Florence Welch is going to need a generous dosage of green tea to go with her two festival date cancellations. Florence and the Machine will no longer be performing in Benicassim in Spain on July 12th and Optimus Alive in Portugal on July 14th because Flo has “sustained a vocal injury” according to her personal twitter. She said of her famously eerie voice that she “felt something snap, it was very frightening..” She later tweeted thanking her fans for their love and support.
We’ve seen what can happen when artists don’t take care of their most prized possession — their vocal cords. We’ve watch Adele fall victim to this again and again, having to cancel tours left and right, although it hasn’t exactly stunted her climb to the top of the charts. John Mayerhad to cancel appearances as well and wasn’t able to promote his May 22 release, Born and Raised.
All we’re saying is take all the time you need, Flo, and rest up your perfect pipes! Everyone here at VH1 is wishing you a speedy recovery.
It’s the second half of the year, folks, which means musically we’ve already experienced an abundance of extraordinary singles and albums with high levels of hope for the remainder of the year. 2012 hasn’t quite been a hit for any other artists in the way that it has for Adele and Gotye. According to HuffingtonPost, Adele’s 21 is the biggest seller in the U.S. having sold 3.69 million copies per Nielsen SoundScan. The amazing thing about Adele being the highest selling artist of this year is that her sophomore album 21 was released in January 2011 and has sold more than a million copies this year alone. At 23-years-old Adele is living the life–professionally she’s on top, and personally she’s in love and expecting her first child. Read more…
We always suspected she had it in her, but now we have proof: A seven-year-old British girl was roused from a coma by “Rolling in the Deep,” and now Adele is not just an eight-time Grammy Award winner, but also a life saver.
When Charlotte Neve slipped into a coma on April 13, doctors told her mother, Leila, to prepare for the worst. Wired up and unresponsive, Leila says she “thought I was going to lose my little girl.” But then, a week later, “Rolling In The Deep” came on the radio. Leila sang along like she used to with her daughter; and, miraculously, Charlotte began to show signs of life.
“Charlotte started smiling, and I couldn’t believe it,” Leila tells the Telegraph. “It was the first time she had reacted to anything since the hemorrhage. The nurses were astounded and told me to keep singing, and she smiled again. The nurses said it was like I ‘unlocked her’ and from that day she started getting better and better.”
Charlotte has continued to recover and is home now, learning to walk and talk again and feeling lucky, thanks much to Miss Adele. Your move, LMFAO!
Powerful and sultry, Dion’s cover is at once faithful to the Grammy-sweeping original and worthy of its place in Dion’s hugely successful Vegas show. According to the Las Vegas Sun, the cover takes the place of that the Michael Jackson medley she did in runs past. It may also show up on her upcoming album, Water and Flame, which will include covers, some new material, and a duet with Ne-Yo.
“I love Adele so much. She’s amazing,” Celine professed to the approving Sin City crowd. So do we, Celine. So do we.
So, while Adam Levine, Christina Aguilera, Cee Lo Green and Blake Shelton are moonlighting as judges on the U.S. version of The Voice, it seems as if Seal is doing the same thing for the Australian Voice. During a recent episode of the show, Seal was caught on camera REALLY enjoying a female contestant performing of Adele‘s “Don’t You Remember?” Talk about a future love paradise! Now, we have no idea if Seal was actually clubbing his seal —if you get our meaning— but watch the video above and tell us what you think he’s doing.
Everyone knows that the years 2000-2010 were not very good for the music industry. Thanks to a perfect storm of rapid technological shifts, widespread piracy, consumer apathy, and executive ineptitude, the industry suffered through a slump that nearly killed off the entire business model. That is, until Adele came along!
We’re being slightly facetious, but Adele is credited by many as having (temporarily) saved the music business. Her landmark album, 21, just sold its 8 millionth copy here in the United States, making it the 4th most successful album to be released on these shores in the last 10 years. Care to venture any guesses as to the two artists who have sold more copies of their respective albums than her? If you find yourself either stumped or looking for validation, we’ve got the Top 10 Selling Albums of the Last 10 Years for you below.
Well. It’s happened. The thing we thought might never happen: Adele‘s 21 has been knocked off the top of the Billboard chart. Sure, there’s every likelihood she’ll reclaim the throne but for now, it’s The Boss who is king. 21 has been number one for 23 weeks, but, somewhat aptly, has been smashed off the top by a Wrecking Ball. Bruce Springsteen‘s new album, after a shaky start and only 196,000 copies sold in the first week, has managed to oust Adele from what seemed like a never ending reign. If Adele wants to get back on top next week, her sales will have to outstrip new releases including The Shins’ Port of Morrow, One Direction’s Up All Night, and The Hunger Games soundtrack (which might be a hard one to beat given the prolonged hype surrounding the movie).
