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Mariah Carey Will Celebrate ‘Emancipation of Mimi’ Anniversary With Las Vegas Residency

By Larisha Paul

Larisha Paul

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Mariah Carey recorded The Emancipation of Mimi 20 years ago, setting the stage for her grand comeback in 2005. It had only been three years since she released her ninth album, Charmbracelet, but she had made a career-defining transformation as a musician during that time. In celebration of its forthcoming anniversary, Carey has announced Mariah Carey: The Celebration of Mimi Live in Las Vegas .

The eight-show Las Vegas residency will be held at Dolby Live at Park MGM from April 12 through 27. General sales for the event will begin on Saturday, Feb. 10, at 10 a.m. PT. The current run of dates includes performances on April 12, 13, 17, 19, 20, 24, 26 and 27.

View this post on Instagram A post shared by Mariah Carey (@mariahcarey)

When Carey prepared for the release of The Emancipation of Mimi in 2005, she described the record as: “the real essence of who I am.”

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The era officially kicked off with the arrival of “It’s Like That,” the party-ready lead single produced by Jermaine Dupri. In the months that followed, Carey shared the instant-classics “We Belong Together” and “Shake It Off,” then topped it off later that year with The Emancipation of Mimi: Ultra Platinum Edition . The expanded version included the Grammy Award-nominated single “Don’t Forget About Us.”

Carey last performed in Las Vegas during her first two residencies at The Colosseum at Caesars Palace, which included #1 to Infinity from 2015 through 2017 and The Butterfly Returns from 2018 through 2020.

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Mariah Carey announces 'Celebration of Mimi' shows in Las Vegas

The shows celebrate the anniversary of "The Emancipation of Mimi."

Mariah Carey is heading to Las Vegas.

The pop diva announced on Tuesday an exclusive April engagement at Dolby Live at Park MGM, titled "Mariah Carey: The Celebration of Mimi."

MORE: Mariah Carey talks 'All I Want for Christmas Is You' legacy, new holiday tour

The series of eight performances is intended to celebrate the release of her 2005 album "The Emancipation of Mimi," which turns 19 on April 12, the first date of the series.

In addition to fan favorites from that album, including "It's Like That," "We Belong Together" and "Shake It Off," the show will feature hits from throughout Carey's career.

Pre-sale tickets will be available via Citi Entertainment beginning Feb. 7 at 10 a.m. PT.

Members of the MGM Rewards loyalty program, as well as Live Nation, SiriusXM and Ticketmaster customers, have a pre-sale starting Feb. 8 at 10 a.m. PT.

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The general onsale is Feb. 10 at 10 a.m. PT, via Ticketmaster .

One dollar from every ticket purchased will go to the Fresh Air Fund's Camp Mariah, a three-week summer camp program for kids ages 11-15, which helps them explore possibilities for future careers.

The dates going on sale are April 12, 13, 17, 19, 20, 24, 26 and 27. All shows are scheduled to begin at 8 p.m. local time.

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Mariah Carey announces show dates for 2024 Las Vegas residency

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The singer will celebrate “The Emancipation of Mimi” album’s 19th anniversary across eight shows in April.

Mariah Carey announced her third Las Vegas residency to celebrate the anniversary of “The Emancipation of Mimi.”

She posted the news on Tuesday by sharing the official poster, which included cover art displaying Carey’s signature pose from the 10th studio album, “The Emancipation of Mimi.”

The singer will perform live for eight shows between April 12 and 27. Her performances will feature her most popular hits from the album and other fan-favorite songs throughout her extensive catalog. The celebratory event is set to take place at Dolby Live at Park MGM.

View this post on Instagram A post shared by Mariah Carey (@mariahcarey)

Tickets will be available for purchase on Feb 10. at 10 a.m. PT on Ticketmaster’s website . Members of Citi Card, Live Nation, SiriusXM and other loyalty reward programs can grab presale tickets beginning Feb. 7 at 10 a.m. through Feb. 9 at 10 p.m. PT.

The “Emancipation of Mimi” was released in 2005 and became one of Carey’s best-selling albums. “We Belong Together,” “Fly Like A Bird,” “Get Your Number” and others became fan-favorites from the album. The project sold six million copies in the U.S. and earned Carey 10 Grammy nominations between 2006 and 2007, according to Billboard .

For its 15th anniversary in 2020, Carey reflected on the album’s impact on fans and how it was a full-circle moment for her musical journey when it was initially released.

“I look at it as a very important time in my career, a very significant time for me as an artist,” Carey told Billboard. “It was a sense of feeling triumphant when it was as successful as it was. I know a lot of people were introduced to me from that album, as well. So I would just love for people to take away the music from that album. I hope that it makes people feel good. That’s the goal.”

Now ahead of its nearly 20th anniversary, Carey is gearing up to deliver an unforgettable experience for fans.

Carey recently wrapped up her 2023 holiday tour, “Merry Christmas One and All!,” where she traveled across different cities to perform her holiday hits from November to December. The timeless classics “All I Want For Christmas Is You” and “Santa Claus Is Coming To Town” were on her 90-minute setlist. Surprise guests, including Busta Rhymes, Jennifer Hudson, Ariana Grande and others, joined the artist on stage throughout her tour for special performances.

Never miss a beat: Get our daily stories straight to your inbox with theGrio’s newsletter .

The post Mariah Carey announces show dates for 2024 Las Vegas residency appeared first on TheGrio .

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The Emancipation of Mimi

By Julianne Escobedo Shepherd

Pop/R&B

Island Def Jam

February 18, 2024

Mariah Carey is zipping up to Harlem in Cam’ron ’s purple Lamborghini when she suggests they ditch her security. It’s long past the middle of the night, they’ve outgrown the afters at her Tribeca penthouse and want some fun in the relative anonymity before dawn. Cam steps on the gas, gaining some distance on Carey’s detail in the SUV behind them, and speeds her to a brick church on 131st Street, where her great-aunt Nana Reese used to worship, and where her mother and father were married.

In Carey’s recounting, this moment occurs after the release of 2002’s Charmbracelet , her ninth album, and as a prologue to the creation of The Emancipation of Mimi , the massive 2005 release that would reinvigorate a career that, at that time, many in the music industry and media had left for dead. She had weathered the chaotic rollout of her 2001 movie Glitter , a commercial flop reviled by critics. Its accompanying soundtrack was released on 9/11, which Carey watched live on television from the communal room of a Los Angeles rehab facility. (More than a decade later, Carey would reveal she had been diagnosed with bipolar disorder.)

