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Dua Lipa anuncia su gira "Future Nostalgia Tour" por Latinoamérica

Luego de haber ganado un grammy en la categoría de mejor álbum pop y álbum del año, la superestrella del pop mundial confirma su regreso a argentina..

“¡Estoy tan emocionado de volver a hacer una gira y ver a mis ángeles en persona! Qué increíble que todos podamos bailar y celebrar juntos una vez más. Cuando escribía Future Nostalgia, imaginaba las canciones que se tocaban en clubes en las noches con tus amigos. Estoy tan emocionado de que esta fantasía finalmente se haga realidad. ¡No puedo esperar para experimentar estas canciones juntos en vivo!". Esas fueron las palabras de Dua Lipa, la multifacética artista británica , recientemente ganadora de dos Grammy a Mejor Álbum Pop y Álbum del Año , al confirmar su gira latinoamericana “Future Nostalgia Tour”, que la traerá nuevamente a nuestro país para reencontrarse con el público argentino, el 14 de septiembre de 2022 en el Hipódromo de Palermo.

Además del show en Buenos Aires, producido por DF Entertainment y Live Nation , la tan esperada gira tendrá conciertos en Santiago de Chile, Bogotá, Ciudad de México y Monterrey , y constituirá el desenlace perfecto del furor mundial que generó “Future Nostalgia” , el trabajo discográfico más reproducido de 2020 en Spotify y uno de los "Best Of" de fin de año de los principales referentes de la industria a nivel global, desde Rolling Stone pasando por Billboard y Pitchfork . Asimismo, generó múltiples hits en todo el mundo como los #1 "Break My Heart", "Levitating" y "Don't Start Now".

Además de batir récords, Dua también es una poderosa fuerza dominante que le permitió encabezar como la artista femenina más reproducida en Spotify y actualmente es la cuarta artista más grande del mundo con más de 65 millones de oyentes mensuales. 

“Future Nostalgia” tiene más de 7 mil millones de reproducciones en todas las plataformas del mundo. Después de recibir seis nominaciones en los Grammy 2021 , incluyendo Disco, Canción y Álbum del Año , lleva en su haber tres galardones como Mejor Álbum Vocal Pop este año y por Mejor Artista Nuevo y Mejor Grabación Dance en 2019 , que, inexorablemente la consagran como la artista Pop del momento.

“Future Nostalgia” es la continuación de su disco debut homónimo de 2017, que convirtió a Dua en la primera artista femenina en la historia de los Brit Awards en obtener cinco nominaciones, con dos victorias para British Breakthrough Act y British Female Solo Artist.

• Future Nostalgia Tour
• Hipódromo De Palermo

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Dua Lipa llegó a la Argentina para presentar su Future Nostalgia Tour y revolucionó las calles de Buenos Aires

Luego de bajar el telón del Rock In Rio 2022 , en Brasil, Dua Lipa llegó a la Argentina para presentar su Future Nostalgia Tour hoy y mañana en el Campo Argentino de Polo . Muy cálida con sus seguidores, la intérprete de "Dont start now" salió a saludar a los fans que se acercaron hasta las puertas del Four Seasons , hotel en el que se hospedará hasta el jueves, día en que volará a Chile donde continúa su gira.

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Con un look total yellow, la artista salió del hotel por la tarde para calmar a la gran cantidad de fans que la aclamaban desde afuera de las instalaciones. Muy alegre y simpática, la inglesa se tomó fotos, firmó autógrafos y saludó a todos los que la esperaban desde temprano.

Future Nostalgia Tour

Dua Lipa se subirá al escenario del Campo Argentino de Polo esta noche, a las 21:30, y brindará un show de aproximadamente dos horas. Según comunicaron desde la organización del concierto, la artista, Vickilicius oficiará de telonera, las 20:30. Asimismo, se tiene contemplado que las puertas del predio se abran a las 16:00 horas.

Cabe remarcar que desde el lunes empezaron a circular fotos de fans que vienen acampando hace días alrededor del Campo Argentino de Polo para resguardar su lugar en la fila y poder estar lo más cerca posible del escenario y de la cantante inglesa.

El talento desconocido de Dua Lipa

Por otra parte, la artista británica, considerada la artista pop del momento, tiene múltiples talentos que están a la vista: canta, baila y compone, entre otras cosas, y ahora, en las últimas horas, sorprendió con una faceta desconocida: habla perfecto español.

Hace algunos meses, revolucionó las redes sociales al viralizarse un video donde se la ve hablando en español.  "Coño de la madre" , dijo entre risas y con una dicción perfecta en el video que rápidamente se viralizó. Dua sacó a relucir sus dotes de español, en Instagram, rodeada de amigas, risas y vino.

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6 Ways Dua Lipa's Future Nostalgia Tour Proves She's The Pop Star We've Been Waiting For

Nearly two years after Dua Lipa invited the world to dance with her GRAMMY-winning album, 'Future Nostalgia,' she's finally bringing it to stages around the world. But the concert isn’t just a dance party — it's the declaration of a true superstar.

When Dua Lipa won the GRAMMY for Best New Artist in 2019 , she began her speech by acknowledging the "incredible" female artists she was nominated alongside (which included H.E.R. and Bebe Rexha ). "I guess this year we've really stepped up," she said.

In the years since — despite a global pandemic causing some unexpected roadblocks — Lipa has certainly stepped up herself. Releasing her second album, Future Nostalgia , just weeks after the COVID-19 quarantine began in 2020, Lipa helped the locked-down world escape to an alternate club-like universe. And now that she's been able to bring that to life, Dua Lipa's star is shining brighter than ever.

The Future Nostalgia Tour, which kicked off in February and will circle the globe until mid-November, puts Lipa's power on full display. The 26-year-old singer carries herself with tangible confidence throughout the 90-minute show, showcasing the work she has put to become one of the most revered acts of her generation.

With artists like Billie Eilish introducing a darker side of pop and Olivia Rodrigo reinventing punk-inspired pop, the term "pop star" can be tricky to define. But Lipa has taken the traditional pop star tour formula — choreography, costume changes, engineered elements — and made it her own with the Future Nostalgia Tour. Dua Lipa's reign is seemingly just beginning.

Below, take a look at some of the ways Lipa's tour proved her pop prowess.

She's Cross-Generational

From one scan of the crowd, it was apparent that Lipa isn't the kind of female pop star that only young girls idolize. Sure, there were plenty of moms with their sequin-clad daughters, but there were also dads and sons donning Lipa's likeness on their shirts.

It seems Dua Lipa appeals to parents regardless of if their kids are in tow. Groups of women and men of all ages were in attendance, some even donning some bedazzled glasses a la Lipa's "Cold Heart" collaborator, Elton John .

Read More: 'Future Nostalgia': How Dua Lipa Rose From Best New Artist To Massive Pop Star

She's As Humble As She Is Badass

Though her stage commentary never really extended beyond "thank you so much for being here," Lipa's expressions of gratitude were nothing but sincere. "Thank you for listening to the music, it means the absolute world to me," she added, "and I'm so honored that I get to be here tonight, sharing this evening with you, and with all these incredible people on the stage as well."

She made sure her touring troupe got the attention they deserved, even using the show's opening to introduce her dancers before herself.

She Makes Simplicity Cool

Okay, "simple" isn't exactly the word to describe Lipa's show. Every detail was clearly thought-out, from the multifaceted staging to the dance breaks during a costume change.

Yet, there was a simplicity to everything. Each production element — whether it was an illusionary set of twinkling lights during "Be The One" or a basket that (appropriately) ascended Lipa over the crowd for "Levitating" — created a spectacle that was more mesmerizing than overwhelming. (In very '90s pop star fashion, Lipa even incorporated a chair-dance routine for "Hallucinate.")

And while most of Lipa's choreography involved hip sways and toe taps, she makes them effortlessly cool. Frankly, she didn't even need to dance — her powerful strut was enough to carry the show.

Her Sex Appeal Isn't Polarizing

As her new single with Megan Thee Stallion , " Sweetest Pie ," suggests, Lipa is a master at sexual innuendos and metaphors. They're sprinkled across Future Nostalgia , but never get too carried away — and that's exactly how she presents them in person.

Even when she was grinding on her dancers or sliding down the mic stand, every move Lipa made was more playful than hypersexualized. And even the most forward song of the entire album, "Good In Bed," featured a metaphorical visual — a bowl of cherries — that brought both an innocence for her younger fans and a fun little tease for the older crowd.

She Obviously Loves What She Does

For a show that is so clearly thought out, it was evident that Lipa enjoys every single second. There was hardly a moment when she wasn’t smiling.

Her star power truly shines when she performs "Future Nostalgia" solo, serving up Prince vibes with mic stand tricks and making heads spin with furious hair flips.

Whether she's backed by dancers or on her own, Lipa not only knows how to run the stage, but loves it. And she’s damn good at it, too.

She’s Created Her Own Universe

Lipa already proved this point in 2020, with her remix album Club Future Nostalgia and her livestream concert, Studio 2054 . Even so, an arena stage brings her nightclub-inspired, futuristic world to another level.

Her dance hits ( Silk City collab "Electricity" and Calvin Harris team-up "One Kiss") turned the place into a rave, complete with a balloon drop. And, of course, there were plenty of space elements, from a moon-shaped backdrop for "Boys Will Be Boys" to stars protruding from the ceiling before the encore.

If there’s one statement the Future Nostalgia Tour makes, it’s that Dua Lipa has paved her own pop star lane — and she’s ready for everyone to join her universe.

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Photo: Jerod Harris/Getty Images for Photonia

Danny L Harle's Quest For Pop Euphoria: How Working With Dua Lipa Led To A New Level Of Creative Joy

The songwriter and producer talks about crafting Dua Lipa’s ‘Radical Optimism’ and the UK’s Eurovision entry for 2024. "It was all about making space for the great emotion of the song," Harle says.

** "I’ve got an obsessive mind," admits producer Danny L Harle. "I often can't sleep at night because I've got melodies circling in my head. I get haunted by melodies, and I think that's why some people trust me, because they know that I will not let it go unless I think it's absolutely perfect."

That dedication to crafting powerful pop melodies has resulted in a treasure trove of earworms on Dua Lipa ’s new album Radical Optimism . Harle was recruited by Lipa as one of the album’s co-producers, alongside Tame Impala ’s Kevin Parker and songwriters Tobias Jesso Jr and Caroline Ailin.

It's no surprise that Harle was recruited to craft a record that seeks to find light and happiness where darkness prevails. Since his 2015 debut EP Broken Flowers , Harle has created dance-pop that examined the relationship between melancholia and euphoria, as well as the grandeur and escapism of a rave. 

After releasing a string of singles via PC Music, Harle dropped his first album, Harlecore , in 2021 with Mad Decent. The ecstatic spirit of Harlecore, which is centered around a virtual rave headed by four imaginary DJs, echoes in Harle’s latest collaboration as co-writer and producer of the UK’s Eurovision song, "Dizzy" by Olly Alexander. 

"There is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting," Harle says. "I just really like good pop music, and that, for me, always seems to start from my research with people."

It was Harle’s naturally synergistic approach to collaboration that led to his work with Lipa. He has also worked with yeule on their album Glitch Princess , and the likes of Charli XCX . But it was his production and writing on  singer Caroline Polachek 's  debut solo album that caught Dua Lipa's ear. "She appreciated the spirit of collaboration with that album and wanted me to make her album."

Read below to get a taste of how Danny Harle made Radical Optimism and other earwormy, dancefloor hits.  

This interview has been edited for clarity.

Hey Danny! What’s that cool instrument behind you?

It’s an electric double bass, which is my main instrument: bass guitar and double bass. I use that on some of the Caroline Polachek stuff. There's certain artists who come into the room and see that and they're like, "We have to use that." And some people try to pretend it doesn't exist.

It’s fascinating; I used to play that instrument when I was younger, and then gave it up. There was a 10 year gap, and then I found a place much later in my life where it could fit in. I stopped playing bass guitar at one point as well. 

