Latest news with #Måneskin
Irish Independent
29-06-2025
- Entertainment
- Irish Independent
Dua Lipa celebrates sold-out Aviva Stadium gig by ‘splitting the G' with fellow stars at Dublin pub
The Houdini singer, who performed her biggest ever Irish show at the Aviva Stadium on Friday night, said there was 'only one way to celebrate' after selling out five stadiums in a row on her latest tour. Lipa (29) let her hair down in a local pub with her well-known fiancé Callum Turner (35) and her team, including former Disney Channel star Dove Cameron (29), who supported her on stage. Earlier this month, the three-time Grammy winner confirmed her engagement to actor Turner, who starred in Apple TV series Masters of the Air and the film franchise Fantastic Beasts. Cameron's boyfriend Damiano David, the lead singer of Eurovision-winning band Måneskin, was also pictured enjoying the post-show celebrations. Sharing photos and videos of her night-out with her almost 90 million followers on Instagram, Lipa wrote: '5 SOLD OUT STADIUMS IN A ROW!!!! ONLY ONE WAY TO CELEBRATE!!!! BY SPLITTING THE G!!!!!!' The star shared videos of her successful attempt at the viral trend, which involves 'splitting the G' of the Guinness logo on the first sip of a pint, while popular local pizza spot Bambino supplied the food. It is not the first time a global star has endorsed the business, with American rapper Lil Yachty wearing a Bambino t-shirt on stage at the 3Arena last month. The crew also danced to trad music and the Don McClean classic 'American Pie' as Lipa posed for photos. Her acclaimed Irish show marked the final stop on the European leg of her Radical Optimism tour, with Lipa performing her chart-topping hits like One Kiss, Levitating, Don't Start Now and New Rules. 'Dublin, you blow me away every time but last night was extra special!' she said, sharing photos from her gig on Instagram. "Thank you for the warmest of welcomes in your beautiful city! We just played to a sold out Avivaaaaa Stadium!' Her set also included a tribute to the late Irish singer Sinéad O'Connor, with Lipa performing a cover of O'Connor's iconic rendition of the Prince song Nothing Compares 2 U. It came just days after American popstar Olivia Rodrigo paid tribute to another Irish act. The Driver's Licence singer played a cover of Fontaines DC hit I Love You during a sold-out gig at Dublin's Marley Park on Tuesday.
Hamilton Spectator
15-06-2025
- Entertainment
- Hamilton Spectator
New Brunswick's Justin Collette is the ghost with the most in ‘Beetlejuice' musical
TORONTO - Even the walls of Justin Collette's dressing room scream, 'Beetlejuice, Beetlejuice, Beetlejuice.' While most theatre actors would choose a Zen-like atmosphere in their backstage quarters, Collette prefers a little anarchy. Hanging around the room are nearly a dozen fan sketches of the living dead trickster he portrays in 'Beetlejuice: The Musical,' as well as drawings of his goth teen sidekick Lydia and the grotesque sandworm that invades her suburban home. 'This is like a fifth of fan art I've been given — so many cool, cool things,' Collette says with a smile, while the music of Italian rock band Måneskin blares over a speaker. 'I have to ship much of it home because it's hard to travel with anything on the road.' Collette is preparing for opening night at Toronto's CAA Ed Mirvish Theatre, where 'Beetlejuice: The Musical' runs for six weeks, until July 19. It's the longest stop for the travelling show where he plays the character made famous by Michael Keaton in Tim Burton's 1988 dark comedy film. The New Brunswick native says he's excited to plant himself in a city where he once lived. Everything about his life on the road is a routine, including the hours leading up to his nightly performance. He comes into his dressing room, surveys the fan art, and then settles into a chair as makeup artist Andrew Ozbun begins to apply his Beetlejuice face. It's a process that Ozbun says once took an hour, but he now manages to finish in about half that time. Over the past 2 1/2 years, Collette has been criss-crossing North America, playing the wisecracking Beetlejuice practically every night. It's a gruelling role that calls for high energy, spastic movements and improvised witty quips. Before the show, Collette slips in and out of the character with ease, adopting the gravelly voice and wide-eyed mannerisms like he's flipping on a switch. 'One of the things about doing this for like 900 shows is that my facial muscles are atrophying,' he says. 'I don't know how Jim Carrey isn't lopsided because I have to get dry needled all the time to get my eyes and jaw to work.' Despite the physical challenges, Collette is buzzing about this opportunity to entertain Canadian audiences for a good chunk of the summer. He spent his early career in Toronto sharpening his skills as an improv comedian, and the crew has draped a banner of little Canadian flags across his wardrobe as a reminder of his homecoming. 'I feel like here I can relax into my own sensibilities,' he says of performing for locals. 