beyonce ladies first tour

SETLIST: 1. “Baby Boy” 2. “Naughty Girl” 3. “Me, Myself and I” 4. “Say My Name” 5. DC Medley: “Independent Women Part I”, “Bootylicious”, “Say My Name”, “’03 Bonnie & Clyde”, “Jumpin’, Jumpin'”, “Survivor” 6. “Hip Hop Star” 7. “Gift from Virgo” 8. “Be with You” 9. “Speechless” 10. “Summertime” 11. “Dangerously in Love 2” 12. “Crazy In Love” TOUR FACTS:

[A] Only Beyoncé (with Michelle Williams of Destiny’s Child as opening act) at this date.

ADDITIONAL NOTES – There were no additional notes for this tour.

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Verizon Ladies First Tour

2004 concert tour / from wikipedia, the free encyclopedia, dear wikiwand ai, let's keep it short by simply answering these key questions:.

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The Verizon Ladies First Tour (2004) was a co-headlining concert tour by American recording artists Beyoncé , Alicia Keys and Missy Elliott . Canadian artist Tamia was featured as a special guest on certain dates. The tour, dubbed an "urban Lilith Fair ", supported Beyoncé's debut studio album, Dangerously in Love (2003) Keys' sophomore album, The Diary of Alicia Keys (2003) and Elliott's fourth and fifth albums, Under Construction (2002) and This is Not a Test! (2003), respectively. [3]

The trio toured the United States performing in over twenty cities during March and April of 2004. Ladies First was the first time at least three female R&B / hip hop artists were featured as headliners, and it went on to be one of the biggest tours of that year, ranking 34th on Pollstar 's "Top Tours of 2004"—grossing around $20 million. [4] [5] The success of the tour prompted talks for a second tour in 2005; however, those plans were scrapped, with Verizon focused on developing their VIP Tour instead.

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273 Verizon Ladies First Tour Beyonce Photos & High-Res Pictures

Browse 273 verizon ladies first tour beyonce photos and images available, or start a new search to explore more photos and images..

Beyoncé on tour through the years: See the singer's performances

(CNN) -- It has got to be one of the best lineups of Grammy-winning artists ever to tour together: Beyonce Knowles, winner of eight Grammys, along with Alicia Keys and Missy Elliott, who've won five Grammys each. Together the ladies have sold more than 30 million albums.

Despite their individual successes, they decided to join forces for the Ladies First Concert Tour. By most standards, it's a short tour, lasting only a month and a half, and only taking them to 26 cities.

Used to touring as a group with Destiny's Child, Beyonce wanted friends along for her first tour promoting her solo work.

"All three of us wanted to do a tour with other female artists," she says. "Being R&B artists, we don't have a tour for females, and it's just kinda crazy that this is the first time it's happening -- [in] 2004."

The ladies kicked off the tour earlier this month in Sunrise, Florida. Missy Elliot took the stage first, followed by Alicia Keys and then Beyonce.

"I always want to go on first. I just wanted to get it over with," says Missy. That settled one possible early roadblock in putting together this tour, but some competition between the ladies was still expected.

According to Keys, there's absolutely no competition between the ladies. "I think we all really respect each other and we really respect the work that each one does and we really have an admiration for each other and enjoy ... [the chance] to join forces in this kind of way."

"All of us are songwriters and producers and are very talented," adds Beyonce. "It was for me to go on tour with people who are very talented, and secure in ourselves. There will be no competition."

The ladies don't plan to perform together on the tour. But they say it's because their schedules made it impossible to plan and rehearse a set featuring all three of them.

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• 2023  ( 58 )
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• 2015  ( 6 )
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• 2006  ( 29 )
• 2005  ( 4 )
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• 2002  ( 7 )

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• Dangerously in Love Tour  ( 13 )
• I Am... World Tour  ( 107 )
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• Renaissance World Tour  ( 56 )
• Revel Presents: Beyoncé Live  ( 4 )
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• The Formation World Tour  ( 49 )
• The Mrs. Carter Show World Tour  ( 133 )
• The Verizon Ladies First Tour  ( 30 )
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Premiere: beyoncé’s ‘ladies first tour’ alum, singltn, releases new video “skin”.

Fellas, when your lady looks all lovely, SINGLTN says all you want to do is touch her "Skin"...and maybe a lil' more.

By Datwon Thomas

Datwon Thomas

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When your name is connected to the woman that proclaims ‘Black Is King,’ your productions have a high standard to live up to and R&B’s SINGLTN is well on his way of doing just that. With the release of his newest video single, “Skin,” the once model and performer on Beyoncé ‘s “Ladies First Tour” in 2004, brings an early 90s pop appeal with his ode to lavishing the lady in his life. “I’m talking about real relationships. I’m part of the creative process from scratch,” says the former background singer for Alicia Keys and Jennifer Hudson. “It’s a universal, but soulful sound that hopefully appeals to everybody.”

“ Skin ” also delves into that very “moment your girl walks out all dressed up and ready, and you’re like, ‘I’d rather go back inside and stay home with you, ya know?’” he slyly grins. Having these inner visions by SINGLTN comes from an intense inspiration of great writer, composer and performer Stevie Wonder. Earlier this year, SINGLTN released a heartstring pulling cover of Mr. Wonder’s classic tune “Never Dreamed You’d Leave in Summer.” SINGLTN was challenged in taking on such a storied tune, but felt compelled to do so as, “Stevie was one of the artists that inspired me to sing,” he goes on. “I wanted to do a tribute paying homage to him and his legacy. For me ‘Never Dreamed You’d Leave in Summer’ is Stevie at his best.