That July, she’d planned a stunt with MTV in which she rolled an ice cream cart onto the set of TRL to promote “ Loverboy ” and rambled a bit, calling it “my therapy session.” For the tightly controlled TRL , it was off-the-cuff and random, but after three decades of reality television, not that wild in hindsight. Yet host Carson Daly sniffed sensationalistically that “Mariah Carey’s lost her mind,” and the tabloids sneered that she was “crazy.” Her label, Virgin, paid her $28 million to leave its stable rather than put up with the flagging sales and negative press.

Charmbracelet , the result of a bidding war won by Island Def Jam, was layered and introspective but didn’t shoot her to the peaks she’d achieved in the past. Yet by the time she was joyriding in Cam’s Lambo, she had reached peace with what she had overcome— Glitter and a sexist, racist media culture trading on schadenfreude, but also the aftermath of her controlling and coercive marriage to former label boss Tommy Mottola and her fractured relationship with opportunistic family members. Outside the crumbling Harlem church, Carey contemplated her great-aunt and grandmother’s ownership of several brownstones despite their lack of formal education, meditated on the cumulative effects of the Jim Crow South, and recalled her devout Nana Reese, an “extra-crispy Christian.”

“So much of the pressure from the recent past had been lifted,” Carey wrote in her 2020 memoir with Michaela Angela Davis, The Meaning of Mariah Carey . “I had a new record deal. I had people who were excited and enthusiastic about my comeback. I had thought that Glitter would be the death of me, but it gave me new life. I took it as an opportunity to retreat, rest, and renew my purpose.”

At 35, Carey was primed to write The Emancipation of Mimi , named for a long-fought spiritual liberation and a nickname from her childhood. Though she had always considered herself a soul singer, Carey—a multiracial woman of Black American, Afro-Venezuelan, and Irish American descent—had been dogged by label suits demanding she remain in the “crossover” white pop space even after years of hip-hop-influenced singles and collaborations with rappers.

For the bulk of Mimi , Carey reunited with Jermaine Dupri , the So So Def super-producer who had worked on Charmbracelet , 1996’s “ Always Be My Baby ,” and produced her best remixes (“ Honey ,” “ All I Want for Christmas Is You ”). Their approach was contemporary, free, and in the moment, embracing Atlanta’s growing dominance in hip-hop and Carey’s desire to write bright and cheeky songs about love and relationships. At the same time, she was reinvesting in her spiritual faith, as manifested in one of Mimi ’s most powerful songs, “Fly Like a Bird,” a gospel soul track that features Bishop Clarence Keaton, the leader of the Brownsville, Brooklyn church she began attending regularly during the rough years at the turn of the millennium. “Don’t let the world break me tonight,” she belts, clear and emphatic. “I need the strength of You by my side.”

“Fly Like a Bird” is the only blatant godly part of Mimi . Like R&B throughout its existence but especially in the mid-2000s, the two moods are love and the club. Mimi ’s songs express the fun she’d been yearning for, making tactile the sound of an evolving woman who’d shook free from her albatross and kicked off her Choos. “When I see Mariah now,” Dupri told Joan Morgan at Essence in 2005, “I see her almost as a new person who’s lived a full life.” Carey’s new attitude paid off: Mimi became a colossal success, ultimately selling seven million copies in the U.S. Seven months after the album’s initial release, an Ultra Platinum Edition added an EP worth of remixes and songs, including the soon-to-be-everywhere, lush slow jam “Don’t Forget About Us,” which became Carey’s 17th No. 1 single and tied a record set by Elvis Presley (she later surpassed him). Untethered from the judgment of others, Carey returned with a vengeance.

From Mimi ’s opening track, “It’s Like That,” Carey signals her desire to put an end to the past. Over Dupri’s whistling synths and drum machine, she sets a boundary, drawing the line at “stress” and “fights”: “Mimi’s emancipation/A cause for celebration,” she chirps. “I ain’t gonna let nobody’s drama bother me.” The drum machine has a dinky clink at first, a common tic in the crunk era, but it’s a proportionate amount of dink that allows Carey to soar between the kick drums and cowbell. On the triple-time verses, she telegraphs that no matter her superstar status, her ears are angled toward the club: “All the fellas keep lookin’ at us/Me and my girls on the floor like, what?/While the DJ keeps on spinnin’ our cut,” she sings, cocksure in a fashion that would inspire two decades of dancefloors to mimic her pose, before unforgettably rhyming “Caution, it’s so explosive” with “Them chickens is ash and I’m lotion.”

Carey was lotion, and she was a hair-flip. She flaunted her impassivity to drama on “Shake It Off,” the slinking, mid-tempo radio hit built on a piano-propelled lowrider bounce. As she reads a laundry list of a paramour’s indiscretions, including “this one and that one by the pool, on the beach, in the streets,” her voice is baby-oil smooth and almost slack to signify her breezy indifference: She can’t even bother to entirely enunciate consonants. The whisper quality of her background vocals—“I gotta shake, shake, shake you off”—sounds like salt thrown over the shoulder to prevent bad luck, a gentle internal monologue that gives the song its nimble quality. On “Say Somethin’,” another chrome-smooth single—and, alongside the jaunty “To the Floor,” her first time collaborating with the Neptunes —Carey bats her eyes and flirts with a coy low register, the smoky persuasion of Snoop Dogg as her rapper foil. (The album cut, however, remains slightly inferior to the sublime So So Def remix with Dem Franchize Boyz.)

These three singles, as well as the breakup dirge and gigantic hit “We Belong Together,” are notable for what Carey is not doing in them: She is not performing vocal gymnastics, she is not hitting impossibly high notes, she is not venturing anywhere near music that could be considered overly emotional or even treacly. It is easy to get caught up in the mere fact of Mariah Carey’s voice, which is impressive and beguiling but invites the listener to get over-jazzed by her technical razzle-dazzle—her four-and-a-half-octave range, her whistle register, her melismatic backflips. This prowess can elide the emotion within each song, and on Mimi especially, she is exercising a characteristic rarely cited in exaltations of her genius: her total restraint. “I’ve just never wanted to only belt,” she told the New York Times ’ Lola Ogunnaike. “And when I sing breathy it feels more intimate.”

