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Jack Harlow Announces A Special Treat For His Home State With The ‘No Place Like Home: The Kentucky Tour’

Jack Harlow is a hero for homebodies everywhere. The very proud Louisville, Kentucky native announced on Thursday, August 17, that “the only tour I’m going on this year” will be the No Place Like Home: The Kentucky Tour — his third annual No Place Like Home run.

The tour will take place in six cities (all in Kentucky, obviously) this November and December. It will unofficially support Harlow’s surprise Jackman album from April, which Uproxx deemed among the best albums of 2023 so far.

Per press release, registration is open now for the presale and will run through Sunday, August 20 at 11:50 p.m. local time.

“Once registration closes, fans will be randomly selected to receive a code that grants them access to the pre-sales starting on Tuesday, August 22 and Wednesday, August 23. Additional pre-sales will run throughout the week,” it states.

Citi is the official pre-sale partner for this tour, and the pre-sale for Citi cardmembers will begin at 10 a.m. local time on Tuesday, August 22. Registration for the Citi pre-sale is available here.

The general onsale, which will only feature “a limited number of tickets,” is scheduled for Friday, August 25 at 10 a.m. local time on Ticketmaster.

See the No Place Like Home: The Kentucky Tour artwork and dates below.

Jack Harlow tour art
Courtesy Of Live Nation/Production Simple

11/24 — Owensboro, KY @ Owensboro Sports Center
11/25 — Pikeville, KY @ Appalachian Wireless Arena
11/26 — Covington, KY @ Truist Arena
12/01 — Murray, KY @ CFSB Center
12/02 — Bowling Green, KY @ E.A. Diddle Arena
12/03 — Lexington, KY @ Rupp Arena

Jack Harlow is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Miley Cyrus ‘Used To Be Young,’ But Not Anymore On Her Upcoming Single

The pop girlies are popping. On Thursday morning, August 17, Selena Gomez announced her first single of the year, “Single Soon,” will release on August 25. Simultaneously, Miley Cyrus gave her “loyal fans” a reason to circle August 25.

Cyrus will drop “Used To Be Young,” her first single since the March arrival of her Endless Summer Vacation album.

“August 25th. USED TO BE YOUNG,” Cyrus captioned an Instagram video. “In celebration of my new single release Endless Summer Vacation (backyard sessions) continues. Aug 24th @ 10pm EDT on ABC. This time with a retrospective interview sharing stories about the first 30 years of my life in honor of U2BY. This song is dedicated to my loyal fans. I love YOU for loving every version of ME. Always, Miley.”

Earlier this week, Cyrus teased the single with billboards featuring the (presumed) lyrics, “I know I used to be crazy. I know I used to be fun. You say I used to be wild. I say I used to be young.”

Per a press release, “Used To Be Young” is something of a companion piece to the ABC television special Endless Summer Vacation: Continued (Backyard Sessions), set to air on August 24 from 10 to 11 p.m. EST.

“Reimagined from the version which originally aired on Disney+, the special now features a brand new interview as well as music from her latest release Endless Summer Vacation, including her hit single “Flowers,” plus one of her chart-topping classic hits. The new, reimagined special will stream next day on Hulu,” it states.

The single will come with a “special 7-inch” vinyl, which can be ordered here. If that weren’t enough, Cyrus additionally announced a limited-edition Bangerz vinyl to commemorate its 10th anniversary, including a bonus track titled “23.” You can pre-order it here.

See the “Used To Be Young” and Endless Summer Vacation: Continued (Backyard Sessions) artwork below.

FULL Miley Cyrus press image August 2023
Courtesy Of Columbia Records/Miley Cyrus
Miley Cyrus promo August 2023
Courtesy Of Columbia Records/Miley Cyrus

“Used To Be Young” is out 8/25 via Columbia Records. Find more information here.