Then I found myself in a session with NAO, and she was like, "Can you play bass guitar?" There was one literally on display outside, the Squire bass, so I picked it up and we made a track together. She was in a session with Nile Rodgers the next day playing it to him, and he loved it, and then it was on the Chic album [ It’s About Time ]! At that point I lost any preconceptions I had about needing good gear to make a great sounding music .

Did you do a lot of the bass work on Dua’s album?

I did a fair amount of it, but a lot of it is a collaboration with me and Kevin Parker. All that time he's spent touring and playing the bass live is time that I've spent in front of a computer. So it's hard to compare bass skills, as much as it's my instrument. 

Alongside being a great live player, Kevin has a particular skill for making an instrument sound great when it is recorded, which is a completely different thing . There were some times where I was like, "I prefer the way that it sounds when you do it." And then sometimes he would ask me to do it as well. It was a really nice, trusting partnership. 

The process of the album was very trusting; a sense of being able to say when you think something could be better, but also understanding that trusting someone else is good at what they're doing. It was a very rare environment, but the atmosphere of respect and trust was quite an incredible thing to experience. If you hear what anybody says involved in that process, they'll say those are some of the best sessions they’ve ever had in that respect. 

We were talking about this key Motown idea, which is that happy songs go best over a sad melody. It doesn’t have to be the melody, it can be the music sounding sad; "Tears Of A Clown" by Smokey Robinson is a good example. There's something very resonant in that combination. 

"Houdini," "Training Season" and "Illusion" are all in minor keys, aren’t they? It makes for such melodically rich stuff that’s different from your average four chord pop progression.

Yup. It’s not as simple as happy song, happy chords. It adds richness to the emotional landscape of the song, and that was a key element in that. 

It was a room full of people who are excited by hearing new melodies and approaches and structures. That’s why you don’t really hear the same melodic patterns that music’s fallen into these days on the album. I find that particularly inspiring. 

You’ve written with stars like Charli XCX and Rina Sawayama before, but this is your first extended project with a pop star. You first made pop music to engage people as a virtually unknown musician, but now that attention is guaranteed. Did that change the way you think about pop?

Not at all. My approach to this stuff, especially these days, is that I can just do my thing. I'm very honored to work with the people I've been working with. Very early on in my career when I was trying to make pop music in that way, it would always go horribly wrong. Whereas now I just try to make good music. 

Some people can just make a pop song and I can't do that. I'm like, "Let's make a good song." I personally believe that there is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting. I just really like good pop music, and that, for me, always seems to start from my research with people just trying to make the best music. 

How did you make this record more personal to Dua in terms of influences and not just lyrically?

It all stems from her at the center of it; so much stuff happens to her. It’s insane, the amount she’d have to say before every session — [like] "These tracks are actually making points." 

Then it would be a case of finding an instrumental with a certain emotion, and out of natural conversation, there’d be a sense of connection [from] a phrase someone would hit on. [But] it would always stem from her as the center of the whole thing. It was just a very organic way of writing and we were very privileged with the rich life Dua leads to draw from. 

This record was a tight songwriting team — where did you fit into it?

I was contributing to all of the tracks in all factors: lyric ideas most rarely, but also melodic ideas, songwriting ideas, mainly from a production standpoint.  

I would be in the corner on my computer, and I would constantly be in conversation with everybody. We might have Kevin on a guitar, and then I’d be making some electronic arpeggios to go with that. I’d be constantly AirDropping stuff to Cam Gower, the greatest vocal engineer in the world, and he would be stacking what we had in ProTools. Sometimes I would take Cam’s session and put it into my computer — like with ‘Illusion’, because there’s stuff that goes on that affects the whole track in a way that I needed to do to get that dancey feel. 

It's quite a global, almost old-fashioned producer role I was taking. I think that was a valuable thing for Dua in certain cases, because I would know about every song on the album. If we were writing with new writers, I'd be like, ‘we already said this idea in that song.’ I would have an eye on the whole thing and be a soundboard for the overall project. 

Let’s start with the opening track, "End Of An Era" is unexpectedly calming and gentle. What prompted you guys to make this the opener?

I just love the idea of starting an album with the track called "End Of An Era"; it is quite an alarming thing to see. I love the tone of the track, the joy of it, but also the fairy-godmother-style commentary going over it as well. 

It's about that heart-eyes emoji feeling of knowing you're irrationally in love in the moment where you rethink everything about your life. I just thought the emotion fit really well. The album has a story to it, and it's a great opener for that story.  

The track "These Walls" expands Dua’s voice in a way I haven’t heard her sing before. Could you walk me through the production of that song?

With that song, I didn't want to get in the way of the purity of the message. It’s very important to understand when a track does not need to be a production showcase, you are in service of the storytelling. 

It was all about making space for the great emotion of the song and having occasional moments of departure, and always being relevant to what is being said. When she says "Did you really mean it when you said forever?", the track disappears into a strange fantasy synth moment. That idea is [that] your mind might get taken away by the thought of forever, just for a moment, as a sort of impossible idea. That's what the music's doing — it takes you out and it lands you straight back into the track.

There’s also a moment of self-deprecating humor: "If these walls could talk / they’d say you’re f—ed.". Was that humor fostered by the close relationship all the songwriters had?

Absolutely. That kind of thing is often the most memorable bit of a song, if placed correctly in the most tasteful area. There’s a track on the yeule album Glitch Princess , where it’s these big Charles Ives chords I wrote. It sounds like it’s gonna be a nice piano ballad, but the first line is "feels like s—." [ Laughs. ] It takes you by surprise, but it fits with the mood of the track. 

With Dua, it’s tastefully placing it where it fits in the story, and that point in the chorus, it felt perfect. It also reminds me of this idea in the [software] engineering world: the rubber duck principle. They have a rubber duck there because engineers will want to ask a question, but often when you’re asking the question, you’ll realize the answer to it. The rubber duck is there so you can ask the question and it’ll tell you the answer because you already knew it. ‘These Walls’ reminds me of that; if these walls are saying I’m f—ed, you know you’re f—ed. 

The climax of the album is "Falling Forever." It’s super ballsy, and the drums are mixed so loudly. Tell me about how this track came to be.

It’s a beautiful one, that one. A great thinker said it sounds like a thousand galloping horses. That one came about in the sessions with [producer and songwriter] Ian Kirkpatrick . He came in with the chords you hear at the beginning, and I really enjoyed the idea of having a galloping rhythm. You don’t hear the gallop very often, I can’t think of one other song that’s done that in recent history. 

I also thought up the "how long" thing — I thought it would be fun to make the word ‘long’ really long. Those were my key contributions to the song. Ian Kirkpatrick, his drums are so fantastic. You’ve gotta let him get on with it. 

The vocals are also so close — there’s subtler production going on earlier in the album, but this song punches you right in the face.

It’s so great. It’s very much an approach that I have with singers where I want them to do a thing that makes their voice sound f—ing amazing. The first time I thought I achieved that with Caroline was with "Parachute," using everything her voice can do: the runs, the high register, the emotional low register. This is a showcase. "Falling Forever" does that with Dua. "These Walls" is an interesting comparison as well, it shows a real range of emotion that Dua is capable of in a way I find really exciting. 

It’s indescribable to hear her sing in the room. I had the privilege of having her recording demo vocals on an SM-7 [microphone] like this sitting in front of her. It is unbelievable to hear that: just a human making that sound in front of you, it’s like nothing else. It’s like witnessing a wonder of the world. Also to use the specific, occasionally metallic sound she can make with her voice, to use it when necessary as part of an expression of something, the way she phrases things is incredible as well. 

Does the message of Radical Optimism — of finding grace in the chaos — match the euphoria you want to explore in music?

There is a sense of melancholic euphoria as well, the Elizabethan side of things. I would say there's a Venn diagram of euphoria that fits with Dua. 

On the track "Happy For You," there are certain ravey things going on where Dua was like, "What’s that sound?" It’s these chords Kevin wrote, and I start stuttering them. 

Also the flute mellotron in the song "Maria," she was immediately like, "Yep: I love it." I was so happy because it’s so my thing, that cyclical melody. Also, the bit in "Illusions" before the chorus where it goes to a major chord before the chorus, I love the sound of the unexpected major chord. Having repeated moments like that, I think, was the reason why I was asked to stay on the project; we clearly had chemistry, but it was interesting how macro it was. 

That unexpected major chord moment also appears in your Eurovision song with Olly Alexander, doesn’t it?

I've written some more tracks with him that do that. I've really been enjoying that with Olly because his voice is so agile and can really make sense of more complicated chord sequences. 

Another thing I've been enjoying with him is when there's sparseness and letting the vocal melody spell out the harmony and maybe occasionally go minor and major over one bass note, which is something I really, really enjoy. 

I've always been a big fan of Olly Alexander, I’ve wanted to work with him my whole career. I believe I tweeted at him in 2009 saying hi. But I think people who like my stuff could hear that he has the kind of voice that I really like: a very virtuosic, melodic voice. [We] just had immediate chemistry, musically. We've written a fair amount of music and he’s a very exciting artist to be involved with. 

The UK has a pretty shaky track record with Eurovision. Did you feel any of that pressure?

No, there wasn't that thing in my head. I just love Olly’s voice. And collaborating with him is just fantastic. I've had ideas for Olly for years now, and it was a dream to be able to actually enact some of them.

What’s next in store for you?

My own album. I've got another one that I'm finishing up at the minute that I'm very excited about. It was delayed by two and a half years because I got all of my dream projects offered to me at the same time and I wanted to make sure that I did them all properly. But now I can get back to doing my own stuff. 

It feels so good to be back at the grindstone, sitting in my studio writing beautiful things, making beautiful objects to present to the world. It’s the dream, really.

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Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album

As Dua Lipa continues the dance party she started in 2017, her third studio album sees the pop star more assured — and more starry-eyed — than ever before.

As someone who has dedicated her life to being a performer, Dua Lipa 's recent admission to Apple Music's Zane Lowe seems almost unfathomable: "I never thought of the idea of being famous."

Stardom may not have been on her mind as a kid, but Lipa is now, indeed, one of the most famous pop stars on the planet as she releases her highly anticipated third album, Radical Optimism . 

In the seven years since her acclaimed 2017 self-titled debut, Lipa has achieved several highs — like three GRAMMY wins, including Best New Artist in 2019 — as well as the subsequent lows that can often come with global stardom. And though the singer also admitted to Lowe that it "took me a while to find my voice," Radical Optimism is her most self-assured album yet — one that hinges on the title being not only the project's name, but also its defining approach to Lipa's present-day vision for her life.

" Radical Optimism and the way that I see it is this idea of rolling with the punches, of not letting anything get you down for too long. Of always seeing the positive side of things. Of being able to grow and move forward and change your perspective regardless of what's happening in your life…I think it's a big part of maturing and growing up."

The entire album was crafted in her native London over the course of a year-and-a-half, with Lipa enlisting a small band of collaborators — including her righthand co-writer Caroline Ailin , Kevin Parker of Tame Impala , Danny L. Harle and Tobias Jesso, Jr. — to create a cohesive, buoyant body of work tinged with disco, funk and bits of psychedelic pop.

Naturally, "radical optimism" is a core thread that runs through all eleven songs as Lipa reflects on falling in and out of love, grapples with her fame and confidently declares that everything that came before Radical Optimism was just a practice run. After all, as she brazenly declares on the LP's second single, "Training season's over." 

As you enter Dua's latest musical world, dive into four major takeaways from Radical Optimism below.

Radical Optimism Isn't Just A New Era — It's A Whole New Perspective

When Lipa accepted her GRAMMY for Best Pop Vocal Album in 2021, she declared she was officially done with the "sad music" that had fueled her breakout debut album. And if 2020's Future Nostalgia was, in context, a kind of clubby, '80s-driven turning point for the artist, she fully embraces the Radical Optimism promised by its follow-up's title. Lipa's newfound attitude is both clear-eyed and relentlessly positive across the album's 11 tracks, whether she's gushing over a new love on giddy opener "End of an Era," being kept up all night by thoughts of a seductive crush on "Whatcha Doing" or cutting her losses and ditching out early on the spellbinding "French Exit."

