Skip ‘Chained’ to Katy Perry

Skip Marley is included on pop artist Katy Perry’s new tune, Chained To The Rhythm. Both acts played out the track at the 59th Grammy Awards Ceremony held at Staples Center in Los Angeles, California, on Sunday.

Delivered by Max Martin, it was discharged last Friday.

Anchored To The Rhythm is the main single from Perry’s imminent collection. The tune additionally highlights Australian vocalist Sia, who had a major hit a year ago with Cheap Thrills close by Sean Paul.

In a meeting with the Jamaica Observer, Marley clarified how the joint effort came to fruition.

“The maker of my new single Lions played the track for her and she adored it and inquired as to whether I would be on her next single. I said ‘yes’,” he said.

Lions, Marley’s real mark make a big appearance, as of late hit number one on spilling administration Spotify’s Global Viral 50 and Spotify’s US Viral 50.

Conceived in Kingston, he is the child of Cedella Marley (Bob Marley’s little girl) and Danny Minto. He was brought up in Miami, Florida.

Skip Marley as of late marked with Island Records, the organization that circulated his granddad’s best-known collections.

In 2015, Perry recorded a few tracks at Port Antonio’s Gee Jam studio. She has sold more than 100 million records around the world.

Her hits incorporate I Kissed A Girl, California Girls (highlighting Snoop Dogg), Dark Horse (including Juicy J), T.G.I.F., Teenage Dream and Wide Awake.

Source: Jamaica Observer

Popcaan for Rebel Salute

POPCAAN will make his Rebel Salute make a big appearance this year, performing under his given name Andre Hugh Sutherland.

Revolt Salute, the two-day celebration sorted out by artiste-turned-promoter Tony Rebel, is set for January 13 and 14 at the Richmond Estate in Priory, St Ann.

Generally an exposã© for defenders of the roots-reggae class, this is not the first occasion when that Tony Rebel and his group are opening up the celebration to dancehall acts. Be that as it may, these demonstrations have dependably performed under their given names, instead of their prominent monikers. David Brooks otherwise known as Mavado, chromecast setup downloadRodney Price otherwise known as Bounty Killer, Moses Davis otherwise known as Beenie Man, and Marion Hall otherwise known as Lady Saw have all showed up on the Rebel Salute arrange. Taking after her submersion, Hall — who is presently a gospel artiste — is one of the celebration’s main events this year.

Tony Rebel was vehement when inquired as to why the incorporation of a dancehall follow up on the current year’s show.

“Why not?!”

He contended that Rebel Salute must be comprehensive and offer a scope of acts.

“Dancehall artistes must demonstrate that they are adaptable and proficient. On the off chance that I am welcome to a dancehall show, will respond to the call and give a valiant effort. Our show is still a cognizant reggae appear and Andre Sutherland, similar to the next dancehall acts who have showed up, will demonstrate that they comprehend what they are doing,” Tony Rebel told the Jamaica Observer.

Considering Popcaan’s collection, the promoter said there must be a discourse about the rules for performing at Rebel Salute.

“He played a group of cognizant tunes that he has and will perform there. That is the reason it’s not Popcaan, it’s Andre Sutherland, the great side of the man,” he clarified.

A year ago was useful for Sutherland, who discharged various famous tracks and copped the reggae classification at the Music of Black Origin (MOBO) grants in the UK. A protã©gã© of troubled dancehall artiste Vybz Kartel, Popcaan increased more extensive ubiquity on the track Clarks by Kartel. He has ascended through the positions to end up distinctly a true blue artiste through tracks, for example, Ova Dweet, Never Sober, Party Shot, Mi Unruly and Where We Come From.

On night one of the celebration, among the demonstrations booked to make that big appearance are Ky-Mani Marley, Half Pint, Anthony B, Iba Mahr, Chaka Demus and Pliers, Warrior King and The Abyssinians. The last night will see Third World, Queen Ifrica, Spragga Benz, Lady G, Errol Dunkley and Agent Sasco, among different acts.

Source: Jamaica Observer

Turbulance headlines Malawi music festival

The African condition of Malawi is quick turning into a noteworthy market for Jamaican reggae artistes. The most recent act to perform in that nation is Turbulance.

The artiste, who is referred to for tracks, for example, Want a Natty, Name and Number, and Notorious, is the main event of the current year’s organizing of the Sand Music Festival being held from Tuesday to Saturday at the Livingstonia Beach Hotel in Salima.

