HBO Max es una de las mejores plataformas en términos de series. Si estás buscando algo para ver, a continuación te enlistamos 4 producciones nuevas que te pueden interesar. Stuart no logra salvar el universo Episodios: 2 (por ahora) Reparto: Kevin Sussman, Lauren Lapkus, Brian Posehn, John Ross Bowie. Origen: Estados Unidos. Esta nueva serie […]
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En 1970, Elton John era todavía un artista emergente que buscaba ganarse un lugar en la industria. Pero todo cambió con el lanzamiento de su segundo álbum, titulado Elton John, que incluía una canción escrita en apenas 20 minutos y que terminaría convirtiéndose en la piedra fundacional de toda su carrera: “Your Song”. Como muchas […]
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“El fútbol es el deporte más lindo y más sano del mundo. Yo me equivoqué y pagué, pero la pelota no se mancha”. Ovación. En su partido despedida en la Bombonera, en noviembre de 2001, Maradona miraba a los hinchas y hablaba, mientras se abrazaba a sí mismo en un gesto de compunción.
Veinticinco años después, la pelota volvería a ser el centro de una tormenta argentina. Pero esta vez, la protagonista no era una leyenda del fútbol buscando redención, sino una cantante catalana que llegaba a Buenos Aires bajo fuego: acusada de “insultar” al país en redes sociales.
El contexto
Rosalía, en su primera fecha del capítulo argentino del LUX Tour 2026, aparece en el escenario dentro de una caja blanca que se abre, cual cajita musical pero más fría, quirúrgica, como de una muñeca enviada por Amazon, vestida con un tutú blanco y zapatos de ballet, con los ojos rojos (los tiene así la mayor parte del show).
La tensión es visible, la pregunta que flota en el aire es cómo reaccionarán la artista y el público luego de más de una semana de locura en redes sociales, donde los usuarios argentinos la “cancelaron” luego de que reposteara en TikTok un video de Mia Khalifa que tildaba a los argentinos de “perlas” (término despectivo utilizado en España para nombrar a alguien en quien no se puede confiar, una persona tramposa, problemática).
Este video salía un día después de que Argentina perdiera el mundial de fútbol 2026 frente a España, en medio de una ola de acusaciones de que el equipo argentino estaba beneficiado por la FIFA y de forma más general, una acusación de que Argentina es un país “racista y sionista”: imposible de sintetizar con todos sus matices en esta crónica de un show.
Así las cosas, muchos usuarios en redes pedían la cabeza de Rosalía y que el público no fuera a sus conciertos en Buenos Aires. Algunos amagaron con pedir la devolución de las entradas. Ella pidió disculpas en TikTok: “no leí lo que compartí”. Periodistas de espectáculos, cuando la cantante catalana ya estaba en Argentina, insistieron, con malicia, en que nadie la esperaba en la puerta del hotel y que en realidad ella no quería salir porque “tenía miedo”. Horas después aparecieron videos y fotos de Rosalía caminando por la ciudad, yendo a cafecitos y restaurantes de moda.
De todos modos, había algo latente: la posibilidad de una expresión de repudio. Muchas personas en esa semana de la locura “en contra de Argentina” instaban a abuchear a la artista en el show ya que pedir la devolución de la compra de la entrada pasado cierto tiempo era imposible.
Los actos
Volvemos a la caja estilo Amazon. Reza en uno de los vértices “fragile”. Rosalía rompe las paredes que la encierran y se convierte en bailarina de ballet. Hay una luna por detrás y escaleras, la escenografía es minimalista. Abre el acto I con el comienzo del álbum Lux: “Sexo, violencia y llantas”. “Quién pudiera vivir entre los dos, primero amaré el mundo y luego amaré a Dios”. El delirio místico que esconde Lux se hace carne, suena oscura y movilizante la Heritage Orchestra, banda británica que la acompaña en esta gira, y que está ubicada en el centro del campo, a varios metros del escenario, formando una cruz cristiana vista de perspectiva cenital.
Sigue con la luminosa “Reliquia”, una enumeración de ciudades que la marcaron en la vida, con un verso dedicado a la ciudad que está visitando: “En PR nació el coraje, pero el cielo nació en Buenos Aires”. Como si hubieran contenido toda la angustia hasta ese momento, el público grita el verso, dejan los pulmones, casi como si dijera: “Te perdonamos porque escribiste esta barra para nosotros”. El miedo por los supuestos abucheos se disipa.
