NEWS
UPDATE (1/21): On Friday, LiveNation announced that the When We Were Young Festival will now feature a second date with the exact same stacked lineup on Sunday, Oct. 23.
Featuring multiple stages across festival grounds, earlier acts will perform 20- to 30-minute sets while top-billed acts will perform sets that are 45 minutes or longer.
“We have seen a lot of excitement around this festival and we look forward to putting on an incredible event for all of the fans this October,” festival organizers said in a statement, adding that the event is “thoroughly planned.”
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Paramore might not be interested in rehashing the past for their upcoming album, but when the three-piece group gets back on stage, it’ll be part of the most mid-2000s meets early-2010s lineups since Warped Tour wrapped in 2019.
The band is slated to headline the emo and rock event When We Were Young Festival on Oct. 22 at Las Vegas Festival Grounds. General sales for When We Were Young Festival begin on Jan. 21 via the official festival website.
Paramore share the headlining bill with My Chemical Romance and are joined front and center on the Hot Topic-core lineup poster by Bring Me the Horizon, A Day to Remember, Avril Lavigne, Bright Eyes, and Jimmy Eat World.
Scattered throughout the rest of the lineup are some of the genre’s long-dormant, once-hit-making acts, including Pierce The Veil, All American Rejects, Boys Like Girls, the Ready Set, 3OH!3, and We the Kings.
Veteran bands are also joined by a number of acts currently setting the pace for the future of pop-punk, including Fueled By Ramen signees Meet Me @ the Altar and TikTokers turned punk-rockers Jxdn, Lil Huddy, and Nessa Barrett.
Earlier this month, Hayley Williams told Rolling Stone that Paramore’s forthcoming album — their first since 2017’s After Laughter — isn’t a “comeback ‘emo’ record,” but it will have a particular emphasis on guitars. By the time they step on stage in Vegas, their ever-evolving sound will set them apart once more.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
