BY GIL KAUFMAN

Hometown hero Chance the Rapper joins Arcade Fire, Lorde, Muse and The Killers as one of the head-liners of this summer’s Lollapalooza 2017 in Chica-go. The festival returns to Grant Park from Aug. 3-6 with a typically stacked four-day lineup that will also feature The XX, Blink-182, DJ Snake, Justice, alt-J, Cage The Elephant, The Head and The Heart, Ryan Adams, Liam Gallagher, Phantogram and Spoon, as well as up-and-comers Rag’n’Bone Man, Maggie Mae, 6lack, Sampha and Jain.

It’s the third go-found for Arcade Fire, who first played in 2005, then again in 2010 and it marks their first announced headlining gig in the U.S. so far this year. It will also be the third headlining slot for UK rockers Muse, who previously played on the Chicago lakefront in 2007 and 2011 and lucky number three for Chance, who has played two smaller stages before. Lorde, whose second album, Melodrama, is due out on June 16, will be hitting the main stage for the second time.

Hip-hop in general will be represented in one of the strongest ways in the fest’s 13-year history in

Chicago, with acts including: Wiz Khalifa, Run the Jewels, Big Sean, Rae Sremmurd, Migos, Lil Uzi Vert, Lil Yachty, 21 Savage, Joey Bada$$, Noname, Russ, Machine Gun Kelly and Amine, while the EDM vibe is, as usual, very strong thanks to Kaskade, Porter Robinson, Zeds Dead, Crystal Castles and a number of others.

Other acts on the list include: Hippo Campus, Foster the People, Tegan and Sara, Kaleo, Cloud Nothings, Glass Animals, Vance Joy, Mac DeMarco, Banks, Sylvan Esso, Royal Blood, Warpaint, The Shins, Tove Lo, Milky Chance, Grouplove, Charli XCX and London Grammar.

Four-day General Admission tickets are already sold out, but a limited number of one-day GA Tickets ($120 + fees), 1-Day VIP Tickets ($650 + fees), and, for the first time, one-day Platinum Tickets ($2,800, fees included) will be available for purchase today (March 22) at 10 a.m. CT. A limited number of four-day VIP Tickets ($2,200 + fees), four-day Platinum Tickets ($4,200, fees included) and Official Hotel Packages are also available at Lollapalooza.com.

https://www.lollapalooza.com

INSIDE Lorde, Muse, The Killers, Arcade Fire & Chance the Rapper to Headline Lollapalooza 2017

Details Emerge on Chuck Berry’s Final Album ‘CHUCK,’ New Single ‘Big Boys’ Drops: Listen

Record Store Crawl 2017: Dates Set for NYC, Seattle and More U.S. Cities

Ed Sheeran Continues to Top Billboard 200, Hot 100 & Artist 100 Charts Simultaneously

Clive Davis Talks Country Music’s Rise and the ‘Eye-Opening’ Culture of Nashville

Iggy Azalea Joins Maroon 5 on Career Artist Management Roster

A D I G I TA L V E R S I O N O F E V E RY I S S U E , F E AT U R I N G : COV E R STO R I E S . S P E C I A L R E P O RTS . R E V I E W S . I N T E RV I E W S E V E N T COV E R AG E & M O R E

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May 14, 2016 | billboard.com CHILDREN

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DIGITAL NEWSLETTERSDigital and Mobile • Touring • Record Labels • Retail • Global •

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[In Brief]Details Emerge on Chuck Berry’s Final Album ‘CHUCK,’ New Single ‘Big Boys’ Drops: ListenBY LARS BRANDLE

Chuck Berry’s final album will get a release June 16 through Dualtone Records and, as expected, will go by the title CHUCK.

The rock ‘n’ roll legend’s posthumous set, his first new album since 1979’s Rock It, will feature guest performances from the likes of Gary Clark Jr., Tom Morello, Nathaniel Rateliff, and the showman’s grandson Charles Berry III and is comprised of 10 new recordings, eight of which were written by Berry.

Ahead of its release, Dualtone shared the CHUCK tracklist and the new single “Big Boys,” a raw blues-rock number with a “Johnny B. Goode”-esque riff which can be streamed below. Other tracks on the album include “Darlin,’” “Jamaica Moon” and “Lady B. Goode,” a so-called “spiritual sequel” to his iconic “Johnny B. Goode” from 1958.

Berry, who died March 18 at the age of 90, recorded and produced the new set in various studios around St. Louis with his longtime hometown backing group, including his children Charles Berry Jr. (guitar) and Ingrid Berry (vocals, harmonica), plus Jimmy Marsala (Berry’s bass player for 40 years), Robert Lohr (piano), and Keith Robinson (drums).

The news that Berry would break a four-decade hiatus from releasing studio albums came on Oct. 18, 2016, the Rock and Roll Hall of Famer’s 90th birthday.

Chatter on the project had gone quiet, however, until Berry’s family released a statement on Monday morning (March 20) to confirm its existence and to reveal the “great sense of joy and satisfaction” the late guitarist and singer had working on the LP. Friends and family lucky enough to score an early listen have praised its contents. Joe Edwards, the owner of the Blueberry Hill club in St. Louis where Berry performed regularly, said the tracks he heard from it are “sensational.” Berry had enlisted Edwards to ensure the album was completed and brought to market, according to a statement issued by Dualtone,

Charles Berry Jr. says working with his father on the recording “has been one of the best experiences of my life.” He adds, “I will forever treasure the musical

conversations we had, and the time we spent together completing it.”

