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Led by concerts and music releases from aespa and NCT WISH, SM Entertainment revenue rose to 321.6 billion KRW ($237.3 million), up 32.8% from the prior year period, in the third quarter of 2025, the company announced Thursday. Operating profit jumped 262% to 48.2 billion KRW ($35.6 million) and net income soared 1,100% to 44.7 billion KRW ($33 million).
“In this quarter…our leading artists have continued to prove their solid capabilities while new IPs are growing rapidly and adding fresh energy to the company,” CEO Cheol-hyuk Jang said during Thursday’s earnings call. “This generational synergy further reinforces the foundation of our IP portfolio, exemplifying the virtuous cycle of a sustainable IP ecosystem that SM Entertainment aims to build.”
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Recorded music rose 32.7% to 96.7 billion KRW ($71.4 million). New album sales grew to 5.42 million from 3.61 million in the third quarter of 2024. NCT WISH’S COLOR – The 3rd Mini Album, sold 1.48 million units while aespa’s 6th mini album, Rich Man, sold 1.13 million units. SM Entertainment does not break out streaming performance.
Concert revenue rose 37.5% to 52.5 billion KRW ($38.7 million) despite SM Entertainment having fewer concerts compared to the prior-year period. RIIZE’s RIIZING LOUD tour had 20 shows during the quarter in Seoul, Japan, and Hong Kong. NCT DREAM performed 8 concerts in Seoul and Thailand. Super Junior had 6 shows in Seoul, Hong Kong and Indonesia.
Merchandise and licensing revenue rose 32.8% to 50.3 billion KRW ($37.1 million) on the strength of concert merchandise and pop-up retail stores. The company cited aespa’s concert merchandise and light stick sales and pop-up stores from aespa, NCT WISH and Super Junior.
Looking ahead, Jang provided details of SMTR25, an “artist incubation project” intended to help SM Entertainment expand globally. SMTR25 has 15 trainees who are taking part in a new reality TV series, Reply High School, that will be released in the first half of 2026. SMTR25 also released an original content series, W.O.W! (Way Outta Walls) a travel series produced with support from the Korean Tourism Organization.
Jang also highlighted the early success of a young SM Entertainment group, Hearts2Hearts. “Within a short period of time, Hearts2Hearts has proven its capabilities across all fronts — musical success, fandom growth, and brand influence — solidifying its position as SM Entertainment’s next-generation global IP,” he said.
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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week: Rosalía releases one of the year’s (decade’s? century’s?) most ambitious pop albums, Kehlani keeps the classic R&B flowing, Katy Perry and Hilary Duff offer two very different new songs about their respective exes and more.
Rosalía, LUX
“It’s like an album she wrote to God — whatever each person feels God is to them,” Afo Verde, chairman/CEO of Sony Latin Iberia, said of Rosalía’s LUX in Billboard‘s cover story on the Spanish singer-songwriter this week. “This is an artist who said, ‘I want to walk down a path where few walk.’” Now that the album is out, it’s clear this wasn’t empty hype: LUX is staggering, drawing from countless different languages, genres, styles and eras for one of the most expansive and singular pop releases in recent memory. “Pop” doesn’t even necessarily feel big enough for the album — the songs here are more likely to resonate in your city’s opera house or symphony hall than on your local top 40 station — but it still feels accessible and personality-driven like the best pop music, Rosalía’s voice too mighty to ever crumble under the weight of her artistic ambitions.
Kehlani, “Out the Window”
It’s good times to be Kehlani: After a decade of cult stardom that saw her forever tapping on the door of the mainstream, the R&B singer-songwriter has enjoyed a long-overdue crossover breakthrough with her Billboard Hot 100 top 10 hit “Folded,” an irresistible R&B kiss-off. This week she follows that surprise smash up with another classic-feeling ballad — though this time, she’s the one doing the begging, as she admits “I’m to blame, I played n your face,” but nonetheless pleads of her lover to keep the faith in their relationship: “Don’t throw it out the window.” It feels like the right song at the right time for her, and should just continue her winning streak.