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Bootsy Bellows Is SoFi Stadium’s Hidden Gem For Your Next Big Concert Experience

Last week, Taylor Swift wrapped up her initial US run of the Eras Tour, which began as the most impressive stadium tour ever conceived and has evolved into a generational spectacle that finds the biggest star in the world meeting her own status head on. With six nights at SoFi Stadium in Los Angeles to act as the tour’s crescendo, Taylor mania took over the city, with moments like the revelation of 1989‘s re-record, an embrace with Kobe Bryant’s daughter Bianca, and a record-breaking “Champagne Problems” Cheer becoming national news. Tickets were a precious commodity, generally going to the lucky buyers who were able to navigate the Ticketmaster fiasco, those able to afford the inflated second market, or the Hollywood elite that showed out to make it as star-studded as the city’s red carpets.

But there is another way to see the entertainment that SoFi has to offer. Enter Bootsy Bellows, a field-level club that the average ticket-buying fan wouldn’t know exists. Paying homage to the West Hollywood club of the same name and developed by h.wood Group, the aesthetic riffs on retro decor inspired by the 1940’s home of Frank Sinatra. Beyond that, the experience also marries the past and present, delivering a complete hospitality experience that’s not typically available at stadiums for games and concerts.

Whether arriving via rideshare or VIP parking that comes with some tiers of admission, the luxury experience begins almost instantly, as check-in from the designated Bootsy Bellows booth is followed by a private escort all the way to the field-level suite. That might seem like a small feature, but when you are surrounded by tens of thousands of fans moving in different directions, having someone guide you to exactly where you need to be feels like a treasure.

The second biggest standout from the Bootsy Bellows experience is the service. As food and drinks generally come with the price of admission, the waiters and bar staff take it upon themselves to make the visitors feel like royalty. Snacks are displayed buffet-style and include a range of cheeses, meats, dips, and chips. For those wanting something a bit more substantial, a limited menu offers things like a standout falafel wrap and a tall stack of nachos, with a veggie option that includes Beyond chicken. Food was delivered quickly, with drinks never having the opportunity to reach their bottom without a bartender or server swooping in with a fresh one. (Though food and drink were included, please remember to still tip the service staff, these kinds of experiences thrive because visitors are generous with them.)

But while all these perks make for a lavish evening, the Bootsy Bellows experience would be nothing without the entertainment that draws people to SoFi. People who opt for the higher tier of reserved tables are basically out in the thick of the crowd, but still fenced-in within the confines of the suite, giving the best of both worlds of being in a private space while also feeling the energy of the crowd around them. One can imagine that at football games, when the teams are utilizing even more of the field space than a concert does, it results in some truly incredible views of the action. But even for a concert, the vantage point is top-notch, basically serving as floor seats with added comfort and elegance.

For those that opt for the standard Bootsy Bellows suite experience, the views are still great and the atmosphere electric, but there is the slight downside of being a bit removed from the audience. With all that does come with a reservation, though, it is a small sacrifice for the luxury of the VIP experience. Besides the Rams, Beyoncé’s three-night stand for her Renaissance World Tour (the prices for these shows are about double most of the other concerts, because, duh, it’s Beyoncé), P!nk, Metallica, and Ed Sheeran highlight the upcoming opportunities to visit Bootsy Bellows. And, just a word of advice: have an exit strategy for SoFi. Whether driving yourself or taking rideshare, leaving can be time-consuming, so just be prepared on that front.

As for Taylor Swift, Bootsy Bellows proved to be an ideal spot to take in the iconic show, with the fans in the club just as revved up and as enthusiastic as the screaming thousands in the stadium proper. To be fair, the Eras tour would be amazing from the nosebleeds, from the parking lot, or from a shaky FaceTime through your sister’s phone. That’s how good Taylor is right now. Going to a place like Bootsy Bellows is just the icing on the cake.

To inquire about attending an event at Bootsy Bellows and get more information, check out their website.

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Peter Dinklage Cheats On Anne Hathaway With Marisa Tomei In The ‘She Came To Me’ Trailer

She Came to Me has a relatable scenario: what if you’re married to Anne Hathaway but Marisa Tomei wants to sleep with you? We’ve all been there.