Her vocal self-discipline fit perfectly in a year when the biggest and most culturally resonant R&B hits— Ciara ’s “1, 2 Step,” Amerie ’s “1 Thing,” Kelis ’ “Milkshake,” even Rihanna ’s “Pon de Replay”—were sharp and contained. Those records played tight, streamlined production against simple, sometimes coquettish vocals, a response to the gospel-inflected power ballads that had dominated R&B in the ’90s, and Carey sat neatly within this zeitgeist. Her ability to convey the more sordid nuances of relationships—and assert herself as a much stronger woman finally having the best night on the town—was undeniable to fans old and new. Everybody loves a redemption narrative. Mimi was the best-selling album of 2005, ubiquitous on all radio stations and video channels, and remains the marker of when pop-R&B morphed irrevocably with hip-hop’s synthy shift (not to mention the mid-’00s dominance of the Korg Triton ).

In retrospect, Mimi feels like a pointed assertion of Carey’s relevance in the third decade of her career. She was catwalking out of the ’90s into a wiser, more authoritative iteration of herself—as signified by the futuristic album cover, where she stood gilded and celestially glowing, infinite golden leg aslant. Her exhortations to the physical world situated her within the moment too, as she sang about using the answering machine or changing the terrestrial radio station, technological concerns that would be dustbinned within a decade. (The last-call jam “Get Your Number” also places her firmly there, courtesy of Jermaine Dupri’s extremely 2005 delivery, though their playful good time at least gave us Michael Ealy as its video club hook-up.)

Behind the pop juggernaut, though, resides an extremely enduring soul record. Strip away the memory of hearing Hot 97 and MTV Jams play “We Belong Together” 12 times an hour, and it’s affecting how in the pocket Carey was. On “Stay the Night,” a newly famous Kanye West revs up the Stylistics’ “ Betcha by Golly, Wow ,” while Carey makes being a side chick sound like the most angelic pursuit in the world, singing in a rasp alongside the pops of the sampled record. On the chorus, when she belts “niiiiiiiight” and “liiiiiiight,” she mirrors the pure, planetary timbre of a very young Michael Jackson (a reminder that she covered “I’ll Be There” for her 1992 MTV Unplugged EP). On “Mine Again,” with its flourishes of Rhodes and flute, Carey channels Diana Ross without ever sounding like anyone but herself. “Circles” hearkens to classic Philadelphia soul with its warm bass guitar, sax, and other live instrumentation, showcasing Carey’s most kaleidoscopic talent: the way, when she harmonizes with herself, it evokes infinity mirrors in the most glamorous discotheques, so glittering as to be hallucinogenic.

Perhaps not unexpectedly, the initial reception to Mimi was lukewarm, and still marred by the negative reception of the Glitter era. (One 2005 interview with Carey in the New York Post began, “Everyone knows Mariah Carey is crazy,” as if the writer felt obligated to preemptively disclaim his praise.) Nonetheless, as Andrew Chan points out in the book Why Mariah Carey Matters , Emancipation brought in scores of new listeners who hadn’t grown up on “Vision of Love” or “Emotions,” maybe hadn’t even been born when those songs were released. To longtime fans, the initial critical reaction didn’t seem to matter, and the astronomical sales eventually nudged a reluctant critical establishment to come around. Carey’s attunement to what was popping on the streets showed, and her fealty to soul and self shone through. “There are so many intimate, special, inside, almost intangible details that are specific to me on that album,” she wrote in The Meaning of Mariah Carey . “You can actually feel my authentic emotions; there are no dramatic, overproduced ballads to appease label executives. This was pared down, simple, real shit.”

Mimi ’s best song is one of its simplest. The beat for “Your Girl” is based on the Kanye-style, sped-up soul record trend that was aflame at the time, but it was made by Scram Jones and samples an acoustic guitar from “ A Life With You ,” a 2004 song by the New Zealand R&B duo Adeaze. The premise is classic: a shy young woman makes up her mind to seduce a man she’s had her eye on for ages, asserting herself in his presence for the first time. The chorus is an exercise in exhilaration that arrives in a high-registered delirium—“You’re gonna know! For! Sure! That! I should be your girl!” Carey’s ecstasy is premised less on the potential for love and more on the rush of finally going after what she wants. It’s a transcendent moment so bright it’s nearly blinding.

There’s a Diplomats remix , too, which circulated on the DJ mixtapes—physical CD mixtapes, the kind procured from disinterested guys running tiny stalls on Canal Street—featuring Juelz Santana and Cam’ron at the peak of their fame. “Roll that purple and pop that Crissy/We the ’05 Bobby and Whitney, yo mami you with me?” Cam raps in the intro. “Forget security, you hopped in the whippy/We left the block at 160/Cops couldn’t get me/I’m gone.” The elusive chanteuse hums feather-light vocal runs around his verse, as if lost in thought behind her knowing smile, in ascension while the wind whips through her hair.

Additional research by Deirdre McCabe Nolan

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With ‘The Emancipation Of Mimi’, Mariah Carey staged a stunning comeback that resulted in hard-fought, record-shattering creative freedoms.

Published on

Comebacks don’t come much grander than The Emancipation Of Mimi . In the early years of the 21st century, Mariah Carey was looking for a new direction. Glitter had almost destroyed her movie ambitions at their very start, and 2002’s return to music, Charmbracelet , failed to yield any major hits, despite the help of Jam & Lewis and Just Blaze.

Determined to reclaim her momentum, Mariah set about recording The Emancipation Of Mimi with a renewed focus. As on many recent projects, the singer turned to a number of producers and writers, but it was Jermaine Dupri who shaped the collection’s signature tracks. Mariah wanted an upbeat feel to the record but was mindful that many of her biggest crossover hits had been emotive ballads. In songs like “It’s Like That” and “We Belong Together” she found the perfect solution.

Listen to The Emancipation Of Mimi on Apple Music and Spotify .

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Record-shattering achievements.

Both songs were composed with Dupri and among the last cuts to be completed for the album. “It’s Like That” was picked as The Emancipation Of Mimi ’s first single and returned Mariah to the US Top 20 on its release in January 2005. Later nominated for a Grammy for Best Female Pop Performance, it had replaced the shuffling “Stay The Night” on the release schedule – a sound move as, effective as it is, that song largely retrod ground covered in Mariah’s run of slick 90s singles. “It’s Like That” was something very different: a swaggering, of-the-moment, Run-DMC-sampling crowd-pleaser that featured rapper Fatman Scoop on top form. Mariah was most definitely – and defiantly – back on track.

