with Eric Clapton, to Jimi Hendrix.

"It was the place to be in those days," Clayton-Thomas reflects. "That is where Blood, Sweat & Tears started. We became the house band for a couple of months while recording our first album at CBS Studios on 52nd Street. We would work the club at night and record during the day. It's hard to forget a club like that. It will always be a part of my wonderful memories of New York."   

It's not a stretch to say that the resulting Blood, Sweat & Tears self-titled 1968 album, which has sold 10 million copies worldwide and won the GRAMMY for Album Of The Year in 1970, would exist today without the band's experience at this small yet renowned club. 

Clayton-Thomas' story illustrates exactly how independent music venues are more than four walls. Within the confines of these cramped clubs is a shared cultural history and community: collective stories of unforgettable nights watching your favorite bands and artists perform. The spirits of these artists—some long gone—are forever etched in the wood and ingrained in the stain-filled dance floors.

Exterior of Café Au Go Go in NYC in 1965

Exterior of Café Au Go Go in NYC in 1965 | Photo: Don Paulsen/Michael Ochs Archives/Getty Images

During the COVID-19 pandemic, the live music ecosystem, already hit hard by rising real estate prices, gentrification and urban sprawl, entered crisis mode. Seminal clubs across North America, from L.A.'s historic Troubadour to Toronto's legendary Horseshoe Tavern, lie silent. 

Like concertgoers, club and venue owners, too, are eagerly awaiting the return of live music. In the interim, these entrepreneurs do what they can to keep their businesses afloat: Some launched GoFundMe fundraisers, while others turned to social media, patrons and local and federal government for financial support. The politicians are starting to hear these pleas. 

Earlier this month, the U.K. government announced a £1.57 billion (approximately $2 billion) aid package for the arts, culture and heritage industries. In the U.S., a pair of senators introduced a relief bill: the Save Our Stages Act. The Recording Academy is also endorsing a pair of solutions: the RESTART Act and the Mixed Earner Pandemic Unemployment Assistance Act.     

The sad reality: Without the leniency of landlords and the passing of stimulus acts by governments, many iconic clubs and independent venues will not survive the financial fallout caused by the coronavirus pandemic. Even with these lifelines, the outlook could be grim. According to a survey from the National Independent Venue Association (NIVA) last month, which surveyed nearly 2,000 music professionals across the U.S., 90 percent of independent venue owners, promoters and bookers said they will have to close permanently within the next few months if they do not receive financial relief from the government. 

As the majority of the live concert industry across the world remains on pause, GRAMMY.com chatted with a handful of artists, including Rufus Wainwright, YUNGBLUD, Keb' Mo' and others, about their cherished concert memories at some of their favorite clubs and venues.

Rufus Wainwright

Venue(s): The Troubadour and Coronet Theatre in Los Angeles, Calif.; McCabe's Guitar Shop in Santa Monica, Calif.; The Town Crier in Beacon, N.Y.; Ursa, owned by his sister Martha Wainwright, in Montreal, Quebec 

Rufus Wainwright

Rufus Wainwright performs in Austin, Texas | Photo: Barbara FG (Cleared for any usage with credit)

Self-isolating these days at his home in Los Angeles finds GRAMMY-nominated singer-songwriter Rufus Wainwright spending time practicing more, especially the piano. "I've been able to dive into the technical forest," he tells GRAMMY.com. Before the pandemic hit, he was on tour and starting the promotion cycle for his newest album, Unfollow The Rules, which he released last month via BMG. He booked gigs at many clubs, including The Troubadour, to promote the record. Then he had to cancel them. 

"The Troubadour, for me, is especially poignant," Wainwright says. "I performed there a couple of times over the years, and I've seen many shows there. We were set to play there at the beginning of this tour. This album is very much influenced by the history of Laurel Canyon [in Los Angeles], songwriting and Hollywood, and we had this symbolic show booked at The Troubadour to emulate some of the grand history that occurred in that venue. Sadly, that opportunity got ripped away when the pandemic struck." 

Read: Beginnings And Endings With Rufus Wainwright

Other touchstone venues for Wainwright in the L.A. area include: The Coronet Theatre, now Largo At The Coronet, where he regularly performed early in his career and McCabe's Guitar Shop on Pico Boulevard in Santa Monica, where the artist played a series of shows before the pandemic hit. 