‘CHUCK’ Track List:“Wonderful Woman”“Big Boys”“You Go To My Head”“3/4 Time (Enchiladas)”“Darlin’”“Lady B. Goode”“She Still Loves You”“Jamaica Moon”“Dutchman”“Eyes Of Man” https://youtu.be/d8Zoh-apWRE

Record Store Crawl 2017: Dates Set for NYC, Seattle and More U.S. CitiesBY ANDY GENSLER

On the eve of the launch of its on-demand premium service, Pandora executives told Wall Street analysts that it While most of us have heard of -- and perhaps inadvertently

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Chuck Berry

The Father of Rock ’n’ Roll 1926–2017

Your music will live forever

UMG CHUCK BERRY ADBILLBOARD

Size: Trim: 10” x 13” | Bleed: 10.5” x 13.5” Colors: CMYK

1

partaken in -- pub crawls, here is something perhaps a little more socially redemptive: the second annual Record Store Crawl.

The event will enable music fans to hit a number of music retail outlets in select cities by bus while taking in live performances, imbibing food and drink, receiving a gift bag, limited edition items and discounts while enjoying the bonhomie of fellow vinyl enthusiasts.

The first crawl kicks off in New York City on April 22 (Record Store Day) with subsequent dates to follow between June and August in Minneapolis, Phoenix, Chicago, Rochester, Seattle, Los Angeles, Birmingham, Washington DC, Austin, Portland and Nashville (dates below).

Tickets for Record Store Crawl range from $34.95 to $59.95, and can be purchased here.

Bands confirmed to perform at select Record Store Crawl dates include: Savoire Adore (Nettwerk Records); Craig Brown Band (Third Man Records); Four By Fate (The End Records); The Sweeplings (Nettwerk Records), Angelica Garcia (Warner Bros. Records), Ryan Kinder (Warner Music Nashville), and Steff and the Articles (independent), and more to be announced.

The full Record Store Crawl itinerary will be revealed the week of each journey

The Record Store Crawl 2017 schedule is as follows:

4/22 – New York, NY6/10 – Minneapolis, MN6/17 – Phoenix, AZ6/24 – Chicago, IL6/24 – Rochester, NY7/8 – Seattle, WA7/22 – Los Angeles, CA7/29 – Birmingham, AL7/29 – Washington, DC8/6 – Austin, TX8/12 – Portland, OR8/26 – Nashville, TNRecord Store Crawl is presented in

partnership with Pabst Blue Ribbon. http://www.recordstorecrawl.com

Ed Sheeran Continues to Top Billboard 200, Hot 100 & Artist 100 Charts SimultaneouslyBY GARY TRUST

Ed Sheeran is the top musical act in the U.S., holding atop the Billboard Artist 100 chart (dated April 1), as his album ÷ spends a second week at No. 1 on the Billboard 200 and its lead single “Shape of You” scores an eighth week atop the Billboard Hot 100. Sheeran leads the Artist 100 for a fourth total week.

The Artist 100 (which launched in July 2014) measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay, streaming and social media fan interaction to provide a weekly multi-dimensional ranking of artist popularity.

Impressively, Sheeran is the fifth artist to dominate the Billboard 200, Hot 100 and Artist 100 simultaneously, with all five now having tripled up for multiple weeks each. Before Sheeran’s two-week trifecta, Taylor Swift ran up seven such triple-threat weeks in 2014-15, followed by The Weeknd (two, 2015), Adele (six, 2015-16) and Drake (a record nine, 2016).

Sheeran’s album ÷ paces the Billboard 200 for a second week, with 180,000 equivalent album units in the week ending March 16, according to Nielsen Music (down 60 percent from its 451,000-unit debut, the most for an album in 2017). On the Hot 100, the set’s lead single “Shape of You” reigns for an eighth week. On the Artist 100, album sales account for the greatest share (42 percent) of Sheeran’s overall activity.

Rounding out the latest Artist 100’s top five, Metallica rises 4-2, revisiting its highest rank, as its album Hardwired...To

Self-Destruct is the Greatest Gainer at No. 2 on the Billboard 200; Bruno Mars dips 2-3; Future falls 3-4; and The Weeknd is steady at No. 5.

Check out this week’s entire Artist 100 here.

http://www.billboard.com/charts/artist-100

Clive Davis Talks Country Music’s Rise and the ‘Eye-Opening’ Culture of NashvilleBY TOM ROLAND

His career is inextricably linked to Santana, Janis Joplin, Barry Manilow, Chicago and Aretha Franklin -- artists he signed or rein-vigorated over the last five decades.

But Sony chief creative officer Clive Davis, a native New Yorker by birth, has a little Nashville in him, too. Johnny Cash’s peak crossover years in the 1960s took place with Davis at the helm of Columbia’s pop division. Davis also pulled the trigger to make Lynn Anderson’s “Rose Garden” a pop hit; established Arista’s country division in 1989, building a platform for the careers of Alan Jackson, Brooks & Dunn and Brad Paisley; and had a special place in his heart for Whitney Houston, whose signature hit was a reinterpretation of Dolly Parton’s “I Will Always Love You.”

A new documentary, Clive Davis: The Soundtrack of Our Lives, premieres April 19 at Radio City Music Hall in New York, and a month before its debut Davis flew to Nashville for a 90-minute Q&A during the professional-education program Leadership Music, held March 14 at the Country Music Hall of Fame. Davis, who says he built Arista around the “Nashville model” that makes the song the central focus, spoke to Billboard Country Update following his appearance at the event.

Billboard: What is your sense of the

[In Brief]

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His integrity and passion for musical excellence were second to none.

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personality of Nashville compared to New York and Los Angeles?

Clive Davis: You feel music much more in Nashville, because it’s concentrated in Music Row and the surrounding environs. When you come to New York with its huge population and multifaceted businesses, you don’t walk into the city and say that it’s a music town. Not that it’s not -- obviously, whether it’s Lincoln Center or CBGB or Max’s Kansas City or any of the [other] places -- but you really feel music in Nashville.