Katy Perry, “Bandaids”
Katy Perry’s first new song since splitting with her longtime partner, actor Orlando Bloom, is sure to be viewed through the lens of that relationship. And though parts of the explosive pop-rock single, it does sound like she’s not overly pleased about the way things ended: “It’s not what you did, it’s what you didn’t/ You were there, but you weren’t.” But on the climactic bridge, she accepts it all and offers grace: “If I had to do it all over again I would still do it all over again/ The love that we made was worth it in the end.” Fans of Perry’s “Never Really Over” will find a whole lot to love about this new one.
Hilary Duff, “Mature”
“She looks like all of your girls but blonder/ A little like me, just younger,” Hilary Duff sings on “Mature” — not lamenting her man’s new younger girl so much as singing to herself from the past, when she got into a regrettable age-gap relationship. Duff’s first single since signing to Atlantic is a searing indictment of said ex, over an irresistible early-’10s turbo-pop groove reminiscent of the finest moments from Carly Rae Jepsen’s debut LP Kiss — perhaps unsurprisingly, since CRJ’s then-collaborator/paramour Matthew Koma writes and produces on the track. It’s a hell of a start to Duff’s much-awaited pop comeback.
Danny Brown, Stardust
The always fascinating and shape-shifting Danny Brown returns this week with new album Stardust, his delving into the world of hyperpop. Leadling lights of the scene like Jane Remover, Frost Children and underscores — the latter of whom has its own dope new release today — help Brown achieve liftoff here, as the rapper sounds perfectly at home within his glitchier (and at times house-ier) new sonic environs. Whether the start of a full new chapter for the rapper or a one-off detour, Stardust reinforces the idea that, even newly sober, Brown remains one of the most exciting and least predictable artists in hip-hop.
Gorillaz feat. Idles, “The God of Lying”
The latest from Gorillaz’ upcoming concept album The Mountain features English post-punks Idles, with frontman Joe Talbot posing a series of rhetorical questions, most likely in the mirror to himself: “Do you beg that truth will set you free?/ Are you shackled by the keys?/ Well if I was you, I’d stay strapped in/ Cause all you got is me.” The self-laceration is done on Damon Albarn Time, though, as Idles’ usual anxious guitar rave-ups are slowed and stripped here to a skipping, reggae-ish crawl, as synths squeak in the background and Albarn offers support via his forever-distant, disembodied backing vocals.
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You just got half a dozen more chances to catch No Doubt at the Sphere. The Gwen Stefani-led ska pop group announced yet another extension of their anticipated 2026 residency at the eye-popping Las Vegas arena on Friday (Nov. 7), with the addition of what they said were the final six shows of the run.
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The newly added gigs for No Doubt Live at Sphere will take place on June 3, 5, 6, 10, 12 and 13. Tickets will go on sale first through the No Doubt artist pre-sale on Nov. 12 at 12 p.m. PT; fans have to sign up here by 10 p.m. PT on Monday (Nov. 10), with no codes needed. The remaining tickets will be available during a general on-sale starting Nov. 14 at 12 p.m. PT here.
The new six-pack of gigs came after the band added an additional half dozen shows last month for May 2026 to the original six-pack of concerts. No Doubt will be the first female-fronted act to headline the arena, which since its opening in 2023 has hosted U2, Phish, Dead & Company, the Eagles, Anyma, Kenny Chesney and the Backstreet Boys, among others.
“The opportunity to create a show at Sphere excites me in a new way,” Stefani said in a statement announcing the original run of gigs. “The venue is unique and modern, and it opens up a whole new visual palette for us to be creative. Doing it with No Doubt feels like going back in time to relive our history, while also creating something new in a way we never could have imagined.”
The full run of shows announced so far include:
May 6, 8, 9, 13, 15, 16, 21, 23, 24, 27, 29, 30
June 3, 5, 6, 10, 12, 13
Check out the poster for the new dates below.
