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Yahoo
21 hours ago
- Entertainment
- Yahoo
Why rock bands keep firing their drummers
It has been a bad couple of weeks for drummers in huge bands. Firstly, on May 16, Foo Fighters drummer Josh Freese announced that he was 'shocked and disappointed' to have been 'let go' by the US rockers for no apparent reason. Then, four days later, Zak Starkey, drummer for The Who, said he'd been kicked out of the band for the second time in a month. 'I was fired two weeks after reinstatement,' wrote a bewildered-sounding Starkey on Instagram, describing the situation as 'mayhem'. And this is from a man whose family has precedent in drummer drama: Starkey's father Ringo Starr walked out on The Beatles in 1968. The difference here, though, is that it was Starr's decision – he was greeted back into the fold a few days later with a studio full of flowers, an eventuality you suspect will elude his skin-smacking son. The unfortunate truth is that Freese and Starkey are the latest in a long line of drummers who have been unceremoniously axed over the decades. The aforementioned Beatles sacked Pete Best just as the band were taking off; Oasis binned original drummer Tony McCarroll once they went supersonic, while Stan Lynch left Tom Petty and the Heartbreakers after reports of tension in 1994. Guns N' Roses fired original sticksman Steven Adler in 1990 (and parted ways with their drummer of 19 years Frank Ferrer back in March). Meanwhile, grunge band Nirvana went through six drummers before settling on Dave Grohl, ironically the Foo Fighter-in-chief responsible for Freese-ing out his bandmate. Even mild-mannered Chris Martin sacked Coldplay drummer Will Champion briefly in 1999 (guilt-wracked Martin wrote the ballad Trouble by way of apology). As a percussionist might say, there's a pattern here. So why are drummers always getting fired? Like a Neil Peart drum solo, it's complicated (the late Rush drummer's kit comprised up to 40 drums). But the answer lies in a mixture of misplaced band hierarchy, an entrenched and unjustified cliché that casts drummers as expendable jokes, the geeky tendencies of the people behind the kits and – frankly – noise. 'The loneliest place in rock' is how my friend Jack, an accomplished drummer, describes sitting behind the kit. 'On a drum stool, hunched with blistered fingers and aching joints. Waiting. Waiting for the guitars and vocals to agree on something that will only work if you lock in…' he says. Jack points out that most bands are formed by singers and guitar players who then look for bass players and drummers. This means that drummers are seen as supplementary rather than integral, and therefore replaceable. The truth, though, is very different, as his 'only work if you lock in' comment suggests. 'The beat will give a song a structure and a base on which to decide if it's worth pursuing further. Put another way, songs are written on an acoustic guitar or piano. It's only when the rhythm section gets beneath it that it starts to take shape. As a result, the band only starts to feel like a band when the drums are there too. Otherwise it's just busking,' Jack explains. Try telling that to the singer. Drummers are also fall guys because they're the loudest, I'd argue. The sound they make sticks out like a sore thumb and therefore it's the easiest and most obvious element to change, even if someone else is at fault. As Sting and Frank Zappa drummer Vinnie Colaiuta euphemistically put it: 'Anytime you strike the drums, you have to be aware that you're creating a musical event.' For 'musical event' read 'almighty noise'. Drumming is primal. 'When you approach this instrument for the first time, what comes out of you is simply what you feel,' the Parliament and Funkadelic drummer Dennis Chambers once said. Pick up a guitar for the first time and what you feel are sore fingers. But whack a drum for the first time and what you – and your neighbours – feel is elemental expression and thundering power, another likely reason why singers feel threatened. But the technical 'feel' that a drummer brings to a band can also be a reason for tension. Take Guns N' Roses as an example. Original drummer Adler – who was sacked for drug addiction after he tried and failed to play drums on Guns' track Civil War in the studio up to 30 times – had a loose, swinging style that formed a groove with Slash's guitar riffs. He was replaced by Matt Sorum from The Cult (a man whose battered drumstick has sat on my desk for decades, after I caught it at the end of a concert in 1989). A technically brilliant drummer, Sorum's harder and more disciplined drumming essentially turned Guns N' Roses from a rock 'n' roll band into a heavy metal band, something that contributed to guitarist Izzy Stradlin's decision to leave in 1991. A 'big musical difference' was how Stradlin described the vibe shift. Recent tour footage suggests Guns N' Roses still have drummer issues. Introducing new drummer Isaac Carpenter recently, singer Axl Rose said: 'We've got a new guy. I'll think of his name in a minute.' Yeah, joking-not-joking. And at a Yokohama concert earlier this month, rookie Carpenter started playing the wrong song, leading to on-stage weirdness. 