Irie Love‘s new single “Mahalo” bridges the divide between pop and reggae to offer a triumphant, gear-shifting ride that ends up remarkably smooth. This kind of genre sampling is appropriate for a former backup singer for both Pink and Morgan Heritage, the latter of whom signed Irie Love (her for-real given name) to their production company and took her on tour as an opening act.
“Mahalo” is the first shot from Love in advance of a new album We Rise, funded by her fans and expected in 2016, and coming after the success of her 2012 debut This Is Irie Love. The song is a bold artistic step forward, recontextualizing traditional elements of reggae and dub into a modern production, inspired by artists like Major Lazer, Jah Cure, Chronixx, and Alina Baraz, and created in collaboration with writers and producers across four continents. “My first album was created while I was on tour, backing other artists, over a span of 7 years across several countries,” Love says of her new music. “Hawai’i is my root, but I am a multi-cultural multi-ethnic woman and it’s my goal to have that come across in this album. I represent humanity.”
Listen to “Mahalo” below:
All you City And Colour fans out there, get ready for Dallas Green’s next installment of folksy sorrow through soulful singing. According to the Canadian singer-songwriter’s Instagram, recording for the new album is finally done “right before the final #alexisonfire tour!” For those of you who don’t know, Green’s former post-hardcore band Alexisonfire, who broke up last year, are about to embark on a long overdue farewell tour starting on December 2nd in London, UK. While it is sad to see them go, the world has a lot to look forward to with City And Colour’s newest release.
If you like City And Colour, then you might also like OurStage’s own Justin Branam.
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Living up to her name, P!nk rocked a high end gala dinner to benefit breast cancer this past Monday. On Nov. 12, P!nk took the stage, performing hit after hit including Family Portrait and Who Knew, while regaling the audience with jokes and family anecdotes to keep the mood light.
Kicking things off with Just Like a Pill, and filling her set with a mixture of the old and the new, P!nk played two songs off her latest album, The Truth About Love, including “How Come You’re Not Here and Try.
P!nk ended the night with “Blow Me (One Last Kiss),” and “So What,” before giving thanks to her surgeon, Dr. Maggie DiNome also the host of the event, and to all in attendance.
“Thank you all for being part of such a special night. Thank you Maggie for taking out my body parts and keeping me healthy!”
All proceeds from the dinner will go towards a breast cancer research fund at the Margie Petersen Breast Center at St. John’s Health Center in Santa Monica.
If you like P!nk, check out OurStage artist Schaff.
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P!nk is known for having badass pop chicks (or chick-fronted bands) open for her, like VV Brown, Nikka Costa, and The Ting Tings. Today, she surprised us all by announcing that the bands supporting her on her upcoming The Truth About Love Tour would be acoustic/folk solo artist City and Colour and Swedish garage rockers The Hives. While we’re still scratching our heads at the choices, we have to admit that P!nk has some pretty great taste in music.
Known for her stellar live vocals and acrobatic stage antics, P!nk is one of the most impressive performers out there. Make sure you check out The Truth About Love Tour when it comes to your hometown! Find your local tour date here.
Fan of P!nk? Check out OurStage artists The Design.
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Sweet November is about to spawn another monster. Not a beast like the ugly, twisted child Morrissey warbled on about in 1990, but three beauties in the monster diva throwdown of the year. It will be the month in which three of pop’s biggest female players“Rihanna, Christina Aguilera, and Alicia Keys”all release new albums. Who’ll emerge “triumphant””to quote the title of top diva Mariah Carey’s new single, from an album that won’t be released until March of 2013, long after the diva dust settles? Read on… (more…)
The ’90s are about to face a crucial test, one that might determine if the Clintonian era even has a shot at matching the staying power of the Reagan ’80s, a decade that continues to resonate more than 20 years after it ended. Welcome back, ’90s stars Soundgarden, SWV, Garbage, Brandy, Matchbox Twenty, Green Day, the Wallflowers, Blur, Aaliyah (via creepy interloper Drake) and No Doubt.
A decade is a long time in life, and an eternity in pop music, especially when you’ve spent one in a state of virtual inactivity, as did No Doubt, the band that will release its comeback album, Push and Shove, on September 25 (the same day Green Day returns with Uno!, the first of a trilogy of albums that the rock trio will release in the coming months). When No Doubt put out its last studio album, Rock Steady, in December of 2001, George W. Bush was less than one year into his first term as President of the United States, Friends was the No. 1 show on TV, and dated acts like Shaggy, Crazy Town and Ja Rule were scoring No. 1 singles on Billboard’s Hot 100.
