Category: News

The Convenience indulged in synth-pop for their last album, Accellerator, but the duo of Duncan Troast and Nick Corson find themselves back in the realm of artistic punk on the upcoming album Like Cartoon Vampires, which is set to arrive on April 18.

A number of the songs from the album originated from freeform jam sessions, which the pair edited and added onto to create cohesive songs. This results in tracks sound exploratory while still maintaining an amount of structure that keeps everything feeling intentional.

Ahead of the album’s forthcoming release, Troast and Corson sat down with Uproxx to talk about Bo Diddley, the “hot fox” in Robin Hood, Topanga Lawrence, and more in our latest Q&A.

What are four words you would use to describe your music?

I have no idea.

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?

I hope they think it’s as good as the bug burgers they are eating. Sadly not up to me though.

Who’s the person who has most inspired your work, and why?

Bo Diddley because he gave us all the tools we need.

Where did you eat the best meal of your life and what was it?

Tacos from Taqueria La Patrona in McAllen, Texas.

Tell us about the best concert you’ve ever attended.

I saw this band called Mi Ami in high school at an art gallery in the mission in SF. It was one of the first DIY style shows I had been to and I just remember feeling so excited and inspired. The band was raging through these repetitive grooves, so raw and beautiful. People don’t really know their music but I still listen to them all the time.

What song never fails to make you emotional?

Troast: Night Swimming by REM
Corson: Wild is the Wind by Nina Simone

What’s the last thing you Googled?

311 band

Where’s the weirdest place you’ve ever crashed while on tour?

I love it so much but getting locked in The Pie Shop in DC is pretty weird, but they give you so much pot pie you don’t really need anything from the outside world so it’s all good. We also crashed with a pilot who was one of the kids that voiced Arnold from Hey Arnold and I still regret that we didn’t ask him to give us a sample.

What’s your favorite city in the world to perform and what’s the city you hope to perform in for the first time?

Favorite city to play is Hamburg. Alhaus is the greatest venue in the world I think, such a beautiful bar with wonderful staff and food. Would like to play in Hong Kong.

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

Don’t eat at that Rallys in Philly when you are 22.

What’s one of your hidden talents?

I can check into any Southwest flight and get a good boarding number.

If you had a million dollars to donate to charity, what cause would you support and why?

I would send money to Gaza to aid those who are victims of the genocide taking place right now. Free Palestine.

What are your thoughts about AI and the future of music?

AI is not very interesting to me. Good for funny stories on tour but a creative dead end. People will always make fascinating things, so I’m not worried about the future of music. I do think we should organize though and demand higher pay from these jackals at Spotify and Apple and all of the other streamers. Royalties are crazy low.

You are throwing a music festival. Give us the dream lineup of 5 artists that will perform with you and the location it would be held.

Lou Reed
Nico
John Cale
Mo Tucker
John Coltrane
at Max’s Kansas City

Who’s your favorite person to follow on social media?

Ringo Starr

What’s the story behind your first or favorite tattoo?

My only tattoo is a lizard wearing a cowboy hat playing the piano in the desert. We saw it scrawled on the wall in the bathroom at a venue in Portland. The artists name is Loretta, hit us up if you see this!

What is your pre-show ritual?

Light meal and a walk around the neighborhood

Who was your first celebrity crush?

Corson: The hot fox in robin hood
Troast: Topanga Lawrence

You have a month off and the resources to take a dream vacation. Where are you going and who is coming with you?

I love Paris very much and it would be a luxury to have a whole month to explore the city. Sitting in cafes is my preferred state and they really have that figured out over there. Everyone is invited!

What is your biggest fear?

That people won’t think I’m funny and also death.

Like Cartoon Vampires is out 4/18 via Winspear. Find more information here.

Lady Gaga has headlined Coachella before, but it came with an asterisk. In 2017, she was picked to replace Beyoncé, who dropped out after announcing she was pregnant with twins. Gaga and her team had all of two weeks to put together a billboard-worthy set; it was still a spectacle, but she didn’t have the time to fully realize her vision.

