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Smash Mouth  

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Smash Mouth (formed in 1994) is an American rock band from San Jose, California, U.S. Known for the songs “Walkin’ on the Sun” (1997) and “All Star” (1999).

Smash Mouth formed in 1994 when lead singer Steve Harwell, formerly of the rap group F.O.S., was introduced to guitarist Greg Camp and bassist Paul De Lisle by his manager Kevin Coleman. The trio along with Coleman on drums played under the moniker Smashmouth mainly playing ska and punk music getting their first break when a demo of their song “Nervous in the Alley” was played on local radio. Soon after the band signed to Interscope Records, changed the band name to Smash Mouth and released their debut album “Fush Yu Mang” in 1997. The album has since gone double platinum thanks to the singles “Walkin’ on the Sun” and “The Fonz”.

The sound of the follow-up album titled “Astro Lounge” represented a shift towards accessible pop and led to a huge increase in publicity for the band. “All Star” the band’s biggest selling single, which featured has featured in several movie soundtracks including Shrek, helped the album be certified as triple platinum. Soon after the release drummer Kevin Coleman departed the group due to back problems who was replaced by Mitch Marine for the “Astro Lounge” tour, after which Michael Urbana filled the position.

Smash Mouth’s self-titled third full-length album was released in 2001 and featured the well-received cover of The Monkees’ song “I’m a Believer”, the album however didn’t chart as well as the first two albums. The band was dropped from Interscope Records shortly after the releasee of their fourth album “Get the Picture?” released in 2003, it featured the singles “You Are My Number One” and “Hang On”. Shortly after Smash Mouth signed to Universal Records and released a greatest hits compilation and a Christmas album titled “Gift of Rock” and covered artists from the Kinks to the Ramones.

After many delays and setbacks, the band’s fifth studio album, intended to be titled “Old Habits” was eventually shelved and replaced with “Summer Girl” which got its release on September 19, 2006 on Universal Records. The band experienced a plague of line-up changes from then on and the release of their sixth full-length album “Magic”, after signing with 429 Records, did little to null the changing membership.

Live reviews

While this band has been in the industry long enough to be celebrating their 20th Anniversary, these guys can in no way be described as has-beens. There is something very unique and distinctive that makes anyone stemming from California instantly just that much cooler than the average Joe, without having to do much, and these guys are no exception to that unwritten rule. Maybe it's the year round intake of vitamin D they get from their ever present amazing Californian weather that makes this rock band able to withstand 20 years in an industry that others barely manage to break into, or maybe it's something else. Whatever it is, these dudes know what it takes to be a success and they sure are taking full advantage.

Faced with a plethora of multicoloured glow sticks, Smash Mouth performed live at the Ford Centre in Evansville, Indiana where they definitely did not need the crowds glow sticks to shine. Kicking off the night with one of their absolute hits, 'Everyday Superhero', then following with an epic guitar solo in only the first seven minutes, it was shaping up to be an awesome night. They then continued with more crowd pleasers such as 'All Star', then topped off the night with one that every Shrek fan knows, 'I'm A Believer'. If this West Coast band has picked up a thing or two during their time in the industry, it's how to make a crowd roar.

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Smash Mouth have been touring as a unit for over fifteen years and they perform as one slick, well practiced piece of rock machinery. Despite having not achieved major chart success, since their incarnation they have amassed a loyal and devoted following who adore the participatory way in which they conduct their live show.

You know that lead singer Steve Harwell is going to be continuously moving around the stage and continuously making sure the whole crowd is involved in the performance throughout. They thrash out throughout the whole setlist whilst adding extra energy to fan favourites and international hits 'All Star' and 'Can't Get Enough Of You, Baby'.

The whole audience bellows the lyrics to the entire setlist to the amazement of the performers and proves the cult like mentality of the fan base. The audience in its entirety gets involved for the finale singalong of 'Walkin' On The Sun' and Smash Mouth leaves to huge applause knowing that they have well and truly performed this evening.

So glad I was able to ring in the New Year with this band. Smash Mouth is consistently strong after 20 years!!! They played all their hits and then some! I love their version of WAR'S- "Why can't we be Friends". Enjoyed their show from start to finish! Steve Harwel's voice is in fine form- this band is professional from beginning to end- they are tight and strong and can't wait to see them again-

They should do a festival show- I would love to see them mix it up with some other musicians!!

Happy New Year Smash Mouth- You ROCKED IT HARD in Corona, CA!

The guys rocked! It was one of the best sounding shows I have heard in awhile. Steve Harwell is charismatic. The band carry the energy. If you get a chance, don't miss seeing them!

Posters (23)

Past concerts

Tucson Convention Center

Cerritos Center

South Coast Winery Resort & Spa

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Smash Mouth tour dates and tickets 2024-2025 near you

Want to see Smash Mouth in concert? Find information on all of Smash Mouth’s upcoming concerts, tour dates and ticket information for 2024-2025.

Smash Mouth is not due to play near your location currently - but they are scheduled to play 4 concerts across 2 countries in 2024-2025. View all concerts.

Next 3 concerts:

• Airway Heights, WA, US
• Batavia, NY, US
• Englewood, CO, US

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Smash Mouth Releases New Single & Announces Tour

The track is co-written by original bassist Paul Delisle

Photo @smashmouth

Marking their 30th anniversary since forming in San Jose, CA, back in 1994, multi-platinum-selling and Grammy nominated global phenomenon Smash Mouth has returned with the perfect song for a summer road trip in “Ride On.” The dance-rock tune, written by Paul DeLisle with help from the four other members of the band, channels Daft Punk, Tame Impala and yacht-rock vets Pablo Cruise with its top-down, hair-flowing-in-the breeze lyrics tailor-made for cruising on Pacific Coast Highway.

“We got the wheels/We got the weather/We got the right of way together,” sings vocalist Zachary Goode, who co-wrote the song with founding member bassist Paul Gerald DeLisle, guitarist Sean Hurwitz, drummer Randy Cooke and keyboardist Michael Klooster. 

“We wrote it as a continuation of our 2001 hit single, ‘Pacific Coast Party,’ with a similar good-vibe feel,” said DeLisle. “It’s a very Smash Mouth-California style of rock/disco custom song made just for summer, a respectful and loving homage to Pablo Cruise.” 

The single will be released on independent label Vydia on April 12, with the band’s summer tour starting April 19-20 at Island Resort & Casino in Harris, MI, and currently running through August 20 at North Idaho State Fair in Coeur d’Alene, ID as dates are being added regularly.  Full current tour dates are below.

Smash Mouth have been a force on the international rock ‘n’ roll scene for three decades, known for their late ‘90s chart-topping hits, “Walkin’ on the Sun” and “All-Star,” the latter staple of the first  Shrek  film soundtrack, which recently surpassed one billion streams on Spotify alone. The band’s popularity has endured over the years, with a YouTube channel boasting more than a million subscribers. Between 1997 and 2002, the band notched six Top 20 hits, from their debut ska-punk-influenced Interscope album,  Fush Yu Mang , which went double-platinum thanks to “Walkin’ on the Sun” and subsequent singles “The Fonz” and a cover of War’s “Why Can’t We Be Friends,” which was featured in the 1998 Kevin Bacon film,  Wild Things .  The band’s second album, the triple-platinum  Astro Lounge , released in 1999, produced the hit single “All Star,” whose inclusion on the  Shrek  soundtrack (along with their cover of the Monkees’/Neil Diamond’s “I’m a Believer”) has led the band to DJ at numerous “Shrek raves” over the years, along with “Then the Morning Comes.” 

Other career highlights include appearing as themselves in the climactic scene of the film,  Rat Race , the hit “Can’t Get Enough of You Baby,” featured in the movie  Can’t Hardly Wait , and, last year, their second Christmas album, Missile Toes, featuring Susanna Hoffs, the band’s first full-length release in more than 10 years.