But there was so much more to come. “It’s Like That”’s follow-up would elevate The Emancipation Of Mimi to a new level. “We Belong Together” is one of Mariah’s signature records, echoing the pop-soul smashes that she was famous for a decade earlier. Its gorgeous, timeless melody worked brilliantly across many radio formats and the single would spend a staggering 14 weeks on top of the US Hot 100, with Billboard declaring it the most popular song of the decade in due course. Its global awards and record-shattering achievements are simply too numerous to do justice to here, but the song was a staggering return to record-breaking form – all the bolder for its razor-sharp simplicity.

Hard-fought freedom

Released just a few weeks after “We Belong Together,” on April 12, 2005, The Emancipation Of Mimi (a fitting title, given that Mimi was a name Mariah used among her closest circle, and creative emancipation was certainly the order of the day) earned Mariah the best opening-week sales of her career to date. If anything, the album’s 14 songs liberated not just Mariah, but her legendary voice. Album closer “Fly Like A Bird,” which earned a belated single release in its own right, gives her vocal range a gospel -flavoured workout of spectacular ambition. Another stripped-back moment on which we can really hear her voice is the lounge ballad “Mine Again,” surely another candidate for single release if the competition had not been so strong.

Elsewhere, there were plenty of hands-in-the-air (and tongue-in-cheek) moments on the album. The Emancipation Of Mimi ’s third international single, “Get Your Number” (again featuring Jermaine Dupri), included a sample from Imagination’s 1982 European smash “Just An Illusion.” That was a reference few would have seen coming, but it proved an effective eyebrow-raiser in many markets. In the US, the song was paired with the Bryan-Michael Cox cut “Shake It Off,” which nicely bridged the gap between the previous two singles and made it all the way to No.2. It was kept off the top spot by the still-ubiquitous “We Belong Together,” only the second time a female singer had managed that double-billing in the US (Ashanti was the first).

Ahead of the pack

Rapper Twista joins Mariah on “One And Only” and Nelly appears on “To The Floor,” both effective album cuts that position Mariah as a credible urban draw when the out-of-the-park success of “We Belong Together” could have easily drawn her back towards the MOR heartlands she was obviously keen to visit, but not remain stranded in. “Say Somethin’” (with Snoop Dogg ) pushes things even further in a hip-hop direction but, overall, The Emancipation Of Mimi was a nicely balanced exercise between the R&B sound that spoke most strongly to the singer and the more familiar crowd-pleasers that would guarantee commercial success. Songs like “Circles” and “Joy Ride” don’t move her story too far forward, but successfully linger in the mind. In truth, there are no fillers here.

By the end of the year, with thoughts already turning to the reissue of the blockbuster album, a handful of new songs were recorded to promote its release. “Don’t Forget About Us” revisits the groove of “We Belong Together” and, again, was written with Jermaine Dupri, Johnta Austin and Bryan-Michael Cox. It returned Mariah to the top of the US charts in early 2006 and crowned a glorious 12 months. With awards season firmly in play, Mariah was once again ahead of the pack. Though the gap before her next album, E=MC 2 , would prove to be almost two years, Mariah was determined to make the most of this hard-fought creative freedom.

The Emancipation Of Mimi can be bought here .

April 30, 2020 at 4:24 pm

The Twister cut & the remix are the real gold from that album ….

October 19, 2020 at 6:54 pm

After reading her memoir these songs and her other album songs have so much more meaning. Mariah is a strong woman and she doesn’t have one bad album. No fillers in any of them.❤

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Mariah Carey on Why 2005’s Iconic ‘The Emancipation of Mimi’ LP Was ‘More Than a Comeback Album’

In honor of the upcoming 15th anniversary (April 12) of the now-iconic studio project, Carey reflects on the creative process, success, and legacy of The Emancipation of Mimi . &nbsp…

By Princess Gabbara

Princess Gabbara

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After you’ve been crowned “Artist of the Decade,” sold millions of albums worldwide, influenced an entire generation of vocalists, penned an iconic Christmas tune, and pioneered the now- ubiquitous pop-rap collaboration, the pressures of what comes next can be paralyzing for an artist.

Mariah Carey

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However, 15 years into her illustrious career — and following something of a rare commercial downturn — Mariah Carey dropped the best-selling album of 2005: The Emancipation of Mimi . Thanks to the success of TEOM,  which sold six million copies in the U.S. alone and helped garner Carey a whopping 10 Grammy nominations across 2006 and 2007,  Carey found true artistic freedom.  

Everything You Ever Wanted to Know About Mariah Carey, 2019 BBMA Icon

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The 14-track opus leans on the signature ballads (e.g. the megahit “We Belong Together,” aka the “Song of the Decade”) that Carey’s known for, but the dance-oriented “Get Your Number” and “To The Floor” remain standout tracks, driving home the LP’s celebratory vibe. TEOM is also notable to fans and critics for Carey’s use of her personal nickname “Mimi,” which symbolized the legendary diva pulling back the curtain a bit and letting her guard down after spending over a decade in the spotlight.  

More importantly, the album’s title was a direct nod to Carey’s redemption following her previous studio efforts, 2001’s Glitter and 2002’s Charmbracelet , which received less than favorable reviews. So naturally when TEOM opened to the second highest first-week sales of Carey’s career and spawned the singer-songwriter’s 16 th No. 1 hit, “We Belong Together,” Carey’s 10th studio project was immediately dubbed as her comeback album.

“In terms of having huge hits, [ TEOM ] definitely was a very successful album, so people were like, ‘It’s a comeback album,’” Carey tells Billboard . “For me, it was like a coming together of a lot of things with that album more than a comeback album. But they can call it that if they want to.”  

In honor of the upcoming 15th anniversary (April 12) of the now-iconic studio project, Carey reflects on the creative process, success, and legacy of The Emancipation of Mimi .  

What’s the first memory that comes to mind when it comes to The Emancipation of Mimi era? 

It really was a moment and it did feel special. When I think about all the different songs on [the album] and the different collaborators, the timing was just right. It was the first time I collaborated with The Neptunes, and it was the first time I worked with [the late James] “Big Jim” Wright as a producer with “Circles” and with “Fly Like a Bird.”

My most sacred memory from that time would be recording the vocals for “Fly Like a Bird” in Capri. I recorded a lot of other [tracks] there, too, but I just remember finishing that song and feeling like there was something so special about it. I work at night, especially when I’m singing, so I was watching the sunrise [while] listening back to the song, and I was just like, “I’m so proud of this song.”  