I got the impression from what you said on stage today that you were interested in Nashville from the beginning. Why?

I was. It was eye-opening. It was different to experience the culture of respect for the fans. Fan Fair [now the CMA Music Festival] was a revelation. It was an absolute revelation to see the biggest stars mixing and sitting, and not just taking photos but really entering into real dialogues. When I took over, Monterey [Pop Festival, where he signed Joplin] was 1967. In 1969, Johnny Cash, [with] him breaking out of pure country with his Folsom [and] San Quentin [prison albums], with his relationship with [Bob] Dylan -- it was exciting. And that at least helped play a role in expanding those records that could become standards -- not just country standards, but national standards.

Country music has exploded in the last few decades in unprecedented ways. What do you think the genre has been doing right?

I don’t think there’s a [single] philosophy. My impression is the tugging and pulling -- how pure you can stay in country music, how you can aspire to be affected by or infiltrate other genres. I don’t think there’s a philosophy that governs. It just happens.

It was 1989 when you started Arista’s Nashville office. I’ve always been curious why you didn’t start it in 1980 or 1981 when the Urban Cowboy thing was happening.

Building Arista into a major was such a priority, and it was too early to even diffuse the laser-beam intensity. Do I have the time if [I’m] needed? It turned out I picked the right guy, and I was utilized when appropriate, but it was really [division

chief ] Tim DuBois who built the office and picked the people. Before I chose him, I figured it might be a much larger amount of time that was required. [Founding Arista in] 1975 to ’81 was only six years. You have to be ready to go into Nashville. It’s an important area, it’s an important part of music. You’ve got to do it when the time is right, and I felt it was right in ’89.

When you picked DuBois you had six candidates, and he was untested in that role. What set him apart and made him worth taking a risk on?

You instantly feel he’s a natural teacher, and has common sense and intelligence to go along with a musical background. It was not just a first impression. [But] it’s not the end all, be all. Part of it is just crossing your fingers and hoping that it’s the right person based on two or three get-togethers. Turned out he was.

Reversing that, what did they see in you? Did you ever look back and ask, “Why did they give me the keys [to Columbia]? Why did they trust me?”

First of all, it wasn’t “they.” It was [Columbia Group president] Goddard Lieberson. A&R was sacred to him, and marketing was a separate domain. There were several powerful figures in the organization who would fight, might fight, for the soul of the company, whether it’d be sales-oriented or A&R/creative, and I think he saw me as someone who could [provide] balance.

It sounds like Lieberson thought you could be Switzerland between these divisions.

Yeah, because I had no particular line of strength. And he knew that I liked music... He had never seen a lawyer on opening night at every Broadway show that he was [at].

Alan Jackson was the first Arista country signing, and Brooks & Dunn came along shortly after that. Those two acts had such longevity. What’s the difference between them and some of the other artists from the same time period?

The major difference -- and not just in country, but in music -- is their body of work. In the case of Alan Jackson, it’s not that he dominated the stage, but his writing

-- it’s like Dylan’s almost. The writing was so exceptional. The combination -- he was good-looking, the ladies all liked him, yet he represented a male perspective. And I think he’s one of the great songwriters of whatever generation you’re putting him in. Brooks & Dunn... again, the songwriting -- they were able to write aching, beautiful ballads and then kick-ass, uptempo numbers.

Nashville sometimes feels it’s misunderstood by the other music capitals. When Donald Trump got elected, a common perception by people on the coasts is that they didn’t understand what was happening in Middle America.

Do you feel there’s a lesson in there in terms of how even music marketing people view Middle America and how they deal with Nashville?

I’m not sure Nashville has to be understood by the rest of America. It has been a wonderful source of music for decades and decades and decades, with originality and creative input from writers that create a distinctive brand of Americana. It’s quite different -- not quite as international as pop music, but I don’t think Nashville has to worry about the rest of the country.

This article first appeared in the Country Update newsletter. Sign up for it here.

http://link.billboard.com/join/38q/bb-signup

Iggy Azalea Joins Maroon 5 on Career Artist Management RosterBY SHIRLEY HALPERIN

Iggy Azalea, the multi-platinum Def Jam Recording artist who announced Monday in revealing fashion that her new single “Mo Bounce” will drop on Friday, has signed a management deal with Jordan

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Feldstein’s Career Artist Management, Billboard has learned.

The 26-year-old Australian rapper, model and songwriter joins a roster that includes Adam Levine and Maroon 5, along with Big Boi, Miguel, Elle King and Robin Thicke.

“Mo Bounce” will arrive just three weeks after Azalea’s single “Can’t Lose,” featuring Lil Uzi Vert, dropped and will be included on her long-awaited upcoming album Digital Distortion. For the announcement, Azalea created a game where she posted images that, when assembled correctly, showed posterior-revealing cover art (below). She also posted a “twerk-out clip.”

Azalea (née Amethyst Amelia Kelly) seemed to own 2014, as her album The New Classic exploded and the rapper landed three top 10s hits on the Billboard Hot 100: “Fancy,” which lived at No. 1 for seven weeks; “Problem” (Ariana Grande featuring Azalea) peaking at No. 2; and “Black Widow” featuring Rita Ora at No. 3.

She also had six top 10 hits on Hot Rap Songs, including “Fancy,” which tied with Missy Elliott and Drake for the longest run at No. 1 on the chart at 18 weeks. Azalea is also the only solo artist to have both a No. 1 and No. 2 in the same week on the Hot 100 with her first two chart hits (“Fancy” and “Problem,” which went No. 1 and No. 2, respectively, on the June 7, 2014, chart), a feat only The Beatles have matched.

