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<title>mk.gee’s L.A. Performances Spotlight Why He’s a Musician’s Musician</title>
<link>https://music-times.net/mk-gees-l-a-performances-spotlight-why-hes-a-musicians-musician/</link>
<comments>https://music-times.net/mk-gees-l-a-performances-spotlight-why-hes-a-musicians-musician/#respond</comments>
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<pubDate>Sat, 27 Apr 2024 15:37:01 +0000</pubDate>
<category><![CDATA[News]]></category>
<category><![CDATA[Concert]]></category>
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<category><![CDATA[Indie]]></category>
<category><![CDATA[Music News]]></category>
<category><![CDATA[Rock]]></category>
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<description><![CDATA[Los Angeles-based musician mk.gee played back-to-back sold out shows this week at the Fonda Theater in Hollywood, and the performances were no-frills: no opener, no banter, no visuals. Explore Explore See latest videos, charts and news See latest videos, charts and news In fact, mk.gee could hardly be seen amidst the spotlight placed directly behind […]
The post <a rel="nofollow" href="https://music-times.net/mk-gees-l-a-performances-spotlight-why-hes-a-musicians-musician/">mk.gee’s L.A. Performances Spotlight Why He’s a Musician’s Musician</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>

Los Angeles-based musician mk.gee played back-to-back sold out shows this week at the Fonda Theater in Hollywood, and the performances were no-frills: no opener, no banter, no visuals.
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In fact, mk.gee could hardly be seen amidst the spotlight placed directly behind him for the entire show on Wednesday (April 24). He let his music do all of the talking instead, and while this description might sound uninspired, the real effect was anything but. mk.gee’s performance was more captivating and enigmatic than even his recorded music — a show that kept the spotlight fixed on the artist’s work rather than the artist himself.

After releasing his latest album, Two Star and the Dream Police, on Feb. 9, mk.gee (real name: Mike Gordon) has been amassing his own brand of mysterious indie stardom. He’s always been a musician’s musician, beloved by everyone from Frank Ocean to Anderson .Paak dating back to 2018’s sunnier album Pronounced McGee. But the singer, songwriter, guitarist and producer had yet to hit the radar of many current listeners until Two Star debuted.

This is likely because he keeps to himself. It’s clear mk.gee is not chasing algorithms or clout or money. He rarely does interviews or shows his whole face in photos. The most he’s ever been seen really was when he played guitar in Dijon’s music videos for Absolutely, the acclaimed 2021 album that he co-wrote and co-produced, or the recent time he played on Jimmy Kimmel Live! Even then, viewers in the YouTube comment section were calling him a “Batman of Music.”

It’s refreshing — and shocking — to see a musician like mk.gee in 2024, and his elusiveness and focus on his craft is not something I believed could still work in an era of shameless and constant self-promotion. With mk.gee, the music is enough. What a relief that is.

He came with just two bandmates (Andrew Aged and Zack Sekof), a hard set-up to pull off, especially when the focal point of the performance is on the musicality of the artist on stage. Playing through songs from Two Star, the three musicians improvised over the tracks, patiently and incisively, bringing new emotional heft to songs that already oozed with it to begin with. Sometimes this would go on for minutes longer than the recorded version’s run time, especially after “Are You Looking Up” which marked the end of the set before he came back for an encore, and it was always felt like a gift to hear the trio keep going.

If the set could be compared to anyone else’s, it would probably be that of musical polymath James Blake or of Bon Iver’s 22, A Million performances, which have similarly used backlighting and an artful mix of programmed and ad-libbed playing.

While I was hoping to hear some tracks from Pronounced McGee and The Museum of Contradiction (2020), mk.gee’s set was much more uniform as simply a showcase of Two Star songs, and I could forgive those exclusions for the sonic consistency this choice brought to the show. All in all, mk.gee’s was an incredibly focused, sparse presentation that kept his musicianship centerstage at all times. It’s a must-see for concert lovers, especially those who seek live talent over visual pageantry.

See the setlist for mk.gee’s L.A. show on April 24 below.

“New Low”

“How Many Miles”

“Dream Police”

“You got It”

“Rylee & I”

“Dimeback”

“Candy”

“I Want”

“Are You Looking Up”

—

“Alesis”

“Candy”
</div>
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<title>Sean Combs Seeks to Dismiss ‘Revenge Porn’ Claims in Sexual Assault Lawsuit</title>
<link>https://music-times.net/sean-combs-seeks-to-dismiss-revenge-porn-claims-in-sexual-assault-lawsuit/</link>
<comments>https://music-times.net/sean-combs-seeks-to-dismiss-revenge-porn-claims-in-sexual-assault-lawsuit/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Sat, 27 Apr 2024 14:39:19 +0000</pubDate>
<category><![CDATA[News]]></category>
<category><![CDATA[Crimes and Court]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[P Diddy]]></category>
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<category><![CDATA[Sean Combs]]></category>
<guid isPermaLink="false">https://music-times.net/sean-combs-seeks-to-dismiss-revenge-porn-claims-in-sexual-assault-lawsuit/</guid>
<description><![CDATA[Lawyers for Sean “Diddy” Combs filed a motion to dismiss some of the claims in a sexual assault lawsuit that accused the Bad Boy rapper of revenge porn. The lawsuit, one of three filed against the rapper in November 2023 ahead of the expiration of the Adult Survivors Act, claimed that after Combs took the […]
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]]></description>
<content:encoded><![CDATA[<div>

Lawyers for Sean “Diddy” Combs filed a motion to dismiss some of the claims in a sexual assault lawsuit that accused the Bad Boy rapper of revenge porn.

