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Billie Eilish’s ‘Birds of a Feather’ Closes Out 2024 as Spotify’s Most-Streamed Song of the Year

Billie Eilish‘s “Birds of a Feather” soared to even higher heights just before the new year, with the Hit Me Hard and Soft track becoming Spotify‘s most-streamed song of 2024.

As announced Thursday (Jan. 2) by Interscope, “Birds of a Feather” moved to the top spot of the streamer’s year-end song statistics in the final weeks of 2024. On Spotify, the song boasted a total of 1.781 billion streams at press time.

The soaring ballad was previously named the third-most-streamed song in Spotify’s 2024 Wrapped, bested only by Sabrina Carpenter’s “Espresso” and Benson Boone’s “Beautiful Things” at the time. The former’s fizzy summer anthem now has 1.778 billion streams on the platform.

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The news comes less than eight months after the nine-time Grammy winner released “Birds of a Feather” along with the rest of her third studio album. The track reached No. 2 on the Billboard Hot 100, while the LP debuted at the penultimate spot on the Billboard 200. In September, Eilish dropped a paranormal music video for “Birds of a Feather” directed by Aidan Zamiri, and in October, she performed the song on Saturday Night Live.

Eilish is currently on break from her Hit Me Hard and Soft Tour, which wrapped its North American leg Dec. 21 after a five-night stay at the Kia Forum in Los Angeles. She’ll pick back up again February for a run of shows in Australia in February and March followed by a European leg kicking off in April.

See Interscope’s announcement below.

Jimin’s ‘Muse’ Wins Favorite 2024 K-Pop Album in Fan-Voted Poll

It was a landmark 2024 for Jimin, and the star snagged yet another win in Billboard’s recent fan-voted poll for best K-pop album of 2024.

With 41% of the votes, the singer’s Muse took the victory. However, four of the top five was claimed by Jimin’s BTS bandmates, with Jin’s Happy coming in second, RM’s Right Place, Wrong Person in third and J-Hope’s Hope on the Street, Vol. 1 in fourth. Stray Kids’ ATE rounded out the top five.

Muse marked Jimin’s second solo project following his 2023 Face EP, and the highly anticipated album arrived in July. The effort marked his second straight album to enter at the runner-up position on the all-genre Billboard 200 chart, while the set’s single “Who” bows at No. 14 on the Billboard Hot 100 and No. 1 on the Global 200 — his first solo leader on the latter chart.

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Jimin rounded out the year with an immersive exhibit a the Ace Missions Studios in Los Angeles titled “The Truth Untold,” which gave fans a look into his creative process, as well as a peek into his personal diaries, lyric notebooks and other behind-the-scenes materials.

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For 2025, Jimin is set to reunite with his BTS bandmates after the group members all complete their mandatory South Korean military service.

See the full list of results for the 2024 K-pop album poll below.

6 Things You May Have Missed During Beyoncé Bowl

If Beyoncé is performing for halftime, you know you’re in for a very special treat. From her landmark two previous Super Bowl halftime show appearances (2013 and 2016) to her landmark Coachella headlining performance (2018) and record-breaking Renaissance World Tour (2023), Beyoncé has consistently delivered jaw-dropping performances that showcase her vocal virtuosity, dance skills and penchant for sharing important pieces of history.

On Christmas Day (Dec. 25, 2024), Queen Bey gifted NRG Stadium the first live performances of songs from her Billboard 200-topping Cowboy Carter album. She treated her hometown of Houston, Texas, to an explosive medley, including “16 Carriages,” “Blackbiird,” “Ya Ya,” “My House,” “Riiverdance,” “Spaghettii,” “Levii’s Jeans,” “Jolene” and the Billboard Hot 100-topping “Texas Hold ‘Em.” The performance also featured appearances from several of the album’s guest stars, including Shaboozey, Post Malone, Brittney Spencer, Tanner Adell, Reyna Roberts and Tiera Kennedy; Grammy winner Blue Ivy Carter was a featured dancer throughout the show.

