Latest news with #debutalbum
Yahoo
6 days ago
- Entertainment
- Yahoo
Alex Warren Brings ‘Ordinary' Home on Debut Album ‘You'll Be Alright, Kid': Stream It Now
Alex Warren has had quite the year thanks to the success of breakthrough single 'Ordinary.' And now, the track has found a new home on the TikToker's debut album You'll Be Alright, Kid, which finally dropped in full on Friday (July 18). Featuring all of the tracks on Warren's 2024 extended play, You'll Be Alright, Kid (Chapter 1) — including 'Ordinary' — the now-complete collection includes a batch of brand new songs. Among them are previously released singles 'Bloodline' featuring Jelly Roll and 'On My Mind' with ROSÉ of BLACKPINK, as well as the titles 'Eternity,' 'The Outside,' 'First Time on Earth,' 'Never Be Far,' 'Everything,' 'Getaway Car,' 'Who I Am' and 'You Can't Stop This.' More from Billboard Alex Warren Has Written the Perfect Song to Sing With Billie Eilish, But He's Sure She'll 'Never Do It' Connie Francis, 'Who's Sorry Now' Singer, Dies at 87 Five Years Post-Rehab, $uicideboy$ Are 'Grateful to be Alive' - And Maybe Even Happy The project arrives as Warren is spending his sixth week at No. 1 on the Billboard Hot 100 with 'Ordinary,' which this past week blocked Drake's 'What Did I Miss?' from reaching the top spot. Drizzy made headlines with his reaction to the placement, writing: 'Suppressor on the 1 spot. I'm taking that soon don't worry one song or another.' In response, Warren hilariously posted a video of himself dancing to Drake's 'Nokia' with no caption, simply tagging the Toronto native. The Hot 100 isn't the only chart the social media star has been dominating, though. 'Ordinary' has also racked up a total of 10 weeks at No. 1 on the Billboard Global 200, though 'Golden' from the KPop Demon Hunters soundtrack recently dethroned it from the summit. You'll Be Alright, Kid comes about four years after Warren dropped his debut single, 'One Last I Love You.' The California native first rose to fame as a TikTok influencer, co-founding the platform's Hype House. Check out Warren's debut album You'll Be Alright, Kid 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 Solve the daily Crossword
Yahoo
11-07-2025
- Entertainment
- Yahoo
The TRNSMT star who cut her teeth busking in Glasgow
When Rianne Downey headed off to America to record her debut album last year, she found herself working in a secluded studio near Seattle. "It was in the middle of a forest and I lived there the whole time I was there, so it was like I was living in a fairy tale," laughs the Lanarkshire singer. It is not the only fantastical moment in her career so far, as the 26-year-old has gone from busking on the streets of Glasgow to performing on Glastonbury's Pyramid Stage alongside ex-Beautiful South singer Paul Heaton. The former Housemartins vocalist praised Downey on social media in 2020 after she covered his band's song Rotterdam - and three years later he asked if she would be willing to sing with him on tour. More stories from Glasgow & West Scotland More stories from Scotland Since then she has toured across the country with him while also working on her own music. Her debut album is released in October, and before that she will perform at TRNSMT on Sunday afternoon. "I still don't think it has sunk in, to be honest", admits the singer, who is from Bellshill. "Sometimes I'll be walking down the shops or cooking my dinner, and it pops into my head what my job is now. It takes the breath away, it's such a dream come true. "As a musician you dream of getting to do this for a living, but you never fully believe you're going to get there." Downey started busking in her teens, was playing pubs as soon as she turned 18 and was quick to upload material to YouTube when the coronavirus pandemic struck in 2020. "My mum always says I could sing before I could speak," she recalls. "But none of my family are actually musical, other than my granny holding a tune. I don't really know where I got it from, but there was always music on around the house. "It's always been the way I express myself. I just love performing, whether it was forcing my granny to watch me sing or being up on the Pyramid Stage at Glastonbury - I'm happy with whatever I can get." That Glastonbury appearance came alongside Heaton, who approached her about joining him when his regular collaborator Jacqui Abbott had to step away from the band for health reasons. "I feel very lucky to have met people like Paul and Ryan Hadlock (producer of her album), who are gems in the industry," Downey said. "I'll always aim to be as kind and giving as they are, and hopefully as talented as they are too. Paul is an amazing role model and I couldn't ask for a better sort of mentor." Her country and folk-flavoured pop will be fully heard in the autumn, when she releases The Consequence of Love, the record she decamped to Bear Creek Studio in the USA to work on. Having spent most of 2024 touring with Paul Heaton and his band, both the album and this weekend's TRNSMT appearance will put her own material in the spotlight again. "It's definitely a coming of age album," she says. "It's the chance to tell where I came from and where I am now, as well as looking at friendships, relationships, my family and different things that happened on the way. "I've kind of grown up in front of people and it's the truest, most authentic version of me that's there in the songs." Downey believes that authentic nature comes from busking as a teenager - when she cut her teeth as a performer. While she stresses that most of her