'Welcome to the bungle,' ran an unfair headline. But drummers have always been the butt of jokes. Here are two favourites. Q: How many drummers does it take to screw in a lightbulb? A: Five. One to change the lightbulb and four to stand around talking about how Neil Peart would have done it. Or there's this chestnut. Q: What did the drummer say when he landed his first job? A: Do you want fries with that? Of course, the biggest drummer joke of all appeared in the 1984 Spinal Tap mockumentary. Famously, the spoof metal band lost a succession of drummers: one in 'a bizarre gardening accident' (John 'Stumpy' Pepys); another from choking on vomit (Eric 'Stumpy Joe' Childs); and yet another from spontaneously combusting on stage (Peter 'James' Bond). Expect drummer jokes to continue when the film's sequel Spinal Tap II: The End Continues comes out in September. Like all jokes, there's a kernel of truth in this. Plenty of famous drummers have died tragically young. The two best-known examples are The Who's Keith Moon and Led Zeppelin's John Bonham, both of whom died aged 32 when their bands were undergoing concerns. Moon died from a prescription drug overdose and Bonham died after a massive drinking session saw him consume an estimated 40 shots of vodka in a 12-hour period. Both men were large-than-life characters. Wildman Moon was fabled to have driven a Lincoln Continental into a Michigan hotel swimming pool while Bonham – known as The Beast – had a habit of trashing hotel rooms when he wasn't driving down their corridors on a Harley Davidson. To the 'drummers die young' list you can add Karen Carpenter (who also died aged 32), Rainbow's Cozy Powell (50), and Echo & the Bunnymen's Pete de Freitas (27). It is entirely possible that Moon and Bonham died before they were fired. I doubt it with Bonham as Zeppelin disbanded after he passed away. But we'll simply never know. In many cases, bad behaviour is the reason behind drummers being axed. Bruce Springsteen's erstwhile drummer Vini 'Mad Dog' Lopez was sacked from the E Street Band in the early 1970s for getting into a fight with the band's road manager Steve Appel. Blink-182's Scott Raynor was kicked out of the US punk outfit for things 'going on' outside of the band that were 'affecting his performances', singer Mark Hoppus told Rolling Stone (some stories blamed drinking). And the late James Kottak was fired in 2016 as drummer of German hard rock band Scorpions two years after his arrest and brief imprisonment for public drunkenness in Dubai. But here's the rub. Beneath the bluster and the tomfoolery, drummers tend to be sensitive souls who are obsessed with their craft, Moon and Bonham included. Why else would they choose to play the most unwieldy and physically demanding instrument in existence? Unlike peacocking guitarists, you can't stroll down the high street with a drum kit on your back. You've got to commit to drumming and all the humping of gear that comes with it. Drummers also tend to have interesting hinterlands. Many notable drummers have gone on to have unexpected second careers after they'd quit music, which speaks to a certain eccentricity. Terry Chimes, one-time drummer with The Clash, became a chiropractor. Neal Smith, Alice Cooper's drummer, became an estate agent and Ray Boulter, drummer for Liverpool-based band The Farm, became a hugely successful TV script writer. Stuart Cable, the late Stereophonics drummer, had a chat show on BBC Wales called, ingeniously, Cable TV. Mainly, though, drumming is a club. There's a rare brotherhood and understanding among drummers. When I interviewed Pete Best in 2018, probably the most famous sacked drummer in the world said that he and Ringo were chums before he was usurped. 'Drummers seem to buddy other drummers. I'd watch him play, he'd watch me play,' Best said. Simon Kirke, the Bad Company and Free drummer, had a similar tale of drumming camaraderie when I spoke to him last year. The date was 1974 and the location was Chislehurst Caves in Kent where Led Zeppelin were hosting one of the most debauched and Fellini-esque rock 'n' roll parties of all time. Scantily-clad nuns were serving mulled wine, naked women were wrestling in coffins filled with jelly, naked men were wrestling in alcoves and midgets were tumbling from each other's shoulders. And where was Kirke as this decadent carnival unfolded? He was 'huddled in a corner' with Zeppelin's Bonham talking about 'bass drum pedals, skins and sticks'. And perhaps this is why so many drummers get fired. They just love drumming too much. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Yahoo
a day ago
- Business
- Yahoo
Hit Songs Are Lasting Longer on the Charts – But Why?
