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Elvis Costello Says Suing Olivia Rodrigo Over ‘Brutal’ Riff Would Be ‘Ludicrous’ 

Elvis Costello is fully in support of Olivia Rodrigo.

In a new interview with Vanity Fair, the Rock and Roll Hall of Famer shared his thoughts on Rodrigo’s Sour album opener, “Brutal,” which seemingly took inspiration from his angsty 1978 anthem “Pump It Up.” He told the publication that artists “allude to [the song] in their own arrangements. Like Olivia Rodrigo’s producer obviously did.”

“Now, I did not find any reason to go after them legally for that, because I think it would be ludicrous,” Costello continued. “It’s a shared language of music. Other people clearly felt differently about other songs on that record.”

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Costello is seemingly referring to a series of copyright issues with Rodrigo’s singles, including “Deja Vu,” which she once said was partly inspired by Swift’s “Cruel Summer” before quietly retroactively crediting Swift as a co-writer. A similar scenario went down with Rodrigo’s “Good 4 U,” on which she retroactively credited and split royalties with Paramore’s Hayley Williams and Josh Farro after listeners pointed out similarities between the song and “Misery Business.”

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The “Radio, Radio” star previously defended Rodrigo on social media back in 2021, responding to a user who pointed out that “Brutal” and “Pump It Up” sound similar. “This is fine by me, Billy,” he told the X user. “It’s how rock and roll works. You take the broken pieces of another thrill and make a brand new toy. That’s what I did.”

He also included the hashtags “#subterreneanhomesickblues” and “#toomuchmonkeybusiness,” in reference to the respective Bob Dylan and Chuck Berry songs that influenced “Pump It Up.”

Nicky Jam ‘Renounces’ His Support for Donald Trump: ‘Puerto Rico Must Be Respected’

Nicky Jam is no longer supporting Donald Trump for president, the reggaetón hitmaker announced on Wednesday (Oct. 30) in a video he uploaded to his Instagram page.

The message comes a month after the Massachusetts-born singer-songwriter had endorsed the Republican candidate and even spoke at one of his rallies in Las Vegas back in September. “We need you. We need you back, right? We need you to be the president,” the “El Perdón” singer said then.

Now, he’s taking it back and “renouncing” any support of Trump.

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“Normally I’m not the type of person to respond to these types of things,” Nicky Jam said in his video, speaking in Spanish. “The reason I had supported Donald Trump was because I thought he was the best [option] for the economy in the United States where many Latin and immigrants live, and many of them are suffering because of the economy. And him being a businessman, I thought he was the best movement. I never thought in my life that, a month later, a comedian would come and criticize my country and speak badly about my country. And, because of that, I renounce any support of Donald Trump and removing myself from any political situation. Puerto Rico must be respected.”

Nicky Jam, who is of Puerto Rican descent, was among a few reggaetón acts who had endorsed Trump, including Anuel AA and Justin Quiles. Following Jam’s endorsement of Trump, Mexican rock band Maná announced they were removing its 2016 reimagining of “De Pies a Cabeza,” a collab with Jam, from streaming services explaining that Maná didn’t “work with racists.”

On Sunday (Oct. 27), comedian and podcaster Tony Hinchcliffe described Puerto Rico as a “floating island of garbage” at a Donald Trump rally in Madison Square Garden. Immediately after those remarks, Bad Bunny, Ricky Martin, Jennifer Lopez and Luis Fonsi, among a number of other Puerto Rican artists, took to social media to amplify Vice President Kamala Harris’ plan for Puerto Rico.

See Nicky Jam’s video below:

Get Your Boots With Fur Ready: Nelly Reveals Apple Bottom Jeans Relaunch Date

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Nelly Reveals Relaunch Date For Apple Bottom Jeans

Source: Johnny Nunez / Getty / Nelly / Apple Bottom Jeans

Apple Bottom Jeans is back. Nelly is trying to make his mark in women’s fashion again with the return of the clothing brand geared towards blessed in the booty department.

Nelly confirmed to TMZ Hip Hop that Apple Bottom Jeans, the clothing line he first launched in 2002 for ladies (mainly Black and Brown) of all shapes, sizes, curves, and contours, will return in November 2024.