Even "These Walls," on which she watches a doomed relationship fade to black, is approached with a sense of inevitability laced with clarity and astute kindness. "But if these walls could talk/ They'd say enough, they'd say give up/ If these walls could talk/ They'd say/ You know you're f—ed/ It's not supposed to hurt this much/ Oh, if these walls could talk/ They tell us to break up," Lipa sings over gossamer production and a piano line by Andrew Wyatt .

You Can Still Find Her On The Dance Floor

The rollout for Radical Optimism was front-loaded with the release of three singles ahead of the full album in the form of "Houdini," "Training Season" and "Illusion." Between the three subsequent music videos and a thrilling live performance at the 2024 GRAMMYs in February, Lipa signaled that her third LP would be filled with her signature style of scintillating dance floor bangers.

The rest of the album more than delivers on that promise, with an overall BPM that rarely falls below what's needed for a full-blown aerobic workout — perfect for over-the-top choreography, of course. And in case the Service95 founder's commitment to the dance floor isn't already apparent, just look at the history-making hat trick she recently pulled off on the Billboard's Hot Dance/Electronic Songs chart: as of press time, "Houdini," "Illusion" and "Training Season" occupied the top three spots, marking a first for any female artist in modern music history.

She's Redefining Love On Her Own Terms

If the litany of love songs on Radical Optimism are any indication, it's safe to say Lipa is head over heels these days (with boyfriend Callum Turner, perhaps?). Opening track "End of an Era" may mark the beginning of a new musical journey for the singer, but it's just as much about the thrill of a new relationship. Later on the track list, she uses album cut "Falling Forever" to grow an initial spark of infatuation into a red-hot love affair as she yearns, "How long, how long/ Can it just keep getting better?/ Can we keep falling forever" on the lovestruck chorus.

Lipa also makes it clear on the shapeshifting highlight "Anything For Love" that she's "not interested in a love that gives up so easily." As she refuses to accept the modern paradigm of ghosting, non-committal situationships and running away when things get hard, the song morphs from a tender piano ballad into danceable, mid-tempo groove, giving the listener just enough breathing room to wrestle with the questions of what kind of love they'll accept before dancing it out.

She's Putting Her Emotional Growth On Full Display

It's been almost seven years since Lipa spelled out her "New Rules" for a generation of pop lovers, and some of the most affecting cuts on Radical Optimism prove the British-Albanian star has accrued even more hard-won wisdom since her early days of "If you're under him, you ain't gettin' over him."

Penultimate track "Maria" finds Lipa thanking the ghost of her current lover's ex-girlfriend for making him a better man: "Never thought I could feel this way/ Grateful for all the love you gave/ Here's to the lovers that make you change/ Maria, Maria, Maria." 

Meanwhile, on album closer "Happy for You," the singer turns her attention not to a lover's ex-girlfriend, but to an ex who's moved on from her and found himself happier than ever. It's a complex, but decidedly mature feeling to realize you're genuinely happy for someone you used to love, but Lipa encapsulates the emotion perfectly. 

"Oh, I must've loved you more than I ever knew/ Didn't know I could ever feel/ 'Cause I'm happy for you," she sings on the chorus. "Now I know everything was real/ I'm not mad, I'm not hurt/ You got everything you deserve/ Oh, I must've loved you more than I ever knew/ I'm happy for you."

The grown-up sentiment finishes the album on a bittersweet emotional high — proving that no matter what life throws at her, Lipa will remain radically and unapologetically optimistic to the end. 

GRAMMY Rewind: Dua Lipa Champions Happiness As She Accepts Her GRAMMY For Best Pop Vocal Album In 2021

Photo: Sean Zanni/Patrick McMullan via Getty Images

Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

Four years after 'Future Nostalgia,' Dua Lipa's third album is finally upon us. Look back on her journey to 'Radical Optimism,' and how it's the result of the pop megastar's evolving quest for new ways to celebrate each moment.

Long before Dua Lipa reached pop megastardom, she declared the mantra that would soon become the core of her art: "It has to be fun."

Whether in club-hopping evenings or tear-streaked mornings, Lipa has continuously found a way to bring catharsis and movement into every moment — and, subsequently, every song she's released. So when she announced that her new album would be called Radical Optimism , the second word seemed obvious. But what would radical mean for Dua Lipa, and how did she get there?

Considering her time as a model prior to her music career taking off, many found it easy to write off the London-born singer as by-the-books pop, all-image artist. But even before taking a listen to her self-titled debut, Lipa's upbringing reveals far more complex feelings and inspirations.

The daughter of Kosovo Albanian parents living in London, Lipa took notes from her musician father, digging deep on the likes of the Police , David Bowie and Radiohead , while dancing to Ciara and Missy Elliott with her classmates. After a four-year stint in Kosovo when her family relocated, the then 15-year-old Dua moved back to London to stay with a family friend and build towards an inevitable music-oriented life, which began with clubbing incessantly and posting covers of Alicia Keys and Christina Aguilera on YouTube.

Lipa was still working in restaurants when she first made contact with the music industry, burning the candle at both ends — as well as a third end unseen to mortals. "I'd finish work, then go out to whatever nightclub was happening until, like, 3 in the morning," she recently recalled to Elle . "Then I would wake up and go to the studio until I had my shift again at, like, 8 pm."

Warner Bros. Records caught wind of those sessions and signed her in 2014, leading to even more time in the studio (and, likely, less waitressing). Her debut single, 2015's "New Love," showcases everything that would lead to her eventual pop takeover: the resonant, sultry vocals, a propulsive beat, and a video full of effortless cool.

There would be seven more singles to follow from 2017's Dua Lipa , with the budding pop star co-writing a majority of the albums' tracks, alt R&B icon Miguel collaborating on a song, and Coldplay 's Chris Martin providing additional vocals on the closer. While there are plenty of hits to take away ("Blow Your Mind (Mwah)" is a particular favorite in its grand and stompy disco sass), the true star here is "New Rules." Detailing the "rules" to avoid a problematic ex, the song could be cloying and twee, but Lipa's chill swagger sells the dance floor intensity and female empowerment in equal doses.

Listeners around the world agreed, as the song marked Lipa's first No. 1 in the UK and several other countries, as well as her first top 10 hit in the U.S. It also earned Lipa spots at festivals, a performance on Later… With Jools Holland, and five nominations at the 2018 Brit Awards — the most of any artist that year. She laid out a pretty clear manifesto after winning British Female Solo Artist: "Here's to more women on these stages, more women winning awards, and more women taking over the world."

As that year went on, Lipa solidified her own role in that mission. She became a hot collaboration commodity, first linking with Calvin Harris for the UK chart-topping "One Kiss"; then teaming with Mark Ronson and Diplo 's Silk City for another club hit, "Electricity"; and even being recruited for Andrea Bocelli for "If Only," a track on his 2018 album, Sì . Her breakthrough was cemented in GRAMMY gold at the 2019 ceremony, too, as she won two golden gramophones: Best Dance Recording for "Electricity," and the coveted Best New Artist.

Early word of the Dua Lipa followup, Future Nostalgia , was that Lipa was amping the disco energy. "[The album] feels like a dancercise class," she hinted in July 2019 to the BBC , who also reported that the now full-fledged pop star was working with Pharrell , Nile Rodgers , Tove Lo , and Diplo .

Lead single "Don't Start Now" was co-written with the team behind "New Rules," and the hyper-elastic bass, MIDI strings, and honest-to-goodness cowbell more than lived up to her promise of disco domination. The track went platinum in five countries, a feat that would go on to be topped by multiple tracks on the album, including the smoldering "Physical" and the INXS -interpolating "Break My Heart."

The album's March 2020 release was a thing of anxious beauty. It could've been pure tragedy to release an album designed for sweaty, crowded clubs in the throes of the COVID-19 pandemic. And when the album leaked a full two weeks prior to its release, even Lipa wasn't sure if her timing was right. "I'm not sure if I'm even doing the right thing, but I think the thing we need the most at the moment is music, and we need joy and we need to be trying to see the light," she said in an Instagram Live days before the album's release.

True to that spirit, Lipa's openhearted enthusiasm and unadulterated fun made the album a staple of lockdown dance parties and wistful dancefloor daydreams. In a bit of chicken-and-egg magic, the album's runaway hit is the inescapable "Levitating." The song's buoyant synth pulse, clap-along disco groove, drippy strings and punchy hook add to something far greater than the sum of its parts. And DaBaby 's in-the-cut remix verse helps fulfill Lipa's rap-meets-pop dreams. But it definitely didn't hurt to have the track basically overrun TikTok — and a video produced in partnership with the platform — at a time when we were all stuck at home, looking at our phones as a way to connect with the world.

That was only the beginning of the pop star's effort to make the most of the pandemic era; Lipa continued to find innovative ways to bring fans into her disco-fueled sonic universe for some joy and connection. For one, she evolved Future Nostalgia into a remix album: Club Future Nostalgia , featuring electronic minds like Moodymann and Yaeji, as well as high-profile guests like BLACKPINK , Madonna , and Missy Elliott . And while fans who had grown connected to the album were hungry for an event to attend, she developed Studio 2054. The technicolor, gleeful live-streamed event saw millions of viewers virtually join Lipa in an immaculately choreographed, star-studded dance party — one that further displayed her magnetic personality and in-the-moment attitude.

Through the entire Future Nostalgia era, Lipa's purpose further proved to be more than the music. Yet again, it was about the amount of fun and energy it was able to provide to fans, something that proved to resonate in an even bigger way than her first project.

"[ Future Nostalgia ] took on its own life. And that in itself showed me that everything is in its own way for its own specific purpose, for its own reason," she told Variety earlier this year. "As long as I'm being of service and the music is there and it's a soundtrack for a moment in time, or in someone's life, then I've done what I was supposed to do."

Before getting to work on her third LP, Lipa kept the dance party going with new and old collaborators. First, she scored another UK No. 1 and U.S. top 10 hit alongside Elton John with "Cold Heart (Pnau remix)"; later, she was enlisted for feel-good singles from Megan Thee Stallion and Calvin Harris ' 2022 albums. Then, a reunion with Mark Ronson led to a summer 2023 detour in Barbie land, resulting in another disco-tinged smash, "Dance the Night," for the blockbuster film's soundtrack (as well as her acting debut!).

With the good vibes clearly not fading, Lipa was primed for her next musical venture . In November, she unveiled the lead single to her next project, "Houdini," a swirling track that features a trio of new collaborators — and a brilliant, if seemingly dissimilar, set of co-writers at that: former PC Music electronic experimentalist Danny Harle, Tame Impala frontman (and retro psychedelia mastermind) Kevin Parker , and breezy Canadian singer/songwriter Tobias Jesso Jr. But with her trusty songwriter pal Caroline Ailin also in tow, Lipa retained the same trademark dance pop pulse amid crunchy bass and stomping percussion — putting the Radical into the Optimism .

She kept the same team (and energy) for the album's subsequent singles, " Training Season " and " Illusion ." The former thumps and jitters underneath Lipa opting for a willowy falsetto in the chorus, a song that can unite Tame Impala psych addicts and more traditional poptimists at the club. And where earlier Lipa tracks might have been more eager to get to a bright punch, "Illusion" smolders patiently, trusting that the vocalist's charisma can buoy even the subtler moments.

While the album's first three singles carry echoes of the propulsive, dance floor energy of Future Nostalgia , Lipa took more notes from a more modern pop era than the disco days on Radical Optimism. "I think the Britpop element that really came to me was the influences of Oasis and Massive Attack and Portishead and Primal Scream, and the freedom and the energy those records had," she told Variety . "I love the experimentation behind it."

But, she insists, that's not to say that she's produced the next "Wonderwall." This isn't Dua Lipa's Britpop turn, but rather her latest experiment in finding freedom and embracing the moment.

"When I hear 'Teardrop' by Massive Attack and I'm like, 'how did this song even come to be? It feels like it just happened in a moment of real freedom and writing and emotion," she continued in the Variety interview. "And I think that was just the feeling I was trying to convey more than anything."