Smash Mouth has toured with U2, Lenny Kravitz, KISS and NSYNC and have collaborated with a variety of show business legends from the likes of Englebert Humperdinck to George Clinton to Neil Diamond. Their appearances on the  Howard Stern Show  as a self-proclaimed favorite of the host have also been noteworthy.

Upcoming Tour Dates

5.04.24             Tucson Convention Center – Tucson, AZ

6.01.24             Preservation Plaza – Arnolds Park, IA

6.08.24             Spokane Live – Airway Heights, WA

6.15.24             Downtown Smyrna – Smyrna, DE

6.21.24             Batavia Downs – Batavia, NY

6.27.24             Brainerd International Raceway – Brainerd, MN

6.29.24             Fiddler’s Green Amphitheatre – Greenwood Village, CO

6.30.24             CCNB Amphitheatre at Heritage Park – Simpsonville, SC

7.04.24             Mackenzie Main City Park – Lubbock, TX

7.18.24             Parc Jacques-Cartier – Sherbrooke, Quebec

7.26.24             Mont du Lac Resort – Superior, WI

8.03.24             Yamhill County Fair – McMinnville, OR

8.08.24             Rockin’ the Rivers Festival Site – Cardwell, MT

8.09.24             General Duffy’s Waterhole – Redmond, OR 

8.10.24:            Douglas County Fairgrounds Amp. – Roseburg, OR

8.16.24             Brown County Fair – Aberdeen, SD

8.17.24             SoCal Taco Fest at Waterfront Park – San Diego, CA

8.20.24             Kootenai County Fairgrounds – Coeur d’Alene, ID

8.23.24             Warwick Hills Golf & Country Club – Grand Blanc, MI

9.14.24             Lodi Grape Festival Site – Lodi, CA

11.15.24           Walt Disney Parks & Resorts – Orlando, FL

11.16.24           Walt Disney Parks & Resorts – Orlando, FL

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Smash Mouth tour dates

• On tour: Yes
• Concertful ranking: #941
• Category: Punk / Garage Rock

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Smash Mouth

Latest setlist, smash mouth on november 18, 2023.

Allen Theatre, Lubbock, Texas

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Smash Mouth & Spin Doctors

Formed in late 1994, Smash Mouth immediately began recording demos and showcasing in both San Jose and Hollywood. Some of their popular hits include “Astrolounge”, as well as their three top-ten hits “All-Star”, “Then The Morning Comes”, and “Can’t Get Enough Of You Baby”. They've also received Double and Quadruple Premium status on some of their albums. and in early 2019, Smash Mouth released their long-awaited, all-acoustic version of their debut album “Fush Yu Mang” in its entirety.

• Comfortable Fixed Individual Seating
• Outstanding Sightlines & Acoustics
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• Pit Pass Dance Area
• Indoor Restrooms
• Ample Food & Bar Service
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Apple Autos VIP Deck

Reserved seating, kwik trip pit pass, wine & beer garden, cutwater balcony tables, groups of 20+.

About Smash mouth

A look back at Smash Mouth’s formative years show us a band determined to make an impact from the get-go. Formed in late 1994, the band immediately begins recording demos and showcasing in both San Jose and Hollywood, CA.

Smash Mouth’s major-label debut “Fush Yu Mang” goes more than DOUBLE PLATINUM and sets the table for what most consider their masterpiece, 1999’s brilliant follow-up album “Astrolounge”. No sophomore slump for these guys! Boasting three top-ten hits (“All-Star”, “Then The Morning Comes”, and “Can’t Get Enough Of You Baby”), sales for “Astrolounge” are nearly double those for their debut, approaching QUADRUPLE PLATINUM status.

Smash Mouth’s third, eponymous Interscope release features the ecstatic first single “Pacific Coast Party” and the smash hit “I’m A Believer”. Around this time, Smash Mouth crosses over into film world by providing the musical heart of the soundtrack for “Shrek”, and even making a cameo appearance in the movie “Rat Race”.

ABOUT SPIN DOCTORS

Thirty years. It’s an eternity in rock ‘n’ roll, and a marathon for the bands who fly its tattered flag. Revisit the class of 1988, and the casualties are piled high: a thousand bands that blew up and burnt out. In this chew-and-spit industry, the Spin Doctors are the last men standing, still making music like their lives depend on it, still riding the bus, still shaking the room. They’ve never been a band for backslaps and self-congratulation. Even now, plans are afoot for a seventh studio album and another swashbuckling world tour, adding to their tally of almost two thousand shows. But faced with that milestone, even a band of their velocity takes a breath for reflection. “I’d never have guessed,” admits drummer Aaron Comess, “this would have turned into thirty years of making great music together.” Like all the best rock ‘n’ roll mythology, the final page of the Spin Doctors’ biography remains forever unwritten. But if the band’s story is to begin anywhere, it should be at New York’s New School university in the fall of ’88, when a fateful door-knock sparked the first meeting of Comess and guitarist Eric Schenkman. Trading as the Trucking Company, Schenkman, local legend John Popper and a charisma-bomb vocalist named Chris Barron had been making a glorious noise in the clubs downtown. But when Popper committed himself to Blues Traveler, the remnants sought new blood. Having assured Schenkman that he’d “check them out,” Comess formed a ferocious rhythm section with Bronx-raised bassist Mark White. “When I first met them,” recalls White, “I thought, ‘These are some funky-assed white boys.’ I’m the black guy in the band, and they had to teach me to play the blues.”

© 2022 Smash Mouth Music, Inc.

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Smash Mouth

Upcoming smash mouth festivals appearances, upcoming smash mouth concerts near me.

Smash Mouth to Reissue Fush Yu Mang in Honor of Late Frontman Steve Harwell

Marking the first time the album has seen a widespread vinyl release, the reissue arrives after the passing of frontman Steve Harwell.

October 26, 2023

Weekly News Roundup: September 1st-7th, 2023

From the loss of icons to an iconic record's anniversary reissue.

September 8, 2023

Smash Mouth's Debut Album, Fush Yu Mang, Goes Beyond the Meme

Smash Mouth burst onto the scene with this '90s time capsule of fun, poppy ska-punk.

Steve Harwell, Smash Mouth Singer, Dead at 56

The 56-year-old musician recently began hospice care for liver failure.

September 4, 2023

Smash Mouth Singer Steve Harwell Enters Hospice Care

The singer is expected to pass away sometime in the next couple of days, according to his manager.

September 3, 2023

Smash Mouth's New Singer Hails From a Weezer Tribute Band Called Geezer

Zach Goode is replacing founding frontman Steve Harwell, who departed the band last year.

March 2, 2022

Smash Mouth Replace Sugar Ray at Hard Rock Casino Northern Indiana's NYE Concert

A member of Sugar Ray's touring party recently tested positive for COVID-19.

December 30, 2021

Smash Mouth Singer Steve Harwell Retires from Band Due to Health Issues

Harwell, 54, suffers from cardiomyopathy, a form of heart disease where the heart muscle becomes enlarged and weak, making it difficult to pump blood.

October 12, 2021

Smash Mouth's Steve Harwell Takes Hiatus from Band Due to Heart Issues

A replacement singer has fronted the band during their most recent concerts.

October 5, 2021

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Smash Mouth

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Smash mouth concert setlists & tour dates, upcoming shows.