Directed and written by Rebecca Miller, She Came to Me stars Peter Dinklage as a frustrated composer named Steven who’s having a hard time finding inspiration for his next piece. His wife Patricia, played by Hathaway, urges him to take a walk around the waterfront in Brooklyn, where he meets Katrina (Tomei), a tugboat captain. “I’m addicted to romance,” she tells Steven before they sleep together. Which Oscar winner will Dinklage end up with???

You can watch the trailer above. Here’s more:

Meanwhile, Patricia is experiencing a spiritual crisis of her own that she conceals under a mask of tranquil perfection. As Patricia and Steven wrestle separately with their doubts, their 18-year-old son Julian (Evan Ellison) embarks on a romance with 16-year-old Tereza (Harlow Jane) which threatens to derail both their futures. Also starring Joanna Kulig and Brian d’Arcy James as the girl’s disapproving parents, She Came to Me is a giddy and unforgettable portrayal of the transformational power of love.

She Came to Me, which features music from the National’s Bryce Dessner and an original song courtesty of Bruce Springsteen, comes to theaters on September 29th.

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‘And Just Like That…’ Viewers Are Not Thrilled With How A Beloved Character Received A Seemingly Dismissive Write-Off

(And Just Like That… spoilers will be found below.)

Secret horror show And Just Like That… didn’t exactly receive praise, as it were, for killing off Mr. Big with a Peloton. Yet they did receive the next best thing from the fiasco: laughter. In contrast, HBO Max’s Sex And The City… revival did a bad thing by metaphorically knifing Steve Brady but did redeem that error this season. Yet viewers feel as though what the franchise has done to another character is neither funny nor fitting.

When it comes to the 2021 death of actor Willie Garson, his character, Stanford Blanch, received a blink-and-you-miss-it mention earlier this season but finally received some explanation of why his character hasn’t appeared again on the show. The writers chose not to kill Stanford off but instead had him run off to join a monastery? Yes, they did. Not only that, but they dropped this tidbit in with a jarring delivery, also after viewers are probably feeling like they have whiplash from Carrie wondering “if Big was a big mistake” and deciding that she should give up everything for Aidan.

That last one is mind-bogging. Aidan and Carrie broke up twice and for good reason, yet she is cool with selling her Carrie Pad and essentially giving up her personality in the process. This was very reminiscent of how she ran off to France to be with Mikhail Baryshnikov’s character and decided that she only had room for a pashmina or her laptop and chose the pashmina. Ugh.

The Stanford treatment is especially bizarre. During a conversation between Anthony and Carrie, Stanford’s new Shinto monk ways are introduced.

This caused one person to wonder whether this revival’s “writers ever watched an episode of Sex and the City?!” Let’s just say that viewers are not into this “unnecessary” and unneeded “closure” for Stanford.

And Just Like That…‘s second season finale is on the way on Max.

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What Time Does Brandi Carlile Go On Stage For The ‘Summer Carnival Tour?’

Earlier this year, Brandi Carlile gave a powerful performance of “Broken Horses” at the Grammys and collaborated with Miley Cyrus for the Endless Summer Vacation track “Thousand Miles.” Now she’s having fun with Pink on the Summer Carnival Tour.

From being gifted a wheel of brie onstage to pausing a song to eat chocolate, Pink has been making interesting headlines throughout the run. She’s been starting her sets at 8:50 p.m., whereas Carlile has been beginning around 7:40 to perform eight songs, which includes an unexpected covers. She’s done renditions of Joni Mitchell’s “Woodstock” and “A Case Of You,” as well as Radiohead’s “Creep.”

She also teamed up with Pink to tackle Sinéad O’Connor’s “Nothing Compares 2 U.” “When I was a little girl, my mom grew up in Atlantic City and I used to go down to the Ocean City Boardwalk with my $10 and I would make a demo tape,” Pink said. “I would make a little cassette tape and imagine it was my demo for the record company.”