'Because I kind of agree with them on what is good and what isn't, because I'm one of them.' Collette made his name on Broadway in the 2015 adaptation of 'School of Rock,' playing Dewey Finn, the music-obsessed teacher first portrayed by Jack Black in the Hollywood comedy. On stage, Collette took over the role from Alex Brightman, who decided to leave 'School of Rock' to become live theatre's first Beetlejuice. 'He was so excited about how funny it was,' Collette remembers of his friend's leap to the ghostly character. 'When I went to see (it), I agreed. It really was like nothing I'd ever seen on Broadway.' Collette didn't think he'd ever get to play Beetlejuice, until one day the opportunity arose for him to audition for the lead part in a travelling production of the show. 'I knew exactly how I wanted to do it,' he says of the character. 'It's hard to explain. I heard the cadence of how I was going to (speak) ... even when I read the script. I just knew.' After Collette got the part, he began refining his version of Beetlejuice to make it independent of his predecessors. 'I don't think it looks good when somebody does an impression of somebody else's character in one of these things,' he says. 'It's just diminishing returns because you'll inevitably just get compared to them.' Collette did lift a few mannerisms from the cinematic source material, he admits. Most notably, he liked Keaton's 'open-legged goblin run' in one scene of the movie, which he uses several times in throughout the musical. '(It's) little things, because I don't want him to be unrecognizable, right?' Collette says. 'So you've got to borrow some stuff.' Staying in the Beetlejuice role this long hasn't lost its appeal for him either. Collette says he's set personal goals for his portrayal, and then pushed himself to go further by 'sharpening movements and trying to dig into moments to mine them for little comedy bits.' Each night, as he stares out into the crowd of theatregoers and costumed Beetlejuice fans, he rises to another challenge of making Beetlejuice a little more his own. ''Make it your own' sounds so lame to me,' he interjects. 'You have to figure out who you are.' And with that, his makeup is finished, and Collette is buzzing with mischievous energy. Surveying his dressing room one last time, he pauses before whipping out one of Beetlejuice's trademark phrases, punctuated by his hearty growl. 'It's shooowtiiime!' he shouts. This report by The Canadian Press was first published June 15, 2025.
Winnipeg Free Press
15-06-2025
- Entertainment
- Winnipeg Free Press
New Brunswick's Justin Collette is the ghost with the most in ‘Beetlejuice' musical
TORONTO – Even the walls of Justin Collette's dressing room scream, 'Beetlejuice, Beetlejuice, Beetlejuice.' While most theatre actors would choose a Zen-like atmosphere in their backstage quarters, Collette prefers a little anarchy. Hanging around the room are nearly a dozen fan sketches of the living dead trickster he portrays in 'Beetlejuice: The Musical,' as well as drawings of his goth teen sidekick Lydia and the grotesque sandworm that invades her suburban home. 'This is like a fifth of fan art I've been given — so many cool, cool things,' Collette says with a smile, while the music of Italian rock band Måneskin blares over a speaker. 'I have to ship much of it home because it's hard to travel with anything on the road.' Collette is preparing for opening night at Toronto's CAA Ed Mirvish Theatre, where 'Beetlejuice: The Musical' runs for six weeks, until July 19. It's the longest stop for the travelling show where he plays the character made famous by Michael Keaton in Tim Burton's 1988 dark comedy film. The New Brunswick native says he's excited to plant himself in a city where he once lived. Everything about his life on the road is a routine, including the hours leading up to his nightly performance. He comes into his dressing room, surveys the fan art, and then settles into a chair as makeup artist Andrew Ozbun begins to apply his Beetlejuice face. It's a process that Ozbun says once took an hour, but he now manages to finish in about half that time. Over the past 2 1/2 years, Collette has been criss-crossing North America, playing the wisecracking Beetlejuice practically every night. It's a gruelling role that calls for high energy, spastic movements and improvised witty quips. Before the show, Collette slips in and out of the character with ease, adopting the gravelly voice and wide-eyed mannerisms like he's flipping on a switch. 'One of the things about doing this for like 900 shows is that my facial muscles are atrophying,' he says. 'I don't know how Jim Carrey isn't lopsided because I have to get dry needled all the time to get my eyes and jaw to work.' Despite the physical challenges, Collette is buzzing about this opportunity to entertain Canadian audiences for a good chunk of the summer. He spent his early career in Toronto sharpening his skills as an improv comedian, and the crew has draped a banner of little Canadian flags across his wardrobe as a reminder of his homecoming. 'I feel like here I can relax into my own sensibilities,' he says of performing for locals. 