music

Here’s a hot take: South by Southwest is a Latin music festival.

When the De Los team headed to Austin, Texas, in 2024 to cover the event for the first time, approximately 60 acts that fell under the expansive Latin music genre umbrella had been invited to perform. Two years later, that number has more than doubled, with more than 150 Latin music acts featured at the iconic festival, now in its 40th year.

“Latin music has seen incredible growth at SXSW in recent years, reflecting its rise across the global music industry,” said Evelyn Gómez Rivera, associate programmer for Latin music. “2026 is shaping up to be our biggest year for the genre in over a decade, with several major labels showcasing their newest and most exciting Latin talent here.”

Ahead of the festival, which kicks off Thursday, the De Los team has assembled a list of acts that have caught our attention. And before you blow up our inboxes asking why the big acts (Fuerza Regida and Junior H are also slated to perform) weren’t included, keep in mind that what makes SXSW unique is that it’s a chance for attendees to see the next big thing before they blow up. In that spirit of discovery, our list is made up of acts you might not have heard of.

Big Soto

“Terminé siendo rapero cuando quería ser doctor,” Gustavo Rafael Guerrero Soto, better known as Big Soto, confesses in his pandemic-era collaborative session with Argentine mega-producer Bizarrap. It’s safe to say that he made the right career move. The 29-year-old from Venezuela (he now lives in Mexico) is signed to Rimas Entertainment and has been at the forefront of the Latin trap movement. — Fidel Martinez

Mariangela

Mexican-born singer Mariangela started off as a tender pop darling when she first uploaded covers to her YouTube channel in 2019, drawing inspiration from indie-pop singers like Carla Morrison and Mazzy Star’s Hope Sandoval before releasing her alt-pop debut album “Sensible” under Sony Music Latin in 2024. Now the Texas-based artist is taking her musical stylings in a new direction, drawing from her Monterrey roots with the release of her latest “Cuando Una Mujer,” a cumbia norteña about fierce female empowerment. — Andrea Flores

Esty

First-generation Dominican American singer Esty doesn’t like to be boxed in. From one track to the next, she’ll shift from a mix of dembow and alternative rock to bachata and pop, as seen in her recent single “V3n3n0,” from her upcoming album, “Domi Star.” — Cat Cardenas

Marilina Bertoldi

De Los contributor Ernesto Lechner is 100% responsible for this entry — he included the avant-garde alt rocker from Buenos Aires in his 2025 list of indie artists who deserved to win a Latin Grammy, calling her “the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and attitude to spare.” How could you not want to see that? — FM

Ruido Selecto

Hailing from Medellín, Colombia, Ruido Selecto drives forward the Caribbean rhythms of cumbia, salsa, electronic dub and Afro-diasporic styles that have been traditionally transmitted through Picós, hand-painted sound systems popular throughout the country’s coast. His hybrid mixes also include elements of sonideros, most audible in tracks like “Lo Que Esconde.” I’m fascinated by his attention to detail in his project “Los 14 Cañonazos Bailables,” where he created experimental and contemporary tropical mixes using archives from Discos Fuentes, a Cartagena record label largely responsible for disseminating 1960s Caribbean sound across the coast of Colombia. — AF

Delilah

The Mexican American singer got her start in mariachi, eventually learning piano, guitar, violin and vihuela. At just 17 years old, her impressive vocals and ability to mix traditional and contemporary Mexican music have already gotten the attention of artists like Becky G and Iván Cornejo. — CC

Danny Felix

Among the biggest feathers in Danny Felix’s hat is being the producer behind the “Soy el Diablo (Remix),” a Natanael Cano track that also doubled as Bad Bunny’s first venture into the world of música mexicana. The Phoenix-based multihyphenate (in addition to producing, he is also a multiinstrumentalist and singer) has played a major role in shaping the current sound of corridos tumbados and will be repping the subgenre in Austin. — FM

60 Juno

Originating from Merced, Calif., this Central Valley post-punk band radiates a hazy, dreamlike sound, so much that one of their most popular tracks is titled “zzz.” While 60 Juno initially began as a solo project led by Jericho Tejeda in his bedroom during the pandemic, it has now expanded to include three additional members from Whittier, Calif. There’s a bit of everything in this band, mellowed surf-rock wading into punk territory that can be heard in songs like the upbeat “Enjoy the Sunset” and their most popular, hypnotic track to date, “J Song.” — AF

RIA

Before she stepped into the spotlight, Ria was writing songs for other artists. Now, she’s combining her knack for emotional lyricism with her soulful voice, recently opening for Tito Double P in Mexico, and breaking out with her recent single, “Pagana.” — CC

Sebaxxss

Sebaxxss is the on-tour DJ for Feid, the pop reggaeton singer and fellow Colombian. I’m interested to see how his set translates into a smaller, more intimate venue. — FM

Diles que no me maten

Diles que no me maten is an experimental, psychedelic rock band from Mexico City named after the famous short story by Mexican author Juan Rulfo about a man who pleads for his life after being captured for killing his neighbor decades earlier. If listeners didn’t know any better, they would think this band started in the late 1980s during the rise of homegrown rock, with its untouched vocals in songs like “Outro.” Tracks like “El Circo” sound like a gentle birth, while “(Radio Sonora Edit)” presents itself as a ghostly acoustic jazz ballad. — AF

Eydrey

Since competing on Netflix’s Latin music competition show, “La Firma,” in 2023, Eydrey has landed a record deal and released a steady stream of R&B, Mexican and reggaeton-infused tracks. Her borderland upbringing in El Paso has also shaped her Spanglish lyrics. — CC

Lena Dardelet

Hailing from Cabarete, Dominican Republic — the same beach resort town is home to the Bachata Academy, the only bachata school in the world — Lena Dardelet fuses pop with various Caribbean genres, including— yep, you guessed it — bachata. — FM

Mosmo

Signed with Rimas Entertainment, Hermosillo singer Mosmo is bringing his own crooning element to the corrido world. The rising singer first came into the spotlight in 2022 on Netflix’s “La Firma,” a competition looking to find the next Latin urban music star. Mosmo’s raw, drawled vocals can be heard in the romantic bélico “Modo B” and the agonizing “Terapia” that implores a past lover for their return. Mosmo also incorporates elements of trap and reggaeton in songs like “Dimensiones,” as well as pop in the bilingual track “Siempre Tú.” — AF

Selines

Inspired by artists like Natalia Lafourcade, singer-songwriter Selines’ guitar-based songs draw on the traditions of boleros, classical music and jazz, bringing a warm nostalgia and romance to her sound. — CC

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”

Fête de la musique, France

Paris has some great festivals, such as Cercle (22-24 May), with dance music stars against the backdrop of planes and rockets in an outdoor aerospace museum, but the most accessible and democratic is Fête de la musique, which began in Paris in 1982 but is now popular across the country. It is a loose event encompassing dozens of free, semi-impromptu outdoor performances all over each host city, including plenty in Lille, which is even cheaper and quicker to get to than Paris on the Eurostar from London.

While the UK may cock its ear occasionally to English-singing bands like Phoenix and the “French touch” scene that birthed Daft Punk, Justice and more, Fête de la musique is a chance to immerse yourself in the music that rarely crosses the Channel, from spirited chanson to Francophone hip-hop and the breakneck carnival styles of shatta or bouyon, where MCs rattle through commands on tracks of more than 160 beats per minute.

Eurostar goes to Paris 12 times a day from London, and to Lille six times (eight at weekends).
21 June, free, fetedelamusique.culture.gouv.fr

Roadburn, Tilburg

If you don’t mind changing trains after arriving in Amsterdam or Rotterdam on the Eurostar, there are several Dutch festivals to choose from. Le Guess Who? in Utrecht (5-8 November) is celebrating its 20th year this year, and hands over some of the curation to a series of invariably excellent left-field musical guests: the likes of Animal Collective, Lonnie Holley, Mabe Fratti and Stereolab have held the reins in recent years. Rewire in The Hague (9-12 April) is even more out-there, calling on a global array of dynamic artists, from the most pristine ambient to the most audiologist-troubling extreme noise.

But the most prestigious is Roadburn, hosted in the little visited (by Brits, anyway) university town of Tilburg, which is also accessible via a change in Brussels. It has ringfenced its own black, slippery zone of adventurous heavy music, encompassing alt-metal, noise, desert rock, drone and the fringes of punk, hip-hop and electronics. Bands often play albums in full – or two albums, in the case of Japanese legends Boris this year – and thanks to a relative dearth of hotels and B&Bs in Tilburg, many festivalgoers stay on a municipal campsite complete with its own noisy (but not sleep-disturbing) live sets.
16-19 April, €284 (£247); two-day and day tickets also available, roadburn.com

The Black Lights, Blackpool

With rail-friendly Glastonbury taking a fallow year this year, June has a festival hole that needs filling – so the timing is perfect for the arrival of the most promising new British festival in years, the Black Lights. Conceived by the White Hotel, a Salford venue that has become a cornerstone of northern underground culture, it will be hosted across multiple venues – including the beach, hosting “a modern-day War of the Roses in brass”, as brass bands from Lancashire and Yorkshire perform together.

The rest of the music programme draws from the fraying edges of rave culture, ambient, rap and dream-pop, with artists including the Caretaker – whose ultra-poignant compositions have made him an unlikely hero to gen Z on TikTok – as well as industrial-trance producer Evian Christ, lo-fi singer-songwriter Joanne Robertson, and film composer and alt-pop icon Mica Levi playing with the BBC Philharmonic Orchestra.

Blackpool’s location, halfway up the British Isles and close to dozens of large conurbations across north-west England, makes it quick and accessible via train to millions, including direct routes from London, and only one change involved from Glasgow, Newcastle, Sheffield or Bristol.
26-28 June, £150, theblacklights.uk

Westival, Pembrokeshire

“I put in everything I would have wanted playing clubs — bus parking, a great green room and amazing sound system,” Mesh said. “In L.A., I wouldn’t have come close to getting this. But Indio’s very exciting — a lot of young metal bands are thriving, and now you don’t even have to go to the high desert to find them.”

Mesh is well known in the desert’s music scene (he also opened Studio B, a high-end mix studio). The venue — formerly the Little Street Music Hall — had a knotty opening after some early ownership disputes with former partners. But for salty desert rockers and hungry young punks who can’t afford Coachella tickets, it’s a welcome addition to the scene. “Pappy’s has a vibe where you go to the club just knowing there’ll be something cool there,” Mesh said, “Indio is getting that too.”