And in her mind, that freedom needs to remain at the core of everything — whether working through a global pandemic or working on a new project. "I think it's important that we just learn to walk through the fire and not hide away from it, or shy away from it," she added. "That's just optimism. It's probably the most daring thing we can do."

Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

Photos: Scott Dudelson/Getty Images for Coachella; Ebru Yildiz; Kelia Anne MacClusky ; Frazer Harrison/Getty Images; Todd Owyoung/NBC via Getty Images; Ashley-Osborn; Kevin Winter/Getty Images For The Recording Academy

15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

A fresh crop of spring releases is on the way in May from much-loved pop, rock, and alternative artists. From Dua Lipa's 'Radical Optimism,' to Sia's return on 'Reasonable Woman,' read on for 15 thrilling May releases.

As a month that welcomes rising temperatures and blooming flowers, May will also bring a flurry of new albums. In its first week, Dua Lipa will put forth her third LP and inject the world with a good dose of Radical Optimism . She will be joined by Sia and her tenth album, Reasonable Woman , and by R&B newcomer 4Batz, who will debut with the mixtape U Made Me St4r .

On May 17, it's Billie Eilish 's turn to drop the much-awaited Hit Me Hard and Soft , as well as the return of Cage the Elephant with Neon Pill , and former One Direction member Zayn experimenting with new sounds on Room Under the Stairs .

Later on, Twenty One Pilots drop their final concept album, Clancy , and Sam Tompkins and Tems will both make their studio album debuts with hi my name is insecure and Born in the Wild , respectively. The month will close off with Pakistani singer Arooj Aftab 's Night Reign , but before that, there's plenty of other releases to explore.

GRAMMY.com compiled a list with 15 must-listen albums dropping in May 2024 so that you can take a stroll at this month's burgeoning, diverse garden.

Dua Lipa - Radical Optimism

Release date: May 3

"A couple years ago, a friend introduced me to the term 'radical optimism'," said Dua Lipa in a press statement about her upcoming third album, out May 3. "It struck me — the idea of going through chaos gracefully and feeling like you can weather any storm."

This perspective on life inspired the British-Albanian singer both personally and musically. Radical Optimism comes brimming with the "pure joy and happiness of having clarity in situations that once seemed impossible to face." With 11 tracks and production by Danny L Harle and Kevin Parker , the record spins psychedelia and Britpop into a "tribute to UK rave culture," as Lipa described it in an interview for Rolling Stone .

Read more: Dua Lipa Danced The Night Away with "Training Season" & "Houdini" | 2024 GRAMMYs Performance

A preview of the sounds she will approach in the successor of 2020's Future Nostalgia can be seen through singles "Houdini," "Training Session," and "Illusion." Starting June, Lipa will perform a string of concerts in Europe and headline Glastonbury Festival in the U.K.

Kamasi Washington - Fearless Movement

It's been six years since jazz virtuoso Kamasi Washington released his latest album, 2016's Heaven and Earth . Hence, his return is highly anticipated: Fearless Movement will come out on May 3, and is described in a press release as Washington's first "dance album." 

"It's not literal," he explained. "Dance is movement and expression, and in a way it's the same thing as music — expressing your spirit through your body. That's what this album is pushing."

Fearless Movement was also inspired by the here-and-now, and the changes that Washington went through since the birth of his first child. "Being a father means the horizon of your life all of a sudden shows up," he shared. "My mortality became more apparent to me, but also my immortality — realizing that my daughter is going to live on and see things that I'm never going to see. I had to become comfortable with this, and that affected the music that I was making."

Washington's daughter also earned songwriting credits in "Asha The First," after coming up with a melody while playing on the piano. In addition to her, the LP also features appearances from André 3000 on the flute, Terrace Martin , Thundercat , Patrice Quinn, George Clinton , BJ The Chicago Kid , and more.

Soon after the release, Washington will kick off a North American tour throughout June, and then head over to Europe and the U.K. in October and November.

Charlotte Day Wilson - Cyan Blue

Following her acclaimed 2021 debut LP, Alpha , Canadian multihyphenate Charlotte Day Wilson dives into Cyan Blue for her sophomore release. "You passed through me like a light, but part of you would always remain," she shared about the record on Instagram . "Imprinted, stacked, a palimpsest of love and pain that left me with a world of blue. These are the stories and the palette I was given to paint them with."

Read more: Press Play At Home: Watch Charlotte Day Wilson Perform A Lithe Version Of "I Can Only Whisper"

Day Wilson has a gift for turning intimate reflections into timeless artwork, and this album sees her experimenting with a more carefree approach. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity…" she shared in a press release. "But that was a bit stifling, like, ‘Let me just make a great piece of art that will stand the test of time, no pressure.' Now, I think I'm getting out of this frozen state of needing everything to be perfect. I'm more interested in capturing feelings in the moment as they happen and leaving them in that moment."

Cyan Blue will feature 13 tracks, including singles "I Don't Love You" and "Canopy." For those lucky to experience Day Wilson's inimitable voice live, she will be touring North America from May through July.

Mdou Moctar - Funeral for Justice

"This album is really different for me," shares Mdou Moctar, the band's namesake, singer, and guitarist, in a press release about their upcoming release, Funeral for Justice . "Now the problems of terrorist violence are more serious in Africa. When the U.S. and Europe came here, they said they're going to help us, but what we see is really different. They never help us to find a solution."

Funeral For Justice doesn't hold back on examining the struggles of Niger and of the Tuareg people (of which Moct ar, guitarist Ahmoudou Madassane and drummer Souleymane Ibrahim belong.) Recorded during the two years that the band spent touring after the release of 2021's acclaimed Afrique Victime , it is described as "louder, faster, and more wild," with fiery guitar solos and "passionately political" lyrics that permeate nine meteoric tracks.

"Mdou Moctar has been a strong anti-colonial band ever since I've been a part of it," adds bassist and producer Mikey Coltun. "France came in, f****d up the country, then said ‘you're free.' And they're not." So far, the band shared lead single "Funeral for Justice" and the mesmerizing "Imouhar" — an elegy to their Tamasheq language, which is at risk of dying out. "People here are just using French," said Moctar. "They're starting to forget their own language. We feel like in a hundred years no one will speak good Tamasheq, and that's so scary for us." 

After performing at Coachella in April, the band is set to tour the U.S. in June and Europe and the U.K. in August. The run includes several festival appearances, like Bonnaroo, Green River, and Glastonbury.

4Batz - U Made Me A St4r 

Viral R&B and hip hop singer 4Batz initially announced his debut mixtape, U Made Me A St4r , for April, but the release was postponed for a month. "Been making some of the best s**t of my life the last couple weeks," he shared on Instagram . "So ima push the mixtape to 5.3.24 so it can be perfect for yall." 

The contrast between 4Batz's tough appearance and high-pitched love songs propelled him to the stars. He garnered the attention of artists like Kanye West , Robin Thicke , and Drake — who ultimately signed him to his record label OVO in order to release this mixtape. Drake also featured on a remix of 4Batz's 2023 hit, "act ii: date @ 8."

Although there's not much info on the tracklist or any upcoming activities, the Dallas-born singer is excited by the mystery: "I'm really in love with this EP," he told Billboard in a recent interview. This EP's gon' break the f**kin' internet, world, all this s**t."

Sia - Reasonable Woman

Since the release of lead single "Gimme Love" in September 2023, fans have been eagerly awaiting for Australian superstar Sia's new album. Titled Reasonable Woman and set to drop on May 3, this is her 10th studio release overall, and her first proper pop solo LP since 2016's This Is Acting .

Anticipation only grew as Sia shared a number of lofty singles in past months, including the Kylie Minogue collaboration "Dance Alone," "Incredible" featuring Labrinth , and the recent "Fame Won't Love You," with Paris Hilton. Through the LP's 15 tracks, the singer collaborated further with Chaka Khan , Tierra Whack , Missy Elliott , Kaliii and Jimmy Jolliff.

Behind the scenes, Reasonable Woman also held a star-studded list of producers, engineers, and writers, such as Greg Kurstin , Jesse Shatkin , Benny Blanco , Bülow, Cashmere Cat, Mark "Spike" Stent , Rosalía and more.

Billie Eilish - Hit Me Hard and Soft

Release date: May 17

In April, when a series of billboards and posters with lyric snippets and Billie Eilish's signature "blosh" logo appeared in major global cities, fans knew that her anticipated third LP would be announced soon. A few days later, the GRAMMY and Oscar-winning artist shared a video teaser for Hit Me Hard and Soft , set to release on May 17.

Eilish took it to Instagram to disclose her excitement, and that she is "not doing singles i wanna give it to you all at once." As usual, the record was written by herself and brother, producer, and musical collaborator Finneas O'Connell . According to a press release, Hit Me Hard and Soft includes ten tracks, and "does exactly as the title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way." The album launch also focuses on sustainability by using "the most sustainable practices available" with a page on her website dedicated to ecological production details. 

In an interview with Apple Music's Zane Lowe , the musician teased title track "Hit Me Hard and Soft" and b-side "Chihiro," which references the main character in Studio Ghibli's 2001 animation, Spirited Away . "I feel like every time you put anything out, it feels like your nudes leaked a little bit, and I think this [album], specifically, is like that," Eilish added. "Something that Finneas and I said to a couple of people when we were starting to play it for people was that we kind of made the album that if somebody had said, you know, ‘I want you to make an album, and no one is gonna hear it'... We pretty much, with exceptions, made that album. We made an album without really any — or much — thought of other people."

Of Montreal - Lady on the Cusp

Lady on the Cusp is the 19th album from of Montreal, the band project of multi-instrumentalist and singer Kevin Barnes. Inspired by a relocation from Athens, GA — where Barnes lived for nearly three decades — to Vermont together with his partner, songwriter Christina Schneider (aka Locate S,1), Lady is shaped by his reflections on that experience.

According to a press statement, the album is a "reintroduction" to of Montreal, comprising 10 "funny and sad, sexy and brooding, playful and serious" tracks. This carefree approach can be seen on lead single "Yung Hearts Bleed Free," which was influenced by Leos Carax's 1984 film Boy Meets Girl and by Bootsy's Rubber Band , as well as on the laid back "Rude Girl on Rotation."

Two weeks after dropping the album, of Montreal will embark on a major tour across the U.S., starting in Athens, GA, and wrapping it up on July 2 in Asheville, NC.

Cage the Elephant - Neon Pill

After winning Best Rock Album at the 2020 GRAMMYs for Social Cues , Cage the Elephant went through a rough patch. In addition to the COVID-19 pandemic, lead vocalist Matt Shultz weathered a mental health crisis, and the band lost several close family members and friends, including Matt and Brad Shultz 's father.

Five years later, the alt-rock sextet is ready to reemerge with their sixth studio album, Neon Pill , out May 17. "To me, Neon Pill is the first record where we were consistently uninfluenced, and I mean that in a positive way," said Matt in a statement. "Everything is undoubtedly expressed through having settled into finding our own voice. We've always drawn inspiration from artists we love, and at times we've even emulated some of them to a certain degree. With this album, having gone through so much, life had almost forced us into becoming more and more comfortable with ourselves… We just found a uniqueness in simply existing."

Produced by John Hill , the record spans 12 tracks that "alchemized a season of tragedy and turbulence" into a whirlwind of riffs and emotions. A preview of Neon Pill can be seen through the title track and singles "Out Loud" and "Good Time." To celebrate their return, the band will tour North America throughout the summer, including performances at Bonnaroo, Hangout Music Festival, and Oceans Calling.

Zayn - Room Under the Stairs

For his fourth full-length album, Room Under the Stairs , British singer and One Direction alum Zayn enlisted an unforeseen co-producer: Dave Cobb . Known for his work with Chris Stapleton , Brandi Carlile , Bruce Springsteen , and Lady Gaga , Cobb is responsible for aiding Zayn to step into a new musical direction.

Swiping his signature moody R&B, Zayn dives into country and adult contemporary for the upcoming release, as can be seen in debuted singles "What I Am" and "Alienated." In an interview for the Call Her Daddy podcast last year, the singer shared, "I'm doing a record I don't think people are really gonna expect. It's a different sound for me. And it's got some more narrative going on, like real-life experiences and stuff. My daughter's mentioned in there a couple of times".