She continued, “And it would always be either ‘Greatest Love of All’ by Whitney Houston or ‘Nothing Compares 2 U’ by Sinéad O’Connor. So in honor of Sinéad, and in honor of my very, very talented friend Brandi Carlile I asked her if she would come out here and sing this song with me.”

Brandi Carlile is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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USWNT Stars Tobin Heath And Christen Press Are Reframing How We Talk About Women’s Sports With Their RE—CAP Show

USWNT stars Christen Press and Tobin Heath are changing the game when it comes to women’s soccer this summer … they’re just doing it from the studio, not the pitch.

The two-time World Cup champions missed out on making the national team’s roster for the 2023 FIFA World Cup due to injuries and frustrating setbacks on their respective roads to recovery. Press had to undergo an unexpected fourth ACL repair procedure just weeks before the tournament kicked off, while Heath has been nursing her own knee injury, one she suffered in the fall of 2022 with OL Reign. Resigned to watching their teammates vie for a record-breaking third Women’s World Cup in a row from their home in Los Angeles, the pair decided to turn being sidelined into a side hustle that could fill a void in how women’s soccer is covered by the big broadcasters.

Enter The RE—CAP Show, a digital talk series hosted on YouTube that stems from the new media division of RE—INC, the lifestyle brand they founded alongside fellow USWNT champions Meghan Klingenberg and Megan Rapinoe. Press and Heath steer the conversation in each episode, recapping World Cup games before inviting heavyweights in the world of women’s football to share their unique insights and thoughtful analysis. They’ve welcomed everyone from former USWNT coach Jill Ellis and renowned performance director and sports scientist Dawn Scott to players fresh off of (and sometimes still competing in) the 2023 FIFA World Cup like New Zealand captain Ali Riley and Sweden midfielder Kosovare Asllani, engaging in candid conversations about the state of the women’s game while giving the kind of unfiltered access fans won’t find on network TV.

Both Press and Heath label their experiment in women’s sports coverage as an antidote to the “bro culture” that pervades broadcasting panels and traditional sports media brands. Their “Gal Culture” umbrella is less focused on generating controversy-stirring soundbites and surface-level analysis — instead, they’re more interested in highlighting the player’s perspective, diving into the issues surrounding the game that inevitably affect performance on the field, amplifying the voices of female athletes, and yes, offering constructive criticism from a lived-experience when necessary. As Press tells UPROXX, there’s more than one way to “create change within the sport,” and the duo’s putting that theory to practice with their new series.

Below, we spoke with Heath and Press about the USWNT’s disappointing World Cup run, the future of women’s soccer, and creating new stories in the world of women’s sports.

You’ve talked about starting the RE—CAP show because a lot of the major broadcasters had an opportunity to cover women’s sports differently and they just didn’t take it. What is it that you were seeing — or maybe not seeing — that galvanized you?

Tobin Heath: It’s not just in traditional sports broadcast — in all of sports media, we didn’t see ourselves. We didn’t see our teammates, we didn’t see the stories of what makes a female athlete unique, what our lives look like outside the sport. We felt very … not even misrepresented, we just didn’t feel represented. We’re asked to do content all the time for other people. We’re being pushed through other people’s lenses. We’re answering their questions, we’re coming through their perspectives. Our traditional media landscape, obviously it’s been created by men because men’s sports was our introduction to sports.

Look, every single sport I learned, I learned through the lens of a man playing it or a man teaching me to play it. And that no longer is the case. We see female coaches, we see female role models, we see female athletes who are inspiring and incredible, and no longer does our sports landscape have to be dominated by men or the idea of what men think a female athlete should be. All of a sudden we have opportunities to build new structures, tell our own stories, be inspired by people who look and sound like us, learn the sport from people who look and sound like us. And that is why we really believe this content is so important.

What sets the RE—CAP show apart from those traditional forms of media and what’s the reaction to it been like?

