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Reba McEntire Talks Extending Her Tour, Expanding Her Business Empire and ‘Yellowstone’ Hopes: ‘I Just Love a New Challenge’

When Reba McEntire announced that she is extending her Reba: Live in Concert Tour into 2023, the slate of 14 new tour dates included one particularly special stop: a headlining gig at New York’s Madison Square Garden, set for April 15. For the multi-faceted entertainer — whose glitzy, cinematic concerts have been drawing audiences for decades — the April show will mark her first headlining show at the storied venue.

McEntire tells Billboard that MSG has been on her bucket list “forever,” and when she plays the venue, she will be carrying on a family tradition. McEntire’s father, steer roper Clark McEntire, was the Professional Rodeo Cowboys Association (PRCA) steer roping world champion in 1957, 1958 and 1961. He also roped at one of Madison Square Garden’s earlier locations.

“My dad roped there in 1946 and ‘47, maybe more years than that,” she says. “And my grandpa [1934 PRCA World Champion steer roper John Wesley McEntire] did, too. I have two pictures in my living room in Nashville of my daddy being there with all the contestants competing at the Madison Square Garden rodeo.”

When the three-time Grammy winner’s concert trek reaches MSG, the openers will be Terri Clark (who is opening McEntire’s current fall 2022 run of shows), as well as gospel group The Isaacs. McEntire and the Isaacs previously recorded a medley of “In The Garden/Wonderful Peace” with McEntire on her Grammy-winning Sing It Now: Songs of Faith & Hope, released in 2017. A 2018 reissue of McEntire’s holiday album My Kind of Christmas also included a collaboration with The Isaacs on “What Child Is This?”

“I’m a huge fan of the Isaacs and have been for a long time,” says McEntire. “And of course Terri Clark, we go way back. Terri, Brad Paisley and I toured one time, so to have Terri back out on tour with me, we call ourselves the ‘90s girls. Females were really big in [country in] the ‘90s and there has been a resurgence of the ‘90s music, so we’re tickled about that.”

In 2021, as many artists were still off the road due to the pandemic, McEntire’s tireless work ethic led her to not only delve back into filming television and movie roles, including a cameo in Barb & Star Go to Vista Del Mar as well as starring and executive-producing the Lifetime movie Christmas in Tune and a recurring role on Young Sheldon, but she also took the opportunity to give many of her classic songs such as “Fancy,” “The Night the Lights Went Out In Georgia” and “Forever Love” a fresh patina. Not content to just spin out a compilation album, McEntire released a three-album Revived Remixed Revisited collection that re-imagined many of her hits, with live performance versions, acoustic-based versions and dance mix versions.

She also released the live gospel CD/DVD project My Chains Are Gone earlier this year (which also featured The Isaacs), and is set to release The Ultimate Christmas Collection on Friday (Oct. 14), with a white vinyl edition releasing Nov. 4. The six-time CMA Award winner says another music project will likely be on the way next year, though, as with Revived Remixed Revisited, it will likely focus on her vast catalog.

“The old music and catalog music is out-selling new music, so we’ll probably do more of like what I did with the Revived Remixed Revisited project,” McEntire says, “just coming up with new ideas for songs that people are familiar with.”

McEntire also recognizes that slipping new music into her concert sets can prove difficult, given the 24 No. 1 Billboard country hits and 60 top 10 country hits she has amassed. “I know at my concerts, people like familiarity,” she explains. “I know one time I went to an Elton John concert and he said, ‘Okay, we’re going to do a new song now if you want to go to the bathroom and come on back in five minutes,’” she says with a chuckle, “because he knows his fans want to hear the songs they can sing along with. But some do want to hear something new, so you have to try to make everybody happy and that’s a constant juggle for us.”

Of course, acting, recording and touring are a few aspects of the business entrepreneur’s ever-expanding empire, which also includes books, a podcast, and lines of clothing and boots. She earned her first movie role in the film Tremors in 1990, and appeared in movies including North and The Little Rascals, as well as a nearly six-year run starring in the hit television series Reba.

Next year will see the release of the Lifetime movie The Hammer, which McEntire both executive produces and stars in, portraying a strong-willed, outspoken attorney who is appointed as judge of the 5th District of Nevada. The story is based upon the story of real-life traveling judge Kim Wanker.

“She’s a strong, tough woman, but also fair. Some of the things of how she would treat folks in her courtroom, I was like, ‘Wow, wish I had done that. I wish more people would do that.’ So it’s very inspirational,” McEntire says.