Ashanti’s baby daddy told the celebrity gossip site in a statement, “Our goal as a brand remains the same: celebrating ALL women, all shapes and sizes. We have amazing new styles and are ready to shake the fashion world again … we’re back!!!”

According to the brand’s official Instagram account, the presale is live.

According to the celebrity gossip site Nelly and the brand’s president, Michael Saunders, the jeans will use new technology to make them more stretchy. That’s important because the booties have gotten much larger than they used to be when Nelly first introduced the brand to the world in 2002.

The news of Apple Bottom Jeans’ relaunch follows other great news in the rapper’s life. He recently welcomed his first child, a boy, with his longtime girlfriend, singer and songwriter Ashanti, who just sang the national anthem at Game 4 of the World Series at Yankee Stadium.

Nelly’s spinning of the block was successful after he encountered Ashanti, who was his ex at the time, during his VERZUZ battle (remember those?) with Fat Joe, who brought the R&B superstar out to sing the hook of their collaborative effort, “What’s Luv?”

PEOPLE reports the couple secretly married in December 2023, which means she will have a lifetime supply of Apple Bottom Jeans gear to wear when she hits the stage.

Disney to Become New Home of Grammy Telecast Under 10-Year Global Deal

Disney Entertainment co-chairman Dana Walden and The Recording Academy CEO Harvey Mason jr. announced today a new 10-year global deal for The Grammys to be exclusively simulcast on ABC, Hulu and Disney+ beginning in 2027 — making The Walt Disney Company the first new home for Music’s Biggest Night in 50 years.

The Grammys aired on ABC in 1971 and 1972, its first two years as a live telecast. The show shifted to CBS in 1973, where it will end a long run with the 2026 show. In a sense, the Grammys and the American Music Awards are swapping networks. The AMAs aired on ABC every year from 1974 to 2022 and began its association with its new network, CBS, with a two-hour anniversary show earlier this month. The next regular yearly AMA show will air on CBS in May.

The Recording Academy and Disney entered into an agreement that solidifies the company as the destination for The Grammys through 2036. As part of this deal, The Recording Academy will also produce multiple Grammy-branded music specials and additional new programming for audiences around the world across Disney’s platforms.

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“The Grammys is a marquee addition to The Walt Disney Company’s slate of some of the best and most prestigious live event programming across entertainment and sports — from The Oscars, The CMA Awards and Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest to the leading multiplatform sports entertainment brand, ESPN,” Walden said in a statement. “In fact, in the first year of this agreement, 2027, ABC will present The Grammys, The Oscars and Super Bowl LXI. As The Walt Disney Company combines forces with The Recording Academy to open this exciting new chapter in the history of ‘The Grammys,’ we do so with pride and gratitude. Live events have never been more important to our culture and industry, and we just acquired one of the crown jewels, adding to our portfolio of world-class programming across all genres.”

“We are completely thrilled to be bringing The Grammys and other new music programming to the Disney ecosystem,” Mason said in a statement. “We are grateful to our long-standing partners at CBS and now honored to be joining with Disney, an iconic company where creators have always been at the forefront. This partnership represents another important milestone in the Academy’s transformation and growth, and strengthens our ability to fulfill our mission of uplifting and serving music people around the world.”

Olivia Rodrigo Closes Guts World Tour With Nearly $185 Million

A little over eight months ago, Olivia Rodrigo had only headlined theaters. Flash forward to today, and she has sold out arenas on four continents and staged one of the year’s biggest tours. The pop phenom wrapped the Guts World Tour last week, bringing in $184.6 million from over 1.4 million tickets sold, according to figures reported to Billboard Boxscore.

The Guts cycle began in June 2023, when Rodrigo unleashed “Vampire,” the Grammy Award-nominated single that topped the Billboard Hot 100 for two weeks. The album followed, debuting atop the Billboard 200, landing its entire track list on the Hot 100, and earning two Grammy nominations of its own. After hedging bets with a theater tour following 2021’s gargantuan debut with Sour, the stage was set for an upgrade to arenas now that the sophomore slump had been avoided.

