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Friday Dance Music Guide: The Week’s Best New Tracks From PEEKABOO & Skrillex, Michaël Brun, Anne-Marie & Becky G & More

This week in dance music: We premiered exclusive Northern Nights 2023 sets from Big Gigantic, Megan Hamilton and Forester, and celebrated 20 years of the Dance Mix Show/Airplay chart. Friendship 2024 dropped a lineup featuring Skrilex, Chris Lake and many more, while Loud Luxury, Two Friends and Bebe Rexha ascended to the peak of Dance Mix Show/Airplay.

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And yes, we’ve got new music, too. These are the best new dance tracks of the week.

PEEKABOO, Skrllex, G-Rex & Flowdan, “BADDERS”



The Label: OWSLA/Atlantic Records

The Spiel: PEEKABOO has been one of the best bass music producers in the scene for awhile, and today his profile gets another well deserved lift via “BADDERS,” a collaboration with Skrillex, Flowdan and G-Rex. The track brings a constellations of artists back together, as PEEKABOO collaborated on “Hydrate” from Skrillex’s Quest for Fire, and Flowdan of course delivered vocals for QFR’s “Rumble.”

Introduced to the mix here is PEEKABOO’s longtime friend, the producer G-Rex. Together they deliver a dark, wobbly production that’s the result of some kismet, with Flowdan having heard it during a studio session and coming up with lyrics and Skrillex later getting in touch with PEEKABOO to put his own touch on it. The efficacy of this group effort was demonstrated when the group played it seven times in a row during a recent b2b in London.

The Artist Says: “G-Rex, one of my best friends, was going through some personal hardships, so I invited him to Detroit,” says PEEKABOO. “I thought we could channel that emotion into our music, and that’s when we created ‘Badders.’ Working with Flowdan was an incredible experience; he’s such a wizard at creating lyrics… The same goes for Skrillex; he genuinely cares about music.”

The Vibe: Not bad at all.

Michaël Brun, Anne-Marie & Becky G, “Coming Your Way”



The Label: BAYO MIZIK

The Spiel: Consistently great Haitian producer Michaël Brun delivers what’s likely to be one of the biggest songs of his career thus far via “Coming Your Way,” a collaboration with power-lunged British singer Anne-Marie and global sensation Becky G. The song is slinky to the max, with Brun putting the track on slow burn, then layering up horns, percussion and a hot-to-the-touch verse from Becky G. The song comes on the heels of Brun’s FAMI Summer EP, which featured collaborations with J Balvin, Anthony Ramos, Kes, King Promise and more.

The Artist Says: “I wanted to cap the summer off with one of my favorite songs I’ve ever produced,” says Brun. “‘Coming Your Way’ is a mix of so many genres that have influenced me across the years, from electronic music to Caribbean and Latin sounds. It’s also an honor to have global superstars Anne-Marie and Becky G present on this one. It feels like a global anthem.”

The Vibe: Yes, the makings of a global anthem, but also the feel of a really good house party.

Roosevelt, “Rising”



The Label: Counter Records/Ninja Tune

The Spiel: Berlin-based producer Roosevelt, who dropped an official remix of Taylor Swift’s “Anti-Hero” last winter, keeps the momentum going with “Rising.” The lush production goes heavy on the lightness, with passing clouds of synths and a zippy build creating a peppy and yes, uplifting, vibe. The track is the second single from Roosevelt’s forthcoming album, Embrace, coming September 22.

The Vibe: Unlimited mimosa brunch effervescence.

Hannah Wants, “Hard To Breathe”



The Label: Defected Records

The Spiel: It’s Hannah x two here, with British producer Hannah Wants and British vocalist Hannah Boleyn (who’s previously worked with artists including John Summit) teaming up for the deep house cut “Hard to Breathe.” “Don’t worry ‘bout me baby, it only hurts when I breathe,” Boleyn declares over Wants’ club-focused production, which progressively gets more urgent and anticipatory, much like holding your breath.