"I think the intention behind this album fully is for the listener to get more insight on me personally as a human being," Zayn explained in a teaser video . The 15-track collection follows up 2021's Nobody Is Listening , and was written over the course of several years at Zayn's home in rural Pennsylvania. "That's why it's raw," he added. "It's just me writing this. I didn't want anybody else to be in between me and the music and the music and the people listening to it."

Twenty One Pilots - Clancy

On May 17, 2015, Twenty One Pilots released their breakthrough LP, Blurryface . The record also marked the beginning of an intricate concept album series — which is due to come to a conclusion almost a decade later, on May 17 of this year.

Titled Clancy , the final piece of the puzzle states that "a new chapter begins," while making several references to the GRAMMY-winning duo's past works. On lead single "Overcompensate," for example, they mirror the outro of "Levitate" and rehash lyrics from "Bandito," both tracks off their 2018 LP, Trench . Clancy was produced by frontman Tyler Joseph and Paul Meany , and contains 13 tracks.

Most recently, TOP shared the single "Next Semester," alongside dates for an extensive world tour that will cross North America, Australia, New Zealand, The U.K., and Europe.

Sam Tompkins - hi, my name is insecure

Release date: May 24

"I really like being in the company of my friends," shared rising British singer Sam Tompkins in a press statement. "But if you take me out of my comfort zone, and have me hang out at a party or an event or whatever, I just go inside myself and I find any excuse to get out of it."

That statement helps explain why Tompkins titled his anticipated debut album hi, my name is insecure , set to drop on May 24. Despite a genuine talent to produce stirring songs, the Brighton native still struggles with social anxiety and depression — themes that appear often in his lyrics, and contribute to his global resonance.

Tompkins is "championing authenticity without taking himself too seriously," and that might be why his work is so relevant. A tracklist for the LP has yet to be revealed, but Tompkins's sensitive writing can be seen in a slew of singles, including "phones in heaven," "someone else," and "see me."

Tems - Born in the Wild

Release date: TBA 

Nigerian singer Tems earned the eyes and the ears of international media with her Afrobeats-infused R&B. First raising attention with her feature in Wizkid 's 2020 single "Essence," she later built up a devoted fandom through two EPs: 2020's For Broken Ears and 2021's If Orange Was a Place . In 2022, she was credited as a featured artist in Future 's "Wait For U," which led her to win a GRAMMY for Best Melodic Rap Performance .

This month, Tems will finally release her long-awaited debut album, Born in the Wild . The official announcement came with a teaser video for the title track, disclosed one day after her Coachella set in April. "It's all over the news, all over the news, I know this/ Under the sun, struggling to find my focus/ When I was young, younger then/ I was always running away," she sings, reflecting on her childhood in Lagos. "I grew up in the wilderness/ Didn't know much about openness."  

Born in the Wild follows Tems' 2023 singles, "Me & U" and "Not an Angel." The singer has yet to reveal further info about the record, as well as a definite release date.

Kameron Marlowe - Keepin' the Lights On

Release date: May 31

Powerhouse country singer Kameron Marlowe is gearing up to release his sophomore effort, Keepin' the Lights On , at the end of May. "The namesake of the album came from a conversation with my dad over the holidays about how he's always thanking the man upstairs for keeping it all together, especially when times get tough," he shared in a statement.

"For me, this record is a reminder of hard work, dedication and keeping the promises that we make," he continued. Featuring 16 tracks, including previously released singles "Quit You," "Strangers" with Ella Langley, and "Tennessee Don't Mind," Marlowe stated that the LP "explores everything from loss to love, depression to joy, and overcoming the voices in your head telling you you're not good enough."

"It's still crazy to me that people are listening to a small town boy from Kannapolis, North Carolina, but here I am releasing my second album. I can't wait for y'all to hear it," he added. Marlowe is currently on his Strangers 2024 North American tour, where he plays some of his new tracks. 

Arooj Aftab - Night Reign

Just like the night, Pakistani singer Arooj Aftab's voice is deep and mysterious. Unsurprisingly, the night is also her "biggest source of inspiration," as she shared in a recent press release about her upcoming record, Night Reign , out May 31. 

Following 2021's Vulture Prince (from which single "Mohabbat" won Best Global Music Performance at the 2022 GRAMMYs ), the album is a nine-song compilation about how "some nights are for falling in love, some are for solitude and introspection, some are to be annoyed at a forced social gathering — and so go the stories of Night Reign ." The list of collaborators include the soulful Cautious Clay , musical ensemble Chocolate Genius, jazz artist James Francies, and more.

Aftab shared the single "Raat Ki Rani" as a preview of the album, and announced a North America, U.K., and Europe tour throughout the rest of the year. She will also support Khruangbin for a run of fall shows in Washington, DC, St. Louis, MO, and New Orleans, LA.

Inside Neil Young & Crazy Horse's 'F##IN' UP': Where All Nine Songs Came From

• 1 6 Ways Dua Lipa's Future Nostalgia Tour Proves She's The Pop Star We've Been Waiting For
• 2 Danny L Harle's Quest For Pop Euphoria: How Working With Dua Lipa Led To A New Level Of Creative Joy
• 3 Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album
• 4 Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen
• 5 15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

“Future Nostalgia Tour” de Dua Lipa en Argentina

Publicación Original: abril 20, 2022 – Actualizado: abril 20, 2022 por Pontik Radio

Su regreso a Argentina desde ya, causa revuelo. Con un concierto del “Future Nostalgia Tour” 2022 Dua Lipa, se presentará en Argentina en el Hipódromo de Palermo.

Dua Lipa – “Future Nostalgia Tour” Argentina 2022

Desde el año 2017, la tierra donde se popularizó la música Tango, extrañaba su presencia. Y desde el momento que DF Entertainment y Live Nation revelaron su visita a Argentina,  sus fans esperaron con ansias para adquirir su entrada respectiva, cuya fecha original está pactada para el 14 de septiembre.

Y tal fue la demanda de entradas… que se agotaron rápidamente. Por tal motivo, se habilitó una segunda fecha para el día anterior, 13 de septiembre, siempre a efectuarse en el Hipódromo de Palermo.

“¡Estoy tan emocionado de volver a hacer una gira y ver a mis ángeles en persona! Qué increíble que todos podamos bailar y celebrar juntos una vez más. Cuando escribía Future Nostalgia, imaginaba las canciones que se tocaban en clubes en las noches con tus amigos. Estoy tan emocionada, que esta fantasía finalmente se haga realidad. ¡No puedo esperar para experimentar estas canciones juntos, en vivo!” – comento Dua Lipa.

“Future Nostalgia Tour” en América latina

De momento, estas son las fecha de Dua Lipa por América latina:

• 13 de septiembre | Buenos Aires | Hipódromo de Palermo ¡AGOTADO!
• 14 de septiembre | Buenos Aires | Hipódromo de Palermo ¡AGOTADO!
• 16 de septiembre | Santiago de Chile | Estadio Bicentenario
• 18 de septiembre | Bogotá | Parque Salitre Mágico
• 21 de septiembre | México | Foro Sol
• 23 de septiembre | Monterrey | Estadio Borregos

“Future Nostalgia”

Dicho trabajo, le permitió a Dua Lipa ser la vocalista femenina más reproducida en Spotify. Y actualmente es la cuarta artista más grande del mundo, con más de 65 millones de oyentes mensuales.

Premios y nominaciones

Luego de su publicación, “Future Nostalgia” recibió las siguientes nominaciones:

——

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Average setlist for tour: The Future Nostalgia Tour

• Physical Play Video
• New Rules Play Video
• Love Again Play Video
• Cool Play Video
• Pretty Please Play Video
• Break My Heart Play Video
• Be the One Play Video
• Song played from tape IDGAF Play Video
• Song played from tape The Lobster Attack Play Video
• We're Good Play Video
• Good in Bed Play Video
• Fever Play Video
• Boys Will Be Boys Play Video
• Song played from tape Boys Will Be Boys (Zach Witness Remix) / Cool (Jayda G Remix) / Levitating (The Blessed Madonna Remix) Play Video
• One Kiss ( Calvin Harris & Dua Lipa  cover) Play Video
• Electricity ( Silk City & Dua Lipa  cover) Play Video
• Hallucinate Play Video
• Cold Heart ( Elton John  cover) Play Video
• Song played from tape In Space Play Video
• Levitating Play Video
• Future Nostalgia Play Video
• Don't Start Now Play Video

Show Openers

Main set closers, show closers, encores played.

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• Future Nostalgia songs
• Dua Lipa (Album)

Future Nostalgia Tour

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The Future Nostalgia Tour is the fifth official headlining concert tour by Dua Lipa , in support of her second studio album Future Nostalgia . Originally announced in December 2019 and scheduled to take place from April to June of 2020, the tour was postponed several times due to the ongoing COVID-19 pandemic. It finally began on February 9, 2022 in Miami and is scheduled to conclude on November 16 in Perth, with several shows throughout North America, Europe, Latin America and Oceania. Caroline Polachek, Lolo Zouaï, Megan Thee Stallion , Tkay Maidza, Griff, Angèle , Iann Dior and Tove Lo serve as opening acts on the tour.

• 1 Background
• 2 Concert Synopsis
• 4 Tour dates
• 5.1 Dancers
• 5.2 Vocalists
• 6.1 Promotional posters
• 7 References

Background [ ]

On 2 December 2019, Lipa formally announced the Future Nostalgia tour, with 24 shows across the UK and Europe from April to June of the following year. Tickets went on sale four days later. Several tiers of VIP tickets were also offered, including ones that included meet and greets with the singer and one where fans could battle Lipa in a game of Dance Dance Revolution . The album's title track was released in conjunction with the tour announcement. On 13 January 2020, Lipa announced British DJ Buck Betty and American singer Lolo Zouaï as supporting acts for the tour. On 21 February 2020, the singer announced two new UK shows in Liverpool and Nottingham, with tickets for those dates going on sale a week later. On 23 March 2020, Lipa announced that she had been forced to postpone the tour due to the COVID-19 pandemic; she also revealed that she was planning tour dates for the rest of the world. Rescheduled tour dates for January and February 2021 were announced the following day with Betty and Zouaï still scheduled as supporting acts. Shows in Copenhagen, Stockholm and Oslo were cancelled due to the inability to be rescheduled and the Vienna and Munich shows were still attempting to be rescheduled at that time, but not formally cancelled. Tickets for the original shows remained valid and tickets for the cancelled shows were refunded.