According to Nielsen Music, she’s sold 595,000 albums, had 10.1 million digital downloads in the U.S. to date and earned 1.2 billion on-demand streams.

CAM was founded in 2005 and is based in Live Nation’s Beverly Hills headquarters.

https://twitter.com/IGGYAZALEA/status/843266503231201280?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fbusiness%2F7735532%2Figgy-azalea-career-artist-management

Ukraine Bans Russia’s Pick for Eurovision ContestBY VLADIMIR KOZLOV

Ukraine has banned Yulia Samoilova, Rus-sia’s entry in the Eurovision song contest, from entering the country, ruling out her participation in the contest.

“The Security Service Ukraine [SBU] banned Russian citizen Yulia Samoilova from entering the territory of Ukraine for three years,” Yelena Gitlyanskaya, a representative of SBU, was quoted as saying by Russian news agency Interfax.

SBU explained its decision by the fact that back in 2015, Samoilova (also known as Yuliya Samoylova) performed in Crimea, a peninsular region annexed by Russia from Ukraine.

As soon as the 27-year-old, wheelchair-bound Samoilova was selected as Russia’s participant with the song “Flame is Burning,” information about her Crimean performance soon was revealed, and SBU launched a probe to determine whether it was correct.

Some Ukrainian politicians and officials said that Russia had deliberately chosen Samoilova to represent the country to provoke controversy.

“We have to respect the local laws of the host country, however we are deeply disappointed in this decision as we feel it goes against both the spirit of the contest, and the notion of inclusivity that lies at the heart of its values,” the European Broadcasting Union (EBU), Eurovision’s organizer, said in a statement sent to Billboard.

“We will continue a dialogue with the Ukrainian authorities with the aim of ensuring that all artists can perform at the 62nd Eurovision Song Contest in Kyiv in May,” it added.

Meanwhile, Russia reacted angrily to Ukraine’s decision. Frants Klintsevich, deputy head of the defense and security committee at the Federation Council, the

upper chamber of Russian Parliament, was quoted by newspaper Moskovski Komsomolets as saying that Russia will boycott all subsequent Eurovision editions unless EBU condemns the ban of Samoilova.

Earlier this week, there were also reports that Armenia’s entry, Artsvik Arutunyan, is also facing scrutiny from SBU over an alleged visit to Crimea, which Ukraine considers an occupied territory, and is also facing a ban from performing at Eurovision this year.

J Balvin, Horacio Palencia Get Top Honors at 2017 BMI Latin Music AwardsBY GRISELDA FLORES

The rain didn’t stop Latin superstars from attending the annual BMI Latin Music Awards on Tuesday (March 21) at the glam-orous Beverly Wilshire Hotel in Beverly Hills, where J Balvin, Horacio Palancia, Ar-bise “Motiff ” González and José “Gocho” Torres were among the top winners of the night.

Horacio Palencia won regional Mexican song of the year for his hit “Solo con verte” (Banda MS) and was also awarded with the regional Mexican songwriter of the year for the sixth time.

Balvin won BMI contemporary Latin song of the year for his chart-topping track “Ginza.”

Both Gocho and Motiff received the BMI contemporary Latin songwriter of the year honor for penning three of the year’s top ranking tracks.

The iconic East L.A. band Los Lobos, whose career spans more than four decades, was honored with the special BMI Icon Award and celebrated by taking the stage and performing a medley of their

[In Brief]

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classic tunes. For the second year in a row, the BMI

Latin publisher of the year award went to Sony/ATV Music Publishing with 14 songs among the most popular of the year, including Gente de Zona’s “La gozadera,” Ricky Martin’s “La mordidita” and Yandel’s “Encantadora.”

For a complete list of 2017 BMI Latin Awards winners, please visit here.

https://www.bmi.com/news

Chuck Berry’s Guitarist Billy Peek Looks Back on 50 Years of Music and FriendshipBY JEM ASWAD

Billy Peek is the rare musician who knew and performed with Chuck Berry for dec-ades. They first met in the late 1950s, and Peek performed with him regularly from the late 1960s through the mid-1970s, when he joined Rod Stewart’s band, who said, “If his rock ‘n’ roll playing was good enough for Chuck Berry, it was probably good enough for me.” But the St. Lou-is-bred guitarist reunited with Berry often, touring with him in 1983 and sitting in during his sets regularly, right up until the end: Peek even backed Berry for his last four shows in 2014.

He shared some memories with Billboard. An edited transcript is below.

Chuck Berry was my idol from the first time I heard “Maybelline.” In 1958, I opened for him at a place in St. Louis called Casa Loma, and the next year I was playing at a club in town and Chuck came in and sat down and listened -- I was shocked -- and he did it a few times over the next few years. I’d be intimidated because I [covered] a lot of his material, so I wouldn’t play any of his songs when he was in the house.

One night he came in and the waitress came over and said, “Chuck Berry wants you to come to his table.” So I go over and I’m nervous and he says, “Billy, I really admire your playing. Would you be interested in playing at my park, Berry Park in Wentzville” -- it was like a country club, with membership. I said absolutely, one thing led to another, and I played out there for quite a while. During that time he would sit in occasionally, and through that we became a little closer personally and musically.

I went to California in 1965 and I didn’t see Chuck until I came back to St. Louis in ’69. I was playing a club and he came in one night and said, “Billy I’ve got a gig for you, a rock and roll revival concert, but there’s a catch -- you’ll have to back all the other acts: Gary U.S. Bonds, Bo Diddley and Jerry Lee Lewis.” I said, “Okay, I’m game.” I guess that was my test, because then he started taking me out on almost everything. He kinda took me under his wing and made me his protégé; he was already my mentor.