The Hammer is part of McEntire’s two-movie deal with Lifetime, following last year’s Christmas in Tune. She says there are no set plans yet to extend the deal. “We haven’t talked about that yet. I think they probably want to see how well The Hammer does. The [Christmas] movie did very well and they were pleased with that, and I’ve really enjoyed working with Lifetime.”

Joining McEntire with his own role in The Hammer is McEntire’s boyfriend, actor Rex Linn (or as McEntire affectionately calls him, “Sugar Tot”), who has previously starred in television shows including CSI: Miami. The couple, who appeared together on Young Sheldon, first met back in 1991 on the set of the TV movie The Gambler Returns: The Luck of the Draw, and began dating in 2020.

McEntire and Linn also star together in the new season of Big Sky, which premiered on ABC last month, as they portray Buck and Sunny Barnes, who run the Sunny Day Excursions business in Montana. “When [Big Sky writer and executive producer] Elwood Reid came to me and said, ‘We’d love to have you on Big Sky,’ I said, ‘Doing what?’ And he said, ‘Playing the villain.’ I immediately wanted to do it and Rex was sitting at the table and said, ‘That’s what she’s been waiting for.’ He said, ‘Is that Rex? We want you on this, too.’ It’s so much fun that we are in these together.”

Of course, outside of portraying the revenge-seeking sister in her music video for “The Night the Lights Went Out in Georgia,” McEntire isn’t known for playing many less-than-virtuous roles. She says she pulls inspiration from classic movies featuring actresses such as Bette Davis and Joan Crawford.

“Rex and I went to see [the 1962 film] What Ever Happened to Baby Jane? So when I would film a scene, I would give that look that I can give and Rex would say, ‘Yep, there’s Bette Davis right there.’ Rex loves to go to movies and he studies actors. Last night we watched The Greatest Beer Run Ever and Russell Crowe did a great job in it. We’ve watched Ace Ventura: Pet Detective, [1973’s] Papillon with Steve McQueen and Dustin Hoffman, Cool Hand Luke. We’ll watch all kinds of movies, just to get our creative juices going.”

They also enjoy rehearsing their parts together. “We have coffee every morning and we haven’t missed one since March 2020,” McEntire says. “We get our coffee, whether we’re still up in bed or out on the patio watching the geese on the river. We’ll get our dialogue and rehearse. I think yesterday we rehearsed for like three or four hours.”

McEntire has her sights set on a few other characters she would like to portray. “I would love to be in a Marvel movie,” she says, adding that she doesn’t have a preference on the character. “I’m going to leave it open. I could play a hero or the villain, but I think I’d have more fun being the villain.”

Given McEntire’s Oklahoma raising, her family legacy with roping, her acting resumé (which includes a 2001 stint on Broadway portraying Annie Oakley in Annie, Get Your Gun) and that unmistakable Southern accent, it would seem she would be a natural consideration for a certain smash Western series, Yellowstone. However, McEntire says she hasn’t been approached to appear on the series just yet, though she hopes to change that.

“They haven’t [reached out], but I would love that because I’ve always wanted to be in Westerns,” McEntire says. “I’ve talked to Kevin [Costner] about it. Kevin and Rex are close friends, they’ve worked together. But maybe one of these days, I’d love to be in a Western. I just love a new challenge.”

For now, that new challenge is her upcoming lifestyle book, set to release next year. McEntire published her 1994 best-selling autobiography Reba: My Story, followed in 2015 with Comfort from a Country Quilt. The upcoming book includes recipes drawn from her new Oklahoma restaurant Reba’s Place, never-before-seen photos and a range of lifestyle tips from how to decorate for Christmas, how to pack efficiently for travel, to how to throw the best barbecue party.

With the holiday season around the corner, McEntire says she’s learned that focusing on family and friends —and keeping things comfortable — is key. “I don’t care if it’s food that’s homemade, or you picked it up at your favorite restaurant or bakery, if you pick your favorites, you know guests are going to love it. But if you’ve never tried [a recipe] before, that’s usually not a good time to be experimenting on friends and family,” she says.

“The main thing I’ve learned over the years, is don’t pull out the china. If you have a group coming over it’s not such a big deal that everything’s not clean and perfect. Don’t worry, don’t sweat and don’t be plumb give out by the time your guests get there because you are polishing the silver and making sure the china is good. Get out the paper plates, the Solo cups and enjoy being together.”