Teddy Swims makes history on this week's Hot 100: 'Lose Control,' the singer-songwriter's soulful pop-rock anthem, spends its 92nd week on the chart, breaking the record that it shared with Glass Animals' 'Heat Waves' as of last week and setting the new longevity mark for the nearly 67-year-old song chart. After debuting on the Hot 100 back in August 2023, 'Lose Control' only topped the chart for 1 week, back in March 2024. Yet the song remains in the top 20 more than a year later (coming in at No. 11 on the latest chart), after spending a record-setting 63 weeks in the top 10. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' 'The burn has been minimal,' Alex Tear, Vice President of music programming at SiriusXM + Pandora, tells Billboard of the breakthrough hit's maintained momentum. 'The audience reaction is something that we completely adhere to — subscribers tell us what they want to hear, and how often they want to hear it… And ['Lose Control'] is still undeniable, pure mass appeal.' Swims' smash hasn't been alone in spending months upon months in the Hot 100's upper tier. Before Morgan Wallen's new album I'm the Problem cleared out a sizable chunk of the chart this week with its 29 new debuts, the top half of the Hot 100 was littered with hits that had spent months — and in some cases, over a year — on the tally. Some of them, like 'A Bar Song (Tipsy)' by Shaboozey, 'Die With a Smile' by Lady Gaga & Bruno Mars and 'I Had Some Help' by Post Malone and Wallen, have stuck around after logging multiple weeks at No. 1; others, like Benson Boone's 'Beautiful Things,' Gigi Perez's 'Sailor Song' and Sabrina Carpenter's 'Espresso,' never reached the top spot, but have lingered near it since mid-2024. Kendrick Lamar and SZA's 'Luther' may have just spent 13 straight weeks atop the Hot 100 before being dethroned by Wallen and Tate McRae's 'What I Want' this week, but even that smash collaboration spent 12 weeks on the chart before reaching its peak in late February. The Hot 100 always includes a wide swath of ubiquitous hits — but rarely have so many of those hits endured at once. On the Hot 100 dated May 24, zero songs in the top 10 had spent a single-digit number of weeks on the chart. The average number of weeks spent on the chart by the songs in the top 20 was 30.35 weeks; five years ago (on the Hot 100 dated May 30, 2020), that average was 18.75 weeks. On the recent Hot 100, a total of nine songs in the top 20 had spent 30 weeks or more on the chart; 10 years ago (on the Hot 100 dated May 30, 2015), that total was one song in the top 20. What's causing this period of smashes that last forever on the chart? Part of the explanation for the lack of 2025 chart movement is the glut of new pop voices from 2024 spilling over into a new year, says Spotify editorial lead Talia Kraines. 'I think that 2024 was such a crazy year for pop music, and incredible new songs and artists, that was years in the making,' she says. Kraines points to artists like Chappell Roan, whose 'Pink Pony Club' is approaching 50 weeks on the Hot 100, and Charli XCX, whose 2020 song 'party 4 u' is just now hitting the chart, who helped define the mainstream last year while also boasting ample back catalogs for fans to explore on streaming services. 'They were fully formed propositions,' says Kraines. 'I feel like a whole new generation found their new favorite artist and their new favorite song, and they're digging in on that.' Chart longevity may also be a product of post-pandemic timing, says Michael Martin, SVP of programming at Audacy. After all, before 'Lose Control' logged 92 weeks on the chart, The Weeknd's 'Blinding Lights' and Glass Animals' 'Heat Waves' were quarantine-era anthems that previously set the record in April 2021 and October 2022, respectively. The fact that the record has been reset three times in the past five years nods to how the lifespan of a mega-hit changed to account for audience appetites. 'Everybody wanted comfort food, right?' says Martin of pandemic-era pop. 'People wanted things they knew, like their favorite TV show that they binge-watched again. There's something about that familiar song that they loved and wanted to keep hearing.' Yet Kraines points out that the key difference between the music industry of five years ago and the industry today is how viral hits are located and promoted by labels to set up longer chart runs. At the dawn of the TikTok era, unknown artists with a viral spark were quickly signed and pushed to radio programmers and streaming services; now, artists like Swims (who was signed to Warner Records in late 2019 after some YouTube covers made noise) are often developed for years before a single receives mainstream promotion. 'We're seeing that the whole nature of artist development takes time,' says Kraines. 'And songs that maybe don't come out of the gate super hot are definitely growing.' Case in point: 'Lose Control' debuted at No. 99 on the Hot 100, then spent 32 weeks climbing to the top of the chart. 