'Because I kind of agree with them on what is good and what isn't, because I'm one of them.' Collette made his name on Broadway in the 2015 adaptation of 'School of Rock,' playing Dewey Finn, the music-obsessed teacher first portrayed by Jack Black in the Hollywood comedy. On stage, Collette took over the role from Alex Brightman, who decided to leave 'School of Rock' to become live theatre's first Beetlejuice. 'He was so excited about how funny it was,' Collette remembers of his friend's leap to the ghostly character. 'When I went to see (it), I agreed. It really was like nothing I'd ever seen on Broadway.' Collette didn't think he'd ever get to play Beetlejuice, until one day the opportunity arose for him to audition for the lead part in a travelling production of the show. 'I knew exactly how I wanted to do it,' he says of the character. 'It's hard to explain. I heard the cadence of how I was going to (speak) … even when I read the script. I just knew.' After Collette got the part, he began refining his version of Beetlejuice to make it independent of his predecessors. 'I don't think it looks good when somebody does an impression of somebody else's character in one of these things,' he says. 'It's just diminishing returns because you'll inevitably just get compared to them.' Collette did lift a few mannerisms from the cinematic source material, he admits. Most notably, he liked Keaton's 'open-legged goblin run' in one scene of the movie, which he uses several times in throughout the musical. '(It's) little things, because I don't want him to be unrecognizable, right?' Collette says. 'So you've got to borrow some stuff.' Staying in the Beetlejuice role this long hasn't lost its appeal for him either. Collette says he's set personal goals for his portrayal, and then pushed himself to go further by 'sharpening movements and trying to dig into moments to mine them for little comedy bits.' Each night, as he stares out into the crowd of theatregoers and costumed Beetlejuice fans, he rises to another challenge of making Beetlejuice a little more his own. ''Make it your own' sounds so lame to me,' he interjects. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. 'You have to figure out who you are.' And with that, his makeup is finished, and Collette is buzzing with mischievous energy. Surveying his dressing room one last time, he pauses before whipping out one of Beetlejuice's trademark phrases, punctuated by his hearty growl. 'It's shooowtiiime!' he shouts. This report by The Canadian Press was first published June 15, 2025.
Los Angeles Times
28-05-2025
- Entertainment
- Los Angeles Times
Damiano David on his first solo album, his famous girlfriend and that Springsteen moment
Rock-star conspicuous in a brown leather bomber jacket, Damiano David struts into a hotel bar in downtown Los Angeles, finds a table near the back and orders an orange juice in his suave Italian accent. The 26-year-old singer from Rome broke out in 2021 when his band Måneskin scored a global smash with its cover of the Four Seasons' 'Beggin''; by then the quartet had already won the Eurovision Song Contest with 'Zitti e Buoni' and crashed the top 10 of the U.K.'s singles chart with 'I Wanna Be Your Slave.' (If the latter calls to mind the Stooges' 'I Wanna Be Your Dog,' consider that Iggy Pop teamed with Måneskin for an alternate version of the song.) Yet David is here on this April afternoon to talk about 'Funny Little Fears,' his debut album as a solo act. Written and produced with a squad of industry pros including Jason Evigan, Sarah Hudson and Amy Allen, the LP moves away from Måneskin's glammy rock toward a more synthed-up pop sound somewhere between Harry Styles and Benson Boone. Among the highlights are the swooning 'Born With a Broken Heart,' which has more than 100 million streams on Spotify, and 'Sick of Myself,' a dreamy ballad David wrote about his girlfriend, the singer and actor Dove Cameron; 'Zombie Lady' features a vocal turn by Cameron herself, with whom David is in the middle of moving into a new place when we meet up. 'We're getting furniture and all that bull—,' he says, his hair still shower-wet (or coiffed to look like it). David, who still spends half his time in Rome, will tour this summer with stops at Bonnaroo and Lollapalooza before a show at the Wiltern in November. These are edited excerpts from our conversation. You're living in L.A. part time because of work? It's mainly for my partner. But also because for this project, I started everything here, so it made sense to have a life here. You like L.A.? It's cool — sunny and everything. What really matters is the people, and I built a very nice community. Songwriters and producers and the like. Basically, I speed-dated every songwriter in L.A. for two months, then I made my selections based on guts and personal feeling and how much we would click with each other. I found my people, and now we go for dinners and we text. In an interview with Zach Sang, you referred to experiences with a couple of songwriters that didn't work out well. Really didn't. What happened? Sometimes it was nobody's fault — we just didn't click. What happened once was with a very big name — a big, big, big one — and he was basically never