"I am familiar with the smaller-venue situation mainly because my parents started out playing in coffeehouses in the 1960s and '70s," Wainwright says. "Places like the Caffè Lena in Saratoga Springs, [N.Y.], and The Iron Horse Music Hall in Northampton, Mass., are all part of the really vital, socially important folk music movement my parents [Loudon Wainwright III and Kate McGarrigle] were a part of in the 1960s. For a lot of artists, these venues are like a trampoline that can catch your fall when you aren't necessarily the flavor of the month. I grew up witnessing this dynamic, and I started out in smaller venues. To dominate that dynamic is really important and harder than you think. A lot of big artists cannot play a small venue … it's too scary and too intimate, but I love them!"  

YUNGBLUD

Venue(s): The Crowndale in Camden Town, London, England; The Lock Tavern in London, England; The Electric Ballroom in Camden Town, London, England

YUNGBLUD performs at the Electric Ballroom in 2019

YUNGBLUD performs at the Electric Ballroom in 2019 | Photo: Matthew Baker/Getty Images

Born in Doncaster, Yorkshire, British rocker YUNGBLUD left home at 16 and moved to London. "I ran away because the north of England is not a place for a kid in lipstick playing rock 'n' roll," he says. Once settled in the south, he discovered the live music mecca of Camden Town, north of England's capital. 

"These venues shaped what I am as an artist today," he says. "I remember walking into Camden Town for the first time and my mind exploded; it was everything I ever wanted. It was Willy Wonka & The Chocolate Factory. I had a golden ticket to everything I read about: The Libertines, Amy Winehouse, etc. I used to skive off work to get coffees and go to Camden for hours, telling my dad I had been mugged! 

Read: Yungblud Talks Turning His Tour Postponement Into An Online Rock & Roll Variety Show

"Camden was really a big turning point in my career," he continues. "I've played every tiny venue in Camden, from The Crowndale for 10 people to a sold-out show at The Lock Tavern where Amy Winehouse played early in her career and who is a massive inspiration to me. She taught me being you is good enough. Later, I played the Electric Ballroom to 1,500 people. The Camden Assembly, formerly The Barfly, is where my guitar player [Adam Warrington] and I really connected and when we figured out we were going to play music together for the rest of our lives, bonding over our love of Joy Division, Blur, N.W.A, Foo Fighters and David Bowie.

"When I think about Camden, that spirit, and every show I've played in the clubs there, I remember why I'm here and what I'm doing it for … it's all about the passion!" 

Colin Linden

Venue: The Legendary Horseshoe Tavern
City: Toronto, Ontario, Canada
Opened: 1947

Colin Linden (R) with Robbie Robertson (L) performing at the Legendary Horseshoe Tavern in approximately 1989

Colin Linden (R) with Robbie Robertson (L) performing at the Legendary Horseshoe Tavern in approximately 1989 | Courtesy Photo: Colin Linden

These days, Canadian blues artist Colin Linden lives in Nashville, Tenn., but Toronto is where he cut his teeth. The GRAMMY-nominated songwriter and producer grew up fast, sitting in as an underage teen with local legends like Willie P. Bennett and David Wilcox at small clubs around town. Today, Linden figures this is the longest time he has gone without a gig in his 48-year career. "I feel a real need to connect with people," Linden says. 

Toronto's legendary Horseshoe Tavern is Linden's seminal venue. He still has a scar on his forehead from a time he played The Shoe in the mid-1980s and bounded off the stage a little too recklessly. And in the early 1990s, he played there frequently with a secret band, which included Bruce Cockburn, called Bambi And The Deer Hunters. 

"It is the place where I started playing as a kid and kept on playing over many years," Linden recalls. "It was an important venue long before I ever set foot in there. It's a place where I've had a lot of laughter and a lot of tears. When I think about the Horseshoe Tavern, I think about so many things. I remember sitting in the back alley in booker Peter Graham's car, playing him my demo and talking over my mistakes. I really wanted a gig there." 

The most memorable night for Linden at this venue happened on March 13, 1989, when he shared the stage with The Band members Rick Danko, Garth Hudson and Robbie Robertson. "That was such an amazing night," Linden thinks back. "I remember Robbie getting offstage and asking me, 'How can you guys hear anything?' I realized he had not been on a stage in more than 10 years and forgot how loud it gets in a club!"