Reports out of Malawi is that Turbulance will share obligations close by Tanzania’s Diamond Platinumz, who represents considerable authority in a classification of hip bounce from his nation known as Bongo Flava.

Turbulance joins a regularly developing rundown of Jamaican acts who have performed in Malawi as of late. These incorporate Luciano, Busy Signal, Fantan Mojah, and Morgan Heritage.

As indicated by Jack Macbrams, Sand Music Festival’s advertising and media official, coordinators had restless evenings to settle on a global reggae artiste for the celebration’s program, given that Malawians adore reggae music.

“Yes, Jamaican reggae star Turbulance has been added to the Sand Festival roaster. This is in acknowledgment of the way that Malawi is a reggae-adoring nation, consequently the choice to rope in Turbulance,” Macbrams is cited saying.

At first, the coordinators reported that Sizzla Kalonji, another Jamaican, would have featured the show and lead the reggae class, yet he is right now on a visit in United States of America and his accessibility would not have been ensured.

The 2016 Sand Music Festival denote the 6th organizing of the occasion.

Source: The Observer

Wiz Khalifa to Perform NBA Opening Night for ‘NBA on TNT Road Show’ Debut

Grammy-nominated artist and songwriter Wiz Khalifa will join as the musical guest of the NBA Opening Night festivities. No stranger to the sports world, in the past he’s performed at ESPN SportsCenter Concert Series in conjunction with the 2015 NBA Draft, and his 2010 hit “Black and Yellow” (released via Rostrum/Atlantic) became an unofficial anthem for the Pittsburgh Steelers.

On Tuesday (Oct. 18), Turner Sports announced the launch of the “NBA on TNT Road Show,” curated around the Emmy-award winning post-game show Inside the NBA on TNT featuring Charles Barkley, Kenny Smith, Shaquille O’Neal, and Ernie Johnson. The special “Road Show” will include an interactive space of food trucks, musical performances, and other interesting fan activations. Activations include NBA on TNT premium merchandise, a “Singers Slam” studio allowing fans to lip sync like the personalities on the show, an on-court hoops experience, and much more.

The Opening Night of the NBA and the “Road Show” on Oct. 25 at 3 p.m. PT, set in Cleveland, Ohio,  will feature a 75,000 square foot area located adjacent to the Quicken Loans Arena and be anchored by the Inside the NBA show which will be going on inside the arena.

Inside the arena the 2015 NBA Champion Cleveland Cavaliers (team of all-star Lebron James and popular player Kyrie Irving) will face the New York Knicks at 8pm while just a couple hours later The San Antonio Spurs will go against the Golden State Warriors (team of NBA star Stephen Curry and newly signed Kevin Durant) at 10:30 p.m.

Coverage that night begins at 6 p.m. with pre-game programming followed by the Cavaliers ring ceremony.

Next up in performances will be Desiigner performing at halftime at the Philadelphia 76ers home opener against the Oklahoma City Thunder on Oct. 26.

Source: Billboard

Kanye West Surfs Above Crowd on Floating Stage at Saint Pablo Tour Kick-Off: Watch

Kanye West found a way to elevate the game again on Thursday night during the kick-off of his Saint Pablo tour in Indianapolis. Instead of performing on a standard stage, West blew minds by delivering his set from an illuminated floating platform that hovered above the crowd over a mosh pit of fans on the arena floor. While artists from Rihanna to Taylor Swift and Justin Timberlake have walked out above crowds on moving catwalks and stage extensions, West’s show-length sci-fi flight of fancy appears to be the first time an act has spent an entire show suspended above the maddening crowd.

kanye west c/o donda ©2016

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floor "seats"

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It was also, of course, a stunt destined to blow up social media, with a rush of tweets and Instagram videos going out within the first hour of the set at Bankers Life Fieldhouse.

https://twitter.com/utorlive/status/768993479888371712?ref_src=twsrc%5Etfw

https://twitter.com/TeamKanyeDaily/status/769018807604092928?ref_src=twsrc%5Etfw

purely insane

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West was tethered to the stage, which was pulled across the arena’s length by a pulley system, with the traditional stage occupied by a giant video screen. He was reportedly forced to stop the show for a bit during “Blood on the Leaves” when fans tried to grab the real-life “Ultralight Beam,” which hung around 20 feet above the floor.