On the other side of personal creations, SINGLTN shines on the loyalty ode “Congratulations.” The single that dropped at the top of the year shows the young crooner’s status of hanging up his playboy jersey, as he explains, “The player in me has moved on. I found who I want to be with, and I’m off the market.” Check the video below.

Knowing that the entertainment industry will expect a lot from his talent, SINGLTN is ready for the world and for them to hear his messages of love and life that are on the way with full projects and extended creativity, “I’m giving you who I am,” he leaves off. “There’s a message for sure. I want people to walk away realizing I’ve got something to say, and I’m saying it honestly and from the heart.”

Listen to more SINGLTN here .

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Beyoncé shows real locks in cécred hair tutorial, shuts down haters, beyoncé these luscious locks all my own slams haters in tutorial.

Beyoncé 's shutting down the haters and showing she's more than just wigs and extensions ... by embracing her luscious, natural locks while promoting her new natural hair care line.

The singer dropped her in-depth hair-washing routine on IG Sunday ... embracing her naturally thick, glossy tresses as they were washed, conditioned, blow-dried, and styled using products from her own brand, Cécred.

Waiting for your permission to load the Instagram Media.

While her stylists worked their magic, Beyoncé narrated, "Now that Cécred is known for the quality in what it does for your hair, I think it's about time I show y'all what it does for my hair."

Beyoncé also appeared to address the backlash she's been getting since announcing the beauty venture back in February. Some fans complained Bey lacks credibility in the hair biz because they hadn't seen enough of her real hair ... as opposed to hair extensions she wears for productions.

She's clearly heard the criticism, because during the tutorial ... Beyoncé called out the misconception that people who wear wigs and extensions don't have long and healthy hair underneath, labeling it "some bulls**t cause it ain't nobody's business!"

Beyoncé's dad, Mathew Knowles , already stepped up to back his daughter ... telling TMZ she definitely knows a thing or 2 about keeping hair happy and healthy , considering he and Tina Knowles ran a successful salon in Houston for nearly 2 decades.

And, judging by Bey's hair care routine, looks like her products are totally making waves. Now, will that be enough to silence the hate? Of course not.

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100 artists to see before you die: Beyoncé

A paid for ad feature for viagogo.

First introduced to the world via Destiny’s Child, Beyoncé has remained consistently relevant as an artist and performer for almost three decades. She’s moulded the music industry around her, popularising the surprise drop, perfecting the visual album and partially inventing the concept of ‘New Music Friday’ , all while releasing hit after hit.

Her latest foray into country music, via the acclaimed ‘COWBOY CARTER’ is a testament to her versatility as an artist, demonstrating her ability to deconstruct our ideas of genre to deliver an album that simultaneously exists as a collection of impeccable songs and a pivotal cultural moment.

With her pristine vocals, dynamic stage presence and a repertoire that boasts some of the greatest pop songs of the past thirty years, any Beyoncé performance is sure to be unforgettable.

What to expect

Undoubtedly peerless, Beyoncé is the live performer of her generation. One to consistently over-deliver, she’s pushed the boundary of what a live show can and should be — from the water features of the Formation Tour to the flying, sequined horse that graced the stage of the Renaissance World Tour. When it comes to visuals she proves no idea is too ambitious or outlandish to work, constantly pulling out the theatrics to deliver a fully immersive musical experience, and enlisting some of the worlds’ greatest dancers and costume designers along the way in her pursuit of musical greatness.

It’s been a while since she’s played a small venue — understandable given the immense demand for tickets — but that doesn’t mean any intimacy is lost. The Renaissance World Tour was acclaimed for transforming the worlds’ largest stadiums and football pitches into superclubs, forging an atmosphere of closeness and togetherness through an impeccable setlist, flawless choreography and meticulously crafted visuals projected onto giant screens. Meaning that even if you’re in the nosebleeds, you’re guaranteed a good time.

If you don’t believe us, just think about the fact that according to viagogo, fans from 90 countries came to see Queen Bey during her five-night Renaissance run at Tottenham Hotspur Stadium last year.

Her best moments

Recommended.

Coachella, 2018

A pop culture moment now forever immortalised in the award-winning Homecoming documentary, Beyoncé’s headline Coachella performance was so iconic they almost had to rechristen the festival ‘Beychella’. Somehow squeezing in a Destiny’s Child reunion, a Solange cameo, five costume changes and a full marching band into one two hour slot, it’s arguably the apex of Beyoncé’s live performances — one that will live on in pop history.

Super Bowl XLVII Halftime Show, 2013

Some of the worlds’ biggest artists have tried their hand at the highly-coveted Super Bowl halftime slot, yet Beyoncé’s powerful 13-minute set reinvented ideas on what the show should be. Through a whirlwind performance of her greatest hits, including ‘Love On Top’, ‘Baby Boy’ and ‘Single Ladies’, she firmly asserted herself as the new Queen of Pop. Apparently there was a game on after?

MTV Video Music Awards, 2011

It’s difficult to select just one of Beyoncé’s VMA performances, but her 2011 live rendition of ‘Love On Top’ is among the most memorable. From the four live key changes to the literal mic-drop before revealing her pregnancy, it’s a performance that solidified her status as a musical legend, and one of the greatest vocalists of her generation.

Her biggest bangers

‘Crazy In Love’, 2003

The first single of her solo career, ‘Crazy In Love’ marked a bombastic entrance to a new era — one defined on her own terms. From the initial belt of the, now distinctly recognisable, horns to Jay-Z’s proclamation that this was “history in the making” the message was undeniable: Beyoncé had arrived and pop music was forever, irreversibly, changed.

