The 1975 is gearing up to release the follow-up to 2020’s Notes on a Conditional Form, and on Wednesday (Aug. 3), the English band unveiled their new music video for their latest single, “Happiness.”
In the clip, the band is seen performing the glittery track on a stage set up in what looks like a mansion’s living room, as various well-dressed party attendees lounge around the space. “Show me your love / Why don’t you grow up and see?” frontman Matty Healy repeats in the infectious chorus.
“‘Happiness’ is like… there’s literally loads of us in the room on that track. Locked eyes…Doesn’t really have much structure,” Healy recently told Apple Music’s Zane Lowe of the track. “It came through like jamming. And we haven’t done that in like years. So we just wanted this record to be really like a captured moment and not be too constructed and even produced that much…we did it in like a day or so. And it’s us having fun. And I think that there’s this real desire in art to see something remarkable with as little technology as possible. Do you know what I mean? Like you don’t need like Paul Thomas Anderson’s direct a hundred meters. Do you know what I mean?”
Of the upcoming album, Healy said, “On this record we were just like, we started to like solidify like who we were. Like what is the 1975, how would you do an impression of the 1975? And I think that we just want to do what we want to do. But I think that I did realize that, I did have a moment where I thought, I think fans, day ones, they’re going to like it.”
The National Weather Service has issued a severe thunderstorm watch for areas east of Highway 65 in the Ozarks throught Thursday night.
The report says the watch will be in effect until 9 p.m. for portions of Camden, Ozark, Pulaski and Webster counties, among others.
A flood watch has also been put into effect beginning at 10 p.m. Wednesday night through Thursday morning, as rainfall totals could approach between two and five inches.
While scientists debate if the multiverse actually exists, Wiz Khalifa went out and created his own. The Pittsburgh rap dignitary is quite used to blazing his own path, and Wiz experimented with his most personal project to date as Multiverse arrived on Friday (July 29).
The Taylor Gang leader set out to craft a “full musical experience” while coloring outside the lines of hip-hop and meshing elements of R&B and groovy funk for his third project of 2022 (and his first solo LP since 2018’s Rolling Papers 2).
Multiverse serves as an emotional rollercoaster featuring Wiz like we’ve never heard him before. High points such as the vulnerable “Homies” serves as a soul-baring diary entry paying tribute to those he’s lost throughout his journey, from childhood friends to rap contemporaries like Mac Miller and Nipsey Hussle.
Over 15 years in the music industry rat race has Wiz Khalifa looking at the game with a newfound maturity and perspective. The joint-smoking legend has embraced the “big homie” role, and hopes to pass some of that OG knowledge on to the next generation of artists.
Billboard caught up with the Khalifa Kush founder last week to hear more about his new album, how he ended up on Chief Keef’s “Hate Being Sober,” being asked to re-write verses, and the state of rap. (Catch Wiz on the Vinyl Verse Tour with Logic this summer.)
What did you have in mind for welcoming us into the Multiverse?
Just a full musical experience. That’s what it was all about for me. Anybody who is a fan of my projects, they know how textured they are — and I want this one to be really detailed to how I feel and operate with the things that are important in my life. I wanted to bring that out lyrically, aesthetically and vocally, and I think I was able to do all of that with this album.
Would you agree this is the album where you colored most outside the lines of hip-hop, so to speak?
Definitely experimented outside of the hip-hop area. It was just diving deep into my inspirations, and the things I feel like really make me. I wanted to let that be the DNA of the album and not make a traditional rap record — but it has hardcore hip-hop elements to it, with the structuring of the songs, amount of verses, or length of the verses.
Getting to some tracks, “High Maintenance” sees you naming rappers like Nas,50 Cent, JAY-Z and Lil Wayne. Was that to show love to your influences?
