Contrary to reports published Monday afternoon (Aug. 7) by multiple media outlets, Spanish singer/songwriter José Luis Perales is not dead.
In fact: “I’m more alive than ever,” the 78-year-old superstar said in a video he posted on his official Instagram account denying the news published about his supposed death. Not only is Perales not dead, but he’s on vacation in London.
“Hello, friends, I am speaking from London, a beautiful place where I have spent a few days with my children and my wife,” he says in Spanish, looking directly at the camera. “And suddenly we find out that someone, a very bad idea, has said that I have died. But I’m more alive than ever. Happier than ever. And tomorrow we will be seeing each other in Spain. Thanks to all of you who have tried to find out if this thing was true.”
Perales, who’s written legendary hits like “Porque Te Vas,” made popular by Jeanette in 1976; “Y Cómo Es Él” (which was re-recorded by Marc Anthony); and “Canción de Otoño,” among many others, spoke to Billboard at length in 2020, when he published the album Mirándote a los Ojos (2019), which included new versions of many of his hits. In that interview, he said that he did not like being called “legendary.”
“Legendary doesn’t sound right,” he said. “I would say that I am a storyteller with an age, but not excessive, and I am not the singer that people think. I’m a storyteller because my songs are usually people’s stories, my stories, to which I put music. I’m like a storyteller. A chronicler.” Listen to the complete interview here.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
These 10 tracks from artists including Cannons, Lauv, BAMBII with Aluna, Meet Me @ the Altar and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
BAMBII feat. Aluna, “Hooked”
Toronto-bred DJ BAMBII has become known for her unexpected fusions, ensuring each release offers a new roadmap to the same destination: a good time. On the sultry “Hooked,” she and Aluna journey through gently thumping, and at times oscillating orchestral beats — setting the scene as if the pair are slowly winding down a dim-light, hazy road in no rush at all to reach their destination. — Lyndsey Havens
Saint Motel, “Fine Wine”
The latest from Los Angeles pop band Saint Motel offers a reassuring take on growing up: “Our bodies will age but we’ll never grow old,” sings frontman AJ Jackson, comparing the process to that of fine wine, becoming better with time. And once the glimmering chorus hits, which sounds tailor-made to accompany an onstage curtain of sparklers, it’s hard not to buy in. — L.H.
Cannons, “Desire”
“I’ve got a fire / I feel it starting to grow,” Cannons singer Michelle Joy declares on their sensual new single, “Desire”: the line may be a knowing or unwitting callback to “Fire for You,” and like the band’s breakout hit, the new track conveys its yearning message through ’80s textures and clean, dreamy synth-pop. When Cannons release singles that are both smoky and designed for swaying, you better be ready to press the replay button. — Jason Lipshutz
Dylan feat. Bastille, “Liar Liar”
British singer-songwriter Dylan has specialized in emotionally heightened pop tunes during her speedy ascent, as have Bastille over the course of their mega-streaming career; together, Dylan and the band’s Dan Smith have conjured an intensely magnetic duet with “Liar Liar.” Both singers spit out the titular phrase as a decree against deception, accentuating the song’s piercing strings and sprinting beat with ample charisma. — J.L.
Lauv, “Love U Like That”
The single artwork for Lauv’s “Love U Like That” is a neon-purple lipstick print — a fitting image for a love song that embraces its listener with enough heartfelt emotion to glow in the dark. Lauv has earned billions of streams with this brand of vulnerable, immaculately constructed pop, and “Love U Like That” once again finds him navigating fizziness with airtight hooks and generous falsetto. — J.L.
Speedy Ortiz, “Ghostwriter”
“I’m tired of anger” is the lynchpin line on Speedy Ortiz’s bewitching new single “Ghostwriter,” as Sadie Dupuis sings about attempting to live with less rage while also existing in a world full of social injustices that deserve to be called out. Out of all of the singles that Speedy Ortiz has shared ahead of upcoming album Rabbit Rabbit, “Ghostwriter” may possess the most immediately satisfying balance of shimmer and substance, pushing forward with purpose as Dupuis ponders her next move. — J.L.