‘Single Ladies (Put A Ring On It)’, 2008

Delivering perhaps her most widely recognisable choreography and a stark message of female empowerment, upon its 2008 release ‘Single Ladies’ instantly became one of Beyoncé’s most iconic hits. With its endlessly catchy hooks and mechanical beat that only she could turn into greatness, it’s a track guaranteed to get everyone on their feet.

‘Break My Soul’, 2022

Dusting off the lethargy of lockdown via a ‘Show Me Love’ sample and an urgent call for you to quit your job and head to the club, ‘Break My Soul’ was the cathartic house anthem we needed post-pandemic. Here, Beyoncé marked a historic re-opening of the dancefloor and an ushering in of the Renaissance era.

Setlist study

With eight solo studio albums spanning 21 years (and that’s not to mention her records with Destiny’s Child, her collaborative album with Jay-Z or any soundtracks or live albums) there’s no shortage of hits to draw from. Yet despite the drastic musical evolutions between albums, she still regularly highlights her earliest songs, with ‘Dangerously In Love’ and ‘Baby Boy’ among her most performed.

Beyoncé’s known to surprise though, so nothing’s off the table. She regularly weaves snippets of old tracks with new ones, or reworks them entirely — take a listen to her adding Arabic scales onto ‘Drunk In Love’.

Where to see them next

Following the literal economy-boosting Renaissance World Tour, fans are awaiting a potential part two to celebrate the recent release of ‘COWBOY CARTER’. And, given Beyoncé’s penchant for the surprise drop, we’ll be gathering our coins to be ready at a moment’s notice.

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Taylor Swift and Beyoncé Avoided a Collision on the Charts. (Again.)

Pop’s two reigning queens are often cast as rivals, but they have continually supported each other — and spaced out their album releases.

By Craig Marks

In February, Taylor Swift took the stage at the Grammy Awards to accept the prize for best pop vocal album. After dutifully thanking the Recording Academy and her fans, she got down to business: “My brand-new album comes out April 19,” she said, in a surprise announcement revealing “The Tortured Poets Department.” It was a heads up for her loyal followers, as well as anyone else in the business with a spring release on the radar: If you want your new album to debut at No. 1, don’t release it on April 19. Or April 26. Or May 3, for that matter.

A week later, following a teaser during a Super Bowl commercial, Beyoncé also dropped news of a new album : “Cowboy Carter” would arrive earlier than “Poets,” with breathing room, on March 29. Another pop powerhouse in the Grammy audience made her own announcement in early April: Billie Eilish will unveil her forthcoming third album, “Hit Me Hard and Soft,” a month after Swift’s release, on May 17.

Beyoncé and Swift, the 21st century’s pre-eminent pop stars, have often been cast as competitors if not rivals, a story line partly rooted in misogyny and amplified by dueling fan armies filled with stans, or superfans.

For their part, the two artists have regularly dispelled the notion over the years. They were first linked, through no fault of their own, at the 2009 MTV Video Music Awards, when Kanye West interrupted a Swift acceptance speech to advocate for her fellow nominee Beyoncé; later that night, Beyoncé brought Swift onstage to finish her remarks. In 2021, Swift shared on Instagram that Beyoncé had sent her congratulatory flowers after Swift won the album of the year Grammy for “Folklore,” calling Beyoncé “the queen of grace & greatness.” And last year, following their blockbuster stadium tours, they appeared at each other’s concert film premieres, a pointed rebuke to message-board zealots looking to sow discord.

“Clearly, it’s very lucrative for the media and stan culture to pit two women against each other, even when the two artists in question refuse to participate in that discussion,” Swift told Time magazine. (Representatives for Swift and Beyoncé declined to comment.)

In fact, when it comes to album releases, whether by design or by chance, the two superstars have generally avoided one another altogether. The only other time they’ve released LPs in the same window was way back in November 2008, when Beyoncé’s “I Am … Sasha Fierce” supplanted Swift’s “Fearless” at No. 1. Absent Swift’s 2006 debut LP, every studio album from Beyoncé and Swift — 21 in all, including Swift’s rerecordings of her earlier catalog — has entered the Billboard 200 at No. 1. (Eilish’s previous albums both opened big at the top, as well.)

In the streaming era, where songs have superseded albums as music’s main currency, and chart placements are based on an opaque formula that blends streams with sales, a No. 1 album doesn’t have quite the same cultural or historical resonance it once did. Still, said Jonathan Daniel of Crush Management, which oversees the careers of Miley Cyrus, Green Day and Lorde, it remains “a great talking point,” perhaps most of all for the online superfans who take pride in hoisting their heroes to the top.

“Pop-stan Twitter is fierce,” Daniel said. Partisans treat the Spotify and Billboard charts like a zero-sum game. “It’s their version of sports.”

While top artists and their teams tend to avoid overlapping album releases in order to secure a No. 1 and the bragging rights that go along with it, that wasn’t always the case. “In the days when the only way to consume music was to go to your local record store or big-box retailer, labels would sometimes schedule a release so that it would come out on the same day as a similar but bigger release,” said Keith Caulfield, Billboard’s managing director of charts and data operations.

That way, someone who came to Best Buy to purchase, say, “the ‘Bodyguard’ soundtrack might also spot the new Anita Baker CD and say, ‘I’ll get that, too,’” he said. Before social media, where artists can post album updates to their followers with unrelenting frequency, casual fans might not even have known a new record existed unless they spotted it in the wild.

One of the most high-profile examples of convergent superstar releases came in September 2007, when the rappers Kanye West and 50 Cent colluded to issue their new albums on the same date. “We marketed it like a heavyweight boxing match,” said Dennis Dennehy, who led publicity for 50 Cent’s label, Interscope. “It was Ali vs. Frazier.”