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Look out, Mariah! The Elf on the Shelf is coming for your Christmas music crown.
Below, Billboard Family is debuting “The Elves Went Over the Mountain,” the first music video from The Elf on the Shelf preschool YouTube series Scout Elf Squad, which finds Frostina, Shiver, Snowdrop and Blizzard making their way over the snowy hills to “see what they can see.” The brand-new song, out now, is part of the upcoming 10-track Scout Elf Squad: Sing & Play Nursery Rhymes album, which arrives Nov. 21.
“We’ve seen a wonderful surge in families wanting content created for our youngest fans—some as young as 2—whose parents are eager to share the Scout Elf they grew up with as part of their own holiday traditions,” Chanda A. Bell, The Lumistella Company’s co-founder and co-CEO (and Santa’s Chief Storyteller) tells Billboard Family of the pivot to music. “As we celebrate our 20th anniversary, we’re delighted to introduce 10 new songs and a new pilot season of The Elf on the Shelf Scout Elf Squad on YouTube for fans of all ages to enjoy.”
Bell co-wrote the 2005 children’s book The Elf on the Shelf with her mother, Carol Aebersold, and helped bring their family’s annual Christmas tradition to a worldwide audience. Now, to celebrate two decades of the holiday staple, The Elf on the Shelf “Santaverse” is expanding to include the YouTube series and new music. According to a description of Scout Elf Squad, which arrives Nov. 24 on YouTube, “Four Scout Elves – Frostina, Shiver, Snowdrop and Blizzard – join forces for play and adventure after Scout Elf School each day! When they share the power of teamwork, imagination and their magical skills, they create a North Pole Power-up, enabling the squad to fix, help and save the day as they play along with other North Pole characters.”
As for the new music, Bell tells Billboard Family: “Christmas and music go hand-in-hand, and we’re excited for our merry band of The Elf on the Shelf Scout Elf Squad members, featured heroically in our new preschool show, to make the season a little brighter with these 10 delightful new songs. We hope they will inspire families and bring joy during this most wonderful time of the year.”
The full track list for The Elf on the Shelf Scout Elf Squad: Sing & Play Nursery Rhymes, out Nov. 21, is below:
“The Elves Went Over the Mountain”“One, Two, Cheers to You”“Adventure Time”“Santa’s Sleigh”“Three Elf Pets”“Teamwork Makes The Dream Work”“Frost Pips Lullaby”“Frosty, Fluffy Snow Cones”“Oopsie, Yeti, Did You Burp?”“North Pole Birthday Boogie”
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KISS, technically, retired this year, but that doesn’t mean you can’t still rock and roll all night with the greasepaint and pyro legends. The band announced the upcoming release of a huge box set celebrating the 50th anniversary of their landmark Alive! concert album.
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The Super Deluxe version of the album will feature 4 CDs + Blu-Ray audio, an Alive! track list t-shirt with 120 tracks, including 88 previously unreleased tracks. The first CD features the original album on one disc for the first time ever, newly remastered from the original 1975 stereo analog master tapes. In addition, CDs two and three will feature two full-length concerts from the 1975 Dressed to Kill tour at the RKO Orpheum Theatre in Davenport, Iowa on July 20, and the Wildwood Convention Hall in Wildwood, N.J. on July 23, newly remixed by the legendary engineer Eddie Kramer from the original multi-track analog tapes with no overdbubs.
The fourth CD will pull together five rehearsal tracks from the Davenport show, including an impromptu jam and another six songs from Cleveland Music Hall in Cleveland, Ohio on June 21, 1975, remixed by Kramer from the original multi-track recordings. The Blu-Ray audio disc will contain a new Alive! mix from Kramer from the original album multi-track analog tapes in Dolby Atmos and Dolby TrueHD 5.1 surround, as well as newly remastered stereo in 192 KHZ 24-bit and 96 KHZ 24-bit PCM stereo set to a new visualizer with unreleased photos and tape box images.