Chris Farren, “All We Ever”
“All We Ever,” the best song on Chris Farren’s great new album Doom Singer, essentially exists as a list of the singer-songwriter’s large and small desires: as the guitar surfs forward and a synth hook pops in and out, Farren proclaims that he wants to “fall asleep reading a book,” to “get drunk with my friends,” to “make my mother proud of me,” to “love being alive.” The cover of Doom Singer finds an animated Farren on his knees, pleading with the heavens; “All We Ever,” then, serves as that image’s lovely audio counterpart. — J.L.
LANY, “XXL”
Perhaps a song that’s nostalgic for the year 2018 will make you feel older than the dirt under your shoes, but LANY sell the not-so-distant look back on “XXL,” an expansive pop-rock track about a misbegotten romance and the too-large hoodie that makes the memories flood back. The repetition of the “XXL” motif, used at the end of each verse and throughout the chorus, serves the song well, turning what could have been a stray observation into a memorable anthem. — J.L.
Meet Me @ The Altar, “Take Me Away (Freaky Friday)”
For fans of Freaky Friday’s “Take Me Away,” as sung by actress Christina Vidal for the 2003 movie’s House of Blues performance scene, Meet Me @ The Altar put their spin on the classic track and revived it for Gen Z, just in time for the film’s 20th anniversary. Vocalist Edith Victoria injects a fair amount of bite, adding more of the band’s signature pop punk edge to the group’s rendition of the track. — Starr Bowenbank
Puddle Splasher, “Basic Forms”
Following 2019’s The Blankest Blue, Puddle Splasher — Brooklyn based trio consisting of members Dante Fotino, Andy Altadonna and Adam Thibeault — has returned with new single “Basic Forms,” their first in five years that doubles as the first look at an upcoming album. The band continues to dive headfirst into fuzzy, alternative leaning rock as Altadonna’s voice melts into energetic guitar and drum work at the turn of the chorus. — S.B.
Springfield Police are asking for anyone with information on a deadly shooting over the weekend to come forward.
Police say when they responded to a business on Kansas Expressway near Water Street, officers found two men with gunshot wounds.
One of the victims was treated at the scene for non-life threatening injuries, while the second victim, Larry McCoo from Springfield, died at a local hospital.
Detectives say a suspect has not been identified, but they know multiple people were present during the incident.
With that feat, “Sprinter” (via Live Yours/Neighbourhood) becomes the longest-reigning U.K. rap single in U.K. chart history. It’s the second time Dave has entered the record books following the surprise release of “Starlight” in 2022, which logged four weeks at the summit, a new benchmark for a solo U.K. rap No. 1.
If “Sprinter” can cross the line first when the next chart is published on Friday, Aug. 11, it would draw level with Miley Cyrus’ 10-week reign with “Flowers,” for the longest-running leader this year.
Central Cee, the London rapper and songwriter, also appears further down the list with “On The Radar Freestyle” (Columbia/OVO Sound), his collaboration with Drake. It’s new at No. 26 for Central Cee’s 19 U.K. top 40 appearance, and Drake’s 82nd.
Barbie retains a firm grip on the Official Charts, as four songs from the hit film’s soundtrack impact the top ten, led byBillie Eilish’s “What Was I Made For” (Interscope) up 3-2 for a new peak. Eilish’s low-key number is currently No. 1 in Australia.
Barbie: The Album cuts “Dance The Night” by Dua Lipa (up 4-3); “Barbie World” by Ice Spice, Nicki Minaj and Aqua (up 5-4) and “Speed Drive” Charli XCX (19-9) motor to new chart peaks. With its steep climb on the Official U.K. Singles Chart, published Aug. 4, “Speed Drive” becomes Charli’s sixth U.K. top 10 single and her first in eight years as a lead artist, dating back to 2015’s “Doing It” featuring Rita Ora.
Close behind is Ryan Gosling’s “I’m Just Ken,” up 25-14, and Lizzo’s “Pink” up 39-27.