Joe McDonald, lead singer and songwriter of Country Joe and the Fish — the band known for its resounding anti-war chant at Woodstock — has died. He was 84.

His wife, Kathy McDonald, announced his death Sunday morning. He died Saturday in his Berkeley home due to complications from Parkinson’s disease.

As a formative member of the American counterculture in the 1960s and ‘70s, McDonald leaves a legacy of bridging contemporary political satire and brazen anti-war sentiments with the early sounds of acid rock.

“We’re just so proud of him. He’s our hero. He instilled in us that we have to speak up when we can, on whatever platform we can, about issues that we feel are important,” said his daughter Seven McDonald, a film producer, music manager and writer.

“While he was a very serious, earnest activist, he also had such an acute sense of cynical humor that is so fantastic and was capable of scathing satire,” her brother Devin added. “He’s most famous for that, but he also did so many heartfelt benefits for different causes.”

The siblings, who spent their childhoods on the road and in recording studios with him, joke that he was always doing a benefit show.

The musician was born on Jan. 1, 1942, in Washington to Worden McDonald and activist Florence (Plotnik) McDonald, who were both members of the Communist Party. The family soon moved to the Southern California city of El Monte, where Joe McDonald was raised.

His musical roots reach back to when his father taught him to play the guitar at 7 years old. But before embarking on his career in music, McDonald enlisted in the Navy at age 17. He served as an air traffic controller at the Atsugi, Japan, air facility for three years. Upon coming back to the states, he tried out college for a short time before dropping out and moving to Berkeley.

Before experimenting with an early variation of Country Joe and the Fish alongside guitarist Barry Melton in the mid-1960s, McDonald started a small magazine called Rag Baby. Once the group was solidified, they decided to turn their folksy roots electric and made the move to San Francisco — just before the city’s legendary Summer of Love.

The group, born out of the Bay Area psychedelic rock scene, was soon signed by Vanguard Records and in 1967 released its debut album “Electric Music for the Mind and Body.” At the time the band’s label and producer were hesitant to let the musicians fully express their politics, and excluded the soon-to-be-hit anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag” with the catchy chorus that began, “And it’s 1, 2, 3 what are we fighting for?”

Instead, they went with tracks like “Superbird,” a spoof of President Lyndon B. Johnson, which received little to no backlash. When the second album came around, the band was allowed to run with “I-Feel-Like-I’m-Fixin’-to-Die Rag” as the title track. Trouble started to arise with the anti-Vietnam war anthem when the group changed the beginning chant of F-I-S-H to a more profane four letter word that starts with an “F.”

They performed this altered cheer at a gig in Massachusetts, where McDonald received a charge for inciting an audience to lewd behavior and a $500 fine. With this police run-in, Country Joe and the Fish received a slew of press, riling up the public ahead of their Woodstock performance.

The moment the band members began this chant at Woodstock became arguably the biggest moment of their careers, with over 400,000 people joining in. It’s a moment of protest that has gone down in history.

Not long after the festival, the band went their separate ways. McDonald continued to release solo music that stuck with the similar themes of politics and the Vietnam War.

“He took the toll for taking the stand,” said Seven. “He was not the biggest pop star, because he just opted to speak his mind and do his thing.”

In 1986, McDonald released “Vietnam Experience,” an album full of songs analyzing its long-term impacts on his generation. And in 1995 he was “the driving force” according to an Associated Press story, behind a war memorial to honor Berkeley veterans killed in the Vietnam War.

He told The Times in 1986 that he had “an addiction to Vietnam … I’ve been doing work with veterans now for 15 years, and I probably know more about Vietnam veterans than any other person in the entertainment industry.”

“I’ve always believed that the veterans are a basic element to the understanding of war,” he added, “and the understanding of war is the only path to peace.”

McDonald is survived by his wife of 43 years, Kathy; his five children, Seven, Devin, Ryan, Tara Taylor and Emily; a brother, Billy; and four grandchildren.

QUEEN of pop Madonna is Like a Virgin all over again — in a throwback to her 1984 hit video.

The megastar, 67, wore a white bridal corset and suspenders for the shoot.

Her outfit was similar to the look she had for her Eighties song clip — as she modelled and sang for Dolce & Gabbana.

Images posted online were captioned La ­Bambola — The Doll in Italian — a nod to the Patty Pravo 1968 hit Madonna recently covered.

Last week we told how Madonna was preparing to push boundaries yet again.

The 67-year-old singer will be filming her most X-rated music video to date, as she gears up to release her new album, dubbed Confessions Part 2.

Material girl

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MADON-NO

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A 200-strong team descended on a top-secret location in the UK to start work on the adventurous video, which will accompany her lead single later this summer.

This video is the first of a new campaign, which comes off the back of her signing a massive deal with Warner Records — the label she launched her career with — last year.

And as well as ramping up the sex, Madonna is preparing to push herself to the extreme physically.

A source said: “Madonna is reclaiming her throne.”

Four hours before Sienna Spiro is due to launch her first U.S. headlining tour, the 20-year-old singer and songwriter from London sits upstairs in the Troubadour’s empty balcony, peering down as several crew members wheel a grand piano onstage.

“The fact that I’m 11-and-a-half hours from home and that this room is gonna be filled with people that have never met me and that I’ve never seen before — that’s just crazy,” she says. “I’m kind of scared.”

The song that brought Spiro to West Hollywood this past Tuesday is “Die on This Hill,” a showstopping pop-soul ballad about staying in a toxic relationship — “I’ll take my pride, stand here for you,” she sings, “I’m not blind, just seeing it through” — that’s been streamed more than 300 million times on YouTube and Spotify since it came out in October. Built around tolling piano chords and Spiro’s titanic vocal, the song hit No. 9 in the U.K. and broke into the Top 20 of Billboard’s Hot 100; last month, Spiro — whose famous admirers include SZA, Mark Ronson and Alex Warren — was nominated for the Critics’ Choice prize at England’s annual BRIT Awards.

With its unabashed emotion and its throwback feel, “Die on This Hill” can be heard as the latest in a long line of melodramatic ballads by young Brits such as Amy Winehouse, Duffy, Lewis Capaldi and Olivia Dean, the last of whom was just named best new artist at the Grammys. Yet Spiro’s voice stands out: Rich and pulpy, with a crack she knows how to deploy for maximum heartbreak, it might be the most impressive instrument to come out of England since Adele emerged nearly two decades ago.

“Sienna is a true artist with the voice of a generation,” says Sam Smith, one more English singer (and former best new artist winner) with a flair for ugly-cry theatrics. Late last year, Smith, who identifies as nonbinary, invited Spiro to join them onstage in New York for a performance of Smith’s song “Lay Me Down.” Spiro, Smith recalls, “blew the room away” — one reason they brought her out again Wednesday night at San Francisco’s Castro Theatre, this time to sing “Die on This Hill” together.

Says Smith of the younger artist: “The world is at her feet.”

At the Troubadour, where she’ll follow Tuesday’s sold-out concert with an encore appearance Friday night, Spiro describes singing as a life calling. “I’ve known what I wanted to do since — honestly, since I’ve been a conscious human being,” she says. Dressed in a black-and-white-striped turtleneck, she has her legs folded beneath her on a wooden bench; her dark hair hangs loose around her face, yet to be styled into the ’60s-inspired do she’ll wear come showtime.

“I always felt a bit invisible,” she adds, whether at school with friends or at home as a middle child. “Not in a victimized way. But I always struggled with that existentialism. Music is the only thing that’s made me feel real.”

Are we to believe that one of pop’s bright new stars was once … kind of a bummer?

“In my own way, yeah,” she says with a laugh. “It’s OK. It happened. Character building.”

Spiro grew up privileged in London, one of four children of Glenn Spiro, a prominent jeweler who counts Jay-Z as a client and pal. Her dad turned her onto Frank Sinatra and Nina Simone and the Italian film “Profumo di donna” when she was little; by age 10 she’d written her first song (“Lady in the Mirror,” it was called) and played her first gig (at a pub not far from Heathrow Airport).

At 16 she enrolled at East London Arts and Music, a performing arts academy she describes as “the up-and-coming version” of London’s prestigious BRIT School, whose alumni include Adele and Winehouse. Her academic career didn’t last long, though: On her first day of classes she posted a TikTok of herself covering Finneas’ song “Break My Heart Again” that triggered a wave of interest from various record-industry types; soon she dropped out and began regularly traveling to Los Angeles to work on music.

Today Spiro says she has a “love-hate relationship” with the town where she estimates she spends half her time. “I’m very English, and I think something about English people is our honesty — you don’t really have to guess what people are saying. What was shocking to me when I came here was that people didn’t say what they meant.

“I was very, very lonely, and it was hard to make music when you feel that,” she adds. “I make sad music, but it’s hard to be a teenager and be away from your family and your friends and be in a place where you kind of have to play pretend being an adult.”

Did suffering among the two-faced liars of L.A. ever lead her to question her commitment to music?

“No. It just made me question how I was doing it. And not everyone’s a two-faced liar. There are some good ones out there.”

Was she ever at risk of becoming a two-faced liar herself?

“Oh, I’m too English for that,” she says. “If I did that, I’d get a slap.”

Sienna Spiro performs this week at the Troubadour in West Hollywood.

(Ariana Drehsler / For The Times)

Spiro started releasing singles in 2024 and quickly signed a deal with Capitol Records; last year she opened for Teddy Swims on the road and turned heads with “You Stole the Show,” a luxuriously gloomy slow jam with echoes of Adele’s “Skyfall.”

For “Die on This Hill,” which she wrote with Michael Pollack and Omer Fedi (both of whom went on to produce the song with Blake Slatkin), Spiro wanted to capture the feeling of “when you go above and beyond just to feel something reciprocated back from someone,” she says. But if the writing came quickly, the recording didn’t: Spiro jokes that she cut “900 different versions” of the song, including one she says sounded like Silk Sonic and another that sounded like Lauryn Hill.

“I was desperate for something up-tempo,” she says, given that virtually everything she’d dropped so far had been a ballad. Yet Fedi pushed her to cut the tune live with just her on vocals and Pollack on piano. They did four takes, according to the producer, one of which forms the basis of the record that eventually came out.

“Very old-school, very human,” Fedi says of the process. “Maybe I’m corny but with Sienna, less is really more. Her voice is so special, so big and upfront, that you just want to put a giant flashlight on it and let it shine.”