Inspired by an unsavory experience at the 2016 CMA Awards, Queen Bey unleashed her 27-track, country and Western-informed LP in March last year. The set spawned three Hot 100 Top 10 hits and helped Beyoncé become the first Black woman in Billboard history to reach No. 1 on Hot Country Songs and Top Country Albums. At next month’s Grammys, the record is up for a whopping 11 awards, including album of the year.

Two days after Christmas (Dec. 27, 2024), Beyoncé’s performance hit Netflix as a standalone special titled Beyoncé Bowl. Now that the world has had ample time to watch (and re-watch) her stadium-rocking medley, here are six things you may have missed from Beyoncé’s NFL Christmas Day halftime show.

Global Music Rights Majority Ownership Officially Changes Hands

The majority ownership stake in Global Music Rights (GMR) is now in new hands after a deal that valued the boutique performance rights organization at $3.3 billion closed just before Christmas, sources tell Billboard. According to those sources, Hellman & Friedman, a San Francisco-based private equity firm, bought out Texas Pacific Group’s stake in GMR, as well as a slice of the minority equity stake held by the Azoff Company.

In the wake of the deal, sources say that Hellman & Friedman now owns nearly 90% of GMR, which was founded by Irving Azoff and Randy Grimmett in 2013. Moving forward, the Azoff Company and Grimmett — who also serves as CEO — will retain control of GMR’s operations, which is considered an essential ingredient to GMR’s continued success, given the affiliation with Azoff and his portfolio of companies that employ powerful industry executives.

Hellman & Friedman has not previously invested in music assets, but it was drawn to the stability and reliability inherent to the business of collecting music royalties. Those traits have made performance rights organizations ripe targets for private equity funds interested in investing in music. BMI was acquired by New Mountain Capital in early 2024, and SESAC is said to be fielding acquisition offers from interested parties.

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When Billboard first reported on the GMR deal in September, a source familiar with the matter said that the switch in majority ownership would not change anything “for the writers or the GMR management team. GMR’s goal will remain the same: to transform the industry and bring more value to songwriters and their publishers.”

GMR is one of four U.S. performance rights organizations, with the others being ASCAP, BMI and SESAC. While ASCAP and BMI operate under U.S. Department of Justice consent decrees and must accept any songwriter who applies as a member, SESAC and GMR are invitation-only societies. SESAC pioneered that strategy, although in the last five years, it has been quietly pruning its membership from 35,000 members in 2019 to 15,000 currently. 

GMR is even more exclusive, with a membership roster that numbers between 150 and 200 songwriters or songwriter estates, all of whom are considered to have star status as a writer or artist. That roster includes the likes of Bad Bunny, Billie Eilish, Billy Idol, Bob Seger, Bob Scaggs, Bruce Springsteen, Bruno Mars, Bryan Adams, Drake, Eddie Vedder, George Harrison, George Michael, Glenn Frey, Gwen Stefani, Harry Styles, Ira Gershwin, James Hetfield, John Lennon, Jon Bon Jovi, Lizzo, Nicki Minaj, Pete Townshend, Philip Lawrence, Post Malone, Prince, Ryan Tedder, Shane McAnally, Shawn Mendes, Slash, Smokey Robinson, Stephen Stills, Steve Miller, The Weeknd, Travis Scott and YoungBoy Never Broke Again, among others.

Even with a limited roster, GMR has grown into a powerhouse in the U.S., with estimated revenue of about $400 million to $450 million, sources say, with some suggesting that its net publisher share (NPS) — what the company retains after royalties are paid out — approaching 50% of the revenue estimate. Given that, if GMR had $200 million in NPS, that $3.3 billion valuation translates into a 16.5 times multiple.

Building a company from scratch into one that can command a $3.3 billion valuation in 10 years is a big accomplishment, several people say. Moreover, that valuation appears to have ignited a process that could see SESAC come up for sale, which Billboard reported last week (Dec. 24). As one music asset investor told Billboard, many private equity firms looked at GMR and were “all shocked by the final valuation … Those firms have a real appetite for music because music assets are doing well.”