With Travis Scott‘s Utopia lording over the albums survey, hip-hop is the undisputed king of the U.K.’s charts this week. Scott also nabs the highest new entry this week on the singles survey with “Meltdown” (Epic). Featuring vocals from Drake, it’s new at No. 10 for Scott’s fifth U.K. top 10 appearance.
Meanwhile, Calvin Harris and Sam Smith’s latest collaboration, “Desire” (Columbia), starts at No. 18, while Post Malone’s “Chemical” enjoys a boost following the release of the U.S. singer and rapper’s fifth studio album, Austin. “Chemical” roars 83- 24, as Austin bows at No. 3 on the albums tally.
Finally, Sinead O’Connor makes a posthumous return to the top 40 with her signature song, “Nothing Compares 2 U” (Chrysalis), reentering at No. 30 on a 60% gain in combined sales, the Official Charts Company reports.
“Nothing Compares 2 U” logged four weeks at No. 1 following its initial release in 1990. The Irish singer and songwriter died July 26, at the age of 56.
Lollapalooza glided to a close on Sunday night (Aug. 6) on the wings of two very different California vibes. While the Red Hot Chili Peppers helped shut down the T-Mobile stage at the South end of the mud bog previously known as Grant Park, Lana Del Rey did the honors about a mile up the road on the Bud Light stage, drawing a huge crowd of superfans who’d been waiting all day for their beloved queen of disaster.
Del Rey brought a bit of old Hollywood glamour to what was an otherwise not-at-all glamorous, soggy, cloudy day — the second one of the four-day weekend in Chicago — one that reduced so many cute outfits and carefully curated looks to muddy messes as fans tromped through giant puddles.
In the wind-up to her commanding, mesmerizing 90-minute set, the day featured some fun lead-ins, including Afrojack getting the crowd absolutely mental with a taste of the remix of LDR’s “Summertime Sadness” on the Perry’s EDM stage. Just moments earlier, Joey Bada$$ made his fans equally bonkers by inviting hometown hero Chance the Rapper out for a surprise cameo run through Chance’s “No Problem and the live debut of their collab “Highs & the Lows.”
In another tip to Chi-town hip-hop royalty, both A Boogie Wit Da Hoodie and Lil Yachty shouted out late Chicago MC Juice WRLD during their sets, with the latter wowing the far-as-the-eye-could-see crowd with a rocking performance that leaned hard into the indie guitar vibes of his Let’s Start Here album.
An hour before LDR cast her soothing spell, Rina Sawayama lit up the Bud Light stage with a decidedly more high-energy vibe, literally cracking a whip during “XS” as she playfully teased her back-up dancers with a variety of S&M gear while rocking a red latex bondage outfit. And in a kind of foreshadowing of LDR’s headlining set, Rina took time out during her show to get her hair done on stage, change shoes and have a sip of Bud Light — she was, after all, on the Bud Light stage. She also slipped in a quip to the audience that seemed to allude to the beer brand’s Dylan Mulvaney flap, reminding them that “trans rights is not just for pride month.”
All of that, however, was just a simple appetizer for the tens of thousands who camped out to see Lana, who took the stage dressed as the world’s loneliest bride, complete with a white wedding mini-dress with a colossal train. While her set was low on the pyrotechnics that marked some of the other headliners over the weekend — from Karol G’s history-making appearance, to the 1975’s cheeky, antics-filled show, Billie Eilish’s eye-popping spectacle and Kendrick Lamar’s intense, stripped-down set — what it lacked in flames it more than made up for in smoldering elegance.
Check out the six best moments from LDR’s set below.
Travis Scott is living his best life on the U.K. albums chart as Utopia (via Epic) bows at No. 1.
The U.S. hip-hop star’s fourth studio album debuts at the summit of the Official Chart, published Aug. 4, eclipsing the No. 3 best for his previous album, 2018’s Astroworld.
Utopia, a digital-only release, finishes the week in a flurry. Anne-Marie’s Unhealthy (Atlantic) was the leader at the halfway point, with an advantage of about 200 combined sales. When the chart proper was published last Friday, Unhealthy had dipped to No. 2, some 1,500 chart units behind Utopia.
