Photo: Michael Campanella/Stringer/Getty Images
Madonna Adds More Dates To Madame X U.S. Tour
Due to high demand, the pop icon has added more dates in N.Y.C., Chicago and L.A., as well as dates in additional cities
GRAMMY winner Madonna has added 23 additional dates to her previously announced U.S. Madame X Tour. The announcement follows sold out shows for the intimate tour, which will launch in September and have the pop queen strutting through New York City, Los Angeles and Chicago.
The icon has added shows in four new cities: Las Vegas, Boston, Philadelphia and Miami. She has also added five new dates to her first stop at BAM Howard Gilman Opera House in N.Y.C., as well as two aditional shows in Chicago and L.A.
Following the 11-date run in L.A., she will now perform three shows at Boston's Boch Center Wang Theatre and The Met Philadelphia. The North American leg of the tour will wrap up in Miami on Dec. 19 with five nights at the Fillmore Miami Beach at Jackie Gleason Theater.
Due to the intimate size of shows, fans were to request tickets via LiveNation that were distributed by a lottery system. Madonna's legacy fan club members were given priority access. Fans that did not receive or request tickets during the first batch of dates can now put in new ticket requests here, until Fri. May 24.
The European leg of the Madame X Tour kicks off in January 2020 with dates currently set for Portugal, London and Paris only. Complete tour info can be found on Madonna's website.
Madonna will release Madame X, her 14th studio album, on June 14. She first announced the news on April 17, along with its catchy bilingual lead single "Medellín," featuring Latin GRAMMY winner Maluma. The Latin pop inspired bop is named after Colombia's capital city, where Maluma hails from. The pop star has since released three more singles from the LP, most recently "Future," featuring Migos' Quavo.
Photo: Kevin Winter/Getty Images for Latin Recording Academy
Watch: Maluma & Carín León Unite To Perform Their Next-Gen Norteño Hit "Según Quien" At The 2023 GRAMMYs
Latin pop met regional Mexican flavor during the swaggering performance of the Colombian and Mexican stars' cross-genre collaboration. The 2023 Latin GRAMMYs performance featured a medley of "Según Quien," "Procura" and "La Fórmula."
Maluma delivered a medley of his hits from his album Don Juan starting with "Según Quien." Looking sharp in matching black cowboy hats and dark shades, the duo kicked things off with a quick but heady taste of their corrido. León then left Maluma onstage for the more upbeat "Procura," a bachata, and the swinging salsa of "La Fórmula." Maluma had no problems bringing the firepower solo, but made sure to take a moment during his performance to leave the stage and kiss his partner, Susana Gomez.
"Según Quien" is a hit single from Don Juan, which dropped in August. Sharing songwriting duties with León, Maluma made a graceful and successful first foray into the increasingly hot world of música Mexicana with the song, adding a rhythmic touch of Latin pop in the process. The ballad's distinctive beat inspired a TikTok trend that, no doubt, contributed to its success.
Don Juan helped Maluma earn two nominations at the 2023 Latin GRAMMYs, as his salsa single with Marc Anthony, "La Fórmula," is up for Record Of The Year and Best Tropical Song.
A leading light in his generation of regional Mexican music, León released his third studio album, Colmillo de Leche, in May. The 18-track project, which earned a 2023 Latin GRAMMYs nomination for Best Norteño Album, is a sweeping waltz through the sounds of banda, Norteño, and mariachi with flourishes of country and blues. Last year, the singer/songwriter won his first Latin GRAMMY for Best Regional Mexican Song for "Como lo Hice Yo," his collaboration with Matisse.
Graphic Courtesy of the Latin Recording Academy
More Performers Added To The 2023 Latin GRAMMYs: Rosalía, Shakira, Maluma, Sebastián Yatra, David Guetta, DJ Premier & More Announced; Anitta, Mon Laferte, Natalia Lafourcade, John Leguizamo & More Join As Presenters
These artists join the star-studded performer lineup, which also includes Peso Pluma, Juanes, Rauw Alejandro, Ozuna, Camilo, Christian Nodal, Alejandro Sanz, and more. The 2023 Latin GRAMMYs will air Thursday, Nov. 16, live from Spain.
The Biggest Night in Latin Music is almost here — and even more talent will grace the stage! The Latin Recording Academy has announced additional performers for the 2023 Latin GRAMMYs: Current nominees Shakira, Rosalía, Maluma, Sebastián Yatra, and Milo J have been added as performers. Andrea Bocelli, a previous Latin GRAMMY nominee, and DJ Premier join the star-studded lineup, and David Guetta will join Ozuna for a special performance.