In early January, Spiro gave a bravura performance of “Die on This Hill” on Jimmy Fallon’s late-night show; one clip on TikTok has been viewed more than 70 million times. For that appearance, she wore a retro mini dress printed with an old photo of Johnny Carson behind his desk; for a recent performance in the BBC’s Live Lounge, she wore a different dress showing the faces of the four Beatles.

On stage at the Troubadour, her dress features images of the Chateau Marmont and the Capitol Records tower — a bit of setup, she says, for her next single, “The Visitor,” which is due March 13. Spiro has been slowly assembling her debut album for the past two years, but with headlining concerts to play, she’s reaching back for some of her oldies from 2024.

Some, not all.

“To be real with you, some of my early stuff wasn’t the most authentic,” she says as her drummer starts thwacking a snare during sound check . “I was trying to be someone else because I really wasn’t comfortable with myself.”

Can she point to an example?

“‘Back to Blonde,’” she says, referring to a vaguely Lana Del Rey-ish number about a woman who dyes her hair after killing a no-good lover. “I put it out for all the wrong reasons. It was a mistake — an inauthentic move that I regret making.”

What were the wrong reasons?

“It’s a long story, and it’s not very interesting. I didn’t do it because I loved the song — that’s what I’ll say. But at the end of the day it’s my name and I have to stand by it.”

Which is why she’s taking her time on the LP. Some artists her age don’t care much about the album format but Spiro is a true believer. Among her faves: Sinatra’s “In the Wee Small Hours,” Stevie Wonder’s “Songs in the Key of Life,” Adele’s “21” — “a perfect album,” she says — and Billie Eilish’s “Hit Me Hard and Soft.”

“I love an album where you don’t ever question why a song’s on there,” she says. “Where everything feels intentional.”

She doesn’t want to divulge too much about the work in progress. “The problem with me is I have a huge mouth and I give everything away,” she says, which — hey, great.

“No, I know it is for you,” she adds with a laugh. “But not for me, because then when I actually want to do the big reveal, I’ve got nothing because I’ve said it all.”

She will allow one detail: “It won’t be 12 ballads, I’ll tell you that.” She looks toward the ceiling, jiggling her head slightly, as though she’s doing some mental math regarding the track list.

“I mean, there’s a lot of ballads,” she says. “I just love a ballad — I can’t help it.”

The nostalgia factor is strong

They might appear to be a relic of bygone days, but there’s still a demand for the modest cassette. CDs and digital streaming appeared to spell the end for the mixtape, yet in a corner of Manchester’s Northern Quarter they’re flying off the shelves.

That’s down to Mars Tapes, widely regarded as the last cassette shop in the UK. Operated by Alex Tadros and situated inside Manchester’s independent shopping haven, Afflecks Palace, it’s been hugely successful and is now gearing up for its next phase.

“After seven years of growth, we are entering into our third expansion. This time moving down to a much larger unit on the 1st floor of Afflecks Palace — one of the biggest units in the building,” Alex says.

Mars tapes stocks a selection of classics, a ‘Rewind’ series — official tapes missing their paper inserts — mixtapes and consignments of new music from major labels.

The new premises will showcase an enlarged library of cassette tapes, a broader selection of refurbished vintage audio equipment, and the launch of the Mars Tapes Listening Cafe — a designated area where patrons can savour a coffee whilst listening to tapes from the shop’s collection, reports the Manchester Evening News.

To mark the expansion, they’re throwing a weekend party on March 7 and 8.

The venue will feature a Dave Haslam DJ set on the Sunday and a live gig from emerging Glasgow outfit Cowboy Hunters on the Saturday — the latter will be dropping a new EP on cassette through Sour Grapes Records.

The weekend will also welcome Horace Panter (The Specials), who will be showcasing his cassette artwork throughout both days. There will be a range of in-store discounts for various cassette products, with food and drinks specials available as well.

“Our cassette shop launched back in 2019 in perhaps the smallest unit in Afflecks Palace, and we never expected to grow in the way we have,” adds Alex.

“Now in the midst of our third expansion, into one of the biggest spaces in the building we wanted to celebrate with all of the cassette aficionados that made it possible! We’re offering food, drinks and in-store deals, alongside some fantastic live music from Cowboy Hunters, and DJ sets from Dave Haslam and Glue Tape Jockeys (a cassette DJ set).

“We’re also excited to be bringing down Horace Panter of The Specials who will be exhibiting some of his fantastic cassette based artwork. It’s gonna be a tape heads dream weekend and we can’t wait to welcome everyone down to the new store.”

The launch celebration will run on March 7 and 8 at Afflecks Palace, 52 Church St, Manchester M4 1PW. Complimentary tickets can be secured via Skiddle.

As a powerful blizzard blankets the East Coast in snow, another force of nature is preparing to take over the chilly streets of Manhattan.

Los Angeles-based singer-songwriter Gaby Moreno will make her Broadway debut as Persephone, the leading lady of Anaïs Mitchell’s Tony Award-winning musical “Hadestown,” beginning Tuesday at the Walter Kerr Theatre in New York City.

Exploring themes of climate change to a New Orleans jazz- and American folk-laden soundtrack, “Hadestown” — a retelling of the Greek myths of Hades and Persephone, as well as Orpheus and Eurydice — will open just as New York transitions out of the harsh winter. Moreno, 44, takes a video call from The Times during her second day of rehearsals, as she is learning how to play Persephone, goddess of spring — and in this play, a wine-drunk lush.

“For the first few minutes I was like, ‘Can I do this? I feel like a klutz,’” she says of her character’s flailing steps, meant to distinguish the inebriated goddess, who splits her time between the underworld and the surface of the Earth.

“I’ve never been drunk because I don’t like the taste of alcohol,” says Moreno, giggling. “But there’s a lot of numbers where I’m drunk-singing and dancing around, so that’s the acting part.”

As a theatrical performer of her own songs, Moreno feels firmly in her element on Broadway. But she arrives as a decorated musician who has woven Latin American, blues and soul traditions into nine bilingual albums — including her 2024 Grammy Award-winning acoustic album “X Mí.”

For Moreno, who was born in Guatemala City, passion for musical theater was seeded during a trip to New York City with her family when she was 13 years old. That’s when they saw “Les Misérables” and “The Phantom of the Opera” on Broadway.

“I went back home [to Guatemala] thinking, this is a dream of mine,” she recalls.

But the trip to the Big Apple also illuminated another path for Moreno. Then just a starry-eyed Catholic schoolgirl, she remembers walking down Times Square and hearing a woman singing in the streets in a style unknown to her. Curious, she went up to the busker to ask her what type of music she was singing; it was the blues, she says.

Moreno scored blues compilation albums she would bring back to her native Guatemala. Locked in her bedroom, the first track that played was Koko Taylor’s 1965 rendition of “Wang Dang Doodle,” the party anthem originally composed by Willie Dixon.

“That’s the moment I’ll never forget,” says Moreno.

She would absorb every cadence of the African American folk genre, transfixed by the bewitching vocals of 1920s blues icons like Bessie Smith and Ma Rainey, as well as luminous jazz ballads by  Ella Fitzgerald,  Billie Holiday and Nina Simone.

“Every musician should always try to find the roots to see where all that comes from,” says Moreno of her early musical explorations. “You might discover something completely new.”

Growing up as the proud daughter of Lucy Bonilla, one of Guatemala’s most charming radio broadcasters, Moreno starred alongside her mother and sisters in a series of cheeky Salvadoran seasoning commercials. She even recorded voice-overs for Central America’s most beloved chicken restaurant chain, Pollo Campero.

At 10 years old, she performed as an opening act for Ricky Martin in 1991, to the credit of her father, a concert promoter who reeled international stars to Guatemala.

“It was such a wonderful experience. I got to discover that I loved singing on stage,” says Moreno, who sang Disney songs as well as her own compositions. “I felt right at home.”

Yearning to start a music career in the States — “that’s where the [music I like] comes from,” she says — Moreno recorded a cover of a popular Guatemalan waltz called “Luna de Xelajú.” Her mother sent her demo to a producer in Miami, who then linked the young singer to a music manager in Los Angeles.

At 18 years old, she signed a recording contract with Warner Brothers and moved to L.A. There she enrolled in the Musicians Institute’s Vocal Certificate program, which allowed her to apply for a student visa and remain in the U.S.

With a deep passion for American blues and folk traditions, Moreno wondered if she could integrate those sounds with elements of Latin American folk music. But her label discouraged her from doing so, believing it would “confuse [the] audience,” she says.

“It took a while for me to find my own voice and to find where I belonged in this music world,” says Moreno. “Because at the beginning, [labels] were telling me you can’t sing in both languages — you gotta pick a lane.”

Following a disastrous 2001 merger between AOL and Time Warner, Moreno’s recording contract fell through. She later signed with Epic Records under Sony Music Entertainment — then run by Chairman and CEO Tommy Mottola — but they dropped the singer, following the decline in CD sales and rise of digital file-sharing sites like Napster and Limewire.

“I didn’t even get past recording an album,” she says of this period in her life.

Behind the scenes, Moreno formulated her own Spanish-language takes on jazz, which listeners can hear in the 2006 funky, spy-like chromatic track “Escondidos” — which includes a kazoo solo in its outro. The enigmatic song earned her the Grand Prize in the John Lennon Songwriting Contest that year, making it the first time a Latin category took home the top prize.

“People kept telling me what to do, how to sound, what kind of music I should do, how I should dress. Blah, blah blah,” says Moreno when she was under a label. “At some point I said, ‘Screw it.’”

With nothing to lose — and no label looking to strip her of tender heart and free spirit — Moreno saw an opening to release music independently on MySpace, where she uploaded her 2008 debut album, “Still The Unknown.” (Much of Moreno’s music is still archived on the social network.)

“If all should fail you, there’s still the unknown,” sang Moreno with a warm, coffeehouse-friendly cadence in the title track.

“Maybe it’ll work out, maybe it won’t, but at least I’ll be doing something that I really love,” she adds, looking back on that time. After its debut, she says she gave a copy to her friend, composer Patrick Warren, who was touring with Tracy Chapman. The “Fast Car” singer heard the LP and asked Moreno to open for her Our Bright Future tour in the summer of 2009.

“It was just me and my acoustic guitar, going with [Chapman] for three weeks all over the U.S.,” says Moreno.