West and 50 Cent, both signed to subsidiary labels of Universal Music Group, appeared together on the cover of Rolling Stone to hype the event and draw people to record stores. “It was like a get-out-the-vote campaign,” Dennehy said. The reward was increased first-week sales of both titles and a clarion call for hip-hop’s commercial clout; the risk, as 50 Cent found out, was finishing a distant second. Kelefa Sanneh, writing for The Times , called it “a low point” in 50 Cent’s career.

Nearly two decades later, competing film studios borrowed a page from that playbook and plotted the movie event known as “Barbenheimer” last summer. Both “Barbie” and “Oppenheimer” opened on July 21, and moviegoers flocked to theaters, some seeing both films in the same afternoon. “Barbie” grossed $162 million that weekend, “Oppenheimer” $82.4 million.

“Usually, movie release dates are this big game of chicken,” said Paul Dergarabedian, senior media analyst for box-office tracker Comscore. “Like, who’s going to blink first and move off their date.” In this case, the studios purposefully went head-to-head in the heat of the summer movie season. The result? “It turned into an absolute phenomenon,” Dergarabedian said. “Both movies were winners.”

For the likes of Swift and Beyoncé, pinpointing an album release date is both art and science, a calculation based on such disparate factors as proposed tour schedules, the availability of vinyl pressing plants and optimal timing for Grammy consideration. And sometimes, even the best laid plans can go awry.

Daniel recounted that last year, Cyrus’s “Endless Summer Vacation” and Lana Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd” were originally slated to be released on the same date, but Del Rey’s album ended up pushing back two weeks. “And then Morgan Wallen’s ‘One Thing at a Time’ came out the week before,” he said, “and knocked us all out of the water .”

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20 Questions With Sean Paul: Dancehall Legend Discusses Greatest Tour, Clashing & Crossover Collaborations

To mark his biggest U.S. headlining tour, Sean Paul answered Billboard's 20 questions about his latest trek, the Drake-Kendrick Lamar beef and his earliest musical memories.

By Kyle Denis

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Back in 2002, Sean Paul ’s “Gimme the Light” reached No. 7 on the Billboard Hot 100 , kicking off one of the most prolific crossover careers in dancehall history. Two decades later, Ice Spice , one of the hottest names in contemporary hip-hop, announced her own “Gimme the Light”-sampling single during her 2024 Coachella performance — just one example of how seminal Sean Paul’s contributions to the fabric of American pop culture have become.

How ‘Bob Marley: One Love’ Brought the 1976 Smile Jamaica Concert and ‘Exodus’ Recording Sessions…

“I feel that the people are ready for me again,” Paul recently told the Associated Press . And he’s correct: His last two studio albums – 2021’s Live n Livin (No. 9) and 2022’s Grammy-nominated Scorcha (No. 6) — both reached the top 10 on Top Reggae Albums, becoming his seventh and eighth consecutive titles to hit that region. 

With timeless classics like “Get Busy,” “Temperature,” “We Be Burnin” and the Beyoncé -assisted “Baby Boy” to his name, Sean Paul is armed with an arsenal of smash hits that few can rival – and he intends to re-explore his sprawling catalog on his new tour. Far from a mere nostalgia grab, the Greatest Tour also grants Paul the opportunity to bring his recent Latin music collaborations to life across the U.S. So far in the 2020s, the dancehall legend has already joined forces with major Latin stars such as Wisin & Yandel (“No Sales de Mi Cabeza”), Manuel Turizo (“Dem Time Deh”), Feid (“Niña Bonita”) and Billboard 200 chart-topper Karol G (“Kármika”).

“I’ve been doing a lot of different types of genres, stepping into the Latin world and stuff like that,” he says. “I’m just ready to connect back with everybody who loves dancehall, and the people who are being drawn to the new music that I’ve been doing lately in the States.”

In an entertaining conversation with Billboard , Sean Paul details his new tour, explains his controversial stance on the Jada Kingdom-Stefflon Don clash , ponders the dynamic between dancehall, afrobeats, and reggaeton, and recalls his earliest musical memories.

1. Where are you in the world right now? How’s the day treating you?  

Sean Paul: I’m good! I’m in my studio Downstairs in my house and I just put my kids to watch [the 2024 Netflix docuseries] Moses — because I’ve been reading them Moses, s o I’m trying to get them interested more. 

2. In just over a month, you’re kicking off your Greatest Tour. What are you most excited about for this specific tour?  

I’ve been touring the world for a long time… it’s been quite a long time [since I’ve hit] the States in terms of a long tour. I’ve done [one-off] dates here and there, but the last time I did a long tour like this [was] probably 10 years ago. I’m very excited about connecting back with people. 

3. What are your three favorite songs to perform live and why?  

That would definitely be “Temperature,” “Get Busy,” and probably “Gimme the Light” — because it didn’t hit No. 1 on the Billboard charts, but it was the [biggest] video that I had back in the day for a minute. “Get Busy” was my first [Hot 100] No. 1 and “Temperature” was my second No. 1. It’s always fun to perform those. 

4. Which cities are your favorite to perform in? Are there any cities or venues that surprised you with how hype they were?

But I haven’t been to Chicago or Atlanta in a long time. I’m looking forward to [being] back in those states because I used to have fun there. I have friends that I’ve seen in a minute, so it’s good to connect. I don’t think I’ve been [in Atlanta] since COVID, so that’s gonna be a good vibe. 