On Monday we reported Billboard’s top music earners of 2011, and there were more than a few surprises. One in particular was Adele coming in at number 10 — which The Guardian has also pinpointed as a notable occurrence, given that 80s-90s star Sade came in at number 6, making her England’s biggest music export to the US. And all this despite Adele’s staggering US chart success and multiple Grammy wins. The Guardian says, “What’s really surprising is that the No 1 British act in America isn’t Elton John or Paul McCartney or any of those obvious British behemoths abroad (although Irish band U2 did come in higher and Coldplay haven’t released anything recently). Nor is it a young stealth interloper such as Mumford & Sons. It is, in fact, Sade, who many of you will have forgotten decades ago.”
Sade made a comeback in 2010, including new album, greatest hits album and a tour, and for one reason or another — The Guardian cites Sade’s culturally ambiguous looks and the “sophistication” her music embodies — the soulful singer found a huge following in the US, which incidentally also dwarfed her comeback in the UK. The Guardian points to Billboard’s ominous opinion of Sade’s comeback, “It’s been 10 years since Sade released an album, but be forewarned – the giant has awoken.” Indeed, last year Sade made $16.4 million from combined album and ticket sales, while Adele’s sales, especially in the tour sector, were hampered by her throat surgery and late-year commitment cancellations.
The Guardian opines on Sade’s success, and throws her up as the antithesis of Adele; “The music industry still talks in hallowed tones about “cracking America”, something Adele has done with huge impact, but when Sade did it, she wasn’t so obviously British. She didn’t court the chatshow circuit with a gobby accent in the way that Adele does, so her speaking voice went largely unheard.” The publication quotes journalist Paul Simper who agrees, “Her Englishness was never a selling point. CBS just wanted to sign her and build her up to be somebody like Whitney, get her a professional studio band, but she resolutely stuck to her guns and stayed with the band from London she’d always had. And she still has – she’s always done it on her terms. Being successful in America didn’t involve any compromise or sounding any more American; her sound was always the same throughout.” Ineed, Sade has been a surprising alternative to Adele — and an unexpected candidate to usurp her throne as America’s favorite Brit.
Adele And Daft Punk Get Mashed Together For “Something About The Fire”
We cringed when we first caught wind of this. But when we finally listened to the mash up that features Adele‘s “Set Fire To The Rain” and Daft Punk‘s “Something About Us” we felt ashamed of our initial skepticism — this actually might be our new favorite song. [Prefix]
There Might Be An Album Of Unreleased Material By Aaliyah On The Way
While the late legend Aaliyah‘s brother says there’s no “official” album on the way, producer Jeffey “J. Dub” Walker Tweeted, “Just got great news today; the smash unreleased song called ‘Steady Ground’ I produced on #Aaliyah is gonna be on her upcoming album:)”. We’ve got all our fingers, toes, and other crossable parts crossed that we’ll be hearing some previously unheard Aaliyah music this year. [Idolator]
There’s no doubt that 2011 was the year of the “doof doof”. From the rise of David Guetta and LMFAO to the euro-club beats adopted in an overwhelming majority pop songs from Rihanna‘s “We Found Love” to Britney Spears‘ “I Wanna Go”, there was no avoiding the thudding sound of the sub woofer and all the manic, Ibiza-esque dance-party vibes that went with it. But if you abide by the laws of physics, you’ll know that for all actions, there is an equal and opposing reaction — and we can see the specter of antithesis looming for 2012. While last year saw an almost completely unblemished carpet of techno beats upholster the music landscape, 2012 looks set to tear that carpet up and replace it with raw wood.
We’re talking about the new guard, a genre of new artists we’ve dubbed “realwave” (thanks to Carles for giving us the ability to invent genres with the simple suffix “wave”), who have been lurking on the sidelines but still managing to make some noise despite the deafening reverberations around them. It began with the ascent of Adele, Mumford & Sons and Bon Iver — artists, who are, for all intents and purposes, artists. In 2011, these artists represented “authenticity,” or the ability to make music that was not only chart topping and relateable, but that also relied on the strength of songwriting, real instruments and organic talent. Yep, that means no auto-tuned voices, synthetic bass lines or garish costuming.
From Adele’s beautiful, heartfelt lyricism and emotive live vocal to Mumford & Sons’ rootsy instrumentals and Bon Iver’s gently experimental, dynamic sound, these artists have provided a much needed sanctuary from banging beats and flashing lights. And perhaps now, after we’ve worn the soles of our dancing shoes right into our heels, we’re actively seeking more realwave. We went to the party, sure, and we had the time of our lives, but it’s morning now, the sun is shining through the cracks in the curtains, our heads are splitting and we’re groping at the bedside table for Advil and Gatorade. Read more…