Hellman & Friedman specializes in traditional buyouts in the technology and financial services sectors. Among media and entertainment companies, it previously invested in the German media company Axel Springer and Getty Images, although it has since sold its stakes in both companies.

Representatives for GMR, the Azoff Company and Hellman & Friedman did not respond immediately to requests for comment.

50 Cent Calls Danielle Fishel ‘Fine Forever’ After Meeting ‘Boy Meets World’ Star at Las Vegas Show

A quarter-century after Boy Meets World ended, 50 Cent is finally meeting the girl. Following his recent show in Las Vegas, the rapper posed with Danielle Fishel — who played Topanga Lawrence on the iconic series — and wrote afterward on Instagram that the actress is going to be “fine” forever.

In a photo posted on New Year’s Eve, both Fifty and Fishel smile at the camera while standing close together, the “In Da Club” artist making finger guns while stretching one arm behind the Girl Meets World alum’s shoulder. “@daniellefishel just said fvck it, shes gonna be fine forever,” he wrote in his caption. “Happy New Year’s Eve.”

In the comments, Fishel returned the compliments. “AHHHH! I had the BEST time – thanks for putting on such an amazing show,” she wrote. “You were the perfect way to end 2024. G-Unit forever!”

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The actress also shared the photo onto her own account and gushed, “Ended 2024 in the BEST way – in Las Vegas watching @50cent put on an absolutely incredible show.”

“My mind was blown and I danced and sang the *entire night,*” she added. “Thank you the biggest to 50 for being such a freaking GEM. ❤️”

The hip-hop titan’s New Year’s show marks the fourth show in his six-performance In Da Club mini-residency at Las Vegas’ PH Live Theater & Show Venue. “I get to take it up a notch [with] the production value of the show and put on a special show,” 50 told Billboard of the venture in October. “The show itself is a dream. We gotta turn it up a notch. I’m gonna be there for New Year’s [Eve]. That’s the real turn up.”

He now has just two shows left, slated for back-to-back nights Jan. 3 and 4. Afterwards, fans are hopeful the “Candy Shop” rapper will get back in the studio for a joint album with Eminem — something the Detroit artist teased in a December interview with SiriusXM’s Shade 45.

“That would be great,” Em said at the time. “We just gotta stop bulls–tting and just do it. I would never say it’s not possible, what the f–k?!”

“Looks like I’ll be back in the booth after all !” 50 wrote on Instagram shortly afterward. “Just gotta do this residency in Vegas first.”

Christina Aguilera Says ‘No One Deserves an Explanation’ While Addressing Comments on Her Appearance

New year, new mindset! Christina Aguilera took to Instagram on Tuesday (Dec. 31) to shut down comments about her appearance.

The video montage opens with screenshots of countless comments discussing her looks before she shared some powerful highlights from throughout 2024. “This year, doing something a little different.
This is a reminder to everyone that you are your OWN STORYTELLER in your OWN LIFE,” she wrote in the caption. “No one else can dictate who you are. No one deserves an explanation. I am evolved enough to know that nothing comes easy and no one is perfect. Everyone will judge you. No matter WHAT you do. And/ or what you don’t do. Acceptance comes with accepting yourself first. And the difficult journey it takes sometimes to get there.”

See her post here.

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The “Genie in a Bottle” singer shared a similar sentiment in her August Glamour cover story. “I have a maturity now where I just don’t give a f— about your opinion. I’m not going to take it on,” she said at the time. “It must be your responsibility to take up your space. Other people’s opinions of me are not my business.”

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Aguilera has been oozing self-acceptance in recent months, sharing a sultry photo for her 44th birthday last month. In the “Birthday Suit #44” snap, she’s wearing nothing but a black leather hat, matching hot pants and strappy stiletto heels. In September, she also celebrated the 25th anniversary of her self-titled debut album by teaming up with Spotify for one of its Spotify Anniversaries series to reimagine her 1999 LP with a number of special guests. 

Mariah Carey Returns to Top 3 of the TikTok Billboard Top 50 | Billboard News

The holiday season is still in full swing on the TikTok Billboard Top 50, but will Mariah Carey, Wham!, Brenda Lee, or Jose Feliciano take No. 1? Keep watching to find out!

