TIME Music

Watch the Epic Dance Video for Giorgio Moroder’s Déjà Vu: Premiere

With a little help from Britney Spears, Kylie Minogue and Sia, the Italian producer returns with an invitation to the dance floor

If you’ve danced to Flashdance, Donna Summer or the theme from Scarface, then you’ve danced to Giorgio Moroder. The Italian producer, songwriter and DJ is widely regarded as the father of modern dance music, and his list of collaborators (from Elton John to David Bowie to Daft Punk) reads like a who’s-who of the last 40 years of popular music.

Moroder has kept plenty busy over the past several decades—scoring films, racking up Grammys and Oscars and touring internationally as a DJ—but he hasn’t released a studio album since 1985’s Innovisions. On June 16, he’ll release the follow-up to that album, DÉJÀ VU—providing ample proof, in case anyone needed it, that the beat definitely goes on.

To offer a sampling of what can be expected on the album, Moroder teamed up with director JIMES for a music video that sets segments of all 10 tracks to dance. Sia, Charli XCX, Kylie Minogue and Britney Spears, among others, lend vocals to the tracks, while Caitlin Kinney, Megan Kinney and Ade Obayomi choreographed and performed the epic dance medley.

The music video, a Hyper House Film, blends various styles of dance, from hip hop to disco, to capture the essence of each song in its purest, most physical form—fitting for a man whose greatest legacy may be his open invitation to the dance floor. When Moroder spoke to TIME in February, he tried to explain the secret to writing a perfect song: “The rhythm. The hook has to be great. The lyrics of the hook. The voice. And, of course, the timing.” In a nutshell, everything. It’s a formula Moroder nailed down decades ago.

Watch up top.

TIME Music

U2 Tour Manager Dennis Sheehan Dies

This undated photo provided by courtesy of U2 shows, Dennis Sheehan, U2’s longtime tour manager.
Brantley Gutierrez This undated photo provided by courtesy of U2 shows, Dennis Sheehan, U2’s longtime tour manager.

An announcement was posted on the band's website

Dennis Sheehan, U2’s longtime tour manager, has died, Arthur Fogel, Live Nation’s CEO of global touring, confirmed on the band’s website. Details regarding the nature of his death are not currently available, although Fogel specified that he “passed away overnight.”

“We’ve lost a family member, we’re still taking it in,” Bono said in a statement. “He wasn’t just a legend in the music business, he was a legend in our band. He is irreplaceable.”

As of early Wednesday afternoon, U2 is still scheduled to play a show at The Roxy Theatre in Los Angeles this evening.

This article originally appeared on Ew.com

TIME Music

Taylor Swift’s ‘Bad Blood’ Tops Billboard’s Hot 100

It's the third No. 1 from her latest album

Taylor Swift’s “Bad Blood” (featuring Kendrick Lamar) is now No. 1 on Billboard’s Hot 100, bumping Wiz Khalifa’s “See You Again” (featuring breakout artist Charlie Puth) from the top spot. The Furious 7 anthem had previously held the title for six weeks.

Swift’s star-powered video for the song debuted just over a week ago at the Billboard Music Awards, garnering 20.1 millions views in the first 24 hours, breaking a Vevo record.

Following “Shake It Off” and “Blank Space,” this is the third No. 1 off Swift’s fifth studio album, 1989. The pop singer tweeted about the news, saying it was “too exciting” to process.

Earlier this week, Forbes placed Swift on its coveted Most Powerful Women list at No. 64. She made the list for the very first time, and is the youngest honoree to be recognized in 2015, joining Hillary Clinton, Melinda Gates, Ellen DeGeneres and many more on the list.

This article originally appeared on EW.com

TIME Music

Riot Fest Announces Lineups Featuring Ice Cube, Snoop Dogg and No Doubt

BBC Radio 1's Big Weekend Norwich 2015 - Day 1
Dave J Hogan—Getty Images Snoop Dogg performs on stage at BBC Radio 1's Big Weekend at Earlham Park on May 23, 2015, in Norwich, England

Some top names will be performing their classic albums in full

Organizers have announced the first wave of lineups for the multicity, touring music festival Riot Fest.

This year, the flagship Chicago event will take place in a new location in Douglas Park from Sept. 11 to 13 and features Modest Mouse, No Doubt, Faith No More, Iggy Pop, Drive Like Jehu, Motörhead, Tenacious D, Coheed and Cambria, Eagles of Death Metal and loads more.