We were playing Las Vegas one Friday night in ’72, and in strolled Elvis. He came back the following night with Sammy Davis Jr. The rumor was -- and I don’t know if this is true -- that as he was leaving, someone heard him say to one of his bodyguards, “You just saw the real king of rock and roll.”

Chuck was one of those guys who didn’t have an entourage or a manager or anything, he just went out and got his money himself. He got half in advance and the other half in cash right before he would play the job. We ran into some problems with that in a lot of places. One time we played Green’s Playhouse in Glasgow, a 4,000 or 5,000-seat auditorium, and we went to the back and the guy started counting out the money -- and it was in Scottish Pounds. Chuck said, “I ain’t gonna take that Monopoly money! It’s gotta be dollars!” This was on a Sunday and it took the guy about four hours, but somehow he did it. These kids in the theatre were getting so aggravated from waiting that they were tearing the place up, but in the end Chuck did a terrific show and

everybody was happy. On that same tour we were in

Bournemouth, England, and we stopped at this Chinese restaurant and the owner was a big fan, so he laid out this big spread. Chuck said, “This guy is really nice, after our concert tonight I’m gonna do a show here in the restaurant.” The owner was beside himself and said he was gonna get the word out. We came back after the show and it was jam-packed, tons of people outside. So we did this little show and everybody went crazy, and after it was over the owner had a table for us and put out another big spread, said it was the biggest night he’d ever had and was praising Chuck. And as we were getting ready to leave he praised Chuck again and then said, “Here’s your bill” -- for both the night and the afternoon. Chuck was like, “See Billy? You see how people are?”

He was really nice to me the whole time I knew him. I always heard how difficult he was and rotten to work for, but that was never true with me. I don’t know why, I’ve never known why, I never questioned it. One time we played a gig in Oklahoma and we got to the auditorium and the promoter had a sad look on his face and said, “Mr. Berry, this show was poorly promoted and advertised and we’ve only sold 400 tickets [for 12,000-capacity auditorium]. I’m not gonna have a man of your stature play for 400 people, so here’s your money.” And Chuck said -- and I saw this --“You’re a good person, here’s your money back. We’ll try it some other time.” It was a big sum, like $20,000, I think -- and he paid me and the band, too.

But I’ve also seen him where promoters got heavy with him and he got heavy right back. One time we were touring in Italy and we walked into this arena and Chuck looked around and said “Why are all these cameras here?” This guy came up, dressed to the nines in a silk suit, “Hi Mr. Berry, I own this place.” Chuck said, “What’s with the cameras?” The guys said, “This is a small theater, so to defray your costs we’re going to televise the show.” Chuck said, “Okay, that’ll cost you $10,000 more.” And the guy was like a cartoon, you could see the red coming up in his face. He gave

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Chuck the money and we did the show. But when we went back to the hotel, I hadn’t been asleep an hour before there was a knock on the door and it was Chuck: “Billy, pack your bags, we’re leaving for the airport right now.” He had found out that this guy was gonna try to get his money back when he took us to the airport the next morning.

Touring with Chuck was always an adventure.

The last time I saw him was the last gig he did -- October 15, 2014. It was getting kinda rough. He’d been playing [a residency at St. Louis club Blueberry Hill since 1996], and Chuck used to call me up onstage to play a number or two when I’d see him there. But toward the end, he only played one night a month. For the last four gigs, [club owner Joe Edwards] called me up and said, “Could you come in and play the whole night and kinda help out Chuck,” because he couldn’t remember all the words. So I played with him the last four times at Blueberry Hill, and I’ve got some great pictures -- one of them was the last time he did [his trademark] duckwalk.

That last show was just before his 87th birthday. He was [in good spirits], but you could tell he was failing. Finally it just got to the point where at that last gig, he even told his son, I believe, “I’m hanging up my rock and roll shoes.”

In 2006 I released an indie CD of [covers of ] his major hits called Tribute to a Poet, because that’s what I always considered him. I put it out and it sold a little bit here in St. Louis, but the main reason I did it was to show him just how much I appreciated what he had done for me. I didn’t tell him [in advance]. So one night I went to Blueberry Hill and sat in with him for a couple of songs, and after the show I went to his car and said, “Chuck, I’ve got a surprise for you: I made a CD of your songs.” He looked at me kinda funny, said “Climb in the car.” And then, and this scared the hell out of me, he said, “Let’s listen to it.” He got about halfway through the first one, “Roll Over Beethoven,” then turned it down and said “I’m gonna listen to this on the way to [his home in] Wentzville.”

The next day I called [Berry’s longtime secretary Francine Gillium] and said “What did he think?” She said, “Billy, he loved it. He got up this morning and put it on, and he’d stop and say ‘Listen to that! Listen to that riff!’” And that’s all I wanted to hear. I just wanted Chuck to like it.

-- as told to Jem Aswad

SiriusXM Announces Music Lounge 2017 at 1 Hotel South BeachBY KAT BEIN

Miami Music Week is essentially sleep-away camp for DJs. The whole electronic dance industry merges onto the Magic City for one fine week in late March, and they bring all their latest toys and tricks to show-off.

It’s not just like that for the DJs, either. For Geronimo, host and Program Director of all things dance and electronic on SiriusXM, MMW and its accompanying SiriusXM Music Lounge activation is a high point of the calendar year.

“I’d be lying if I said it wasn’t the weather after a long winter, but this is really the time when artists showcase their new music and new projects,” he says. “I usually leave Miami with 10 to 12 must-have songs that we are ready to play on SiriusXM for our listeners.”

For the last 11 years, Geronimo has worked to turn SiriusXM’s event into a premiere gathering of DJ and producer talent. All year, SiriusXM dance channels BPM, Electric Area, Chill, and Studio 54 Radio blast the best and brightest – and more than a few classics – through the global airwaves to educate and inform the beat-loving masses.