100 percent. Definitely people I’ve grown up respecting and loving and even having the pleasure of meeting, to the point of becoming friends or acquaintances. That was a good opportunity to ingrain that DNA. I’ve had a lot of influence on different people in different genres, so to give nods to the people who are important to me was real fun.
On a more serious note with “Homies,” I’ve never heard you open like that on a record. What was your mindset going into recording that, and paying homage to your fallen friends?
That one was super-real for me, because that’s a conversation I’ve had with people, and it was an idea of mine to get in the studio and turn that conversation into a song.
You talk about being desensitized to violence at a young age. In your career, you’ve avoided beefs and kept violence out of your music. Was this something you set out early in your career you wanted to stick to?
Yeah, definitely. I know how important that message is — and coming from that, I never wanted to bring that with me… I think it’s a reality, and it’s all about what you want to give off.
Unconsciously, you do those things when you’re younger, but when you grow up, you have a choice. I always wanted to do the right thing and inspire people to do the right thing. And it’s not easy, man — it’s not easy to always let that s–t go and see the other side of things. There is that alternative for life.
And that’s with you coming up in the 2000s era of rap, where the mainstream was dominated by street rap, compared to the landscape we see today.
For sure, it was way rougher. Even now, I don’t think that it’s not rough — because it’s very dangerous, with social media and just people’s mental issues in general. A lot more people are reactionary instead of having a conversation or really looking at things all the way through. I just look at my stance as the big homie now. I just want to guide and help people.
Have you ever thought about doing a project that’s not hip-hop, and diving into a totally different genre like we saw with Drake earlier this year?
I think any real artist wants to branch out, but it’s finding your way of expressing yourself. For me, I always think of doing something way out of the box of hip-hop, whether it be inspired by whatever — but I know how long it takes to actually develop the real bones and DNA of that sound.
And I would never want to jump in as a rapper and not fully accomplish what is appreciated about those sounds — so I go to what’s more comfortable for me, or the things that I research. So that’s where you’ll see me step outside of traditional formulas, because I’ve researched it, tried it, seen how it makes other people feel, and looked at how it makes me feel.
That’s why with the Multiverse album, I’m so comfortable and I’m so happy to put this out — because I’ve put elements in there that may or may not go over people’s heads, but I know how important they are. I think the real beauty of the experimentation comes from that for an artist, just the confidence of knowing what you know about that certain subject, and being able to put it out there. So if I’m feeling knowledgeable about something, I’m gonna f–king do it. Until then, I’m still learning.
How was linking with Young Dolph in 2017 for “On the River?”
Dolph was always a cool dude. He was to himself and didn’t like to be around a bunch of people. But the people he did reach out to, he was always super solid [with them]. He was funny, loved to crack jokes, and his music was really good. He worked to get better and better. He was one of them dudes that was always a pleasure to be in contact with. He smoked a lot of weed too. I loved that about him.
What do you remember about getting the call to hop on Chief Keef’s “Hate Being Sober” in 2012? Did he really ditch the video shoot?
Oh, man. I always got love for that fool. He’s such a cool dude. I know I recorded the verse in Pittsburgh, but “I Don’t Like” had already come out. I remember I seen the video in Los Angeles, because I moved out there by the time I was a Chief Keef fan. I remember it being a big deal to everybody in Pittsburgh. The whole world was going crazy like, “Oh s–t, you ’bout to do a song with Sosa, that’s crazy!”
Everyone heard the vocals before it came out. Then I heard 50 Cent was on it and I was like, “Oh s–t.” I was on tour when we were supposed to be shooting the video, so I left where I was performing and drove out two or three hours to meet this man. And he really never showed up!
We’re still young at the time, but I’m out there with 50 and we’re shooting our thing and 50’s like, “This lil’ n—a gon’ f–k his career up.” I’m just like, “I’m here, fam, we might as well shoot our parts and get the f–k out of here.” It was cool I got to kick it with 50 all day — but we were tripping that he really didn’t pull up.
Has there ever been a time an artist asked you to re-write a verse for their song?