Tetris Kelly:

Christmas may have come and gone, but it’s still the holiday season on the charts. For the first time since its 1984 release, Wham’s “Last Christmas” takes the top spot on the TikTok Billboard Top 50 for the chart posting January 2nd. There’s plenty of holiday spirit on the chart with Christmas queens Mariah at No. 3 and Brenda Lee at 9. But we have a top ten debut, with Jose Feliciano’s “Feliz Navidad” at 8. Outside of X-mas hits, Naughty Boy and Sam Smith’s “La La La” jumps 19 to 4, more than a decade after its release thanks to a dance trend. Every Thursday, Billboard will bring you the verified list of the hottest songs on TikTok by monitoring music discovery and engagement on the platform in the United States. To find the TikTok Billboard Top 50 each week, users can simply go to any sound detail page and tap the top right button to access the charts page.

Diddy Insiders Break Their Silence in New Peacock Documentary Trailer: ‘Something Is Not Right’

Diddy will remain behind bars until his sex trafficking trial begins in May, but those closest to him have broken their silence.

Peacock released the shocking trailer to the Diddy: The Rise of a Bad Boy documentary on Thursday (Jan. 2), detailing the embattled Bad Boy mogul’s rise to fame, transformational years in the spotlight and Sean Combs’ recent sexual abuse allegations.

The upcoming 90-minute documentary is slated to premiere on Jan. 14 on Peacock. Singer and Kim Porter’s ex Al B. Sure! will be speaking out regarding Diddy’s past in the “Nite and Day” singer’s first official sit-down interview since Combs’ arrest.

“Something is not right with this,” the former Uptown Records signee and says in the clip.

There are appearances from members of Diddy’s alleged inner circle and former employees as well as a bodyguard, childhood friend and Making The Band winner.

Another anonymous voice chimes in: “I’ve been with Sean for quite a while and I’ve captured a lot of moments. Anytime a studio or any room is red, he’s making love and sex. Some of the girls who were in the room, for sure, they were underage.”

This is the first documentary to release regarding Diddy’s sexual abuse allegations in 2025 and there could be many more down the pipeline, including a doc produced by 50 Cent’s G-Unit Films division.

Diddy was arrested in New York City in September on federal sex trafficking and racketeering charges. After multiple attempts at bail were denied, he dropped his appeal in December and is set to remain behind bars at the Metropolitan Detention Center in Brooklyn until the start of his criminal trial in May. Combs also faces a litany of civil lawsuits regarding his alleged sexual abuse.

Watch the trailer below. Diddy: The Rise of a Bad Boy hits Peacock on Jan. 14.

K-Pop Stocks Fell Sharply in 2024 Amid Political Turmoil, KOSPI Slump, Light Release Schedules & More

Four K-pop companies’ stocks fell in value by an average of 19.0% in 2024, a significant reversal of fortune after gaining an average of 30.0% the prior year.

Some of the K-pop companies’ declines can be attributed to the poor showing of Korean stocks in general. The KOSPI composite index, an index of all stocks traded on the stock market division of the Korea Exchange, fell 9.6% in 2024. Korean stocks especially suffered from political turmoil in the year’s waning weeks. Since South Korean Prime Minister Yoon Suk Yeol declared martial law on Dec. 3 through the end of the year, the KOSPI fell 4.3%.

But collectively and individually, HYBE, SM Entertainment, JYP Entertainment and YG Entertainment fared worse than the South Korean stock index. The South Korean companies are expanding beyond their home country, establishing roots in the Americas and exporting their K-pop model of artist development to local markets. Many of the new projects have yet to pay dividends, however, and a lack of new releases or concerts by major artists often resulted in lower revenue and profits in recent quarters.

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YG Entertainment, home to BLACKPINK and BABYMONSTER, fared the best, dropping 10.0% to 45,800 won ($31.07). In the third quarter, YG Entertainment’s revenue dropped 42% year over year while a 14.8 billion won ($10 million) net income in the third quarter of 2023 turned into a 937 million ($636,000) net loss.