Keb' Mo'

Venue: Harvelle's
City: Santa Monica, CA
Opened: 1931

Harvelle's

Harvelle's | Photo: John M. Heller/Getty Images

Harvelle's, a popular West Coast blues club with a long history, is where Kevin Roosevelt Moore started playing in 1992 before he was known as Keb' Mo' and before he had a record deal. His first audition to play the historic venue failed. Later, he landed a gig at the club through a friend who needed a guitarist. After that, Moore played the venue regularly for years. One Tuesday, Moore was performing when television producer and composer Chuck Lorre was in the audience; an introduction led Moore to land the theme song for the popular CBS sitcom, "Mike & Molly."

"It's very important to maintain the local watering holes of our country," Moore, who this year took home a GRAMMY for Best Americana Album for his 2019 album, Oklahoma, explains. "For me, Harvelle's is the place where I figured out who I was. Harvelle's is where I became 'Keb' Mo'.' If not for Harvelle's, I, and many other artists I know, would not be where we are today. It's so important to make sure these local places that feed the community—socially, culturally, and artfully in a musical way—remain open. When you take away the starting point for musicians, you take away the connection. It's the local pubs and the local dives that make us who we are.

Watch: Keb' Mo' Reflects On The Journey To His 'TajMo' GRAMMY Nomination

"Even today, Lady Gaga, Bruce Springsteen, etc., all want to do a dive [bar] tour because the dives are what's happening," he continues. "It's about connecting to the people. It's raw, it's honest and it's genuine. The place you have to be most genuine of any place is in a dive, because when you play a fancy theater, everyone comes to see you and is expecting something. In a dive, no one gives a crap about you, so you have to go to them and figure out how to connect and reach them. In a way, playing a dive is way more difficult than playing a concert. Harvelle's and all the dives, coffee shops [and] restaurants of the world are very important to creating that connection and community within the music business." 

Sarah Jarosz

Venue: The Cactus Café 
City: Austin, Texas
Opened: 1979

Sarah Jarosz

Sarah Jarosz performs at The Cactus Café in approximately 2006 | Photo: Steve Oleson

At 29, New York City-based American Roots singer-songwriter Sarah Jarosz has already won three GRAMMYs. (Her newest album, World On The Ground, released in June, features production from five-time GRAMMY winner John Leventhal.) Jarosz shares her love for The Cactus Café, one of the storied music clubs situated on the campus of the University Of Texas At Austin in her hometown. The venue has hosted a who's who of Texas songwriting legends and bands over the years, from Townes Van Zandt and Guy Clark to The Chicks and Nickel Creek.

Read: Sarah Jarosz Graduates to GRAMMY Winner with 'Undercurrent'

"Since I'm not able to play shows on the road right now, I've naturally turned my thoughts to some of the first venues I began playing in," Jarosz says. "I have a particular fondness for The Cactus Café. That's the first club I remember my parents taking me to as a little kid, even when it was way past my bedtime. I remember the smell of the coffee brewing, the clinking of the glasses at the bar tucked into the back corner, the warmth of being surrounded by kindred spirits and music-lovers. 

"Venues like The Cactus are sacred spaces," she adds. "For the hour or two that you're inside them, the outside world disappears, and musicians and listeners alike find solace in the energy and the sounds."

Jane Bunnett

Venue: Jazz Showcase
City: Chicago, Ill.
Opened: 1947

Jane Bunnett performs at Jazz Showcase in Chicago, Ill.

Jane Bunnett performs at Jazz Showcase in Chicago, Ill. | Photo: Jim Funk

Jane Bunnett, 63, is a soprano saxophonist, bandleader and three-time GRAMMY nominee. The most recent ensemble the Toronto artist assembled is the all-female, GRAMMY-nominated Afro-Cuban jazz group, Jane Bunnett & Maqueque. 

She holds a special place in her heart for Chicago's Jazz Showcase, started by Joe Segal in 1947. Legends from John Coltrane to Miles Davis have played this historic club. Today, you'll still find the 94-year-old NEA Jazz Master Segal hanging around, but his son, Wayne, runs the day-to-day operations. 

The first time Bunnett tried to sit in and play at Jazz Showcase in the late 1980s, Joe refused to let her play. Flash ahead a decade. Bunnett was back in the Windy City for the Chicago Jazz Festival. After her set, musician Ira Sullivan introduced her to Joe, who didn't recall the incident. Amends were made. In the last five years, the club has become a regular anticipated stop for Bunnett & Maqueque; they were scheduled for another gig there this spring before the pandemic hit.