The lawsuit, one of three filed against the rapper in November 2023 ahead of the expiration of the Adult Survivors Act, claimed that after Combs took the then-19-year-old woman to dinner at a Harlem restaurant in January 1991, he drove her to a recording studio, where she claims she was unable to exit the vehicle because she had been intentionally drugged by Combs, “resulting in her being in a physical state where she could not independently stand or walk.”

Combs then allegedly took the accuser (who after the lawsuit was initially filed revealed herself to be Joi Dickerson-Deal) to where he was staying and sexually assaulted her. According to the lawsuit, Combs also filmed the act, which a friend of the accuser reportedly viewed. “Days later,” the suit reads, “a male friend revealed to her that he had viewed the ‘sex tape’ along with other men.”

According to the Associated Press, the motion filed Friday by Combs’ legal team seeks to dismiss the “revenge porn” claims in the lawsuit against him, as the New York State Revenge Porn Law was not codified until 2019. Similarly, the lawsuit’s allegations of sex trafficking predate the passage of the New York Services for Victims of Human Trafficking Law, which came into effect in 2007, the motion claimed.

At the time of the lawsuit’s filing, a rep for Combs denied the allegations in a statement, “This last-minute lawsuit is an example of how a well-intentioned law can be turned on its head. [The] 32-year-old story is made up and not credible. Mr. Combs never assaulted her and she implicates companies that did not exist. This is purely a money grab and nothing more.”
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Dickerson-Deal’s lawsuit against Combs was filed soon after he reached a settlement in Cassie’s lawsuit against him where she accused him of rape, sex trafficking, and physical abuse. The following day, another lawsuit — filed by a Jane Doe accuser — alleged that Combs and singer-songwriter Aaron Hall took turns raping the then-16-year-old plaintiff and her friend after a record label party in 1990 or 1991 – and that Diddy turned violent during a rage days later, allegedly assaulting and choking his accuser.

The sexual assault lawsuits — including one filed earlier this year by a producer on Diddy’s Love Album — come amid a federal sex trafficking investigation against Combs that saw his properties in Miami and Los Angeles raided by agents; so far, no criminal charges have been filed against the rapper-producer, although his alleged “drug mule” was taken into custody on drug charges.
</div>
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<title>How St. Vincent Unlocked Her Realest Album Yet</title>
<link>https://music-times.net/how-st-vincent-unlocked-her-realest-album-yet/</link>
<comments>https://music-times.net/how-st-vincent-unlocked-her-realest-album-yet/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Sat, 27 Apr 2024 13:41:02 +0000</pubDate>
<category><![CDATA[Features]]></category>
<category><![CDATA[Carrie Brownstein]]></category>
<category><![CDATA[Dave Grohl]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[Flea]]></category>
<category><![CDATA[St. Vincent]]></category>
<category><![CDATA[Taylor Swift]]></category>
<category><![CDATA[Todd Haynes]]></category>
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<description><![CDATA[“I’ve known I was going to make a record called All Born Screaming since I was 23,” says St. Vincent. “But I just wasn’t ready. I wasn’t really worthy of the title, ’cause you have to live a lot to be worthy of a title that really says it all. It’s the beauty, it’s the […]
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]]></description>
<content:encoded><![CDATA[<div>

“I’ve known I was going to make a record called All Born Screaming since I was 23,” says St. Vincent. “But I just wasn’t ready. I wasn’t really worthy of the title, ’cause you have to live a lot to be worthy of a title that really says it all. It’s the beauty, it’s the brutality, and it’s all part of the same continuum.” 

St. Vincent’s superb new album of that name is suffused with beauty and brutality in equal measure, with Nine Inch Nails-worthy noise bursts, some elegant crooning, and a few of her most streamlined hard-rock tracks ever, some assisted by Dave Grohl on drums. There are also a few entirely unexpected moments on the album, which is the first the artist, 41, has produced on her own, including the off-kilter dub reggae of “So Many Planets,” which she spiced with a jazzy guitar solo meant to evoke Larry Carlton’s playing with Steely Dan.

“So much of making this record was, like, everything has to be tactile,” she says. “It has to start with electricity and analog circuitry. It has to be touched.” 

This album seems a lot more direct and unguarded than your past work. In past records, I’ve been very interested in the idea of persona and iconography. I realized I’ve done that in my work because I’m queer. I’ve known that gender is performance since I was a child. But this record isn’t about persona or identity. It’s just about, like, life and death and love, and how in some ways life is impossible but we get to live it. We’ve only got one of them, depending on your belief system. And the only thing worth living for, actually, is love. So much of modern society is designed to belittle us, to fracture us. At the risk of being kumbaya, it’s radical to love thy neighbor. I’m not of a particular faith, but, like, we’re all we got.