“I’m so entrenched in the music and the lifestyle, and I consider many of these artists to be my friends,” Geronimo says. “As a music guy and a radio programmer,

there’s no better professional feeling than to add a new song to our channel playlists and then watch those songs and artists really flourish.”

This year’s two-day event makes it’s home at the 1 Hotel on South Beach, and will be a hub for some of Sirius’ favorite artists in rotation as well as SiriusXM subscribers. Wednesday and Thursday, from 3 p.m. to 9 p.m. and 3 p.m. to 10 p.m. respectively, the Music Lounge will air live sets and interviews through SiriusXM’s Ultra Music Festival Radio on channel 52. A special broadcast of “House of Chill” on Chill channel 53 will air live sets from Autograf, Lost Frequencies, Nora En Pure, Sons of Maria, and more.

“Dance music is very important to SiriusXM,” Geronimo says. “We have been committed to dance music – breaking new music, breaking new acts all across North America – and this is our time to shine and show this to both our music partners and our subscribers.”

So what’s the new sound of electronic dance in 2017? Geronimo expects to hear a lot of future bass and puts his spotlight on artists San Holo, Illenium, Phantoms, and Bonnie X Clyde.

“Phantoms bring a whole new angle to their music with their incredibly funny Snap Chat and viral video personalities,” he says. “They all have a unique but familiar sound and style, and I think 2017 will be huge for all.”

Don’t just take his word for it. Tune in to SiriusXM’s channel 52 and 53 to catch some of the sets for yourself, and stay tuned here at Billboard Dance. We’ve officially partnered with SiriusXM’s Music Lounge and will share Facebook live interviews and other exclusive content with our favorite artists throughout the week’s festivities.

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Ed Sheeran to Receive Songwriters Hall of Fame’s 2017 Hal David Starlight AwardBY ANDY GENSLER

Ed Sheeran, he of pop superstardom and songwriter/performer of the juggernaut that is “Shape of You,” has been named the recipient of the Songwriters Hall of Fame’s 2017 Hal David Starlight Award, which will be presented at the 48th Annual Induction and Awards Dinner on June 15 in New York.

The Hal David Starlight Award was created in 2004 in honor of Songwriters Hall Chairman Emeritus Hal David as a way of honoring gifted young songwriters making a significant impact in the music industry with original compositions. Past recipients include: Nick Jonas, Nate Ruess, Imagine Dragons’ Dan Reynolds, Taylor Swift, John Legend, Alicia Keys, Ne-Yo, Drake, Benny Blanco, Jason Mraz, John Mayer, Rob Thomas and John Rzeznik.

“Ed Sheeran has accomplished so much in pop music that it is hard to believe he is only 26,” said legendary Songwriters Hall of Fame co-chairs Kenneth Gamble & Leon Huff of Philadelphia International fame, in a statement. “He is not an overnight sensation, however, having immersed himself in songwriting, recording and performing since his early teens. His natural talent as a singer, songwriter, guitarist and producer has brought him well-deserved success.”

Others to be honored at this year’s Songwriters Hall of Fame gala include Pitbull who was named the first-ever recipient of the Global Ambassador Award as well as 2017 SHOF inductees Kenneth “Babyface” Edmonds, Berry Gordy, Jimmy Jam & Terry Lewis, Robert Lamm & James Pankow p/k/a “Chicago,” Max Martin and

Shawn “Jay Z” Carter.Ed Sheeran has sold more than 26

million albums and had some 5 billion Spotify streams with his recently-released third studio album ÷ selling over 4 million worldwide in its first week. In the U.S., ÷ entered the Billboard 200 at No. 1 scoring the biggest debut of the year with first week sales equivalents exceeding 451K units. In his native U.K., the album sold 672K and topped the Official Albums Chart with the third highest week one sales of any album in the chart’s history.

The album’s first two singles, “Shape Of You” and “Castle On The Hill” entered the Billboard Hot 100 at No. 1 and No. 6 respectively, making Sheeran the first artist ever to have two singles make simultaneous top 10 debuts in the chart’s 58-year history. “Shape Of You” earned Sheeran his first No. 1 on the Hot 100, where it currently stands for the eighth week.

Sheeran has also written songs for other artists including Taylor Swift, One Direction, The Weeknd, Major Lazer, Tori Kelley, and Justin Bieber, who’s single “Love Yourself ” was the No. 1 song on Billboard’s 2016 year-end Hot 100 chart and nominated for “Song of the Year” at this year’s Grammys. That song earned Sheeran his 11th Grammy nomination and the third in the songwriting category.

Linda Moran, the Songwriters Hall of Fame’s president & ceo, stated that, “Ed is undoubtedly one of today’s most prolific and effective songwriters and is a most worthy and an ideal Hal David Starlight Award honoree.”

Look for more SHOF special award honorees to be announced soon.

Solange, Gucci Mane & Werner Herzog Highlight 2017 Red Bull Music Academy Festival LineupBY JOE LYNCH

The ingeniously curated Red Bull Music Academy Festival announced its 2017 New York lineup on Wednesday (March 22), and it boasts a tantalizing array of music, art, film and dance.

Beloved figures like Solange, Gucci Mane, New Jack Swing mastermind Teddy Riley and iconoclastic filmmaker Werner Herzog are all part of this year’s roster, as well as disco pioneer Patrick Adams, Brazilian samba queen Elza Soares and Detroit house legend Moodyman, who will perform a set in tribute to Prince. Check out the full lineup below and get more details here.