Rodrigo kicked off the Guts World Tour on Feb. 23 at Acrisure Arena in Palm Desert, Calif. That show sold 9,998 tickets, marking the smallest attendance for any stop on the tour. Things picked up quickly, ending her first North American leg with four shows at New York’s Madison Square Garden, earning $10 million from 57,900 tickets between April 5-9.

Though the New York run stands as the highest-grossing engagement of the Guts World Tour, that was not the end of Rodrigo’s run. She played 29 shows across 19 cities in Europe before returning to the U.S. and Canada for another 20 dates. To cap things off, she hit six Asian markets, plus four-night runs in Melbourne and Sydney, Australia.

During Rodrigo’s stint in Asia, her Oct. 5 performance at Manila’s Philippine Arena grossed $1.2 million and sold 48,800 tickets. It’s the best-selling single show of the entire tour – and her entire career – eclipsed only by four-night engagements in major markets like New York, London and Los Angeles. But out of 62 stops throughout 2024, it’s her third-lowest earner. That’s because she purposely kept tickets cheap, averaging $25.04 USD, which stands as less than a fifth the tour’s average of $128.81. Rodrigo is Filipino-American, and the show was a special stop – she is one of just seven artists to report concerts in Philippines this year – where all net proceeds went to local charity Jhpiego through the Fund 4 Good.

In terms of venue capacity and global reach, the Guts World Tour was a major step up for Rodrigo. While reporting for the Sour Tour was incomplete, its 16 reported shows averaged $415,000 and sold 5,517 tickets per show. Two years later, her nightly attendance is up 173% to 15,084, and her average gross jumped by 369% to $1.9 million. In 2022, she played 33 shows in North America and 16 in Europe. In 2024, those numbers bloated to 48 and 29, respectively, plus the 18 combined shows in Australia and Asia.

Still, there might be more room to grow. Co-manager Zack Morgenroth told Billboard that, per tour promoter Live Nation, demand indicated that Rodrigo could’ve packed stadiums just as well. Even at a low price, Rodrigo moved nearly 50,000 tickets in Manila, giving proof of concept.

The numbers are huge, but the tour’s greater impact extends beyond the accolades. Rodrigo’s Fund 4 Good led the way, in collaboration with HeadCount, the National Network of Abortion Funds and more. And then, there’s the secondhand buzz that helped guide Chappell Roan from the first leg’s opening act to industry noisemaker, eventually returning as a special guest in August, rousing the crowd with a choreographed sing-along of her own “Hot To Go.”

At 21 years old, Rodrigo’s Guts World Tour is the highest-grossing tour for someone of her young age (or younger) in a decade, dating back to when One Direction ruled the year-end Top Tours chart in 2014 with the Where We Are Tour. But that’s not enough – Rodrigo herself laments “When am I gonna stop being great for my age and just start being good” on Guts deep cut “Teenage Dream.” Her 2024 trek is now one of the 10 biggest pop tours of the decade so far, ranking among treks by peers like Harry Styles and icons like Madonna.

Sixpence None the Richer on Reuniting the Original Band and the Longevity of ‘Kiss Me’

Some ‘90s rock bands reunite for the paycheck of a festival appearance or an alternative rock package tour. The original members of Sixpence None the Richer got back together simply to make music again. 

As singer Leigh Nash and guitarist Matt Slocum tells Billboard’s Behind the Setlist podcast, the band members’ lives happened to intersect again for the first time since 2002. The result, the group’s new Rosemary Hill EP, was released on Oct. 4 through Flatiron Recordings, and the band is currently on a U.S. tour that concludes in Los Angeles on Dec. 15. 

“Leigh and I had started working on new music during the pandemic,” says Slocum. “Dale [Baker], who’s our drummer, started reaching out. He was coming into Nashville periodically, because he still works as a session musician here in town and in his hometown of Durham, North Carolina, and he tours a fair amount.”

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Before long, Nash, Slouch and Baker were talking about making music together over dinner. That conversation led Nash to reach out to bass player Justin Cary.  “That ended up being very serendipitous,” says Slocum, “because he and his wife own a bakery in Albany, New York, and they had made the decision to close the bakery.” Nash called to ask Cary if he wanted to make music again, and “he was more than ready to jump in.” 