Ordinarily, I might say “Yeah, awesome” to an answer, but I don’t want to underplay what you just said. [Laughs.] No, that’s OK. I read it off a meme, so don’t worry.
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</section>

These songs sound like they were created by jamming with a band, but you actually did it on your own, with musicians added later. What’s your secret to that? I’ve got a mixer set up with three drum machines, two synths. This was my way of setting up all my machines and jamming with myself for hours and hours. Even if I only used four seconds, it was all worth it. Then you have to go back and go, “But what about songs?” All of the sounds have to serve the song. I could do this for hours, but what’s your heart saying? “That’s cute. That’s clever. Go deeper. Really look in the mirror, really reckon with all this.” And because I produced it alone, there are certain songs I sang a hundred times. It wasn’t about “I need to make this a perfect performance.” It was almost like what you hear David Fincher does to actors.

Right. You did that to yourself. I did that to myself because you just do it until there’s no ego, until there’s no pretense, there’s no performing. You don’t have to be it because you are it.

Now that you have a great song called “Flea” with Dave Grohl on it, aren’t you pretty much obligated to write an equally good song called “Dave Grohl” and get Flea to play on it? Absolutely. That is next on the list. Yeah, absolutely. I played some shows with the Chili Peppers not too long ago, which was so fun. And I love Flea. He’s a great dude. Great bass player.

You must have known that you were in for comments like that when you recorded a song called “Flea.” I contemplated calling the song “Fleas,” but I don’t sing “fleas.” Again, you know, serve the song and then deal with the aftermath later. 

Would you mind explaining the full story of your involvement with Taylor Swift’s “Cruel Summer”? I don’t mind people asking me about the song. I know it’s a ripper of a song. And I am so amazed at Taylor’s fans because they took a song that was from many records ago and they were like, “No, this is a hit.” And they marched it up the charts and made it a worldwide hit. I’m just, like, God bless her fans. That’s the coolest thing. I’ve never seen anything like it, really. Yeah, “Cruel Summer” was a track I worked on with Jack [Antonoff], and it found its way to Taylor, and she wrote it.
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</h2>
</section>

When you made the instrumental track originally, what did you think it was going to be? Oh, I didn’t know. We were just having fun and just making music. 
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</section>

I’m a fan of Nowhere Inn, your 2021 movie with Carrie Brownstein. Oh, you’re one of five [laughs]. Usually when musicians make documentaries, it’s more or less a marketing tool. We just took all the tropes of the classic musician documentary and did them wrong. I think what Carrie and I were trying to say is that all of this authenticity that gets peddled to us is total artifice. So what if we actually manufactured it, knowing that? But also, people like a story and people like a hero, and [the idea was] what if I made myself so incredibly unlikable? And that’s why no one liked it! [Laughs.]

Is there an artist you’d like to play in a biopic? It’s an interesting genre [but] it’s not a genre I peddle in. Unless you do a Todd Haynes Bob Dylan. That’s the way to do it. I just can’t suspend my disbelief when there’s a scene where, like, someone starts playing a thing, and then the drummer’s like, “Hey, that’s pretty cool” — and the mics are turned the wrong fucking way. I can’t suspend my disbelief. I just can’t. 
</div>
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<title>How Los Angeles’ Fiesta Broadway Executed Its Revival After a 4-Year Hiatus</title>
<link>https://music-times.net/how-los-angeles-fiesta-broadway-executed-its-revival-after-a-4-year-hiatus/</link>
<comments>https://music-times.net/how-los-angeles-fiesta-broadway-executed-its-revival-after-a-4-year-hiatus/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Sat, 27 Apr 2024 13:34:56 +0000</pubDate>
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<guid isPermaLink="false">https://music-times.net/how-los-angeles-fiesta-broadway-executed-its-revival-after-a-4-year-hiatus/</guid>
<description><![CDATA[Not all events that were canceled due to the coronavirus pandemic got a comeback story. Fiesta Broadway, back after a four-year hiatus in Los Angeles, gets to have one. Around for more than 25 years, Fiesta Broadway became a marquee Cinco de Mayo event that took place every year in downtown LA, reuniting thousands of […]
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]]></description>
<content:encoded><![CDATA[<div>

Not all events that were canceled due to the coronavirus pandemic got a comeback story. Fiesta Broadway, back after a four-year hiatus in Los Angeles, gets to have one.

Around for more than 25 years, Fiesta Broadway became a marquee Cinco de Mayo event that took place every year in downtown LA, reuniting thousands of Angelenos for a day of food, music and activities for kids. That all came to an abrupt stop when the pandemic shut down all live events in 2020. “You can tell that Los Angeles has felt empty, a lack of celebration of unity,” says Luis Medina, president and executive producer of Uno Productions (one of the companies producing the event), who adds that past editions have gathered around 100,000.

Now under the management of All Access Talent and Uno Productions, Fiesta Broadway’s organizers doubled down on kick-starting the free event by bringing the original producers of the festival onboard.

“There is no one who could’ve helped us more than the people who created the festival,” says Medina, noting that joining forces with the previous producers was a key strategy in the revival of Fiesta Broadway. Plus, the support of Los Angeles City Council member for District 14, Kevin de León. Once city officials green-lit its return, they had six months to plan and execute. 

“Our phones were flooded with many artists and organizations, including media and sponsors, who wanted to participate in our return,” Medina adds. “What makes Fiesta Broadway the beloved event that it is recognized for, is that it is made for the people. To bring the community together, to see artists that would be a bit cost-difficult to see in concert, to bring food from different cultures and remind people that home is in Los Angeles.” 