The tour was postponed for a second time to September and October 2021 on 23 October 2020 with it being unconfirmed if Betty and Zouaï would still support her. Following this, Lipa announced a livestream concert titled Studio 2054 , which was developed after she was unable to tour for her album. After the concert on 27 November 2020, ticket sales for the tour increased by 70 percent. On 28 June 2021, the tour was rescheduled for a third time to April, May and June of 2022. With this postponement, several new shows across Europe were announced along with the rescheduled Vienna and Munich shows; tickets went on sale that week. Lipa announced North American shows for February, March and April 2022 on 13 September 2021, with Megan Thee Stallion, Caroline Polachek and Zouaï as supporting acts. Tickets went on sale four days later, with several VIP upgrade packages available. A second show in Los Angeles was announced on 17 September due to popular demand with tickets for that show going on sale a week later. The November 2022 Oceania leg of the tour was announced on 19 September 2021, with tickets going on sale four days later; a pre-sale occurred in the 24 hours prior. Extra dates in Auckland, Sydney and Melbourne were announced on 25 September 2021 after several shows sold out very fast; tickets for those shows went on sale three days later. On 22 November 2021, Lipa announced four new European dates in Lithuania and Scandinavia; tickets for these shows will go on sale four days later. Also with this announcement, Angèle , Griff and Tove Lo were announced as the new opening acts. Two Canadian shows originally scheduled for the first North American leg in February 2022 were postponed to late July 2022 due to newly announced restrictions in January. The same week two additional North American shows were announced in Milwaukee and Elmont set to take place instead of the two postponed shows in February 2022. The tour will be produced by Ceremony London, promoted by Live Nation and sponsored by Truly Hard Seltzer. [1]

Concert Synopsis [ ]

The concert’s intro begins with the stage backdrop cutting to static before revealing the words "In Stereocolor: Future Nostalgia" with Miami Vice -styled graphics. A 1980s aerobics-themed video montage, similar to that in the “Let’s Get Physical Work Out” video, introduced the ten dancers (including two roller skaters) and Dua Lipa as an extended intro to “Physical,” containing elements of the song’s Leo Zero Remix, played.  The dancers made their way to an exercise bar located on an elevated platform toward the rear of the stage as Dua was raised on a stage lift directly in front of them. During this act, Dua wears a custom neon yellow catsuit with matching opera gloves by Balenciaga.  She typically wears her Eera Chiara earrings in green, pink, and blue for the duration of the show.  “Physical” was performed with full choreography and contained a dance break after the bridge where Dua and her dancers performed a cardio-aerobic dance routine.  The song concluded on the main stage at the base of the runway.  Dua and her female dancers then perform “New Rules” with choreography that features transparent iridescent umbrellas.  The majority of the song is performed at the end of the runway on the B-Stage.  The song features a dance break after the bridge in which Dua performs with an umbrella before throwing off stage to a stagehand in the crowd.  Dua returns to the elevated platform on the main stage where she poses with two male dancers as in the intro to “Love Again” plays. The song is performed with Western-influenced line dance choreography on the main stage.  The song ends with Dua on the B-Stage posing similarly to how she did at the beginning of the song.  An extended intro to “Cool” begins to play as Dua makes her way up the runway to a microphone stand in the center of the main stage.  “Cool” is performed at the microphone stand while two male roller skaters perform around Dua as a spinning disco ball graphic plays on the screen behind her.  An extended intro to “Pretty Please” that features elements of “Cool” immediately beings to play. Dua and her dancers perform the song with choreography on the main stage.  A free-hanging sculpture composed of individual circular lights is then lowered over the main stage.  The sculpture changes colors and is suspended over the main stage for the remainder of the first act.  Dua performs “Break My Heart” with choreography on the mainstage and runway. Her dancers join her holding small heart-shaped disco balls.  The song features a dance break before the bridge in which Dua dances with her male dancers.  The song features elements of “D.A.N.C.E.” by Justice.  Dua briefly talks to the crowd to introduce her next song.  “Be The One” is performed on the main stage with choreography.  The song’s bridge I extended to allow Dua to interact with the crowd.  Dua introduces her four backup singers before running off stage for a quick change.  The backup singers perform the song’s last chorus before the stage goes black.

    A neon sign reading “Yours Truly: Fresh Seafood and Cocktails” appears on the screen behind the main stage as a muted, elevator music-inspired version of “IDGAF” begins to play.  The two roller skaters return carrying trays with cocktail glasses and cans of Truly hard seltzer to interact with the crowd.  As they exit the stage, a graphic novel-inspired short film entitled “Lobster Attack” begins to play.  In the video, Dua escapes from a giant lobster while a quiet instrumental version of “We’re Good” Plays in the background.  An inflatable lobster stage prop then appears on the elevated platform on the main stage.  Dua performs “We’re Good” while sitting on the edge of a lowered stage lift in the center of the main stage.  This performance is an homage to the “We’re Good” music video.  During this act, Dua wears a custom Swarovski crystal-embellished asymmetric bodysuit by Atelier Versace and matching booties.  Dua then performs “Good In Bed” while interacting with the crowd along the sides of the runway and the dancers perform choreography on the main stage. The intro to the song contains elements of the Zach Witness & Gen Hoshino Remix.  Dua then performs “Fever” alongside her dancers from inside the lowered stage lift on the main stage, which has now been filled with fog to give the illusion of a hot tub/spa.  During Angele’s verse, her prerecorded vocals play while a video of her singing plays on the screen at the rear of the stage and Dua performs choreography.  The song ends with Dua, by herself, inside the lowered stage lift.  As she emerges from the lift, she is now wearing a floor-length white skirt.  She makes her way to the elevated platform on the main stage where she performs “Boys Will Be Boys.”  After the bridge, the Dua is quickly lowered from the stage as the “Club Future Nostalgia” mix, beginning with the “Boys Will Be Boys (Zach Witness Remix)”, starts to play.  The mix also features elements of “Hallucinate (Mr. Fingers Deep Stripped Mix)” and “Levitating (The Blessed Madonna Remix),” as well as Gwen Stefani’s “Hollaback Girl.” The dancers perform on the main stage and B-Stage while Dua changes clothes.

    A metal-grate floating platform with lights is lowered and suspended above the B-Stage.  Dua emerges on the B-Stage wearing a red lace bra by Savage X Fenty, red tights by Marine Serre, monogrammed black hot pants by Marine Serre, black nylon jacket by Puma, and the Mayze Flutur sneakers from her collaboration with Puma.  The “Club Future Nostalgia” mix transitions into a “One Kiss” and “Electricity” medley, during which Dua and her dancers perform updated choreography on the B-Stage.  During “Electricity,” a mock power outage occurs before the last chorus. Dua and her dancer make their way to the main stage where they perform “Hallucinate” with choreography using transparent chairs. The song concludes with an extended outro featuring elements of “Technologic” by Daft Punk where Dua and her dancers strut down the runway to the B-Stage.  Dua and her dancers then sit on the steps connecting the main stage and runway where Dua performs a shortened version of “Cold Heart (PNAU Remix).”  A Video of Elton John can be seen on the screen while his prerecorded vocals play.  Dua leaves the stage for a quick change while her background singers finish the song.

    A space-themed eclipse interlude plays as inflatable iridescent spheres and stars are lowered above the crowd.  The floating platform is lowered onto the B-Stage.  Dua emerges from under the stage wearing a custom black rhinestone corset catsuit by Mugler.  She enters the floating platform as “Levitating” begins.  She is lifted above the crowd on either of the runway during the first and second verses and choruses of the song.  A musical break featuring hidden vocals from the song is added before the bridge while Dua is escorted from the floating platform by two male dancers. The song concludes on the main stage with choreography during the bridge and final chorus. Dua thanks the audience and leaves the stage.  Several moments of darkness and silence occur before a voice can be heard saying “From a distant star, a powerful force will come to Earth, we call this force Future Nostalgia.” Dua is then raised onto the platform on the main stage by a hydraulic lift where she performs some light choreography to the extended intro of “Future Nostalgia.” As the song begins, Dua grabs her microphone stand from the base of the runway and makes her way to the B-Stage where she performs the remainder of the song.  Dua returns to the main stage where she shouts out her band, singers, and dancers. Dua meets her female dancers on the raised platform on the main stage where she performs her viral dance move as “Don’t Start Now (Live in LA Remix)” begins. The song is performed with full choreography with a dance break before the bridge. Dua and the dancers make their way to the B-Stage for the final chorus and confetti cannons are shot off into the crowd. Elements of ABBA’s “Gimme! Gimme! Gimme!” are played during the songs outro as Dua is lowered from the main stage’s raised platform for the final time.

Setlist [ ]

This setlist refers to the show on February 9, 2022 in Miami and does not refer to all dates on the tour. [2] [3]

Tour dates [ ]

Personnel [ ], dancers [ ].

• Lamar Manning
• Thanh Jason Nguyen
• Didde Mie Lykke From
• Sharon June
• Samantha Lee Jayne
• Demi Rox Mensah
• Darion Reyes
• Shawarah Battles (Swing)
• Alex Clark (Swing)

Vocalists [ ]

• Naomi Scarlett
• Ciara O'Connor
• Matt Maijah
• Drums - Duayne Sanford
• Guitar - Alexander Lanyon
• Bass - Matty Carroll
• Keys - Georgie Ward

Gallery [ ]

Promotional posters [ ].

References [ ]

• ↑ Wikipedia - Future Nostalgia Tour
• ↑ Future Nostalgia Tour Opening Night News & Media (@theIookofdanger) on Twitter - Future nostalgia tour setlist (February 9, 2022)
• ↑ Setlist.fm - Dua Lipa Concert Setlist at FTX Arena, Miami on February 9, 2022
• 2 Radical Optimism

Dua Lipa Announces Highly Anticipated North American Future Nostalgia Tour

Today, global pop superstar Dua Lipa announced the North American leg of her highly anticipated  Future Nostalgia Tour  for 2022, in support of the Grammy-winning album of the same name. The arena tour makes 28 stops across the US, including Dua’s first ever headline show at Madison Square Garden in New York City and the iconic Forum in Los Angeles. The  Future Nostalgia Tour  will also feature support from Caroline Polachek and Lolo Zouaï, with Megan Thee Stallion joining on select dates, full list of tour stops and lineups below. Tickets and VIP upgrade packages go on sale beginning Friday, September 17 th  at 12PM local  here .

“I’m so thrilled to tour again and see my angels in person! How amazing that we all get to dance and celebrate together once again,” says Dua. “When I was writing  Future Nostalgia , I imagined the songs being played in clubs on nights out with your mates. I’m so excited that this fantasy is finally coming true. I can’t wait to experience these songs with you together live!”

The long-awaited  Future Nostalgia Tour,  produced by Ceremony London, promoted by Live Nation and sponsored by Truly Hard Seltzer, will be the first time Dua connects her live vision for this album in-person with fans. Previously, the superstar was able to connect with fans during her record smashing live stream extravaganza  Studio 2054 , which had over 5 million viewers during its initial airing and featured special guests Angele, Bad Bunny, Elton John, FKA Twigs, J Balvin, Kylie Minogue, Miley Cyrus and Tainy. Dua is already slated to tour the EU in 2022, making this her first world tour run since breaking records during quarantine with her platinum-certified sophomore album  Future Nostalgia . 

Future Nostalgia  is the longest running top 10 album by a female artist on the Billboard 200 this year and was the #1 most streamed album of 2020 on Spotify. It landed on the year-end “Best Of” lists of everyone from Rolling Stone to Billboard and Pitchfork, and spawned multiple worldwide hit singles including the #1 tracks “Break My Heart,” “Levitating,” which is still topping the charts and is the longest running song ever on Spotify’s Today’s Top Hits playlist, and US 4x platinum lead single “Don’t Start Now,” which broke her personal best record of weeks at #1 at US Top 40 radio and is the most streamed track on Spotify’s Today’s Top Hits playlist in history. 

In addition to breaking radio records, Dua is also a dominate force on streaming platforms, topping Spotify’s artist chart as the most streamed female artist on the platform and is currently the fourth biggest artist overall with over 65 million monthly listeners.  Future Nostalgia  now has over 7 billion streams across all platforms worldwide. After receiving 6 nominations at the 2021 Grammys, including Record, Song and Album of the Year. She is now a three-time Grammy winner, having received awards for Best Pop Vocal Album this year and for Best New Artist and Best Dance Recording in 2019.  Future Nostalgia  was the follow up to her eponymous 2017 debut, which is certified platinum, spawned 6 platinum tracks, and made Dua the first female artist in Brit Awards history to pick up five nominations, with two wins for British Breakthrough Act and British Female Solo Artist. 

Future Nostalgia North American Tour 

February 9 th , 2022 – Miami, FL – FTX Arena # !

February 11 th , 2022 – Orlando, FL – Amway Center # !

February 12 th , 2022 – Atlanta, GA – State Farm Arena # !

February 14 th , 2022 – Nashville, TN – Bridgestone Arena # !

February 16 th , 2022 – Charlotte, NC – Spectrum Center # !

February 18 th , 2022 – Boston, MA – TD Garden # !

February 19 th , 2022 – Philadelphia, PA – Wells Fargo Center # !

February 22 nd , 2022 – Montreal, QC – Centre Bell # !

February 23 rd , 2022 – Toronto, ON – Scotiabank Arena # !

February 25 th , 2022 – Detroit, MI – Little Caesars Arena # !

February 26 th , 2022 – Columbus, OH – Schottenstein Center # !

March 1 st , 2022 – New York, NY – Madison Square Garden # !

March 2 nd , 2022 – Washington, DC – Capital One Arena # !