The Artist Says: “It’s features an insane hook / vocal from Hannah Boleyn and it’s been slappinggg in clubs for me around the world,” Wants wrote on Instagram — alongside a video of the song slappinggg, indeed.

The Vibe: Like taking in oxygen.

Armand van Helden, “I Won’t Stop”



The Label: Parlophone Records/FFRR

The Spiel: One of Boston’s coolest-ever exports, Armand Van Helden, celebrates the 25th anniversary of his classic “You Don’t Know Me” with a fresh production that brings the same mildly heartbroken but still giddy ’90s energy. A tight, two minute wind-up toy of a track, “I Wont’ Stop” is pure ebullience, bouncing merrily along with sirens blaring, until Van Helden ends it with a hard-hitting build that serves as a reminder that while his work has always been really fun, the reason it’s worked so well for decades is the foundation of grit it’s all built upon.

The Artist Says: “I’d been experimenting with American freestyle music and trying to tap into the sound for a long time, so this record is a mash-up of American freestyle and old, big New York club music from 1993 — that’s what I was trying to spin with this track. It’s a song that is ridiculous and I want people to be lit up and live in the ridiculousness when they hear ‘I Won’t Stop’.” 

The Vibe: Lit up and ridiculous in the best way.

Lizzo Is Living Her Best Life ‘With Love’ From Japan in First Post Since Statement on Harassment Lawsuit

Lizzo appears to be going about her business as usual in the aftermath of the harassment lawsuit filed against her by former dancers, allegations she denied in a statement earlier this month. In her first Instagram post since then, the 35-year-old hitmaker sings, dances and poses her way through the streets of Japan, showing off her glam outfit and unbothered attitude.

“Shabooya, sha, sha, shabooya roll call,” she sings at the beginning of the clip posted Friday (Aug. 18), a play on the area she appears to be exploring in Japan: Shibuya, located in Tokyo. Wearing a spiky blue-green-yellow dress with her hair done in space buns, Lizzo flashes peace signs and poses with a pair of shades in a series of photos that cycle through following the first clip, set to “Shabooya” by Hitkidd, Gloss Up & K Carbon, Slimeroni and Aleza.

“From Shibuya, with Love ?” she captioned the post.

The update marks the “About Damn Time” singer’s first post on social media since she addressed the allegations of sexual harassment and hostile work conditions levied against her in a lawsuit by former dancers, taking to social media two days after it was filed to issue a response. In her Aug. 3 statement, she said the dancers’ complaints were as “unbelievable as they sound and too outrageous to not be addressed.”

“These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional,” she added.

Lizzo didn’t detail or address any specifics of the accusations in her statement, which plaintiffs Crystal Williams, Arianna Davis and Noelle Rodriguez called “disheartening” and “incredibly frustrating” in an interview with CNN This Morning later that day. On the show, the three women rehashed and doubled down on their allegations that Lizzo had pressured them to inappropriately touch nude dancers at a sex show in Amsterdam, overworked them in an “excruciating” hours-long re-audition process, “called attention” to a dancer’s weight gain and more.

In the weeks since, the dancers’ legal team has said that six more people have come forward with similarly disparaging stories about Lizzo. The Grammy winner’s Big Grrrls dance team also shared a group statement on Thursday (Aug. 17) in support of their boss.

“We had the time of our lives on The Special Tour,” read the statement on the Big Grrrls’ Instagram account. “The commitment to character and culture taking precedence over every movement and moment has been one of the Greatest lessons and Blessings that we could possibly could ask for.”

Chris Peluso, Broadway Star of ‘Wicked,’ ‘Mamma Mia!,’ Dies at 40

Broadway actor/singer Chris Peluso, star of beloved musicals such as Mamma Mia! and Elton John’s Lestat has died at 40. Playbill reported that Peluso’s family confirmed that he died on Tuesday (Aug. 15), a year after he took a break from theater work to seek treatment for schizoaffective disorder; Billboard was unable to independently confirm Peluso’s death at press time.