In addition, Majo Aguilar, Anitta, Pedro Capó, Jorge Drexler, Luis Figueroa, Fonseca, Tiago Iorc, Mon Laferte, Natalia Lafourcade, John Leguizamo, Nicki Nicole, Carlos Ponce, Carlos Vives, and Yandel join as presenters.
Milo J is nominated this year for Best Rap/Hip Hop Song, while Maluma is nominated for Record of the Year and Best Tropical Song. Latin GRAMMY and GRAMMY winner Rosalía is nominated for Record of the Year. Shakira has seven nominations including Record of the Year and three different nominations for Song of the Year. Two-time GRAMMY nominee and two-time Latin GRAMMY winner Sebastián Yatra, who is currently nominated for Best Pop Song, will co-host the 2023 Latin GRAMMYs, alongside Latin GRAMMY nominees and actresses Roselyn Sánchez and Danna Paola and internationally acclaimed actress Paz Vega.
They join previously announced performers Juanes, Rauw Alejandro, Alejandro Sanz, Christian Nodal, Ozuna, Bizarrap, Feid, Camilo, Maria Becerra, 2023 Latin Recording Academy Person Of The Year Laura Pausini, and many others, who will take the stage at the 2023 Latin GRAMMYs. Additionally, Peso Pluma and Eslabón Armado will join forces to perform "Ella Baila Sola" for the first time together on television.
The 2023 Latin GRAMMYs, officially known as the 24th Latin GRAMMY Awards, will be broadcast from the Conference and Exhibition Centre (FIBES) in Sevilla (Seville) in Andalucía (Andalusia), Spain, on Thursday, Nov. 16, 2023, at 8 p.m. ET (7 p.m. CT) on Univision, UniMás and Galavisión in the U.S., and at 10:30 p.m. CET on Radiotelevisión Española (RTVE) in Spain. It will also air on cable channel TNT at 19:30 (MEX) / 20:30 (PAN-COL) / 21:30 (VEN) / 22:30 (ARG/CHI). The ceremony will be aired in over 80 countries worldwide. Check your local broadcasters for airings.
Photo: Fred Morledge
How Las Vegas Became A Punk Rock Epicenter: From When We Were Young To The Double Down Saloon
Viva Punk Vegas! It might have seemed unthinkable a decade ago, but Sin City is "the most punk city in the U.S." GRAMMY.com spoke with a variety of hardcore and legendary punks about the voracious vibe in Vegas that lends itself to punk spirit.
These days, what happens in Vegas, slays in Vegas when it comes to the harder side of music.
It might have seemed unthinkable a decade ago, but as Fat Mike of NOFX and Fat Wreck Chords has been putting out there for a while now, Sin City is basically "the most punk city in the U.S." at the moment. Some might find this statement debatable, but Vegas has long attracted subculture-driven gatherings, from Viva Las Vegas rockabilly weekend to the all-metal Psycho Las Vegas to the mixed bag that was Las Rageous. The latest slate of huge punk and punk-adjacent music events (from Punk Rock Bowling and When We Were Young to the just-announced new lineup of Sick New World 2024) back his claim even further.
Mike’s own Punk Rock Museum, which opened in April of this year, has cemented the city’s alternative music cred — even as it’s still best known for gambling, clubbing, and gorging at buffets.
In fact, A lot of the audacious new activity is centered away from the big casinos and in the downtown area and arts district of what is known as "old Vegas." Just outside of the tourist-trappy, Times Square-like Fremont Experience, there’s a vibrant live music scene anchored by a few key clubs, and an ever-growing slate of fests.
Attendees at 2022's When We Were Young Festival┃Photo: Tim Mosenfelder/FilmMagic
Live Nation’s second annual When We Were Young Festival brought out a largely Millennial crowd to see headliners Green Day and blink-182 this past weekend, alongside over two dozen more recognizable openers from emo/pop-punk's heyday. Tickets sold so well when it was first announced, that a second day was added to the schedule.
Green Day didn’t stop with their fest gigs; the band played a "not-so-secret" pop-up show last Thursday night at one of the most popular venues in town for punk, alternative and heavy music: Fremont Country Club, just blocks from festival grounds. The show served as a warm-up gig as well as an announcement by Billie Joe Armstrong: His band will join Smashing Pumpkins, Rancid, and others for a 2024 stadium tour. The band also debuted a timely new track, "The American Dream Is Killing Me."