Christen Press: Pretty much every single thing I’ve done in my life, in football, and for RE—INC, I’ve always set such high goals that they’re almost unachievable. But in the case of the RE—CAP show we did exceed expectations. And we’re super excited. The reception’s just been phenomenal. I think it’s really meaningful that people are tuning in, that people are watching.

It’s a long show. We’re intentional about going in-depth and people are loving the content and they’re understanding the nuance and sophistication of sitting down and really talking about football and really talking about issues. And I think the reception from our teammates has been phenomenal. That’s probably been the most validating part. And also from other media folks who are acknowledging that this is an important part of the media infrastructure that has been long overlooked.

You’ve been very candid in your analysis of the USWNT’s performance at the World Cup. What went wrong there?

TH: We’ve been spoiled as U.S. women’s national team fans for the last two decades. Now we’re seeing the rise of not just a U.S. women’s national team fan, but of a global football fan, which I think is pretty cool. But I want to reiterate we always say that you gain so much experience as a U.S. women’s national team player from world championships, but it’s like, if you lose in the round of 16, did you really gain that experience? And for so many of these players, that was their first taste of what a World Cup is like.

So it begs the question, did you get that experience in the tank? Because the tournament looks very different in a quarterfinal, in a semifinal, in a final. Does just showing up and just barely getting out of group [count]? So there’s that question, and then the question of, what does the future of the U.S. women’s national team look like? Where do we go from here?

What’s the answer?

TH: Everyone has an opinion right now and I feel like there’s this savior complex going on. Like, “Oh, well, I’ll do it,” type of thing. And I don’t really believe that this is a one-person job. I truly believe that we don’t need a savior, we need a strategy. We need a whole federation that knows how to execute a strategy on where we go from here, is confident in the plan and confident in the people that they appoint to execute the plan.

On the show, you’ve talked about having this intangible motivation, something that brings the team together. Looking at the teams that are left in this tournament, who has the most to fight for?

CP: Obviously Spain is in a really tricky situation, having tremendous success this World Cup, having a tremendous amount of issues with their federation and the respect that they’re receiving from their federation on issues that they’ve raised. From my perspective, it’s really hard to know if that’s really unifying or if that’s been a source of tension in camp. I don’t know. I don’t have that insight. What we found when we were fighting with our federation for respect and pay equity was that the more we won, the more our country got behind us and the louder that voice became.

So my call is for every single fan of the Spanish women’s national team to be loud and amplify those players’ messages because the federation needs people to show up and watch those games. And the voices of the fans really do matter — they played an instrumental role in our pay equity lawsuit and ultimate settlement. I hope with the players, knowing that, feeling that, it can be a unifying force behind all of them.

And then there’s always the thought — do fans of men’s sports have to think about these things? Do they have to weigh supporting players versus supporting a federation and what that support does to the athletes whose voices have been silenced?

TH: It’s complicated and this is actually a big part of Gal Culture, and what I think we wanted our content to be born out of which is this idea that women’s sports, it’s not just about sports. These are issues that we deal with as part of our sport. Highlighting these issues, talking about them, showing that it’s not just one story, showing that it’s a collective, is really important because this also isn’t just about athletes. This is about women.

CP: If I think about 2019, the same conflicting feeling could have been felt from our fans. We were saying that we weren’t being paid to our value. And our fans, when they show up to the games and they turn on the TV, they’re supporting the federation in terms of ticket sales and the monetization of the sport. But what our fans did that was so incredible was amplify the message. And so that’s why I just keep going back to that: The players shouldn’t have to say twice that they’re in an unhealthy environment.

The players should be respected when it comes to raising concerns. Those allegations have to be taken incredibly seriously. In life and in sport there’s never going to be a world where two things can’t be true at the same time. The success of the team, I think, can be turned into a real movement for these players if everybody is able to amplify their message.

One of RE—CAP’s greatest strengths is its guest lineup. How have you been able to get players in this tournament to log on for chats?

