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Austin’s Waterloo Records, a cornerstone of the city’s music scene since 1982, is entering a new chapter.
After over four decades as the heartbeat of Austin’s music culture, owner John Kunz has announced that he is passing the torch to new owners—Caren Kelleher, Founder & CEO of Gold Rush Vinyl, and Austin entrepreneur Trey Watson.
Along with the change in ownership, Waterloo Records will also be relocating to a new, larger space at 1105 North Lamar this spring.
Waterloo Records has long been a cultural hub for Austinites and visitors alike, hosting in-store performances by artists like Norah Jones, Willie Nelson, and Nirvana and playing a pivotal role in co-founding Record Store Day in 2008.
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“My decades-long hope, dream and endeavor, has been for Waterloo Records & Video to live on forever, continuing to promote Austin’s vibrant music culture and community,” said John Kunz.
“Now with this transition, all of my boxes are checked: a new larger home, just five blocks away; Caren and Trey buy in as my new, talented, local music industry partners; all of my team are retained and they will gain the opportunity for store ownership; all of the Waterloo Records hallmarks and traditions continue on, including innovation; and now as a minority partner and not sole proprietor, I get to work less, and play more. So thank you Austin!”
“John, Trey and I recognized this as a once-in-a-lifetime opportunity to guard and grow an iconic music business and to get to do so in a town we all love,” said Caren Kelleher. “John was one of the first people to welcome me to Austin when I moved here to start Gold Rush Vinyl and his friendship has been so important over the years. It means so much to me that he and his wife Kathy Marcus trust me to be part of the next chapter of Waterloo.”
Trey Watson, a longtime Austin entrepreneur with a background in music and media, said the store’s legacy is part of the city’s fabric.
“Since 1982, Waterloo Records has been a large part of the fabric of that soul as a small business and as a place where people gather as a community to celebrate music. I’m honored and grateful that John Kunz has entrusted our team with guiding Waterloo into the future. We have great things planned for all to experience.”
The move to 1105 North Lamar marks a significant upgrade for Waterloo, expanding its current 6,400 sq. ft. space by 50% to allow for larger events, enhanced in-store performances, and improved parking options.
The location, previously occupied by Louis Shanks Furniture and later a Whole Foods regional office, provides modern amenities while maintaining the store’s proximity to downtown Austin and nearby music venues. This expansion underscores the commitment to keeping Waterloo a key destination for music fans and artists alike.
The transition comes at a pivotal moment for Austin, a city known for its deep musical roots but also experiencing rapid growth as a global tech hub. “Austin has a soul about it that attracted me to move here over 25 years ago and continues to draw people here today,” said Watson.
The holiday season may be over, but the hits are just heating up on the ARIA Singles Chart.
As Christmas tracks retreat from their seasonal dominance, Rosé and Bruno Mars have reclaimed the crown with their smash hit “APT.,” catapulting from No. 8 back to No. 1 for an impressive eighth non-consecutive week on top. With holiday tunes swept off the charts, it’s time for pop’s biggest stars to shine again.
Gracie Abrams’ “That’s So True,” a former No. 1, leaps from No. 9 to No. 2, while Lady Gaga and Bruno Mars’ duet “Die With A Smile” ascends to No. 3 from No. 16. The track previously peaked at No. 2.
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Other notable singles include Billie Eilish’s “Birds of a Feather,” which jumps from No. 19 to No. 4 after topping the chart for two weeks in August, and Shaboozey’s “A Bar Song (Tipsy),” climbing from No. 18 to No. 5. The latter spent five weeks at No. 1 during July and August.
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Sydney indie-pop duo Royel Otis debut at No. 47 with “Linger (SiriusXM Session),” a fresh take on The Cranberries’ 1994 hit “Linger.”
The Cranberries’ original version became the band’s breakthrough single in the U.S., peaking at No. 8 on the Billboard Hot 100 in May 1994 and stayed on the charts for 24 weeks. It remains one of their most iconic tracks, blending alternative rock with orchestral elements and highlighting Dolores O’Riordan’s ethereal vocals. Royel Otis’ 2024 album Pratts & Pain earned two ARIA Awards last November.
On the ARIA Albums Chart, Sabrina Carpenter’s Short n’ Sweet continues to dominate, securing its eighth non-consecutive week at No. 1. The album’s standout tracks “Espresso” and “Taste” return to the top 10, climbing to No. 8 and No. 10 respectively.