Lady Gaga is ready this time.

Fresh off releasing her exhilarating new album Mayhem, Lady Gaga is headlining both weekends of Coachella 2025, beginning this Friday, April 11. I recently spoke to Mother Monster about her plans for America’s most prestigious musical festival, as well as the song from Mayhem she’s most excited to perform live and whether we might hear the return of Ally Maine.

What made you decide this was the right time to headline Coachella?

I’ve been lucky that I’ve had some real success since the last time I performed at Coachella. But also, I love my new album so much, and I’m so excited to perform it live. I can’t wait. So this felt like a great opportunity to do something creative and artistic and just bring my full vision to life.

Is there a song on Mayhem you’re most excited to perform live?

I think I’m really excited about “Killah.” I really love that record. It’s the Gesaffelstein feature. It’s ultra confident, ultra funky, super unique, and cool. I’ve never done anything like it before, so that’s making me feel really excited just to do something I haven’t done yet before.

Is there a temptation to lean towards crowd-pleasing hits instead of deep cuts when putting together the setlist for a music festival compared to one of your own headlining shows?

You know, whether I’m performing at one of my own concerts or a festival, I think people always want to hear your hits. That has to be a part of it. But also, you know, I’ve actually never been someone that will shy away from my artistry given the venue. I think Coachella is an opportunity to do something unique and special. People being able to experience that idea around the world is also really cool. With the way the world is today, I think people worry about outputting content so much, and quickly. And I feel like my art is something that once I do it, I want to make sure as many people as possible can see it, because it takes me a lot of time and thought to put it together. So yes to the hits, but also yes to high artistry.

This is me politely nudging you to play “Hair,” my favorite song of yours.

Michael [Polansky, Gaga’s fiancé] loves “Hair,” too.

Did you consider any other album titles for Mayhem?

I almost called the album Perfect Celebrity, which is the name of another song on the record, but it didn’t end up being right for the album, because the album really is not about fame. That’s one piece of my personal mayhem, but it’s not the whole thing. So it ended up being not indicative of the whole theme of the record, which is like personal mayhem, mayhem in the world, the chaos of life, and how we build resilience and dance through it.

Perfect Celebrity, as a title, could come across as satirical. But that’s not what this album is.

There’s definitely some funny lyrics, some angry lyrics, sort of poking at this idea that there’s two us’s all the time. There’s the real us and the clone us. I think that’s where society has moved. It’s interesting. I feel like earlier in my career, what I did with creating Lady Gaga was seen as very performative, but that’s a lot more normal now.

I’ve always felt like your albums have a “mission statement” song, the track that really sums up the themes of the record. Like on Joanne, I think it’s “Mission Reasons.” Do you there’s a song on Mayhem like this?

I would say that every song on Mayhem needs each other, for sure. To make it all make sense and be cohesive all together, it all needs each other. I would say “Vanish Into You” sums up the album in a lot of ways, because it’s a celebration of a style of music that is very much me, but it’s also done in this both joyful and apocalyptic way. The lyric is: “Saw your face and mine in a picture by our bedside / It was cold in the summertime / We were happy just to be alive / Can I vanish into you?” It’s this beautiful, fun dance song, but it’s also a bit sad. I think the chaos of that is a part of this album.

But you know, every song on this record is very different from the next, and that’s the beauty of it. Maybe the other record I would choose is “Shadow Of A Man,” because that song is about facing the fact that I was usually the only woman in the room all the time for most of my career, and I had to learn how to dance in the shadow of men. And I did. There is an element of that to Mayhem as well. It’s the mayhem of being a woman in the music industry.

This will be your return to Coachella since filming A Star Is Born. Is there a chance that we might hear one of Ally’s songs?