With an empire that traverses entertainment, hospitality, retail and literature, McEntire says she has no plans at the moment to expand into new areas.

“I think I’m pretty well happy with what I have,” McEntire says. “If you get to doing too many, you get watered down and you lose out on giving each one of those individual attention. So I’m probably spread as thin as I need to be right now.”

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Recording’s Great Escapes: Inside The World’s Most Scenic, State-of-the-Art Studios

“There were literally killer whales outside,” Sebastian Ingrosso recalls of Swedish House Mafia’s stay at Ocean Sound, a recording studio nestled on a tiny island off the northwest coast of Norway. “We had chefs coming with fresh fish every day. The ocean was right there when you opened the door. It’s one of the best studios I’ve been to. It was magical.”

A recording studio’s setting and vibe can have an immense effect on the artists recording there. And from the Grecian seaside to the Brazilian mountains to the Arctic Circle’s edge, these far-flung spaces have hosted countless artists, including ABBA, Queen, Sade, Soundgarden, Justin Bieber, Harry Styles, Fleet Foxes and more.

In addition to our in-depth look at the rebirth of Miraval Studios — a particularly stunning (and historic) recording space in Provence, France that Brad Pitt and producer-engineer Damien Quintard have brought to new life — Billboard is taking a global tour through dozens of gorgeous, state-of-the-art studios. These are the studios that inspired the artists who have created timeless classics and modern radio smashes, and for the most part, they’re far from the hustle and bustle of traditional industry hubs.

There’s the getaway in the mountains of southern Spain with rooms inspired by the J.R.R. Tolkien’s Hobbits (Space Mountain Studios); the luxe studio on Santorini where, says owner Kostas Kalimeris, Björk worked a few years ago as “her birthday present” (Black Rock Studios); the Welsh farm space where the cows still get milked every morning, and where Pixies love to hole up (Rockfield Studios); the rustic Vermont escape where the vibe is as laid-back as a Phish jam (The Barn, built by the band’s own Trey Anastasio).

Take a tour of those scenic studio locales — and many more — below.

This story originally appeared in the Oct. 8, 2022, issue of Billboard.

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Sam Smith and Kim Petras Eye Third Week Atop U.K. Chart With ‘Unholy’

Sam Smith and Kim Petras are powering to a third consecutive week at No. 1 in the U.K. with “Unholy” (EMI).

The viral number leads the First Look chart, which ranks tracks based on sales and streaming activity at the midweek point, ahead of David Guetta and Bebe Rexha’s “I’m Good (Blue)” (Parlophone) and Lewis Capaldi’s “Forget Me” (Vertigo), respectively.

Beyonce is on the climb with her Renaissance release “Cuff It” (Columbia/Parkwood Ent) set to lift 10-6, for what would be a new peak, while British hip-hop artist Aitch could see two tracks bounce. The Manchester rapper’s collaboration with Anne-Marie, “Psycho” (Atlantic), could bounce 12-8, while his tag-team with Ed Sheeran, “My G” (Asylum/Capitol) is set to rise 16-13.

Meanwhile, Australian producer and DJ Luude is still hanging around the top 10 with “Big City Life” (Warner Records), his drum ‘n’ bass collab with Mattafix. The followup to “Down Under,” which peaked at No. 5 on the Official Chart earlier this year, “Big City Life” lifts 11-9 on the chart blast.

Though no new singles debut on the chart blast, a handful of tracks are making a move north, including cuts from Burna Boy and Ed Sheeran (“For My Hand” up 19-15 via Atlantic), Tom Grennan (“All These Nights” up 64-16 via Insanity), Lizzo (“2 Be Loved (Am I Ready)” up 2018 via Atlantic), Cian Ducrot (“All For You” up 23-19 via Polydor) and Rema (“Calm Down” up 21-20 via Mavin).

All will be revealed when the Official U.K. Singles Chart is published late Friday (Oct. 14).

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Slipknot’s ‘The End So Far’ Crowned on U.K. Chart

Slipknot rocks a third U.K. No. 1 with The End So Far.

The U.S. metal veterans overturned a midweek deficit to come home with a wet sail, as The End So Far (via Roadrunner) tops the chart by just 340 combined units, the Official Charts Company reports.

The End So Far is the group’s sixth U.K. top 10 album, and third leader after Iowa (from 2001) and We Are Not Your Kind (2019). It’s the most downloaded album of the chart cycle, according to the OCC, and it’s the best-selling album of the week in Australia.