Ed Sheeran’s greatest hits compilation +–=÷× (Tour Collection) rises from No. 12 to No. 6, spurred by the release of a limited-edition vinyl. The album, which peaked at No. 4 in October, showcases six of Ed’s Australian No. 1 singles, including “Shape of You” and “Bad Habits.”
Emilia Pérez was the biggest winner on the film side at the 2025 Golden Globes on Sunday (Jan. 5). The film won four awards: best motion picture, drama; best motion picture – non-English language; best original song – motion picture for “El Mal” (co-written by Clément Ducol, Camille and Jacques Audiard); and best performance by a female actor in a supporting role in any motion picture for Zoe Saldaña.
Shōgun was the biggest winner on the TV side, with four awards: best television series – drama, plus acting awards for Anna Sawai, Hiroyuki Sanada and Tadanobu Asano.
The 82nd annual Golden Globe Awards, hosted for the first time by Nikki Glaser, were held at the Beverly Hilton Hotel in Beverly Hills, Calif.
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Anora was the night’s biggest shutout on the film side; it went 0-5 for the night. Only Murders in the Building was the biggest shutout on the TV side; it went 0-4 for the night.
Wicked won the Golden Globe for cinematic and box office achievement. Barbie won the award last year in the category’s inaugural year. Barbie went on to receive eight Oscar nominations, including best picture. This year’s Oscar nods will be announced on Jan. 17. Wicked and Barbie are both music-driven hits. The soundtracks to both films reached No. 2 on the Billboard 200 (though Wicked may yet reach No. 1).
Trent Reznor and Atticus Ross won for best original score for Challengers. This is their third win in the category, following The Social Network (2011) and Soul (a collab with Jon Batiste, 2021). This puts the Nine Inch Nails members in a tie with Justin Hurwitz as the only three-time winners for best original score this century at the Globes. Hurwitz won for La La Land, First Man and Babylon.
Demi Moore won her first Golden Globe – best performance by a female actor in a motion picture – musical or comedy – for The Substance, 34 years after she landed her first nomination in the same category for the box-office smash Ghost.
Ali Wong won best performance in stand-up comedy on television for her Netflix special Ali Wong: Single Lady. This was a bit of a surprise. Many figured the Globes’ host, Glaser, would win for her HBO/Max special, Nikki Glaser: Someday You’ll Die. Ricky Gervais, a five-time Globes host, was the inaugural winner in the category last year for his Netflix special, Ricky Gervais: Armageddon.
Flow won best animated feature, beating The Wild Robot and sequels to Inside Out and Moana, among others.
All of the winners were present to receive their awards except Jeremy Allen White, the star of The Bear, who won for best performance by a male actor in a television series – musical or comedy.
At a ceremony on Friday, EGOT recipient Viola Davis received the Cecil B. DeMille Award, a career honor for film work. Ted Danson won the Carol Burnett Award, the equivalent award for work in television. The awards were briefly mentioned on the telecast, but were not given the extended airtime they were afforded in the past.
Multi-Emmy-winning producing duo Glenn Weiss and Ricky Kirshner of White Cherry Entertainment served as executive producers and showrunners for the 82nd Golden Globes.
The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Corporation. PMC is also the parent company of Billboard.
While most would assume that the direct descendants of The Beatles‘ members would be well-informed when it comes to matters related to the Fab Four, Julian Lennon has admitted he’s often left out of the loop.
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Lennon’s admission was made in a new interview with U.K. publication The Guardian, where he spoke about his photography work and his newest release, the coffee table book Life’s Fragile Moments. Alongside discussions of how new music isn’t on the cards just yet (a failed attempt to hit the late-night talk show circuit in 2024 left him “heartbroken”), Lennon also touched on what drives him professionally.
“It had always been, ‘John Lennon’s son, John Lennon’s son’, and I’m going, ‘for f’s sake’. I said, what I need to do for me, first and foremost, is to build up a body of work, a foundation that I can stand on, that nobody can take away from me,” said Lennon. “And I continue to do so. It’s not to show off, it’s just to prove to myself that I can actually do this stuff. I’m not interested in fighting other people’s opinions.”
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Elsewhere, Lennon also touched on the recent resurgence that The Beatles have seen from the wider public. In the past few years, the iconic group have been in the spotlight thanks to documentaries such as Peter Jackson’s Get Back (2021), David Tedeschi and Martin Scorsese’s Beatles ’64 (2024), and the 2024 restoration of Michael Lindsay-Hogg’s 1970 film, Let it Be.