“It’s Like That” is one of your strongest album openers. Why did you decide to kick off the album with “It’s Like That” instead of “We Belong Together”?  

That was a major decision. L.A. Reid really wanted an uptempo song, and I have to give him credit for inspiring Jermaine [Dupri] and I to go in [the studio] and do an uptempo record. We had “We Belong Together” and then I was like, “How can we not go with that song first?” But L.A. [Reid] planned to release something with a little bit of tempo and then we’d do “We Belong Together.”

My gut wanted to go with “Shake It Off” first. In retrospect, it was the right decision, but at that time, I was loving “Shake It Off” so much. I think there was a feeling that maybe “Shake It Off” didn’t have a broad enough appeal, which is ironic because it ended up doing better than “It’s Like That,” but I loved doing “It’s Like That.” It’s kind of like a party anthem, and when I [perform] it live, I really love the energy that the audience has.

[The song] was pretty celebratory, because I had come off the Glitter debacle, and I had gone into Charmbracelet , which I still love as an album, but it didn’t have the same kind of broad appeal. When I went in to work on [ TEOM ], it wasn’t like, “Oh, I’m really going to kill them now.” It wasn’t that. It was just the way everything fell into place at that time – [including] collaborating with The Neptunes and Pharrell [Williams] for the first time, and even Young Genius, who was 15 years old when he did the beats for “Joy Ride.” I got to have fun and do things that people weren’t expecting. 

Do you remember where you were and what you were doing when you learned “We Belong Together” hit No. 1 on the Billboard Hot 100?  

I don’t remember exactly where I was when I found that out, because from the time we released the song, it was kind of like wildfire. It just went, and it stayed number one for a long time, so I was happy with that. But my memories around that song are more [associated with] writing the song. After I left the studio, I got in the car and I just played the demo over and over. I was like, “This is going to be really monumental.” I didn’t know exactly how the moment was going to be, I just knew that I loved it.

When I was recording the vocals for “We Belong Together,” I spent a really long time doing the background vocal arrangement by myself in the studio. L.A. Reid happened to be in the building and he came to see me and he was with these financial guys. He says, “I want to come bring these guys by to see you,” and I’m like, “Oh no! He’s going to make me play it for him.” So I was like, “Let me just hurry up and do this outro.” And that pressure made me do my best, I guess. [ Laughs. ]

Talk to me about the album cover – it’s memorable because it’s clear you were a woman who was fully in charge of her own life and career at that point. How much thought went into the concept? Was there a specific statement you were trying to make with the artwork?  

We did a few different photos, and actually my favorite shot is the one that’s featured on the Platinum Edition. That thing I’m wearing is not even a dress. It’s something that wraps around your body. It’s so weird, but you just had to be confident in wearing something like that and just be really present. I was just in a moment where it’s like, “Look, people may have written me off, but I will never write myself off, and this is an important time for me.”  

“Say Somethin’” marked the first and one of the rare instances where you worked with The Neptunes. What was it like working with Pharrell Williams in his heyday?  

Those writing sessions were great. Pharrell is just such a vibrant person and artist, so I really enjoyed making that record with him and collaborating with Snoop [Dogg] again on that song. It wasn’t my usual session, because I did the vocals there with [Pharrell] in the studio. Usually I go in by myself and just do whatever I’m feeling, but it was a real collaborative moment. [The label] wanted to actually go with “Say Somethin’” as the lead single. [They] were like, “I love it, I love it. It’s so different for you. You should go with it.” I felt like it was a really strong album cut, but I didn’t see it as the first single for me, because I thought it was too different. I think we really made the right choice artistically to work [with Pharrell]. It was such a perfect time in my life and my career for that.

What track on TEOM took the longest to create and execute conceptually?  

There were a couple of songs on the album where I tried to go with more of a live instrumentation like “Circles” and “I Wish You Knew” – the audience is on that song. Those were [written and produced] with “Big Jim” Wright again – we were just in this little place in the Bahamas. We had written “Circles,” then I went upstairs and all of a sudden I heard another melody and it wasn’t for that song. I was like, “Did he leave yet?” Because Jim was about to leave, so I ran downstairs and said, “This is what I’m hearing .” [Hums the opening notes of “Fly Like a Bird”] So he stayed for a little while as we mapped out the music together, and then I wrote the lyrics by myself after the fact. I wanted to take my time with that one.

I would say [“Fly Like a Bird”] encapsulates who I am as an artist. It’s one of those career-defining songs.  

Many of the tracks on TEOM , such as “Mine Again,” “Stay The Night” and even the unreleased “When I Feel It” have that retro sound and they feel very much inspired by ‘70s R&B and soul. Did you set out to create that vibe?

“ When I Feel It” was just a track that [producer] Mahogany had, and I just tried to do an arrangement that would work for me as a vocalist on top of that track because it was already so laid out. I do think “Circles,” “Mine Again,” “I Wish You Knew,” and “Fly Like a Bird” definitely have that ‘70s vibe. I just wanted them to feel organic. So it wasn’t like this whole thing is going to be a retro album, but it was inspired by that type of music, especially because I started working with “Big Jim” Wright and he was such a consummate  musician that you couldn’t avoid trying to make the track feel not over-produced but just soulful.  

How did you feel when you first heard the album in full?  

We spent a long time working on the sequence for the album — listening to it and just really putting it together as a body of work, as a cohesive piece of music that almost feels like it was one song. The sequencing of the album, I think, had a lot to do with the success of the project, as well, because it very much blends together from start to finish, even though there’s peaks and valleys.  

Any favorite tracks off TEOM ?  

It’s really hard to pick. I love “Fly Like a Bird.” If I’m listening to the album, I would probably play “Fly Like a Bird” and I would play “Your Girl,” which we all knew was never really going to be a single, but it’s actually one of my favorites. Of course, I’m so thankful for “We Belong Together,” but I really appreciate this album from start to finish. I think it really did what it was supposed to do. I just had the best time working on it and really got absorbed in the process.

The quickest album I ever did was Rainbow , which took three months, and there was a reason for that, because I was moving labels. But I really did take my time with TEOM creatively. I recorded much of it in Capri with just me basically living in the studio with no distractions, and that’s what I love.  

What do you hope TEOM says about your legacy?  

I look at it as a very important time in my career, a very significant time for me as an artist. It was a sense of feeling triumphant when it was as successful as it was. I know a lot of people were introduced to me from that album, as well. So I would just love for people to take away the music from that album. I hope that it makes people feel good. That’s the goal.