Truth be told, Sixpence None the Richer never really went away. The band’s 1998 breakthrough hit “Kiss Me,” which peaked at No. 2 on the Billboard Hot 100 the following year, was streamed 70 million times and played on radio nearly 48,000 times in the U.S. last year, according to Luminate. The song has consistently been featured in television shows, too —i ncluding a 2016 episode of The Simpsons —and most recently can be heard in BLACKPINK member Lisa’s new song “Moonlit Floor,” which uses an interpolation of “Kiss Me” and takes its title from the song’s lyrics (“Kiss me, beneath the milky twilight / Lead me out on the moonlit floor”). 

Nash is hopeful “Moonlit Floor” helps the band reach new fans and introduces Rosemary Hill to a younger generation. “I have seen a pretty big uptick in people and followers on our social media platforms and and no doubt those are really young people. So, I’m excited to perhaps affect a brand new generation with the new music that we’re putting out. That would be an insane blessing.”

“It’s been really cool to see how it’s connected with people all over the world and has done this generational jump,” adds Slocum. That “Moonlit Floor” songwriters Ryan Williamson and Jessie Reyez chose to utilize “Kiss Me” “shows that it’s just timeless,” he says.

Listen to the entire interview with Leigh Nash and Matt Slocum to hear more about the writing and recording of the Rosemary Hill EP, performing again for the first time in more than a decade, covering The La’s “There She Goes” and meeting The La’s frontman Lee Mavers in London in 2015. You can listen in the embedded Spotify player below or go to Spotify, Apple Podcasts, iHeart, Amazon Music, Podbean or Everand

Tyler, the Creator Catalog Rises in Anticipation of ‘Chromakopia’ Album, ‘St. Chroma’ Has Biggest First-Day Debut

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.

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This week: Tyler, the Creator’s new album already appears to be taking him to a new commercial level, Imogen Heap gets an unexpected video game bump and a dance trend helps a new rap single take off.

Chromakopiamania: Tyler, the Creator’s New Album Off to Huge Start, Results in Whole Catalog Gains

Though Tyler, the Creator essentially split his debut week in half for new album Chromakopia — releasing the album on Monday morning (Oct. 28) at 6:00 ET rather than the usually Friday midnight release — it still looks to be going down as one of the biggest first weeks of his career, and perhaps the very biggest. The tracks from Chromakopia blanketed the top 10 on the daily charts of both Spotify and Apple Music for Monday, with each track drawing streams in the millions — led by album opener “St. Chroma,” which racked up nearly 6.2 million official on-demand U.S. streams in its first day, according to Luminate. (By contrast, Morgan Wallen’s “Love Somebody” — the prior week’s No. 1 Streaming Song — notched just over 2 million streams on Monday.)

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What’s more, anticipation for Chromakopia reached such a fever pitch last week that even Tyler’s older songs were beginning to claim in streams. For the three-day period of Monday to Wednesday last week (Oct. 21-23) — with the rapper announcing the new album, along with the new song “Noid,” on Monday morning — his pre-Chromakopia catalog scored a combined 32.1 million streams, up 29% from the 25 million of the previous three-day period (Oct. 18-20). It seems like 15 years into his acclaimed career, Tyler, the Creator is still just climbing in popularity, with true superstardom maybe in reach as soon as this album cycle. — ANDREW UNTERBERGER


Imogen Heap’s ‘Headlock’ Gets the Gamer Bump, Triples in Streams

Speak for Yourself, the sophomore album by Imogen Heap, became a solo breakthrough upon its 2005 release, earning the idiosyncratic British singer-songwriter a Grammy nod for best new artist following her work as part of the group Frou Frou. And since its release, the album has had a funny way of reappearing in popular culture: “Hide and Seek” has soundtracked several dramatic TV sequences (most notably in The O.C.), Kelly Clarkson covered “Just for Now” for her 2013 holiday album, and Ariana Grande reworked “Goodnight and Go” for 2018’s Sweetener.