Several artists will also perform their classic albums in full, including Ice Cube (Straight Outta Compton), Snoop Dogg (Doggystyle) and Rancid (… And Out Come the Wolves).

Denver’s fest runs between Aug. 28 to 30 and features many of the artists above as well as the Pixies, Run DMC, Explosions in the Sky and more.

Toronto closes the festival at Downsview Park between Sept. 19 to 20 and is set to feature Wu-Tang Clan, Tyler the Creator and others.

Check out the full festival lineup and buy tickets here.

TIME Music

Shania Twain on Her New Music: People ‘Have Never Heard Me This Way Before’

Shania Twain Performs At The Calgary Stampede - Calgary, Alberta
Melissa Renwick—Getty Images Shania Twain performs at the Calgary Stampede on July 10, 2014 in Calgary, Canada.

As she preps her last tour—and her first new album in over a decade—the legendary country superstar says she's ready to reinvent

After more than a decade, Shania Twain is getting ready to hit the road—for the last time. The Canadian pop-country superstar is coming off the heels of a successful two-year residency in Las Vegas, a confidence-boosting forum in the wake of the dissolution of her marriage to producer Robert “Mutt” Lange and her subsequent struggle with dysphonia, a stress-induced vocal disorder. Twain’s Rock This Country tour, which spans 67 North American dates from June to October, is her last live hurrah: a farewell to public performance doubling as a raucous, rock-oriented party, built around the songs that made her one of the biggest stars in the world at the music industry’s absolute financial zenith.

Twain is also working on new original material, the bulk of which will constitute her upcoming fifth full-length; her last studio album, Up!, was released in 2002. She’s been writing alone, a major shift after years of working in partnership with Lange—her last entirely self-penned song was released on 1995’s The Woman in Me — and the resulting material is more vulnerable and introspective than ever, though few people have had a chance to hear it yet.

Twain spoke to TIME about what she’ll miss about performing live, the challenges of the creative process, her influence on younger performers and the best advice Oprah ever gave her.

TIME: This is your fans’ last chance to see you live. What should they expect, and how will it differ from your Vegas show?

Shania Twain: The core of a Shania concert is obviously the hits, so they’re all there. But I’m going to focus more on the “rock” side of the songs’ production because the records are very guitar-heavy. The theme of the tour is “Rock this Country,” so it’ll be loud and the guitars will be featured more. It’s going to be a visually exciting show, and very different from Las Vegas.

You’re making adjustments to feature the guitars more. Have you made other adjustments to accommodate changes to your voice over time, or your dysphonia?

It’s primarily just preparation for the show. I have a routine now that warms me up for the show and warms me down afterward. It takes me an hour and a half to get ready for the show now, vocally. That’s been the biggest adjustment. I used to just be able to hop on stage with no warmup at all and didn’t need any recovery time.

Is there a song that you didn’t get a chance to perform a lot in Vegas that you’re thinking of bringing out on the tour?

I’m going to do a more rock-oriented version of “Party for Two” that I’ve never done live, so that’ll be an entirely new song there. And there are some songs that I did as part of an acoustic set in Vegas that I miss doing as a full band production, so they’re going to go back into the show as full songs and I’ll take them out of the acoustic realm. One of those is “Rock this Country”: we only did a snippet of it on acoustic instruments in Vegas, so we’re going to take it back to its full glory. There are a few more like that where I really want to do the fully produced versions now.

You’re more than two decades into your career and you’ve been touring and performing for a long time — what’s one thing you’ve picked up over the years you wish you could tell your younger self to save some headaches?

I was always very mature and assured of myself when I was younger. I think I did pretty much everything right when it came to touring, I was always very serious and focused on my voice and preserving my health, so I’d probably tell myself, “You don’t have to be so serious.” I’d say, “Have more fun.”

What will you miss most about performing?

The people. That’s the key for me when I’m up onstage—watching their reactions, interacting with them myself. I like people, and I like communication.

You’re still working on a new album—your first since 2002. How’s that going?

I’m getting close to the end of the songwriting. I’m never at the end of songwriting, of course—I’m songwriting all the time—but I’ve got more than enough for the new album. I’ve got too many songs, in fact, so I’m going to have to make some tough decisions on which songs don’t get on the album. It takes a bit of discipline to not start writing new songs and to focus on the current ones because I love starting new songs.