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Mariah carey announces 2024 las vegas residency, ‘the celebration of mimi’.

The residency kicks off on the 19th anniversary of 'The Emancipation Of Mimi.'

By Mya Abraham

Mya Abraham

R&B Reporter

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Mariah Carey is returning to Las Vegas .

After back-to-back holiday tours, the elusive chanteuse is headed to Sin City with ‘The Celebration Of Mimi’ to commemorate the 19th anniversary of her comeback album, The Emancipation Of Mimi .

All eight performances will take place from April 12 until April 27 at Dolby Live at Park MGM, which was home to several artist residencies, including Usher and Silk Sonic .

LiveNation has teased that the show will include “fan favorites from that album as well as other hits from [Carey’s] unparalleled illustrious career.” Her previous Las Vegas runs were from 2015 to 2017, with her performing her ‘#1 to Infinity’ residency at The Colosseum at Caesars Palace. Carey returned the following year in 2018 for “The Butterfly Returns” residency, which wrapped up before the 2020 lockdown.

Ne-Yo Announces 'Human Love Rebellion' Las Vegas Residency

Other presale options, hosted by MGM Rewards, SiriusXM, LiveNation, and Ticketmaster, go live on Thursday, Feb. 8 at 10 a.m. PT.

Most recently, Carey’s Merry Christmas One And All! Tour set the highest attendance record and sold more tickets per show than any tour she’s had since the Butterfly World Tour in 1998. According to Billboard Boxscore , the holiday-themed tour grossed $29.6 million and sold 214,000 tickets across its 15 dates.

Every year since 2014—excluding 2020 and 2021 because of COVID—Carey has held intimate residencies or toured her two Christmas albums , even though, “ All I Want For Christmas Is You ” garners more than enough profit of an annual profit.

This past year, the smash hit re-entered the Billboard Hot 100 in mid-November and stayed at No. 2 through the first week of 2024. Billboard Boxscore predicts that Carey could expand her live holiday run beyond the Nov. 17-Dec. 17 window.

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Mariah Carey returning to Las Vegas for Celebration of Mimi shows: All the details

Christmas is coming early for Las Vegas this year.

Mariah Carey announced Tuesday she's returning to Las Vegas for a series of performances this April at the Dolby Live at Park MGM. The engagement, Mariah Carey: The Celebration of Mimi Live in Las Vegas, will be in honor of the anniversary of her 10th studio album, " The Emancipation of Mimi ."

"The Las Vegas shows will feature fan favorites from that album as well as other hits from her unparalleled illustrious career," according to a press release.

Carey will be performing eight shows on April 12, April 13, April 17, April 19, April 20, April 24, April 26 and April 27.

The " All I Want For Christmas Is You " singer previously held multiple concert residencies in Las Vegas, including #1 to Infinity, which lasted from May 2015 to July 2017, and The Butterfly Returns, which lasted from July 2018 to February 2020.

Mariah Carey says her new Christmas book is for 'all the people who have ever felt othered'

Released in April 2005, "The Emancipation of Mimi" was a commercial hit for Carey and became one of the 21st century's best-selling albums, spawning hits including "It's Like That," "Shake It Off," "We Belong Together" and more. It later made Rolling Stone's list of the 500 greatest albums of all time. Snoop Dogg , Jermaine Dupri and Nelly were among the artists featured.

The announcement comes two days after Carey appeared at the 2024 Grammys , where she presented the best pop solo performance award to Miley Cyrus on Sunday.

"I just got stuck in the rain in traffic and thought I was going to miss this moment," Cyrus said. "And I could have missed the award, that's fine, but not Mariah Carey!"

In December, Carey concluded her Merry Christmas One and All! tour , which consisted of 16 shows during the holiday season. "You bring me so much joy, and the world needs this joy," she said during the final performance. "There's no greater joy than Christmas."

Mariah Carey's final Christmas tour show dazzles with holiday hits, family festivities, Busta Rhymes

How to get Mariah Carey tickets Las Vegas shows

Tickets for Mariah Carey: The Celebration of Mimi Live in Las Vegas will be available via Ticketmaster and go on sale to the public on Feb. 10 at 1 p.m. ET. Citi cardmembers can access pre-sale tickets starting on Feb. 7 at 1 p.m. ET, while MGM Rewards members and SiriusXM, Live Nation and Ticketmaster customers can access a pre-sale starting on Feb. 8 at 1 p.m. ET.

Contributing: Anika Reed

Mariah Carey Returns to Las Vegas With The Celebration of Mimi Shows

Mariah Carey will show Las Vegas where she belongs - for a third time - with the debut of The Celebration of Mimi, April 12 through April 27 at Dolby Live in Park MGM. The "exclusive engagement" (April 12, 13, 17, 19, 20, 24, 26 and 27) toasts the 19th anniversary of The Emancipation of Mimi (released on April 12, 2005).

A statement shared with Billboard states that "the Las Vegas shows will feature fan favorites from that album as well as other hits from her unparalleled illustrious career."

The Emancipation of Mimi , with hits such as "We Belong Together" and "Shake It Off," was one of the top-selling albums of its year and is known within her catalog as the "comeback album."

Making another comeback - this time on the Strip - The Celebration of Mimi engagement, backed by Live Nation and MGM Resorts, follows Carey's first two residencies at The Colosseum at Caesars Palace, #1 to Infinity (2015-2017) and The Butterfly Returns (2018-2020). Infinity was a chronological performance of her 18 No. 1 hits, starting with 1990's "Vision of Love" and ending with 2008's "Touch My Body." While that show focused on Carey the entertainer, "Butterfly" capitalized on Carey the singer with a powerful 23-song set list of big hits, surprises and her own personal favorites. Since 2020, Carey has mostly performed and toured with her holiday music.

Carey got her break in 1990 with the smash hit "Vision of Love" and since sold more than 200 million albums with 19 Billboard Hot 100 No. 1 singles. Just days ago the five-octave-range singer accepted the Global Impact Award during the Recording Academy Honors presented by the Black Music Collective.

Tickets will go on sale to the public Saturday, Feb. 10 for April 12, 13, 17, 19, 20, 24, 26 and 27.

Limited to only eight dates, it seems as if Carey is taking a page from Kelly Clarkson 's Las Vegas strategy book. Last year, Clarkson announced a 10-date run of Chemistry . All shows sold out. Since then, she has picked select weekends to return including New Years and Super Bowl. With this being the third chapter in her Las Vegas legacy, the chances of more dates coming down the line seem probable.