CP: Well, we’re doing two different things. I think we’re looking for guests who have important stories that need to be shared in person. So we brought on experts like Jill [Ellis] who’ve been in the game so long, Dawn Scott, absolutely top of her field, bringing in people that we want to tell their longer-form stories as players. And then we have our Zoom guests, who are opening up the discussion to a global level. Which was actually not a planned part of the show, but just became so important, especially when we knew all of our teammates and international friends were watching and following along and excited to be a part of it.

It’s been fantastic. We talk a lot on the show about Gal Culture and the people that have shown up for us doing this show, it’s really warmed our hearts that people playing in a World Cup like Asllani would jump on a Zoom from the airport to support us. One of the most beautiful things about the women’s soccer community is how it is a collective that transcends your country. Players have come together to fight for change, everybody’s fighting for each other. That’s what I think the amazing lineup of guests has reflected.

Tobin, are you aware that fans have put your name in the ring for the USWNT coaching job? They wanted to fly you down to Australia for the group-stage matches at one point.

CP: [laughs] If only it was so simple.

TH: I mean, look, I am passionate about the game. It’s a craft that I’ve dedicated my whole life to. But I think when it comes to coaching, I would hope that whoever gets the job has at least the same amount of experience, care, and dedication, that I’ve shown my entire career playing in that career of coaching. We’re talking about the best team in the world. They deserve the best coach in the world.

It’s also not like your playing days are over yet.

TH: No, definitely not. And if there was any motivation to get back on the pitch … I don’t think we’re lacking that at the moment.

This tournament has been so unpredictable and exciting, how do you think it’s going to advance the women’s game globally once it’s done?

TH: Every single World Cup you’re breaking records. It’s just the norm for women’s football, both domestically and internationally, now. I think the business of women’s sports is growing, it’s changing. It’s being developed, it’s being invested in, in many different revenue streams, monetization models. It’s really exciting. And I think it’s a miss for us with the U.S. women’s national team and with our domestic league whenever our team fails a little bit in a world championship. There’s a massive X-factor for our league if our national team is successful. And you only get that chance once every four years in terms of a World Cup.

Football is football. It’s really hard to win a World Cup even if you are the most prepared and have the best players. So I think when we look at our country and the landscape of the sport, I think that our growth as a domestic league can’t be dependent on the success of the U.S. women’s national team. We have to look at that as a structure that needs to be developed and nurtured and start working in tandem with the national team in order to make both a success.

So I would say for all of women’s sports, it’s a really, really exciting time, but I truly believe that independent structures that look and feel like us need to be built for us. Anytime you try to copy-paste what men’s sports is or does, you’re really diminishing the value of what women’s sports is.

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Leon Thomas’ New Album ‘Electric Dusk’: Everything To Know Including The Release Date, Tracklist, And More

Leon Thomas was first introduced to people as the actor who played Andre in the Nickelodeon hit TV shows Victorious and Sam & Cat. Even through those series, it was clear that Thomas was immensely talented. Over the years, he’s gone on to write and produce songs for some of the industry’s biggest names like Ariana Grande, Drake, Rick Ross, Kehlani, and more. Now, the spotlight is on him as he prepares to release his debut album Electric Dusk. The project is one that Thomas has been working on for some time. Uproxx was even able to catch up with him in 2022 in an interview to talk about the project. Now, Electric Dusk is just hours from coming out so here’s everything you need to know about it.

Release Date

Electric Dusk is be released on August 18 via EZMNY Records and Motown Records. It will be Thomas’ official debut album and follow-up to his 2018 project Genesis. You can pre-save it here.

Tracklist

You can view the tracklist for Electric Dusk below.