El show sigue con “Porcelana” y “Divinize”, y luego viene el momento en que Rosalía pide perdón. Casi 4 minutos de pedido de disculpas, explicando que compartió ese video sin intención de ofender y recordó que en 2019, a comienzos de su carrera, en el tour de ‘El mal querer’, quedó anonadada con el público por como cantó las canciones, el apoyo que recibió. “Nunca lo olvidaré… Cómo yo podría tener un sentimiento negativo o algo por el estilo hacia un lugar como este. En verdad, es el lugar que me ha erguido a donde estoy hoy. Así que obviamente, creo que ya lo sabéis los que estáis aquí, no tengo más que agradecimiento por este lugar y por este público, que es el mejor público que hay en la tierra”. Caso cerrado.
Paso siguiente, se despacha con la emocionante, operística, “Mio Cristo Piange Diamante” y en este momento del show, ella rodeada de una capa blanca que la convierte en una divinidad, como una virgen pop, muestra las cartas que está jugando. A diferencia de Motomami(2022), que se concentraba en desarmar al reggaetón en un ejercicio casi académico de encontrar otras facetas de la latinidad hasta enrarecer lo que naturalmente está hecho para la alegría y el baile, en Lux, se enfoca en el canto, en demostrar su destreza vocal, y ofrece letras dedicadas a la divinidad, a su encuentro con lo sagrado.
Algo duro vivió, se nota. Se compunge fácilmente, llora de a momentos, las canciones rememoran desamores y angustias existenciales. Pareciera que Dios la hace sentir diminuta, terrenal, frágil como la muñeca; pero se recompone. Puede pasar de llorarle a Dios, a cantar “Berghain”, con un corto vestido negro de satén y unos cuernos de cabra loca, con una versión remixada y que el Movistar Arena estalle en éxtasis, porque la gente también quería bailar. El acto 2 ha comenzado y se baila. Vuelve a Motomami, unas versiones ligeramente diferentes de “Saoko”, un guiño al público, “La fama”, “La combi Versace”, y cierra el segmento con “De madrugá”, canción que dio vueltas el universo de Rosalía durante años hasta que vio su edición en Lux.
El tercer acto arranca con una fuerte vuelta al pasado con “El Redentor”, flamenco dedicado a la Pasión de Cristo, porque nunca se alejó de Dios, siempre lo tuvo en sus canciones, desde el primer álbum Los Ángeles (2017). Continúa con un poquito de referencia pop, porque siempre se puede ser más pop, con unas estrofas de “Can’t Take My Eyes Off You” de Frankie Valli y viene el momento viral de ‘La Perla”. El juego de los bailarines, diseñado por el coreógrafo Dimitris Papaioannou, que también fue director de la puesta en escena de la gira y de ceremonia de los JJOO de Atenas en 2004, los muestra vestidos de negro rodeando a Rosalía, con guantes blancos que generan formas y movimientos inspirados en figuras como la Venus de Milo, Rita Hayworth en la película Gilda (1946), la virgen de Lourdes y la de Guadalupe.
Siguiendo con lo viral, el confesionario. Momento prescindible del show. Se entiende que puede funcionar como un respiro de tanta parsimonia, aunque el show no es solemne, Rosalía se ríe de sí misma en sus canciones, pero parece que se necesita un descanso de la música para mostrar a una celebrity y generar un engagement con el público (¿o las redes?). Algo que puede verse en otros shows masivos como La Casita en el show de Bad Bunny o el momento del arresto de Juno en el show de Sabrina Carpenter. En este caso, Ángela Torres confiesa que un ex no la hacía parte de su vida (no la invitaba a ver con ella a Cindy Cats, una pena) y Rosalía se indigna, lo llama pelotudo. Ningún pecado que redimir, ya lo decía Shakira: “siempre supe que es mejor cuando hay que hablar de dos empezar por uno mismo”.