Moreno’s ingenuity as an independent bilingual creative allowed her to freely partake in various opportunities in entertainment. Some might recognize her bubbly folk theme from the NBC mockumentary sitcom “Parks and Recreation,” which stretched across seven seasons between 2009 and 2015.

Others might recall her smokey vocals in the song “Mal Hombre,” as featured in Guillermo del Toro’s “Cabinet of Curiosities” — or in the final season of Netflix’s “Orange is the New Black” which featured her heart-wrenching cover of the traditional Mexican huapango “Cucurrucucú Paloma.” She can also be heard in the 2022 animated film “Puss in Boots: The Last Wish,” singing a swooning ballad titled “Por Que te Vas.”

Still, Moreno declares she hasn’t found mainstream success as a musician.

“I’m perfectly fine with that. I am so happy at this point in my life where I can make music for a living, [which is] hard to do as an independent artist,” she says.

For an indie artist, Moreno boasts an impressive slate of accolades. She’s earned three Grammy nominations, including in the category of Latin pop album in 2017 for “Ilusión” and Latin rock/alternative album in 2022 for “Alegoria.” In 2024, she finally took home the gramophone for Latin pop album for her album “X Mí (Vol. 1),” an acoustic medley of all her previously recorded songs, including the song that started it all: “Luna de Xelajú.”

“She’s powerful the way that water is flowing and it’s light, but it’s unstoppable and effervescent,” says award-winning actor Oscar Isaac.

A Guatemalan-born musician himself, Issac befriended Moreno in 2013. Emmy-nominated for his role in “Scenes From a Marriage,” the actor was in town for the 2022 awards show when he and Moreno recorded “Luna de Xelajú” at the Palace Theater in downtown L.A. The two would later perform the ballad live on The Tonight Show Starring Jimmy Fallon in 2024.

For Isaac, the stresses of everyday life melted away when the two got to jam together. They’ve performed a handful of times over the years, including live at the Lincoln Center for its American Songbook series in 2019.

“When I think of her, she feels very much like home,” he adds.

Guatemala — which is also known as the “Land of the Eternal Spring” — is always on Moreno’s mind.

Last year, she starred in “Lamento,” a musical short film made inside an abandoned Guatemalan beach resort; once a popular seaside destination known as Turicentro Likin, it is now tucked away behind the mangroves. Starring a stacked Guatemalan cast, including actor Tony Revolori, the project underlined the encroaching impacts of climate change that corrode once treasured memories, including those of Moreno, who grew up visiting the vacation destination.

“It’s something that brings me joy to work with people from my country,” she says.

It was only fitting that the folk-soul singer would be selected to represent Persephone in “Hadestown” — a victim of environmental destruction, yet whose duality brings life and prosperity back to a world that is constantly freezing or aflame.

Yet before she can truly represent both the queen of the underworld and goddess of spring, Moreno must first survive the gauntlet that is the New York winter.

“One thing I can tell you is: I cannot wait to bring on the spring,” she says.

When Dalia Stasevska heard opera music for the first time, it was a moment of profound self-revelation. She was 13, growing up in the factory town of Tampere in the south of Finland, and her school librarian gave her a CD of Puccini’s “Madama Butterfly” along with a translation of its Italian libretto.

“As a teenage girl, this dramatic story touched my soul,” Stasevska says, adding that she still remembers the experience and thinking, “ ‘This music understands me, this is exactly how I feel.’ And that was…when I knew that I wanted to become a musician.”

Stasevska is now chief conductor of Finland’s Lahti Symphony Orchestra and a prodigious conductor of orchestral music in all forms. A busy guest baton with companies around the globe, she will make her L.A. Opera debut this Saturday with a production of “Akhnaten” by Philip Glass, running through late March.

John Holiday in the title role of L.A. Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

The seminal work by Glass lands at L.A. Opera just a month after the world-famous composer abruptly canceled June’s world premiere of Symphony No. 15 “Lincoln” at the John F. Kennedy Center for the Performing Arts. “While Philip Glass has pulled out of Kennedy Center, his music will be front and center at our production,” a rep for L.A. Opera wrote in an email.

Stasevska, with her razor-sharp appreciation of the power of Glass’ work, is the ideal conductor to bring it there.

Stasevska, 41, walks from the ornate foyer of the Dorothy Chandler Pavilion, with its emerald green carpets and gleaming chandeliers, to the more ordinary hallways and cubicles of L.A. Opera’s offices. She’s been in town rehearsing for a few weeks and jokes with some of the show’s jugglers in a kitchenette, where she makes herself a machine pod coffee.

The conductor is petite with large, expressive eyes and a Cheshire cat’s smile. Her mouth often pulls to the right when she speaks, her admirable non-native English tugged easterly in a Finnish accent.

Opera remains her great love, and it seems a perfect twist of fate that Stasevska was tapped to conduct “Akhnaten.” She saw it for the first time in 2019 at a Helsinki cinema, in a global broadcast of a production by the Met. She couldn’t believe her friend dozed off.

“I was like, ‘How could you fall asleep? This was the best thing I’ve ever seen in my life. I would do anything to conduct this opera,’ ” she recalls saying.

Stasevska was born in 1984, the same year that Glass’ hypnotic, ritualistic opera, about an Egyptian pharaoh who dared to push monotheism onto his polytheistic culture, debuted in Stuttgart, Germany. Eight months later, Stasevska entered the world in the Soviet-controlled city of Kyiv, the child of a Ukrainian father and Finnish mother.

Conductor Dalia Stasevska, who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” says that opera is her first great love.

(David Butow / For the Times)

It was a fluke that she was born in Ukraine. Her parents, both painters, were living in the Estonian capital of Tallinn, also under Soviet rule, but found themselves in a Kyiv hospital close to family when Stasevska arrived. She’s never lived in Ukraine — she spent her first few years in Tallinn before moving to Finland at age 5— but her life has been infused with its heritage.

Her father, who as a teenager in Tallinn began to rebel against Sovietization, insisted on teaching Stasevska and her two younger brothers to speak Ukrainian at home. Her grandmother, Iryna, lived with the family and was an important caretaker for much of her childhood. Stasevska grew up hearing fantastic stories filled with dreamlike imagery of the homeland.

“She was such a civilized, cultural person,” Stasevska says of her grandmother, adding that she taught her grandkids everything she knew about her home country. That’s why, even though Stasevska was raised in Finland, she grew up eating Ukrainian food and hearing Ukrainian folk tunes. “I know the language and understand the culture,” she says.

Stasevska grew up poor, but music education was mandatory for her and her brothers: “My father said, ‘This is going to be your profession.’ It was no question that this is not a hobby. So we started practicing immediately, very determined. There was maybe some forcing involved,” she says, laughing.

She played the violin from age 8, but it was only after she heard Puccini at 13 that she fell in love with classical music. She became obsessed with the opera and orchestral repertoires and was immediately determined to play in an orchestra. She approached the headmaster at her conservatory who placed her in a string ensemble before advancing her to the symphony orchestra as a violinist.

At 18, Stasevska entered the Sibelius Academy in Helsinki, which is named after Finland’s most famous composer, Jean Sibelius. She couldn’t stop herself from stealing a peek at the school conductor’s score, copying bowings and poring over the details, but she didn’t indulge any dreams of taking the podium herself. “I was going every week to the concerts,” she says, “but it took me so long to see somebody that looked like me.”

She was 20 when she saw a female conductor for the first time, calling it “the second big moment in my life.” When Stasevska expressed interest in trying it herself, she was referred to Jorma Panula, a legendary conductor and teacher in Finland. Panula invited her to attend one of his masterclasses, and on the first downbeat of her first experience conducting, “I knew immediately that this was beyond anything I’ve experienced in my life,” she says. “It became this kind of madness moment.”

She loved the sheer physicality of it, she says, but also “that I can affect the music, and that I can affect the interpretation, because I had so much in my heart that I felt about the music.”

After completing her conducting studies in 2012, Stasevska assisted Panula — who emphasized discovering unique “gestures in such a way that the orchestral musicians know what you mean,” she says. She also worked with her fellow Finn, Esa-Pekka Salonen. Stasevska became principal guest conductor of the BBC Symphony Orchestra in 2019 and chief of the Lahti Symphony in 2020.

When she’s not globetrotting, Stasevska lives in Helsinki with her young daughter and her husband, Lauri Porra — a heavy metal bassist who is also the great-grandson of Sibelius.

She likes to champion new music — her 2024 album, “Dalia’s Mixtape,” featured works by Anna Meredith, Caroline Shaw and other contemporary composers. She is also a vocal supporter of the land where she was born and has spoken out against Russia’s war in Ukraine.

John Holiday as Akhnaten, with So Young Park, at right, as Queen Tye, in L.A. Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

Stasevska’s L.A. Opera debut arrives on the same week as the fourth anniversary of Russia’s invasion. Both of her brothers — one a film director, the other a journalist — moved to Ukraine and have borne witness to the war, which has given her “another level of experiencing this horror,” she says.

Stasevska has made it her mission to raise funds — more than 250,000 euros to date — to provide basic supplies particularly for children and elders who are without power and huddling in freezing cold homes. She has even driven in supplies herself by truck.

She has also conducted concerts there — and her next album will celebrate the country’s composers in a meaningful way. “Ukrainian Mixtape,” which she recorded with the BBC Symphony Orchestra in London, features works by five composers who range from the 19th century to the 1960s. Three are premiere recordings of artists who have been completely forgotten, which required a year of searching for materials.

“I think that it will not leave anybody cold,” Staveska says, “and I hope that it will inspire everybody to discover Ukrainian music more, and that we will hear it more on main stages of the world — where it deserves to be.”

For now, though, her focus is on ancient Egypt and Philip Glass — and opera. She says her goal, in every concert, is to give audiences the same experience she had when she was 13, that remarkable feeling that the music uniquely understands them.

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 100-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

Robbie Williams is set to take to the stage at the Brit Awards to pay tribute to Ozzy Osbourne as the late singer has been honoured with the Lifetime Achievement award

Ozzy Osbourne is set to be honoured at this year’s Brit Awards – with Robbie Williams fronting a super group paying tribute to the star. The ceremony, which is taking place in Manchester for the first time in its history, will see the Prince of Darkness receive the posthumous award for Lifetime Achievement.

It comes seven months after the Black Sabbath frontman died aged 76. Now, to commemorate his outstanding contribution to music, the rocker who is known as the “godfather” of British heavy metal will receive the honour at Saturday’s event.