The LP to narrowly miss out on the U.K. crown is the posthumous reissue of George Michael’s Older (Sony Music CG). Following its original release in 1996, Michael’s classic record peaked at No. 1, one of his nine leaders, and yielded several hits, including “Jesus To A Child” and “Fastlove.”

Now released on vinyl for the first time, and with Dolby Atmos spatial audio mixes, Older blasts to No. 2 on the Official U.K. Albums Chart. The U.K.’s best-seller on wax during the latest cycle, Older was the leader on the midweek all-genres survey.

Coming in new at No. 3 on the latest chart, published last Friday, Oct. 7, is The Snuts with their sophomore studio effort Burn The Empire (Parlophone). It’s the followup to the Scottish indie rock quartet’s 2021 debut LP W.L., which bowed at No. 1.

Meanwhile, homegrown R&B veteran Craig David enjoys a top 10 berth with his eighth studio record 22 (BMG), new at No. 7. David has now chalked up six U.K. top 10s, including No. 1s with his 2000 debut Born To Do It and Following My Intuition, from 2016.

And there’s a top 10 debut for U.S. indie-rockers Yeah Yeah Yeahs, as Cool It Down (Secretly Canadian) starts at No. 10. Karen O and Co. now boast four U.K. top 10 appearances, with 2006’s Show Your Bones (No. 7), 2009’s It’s Blitz (No. 9) and their most recent release, 2013’s Mosquito (No. 9).

Just outside the top tier, Icelandic alternative pop icon Björk bags an 11th U.K. top 40 appearance with Fossora (One Little Independent), her 10th studio LP; K-Trap, the Peckham, England-born rapper, lands a sixth U.K. top 40 with The Last Whip II (Thousands), his latest mixtape, new at No. 12; while alternative rock legends Pixies return to the chart with Doggerel (Infectious Music), new at No. 13. It’s the Boston band’s tenth U.K. top 40 appearance on the Official U.K. Albums Chart, most recently with Beneath The Eyrie, which peaked at No. 7 in 2019.

Finally, notes the OCC, three acts enjoy their first taste of the U.K. Top 40 this week, led by British-American trio Gabriels with their debut Angels & Queens – Pt 1 (Parlophone), new at No. 25; U.S. hip-hop artist Denzel Curry with Melt My Eyez See Your Future (Loma Vista), new at No. 30; and South London artist Shygirl (real name Blane Muise) with Nymph (Because Music), new at No. 34.

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Sam Smith and Kim Petras Extend ‘Unholy’ U.K. Chart Reign

Sam Smith and Kim Petras’ “Unholy” (EMI) hit dominates the U.K.’s chart for a second week.

The viral track racks up 6.6 million streams during the latest chart cycle, the Official Charts Company reports, to complete another victory lap.

“Unholy” finishes “comfortably ahead” of David Guetta & Bebe Rexha’s former leader “I’m Good (Blue)” (via Parlophone), which had led the midweek chart before finishing in second place.

The highest new debut on the Official U.K. Singles Chart belongs to Ed Sheeran with “Celestial” (Asylum), new at No. 6, for the Englishman’s 40th top 10 and 57th top 40 appearance.

“Celestial,” which is synced to the forthcoming Pokémon games “Scarlet” and “Violet,” is “by far” the most-bought track of the week, the OCC reports. Sheeran also appears further down the list with Burna Boy on “For My Hand” (Atlantic), which lifts 20-19, a new high.

Also making a move in the top 10 is Beyonce’s “Cuff It” (Columbia/Parkwood Ent), from the superstar U.S. singer’s best-selling Renaissance album. “Cuff It” rises 14-10 for a new peak and Knowles’ 21st U.K. top 10 single.

Meanwhile, Lizzo’s “2 Be Loved (Am I Ready)” (via Atlantic) cracks the top 20 for the first time, the Detroit-born artist’s fourth top 20 single; it’s up 21-20.

Nigerian artist Rema (real name Divine Ikubor) is on the rise with “Calm Down” (Mavin), up 25-21 for a new peak; while singer and social media star Cian Ducrot climbs with “All For You” (Polydor), up 29-23, a new high.

Close behind is KSI, with “Summer Is Over” (Atlantic) bowing at No. 24. It’s the British singer, rapper and YouTuber’s 17th U.K. top 40 single.