Por suerte vuelve a la música, canta para una fan “Alfonsina y el mar”, canción popularizada por Mercedes Sosa, que ya había hecho en 2022 en el tour de Motomami en Buenos Aires. Y ahí viene lo mejor, “Sauvignon Blanc”, la balada que nombra marcas y una cierta esperanza en el futuro (al fin): “Ya no quiero perlas ni caviar/Tu amor será mi capital”. Cierra con “La yugular”, canción que va in crescendo, conmovedora, con muñecas rusas de versos: “Un país cabe en una astilla/ Una astilla ocupa la galaxia entera/La galaxia entera cabe en una gota de saliva/ Una gota de saliva ocupa la 5a avenida/ La 5a avenida cabe en un piercing”.
El cuarto acto ocurre en el centro del campo, en medio del público, cerca de la orquesta. Tocan “Dios es un stalker”, “La Rumba del Perdón’ y vuelve a ‘Motomami” con la rara “CUUUUuuuuuute” en la que también resuena el tema divino, (“Aquí el mejor artista es Dios”). Cierra el momento una canción inédita, “El atardecer”, estrenada recién en los shows de julio, un pop electrónico más liviano que las últimas canciones de la artista.
En las últimas horas en redes apareció un video de Rosalía cantando en Chile “DESPECHÁ” en donde parecía que le faltaba un poco el aire. En el quinto acto en Buenos Aires hace esta canción y, claro, está bailando y cantando en un registro alto que, además, no tiene un respiro, pero no desafina nunca. Tampoco parece quedarse sin aire esta vez. Queda pensar en la exigencia para los artistas pop, ya que Rosalía demuestra que puede cantar ópera y bailar coreos sin romperse; qué más se les puede pedir.
Así como en el Motomami Tour Rosalía revolucionó el mundo de las presentaciones en vivo, inspirando a muchos artistas pop que utilizaron las técnicas de dirección de video (la perseguían iPhones mientras estaba sola o con los bailarines en un escenario sin nada más), con ese aire minimalista en consonancia con el disco que era un despojo de sonidos, la propuesta de LUX es salir de la intimidad para encontrarse con algo superior a todos, una apuesta teatral en donde la voz entrega todo de sí, con sonidos estridentes y menos pose.
Continúa el show con los hits “BIZCOCHITO” y “DESPECHÁ”, vuelve la fiesta al escenario. Luego la hermosa “Focu ‘ranni” de LUX, una oda a la autonomía: “No seré tu mitad/ Nunca de tu propiedad/ Seré mía/ Y de mi libertad”. Y el cierre con “Magnolias” tiene al público levantando carteles con una de las frases más potentes que dan cuenta del espíritu del disco: “Promete que me protegerás/ A mí y a mi nombre en mi ausencia/ Yo que vengo de las estrellas/ Hoy me convierto en polvo/ Pa’ volver con ellas”. Rosalía salta al vacío y desaparece.
The post El show de Rosalía en Buenos Aires: divinidad y redención después de la tormenta appeared first on Rolling Stone en Español.
Phil Collins has praised Taylor Swift, saying the pop superstar “deserves” her place as “the hugest thing in the world” after being “blown away completely” the first time he saw her perform 15 years ago.
Speaking to Vernon Kay on BBC Radio 2’s Tracks of My Years, Collins recalled meeting Swift at a Songwriters Hall of Fame event years ago, before she reached her current level of fame, and watching her perform her song “White Horse.”
“This very nice lady then got up on stage with a guitar and sang ‘White Horse,’ and it blew me away completely,” he said. “Not only was the song great, and the sentiment of the song really got me, but she sang it beautifully. And it was just so simple, you know, her on a guitar.”
Collins said he has “always had a soft spot” for the track since. “I’m so pleased that she’s the hugest thing in the world now because she kind of feels like she deserves it,” he said. “I mean it’s easy to knock someone that’s got so much success, but I think she really deserves it.”
Elsewhere in the interview, Collins revealed that his signature solo hit “In the Air Tonight” was largely improvised. “A lot of my lyrics are kind of improvised. The classic example of that would be ‘In the Air Tonight,’ which was pretty much 80% improvised,” he said, explaining that the song’s atmospheric sound came from a Prophet-5 keyboard and that he “certainly didn’t labour on it.” He described the result as “the scenario of luck… and good fortune” rather than craft.