5. What’s the first concert or tour you remember attending?  

Young MC! [He] came to Jamaica and he was in the Guinness Book of World Records for the most words in a rap song, and that night Papa San was also there and he was in the Guinness Book of World Records for the most words in a song. So, we all thought they was gonna clash, because [Jamaica] had a thing – we still do – with clashing, and I thought that was gonna happen. We was like, “Yo, what’s going down?” I remember the girls shouting, “Marvin! Marvin!” because Young MC’s name was Marvin. They didn’t clash, but I had a great time. It was in National Arena in Jamaica. 

The next one I went to was a group called 2 in a Room. [ Sings “Wiggle it, just a little bit.” ]  My aunt had a sound system, so she was a person that was chaperoning them around, and all of her equipment was being used at the show. So those two first come to mind in terms of big concerts that I’ve been to. 

6. Who are your biggest influences in terms of live performance and crafting your stage show?  

One of my biggest influences from my genre is Capleton . He’s a very enigmatic. He’s full of energy all the time, no matter how old or how much time passes, the dude is amazing to me and I think he should be revered much more than he is. [He’s] someone with a message, but he also keeps the crowd very entertained.  

7. You’ve done a lot of crossover collaborations for the Latin market recently and you even picked up a crossover artist of the year nomination at the 2023 Billboard Latin Music Awards. What drew you to that market and those sounds?  

Reggaetón is very close to what dancehall has been for years. I like to say that reggae is the father of the music, and hip-hop and dancehall are brothers. It’s a vibe. 

8. Why do you think cross-genre collaborations are important?  

The music is here to connect people. It’s just another form of reaching out to another side that’s maybe not familiar with your music or wants to see more of you.  

I always learn from my collabs, man. There’s no time that I don’t learn. I might go and collab and I’m doing what I do, and then all of a sudden, the producer or the artist himself might step in and be like, “Yo, do a harmony right here!” And I’m like, “Oh, I didn’t ever think of doing something like that.” It may be influenced from their style of music, maybe R&B, maybe hip hop, maybe reggaetón, even Afrobeats. I learn something every time and I take that with me, so it helps my songwriting. 

9. We’ve been seeing a lot of Afrobeats and dancehall crossovers recently. What do you think is the potential of that musical dynamic and is there anything you think that two genres and industries can learn from one another?  

Then, years pass by, and I’m an artist and I go to Africa, and they are so appreciative of what we brought to the table. It’s been a symbiotic relationship back and forth over the years. We’re using drums from the sound that’s been Afro music, people like Fela Kuti and all of these great musicians, and we’re producing it the way we hear it [and] feel it. In Afrobeats [now], they have taken the hint from how we produce and done their own thing with it.  

It goes to show you, no matter how far away you are, there are still things about the culture that are important, that are upheld and that continue through life. The connection of blood, the connection of family through culture has been an important thing — and it lives in the music and it affects us symbiotically. 

10. In 2022, you dropped Scorcha , which earned you your 10 th Grammy nomination. Where do you personally rank that album in your discography?  

I think albums define artists in a certain time period, so I don’t judge my own work in the respect of how well they do for sales or how well they do [in terms of] impact on the on the community. I judge it as, me then, right? So we had just been in COVID [with] the lockdowns and I  did two albums that year. I feel very proud of the work. Live n Livin [released on March 12, 20221] was a collaborative effort of me and about 19 other Jamaican artists, which I was very proud of. I hadn’t seen anybody in my genre do so much collabs, with each other, which I think has been needed.  

11. Do you still buy albums yourself? What’s the first album you remember buying and falling in love with?  

Oh man, I’m streaming now! [ Laughs. ] I’m in the modern day! It’s weird to me, because I liked owning the vinyl. I liked being able to just look at one picture all day long and imagine everything about Donna Summer that I could ever imagine. There was a lot to the imagination at that time and it was very magical. Nowadays, [with] streaming, I don’t own the album, but I stream songs for sure. 

Of course, my parents’ collection was there, so I mentioned Donna Summer , I can mention The Beatles, Neil Diamond — this is my mom’s music and influences on me — Paul Simon and Garfunkel . But the first one I bought was [ Breakin’ ] , to tell you the truth. Hip-hop was just becoming the “in thing” in my generation. It was around from before and we heard songs, but now, I was identifying stars and the break dancing was kicking off, so [ Breakin’ ] was something that I wanted to own. 

It’s funny what happens when you’re coming up as a young kid, [buying] an album like that and then [learning] something from it. I didn’t know of Chaka Khan before that album. And then I found out more about Chaka Khan, and I was like, “Yo!” I got an introduction to her music through that album. 

My mom did buy me Steel Pulse[’s Earth Crisis ] that same year as well — she’s someone who liked their music because it was kind of reggae, with a little difference. It had different melodies and harmonies, and what they spoke about, she was really into that. 

12. Who from the younger generation do you think is leading dancehall right now or charting a new path forward for the genre?  

I know I wasn’t around when rock’n’roll started, but the raw energy that I feel when I listened to the early rock’n’roll — Chuck Berry and all of that – it’s the same feeling I get [with these younger dancehall artists]. It’s not overproduced at all. Big up to the younger dancehall artists. Skillibeng doing his thing. Big up to Popcaan, he’s a little older generation than them, but [he’s] somebody who still is making music that is making an impact here for me. 

13. You had some controversial thoughts on the Jada Kingdom and Stefflon Don clash from earlier this year. Some people noted how global audiences really tuned in and paid attention to that clash, which brought more eyes to the contemporary dance hall scene. What purpose do you think clashes can serve in this particular era of dancehall?  

I’m against the clashing right now. I’ve been for quite some time — reason being, I’ve seen negative impacts in the community when it comes to people being childish about supporting their artists. Clashing does bring about attention, but does it bring important lessons? [That’s] what I think music is supposed to be. 