Finally, alternative rock favorites Arctic Monkeys bag a 17th U.K. top 40 with “Body Paint” (Domino Recordings), new at No. 26. It’s lifted from the Sheffield indie act’s seventh and latest album, The Car, due out Oct. 21.

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Jamie Lee Curtis, Sarah Silverman and More Respond to Kanye West’s Removed Tweet: ‘Your Words Hurt and Incite Violence’

Sarah Silverman, Jamie Lee Curtis and Michael Rapaport are among those in Hollywood and the larger entertainment and media industry responding to a recent tweet from Kanye West repeatedly labeled antisemitic by the American Defamation League and others.

In a tweet featuring West’s now-removed Twitter statement, which he posted Saturday night (Oct. 8), Curtis told the rapper that his “words hurt and incite violence.”

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“The holiest day in Judaism was last week. Words matter. A threat to Jewish people ended once in a genocide,” she wrote. “You are a father. Please stop.”

Comedian Sarah Silverman addressed what she describes as silence from those outside the Jewish community following West’s statements. “Kanye threatened the Jews yesterday on twitter and it’s not even trending,” she wrote. “Why do mostly only Jews speak up against Jewish hate? The silence is so loud.”

Actor and comedian Michael Rapaport addressed his previous defenses of West during his public spat with Pete Davidson while calling the rapper a “creep” and arguing that he’s pushing the same rhetoric as U.S. Rep. Marjorie Taylor Green and those who attended the Unite the Right rally in Charlottesville.

The Black-Jewish Entertainment Alliance denounced the rapper’s comments as “hurtful, offensive and wrong. They perpetuate stereotypes that have been the basis for discrimination and violence against Jews for thousands of years. Words like this tear at the fabric of the Black-Jewish relationship. The Black and Jewish communities must stand together through incidents like this to make clear that trafficking in hateful stereotypes is unacceptable — and that the words of one entertainer do not reflect the views of an entire community.”

Meanwhile, the Creative Community for Peace also condemned his remarks. “In the past week, Ye has spread some of the most vile and age-old stereotypes about Jews to his hundreds of millions of followers,” the organization said. “There should be no place for this kind of hate in our public discourse. We support every entertainer’s right to free speech, but no one has a free pass to target and demonize a minority group with such malice. We are gravely concerned about the impact of Ye’s statements — and how they will affect his fans, particularly young people. At the same time, we hope this can be a moment that ultimately creates better awareness about the dangers of antisemitism for Ye, his fans, and other entertainers. We remain open to dialogue with him about how harmful and fallacious his comments are.”

The comments follow Twitter removing Ye’s tweet on Saturday for violating the platform’s rules after the rapper wrote that he was going to go “death con 3 On JEWISH PEOPLE.”

“The funny thing is I actually can’t be Anti Semitic because black people are actually Jew also You guys have toyed with me and tried to black ball anyone whoever opposes your agenda,” he ended the tweet.

Under Twitter’s rules, hateful conduct, or the promotion of violence against, threats or harassment of other people on the basis of several identity-related factors, including race, ethnicity, national origin and religious affiliation, is prohibited in tweets, but also images and handles.

The Hollywood Reporter has reached out to Twitter for comment on West’s violation.

The comment followed Meta’s removal of Instagram posts by West for violating that platform’s policies after he posted text messages between him and fellow rapper P. Diddy claiming he would “show the Jews that told you to call me that no one can threaten or influence me.”

A spokesperson with Meta confirmed to THR that the company had deleted content from the @kanyewest handle, the rapper’s official Instagram account. While it’s still visible, the account has been restricted. Meta applies its restriction policy following users’ repeated violations and can temporarily prevent them from sharing posts, writing comments or sending direct messages.

While it’s not clear which rule the tweet or Instagram post violated, they — published around the same time as West’s controversial Tucker Carlson interview — have been labeled bigoted and antisemitic by a number of entities beyond Hollywood, including the ADL, which addressed West’s comments on two separate occasions this past week.

“Power. Disloyalty. Greed. Deicide. Blood. Denial. Anti-Zionism. All of these are antisemitic tropes,” the ADL’s Sunday statement reads. “Many of these myths have influenced @KanyeWest’s comments recently, and it’s dangerous.”

On Friday, the American Defamation League also responded to earlier comments made by the rapper and his decision to wear a White Lives Matter shirt.

“The behavior exhibited this week by @kanyewest is deeply troubling, dangerous, and antisemitic, period. There is no excuse for his propagating of white supremacist slogans and classic #antisemitism about Jewish power, especially with the platform he has,” the organization tweeted on Oct. 7

Updated 5:24 p.m. Sunday, Oct. 9: Added statements from the Black-Jewish Entertainment Alliance and the Creative Community for Peace.

