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Last month, Omaha folk legends Bright Eyes, who returned in 2020 after a hiatus with Down In The Weeds, Where The World Once Was, announced that they’d be reissuing their nine studio albums and releasing new songs to add to them. So far, they’ve unveiled “Contrast And Compare” with Waxahatchee, “Haligh, Haligh, A Lie, Haligh” with Phoebe Bridgers, “Falling Out Of Love At This Volume,” and they’ve unleashed another Phoebe Bridgers collaboration today with a cover of Elliott Smith’s “St. Ides Heaven” from his classic 1995 eponymous record.

The track is more brazen than the other singles, propelled forward with heavy, electric guitars and Conor Oberst’s angry intonations, harmonized with Bridgers’ ethereal, echoey alto. It’s much more intense than the original, on which Smith strums an acoustic guitar and sings in airy, detached lulls.

Smith is a known influence for both songwriters. In Uproxx’s interview with Bridgers for her 2020 breakout LP Punisher, she said that the title track is “basically Elliott fan-fiction.” She continued: “If we were alive at the same time I think I might have been a little bit of a brutalizer to him, which punisher is a short term for. Just someone who doesn’t know when to stop talking, and might follow you home.”

Listen to the cover above, which comes from Letting Off The Happiness: A Companion.

Less than a month after petitioning the court, Amanda Bynes’ conservatorship is set to end this week, and the former Nickelodeon star is looking forward to the next chapter in her life. Bynes filed to end her conservatorship not long after fellow child star Britney Spears brought hers to a very public and messy end. However, the process for Bynes has been significantly less dramatic thanks to her parents being “very supportive” of the move to end her conservatorship, which had been in place since 2014 following a string of erratic behavior and drug abuse. Bynes’ psychiatrist also signed off on the decision, which resulted in a judge ruling on Monday that the conservatorship is no longer needed.

With that ruling set to become permanent during a hearing on Tuesday, Bynes will be a free woman, and she’s ready to get back to living a normal life. Via Variety:

“Besides normalcy as a person and a student, I know that she is looking forward to what her next step is going to be,” Esquibias says. “One of the things that she’s talking about is a fragrance line and possibly a clothing line, while she is concentrating on school. She is very creative, so she’s trying to find an outlet for that.”

Of course, the big question is whether Bynes will return to acting, but that’s not a world she’s ready to go back to yet. “She has a new life ahead of her and she is so young,” Bynes’ attorney said. “She was a great actress. I’m sure many people would love to see her return to acting.”

(Via Variety)

Bridgerton is almost back, and I’ve gotta hand it to Shondaland because this second season is as well-played as the first outing. And this comes as a surprise to me, not because I thought that the show that John Oliver described as “lots of jizzing in blankets” couldn’t, like, jizz in blankets again. (This summation will never stop being funny, by the way, because he wasn’t wrong.) Rather, I found the character who’s now the focal point to be rather uninteresting (not to mention grating) last season. Add my cautious attitude to the sheer fact that this show, as smart and sexy as it was, whipped fans into a frenzy (one that SNL reenacted in an on-point way) for one overriding reason.

My regards to the Duke. Hell, everyone’s regards to the Duke.

There’s a reason for that, too, beyond the obviousness of people fawning over Regé-Jean Page’s physicality. It was more about him flinging himself into how the show maneuvered through all the sultriness via the female gaze. He was in on it, and I’m not talking about like being “in on a joke.” He was game for rolling with the punches as a roguish rake in a story where, ultimately, the focus was finally on the needs and desires of his lady (Daphne Bridgerton, who’s still played by Phoebe Dynevor), both physically and as a partner. There was a sleight of hand in the writer’s room and even a bit of pioneering, and the audience loved it, but then Page left the show (as planned), and there was no denying that a void would be felt.

Still, Netflix quickly renewed the show for three more seasons, a situation that could have grown awkward, fast, if the show couldn’t drum up magnetism out of a character who, to be quite frank, can come off (if you’re squinting sideways) as nearly physically indistinguishable from his fellow male Bridgertons.

Wait, which one is Lord Anthony Bridgerton again? Oh, he was the one who scared off Daphne’s suitors last season and had an ongoing affair with a young lady who’s considered to be unworthy of becoming a viscountess. Last season, the writers may have used his affair to ward off Austen-esque vibes (and sure, he had some fans but wasn’t terribly likable), but this season, yep, he’s pulling off a clear Mr. Darcy-In-The-Lake reference. (Subtle, very subtle.)