1. “Slow Down”
2. “X-Rated” Feat. Benny The Butcher
3. “Blue Hundreds”
4. “Love Jones” Feat. Ty Dolla Sign
5. “Sneak”
6. “My Will”
7. “Breaking Point”
8. “Crash & Burn
9. “Fade To Black”
10. “Socialite”
11. “Treasure In The Hills”
12.”Breaking Point (Remix)” Feat. Victoria Monét

Features

Through the 12 songs on Electric Dusk, Leon Thomas recruits features from Benny Butcher, Ty Dolla Sign, and Victoria Monét. Benny The Butcher appears on the album’s lead single, “X-Rated” while Ty Dolla Sign, who created the EZMNY Records imprint that Thomas is signed to, is featured on “Love Jones.” Lastly, Victoria Monét contributed to a remix of “Breaking Point,” a stand-out single from the album.

Singles

The singles from Electric Dusk are “X-Rated” with Benny The Butcher, “Love Jones” with Ty Dolla Sign, “Breaking Point,” “Crash & Burn“, and “Breaking Point (Remix)” with Victoria Monét.

Artwork

The artwork for Electric Dusk can be seen below.

Tour

Leon Thomas, as well as rapper Symba, will join Ty Dolla Sign as openers for his More Motion Less Emotion Tour which kicks off on September 15 and continues through October 27. You can view the full list of dates for the tour here.

Ty Dolla Sign is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Here Is Brandi Carlile’s ‘Summer Carnival Tour’ Setlist

Pink’s Summer Carnival Tour features iconic openers to supplement Pink’s own legendary status. Brandi Carlile, Pat Benatar, Neil Giraldo, Grouplove, and KidCutUp are alternating opening duties for the North American trek.

Grouplove and KidCutUp are opening on all of the dates, but Carlile was present for opening night on July 24 at the Rogers Centre in Toronto. On July 26 in Cincinnati, Ohio, Carlile and Pink performed a cover of “Nothing Compares 2 U” as a tribute to Sinéad O’Connor, who died at 56 years old earlier that day.

Carlile opened at Citi Field in New York, New York on August 3, PNC Park in Pittsburgh, Pennsylvania on August 5, and Comerica Park in Detroit, Michigan on August 16. She will open for 10 more shows between August 19 and October 9. See all of the remaining dates here.

As chronicled by setlist.fm, there have been slight variations to Carlile’s setlist. The Toronto, Pittsburgh, and New York shows included a cover of Joni Mitchell’s “Woodstock,” while fans in Cincinnati were treated to a different Mitchell cover, “A Case Of You.”

Below is Carlile’s setlist from her most recent set in Detroit last night (August 16).

1. “Broken Horses
2. “You And Me On The Rock
3. “The Story
4. “Right On Time
5. “Creep” (Radiohead cover)
6. “The Eye”
7. “Sinners, Saints And Fools”
8. “The Joke

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Sexyy Red And Sukihana Bring Some ‘Hood Rats’ To The Country Club In Their Wild New Video

Sexyy Red‘s 2023 takeover continues as she recruits a fellow unapologetic Southern belle in Sukihana for her “Hood Rats” video. Donning their “sophistiratchet” best, the two rappers turn a country club upside down, twerking through a tea party, hunting for sugar daddies on the links, and sipping champagne on the green. By the time they’re through, the stodgy locals have adopted their ways, trading in Earl Grey for Olde English and tea cakes for fried chicken sandwiches.

After exploding into fame with her viral single “Pound Town,” Sexyy Red has become one of the hottest commodities in hip-hop today. She dropped her second mixtape, Hood Hottest Princess, which was led by the remix of “Pound Town,” “Pound Town 2” featuring Nicki Minaj and “SkeeYee.” She also teamed up with some of her peers a pair of posse cuts letting her expand her oeuvre, “Sheisty” with Finesse2Tymes and Kali, and the remix of “One Margarita” with That Chick Angel, FendiDa Rappa, and Flo Milli.

Meanwhile, Sukihana continues to be an underground icon, with AR The Mermaid dedicating a song to her on her debut EP, Watt We Doingg, and a growing fanbase among both her peers and mainstream listeners.

Watch the video for “Hood rats” above.