This article originally appeared on The Hollywood Reporter.

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‘La Ultima Mision’: 5 Standout Moments From Wisin & Yandel’s Madison Square Garden Show

With their triumphant performance Saturday night (Oct. 8) in New York City, Wisin & Yandel displayed their formidable trajectory. Although they became reggaeton fixtures over two decades ago — including in the Big Apple, with performances in iconic clubs like Club Exit and Copacabana for the Latin American diaspora — their Madison Square Garden gig showcased their undisputed stature as legends of the genre. 

Clad in Mad Max-esque gear, the Puerto Rican pair appeared onstage and enthralled for about two hours. Fresh off releasing their tenth — and perhaps final — album together, La Última Misión (The Last Mission), Wisin & Yandel performed a mix of classics and new songs from their latest release. Their high energy was felt on a thousand, complete with riveting pyrotechnic effects, captivating back-up dancers, and a set of costume changes that brought more eye candy to the crowd.  

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The dynamic duo kicked off their tour in Miami’s FX Arena on Sept. 30, the same day of their album release. They will set foot in major North American cities like Toronto, Houston, Las Vegas, Ontario and Los Angeles. And, in December, Wisin & Yandel are poised to break their own record with a series of 14 homecoming gigs at Coliseo de Puerto Rico José Miguel Agrelot, belovedly known as El Choli to locals. That also includes a performance on New Year’s Eve, the first time ever the iconic venue holds a show on said date. 

Here are five things that stood out at the Wisin & Yandel MSG show. 

Their Apocalyptic Style Is Reinforced With Riveting Pyrotechnic Effects 

Wisin & Yandel arrived on stage dressed in Mad Max-esque combative gear, with Wisin in all black, and Yandel in off-white combative attire. There were the pyrotechnic effects in full force to boot, blazing between the fans and performers, and against a Jumbotron that showed a collage of dystopian, Fast & Furious-type visuals with plenty of explosions. A costume change later, the Puerto Rican duo fired up in a shiny, fire-engine red get-up as they continued to captivate fans for nearly two hours. 

Latin Pride Is on Full Display

Doing a quick 360, one saw plenty of Latin American flags lofted throughout. Although New York City is one of the most racially and ethnically diverse places in the U.S., there’s no denying that Wisin & Yandel will keep representing Latin pride throughout their next tour stops. “¿Dónde está mi gente Latina?” or “Where are my Latin people!?” will always be a signature call-out in reggaeton. 

Nostalgia Is a Significant Factor 

Although fresh off releasing a brand-new album, their MSG set was packed with classic bangers. Opening with 2007’s combustible “Ahora Es,” their explosive energy inspired a gigantic throwdown, with concert-goers dancing all around. Whether standing on their seats, thrusting with their beas or moving towards the stair aisles for more space to gyrate, one couldn’t help but burst out with lots of motion, especially when one recalls the yesteryears. The pair spanned through their hits since their chart-topping 2000 album, Los Reyes del Nuevo Milenio, and when they nearly wrapped up with their penultimate number “Rakatá,” all hell broke loose. 

“You don’t know how many things are going through my mind right now,” said Wisin in Spanish. “I want to thank all of you for so many years of love and affection. There are many people here who have been fans of Wisin & Yandel for more than 20 years.” 

Calling Out All the Single Ladies 

Let’s be real, no old school or modern day reggaeton show would be complete without the frequent single-lady call outs. “Where are the Dominican ladies?!” Wisin often shouted in Spanish. The genre first came to notoriety for its lyrical raunch, a quality that has remained at the core of reggaeton. The affection is reciprocated, especially when femininity and feminism have evolved in the last two decades. “Where are the women who are in charge of their household?!” the group further shouts. “Where are the women who like to dance reggaeton?!” (Never forget “Si no estás bailando con ella, ¡salte!”, lyrics from “Rakatá,” “Sexy Movimiento” or “solo para mujeres” songs.) Couples were embraced too, as the kiss-cam went around shooting affectionate pairs. 

La Última Misión Tour Is Wisin & Yandel’s Last Stint Together — For Now 

New songs from La Última Misión were received with lots of excitement, especially since it marks the revered group’s legendary run as a formidable act of reggaeton. They’ve continued to churn out massive hits — like their recent single “Besos Moja2,” featuring Rosalía, which was highly praised. Because they killed it on stage and performed loads of worthy chart-toppers, and because Wisin & Yandel as a team will come to an end, this is why La Última Misión Tour is one not to miss.