Yeah, for sure. I’ve been around people who go like, “Could you go harder or could you use this voice?” “Could you speed the cadence up for these bars?” I’ve had people do that a lot. It doesn’t throw me off.
I understand people’s thought process. A lot of them want nostalgia. They don’t understand the concept of something brand new. So instead of fighting them, or making them wrap their heads around new s–t, you just give them the old s–t and send them on their way. Like, “Alright, you get the old s–t.” When the new s–t starts happening, they’re gonna want that too. You just gotta walk them through it.
What do you remember about linking up with Nipsey Hussle to get him on “Hopes & Dreams” for Rolling Papers?
We met at the [2010] XXL Freshman cover shoot in New York. We were at the studio, me, him, Big Sean, French [Montana], and I remember recording that when I moved to L.A. after we just got off tour. I was in that mode of everywhere I go, I’m recording. It didn’t matter if I was in a f–king bedroom, I was setting up and rapping and recording every day. I was really young and just not knowing what I was going for, but knowing I was going for something. So every day, just waking up and rapping was my reassurance I was going to get where I needed to be.
At that time, I didn’t have any concept of being friends with somebody that doesn’t mean they don’t wanna do what you wanna do. I was so gung-ho about everything, and I made everybody do what I did. If you wanna hang with me, you gotta stay up late, you gotta rap and you gotta do this. It worked out for a lot of people like me, and the artists who were inspired by that. At this time, if I f–ked with you, I involved you with everything I did.
I threw my studio in the L.A. penthouse up there. I didn’t have many people to call, but I was definitely calling Nip, and told him we had to get together and chill, because he’s from out here. This is my first major label album, and I love Nip so much that he had only done mixtape stuff — but if this was gonna be my first major-label shot, I want to bring my homies with me, and the people I respect, love, and think are tight as f–k. It didn’t matter if they were on blogs at the time. A lot of them didn’t have deals. We recorded that at the penthouse, and it ended up not being cleared because of business deals at the time.
Do you think it’s easier for artists to break through nowadays compared to when you were coming up?
Nah, I don’t think it’s easier. I think it’s a little bit more difficult, because the way the algorithm is set up. It’s hard to organically go viral. It’s hard to recreate moments as well. So if you have a dope moment, it’s hard to spin off that and create a brand off that moment, because everything is based off advertising. It doesn’t really lean toward building up their own platform, it really just builds up the platforms they’re performing on. Which is cool, but that’s not what I’m into. I’ve never been into making somebody else money.
The way I see it is: You just use it for business and as much promotion as possible. It’s hard because it’s in reverse — the more following you have, the less interaction you’re gonna get, because corporations don’t want you to be stronger than them. As long as they’re able to influence based off of you, it’s cool. I didn’t come up like that — I came up where I found a glitch in the system where I was able to reach people more effectively than the people that are supposed to reach people effectively. It’s very difficult these days to get relevant and stay relevant. There’s a lot of content being made.
2021 was a roller coaster for Steve Lacy. After the low of a breakup, he leaned into creating new relationships — particularly with like-minded creatives who ended up helping him record his major label debut album, Gemini Rights. “For a while, I was really shy — I didn’t want to ask anybody for anything,” he admits. “But in order for me to grow, I couldn’t follow those same patterns.” Once he opened up, everybody from rising singer Fousheé to Tyler, The Creator ended up as trusted advisors, both of whom helped shape what became Lacy’s breakout hit, “Bad Habit.”
As Lacy recalls of the song’s initial session in June 2021, “the drums were different, the chorus was different.” During a later trip to the studio with Fousheé, during which he played her the instrumental, the two bounced ideas off each other before landing on the melody for the chorus and writing the verses. (Her vocals open the song.) Over the course of the next year, Lacy continued to tweak the track, changing up the beat toward song’s end and adjusting a lyric in the chorus after getting a tip from prior collaborator Tyler, the Creator.