Unhealthy is the English artist’s third U.K. top 5 album, following 2018’s Speak Your Mind (No. 3) and 2021’s Therapy (No. 2). Despite missing out on the title, Unhealthy becomes the fastest-selling album of 2023 for a U.K. solo female, according to the Official Charts Company, which reports that physical sales account for 84% of its first-week tally.
Utopia, meanwhile, bags the biggest streaming week for any LP so far this year.
Completing an all-new top three is Post Malone’s Austin (Island). That’s the U.S. rapper’s fifth U.K. top 10 album to date after 2016’s Stoney (No. 10), 2018’s Beerbongs & Bentleys (No. 1), 2019’s Hollywood’s Bleeding (No. 1) and 2022’s Twelve Carat Toothache (No. 3).
Further down the list, veteran Birmingham, England band Dexys (formerly Dexys Midnight Runners) sprint to their highest-charting LP in over 30 years with The Feminine Divine (100 Percent Records). Their sixth studio set starts at No. 6 on the Official U.K. Albums Chart.
You’d have to wind the clock back to 1982 to find a higher chart position for Dexys, when their sophomore effort Too-Rye-Ay, which featured the enduring hit “Come On Eileen,” peaked at No. 2. Kevin Rowland and Co. last landed in the U.K. top 10 with 2016’s Let the Record Show: Dexys Do Irish and Country Soul, which peaked at No. 10.
Ne-Yo has issued an apology for the comments he recently made regarding transgender kids.
“After much reflection, I’d like to express my deepest apologies to anyone that I may have hurt with my comments on parenting and gender identity,” the singer wrote on Twitter/X Sunday night (Aug. 6). “I’ve always been an advocate for love and inclusivity in the LGBTQI+ community, so I understand how my comments could’ve been interpreted as insensitive and offensive.”
Ne-Yo continued: “Gender identity is nuanced and I can honestly admit that I plan to better educate myself on the topic, so I can approach future conversations with more empathy.”
“At the end of the day,” he said, “I lead with love and support everyone’s freedom of expression and pursuit of happiness.”
On Saturday, a video of an interview with Gloria Velez for VladTV — in which Ne-Yo and Velez questioned parents who support their children identifying as a different gender than the sex they were assigned at birth — was uploaded to YouTube.
“I just personally come from an era where a man was a man and a woman was a woman,” said Ne-Yo in the interview clip. “And there was two genders, and that’s just how I rocked. You could identify as a goldfish if you feel like, I don’t care. That ain’t my business. It becomes my business when you try to make me play the game with you. I’m not gonna call you a goldfish. But if you wanna be a goldfish, you go be a goldfish. We live in a weird time, man. We do.”
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Ne-Yo Questions Best Practice Care for Transgender Youth: ‘I Don’t Understand’
During their conversation he said, “I feel like parents have almost forgotten what the role of a parent is. If your little boy comes to you and says, ‘Daddy, I want to be a girl.’ And you just let him rock with that? He’s 5 … If you let this 5-year-old boy decide to eat candy all day, he’s gonna do that. When did it become a good idea to let a 5-year-old, let a 6-year-old, let a 12-year-old make a life-changing decision for themself? When did that happen? I don’t understand.”
“He can’t drive a car yet, but he can decide his sex?” asked Ne-Yo, who is a father of seven children.
Later on Saturday Ne-Yo expanded on his thoughts in the comments section of an Instagram post, writing, “1st and foremost, I CONDEMN NO ONE. Who am I to condemn anybody? Your life, your kids, your choice. I was asked a question and I answered it. My opinion is mine. I’m not asking anybody to agree with me nor am I telling you what you can and cannot do with your children. I stated my opinion on a matter and that’s that. Why should I care if my opinion upsets you when you don’t care if yours upsets anyone? Opinions aren’t special. We all have one. People voice them regularly whether they’re asked or not. I was actually asked mine. Agreeing to disagree is not a declaration of war. Y’all do whatever the hell y’all want to. But my feelings on the matter are mine. Same way yours are yours. Meanwhile, I love everybody. Don’t agree with some of y’all’s ideals….but love you no less.”