An all-star rock tribute performance will pay homage to Ozzy as they close the show on the night at Co-Op Live. The performance will be a special arrangement of ‘No More Tears’ – the title track from Ozzy’s multi-million selling 1991 album of the same name.

READ MORE: ‘I’m a vocal coach – here’s why Brit Awards stars will be nervous this year’READ MORE: Sinitta says her marriage was a ‘revenge move’ on Simon Cowell

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It has been curated by Ozzy’s wife, Sharon Osbourne, and will boast a phenomenal line up of British and international musical talent. It will feature musicians that played as part of Ozzy’s band over the years, including Adam Wakeman, Robert Trujillo , Tommy Clufetos and Zakk Wylde.

The makeshift group will be fronted by Robbie Williams, who was invited personally by Sharon to be part of this special moment. The invite comes as the former Take That man is a long-standing fan of the music, and is also a friend of the Osbourne family.

As well as being one of the most influential music figureheads and rock icons of all time, Ozzy hosted The BRIT Awards in 2008 along with his family Sharon, Kelly and Jack.

Speaking of the accolade, the Chair of the 2026 BRIT Awards Committee and Co-President of RCA Records at Sony Music UK, Stacey Tang, said: “Ozzy Osbourne has been a mighty force in modern music. Possessing an unmistakable voice and unique presence, he reshaped the sound and spirit of rock, inspiring generations of artists who followed.

“This Lifetime Achievement Award recognises a remarkable legacy built on originality and enduring influence, that continues to connect with fans worldwide.”

Among the accolades Ozzy won during his career that spanned over five decades included five Grammy awards, induction into both the UK Music Hall of Fame and the Rock and Roll Hall of Fame (both with Black Sabbath and as a solo artist, in separate years) and the Ivor Novello Award for Lifetime Achievement (with Black Sabbath).

Last year saw him take to the stage for the final time just weeks before his death. His Back To The Beginning concert at his beloved Villa Park saw celebrities from across the globe unite to give Ozzy the perfect send off.

At the end of the day, which saw the likes of Steven Tyler of Aerosmith, YungBlud and Guns N Roses take to the stage, Ozzy reunited with his old bandmates to bring the house down one last time. Despite concerns over whether he would make the show, a determined Ozzy gave fans a show to remember. Sadly, he died just weeks later.

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The 2026 original song contenders come from deep inside the characters singing them: a simple man wistfully looking back on his ordinary life; a budding bluesman with talent to burn down the house; a 17-time Oscar nominee; a demon-hunting K-pop star channeling the real-life singer-songwriter behind her; and a joyous expression of life from inside a documentary’s main “character,” a retirement home for musicians.

‘Dear Me’ from ‘Diane Warren: Relentless’

Music and lyrics by Diane Warren

Diane Warren in “Diane Warren: Relentless.”

(Don Holtz)

When 17-time Oscar nominee Diane Warren agreed to be in a documentary about her life, she found herself back in her childhood home in Van Nuys — specifically the bathroom where she wrote songs as an angsty teen.

“The acoustics in that bathroom were always great,” she says. “It was cool to go back and look at the bedroom window I used to sneak out of. I’m always connected to that 14-year-old me, with a guitar my dad bought me.”

Inspired by the documentary’s examination of her troubled youth, Warren wrote an “It gets better” ballad sung by Kesha: “Dear me, it’s gonna be all right, all right / Trust me, all of the pain is gonna fade.”

“I get notes from all ages; the song makes them feel like they could hug the little kid inside them,” says Warren. “It’s a love song to your younger self.”

‘Golden’ from ‘KPop Demon Hunters’

Music and lyrics by Ejae, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park

A scene from “KPop Demon Hunters.”

(Netflix via Associated Press)

Though “Golden” went to No. 1 and has been winning awards, singer and co-writer Ejae still connects “one hundred million percent” to its painful roots in her own, frustrated K-pop dreams.

She related to the film’s protagonist, Rumi, a monster-fighting singer who is secretly part monster herself. “She has this side that she’s so ashamed of, that she was born with. I struggled with my own demons that I was ashamed of, growing up in the K-pop industry, [harshly critiqued for] my physical appearance, my voice, my personality.

“Even when writing ‘Golden,’ things were just not happening. It was a really bad time.”

Yet the hit is a catchy K-pop banger.

“It was very cathartic,” she says. “I remember crying while recording the demo. I was desperate.

“Now when I sing it, it’s a different feeling. I was able to reach a dream, and it makes me feel like this is who I was meant to be.”

‘I Lied to You’ from ‘Sinners’

Music and lyrics by Raphael Saadiq and Ludwig Göransson

Miles Caton, center, in “Sinners.”

(Warner Bros. Pictures)

Ryan Coogler’s “Sinners” features a central moment of musical ecstasy. Emerging bluesman Sammie plays a song he wrote as a confession to his pastor father, a paean to the music he loves. As the juke joint crowd responds, he loses himself in the timeless transcendence artists hope for.

Co-writer Ludwig Göransson says, “It doesn’t happen very often, but you have those experiences when you really are getting into the music and time and space disappears. Ryan’s not a musician, but it was written like he’s been in that position.”

In cosmic communion, practitioners of Black music from many eras appear to Sammie, the joint’s roof combusting in his mind. Göransson assisted in the Dolby Atmos mix, moving the music and sound around spatially as the camera travels.

Co-writer Raphael Saadiq says, “Sammie’s father felt secular music was devil music. Even today, you have people who go to church who don’t listen to the blues [for that reason], but deep down inside, they love it because it’s something we inherited from our ancestors.”

‘Sweet Dreams of Joy’ from ‘Viva Verdi!’

Music and lyrics by Nicholas Pike

Milan’s Casa Verdi, a retirement home for musicians depicted in “Viva Verdi!”

(Viva Verdi! LLC)

Even those who know little about opera have heard of Giuseppe Verdi. What many don’t know is one of his most enduring accomplishments is Casa Verdi — a retirement home for musicians. Yvonne Russo’s documentary “Viva Verdi!” captures the vibrant life inside its walls, expressed in the aria “Sweet Dreams of Joy,” sung by soprano Ana María Martínez and composed by Nicholas Pike.

The filmmakers “sent me this 12-minute assembly, kind of like a teaser, and that’s all I saw,” says Pike. “The passion, the vitality of these residents, the mentoring of young, up-and-coming artists … I went over to the piano and wrote the song.”

He says the whole thing took about a day to craft, with its contemporary piano figures and classical vocals, imbued with the vivaciousness of Casa Verdi’s residents.

He wanted to capture the footage’s “energy and life and hope. We’ve all been to retirement homes; they can be pretty down places. This is 180 degrees from that.”

‘Train Dreams’ from ‘Train Dreams’

Music by Nick Cave and Bryce Dessner; lyrics by Nick Cave

Joel Edgerton in “Train Dreams.”

(Netflix)

When “Train Dreams” star Joel Edgerton called Nick Cave to work with composer Bryce Dessner on a song for the film, the postpunk poet and art rocker was on holiday, avoiding the “attendant agony” of songwriting. But Denis Johnson’s book happened to be a favorite of Cave’s.

Edgerton sent him the film. Cave says, “I sat up in bed and watched it with Bryce’s gorgeous score and fell asleep and had a kind of fever dream with all the images of this extraordinary film, and woke up with the lyrics fully formed, which is extremely unusual for me.”

He went to the hotel’s breakfast room, where there was a piano. “It all just sort of poured out of me. The melody and the lyrics fit perfectly to Bryce’s score.”

The song expresses “the inarticulate wonder at the world that the lead character has. There’s this chordal thing after the refrain, that rises up — an expression of that wonder, rising out of the grief.

“‘This has been going on for years … I can’t begin to tell you how that feels.’”

When the pandemic hit, and reality settled in that life would be isolated and mostly inside, Grammy winner Anderson .Paak found himself on the outside looking in, in a way he didn’t anticipate. “I was the odd man out. My son was 8, and BTS took over the whole house,” .Paak explained in an interview with The Times at his WeHo lounge, Andy’s. “It was a K-pop storm. Before that, me and my son were bonding off of my music.”

.Paak’s son, Soul Rasheed, and his now ex-wife originally from Korea, Jaylyn Chang, had become obsessed with K-pop alongside much of America, which reminded .Paak of the intensity of Beatlemania. Black American music influenced the birth of a new style, which formed and expanded across oceans, then returned to the U.S. and exploded. This effect in the .Paak household was palpable, causing Soul and Chang to deeply bond in a new way. .Paak himself, as a soul, R&B and hip-hop aficionado, was tapped into the source, but not the reinterpreted subject. So he had to find a way in.

Soul, at the time, like many 8-year-olds, had also become obsessed with becoming a YouTuber. Besides .Paak’s music, the father-and-son duo had also previously connected over humor, so .Paak started there. They began with funny skits and eventually fused them with BTS dances. Soon, there were even videos featuring them comedically educating each other about their individual music tastes. “I loved it,” .Paak recalled, getting lost in the memory. “I was getting to know him more, and he was getting to know me. My mom would always say, ‘It’s one thing for your kids to love you, but it’s another to share things you’re interested in.’ It wasn’t like I was being Anderson .Paak, I was just Dad.”

“I was getting to know him more, and he was getting to know me,” .Paak said of bonding with his son, Soul.

(Carlin Stiehl / For The Times)

Through this exploration and the realization of a potential continued familial bond, a story idea emerged, then a treatment for a K-pop-centered film that .Paak would direct and he and Soul would both star in. .Paak then began directing a slew of music videos as the pandemic began to fade, building a portfolio and gaining experience in the medium. But he could start to sense Soul’s interest fading as time passed. After a few failed pitch attempts, .Paak urgently enlisted the help of one of his oldest friends and fellow entertainer, Jonnie “Dumbfoundead” Park, who brought .Paak and the idea to Stampede Ventures.

“The pitch was from an idea that Anderson had, and [to introduce it], we showed them this TikTok that he had with his son,” Park recalled over Zoom. “Anderson was like, ‘Do you know anything about BET, son?’ And [Soul] was like, ‘No, but I know BTS.’ Then they were just going back and forth, arguing about BET and BTS. That was literally the deck, [us saying] we would take that energy and put it into a two-hour film. They loved it. As soon as we walked out of the office, Anderson looked over like, ‘Are we greenlit?!’ They just understood it, the whole intergenerational, intercultural element of Black and Korean.” Stampede combined forces on the project with Live Nation Studios and .Paak’s debut feature “K-Pops!” was off to the races.