“At first it was, ‘I wish I knew you/ I wish I knew you wanted me,’ ” Lacy says. “And then he was like, ‘It’d actually be more memorable if you cut that word [‘you’] out,’ so shout out to Tyler.”
Released on June 29 as the second single from Gemini Rights, the guitar-driven pop/rock/R&B fusion earned Lacy, 24, his first entry on Billboard Hot 100 — though previous work has landed him on other Billboard charts. As a teenager, Lacy made a name for himself as an adept producer, songwriter and guitarist. In 2015, at age 17, he received his first credits as a co-executive producer of The Internet’s Grammy-nominated third album Ego Death. He later appeared on various genre-specific charts thanks to his work with the hip-hop collective, as well as a collaborator with artists including Tyler, Frank Ocean and Vampire Weekend.
Over time, Lacy’s Internet bandmates Syd, Matt Martians and Chris Smith began working on solo projects, but it wasn’t until the lattermost suggested that Lacy do the same that he started honing in on his own artistry. Through his manager Dave Airaudi’s artist innovation company, 3qtr, and AWAL Recordings, the Compton, Calif., native released his debut solo album, Apollo XXI. The 2019 project earned him his second Grammy nomination (and first as a solo artist) for best urban contemporary album.
Lacy followed it up with 2020’s The Lo-Fis, a hodgepodge of demos, leaks and throwaway tracks. For a while, he used his iPhone to record and express ideas. “I wasn’t doing that because I wanted to, I just didn’t have [money] like that at the time,” he clarifies.
Steve Lacy
His situation changed last year when, after much debate, Lacy decided to pursue the major label route, signing with RCA Records. “I wanted a bigger team, more science on how things work, more access,” he says. “I respected RCA the most because they have the artists that I love and that seem to own their narrative and do things their way. People like Doja Cat, Bryson Tiller, Lucky Daye, SZA. I feel like it’s where I fit the most. They let me make my album how I do my process. It just feels good.”
Adds Airaudi: “A lot of what I do is try to translate the rationale behind what Steve’s doing to the people on the label side who are tasked with pushing things out. We argue, of course, but Steve picks stuff that he wants to do and 99% of the time, it’s just when he feels like it.”
Still, even as Airaudi “helps execute all the crazy ideas that float through my mind,” Lacy says, RCA helped him grow his audience ahead of the release of Gemini Rights — his first release on the label — including having him create a TikTok account where his videos have since accrued more than 3 million likes. “[RCA] definitely told me to get on that sh-t,” he laughs. “I was all grumpy, then I was like, ‘You know what? This sh-t lowkey fun.’ We found a middle ground. When I’m in the mood to make a video, I do it.” To date, “Bad Habit” has soundtracked more than 210,000 videos on the platform.
David Airaudi, left, and Steve Lacy photographed on July 22, 2022 at ASH Staging Concept House in Los Angeles.
In the days leading up to the release of Gemini Rights, “Bad Habit” debuted on the Hot 100; and a week after the album entered the Billboard 200 at No. 7, the track surged to No. 14, thanks largely to its streaming dominance. While it remains a powerhouse on DSPs — it currently sits at No. 2 on Billboard‘s Streaming Songs chart — it also reaches a new No. 11 high on the Aug. 6-dated Hot 100 as it becomes a crossover radio smash, entering Pop Airplay at No. 32 this week.
Come fall, Lacy will hit the road for a 27-date North American tour, which will conclude with a hometown show at The Greek Theatre in L.A. on Nov. 11. He doesn’t offer too many details, but after performing at Coachella in April, the singer is eager to continue connecting with his fans. And though he remains largely blasé about his rapid ascent in the business, only suggesting he will keep momentum by staying “swagged out,” the enormity of this moment isn’t lost on him, either.
“I’m just grateful,” he says. “It still doesn’t feel real yet.”