Carey's announcement follows last week's news that Mexican group Los Bukis will perform the Strip's first-ever full Latin and Spanish-language residency, launching May 3 at Dolby Live at Park MGM. The theater is also home to Bruno Mars, Maroon 5 and Lady Gaga.

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Mariah Carey announces 'Celebration of Mimi' shows in Las Vegas

Mariah Carey is heading to Las Vegas.

The pop diva announced on Tuesday an exclusive April engagement at Dolby Live at Park MGM, titled "Mariah Carey: The Celebration of Mimi."

MORE: Mariah Carey talks 'All I Want for Christmas Is You' legacy, new holiday tour

The series of eight performances is intended to celebrate the release of her 2005 album "The Emancipation of Mimi," which turns 19 on April 12, the first date of the series.

In addition to fan favorites from that album, including "It's Like That," "We Belong Together" and "Shake It Off," the show will feature hits from throughout Carey's career.

Pre-sale tickets will be available via Citi Entertainment beginning Feb. 7 at 10 a.m. PT.

Members of the MGM Rewards loyalty program, as well as Live Nation, SiriusXM and Ticketmaster customers, have a pre-sale starting Feb. 8 at 10 a.m. PT.

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The general onsale is Feb. 10 at 10 a.m. PT, via Ticketmaster .

One dollar from every ticket purchased will go to the Fresh Air Fund's Camp Mariah, a three-week summer camp program for kids ages 11-15, which helps them explore possibilities for future careers.

The dates going on sale are April 12, 13, 17, 19, 20, 24, 26 and 27. All shows are scheduled to begin at 8 p.m. local time.

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How to Get Tickets to Mariah Carey’s 2024 Las Vegas Residency

Going down at Park MGM this April

Mariah Carey has announced a 2024 Las Vegas residency dubbed “The Celebration of Mimi Live in Las Vegas,” honoring her 2005 album, The Emancipation of Mimi .

Get tickets here , and read on for more details, including pre-sale information.

Get Mariah Carey Tickets Here

What Is Mariah Carey’s 2024 Las Vegas Residency?

Titled “The Celebration of Mimi Live in Las Vegas,” Mariah Carey’s 2024 Las Vegas residency will take place from April 12th through April 27th at Dolby Live at Park MGM. Honoring her 2005 album, The Emancipation of Mimi , the show will also feature a number of hits from throughout Carey’s career.

The residency will follow a busy live schedule in 2023 for Carey, which saw her play at the Lovers & Friends festival and embark on yet another Christmas tour. This past weekend, she appeared at the 2024 Grammy Awards to present Miley Cyrus with her first-ever Grammy .

How Can I Buy Tickets to See Mariah Carey’s 2024 Las Vegas Residency?

Fans can look for deals and get tickets to sold-out shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

If you’re planning a trip to see Mariah Carey in Las Vegas, you can save 15% off travel and accommodations through Booking.com .

What Are the Dates of Mariah Carey’s 2024 Las Vegas Residency?

See the full list of Mariah Carey’s 2024 Las Vegas residency dates below, and grab your tickets here .

Mariah Carey 2024 Las Vegas Residency Dates: 04/12 – Las Vegas, NV @ Dolby Live at Park MGM 04/13 – Las Vegas, NV @ Dolby Live at Park MGM 04/17 – Las Vegas, NV @ Dolby Live at Park MGM 04/19 – Las Vegas, NV @ Dolby Live at Park MGM 04/20 – Las Vegas, NV @ Dolby Live at Park MGM 04/24 – Las Vegas, NV @ Dolby Live at Park MGM 04/26 – Las Vegas, NV @ Dolby Live at Park MGM 04/27 – Las Vegas, NV @ Dolby Live at Park MGM

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Mariah Carey Set for ‘The Celebration of Mimi’ Shows in Las Vegas

Mariah Carey is returning to Las Vegas. The iconic singer will debut The Celebration of Mimi residency at Dolby Live in Park MGM.

The show will run through April and celebrate The Emancipation of Mimi’s album, citing a statement, “The Las Vegas shows will feature fan favorites from that album as well as other hits from her unparalleled illustrious career.”

Tickets will go on sale to the public on Saturday, Feb. 10.

View this post on Instagram A post shared by Mariah Carey (@mariahcarey)

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The Adventures of Mimi

• View history

The Adventures of Mimi was a concert tour by Mariah Carey in support of her tenth studio album, "The Emancipation of Mimi."

The tour began on July 22, 2006 and ended on October 28, 2006 with with 2 stops in Africa, 25 stops in the United States, 7 in Canada and 7 in Asia.

• 1 Tour Background
• 3 Concert Dates
• 4 Critical Reception
• 5 Commercial Reception
• 6 Personnel
• 7 Recordings

Tour Background [ ]

Unlike her previous tour three years prior, Mariah started this tour 16 months after the release of her latest album, the successful, "The Emancipation of Mimi."

She had initially not wanted to tour, dreading the long travel times and not needing one to promote the album, but after requests from fans to appear in concert, she decided to do so to celebrate one of the best times in her career.

Similar to the past tour, Mariah gave her fans the chance to submit their ideas for set lists and for the title of the tour. Her long-time musical partner and American Idol judge Randy Jackson joined her tour as the musical director, although he did not often appear at shows due to concurrent Idol auditions.

During the tour, Mariah revamped her image as a performer, performing remixes of her songs, dancing along a bit with her dancers, having guests onstage, and going into the middle of each arena onto a checkerboard B-stage to perform "Fantasy", "Always Be My Baby" and "Don't Forget About Us." (The B stage had become an increasing popular way for large-venue performers to get closer to their audience ever since U2 introduced it on their 1992 Zoo TV Tour.)

The main stage was a two-level affair with the band situated on the lower level, backed by strands of glittering material and a staircase between the two. Her "MC" logo was present in several places.

Once again, Mariah invited her long-time friend and back-up singer Trey Lorenz to sing "I'll Be There" and "One Sweet Day" with her and perform several songs on his own during one of her costume changes. Except for an occasional guest appearance, raps on her songs were the pre-recorded originals, with the rapper shown on the video screens.

Set List [ ]

This set list is representative of the official DVD track listing; it does not represent all concerts for the duration of the tour.