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The actor’s alma mater, the University of Michigan, posted a tribute on the school’s musical theater department Instagram that read, “The Michigan Musical Theatre family is heartbroken as we announce the passing of our dear family member/alum, the loving, charismatic, and divinely gifted Chris Peluso… Our hearts go out to his family.”

Peluso first gained attention on Broadway as an understudy in the 2004 Tony-winning revival of Assassins and as understudy for the roles of Louis and Nicolas in Lestat. He went on to join the ensemble for the original touring company of Wicked in 2005 and take on the role of Fiyero in a 2009 national tour, as well as Sky in Mamma Mia!, Marius in Les Miserables and Tony in West Side Story.

The versatile actor also also appeared in a number of musicals in London’s West End, including playing Gaylord Ravenal in a revival of Show Boat in 2016 and Sir Percival Glyde in The Woman in White in 2017, as well as appearing in Miss Saigon and Death Takes a Holiday.

The versatile actor/singer also took on three lead parts in Beautiful: The Carole King Musical in 2014, understudying for the roles of Gerry Goffin, Don Kirshner and Barry Mann.

Peluso is survived by his wife, Jessica Gomes — who he married in 2018 — and two young children. A GoFundMe was started in Sept. on Peluso’s behalf, seeking contributions to help the actor pursue treatment for the serious mental health disorder, which reportedly caused him to experience “debilitating paranoia” that kept him from performing in recent years.

The Mayo Clinic defines schizoaffective disorder as a mental health “marked by a combination of schizophrenia symptoms, such as hallucinations or delusions, and mood disorder symptoms, such as depression or mania.”

The funding page noted that Peluso lacked health insurance in the U.S. and had left his wife and children to seek treatment at an inpatient mental health rehab center in Tennessee.

A Nov. update to the funding drive, which raised more than $25,000, contained a note from Peluso, who said he had completed treatment and was “stable and doing well.” At the time, he wrote, “The new medication I’m on works well to keep my symptoms in check and has minimal side effects. I’m able to hold down a job again and even began taping some auditions. It’s going to be a life long process of going to therapy and working with doctors but I’m so much better than I was before treatment. It really means the world to me to have such incredible support from you all. None of this progress would have been possible without you.”

Check out rehearsal footage of Peluso in Show Boat and see the UM tribute below.



If you or someone you know needs mental health help, text “STRENGTH” to the Crisis Text Line at 741-741 to be connected to a certified crisis counselor.

Taye Diggs & ‘Glee’ Alum Amber Riley Cast in ‘Little Mermaid’ Animated Series ‘Disney Junior’s Ariel’

Three months after the release of the live-action Little Mermaid movie starring Halle Bailey, we now know who will bring the famous mermaid and her underwater pals to life once more in the upcoming animated series based on the film, Disney Junior’s Ariel.

Disney Junior announced Friday (Aug. 18) that 11-year-old actress Mykal-Michelle Harris (Raven’s Home) will voice the title character, while Taye Diggs will play her father King Triton and Glee alum Amber Riley will voice her sea-witch nemesis Ursula.

Diggs is a veteran actor of stage and screen, breaking out on Broadway in 1996 as part of the original cast of Rent and on film in 1998’s How Stella Got Her Groove Back. He’s gone on to star in dozens of TV shows, films and musicals since and previously guest-starred as a voice actor on the Disney Junior series Doc McStuffins and Elena of Avalor.

In addition to her six-year run as Mercedes Jones on Fox’s Glee through 2015, Riley also originated the role of Effie White in London’s West End production of Dreamgirls in 2016, winning the Laurence Olivier Award for best actress in a musical. Back in 2019, Riley was coincidentally involved in ABC’s The Little Mermaid Live!, playing the Emcee who introduces the Daughters of Triton.