The Super Deluxe version ($400.48) has a number of other extras, including a 100-page hardcover book with extensive liner notes by Ken Sharp and new interviews with singer/guitarist Paul Stanley, bassist/singer Gene Simmons and other notable Alive!-era KISS team members, as well as a number of unreleased photos and rare images. In addition, it will fold in an Alive! 1975 press kit with: four black and white glossy photos, an Alive! tour program, album cover lenticular, t-shirt iron-on, four live color glossy photos, a Peter Criss drum head litho, a number of concert posters, ticket stubs and backstage passes, coasters, guitar picks, bumper stickers and a track-by-track interview with Kramer discussing nearly all the tracks in the collection.
The anniversary edition will also come in a 4-CD box set version with a t-shirt ($287.55), a deluxe picture disc edition with sweatshirt ($251.89) and a premium color vinyl version with a sweatshirt ($125.98). All the editions are slated to ship on Nov. 21, with Kiss Army members eligible for pre-order now here.
Alive! was KISS’ fourth album and their first live LP, as well as a kind of standard-bearer for live rock albums going forward. Though they’d released three albums by that point, the band rose to a new level of fame thanks to the double concert album that collected songs from the theatrical group’s 1974 self-titled debut, as well as that year’s Hotter Than Hell and 1975’s Dressed To Kill, including such future stone-cold live staples as “Deuce,” “Strutter,” “Firehouse,” “Black Diamond,” Cold Gin” and “Rock and Roll All Nite.” (Click here for a taste of Sharp’s extensive history of the making of Alive!)
The album features the indelible work of late founding guitarist Ace Frehley, who died last month at the age of 74 following injuries from a fall in the studio. Frehley will become only the third person to receive the Kennedy Center Honor posthumously when KISS collect the award at a ceremony slated to tape on Dec. 7 and air on CBS on Dec. 23.
Check out the track list for the Alive! 50th anniversary box set below.
CD ONE:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “Nothin’ To Lose”
7. “C’mon And Love Me”
8. “Parasite”
9. “She”
10. “Watchin’ You”
11. “100,000 Years”
12. “Black Diamond”
13. “Rock Bottom”
14. “Cold Gin”
15. “Rock And Roll All Nite”
16. “Let Me Go, Rock ‘N Roll”
LIVE IN DAVENPORT, IOWA – RKO ORPHEUM THEATRE – JULY 20, 1975 – SECOND SHOW*
CD TWO:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 years”
11. Peter Criss Drum Solo / “100,000 Years”
12. “Black Diamond”
13. “Cold Gin”
14. “Let Me Go, Rock ‘N Roll”
LIVE IN WILDWOOD, NEW JERSEY – WILDWOOD CONVENTION HALL – JULY 23, 1975*
CD THREE:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 years”
11. Peter Criss Drum Solo / “100,000 Years”
12. “Parasite”
13. “Black Diamond”
14. “Cold Gin”
15. “Let Me Go, Rock ‘N Roll”
BONUS LIVE
CD FOUR:
REHEARSALS – LIVE IN DAVENPORT, IOWA – RKO ORPHEUM THEATRE – JULY 20, 1975*
1. “KISS Jam”
2. “Room Service”
3. “Strange Ways”
4. “Rock Bottom”
5. “Watchin’ You”
LIVE IN CLEVELAND, OHIO – CLEVELAND MUSIC HALL – JUNE 21, 1975*
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 Years”
11. Peter Criss Drum Solo / “100,000 Years”
BLU-RAY AUDIO – ALIVE!:
DISC FIVE:
[Dolby Atmos* / Dolby True HD 5.1* / 192kHz 24-bit & 96kHz 24-bit PCM Stereo]
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “Nothin’ To Lose”
7. “C’mon And Love Me”
8. “Parasite”
9. “She”
10. “Watchin’ You”
11. “100,000 Years”
12. “Black Diamond”
13. “Rock Bottom”
14. “Cold Gin”
15. “Rock And Roll All Nite”
16. “Let Me Go, Rock ‘N Roll”
* Previously unreleased
Trending on Billboard Maroon 5 has joined the star-studded lineup for next summer’s BST Hyde Park 2026. The Adam Levine-led band will headline the July 3, 2026 show along with their friends in OneRepublic. “London, we’re coming back!! We’re excited to announce we’ll be headlining BST Hyde Park on July 3, 2026 with special guests […]
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Corinne Bailey Rae will headline the second edition of Billboard U.K. Live, a new live music series celebrating artists who shape culture and define sound.