'People are taking more time to sit with music and enjoy it — they're not just one-and-done,' adds Kraines. Meanwhile, the streaming era has included less distinction between singles being actively promoted by artists and album cuts that have no shot at extended chart runs. Last year, Billie Eilish launched her Hit Me Hard and Soft era with 'Lunch' as the focus track, but quickly pivoted when fans embraced 'Birds of a Feather' on streaming services. Demand for 'Feather' has remained strong across platforms since its release — so radio programmers kept playing it, streaming services kept it high on their flagship playlists, and the song just crossed the one-year mark on the Hot 100. One key to that type of extended run, says Tear, is the smart deployment of follow-up singles — songs from a popular artist that prevent listeners from getting tired of their mega-hit, but don't necessarily get in its way, either. A generation ago, radio stations couldn't feature multiple songs by the same artist in heavy rotation, but now that streaming has blurred those lines, programmers can balance a handful of songs by the same artist and ultimately extend the life of a smash. 'The audience wants to hear more than one song being played over and over again,' Tear explains. 'I'm now able to go two, three, four songs deep [per artist], like we do with Sabrina Carpenter, Benson Boone and Teddy Swims. That relieves a little bit of the fatigue, and they stay around longer.' Paradoxically, the fragmentation of popular music — and how the streaming era has affected the number of songs that reach cultural ubiquity — may be the reason why we now have so many smash hits that stick around forever. Veteran radio programmer and consultant Guy Zapoleon has spent his career chronicling 10-year music cycles of popular radio, and says that modern 'lack of consensus' caused by the proliferation of music platforms means that, when a song does become huge, it stays huge for longer. 'Because there's so many different sources to go to, it's difficult for songs outside the very biggest songs to become hits,' says Zapoleon. 'And because of that, those songs take a while to become hits, and then they stay there for the longest period of time — longer than we've ever seen in the history of music.' The good news is that this industry era of extended chart runs emphasizes hit songs regardless of who they're coming from. While A-listers like Kendrick Lamar, SZA and Morgan Wallen have topped the Hot 100 in recent months, the top 10 has been rife with new artists scoring their first chart hits in 2025, just as it was last year. 'You can keep delivering listeners songs like 'Lose Control' that they're just not tired of, but you can also deliver the new artists that they're asking about — Doechii, Sombr, Alex Warren, Lola Young, Ravyn Lenae,' Martin points out. 'So I don't think there's stagnation in new product, or in new artists.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Wales Online
a day ago
- Entertainment
- Wales Online
Oasis band member with world famous dad brutally replaced by American musician
Oasis band member with world famous dad brutally replaced by American musician Zak Starkey is the former drummer of Oasis but has also worked with The Who and Mantra of the Cosmos Zak Starkey as the touring drummer for The Who during a performance in Las Vegas in 2017 (Image: Getty Images ) The former drummer of Oasis, Zak Starkey, has voiced his disappointment at being excluded from the band's monumental reunion. Last August, brothers Noel and Liam Gallagher surprised fans by announcing they would reunite for the first time since their explosive split in 2009, with the landmark Oasis 2025 shows starting in Cardiff on Friday, July 4 and Saturday, July 5. Zak Starkey, who was a member of Oasis from 2004, appeared on BBC Breakfast to discuss his latest track with Mantra of the Cosmos, which features Bez and Shaun Ryder from Happy Mondays and ex-Oasis bass guitarist Andy Bell. While on the news programme, Starkey discussed how Oasis member Noel Gallagher originally wrote the group's new single Domino Bones but then passed it on, suggesting the track was better suited to them. Noel had previously heaped praise on the group, likening them to "Dylan, Dalí and Ginsberg on a rocket ship to the moon to have it with the Clangers". As reported by the Manchester Evening News, Zak told presenter Ben Thompson about his surprise when he received the song from Noel, saying: "I was blown away by it - I couldn't believe it. "The greatest songwriter of my generation sending me a tune." The conversation naturally turned to Zak's thoughts on the eagerly awaited comeback tour, where he openly admitted to feeling "gutted" for not being asked to join the upcoming shows. He commented: "I texted them and said 'why am I not in it?' "You know, if you get a new drummer, you get comfortable, don't you? You get comfortable with new musicians and I think that's what's happened and I'm alright with that." Noel