The Indianapolis Star noted that Yeezy took a moment during the show to apologize to Nike CEO Mark Parker for his previous digs at the company, with whom he collaborated on a series of shoes from 2007-2012. “I’d like to thank you Mark Parker of Nike,” he reportedly said. “For giving a kid from Chicago a chance. I apologize like a man for anything I ever did to you or your family.” He also couldn’t resist taking a swing at haters, saying, “I know they call me crazy sometimes, I just call them lazy all the time.”

The 32-song set was focused mostly on ‘Ye’s recent The Life of Pablo album, with some detours into classic tracks such as “Black Skinhead,” “Power,” “Can’t Tell Me Nothing,” “Flashing Lights” and “Good Life.”

https://twitter.com/TeamKanyeDaily/status/769001290319990788?ref_src=twsrc%5Etfw

The set list, according to Fact:

“Father Stretch My Hands Pt. 1”
“Father Stretch My Hands Pt. 2”
“Famous”
“Pop Style (Drake cover)”
“THat Part (ScHoolboy Q cover)”
“FACTS”
“All Day”
“Mercy”
“I Don’t Like”
“Black Skinhead”
“Power”
“Wolves”
“Feedback”
“Freestyle 4”
“I Love Kanye”
“Can’t Tell Me Nothing”
“FML”
“Blood on the Leaves”
“Jesus Walks”
“Amazing”
“Runaway”
“Devil in a New Dress”
“All Falls Down”
“Flashing Lights”
“All of the Lights”
“Good Life”
“Niggas in Paris”
“30 Hours”
“Highlights”
“Real Friends”
“Only One”
“Fade”

Source: Billboard

 

 

 

 

 

 

 

Sean Paul Signs To Island Records, Talks Shakira and David Guetta Collaboration: Exclusive Q&A

Fresh from helping Sia land her first number one on the Billboard Hot 100 with “Cheap Thrills,” Dancehall star Sean Paul has inked a global deal with Island Records, a label indelibly associated with reggae music and the Caribbean through its championing of Toots & theMaytals, Sly & Robbie and, most famously, Bob Marley. 

The multi-album deal will see the Jamaica-born artist and producer release future works on the Universal-owned label in both the U.K. and the U.S. and brings an end to his brief run as an independent artist, which followed the end of his decade-long partnership with Atlantic in 2014.

“He’s one of the very few reggae greats to have gone global. What Sean has done for Jamaica and helping reggae music cross over makes him nothing short of a cultural icon,” Darcus Beese, president of Island Records U.K. tells Billboard. 

“I don’t think there’s anything more potent or authentic than Island Records sitting down with a reggae artist of his caliber and having a conversation about signing them. It’s absolutely a natural fit,” says Beese, who played a key role in brokering the deal, flying to New York to meet the artist and his management team within 24 hours of first being approached. 

“We’re in it for the long term,” adds the London-based label head, calling Paul a “global music star” who makes “exciting, forward thinking and hit-driven music” that crosses borders worldwide. With the first fruits of the new label deal due this fall, Billboard spoke to Sean Paul about joining Island, falling out with Atlantic and collaborating with David Guetta, Shakira and, of course, Sia.

  

Billboard: You’ve been independent for over a year now. What was it about Island Records that made you want to once again partner with a major label? 

Sean Paul: Island is an iconic label. From when I was a kid I have heard and loved many artists on their roster, so it is a very familiar name to me. It was also just a very good offer – something that gives me great creative control and the space to experiment, which I’ve always wanted. When it comes down to music there are times when I just want to express myself and be an artist and not be told how to do that. The deal that Island offered me gave me that space that I’ve been searching for quite some time. I’ve had success with other labels [in the past], but we got in each other’s way. 

Was that what happened with Atlantic? Were you not granted creative control there? 

It wasn’t understood of me. With a big company like that they mass produce the artists and mass produce music, they clump everything together. For instance, a big producer gave me a rhythm track and I loved it. I [record] it and leave thinking: ‘This song is mine.’ And then a year later when I’m trying to put my album together I hear that another artist from the same label wanted it and did it before me. Things like that were happening that didn’t make sense to me. The reason producers do that is because labels have them on a cookie cutter kind of deal: ‘We pay. You just give us hooks, put artists together, switch it up and give us the best things.’ Things like that was kind of crazy to me. That my work would be chopped up with other people’s stuff. Even if I didn’t like the artist, now he’s singing a hook that I was involved in and I had no say. Those things were happening and it pissed me off.