This year, Alex Lora from rock band El TRI, will be the Grand Marshal 2024, a recognition to legacy artists who’ve contribution to the Hispanic community in the United States. This edition, which will take over four blocks of Broadway St. on Sunday (April 28), will also feature performances by Mexican actor and singer Pablo Montero, Graciela Beltran and Leonardo Torres, accompanied by the Mariachi Juvenil Nuevo Grullense. Other confirmed acts include Juanito El Millonzuki, Rocío “La Dama de la Cumbia,” and many more.

Whether Fiesta Broadway is back for good or not, that’s too soon to tell. “[This year] is a moreover learning experience on how we can remain up-to-date with the new era and keep the festival popular among the younger generation as well,” says Medina. 
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<title>Suge Knight says Snoop Dogg was a part of Tupac’s “downfall” when criticising Drake A.I. track</title>
<link>https://music-times.net/suge-knight-says-snoop-dogg-was-a-part-of-tupacs-downfall-when-criticising-drake-a-i-track/</link>
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<pubDate>Sat, 27 Apr 2024 13:31:05 +0000</pubDate>
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<description><![CDATA[Suge Knight has commented on Drake using A.I. to get Tupac and Snoop Dogg to feature on his ‘Taylor Made Freestyle’ diss track. Last weekend, Drake uploaded ‘Taylor Made Freestyle’ online, marking the second time the Canadian has thrown jabs at Kendrick Lamar. The first time he did so was on ‘Push Ups’ earlier in […]
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Suge Knight has commented on Drake using A.I. to get Tupac and Snoop Dogg to feature on his ‘Taylor Made Freestyle’ diss track.
Last weekend, Drake uploaded ‘Taylor Made Freestyle’ online, marking the second time the Canadian has thrown jabs at Kendrick Lamar. The first time he did so was on ‘Push Ups’ earlier in the month, which was a direct response to Lamar’s ‘Like That verse where he called out the rapper.
‘Taylor Made Freestyle’ put Drake in hot water as Tupac’s estate has threatened to sue him for using the ‘California Love’ rapper’s likeness against him. The 37-year-old has now removed the song from streaming platforms as a result.
Knight also shared thoughts on Drake using Tupac’s likeness on the latest episode of his podcast, Collect Calls With Suge Knight.
“Young people do what young people do. It’s y’all turn, but regarding the homie ‘Pac, he wasn’t no chump,” he said. “Putting him on a song and dissing Kendrick for everybody entertainment – that ain’t how it go.”
He added that: “‘Pac was a king on that chessboard. He never was a pawn, so he can’t make him be a pawn now.”
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The former Death Row Records owner also warned Drake that there might be repercussions for using Tupac’s likeness because if “real gang members of all colours and races all come together, that’s your end.”
Snoop Dogg also was surprised to see Drake use his likeness on ‘Taylor Made Freestyle’, taking to Instagram to share his reaction. “They did what? When? How? Are you sure? [Sigh] Y’all have a good night,” he said. “Why [is] everybody calling my phone, blowing me up? What the fuck? What happened? What’s going on? I’m going back to bed. Good night.”
Knight then slammed Snoop Dogg, while criticising Drake for “putting [Tupac] on a song with Snoop”, saying that the latter “was a part of his downfall and exit, ain’t ever a good look.”
He voiced his scepticism about his former signee’s involvement in Tupac’s death on an earlier episode of his podcast.
“As far as the Puffy situation, I really, really, really gotta have a real conversation with Snoop,” he said, addressing the rumours that Snoop Dogg allegedly knew ahead of time about Pac’s infamous shooting in 1996. “I knew that ‘Pac did everything right by him by putting him on ‘All Eyez On Me’, speaking about him and being real with him. And if it’s true what they say, face-to-face it’s gonna be a lot of explaining to do.”
<iframe title="Collect Call With Suge Knight, Episode 4: Suge & Puff" width="880" height="495" src="https://www.youtube.com/embed/EeYrNuTTunk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
Tupac was shot on September 7, 1996 and died six days later. For over 30 years, the case remained unsolved as the suspected shooter Orlando Anderson was murdered in 1998 before he could be charged.
Last year, Anderson’s uncle Duane “Keefe D” Davis was arrested for his connection to the fatal shooting of the Death Row Records rapper. Davis entered a not guilty plea to one count of open murder with the use of a deadly weapon with a gang enhancement. After the news broke, Knight said that he “won’t testify” for anyone in the Tupac murder case and said he wants justice for Davis as he’s not the shooter.
Knight is currently serving a 28-year-long sentence in jail for pleading no contest to voluntary manslaughter in a fatal 2015 hit-and-run. His podcast – which was launched last November – is done over the phone while he serves time.
In other news, Knight reflected on Eazy-E’s wife allegedly ruining a billion-dollar deal. The ‘Eazy-Duz-It’ rapper made a deal with Knight to “where he gets a dollar off of anything that Dre does”.
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<title>Mötley Crüe tell us about ‘Dogs Of War’ and being rockstars in the age of social media</title>
<link>https://music-times.net/motley-crue-tell-us-about-dogs-of-war-and-being-rockstars-in-the-age-of-social-media/</link>
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<pubDate>Sat, 27 Apr 2024 12:30:13 +0000</pubDate>
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<description><![CDATA[Mötley Crüe have shared ‘Dogs Of War’ – their first new single since 2019 and first official music with new guitarist John 5. Check it out below, along with our interview with Nikki Sixx and John 5. The glam metal veterans first shared news of new music earlier this week, when they confirmed that Friday (April […]
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Mötley Crüe have shared ‘Dogs Of War’ – their first new single since 2019 and first official music with new guitarist John 5. Check it out below, along with our interview with Nikki Sixx and John 5.
The glam metal veterans first shared news of new music earlier this week, when they confirmed that Friday (April 26) would see them drop ‘Dogs Of War’. Not only does the single mark their first new music since 2019, it also sees their first official release with John 5 (Marilyn Manson, Rob Zombie), after he joined the touring line-up in 2022 and eventually went on to replace Mick Mars as the band’s lead guitarist last year.
Kicking off with a brash, uptempo riff, the song ultimately delivers exactly what you’d expect from the rock icons, retaining their old-school glam roots with frontman Vince Neil belting out a chorus of “Don’t let those bastards get you down”.
The track was recorded remotely last year with the band’s longtime collaborator Bob Rock, and first teased towards the end of 2023 when Crüe played a secret set at The Underworld in Camden, going by the alias Dögs Of War.
“There was no plan to actually record ‘Dogs Of War’,” bassist and founding member Nikki Sixx told NME. “We were in the studio doing demos, and it always happens where we have a vision of a song but then other riffs come out from there. So while we were working on a song, this riff came out.
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“We had a ‘Blitzkrieg Bop’ [The Ramones] cover that we were talking about doing, but essentially we were just getting together to be creative. Then ‘Dogs Of War’ came out, as well as a couple of other ideas,” he added. “At the end of that day I went home and was watching A Handmaid’s Tale on Netflix, and here’s a saying in the show, ‘Don’t let the bastard grind you down’. So I wrote it down, then I wrote a lot of the lyrics pretty much from there.”
John 5 continued, recalling what it was like to be writing new music with the members and Bob Rock for the first time. “It was a really cool thing that happened, especially because Nikki and Tommy [Lee, drummer] and Vince had recorded with Bob Rock for so long. But when I went in there, we all got in one room and that was so unorthodox to me because I haven’t recorded that way in so long.
“We all got in one room and just knocked it out, and that’s how everything was tracked. I thought that was so special because nowadays you don’t really see that kind of very organic way of recording.”
After releasing their last studio album ‘Saints Of Los Angeles’ in 2008, the band told NME about the changes that Mötley Crüe have gone through since then – including John 5 joining as a full-time member, and their recently signed deal with Nashville’s Big Machine Records.
However, they reassured fans that while it may seem like the start of a new chapter, the influence from the guitarist is by no means a new development that will see them deviate from their roots.