In partnership with Aviva, who joins as Presenting Partner, Billboard U.K. will bring fans, leaders and industry leaders together for a one-night-only experience that blends performance and storytelling.
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Taking place at Manchester’s Aviva Studios, home of Factory International, on Dec. 2, Grammy Award-winning artist Corinne Bailey Rae will perform an intimate set in The Hall, as well as partake in an exclusive Q&A session with Billboard U.K. editor Thomas Smith.
Tickets for the event are free and will be awarded via a ballot. Register here before Nov. 17, 9 a.m. GMT for the chance to win two tickets for you and a guest. Successful applicants will be contacted by Nov. 19. Attendees must be age 18 or over.
Throughout an illustrious career, Bailey Rae has established herself as a singular voice in British music. Her self-titled 2005 debut LP peaked at No. 1 on the U.K.’s Official Albums Chart, spawning hits “Put Your Records On” and “Like a Star.” She collected a Grammy in 2012 for best R&B performance, and two of her albums, The Sea (2010) and Black Rainbows (2023), were nominated for the Mercury Prize.
The latter record saw the singer-songwriter pen a striking meditation on the history of Black experience she discovered at the Stony Island Arts Bank archive in Chicago. It landed her vast acclaim in the U.K., with critics praising Bailey Rae’s genre-spanning approach, blending influences across rock, electronica, jazz, hardcore punk and the African diaspora.
“We can’t wait to welcome audiences to Aviva Studios for an incredible night with Corinne Bailey Rae, brought to life through our exciting partnership with Billboard U.K.,” said Tom Whiteside, group head of sponsorship, Aviva. “This is all about celebrating music, creativity and the unique energy of this amazing venue.”
The show will follow the inaugural Billboard U.K. Live experience, which took place at The Great Escape festival in Brighton this past May. The event featured a wealth of emerging talent including Daffo, RIP Magic and Westside Cowboy, alongside headliners English Teacher, the winners of the 2024 Mercury Prize.
“Our collaboration with Aviva reflects a shared vision to create meaningful moments for artists and their fans across the U.K.,” said Elizabeth Crisante, chief commercial officer, Billboard U.K. “Hosting Corinne Bailey Rae at Aviva Studios brings that vision to life, with a globally acclaimed artist performing in one of the country’s most inspiring cultural spaces.”
Stay tuned to uk.billboard.com and @billboarduk on social media for further information on the event.
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Hearing Judy Garland‘s 16-year-old voice singing the original “Over the Rainbow” a cappella — minus The Wizard of Oz orchestration — was not the intensely emotional experience you might predict for her daughter, Lorna Luft. As the singer and actress put it: “Well, I heard my mom sing it a lot.”
But this newly edited version of Garland’s signature song, which makes its debut on streaming services on Friday (Nov. 7), will blow most Oz fans’ minds. “It’s just so honest and so pure,” says Luft. “To be able to hear my mother’s vocal as if you’re in a room with her, and there is no piano, just her vocally — people have gotten so emotional when they hear this. It takes them back to where they were when they heard the song.”
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This stripped-down “Over the Rainbow” is part of a re-recorded The Wizard of Oz soundtrack that first aired only as part of The Wizard of Oz at Sphere, an immersive 4D version of the 1939 classic that opened at the Las Vegas venue in June. The uncluttered voice of Garland, who died in 1969, is the centerpiece of the new 42-track recording, which unites the original actors’ voices with a contemporary orchestra convened at the original MGM studio in Culver City, Calif. “You’re hearing things that you’ve never heard before — nuances and themes you didn’t catch onto — because you’re hearing it so clearly,” says Julianne Jordan, the production’s music supervisor.