Also joining the Disney Junior’s Ariel cast: kid actors Elizabeth Phoenix Caro and Cruz Flateau as Ariel’s friends Lucia and Fernie, respectively, and Gracen Newton as her original fish bestie Flounder.

In May, Billboard ranked the 100 best songs from throughout the Disneyverse, including movies, TV and theme parks, and three classic songs from 1989’s original Little Mermaid film made the list — and scored the No. 1 spot too. (Revisit the full list here.)

Disney Junior’s Ariel is set to arrive in 2024 on Disney Junior and Disney+.

'Disney Junior's Ariel'

‘Disney Junior’s Ariel’

Disney

Shannon Sharpe Reportedly Coming To ‘ESPN’s First Take,’ Stephen A. Smith Says It’s Not A Done Deal Yet

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Shannon Sharpe Is Not Officially On ESPN's 'First Take'...Yet

Source: Kevork Djansezian / Getty / Shannon Sharpe

Former Undisputed Host Shannon Sharpe is allegedly heading to ESPN’s First Take to take on Stephen A. Smith.

According to Andrew Marchand and Ryan Glasspiegel of the New York Post, Shannon Sharpe will join ESPN’s First Take “twice per week — Mondays and Tuesdays — during the NFL season,” Pro Football Talk reports.

The reported move comes after Sharpe ditched his longtime partner Skip Bayless in June. Per Pro Football Talk, Sharpe will be replaced by another former NFL superstar, Richard Sherman, who has a dicey history with Bayless. Rapper Lil Wayne, a good friend of Bayless, will have a weekly segment on the debate show.

Following his exit, Stephen A. Smith made it clear on his podcast he wanted Shannon Sharpe to join him at First Take, and it would seem he has gotten his wish. But, in a recent episode of the Stephen A. Smith Show, screaming Stephen made it clear that nothing has been finalized yet.

“I respect Shannon, I like him, I think he would be a tremendous asset to the show, my show which is my day job, First Take, ESPN,” Smith begins. “It would be great to have him, but here’s the issue, we don’t. Sorry Andrew Marchand of the New York Post, it’s a bit premature. Shannon Sharpe has yet to sign on the dotted line to be a member of First Take.”

X Users Are Excited At The Prospect of Shannon Sharpe & Stephen A. Smith Joining Forces

Even though the news is not yet official, X users are still hilariously reacting to the report of Shannon Sharpe bringing his cognac-fueled energy to First Take.

Smith and Sharpe have electric personalities, and we are sure it will make for entertaining sports television. Until that day arrives, you can see more reactions to the possibitly of Shannon Sharpe coming to First Take in the gallery below.

Photo: Kevork Djansezian / Getty

3. Mmmmhmmm

‘Summer’ Love: Taylor Swift Breaks Record for Most No. 1s Among Soloists on Adult Pop Airplay Chart

Taylor Swift passes P!nk for the most No. 1s among soloists in the history of Billboard’s Adult Pop Airplay chart as “Cruel Summer” climbs to the top of the tally dated Aug. 26. The song becomes Swift’s 11th leader. Among all acts, she trails only Maroon 5, with an overall record 15 No. 1s.

The Adult Pop Airplay chart, which began in Billboard’s pages in March 1996, measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on around 80 U.S. adult top 40 radio stations.

Here’s a recap of Swift’s 11 No. 1s on Adult Pop Airplay.

Title, Weeks at No. 1, Year(s):

  • “Cruel Summer,” one (to date), 2023
  • “Karma,” two, 2023
  • “Anti-Hero,” nine, 2022-23
  • “Willow,” three, 2021
  • “Delicate,” four, 2018
  • “Wildest Dreams,” four, 2015
  • “Bad Blood,” three, 2015
  • “Style,” two, 2015
  • “Blank Space,” six, 2015
  • “Shake It Off,” eight, 2014
  • “I Knew You Were Trouble,” one, 2013

Originally released on Swift’s 2019 album Lover and now being promoted by Republic Records as a single, the song has been gaining momentum in recent months, as Swift has been performing it on her The Eras Tour. It’s the first tour in which she’s been able to spotlight songs from Lover, which was released shortly before the onset of the COVID-19 pandemic.