• Date and Venue Doors Scheduled
• Jun 01 2024 Preservation Plaza Arnolds Park, IA, USA Add time Add time Add times
• Jun 15 2024 Unknown Venue Smyrna, DE, USA Add time Add time Add times
• Jun 21 2024 Batavia Downs Gaming & Hotel Batavia, NY, USA Doors 4:00 PM  –  Scheduled: 8:30 PM 4:00 PM 8:30 PM
• Jun 27 2024 Busch Light Concert Bowl Brainerd, MN, USA Add time  –  Scheduled: 8:00 PM Add time Add times 8:00 PM
• Jul 03 2024 Simply Freedom Fest 2024 Simpsonville, SC, USA Add time Add time Add times
• Jul 04 2024 Unknown Venue Lubbock, TX, USA Add time Add time Add times
• Jul 18 2024 Parc Jacques-Cartier Sherbrooke, QC, Canada Add time Add time Add times
• Aug 03 2024 Yamhill County Fair 2024 McMinnville, OR, USA Add time Add time Add times
• Aug 08 2024 Rockin' the Rivers Music Festival 2024 Three Forks, MT, USA Add time Add time Add times
• Aug 09 2024 General Duffy's Waterhole Redmond, OR, USA Add time Add time Add times
• Aug 10 2024 Douglas County Fair 2024 Roseburg, OR, USA Add time Add time Add times
• Aug 16 2024 Brown County Fair 2024 Aberdeen, SD, USA Add time Add time Add times
• Aug 17 2024 SoCal Taco Fest 2024 San Diego, CA, USA Add time Add time Add times
• Aug 20 2024 North Idaho State Fair 2024 Coeur d'Alene, ID, USA Add time Add time Add times
• Aug 23 2024 Unknown Venue City of Grand Blanc, MI, USA Add time Add time Add times
• Aug 30 2024 Unknown Venue Deadwood, SD, USA Add time Add time Add times
• Nov 14 2024 Unknown Venue Lodi, CA, USA Add time Add time Add times
• Nov 15 2024 Unknown Venue Orlando, FL, USA Add time Add time Add times
• Nov 16 2024 Unknown Venue Orlando, FL, USA Add time Add time Add times

Smash Mouth at Tucson Convention Center, Tucson, AZ, USA

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Smash Mouth at Santa Fe Springs Swap Meet, Santa Fe Springs, CA, USA

Smash mouth at island resort & casino, harris, mi, usa, smash mouth at riverside county fair & national date festival 2024, smash mouth at allen theatre, lubbock, tx, usa.

• Can't Get Enough of You Baby
• Then the Morning Comes
• Underground Sun
• Diggin' Your Scene
• Walkin' on the Sun
• I'm a Believer
• Never Gonna Give You Up
• Why Can't We Be Friends?

Smash Mouth at Eclipse Fest 23

Smash mouth at georgia national fair 2023.

• Pacific Coast Party
• Getaway Car
• Keyboard and Drum Solo
• Come on Come On

Smash Mouth at Cerritos Center for the Performing Arts, Cerritos, CA, USA

• Flo / Nervous in the Alley / Beer Goggles

Smash Mouth at South Coast Winery, Temecula, CA, USA

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Most played songs

• All Star ( 259 )
• Walkin' on the Sun ( 251 )
• I'm a Believer ( 210 )
• Can't Get Enough of You Baby ( 200 )
• Then the Morning Comes ( 187 )

More Smash Mouth statistics

100 gecs 3OH!3 4 For Fall AJR Alice Drive All Time Low Amigo the Devil Rich Aucoin Scott Aukerman ÆONIAN Back By Unpopular Demand The Band Ice Cream Barenaked Ladies Batkhi Dahn Bergants'n'Roses Between You & Me Bienve Bilmuri bird bone blackbear Blue Traffic The Bottom Line Scott Bradlee & Postmodern Jukebox Business Class Carnivores Carverton The Chainsmokers Chase the Bear Chunk! No, Captain Chunk! George Clinton cloudflower Combat complete amateurs Chris Cresswell Darren Criss Curly Daði Freyr Danni G Dash Rip Rock Death From Above 1979 Decades Dethorion Kevin Devine Disciple Dizgo Dogs in a Pile Duchess Dwayne Gretzky Eggy Elyne

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Artists covered

? and the Mysterians AC/DC Rick Astley David Bowie Greg Camp Cheap Trick Coolio Depeche Mode Neil Diamond House of Pain The Kinks The Knack Lenny Kravitz LL Cool J Nirvana John Stafford Smith & Francis Scott Key Van Halen War

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Gigs seen live by

1,315 people have seen Smash Mouth live.

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First Time, Last Time: Steve Harwell Sings "All Star"

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Backstage Pass: New Smash Mouth singer feels fans’ vibes

By Christina Fuoco-Karasinski

Z ach Goode says his first gig as Smash Mouth’s vocalist was trial by fire.

“Our first show together was a huge show in Mexico with 30,000 to 40,000 people,” he said with a laugh.

“There was no warm-up show, no club show. We went on before the Strokes, Kings of Leon and Blondie. It was a huge crowd and they were super energetic.

“I felt like I fit right in, though, and we went running from there. We had 20-something shows booked last year and we have a ton booked this summer.”

Smash Mouth will perform on Saturday, May 4, during the Centurions’ The Death Star Infiltration Celebration at the Tucson Convention Center. The event includes food (6 to 9 p.m.); bar (6 to 11:30 p.m.); opening act Swigfoot and DJ (6 to 9 p.m.); and Smash Mouth from 9 to 10:30 p.m. For tickets, visit thecenturions.com.

“People are surprised when they see us live,” Goode said. “It’s a high-energy show. Some people think they’re only familiar with one of two songs. The average person, I think, knows at least seven songs. A couple are covers; the band has two No. 1 hits. There are still really recognizable songs.

“Basically, if we played for 90 minutes, and there are 20-something songs, about seven of them are bangers. That’s a pretty good batting ratio.”

Goode has been in bands for 30 years, but not at the level of Smash Mouth. Goode replaced singer Steve Harwell, who died of cancer last year, after he retired in 2021. He said he was confident he could do a good job.

“I’ve been in the business so long,” he said. “I had the wisdom. I had so many stage and life experiences. It was a beautiful thing that happened.

“Everyone was accepting and professional. They were happy to have me come into the fold.”

Goode said he was attracted to the Smash Mouth gig because the songwriting is “really interesting and kind of unique,” blending older punk/ska stuff with reggae, pop and disco.

“It runs the gamut,” he said. “It’s super eclectic. It’s not just one style. That’s the vibe I like. We’re actually trying to write new material in the style that stays faithful to the classic Smash Mouth sound. We’ve already put out three songs with me on vocals.”

Goode was born in New York City and grew up in Provincetown, Cape Cod, Massachusetts, in a bohemian artist community.

“I was an off-Broadway kid,” he said. “I was in commercials and acting when I was a kid, then I got the rock ‘n’ roll bug in high school. I was in tons of bands. Right in the middle of the early ’90s, there was a hard rock explosion.

“After 20 years in bands, I went solo. I went to LA and got into the voiceover game. I did tribute bands for money—the Beatles, Beastie Boys, Yacht Rock, 1980s. Then I saw an ad a couple years ago for Smash Mouth.”

Now, in between gigs, he DJs at “Shrek” raves, a wildly popular club night held around the United States. He called them “beyond sold out” with lines around the block.

“There are thousands of kids in costume,” he said. “The organizers do about 20 a month. It’s a full-time thing for them. I sing to the three biggest hits to a track and people lose their minds. This has been an amazing gig.”

Smash Mouth WHEN: 9 to 10:30 p.m. Saturday, May 4 WHERE: Tucson Convention Center, 260 S. Church Avenue, Tucson COST: $125, includes five drink tickets; one food ticket and a $10 casino match play voucher INFO: thecenturions.com

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On This Day In Music: Smash Mouth Release "All Star," Their Titanic Single From The 'Shrek' Soundtrack

There's never been a pop song like Smash Mouth's "All Star," released 25 years ago today, and there probably won't be again. Here's how the sugary pop-rockers broke the mold forever — and got nominated for a GRAMMY for it.

There are few purer things online than the YouTube comments to Smash Mouth 's "All Star."

The splashy, hook-stuffed, puppyish earworm rocketed into most of our hippocampi via 2001's Shrek , and it never left. Chances are it's playing in your head right now. No "-body" ever followed a "Some-" like this. And when lead singer Steve Harwell tragically passed in 2023, folks of all backgrounds flooded the video in droves to pay their respects.

"You really were an 'All Star,'" declared one commenter. "One of the coolest guys to ever live," opined another. "As a wise man once said, only shootin' stars break the mold." "He may not have been the sharpest tool in the shed," a third commenter said, "but now he's the brightest star in the sky."