What’s been the most challenging part of writing these songs entirely on your own, as opposed to with a partner?

The most difficult part hasn’t been writing them—it’s been sharing them. I was OK on my own just writing and indulging in my own emotions and feelings, and not having anybody directing me; I’ve enjoyed that independence. But when it came time to start sharing with other creative people for the sake of making the album, I was really insecure about that and felt very vulnerable. All of a sudden, I was concerned about their perception and what they thought. That was a bit of a hump—I was very nervous about it—but it turned out really well. Everybody loves the music and is into the songs, and that gave me new confidence to carry on writing and handle everything myself.

What about this new batch of songs is going to surprise people?

They’ll be a bit of a surprise stylistically, because the songs come out different when I’m writing by myself as a singer-songwriter. They’re a little less predictable. They’re not as structured as some of my earlier stuff. The lyrics are positive but maybe they’re not as fun as they were once—they’re a little bit more introspective. I think they’re still relatable, and that’s important to me, I like when it’s therapeutic for everybody, for both me and the listeners, and we all get to share the things we have in common that we go through every day in life. Maybe it’s just more mature. I don’t know. It’s hard for me to put my finger on it because I’m not terribly objective at this point.

I think it would be more strange if the music you were writing now was the same as the music you were writing in 1995. People change.

I’m a different person now. I’ve evolved, and a lot of things have happened, and I think that’ll be obvious in the music. When people hear it, they’ll understand and they’ll relate. It’ll be soothing: they’ve followed me all these years, and I think they’ll understand the transiting from what I was writing then to what I’m writing now. I don’t think that’ll surprise anybody. I think it’s more than they’ve never heard me this way before, and that’ll be refreshing. These songs are from their own vein.

When you’re in the middle of the creative process and working on new stuff, do you ever feel the temptation to share it when you’re out on tour? Especially since this is going to be fans’ last chance to hear you perform in a live setting.

I do. The timing was meant to be different, and that was something I just couldn’t predict. The intention was for the album to be further along—I was hoping that during the two years in Vegas, I would be able to get a lot more done on it. And then that would’ve allowed me to include some of the new music from the record on this tour, because the record would’ve been finished by then! I had to set new goals, and now maybe at the end of the tour I’ll be able to bring one or two new songs in, that would be a bit more logical. The timing just wasn’t ideal. And I didn’t want to shut down for too long and then say, “OK, well, I’ll wait to tour until the album is finished,” because then I think I would’ve lost the momentum to tour, and I didn’t want to do that. Yes, I’d like to be able to introduce one or two songs on the tour. I do think people like to hear things they know—they don’t necessarily want to sit through your new stuff. There might be room for one or two.

There are a lot of female country singers, like Taylor Swift and Miranda Lambert, who seem to be following in your footsteps—experimenting with pop and really owning their femininity. What do you make of that?

They’re very sweet and they refer to me, they refer to my music, they refer to the influence. It’s nice when somebody in front of you breaks down barriers, because then you can feel more liberated—it takes the pressure off. I can see how they would experience that and say, “Wow, I feel a little more courageous now that someone else has done it before me. I can be more expressive and more true to myself and less worried about the criticism.” I think that’s a big part of it. You have to have the courage to take the risk. I think for those girls, coming after me, there was less risk and that must’ve been a very liberating experience. For me it was a total risk, but I was completely willing to take it. There’s no doubt it was a very sensitive period.

What’s a song or an album that you’ve been listening to a lot lately?

I’m really liking MAGIC! I’ve been listening to them a lot lately. They’re very refreshing, they’ve got that reggae influence and they’re fun but they’re serious, they sound good, they’re a good band, and they write good songs. That’s kind of my newest discovery. Matthew Koma was a really wonderful discovery that I heard about through a friend. I like his acoustic stuff and I also like the dance stuff that he does. And I listen to a lot of old stuff too, I listen to a lot of classic things. I love Sia. She’s an amazing singer and a great songwriter.

Oprah is famous for her wisdom and advice, and you once filmed a docuseries for the Oprah Winfrey Network. Did she give you any trademark Oprah advice?

I don’t think she ever gave me any advice! She’s just a very encouraging person, and her communication is always uplifting. I guess that’s what I take from her—just her level of encouragement.