“We’ve already written so many songs together because me and Nikki have known each other for decades now. There have been times where we talk like six or seven times a day,” John 5 explained, with Sixx going on to insist that he was “the one that gave him the grey hair” before he even joined the line-up.
“We were working together even back with that Meatloaf song, ‘The Monster is Loose’,”, Sixx recalled, referring to the 2006 track that the two co-wrote for ‘Bat Out of Hell III’.
“We were writing while the Dirt movie was being finished,” he added, going on to share how the band ended up writing multiple new songs around the time of the film.
“If I remember correctly, there were four songs called ‘The Dirt’ because we were trying to zero in on one song, but we ended up releasing all four of them. [Working with John 5] has always been a nice creative process, we’re always having a good time.”
Sixx also went on to share his thoughts on the huge success of the biopic in 2019, as well as the hit 2022 series Pam & Tommy, which saw Mötley Crüe exposed to a new generation of fans – over four decades after they first formed.
“For us, the only constant in our career has been that we constantly change and that comes with hills and valleys,” he explained. “We’ve ridden it out over 43 years and sometimes we’re not cool, sometimes we’re the coolest band, sometimes we can’t even get a phone call back.
“We’re just living in our own little bubble and doing what we want to do. Obviously it feels great when people really love what you’re doing, but I don’t necessarily think we’ve ever thought that we should do something to be liked or for the public reception. We do what we do, we’re passionate about it and we hope that people like it. Also, if they don’t, we get that, we understand it. It’s just part of our creative process.”
Speaking of being introduced to a new generation of fans, the bassist went on to recall what it was like for the band – who are famed for their controversial, hedonistic image – to be now releasing music in today’s landscape, where a different level of responsibility is placed on those in the public eye.
<figure id="attachment_3751371" aria-describedby="caption-attachment-3751371" style="width: 2000px" class="wp-caption alignnone"><img loading="lazy" decoding="async" class="size-full wp-image-3751371" src="https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270.jpg" alt='Nikki Sixx of Mötley Crüe performs live for the "The World Tour" at Sheffield Bramall Lane on May 22, 2023 in Sheffield, England. ' width="2000" height="1270" srcset="https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270.jpg 2000w, https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270-400x254.jpg 400w, https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270-800x508.jpg 800w, https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270-696x442.jpg 696w, https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270-1392x884.jpg 1392w, https://www.nme.com/wp-content/uploads/2024/04/Nikki-Sixx@2000x1270-1068x678.jpg 1068w" sizes="(max-width: 2000px) 100vw, 2000px"><figcaption id="caption-attachment-3751371" class="wp-caption-text">Nikki Sixx of Mötley Crüe performs live for the “The World Tour” at Sheffield Bramall Lane on May 22, 2023 in Sheffield, England. (Photo by Anthony Devlin/Getty Images)</figcaption></figure>