To prepare Oz for its Sphere treatment, the production team separated the vocal stems from the music and the background noise from the original mono recordings. “I had an Oscar-winning friend, who will be unnamed at the moment, who did a test for me and took ‘Over the Rainbow’ and said, ‘I can help,’” says Ralph Winter, Sphere Studios’ head of production. “What he was able to do was separate out the music and the effects and the tracks and the noise and come up with just Dorothy’s vocals. It was so pure to hear what only maybe those studio executives and the director heard back in 1939.”
In August 2024, the Sphere team convened an 80-piece orchestra to re-record the tracks from the Oz score at the MGM scoring stage, now owned by Sony, in Culver City, Calif. Conducted by longtime film composer David Newman, the orchestra employed instruments used for Oz, like the ocarina, or hand flute, featured in the Scarecrow’s “If I Only Had a Brain.”
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To align the new orchestral recordings with the original vocals from Garland, Ray Bolger (who played the Scarecrow), Bert Lahr (the Cowardly Lion), Buddy Ebsen (the original Tin Man, who sang for the soundtrack but was replaced in the film) and the rest, Sphere Studios and Warner Bros. Post Production Creative Services teamed up to separate the tracks into stems. Thus, in spring 2024, Jordan was present when the Sphere team unveiled the a cappella “Over the Rainbow” on a Warner Bros. stage. “Not a dry eye,” she says. “Incredible. Really clean.”
The original “Over the Rainbow,” recorded in October 1938, was two Garland takes spliced together. “She got up [to] ‘somewhere over the rainbow, way up high’ — and she coughed, and she apologized, and they started again,” says John Fricke, a New York-based Oz historian who has written several books about Garland and the film. “They used the beginning of that take because they liked it more and married it with the almost-full take of the rest of the song.”
Luft shared the new a cappella version two weeks ago with Fricke, a longtime friend who first heard the original when he viewed The Wizard of Oz on TV in 1956. “My first reaction was, it’s amazing that this can get to me the way it does when I know every second of that track,” Fricke says. “The magic is that it’s still magical.”
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The original Oz score and soundtrack, created at the MGM studios in 1938, was created by a team of musicians that included songwriting duo Harold Arlen and E.Y. “Yip” Harburg, who wrote classics like “Over the Rainbow” and the vaudeville-influenced “If I Only Had a Brain” and “Follow the Yellow Brick Road.” Meanwhile, the studio’s music director, Herbert Sothart, composed most of the score, including the ghostly strings and brass in “The Haunted Forest.” According to Luft, the Garland estate, which includes her half-sister Liza Minnelli, owns Garland’s name and likeness rights and quickly signed off on the new “Over the Rainbow” release after Sphere inquired.
“I just want people to understand how important this movie is, and this song, and now to be able to hear my mother’s vocal as if you’re in a room with her,” Luft says. “It’s a song about finding a better place. That doesn’t mean physical. It means in your mind. It means there is hope.”
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Winners, as we know, are grinners. Ninajirachi had every reason to wear the brightest of smiles when she visited the Australian Broadcasting Corporation’s studios on Friday morning, Nov. 7.
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The previous evening, the songwriter, producer, DJ and artist collected the coveted Australian Music Prize for I Love My Computer (via NLV Records), her debut album.
The AMP is essentially the Australian album of the year, and is selected by a music industry panel for its artistry, over commercial success. In addition to a trophy, the winner collects a A$50,000 check.
“I feel so awesome,” she said on the ABC’s News Breakfast. “Nothing like this has ever happened to me. It’s kind of crazy, but it’s really awesome.” Even to be shortlisted was “so flattering. But no, I didn’t expect this to happen.”
The AMP win is just the starting point for what should be a thrilling ride for the 26-year-old.