In 2023, The Beatles also issued “Now and Then”, which earned nominations for Record of the Year and Best Rock Performance at the 2025 Grammy Awards.
According to Lennon, however, he’s often the last to know about any activity with the Fab Four’s camp.
“It’s news to me half the time. I’m not part of the inner circle – I never have been,” he admitted. “You have to realise that when Dad left, when I was between three and five (it was a bit of a process), it was just mum and me, and we had nothing to do with the Beatles or Dad. I visited him on the odd occasion but we were very much on the outside. I’m thankful that Sean and I get on like a house on fire – we’re best buddies and he tells me what he can, but things are pretty secret on the Beatles front.
“[It’s] extraordinarily strange but I’m not upset about it,” he continued. “I’d rather be excited and impressed by what they did and continue to do. As a fan, I’m just as curious as anybody else, although I do find myself going, ‘how is it possible that there’s another Beatles film?’”
Lennon recently took to social media in December to urge his followers to undergo regular doctor visits following an emergency surgery after a second skin cancer diagnosis. Just before the end of the year, on Dec. 30, Lennon updated his followers that he had received “the ‘all clear’” from his doctors.
Months after an onstage altercation left alternative rock mainstays Jane’s Addiction on hiatus, three of the band’s members are working on new music without frontman Perry Farrell.
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News of fresh material from Jane’s Addiction members comes following the group’s headline-generating performance on Sept. 13 at Boston’s Leader Bank Pavilion where – during a rendition of “Ocean Size” – Farrell threw a punch at guitarist Dave Navarro.
“What the f–k?” Navarro appeared to shout as crew members restrained Farrell and dragged him backstage. The guitarist then took off his guitar and walked off stage, ending the concert after 11 songs – a handful shy of their regular set length.
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The altercation quickly made waves throughout the global music community, and Jane’s Addiction soon announced the cancellation of the remainder of their tour dates, with a statement signed by Navarro, bassist Eric Avery, and drummer Stephen Perkins highlighting the “behavior and the mental health difficulties of our singer Perry Farrell”.
Farrell later shared a statement via Billboard in which he apologized for his onstage actions. “Unfortunately, my breaking point resulted in inexcusable behavior, and I take full accountability for how I chose to handle the situation,” Farrell wrote at the time.
Somewhat ironically, the band’s self-imposed hiatus came about alongside the release of “True Love”, their second single of 2024, which followed on from July’s “Imminent Redemption” – the first new song from the original band lineup in nearly 35 years.
On Friday (Jan. 3), Avery took to social media to share a video of himself recording bass lines to a drum track he confirmed was recorded by Perkins. “Look forward to getting some Mr Navarro on them. 2025!” he added, before tagging both Perkins and Navarro in the post.
Though fans of the musicians have been quick to assume this may result in new Jane’s Addiction material without Farrell’s involvement, some comparisons have also been made to the short-lived Deconstruction project from the early ’90s.
Launched in 1993 following Jane’s Addiction’s initial split, Deconstruction featured Navarro and Avery alongside drummer Michael Murphy. Perkins had initially been invited to take part, but ultimately chose to join Farrell’s Porno for Pyros instead.
Deconstruction would release their self-titled debut album in 1994, which peaked at No. 31 on Billboard’s Heatseekers Albums chart ahead of their quiet dissolution soon after. In December 2024, Deconstruction released the album onto streaming services for the first time.
Currently, there’s no indication that Deconstruction are once again a going concern, though Avery’s caption indicates that fans will discover the direction the Jane’s Addiction members’ music is taking sooner rather than later.
Among two songs nominated from the Spanish-language musical Emilia Pérez, “El Mal” was declared the best original song – motion picture at Sunday’s (Jan. 5) 2025 Golden Globe Awards. The award went to the French married couple of singer/songwriter Camille and composer Clement Ducol, along with Emilia Pérez director Jacques Audiard. “This is such an […]
Kinda like a cloud they were up, way up in the sky with their latest win. Trent Reznor and Atticus Ross took home the win for best original score for their work on Challengers at the 2025 Golden Globes Sunday (Jan. 5).
And it wasn’t just the musical duo who was delighted by the win. Elton John, who co-presented the award alongside Brandi Carlile, lifted both fists in celebration as Reznor and Ross’ names were announced, and delivered an exhilarated “Yaaaaaaaaaaaaay!” as the two rockers made their way to the stage to accept the award.