It’s actually mildly irritating how Bridgerton charms here. They take a lead character, who previously functioned as a pain-in-the-butt and boorish, and crafted his complicated backstory in a believable way that doesn’t fully drum up sympathy, but it does humanize him. He’s also the primary focus of this season’s courting season, but the real highlight is the leading lady who brings much more than a corset to the table.

That role would be Kate (portrayed by Simone Ashley, far left ^^), a supposed spinster who guards over her younger sister, Edwina (Charithra Chandran). Their newfound acquaintance (after the ladies arrive from India) with Anthony ultimately lands in a predictable place, but I will say that there’s quite the atypical route to how the show gets there. Kate signs up for no sh*t, and Anthony’s considered to be the ultimate catch while he searches for his viscountess, but he’s also operating like a big ol’ dope at moments. Meanwhile, Kate and Edwina’s family backstory takes the show deeper on the subject of race and social stature, something that the show did struggle with early on. The role of Kate does a lot to balance out the sillier aspects of the show, although those, too, hold a lot of value because the show doesn’t forget to entertain (whew).

Somehow, this love story (such as it is) works. No, it’s not quite as intensity-fraught as Regé-Jean Page with anyone (let’s get real, they couldn’t have done that without putting Jason Momoa in Bridgerton or something, for inarguable reasons), but the show does a fine job of carrying on despite losing its most valuable chess piece. Shonda Rhimes previously went on record to admit how “shocked” she felt over the backlash to Page’s departure. To be fair, this move was in accordance with Julia Quinn’s books, but one can imagine some behind-the-scenes panic, which could’ve done the motivating trick.

Beyond the Anthony-Kate dynamic, the show catches us up on numerous threads from the first season as well. Daphne is hanging around again despite getting married, happily ever after to the Duke. He does not show up at all, and maybe he’s off alone with his blankets, no one knows. Mystery abounds! Yet there’s no longer much mystery (for the audience) about the true identity of gossip columnist Lady Whistedown, who’s still doing her Regency-era Gossip Girl thing while living under constant fear of getting busted. Penelope (Nicola Coughlan) continues to walk that fine line with an assist from Julie Andrews’ voice, and Queen Charlotte (Golda Rosheuvel) continues to be a hoot.

The show’s a freaking delight. It’s more fun than it really should be with plenty of soap-operatic flourishes to keep the fires burning even if this season isn’t as steamy as the original outing. I can’t imagine that anyone who enjoyed the first season will be disappointed with how this season ends. It’s a slightly slower burn, but the payoff does arrive. Granted, I don’t immediately see a candidate for next season’s Diamond Drama, but Shondaland is undoubtedly already on the case (just dial Momoa). And surely, Lady Whistledown will breathlessly report those events, when they happen.

‘Bridgerton’ returns on March 25. Grab your smelling salts.

Ahead of Sunday’s telecast of the 94th Academy Awards, Variety is reporting that Beyonce is planning to perform at this year’s Oscars via satellite. Beyonce, who is nominated for Best Original Song for “Be Alive” from King Richard is reportedly planning to perform the song live from tennis courts in Compton, California.

Compton is where Venus and Serena Williams honed their tennis skills, encouraged by their father, Richard, played by Will Smith in King Richard. In 2016, The Lueders Park courts were officially rebranded as the Venus and Serena Williams Court of Champions.

According to Variety, “One possible scenario would have Will Smith…appear onsite with Beyonce and then presumably head north to Hollywood in time to take his seat for the announcement of the best actor category.”

In an interview with Vanity Fair, songwriter Dixson revealed Bey had reached out to him to collaborate on a song for King Richard. Dixson, who had been trying for a while to send demos and song ideas to Beyonce’s team, said of their collaboration, “I wanted to just give her the bones of the song first because what I don’t think people talk about a lot is Beyonce’s ability to craft a song. A lot of it happens in her vocals and her delivery, but she’s also a great songwriter and an amazing producer.”

The Oscars will air Sunday, March 27 on ABC.

Snoop Dogg’s love of gaming is well-documented; last year, he hosted a Super Bowl XBox tournament alongside Saweetie, this year, he joined the gamer crew FaZe Clan, and he’s a well-known streamer on Twitch, bringing his unique personality and wisecracks to the masses. He’s even been in a few games, perhaps most notably in Def Jam: Fight For NY as that game’s surprising final boss. Now, gamers can play with Snoop Dogg in another popular game, although this time in a different genre.