and Liam Gallagher will embark on a huge reunion tour, 16 years after last performing together, this summer (Image: PA ) He went on to express his enthusiasm about the possibility of touring, telling the BBC: "God, yeah. "Greatest rock and roll band of my generation. Greatest rock and roll singer of my generation." But this isn't Zak's only connection to music fame. Zak Richard Starkey is also the son of a famous drummer - none other than The Beatles' Ringo Starr, whose real name is Richard Starkey. Zak was born in 1965 to Ringo and his first wife, Maureen Starkey (nee Cox). According to The Mirror, Zak had an illustrious childhood, growing up around major stars while enjoying private education and a home in a gated community in Surrey. He spent much of his younger days with The Who's original drummer, Keith Moon, who bought his first drum kit. Moon died in September 1978, with his position in the band filled by Kenney Jones. In 1996, Zak Starkey officially joined The Who during their Quadrophenia tour. As reported by NME, Starkey's departure from The Who has played out in recent months, with the precisionist appearing to publicly confirm that he had been let go, but guitarist Pete Townshend later denied it. In May, Townshend confirmed that Starkey was no longer with the band and added: "the time has come for a change". Meanwhile, it has been confirmed who will be joining the Gallagher brothers on their highly anticipated reunion tour. Zak Starkey's famous dad is none other than Ringo Starr, the drummer of The Beatles (Image: Getty Images ) Andy Bell, the bass player from Mantra of the Cosmos, confirmed recently that he would be joining the brothers on their reunion tour. Gem Archer and Paul 'Bonehead' Arthurs will be on guitar, while Christian Madden will be on keys, and the drummer has been confirmed as Joey Waronker. Waronker is an American drummer and has also worked with Beck, R.E.M. and the late American singer-songwriter Elliott Smith. He is also a music producer and has collaborated with Tracy Chapman, Nelly Furtado, Paul McCartney and David Byrne, amongst others. Article continues below Oasis has a string of 17 UK dates lined up for the summer, as they kickstart the tour in Cardiff's Principality Stadium on Friday, July 4, with their second gig in the Welsh capital taking place on Saturday, July 5. From superstar gigs to cosy pubs, find out What's On in Wales by signing up to our newsletter here . The tour will also feature seven appearances at London's Wembley Stadium, and other highlights include performances at Manchester's Heaton Park.
Yahoo
2 days ago
- Entertainment
- Yahoo
How Curaçao Became the Heart & Soul of Ryan Castro's New Album ‘Sendé'
On a humid and cloudy day in Curaçao, with its endless ocean views and pastel colonial buildings lining the streets, Colombian star Ryan Castro is eager to talk about the roots that shaped him as an artist and as a person. This isn't the all-too-familiar story of a global music sensation, but more an intimate look at the places, people, and moments that inspired his second album, Sendé (out May 29), an ambitious love letter to the Caribbean. Here, on the narrow streets of Jan Thiel, inside a Jeep Wrangler, Castro retraces the steps he walked years ago as a teenager juggling everyday jobs while writing songs and dreaming big. On this occasion, Billboard Español had the privilege of joining him on an intimate experience around the island. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' 'It was while I was living on the island that I blew up in Colombia,' the artist recalls. 'I think it was the right time to share that with everyone and let them know about my life here and my cultural influences too, because I love dancehall. A lot of the things Castro does are deeply connected to this island.' It was during those formative years on the island — where he spent a couple seasons because his mother lives here — that he refined his sound and began gaining recognition back in Medellín, ultimately laying the groundwork for the artist he is today. Hours later, we visit the nursing home where his mother, a nurse, works to this day — a place where Castro did shifts as a young man — while secretly ditching work and chasing his dreams. As we step inside, Castro reflects on the sacrifices his mother has made and how their journey together has shaped not only his life but also the personal story he shares on Sendé. Zipping across the island's sunlit landscapes, he shares laughs with old friends and waves to delighted fans, who call out to him for selfies as he explores the streets of his second home. With his sophomore album, Castro, 31, moves away from 'El Cantante del Ghetto' and fully embraces a more vulnerable, romantic side of himself. A love letter to Curaçao — the LP not only reflects a place where he lived and worked hard but also one where he unearthed a deeply personal part of his identity that had remained semi-hidden. 'Sendé is a very personal project that reflects everything I lived and learned in Curaçao,' Castro shares. 