They don't stop coming: "All Star" really galvanized a generation of kids to go for it, and chase their dreams. And 25 years since its release on May 4, 1999, the maddeningly catchy single from 1999's Astro Lounge , continues to hurtle forth. Millennials know it from "Shrek." Gen Z knows it for the memes (oh, somany memes ). But it's also just a bulletproof — and totally unforgettable — pop song.

Written by founding guitarist and vocalist Greg Camp , "All Star" seemed to take the best parts of Y2K-era hits and Frankenstein them together. Which arose from necessity: Smash Mouth had just had a smash with "Walkin' on the Sun," from their 1997 debut Fush Yu Mang , and the pressure was on to follow it up.

"One night I sat Greg down, opened up a Billboard magazine, and said, 'Dude, let's just go through this. I want a little piece of each one of these songs," Smash Mouth's manager, Robert Hayes, told Rolling Stone . As he explained, the top 50 contained the likes of Sugar Ray, Third Eye Blind , Barenaked Ladies , and Chumbawumba — as well as Smash Mouth themselves.

"He left, and two days later, he walks into my office with a cassette tape. I popped it in and there was 'All Star' on this cassette," Hayes continued. "I stopped, and I looked at him. He goes, "What? You don't like it?" I said, "Are you friggin' kidding me? This is a smash!"

As bassist Paul DeLisle put it, "All Star" was a response to letters Harwell would receive from the youth. The lyrics "were just sort of like a pep talk, almost," he explained in the same piece. The song was [for] these kids: "Hang in there. You are the master of your own domain. You control your own ship."

"All Star" was a head-turning song, and best of all, it was beamed to the right act for the job. Not for nothing was it nominated for Best Pop Performance By A Duo Or Group With Vocal at the 2000 GRAMMYs. "I'm not going to toot my own horn, but nobody else could have sang that song," Harwell rightly declared . "It would have never been what it is now. I could've pitched that song to a million bands and they would have tried to do it, and it would've never been what it is."

The band and record company both flipped for "All Star" — and what helped tremendously was its licensability. "I licensed the crap outta that song," Hayes said . "You could not walk into a grocery store or turn on the television without hearing 'All Star.' It was very, very saturated."

As impossible as it seems today, Smash Mouth initially turned down use of "All Star" in Shrek . But Dreamworks kept knocking, and eventually flew a rep to play the film for them. When the band beheld the quality of Shrek , they caved. The result was a phenomenon — partly because it nailed the character of the titular ogre.

As the co-director of Shrek , Vicky Jenson, put it , "All Star" was a really fun, upbeat way to really understand Shrek right from the get-go." Which could apply to kids the world over as well — their boundless energy, their limitless senses of possibility.

"Only shooting stars break the mold," the late Harwell trumpeted with dizzying enthusiasm — and today, that mold lies shattered at our feet. We may never see the likes of Smash Mouth, or "All Star," again.

Encanto Sweeps The 2023 GRAMMYs: Disney's Animated Smash Wins 3 Categories

Photo: Filipa Aurélio

5 Artists Leading A New Wave Of Latin Trip-Hop & Downtempo: Céu, Natalia Clavier & More

As Latin GRAMMY winner Mon Laferte embarks on a U.S. tour of her new, trip-hop flavored album 'Autopoetica,' get to know five acts who are also fusing traditional Latin rhythms with downtempo beats.

The explosive Latin music scene is moving in many directions: from brassy corridos tumbados to pounding perreo tracks. Yet another, slower movement is quietly brewing: Latin trip-hop and downtempo. 

Trip-hop originated in the 1990s and typically refers to downtempo music with a degree of electronic experimentation and an elusive sense of eeriness. While it's a contentious term that has been shunned by the very artists’ whose sound it was coined to describe (Portishead’s Geoff Barrow once tweeted "call it anything else but that " ;), it has been widely embraced in Latin America, which has imprinted on the genre since it’s infancy.

In 2001, the Franco-Argentine act Gotan Project poured tango into trip-hop musings to create their seminal record La revancha del Tango . Brazilian bossa nova has also featured heavily in the peripheral trip-hop scene: London-Brazilian outfit Smoke City’s 1997 Flying Away was awash with the rhythms of Rio de Janeiro. 

Latin GRAMMY winner Mon Laferte recalls listening to the sounds of Portishead in the 1990s, gazing out the window of her Chilean home in portside city Viña del Mar. "I loved Beth Gibbons ’ voice, " she says. "I remember the television was showing a Portishead concert, and I thought, Who is this captivating voice? "

That interest has followed Laferte throughout her career. On 2023's Autopoetica, Laferte brings back the Latin twist on trip-hop — drawing on traditional styles that have been a staple to her previous catalog (bolero, salsa, cumbia), then blending them into a downtempo electro canvas. "40yMM," a song that navigates the ups and downs of turning 40, begins with atmospheric strings, whispered vocals, and slow, pulsating beats, before unexpectedly branching into a rhythmic salsa. 

Laferte is one of a new wave of artists exploring the boundaries of traditional Latin styles through poignant, reflective experimentation — whether it be pasting a hypnotic double cumbia beat onto a trippy electro soundscape, or combining regional folk guitar with shuddering synths. Read on for five artists who are at the forefront of a new wave of Latin trip-hop and downtempo.

Karen y Los Remedios 

Hailing from Mexico, Karen y Los Remedios is a Mexican trio that makes "existential Cumbia." Their 2023 debut album, Silencio , is a gorgeously dark exploration of the realizations that occur through silence. On "Cartas Marinas," Ana Karen G Barajas asks "What would your voice be without mine?/What would your hand be without mine?"; her profound, prophetic tone that chills the spine. The trio, formed by Barajas, guitarist Guillermo Berbeyer and producer Jonathan Muriel (Jiony), first met on projects under Jiony's Mexico City label, VAA, which specializes in electro, techno, funk and traditional Latin sounds. The trio eventually teamed up to put out two EPs, cumbia-driven Botanas, Vol15 , in 2020, and lo-fi hip hop effort Recuerdos de Expiación in 2021.

Federico Aubele

Singing with shivering stillness, Federico Aubele’s music is soft, pensive and haunting. Mixing jazz, trip-hop and folk, the Argentine is signed to ESL Music, which is headed by U.S. electro act Thievery Corporation. His musical footprint is similarly global: Aubele released his debut album, Gran Hotel Buenos Aires, in 2004 while living in Berlin, and then spent time making music in Barcelona, before settling in New York. His latest album, 2023's Time Drips On My Bed , is a meditative reflection on the past inspired by his early life in Buenos Aires, a city he grew up in, but is at once a stranger to. His music is informed by Latin classical guitars, nodding to the tango and folk styles present in Argentina, and mixing in contemporary electronic elements to hone his eclectic and exploratory style. 

Luiza Lian 

Signed to international independent label ZZK Records, Luiza Lian is a Sao Paulo-based musician who toys with experimental techniques, bouncing basslines and erratic vocal arrangement. On the latest album, 7 Estrelas | quem arrancou o céu? , she uses voice manipulation to explore themes of reality and deception, holding a mirror up to a consumerist world to question where our real values should lie. 

Lian’s deep mediations on the record translate to an immersive live show that has won awards in her native Brazil. With frantic projections, flashing lights and costume design that form part of the stage backdrop, she creates a deliberately disorientating and harrowing mood, encouraging viewers to join her reflection on humanity. 

Natalia Clavier

Like Abuele, Buenos Aires vocalist Clavier is another protegee of the Thievery Corporation and spent a large part of her early career as the band’s lead vocalist. Clavier kindled a love for singing as a child after listening to her grandmother’s jazz records and eventually grew to love electronic music after discovering the sounds of Massive Attack, Björk and Portishead.  After spending the first chapter of her music career as a session and live vocalist, Clavier released her debut album, Nectár , in 2008. She's since crafted a body of solo work that combines hushed, jazzy vocals with gorgeously downtempo tracks. Her most recent album with Thievery Corporation’s Eric Hilton, 2023’s Corazón Kintsugi , combines Bossa Nova, dub, and trip-hop into a rich soundscape. 