Fresh off the success of his critically acclaimed sophomore album Gemini Rights, Steve Lacy has announced a North American tour on Tuesday (Aug. 2) in support of the LP.
The trek — titled the Give You the World tour — will see Lacy making a total of 27 stops across North America beginning on Oct. 2 at Denver’s Gothic Theatre, and making stops in Chicago, New York, Toronto, Portland, Seattle and more before concluding on Nov. 11 at The Greek Theatre in Los Angeles.
“It’s time…GIVE YOU THE WORLD TOUR,” the two-time Grammy nominee wrote on Instagram, sharing the tour’s official poster, which features a snap of him in oversized sunglasses, a custom Gemini Rights top and bottom grill, and a Dead Kennedys-inspired shirt-and-tie combo.
Tickets for Lacy’s Give You the World tour go on sale starting Friday, Aug. 5, at 10 a.m. local time, and can be purchased here. See the official tour poster and full list of dates below.
NEW YORK (AP) — Country superstar Dolly Parton, who made a big donation to help fund coronavirus vaccine research in 2020, is among this year’s Carnegie Medal of Philanthropy recipients.
Also being honored are Dallas entrepreneur Lyda Hill, Kenyan industrialist Manu Chandaria, and Lynn and Stacy Schusterman, from the Oklahoma investment family.
The award, presented by the international family of Carnegie institutions to honor innovative philanthropists, debuted in 2001 and is normally awarded every two years. It was not issued in 2021 due to the pandemic.
The 2022 honorees will receive their medals in a private ceremony in New York on Oct. 13. A priority of the ceremony is fostering personal meetings to encourage the exchange of ideas and spur potential collaboration — something this year’s honorees have already done, said Eric Isaacs, president of the Carnegie Institution for Science and a member of the medal selection committee.
Parton’s $1 million donation to Vanderbilt University Medical Center has received plenty of attention. But her fellow honoree Hill, through her Lyda Hill Philanthropies, was also an early donor to the work that would yield the Moderna COVID-19 vaccine.
“I invested before it was anything,” Hill told The Associated Press. “One of the things that Warren Buffett said that stuck with me was, ‘Don’t do what other people can do and will do. Do what other people can’t do and won’t do. And take risks.’ I have had to apply that to my philanthropic investments.”
Hill, who focuses her funding on advances in science and nature conservancy, as well as supporting women in those careers, said she never did get a Moderna shot.
“Unfortunately,” Hill said, “when I went to get my vaccine, I rolled my sleeves up and said, ‘What do you got?’ And she said, ‘Pfizer.’ I said, ‘OK.’”
Parton, in a statement, said she was honored to receive the Carnegie Medal of Philanthropy.
“I’ve always believed that if you are in a position to help, you should help, and I truly hope that I can be an inspiration for others to lift up those around them,” said Parton, who will be inducted into the Rock and Roll Hall of Fame in November, and makes most of her donations through her Dollywood Foundation. “Whether through my Imagination Library or giving to COVID-19 research, I try to support things that have a special meaning for me. I hope everyone can find something they’re passionate about supporting and do what they can to help make this world a better place.”
Considering the intense need created by COVID-19, the pandemic was top of mind while the selection committee was making its decisions, Isaacs said.
“Obviously, this is a very difficult time with the pandemic,” he said. “But we think environmental issues are probably equally, if not more, impactful in the sense that pandemics like COVID-19 are likely to become more frequent as the atmosphere heats up. I think we take the long view in terms of our selections.”
The Schustermans exemplify philanthropists whose donations have made a long-lasting impact, in addition to making timely grants to address current needs.
The Charles and Lynn Schusterman Family Foundation was established in 1987 to invest in systemic change in the United States and Israel on matters of justice and equity. When Charles died in 2000, Lynn Schusterman took over the foundation, expanding its work and becoming an outspoken advocate for inclusion, especially for the LGBTQ community. In 2018, their daughter Stacy Schusterman took over the foundation, which changed its name last year to Schusterman Family Philanthropies and now also includes work in reproductive equity, voting rights and criminal justice — all hot-button issues this summer.