Today, Activision announced that Snoop will join its immensely popular shooter series, Call Of Duty, as a playable character in three of the franchise’s current offerings: Call Of Duty: Mobile, Call Of Duty: Vanguard, and Call Of Duty: Warzone. To acquire the character in the console versions, players can look for him on April 19 at 10 am PT. The character includes “a full Operator progression track,” along with alternate outfits. The mobile version will be available via Lucky Draw on April 1. Naturally, Snoop will be voicing himself, as he did in Call Of Duty: Ghosts

“The D O Double G is back in Call of Duty and this time I’m in the freakin’ game!” Snoop said in the press release. “Excited to be working with the COD team to bring some fly features for you all to enjoy. It’s dope….. y’all can play as me and get these sick items that have Snoop written all over them. Check it out.”

See photos of Snoop in action courtesy of Activision below.

Taylor Swift has been prolific with releasing new music in recent years, and now she’s at it again. A trailer for Reese Witherspoon’s film adaptation of Delia Owens’ 2018 novel Where The Crawdads Sing was shared today and it features a snippet of a new Swift song called “Carolina.”

Swift shared the trailer on social media and wrote, “Where The Crawdads Sing is a book I got absolutely lost in when I read it years ago. As soon as I heard there was a film in the works starring the incredible @daisyedgarjones and produced by the brilliant @reesewitherspoon, I knew I wanted to be a part of it from the musical side. I wrote the song ‘Carolina’ alone and asked my friend @aarondessner to produce it. I wanted to create something haunting and ethereal to match this mesmerizing story. You’ll hear it fully soon, but for now check out the @crawdadsmovie trailer for a clip!”

As for the movie, a publisher’s statement on the book reads, “For years, rumors of the ‘Marsh Girl’ have haunted Barkley Cove, a quiet town on the North Carolina coast. So in late 1969, when handsome Chase Andrews is found dead, the locals immediately suspect Kya Clark, the so-called Marsh Girl. But Kya is not what they say. Sensitive and intelligent, she has survived for years alone in the marsh that she calls home, finding friends in the gulls and lessons in the sand. Then the time comes when she yearns to be touched and loved. When two young men from town become intrigued by her wild beauty, Kya opens herself to a new life — until the unthinkable happens.”

Watch the Where The Crawdads Sing trailer above.

Kanye West has been making headlines, and not for good reasons. His feud with Kim Kardashian’s new boyfriend Pete Davidson has led to only more drama, with celebrities like Jake Paul, Jimmy Kimmel, and Trevor Noah intervening either to try to help or just to make jokes. West, at one point, was suspended on Instagram for 24 hours because of the situation, and then eventually his performance at the Grammys was pulled. Now, his performance at California festival Coachella next month might have the same fate.

The rapper is a headliner for the third day, but a recent petition was made on Change.org titled “Remove Kanye From Coachella.” Its description reads: “We have watched Kanye harass, manipulate, and hurt Kim, Pete, and others for over a year now. No one seems to want to stand up to him, and the ones that do, he puts under fire as well. Most recently, he has been threatening actual bodily harm on others. This is ridiculous that he is allowed to freely do this. Coachella (along with other brand names that are still working with him) should be ashamed of themselves and should not be giving him any more of a platform. Please sign & share!” It currently has almost 30,000 signatures. The festival takes place next month, from April 15 to 24.

Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week we got an exciting pair of singles from Arcade Fire, a new track and album announcement from Muna, and the beginning of a new era for Weezer.

While we’re at it, sign up for our newsletter to get the best new indie music delivered directly to your inbox, every Monday.

Mattiel — Georgia Gothic

Duo Mattiel dropped their third album this week, Georgia Gothic. A collection of 11 breezy and playful tunes at times infused with just the right amount of twang, Georgia Gothic pays homage to their home state of Georgia and marks a strong effort from the indie rockers.

Hana Vu — Parking Lot

NYC-based musician Hana Vu surprise-released the EP Parking Lot this week, following up on last year’s Public Storage album. Parking Lot shows off a more intimate side of the musician’s songwriting, combining introspective ballads and some live renditions of her recent songs.

Arcade Fire — “The Lightning I, II”

After teasing their new era of music for a few weeks now, Arcade Fire returned in a big way this week, releasing a pair of new singles, “The Lightning I” and “The Lightning II.” The tracks are exactly what fans hoped the band’s new music would sound like: cinematic and inspiring. The songs are set to arrive on the band’s upcoming release We, which drops in May and was mostly recorded in 2019 and 2020.