Maria do Céu Whitaker Poças, known as Céu, is a Sao Paulo musician whose music veers into a particularly dub vein of downtempo. 

Since releasing her first self-titled album in 2005, Céu has worked with a mixture of jazz, reggae and samba, her blissfully smooth vocals weaving between the genres. The self-titled album was a critical success, earning her a Latin GRAMMY nomination for Best New Artist in 2006, and a GRAMMY nomination for Best Contemporary World Music Album in 2008. Céu continues to make soft, blissfully melodic music with an electronic edge. On 2024 single Coração Âncora, she teams up with producer RDD to sing a breezy, summery ode the "anchored heart," committed and assured. 

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Photo: Jerod Harris/Getty Images for Photonia

Danny L Harle's Quest For Pop Euphoria: How Working With Dua Lipa Led To A New Level Of Creative Joy

The songwriter and producer talks about crafting Dua Lipa’s ‘Radical Optimism’ and the UK’s Eurovision entry for 2024. "It was all about making space for the great emotion of the song," Harle says.

** "I’ve got an obsessive mind," admits producer Danny L Harle. "I often can't sleep at night because I've got melodies circling in my head. I get haunted by melodies, and I think that's why some people trust me, because they know that I will not let it go unless I think it's absolutely perfect."

That dedication to crafting powerful pop melodies has resulted in a treasure trove of earworms on Dua Lipa ’s new album Radical Optimism . Harle was recruited by Lipa as one of the album’s co-producers, alongside Tame Impala ’s Kevin Parker and songwriters Tobias Jesso Jr and Caroline Ailin.

It's no surprise that Harle was recruited to craft a record that seeks to find light and happiness where darkness prevails. Since his 2015 debut EP Broken Flowers , Harle has created dance-pop that examined the relationship between melancholia and euphoria, as well as the grandeur and escapism of a rave. 

After releasing a string of singles via PC Music, Harle dropped his first album, Harlecore , in 2021 with Mad Decent. The ecstatic spirit of Harlecore, which is centered around a virtual rave headed by four imaginary DJs, echoes in Harle’s latest collaboration as co-writer and producer of the UK’s Eurovision song, "Dizzy" by Olly Alexander. 

"There is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting," Harle says. "I just really like good pop music, and that, for me, always seems to start from my research with people."

It was Harle’s naturally synergistic approach to collaboration that led to his work with Lipa. He has also worked with yeule on their album Glitch Princess , and the likes of Charli XCX . But it was his production and writing on  singer Caroline Polachek 's  debut solo album that caught Dua Lipa's ear. "She appreciated the spirit of collaboration with that album and wanted me to make her album."

Read below to get a taste of how Danny Harle made Radical Optimism and other earwormy, dancefloor hits.  

This interview has been edited for clarity.  

Hey Danny! What’s that cool instrument behind you?

It’s an electric double bass, which is my main instrument: bass guitar and double bass. I use that on some of the Caroline Polachek stuff. There's certain artists who come into the room and see that and they're like, "We have to use that." And some people try to pretend it doesn't exist.

It’s fascinating; I used to play that instrument when I was younger, and then gave it up. There was a 10 year gap, and then I found a place much later in my life where it could fit in. I stopped playing bass guitar at one point as well. 

Then I found myself in a session with NAO, and she was like, "Can you play bass guitar?" There was one literally on display outside, the Squire bass, so I picked it up and we made a track together. She was in a session with Nile Rodgers the next day playing it to him, and he loved it, and then it was on the Chic album [ It’s About Time ]! Any impressions about getting good gear or instruments, it’s just rubbish.

Did you do a lot of the bass work on Dua’s album?   

I did a fair amount of it, but a lot of it is a collaboration with me and Kevin Parker. All that time he's spent touring and playing the bass live is time that I've spent in front of a computer. So it's hard to compare bass skills, as much as it's my instrument. 

Kevin's particularly good at playing an instrument to make it sound really good on a recording as opposed to live, which is a completely different thing. There were some times where I was like, "I prefer the way that it sounds when you do it." And then sometimes he would ask me to do it as well. It was a really nice, trusting partnership. 

The process of the album was very trusting; a sense of being able to say when you think something could be better, but also understanding that trusting someone else is good at what they're doing. It was a very rare environment, but the atmosphere of respect and trust was quite an incredible thing to experience. If you hear what anybody says involved in that process, they'll say those are some of the best sessions they’ve ever had in that respect. 

We were talking about this key Motown idea, which is that happy songs go best over a sad melody. It doesn’t have to be the melody, it can be the music sounding sad; "Tears Of A Clown" by Smokey Robinson is a good example. There's something very resonant in that combination. 

"Houdini," "Training Season" and "Illusion" are all in minor keys, aren’t they? It makes for such melodically rich stuff that’s different from your average four chord pop progression.

Yup. It’s not as simple as happy song, happy chords. It adds richness to the emotional landscape of the song, and that was a key element in that. 

It was a room full of people who are excited by hearing new melodies and approaches and structures. That’s why you don’t really hear the same melodic patterns that music’s fallen into these days on the album. I find that particularly inspiring. 

You’ve written with stars like Charli XCX and Rina Sawayama before, but this is your first extended project with a pop star. You first made pop music to engage people as a virtually unknown musician, but now that attention is guaranteed. Did that change the way you think about pop?

Not at all. My approach to this stuff, especially these days, is that I can just do my thing. I'm very honored to work with the people I've been working with. Very early on in my career when I was trying to make pop music in that way, it would always go horribly wrong. Whereas now I just try to make good music. 

Some people can just make a pop song and I can't do that. I'm like, "Let's make a good song." I personally believe that there is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting. I just really like good pop music, and that, for me, always seems to start from my research with people just trying to make the best music. 

How did you make this record more personal to Dua in terms of influences and not just lyrically?

It all stems from her at the center of it; so much stuff happens to her. It’s insane, the amount she’d have to say before every session — [like] "These tracks are actually making points." 

Then it would be a case of finding an instrumental with a certain emotion, and out of natural conversation, there’d be a sense of connection [from] a phrase someone would hit on. [But] it would always stem from her as the center of the whole thing. It was just a very organic way of writing and we were very privileged with the rich life Dua leads to draw from. 

This record was a tight songwriting team — where did you fit into it?

I was contributing to all of the tracks in all factors: lyric ideas most rarely, but also melodic ideas, songwriting ideas, mainly from a production standpoint.  

I would be in the corner on my computer, and I would constantly be in conversation with everybody. We might have Kevin on a guitar, and then I’d be making some electronic arpeggios to go with that. I’d be constantly AirDropping stuff to Cam Gower, the greatest vocal engineer in the world, and he would be stacking what we had in ProTools. Sometimes I would take Cam’s session and put it into my computer — like with ‘Illusion’, because there’s stuff that goes on that affects the whole track in a way that I needed to do to get that dancey feel. 

It's quite a global, almost old-fashioned producer role I was taking. I think that was a valuable thing for Dua in certain cases, because I would know about every song on the album. If we were writing with new writers, I'd be like, ‘we already said this idea in that song.’ I would have an eye on the whole thing and be a soundboard for the overall project. 

Let’s start with the opening track, "End Of An Era" is unexpectedly calming and gentle. What prompted you guys to make this the opener?

I just love the idea of starting an album with the track called "End Of An Era"; it is quite an alarming thing to see. I love the tone of the track, the joy of it, but also the fairy-godmother-style commentary going over it as well. 

It's about that heart-eyes emoji feeling of knowing you're irrationally in love in the moment where you rethink everything about your life. I just thought the emotion fit really well. The album has a story to it, and it's a great opener for that story.  

The track "These Walls" expands Dua’s voice in a way I haven’t heard her sing before. Could you walk me through the production of that song?