That must mean you have it all together! She’s saying, “You’ve got this. You don’t need my help.”

Exactly! I hope so.

TIME Music

Jenny Lewis Evokes Her Child Star Past in ‘She’s Not Me’ Video

Famous friends help Lewis recreate her signature roles

Jenny Lewis is digging into her history in the video for “She’s Not Me.” No, not her stint as the frontwoman for Rilo Kiley — but her days as a child star, including credits for Troop Beverly Hills, The Wizard and an episode of The Golden Girls.

Those are all among the roles alluded to in the video, which also stars Zosia Mamet, Fred Armisen, Leo Fitzpatrick, Feist and Vanessa Bayer, who gets the honor of donning a Shelley Long-style wig. Also making a cameo: Lewis’s now-famous rainbow suit, of course.

If you want to see what Lewis is riffing on, watch her turn as a Sunshine Cadet in The Golden Girls.

TIME Music

Listen to Disclosure’s Soulful New Dance Track ‘Holding On’

The song is the first single off the duo's forthcoming second album

Disclosure’s new single “Holding On” was nearly a piano ballad. But countless club-going danceaholics will surely be thankful that Howard and Guy Lawrence, the brothers that make up Disclosure, changed course along the way. What they’ve churned out instead is a soulful, thumping dance track that leans heavily on the smooth vocals of Grammy-winning jazz singer Gregory Porter.

It’s a sophisticated romp with ‘90s-throwback vibes and a welcome thwarting of tradition by Porter, who can usually be heard lending his voice to more genre-adhering jazz numbers.

Disclosure plans to release its sophomore album, a follow-up to its 2013 debut Settle, this year. The duo has collaborated with big names in the past, from Sam Smith to Mary J. Blige; “Holding On” appears to be the first of a new crop of songs featuring talented guests.

TIME Music

Hear Icona Pop’s Jazz-Inspired New Single “Emergency”

The Swedish duo taps into jazz-age vibes on their latest track

The crisis Icona Pop sings about in the duo’s new single is an emergency of the dance-related variety. When an ambulance is summoned, it seems to be for the express purpose of saving a victim who is lost in the music, perhaps too far gone for rescue.

The song moves with a sense of urgency, its cadence reminiscent of Pharrell’s “Come Get It Bae.” But it swaps out that track’s funky beat for a backbone of marching piano and trumpet solos worthy of the Gatsby era. Had it been released a couple of years earlier, it would have been a shoo-in for the soundtrack to Baz Luhrmann’s Great Gatsby adaptation.

Icona Pop’s “I Love It,” a collaboration with Charli XCX released in 2012, was a top-ten song of that summer. While “Emergency” doesn’t have quite the same undeniable song-of-summer quality as their breakout stateside hit, it may well be a close second.

TIME Comedy

Watch Vanessa Bayer Give Jenny Lewis Some Highly Suspect Advice

"Why won't you cheer up?"

Just what was Jenny Lewis up to in the six years between her 2008 solo album Acid Tongue and her most recent effort, The Voyager? Lewis has spoken in interviews about some of the emotional turmoil of those years, including the death of her father and severe struggles with insomnia. But in the most recent episode of the Above Average web series Sound Advice, which stars Saturday Night Live cast member Vanessa Bayer as a clueless media coach, Lewis offers an alternative explanation: “You have heard that weed is practically legal in California, right?”

Lewis, who is currently touring, ends up doling out more advice than she receives, but the two women touch on the ever-critical topics of gel manicures, the aftermath of Troop Beverly Hills and what it really means to be “just one of the guys.”

TIME Music

The Weeknd’s ‘I Can’t Feel My Face’ Is Your New Favorite Contender for Song of the Summer

Brent N. Clarke

But you love it

The Weeknd’s latest song will enter your brain and stay lodged there for the rest of the summer—possibly even the year.

“I Can’t Feel My Face” is deceivingly mellow at its outset, but by the time it gets to that infectious chorus—in which The Weeknd sings, “I can’t feel my face when I’m with you/ But I love it”—chair dancing is fated to turn into hand clapping, snapping and full on grooving.

Spin points out that the song is a collaboration between The Weeknd and pop maestro Max Martin (who executive-produced Taylor Swift’s 1989), and may be the lead single off of The Weeknd’s next album.

[Via Spin]

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