“I don’t really feel that I have any connection to trying to sell myself as something that people want, I just use social media the same way that I’ve used interviews since 1981. I speak from my heart and talk about what I’m actually doing in my life,” Sixx said, elaborating on how his larger-than-life front has been replaced with a more family-oriented image in recent years.
“I have almost a five-year-old daughter and she’s a big part of me and my wife’s life so I share a lot about my family life and about my creative process now. I think that’s the best way to be as an artist, to be transparent.”
As for whether or not fans can expect to see more new music on the way, Sixx confirmed to NME that ‘Dogs Of War’ is one of three new tracks that the band have recorded, although there are no plans for a bigger release any time soon.
“We don’t know when they [the other two tracks] will come out, but we’re really proud of all of them so they’ll probably all come out over this year,” he said. “As far as next year is involved, we’re just not that far down the road in terms of recording songs and deciding what we’re going to do.”
While it looks like the follow-up to ‘Saints Of Los Angeles’ is still a while off, Crüe are set to embark on a run of live shows this summer, including festival appearances at Summerfest, Welcome To Rockville, Festival d’été de Québec and more. Visit here for remaining tickets.
Meanwhile, Mötley Crüe co-founder and former lead guitarist Mick Mars recently shared news of his debut solo album ‘The Other Side Of Mars’ last October. The release marked his first new music since he departed from the glam rock line-up in October 2022, following his struggle with Ankylosing Spondylitis (A.S.).
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<title>Sea Girls announce autumn 2024 UK and Ireland tour</title>
<link>https://music-times.net/sea-girls-announce-autumn-2024-uk-and-ireland-tour/</link>
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<pubDate>Sat, 27 Apr 2024 11:29:06 +0000</pubDate>
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<description><![CDATA[Sea Girls have announced a run of UK and Ireland dates for later this year. The band will be playing a run of shows across in support of their forthcoming album ‘Midnight Butterflies’ in the autumn, which includes a huge show at Brixton Academy. The London indie rockers will be making stops in Sheffield, Newcastle, […]
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Sea Girls have announced a run of UK and Ireland dates for later this year.
The band will be playing a run of shows across in support of their forthcoming album ‘Midnight Butterflies’ in the autumn, which includes a huge show at Brixton Academy.
The London indie rockers will be making stops in Sheffield, Newcastle, Manchester, Glasgow, Nottingham, London, Cardiff, Portsmouth, Norwich, Birmingham, Liverpool, Dublin and Belfast.
Tickets will go on sale next Friday (May 3) – you can see the full list of dates below and buy your tickets here.


SEPTEMBER 26 – Sheffield, Octagon 27 – Newcastle, City Hall 28 – Manchester, O2 Apollo 29 – Glasgow, O2 Academy
OCTOBER 1 – Nottingham, Rock City 3 – London, O2 Academy Brixton 4 – Cardiff, Tramshed 6 – Portsmouth, Guildhall 7 – Norwich, LCR 8 – Birmingham, O2 Academy 9 – Liverpool, Mountford Hall 11 – Dublin, Academy 12 – Belfast, Limelight
‘Midnight Butterflies’ will be released on June 14 via their new independent label Alt. Records and is described in a press release as being centred around “melodic joy” and “pop perfection”. It follows 2020’s ‘Open Up Your Head’ and 2022’s ‘Homesick’.
“It feels and sounds like a fledgling band making their energetic untainted debut record. It’s super optimistic and euphoric,” said frontman Henry Camamile of the album.
“There was a huge freedom in making this record. It’s an exciting time for music across genres, and who wouldn’t want to be a part of that?”
The forthcoming album comes after a huge year for Sea Girls in 2023. This included a milestone headline show at Alexandra Palace and a support slot with Louis Tomlinson at his gig at London’s O2.
In the latter half of last year they also shared details of an upcoming run of headline shows in the UK and Australia, as part of the ‘Young Strangers’ tour. These include stops in Sydney, Melbourne and Brisbane later this month, followed by eight shows across the UK and Ireland in the Spring. Visit here for remaining tickets to UK shows.
 