Can you give any specific examples? 

A song was presented to me. I loved the hook and was told do a version. I did it. Finally put it out and then someone on the internet writes to me and says: That’s Ryan Tedder’s song and it’s been out on his SoundCloud for like a year.’ I’m like: ‘Wow. That’s how I find this out?’ The song was “Got 2 Luv U.” The hook was by Ryan Tedder and it came out on his site a year before. The day I put it out I’m having a disgruntled fan, or some hater fan who doesn’t really like me anyway, say: ‘You’re just putting out other people’s work.’ So things like that started to reoccur and just got me in a very sad place and bad vibe. For the past year I’ve been at home doing a lot of dancehall and step outs with different artists but not with a record label. I’ve been independent and some great things have started to happen because of the steps that I was allowed to take and I was allowed to take them because I was independent. Now I have got a deal with Island where they recognize that ‘he knows what his fan base needs and knows exactly what he wants to put out. We don’t need to help him in that direction. We need to facilitate people knowing about his work.’ That’s just a great thing for me. 

When can we expect to hear new music? 

There’s thousands of songs, bro. I’m working on a competitive basis day to day. I’m now about to go to LA for another writing session with different producers and artists. It’s a continuous process for me. I’m trying to drop a single in November. I’m on Tory Lanez’s remix, which is a song called “Luv.” That’s dropping in September. I’m also putting out two warm-up singles. One is called “Trumpets” and it’s been out a few months now. And I’m about to put out another one called “Crick Neck,” which features an artist from Jamaica called Chi Ching Ching and he’s got a huge buzz down here and we also have a friendship, which was important to me. The warm up singles will be followed by the big single, which I’m actually still working on. I may beat what I have in LA, so we’ll see how that goes. If I don’t beat what I already have we’re going to present a big song with a big artist. 

What can you reveal in terms of collaborations? 

I’ve been working with many different producers — Da Beat Freakz being one of them. I can speak about a song I did with Shakira recently. I’ve wanted to work with her for a long time and it’s a production by David Guetta. I think it’s going to be called “Temple.” It’s more of a dancehall EDM type thing. David Guetta put his special touch on it. He’s a very amazing producer. Just when I thought he can’t find no better hook than this one, he finds a better hook. I love the tone of Shakira’s voice. It stands out. She’s an amazing dancer and performer. I always love Latina ladies, so I’ve been a fan of hers for quite some time. 

I can also tell you that I have songs with people like Afrojack, Da Beat Freakz, Clean Bandit. There’s so many amazing producers that I have been able to work with. It makes me feel new all over again. I can also speak about a song that I have done with Wizkid and we’re also looking to do another collaboration also, so there’s some big things coming out. As for what the big single will be, I’ll know after this trip to LA and I’ll see where that takes me. I’ll hear from the fans if the direction I’m going is something they like and then I’ll be able to put the album together for sometime early next year. 

What was your reaction when Sia first came to you about guesting on Cheap Thrills? 

I just thought: ‘What a big sound, nice hook and melody she had put down.’ I’m a huge fan of her voice. She spans generations. My mum is a big fan of her voice and her songs and writing. I can’t believe “Cheap Thrills” is the only song that she’s had that went to number one on the charts. When I heard that I was shocked. I could have sworn that she’d had other songs at number one because I’d heard them so much on the radio and TV. For me, she’s been a number one artist for a long time.  

Was the success of “Cheap Thrills” all the sweeter for coming ten years after you last topped the Hot 100? 

That was an amazing feeling. There’s a real resurgence of energy within the whole group of people who work with me. New ideas are coming and that’s always good. For the ten years that I was not being on those charts you would hear the question: ‘Where have you been? You went away.’ No. I’m always in the studio. I’m always touring. Maybe I’m not on the big shows that you see on your TV, but I’m always touring. That’s how I keep this whole thing alive. Those ten years were spent wisely doing every collaboration that I could that made sense. The studio is a daily part of my life. Even when I’m on holiday I take my computer and my drum machine with me in this ten pound nap sack, which everybody says I’m ridiculous for. But it’s a work ethic that’s embedded in me. On top of that, it’s the most fun part of my job. 

How do you feel about the current mainstream popularity of dancehall and reggae? 