'It's full of emotion, Caribbean influences, and that dancehall vibe that's always been part of my style. In this album, Castro masters the fusion of genres like dancehall, kizomba, afrobeat and reggae, all infused with his signature urban style. He also collaborated with an impressive lineup of international artists, including Shaggy ('Exclusiva'), Peso Pluma ('Un Trío'), Manuel Turizo ('Menos el Cora'), and Curaçao's renowned local singer, Dongo, on the song 'Sanka', a title that means 'unfortunately' in Papiamento, a Creole language based principally on Spanish and Portuguese, spoken and written in the islands of Curaçao, Aruba and Bonaire in the Netherlands Antilles. But beyond the big names and captivating rhythms, the album is an invitation to explore his story and connect with the cultural roots that have profoundly shaped his artistic vision. 'The title [Sendé] comes from Papiamento and means feeling good, positive vibes, and that's exactly what I want to put out there,' he adds. In an exclusive interview with Billboard Español, Ryan Castro shares the moments that shaped his life, his deep connection to Curaçao, and how Sendé became his most personal project to date. Curaçao holds a special place in your life. How do you feel being back now on the island? I came to visit my family. My mom and siblings live here. Right now, we're driving through a neighborhood called Jan Thiel. There are really beautiful houses here where wealthy people live, and a lot of Dutch folks too. We're heading to a restaurant called Perla del Mar. I like going there because I used to work as a waiter and did a lot of things in the kitchen as well. Whenever I come to Curaçao, I bring my friends, family, or partner. I love reminiscing about those moments and sharing them with people who are super proud and happy to see me. Today, we're on our way to grab lunch, eat some fish, and recharge. From , inspired by your upbringing in Medellín, Colombia, to , a project rooted in Curaçao — how do you feel about sharing this part of your story and reflecting on those key moments in your life? I feel really happy because I think my fans were missing this side of me. I've shared a lot about my story in Medellín — life in the ghetto, singing on buses, where I came from, which is so special. But I hadn't talked much about this side, which is also something very emotional for me. It was while I was living on the island that I blew up in Colombia. I think this was the right moment to tell them about it and let them know what life was like for me here, as well as my cultural influences, because I love dancehall. The words I often use, like 'awoo,' are for them to understand where all of that comes from. A lot of the things Ryan Castro does are closely connected to this island. We've noticed that you also speak Papiamento and use phrases from this language in your music. What do these expressions mean to you? 'Awoo' comes from the local language here, Papiamento. It's a very street-style word. People here use 'awoo' like 'hey' or as a greeting. In Colombia, we use words like 'oe' or 'nea.' 'Awoo' isn't a formal word for conversation, but when I got here, I heard it all the time. I use it on my social media, and the fans embraced it — they even call out 'awoo, awoo' now to me. So, I started working with the word. This album, called Sendé — another word from Curaçao — means 'lit' or 'fire.' But here, people use it to mean that everything's good. You can say 'awoo' to someone, and they'll reply 'sendé.' On the streets, it's used to say we're feeling great, hyped, happy, partying, or full of energy. It's a very lively word. When did you move to Curaçao? You mentioned that your mom has been living on the island for quite some time. My mom has been living here since I was a kid. Basically, I was born, and about a year later, my mom came here looking for a better future for herself and for me as well. I came here when I was around 13 or 14 years old. My mom's intention was for me to stay and live here because she was already settled — she had her husband and everything in place. But I was too young, and I couldn't handle it. I was in school, and I ended up going back to Colombia. When I finished school, around 16 or 17 in Medellín, I sang on buses and hustled to make it. Once I felt more prepared, I told my mom I was ready to come back. I moved to Curaçao when I was about 20 years old. I came to spend time with her, to look for a new future in music, work, and my dreams. In , you worked with genres like dancehall, Afrobeat and some reggae. How has Curaçao's musical culture influenced your creative process for this album? Here in Curaçao, there's a lot of amazing music — party vibes and romantic tunes, at least around here. I learned a lot about kizomba, reggae, and carnival music. I think it's super cool because during the carnivals, you hear a very unique style of music called tambú, which is a really intense drum-based