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Shakira Announces New Single ‘Monotonia’ With Ozuna

Shakira and Ozuna have teamed up for a new song, “Monotonía.”

“Monotonía” will be released on Oct. 19, the singer revealed on Sunday (Oct. 9) on her official social media accounts, where she posted a brief sound clip and an image of the song title atop a heart being stabbed with a dagger.

“Un pequeño rey con una súper reina,” Ozuna commented on Shakira’s Instagram post Sunday afternoon.

Earlier this week, Shakira — who confirmed her split with Spanish soccer player Gerard Piqué a few months ago, and said recently that she was going through “the most difficult, darkest hours of my life” — had teased new lyrics on Instagram: “No fue culpa tuya/ Ni tampoco mía/ Fue culpa de la monotonía,” (“It wasn’t your fault/ Nor Mine/ It was the fault of monotony.”)

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“Monotonía” will be the Colombian superstar’s follow-up to “Te Felicito” with Rauw Alejandro, which topped the Billboard Latin Airplay chart and also reached No. 1 on the Billboard Argentina Hot 100 chart. It peaked at No. 10 on the Hot Latin Songs chart.

See Shakira’s announcement below.

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Lizzo Seemingly Responds to Kanye West’s Comments About Her Weight at Toronto Concert

Lizzo appears to have subtly responded to Kanye “Ye” West‘s comments about her weight during his appearance on Fox News’ Tucker Carlson Tonight.

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The “About Damn Time” singer took a moment during her concert at Toronto’s Scotiabank Arena on Friday (Oct. 7) to address her name often being brought up during media interviews.

“I feel like everybody in America got my motherf—ing name in their motherf—ing mouth for no motherf—ing reason,” Lizzo told the crowd.

“I’m minding my fat Black beautiful business,” she added before asking the audience, “Can I stay here? Who can I marry for that dual citizenship?” Watch the onstage moment via TMZ.

The R&B star’s comments arrive after Ye’s interview with Carlson on Thursday, during which the rapper shared his thoughts on the “demonic” promotion of obesity by the media that he said was part of a plot intended to hasten the “genocide of the Black race.”

“When Lizzo loses 10 pounds and announces it, the bots … on Instagram, they attack her losing weight, because the media wants to put out a perception that being overweight is the new goal when it’s actually unhealthy,” Ye told Carlson. “It’s demonic.”

During the 2022 MTV VMAs in late August, Lizzo also took a moment to not-so-subtly throw some shade at comedian Aries Spears, who made fatphobic comments about her during an interview with The Art of Dialogue.

“And now, to the b—-es that got something to say about me in the press,” Lizzo yelled into the mic while accepting the Video for Good award for “About Damn Time.” “You know what, I’m not gonna say nothing.”

A few days prior to the VMAs, a clip went viral of Spears dissing Lizzo during his appearance on The Art of Dialogue in which he was asked whether or not he thought the star was a good songwriter. “I can’t get past the fact that she looks like the s— emoji,” the comedian replied.

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Bad Bunny’s ‘Un Verano Sin Ti’ Ties for Most Weeks at No. 1 in Last 10 Years on Billboard 200

Bad Bunny’s Un Verano Sin Ti clocks a 13th nonconsecutive week atop the Billboard 200 chart (dated Oct. 15), tying Drake’s Views and the Frozen soundtrack for the most weeks at No. 1 on the chart in the last 10 years. Views logged 13 nonconsecutive weeks atop the list in 2016 (May 21-Oct. 8 charts) and Frozen chilled for 13 nonconsecutive frames in 2014 (Jan. 18-May 17).

The last album with more weeks at No. 1 was Adele’s 21, with 24 nonconsecutive weeks on top in 2011-12 (March 12, 2011-June 23, 2012).

In the latest tracking week, ending Oct. 6, Un Verano Sin Ti earned 84,000 equivalent album units in the U.S. (down 4%), according to Luminate.

Also in the top 10 of the new Billboard 200, Slipknot’s The End, So Far debuts at No. 2, while Tyler ChildersCan I Take My Hounds to Heaven and Tory Lanez’s Sorry 4 What bow at Nos. 8 and 10, respectively.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 15, 2022-dated chart will be posted in full on Billboard‘s website on Oct. 4. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 84,000 equivalent album units earned, SEA units comprise 82,000 (down 3%, equaling 115.96 million on-demand official streams of the set’s tracks), album sales comprise 1,500 (down 14%) and TEA units comprise 500 (up 3%).