With that song, I didn't want to get in the way of the purity of the message. It’s very important to understand when a track does not need to be a production showcase, you are in service of the storytelling. 

It was all about making space for the great emotion of the song and having occasional moments of departure, and always being relevant to what is being said. When she says "Did you really mean it when you said forever?", the track disappears into a strange fantasy synth moment. That idea is [that] your mind might get taken away by the thought of forever, just for a moment, as a sort of impossible idea. That's what the music's doing — it takes you out and it lands you straight back into the track.

There’s also a moment of self-deprecating humor: "If these walls could talk / they’d say you’re f—ed.". Was that humor fostered by the close relationship all the songwriters had?

Absolutely. That kind of thing is often the most memorable bit of a song, if placed correctly in the most tasteful area. There’s a track on the yeule album Glitch Princess , where it’s these big Charles Ives chords I wrote. It sounds like it’s gonna be a nice piano ballad, but the first line is "feels like s—." [ Laughs. ] It takes you by surprise, but it fits with the mood of the track. 

With Dua, it’s tastefully placing it where it fits in the story, and that point in the chorus, it felt perfect. It also reminds me of this idea in the [software] engineering world: the rubber duck principle. They have a rubber duck there because engineers will want to ask a question, but often when you’re asking the question, you’ll realize the answer to it. The rubber duck is there so you can ask the question and it’ll tell you the answer because you already knew it. ‘These Walls’ reminds me of that; if these walls are saying I’m f—ed, you know you’re f—ed. 

The climax of the album is "Falling Forever." It’s super ballsy, and the drums are mixed so loudly. Tell me about how this track came to be.

It’s a beautiful one, that one. A great thinker said it sounds like a thousand galloping horses. That one came about in the sessions with [producer and songwriter] Ian Kirkpatrick . He came in with the chords you hear at the beginning, and I really enjoyed the idea of having a galloping rhythm. You don’t hear the gallop very often, I can’t think of one other song that’s done that in recent history. 

I also thought up the "how long" thing — I thought it would be fun to make the word ‘long’ really long. Those were my key contributions to the song. Ian Kirkpatrick, his drums are so fantastic. You’ve gotta let him get on with it. 

The vocals are also so close — there’s subtler production going on earlier in the album, but this song punches you right in the face.

It’s so great. It’s very much an approach that I have with singers where I want them to do a thing that makes their voice sound f—ing amazing. The first time I thought I achieved that with Caroline was with "Parachute," using everything her voice can do: the runs, the high register, the emotional low register. This is a showcase. "Falling Forever" does that with Dua. "These Walls" is an interesting comparison as well, it shows a real range of emotion that Dua is capable of in a way I find really exciting. 

It’s indescribable to hear her sing in the room. I had the privilege of having her recording demo vocals on an SM-7 [microphone] like this sitting in front of her. It is unbelievable to hear that: just a human making that sound in front of you, it’s like nothing else. It’s like witnessing a wonder of the world. Also to use the specific, occasionally metallic sound she can make with her voice, to use it when necessary as part of an expression of something, the way she phrases things is incredible as well. 

Does the message of Radical Optimism — of finding grace in the chaos — match the euphoria you want to explore in music?

There is a sense of melancholic euphoria as well, the Elizabethan side of things. I would say there's a Venn diagram of euphoria that fits with Dua. 

On the track "Happy For You," there are certain ravey things going on where Dua was like, "What’s that sound?" It’s these chords Kevin wrote, and I start stuttering them. 

Also the flute mellotron in the song "Maria," she was immediately like, "Yep: I love it." I was so happy because it’s so my thing, that cyclical melody. Also, the bit in "Illusions" before the chorus where it goes to a major chord before the chorus, I love the sound of the unexpected major chord. Having repeated moments like that, I think, was the reason why I was asked to stay on the project; we clearly had chemistry, but it was interesting how macro it was. 

That unexpected major chord moment also appears in your Eurovision song with Olly Alexander, doesn’t it?

I've written some more tracks with him that do that. I've really been enjoying that with Olly because his voice is so agile and can really make sense of more complicated chord sequences. 

Another thing I've been enjoying with him is when there's sparseness and letting the vocal melody spell out the harmony and maybe occasionally go minor and major over one bass note, which is something I really, really enjoy. 

I've always been a big fan of Olly Alexander, I’ve wanted to work with him my whole career. I believe I tweeted at him in 2009 saying hi. But I think people who like my stuff could hear that he has the kind of voice that I really like: a very virtuosic, melodic voice. [We] just had immediate chemistry, musically. We've written a fair amount of music and he’s a very exciting artist to be involved with. 

The UK has a pretty shaky track record with Eurovision. Did you feel any of that pressure?

No, there wasn't that thing in my head. I just love Olly’s voice. And collaborating with him is just fantastic. I've had ideas for Olly for years now, and it was a dream to be able to actually enact some of them.

What’s next in store for you?

My own album. I've got another one that I'm finishing up at the minute that I'm very excited about. It was delayed by two and a half years because I got all of my dream projects offered to me at the same time and I wanted to make sure that I did them all properly. But now I can get back to doing my own stuff. 

It feels so good to be back at the grindstone, sitting in my studio writing beautiful things, making beautiful objects to present to the world. It’s the dream, really.

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GRAMMY Rewind: Watch Lady Gaga Advocate For Mental Health Awareness During Her 2019 Win For "Shallow"

Lady Gaga accepts the Best Pop/Duo Group Performance award for "Shallow" from 'A Star Is Born' at the 2019 GRAMMYs while encouraging the audience "to take care of each other."

Between two award seasons, A Star Is Born received seven nominations — including Record Of The Year and two nods for Song Of The Year — and four wins for Best Compilation Soundtrack for Visual Media, Best Song Written for Visual Media twice, and Best Pop/Duo Group Performance.

In this episode of GRAMMY Rewind , travel to 2019 to watch Lady Gaga accept one of the album's first GRAMMY wins for Best Pop/Duo Group Performance for "Shallow."

After thanking God and her family for their unwavering support, Lady Gaga expressed gratitude for her co-star, Bradley Cooper . "I wish Bradley was here with me right now," Gaga praised. "I know he wants to be here. Bradley, I loved singing this song with you."

Gaga went on to express how proud she was to be a part of a movie that addresses mental health. "A lot of artists deal with that. We've got to take care of each other. So, if you see somebody that's hurting, don't look away. And if you're hurting, even though it might be hard, try to find that bravery within yourself to dive deep, tell somebody, and take them up in your head with you."

Press play on the video above to hear Lady Gaga's complete acceptance speech for A Star Is Born 's "Shallow" at the 2019 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album

As Dua Lipa continues the dance party she started in 2017, her third studio album sees the pop star more assured — and more starry-eyed — than ever before.

As someone who has dedicated her life to being a performer, Dua Lipa 's recent admission to Apple Music's Zane Lowe seems almost unfathomable: "I never thought of the idea of being famous."

Stardom may not have been on her mind as a kid, but Lipa is now, indeed, one of the most famous pop stars on the planet as she releases her highly anticipated third album, Radical Optimism . 

In the seven years since her acclaimed 2017 self-titled debut, Lipa has achieved several highs — like three GRAMMY wins, including Best New Artist in 2019 — as well as the subsequent lows that can often come with global stardom. And though the singer also admitted to Lowe that it "took me a while to find my voice," Radical Optimism is her most self-assured album yet — one that hinges on the title being not only the project's name, but also its defining approach to Lipa's present-day vision for her life.

" Radical Optimism and the way that I see it is this idea of rolling with the punches, of not letting anything get you down for too long. Of always seeing the positive side of things. Of being able to grow and move forward and change your perspective regardless of what's happening in your life…I think it's a big part of maturing and growing up."

The entire album was crafted in her native London over the course of a year-and-a-half, with Lipa enlisting a small band of collaborators — including her righthand co-writer Caroline Ailin , Kevin Parker of Tame Impala , Danny L. Harle and Tobias Jesso, Jr. — to create a cohesive, buoyant body of work tinged with disco, funk and bits of psychedelic pop.