March 4 th , 2022 – Newark, NJ – Prudential Center # !

March 5 th , 2022 – Buffalo, NY – KeyBank Center # !

March 8 th , 2022 – Minneapolis, MN – Target Center # !

March 9 th , 2022 – Chicago, IL – United Center # !

March 12 th , 2022 – Houston, TX – Toyota Center # !

March 13 th , 2022 – Dallas, TX – American Airlines Center # !

March 15 th , 2022 – Denver, CO – Ball Arena * #

March 17 th , 2022 – Tulsa, OK – BOK Center * #

March 20 th , 2022 – Phoenix, AZ – Footprint Center * #

March 22 nd , 2022 – Los Angeles, CA – The Forum # !

March 25 th , 2022 – Las Vegas, NV – T-Mobile Arena # !

March 27 th , 2022 – San Jose, CA – SAP Center # !

March 29 th , 2022 – Portland, OR – Moda Center # !

March 31 st , 2022 – Seattle, WA – Climate Pledge Arena # !

April 1 st , 2022 – Vancouver, BC – Rogers Arena # ! 

# Dates featuring Caroline Polachek

! Dates featuring Lolo Zouaï

* Dates featuring Megan Thee Stallion

Follow Dua Lipa:

For more information on Dua Lipa, please contact Permanent Press at 718.766.2528:

Kathy Reilly :  [email protected]

Chloe Cardio:  [email protected]

About Megan Thee Stallion 

Hailing from Houston, Megan Thee Stallion is a three time GRAMMY winner, philanthropist and ever-evolving cultural icon.  From the release of her critically acclaimed and Gold certified debut album, Good News, to earning two global record breaking Billboard Hot 100 #1 hits with the “Savage Remix” featuring Beyoncé, and “WAP” with Cardi B, Megan has proven unstoppable.  Megan has been recognized for her musical achievements with three GRAMMY wins, including Best New Artist and nine BET Awards.

Megan was also honored as one of TIME’s 100 Most Influential People of 2020. In October 2020, following a powerful and politically charged performance on Saturday Night Live that demanded justice for Breonna Taylor, Megan published her monumental “Why I Speak Up For Black Women” op-ed and accompanying visual with The New York Times.

About Caroline Polachek

Two years since taking the music world by storm with  Pang  — her lush and dazzling head-trip of an album — Caroline Polachek has returned with the infectious single “Bunny Is A Rider.” Polachek says of the song: “’Bunny Is A Rider’ is a summer jam about being unavailable. Bunny is slippery, impossible to get ahold of. Maybe it’s a fantasy, maybe it’s a bad attitude. But anyone can be bunny, at least for three minutes and seventeen seconds.”

Her previous album  Pang  topped year-end lists globally — including Dazed, The Guardian, NPR, to name a few. The record’s lush romanticism and acrobatic vocal stylings firmly established her as one of the most singular and captivating singer-songwriters of a generation.

About Lolo Zouaï

Born in Paris to a French mother and Algerian father, singer, songwriter, and producer Lolo Zouaï (zoo-EYE) moved to the Sunset District of San Francisco as a young child when her parents won the Visa lottery. After high school, Lolo spent some time alone back in Paris before relocating to New York City with her mother. It was there that Zouaï wrote her 2018 breakout single, “High Highs to Low Lows,” which propelled her into a series of independent singles, videos, and headline shows around the world, ultimately leading to the release of her highly anticipated debut album in April 2019. Since the release of her album,  High Highs to Low Lows , Lolo has sold out headlines across 14 different countries, amassed over 200 million streams worldwide, and appeared in global campaigns for COACH, Tommy Hilfiger, Adidas, Nike, and more. She is thrilled to be supporting Dua Lipa on her upcoming arena tour in 2022.

About Ceremony London

Ceremony London is a creative production company delivering career defining performances for world class artists. With experience on and off stage, Ceremony deliver touchstone creative from concept to execution. Recent work includes Dua Lipa’s widely acclaimed Studio 2054 livestream, performances at The Grammys and The Brits, and Dermot Kennedy’s spell binding Some Summer Night featuring Paul Mescal live from London’s Natural History Museum. Audience experience is at the heart of our creative process, from the first row to the back of the arena, and through the lens to viewers around the world. For more information, please visit  ceremonylondon.com .

About Truly Hard Seltzer

Since its inception in 2016, Truly has been the most innovative brand in the category, breaking the boundaries of what consumers expect from hard seltzer. Truly believes no one is just one flavor, which is why it is available in 27 total flavors: 12 delicious original flavors, plus five flavors of Truly Lemonade, four flavors of Truly Iced Tea, four flavors of Truly Punch, and two flavors of Truly Extra. At just 100 calories and 5% ABV, Truly is perfect for any occasion from beach days to backyard barbecues and beyond.

Truly Hard Seltzer, the fastest growing brand in the hard seltzer category, has joined forces with Grammy Award-Winning Artist Dua Lipa to launch the brand’s  No One Is Just One Flavor  campaign. The campaign celebrates the unique flavors of Truly and the unique sides to each one of us, starting with Dua Lipa.

The campaign debuted on May 22 with a TV spot on  Saturday Night Live  and will be supported by Truly’s biggest media investment ever.  Set to her platinum hit “Physical,” viewers will see that Dua Lipa is more than a pop star. Among other things, she’s bilingual, a dog mom, and a yoga enthusiast. The spot was directed by world-renowned photographer and director David LaChapelle, and brings viewers into a joyous world full of flavor, with rich imagery and animation. 

The brand’s partnership with Dua Lipa stretches far beyond her appearance in the TV spot. She’ll be featured in social, digital, and out-of-home, as well as point-of-sale, where Truly drinkers will have a chance to win more than $1 million in concert prizes, including VIP experiences to meet the pop star and attend a performance this Fall. The campaign will also include “Truly Inspired,” a 2021 summer content and livestream concert series produced by Live Nation featuring artists hand-picked by Dua.  To learn more about Truly, visit   www.trulyhardseltzer.com .

About Live Nation Entertainment 

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .

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‘Lolla: The Story of Lollapalooza’ Docuseries Celebrates the Alt-Rock Festival’s 1990s Heyday, but Perry Farrell Still Has a Vision for Its Future

The new three-part Paramount+ documentary 'gave me some credibility,' says Farrell. 'I wasn’t expecting that.'

By A.D. Amorosi

A.D. Amorosi

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With the arrival of the Paramount+ documentary miniseries “Lolla: The Story of Lollapalooza ,” alt-rock fans who attended the era-defining Lollapalooza festival in its national heyday will experience a rush of nostalgia, and viewers from Gens Z and Alpha will see and hear what Gen X has been crowing about since 1991. That’s the year Perry Farrell created a touring farewell party for his Jane’s Addiction, invited still-new bands such as Nine Inch Nails and Ice T’s Body Count for the ride, and found a tribe of like-minded rebel youth enthralled with his tribal gathering.

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Lollapalooza continues as a band with site-specific gatherings, in Chicago and internationally. But as for Lollapalooza Classic, Warren has a first-hand take on what that meant to his generation in the ‘90s. “This is, by far, my most personal work of my career,” says the filmmaker (who has also created documentaries and filmed live events focusing on Drake, Nicki Minaj, “Shrek: The Musical” and John Mullaney’s stage comedy “Oh, Hello”).

Then 1991’s Lollapalooza happened with NIN, Body Count, Living Colour (“who I still worship”), Rollins Band, Siouxsie & the Banshees and Jane’s Addiction. “How was this all one bill?” the director wonders, rhetorically. “Despite all of my and my friends’ disenchantment with society, Lollapalooza was the day I found my tribe. Kids were pogoing and stage-diving. The anger was real, seething, bubbling up from the underground and spilling out, all over my Massachusetts hometown.” That Lollapalooza toured across the United States to sold-out crowds meant that millions of moshing, mud-covered youth were tuned-in-and-turned-up to Perry Farrell’s utopian alt-rock vision. “That’s the time that Gen X came into view, claimed that moniker and defined what it was going to be,” says Warren. “We were going to be a rebellious generation. And so, there’s no one more qualified to tell the story of Lollapalooza than me.” The fast-paced three-part series — produced by MTV Entertainment Studios and FunMeter, in partnership with C3 Presents — starts with Farrell’s formation of Jane’s Addiction in mid-‘80s Los Angeles and races into the ‘90s, with archival material rare and familiar (lots of MTV News stuff with Kurt Loder), plus new interviews with artists (Ice T, Trent Reznor, Flea, Vernon Reid), Farrell’s and professional concert-biz partners (Marc Geiger) and era-appropriate interested parties (cable host Matt Pinfield).

The “Lolla” series tackles the good times and mass acceptance of the touring Lollapalooza (the first four years), the spectacle of the festival (e.g. the carny-like Jim Rose Circus), its unhappy attempts to go deeper into rock’s underground (1995’s Sonic Youth-led Lolla), its controversial leap into the mainstream (the 1996 Metallica Lolla, which prompted Farrell to quit the fest) and the electronic year in 1997 (Farrell returned with Orbital, Devo, etc.) that marked the end of the festival as everyone knew it. Warren also captures Lolla’s rough 2003 attempts at a comeback (so dismal was 2004, it was canceled) and its more-localized return to greatness in 2005 with the annual Grant Park gathering in Illinois.

Being an anti-corporate teen rebel, Warren did not stick with Lollapalooza as its alternative intent got watered down, in his view. “Frankly, I thought that Metallica was not what Lollapalooza was supposed to be about,” says the director. “This was personal for us. We liked Black Flag and the Minutemen. Even Jane’s was a big band for us. Having Metallica on sucked . But, in hindsight, those things were lightning in a bottle, and culture moves faster than you think it does when you’re in the middle of it.”

In Warren’s estimation, Lollapalooza shined a spotlight on a powerfully potent counterculture that then became a mainstream culture. The director, therefore, wanted to capture the festival’s vibe and ascension, its tumultuous letdown and fall, and its subsequent re-visioning and rise. “The first time I met Perry was on the festival grounds of Lollapalooza 2021, the first one back from the pandemic, and the first gathering of its size since COVID,” he said. “Perry was easy to know and generous with his energy, with a childlike wonder about him. He was quick to cop to Metallica being a sell-out moment – I have the footage – and doesn’t give a fuck. If you don’t want the truth, don’t ask Perry a question.” In gathering the past material and filming new interviews to tell the story of this festival’s arch into the future of pop culture, Warren believes that Farrell “comes at this, now, as a man who has turned Lollapalooza into something that not’s this youth revolution set to fall apart at any second. Perry’s turned this into a global sensation that is repeatable, and can sustain itself. And he’s still miffed at how the Metallica thing went down, despite the fact that they get along famously now. [Metallica’s Lars Ulrich is one of Warren’s interviewees.] Hell, Perry walked away from his own festival over that.” As for the cinematographic look of “Lolla,” Warren wanted his documentary to feel gritty, or “real and urgent, without tying a pretty bow around it… with my sole cinematic license being where I frame Perry’s interview in this wall-less desert-scape,” as he descriobes his dreamy, consciousness-busting setting for Farrell’s interviews. “I didn’t want ‘Lolla’ to be about an entity. I wanted it to be about Perry, that strange relationship between a man and this thing that he created and how they’re co-dependent on each other. Perry Farrell’s mind? There may be no more interesting a place than there.”

………….. For his part, Farrell – wearing a sporty black shirt with his greying hair swept back and slightly slick – speaks as if I’ve captured him in mid-prayer when we jump on a Zoom to discuss Lollapalooza.

“What are you on, A.D.?” Farrell teases as the Zoom screen clicks into view. “I can tell you what I’m on. And I have a good tip: start your day with macha tea.” Between his executive-producing the “Lolla” doc and the upcoming book “Lollapalooza: The Uncensored Story of Alternative Rock’s Wildest Festival” (from authors Richard Bienstock and Tom Beaujour), Farrell’s live, alt-tribal showcase is experiencing a renaissance. Mention this to him, however, and he’s not so sure that this is the right time for recollection.