The whole lineup is intriguing, but of everything, Solange’s performance falls into the ‘once in a lifetime’ category. As we noted at SXSW, Solo’s A Seat at the Table live show features a strong contemporary dance/performance art influence, and that will come to the forefront when she performs stripped down, minimalist versions of her new songs at the Guggenheim on May 18 for ‘Solange: An Ode To.’ A rep for the fest says Solange and her dancers will perform on the art museum’s ground floor, with the audience watching from above.

A week later, Gucci Mane and frequent producer Zaytoven will team up to perform a May 16 set at a piano bar -- if it’s anything like their NPR Tiny Desk concert, it’s not to be missed.

Film nerds can get their rocks off on when New German Cinema pioneer and beloved narrator Werner Herzog sits down at the Metropolitan Museum of Art on May

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9 for conversation about music in film that will find the director reflecting on music-centric scenes from his filmography. If that means we’ll get a chance for Herzog to explain why Stroszek ends with this dancing chicken, it will be worth it.

Hot 100 Chart Moves: Adele Adds Another Radio Songs Top 10 & Lorde DebutsBY GARY TRUST

As previously reported, Ed Sheeran’s “Shape of You” tops the Billboard Hot 100 chart (dated April 1) for an eighth week. Meanwhile, rapper KYLE notches his first Hot 100 top 10 with “iSpy,” featuring Lil Yachty.

Plus, Nicki Minaj makes history on the Hot 100, as she passes Aretha Franklin for the most appearances among women in the chart’s 58-year history. Minaj debuts three songs: “No Frauds,” with Drake and Lil Wayne (No. 14), “Regret in Your Tears” (No. 61) and “Changed It,” also with Lil Wayne (No. 71), upping her count to 76 career Hot 100 entries, surpassing Franklin’s 73.

Still, Sheeran, KYLE and Minaj left room for other artists to enjoy notable moves on this week’s Hot 100.

Adele, “Water Under the Bridge”The song peaked at No. 26 on the Hot

100 seven weeks ago (on the chart dated Feb. 11), but “Water Under the Bridge,” now at No. 43, hits a new milestone, reaching the Radio Songs chart’s top 10. The track lifts 11-10 on the airplay tally, up 6 percent to 66 million in audience in the week ending March 19, according to Nielsen Music. It holds at its No. 5 peak on Adult Contemporary and keeps at No. 5 after reaching No. 4 on Adult Pop Songs.

Adele has now earned eight Radio Songs

top 10s, the first four from her 2011 album 21 and her latest quartet from 2015’s 25. Here’s a look at all of Adele’s top 10s on Radio Songs:

No. 1 (six weeks), “Rolling in the Deep,” hit No. 1 June 11, 2011

No. 1 (two weeks), “Someone Like You,” Nov. 12, 2011

No. 1 (six weeks), “Set Fire to the Rain,” Feb. 25, 2012

No. 8, “Rumour Has It,” peaked May 12, 2012

No. 1 (11 weeks), “Hello,” Nov. 28, 2015No. 10, “When We Were Young,” Feb.

20, 2016No. 2, “Send My Love (To Your New

Lover),” Sept. 17, 2016No. 10 (to date), “Water Under the

Bridge,” April 1, 2017Lorde, “Liability”The second taste of Lorde’s sophomore

LP Melodrama (due June 16), enters the Hot 100, as ballad “Liability” debuts at No. 78. It bows on Digital Song Sales at No. 27 (27,000 first-week downloads sold in the week ending March 16), while adding 4.7 million U.S. streams.

Meanwhile, the set’s lead radio single “Green Light” (down 19-39 on the Hot 100 after its second full week of tracking) continues its climb at radio, jumping 17-15 on the Alternative Songs airplay chart, 24-21 on Adult Pop Songs and 26-23 on Pop Songs.

Helping fuel the songs’ gains, Lorde sang both “Green Light” and “Liability” on NBC’s Saturday Night Live March 11.

6LACK, “Prblms”Altanta rapper 6LACK (pronounced

“black”; he was born Ricardo Valentine) makes his Hot 100 debut at No. 95. “Prblms” arrives with 6.5 million U.S. streams (up 7 percent). On the Hot Rap Songs chart, the track bullets for a second week at its No. 23 high.

Global, UK Radio and Television Leader, Adds To Festival PortfolioBY RICHARD SMIRKE

Global, a leading British media and enter-tainment company, has added to its fast growing live portfolio by taking majority stakes in European festivals Victorious and Hideout.

Global only entered the festival business two years ago when it acquired London-based Broadwick Live, which operates the award-winning Festival No. 6 in Portmeirion, North Wales and annual ski-festival Snowbombing in Mayrhofen, Austria.

Last year, the London-based company significantly boosted its events roster with the purchase of six U.K. festivals, including London-based Field Day and SouthWestFour.

It now stands as the second largest festival operator in the U.K. with the touring Rewind Festival, Boardmasters, Y Not, Truck, Transition, Electric Elephant and forthcoming inaugural Canadian leg of Snowbombing among its year round programming. The London-based media company also owns interests in U.K. festivals Lost Village and Standon Calling.

Of its latest additions, Victorious is a family festival taking place in the British port city of Portsmouth that draws 100,000 visitors every summer. Stereophonics, Madness, Franz Ferdinand and Elbow are scheduled to perform at this year’s event.

Now in its seventh year, Hideout is an electronic music festival held on Zrce Beach in Croatia that welcomed 20,000 people in 2016 and has sold out every edition, according to organizers. Stormzy, Diplo, Jamie Jones and Major Lazer head the bill for this year’s event.

Ian Hanson, Global’s COO, called both events “renowned” music festivals “with

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a strong and loyal following and we look forward to working with the festivals’ management teams to grow them to the next level.” Hanson went on to say that Global will continue to grow its portfolio with more acquisitions to follow.