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<title>Gel announce new EP ‘Persona’, share aggressive new single ‘Mirage’</title>
<link>https://music-times.net/gel-announce-new-ep-persona-share-aggressive-new-single-mirage/</link>
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<pubDate>Sat, 27 Apr 2024 10:28:06 +0000</pubDate>
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<description><![CDATA[Gel have returned with an aggressive new single, ‘Mirage’ and announced a new EP, ‘Persona’. The New Jersey hardcore band will release their new five-track EP on August 16, which is the follow-up to 2023 album ‘Only Constant’. It also marks their first release on new label Blue Grape, which is also the home of […]
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Gel have returned with an aggressive new single, ‘Mirage’ and announced a new EP, ‘Persona’.
The New Jersey hardcore band will release their new five-track EP on August 16, which is the follow-up to 2023 album ‘Only Constant’. It also marks their first release on new label Blue Grape, which is also the home of bands such as Code Orange and Spiritual Cramp.
Notably, ‘Mirage’ is the band’s longest single to date, clocking in at just shy of three minutes.
“We really wanted to fill out the songs more and make them more nuanced,” explained vocalist Sami Kaiser in a press release. “It’s a step forward, it’s different, it’s catchy, but it still really sounds like us.”
Check out ‘Mirage’ and the tracklist below:
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The tracklist for ‘Persona’ is:
‘Mirage’ ‘Shame’ ‘Persona’ ‘Martyr’ ‘Vanity’
Gel will also be touring the UK in June, during which they will also be performing at this year’s Download Festival. Find the full list of dates below and buy tickets here.
JUNE 2 – Southampton, Joiners 3 – Oxford, Bullingdon 4 – Exeter, Cavern 5 – Guildford, Boiler Room 12 – Manchester, Star and Garter 13 – Glasgow, Nice & Sleazy 14 – Leeds, Brudenell Social Club 15 – Donington Park, Download Festival 17 – London, The Garage 18 – Brighton, Green Door Store 19 – Bristol, Exchange
Last month, Gel were one of numerous acts to pull out of SXSW over the event’s ties to the US Army amid the current Israel-Hamas conflict.
In a statement posted to their social media accounts, they said: “We will be pulling out of all official SXSW shows next week.
“There’s no reason for @sxsw to involve the music of our peers and music at large with the US Army and defense companies that are actively committing and/or complicit in genocide.
“Free Palestine.”
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<title>Eric Church’s 2024 Stagecoach Performance Was a Helluva Thing to Witness</title>
<link>https://music-times.net/eric-churchs-2024-stagecoach-performance-was-a-helluva-thing-to-witness/</link>
<comments>https://music-times.net/eric-churchs-2024-stagecoach-performance-was-a-helluva-thing-to-witness/#respond</comments>
<dc:creator><![CDATA[music-times.net]]></dc:creator>
<pubDate>Sat, 27 Apr 2024 09:36:54 +0000</pubDate>
<category><![CDATA[Features]]></category>
<category><![CDATA[Eric Church]]></category>
<category><![CDATA[Featured]]></category>
<category><![CDATA[Stagecoach 2024]]></category>
<guid isPermaLink="false">https://music-times.net/eric-churchs-2024-stagecoach-performance-was-a-helluva-thing-to-witness/</guid>
<description><![CDATA[Stagecoach is known for its surprises and, on Friday night, Eric Church delivered one of the most unexpected in the California country music festival’s history. The question facing fans is, was it a good surprise or a bad one? As the opening night headliner, Church’s set was highly anticipated. He hadn’t headlined Stagecoach since 2016 […]
The post <a rel="nofollow" href="https://music-times.net/eric-churchs-2024-stagecoach-performance-was-a-helluva-thing-to-witness/">Eric Church’s 2024 Stagecoach Performance Was a Helluva Thing to Witness</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>

Stagecoach is known for its surprises and, on Friday night, Eric Church delivered one of the most unexpected in the California country music festival’s history. The question facing fans is, was it a good surprise or a bad one?

As the opening night headliner, Church’s set was highly anticipated. He hadn’t headlined Stagecoach since 2016 and is currently in the midst of a 19-show residency at his Nashville bar Chief’s that finds him getting up-close and candid with fans and testing out new songs. When he appeared on the Mane Stage at 9:45 p.m. to the sounds of a church organ and sat down on a chair with only his guitar, it was clear this wasn’t going to be a typical festival performance. Few things Church does can be described as such.

Opening with a rendition of Leonard Cohen’s “Hallelujah,” the songwriter spent the next hour and 15 minutes playing a breathless medley of gospel standards, hymns, and covers of Motown, classic rock, and gangsta rap backed by a 16-member choir. In between, he wove in snippets of his own songs, using “Mistress Named Music” — a song he’s often used to tee up a covers medley — as the through-line. He sang verses of “Smoke a Little Smoke,” “Desperate Man,” “The Outsiders,” “Sinners Like Me,” and “Heart on Fire,” but steered clear of full, faithful versions of his own material, choosing instead to try and create a revival atmosphere for the expected 70,000 in attendance.

Fans near the front of the stage appeared befuddled and unsure how to react. Some danced and sang along, especially to versions of Ben E. King’s “Stand By Me,” Marc Cohn’s “Walking in Memphis,” and Tupac Shakur’s “California Love,” but others waited impatiently for something of Church’s they recognized. A few booed, one yelled for him to sing his own songs, and many wandered off (perhaps to line up for Nickelback’s late-night set across the field on the Palomino stage).