At the mic, Ross delivered a short and sweet speech. “I’d like to thank my best friend, my musical partner, the great talent, Trent Reznor,” he said, gesturing to the beaming Nine Inch Nails frontman beside him, before delivering his thoughts on the film’s dance-music score. “The music that revealed itself as the voice of the Challengers never felt like a safe choice, but it always felt like the right one.”
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Ross also thanked director Luca Guadagnino as well as the “fabulous Zendaya” (who was nominated for best actress in a musical or comedy for her portray as Tashi in the film) before sharing appreciation for their families. “We want to thank the most important people in our lives, our wives and our children. Mariqueen, Trent loves you,” he concluded. “Claudia, I love you. And all the kids, we love you.”
The duo’s win for Challengers marked their third Golden Globe victory. They previously won in the same category for The Social Network in 2011 and Soul in 2021; the latter is shared with Jon Batiste.
Reznor and Ross were also nominated in the best original song category for “Compress/Repress,” also from Challengers. “El Mal” from Emilia Pérez won that award.
The show was hosted by comedian Nikki Glaser, who herself was nominated for an award — best performance in a stand-up comedy on television, which went to Ali Wong.
The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Corporation. PMC is also the parent company of Billboard.
Trent Reznor and Atticus Ross won the Golden Globe Award for best original score for Challengers on Sunday (Jan. 5). “El Mal” from Emilia Pérez won for best original song. The song was written by Clément Ducol, Camille and Jacques Audiard. The awards were presented at the Beverly Hilton Hotel in Beverly Hills, Calif and televised on CBS.
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This is Reznor and Ross’ third win for best original score, following The Social Network (2011) and Soul (a collab with Jon Batiste, 2021). This puts the Nine Inch Nails members in a tie with Justin Hurwitz as the only three-time winners for best original score this century at the Globes. Hurwitz won for La La Land, First Man and Babylon.
The other nominees for best original score were Volker Bertelmann (Conclave), Daniel Blumberg (The Brutalist), Kris Bowers (The Wild Robot), Clément Ducol and Camille (Emilia Pérez) and Hans Zimmer (Dune: Part Two).
The award was presented by Elton John and Brandi Carlile, who are among the co-writers of “Never Too Late” from Elton John: Never Too Late. The song is shortlisted for an Oscar for best original song but was passed over for a Golden Globe nod. Before presenting the award, John made reference to his vision problems and assured the audience they weren’t as bad as has been reported, before playing it off with a joke, referring to his co-presenter as Rihanna.
All of these scores except Dune: Part Two are shortlisted for Oscar consideration as best original score. Dune: Part Two was ruled ineligible by the Oscars because it leans too heavily on Zimmer’s Oscar-winning score for the first Dune. The Oscar shortlist of 20 scores was announced on Dec. 17. Oscar nominations are set to be announced on Jan. 17.
“El Mal” is the first Golden Globe-winning song that was co-written by the director of the film (Jacques Audiard in this case) since “Masterpiece” from W.E. in 2012. That film’s director, Madonna, co-wrote “Masterpiece.” An earlier Globe-winning song, “You Light Up My Life” from the film of the same name, was solely written by the film’s director, Joe Brooks. That ballad, which went on to win an Oscar, won in 1978.
To win best original song, “El Mal” beat another song from Emilia Pérez, “Mi Camino” (written by Ducol and Camille), as well as “Beautiful That Way” from The Last Showgirl (by Andrew Wyatt, Miley Cyrus and Lykke Zachrisson), “Compress / Repress” from Challengers (by Trent Reznor, Atticus Ross and Luca Guadagnino), “Forbidden Road” from Better Man (by Robbie Williams, Freddy Wexler and Sacha Skarbek) and “Kiss the Sky” from The Wild Robot (by Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack and Ali Tamposi).
All but two of these songs are shortlisted for Oscar consideration as best original song. “Beautiful That Way” didn’t make the Oscar shortlist of 15 songs. “Forbidden Road” did, initially, but was removed from the shortlist when it was discovered that the song bears similarities to a 51-year-old film song, “I Got a Name” from The Last American Hero. That song, a top 10 hit on the Billboard Hot 100 for the late Jim Croce, was cowritten by Charles Fox, who is one of three people representing the music branch on the board of governors of the Academy of Motion Picture Arts & Sciences.
Last year’s Golden Globe winner for best original score, Ludwig Göransson for Oppenheimer, went on to win the Oscar in that category, as have the last three Globe winners for best original song, “No Time to Die” from the James Bond movie of the same name (by Billie Eilish and Finneas), “Naatu Naatu” from RRR (by M. M. Keeravani & Chandrabose) and “What Was I Made For?” from Barbie (also by Eilish and Finneas).