sound. At that time, I was already doing dancehall, rap, and reggae before coming here. But I'd hear those rhythms and think, 'How would my voice sound on that?' Or, 'I want to make a song and experiment with those flows.' I would go to recording studios, and there were Dutch, Jamaican or Curaçaoan people — I didn't even know how to communicate. So that pushed me too. I'd say, 'Bro, I need to learn their language to understand their music and culture.' I had to learn the language, and I did it through music, by listening to songs from here and picking up the street language. Culturally, I absorbed so much — the rhythms, the language, the way people talk, the carnivals, the parties, the music they play at the beach and in the restaurants — I loved it all. That inspired me a lot while making this album, and I even brought my creative team here so they could experience the music. I took everyone who collaborated with me on the album — producers, artists — to the boats and boat parties, the restaurant, the ocean, so they could feel the vibe of the island, and we ended up with an incredible album. You collaborated with artists like Peso Pluma, Shaggy, Sean Paul and Manuel Turizo. Tell us, how do you decide who to collaborate with? Honestly, I'm a bit particular about that. I like collaborating with artists I vibe with, where there's good energy between us. Of course, this is also a business, and it's great to work with someone who's super popular, but honestly, that's the least important thing to me. For me, it's key that there's chemistry and mutual respect. The song belongs to both of us, so we both need to be willing to put in the work — whether it's media, videos, content, performing it live, and everything else that comes with it. I've had cases where there are artists I admire a lot and have always wanted to record with, but when I meet them, I don't vibe with them. So, I'd rather not collaborate to keep admiring them and not lose the respect I have for them. For me, making a song is an intimate and special moment between artists, and both of us need to be fully committed for the result to be something truly beautiful. What do you hope listeners take away when they hear the album? I hope it makes them want to hit the beach and visit Curaçao. I want them to connect more with me — my style, my flow, my roots, who I am. The idea behind the album is also to put Curaçao a little more on the map, in people's eyes and ears. I even included an artist from here, named Dongo, on the song 'Sanka.' He might not be very well-known outside the island, but here, he's highly respected. For me, the album is also a way to give back to Curaçao for all the motivation and inspiration it has given me. Stream Ryan Castro's Sendé below. Note: The trip to report this story in Curaçao was sponsored by Ryan Castro's team, who provided funding for airfare and accommodations. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
2 days ago
- Entertainment
- Yahoo
Shakira Concert at Boston's Fenway Park Canceled Hours Before Showtime
Shakira's show scheduled for Thursday night (May 29) at Boston's Fenway Park was canceled just hours before it started 'due to unforeseen circumstances,' the stadium announced on social media. Jason Aldean and Brooks & Dunn's concert set for Friday night at the ballpark has also been called off. 'The Shakira and Jason Aldean and Brooks & Dunn performances originally scheduled for May 29th and May 30th respectively at Fenway Park have been canceled,' reads a statement in English and Spanish. 'Refunds will be available at your point of purchase. We apologize for the inconvenience.' More from Billboard Here Are All the Surprise Artists at Shakira's Las Mujeres Ya No Lloran World Tour (Updating) Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards In statement shared with Billboard, Live Nation said: 'During a routine pre-show check, structural elements were identified as not being up to standard, so the shows were canceled. All team members are safe.' Billboard reached out to Shakira's team for additional comment. Shakira had previously announced that and Wyclef Jean were set to perform with her onstage in Boston, joining a growing roster of guest artists she's had throughout her world tour. The show in Boston was set to be part of Shakira's Las Mujeres Ya No Lloran World Tour, currently underway in North America. She had most recently headlined Sueños Festival in Chicago and is set to perform next in Washington, D.C., Atlanta, Miami, Los Angeles and Las Vegas, among other U.S. cities. Shakira was No. 1 on Billboard's Top Tours chart for March. She also led February's list with $32.9 million, but doubles her earnings on the newest update. According to figures reported to Billboard Boxscore, Las Mujeres Ya No Lloran World Tour earned $70.6 million from 11 reported shows — more than any act has grossed in any March since the charts launched in 2019. Read Fenway Park's statement below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