experiences were positive, it also taught her a lot about performing and winning over crowds. "That was me serving my apprenticeship," she said. "It's been great character building and it's given me such strength, because when you're stepping out onto the streets of Glasgow to busk there is no-one there to listen to you at first. "It helped build a thick skin but it also taught me about what crowds like and helped me hone in on my performance." Her busking years were before Glasgow City Council decided to implement a code for street performers that came into force last year. Downey is uncertain whether the changes will actually make any difference. She said: "There was always a sort of code anyway when I was doing it, so you knew to keep enough of a distance so everyone had a fair chance of being heard. "It's always a bit mad putting rules in for music though, so hopefully buskers don't have to worry about volume too much." Volume levels will be less of an issue at TRNSMT's King Tut's stage on Sunday. Downey's headline tour in the autumn will then wrap up back in Glasgow, at the Old Fruitmarket. Her profile is continuing to rise, which Downey says brings both praise and attention and abuse from internet trolls. "I still ruminate on negative comments but you realise a lot of the time it isn't personal," she says. "It just comes with the territory – in a way it's like you're doing something right. It's a horrible thing to deal with but it's about turning that into a positive." She has the same approach with her song-writing, which she says is a form of therapy for her. "Sometimes you sit down with your guitar and feel you don't have anything to write about, then within a few hours you've vocalised an emotion you didn't realise was eating away at you," she says. "Putting it out of your head and onto paper or into song can really take a load off, and it's so rewarding when people then respond to that and relate to it. "It's like knowing you're not alone – that's the beauty of music." TRNSMT 2025 - Line-up, weather and how to watch TRNSMT 2025: Full line-up and stage times for the weekend Paul Heaton buys drinks for fans attending TRNSMT
BBC News
10-07-2025
- Entertainment
- BBC News
Rianne Downey: Glasgow singer who has gone from busking to Glastonbury
When Rianne Downey headed off to America to record her debut album last year, she found herself working in a secluded studio near Seattle."It was in the middle of a forest and I lived there the whole time I was there, so it was like I was living in a fairy tale," laughs the Lanarkshire is not the only fantastical moment in her career so far, as the 26-year-old has gone from busking on the streets of Glasgow to performing on Glastonbury's Pyramid Stage alongside ex-Beautiful South singer Paul former Housemartins vocalist praised Downey on social media in 2020 after she covered his band's song Rotterdam - and three years later he asked if she would be willing to sing with him on tour. Since then she has toured across the country with him while also working on her own debut album is released in October, and before that she will perform at TRNSMT on Sunday afternoon."I still don't think it has sunk in, to be honest", admits the singer, who is from Bellshill. "Sometimes I'll be walking down the shops or cooking my dinner, and it pops into my head what my job is now. It takes the breath away, it's such a dream come true. "As a musician you dream of getting to do this for a living, but you never fully believe you're going to get there." Downey started busking in her teens, was playing pubs as soon as she turned 18 and was quick to upload material to YouTube when the coronavirus pandemic struck in 2020."My mum always says I could sing before I could speak," she recalls."But none of my family are actually musical, other than my granny holding a tune. I don't really know where I got it from, but there was always music on around the house."It's always been the way I express myself. I just love performing, whether it was forcing my granny to watch me sing or being up on the Pyramid Stage at Glastonbury - I'm happy with whatever I can get."That Glastonbury appearance came alongside Heaton, who approached her about joining him when his regular collaborator Jacqui Abbott had to step away from the band for health reasons."I feel very lucky to have met people like Paul and Ryan Hadlock (producer of her album), who are gems in the industry," Downey said."I'll always aim to be as kind and giving as they are, and hopefully as talented as they are too. Paul is an amazing role model and I couldn't ask for a better sort of mentor." Her country and folk-flavoured pop will be fully heard in the autumn, when she releases The Consequence of Love, the record she decamped to Bear Creek Studio in the USA to work spent most of 2024 touring with Paul Heaton and his band, both the album and this weekend's TRNSMT appearance will put her own material in the spotlight again."It's definitely a coming of age album," she says. "It's the chance to tell where I came from and where I am now, as well as looking at friendships, relationships, my family and different things that happened on the way. "I've kind of grown up in front of people and it's the truest, most authentic version of me that's there in the songs." Downey believes that authentic nature comes from busking as a teenager - when she cut her teeth as a she stresses that most of her experiences were positive, it also taught her a lot about performing and winning over crowds."That was me serving my apprenticeship," she said. "It's been great character building and it's given me such strength, because when you're stepping out onto the streets of Glasgow to busk there is no-one there to listen to you at first. "It helped build a thick skin but it also taught me about what crowds like and helped me hone in on my performance."Her busking years were before Glasgow City Council decided to implement a code for street performers that came into force last is uncertain whether the changes will actually make any difference. She said: "There was always a sort of code anyway when I was doing it, so you knew to keep enough of a distance so everyone had a fair chance of being heard. "It's always a bit mad putting rules in for music though, so hopefully buskers don't have to worry about volume too much." 