The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Corporation. PMC is also the parent company of Billboard.
Ariana Grande‘s Eternal Sunshine era is not over. Though she’s been focused on all things Glinda since the release of Wicked, she’s got some kind of companion to her 2024 album up her sleeves.
The “We Can’t Be Friends (Wait for Your Love)” singer was asked if she’s working on any new music while walking the 2025 Golden Globes red carpet Sunday night (Jan. 5). Grande was nominated in the award category of best performance by a female actor in a supporting role in any motion picture, for her role in Wicked; the award ended up going to Zoe Saldaña, for her work in Emilia Pérez.
“It’s not something I’m thinking about right now,” Grande told Access Hollywood, before teasing: “But, you know, there’s something I made last year that will come out eventually. It’s an attachment of Eternal Sunshine. So, that does exist, and that will be coming out at some point.”“But no, I’m not in the studio at the moment,” she clarified.
What exactly is “an attachment of Eternal Sunshine“? With no further details provided, it’s hard to say — but “attachment” is an interesting word choice. It could just be a roundabout way of referring to an extended version of the album, with previously unheard songs, or perhaps it could be a standalone project that’s tied to Eternal Sunshine in some way.
Eternal Sunshine ruled the Billboard 200 at No. 1 for two weeks in 2024, and it’s spent a total of 42 weeks on the chart so far. Album singles “Yes, And?” and “We Can’t Be Friends” both reached No. 1 on the Hot 100.
The standard release of Eternal Sunshine was already followed by a “Slightly Deluxe” version of the album, featuring four additional tracks, in March: “Yes, And?” with Mariah Carey, “Supernatural” with Troye Sivan, an acoustic recording of “Imperfect for You” and an a capella version of “True Story.”
While Grande didn’t take home an award Sunday night, she glowed at the Golden Globes in pale yellow, archival Givenchy. With her hair pulled back in a sweet ponytail and gloves covering her arms, the focus was on the empire-waist, beaded-bodice gown the singer-actress wore from the designer’s 1966 collection. According to People, an archivist at Givenchy shared, “The dress is pale yellow silk with a hand-beaded bodice … from the epic Givenchy Haute Couture/Audrey Hepburn era … one of the most important unions between a designer and muse.”
See the full winners list from the 2025 Golden Globes here.
Just weeks after the release of her Lana project, SZA has teased plans for her next musical endeavors, hinting that it may simply be a ploy to satisfy the demands of her recording contract.
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SZA shared these plans in a Tweet on Saturday (Jan. 4), in which she further mused that her next two records may also be her last. “To fulfill my last 2 album requirements I think I just wanna make peaceful children’s music n get outta here,” she wrote. “Then [I’ll] go be a farmer n donate the produce to underserved communities.”
Though it’s difficult to determine whether SZA’s comments were made in earnest or with a sense of fun, recording albums simply to meet contractual obligations is far from a new undertaking.
Ahead of the release of 1968’s now-iconic Astral Weeks album, Van Morrison had attempted to leave his former label Bang Records by recording 36 tracks that would fulfill his obligations and allow his release from the label. Despite recording songs about sandwiches and ringworm on an out-of-tune guitar, the tracks were deemed “nonsense” and not officially released until 2017.
Another famous example came about when Marvin Gaye‘s divorce from Anna Gordy Gaye came to a head in 1977. As part of the legal proceedings, a deal was struck by Gaye’s lawyer to give his ex-wife 50% of the royalties of his next record. Though Gaye had initially planned to simply make a “quickie record — nothing heavy, nothing even good”, his perfectionism resulted in an album that, while not a commercial success, became a well-respected part of his discography.
Currently, SZA’s discography boasts two studio albums – including 2017’s Ctrl and 2022’s Billboard 200-topping SOS – and deluxe editions of each record. It’s not known, however, how many albums her contract requires her to deliver.
The deluxe edition of SOS, dubbed Lana, was released on Dec. 20 and has since seen the album clock up its 12th week atop the Billboard 200 albums chart. As a result, it now holds the honor of boasting the most weeks atop the chart for an R&B/hip-hop album by a woman.
Lana featured an additional 15 songs prepended to the original record, though SZA has since told fans that the deluxe edition would be altered with new mixes. On Dec. 30, she shared that “updated mixes and new songs” will be added once her label “comes back from holiday”.