"People who like punk and other heavy music want to be in a club environment like ours, not a big casino," says Carlos "Big Daddy" Adley, owner of Fremont Country Club and its adjacent music space Backstage Bar & Grill. Both have become live music hotspots not unlike the ones Adley and his wife/partner Ava Berman ran in Los Angeles before they moved to Vegas over a decade ago.
"Fremont East," as the neighborhood is called, will soon see a boutique hotel from the pair. Like everything they do, it will have a rock n’ roll edge that hopes to draw both visitors and locals.
Outside Fremont Country Club┃Photo: Fred Morledge
The duo told GRAMMY.com that a visit to Double Down Saloon, Sin City’s widely-recognized original punk bar and music dive was what first inspired them to come to Vegas and get into the nightlife business there. Double Down has been slinging booze (like Bacon Martinis and "Ass Juice" served in a ceramic toilet bowl mug) and booking live punk sounds since it opened back in 1992.
"It's kind of a stepping stone for a lot of bands," says Cameron Morat, a punk musician and photographer, who also works with the Punk Rock Museum as curator of its rockstar-led tour guide program. "People always assume that Vegas is just the strip, but that's only like four miles long. There's a lot more of the ‘‘other city.’ There are people who are just into music and into going to local shows who don't ever go to the main strip."
In addition to the Double Down, Morat says Vegas has always had a history of throwing local punk shows at spaces like the Huntridge Theater, which is currently being remodeled and set to re-open soon for local live music. He also points to The Usual Place as a venue popular with local punk and rock bands now, and The Dive Bar — a favorite with the mohawk, patched-up battle vest scene, featuring heavy music seven nights a week, including a night promoted by his partner Masuimi Max called Vegas Chaos.
Cameron Morat┃Photo: Kristina Markovich
While glitzy stage shows from legacy artists and mega-pop hit makers like Usher, Elton John, Katy Perry, Carrie Underwood, Gwen Stefani and Lady Gaga still get the most media attention, raucous local shows are starting to factor into a new generation’s vacation planning, too.
"There’s a really good scene here," Morat proclaims. "It's funny because a lot of people, the sort of gatekeepers of punk, ask ‘why is the punk museum in Vegas?’ But it is a punk city, and not just because you've got all the local bands and the venues."
Morat, whose own band Soldiers of Destruction, plays around town on occasion, also notes other acts such as Gob Patrol, Suburban Resistance, and Inframundo as having fierce local followings. He says there’s a certain voracious vibe in Vegas that lends itself to punk rock creation, performance and attitude. "A lot of the anger from punk rock — like the disparity of wealth, for instance, is here," he says. "Five minutes down the road, you've got people throwing away a million on the roll of a dice. But you've also got people who are doing like three jobs just trying to pay their rent."
Over at the Punk Rock Museum, Morat, who moved from Los Angeles to Vegas about seven years ago, is keeping busy booking big-name guests to share inspirations and war stories, both weekly, and specifically timed with whatever big festival or event happens to be in town. He says he wants to feature artists that might not be thought of as traditional punk rock, but who have relevant backgrounds and stories to share.
"A lot of these people have punk history the public doesn’t know about," he says. "I think if we just stick to a very small well of people, it's going to get pretty boring. So I'm trying to open it up for a bigger cross-section."
Imagery from "Black Punk Now" | Ed Marshall
The museum is already showing the breadth of punk rock’s influence on music in general. During WWWY, the museum held events tied to its new exhibit "Black Punk Now," curated by James Spooner, director of the 2003 documentary Afro-Punk. As Spooner spoke about the film’s 20th anniversary and his new book of Black punk authors, musicians playing the weekend’s festivities from Sum 41, MxPx, Bayside, Less Than Jake came through to talk too. Warped Tour’s Kevin Lyman and Fat Mike himself also took part in the museum’s new after-dark guided tour series.
Bringing in a wider audience and a new generation of rebellious kids who seek to channel their angst and energy into music is part of what the museum — and, it seems, the myriad of events in Las Vegas these days — is all about. Despite what some punk rock purists and gatekeepers might say, the inclusion of tangent bands and scenes is in the original punk spirit. He’ll be booking guests tied to next year’s Sick New World, the Viva Las Vegas rockabilly bash and even EDC in the future (electronic bangers are not unlike hardcore ones and even Moby was a punk before he became a DJ).
"I think that the museum is great for the punk scene here," he adds. "People will literally come to town just to see the museum, and then if there's a band playing in town in the evening, they'll go. So it's broadening the support for all the bands, local and touring. Some punk bands used to skip Vegas completely on their tours, but not anymore."