'I ruminate on negative comments' Volume levels will be less of an issue at TRNSMT's King Tut's stage on headline tour in the autumn will then wrap up back in Glasgow, at the Old Fruitmarket. Her profile is continuing to rise, which Downey says brings both praise and attention and abuse from internet trolls."I still ruminate on negative comments but you realise a lot of the time it isn't personal," she says. "It just comes with the territory – in a way it's like you're doing something right. It's a horrible thing to deal with but it's about turning that into a positive."She has the same approach with her song-writing, which she says is a form of therapy for her."Sometimes you sit down with your guitar and feel you don't have anything to write about, then within a few hours you've vocalised an emotion you didn't realise was eating away at you," she says."Putting it out of your head and onto paper or into song can really take a load off, and it's so rewarding when people then respond to that and relate to it. "It's like knowing you're not alone – that's the beauty of music."
The Guardian
27-06-2025
- Entertainment
- The Guardian
Add to playlist: the year's best electronic debut from Sheffield's NZO, plus the week's best tracks
From Sheffield, via LeedsRecommended if you like Mark Fell, Jlin, Beatrice DillonUp next Live set at No Bounds festival in October It's thrilling and satisfying when an artist's debut album is so fully realised: as if they have their own hyperlocal dialect, and are saying something genuinely new with it. So it is with NZO, a mysterious Sheffield-based electronic artist whose album Come Alive is a defibrillating jolt of vitality. You can find affinities with other artists and styles here, for sure: the bookish but playful minimalism of another Sheffield musician, Mark Fell; Objekt's trickster vision for bass music and techno; the white-tiled cleanliness of some of Sophie's work; Jlin's paradoxically static funk. But the way it's all pulled together is totally NZO's, making for music that's so light on its feet despite its incredible complexity. After a brief intro piece, main opener Rolling Around has all the hallmarks of dubstep but it's as if a slight glitch is holding it back from a deep skanking rhythm. The little ripples of conga on AXMM, or the synthetic brass fanfares of Something's Changed, are sounds you often hear in Chicago footwork music – probably deliberate homages, yet the actual productions are totally different, the former fidgeting, the latter bumping. Her use of vocals is excellent, too, from the very quotable house-style command 'won't stop dancing til the DJ drops' on CFML, to faraway dream-pop singing on Something's Changed. There's more on half-stepping closer Looking For ': the kind of poignant snatch of pop that Burial reaches for, but rather than being cloaked in static, this lost transmission comes through with devastating clarity. This album is cute yet serious, danceable yet cerebral – very few people are operating at this level in British electronic music anywhere, much less with their debut. Blood Orange – The FieldA fever dream of collaborators join Dev Hynes' romantic return: the Durutti Column's guitar blur meets Eva Tolkin's racing production, Tariq Al-Sabir's composition and vocals from Caroline Polachek and Daniel Caesar. LS The Beths – No Joy'I don't feel sad, I feel nothing,' Liz Stokes rues on a classic Beths track: kinetic powerpop that blasts her melancholy – about the new numbness of life on antidepressants – with sunshine. LS Jonathan Richman – I Was Just a Piece of Frozen Sky Anyway 'Will I make my change?' the Modern Lover asks his mother on what might be a gnomic nod to mortality, as Spanish guitar does a brisk dance with a lovely, fluted whistle. [Not on Spotify: listen at Bandcamp.] LS Black Sites – C4Producers Helena Hauff and F#X unite as Black Sites, their debut LP led by this impressively insidious techno slither – one that feels as though it's hypnotising you into a particularly dark place. LS Case Oats – In a BungalowSomewhere between Kathleen Edwards' open-hearted country and Kimya Dawson's lovely naivete, Chicago's Casey Walker – and nimble, fiddle-accented band – belies the pressing nature of a crush with an enticing lightness of touch. LS Orcutt Shelley Miller – A Star Is BornGuitarists Bill Orcutt and Ethan Miller (Comets on Fire) blaze up the joint while former Sonic Youth drummer Steve Shelley plays it cool, steering them towards a surprisingly chill landing. LS Silvana Estrada – Lila AlelíThe Mexican songwriter essays the pain of longing in capital-R romantic terms, although her radiant delivery and some jaunty horns suggest that there's no small amount of pleasure in this purgatory. LS Subscribe to the Guardian's rolling Add to Playlist selections on Spotify.