But Church, unwavering, stayed his course, plucking away at his acoustic guitar, singing Kenny Loggins and Neil Diamond hits, and rocking back and forth in his chair. Finally, at the climax, his full band — plugged in and electric — dramatically rose up from behind the stage to power through “Country Music Jesus.” A choir rendition of his 2012 hit “Springsteen” followed as the sendoff. 
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 Editor’s picks
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Church’s Stagecoach performance, unconventional by festival standards, had shades of his 2023 CMA Fest appearance in Nashville. During that seven-song set, he challenged fans with jammy interpretations of singles like “Drink in My Hand” and deep cuts, and avoided hits like “Springsteen” and “Talladega” altogether. Church told Rolling Stone then that he was “shocked” by fans’ reaction. He may be feeling that way again today, judging by some of the social media criticism early Saturday morning.
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But whether you loved Church’s Stagecoach set or hated it — overall, we thought it was a daring, inspired choice, expertly rendered — it does raise some questions to ponder. What obligation, if any, does an artist have to play the hits at a festival? Have fans become complacent in expecting a set list of faithfully reproduced songs? Or, maybe, have festivals become just too expensive for experimentation? Stagecoach GA passes ranged from $429 to $549.

Regardless of how fans at Stagecoach on Friday night might answer those questions, there is one certainty: Those who stayed saw something they’ll be talking about for a long time.
</div>
The post <a rel="nofollow" href="https://music-times.net/eric-churchs-2024-stagecoach-performance-was-a-helluva-thing-to-witness/">Eric Church’s 2024 Stagecoach Performance Was a Helluva Thing to Witness</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
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<title>Billie Eilish, Lorde and Green Day sign open letter petitioning for bill to protect fans from ticket scams</title>
<link>https://music-times.net/billie-eilish-lorde-and-green-day-sign-open-letter-petitioning-for-bill-to-protect-fans-from-ticket-scams/</link>
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<pubDate>Sat, 27 Apr 2024 09:27:16 +0000</pubDate>
<category><![CDATA[News]]></category>
<category><![CDATA[Featured]]></category>
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<description><![CDATA[Billie Eilish, Lorde and Green Day are among the signees of an open letter calling for a bill to be passed to protect gig goers from ticket scams. Over 280 musicians have signed the letter, which encourages lawmakers to implement the Fans First Act to prevent ticketing scams and people reselling tickets at massively inflated […]
The post <a rel="nofollow" href="https://music-times.net/billie-eilish-lorde-and-green-day-sign-open-letter-petitioning-for-bill-to-protect-fans-from-ticket-scams/">Billie Eilish, Lorde and Green Day sign open letter petitioning for bill to protect fans from ticket scams</a> appeared first on <a rel="nofollow" href="https://music-times.net">Music Times</a>.
]]></description>
<content:encoded><![CDATA[<div>
Billie Eilish, Lorde and Green Day are among the signees of an open letter calling for a bill to be passed to protect gig goers from ticket scams.
Over 280 musicians have signed the letter, which encourages lawmakers to implement the Fans First Act to prevent ticketing scams and people reselling tickets at massively inflated prices.
Other big-name signees include Fall Out Boy, Duran Duran, Finneas, Graham Nash, Nile Rodgers, Chappell Roan, Cyndi Lauper and Sia.
“We are joining together to say that the current system is broken: predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favorite artists at a fair price,” the letter reads.
“As artists and members of the music community, we rely on touring for our livelihood, and we value music fans above all else.
“We are joining together to say that the current system is broken; predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favourite artists at a fair price.
They conclude: “Predatory resellers should not be more profitable than the people dedicating their lives to their art.”


The Fans First Act was was introduced by a bipartisan group of senators last December. It was referred to and remains before the committee, which would need to approve it so it can be voted on. It focuses on three priorities: ticket sales transparency, consumer protection and stopping bad actors.
The bill would require live event ticket sellers and resellers to share more information about ticket costs and seat location, refund customers the full ticket price when events are canceled and create a reporting website for fans to file complaints. It also contains details of penalties and enforcements for ticket retailers who don’t comply.
The letter was put together by Fix the Tix, a coalition of over two dozen live event industry organizations led by the National Independent Venue Association (NIVA).
Earlier this month, Wall Street Journal reported that Live Nation, the parent company of Ticketmaster is set to face an antitrust lawsuit from the US Justice Department as soon as next month.
The suit is reportedly set to allege that the company’s concert promotion and ticketing operations have undermined competition in the live music industry.
The report claims that since the 2010 merger of Live Nation and Ticketmaster, the enterprise has gone on to control more than 80 per cent of the market for ticket sales in the US. The Journal reports that issues covered by the suit will include unfair market leverage, high transaction fees and flawed customer service.
In response to the report, Live Nation’s head of corporate affairs, Dan Wall, argued that the company in fact has more competition than ever. “If you have to hone in on one slice of the market in order to allege a monopoly, then there isn’t one,” he said.
Ticketmaster faced high-profile controversy in late 2022 after well-publicised issues surrounding the ticket sales for Taylor Swift’s ‘Eras Tour’. The company said there had been “historically unprecedented demand” for the concerts.
As well as US lawmakers calling for an investigation into the company as a result, two US senators urged the Federal Trade Commission (FTC) to answer for “the steps” it was taking to “combat the use and operation of bots in the online ticket marketplace”.
Some fans of Swift later filed a class action lawsuit against Ticketmaster, with plaintiffs accusing the company of violating two laws – the California Cartwright Act and the California Unfair Competition Law – during the first Verified Fan pre-sale. Live Nation president Joe Berchtold blamed cyber attacks for the sale issues. The main plaintiff in that case dropped the suit in December 2023, with both sides “agreeing to continue their ongoing settlement discussions through mediation.”
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