I genuinely don’t want to give anything away about Coachella. I know that is heartless of me, in a way, but I could honestly cry on the phone with you just thinking about how excited I am to do this show, and I want it to be a total surprise, and want everyone to have as much fun as possible.

If your current self could tell early-era Lady Gaga that she will be one of the few people to headline Coachella more than once, what do you think her reaction would be?

“When can I get started?”

Sydney Sweeney is one of the popular actresses of her generation; she’s even been immortalized in song. The latest track named after the Euphoria actress comes from Chicago-based group Smut in the lead single from their just-announced album, Tomorrow Comes Crashing. “Syd Sweeney” is a crackling blast of indie punk with a vital message.

“Women in entertainment are exceptionally talented, smart and beautiful, because they have to be,” Smut vocalist Tay Roebuck said in a statement. “Sometimes they want to explore sexuality and vulnerability in their work. Then the pitchforks come out, how dare they be amazing AND sexual? You can only be one or the other! Why is talent and hard work seemingly erased once you’ve seen a woman naked?”

Roebuck (who is joined by guitarists Andie Min and Sam Ruschman, bassist John Steiner, and drummer Aidan O’Connor) continued, “It makes sense then to interpret it as a horror film, where we have the dividing tropes of final girls and sexy bimbos who die first for being too damn sexy. We put the sexy woman in the movie so we can see her be sexy and then kill her for it. It’s a lose-lose. Being a woman in art is to be objectified one way or the other. Success is the monster chasing you, waiting for you to be a little too sexy, knife ready.”

You can listen to “Syd Sweeney” above. Also check out Tomorrow Comes Crashing‘s album cover and tracklist and Smut’s 2025 tour dates below.

Smut’s Tomorrow Comes Crashing Album Cover Artwork

Smut’s Tomorrow Comes Crashing Tracklist

1. “Godhead”
2. “Syd Sweeney”
3. “Dead Air”
4. “Waste Me”
5. “Ghosts (Cataclysm, Cover Me)”
6. “Burn Like Violet”
7. “Touch & Go”
8. “Crashing In The Coil”
9. “Spit”
10. “Sunset Hymnal”

Smut’s 2025 Tour Dates: The Tomorrow Comes Crashing Tour

04/12 — Chicago, IL @ Not Not
04/25 — Tucson, AZ @ 191 Toole *
04/26 — Albuquerque, NM @ Sister Bar *
04/28 — Austin, TX @ Parish *
04/29 — Houston, TX @ White Oak Music Hall *
04/30 — New Orleans, LA @ Santos *
05/02 — Atlanta, GA @ The EARL *
05/03 — Asheville, NC @ The Grey Eagle *
05/04 — Washington, DC @ Union Stage *
05/06 — Philadelphia, PA @ Underground Arts *
05/09 — Brooklyn, NY @ Music Hall of Williamsburg *
05/12 — Detroit, MI @ El Club *
05/13 — Chicago, IL @ Lincoln Hall *

* with Spellling

Tomorrow Comes Crashing is out 6/27 via Bayonet Records. Find more information here.

Every year, new recordings are added to the Library of Congress’ National Recording Registry for the preservation of “culturally, historically, or aesthetically significant” sound recordings reflecting life in the United States.

This year, a trio of Brits headline the entries, including Amy Winehouse‘s 2006 album Back To Black, Sir Elton John‘s 1973 double album Goodbye Yellow Brick Road, and Brian Eno‘s Microsoft Windows 95 startup chime.

Also included: the Hamilton original cast album, Celine Dion’s “My Heart Will Go On,” Helen Reddy’s “I Am Woman,” Mary J. Blige’s My Life, Miles Davis’ Bitches Brew, Steve Miller Band’s “Fly Like an Eagle,” Tracy Chapman, a 1913 recording of “Aloha ‘Oe,” and even the Minecraft: Volume Alpha soundtrack (appropriate, what with the movie hitting theaters last week).