Weezer — “A Little Bit Of Love”

Emo music is on the rise among Gen Z, so that means its a perfect time for Weezer to make their comeback. The band’s new single “A Little Bit Of Love” points to a new batch of uplifting music. The harmonica-driven track is upbeat and carefree, detailing the importance of perseverance and reflecting on how far you’ve come.

Alex G — “End Song”

Alex G is another indie musician who shared their first new music in several years. But this time, the new song was written for a film. Included in the soundtrack to the upcoming movie We’re All Going To The World’s Fair, “End Song” is an intimate and nostalgia-inducing acoustic tune invoking his early 2010’s albums.

Muna — “Anything But Me”

Now as full-fledged members of Phoebe Bridgers’ Saddest Factory label, trio Muna share a tune from their forthcoming self-titled album. The shimmering indie-pop ballad “Anything But Me” is cheery and infused with confidence and, as one YouTube commenter aptly put it, is “giving Manic Pixie Dream Girl with healthy boundaries.”

The Smile — “Skrting On The Surface”

The Smile, the side project of Radiohead’s Thom Yorke and Jonny Greenwood with Sons Of Kemet drummer Tim Skinner, shared their third track in the form of the cinematic single “Skrting On The Surface.” Armed with Yorke’s recognizable falsetto, the dreamlike song boasts pronounced strings and a comforting drum beat.

Hovvdy — “Everything”

It’s only been a few months since Hovvdy released their album True Love, which revolved around themes of marriage and parenthood. Now, the duo have shared “Everything,” a tender track written during the True Love songwriting sessions that didn’t make the final album cut. “Everything” is an upbeat tune laced with just the right amount of twang and fits in nicely with the more subdued tracks on the album.

Saya Gray — “If There’s No Seat In The Sky”

Talented up-and-comer, Saya Gray is the newest signee to UK label Dirty Hit, and has now dropped a new song, “If There’s No Seat In The Sky (Will You Forgive Me???).” The single starts off on the acoustic side before heading into an edgier, head-spinning direction. Gray’s track is set to appear on her upcoming release 19 Masters, which is “a battle of self-preservation and an ode to the human experience.”

Ethan Gruska, Bon Iver — “So Unimportant”

Bon Iver hasn’t made an album since 2019, but vocalist Justin Vernon has been appearing on a number of collaborative projects lately. His latest is the woozy new track “So Unimportant” with folk songwriter Ethan Gruska. “So Unimportant” is a comforting and electronic-twinged laid-back tune impressively made remotely between the two musicians.

Sudan Archives — “Home Maker”

Sudan Archives made her triumphant return with “Home Maker,” her first new track in several years. The snappy tune is both wildly fun and captivating, layering Sudan Archives’ honeyed voice over R&B and pop-inspired rhythmic beats.

Christian Lee Hutson — “Cherry”

Christian Lee Hutson has made a name for himself after penning gentle and ruminating tracks on his 2020 album Beginners. Now rolling out a new batch of songs in anticipating for his sophomore release Quitters, Hutson shares the lulling acoustic number “Cherry,” a ballad about an important-yet-fleeting connection.

Flasher — “Sideways”

Following up on their acclaimed debut album Constant Image, Washington, DC-based duo Flasher teases their upcoming LP Love Is Yours with the hazy and tranquil “Sideways.” With a lively bass lick and dreamy production, “Sideways” gives an exciting taste of what seems like is a more danceable project.

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

This week was teeming with new releases, but the highlights included some of the pop albums we’ve been waiting for. Charli XCX finally unveiled Crash, an album that marks her return to bombastic, radio-friendly anthems like the polarizing “Baby.” At the same time, Rosalía unleashed Motomami, which had been all the talk for months because of its provocative artwork and its catchy singles. The up-and-coming Ethel Cain announced her debut album Preacher’s Daughter and released the haunting “Gibson Girl.”

Each week, Uproxx rounds up the best new pop releases. Listen up.

Normani — “Fair”

Former Fifth Harmony member has been working on her debut solo album for quite some time. Now, we at least have this sparkling, honest song “Fair,” which is addressed to an old lover and proves her skill at crafting music that cuts deep. While reckoning with their breakup, she asks: “Is it fair that you moved on?”