Read: 'Bitches Brew' At 50: Why Miles Davis' Masterpiece Remains Impactful

"I've got incredible memories of playing that room," Bunnett says. "Right behind the bandstand is a beautiful 10-by-12-foot photograph of Charlie Parker. I remember the first night I'm up on that stage, it was such a joyous moment. Joe sat right in front of my percussionist and just stared. I looked around the room at all the paraphernalia and history and just soaked it in. There I was with a bunch of young Cuban kids in their early 20s who didn't have a clue of who many of the artists pictured on the walls were."

Sierra Hull

Venue: The Station Inn
City: Nashville, Tenn.
Opened: 1974

Sierra Hull (R) performs with Justin Moses (L) at The Station Inn in Nashville, Tenn.

Sierra Hull (R) performs with Justin Moses (L) at The Station Inn in Nashville, Tenn. | Courtesy Photo: Sierra Hull

At 28, bluegrass/roots artist Sierra Hull has already released four full-length albums. Her most recent, 25 Trips, released in February on Rounder Records, is the follow-up to her GRAMMY-nominated 2016 album, Weighted Mind. 

"It's easy to take for granted that a venue like The Station Inn will always be there," she says. "It's a staple of the Nashville community and a musical home for so many of us. I've been deeply inspired by the concerts I've seen by both legends and peers there, and have played the stage myself countless times over the years. It's the type of venue that is perfectly small and intimate yet with a history that makes it feel larger than life. 

Read: Sierra Hull Takes Her Place In Bluegrass History, Talks Legacy & New Music At Wide Open Bluegrass

"It really breaks my heart to know that venues we all love are struggling and could potentially go under during this pandemic. I hope and pray they can survive this for the sake of our community and the need we all have to gather together in places with so much history and meaning."

Ondara

Venue: Cedar Cultural Center
City: Minneapolis, Minn.
Opened: 1989

Cedar Cultural Center

Cedar Cultural Center | Photo: Jahi Chikwendiu/The Washington Post via Getty Images

Ondara, previously known as J.S. Ondara, grew up in Nairobi, Kenya, listening to a lot of rock music before moving to the U.S. in 2013. His debut album, Tales Of America, released in 2019, received a nomination for Best Americana Album at the 2020 GRAMMYs. In May, the singer-songwriter released his follow-up, Folk N' Roll, Vol 1: Tales Of Isolation, an 11-song collection written and recorded by Ondara, in less than a week, while in lockdown in Minneapolis. The compositions speak to our times and collective quarantined experience. A direct response to the global pandemic, the album serves as therapy for Ondara. 

Before moving from Africa to America, Ondara had never been to a concert. His first show was at the Cedar Cultural Center, a Twin Cities live music hot spot for the past 30 years. It changed his life. 

Read: Kenyan Singer/Songwriter J.S. Ondara On Telling His Own 'Tales Of America' With Debut LP

"I was new to America, and I had spent some time with music unsuccessfully," he recalls. "Nothing was working out, so I decided to go to school. Halfway through my second semester, a friend invited me to a show to see Seattle singer-songwriter Noah Gundersen. I had a completely spiritual experience at that concert. I dropped out of school the following day and went back to focusing on my music and making my debut record. It was life-changing. The novelty of [it] being my first concert, along with my internal turmoil of my desires to be a musician being stifled, all played a part in the experience. It left a lasting impression. I honestly can't wait until I can be in a room full of people again and sing right in their faces." 

4 Independent Record Stores Across The U.S. Weigh In On Their Struggle To Survive During COVID-19

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Yungblud performs on "MTV Unplugged At Home"

Yungblud performs on "MTV Unplugged At Home"

Screenshot: MTV/YouTube

 
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'MTV Unplugged At Home' Lineup: FINNEAS And More mtv-unplugged-home-announces-virtual-lineup-finneas-monsta-x-alessia-cara-wyclef-jean

'MTV Unplugged At Home' Announces Virtual Lineup: FINNEAS, Monsta X, Alessia Cara, Wyclef Jean, Yungblud And More

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The quarantine-friendly version of MTV's celebrated "MTV Unplugged" series will feature stripped-down and acoustic performances from artists directly from their homes
John Ochoa
GRAMMYs
Apr 3, 2020 - 3:36 pm

Today (April 3), MTV announced its initial artist lineup for its newly debuted, quarantine-friendly version of its celebrated "MTV Unplugged" series: "MTV Unplugged At Home." The series will feature at-home performances from GRAMMY winners FINNEAS, Alessia Cara, Shaggy and Melissa Etheridge, as well as Monsta X, CNCO, Jewel and Bazzi. They join previously announced artists Wyclef Jean, Yungblud, himself a digital concert rock star, and JoJo. Additional artists will be announced at a later date.