“Not yet,” he said quietly. “I want a very special bouquet. I’m still gathering those flowers, those bits-and-pieces that make a beautiful floral arrangement – something exquisite. We’re not quite there, yet, but we’re getting there.”

The Lollapalooza brand still survives, not for national tours but for a signature annual event in Chicago and offshoot Lollapaloozas in Chile, Brazil, Argentina, Berlin, Paris and beyond. “This is where the future of Lollapalooza lies,” says Farrell, who has an ongoing vision for his fest’s continued reach into intercontinental, extended familial gatherings. “Anthony Bourdain, what a shame, he had it right. People tune in to experience a world they can’t get to. With Lollapalooza, we bring it to them.”

Thinking about the past, again, momentarily, I bring up frank “Lolla” scenes of Metallic’s booking making him angry and how – at the top of the 2000s – Rick Rubin offered Farrell a piddling one million dollars to buy the “Lollapalooza” name, as its founder was having money problems at the time. “It’s become my life,” says Farrell, simply, taking his time in answering how he feels about the documentary bringing up some difficult moments. Looking to the future, rather than wanting to focus on the festival’s illustrious past, Farrell sees the quintessential revolutionary Lollapalooza as one that would occur in the Holy Land. “I would want it to happen there, with the world settled – all 70 nations to be represented, and all of us to take a bus together. I want to go to the base of Mount Sinai, see where the Ten Commandments of Moses were given. See where Mohammad leapt into heaven. See where Jesus walked. Just enjoy yourself. Maybe we can go a whole week. Wouldn’t that be wonderful? … That’s all I ask (of my partners): I want to work on Lollapalooza Israel.”

Farrell didn’t see those initial Lollapaloozas as part of a holy crusade. He stated emphatically that he was a heathen, someone who “didn’t study God or think about God,” but instead “thought about heroin and cocaine and sex… And now I think about bringing the world together. But it has to happen really soon, as we’ve damaged our relationships… . This war that is occurring in the Holy Land, now, can put us back eight generations – eight generations of people hating, killing and enacting vengeance. Or we can be so bold as to say, ‘I love you, and I don’t care.’ We can work together, and make this world the best it’s ever been. It’s all about communication. This era that we’re going through is the era of redemption.”

Farrell goes on to lean into a discussion of the power of mysticism, Jah, deep knowing and peace-seeking solutions: “I’m a Jew who also studies the Koran, the New Testament, Zen Buddhism and the Ghita – I know where people’s hearts are at.” Such moments of redemption, communication and brotherhood can be viewed in the first episode of “Lolla.” Here, archival footage of Lollapalooza’s first iteration features Farrell onstage with rapper and Body Count rocker Ice-T as the two of them perform an impromptu version of Sly & the Family Stone’s “Don’t Call Me N&%$r, Whitey.” Rather than remain racially divided at song’s end, Farrelly and Ice-T – sweaty from the hot midday sun – hug it out with a dance, and find communion between Black and white.    

“100%,” Farrell says about his mission of easing the racial tensions of 1991, which existed due to the horrors enacted by divisive police departments around the country. Farrell tells a story of his good friends, “the cats in Fishbone,” taking him around to Crips-filled Black nightspots of Los Angeles with him being “the only white kid there. So what I did with Lallapalooza is invite the Black guys to our white-guy parties. I knew that the music was great. I knew that the Black cats were great. We all just had to communicate. It’s really all about how you communicate. And you can’t beat the communication that exists between artists and musicians.”

Continuing on to discuss the power of Lollapalooza – past, present and future – Farrell finds its true greatness in its ability to unify.

“That message is passed around through art and through music,” says Lollapalooza’s founder. “No one can stop it now, because that world wide web – even though it’s given us a lot of problems and can be evil – has given us a lot of great people that are using it as a tool for peace. So, the goal now is to turn the spear into a plowshare.” Welcoming the idea of working with C3 and Live Nation in the immediate future to further make his Lollapalooza into an informational, international hub of sound and vision, Farrell said that you have to start with great music and show the world where the party is. “That’s when the world will settle… and to do this, you gotta be sexy. You gotta be funny. You gotta be stimulating, You gotta be truthful. And when people see that you’re having a party over there, (they realize) that they have to buy a ticket to Lollapalooza. Let’s go, honey – let’s go on a trip.”

Farrell doesn’t mind putting his lofty spiritual ideals for Lollapalooza in more hedonistic terms: “I like having fun too much. I can’t stand the fact that we can’t get together and party.” 

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Real Madrid’s iconic white kit – and the facts and fiction of its origin story

Follow live coverage of Real Madrid vs Dortmund in the Champions League final today

It may be the most distinctive kit in world football.

Real Madrid ’s all-white outfit is what gives them their ‘Los Blancos’ nickname and explains why they were dubbed ‘Los Merengues’ (the Meringues) by one radio commentator. They have won all but two of their record 14 European Cup/ Champions League titles wearing it — including the first five in a row from 1956-1960.

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It inspired Leeds United to wear white and is as iconic as Brazil ’s yellow or the New Zealand rugby union team’s black. Adidas has made Madrid’s shirts since 1998 and, five years ago, signed an extension until 2028 reportedly worth €1.1billion ($1.2bn; £937million at current exchange rates), making it the world’s biggest such deal.

But differing theories colour the kit’s origins. The story of how Madrid ended up wearing all white is one that navigates fact and fiction.

The most popular theory about Madrid’s shirt involves the London-based Corinthian FC. Formed in 1882, they were a touring side of amateur players who wore white shirts and gained widespread fame for their values and style of play. They beat Manchester United 11-3 in 1904 and visited countries including South Africa, the United States and Brazil — where a group of Sao Paulo railway workers founded a team in their honour called Corinthians in 1910.

Real Madrid were established in 1902 as Madrid Football Club. One of their first players and managers was the Dublin-born Arthur Johnson, who had a key role in the club’s beginnings. The story goes that Johnson saw Corinthian FC play at the Oval, their occasional home ground and an England cricket venue in south London, inspiring him to pick white for his new side in the Spanish capital.

While there is no known record of him attending a game, Johnson would almost certainly have been aware of the amateur team’s impact and ideals. Dom Bliss, the head of media and heritage at Corinthian-Casuals — Corinthian FC’s successors, who play in English football’s non-League system — says it is “very likely” he would have been inspired by their example, even if he did not attend a match.

“They would have been the celebrity football team,” Bliss says. “Anyone who had been to see them play would have been wowed because Corinthian FC were the team that had this grandeur and confidence. They used to walk out with a swagger.”

The first images of Madrid show them wearing white shirts with dark sashes and long dark trousers. Alfredo Relano, former editor-in-chief of Spanish daily sports newspaper AS, has a different explanation for why they started playing in white.

“When football began to be played, teams would just wear what they were wearing underneath their everyday clothes,” says Relano. “This was usually white long johns that went down to their knees and a white undershirt.

“The older and more established side between the two teams would in this way wear all white, while their opponents would add a horizontal red or blue sash to differentiate themselves.

“When normal kit arrived from England, Madrid decided to continue wearing white.”

Relano thinks there is confusion because of another link to Corinthian FC. In 1925, Madrid embarked on a tour of England and two of their players, Felix Quesada and Perico Escobal, went to see the amateur team play. When they returned to Spain, they lobbied club president Pedro Parages to change their white shorts to black in tribute to the Corinthians. A series of defeats, including a 5-1 defeat to arch-rivals Barcelona in the Copa del Rey , ensured they returned to white the following season.

The team that dominated the European Cup’s early seasons gave the white kit new mythology. Madrid had previously played with navy socks, but they switched to white for the competition’s inaugural 1955-56 tournament to be more visible during night-time games.

Chris Stride, a University of Sheffield academic who has researched the psychology of nostalgia, believes the visual effect, in black and white TV footage, added to the legend.

“It creates this nostalgic image of these ghosts running around under the floodlights in white shirts outplaying all the other teams around Europe,” he says.

📺⏮ En 1960 vencimos al @eintracht_esp por 7 a 3 en Glasgow y logramos así ¡nuestra QUINTA Copa de Europa consecutiva! Una de las mejores exhibiciones en la historia del fútbol. #RMFansEnCasa | #YoMeQuedoEnCasa pic.twitter.com/UYYjz1E8hr — Real Madrid C.F. (@realmadrid) March 20, 2020

One person taken in by that ghostly image was the future Leeds manager Don Revie. He saw Madrid beat Eintracht Frankfurt 7-3 at Glasgow’s Hampden Park in the 1960 final with four goals from Ferenc Puskas and a hat-trick from Alfredo Di Stefano .

Revie’s friend and artist Paul Trevillion says that moved Revie to change Leeds’ navy shirts to white in 1961 to make his new Second Division team the ‘Real Madrid of British football’. Trevillion compares the shirt’s effect to a portrait he drew of the former British prime minister Winston Churchill, in which he added a white speck to his eyes to give them a “sparkle”.

“That’s what Revie saw when he saw Real Madrid — he saw them come alive,” he says. “They were bigger than life. Not my words, Revie’s. (He said) ‘It was breathtaking, I couldn’t believe what I was seeing. It was football from the gods — I’d love my team to play like that’.”

Revie was in charge for 13 years , helping Leeds back to the First Division three years after his appointment and claiming two top-flight titles along with the 1972 FA Cup. Trevillion was brought in to provide the club with fresh ideas just before the FA Cup -winning season — but Revie pushed back when he suggested adding a blue cross to the front of Leeds’ shirt.

“He wouldn’t change it,” says Trevillion, 90. “I tried for two or three weeks to change his mind, it was always the same answer: ‘I’m not changing the strip — it’s all white, Paul!’. At one point I suggested blue cuffs and he said no.”

Madrid’s first defeat in a European Cup final was a 5-3 reverse to Benfica in 1962 in which they wore a purple away strip. When Liverpool beat them 1-0 in the 1981 final in Paris, Relano says some fans attributed it to Madrid wearing the Adidas logo and three stripes on their sleeves for the first time. But they have lifted the trophy twice while not wearing white — they won the 2000 final against Valencia in black and beat Juventus while wearing purple in 2017.

The shirt has become more and more lucrative as it has been commercialised. The Italian home appliances company Zanussi became the club’s first front-of-shirt sponsor in 1982 and this season Madrid started to wear the logo of technology giant HP on their sleeves — another first . According to UEFA, only arch-rivals Barcelona made more than their €155million in kit and merchandising revenues last year.

Some are unconvinced by the mythology around the white shirt and put its success down to Madrid’s trophies and the stars they have signed . “If Madrid had started out playing in red, the most-sold colour would be red,” says Juan Manuel Martinez, a director at Kelme, the Spanish sportswear brand that made Madrid’s shirts from 1994-1998.

Bellingham's commercial impact at Real Madrid: A new era after Messi and Ronaldo

But others say that simplicity makes a difference. “There aren’t many clubs that use white as a primary colour on their home kit,” says Marcus Dilley, a former Adidas designer. “Those that do usually have a consistent design feature — such as River Plate in Argentina. It’s instantly recognisable no matter the accent colour used because of the combination between simple white and their iconic crest.”

Madrid’s deal with Adidas means they have appeared in different colours when playing at home. In March, Athletic Bilbao played in white at the Santiago Bernabeu as Madrid wore purple to promote a fourth kit devised by the Japanese designer Yohji Yamamoto.

But for longstanding Madrid fans such as Relano, the new shirts will never compare to the original all-white kit worn by Puskas, Di Stefano and the all-conquering team from the 1950s.

“It’s not as magical as when that sensational Madrid won the first five European Cups during the first night-time matches, with the black-and-white highlights that were seen across Europe for very few minutes at a time,” Relano, 73, says.

“Now it has adverts on, there are close-ups on TV, all that takes away from its mystery. But it’s still iconic, just as the name of Real Madrid and some of the players who feature for them are.”

(Top photos: Getty Images)

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Tomás Hill López-Menchero is a Junior Editor at The Athletic focused on La Liga. He previously worked for ESPN and The Times. In 2022 he was named student sports journalist of the year by the UK’s national council for the training of journalists. He is bilingual Spanish-English and fluent in French. Follow Tomás on Twitter @ tomas_hill