Gayle — “Luv Starved”

Singer of the gigantic TikTok hit “Abcdefu” Gayle dropped her debut EP, which includes that track as well as this emotionally charged, slower song “Luv Started.” It’s packed with plainly depressing lyrics contrasted against clever quips: “Swear to God imma change but I’m agnostic,” she drawls. Momentum builds at the end and turns into an anthem about no longer wanting to be “taken advantage of by sh*tty guys.”

Muna — “Anything But Me”

Along with the announcement of their forthcoming self-titled album, Muna shared the fed-up “Anything But Me,” which opens with the snarky line: “You’re gonna say that I’m on a high horse / I think that my horse is regular-sized.” Instead of resorting to anger or exhaustion, the song celebrates its newfound freedom and independence.

Charli XCX — “Yuck”

Though Crash has plenty of bangers, “Yuck” has an effortless groove to it as well as an amazing amount of attitude: “Put me on a pedestal / ‘Causе my love’s incredible,” she deadpans. For a little over two minutes, she carelessly revels in narcissism and it makes for an addictive listen.

Juice WRLD — “Sometimes”

Late rapper Juice WRLD’s second posthumous album Fighting Demons arrived in December, but was just updated with this new song “Sometimes.” It showcased exactly what made Juice WRLD rise to the top so fast — his honesty about his struggles, especially his feeling of loneliness and failure despite being rich and famous. It’s inspiring when he sings, “Nobody ever felt the pain I felt, so I share it / And put it out to the whole world, I ain’t embarrassed.”

Still Woozy, Remi Wolf — “Pool”

Still Woozy and Remi Wolf teamed up for this twinkly ballad that follows a complicated love story. The pair take turns with the chorus and the verses; both of their voices are tender and sincere, and the song reaches its peak at the end when they harmonize with one another beautifully.

Syd, Lucky Daye — “Cybah”

Syd and Lucky Daye joined forces for this new song, “Cybah,” which broods and sizzles with fiery, otherwordly synths. On the chorus, Syd repeats the pulsating question: “Could you brеak a heart?” It holds a lot of weight, but the meaning seems to change every time she croons it.

Ethel Cain — “Gibson Girl”

Ethel Cain seems to be on a mission to see how haunting she can make her songs. Her autotuned drawls on “Gibson Girl” are bone-chilling, and the words amplify that feeling: “Baby, if it feels good / Then it can’t be bad.” At nearly six minutes, the track is something of an exorcism of lust and leaves the listener wanting more.

Rosalía — “Candy”

Rosalía’s “Candy” is also haunted, but instead by a past lover. Their presence can be felt in the song; the tension is palpable and the complex longing in Rosalía’s voice is unmissable. Still, despite the layer of sadness, “Candy” is as danceable as any of her songs.

Love You Later — “Keepintouch”

Love You Later, the rising project of Lexi Aviles, released this lively track that grapples with the difficulty of navigating relationships when trying to take care of yourself: “I’m losing touch with everyone else / Trying to keep in touch with myself.” Her voice is genuine and soars mesmerizingly over the upbeat instruments.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Ted is the new Karen. Over the weekend, a video surfaced in which Ted Cruz seemed to be getting surly with an airline employee at the Bozeman International Airport in Montana after he missed his flight. While the words being exchanged are not audible, eventually law enforcement was called over to help sort out the mess—and it’s hard for anyone to take any of this seriously, given the Texas senator’s history with causing airport-related drama. Of course, it didn’t take long for people to make comparisons to Cruz’s infamous Cancun getaway, and the jokes began flowing like yards of beer at Señor Frog’s, with Jimmy Kimmel joining in the torment.

On Monday night, Kimmel—who regularly finds himself at odds with Cruz—couldn’t help but laugh at the whole debacle. As he told viewers:

The big Ted story today… is a video shot at the Bozeman, Montana airport. A man who looks suspiciously like Ted Cruz has a heated exchange with an airline employee and then, after the airline employee, a police officer. Apparently, he missed his flight and demanded to speak to the manager of the airport about a dozen times to the point where they had to call in security.

He should stay out of airports, right?

Kimmel pointed out the irony of the incident in light of Cruz’s comments just a few weeks back, while meeting with the trucker convoy, that, “Almost without exception, every time I’m on an airplane, either the captain or a flight attendant will come up to me, will hug me and say, ‘Thank you for fighting for us.’”

But Kimmel’s not buying it: “There’s no way he’s getting spontaneously hugged. Can you imagine hugging Ted Cruz? Donald Trump hugs Eric more than flight attendants hug Ted Cruz.”

You can watch the full video above, beginning around the 2:00 mark.