Naturally, "radical optimism" is a core thread that runs through all eleven songs as Lipa reflects on falling in and out of love, grapples with her fame and confidently declares that everything that came before Radical Optimism was just a practice run. After all, as she brazenly declares on the LP's second single, "Training season's over." 

As you enter Dua's latest musical world, dive into four major takeaways from Radical Optimism below.

Radical Optimism Isn't Just A New Era — It's A Whole New Perspective

When Lipa accepted her GRAMMY for Best Pop Vocal Album in 2021, she declared she was officially done with the "sad music" that had fueled her breakout debut album. And if 2020's Future Nostalgia was, in context, a kind of clubby, '80s-driven turning point for the artist, she fully embraces the Radical Optimism promised by its follow-up's title. Lipa's newfound attitude is both clear-eyed and relentlessly positive across the album's 11 tracks, whether she's gushing over a new love on giddy opener "End of an Era," being kept up all night by thoughts of a seductive crush on "Whatcha Doing" or cutting her losses and ditching out early on the spellbinding "French Exit."

Even "These Walls," on which she watches a doomed relationship fade to black, is approached with a sense of inevitability laced with clarity and astute kindness. "But if these walls could talk/ They'd say enough, they'd say give up/ If these walls could talk/ They'd say/ You know you're f—ed/ It's not supposed to hurt this much/ Oh, if these walls could talk/ They tell us to break up," Lipa sings over gossamer production and a piano line by Andrew Wyatt .

You Can Still Find Her On The Dance Floor

The rollout for Radical Optimism was front-loaded with the release of three singles ahead of the full album in the form of "Houdini," "Training Season" and "Illusion." Between the three subsequent music videos and a thrilling live performance at the 2024 GRAMMYs in February, Lipa signaled that her third LP would be filled with her signature style of scintillating dance floor bangers.

The rest of the album more than delivers on that promise, with an overall BPM that rarely falls below what's needed for a full-blown aerobic workout — perfect for over-the-top choreography, of course. And in case the Service95 founder's commitment to the dance floor isn't already apparent, just look at the history-making hat trick she recently pulled off on the Billboard's Hot Dance/Electronic Songs chart: as of press time, "Houdini," "Illusion" and "Training Season" occupied the top three spots, marking a first for any female artist in modern music history.

She's Redefining Love On Her Own Terms

If the litany of love songs on Radical Optimism are any indication, it's safe to say Lipa is head over heels these days (with boyfriend Callum Turner, perhaps?). Opening track "End of an Era" may mark the beginning of a new musical journey for the singer, but it's just as much about the thrill of a new relationship. Later on the track list, she uses album cut "Falling Forever" to grow an initial spark of infatuation into a red-hot love affair as she yearns, "How long, how long/ Can it just keep getting better?/ Can we keep falling forever" on the lovestruck chorus.

Lipa also makes it clear on the shapeshifting highlight "Anything For Love" that she's "not interested in a love that gives up so easily." As she refuses to accept the modern paradigm of ghosting, non-committal situationships and running away when things get hard, the song morphs from a tender piano ballad into danceable, mid-tempo groove, giving the listener just enough breathing room to wrestle with the questions of what kind of love they'll accept before dancing it out.

She's Putting Her Emotional Growth On Full Display

It's been almost seven years since Lipa spelled out her "New Rules" for a generation of pop lovers, and some of the most affecting cuts on Radical Optimism prove the British-Albanian star has accrued even more hard-won wisdom since her early days of "If you're under him, you ain't gettin' over him."

Penultimate track "Maria" finds Lipa thanking the ghost of her current lover's ex-girlfriend for making him a better man: "Never thought I could feel this way/ Grateful for all the love you gave/ Here's to the lovers that make you change/ Maria, Maria, Maria." 

Meanwhile, on album closer "Happy for You," the singer turns her attention not to a lover's ex-girlfriend, but to an ex who's moved on from her and found himself happier than ever. It's a complex, but decidedly mature feeling to realize you're genuinely happy for someone you used to love, but Lipa encapsulates the emotion perfectly. 

"Oh, I must've loved you more than I ever knew/ Didn't know I could ever feel/ 'Cause I'm happy for you," she sings on the chorus. "Now I know everything was real/ I'm not mad, I'm not hurt/ You got everything you deserve/ Oh, I must've loved you more than I ever knew/ I'm happy for you."

The grown-up sentiment finishes the album on a bittersweet emotional high — proving that no matter what life throws at her, Lipa will remain radically and unapologetically optimistic to the end. 

GRAMMY Rewind: Dua Lipa Champions Happiness As She Accepts Her GRAMMY For Best Pop Vocal Album In 2021

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• Latest News

‘Prophets Seers & Sages’ & ‘My People…’: T. Rex’s Four-Year Run To No.1

‘hey girl’: the small faces think big with their first self-written hit, ‘long live rock ‘n’ roll’ album: long live rainbow in uk top ten, ‘the colour in anything’: how james blake found his futuristic soul, ‘the single factor’: a camel classic that wears its years lightly, ‘zappa in new york’: frank zappa plays new york, and wins, ‘electriclarryland’: how the butthole surfers scored an unlikely hit, aaron parks’ acclaimed ‘invisible cinema’ set to make vinyl debut, lana del rey announces first ever u.s. stadium headline show, loyle carner announces ‘hugo’ reimagined from the royal albert hall, petey returns with new single ‘the river’ ahead of acoustic ep, imagine dragons team up with j balvin for new version of ‘eyes closed’, alis huws, the official royal harpist, signs with decca classics, tomorrow x together, seventeen, and more to star on ‘now that’s what i call k-pop’, shania twain announces vinyl release ‘greatest hits summer tour edition 2024’.

The limited edition release will arrive on June 28.

Published on

Shania Twain has announced a special edition vinyl release, Greatest Hits Summer Tour Edition 2024 . In celebration of Shania’s biggest summer yet with massive shows across the UK and Ireland, this new super limited edition vinyl highlights a variety of Shania’s best-selling records.

Some of these hits include the 2024 remastered versions of multi-platinum chart smashes such as “Man! I Feel Like A Woman!,” “That Don’t Impress Me Much,” and “You’re Still The One,” as well as the single “Giddy Up!” from her latest UK No.1 album, Queen Of Me . Greatest Hits Summer Tour Edition 2024 will be available on June 28 and is available to pre-order now.

The release of Greatest Hits Summer Tour Edition 2024 will come just days before Shania’s highly anticipated performance on the iconic Glastonbury Pyramid Stage in the “Legends” slot, as part of her extensive UK and Ireland summer tour.

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The tour also includes stops in Cork, Belfast, Dublin, Stirling, Lytham St Annes, and Chepstow, which marks Shania’s first performance in Wales. Shania will then bring her UK & Ireland summer shows to an epic close in London for BST Hyde Park.

Shania’s 1997 single “Honey I’m Home” opens Side 2 and features on the LP’s artwork. Shania said regarding the track, “‘Honey I’m Home’ seemed fitting for this album cover. I love being in the UK so much and this huge run of festivals feels like a homecoming for me – what an honor and a joy!”

The UK and Ireland dates follow the first leg of Shania’s forthcoming Las Vegas residency, Come On Over – The Las Vegas Residency – All The Hits! , which she will perform at the Bakkt Theater at Planet Hollywood Resort & Casino until December 2024.

Shania Twain continues to be one of the world’s most popular artists, with over 100 million global album sales and 330 million streams in the UK alone.

Pre-order Greatest Hits Summer Tour Edition 2024 .

May 3, 2024 at 9:54 pm

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‘i saw the tv glow’, ‘evil does not exist’, ethan hawke’s ‘wildcat’ & anita pallenberg doc debut, can they give indies a bump – specialty preview.