The song becomes the first Adult Pop Airplay No. 1 from Lover, following four top 10s: “Me!,” featuring Brendon Urie (No. 5 peak, June 2019); “You Need to Calm Down” (No. 3, November 2019); the title track (No. 6, February 2020); and “The Man” (No. 9, April 2020).

“Cruel Summer” concurrently spends a fourth week atop the Pop Airplay chart, where it became Swift’s 12th No. 1, the most among all artists. Swift scores her longest reign on the survey since 2015, when “Bad Blood” dominated for five frames.

On the most recently published, Aug. 19-dated all-genre, multimetric Billboard Hot 100, “Cruel Summer” rose to a new No. 3 best.

All charts dated Aug. 26 will update on Billboard.com Tuesday, Aug. 22.

Phil Wickham Brings ‘Praise Party’ to New Album ‘I Believe’: ‘I’m Writing in a Way That Is Everybody’s Story’

Nearly a decade after earning a 10-week No. 1 run atop Billboard’s Christian Airplay chart with “This Is Amazing Grace,” California native and worship leader Phil Wickham has been enjoying a solid run of radio hits over the past few years.

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In 2021, he had two multi-week chart toppers, with “House of the Lord” and “Battle Belongs” each spending four weeks at the chart’s pinnacle. This year he returned to the Christian Airplay chart’s pole position for two weeks with “This Is Our God,” from his forthcoming 10th studio album, I Believe, out Friday (Aug. 18 on Fair Trade/Columbia).

He recently made a strong showing when the GMA Dove Awards nominations were announced, earning four nominations including the coveted artist of the year category, as well as a song of the year nod for his role in writing the Casting Crowns hit “Then Christ Came,” and a worship song of the year nod for “This Is Our God.”

“It’s an honor,” says Wickham, who last year picked up two GMA Dove Awards trophies. “It’s just God’s grace. It feels like God taking some loaves and fishes and multiplying it to a place where someone would say, ‘This is worth recognizing,’ which is crazy.”

Wickham has become a standout in a new generation of worship leaders in the Contemporary Christian Music space, though his roots in the genre are familial and deep, as the son of members of the 1970s Christian band Parable.

“There’s a service and a thoughtfulness to the listener in worship music,” he says. “I’m not writing this just to share my story. I’m writing in a way that this is everybody’s story, and to give them a new prayer to sing back to God, this is something for us to do together.”

I Believe finds Wickham delving deeper into songwriting and collaboration, alongside his frequent collaborator Jonathan Smith, who is the sole producer on the entire project — an increasing rarity these days.

“It was such a partnership, from choosing songs to getting hyped about the vision for the album,” Wickham says. “We worked on the album on and off for over a year. He wrote on ‘I Believe,’ ‘Sunday is Coming’ and ‘The Jesus Way. I’m kind of sporadic when it comes to making albums and I want to hear every option before I decide on something, musically, which is a producer’s worst nightmare, in a lot of ways. But I love working with him so much because he’s the same way—he wants all the options in front of him.”

Nearly two years ago, Wickham, Smith and others visited the Charlotte, North Carolina campus of the multi-site megachurch Elevation Church, known for the hit worship ensemble Elevation Worship. Wickham and company met for a two-day writing retreat with fellow singer-songwriter Brandon Lake and Elevation Worship pastor/songwriter Steven Furtick. They made the most of the short duration, writing for over 12 hours each day.

“I don’t think we even left to eat,” he says. Numerous songs on the 14-track album came from those sessions, including “This Is Our God,” “Praise the Lord,” and “Relationship.”