Formed in 2007 by Ashley Tabor, Global has grown to become the U.K.’s largest commercial radio company with its portfolio of national stations, including Heart, Capital, Classic FM, Smooth, Radio X and Gold, drawing a weekly audience of close to 25 million listeners.

In addition to its television business, Global also has a dedicated 360 entertainment arm, spanning music publishing, touring and management, with former Wanted vocalist Nathan Sykes one of the artists it represents. Global’s publishing arm boasts Ellie Goulding, Corinne Bailey Rae, Jungle and The Script among its clients.

Sgt. Pepper at 50: Liverpool Plans Festivities to Honor the Beatles ClassicBY ASSOCIATED PRESS

It was 50 years ago today -- almost -- that Sgt. Pepper taught the band to play.

The English city of Liverpool is getting set to celebrate the half-centenary of Sgt. Pepper’s Lonely Hearts Club Band, one of the most influential albums by local heroes The Beatles.

The city announced Wednesday that it has commissioned 13 artists to create works based on the album’s 13 tracks. They include choreographer Mark Morris’ dance tribute to the title song, cabaret artist Meow Meow’s “outlandish procession” based on “Lovely Rita” and a mural by U.S. artist Judy Chicago inspired by “Fixing a Hole.”

There will also be a singalong by 64 choirs of the jaunty “When I’m Sixty-Four.”

The works will have their world premieres at venues across Liverpool between May 25 and June 16. On June 1 - the anniversary of the album’s release - the city will host a fireworks extravaganza by French pyrotechnic artist Christophe Berthonneau.

By the second half of the 1960s, The Beatles had tired of touring. They played their last live concert in August 1966 and devoted their energies and creativity to the studio. “Sgt. Pepper” was recorded at London’s Abbey Road studios over five month in late 1966 and early 1967, and released on June 1, 1967.

Incorporating technological innovation and diverse musical influences - including Indian classical, English music hall and trippy psychedelia - it topped the charts in Britain and the U.S. and was instantly hailed as a rock ‘n’ roll landmark.

“’Sgt. Pepper’ pushed creative boundaries and we want to do exactly the same,” said Liverpool Mayor Joe Anderson. “This is a festival which brings high-end art into the mainstream and gives it a Liverpool twist which is thought-provoking, sometimes cheeky and always entertaining.”

Neon Trees, Biz Markie, Portugal. The Man Create Music Videos For ‘RAD Lands’ Kid Series: ExclusiveBY ANDY GENSLER

Fear not parents of picky eaters and food-flingers! A new unbranded food series by Chipotle Mexican Grill entitled RAD Lands launches today that will both edu-cate and entertain your junk-food craving

kids and feature musicians, celebrity chefs and YouTube personalities mom and dad can enjoy, too.

The Neon Trees, Biz Markie, Portugal. The Man have all created new music and videos for the show that was created in partnership with The Magic Story (the team behind the beloved Yo Gabba Gabba! series featuring that dreamy DJ Lance) and CAA Marketing. The show is intended to educate families about food, where it comes from and how it’s prepared.

“We can’t really express how excited we were to get a call from Chipotle asking us to appear and sing on their show RAD Lands because we are huge fans of the show’s creators, The Schultz’s,” the band said in a statement to Billboard. “Countless hours on the tour bus have been dedicated to their shows.”

RAD Lands’ narrative centers on an animated segment called “The Cultivators,” a rebel group committed to saving the galaxy’s plants and animals to preserve access to fresh food. The squad’s nemesis, meanwhile, attempt to homogenize food and turn it all into highly-processed junk food.

The musicians’ original videos will appear during the show’s music segment called Fresh Songs.

The first season will be available exclusively on iTunes in the US and Canada. As part of the initiative Chipotle will donate $100,000 to the Chef Ann Foundation, a non-profit organization that works with U.S. schools to serve healthy, nutritious and delicious food to students.

“Chipotle is ensuring that better food is accessible to everyone,” said Mark Crumpacker, chief marketing and development officer at Chipotle. “We created RAD Lands to educate young eaters and their parents about food in an entertaining and engaging way. We don’’t advertise to kids so the show is completely unbranded. We hope that it sparks conversation and curiosity among families, ideally leading to smarter and more informed choices about food.”

In addition to the Neon Trees, Biz Markie and Portugal. The Man, Flaming Lips frontman Wayne Coyne will also

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appear in the series.Also appearing in RAD Lands are chefs

Amanda Freitag, Michael Voltaggio and Duff Goldman.

“Chipotle and the RAD Lands series are a great fit with the values of my foundation,” said Ann Cooper, founder of the Chef Ann Foundation, in a statement. “We are thrilled with the generous support from Chipotle and iTunes through this program, and hope it encourages others to contribute what they can to influence future generations’ views on food.”

As part of the initiative, Chipotle is partnering with Discovery Education, a provider of digital education content for K-12 classrooms for RAD Lands In School. An online program for secondary schoolers will launch this spring and will pair episodes with lesson plans and activities and emphasize nutrition, environmentalism and culinary skills.

Chipotle’s first original short film, “Back to the Start,” launched in 2011 and was set to Willie Nelson covering Coldplay’s ‘The Scientist.’” The film won a Cannes Lions award in 2012 and was distributed across 10,000 cinema screens and ran in its entirety during the 54th Annual Grammy Awards. The spot had more 300 million media impressions, hit 5.9 million on YouTube and had 45 million Twitter impressions.

Subsequent videos included the song “Pure Imagination” from the 1971 film classic Willy Wonka and the Chocolate Factory, performed by Fiona Apple; and an animated short set to a remake of the Backstreet Boys’ 1999 hit “I Want It That Way” recorded with Alabama Shakes’ lead singer Brittany Howard and My Morning Jacket frontman Jim James.

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