Non-songs/albums selected for preservation include 1960 World Series’ Game 7 radio broadcast and music historian Harry Urata’s field recordings of Japanese immigrants in Hawaii’s sugar plantations singing traditional folk songs (Holehole bushi).

In a press release, Librarian of Congress Carla Hayden said, “These are the sounds of America – our wide-ranging history and culture. The National Recording Registry is our evolving nation’s playlist. The Library of Congress is proud and honored to select these audio treasures worthy of preservation, including iconic music across a variety of genres, field recordings, sports history, and even the sounds of our daily lives with technology.”

It’s nice to know that at least one art of the government still works the way it should. We need to enjoy this, before those dorks in the White House bring their slash-and-burn tactics to the Library and the only thing left in there is Hitler speeches.

Last month, Megan Fox gave birth to her and Machine Gun Kelly’s first baby together (who is not named Celestial Seed). Given that the pair are frequently in the news for one reason or another, the comedic masterminds at The Onion recently came up with a terrific fake headline about them: “Megan Fox Confirms She And New Baby Will Co-Parent Machine Gun Kelly.”

MGK clearly got a kick out of it, as he shared an Instagram post of the headline on his Story yesterday (April 8), adding some crying-laughing emojis.

Here are some excerpts from the full post:

“LOS ANGELES — Expressing relief that they were both on the same page about custody, Megan Fox confirmed Friday that she and her new baby would be working together to co-parent Machine Gun Kelly. ‘The coming months are going to be exhausting, but knowing that I have this newborn by my side to help set a good example for MGK makes it a lot less scary,’ said the Transformers actress.”

“‘I’d almost forgotten how bad the late nights and the smell of vape smoke can be when you’re caring for a 34-year-old white pop-rapper, so it’s nice to feel emotionally supported by someone more mature for once.’”

“‘It was a lot of work to Machine Gun Kelly-proof this house, but the baby and I are just happy that, for now, he still has all his fingers and toes.’”

The headline is presumably a play on reports of Fox’s supposed thoughts about co-parenting with MGK.

Black Mirror premiered in 2011, the same year that Google+ and Siri were also introduced. Technology has changed a lot since then (Google shuttered its attempt at a social network due to consumer indifference and Apple’s digital assistant seems quaint compared to the rising threats of our AI overlords), and yet, Black Mirror is still on — with no end in sight.

“Hopefully [it will run and run]. Selfishly, it’s a fun job,” creator Charlie Brooker told BBC. “Technology is developing in the real world very quickly. That means there are more sources of inspiration, and… the viewer is experiencing more [technological] things in their everyday life. We can do stories that I wouldn’t have thought of 10 years ago, and also, you don’t need to explain some of the concepts to people because they’ve got it in their phone.”

Black Mirror extends this week on Netflix with the premiere of season 7, which Brooker described as “a little bit OG Black Mirror” and “back to basics in many ways.” Here’s everything you should know.

Plot

The TL;DR logline for Black Mirror season 7 is: technology is great, but also evil. Roll credits! But if you’re looking for a few more details about what to expect, here is the synopsis (and an image!) for all six new episodes:

“Common People”

When a medical emergency leaves schoolteacher Amanda fighting for her life, her desperate husband Mike signs her up for Rivermind, a high-tech system that will keep her alive — but at a cost.

“Bête Noire”

Maria is a high-flying development executive at a chocolate company. Everything is going well for her until someone she hasn’t seen since school — a woman named Verity — shows up for a focus group tasting session. It could be the chance for a heartfelt reunion, except there’s something very odd about Verity, and Maria seems to be the only person who notices.

“Hotel Reverie”

Hollywood A-list actor Brandy Friday is thrown into an unusually immersive high-tech remake of a vintage romantic movie. She’s got to stick to the script if she ever wants to make it home.

“Plaything”

An eccentric loner named Cameron, who harbors an obsession with a mysterious ’90s video game, is arrested in connection with a grisly cold case — and his interrogation soon goes to places the police weren’t expecting.