Now, the opening track on Speak for Yourself, “Headlock,” is the latest song from the album to be hoisted up years after its release — largely thanks to Mouthwashing, a psychological horror video game that was released last month. Over the past few weeks, TikTok users have been editing clips of the game together and utilizing “Headlock” as a soundtrack, and as a result, the song’s official streams have grown exponentially over the past few weeks.

After the Sept. 26 release of Mouthwashing, “Headlock” earned 555,000 U.S. on-demand streams during the week ending Oct. 10, according to Luminate; that weekly streaming total more than tripled to 1.72 million during the week ending Oct. 24. Heap has never charted on the Hot 100 before, so if the exponential growth of “Headlock” continues, we might see a long-overdue chart achievement; if not, we’ll have to wait for the next Speak for Yourself song to be resurrected (our vote is for “The Walk”!). – JASON LIPSHUTZ


OhThatsMizz Dances His Way to a Breakout Hit With ‘Bumbaaa’

Another week means another dance trend on some corner of TikTok is lifting a song to new streaming heights. According to Luminate, “Bumbaa” — a collaboration between rising rappers OhThatsMizz and SturdyYoungin – has grown 120% in streaming activity over the past two weeks. During the period of Oct. 4-10, the track pulled over 287,000 official on-demand U.S. streams. The following week (Oct. 11-17), that figure jumped by 72% to 495,000 streams earned. Streams for “Bumbaaa” then increased a further 28% during the period of Oct. 18-24, which saw the track pulling just under 635,000 streams. 

Mizz first shared a snippet of the track to his official TikTok page on Sept. 9 to the tune of 80,000 likes and 460,000 views. By Sept. 12, user @kastackzzz created a dance – which largely mimes the song’s lyrics before morphing into a TikTok-ified take on New Orleans’ “trip out” move – and his post has since garnered over 100,000 views. While that number may seem relatively small, it was more than enough to help the dance blow up before the track’s official release on Oct. 4. The official “Bumbaa” TikTok sound now boasts over 580,000 posts, with the majority of them featuring users doing the viral dance. Some famous participants include Emmy-winning actress Storm Reid, 41’s leading lady Jenn Carter (who teased her own freestyle over the beat) and Milwaukee breakout rap star J.P. 

Mizz has already posted about visiting the Capitol Records and 300 Entertainment offices for meetings, so who knows what the future may hold as “Bumbaa” continues to grow. — KYLE DENIS

Vizio Is Releasing a Karaoke Soundbar Ahead of the Holiday Season

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Vizio wants to expand the way music fans enjoy karaoke. On Tuesday (Oct. 29), the tech company announced the Vizio MicMe, a new soundbar with built-in technology designed for karaoke.

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The MicMe includes a Vizio soundbar, two wireless microphones, a charging doc and subwoofer. The set retails for $349.99 and will be released in late November in time for the start of the holiday shopping season. Vizio MicMe will be available at major retailers such as Amazon, Walmart, Target, Best Buy and Sams Club.

“With the same excellence and innovation that customers have come to expect from Vizio, MicMe reimagines the way users can experience karaoke, bringing together the entire family and friends through a new approach to entertainment,” said John Schindler, vice president of product management at Vizio. “We are excited to welcome MicMe to the Vizio lineup and look forward to seeing users transform the way they host parties and spend time with their loved ones with this new entertainment experience.”

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When it’s not being used for karaoke, MicMe works as a regular soundbar. The device features Bluetooth 5.3, Dolby Atmos and DTS:X technology.

Although MicMe allows users to adjust certain settings directly on the microphone, the Vizio app offers advanced settings such as six voice enhancements and nine, mic color options.

The wireless microphone offers up to eight hours of battery life — plenty of time to perform your favorite songs for karaoke night or a holiday party. The Vizio MicMe won’t be released until late next month, but you don’t have to wait until then to shop Black Friday-style deals on Vizio TVs and soundbars.

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Music Has a $212 Billion Economic Impact in the U.S., Says New Study

In 2020, the U.S. music business contributed $212 billion to the country’s gross domestic product, up from $180 billion in 2017, according to the latest iteration of a report titled 50 States of Music that integrates data provided by independent record labels, performing rights organizations, independent music venues, music museums and other organizations. 