The comments arrive during a landmark year for Collins, who will be inducted into the Rock and Roll Hall of Fame as a solo artist in 2026 — 16 years after entering as a member of Genesis. Across his solo career he scored seven No. 1 singles on the Billboard Hot 100 during the 1980s, including “Against All Odds (Take a Look at Me Now),” “One More Night,” “Sussudio” and “Groovy Kind of Love.” “In the Air Tonight,” the 1981 debut solo single he referenced, reached No. 19 on the Hot 100 but became one of the most enduring recordings of his career, later finding new life through film, television and a viral 2020 reaction video.
Swift, for her part, holds the record for the most No. 1 albums on the Billboard 200 among soloists with 15, and her most recent release The Life of a Showgirl debuted with a modern-era record of 4 million equivalent album units. “White Horse,” the song Collins singled out, appeared on Swift’s 2008 album Fearless and won two Grammy Awards, including Best Country Song.
Two Australian icons shared a stage in Brighton, England, on Friday (Aug. 1) as Kylie Minogue joined Nick Cave and the Bad Seeds during the band’s concert at Preston Park to perform their 1995 duet “Where the Wild Roses Grow.”
Minogue appeared midway through the Bad Seeds’ set for the murder-ballad duet, marking the first time the pair had performed the song together live since 2019, when Cave surprised the crowd during Minogue’s legends slot at Glastonbury.
Before that, the two sang it together in 2018 — the last time the Bad Seeds played the song live — as well as in 2013 and on several occasions in the mid-1990s following the release of Murder Ballads.
Minogue reflected on the reunion in an Instagram post after the show. “I’ll forever be your Wild Rose @nickcaveofficial,” she wrote, thanking the Bad Seeds and calling it a “wonderful crowd, wonderful night.” She also credited her white lace dress, complete with wild-rose embellishments, to Susie Cave — Nick Cave’s wife and the designer behind the fashion label The Vampire’s Wife.
Earlier that day, Cave and the Bad Seeds played a surprise rooftop set atop the city’s Resident Music record store, performing four songs. That set included “Train Long-Suffering,” a track from 1985’s The Firstborn Is Dead that had not been performed live in 27 years before the band revived it on their 2026 European tour, along with a cover of T. Rex’s “Cosmic Dancer” that Cave had previously only performed solo.
“Where the Wild Roses Grow” remains one of the most celebrated collaborations in Australian music history. Written by Cave and released as the lead single from the Bad Seeds’ 1996 album Murder Ballads, the duet cast Minogue as the doomed Eliza Day opposite Cave’s murderous narrator — a stark departure from her pop image at the time.
It became Cave’s biggest commercial hit, reaching No. 2 on the ARIA Singles Chart in Australia and No. 11 on the U.K. Singles Chart, and won the 1996 ARIA Award for Song of the Year. The accompanying video, which depicted Minogue lying in a river in a pose evoking Millais’ painting Ophelia, became a fixture on MTV and helped push Murder Ballads to the biggest commercial success of the band’s career.
Minogue, one of the most successful pop artists of her generation, has scored seven entries on the Billboard Hot 100 — including “The Loco-Motion” (No. 3) and “Can’t Get You Out of My Head” (No. 7) — and 11 titles on the Billboard 200, led by 2001’s Fever at No. 3. Her 2023 single “Padam Padam” won the first Grammy for Best Pop Dance Recording. Cave and the Bad Seeds, meanwhile, continue their 2026 European tour in support of their catalogue, one of the most acclaimed in modern alternative rock.
Hit Me Hard and Soft: The Tour (Live), Billie Eilish’s concert film about her arena tour in support of her 2024 album Hit Me Hard and Soft, debuts on streaming exclusively on Paramount+ on Thursday (Aug. 6) in the United States, the streaming service announced Thursday (July 30).
Eilish premiered the film, which had a 3D theatrical release via Paramount Pictures, on May 6 at Los Angeles’ Fox Westwood Theater. Director James Cameron — as well as Eilish’s parents and brother Finneas, and her partner Nat Wolff — joined the star on the red carpet. It opened in theaters May 8.
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“I just would thank this guy right here who brought this idea in the first place,” Eilish said at the event, gesturing to Cameron; the pair are credited as co-directors on the project. “I’m so excited we have this captured forever.”