“Steven is a writer on so many songs that have just blanketed church music across the world. He understands how to dig deeper to find new ways of phrasing things. But a lot of the songs end up coming from an initial seed of an idea that I have. I just don’t want to go into a session and be like, ‘Gimme your best ideas.’ Like with ‘The Jesus Way,’ I had all the verses and the chorus and was like, ‘I need a bridge.’”

“The Jesus Way” originated in 2020, as a poem that would come to serve as both reminder and self-challenge to live his life with love, grace and forgiveness. “Jesus met people where they are at. He met the poor, visited with sick people that no one else wanted to be around,” Wickham says. “For years, I thought the poem was just for me, but earlier this year, I just felt like people should hear it.

He was so moved by the song’s challenge that he hesitated to record it. “I was reading the lyrics and realizing how far I was from that being the reality of my life,” Wickham says. “I can be selfish and quick to be impatient with people. I’ll think, ‘God’s been so gracious to me and I’m not showing grace right now.’ I hesitated to record it because it’s like, I know how much I fall short of it. But it was written and it felt right, but it was a three-year process to write that song.”

As collaborative in the recording process as he is the writing room, Wickham features two women performers on the album: Tiffany Hudson on “Psalm 23” and Naomi Raine on “Holy Moment.” “Psalm 23” takes the biblical chapter and sets it to music and melody and originated from a plan for a project that would incorporate as many phrases directly from the Psalms as possible.

“I thought it would be fun to put out a Psalms project, making the music feel non-traditional and more singer-songwriter, moodier. I wrote like four or five Psalms, and the project just didn’t happen.” Wickham later came across some of his old voice memos and realized the song would make a perfect fit for his project, a moment of “beauty, and sincerity and sweetness,” he says, “and I knew Tiffany’s voice would sound perfect.”

His collaboration with Naomi Raine on “Holy Moment” came by way of an inspired moment, after the two musicians had been on the same tour. “I wanted another moment on the album where you hear more than just my voice and I thought if I could have anyone on the album, it would be Naomi,” he says.

He didn’t even have a song written at the time he asked her to record with him, but when they looked at their calendars, by happenstance, they both had the same evening open in Nashville (“It was crazy because neither of us are from Nashville,” said Wickham, who still resides in California).

They set up shop in a studio and a conversation about holiness evolved into singing and Wickham estimates they had the song written within an hour or so. “We had no title for it, we didn’t know what we would end up creating, but it became such a song in itself, a holy moment in the studio, we had to call it ‘Holy Moment.’” Wickham says.

Wickham, who is repped by WME, is incorporating several of the album’s songs while on the road on his recently-launched Summer Worship Nights Tour, co-headlined by Lake, with KB offering direct support. Wickham and Lake met years ago, when a mutual friend recommended Lake’s music to Wickham. The two began co-writing together and formed a fast friendship. They now share the same management home, Breit Group.

“We share a lot of the same team members and we wanted to go on the road together and throw a praise party, with as many people as possible,” Wickham says.

Loud Luxury, Two Friends & Bebe Rexha Break Ground With No. 1 on Dance/Mix Show Airplay Chart

Loud Luxury, Two Friends & Bebe Rexha ascend to the summit on the Aug. 19-dated Dance/Mix Show Airplay chart, as “If Only I” rises from No. 3 to No. 1 in its seventh week on the list. They unseat Kylie Minogue, who claimed two weeks atop the list with “Padam Padam,” this week sliding back to No. 2 (down 13% in weekly plays). “If Only I” is the first leader for both Loud Luxury and Two Friends, and the second No. 1 for Rexha.

“If Only I” has been scaling the survey since its July 8 debut at No. 35. Since the July 29-dated list, the song has gained by 17%, 22% and 23% in week-to-week plays, according to Luminate, though gains slow to 4% this week as it reaches the chart’s apex. (The latest chart reflects the tracking week ending Aug. 10 in the U.S.)