10 Ways Cher's "Believe" Changed Pop Music
As Cher's GRAMMY-winning hit celebrates its 25th anniversary, blast "Believe" and dig into the many ways it became one of pop's all-time classics.
The incomparable Cher had already achieved iconic status long before she dropped the title track from her 22nd studio effort, Believe, at the tail end of 1998. After all, this was an artist who'd forged one of the most successful pop duos of the '60s, scored a record-breaking trio of number ones in the '70s, and reinvented herself as an MTV goddess in the '80s. Not to mention her contributions outside of music: the hit variety shows, Broadway runs, and Hollywood moonlighting — the latter of which saw her win an Oscar.
But the success of "Believe" was still unlike anything else Cher had achieved during her illustrious 35 years in the business. It reached No. 1 in 21 different countries across the globe (including a four-week stint at the top of the Billboard Hot 100 in the U.S.), sold 11 million copies, and cleaned up at everything from the International Dance Music Awards to the Ivor Novellos. For a good 12 months, it was practically impossible to avoid hearing its dance-pop beats, lovelorn lyrics and, of course, that famous robotic vocal effect.
But "Believe" didn't just significantly impact Cher's already glittering career — it also changed the face of pop music as we know it. From inspiring other divas to get their groove on to pioneering a piece of now-ubiquitous studio technique, take a look at 10 ways "Believe" impacted pop.
It Smashed Multiple Chart Records
It would almost be quicker to list which chart records "Believe" didn't completely obliterate. The song spent 21 weeks atop Billboard's Hot Dance Singles Sales, and was still in the Top 10 a full year later. It was also crowned the year-end No. 1 on both the Dance Club Songs and Hot 100 charts. And it produced the longest-ever gap between chart-toppers on the latter — 33 years and seven months, to be exact — as Cher's first No. 1 on the chart came in 1965 with her Sonny Bono duet "I Got You Babe."
"Believe" was just as successful across the pond, beating George Michael, U2, Culture Club, and Alanis Morisette in a famous five-way battle for No. 1. And with 1.8 million copies sold, it's still the U.K.'s highest-selling single by a female performer.
It Inspired Several Divas To Dance
Cher had initially resisted Warner UK label boss Rob Dickins' idea to pursue a dance direction, reportedly arguing that the genre wasn't conducive to "real songs." It's unlikely many of her peers took much persuading, however, after witnessing the monumental success of "Believe."
In fact, pretty much every pop diva on the other side of 50 seemed to take to the dance floor over the following 12 months: see Diana Ross' "Not Over You Yet," Tina Turner's "When the Heartache Is Over," and Donna Summer's "I Will Go With You (Con Te Partiro)." Madonna (Confessions on a Dancefloor), Kylie Minogue (Tension), and Cyndi Lauper (Bring Ya to the Brink) have all since proved middle age and dance music needn't be mutually exclusive terms with entire albums tailor-made for the clubs.
It Finally Gave Cher A Grammy
It seems hard to believe that Cher had to wait until the turn of the millennium to pick up her first GRAMMY. The pop veteran had previously been nominated alongside then-husband Sonny Bono in the Best New Artist category in 1966. The pair also received a nod in the Best Pop Performance by a Duo or Group in 1972 for "All I Ever Need Is You," the same year Cher was recognized as a solo artist with a Best Female Pop Vocal Performance nomination for "Gypsys, Tramps and Thieves." But on all three occasions, Cher went home empty-handed.
The star finally emerged victorious in 2000, however, when "Believe" won Best Dance Recording. (The song and same-named parent LP had picked up nods for Record of the Year and Best Pop Vocal Album, respectively, too). Peter Rauhofer was also crowned Best Remixer of the Year for his work on the track under the guise of Club 69.
It Paved The Way For An Exciting '00s Hit Factory
Nine different people, including Cher herself, are given songwriting/production credits on "Believe." But the most interesting behind-the-scenes name is Brian Higgins, the man who penned an early version of the track a full eight years before it was released. A virtual unknown when the finished product finally arrived, Higgins would go on to shape the following decade of British pop music thanks to his pioneering work as part of the production powerhouse known as Xenomania.
Best-known for guiding the career of their ultimate muses, Girls Aloud, the team also carved out weird and wonderful singles for Sugababes, The Saturdays, and Alesha Dixon.Pet Shop Boys, Kylie Minogue, and Saint Etienne were just a few of the more established names who turned to Xenomania for hit-making assistance, too.