The Guardian
27-06-2025
- Entertainment
- The Guardian
Add to playlist: the year's best electronic debut from Sheffield's NZO, plus the week's best tracks
From Sheffield, via LeedsRecommended if you like Mark Fell, Jlin, Beatrice DillonUp next Live set at No Bounds festival in October It's thrilling and satisfying when an artist's debut album is so fully realised: as if they have their own hyperlocal dialect, and are saying something genuinely new with it. So it is with NZO, a mysterious Sheffield-based electronic artist whose album Come Alive is a defibrillating jolt of vitality. You can find affinities with other artists and styles here, for sure: the bookish but playful minimalism of another Sheffield musician, Mark Fell; Objekt's trickster vision for bass music and techno; the white-tiled cleanliness of some of Sophie's work; Jlin's paradoxically static funk. But the way it's all pulled together is totally NZO's, making for music that's so light on its feet despite its incredible complexity. After a brief intro piece, main opener Rolling Around has all the hallmarks of dubstep but it's as if a slight glitch is holding it back from a deep skanking rhythm. The little ripples of conga on AXMM, or the synthetic brass fanfares of Something's Changed, are sounds you often hear in Chicago footwork music – probably deliberate homages, yet the actual productions are totally different, the former fidgeting, the latter bumping. Her use of vocals is excellent, too, from the very quotable house-style command 'won't stop dancing til the DJ drops' on CFML, to faraway dream-pop singing on Something's Changed. There's more on half-stepping closer Looking For ': the kind of poignant snatch of pop that Burial reaches for, but rather than being cloaked in static, this lost transmission comes through with devastating clarity. This album is cute yet serious, danceable yet cerebral – very few people are operating at this level in British electronic music anywhere, much less with their debut. Blood Orange – The FieldA fever dream of collaborators join Dev Hynes' romantic return: the Durutti Column's guitar blur meets Eva Tolkin's racing production, Tariq Al-Sabir's composition and vocals from Caroline Polachek and Daniel Caesar. LS The Beths – No Joy'I don't feel sad, I feel nothing,' Liz Stokes rues on a classic Beths track: kinetic powerpop that blasts her melancholy – about the new numbness of life on antidepressants – with sunshine. LS Jonathan Richman – I Was Just a Piece of Frozen Sky Anyway 'Will I make my change?' the Modern Lover asks his mother on what might be a gnomic nod to mortality, as Spanish guitar does a brisk dance with a lovely, fluted whistle. [Not on Spotify: listen at Bandcamp.] LS Black Sites – C4Producers Helena Hauff and F#X unite as Black Sites, their debut LP led by this impressively insidious techno slither – one that feels as though it's hypnotising you into a particularly dark place. LS Case Oats – In a BungalowSomewhere between Kathleen Edwards' open-hearted country and Kimya Dawson's lovely naivete, Chicago's Casey Walker – and nimble, fiddle-accented band – belies the pressing nature of a crush with an enticing lightness of touch. LS Orcutt Shelley Miller – A Star Is BornGuitarists Bill Orcutt and Ethan Miller (Comets on Fire) blaze up the joint while former Sonic Youth drummer Steve Shelley plays it cool, steering them towards a surprisingly chill landing. LS Silvana Estrada – Lila AlelíThe Mexican songwriter essays the pain of longing in capital-R romantic terms, although her radiant delivery and some jaunty horns suggest that there's no small amount of pleasure in this purgatory. LS Subscribe to the Guardian's rolling Add to Playlist selections on Spotify.