All three acts have history on the tally. “If Only I” is the 11th entry for Canadian duo Loud Luxury dating back to 2018’s “Body,” but the first No. 1. It surpasses the previous high of last year’s “These Nights,” which spent two non-consecutive weeks at No. 3 among 20 frames on the list.

It’s also the first leader for Los-Angeles based two-piece Two Friends, bypassing the “Wish You Were Here,” which reached No. 6 last September. Previously, they had charted with “Looking At You” in 2020.

For Rexha, “If Only I” is not only her second No. 1 on the survey, but also her second No. 1 this year. “I’m Good (Blue)” with David Guetta hit No. 1 last October, beginning a non-consecutive 14-week run on top that lasted through the Feb. 18-dated tally.

Rexha has landed 16 titles on the chart altogether, spanning a decade since the Cash Cash collaboration “Take Me Home” rose to No. 2 in November 2013, stuck behind Avicii’s almighty “Wake Me Up,” which was nearing the end of its 10-week reign.

Concurrently, “If Only I” spends a seventh week on the multimetric Hot Dance/Electronic Songs chart at No. 30.

It’s a ‘Barbie’ World: How Songs From the Soundtrack Are Faring in U.S. vs. Worldwide

Yet again, Barbie The Album lands three songs in the top 10 of the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 19).

Barbie‘s (and Ken’s) global journey began on the June 10-dated lists, when Dua Lipa’s “Dance the Night” arrived at No. 24 on the Global 200 and No. 26 on Global Excl. U.S. In between its debut and the film’s July 21 opening, the song drifted into the 40s and 50s before hitting the top 10 on the Aug. 5-dated rankings, blasting 46-27-8 and 45-24-5, respectively.

Nicki Minaj, Ice Spice and Aqua entered the fray on the July 8-dated tallies, when “Barbie World” debuted on the Global 200 at No. 12, fell to No. 61, and shot back to No. 6 in two weeks’ time.

Released just one week before the film, Billie Eilish’s “What Was I Made For?” was spared the roller-coaster chart run, arriving at No. 18 and flying into the top 10 the following frame.

Barbie and its billion-dollar hype led all three songs into the top 10, but the album’s momentum continues as box office receipts recede. Eilish leads the pack, rising to No. 2 on the Global 200. Lipa follows — up to 3 — while Minaj and Ice Spice, with the most immediate tie-in to the film, given their flip of Aqua’s iconic ‘90s chorus, scored the best debut of all Barbie tracks and has stayed relatively steady since the movie’s premier, returning to their No. 6 high.

Even a song as inextricable from the film’s plot as Ryan Gosling’s “I’m Just Ken” continues to make progress. The Mouseketeer-turned Oscar-nominated actor-turned global chart phenom rises 79-70 on the Global 200 and 97-87 on Global Excl. U.S.

Further, Charli XCX inches to a new high of No. 58 on the Global 200 with “Speed Drive.” On Wednesday (Aug. 16), she premiered the song’s official music video, which could give it enough juice to become her highest charting global hit yet (dating back to the charts’ 2020 start).

Through Aug. 16, Barbie is the second highest grossing film of 2023 worldwide, at $1.2 billion. Of that global sum, 45% ($541.9 million) comes from the U.S. and 55% ($660.6 million) comes from foreign territories.

Meanwhile, all five of the soundtrack’s charting hits have a larger international share of streams. They range from “Barbie World” at 63% to “Dance the Night” with 74% non-U.S. clicks. That comes in just shy of the average among all globally charting hits, at 76%.

Seattle’s Bumbershoot Festival Is Back and More Local Than Ever 

Seattle’s famed Bumbershoot music festival has been on hold for three years after the annual event traded producers and the pandemic interrupted live music for years. This Labor Day weekend (Sept. 2-3), however, the beloved festival is back, celebrating its 50th anniversary and focusing in on community.