“Eulogy”

An innovative system that enables users to literally step into photographic memories of the past leads a lonely man to re-examine a heartbreaking period from his past.

“USS Callister: Into Infinity”

Robert Daly is dead, but the crew of the USS Callister — led by Captain Nanette Cole — find that their problems are just beginning.

Yes, that last one is a sequel to fan-favorite episode “USS Callister” starring the always-great Cristin Milioti. It might not be the only one in the show’s future. “We’ve done a sequel for the first time this season,” Brooker told The Hollywood Reporter. “We’re now looking at old episodes and thinking, ‘How could you revisit that idea?’ As long as it’s interesting, I’m allowed to make it and people continue to f*cking watch, I’d like to keep making the show.”

Cast

It’s a lengthy list, but here are some highlights: Rashida Jones, Chris O’Dowd, Tracee Ellis Ross, Siena Kelly, Rosy McEwen, Ben Bailey Smith, Issa Rae, Awkwafina, Emma Corrin, Harriet Walter, Peter Capaldi, Lewis Gribben, James Nelson-Joyce, Michele Austin, Paul Giamatti (!!!), Patsy Ferran, Cristin Milioti, Jimmi Simpson, Billy Magnussen, Milanka Brooks, and Osy Ikhile.

Will Poulter and Asim Chaudhry will also reprise their roles from interactive film Black Mirror: Bandersnatch. “It’s always so fun,” The Bear guest star told Tudum. “[Charlie] writes such spectacular episodes, and I was so grateful that he brought Colin back.” Poulter added that he’s excited for viewers to “meet the newest creations that are part of a secret project within Tuckersoft!”

Release Date

Black Mirror season 7 premieres on Netflix on April 10.

Trailer

Check out the trailer for season 7 below.

The song titles are a tip-off. With a Bon Iver album, they can be a difficult proposition. Ever since 2016’s 22, A Million, the tracklist for a Justin Vernon LP reads more like a menacing letter from a Zodiac-inspired serial killer than a rundown of songs. Random numbers and strange symbols are plentiful. Easily pronounceable words are not. But there is a method to the madness. When it’s a challenge to put a name to a song, that song becomes hard to pin down and decipher. Even when contained on a record by one of the biggest indie-rock stars of the last 20 years, the song remains elusive and enigmatic. And, by association, so does the artist.

But on SABLE, fABLE (the first Bon Iver album in six years, and the fifth overall), the song titles are shockingly comprehensible. Yes, there’s a song called “Speyside” — one of three tracks carried over from last year’s SABLE, EP — which is stylized in all caps with a space between each letter, a move designed to taunt typesetters everywhere while also possibly confusing Scotch liquor enthusiasts. And don’t overlook “There’s A Rhythmn,” with the intentional misspelling that may or may not reference the state of Minnesota, just because that seems like an extremely Bon Iver thing to do.

But what about one of the new album’s standouts, a duet with Danielle Haim called “I’ll Be There”? Vernon titling a song “I’ll Be There” is like Frank Zappa naming one of his sons John Frederick Zappa. It’s a weird act of uncharacteristic normalcy. And yet it suits the track, an art-rock love song with churchy chords and bedroom-sultry vocals that sounds like Luther Vandross as produced by Godley & Creme or Peter Gabriel after an intense six-month Sade phase. Vernon and Haim’s voices are distorted, but not as much as you might expect, and the disheveled rhythm track rubs up against the yacht-rock electric piano licks in a manner that’s warm and sensual rather than disorienting. It’s a vibe that evokes another relatively straitlaced song title from SABLE, fABLE: “Everything Is Peaceful Love.” Another high point of the LP, this song finds Vernon playing full-on with the sort of feel-good ’90s R&B he’s only hinted at on previous releases, and only via a mile-deep layer of effects, noises, and other assorted digitized alienation devices. This time, however, everything does instead seem peaceful love.