When I look [at] Marley’s career, people like Jimmy Cliff, Third World, Black Guru — this is where our music comes from. We are like hip-hop in a way, but we also have that root of the Burning Spear and all these people who spoke culture to us and fought Apartheid, as I said before. I just don’t want to see my people feel the need to clash talents. In that respect, I think our talents can be used more towards a greater upliftment of everybody. 

When I spoke up about Jada and Steff, it’s because I know those two people. I also believe that women’s energy should reflect a different type of energy than a man. Yes, you can be a strong woman, you can be a leader, you can be someone that rebels against something that’s wrong. But the energy, and where they’re putting it, I just don’t find it attractive for women to be to be doing that to me.  

[There was] a lot of backlash. I got a lot of people saying, “Oh, so men can do it and women can’t do it?” And I’ve always said in my genre, the mandem shouldn’t be clashing. I was answering back everybody I could [on Instagram]. I’m not the type of vocal artist like that all the time, but when I do believe in something, I’m gonna say it. 

I just believe that those two women especially have a lot more talent and a far way to go in the business than to cement themselves to be known more as a clash artist. I’ve seen that happen with some of the males too. Some of the dudes come out, they’re clashing, and then you’re just known as a clash artist. I haven’t heard anything else from them. Not a song to entertain, not a song to educate, not a song to uplift, just a song to be derogatory about the other artists. I think we do that too much in this genre, also in hip-hop.  

I’m tired of it. I’m tired of childish behavior. I just think that we could spend our time doing way better things as a genre, especially coming from the root of reggae and what that’s been in the climate of music in the world. 

14. What do you love most about where dancehall is right now, and what do you wish was different?  

For me, it’s a spirit. It’s an ancient spirit that comes through the music. When Sly Dunbar was making the music in the late 80s [and] early 90s, I felt this Afrocentric feeling. It felt third world, [like] this is my identity, and it still has that feeling and it’s giving that feeling to other genres as well. 

I’m proud of the fact that there are more producers and more artists. One thing that’s uneasy to see is that there’s a lot of people who just come up and they don’t go through a gauntlet like I did or artists before me, where you have to stay [in the studio] all day long sitting down, waiting for your turn to be recorded. It’s all on your phone right now or your laptop [with FruityLoops] and everything’s a lot easier. Sometimes when you don’t go through the fire, you don’t get to the point where you’re diamond. 

15. What made it a fire or a gauntlet?  

Back in the day, having to wait in those lines, having to take the criticism from the producer himself — because nowadays the kid could just do his own thing and put his song out. Soulja Boy broke from that scenario. But the discipline ain’t there to me, and that discipline is a deepness that can help you to have more longevity, which I think I’ve had, and so I give thanks to everybody who, behind the scenes, criticized me, pointed the finger at me and told me, “Go do better.” 

16. What business advice would you give younger artists who are striving to have a career with as much longevity as yours?  

I’ve never been [a good businessman] — I just feel what my crowd needs from me. I feel what works and what doesn’t. I don’t produce a hit song every day! For every one song you hear, I may have 25 songs that you will never hear. It’s about the work ethic, keeping your ears to the ground where the genre is concerned, but also keeping in tune with your crowd. 

A lot of ladies gave me the ideas to be like, “Yo, they like hearing this from me!” It’s a lot of gangsterism in music and hardcore stuff. While I don’t think I’m a soft artist, I do think that I give some form of romance to the ladies, and some form of closeness that you know that that they need from the music. 

You may be an artist that doesn’t connect in that way. I’m not saying everybody has to do that type of music, but connect to whatever it is from you that people are connecting with. Pay attention to that. 

17. How do you think mentorship can be most effective in dancehall right now?  

I think what I’m doing has been helping a few artists. I help to mentor people like Chi Ching Ching and a young cat Quan-Dajai [Henriques], who [was] in the Bob Marley movie.  I produced their music right now. I think it’s important because just by being in the studio one day and telling them a story about something I’ve seen in the business or some crazy stuff that happened behind the scenes with the red tape, the lawyers and other producers —  they learn from me.  

18. What’s the last song you listened to?  

Some music that I just did in LA last week. One’s called “Ginger,” nice vibe. It’s kind of like a blend of Afrobeat and dancehall music. It’s an Afrobeat producer and artist I worked with, so I’m really feeling that one. It sounds like now. I listen to a lot of my music because I have a lot that hasn’t even come out yet.  

I have listened to the verse that Kendrick [Lamar] spit. I’m more hearing the verse than the full song, but he did step on some toes there! So, some clashing a gwan again. [ Laughs. ] For me, all those artists have proven themselves to be great. I don’t need [a clash] to know that they are great. I might revere Kendrick’s lyrics more than Drake’s, but I still think Drake is a talented person to be where he is at this point. 

19. For you, what makes the perfect dancehall song?  

It definitely has to do with the beat a lot. A lot . you could have a very great reggae song that’s an acoustic – there have been acoustic dancehall songs, for sure —  but the main driving force of our music is the riddim. It’s the drum and the bass. That’s what’s changed a lot with the younger [producers] nowadays, who don’t have that gauntlet to [and] don’t have the guidance of other people. It’s a lot more chord-oriented and keyboard-oriented, and it don’t have the crazy bass. I miss that. There’s a few songs that that still reflect that now, and those are the ones I enjoy more. 

20. What’s your all-time Carnival anthem?  

When I was a kid, you know, soca music comes from Trinidad and that’s the carnival music here. As a kid, I didn’t love it as much. I have five aunties, my father’s sisters, they loved it and I didn’t like it. 