I’m loving the resurgence of dancehall. Right now Shakira is working with one of my old producers from Jamaica trying to find something that’s hot and dancehall is hot again. It’s a great resurgence. So when international people come to do dance hall and when they send me things, I can only feel proud. I don’t feel offended. I jump on it and think: “let me see how I can make this more appreciable to Jamaican people and bridge the gap?’ From that it turns into something new. When Enrique went on a dancehall track [with his 2014 single “Bailando”] it made me so enthused for the whole genre. And when people like Drake and Popcaan collaborate [on “Controlla”], that’s just a great thing. Dancehall has now become mainstream international music, rather than underground where it was for years.

Source: Billboard

Pharrell to Be Honored by Clive Davis for Songwriting

Other Songs of Hope honorees include singer-songwriter Mike Posner & “Jungle Book” composer John Debney.

Pharrell has a new reason to be “Happy.”

Clive Davis is honoring the “Happy” and “Freedom” singer-songwriter with his Legend in Songwriting Award.

Pharrell is scheduled to receive the honor from the veteran music executive at the 12th annual Songs of Hope event on Sept. 15. The annual event benefits the City of Hope, a research and treatment center for cancer, diabetes and other life-threatening diseases in Duarte, California.

Other award recipients will include singer-songwriter Mike Posner and The Jungle Book and Mother’s Day composer John Debney.

Burt Bacharach, Lukasz “Dr. Luke” Gottwald and Kenneth “Babyface” Edmonds are among the previous winners of Davis’ Legend in Songwriting Award.

Source: Billboard

The Weeknd Teases New Music

Is this the Cashmere Cat collaboration?

The Weeknd is squadding up for his follow-up to 2015’s Beauty Behind theMadness.

Two weeks after electronic DJ/producerCashmere Cat snapped a pic of a studio session with The Weeknd, the XO crooner released a snippet Wednesday (Aug. 24) on Instagram of what could be the pair’s collaboration, captioning the video with a simple cat emoji. The teaser comes after Republic Records executive VP/head of urban A&R Wendy Goldstein revealed that the “Can’t Feel My Face” singer was working with Daft Punk.

According to a Weeknd fan Twitter account, the Cashmere Cat collaboration is allegedly titled “Wild Love” and could arrive this Friday.

https://www.instagram.com/p/BJgBbr7hkjg/

 

Source: Billboard

 

Frank Ocean’s Album Is the Straw that Broke Universal Music’s Back (and It May Get Him Sued)

In the end, Frank Ocean won, and walked away with his freedom and his money. Calculating those who lost, however, is a much more complicated equation.

Frank Ocean‘s four-year sabbatical from the public eye following his 2012 albumChannel Orange ended emphatically and dramatically last week with back-to-back releases: the visual album Endless, released as an Apple Music video stream via Def Jam/Universal Music Group; and the 17-song album Blond, released as an Apple exclusive a day later on Ocean’s own label, Boys Don’t Cry, without Def Jam’s — or Universal’s — involvement.

After an interminable wait (in music industry standards, at least), Ocean fulfilled his contractual obligations, sources tell Billboard, and increased his potential profit share from 14 percent to 70 percent of total revenues from Blond within a 24-hour period, seemingly pulling a fast one on the biggest music company in the world in the process. Def Jam and its parent Universal, stuck with an overshadowed visual album that isn’t for sale, and cut out of any revenue from the “proper” album that’s headed to the top of the charts on the strength of  225,000 to 250,000 equivalent album units earned in the week ending Aug. 25, were left with what amounts to a very long music video and without one of their marquee artists.

UMG chairman/CEO Lucian Grainge reacted swiftly by informing the heads of his labels that Universal was done with streaming exclusives on one platform and on a global basis, which has been at the center of the streaming services’ arms race in the last 18 months, though it remains unconfirmed whether or not Grainge’s policy change was a direct result of Ocean’s strategy behind Blond. But regardless, the damage was done.

Now, the question is, how did Ocean win this battle? Did he? And what does it mean for the other labels, streaming services and the industry at large?

In July, Billboard reported that Def Jam had spent as much as $2 million on recording costs for Ocean’s album, at the time thought to be called Boys Don’t Cry. Now it appears that Ocean, perhaps through an advance via his new deal with Apple (though one source suggests a separate, private benefactor), paid that amount back to Def Jam, absolving him of any recoupable claims from Def Jam/UMG and essentially buying Ocean his own recordings back. Ocean deliveredEndless instead, fulfilling his deal and severing his contractual ties to the major.  