Much like its namesake, "MTV Unplugged At Home" will feature stripped-down and acoustic performances from quarantined artists directly from their homes. The series will be streamed regularly across MTV's YouTube, Instagram and Twitter channels.

Read: Nirvana Manager Danny Goldberg Talks 25 Years of 'MTV Unplugged In New York'

"Reimagining the beloved music series as a multi-platform digital experience, the new mini-concert series will feature stripped-down, acoustic sets from artists performing their greatest hits, enabling music enthusiasts to find comfort in their new realities alongside fellow fans," a statement regarding the show said, according to Rolling Stone. "In addition to the roster of global artists, MTV's international channels will feature performances by local acts in their respective countries around the world."

"MTV Unplugged At Home" coincides with MTV's #AloneTogether global social media campaign, which aims to educate young fans and followers about social distancing in an attempt to control and reduce the spread of the coronavirus pandemic.

Since early March, the global music industry has been grappling with the COVID-19 pandemic, which has caused a worldwide shutdown of the festival and concert business. Major festivals and events to have canceled or postponed their 2020 installments include Governors Ball, Glastonbury, Bonnaroo, New Orleans Jazz Fest, Coachella and Stagecoach, Ultra Music Festival, SXSW, Lollapalooza Argentina and many more around the world.

Recording Academy And MusiCares Establish COVID-19 Relief Fund

CupcakKe performs at POP Montreal 2019

CupcakKe performs at POP Montreal 2019

 

Photo: Stacy Lee

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POP Montreal 2020 Full Lineup Announced pop-montreal-2020-lineup-backxwash-flore-laurentienne-plants-animals

POP Montreal Announces Full Artist Lineup For 2020 Hybrid Virtual And Live Festival Format: Backxwash, Flore Laurentienne, Plants & Animals And More Confirmed

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Canada's long-running eclectic music festival will include a combination of livestreamed concerts as well as live shows, which will feature safety measures including required face masks, social distancing and on-site attendee registration
John Ochoa
GRAMMYs
Sep 9, 2020 - 4:16 pm

POP Montreal, Canada's long-running eclectic music festival, has announced the full musical lineup for its 2020 edition, which will take place as a hybrid virtual and live festival format this year due to the ongoing coronavirus pandemic. 

The five-day event, running September 23-27, will feature a combination of live concerts in several venues across the Rialto Theatre complex, the ornate venue in Montreal hosting part of the festival, as well as local venues Le Ministère and URSA. The festival will also create a virtual 2D rendition of the main venue, which will give attendees access to wander the online festival grounds and attend livestreamed concerts, panels, performances and more. 

The POP Montreal 2020 lineup includes virtual and live performances from Lido Pimienta, Backxwash, Flore Laurentienne, Plants & Animals and many more. 

https://www.instagram.com/p/CE7GP3hhZoG

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According to a press release announcing the full artist lineup, the festival's live portion will feature concerts with "very limited capacity, with advance ticket sales and seating room only" as well as "secret pop-up shows." The live concerts will be limited to 30 minutes maximum.

In-person live events will require face masks, social distancing and on-site attendee registration as part of the festival's safety measures, according to the event's website. Fans will also be required to sanitize/wash their hands before entering the live events and to remain seated during the show. 

According to The New York Times, there have been more than 133,700 confirmed cases of COVID-19 and more than 9,000 coronavirus-related deaths in Canada, at the time of this writing.

To purchase tickets and to view the full festival lineup and schedule of live and online events for POP Montreal 2020, visit the festival's official website.

Capturing Los Angeles' COVID-Closed Venues

Trini Lopez in London in 1965

Trini Lopez in London in 1965

Photo: Stanley Bielecki/ASP/Getty Images

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Trini Lopez Has Died From COVID-19 At 83 trini-lopez-who-revitalized-american-mexican-folk-classics-has-died-covid-19-83

Trini Lopez, Who Revitalized American & Mexican Folk Classics, Has Died From COVID-19 At 83

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The GRAMMY-nominated singer/guitarist's biggest global hits were lively covers of folk trio Peter, Paul and Mary's "If I Had a Hammer" and "Lemon Tree"
Ana Monroy Yglesias
GRAMMYs
Aug 12, 2020 - 3:18 pm

GRAMMY-nominated singer, guitarist and actor Trini Lopez, whose lively blend of American and Mexican folk songs with rockabilly flair earned him worldwide fame in the '60s, has died at 83. The Mexican-American artist died from COVID-19 at a hospital in Rancho Mirage, Calif. yesterday, Aug. 11.