But I’ve grown up now and I have a wife, so she’s immersed in Carnival. She makes costumes, so she’s giving me good insight as to what music is great. I think that one of my favorite anthems is a song from 2005, [ sings Shurwayne Winchester’s “Dead or Alive”]. Also, “Like a Boss” by Machel Montano was probably just the baddest song. He’s like challenging me to party more! Those two songs for me are Carnival anthems. 

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Beyoncé Embraces Bold Balmain Shoulders in Fringe Jacket for ‘Cowboy Carter' Tour Bus Video in Japan

Beyoncé put a biker spin on the cowboy core trend in two posts shared to Instagram on Monday. The "Texas Hold ‘Em" singer shared a selection of photos and a short video clip posing with Japanese trucks. Beyoncé has been traveling in the country with her husband, Jay-Z , since last week.

Beyoncé's full leather look included a belted Balmain blazer featuring bold shoulders and fringe, as well as baggy wide-leg trousers by Stella McCartney. She accessorized with patent leather boots, completing her look with oversize sunnies, gold hoops and patent leather boots.

Stylist Shiona Turini dressed Beyoncé for the occasion. Turini, who also works as a costume designer, curated the singer's wardrobe for her "Renaissance" tour in 2023.

Hairdresser Neal Farinah styled Beyoncé's platinum blond tresses straightened, while makeup artist Rokael Lizama gave the singer black eyeliner and a pink-nude lip.

Beyoncé's Country Style Through The Years

Last week, Beyoncé blended Western dressing with sleek suiting while in Japan. The superstar songstress shared a new post to Instagram, wearing a khaki Ferragamo suit and trenchcoat from the label's spring 2023 line. Beyoncé added on square-toe boots, a turquoise bolo tie and wool cowboy hat, completing her look with silver statement earrings by Eight Other Reasons and a brown patent leather clutch, which was custom-made by Ferragamo.

Beyoncé's latest album, "Cowboy Carter," marks her first full-length foray into country music.

"This album has been over five years in the making," Beyoncé wrote on Instagram last month. "It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn't. But, because of that experience, I did a deeper dive into the history of country music and studied our rich musical archive."

Beyoncé has always incorporated Western wear into her wardrobe, most notably with the release of her 2022 album, "Renaissance." In promotional images for her recent world tour, the pop star sported a mirrored cowboy hat akin to a disco ball. Meanwhile, at the 2024 Grammys, Beyoncé accessorized her Louis Vuitton skirt suit with a Stetson chapeau.

More from WWD

• Beyoncé's Best Country Looks Through the Years, From Her Destiny's Child Days to ‘Cowboy Carter'
• Samples of Beyoncé's New Fragrance Handed Out at ‘Renaissance' Concert Tour Stops

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Streaming Exclusively on ESPN+: Live Coverage of The Chevron Championship, First LPGA Tour Major of 2024

Grace kim shoots 7-under 64 at wilshire country club to lead lpga tour's jm eagle la championship.

• chevron-championship
• press-release

• More than 40 hours of coverage over four days begins Thursday, April 18, at 9 a.m. ET
• World No. 1 Nelly Korda seeking record-tying fifth LPGA Tour win in a row
• Featured Groups also include 9 of world’s top 10 players, 14 major winners
• No Laying Up contributing “fanalyst” perspectives throughout
• Subscribe to ESPN+ on the ESPN App, ESPN.com and connected TV devices

ESPN+ will stream live, exclusive coverage of The Chevron Championship, the LPGA Tour’s first major tournament of the 2024 season, with a live Featured Groups feed starting Thursday, April 18, at 9 a.m. ET, from The Club at Carlton Woods in The Woodlands, Texas.

• Featured Groups at The Chevron Championship on ESPN+ will showcase nine of the top 10 players in the world and 14 major champions, including current world No. 1 Nelly Korda going for a record-tying fifth consecutive LPGA Tour win, No. 2 Lilia Vu defending her 2023 The Chevron Championship win, and No. 8 Lydia Ko who is only one point away from qualifying for the LPGA Hall of Fame.
• Streaming more than 40 hours of coverage across all four days of the tournament, ESPN+ will present two Featured Groups from both the morning and afternoon waves each day.

Will Haskett will host the Featured Groups coverage alongside analyst Gerina Mendoza, with on-course reports and live player interviews from Hally Leadbetter, Chantel McCabe and Hope Barnett.

• Also, Tron Carter and Cody McBride from  No Laying Up  will provide fresh “fanalyst” perspectives throughout the coverage.

FEATURED GROUPS | Thursday, April 18

Coverage begins at 9 a.m. ET

Morning Wave

Megan Khang / Angel Yin / Bailey Tardy | 8:59 a.m. ET | 1st Tee

• Megan Khang  – No. 13 in Rolex Women’s World Golf Rankings, No. 16 in Race to the CME Globe, LPGA Tour winner (2023 CPKC Women’s Open)
• Angel Yin  – No. 20 in Rolex Women’s World Golf Rankings, LPGA Tour winner (2023 Buick LPGA Shanghai)
• Bailey Tardy  – No. 10 in Race to the CME Globe, LPGA Tour winner (2024 Blue Bay LPGA)

Leona Maguire / Grace Kim / Anna Nordqvist | 9:10 a.m. ET | 1st Tee

• Leona Maguire  – No. 9 in Race to the CME Globe, two-time LPGA Tour winner, two-time European Solheim Cup Team member
• Grace Kim  – LPGA Tour winner (2023 Lotte Championship)
• Anna Nordqvist  – Three-time major winner (2021 AIG Women’s Open, 2017 Amundi Evian Championship, 2009 KPMG Women’s PGA Championship), nine-time LPGA Tour winner