But to release another full-length, fully-realized album outside the label’s purview just 24-hours later is controversial, to say the least, and a source tells Billboard that while UMG hasn’t taken any legal action against Ocean or his team — yet — the label group may have grounds to do so. 

For one, many record contracts are based on minimum-delivery clauses, meaning that if Ocean’s deal was just for two albums, he typically would have had to deliver them within a set time frame, and at a label-acceptable level of quality, in order to fulfill his contract. In addition, most recording contracts stipulate a window of time during which an artist can’t release music on any other label, so as not to compete with the current project — in this case, DefJam’s Endless. By delivering Blond within just 24 hours, it raises the question of whether  Universal even knew it was coming — and what they could have done about it regardless. 

The Frank Ocean release follows two other highly unorthodox rollouts from Def Jam artists, both via Jay Z‘s Tidal service: Rihanna‘s leaked Anti album and Kanye West‘s extended-streaming/eventual U-turn of a strategy for The Life of Pablo. Those two LPs at least went to No. 1 on the Billboard 200; with Ocean, Def Jam won’t even have that consolation.

That makes Grainge’s umbrage understandable. But it doesn’t necessarily represent a coup for Apple Music, either, as the ire of the industry — and the biggest label in the world — turns toward the house that Jobs built. (Def Jam and Apple Music did not immediately respond to requests for comment.)

Spotify, one of the industry’s favorite punching bags over the past few years due to its free tier and the low royalty payments that it generates, has long eschewed exclusives as bad for artists and bad for fans. And privately, many executives at major labels have agreed with that position, saying that, in addition to fostering piracy, the strategy segments off an artist’s fan base into the smaller pools of Apple Music (15 million subscribers) and Tidal (estimated to have 4 million subscribers) rather than allowing the broader paid on-demand streaming subscriber base (68 million people worldwide, according to the IFPI) to tune in. To that end, UMG insiders critical of exclusives vocally muse that such artists as Ariana Grandeand U2 would have seen much more significant debuts.

But whether the heads of Sony Music Entertainment and Warner Music Group — Doug Morris and Stephen Cooper, respectively — follow Grainge’s lead in shutting down exclusives is a matter of debate. The fact remains that artists from every major label — Drake (through Cash Money’s distribution deal with UMG), Rihanna and West for Universal; Beyonce, Future and DJ Khaled for Sony; Blake Shelton and PartyNextDoor for Warner — have succeeded using exclusive or windowed releases. But some label execs have expressed concern that despite chart successes, those albums failed to reach the maximum revenue potential by being sequestered on a single service.

It’s also worked for independent artists before Ocean — Chance the Rapper‘sColoring Book became the first-ever streaming-only release to reach the Billboard 200 albums chart, debuting at No. 8 as an Apple Music exclusive in May. With Ocean almost certainly set to hit No. 1 this week via his digital-only release (in addition to streaming on Apple Music, it’s for sale in the iTunes Store), it raises the question of how important a record label is at all in 2016, as services offer marketing and advance money that a label would otherwise provide. And if terrestrial radio remains the final frontier that separates successful artists from superstars, well, a company like Apple has a digital version of that, too, with its Beats 1 Radio stations.

At the beginning of 2016, robust competition among, and ever-increasing revenue from, the streaming services seemed like it would finally bring the recording industry back from the brink. The question is: Can the labels and streamers get along well enough to prosper together?

Source: Billboard

Ariana Grande & Nicki Minaj to Perform ‘Side to Side’ at MTV VMAs

Ariana Grande and Nicki Minaj are teaming up again this weekend at the MTV VMAs, taking the stage to perform “Side to Side” from Grande’s third studio album Dangerous Woman

The VMAs will air live Sunday from New York’s Madison Square Garden at 9 p.m. EST. The duo has also teased an official “Side to Side” video to be released that day.

Grande and Minaj last graced the VMAs stage with their presences at the 2014 VMAs, opening the show with a medley of Grande’s “Break Free,” Minaj’s “Anaconda” and their collaboration with Jessie J “Bang Bang.” Grande also won Best Pop Video for “Problem,” featuring Iggy Azalea.

They join previously announced performers Britney Spears featuring G-Eazy, Nick Jonas featuring Ty Dolla $ign, Future and Rihanna.

Grande announced her performance with a video featuring London artist Hattie Stewart.

 

Source: Billboard