The concert film features footage taken during Eilish’s four Manchester shows in 2025, behind-the-scenes moments from the road and clips from an interview conducted by Cameron.
The pop star’s biggest singles made the cut for the live-concert experience visual, which features performances of songs including her breakthrough No. 1 single “Bad Guy,” the Oscar-winning “What Was I Made For?” written for the Barbie movie soundtrack, Hit Me Hard and Soft hit “Birds of a Feather” and more.
Eilish’s Hit Me Hard and Soft album, her latest full-length studio release, debuted at No. 2 on the Billboard 200 in 2024. The set has spent a total of 114 weeks on the all-genre albums chart.
Eilish’s Hit Me Hard and Soft Tour spanned 2024-2025, wrapping in San Francisco in November.
All eyes in the music world are on Chicago this weekend, as Grant Park plays host to another year of Lollapalooza. With the weather looking uncertain for the festival’s later days, thousands flocked to the Chicago Riverwalk on a sun-kissed Thursday afternoon (July 30) to kick off Lolla.
Performances began around noon CT across nine different stages and wrapped up with Lorde making her return to the Lolla stage for the first time since 2017 with Chicago’s own John Summit co-headlining on opposite ends of the park.
The rest of the day saw performances from Filipino boy band SB19, who made history as the first P-pop group to perform at Lolla, as well as Bella Kay, Blood Orange, Little Simz, Boys Noize, Audrey Hobert, Sombr, 5 Seconds of Summer and Wet Leg.
A jam-packed weekend remains on tap, with anticipated headlining sets from Charli xcx, who made a guest appearance during Lorde’s performance, as well as Olivia Dean, Tate McRae, The xx, Smashing Pumpkins and Jennie.
There was chatter on the festival grounds from fans speculating that A-listers Olivia Rodrigo, who was allegedly spotted at Chicago’s O’Hare Airport, and Ariana Grande could be popping up. Ari’s Eternal Sunshine Tour comes to Chi-Town on Aug. 3.
Lollapalooza has remained one of the premier U.S. festivals by mixing a range of superstars with upstarts and legacy acts spanning different generations. 2025’s Lolla saw headlining performances from Olivia Rodrigo, Tyler, the Creator, Sabrina Carpenter, A$AP Rocky and Doechii.
Thanks to the good folks at Dunkin’, Billboard is on the ground for Lollapalooza 2026. Here are the best moments from the festival so far. (This list will be updated daily.)
Rock legend Patti Smith was giddy and almost at a loss for words when she met Friday (July 31) with Pope Leo XIV.
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“Hi,” she said softly as she sat down across from Leo at his desk in the Apostolic Palace.
Post-meeting, on Instagram, she had a bit more to say: “This is a moment that shall forever produce a smile,” she wrote of the encounter.
Wearing a crucifix necklace and hair in her trademark braids, Smith has become an increasingly visible presence at the Vatican thanks to her friendship with the Rev. Antonio Spadaro, undersecretary in the Vatican’s culture ministry.
She has said that while she is not Catholic, she was drawn in particular to Pope Francis and his “gentle, open, and steadfast sense of humanity.”
She also had a thing for Pope John Paul I: Her 1979 tune “Wave” is about a make-believe conversation with the pope who had just died after a 33-day papacy. It begins “Hi. Hi,” uttered in the same breathy voice Smith used with Leo on Friday.
The pope clearly was familiar with the tune. “That was marvelous,” he said.
Earlier this year, Smith performed during the inauguration of the Holy See’s Pavilion at the Venice Biennale contemporary art fair. The occasion, May 8, was the anniversary of Leo’s election.
Spadaro, who joined Smith at Friday’s audience, said the encounter between the two Chicago natives was around 40 minutes long. In a text message, he said it “felt more like a conversation between two people discovering they were old friends, sharing memories woven from words and music, dreams, visions, and hopes — both from yesterday and for today.”
He said at the end, Smith said “Bye. Bye.”
Smith met Francis in 2013 and sang for him in 2014. When he died, on April 21, 2025, she wrote a poem on social media, comparing Francis to a dandelion, “humble yet strong.”
“Nature and poetry and the suffering shall miss their champion,” she wrote.
It was Leo’s second encounter with a music legend this week. On Wednesday, Leo attended a concert in his honor by tenor Andrea Bocelli.
