R.E.M. Delivers Surprise Performance at Songwriting Gala 

Rock band R.E.M Peter Buck, Mike Mills, Michael Stipe and Bill Berry attend the 2024 Songwriters Hall of Fame Inductions and gala in New York City, US, June 13, 2024. (Reuters)
Rock band R.E.M Peter Buck, Mike Mills, Michael Stipe and Bill Berry attend the 2024 Songwriters Hall of Fame Inductions and gala in New York City, US, June 13, 2024. (Reuters)
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R.E.M. Delivers Surprise Performance at Songwriting Gala 

Rock band R.E.M Peter Buck, Mike Mills, Michael Stipe and Bill Berry attend the 2024 Songwriters Hall of Fame Inductions and gala in New York City, US, June 13, 2024. (Reuters)
Rock band R.E.M Peter Buck, Mike Mills, Michael Stipe and Bill Berry attend the 2024 Songwriters Hall of Fame Inductions and gala in New York City, US, June 13, 2024. (Reuters)

R.E.M. performed onstage together for the first time in well over a decade Thursday, reuniting to play their classic "Losing My Religion" as they were inducted into the Songwriters Hall of Fame.

Michael Stipe, Peter Buck and Mike Mills broke up in 2011, and the last time all four members played onstage together -- Bill Berry left in 1997 -- was in 2007.

But entrance into the who's who of music that is the prestigious songwriting pantheon got the band back together.

"Songwriting is the very foundation of why we came together in the first place," lead vocalist Michael Stipe told AFP. "We're really proud."

The band was inducted by Jason Isbell, who performed a cover of R.E.M's "It's The End of The World As We Know It (And I Feel Fine)" at the event.

"R.E.M. was greater than the sum of its parts. R.E.M. moved like a single instrument," Isbell said.

The Songwriters Hall of Fame celebrates its inductees with a festive dinner and intimate concert instead of a televised event.

Kevin Bacon and his brother Michael -- the duo known as The Bacon Brothers -- opened the show with a foot-stomping rendition of "Footloose," the Oscar-nominated title track of the hit 1984 film of the same name.

Bacon starred in the movie -- but Dean Pitchford wrote it and much of its music, and was among the elite group inducted Thursday.

The writer of many hit films and musical tracks, Pitchford thanked the adoring audience "for hearing all these years, and above all, thank you for listening to me."

Trey Anastasio of Phish inducted Steely Dan, while chairman of the Songwriters Hall of Fame Nile Rodgers -- the beloved co-founder of Chic -- bestowed SZA with a special award for songwriters "at an apex in their careers."

It's "just beyond all of my wildest dreams," SZA said, before performing an acoustic rendition of "Snooze."

Rodgers took his moment onstage to emphasize that "there would be no music industry if there were no songs," specifically calling out streaming platform Spotify to "acknowledge and make a point of songwriters being your priority."

- Hip hop, country, and Oscar royalty -

None other than Missy Elliott had the crowd on its feet as she inducted Timbaland into the coveted class.

"In hip hop, there was certain ways that hip hop music sounds -- Timbaland... literally changed the cadence," she said, adding that the producer, rapper and singer whose hits include "Give It To Me" was a master at marrying sensibilities of rap and R&B.

"Thank you for giving me a seat at the table," Timbaland said in a lengthy acceptance speech, before conducting a house band through a medley of his hits and those he produced for the likes of Elliott, Justin Timberlake and Beyonce.

Carrie Underwood and Keith Urban performed in honor of Hillary Lindsey, a Nashville songwriting star who's written for artists including Lady Gaga, Bon Jovi, Taylor Swift, Tim McGraw, Faith Hill and Shakira.

And Diane Warren -- the songwriter who's earned 15 Oscar nominations, including for "Because You Loved Me" performed by Celine Dion and Aerosmith's "I Don't Want to Miss a Thing" -- received the night's highest honor, the Johnny Mercer award.

She, like all of the inductees, said being honored by her peers was particularly special.

"It's songwriters -- what's cooler than that?" she said.



JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”