in the room. So it felt like a waste of time. They were like, 'This big name wants to do a session,' and I was like, 'F— yeah.' Then I went there and it was me and his sound engineer. Fair to say that with Måneskin you were operating in a rock space, and on your own you're operating in a pop space? I think it's fair to say if you're strictly talking about genres. But I don't think it's 100% correct because even with the band — what we did, of course, had distortion and everything, but I think it has a pop scheme. That's a good term for it. Me being the songwriter in both scenarios, I have a pop soul. I'm truly into my generation's sound, rather than an older sound, which is more what [the other members of Måneskin] are into. I think the connection between these two things made us work. On my own, not having the power trio — that's basically what we are — the sound is going to be more pop because it's cleaner. The New York Times said Måneskin 'play rock music, but operate according to the logic of pop.' I was born in 1999, so I started listening to music with a conscience in 2010. I'm born and raised with pop, and that's what I was always mainly interested in. What was the first band rock band that spoke to you? My first music memories in general are R.E.M., Red Hot Chili Peppers and Soundgarden, because that's what my dad would listen to. I'm trying to think how old you would've been when Chris Cornell put out the record he made with Timbaland. Sick. I don't know about it. Some people were like, 'This is insane,' and some people were like, 'He's such a good singer that he can do anything.' For me it would probably be the second one. Not everything is done to be extremely successful — some things are done really just for the sake of it. The male pop star has sometimes seemed like an endangered species over the last decade or so. Did you sense a vacuum that you thought you might step into? I really don't think that way — I'm not that industrialized, OK? But it's true: Girls are taking over, and it's not necessarily a bad thing. Honestly, it gives a lot of hope to see that the five biggest people in music right now are girls in their 20s to 30s. There's still men — there's Benson, who's doing amazing. And he's actually good. It's not something put-together that feels weird and made-up. I hear he's the nicest and most normal guy. You clearly put a lot of thought into your visual presentation. Is this solo record giving you an opportunity to try looks that wouldn't work with the band? It's a different aesthetic. With the band, we started very, very young. You know how in school there's the football guys, there's the basketball guys, there's the art-project guys? We were the art-project guys. So we made that our strength, and we started playing with makeup and nakedness and weird clothing because it made us feel special. In this [solo] scenario — well, first of all, I'm not 15 anymore. With the band, we were kids in an industry of adults, so we needed this armor or shield. Now I'm 26 and I don't need it. To my eye there's a bit of classic Hollywood to the styling with your record. If I have to imagine how I would look my best, I would think it's in a nice suit with an open-collar shirt. Did you care about clothes even before you began performing? Always. Not about brands — just about having something that felt personal to me. Both my parents are very well-put-together people. Stylish. My mom is very stylish. My dad dresses as a man of his age. In terms of appearance, one difference between Europeans and Americans, broadly speaking, is that Americans — You're for comfort. That's a nice way to put it. What's it like for you to walk through an airport in the U.S. and take in the view? In an airport, I'm a fan of looking like trash. These people in the industry who come off a plane and get papped in a full outfit — like, what the f—? You're on a metal tube with 20 centimeters for your legs. Why are you wearing a dress? Where did the idea for 'Zombie Lady' come from? I'm a big fan of [Tim Burton's movie] 'Corpse Bride,' and I always rooted for the zombie lady somehow. I was watching it with my girlfriend, and I thought: What would happen if I was with another girl and she popped out from a grave? 'The First Time' has a big sax solo. I think it beats a guitar solo. We were doing a writing camp in Malibu, and we were listening to Bruce Springsteen. We were like, 'Let's do something like him,' basically. I think we nailed it. It's very driving-on-Route-66 type of s—. Was Springsteen someone you cared about when you were young? I was never a huge fan, but he definitely mattered for my dad. I mean, when it was full activity [for Springsteen], I was like 2. Did you go to concerts as a kid? I'm not a big concert person. Even now? I have a hard time finding someone that I think the whole project is fire. It's always four or five good songs, then the others, I'm like, 'Why?' But also I'm not a big crowd person — it kind of overwhelms me. You said another thing to Zach Sang that I wanted to hear more about, which is that you're determined to make beautiful art even when the art is about something ugly. I