During his more-rigorous-than-usual press tour for SABLE, fABLE, Vernon has hinted that the album might mark the end for the project he launched nearly 20 years ago as a last-ditch vehicle for his emotionally charged and sonically adventurous indie-folk songs. His label, Jagjaguwar, has even called the record an “epilogue,” though the exact meaning of that, by design, is unclear. The fact is that every Bon Iver album since the second one, 2011’s Bon Iver, has been predicated to some degree on Vernon’s ambivalence about the popularity of Bon Iver. After the self-titled record made him even more successful, 22, A Million arrived as an actively hostile “anti-fame” response that, importantly, did not actually diminish Vernon’s celebrity all that much.

It helps that Vernon’s literal words have never mattered all that much to his art. Undoubtedly one of the most influential singer-songwriters of his era, Vernon’s innovation was to de-emphasize the centrality of lyrics in his songs and persona, at least as far as them being interpreted as direct statements about his life and well-being. Instead, he has expressed himself largely through sound — namely, the sonic texture of his music, of course, but also the way his voice can articulate feelings without being attached to discernible words with specific definitions. Which is another way of saying that his lyrics frequently make no bloody sense on the page, and yet nevertheless they communicate intuitive feelings and truths when sung. It’s how a Bon Iver song can instantly telegraph heartache and psychic turmoil to the listener while also being called “666 ʇ.” This approach also explains why Bon Iver has endured as many mid-aughts indie-folk acts have faded, and why he’s such a malleable influence for contemporary writers across so many genres, from Zach Bryan to Lil Yachty to Phoebe Bridgers to Mk.gee.

So, Justin Vernon can imply, once again, that Bon Iver might be finished. But the way he says such things always matters more. And with SABLE, fABLE, the feeling that he is more comfortable in his own skin than he’s been, maybe ever, in the Bon Iver guise is palpable. The songs from the SABLE, EP — yes, the comma is supposed to be there — announced this new “straightforward” Justin Vernon, and they are the most arresting songs here. Particularly the album-opening “Things Behind Things Behind Things,” his most enchanting slice of Bruce Hornsby-esque soft rock since “Beth/Rest.” (On that count, he nearly matches that track with “Home,” a beguiling gospel-Americana number.)

On “Things Behind Things” and elsewhere throughout SABLE, fABLE, Vernon returns to singing in his natural lower register, which automatically gives the songs a more grounded feel. While Vernon took his career to another level when he embraced his spine-tingling falsetto, using his “real” voice, as it were, seems like the most critical evolution of his “mid” career. Way back in 2008, when I interviewed him for the first time, he spoke disdainfully of that voice, saying it made him “sound like Hootie And The Blowfish.” But now, as a man in his 40s, he’s finally leaning into the brawnier aspects of his music.

“I think the last couple of years, I’ve been getting out of the hazy and trying to come more into the concrete,” Vernon recently told The New York Times, using Bob Seger as an example of the newfound directness he’s going for. “I’m not saying nothing bad about the old stuff, but now I’m just much more like, ‘Hey, we don’t got much time left to live — let’s be sexy.’”

My one quibble with that classification of SABLE, fABLE is that the previous Bon Iver record, 2019’s i,i, contains some of his most approachable music. The difference is that i,i felt like a “band” record intended to be performed live in arenas, in a way that the decidedly more intimate and homemade-sounding SABLE, fABLE does not. Working with producer Jim E-Stack, he’s given songs at the core of the record like “From” and “Day One” a lo-fi fuzziness that makes them sound almost like voice demos shared on the sly by a close friend.

Are these farewell messages? SABLE, fABLE closes with an atmospheric mood piece called “Au Revoir,” which sounds like something that you might hear over the closing credits of an art film you didn’t understand but nevertheless feel moved by. Naturally, there are no lyrics. But the message nevertheless comes through loud and clear.

SABLE, fABLE is out 4/11 via Jagjaguwar. Find more information here.