Afternoon Wave

Rose Zhang / Hyo Joo Kim / Nasa Hataoka | 1:48 p.m. ET | 10th Tee

• Rose Zhang  – Won first LPGA Tour event in professional debut (2023 Mizuho Americas Open), 2023 Augusta National Women’s Amateur champion, two-time individual NCAA champion (2023, 2022), former world No. 1 amateur
• Hyo Joo Kim  – No. 9 in Rolex Women’s World Golf Rankings, 2014 Amundi Evian Championship winner, six-time LPGA Tour winner
• Nasa Hataoka  – No. 18 in Rolex Women’s World Golf Rankings, No. 20 in Race to the CME Globe, six-time LPGA Tour winner

Nelly Korda / Minjee Lee / Lilia Vu | 2:10 p.m. ET | 10th Tee

• Nelly Korda  – Seeking fifth consecutive LPGA Tour title, No. 1 in Rolex Women’s World Golf Rankings, No. 1 in Race to the CME Globe, 12-time LPGA Tour winner, 2021 KPMG Women’s PGA Championship winner, 2020 Olympic gold medalist
• Minjee Lee  – No. 5 in Rolex Women’s World Golf Rankings, two-time major winner (2022 U.S. Women’s Open, 2021 Amundi Evian Championship), 10-time LPGA Tour winner
• Lilia Vu  – Defending Chevron Championship winner, No. 2 in Rolex Women’s World Golf Rankings, two-time major winner (2023 The Chevron Championship, 2023 AIG Women’s Open), four-time LPGA Tour winner 

FEATURED GROUPS | Friday, April 19

 Coverage begins at 9 a.m. ET

Céline Boutier / Allisen Corpuz / Ruoning Yin | 8:59 a.m. ET | 1st Tee

• Céline Boutier  – No. 3 in Rolex Women’s World Golf Rankings, No. 12 in Race to the CME Globe, 2023 Amundi Evian Championship winner, six-time LPGA Tour winner, five wins on Ladies European Tour
• Allisen Corpuz  – 2023 U.S. Women’s Open champion, 2023 U.S. Solheim Cup Team member
• Ruoning “Ronni” Yin  – No. 4 in Rolex Women’s World Golf Rankings, 2023 KPMG Women’s PGA Championship winner, two-time LPGA Tour winner

Charley Hull /Alison Lee / Angela Stanford | 9:21 a.m. ET | 1st Tee

• Charley Hull  – No. 7 in Rolex Women’s World Golf Rankings, two-time LPGA Tour winner (2022 Volunteers of America Classic, 2016 CME Group Tour Championship), three wins on Ladies European Tour
• Alison Lee  – Two wins on Ladies European Tour, past U.S. Solheim Cup Team member
• Angela Stanford  – Seven-time LPGA Tour winner, 2018 Amundi Evian Championship winner

Jin Young Ko / Patty Tavatanakit / So Yeon Ryu | 2:10 p.m. ET | 1st Tee

• Jin Young Ko  – No. 6 in Rolex Women’s World Golf Rankings, two-time major winner (2019 Amundi Evian Championship, 2019 The Chevron Championship), 15-time LPGA Tour winner
• Patty Tavatanakit  – No. 24 in Rolex Women’s World Golf Rankings, No. 5 in Race to the CME Globe, 2021 The Chevron Championship winner, two-time LPGA Tour winner
• So Yeon Ryu  – Two-time major winner (2017 The Chevron Championship, 2011 U.S. Women’s Open), six-time LPGA Tour winner

Lexi Thompson / Brooke Henderson / Lydia Ko | 2:21 p.m. ET | 1st Tee

• Lexi Thompson  – 11-time LPGA Tour winner, 2014 The Chevron Championship winner, second youngest to win an LPGA Tour event at 16 years old (2011 Yokohama Tire LPGA Classic), two-time Olympian
• Brooke Henderson  – No. 12 in Rolex Women’s World Golf Rankings, No. 4 in Race to the CME Globe, two-time major winner (2022 Amundi Evian Championship, 2016 KPMG Women’s PGA Championship), 13-time LPGA Tour winner
• Lydia Ko  – No. 8 in Rolex Women’s World Golf Rankings, No. 2 in Race to the CME Globe, two-time major winner (2016 The Chevron Championship, 2015 Amundi Evian Championship), 20-time LPGA Tour winner, one point away from qualifying for LPGA Hall of Fame

ESPN+ coverage of Saturday and Sunday rounds will be determined when pairings and tee times are announced. 

LPGA Tour on ESPN+

The Chevron Championship on ESPN+ is part of a two-year deal  announced  in November 2023 in which ESPN+ will present live featured group coverage of eight LPGA Tour tournaments through the 2025 season. The first event under the new agreement was the 2023 CME Group Tour Championship last fall, and The Chevron Championship is the first of four LPGA Tour events on ESPN+ in 2024.

This latest deal continues a longstanding relationship between the LPGA Tour and ESPN.

• In 2022, ESPN+ streamed the Kroger Queen City Championship presented by P&G and the Walmart NW Arkansas Championship presented by P&G.
• ESPN televised a schedule of regular LPGA Tour events from 1979-2009, and ABC covered the CME Group Tour Championship from 2015-2018.
• ESPN aired the first two rounds of the AIG British Open from 1982-2002 and all four rounds from 2010-2015, as well as the first two rounds of the U.S. Women’s Open from 1982-2014.
• The first golf ever televised on ESPN was the LPGA Sahara Open on Sept. 8, 1979, ESPN’s second day on air.

The remaining slate of LPGA Tour events on ESPN+ this season will be announced later this year.

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