It’s important to note that .Paak is himself Black and Korean. His mother was adopted from Korea by a SoCal Black American military family and .Paak’s father was also a Black military officer. Thus, while his mother was born in Korea, he was raised almost entirely within a Black cultural space. .Paak didn’t experience much direct exposure to Korean culture until his 20s, when he met Chang at the Musicians Institute in Hollywood. As an immigrant directly from Korea, Chang showed him the fortitude of structure amid her community. He was also taken by their inherent family value system. “In Korean households, you stay in the house until you get older so you can take care of your parents, and your parents can help take care of the kids,” .Paak explained. “There’s an infrastructure that’s worked out. Also, Korean food is important, as is learning the language. I was drawn to that. My son didn’t eat anything outside of Korean food for so long, and he’s just now getting into tacos.”

.Paak then further explored his Korean side through a burgeoning friendship with Park, which happened a bit later, after Chang had already given birth to Soul. Park introduced .Paak to K-town-based Korean culture through their shared music scene. “The people that came from K-town had a lot of Latino and Black influences as well,” .Paak remembered. “There was a little more of a melting pot, and it was more urban. But in a similarly communal way [to Koreans from Korea], they were all hanging out in K-town with other Korean friends. They’d drink soju, and go to after-hours where you had to have somebody Korean with you.”

While .Paak had some opportunities in adulthood to grasp a bit of his Korean heritage, in “K-Pops!,” through his main character BJ, he also got to actualize what his mother may have missed. In the film, BJ, a failed karaoke bar R&B musician, gets a lucky chance to go to Korea and be the drummer for a popular K-pop competition series. There, he bumps into his estranged ex-girlfriend’s son, Tae Young (played by Soul), who is competing on the show. He then finds out that the kid is his. While a messy transition ensues, BJ and Tae Young eventually get to galavant around Korea and work together to try to win the competition. Through this exploration, BJ finds out he can thrive in Korea while still holding onto his Blackness. .Paak’s mother’s dive back into her roots had a different result. “My mom went abroad and spent a year in Korea, but when she went there, she just didn’t like it,” .Paak explained. “In the movie, initially, BJ doesn’t really have any connection to his Korean side and doesn’t really care to know, but then he finds a bridge.” That bridge is music.

Actor Yvette Nicole Brown, who in “K-Pops!” plays BJ’s mother, proclaimed over Zoom that, “Everything about the film and the music in it is Blasian, every culture is celebrated and massaged and made into something beautiful.” .Paak made a concerted, intentional effort to explore both the Black and Korean sides of K-pop in two scenes.

The first is an early breakdown initiated by Soul’s character, Tae Young, who explains the structured roles of a K-pop group, which may be fun for superfans and educational for laypeople to the genre. The next is a winding presentation by BJ to Tae Young about the influence of Motown groups like the Jackson 5 and boy bands like New Edition on the momentum of K-pop’s rise. It’s particularly poignant because it is all shot at a record store on the streets of Korea, where .Paak explained he actually found the records he was referencing. “There’s nothing wrong with people doing their interpretation of Black music, as long as you pay homage and as long as you respect it and take care of it,” .Paak declared. “Because [if you do], then they’ll take care of you, but the moment you don’t, you’ll see what happens … I wanted to explain that history because that’s how I saw it.”

Real-life father and son, Anderson .Paak, left, and Soul Rasheed, co-star in “K-Pops!”

(Jake Giles Netter)

”K-Pops!” has as much of who .Paak and Soul are as father and son as he could fit in. There are appearances by legacy Black artists like Earth, Wind & Fire, as well as K-pop stars like Vernon from Seventeen. There are original songs co-written and co-produced by .Paak and musician Dem Jointz, that feature K-pop fused with soul and funk, one of which Tae Young performs as his finale competition number (soundtrack arriving soon). The film was shot in both L.A. and Korea and provided ample time for bonding (especially during scenes filled with off-the-cuff humor) that .Paak envisioned from the beginning. Yet still, at the time they were about to shoot, .Paak almost couldn’t get Soul on board because he had turned 11 and wasn’t as into K-pop or acting comedically anymore; he insisted he was instead “into Slipknot.”

The duo did find their footing, though, and executed a winding story that centers on their connection. As a burgeoning teenager in 2024, Soul went with his father to the world premiere at the Toronto International Film Festival, along with a plethora of Korean relatives from his mom’s side. .Paak anxiously awaited their full reaction to the culmination of his quest for a deeper bond.

“Everybody really enjoyed it,” .Paak remembered, relieved. “[Soul] was like, ‘I’m proud of you, Dad.’ I asked him, ‘You think you would ever do part two?’ He was like, ‘Nah, I don’t think acting is my passion, but I’ll never forget those moments … You know what? On second thought, it depends on the script.’ But I think he’s really proud of it. I think it’s something like, when he gets older, he’ll see how special it is as well. But yeah, he didn’t say it’s cringe.”

“K-Pops!” has its L.A. premiere on Tuesday and debuts in select theaters Friday.

GRAMMY-nominated salsa legend Willie Colón has died aged 75.

Heartbreaking tributes have poured in for the musical pioneer – with Bad Bunny calling the star “one of the legends who contributed to this beautiful and legendary genre”.

The iconic artist passed away on Saturday surrounded by loved ones, his manager confirmed.

Colón was a trombonist, composer, arranger, singer and social activist.

Over his decades-long career, he produced more than 40 albums that sold more than 30 million copies worldwide.

His manager Pietro Carlos said: “Today, we’ve lost an architect of the New York sound, a trombonist who made metal his banner and wrote eternal chapters in our musical history.

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“Willie didn’t just change salsa; he expanded it, politicized it, clothed it in urban chronicles, and took it to stages where it hadn’t been heard before.

“His trombone was the voice of the people, an echo of the Caribbean in New York, a bridge between cultures.”

He added: “Today we say goodbye to a master, but his legacy lives on.”

Meanwhile, Grammy-winner Bad Bunny said on Instagram: “Today, one of the legends who contributed to this beautiful and legendary genre passed away.”

The star continued: “So, on behalf of myself and Los Sobrinos, we wish Willie Colón peace.

“Much strength to his family.

“The inspiration of so many of these great musicians who left their mark on this earth will never die as long as there are talented young people like those here, keeping the music, salsa and all Caribbean rhythms alive.”

Colón’s cause of death has not been confirmed, but Saturday’s tragic news follows reports from last week claiming that the star had been hospitalised for respiratory problems, according to TMZ.

A pivotal architect of urban salsa music, Colón collaborated with a long list of fellow icons, including the Fania All Stars, David Byrne and Celia Cruz.

His critically acclaimed collaboration with Rubén Blades, Siembra, which touched on social issues in salsa, became one of the bestselling albums in the genre of all time.

The musician, born to Puerto Rican parents, was nominated for 10 Grammys and one Latin Grammy.

Colón was born in the Bronx, New York, before being raised by his grandmother and aunt, who from a young age nurtured him with traditional Puerto Rican music.

When he was 11 years old he ventured into the world of music, first playing the flute, then bugle, trumpet and finally trombone.

His interest in trombone was sparked after experiencing Barry Rogers playing it on Dolores, Mon Rivera’s song with Joe Cotto.

He recalled in 2011: “It sounded like an elephant, a lion … an animal.

“Something so different that, as soon as I heard it, I said to myself: ‘I want to play that instrument.’”

Colón’s main musical traits included the fusion of rhythms.

The genius harmonized jazz, rock, funk, soul and R&B with the old Latin school of Cuban son, cha-cha-cha, mambo and guaracha.

His style also encompassed traditional Puerto Rican sound including jíbara, bomba and plena music.

A passionate advocate for civil rights, he fought mostly in the US for the Latino community among others.

In 1991 he was awarded the Chubb fellowship from Yale University, a public service recognition also awarded to John F. Kennedy, Moshe Dayan, the Rev. Jesse Jackson and Ronald Reagan.

And he even served in politics – working as a special assistant to David Dinkins, New York’s first Black mayor, and an adviser to Mayor Michael Bloomberg.

Colón had his own stints running for public office too – but had little luck challenging the then-US Rep. Eliot Engel in the 1994 Democratic primary.

In 2001 he also came in third in the Democratic primary for New York’s public advocate.

The late star also appeared in films such – taking roles in Vigilante, The Last Fight, and It Could Happen to You.

On TV, he featured in Miami Vice and Demasiado Corazón.

The icon also appeared in Bad Bunny’s music video for NuevaYol.

Colón is survived by his wife and four sons.

Teddy Riley took to social media late Thursday to walk back earlier comments he’d made about wanting to work with the disgraced R&B singer R. Kelly.

In an interview with The Times published on Wednesday, the veteran producer and musician — widely known as the architect of the New Jack Swing sound that dominated Black pop in the late 1980s and early 1990s — said he’d “talked a few times” with Kelly, who’s serving a 30-year prison sentence after a jury convicted him of racketeering and sex trafficking charges, and that he’s “bringing in investors” to help release some portion of the 25 albums Kelly has said he’s recorded in prison.

“Everybody deserves a second chance,” Riley told The Times. “Everyone deserves to repent, and everyone gets forgiven by God when you come to him. People miss [Kelly’s] music. I’m the messenger to bring R&B back.”

Yet Thursday he appeared to changed course.

“As a producer, I’ve always been excited about the possibilities of music and creative collaboration,” he wrote in an Instagram post. “That excitement has defined my career. But I also understand that words carry weight, and I never want my passion for music to overshadow the very real pain that many people have experienced.

“If my comments caused hurt, I sincerely apologize,” he added. “That was never my intention. I take seriously the impact that abuse and misconduct have had on survivors and their families. Their experiences matter, and they deserve to be acknowledged with care and respect.”

Riley, whose long career has included collaborations with Michael Jackson, Bobby Brown and Keith Sweat, described his plan to work with Kelly as “a creative idea discussed in passing. It is not something that will move forward. Loving music and recognizing its cultural impact does not mean condoning harmful behavior, and I want to be clear about that.

“I have spent my life building a legacy rooted in innovation, integrity, and love for the art form. That remains my focus. I appreciate the dialogue, and I remain committed to moving forward with intention and accountability,” said Riley, who this month published a book, “Remember the Times,” about his life and work.