have a hard time finding a piece of art that talks about a negative matter that stays negative. There's paintings of assassinations and war, but we consider them masterpieces because of the ability to take something that on its own would be bad, horrible, painful and somehow reshape it and make it into something beautiful. Ugliness can't be an artistic virtue? I'm thinking about a band like the Sex Pistols, for instance. To go to a concert of the Sex Pistols was probably the most fun thing you could do in that decade. They were about freedom and f— the rules. How can we consider that ugly? You sing in English on this album. What's Italian about the music? The level of drama. I'm extremely feeling — up and down — and I manifest it in a very express-ful way. That's very Italian about me. I'm very passionate and easy to read — I don't have many masks. Though I do think you've got a bit of rock-star mystique about you. That's because there's a complexity. I'm the Måneskin singer and everything that comes along with it, and I'm also what I am in this record. I'm an extremely positive person, and I'm also a person that went through stages of depression. This complexity is something that cannot be expressed fully in even 10 records. Which song on this album would surprise the you of five years ago? 'Sick of Myself.' I would never have declared so openly that I'm in love with this person. She's the major inspiration for this album — what she makes me feel. It's a level of directness that I would never have had. Even in interviews, I would've been more circling around the point: 'If there's a person…' Now I'm like, 'This song is for my girlfriend, 100%.' Sometimes you wear a mustache, but not today. What shapes that decision? How I feel in that moment. It's not strategic. Walking around Coachella last month, I think I saw more guys with mustaches than without. Maybe that's why I don't. Since everyone started having a mustache, I stopped. You told Vogue you listen to podcasts in the shower. Which ones? European football podcasts. Comedy stuff. Which comedians do you like? I don't think I can say the ones — I like the harsh ones. Are you interested in marriage and children? Marriage, yes — I want to get married at one point in my life. I don't see me in the future with kids, but I'm 26, so what the f— do I know?
17-05-2025
- Entertainment
How to watch and vote in the grand final of the Eurovision Song Contest
BASEL, Switzerland -- Sprinkle on the sequins or settle down on the sofa: It's time to find out who will be crowned champion at the 69th Eurovision Song Contest. Acts from more than two dozen countries will take the stage in Basel, Switzerland on Saturday to vie for glory through a 3-minute pop song. Millions of people across Europe and beyond will be watching and voting for their favorites. Here's how to join them. In Europe, the grand final begins at 9 p.m. Central European Summer Time. In Britain, it airs at 8 p.m. In the United States and Canada, the finale starts at 3 p.m. EDT. The competition will be aired by national broadcasters in participating nations — the Eurovision website includes a list. In some territories, it'll be watchable on Eurovision's YouTube channel. In the U.S., Eurovision will stream live on Peacock. Viewers in participating countries can vote during the competition, and for about 40 minutes after, by phone, text message or the Eurovision app. Each viewer can vote up to 20 times, but not for their own nation's entry. Voting is open all day Saturday for viewers in the U.S. and other nonparticipating countries, who can vote online at or with the app. The combined 'rest of the world' vote is given the weight of one individual country. Countries are awarded points based on both viewers' votes and rankings from juries of music industry professionals. These are combined into a total score, and the country with the highest score wins. At its simplest, Eurovision is an international pop music competition in which acts representing countries across Europe, and a few beyond it, compete on live television for the title of champion, and a crystal microphone trophy. Launched in 1956 to foster unity after World War II and test new live-broadcast technology, Eurovision has grown into a feel-good celebration of pop music and international unity. It has grown from seven countries to 37, including non-European nations such as Israel and Australia. The number has been whittled down to 26 finalists through two semifinals this week. Eurovision is known for electro-pop anthems and disco dancefloor-fillers — often paired with elaborate costumes and spectacular staging — and for a steady smattering of kooky novelty acts. Past winners include ABBA, who won in 1974 with 'Waterloo"; Canadian chanteuse Celine Dion, for Switzerland in 1988; and the Italian rock band Måneskin in 2021. This year's favorites include KAJ, representing Sweden with their ode to sauna culture 'Bara Bada Bastu'; Dutch singer Claude with soulful ballad 'C'est La Vie'; Austrian singer JJ's pop-opera song 'Wasted Love'; French singer Louane with 'maman'; and Israel's Yuval Raphael, with her anthemic 'New Day Will Rise.'