It Made Cher Relevant Again
Cher looked to have been consigned to heritage act status before "Believe" came to the rescue. She'd only scored one U.S. Top 10 hit in the 1990s ("Just Like Jesse James") and that was at the very start of the decade; her last studio effort, covers album It's A Man's World, had peaked at a lowly No. 64 on the Billboard 200. But Cher isn't known as a comeback queen for nothing. The Believe campaign not only saved her from the musical wilderness, but it also kickstarted the most consistent, if undoubtedly sporadic, chapter of her career.
Indeed, although "Strong Enough" and "Song for the Lonely" are her only Hot 100 entries since (No. 57 and 85, respectively), 2001's Living Proof, 2013's Closer to the Truth, and 2018's ABBA tribute Dancing Queen have all reached the top 10 of the Billboard 200. And while Cher was always a powerful live draw, the Believe era took things to new heights: 2002's long-running (and misleadingly-named) The Farewell Tour, grossed $200 million across a whopping 325 dates to become the highest-grossing concert series by a female artist at the time.
It Proved Age Ain't Nothin' But A Number
Bette Midler, Aretha Franklin, and Tina Turner had all previously reached the top of the Hot 100 in their forties. But no female artist had ever achieved such a feat until "Believe" came along. Cher was aged 52 years and nine months when the dance-pop anthem took her number one tally to four in March 1999. And while the annual return of "All I Want for Christmas Is You" saw a 53-year-old Mariah Carey surpass this milestone in 2022, Cher can still lay claim to being the oldest chart-topping woman with a newly released song.
The star will have to score a fifth, however, if she's to break the all-time record: Louis Armstrong was three months shy of his 63rd birthday when he knocked The Beatles off pole position with 1963's "Hello Dolly."
It Introduced The World To Auto-Tune
According to Pitchfork, a remarkable 99 percent of all contemporary pop music utilizes the pitch-altering recording technique known as Auto-Tune. And that's pretty much all down to The Cher Effect. Although designed to subtly correct a wayward vocal, the producers of "Believe" decided to make it blatantly obvious that studio trickery had been at play, transforming one of pop's most easily identifiable voices into that of a wobbly android.
Cher had to fight to keep the song's unique selling point, telling unconvinced label bosses they'd have to remove it "over my dead body." And her instinct proved to be right. The pioneering use of Auto-Tune was undoubtedly the catalyst for the song's phenomenal success, ultimately paving the way for everyone fromLil Wayne andT-Pain toDaft Punk andBlack Eyed Peas.
It Became A Pop Culture Fixture
You know a song has entered the nation's consciousness when it's been parodied by Matt Stone and Trey Parker. But South Park's incomprehensible version of "Believe," which appeared in season 3 episode "Two Guys Naked in a Hot Tub," isn't the only way in which the chart-topper has permeated pop culture over the past 25 years.
It was also given the spoof treatment by MADtv, has become a lip-sync battle regular, and featured in the star-studded medley in Eurovision: The Story of Fire Saga. More recently, it was mashed up with "The Muffin Man" by Adam Lambert for a That's My Jam performance that went viral.
It Brought Back Crying At The Disco
Cher had asked many questions through the medium of pop during her illustrious career: "Am I Blue?" "Does Anybody Really Fall in Love Anymore?" "How Can You Mend a Broken Heart?" But it was undoubtedly "Believe" on which she posed her most pressing. "Do you believe in life after love?," she sings in the famously Auto-Tuned chorus, a clever turn of phrase which set the song up as the '90s answer to "I Will Survive"; follow-up single "Strong Enough" would go even further by essentially borrowing its string section.
The "crying at the disco" anthem had largely fallen out of favor since Gloria Gaynor's heyday. But "Believe" proved once again it was possible to pour your heart out and throw some shapes at the same time. Robyn ("Dancing On My Own"), Pussycat Dolls ("Hush, Hush"), and Madonna ("Sorry") are just a few of the artists who appeared to be taking note.
It's Become A Part Of The Modern American Songbook
What do tween collective Kidz Bop, punk rock supergroup Me First and the Gimme Gimmes, and Swedish synth-pop songstress Anna of the North all have in common? They've all put their own spin on the dance-pop masterpiece that is Cher's "Believe." And they're not the only ones, either.
In 2023, DMA's rendition wascrowned the all-time best cover to emerge from Aussie radio station Triple J's feature Like a Version.Manchester Orchestra,Lucy Dacus, and Jessie Ware have all interpreted the smash hit in their own distinctive ways over the past 18 months, too. And it's become a talent show staple thanks to ballad versions by the likes ofAdam Lambert,Jeffery Austin, andSheldon Riley. Should the Great American Songbook ever get modernized, then "Believe" is a shoo-in.