The world, still reeling from September 11 exactly three months earlier, had yet to hear of Barack Obama, Taylor Swift and Lady Gaga, YouTube, Twitter and Facebook, iPads, iPhones and American Idol. Britney Spears was the biggest female pop star on the planet, and she was in love with Justin Timberlake, best known as heartthrob No. 1 in ‘N Sync, the world’s biggest boy band. In this post-millennial world, Rock Steady went double-platinum in the U.S. and produced three hit singles, including the Top 5 hits Hey Baby and Underneath It All. (more…)
Today’s new albums are an eclectic batch in the world of pop! Looks like female vocalists are taking over this week.
The Killers – Battle Born (9/17)
The band’s fourth LP after their year-and-a-half hiatus.
Carly Rae Jepsen – Kiss (9/18)
The Canadian popstar’s sophomore album after skyrocketing to fame earlier this year with her smash hit of the summer “Call Me Maybe.”
Something interesting recently went down atop the U.K. singles and album charts. Elton John reigned on the list of best-selling albums with a collection of 40-year-old songs, while Florence + the Machine was No. 1 on the singles chart for the first time ever. The band’s vehicle? A song that was originally produced by Paul Epworth, a regular Adele collaborator (Rolling in the Deep and He Won’t Go, the best song on 21) who had never managed to go that high in the U.K. working with the world’s biggest female pop star.
Alas, he wasn’t exactly scaling that height with Florence either”at least not alone. And therein lies the twist in this chart saga: a good beat. Those Elton John classics had been updated with a danceable 2012 electro sheen by Australian production duo Pnau on the chart-topping Good Morning to the Night, an album featuring dozens of John songs from between 1970 and 1977 crammed into eight tracks and credited to Elton John Vs Pnau, while Florence’s Epworth-produced Ceremonials track “Spectrum” was the leading single via the re-titled and remixed-by-DJ/producer Calvin Harris (for optimal under-the-strobelight consumption) “Spectrum (Say My Name) (Calvin Harris Mix).”
When Bryan Ferry sang, “Don’t stop the dance,” was this what he had in mind? Beat-driven pop where singers share star billing with the producers who boost them to the top? More than ever, the recording arts have become a producer’s medium, in much the same way that film is a director’s medium, with the behind-the-scenes talent dominating both the sound and the vision. (The stage, in singing“when it’s actually live“as in acting, remains the domain of the performer.) With a smaller pool of star producers creating a bigger bulk of the hits, pop music has become as homogenized as Hollywood blockbusters.
According to Ron Fair, a veteran music executive and producer who has worked with Christina Aguilera, Fergie and Lady Gaga, it’s a logical progression from how records are now made. A producer today is a hybrid role of producer, songwriter, and beat maker, he says. What we used to call arranging is now called making beats, so generally, the producer is the guy who walks in with the song. Back in [Beatles producer] George Martin’s and [Linda Ronstadt/James Taylor producer] Peter Asher’s day, they weren’t responsible for making songs.
Dance music, however, has always been more of a producer’s forum than middle-of-the-road pop. But with disco in the ’70s, it didn’t always show. When one remembers Donna Summer’s greatest hits, Gloria Gaynor’s “I Will Survive,” or Amii Stewart’s “Knock on Wood,” the spectacular vocals probably come to mind first, then the beat. (more…)
Carly Rae Jepsen is in luck. It looks like she won’t have to ensure the continuation of her celebrity run after Call Me Maybe falls from its current summit by relying on the hoopla generated by her own Nipplegate”nude photos that ended up being someone else’s.
Thanks to a call from Adam Young, the one-man band behind Owl City, Jepsen is about to relight the fire under her rising star the old-fashioned way: with a new hit. “Good Time,” her duet with Owl City, just debuted at No. 18 on Billboard’s Hot 100, which means that her breakout No. 1 single won’t forever be alone on her hit list.
It’s pop symbiosis at its most effective: He saves her from that pop purgatory known as one-hit wonderdom, where he had been languishing since 2009, when the Owl City single “Fireflies” hit No. 1 on the Hot 100, and she helps get him out of it. Sure Katy Perry could have accomplished the same thing in the middle of a dead sleep, but that hardly would have been a meeting of near-equals.