In January of 2022, Bumbershoot owner Seattle Center selected the New Rising Sun coalition as its production partner to reimagine the local event. With Neumos co-owner Steven Severin, Museums of Museums founder Greg Lundgren and McCaw Hall general manager Joe Paganelli leading the group, the two-day festival is back in the hands of locals and Severin says the community has embraced their vision of putting emphasis on Pacific Northwest artists for the lineup with Band of Horses, Sunny Day Real Estate and headliners Sleater-Kinney and finding ways to make a major festival more accessible to everyone in the community.

“People were like, ‘Holy sh*t. This is what we’ve been asking for,’” Severin says of the lineup announcement. “This is a 50-year-old festival that has gone through many different changes and metamorphosis, and this is how I believe that Seattle wants to see it.”

Most recently, Bumbershoot was produced by AEG Presents, which agreed to produce the festival with Seattle non-profit festival production company One Reel beginning in 2014 to help cover the $1 million in debt One Reel had wracked up. By 2019, AEG announced it would not renew its contract to work on the festival.

Knowing full well that most festivals take years to turn any profit, Severin – who serves as Bumbershoot’s co-president & director of music programming – says New Rising Sun has worked to remove barriers for those who want to attend the milestone event by partnering with e-commerce giant Amazon, which agreed to underwrite presale tickets for this year’s festival to keep the event affordable. Amazon sponsored a special early bird $50 single day and $85 two-day general admission ticket, the lowest ticket prices have been in a decade, according to Severin. The company also worked with arts organization Third Stone to give out 5,000 tickets to area nom-profits and community organizations.

“I’m never going to fault AEG for how they ran things because that is how festivals changed. The whole model changed. You went for bigger and bigger and bigger artists,” says Severin, but now “the money stays here, it doesn’t go to New York or LA. It’s homegrown, as local as it gets.”

Lundgren, who also founded Vital 5 Productions, believes the festival can attract even more locals through its robust art programming. While there will be traditional festival art exhibits such as large-scale paintings and sculptures called Out of Sight, Lundgren says they are “drawing a larger circle around” what people consider art. The festival will include wrestlers, pole dancers, filmmakers, roller skaters, double Dutch jump rope performers, nail artists, makeup artists, fashion designers, extreme pogo stick and sign spinners (yes, like the folks who spin Subway signs on street corners).

“The more that you start to examine people that work within those [expanded art] spaces, the more that you realize that not only is this their daily practice, very similar to a painter or to a modern dancer or to a filmmaker,” says Lundgren. “But their own attitude and their own ethos around what they do is very much centered around self-expression, around how they’re communicating with their larger world.”

There will be a tattoo runway, where anyone can walk the catwalk to show off their body art. People can sing their favorite karaoke song with an improvised burlesque dancer interpretive dancing at burlesque karaoke and the festival will host a Witch Dome with everything from tarot to past life readings and palmists.

“My hope is that by year two or year three you won’t be able to tell who the performer is and who the audience is. To me, that’s a huge success,” says Lundgren. “If we can create a festival that everybody feels like they have not only the capacity, but the invitation to participate in.”

Additionally, Third Stone – the non-profit arm of Bumbershoot – launched the Workforce Development Program to offer young adults aged 17-25 the opportunity to learn critical business skills within the festival and live music setting. In partnership with The UC Theatre’s Concert Career Pathways (CCP) program, this six-month tuition-free, hands-on education experience and paid internship began in April 2023 and will culminate in the opportunity to work on the grounds at the festival and graduation.

This year’s 16 participants come from all around Washington with most coming from low-income communities and identifying as people of color and/or members of the LGBTQ+ community.

“The heart of the program is to reduce barriers of entry into the [music industry] workforce,” says Third Stone executive director James Miles. “The goal is to prepare these young people to take on any job in live production.”

The program includes in-depth courses with industry veterans from around the industry, as well as hands-on jobs putting on this year’s Bumbershoot. Following graduation for the 16 students, Third Stone will help support the participants in landing their desired job.