Later this month, Ninajirachi (real name: Nina Wilson) competes for two J Awards, including the triple j album of the year, and she’s in the hunt for a leading eight trophies at the annual ARIA Awards, where she’s nominated for album of the year, best solo artist, the Michael Gudinski breakthrough artist, best independent release, best dance/electronic release and more.
From Nov. 28, she hits the road for an Australia tour, including one-off shows and festivals. The world awaits. First, New Zealand in early January, then a U.S. run starting Jan. 15 with a sold-out show at Holocene in Portland, OR, plus a spot on the Coachella bill, and “some other countries that haven’t been announced yet.”
Ninajirachi will tick off a bucket list next April, when she visits, and plays, the Empire Polo Club in Indio, CA for the very first time. “I’m so excited for Coachella,” she enthused. “I can’t wait.”
She’s buckled up and ready for what’s next. “I really just had a good time making an album. I hope I can keep making albums that feels as good as this one did,” she explained. “I’ve been making music for a long time and I could have never predicted what this year would look like. So it’s hard to say (what the future holds). I just hope it keeps feeling as fun as it has been recently.”
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Taylor Swift’s The Life Of A Showgirl (via Republic/Universal) continues to twirl on the ARIA Charts, as it enters a fifth consecutive week at No. 1 on the national albums survey, while “The Fate Of Ophelia” retains top spot on the singles tally.
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“The Fate Of Ophelia” is Swift’s 13th chart leader in Australia and, with five weeks in the penthouse, it’s her second longest leader after 2022’s “Anti-Hero,” which logged six weeks at No. 1.
The top debut on the latest ARIA Albums Chart, published Friday, Nov. 7, belongs to Florence + The Machine, as the British alternative pop outfit’s sixth album, Everybody Scream (Polydor/Universal) opens its account at No. 4. All of Florence’s albums have cracked the ARIA top 10, including No. 1s for Ceremonials (in 2011), and How Big, How Blue, How Beautiful (2015).
Powderfinger frontman Bernard Fanning returns to the top 10 thanks to the 20th anniversary edition of Tea & Sympathy (Dew Process/Universal), his debut solo album. Tea & Sympathy re-enters at No. 7 on the ARIA Albums Chart, and leads the Australian Albums Chart, the Vinyl Chart and the On Replay Albums Chart.
The veteran Brisbane singer collected the most entries in triple j’s Hottest 100 of Australian music countdown in July, with four total songs, including three with Powderfinger and his solo number “Wish You Well” (at No. 57), lifted from Tea & Sympathy, a chart-topper following its release in late 2005.
Also new to the chart is Vitriol (GYRO), the debut from Western Australia rock outfit Cloning. It’s new at No. 12, arriving ahead of a national tour that gets underway later this month.
Radiohead is back in the headlines, as they prepare for another U.K. tour later in the year. The Rock Hall-inducted British alternative rock act is back in the charts, too, as Hail To The Chief Live Recordings 2003-2009 (via XL) appears at No. 15. The studio version of Hail To The Chief was released in 2023, hitting No. 2.
Paramore singer Hayley Williams impacts the chart with her independently-released solo album, Ego Death at a Bachelorette Party, new at No. 24. The project is an unusual one, which collects and repackages the songs Williams dropped earlier this year across her artist pages and on streaming services.
Close behind is Frankston, Victoria indie rock band the Belair Lip Bombs, which cracks the chart for the first time with Again (Third Man Records/RK), their sophomore set. It’s new at No. 25, and is one of eight homegrown recordings on the ARIA top 50. The Belair Lip Bombs are the first Australian band to sign with Jack White’s Nashville-based Third Man Records.
Further down the list, Brisbane nu-metal band Headwreck just misses out on a top 40 berth with Attitude Adjustment (Ditto). The debut collection drops in at No. 43, for Headwreck’s first appearance on the ARIA Charts.
Over on the ARIA Singles Chart, just one Australian track makes the cut, Tame Impala’s “Dracula” (Columbia/Sony), which lifts 50-37, a new peak position. And just one new single makes its mark for the first time, Lily Allen’s “Pussy Palace” (BMG), at No. 50.