BTS’s label HYBE fell 17.2% to 193,400 won ($131.18), with its third-quarter net profit dropping 99% on lower concert and recorded music revenue. In the second quarter, HYBE set a company record for quarterly revenue but its operating profit fell 37.4%. The company was also hampered by controversies in 2024. Chairman Bang Si-hyuk is reportedly being investigated by South Korean regulators over a profit-sharing deal with early investors that led Bang to realize a $285 million profit from the company’s 2020 initial public offering. HYBE has also been embroiled in an ongoing feud with Min Hee-Jin, the former CEO of HYBE’s ADOR imprint.

SM Entertainment, the home of aespa and NCT Dream, sank 17.9% to 75,600 won ($51.28). In the third quarter, net profit fell 95.6% on 9% lower revenue. In the second quarter, net profit was down 70.3% while revenue increased 5.9% from the prior-year period. The company has a new North American joint venture with Kakao Entertainment that launched in late 2023 and has produced a new British boy band, dearALICE, launched through a BBC miniseries.

Faring the worst was JYP Entertainment, home to Stray Kids and iTZY, which plummeted 31.0% to 69,900 won ($47.41). In the first three quarters of 2024, JYP’s revenue was down 1.6% and net profit was 30.4% lower than the prior-year period. In the second quarter, an absence of major artist activity caused the company’s revenue to drop 36.9% from the prior-year period while its net profit fell 95% year over year. JYP was able to rebound in the third quarter, however, as revenue and net profit were up 22.1% and 11.7%, respectively.

Ariana Grande Says Scrapped Hip-Hop Version of ‘Popular’ Made No Sense as Glinda Is Too ‘Vanilla’

Ariana Grande is explaining what really happened with that scrapped hip-hop version of “Popular,” which composer Stephen Schwartz had intended to put in Jon M. Chu’s Wicked films before the pop star pushed back on the idea.

In a cover story interview with Variety published Thursday (Jan. 2), Grande recalled first hearing the original rehearsal track for Glinda’s standout number at the very beginning of production in London — and she wasn’t totally thrilled with the instrumentation. “They had hip-hop drums,” she told the publication. “I called Jon first. I was shaking. ‘Is this something that we can meet in the middle on?’”

“And of course, it was so understood,” she continued. “And that’s what happens when you have a team who loves and respects each other and can hear those truths, because nothing has to be withheld.”

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The interview comes over a month after Schwartz — who created the soundtrack for the Wicked Broadway musical more than 20 years prior before working on the films — first revealed that the R.E.M. Beauty founder had said no to a hip-hop version of “Popular,” which he’d pitched “in the spirit of being open to new things” for the adaptation. “I thought, ‘Let’s refresh the rhythm. Let’s, maybe, I don’t know, hip-hop it up a little bit,’” he told The Los Angeles Times. “Ariana said, ‘Absolutely not, don’t do it. I want to be Glinda, not Ariana Grande playing Glinda.’”

In the new cover story, Grande clarified that the scrapped version had been less about making “Popular” sound like a song from her own multi-platinum discography and more about modernizing it for the times. Regardless, the “Yes, And?” singer still “wanted to lovingly and respectfully say, ‘Absolutely not!’” to the idea.

“Thinking through the lens of the character — Galinda Upland does not have that bounce to her at all,” she explained to Variety. “She’s as vanilla as they come.”

Though “Popular” never did get the hip-hop treatment, the track did experience some changes. Fans who saw the movie on or after its Nov. 22 premiere, or listened to its No. 2 Billboard 200-charting soundtrack, discovered that the bubbly anthem was extended with an alternate ending — featuring three key changes and an atmospheric opera note hit by Grande for the big finish.

“I had this idea for a new vocal ending,” Schwartz told The Times of the updates in November. “Ariana was a little hesitant about it, but I told her that if I had thought of it for the original show, this is how it would have been. Once she was reassured that this new bit of music was coming out of character, she was on board.”

See Grande with Chu and Wicked co-leading lady Cynthia Erivo on the cover of Variety below.