Parker McCollum and his wife, Hallie Ray McCollum, have welcomed their second child together.
The country star announced Saturday (Aug. 1) that the couple’s new baby boy was born on July 30. They shared the news in a joint Instagram post featuring a gallery of family photos from the hospital.
“Rocker Tommy Light McCollum! born on July 30th / 8 pounds 7 oz!” the couple wrote. “THANK YOU JESUS for another healthy baby boy! we are so in love with our little fam! mom & dad x 2 here we gooooooo!”
The photo gallery included sweet moments of the family’s first days as a quartet, with McCollum and Hallie Ray posing alongside their newborn while their older son, Major Yancey, looked on.
The announcement drew congratulations from friends, fans and fellow artists. Miranda Lambert was among those celebrating the news, commenting, “Congrats yall,” alongside two blue heart emojis.
The arrival comes just days after McCollum revealed he would postpone tour dates to be present for the birth of his second son.
“Hey everyone. Wanted to share some good news with you all,” he wrote in a Facebook post on July 29. “My beautiful wife is blessing our family with our second baby and it’s looking like he’ll be here tomorrow! I couldn’t be more excited to become a dad for the second time.”
The singer also announced he would reschedule shows in Kansas City, Missouri, and Omaha, Nebraska, explaining his decision to put family first.
“Once I step off the stage at Red Rocks, I’m headed straight home to be with the family. Hate having to make that call, but family comes first,” he wrote.
The Omaha concert has been rescheduled for Sept. 10, while the Kansas City show will now take place Sept. 12. Previously purchased tickets will be honored for the new dates.
“Thanks for understanding and for all the love. Can’t wait to see ya’ll soon,” McCollum concluded.
McCollum is currently touring in support of his 2025 self-titled album, with dates scheduled through the end of November.
McCollum first announced Hallie Ray’s pregnancy in December 2025, sharing festive family photos on Instagram. “McCollum party of 4 next Christmas!!!!” he captioned the Instagram post.
The couple married in March 2022 and welcomed their first son, Major Yancey, in August 2024.
Harry Styles kicked off the Mexico City residency of his celebrated Together, Together Tour at the GNP Seguros Stadium on Friday (July 31), where the British pop superstar captivated a crowd of over 68,000 people (according to Ocesa) with an experimental, fresh, universal and impactful show that reaffirms his privileged place in the contemporary music scene.
The performance marked the first of six nights at the iconic stadium in the Mexican capital. Styles turned 120 minutes into an enthusiastic mass dance party with a setlist that blended major hits like “As It Was,” “Watermelon Sugar” and “Sign of the Times,” with tracks from his latest album, Kiss All The Time. The Disco, Occasionally, resulting in a virtuosic display of everything there is to love about pop music.
The residency in Mexico — which continues on Aug. 1, 4, 7, 8 and 10 — kicked off impressively, with Styles reciprocating the love he received from the Latin American country by thanking fans for their warmth and hospitality.
“I’ve had the privilege of being able to come here over the years in my lifetime,” Styles said. “Thank you so much to the people of Mexico for the warm welcome… They are beautiful, beautiful people!”
Styles’ fondness for Mexico City led him to explore its streets earlier this week, go for a run in the touristy Chapultepec Forest, and even enjoy a stroll accompanied by his girlfriend, actress Zoë Kravitz, according to viral videos shared on social media.
Throughout the show, he spoke a few phrases in Spanish, waved a Mexican flag and even led the audience to sing “Las Mañanitas” for a band member’s birthday, further solidifying his deep connection to Mexico, a country he has visited three times: twice as a solo artist and once with One Direction.
The Together, Together residency in Mexico has generated such anticipation that the Mexico City Chamber of Commerce (Canaco) has estimated the six concerts could bring an economic benefit of between $145 and $171 million to the capital city, according to a statement from the commercial organization.
Mexico City is one of seven cities worldwide chosen by Styles to perform in during 2026 — the second Latin American city included in the tour after São Paulo, Brazil — and the one hosting the largest number of concerts in the region, according to promoter Ocesa. For this leg of the tour, British singer-songwriter Jorja Smith is Styles’ opening act.
Below are five of the best moments from the first night of Harry Styles’ Together, Together residency in Mexico City.