“I hope that work like this will inspire other people to give more now,” Stacy Schusterman told the AP. “It’s important for people to give a meaningful percentage of their family’s assets. And I think the partnership that can exist between philanthropy and the communities that we’re seeking to help is vital. Government can’t address all problems.”
She said she’s thrilled to be carrying on her parents’ work and that she will be celebrated with her mom.
“I’m really excited that we’re being honored together,” she said. “It’s fun to have it happen as a mother-daughter team.”
The Chandaria Foundation had its start as a family enterprise in the 1950s, though the Kenyan-born industrialist of Indian descent had to do some convincing before it began.
When he first brought up the issue, Chandaria remembers his father asking if something was wrong with him and whether he had lived in the United States too long. “We are not the Rockefellers,” Chandaria’s father told him. “You better get to work. There’s a big hole over there.”
But by 1956, they had established a charitable organization providing scholarships in Kenya and, decades later, its work has expanded into building education and healthcare infrastructure in Africa.
“It’s a basic principle of the Gandhian philosophy: If you have wealth, you are not owners of the wealth,” said Chandaria, who also attributes generosity to being a follower of the Indian religion Jainism. “You really should go and help others who cannot help themselves.”
Isaacs said the Carnegie Medal of Philanthropy is meant to recognize the work of the honorees in their various fields and locations. This year, the Carnegie institutions will also launch the Carnegie Catalyst award to “celebrate the transformative power of human kindness,” which will go to World Central Kitchen, the anti-hunger nonprofit founded by chef Jose Andres.
That award was inspired by the late Vartan Gregorian, the president of the Carnegie Corporation of New York and the co-founder of the Carnegie Medal of Philanthropy, who died in 2021.
“World Central Kitchen is an outstanding model of how humankind can respond in times of dire need by activating the inherent goodness in others — an ideal that was embodied through the life and work of Vartan Gregorian,” Thomas H. Kean, chairman of Carnegie Corporation of New York’s board of trustees and former governor of New Jersey, said in a statement.
“About Damn Time” is the No. 1 song in the country — and in the Upside Down. During his appearance on The Tonight Show Starring Jimmy Fallon, Jamie Campbell Bower demonstrated that even his evil Stranger Thingscharacter, Vecna, can get down to Lizzo‘s chart-topping summer anthem by hilariously reciting a few lyrics in the terrifying voice he used for the show.
Sitting on the Tonight Show‘s guest couch Tuesday night (Aug. 3) — about two months after he first made his Stranger Things debut when the sci-fi series’ fourth season dropped on Netflix — the 33-year-old actor first explained to Fallon how he developed the sinister, sub-bass voice he used while playing Vecna. “It started in this kind of nasally area, more like Freddie Kruger,” he said. “It just wasn’t landing.”
“I went home and worked on it, did a bunch of reference work on Hell Raiser and Doug Bradley particularly, and it said that this deep, booming voice kind of comes out of the darkness,” he continued. “I loved it, it was amazing. And I’m a singer, so I kind of just relaxed myself, relaxed my larynx.”
Fallon then asked Bower, whose new song “I Am” drops Aug. 12, to perform famous phrases that his character would never actually say in the Vecna voice. “I’m sorry about this, everyone,” the Mortal Instruments star joked before diving into his first challenge: Julia Roberts’ famous line from Notting Hill.
“I’m just a girl standing in front of a boy, asking him to love her,” he growled, earning cheers from the audience.
After cycling through a few more — “I’m cuckoo for Coco Puffs,” and the classic Titanic reference, “Jack, I want you to draw me like one of your French girls” — Bower took it home with the TikTok-famous second verse of “About Damn Time.”