• ‘The Fall Guy’ Expands To $65M WW, ‘Garfield’ Pounces On $22M In Early Offshore Bow – International Box Office

By Nancy Tartaglione

Nancy Tartaglione

International Box Office Editor/Senior Contributor

More Stories By Nancy

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• Universal Music Group Catalog To Return To TikTok As Companies Strike New Licensing Agreement

After debuting early last weekend , Universal’s The Fall Guy expanded to 78 overseas markets during its sophomore session, adding $25.4M for a running total of $36.9M at the international box office . That’s in line with Bullet Train and above The Lost City at the same point in release. Globally, the David Leitch-directed action romance is at $65.4M . 

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Mexico  opened to $2.5M at No. 2 across 1,607 screens. The Fall Guy  performed best in high-attendance and middle-to-high income theaters from main and second tier cities, with strong indexing from VIP sites at 18.1% of admissions.

France  debuted with $2.3M, ranking No.2 in the market behind local breakout  Un P’tit Truc en Plus . The opening, excluding previews, is above  The Lost City . Word of mouth is positive with a 3.8 from AlloCiné audiences. There are staggered school holidays afoot and next week includes a five-day weekend.

Germany was a No. 1 launch with $1.9M and amid chaotic weather. Despite the rough conditions, the weekend result excluding previews is in line with  The Lost City  and  Bullet Train . Reactions and word of mouth are positive .

Italy  opened with $1.4M at No.2 in the market; a strong run is expected. Korea  started with $1.1M, ranking No. 3 behind local blockbuster  The Roundup: Punishment and  Kung Fu Panda 4 . Sunday evening was boosted by the national holiday on Monday, with a view on a good run ahead. The weekend, excluding previews, is in line with  Bullet Train , and well above  The Lost City .

In Australia , the hold was -35% with another No. 1 while Netherlands  was down just 26% from opening last session.

The IMAX global cume is $5.5M. China releases May 17 and Japan on August 16.

Sony/Alcon Entertainment’s The Garfield Movie pounced on a $22M start overseas, getting out ahead of domestic in 18 markets. This is just 35% of the international paw print. The lasagna-loving feline is currently tracking 76% bigger than  DC League of Super Pets,  41% higher than  Puss in Boots: The Last Wish and on par with  The Secret Life of Pets 2  for the same group of markets at current exchange rates. 

Mexico  roared to a six-day gross of $8.4M, followed by Spain with $3.2M over five days (the market’s biggest animated launch since Super Mario last year),  Brazil  at $2.2M, Italy  with $1.6M and Peru at $1.3M.

With the bulk of overseas markets still to release, Garfield , voiced by Chris Pratt, will be padding into cinemas through August.  

In holdover play, Warner Bros/Legendary’s Godzilla x Kong : The New Empire added another $9.8M in 78 markets, another solid 40% drop and bringing the offshore cume to  $358.8M . Worldwide, the running total is  $546.9M . In the second frame in Japan , the monsters slid just 34% for a cume to date of $7.5M. Here are the Top 5 markets through Sunday: China ($131.3M), Mexico ($33.2M), UK ($17.5M), India ($15.2M) and Australia ($12M).

After crossing $500M global last weekend, Universal/DreamWorks Animation’s Kung Fu Panda 4 pocketed another $7.7M for a running overseas cume of $331.7M . The performance excluding China is in line with  Zootopia  and above  HTTYD3  and  KFP2  at the same point. The international box office has also topped KFP3 and Sing 2 as well as Ice Age: Collision Course . Worldwide, the total so far is $520M .

Notably, China  enjoyed 36% uplift in weekend 7, boosted by the Labor Day national holidays that ran from Wednesday to Sunday. With $50.2M as it heads into further extended play that will stretch to June 21, the fourquel has topped the market lifetimes of  Incredibles 2, Spider-Man: Across The Spider-Verse , Despicable Me 2, Frozen ,  Finding Dory ,  Sing, Toy Story 4, Moana  and  Minions: The Rise of Gru. The current performance is in line with  HTTYD3  at the same point. Top 5 markets to date are China ($50.2M), Mexico ($35.8M), UK ($25.4M), Germany ($16.2M) and France ($15.4M).

Luca Guadagnino’s Challengers scored another $7.5M for a great 24% dip in the holdover markets. The international cume is now $22.8M for $52.2M global. The Amazon MGM Studios pic, released by Warner Bros overseas, debuted in Netherlands this session, serving up $485K on 125 screens. This is the best start for the director in the market and is tracking ahead of Past Lives (+53%), Air (+77%), Licorice Pizza (+194%), King Richard (+203%) and Battle of the Sexes (+619%). Japan is set to release on June 7 th .

Here are the Top 5 to date: UK ($4.4M), Italy ($3.3M), France ($2.3M), Australia ($2M) and Mexico ($1.6M).

Celebrating its 25th anniversary, Star Wars: Episode I – The Phantom Menace was released domestically and in 30 overseas markets this weekend. Combined, they grossed $14.5M worldwide. Of that, $6.4M is from international. The young Anakin Skywalker sped to No. 2 in the UK and Germany most notably. There were also Star Wars marathons over the weekend (which included May the Fourth) in Australia and France. In Japan, most shows at key theaters in the Tokyo metro areas were full houses.

Korea ’s smash The Roundup: Punishment has now reached $55.8M in the market.

MISC UPDATED CUMES/NOTABLE * Tarot (SNY): $3.7M intl weekend (26 markets); $3.7M intl cume/$10.4M global Ghostbusters: Frozen Empire (SNY): $3M intl weekend (62 markets); $85.2M intl cume/$195.1M global Dune: Part Two (WB): $1.5M intl weekend (62 markets); $426.9M intl cume/$708.3M global Abigail (UNI): $1.1M intl weekend (66 markets); $12M intl cume/$34.7M global  Spy x Family Code: White (SNY/CR): $733K intl weekend (32 markets); $6.6M intl SNY cume/$14.4M global * Denotes new

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Chargers News: Joe Alt Pick Earns Only Modest Praise from Key Pundit

Los Angeles' top selection is not getting rave accolades across the board.

• Author: Alex Kirschenbaum

In this story:

The Los Angeles Chargers, though in need of plenty of help at the receiver and running back positions (to be fair, those were eventually addressed, too), opted to go for a very Jim Harbaugh-esque smash mouth pick in the first round of the 2024 NFL Draft, selecting former Notre Dame offensive tackle Joe Alt.

How is the world handling the pick?

Many around the league are excited for the upside of the 6-foot-9 All-American, and see him as a great potential protector for Pro Bowl quarterback Justin Herbert.

Alex Insdorf of Chargers Wire , however, while a fan of the pick overall (he awards it a B+ in a new grading), wonders if forgoing a top-tier wideout prospect in the first round for a good-but-flawed second rounder (Georgia's Ladd McConkey) was the right play.

"Despite rumors of picking JC Latham or a potential trade out of their selection, the Chargers stuck and picked Alt at five," Insdorf notes. "He was the team’s top player on the board. If they truly believed that Alt was that kind of an impact player, there was no wide receiver or Trey Pipkins contract that was going to change their mind."

"Alt allowed just five pressures and one sack last season. He was, without a doubt, the best tackle in the draft. Assuming the Chargers extend Rashawn Slater, they’ll have right and left side 'tips of the spear,' as Harbaugh would say on the offensive line," Insdorf continues.

"With ideal size, great functional and testing athleticism, and good tape, Alt was a blue-chip prospect," Insdorf writes. "The question for the next number of years will be whether he was the right one. The Chargers passed on two dynamic wide receivers, Malik Nabers and Rome Odunze, to draft a presence like the former Notre Dame product on their offensive line."

"There will also be questions about switching to right tackle. Alt has worked with Alex Boone in the predraft process about a potential conversion given that he played left tackle in college," Insdorf adds. "The front office and leadership seem fairly confident that he’ll be able to make the switch."

On this last point — the aforementioned Rashawn Slater will get first dibs at left tacke, meaning Alt will be required to adjust positions.

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