• "Rollercoaster" (video introduction)
• "It's Like That"
• "Heartbreaker"
• "Dreamlover"
• "Shake It Off"
• "Vision of Love"
• "Fly Like a Bird"
• "I'll Be There" (with Trey Lorenz)
• "Fantasy" (Bad Boy Remix)
• "Don't Forget About Us"
• "Always Be My Baby"
• "I Wish You Knew" / "Can't Let Go"
• "One Sweet Day" (with Boyz II Men)
• "Make It Happen"
• "We Belong Together"
• "Butterfly" (Outro)
• On selected dates, Mariah performed renditions of "Breakdown", "Thank God I Found You" and its "Make It Last" remix, "Without You", "I Know What You Want", "Your Girl", "Stay the Night", "Joy Ride", the So So Def remix of "Honey", "Close My Eyes", "Love Takes Time", "My Saving Grace" and "All I Want for Christmas Is You".

Concert Dates [ ]

• Mariah never schedules shows in two consecutive nights, as she "actually [has] to have a full day and a half off between shows, whereas most touring artists do it every night", and she spends her down time preserving her voice by not talking and "sitting in a humidified room, sleeping.
• Mariah performed a show at the Kodak Theatre in Los Angeles on July 29, 2006 as part of the Pepsi Smash concert series. These tickets were not available to the public. Only winners selected through an online contest. The show featured the same stage setting but a shortened setlist with some different costumes.
• A planned second Madison Square Garden date was also scrapped and at least thirteen shows on the North American tour sold out, while dates were added in Canada.

Critical Reception [ ]

Reviews of the tour were generally positive and most critics celebrated Mariah's transformation from a pop star to a full-fledged hip hop artist. They also praised her vocal performances saying that was the main attraction of the spectacle.

Some critics commented on the short length of the show, especially given that she was offstage for several breaks while undergoing costume changes while others felt that Mariah was trying too hard to make the public like her, especially in terms of the "rollercoaster" metaphor she used to begin the show.

Commercial Reception [ ]

At the end of 2006, the tour placed 24th on Pollstar's "Top 100 Tours", earning $27.9 million with 32 shows from the North American leg.

Personnel [ ]

• Manager — Mariah Carey & Benny Medina
• Co-Manager — Mark Sudack
• Tour Manager — Michael Richardson
• Show Director — Barry Lather
• Musical Director — Randy Jackson
• Tour Executive — Michael Richardson
• Handprint Entertainment — Melissa Ruderman
• Maroon Entertainment — Gina Rainville
• Lighting/Set Design — Justin Collie/Art Fag
• Sound Design — Mike McKnight
• Sound Engineer — Howard Page
• Video Director — Chris Keating
• Backline Tech — Shawn Atkins; drums & Bass guitar/Key Bass
• Vignettes — Directed by Spike Lee
• Frefall Intro — Bill Boatman & Michael Shores
• Security: Darrel Clark and Rob Payne
• Make-Up & Hair — Paul Starr and Lew Ablahani
• Costume Designer — June Ambrose
• Dressmaker — Cmylo
• Personal Assistant — Lisa Ripi
• Personal Trainer — Patricia Gay
• Choreography — Rachel McIntosh, Eddie Morales, Anthony Talauega, Richmond Talauega, and AJ Jones
• Dancers — Rachel McIntosh, Eddie Morales, Earl Wright, Joshuah Michael, Michelle Brooke, Bryan Tanaka, Russel Wright, Rafael Mello Alvim, and Myles Anthony Urquhart
• Keyboards — Eric Daniels and Lamonte Neuble
• Drums — Jerohn Garnett
• Bass & Keyboards — James Butler
• Background Vocalists — Trey Lorenz, MaryAnn Tatum and Sherry Tatum
• Choir – Greater Los Angeles Cathedral Choir

Recordings [ ]

According to Mariah's musical director Randy Jackson, the show at Honda Center in Anaheim on October 8, 2006 was intended as the basis for a concert filming and subsequent DVD release.

Indeed, she held a pre-concert taping there, in order to include fans, regulate the lighting, and review other technical aspects in preparation for the night's actual concert recording.

The resulting DVD, called "The Adventures of Mimi" was released over a year later, beginning in Europe on November 19, 2007 with releases in other regions of the world coming over the following two weeks.

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Watch Mariah Carey hit high notes to celebrate 15th anniversary of Emancipation of Mimi album

News writer, comedy lover, in a love-hate relationship with The Masked Singer (it's Ken Jeong's fault).

Only Mariah Carey could make social distancing glamorous.

Donning a sleek blue robe, the songstress celebrated the 15th anniversary of her iconic 10th album, The Emancipation of Mimi , from her home on Sunday.

She asked fans on Twitter to vote for their favorite single off the 2005 collection and posted clips of her belting some of its most popular tracks.

In response to Pose co-creator Steven Canals choosing "We Belong Together" as his favorite, Carey elevated the track by giving it her signature high notes.

"Just for laughs," Carey captioned the video.

And given that it's Easter, Carey, of course, sang a snippet from "Fly Like a Bird."

"Mimi's closing track, 'Fly Like a Bird,' couldn't be more appropriate for this Easter Sunday. Happy Easter, everyone!" she wrote, also adding in some of the song's lyrics: "Fly like a bird, take to the sky / I need you now Lord, carry me high / Don't let the world break me tonight / I need the strength of you by my side."

The Emancipation of Mimi was the best-selling album of 2005 and garnered Carey 10 Grammy nominations. "We Belong Together" was particularly acclaimed, with Billboard dubbing it the Song of the Decade. Today, the album remains one of Carey's most beloved works.

Recently, Carey has taken part in numerous musical efforts to celebrate healthcare workers on the frontlines of the coronavirus pandemic. On March 29, she joined the Living Room Concert for America , hosted by Elton John , along with the Backstreet Boys , Billie Eilish , Billie Joe Armstrong , and more.

She's also set to perform during the One World: Together at Home special on Saturday, April 18, in collaboration with the World Health Organization and Global Citizen. Hosted by Jimmy Fallon , Jimmy Kimmel , and Stephen Colbert , with assistance from the cast of Sesame Street , the broadcast will also include performances and appearances by Lady Gaga , Lizzo , Chris Martin , John Legend , Paul McCartney , and more.

Related content:

• Lady Gaga, Elton John, Lizzo, more set for One World: Together at Home global special
• Elton John to host coronavirus benefit concert with Mariah Carey, Billie Eilish
• Julia Louis-Dreyfus, Stephen Colbert, and more stars who got creative with hair and makeup in quarantine

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