“This is for you, Jimmy,” he said in his normal voice, before switching back to demon mode. “In a minute I’ma need a sentimental man or woman to pump me up. Feeling fussy, walking in my Balenciussies, trying to bring out the fabulous.”
The chillingly deep Vecna voice is so much lower than Bower’s natural register, you’d assume it’s the result of post production audio editing the first few times you hear it. But the Twilight alum’s Lizzo tribute isn’t the first time he’s proved that the Vecna vocals are all his doing — in July, he posted a video captured by Stranger Things creators The Duffer Brothers of him recording dialogue, proving that the unhuman speech is 100% authentic.
Watch Jamie Campbell Bower recite “About Damn Time” as Vecna on The Tonight Show below:
Cole Swindell has notched seven No. 1 BillboardCountry Airplay hits, including his most recent back-to-back No. 1s, “Single Saturday Night,” as well as the Lainey Wilson collaboration “Never Say Never.” His current single, “She Had Me at Heads Carolina,” is also racing up the airplay chart, proving a major contender at adding another chart leader to his tally.
But the singer-songwriter just added to those surreal career milestones on Sunday (July 24), during Tim McGraw‘s headlining set at Faster Horses Festival in Brooklyn, Mich.
Swindell shared a video of himself on Instagram Tuesday (Aug. 2) in which he’s sporting a vintage McGraw shirt. He noted in the video subtitles, “One of the coolest moments of my career is about to happen…singing ‘I Like It, I Love It’ with the man himself.”
The clip shows Swindell singing alongside McGraw as the massive crowd cheers and joins voices with the two music artists. “They never sang it back this loud when I covered it in college,” Swindell added.
“Glad someone captured this because I mayyyy have blacked out up there!!!” he also wrote on his video post, including a thank you to McGraw himself, saying that he was grateful “for everything you’ve done in country music and inspiring me to do what I love.”
“I Like It, I Love It” was a 1995 hit for McGraw, peaking at No. 25 on the Billboard Hot 100. It was on the album All I Want, which also included the singles “Can’t Be Really Gone” and “All I Want Is a Life.”
Swindell will also be touring this fall, launching his headlining Down to the Bar tour on Sept. 23. He will welcome openers Ashley Cooke and Dylan Marlowe for the trek.
Billy Joel will hop from the stage to the screen in the fall when Billy Joel: Live at Yankee Stadium hits cinemas worldwide. In celebration of a half-century of entertainment, the remixed and re-edited 1990 concert will roll out on Oct. 5 and 9 during a two-night global fan event.
Shot live on 16mm color film on June 22-23, 1990 at the iconic MLB stadium, the original concert has been updated in 4K with Dolby ATMOS audio and remixed from the original multi-track tapes according to a release announcing the project. Among the new footage included in the new version is a never-before-released performance of “Uptown Girl,” as well as interviews with Joel and behind-the-scenes footage of the production.
“We’re pleased to partner again with Sony Music Entertainment to bring another classic rock n’ roll concert to the big screen,” said Marc Allenby, CEO of Trafalgar Releasing in a statement about the film that will feature such beloved hits as “Piano Man,” “We Didn’t Start the Fire,” “New York State of Mind,” “Scenes From an Italian Restaurant” and more. “This re-edited concert is going to have fans of Billy Joel dancing in their seats in movie theaters worldwide.”
Tickets for the special screenings will go on sale on Aug. 10 at 10 a.m. ET here.
“As a native New Yorker, Billy Joel’s iconic performance at Yankee Stadium is a perfect combination for audiences. We are excited to give fans the opportunity to watch this sold-out concert and rock out to the legend’s greatest hits,” said Tom Mackay, President, Premium Content, Sony Music Entertainment.
Columbia Records/Legacy Recordings will release Live at Yankee Stadium on 2CD, 3LP, Blu-ray and digital formats on Nov. 4.
Watch a rocking version of “We Didn’t Start the Fire” from the film below.
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