Getting locked out of your hotel room is an inconvenience, but having that happen while you’re naked is a nightmare. Well, it happened to Ed Sheeran once, as he revealed on a new episode of Call Her Daddy.

Host Alex Cooper asked Sheeran for an embarrassing moment of his and he shared the story:

“I’ve never said this publicly, but I’m gonna say it. I was playing a city in Europe, this was like 2018, 2019. And my best mate was out with his mom and his sister, and we sort of started drinking espresso… not espresso, what they called Cafe Patron, and then I went to bed and I got up in the middle of the night to have a pee, and I was sleeping naked. I walked out to have a pee, and then I hear a door close, I open my eyes, and I’m in the corridor, naked, no key. It’s like 4 a.m. and I’m like, ‘Oh my God [laughs], what am I gonna do?’

And I kinda look around and as I look around, it’s like CCTV, CCTV. I’m like, ‘Ooh, this is not good,’ and there was, like, room service, someone had room service, and I went to go and get the napkin and I put napkin on, clicked the lift, went down to the lobby.

Bear in mind, it’s like 4 a.m., there’s people working in the hotel. I just kind of walked with this thing and I was like, ‘Please, can you let me back in my room, and please can you not tell anyone about this?’ My security guard went to go wipe all the CCTV… well, he told me he wiped it. He might have kept it for blackmail later on down the line. But yeah, I think that’s the most embarrassing thing I’ve ever done.”

Watch the full episode above.

The third season of The White Lotus has been one of the biggest TV events of 2025 so far, but now it’s over with the airing of the season finale on April 6. The show has been successful at producing breakout stars, and this season, among them is Blackpink’s Lisa, who thrived as White Lotus Thailand employee Mook in her debut acting role.

It’s been quite the journey for Lisa, and following the finale, she took a moment to reflect on it yesterday (April 8), by sharing a gallery of photos and videos from on set via Instagram.

She also wrote:

“What a ride.
Thank you Mike White for trusting in me to fulfill the role of Mook and bring her character to life.
It was the greatest honor to be part of this show as my first acting gig alongside such incredible actors.
And I’m so proud to be able to share my culture and show the beauty of Thailand to the world.
Mook has changed my life in a way where I am learning more about myself and my capabilities.
My Sunday nights may feel a lot emptier but closing out The White Lotus with a full heart [heart emoji][lotus emoji].”

Find Lisa’s post here.

Madonna is a global pop superstar. In most areas of life, that could be of great benefit to the “Like A Prayer” singer. However, in the realm of love her fame seems to be a thorn in Madonna’s side.

Today (April 7), comedian Eric Andre told late night host Jimmy Kimmel despite having a flirty connection, he will never act on it. While discussing his onstage The Celebration Tour cameo on Jimmy Kimmel Live!, Andre claimed Madonna made a pass at him in his private messages online.

“Not to brag, [but] she slid in my DMs,” he said.

Although Andre said he didn’t want to put Madonna “front street,” but they did have “a little bit of chemistry.” However, Andre did not pursue things further because he was “way too intimidated.”

“That’s the queen of pop,” he said. “You can’t just waltz in there and start schtooping Madonna. You’ve gotta come in there with roses, you’ve gotta play Boyz II Men, you gotta drip chocolate candles… she needs to be romanced… She slept with 2Pac and Basquiat – you’ve gotta bring your A-game.”

While Andre is reluctant to take the leap, his sister is completely onboard or so he declared. “My sister called me and was like, ‘You need to bang Madonna, and I’m not taking no for an answer,’ and she hung up on me,” he said. “That’s a true story, but I’m too shy. […] F*ck it! Tonight, I will guarantee this audience, I will have sex with Madonna on this table! While Jimmy watches!”

Madonna has never dropped by Jimmy Kimmel Live!, Eric Andre’s story could change that.

Watch Eric Andre’s appearance on Jimmy Kimmel Live! above.