“Thank you to everyone who continues to support me, my memoir, and the journey,” he wrote on Instagram.

Imelda Marcos’ fetish for fiendishly expensive shoes was a running gag in the 1980s. But did you know that she was also something of a disco queen?

The image of a jet-setting Marcos in her Beltrami pumps boogieing with arms dealers at fashionable New York nightspots is one of the inspirations of David Byrne’s musical about the notorious former first lady of the Philippines, who sang on the campaign trail for her husband, Ferdinand E. Marcos, and ruled with an iron fist alongside him after he declared martial law and plunged his nation into a brutal dictatorship.

“Here Lies Love,” which is having its Los Angeles premiere at the Mark Taper Forum, traces the political power couple’s rise and fall through a series of dance cuts that capture the irrational hold charismatic leaders can have on a public — at least while the music is blasting.

Byrne, the ingenious Talking Heads co-founder, conceived the show and wrote the music and lyrics. Fatboy Slim, a Grammy Award-winning DJ, musician and record producer, contributed to the music. The score, a mix of lush disco and synth pop with hints of island breezes and karaoke camp, brings a club-like energy to the stage.

Aura Mayari and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

I first saw “Here Lies Love” at New York’s Public Theater in 2013, when the production, directed by Alex Timbers, was staged as an immersive dance party. Audience members moved along a shifting dance floor as the love story between Imelda, a beauty queen from the provinces, and Ferdinand, an ambitious senator accustomed to getting what he wants, sourly played out amid the backdrop of a traumatic national story.

This sung-through musical pulled off something of a coup of its own. As Ferdinand, now president and philandering husband, and Imelda, his embittered wife dripping in compensatory luxury, shore up their “conjugal dictatorship,” theatergoers discovered that, while partying to the seductive beat, a political dystopia was solidifying around them.

Imagine if, in “Evita,” audience members were invited to sing back up on the balcony as Eva Perón belts out “Don’t Cry for Me Argentina,” accompanying her in her last manipulative hurrah. “Here Lies Love” seemed to want its audience to leave with an aftertaste of cognitive dissonance.

Audiences don’t usually like being duped. But voters need to be continually reminded that when they go to bed with a strongman, they’ll likely wake up without healthcare or voting rights.

“Here Lies Love” at the Taper doesn’t follow the Public Theater’s staging or the similarly immersive Broadway production by Timbers that followed in 2023. It’s a more straightforward presentation that keeps audience members in their seats, except for a moment when uprising is in the air and a few theatergoers are conscripted to join the ecstatic rebellion.

Jeff Lorenz Garrido, from left, Joshua Dela Cruz, and Garrick Goce Macatangay in “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Snehal Desai’s direction is politically clear-eyed and scrupulous. Corruption, authoritarianism and censorship, as we’re learning firsthand, scandal after constitutional scandal, are no laughing matter. The question is whether “Here Lies Love” can bear the scrutiny of a more traditional musical.

There’s not a traditional libretto, so the story is transmitted mostly through song lyrics. But stump speeches, rallying cries and the theatrical guidance of Imeldific (Aura Mayari, alum of Season 15 of “RuPaul’s Drag Race”) help flesh out the chronicle.

This emcee figure, a Taper innovation, replaces the DJ role of previous productions and establishes the show’s metatheatrical frame. The opening number, “American Troglodyte,” underscores the American imperial role in the story and provides Imdeldific with a satiric banner that doesn’t let a smiling superpower off the hook.

William Carlos Angulo’s choreography is unfailingly kinetic, but participating in a party is more energizing than watching one at a remove. Yet the political case of Ferdinand and Imelda Marcos, a tale of celebrity and tyranny marching in lockstep, speaks so directly to our own time that I found myself gripped by the object lesson of this public saga, even if it’s not always easy to connect all the fragments, never mind distinguish between hard fact and fictional license.

I was particularly fascinated by the portrayal of Imelda (Reanne Acasio), whose political character seems to be shaped by personal disappointments and run-of-the-mill humiliations. Imelda is wounded not only by the philandering of Ferdinand (Chris Renfro) but by an even more painful injury inflicted by her first love, Ninoy Aquino (Joshua Dela Cruz), a politician determined to become the voice of his people.

Ninoy recognizes an essential incompatibility between them. Imelda lives for love while he has political work to do. He bids her adieu in the song “Opposite Attraction,” though fate will bring them together after Imelda and her husband gain power and Ninoy, as the leading opposition figure, becomes their prisoner and eventual victim of the chaos unleashed by their regime.

Joan Almedilla and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Unfolding under the theatrical auspices of Imeldific, “Here Lies Love” retells the history of the Marcos years as a musical pageant. Imelda’s transformation, from shy, lowly country girl to “Iron Butterfly,” covering up her shame with jewelry from Tiffany and revealing a will every bit as hard as the diamonds she flaunts, is presented with music so catchy and compulsive that it has the force of historical inevitability

The grooves supplied by Byrne and Slim take not just the characters but the audience on a ride through a brutal anti-democratic period. Does the disco spectacle aesthetic treat this history too lightly?

The production seems wary of this criticism. A program note from dramaturg Ely Sonny Orquiza, attuned to the sensitivities of the large Filipino diaspora in Los Angeles, notes that the production, “featuring an all-Filipino cast and majority-AAPI creative team, is not intended as a definitive or comprehensive history, but as an entry point for dialogue and inquiry.”

The scale of damage perpetrated by the regime is still being collectively processed. One victim, Estrella Cumpas (Carol Angeli), makes the mistake of confronting Imelda, a childhood friend, and is taken into custody. She will have to stand in for thousands of others.

The design scheme certainly doesn’t want to spoil anyone’s good time. Arnel Sancianco’s sets, Marcella Barbeau’s lighting and the more glittering of Jaymee Ngernwichit’s costumes seem to place us in a retro Euro-style disco world, where fun is typically a function of the strength of the cocktails consumed.

But there’s a countermovement in the show, the People Power Revolution that gains momentum after the assassination of Nimoy. The funeral speech of his mother (Joan Almedilla) is turned into the galvanizing protest song, “Just Ask the Flowers,” in which something as basic as maternal love wakes the country to the madness around them. Desai, whose directorial work at the Taper thus far has brought together rave and rebellion, smoothly merges the Dionysian frenzy of the music with the nonviolent revolution that ended Ferdinand Marcos’ protracted dictatorship in 1986.

Dela Cruz’s stirring Ninoy standing tall against the patriarchal savagery of Renfro’s Ferdinand and the petty vindictiveness of Acasio’s well-drawn Imelda is a powerful call to action. Byrne and Slim’s score insists that not even death can stop the beat of this democratic spirit.

The production points out at the end that another Marcos, Ferdinand “Bongbong” Marcos Jr., Ferdinand and Imelda’s son, is now president. Perhaps the show’s final number can shed light: “God draws straight, but with crooked lines.”

Jesy Nelson’s documentary has brought the X Factor winners back into the spotlight – but what are they up to these days?

Little Mix’s unexpected split has come back into conversation following Jesy Nelson’s recent admission that another band member tried to walk away first.

Fans of the iconic group were left heartbroken when Jesy announced she was quitting the band in 2020, citing mental health reasons.

She left her bandmates Leigh-Anne Pinnock, Perrie Edwards and Jade Thirlwall to continue carrying the torch, but they soon went on a hiatus in 2022.

The X Factor winners’ legacy is still carried by their catchy tunes, which still attract over 16 million monthly listeners on Spotify.

In light of Jesy sharing behind-the-scenes truths about the band, let’s take a look at where they are today.

Jesy Nelson

Jesy has recently opened up about her life since leaving the band in a new Prime Video docuseries, Life After Little Mix.

The 34-year-old had a short-lived solo music career because her first single sparked backlash. She released ‘Boyz’ featuring Nicki Minaj in 2021, and followed it up with a music video.

Fans accused Jesy of ‘Blackfishing’ in the video, which featured her wearing makeup and fake tan that they claim made her appear Black or mixed-race. This scandal caused so much headache for the star that she vowed to never return to music in her new documentary.

Outside of music, Jesy was in a long-term relationship with ex fiancé Zion Foster, which came to an end earlier this month. The former couple welcomed twin daughters Ocean Jade and Story Monroe in May 2025.

Following their birth, the singer discovered they had a life-threatening condition called Spinal Muscular Atrophy (SMA) Type 1. The rare genetic condition causes progressive muscle weakness. Jesy is now campaigning to raise awareness about the condition.

Perrie Edwards

Perrie focused on her family life following the group’s hiatus in May 2022, as she had just welcomed her first son Axel months prior.

The 32-year-old has since welcomed daughter Alanis with footballer fiancé Alex Oxlade-Chamberlain. But she hasn’t forgotten about music. The mum-of-two released her debut album ‘Perrie’ last year and dropped new single ‘Woman in Love’ earlier this month.

Her first album featured the ballad ‘Same Place Different View,’ which is widely understood to be about her former bandmate Jesy.

The lyrics delve into the pain of losing a close friendship and how these losses can be just as devastating as romantic break ups.

For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website.

Leigh-Anne Pinnock

Leigh-Anne also married a famous footballer named Andre Gray. The couple share twins but have kept their identities private.

As for her music career, Leigh-Anne has just dropped her first studio album ‘My Ego Told Me To’ and will be touring this April.

Announcing her tour to fans, she wrote: “I’m going on tour baby!!! I can’t tell you how excited I am to perform this album live for you! Get me back to my happy place nowww! This one’s going to be so special!”

Jade Thirlwall

Jade is also embarking on a tour, which spans across the UK, Europe and the US. It comes after her first album ‘That’s Showbiz Baby!’ dropped in September.

The 33-year-old bagged two BRIT Award nominations for Best Pop Act and Artist of the Year following her debut.

As for her personal life, Jade is in a long-term relationship with Rizzle Kicks members Jordan Stephens.

Jesy Nelson: Life After Little Mix is streaming now on Prime Video.

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It began with Beethoven.

Bright yellow T-shirts reading, in raspberry type, “¡Bienvenido Gustavo!” marked Gustavo Dudamel’s first concert as music director of the Los Angeles Philharmonic the first Saturday afternoon of October 2009 at the Hollywood Bowl. Eighteen thousand tickets were distributed free for a performance of Beethoven’s Ninth Symphony, an Angeleno “Ode to Joy” broadcast worldwide. The exultant young Venezuelan conductor’s message was: There is no North, South or Central America. We are one.