Beginning with his 1963 debut studio album, Trini Lopez At PJ's, Lopez found success bringing new life—and a raucous, danceable beat and vocal delivery—to other artists' songs, including folk trio Peter, Paul and Mary's hits "If I Had a Hammer" and "Lemon Tree." Both songs would be his biggest, with his versions out-charting theirs both on the Billboard Hot 100 and international charts.

Back at the 6th GRAMMY Awards in 1964, following his epic breakout year, Lopez was nominated for Best New Artist.

If I Had A Hammer: From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music

His rocked-up rendition of "I Had a Hammer," released in 1963 on his live debut album, hit No. 3 on the Hot 100 and No. 1 in 36 countries. The song was originally written by political activist/folk icon Pete Seeger and Lee Hays and recorded as a protest song by their band The Weavers in 1950, reemerging as a GRAMMY-winning No. 10 hit from Peter, Paul and Mary in 1962, the year prior to Lopez's breakout success with the classic song.

Popular '60s West Hollywood star-studded venue P.J.'s, where the Dallas-born singer recorded his first two albums (which also put the club on the map outside of Los Angeles), was where he got his big break, from none other than Frank Sinatra. After catching a few of his shows, the Rat Pack leader signed him to his Reprise label.

"I remember reading in the trades that Frank Sinatra frequented P.J.’s a lot so I moved over there so I could meet him," Lopez said. "I was hired for three weeks and I stayed a year and a half. I played four or five shows every single night and I never repeated a song. I just kept waiting to meet Frank Sinatra, and within a month he came with an entourage and to my surprise he offered me an eight-year record contract on his label. I put P.J.'s on the map with my live albums since they were recorded for Sinatra's record company."

Read: Sin-atra City: The story of Frank Sinatra and Las Vegas

A self-proclaimed "proud" Mexican-American born to immigrant parents in Dallas in 1937, Lopez also performed and recorded many songs in Spanish at a time when artists, including himself, were asked by labels to hide or Whitewash their Latin identity. Trini Lopez At PJ's included a rendition of traditional Mexican folk song "Cielito Lindo" and in 1964, he released The Latin Album, filled with of Spanish language classics. His father, Trinidad Lopez II, was a ranchera singer who made his living as manual laborer.

As The Guardian notes, "in the mid-'60s he was releasing as many as five albums a year, though that slowed in the late '70s. While he continued performing, he released very little music until 2000, when he began recording again and released a further six albums." His final album, released in 2011 and titled Into the Future, was a nod to Sinatra, featuring songs from his catalog.

Save Our Venues: Capturing Los Angeles' COVID-Closed Venues

At the peak of his musical fame in the '60s and '70s, he also found moderate success in film and TV, with roles in films The Dirty Dozen (1967) and Antonio (1973) and a variety show special on NBC in 1969, "The Trini Lopez Show."

A talented guitar player—he started playing at age 11—Gibson Guitars had him design two instruments in 1964, which remain highly sought after to this day. Dave Grohl and Noel Gallagher are both fans of the vintage models. Grohl paid tribute to Lopez on Twitter today, underscoring that he's used his on every Foo Fighters album ever recorded.

https://twitter.com/foofighters/status/1293331650982510592

Today the world sadly lost yet another legend, Trini Lopez. Trini not only left a beautiful musical legacy of his own, but also unknowingly helped shape the sound of the Foo Fighters from day one. (1/3) pic.twitter.com/9KRJXDXeWK

— Foo Fighters (@foofighters) August 11, 2020

His electric live performances and hit records made him an in-demand artist in the Las Vegas circuit, as well as around the globe, including one jaunt he found most memorable—stealing the show as the Beatles' opener in Paris in 1964.

"I used to steal the show from them every night!" he said in a 2014 interview. "The French newspapers would say, 'Bravo, Trini Lopez! Who are the Beatles?'"

Ivan Barias On Silence As Complicity, Holding Major Labels Accountable & How To Be A Non-Black Latinx Ally

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.