Slipknot scores its sixth top 10-charting album on the Billboard 200 as The End, So Far debuts at No. 2 with 59,000 equivalent album units earned. Of that sum, album sales comprise 50,500, SEA units comprise 8,000 (equaling 11 million on-demand official streams of the set’s tracks) and TEA units comprise 500.

The End, So Far marks both the highest-charting hard rock album on the Billboard 200, and biggest week by units earned for a hard rock set, in nearly seven months. The last bigger week for a hard rock album was when Ghost’s Impera debuted and peaked at No. 2 with 70,000 units on the chart dated March 26. (Hard rock albums are defined as those that have hit Billboard’s Top Hard Rock Albums chart.)

The End, So Far was preceded by a trio of hit singles from the album on Billboard’s charts. “The Chapeltown Rag” reached No. 1 on the multi-metric Hot Hard Rock Songs chart last November, while “The Dying Song (Time to Sing)” and “Yen” reached Nos. 2 and 5, respectively, this August.

Notably, if The End, So Far goes no higher than No. 2 on the Billboard 200, it will mark the eighth album to peak in the runner-up slot behind Bad Bunny’s Un Verano Sin Ti. The set also blocked Post Malone’s Twelve Carat Toothache (June 18), Luke CombsGrowin’ Up (July 9), Brent Faiyaz’s Wasteland (July 23), Lizzo’s Special (July 30), YoungBoy Never Broke Again’s The Last Slimeto (Aug. 20), NAV’s Demons Protected by Angels (Sept. 24) and 5 Seconds of Summer’s 5SOS5 (Oct. 8) (also all debuts at No. 2). The last album to block as many No. 2-peaking sets from the summit was Drake’s Views, with eight albums halting at No. 2 during its 13-week run at No. 1 in 2016.

Back on the new Billboard 200, Morgan Wallen’s former leader Dangerous: The Double Album is a non-mover at No. 3 with 46,000 equivalent album units earned (down 1%), while The Weeknd’s compilation The Highlights rises 7-4 with 39,000 (up 41%). Harry Styles’ former No. 1 Harry’s House is stationary at No. 5 with 34,000 (down 6%). Beyoncé’s chart-topping Renaissance is also a non-mover at No. 6 with 31,000 units (down 10%).

Zach Bryan’s American Heartbreak jumps 10-7 with 28,000 equivalent album units earned (up 10%), largely owed to continued streaming gains of the set’s hit single “Something in the Orange.” On the most recently published all-genre Streaming Songs chart (dated Oct. 8), the cut spent its third straight week in the top 10 (at No. 7). The set opened at its No. 5 high in June.

Tyler Childers notches his first top 10-charting album on the Billboard 200 as his latest release, Can I Take My Hounds to Heaven, launches at No. 8 with 27,000 equivalent album units earned. Of that sum, album sales comprise 16,000, SEA units comprise 10,500 (equaling 13.81 million on-demand official streams of the set’s songs) and TEA units comprise 500. Hounds is the singer-songwriter’s fourth entry on the Billboard 200, dating to his chart debut in 2017 with Purgatory, which eventually topped out at No. 106 in 2020.

With Dangerous: The Double Album, American Heartbreak and Can I Take My Hounds to Heaven at Nos. 3, 7 and 8, respectively, there are three country albums in the top 10 of the Billboard 200 for the first time in 2022. There was last a trio of country sets in the region on the Dec. 4, 2021-dated list, when Taylor Swift’s Red (Taylor’s Version) was No. 2, followed by Dangerous at No. 5 and Robert Planet and Alison Krauss’ Raise the Roof at No. 7. (Country albums are defined as those that have hit Billboard’s Top Country Albums chart.)

Rounding out the top 10 on the new Billboard 200 are Rod Wave’s former No. 1 Beautiful Mind, falling 8-9 with 26,000 equivalent album units earned (down 2%), and Tory Lanez’s Sorry 4 What, debuting at No. 10 with 25,500. Of the latter sum, SEA units comprise 24,500 (equaling 32.06 million on-demand official streams of the set’s songs) while album sales comprise 1,000 and TEA units comprise a negligible sum. It’s the seventh top 10-charting effort for Lanez.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.