We are now in “Gracias Gustavo” season, and times, we are daily reminded, they are a-changin’. But what remains consistent is that Dudamel begins again, in the first month of his six-month homestretch as L.A. Phil music director, by dwelling on the composer he says has meant the most to him since his earliest days as a kid conductor in Caracas. His first major recording boasted startlingly propulsive performances of Beethoven’s Fifth and Seventh Symphonies, with the uproarious Simón Bolívar Youth Orchestra of Venezuela, recorded 20 years ago this month. In August, Dudamel will end his L.A. Phil tenure as he began it, with Beethoven’s Ninth at the Bowl.

Through these two decades, thick and COVID-lockdown thin, Beethoven has been Dudamel’s composer of uplift. This weekend he confronts, for the first time, Beethoven’s daunting mystical and mystifying “Missa Solemnis.” In following weeks, he will pair Beethoven symphonies with two of the most arresting and original of the dozens of new works he has premiered in Los Angeles — Gabriela Ortiz’ Glitter Revolution ballet score, “Revolución Diamantina,” and the first part of Thomas Adès “Dante” ballet.

To begin the Beethoven month at Walt Disney Concert Hall, however, Dudamel turned to another Beethoven work that has long obsessed him, the rarely heard complete incidental to Goethe’s tragedy, “Egmont,” which has the ever-relevant theme that matters most to Dudamel — the profound joy that arises from victory over injustice. For this, he had the assistance of actress Cate Blanchett and playwright Jeremy O. Harris.

Here, too, Beethoven serves as a musical, spiritual and political touchstone. “Egmont” comes in the middle of Beethoven’s career, his heroic period. The historic Egmont was a Flemish general, a hero to his people in the Netherlands who attempts to serve the 16th ^{century Spanish emperor, Philip II, and rife for Goethe’s romanticizing. A remarkable polymath, Goethe himself served as an advisor to Weimar’s Grand Duke, brilliantly balancing political compromises with literature’s highest spiritual callings. He admired the spirit of liberty, for instance, yet opposed the French Revolution and supported Napoleon, believing that ensuing populist disorder would then, as it turned out, require autocracy.}

Goethe’s Egmont must learn to love before he can act to defend his people against Philip. The hero goes to his death at the point of self-realization that only in sacrifice may he ascend to and become a symbol for glory.

In the play, which begins as historic epic and becomes, for Goethe, increasing personal and interior, Egmont gains perspective on the complexities of his place in politics by contemplating nature and being. Among Goethe’s many passions were scientific study. He immersed himself in the natural world and befriended the pioneering German environmentalist, Alexander von Humboldt.

It could, thus, have been hardly coincidence that Dudamel opened the program with the premiere of “Humboldt’s Nature” by Venezuelan composer Ricardo Lorenz. The five-part, 25-minute symphonic poem for a large orchestra rife with percussion follows Humboldt’s account of his journey to Venezuela in 1799.

Symphonic glitter sets the stage of New Andalusia. Guacharo birds shriek. Latin rhythms take us to coastal regions. Sandy percussion accompanies a journey up the Orinoco River. Throughout, Lorenz’s orchestra, imaginatively colored, reflects vast nature. But the score ends with the shock of humanity, as Humboldt encounters enslaved Cubans.

The one thing Goethe lacked was a sophisticated ear for music (and possibly sound). But Humbolt’s account could practically be the starting place for Beethoven’s “Egmont,” begun a decade after the Venezuelan encounter. In the popular overture, elicitation of tumult concludes, with startling exhilaration, in the kind of grand Beethovenian triumph that never fails to excite. The incidental music, though, offers needed theatrical context. That includes two songs for Egmont’s love, Klärchen, four entr’actes, a melodrama for Egmont as he approaches his execution and, powerfully as only Beethoven can, a battle cry.

Goethe has never lost relevance. Matthew Bell’s new biography, “Goethe’: A Life in Ideas,” has given Germany’s Shakespeare new attention. One of the greatest plays of our time, Tom Stoppard’s “Arcadia,” confronts Goethe’s “Elective Affinities” with our own elective affinities. One of the greatest operas of our time, John Adams’ “Doctor Atomic,” contemplates the creation of nuclear weapons as the functioning of a latter-day Faust, Goethe’s most lasting creation.

“Egmont,” too, readily speaks to us and it has been on Dudamel’s agenda for years. While performances of the complete play with the incidental music are rare, a half-hour concert version, also rare but less so, proves effective. Dudamel did it with the Berlin Philharmonic in June, a performance of which can be viewed on the orchestra’s Digital Concert Hall. The narrator is a young Austrian actor, Felix Kammerer, who is riveting (as he is in Guillermo del Toro’s “Frankenstein”). He adds a slight introduction revealing Egmont’s indecisiveness, but otherwise sticks to Goethe.

Cate Blanchett narrates Beethoven’s incidental music to “Egmont” with Gustavo Dudamel conducting the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Elizabeth Asher / Los Angeles Philharmonic)

Harris, who is the author of “Slave Play,” has other elective affinities. He has created a new, effusively angry text for Blanchett. It begins as a dirge. Battalions are gathered on the banks of Portland, Ore.; Bethlehem; Charlotte, N.C.; Tehran; Minneapolis; Brussels. The Egmont Harris references is the historical one, not Goethe’s. The text become a bald call for action.

Much of it was lost to the audience, since reverberant amplification gave heroic heft to Blanchett’s voice at the cost of intelligibility. But her intensity, whether seated on the lip of the stage, where she begins, or standing in the organ loft where she winds up at the end, spoke for itself.

Beethoven’s music improves Goethe, extracting its humanity and frailty, and Dudamel’s performance probed its profound inevitability of good triumphing over evil. Soprano Elena Villalón added lithe touch to Klärchen’s songs, sung in their original German.

But Beethoven can do little for Harris’ and Blanchett‘s agitprop. Theirs is the necessity of the moment to act rather than indulge an Egmont who has to feel before he can respond. Although Blanchett was the joyless conductor in the film “Tár,” her curious little dance in the organ loft at the moment of musical triumph may have meant recovered joy or simply that the world, in which we are no longer one, has gone crazy.

Equally peculiar was a performance of Schumann’s Piano Concerto that served as transition from “Humboldt” to “Egmont.” One of the concerto highlights of Dudamel’s music directorship in L.A. is a performance, eight years ago, of the concerto’s mood-shifting eloquence, for which he and Mitsuko Uchida were in wondrous accord.

This time, the soloist was the stellar emerging pianist Yunchan Lim, who keeps to himself, either lost in dreamy reverie or, like a jumpy teenager, in ferocious attack mode. Having little choice, Dudamel let Lim be. Like Egmont, Lim’s glory may one day arrive when he can express purpose for his actions.

As a child, I spent nearly every weekend with my best friend shooting hoops and jumping fences throughout Hollywood.

It was always amusing seeing tourists — especially foreigners — line up around buildings and outside nightclubs and lounges that held no meaning to me, at the time.

These monuments I ignored as a youngster became the must-see places of my teenage years and early 20s.

It was at the Viper Room where a 20-year-old me was tossed out of line trying to crash the same venue where Pearl Jam had played.

I was first scandalized by the price of a drink for a date’s $10 cocktail at the Troubadour in West Hollywood (I think I was making $6.50 an hour at the time). But I had to visit one of Jim Morrison’s favorite haunts.

So I was delighted when The Times entertainment team compiled its list of 26 legendary music sites in L.A.

It was fun to see favorites, but more importantly, to read about new places and legends.

Hopefully, there’s a spot that intrigues you. Let’s take a look at a few selections.

Capitol Records (Hollywood)

The most famous tower in all of music was never overtly intended to look like a stack of LPs and a stylus needle.

“The building was not designed as a cartoon or a giggle. To have it trivialized with the stack-of-records myth is annoying and dismaying,” architect Louis Naidorf has said of his Capitol Records Building. “There’s not a thing on the building that doesn’t have a solid purpose to it.”

That was no obstacle for it becoming emblematic of both Los Angeles and the record business. It’s still home to one of the most renowned recording studios on Earth, and its silhouette remains a Hollywood icon and a symbol of Los Angeles on par with the Hollywood sign nearby.

(Ken Hively/Los Angeles Times)

Elliott Smith Wall (Silver Lake)

The beloved singer-songwriter Elliott Smith posed at the swooping mural outside Solutions speaker repair in Silver Lake for the cover of his LP “Figure 8” in 2000.

After he died by suicide in 2003, the wall became an unofficial memorial for Smith, where fans left touching notes, song lyrics and nips of liquors mentioned in his songs.

While the wall has been cut out in spots to make room for various restaurants — and it’s often covered in more flagrant tagging — it’s still a living connection to one of the city’s most cherished voices.

(Jason Armond/Los Angeles Times)

Chaplin Studio (Hollywood)

John Mayer calls it “adult day care”: the historic recording studio behind the arched gates on La Brea Avenue where famous musicians have been keeping themselves — and one another — creatively occupied since the mid-1960s.

Known for decades as Henson Studios — and as A&M Studios before that — the 3-acre complex in the heart of Hollywood has played host to the creation of some of music’s most celebrated records, among them Carole King’s “Tapestry,” Joni Mitchell’s “Blue,” Guns N’ Roses’ “Use Your Illusion” and D’Angelo’s “Black Messiah.”

Charlie Chaplin, who was born in London, began building the lot in 1917 in a white-and-brown English Tudor style; he went on to direct some of his best-known films, including “Modern Times” and “The Great Dictator,” on the property.

The Lighthouse Cafe (Hermosa Beach)

The Lighthouse Cafe might seem familiar from its cameo in the Oscar-winning movie “La La Land,” but this jazz cafe was once instrumental in shaping the West Coast jazz scene.

The beachside spot first opened as a restaurant in 1934 and was changed into a bar by the 1940s. It first started to play jazz in 1949 when the owner let bassist Howard Rumsey host a recurring jam session. The jams quickly began to draw both a vivacious crowd of listeners and a core group of budding jazz musicians.

Over the years, musicians like Chet Baker, Gerry Mulligan, Miles Davis and Max Roach all made regular appearances at the Lighthouse. Today, the venue still hosts jazz brunches every Sunday and other musical gigs throughout the week.

For more, here is the entire list.

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(Allen J. Schaben/Los Angeles Times)

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Have a great day, from the Essential California team

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