The booming music industry has also been good for the labor market. From 2017 to 2020, the number of jobs supported by the music industry grew 1.9% annually from 2.17 million to 2.54 million while overall U.S. employment growth was flat, according to the report’s study from two economists at the firm Secretariat. Direct employment — jobs in the music industry — grew from 1.13 million to 1.32 million over that time, while indirect and induced employment improved from 1.04 million to 1.22 million. Indirect employment includes jobs that result from the goods and services used by direct employment. Induced employment accounts for the jobs created by the additional spending of direct and indirect employees. 

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Fueled by streaming services and a revitalized vinyl market, U.S. wholesale recorded music revenues increased from $5.78 billion to $8.02 billion from 2017 to 2020, according to the IFPI. That growth coincided with an uptick in music businesses. Over that four-year time span, the number of music industry businesses and establishments — spanning brick-and-mortar entities to digital companies — increased from 227,000 to 252,000.

In putting a dollar amount on the U.S. music industry, the report effectively underlines the stakes in failing to stave off the threat artificial intelligence (AI) poses to the business. A thorough study of music’s economic impact is important for an industry that frequently seeks lawmakers’ intervention against new technologies and threats to copyright. If music business revenue and employment are hit by AI, the losses would create a ripple effect that touches other businesses and workers.

“As Congress and state leaders grapple to figure out smart guardrails and innovative policies for the AI age, we face a truly unique, once-in-a-generation inflection point,” wrote Mitch Glazer, chairman/CEO of the RIAA, which funded the study behind 50 States of Music. Glazier continued that he welcomed “new opportunities, sounds and experiences made possible through responsible AI innovation” but warned of the risks of “irresponsible and unethical AI.” Unauthorized and uncompensated use of copyrighted music to train AI models “threatens to rip a gaping hole in the fabric of America’s music communities” and shift music’s economic impact to “global tech giants at the expense of the artists, writers and music companies who shape America’s 50 states,” he added.

California, where music contributes $51.4 billion to the economy, has the largest impact of the 50 states in terms of earnings, employment and value added. Texas, home to nearly 128,000 songwriters (per ASCAP, BMI, SESAC and GMR), ranks second at $26.6 billion, while New York is a close third at $24.9 billion. Florida, home to the Latin music business, is fourth at $9.3 billion. Driven by country music in Nashville and the blues in Memphis, Tennessee ranks fifth at $7.5 billion. And Pennsylvania, where music supports nearly 115,000 jobs, is sixth at $6.3 billion.

The report’s authors used data from sources such as the Census Bureau, the Bureau of Economic Analysis and private-sector data sets. Music’s economic impact was calculated by estimating its direct revenue and employment and then using what’s called a RIMS II multiplier — statistical tools developed by the Bureau of Economic Analysis — to estimate direct revenue’s downstream effects on local economies. 

Maluma Debuts Athletic-Wear Line During Fashion Show in Colombia: See the Photos

On Tuesday (Oct. 29), Maluma unveiled his new athletic-wear line Remanence during a fashion show in his native Medellín, Colombia. The hitmaker serves as owner and creative director of the brand — led by designer Ana Villegas — which was designed “100% in Colombia and focuses on responsible practices, using renewable energy and efficient processes in its production,” according to a press release.

“For me, since I was a child, music and fashion have been very important tools to be able to let the world know my feelings, to be able to transmit what I am, my essence, my thoughts,” Maluma said in a statement. “I have found in music and fashion a very beautiful refuge, a place of peace, a place of happiness, a place of dreams. Music and fashion motivate me to move forward because that is where I can really be me, Juan Luis; they are different communication channels, but they really lead to the same thing, they go hand in hand and will continue to be, as long as I make music, I will continue making fashion and vice versa because it is what motivates me to get up every day.

Remanence was designed for those who “seek comfort and style in their daily lives,” the release adds. The athletic-wear line combines activewear and casual wear, with a focus on aesthetics and functionality.

The first collection, a futuristic style inspired by the “gorpcore” trend — is now available at remanence.com internationally and at remanence.co in Colombia. See the photos of the fashion show in Colombia below: