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12 Jul 2023

Watch Paramore’s Hayley Williams Cover a Beyoncé Deep Cut in Houston

There are a few things synonymous with Houston: NASA’s Johnson Space Center, the Rockets and, of course, Beyoncé. When Paramore touched down in the city on Tuesday (July 11) during its This Is Why Tour, the band couldn’t help but pay tribute to one of Houston’s most iconic figures, with Hayley Williams delivering a haunting cover of Beyoncé’s “I Miss You.”

Co-written with Frank Ocean, “I Miss You” is a fan-favorite deep cut that appears on Queen Bey’s 4, her aptly titled fourth solo studio album. “It hurts my pride to tell you how I feel, but I still need to/ Why is that,” Williams crooned in the shadows as she and her bandmates remained strikingly still on the red-lit stage. She belted out half of the second verse, the chorus and the song’s bridge completely a cappella before launching into a rendition of “Crystal Clear,” a track from Petals for Armor, her debut solo studio album.

Paramore is currently in the midst of its This Is Why Tour in support of the band’s sixth studio album of the same name. At the top of this year, This Is Why became the band’s fourth consecutive top 10 album on the Billboard 200, reaching No. 2. The record also debuted atop Top Alternative Albums and Top Rock Albums. Featuring supporting acts ranging from Bloc Party to The Linda Lindas, the band’s latest trek will wrap on Aug. 2 after visiting fans across North America, Europe and South America.

Those who missed the Grammy-winning band on this tour need not worry. Paramore is set to return the stage next year. Beginning May 9, 2024, the group will be the main supporting act for 14 stops on the European leg of Taylor Swift’s Eras Tour. Hayley Williams recently appeared as a featured artist on “Castles Crumbling,” a “From the Vault” track from Speak Now (Taylor’s Version), Swift’s latest re-recording.

Check out some fan clips of Hayley Williams covering “I Miss You” below:

12 Jul 2023

Here’s Why Zayn Malik Says He ‘Completely Selfishly’ Left One Direction

March 25, 2015, lives on in infamy for One Direction fans as the beginning of the end — aka, when Zayn Malik decided to leave the band. But in a candid new interview on Alex Cooper’s Call Her Daddy podcast, the 30-year-old pop star hinted that if he hadn’t separated from the group to pursue his own solo career, one of the other five guys probably would have sooner rather than later.

“There was a lot of … look, I don’t want to go into too much detail, but there was a lot of politics going on,” Malik told Cooper on the Wednesday (July 12) episode, careful not to call out ex-bandmates Harry Styles, Liam Payne, Niall Horan and Louis Tomlinson by name. “Certain people were doing certain things, certain people didn’t want to sign contracts, so I knew something was happening. So I just got ahead of the curve.”

“If I’m being honest with you, I was like, ‘I’m just going to get out of here.’ I think this is done and I just seen it, and I completely selfishly wanted to be the first person to go and make my own record if I’m being completely honest with you,” he added. “I’m a passive dude, but when it comes to my music and my business, I’m serious about it and I’m competitive, so I wanted to be the first to go and do my own thing.”

Malik — who announced earlier this week that his new single “Love Like This” will drop July 21 — also admitted that by the end of his run with the boy band, everyone was little bit tired of one another. “We’ve been together every day for five years and we’ve got sick of each other, if I’m being completely honest,” he admitted.

“We were close. We done crazy things with each other that nobody else in the world will ever understand or have those experiences that we’ve shared with each other, and I look back on it now in a much fonder light than I would’ve as I just left,” he continued. “There were great experiences, I had great times with them, but yeah, we just run our course.”

Listen to the full episode below:

12 Jul 2023

Why Do Corridos Tumbados Generate Controversy?

In May, local authorities of a famous resort in Cancún, Mexico, banned live concerts of corridos tumbados, and other musical genres that authorities believe encourage violence. 

At the same time, in the United States and in Mexico, the most important artist of the moment in Latin music is Peso Pluma, the newest Mexican star who this week has 11 songs on the Billboard Hot 100 (dated July 15).

And while Peso Pluma is known for many styles of music, from romantic sierreño (like the hit “Ella Baila Sola” with Eslabon Armado) to party songs like “La Bebe Remix” with Yng Lvcas, he also sings corridos tumbados, a subgenre of traditional Mexican corridos that fuses rap, hip-hop and even reggaetón, and that often openly address the issue of weapons and drugs.  

He’s not the only one. Artists such as Natanael Cano, Junior H, Luis R. Conriquez and Fuerza Regida, among many others, also sing corridos tumbados as part of their repertoire, managing to enter the global Billboard charts with those songs. 

The music can be successful, but in Mexico, it has been a source of controversy. Along with their popularity, corridos tumbados raise controversy precisely because of their lyrical themes, in a country with thousands of violent deaths and more than 111,000 missing people, according to official data. 

Performances of narcocorridos — corridos that narrate the lives and exploits of real or fictional drug traffickers — have been banned in several Mexican states for decades, and now, those bans have been extended against corridos tumbados in some places. 

Specifically, on May 18, local authorities did not allow a second concert by Alfredo Ríos, better known as El Komander, to take place.

El Komander had a second show scheduled for May 19 at the Plaza de Toros along with Chuy Lizárraga, Ángel Preciado and Francisco “El Gallo” Elizalde. But the general secretary of the Cancún City Council, Jorge Aguilar Osorio, announced on social media that the city council had approved a new measure that would not allow the concert to take place. 

“Not allowing the concert to take place has to do with the fact that the city council has decided not to continue authorizing public performances that encourage violence,” said Aguilar Osorio. “We do not limit freedom of expression. Artists can sing whatever music they want. But the authorities cannot have this ambiguity of looking for a better, more peaceful society and, on the other hand, raise alerts every time we have these concerts due to the probabilities of violence that these type of public spectacles can generate”. 

Controversial Rhythms 

The controversy that corridos tumbados generate today is the same that was generated in the past by the so-called narcocorridos, which glorify drug traffickers. 

Because it is considered a justification for the crime, the dissemination of narcocorridos has been prohibited since the early 2000s in the states of Baja California, Chihuahua and Sinaloa, the latter is the home state of Mexican cartel kingpin Joaquín “El Chapo” Guzmán. The prohibition consists of million-dollar fines and even the veto of concerts for those who perform them live. 

Sanctions against corridos have even reached popular groups like Los Tigres del Norte, fined in 2017 by Chihuahua authorities for singing narcocorridos, and Los Tucanes de Tijuana, who were banned by Tijuana authorities in 2008 from playing live for allegedly giving a shout out to a capo during a concert in that city. 

As for corridos tumbados, these are equally popular among the youth on both sides of the U.S.-Mexico border. The lyrics about drug use and the war between cartels are a fundamental part of the composition — although over time, some performers have integrated lyrics of love and heartbreak. 

“People like the sound of tumbados and when the new genre started, they sang about drugs and other situations, but now they sing about heartbreak,” Danny Felix, singer-songwriter and co-writer of several of Natanael Cano’s first hits, told Billboard Español.

For Oswaldo Zavala, journalist and academic at the City University of New York (CUNY), the justification discourse is based on a political-social position that seeks to regulate this type of cultural expression associated with drug trafficking. 

“There is a way of imagining northern Mexico as a place of violence, in the case of corridos tumbados, or Latin America in general, and also of a lot of sensuality and eroticism. These two pathways are constantly activated in much of the popular music that is currently consumed,” Zavala says.

The issue of corridos is so debated that even the Mexican president, Andrés Manuel López Obrador, has spoken about it on several occasions. “Forbidden to prohibit,” he said last week in one of his daily conferences with the press, stressing that he did not believe in censorship. But, he added: “We have the right and obligation to guide young people and give our opinion that nothing that leads to drug use should not be accepted […] There is a wide repertoire of songs that have nothing to do with drugs or with violence.” 

12 Jul 2023

Abuelita’s A Gangsta? Peep The Latest ‘Blue Beetle’ Trailer

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Blue Beetle trailer

Source: Warner Bros. / Warner Bros.

It’s been weeks since the highly-anticipated DC film, The Flash, flopped something spectacularly at the box office. And though that might’ve made it that much harder for James Gunn to get his rebooted DC Universe up and running, that isn’t keeping Warner Bros from going full steam ahead with their next DC film, Blue Beetle.

Blue Beetle trailer

Source: Warner Bros. / Warner Bros.

On Tuesday (July 12), Warner Bros. released its latest trailer for the Angel Manuel Soto-directed feature in hopes of building some buzz for the forthcoming film, and truth be told, it seems pretty damn entertaining. Starring Xolo Maridueña as the titular character, the trailer finally gives us a glimpse of the Blue Beetle squaring off against the film’s villain, Conrad Carapax aka The Indestructible Man (Raoul Max Trujillo). After seemingly getting his ass handed to him by Carapax, the Blue Beetle seems to finally be getting ahold of things only to realize that his family is now targeted by government-backed mercenaries (led by Susan Sarandon), who want the alien tech that’s taken over his body.

Filled with out of this world action sequences and comedic moments, DC’s Blue Beetle seems like it might actually be one of DC’s most entertaining films yet, but that’s not saying much, so take that how you will. Also having grandma let off 100 rounds using an alien gatling gun might’ve been overkill. No, it definitely was overkill. DC might’ve shot themselves in the foot with that scene. Just sayin’.

Check out the latest trailer for Blue Beetle below, and let us know if you’ll be checking for this when it hits theaters on Aug. 18.



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12 Jul 2023

Record Label Market Share Midyear 2023: Republic Cruises to Huge Lead, Interscope Heats Up

In 2023 so far, what’s happened in the last three months of the year largely mirrors the first when it comes to U.S. record label market share: the top two albums of the year — Morgan Wallen’s One Thing At a Time (Big Loud/Mercury/Republic) and SZA’s S.O.S. (TDE/RCA) — are still dominating the top two slots among consumption albums through June 29, according to Luminate. But while that may come as little surprise to industry chart-watchers, the rest of the top five points to a relatively surprising level of domination by one record label in particular: Republic Records.

In the first quarter of the year, Republic — which encompasses Island, Big Loud, Mercury, Cash Money and indie distributor Imperial — put up a current market share (defined as albums released within the past 18 months) of 12.45%, nearly five percentage points higher than second-placed Interscope Geffen A&M’s 7.75% (Interscope also encompasses Verve Label Group). At the end of the first half of the year, Republic’s current share stands at 12.46% — a remarkable level of consistency that shows the staying power of Republic’s current big releases, even as IGA has tightened the gap a bit, posting an 8.08% mark of its own to remain in second place.

Republic’s 12.46% current share at the midway point is also a significant leap from where it stood at the halfway mark in 2022, when it posted a current share of 8.92%, good for third place behind leaders Atlantic Records (9.92%) and second-placed Interscope (9.36%). Republic releases — chiefly Wallen’s album, but also Taylor Swift’s Midnights (one week) and Stray Kids’ 5 Star (one week) — spent all 13 weeks of the second quarter at No. 1 on the Billboard 200, part of a run of 17 straight weeks that only ended with Lil Uzi Vert’s new album Pink Tape.

Both Republic’s consistency and Interscope’s growth helped propel parent company Universal Music Group to a 34.48% current market share at the midyear mark, an improvement over both its first quarter current share (33.59%) and its current share at the midyear mark of 2022 (33.18%). Sony Music, in second place at 27.54%, dipped slightly from its huge Q1 current share of 28.46%, though it is still up significantly from the midyear mark in 2022, when it posted a 26.01% current share. And the Warner Music Group, in third among the major corporations, grew to 17.26% at the halfway mark of the year in current share, up from Q1’s 16.81% and 2022’s 15.33%. The collection of indie labels came in at 20.72% in current share at midyear, down from 21.15% in Q1.

Atlantic, in third among current share, grew to 7.34% at the midyear mark from 7.22% in Q1, though still down from the leading 9.92% it had midway through 2022. (Atlantic includes the combined 300 Elektra Entertainment Group.) But Capitol Music Group — which includes Motown/Quality Control, Blue Note, Astralwerks, Capitol Christian and indie distributor Virgin Music — surged from sixth place in Q1 2023 (5.56%) to fourth at the midyear market (6.00%), up significantly from the 4.31% it posted at the midway mark of 2022. Fifth-placed Warner Records (encompassing catalog label Rhino, Warner Latin and the bulk of Warner Nashville) also jumped two slots, from seventh in Q1 to fifth at midyear, to put up a 5.62% current share, up from 5.23% in Q1 and a 4.63% mark halfway through 2022.

Those two jumps from Capitol and Warner mean that Columbia (which includes some labels from indie distributor RED) and RCA Records slide down to sixth and seventh among current share, respectively. Columbia dipped from 5.85% in Q1 to 5.16% at the midyear mark in 2023 — though down significantly from the 6.65% it had at midyear 2022 — while RCA dropped from 5.76% in Q1 to 4.98% at the halfway point this year, a mark which is improved from the 4.31% it posted midway through 2022.

Rounding out the top 10 among current share is a trio of Sony labels, including two that made large strides: Sony Nashville, in eighth, at 2.55%, which grew from 2.30% in the first quarter and 1.72% midway through 2022; and Sony Latin in ninth, at 1.95%, up from 1.92% in Q1 and 1.22% halfway through 2022. Epic Records, at 1.82%, came in 10th in current share, dropping from 2.06% in Q1 and 2.24% at this time last year.

But current market share — while a strong indicator of recent performance for any label — does not tell the whole story, particularly at a time when Luminate reports that catalog (albums older than 18 months old, or the bulk of many major labels’ repertoire) share has increased again in 2023 so far, to 72.8% of all consumption from 72.4% in 2022, with a corresponding drop for current from 27.6% to 27.2%. And when taking into account all consumption, Interscope actually leads the U.S. industry in overall market share, posting a 9.48% mark at the midway point of 2023, up from 9.44% in Q1 and slightly down from its leading 9.80% mark halfway through 2022. That nudges Republic into second, ever so slightly, at 9.34% in overall share, a number that is also up from its Q1 mark (9.16%) and a significant increase from midyear 2022, when it posted a 7.96% share and came in third.

Outside those top two labels, the next handful of slots in the top 10 remain in the same order as their current share rankings, with Atlantic (8.31%) equalling its Q1 mark despite falling from the 9.30% it had in 2022; and Capitol also remaining static over Q1, posting a 6.70% (from 6.68% in Q1 and 6.06% in 2022). Warner (6.55%), in fifth, swapped positions with Columbia (6.23%) from their respective Q1 showings, while RCA (5.27%), in seventh, dropped from its 5.50% in Q1 but improved on its 4.92% mark from midway last year. Epic (2.54%), Sony Nashville (2.13%) and Def Jam (1.88%) rounded out the top 10 in overall market share.

Among the major label groups, UMG grew from 37.25% in overall share at the midpoint of last year to 37.98% this year, while Sony grew a full percentage point, jumping to 27.34% from last year’s mark of 26.34%. Warner Music Group, meanwhile, jumped significantly from 16.26% midway through 2022 to 18.75% halfway through this year, largely at the expense of the Indies, which fell from 20.15% to 15.93% in overall share this year.

12 Jul 2023

Sukihana Let The Floodgates Go In OnlyFans Vid Leak, Twitter Is Pissed Off

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50 Shades of Key Glock BET Awards After Party

Sukihana is known for her explicit rap lyrics and sexy image, using those angles to varying degrees via her popular OnlyFans page. However, one clip of Sukihana pleasuring herself to the point of a big splash of sorts has Twitter reacting in ways she might not have expected.

We want to be absolutely clear that Sukihana is free to do whatever she wants and this post is not a critique of her or the video in question. We’re just reporting on the reactions. Also, we’re not sharing any links to that video but it’s out there if you must see it.

Doing our due diligence, we’ve come across the leaked video on Twitter in brief clips which shows Sukihana and her hoo hoo on full display, and after a bit of crossfader activity, the floodgates open but in a way we don’t think anyone was prepared for.

As some might know, the social media star and rapper deactivated her Twitter account after a disturbing exchange between her and YK Osiris took place when he tried to kiss Sukihana without her consent. YK Osiris has since apologized.

Suki was also a guest on the Kandi Koated podcast with Kandi Burruss and DJ AONE. Burruss’ co-host shocked many with his aggressive come-ons and reportedly showed Suki an image of his equipment that she didn’t ask for.

Still, the goodwill most extended towards Sukihana during those awful moments all but got tossed to the side after the OnlyFans video leak and folks are pissed off, pun very much intended.

Check out the reactions below.

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Photo: Jerritt Clark / Getty

1. This is criminal.

5. This is a choice.

12 Jul 2023

Kylie Minogue Could ‘Very Possibly’ Be Planning a Vegas Residency or Tour

The Las Vegas residency is the new staple in the careers of pop icons — superstars such as Adele, Katy Perry and Kelly Clarkson are currently lighting up the Strip with their shows. Now, Kylie Minogue is teasing that she might be joining their ranks soon.

On the Tuesday (July 11) episode of Watch What Happens Live With Andy Cohen, Minogue appeared with fellow guest Adam Lambert, and was grilled by Cohen about her plans for the future. At one point, Cohen specifically asked if she had any plans when it came to a “tour or Vegas residency.” Squinting her eyes mischievously, Minogue answered, “Very possibly.”

The tease comes on the heels of the viral success of Minogue’s latest single “Padam Padam,” which currently sits at No. 7 on Billboard‘s Hot Dance/Electronic Songs chart — a career first for the pop legend.

Elsewhere in the episode, Minogue opened up about the pressures of performing pop music live, especially when it comes to translating the breakout success of “Padam Padam” into a live performance. “It takes some consideration, but I think ‘Padam’ is kind of living its best life on stage, as well,” she said. “I can’t imagine how Cher did it with ‘Believe.’ But I think people understand, with the way a song is produced, there’s production. I don’t press a button and sound like that — I sing live on stage.”

Check out a clip from Watch What Happens Live, in which Minogue and Lambert break down their favorite live performances, below:

12 Jul 2023

Britney Spears Slams Comment That She ‘Deserved to Be Smacked’ In Alleged Vegas Incident With Victor Wembanyama

Britney Spears has promised to be super-candid in her upcoming memoir, The Woman in Me. That radical honesty has also seemingly extended to her feelings about the recent incident in which she alleged that she was struck by highly touted NBA rookie Victor Wembanyama’s security detail in Las Vegas.

The Las Vegas Police Department concluded its probe last week into the incident and said in a statement that no charges would be filed “against the person involved.”

In an Instagram video posted on Tuesday night (July 11), the singer addressed what she said was a recent comment about the run-in in Vegas “that a lot of people are talking about.” Without naming names, Spears said she heard a news report about a radio station “talking smack… and talking s–t” saying that “I deserved to be smacked” because Wembanyama’s security detail were just doing their job and protecting their client.

“I’ve been with the most famous people in the world… *NSYNC at one time, girls would like literally throw themselves at them on my way into the place actually I was knocked down by three 12-year-olds trying to get my picture,” the singer said about her 1998 Second II None Tour, on which she opened for future boyfriend Justin Timberlake’s boy band.

“My security, not one time, touched them or even came near them,” she explained. The point or relaying that story, she said, was that, “I didn’t appreciate the people saying that I deserved to be hit. Because no woman ever deserves to be hit.” Spears explained that she tapped the 7′ 5″ tall San Antonio Spurs center on the back and then was “backhanded.. hit my face,” causing her to fall to the floor, where her best friend scooped her up and held her.

She said she got an apology at her table 30 minutes later, but noted that she has yet to receive a public apology. Before the LVPD investigation, Spears filed a police report alleging battery after she claimed that she was stuck in the face by a member of Wembanyama’s security team while trying to greet him in a Vegas hotel.

According to TMZ, which first reported the news, Spears was dining with husband Sam Asghari and two friends at Catch at the Aria Hotel when she saw the Spurs No. 1 pick and wanted to take a photo with him. When she tapped Wembanyama on the shoulder, Director of Team Security for the Spurs Damian Smith reportedly pushed her, hitting her in the face and causing the singer to fall to the ground.

As Britney noted, Smith then reportedly apologized to her, saying he didn’t recognize the pop star at the time of the incident, with Spears reportedly accepted the apology. TMZ reported that law enforcement checked the Aria Hotel’s security footage, which reportedly showed Smith pushing Spears’ hand away from Wembanyama, causing her own hand to strike her in the face before she fell.

In a statement shared by Associated Press, Wembanyama said that Spears “grabbed me from behind,” and that he didn’t know it was the “Womanizer” singer until several hours later. “I just know the security pushed her away. I don’t know with how much force but security pushed her away. I didn’t stop to look so I could walk in and enjoy a nice dinner,” he said.

In an Instagram post last week, Spears first recounted her Beatlemania-style experiences while touring with *NSYNC and praised herself for resisting the instinct to hit the security guard back, even as she said she was still a “huge fan” of the preternaturally gifted Wembanyama. “It’s not his fault his security hit me … s— happens !!!,” she said.

Billboard has reached out to Spears’ team and the Spurs for additional information and comment on the incident, with neither responding at press time.

Watch Spears discuss the Wembanyama run-in below.

12 Jul 2023

The Cure Doubles Its Previous Best With $37.5 Million North American Tour

The Cure is more than 40 years deep into its career, but that doesn’t mean it’s too late for new peaks. The British band embarked on the Shows of a Lost World Tour and generated its biggest grosses and attendance ever. After playing its final show earlier this month, the tour grossed $37.5 million and sold 547,000 tickets over 35 shows in the U.S. and Canada, according to figures reported to Billboard Boxscore.

While those figures are personal highs among the band’s global touring career (dating back to The Cure’s first Boxscore reports in 1985; the band has been touring since the late ‘70s), apples-to-apples comparisons against its North American treks spotlight the tour’s success even better. The $37.5 million revenue total is more than double the band’s previous North American high of $18 million in 2016. And the 547,000 tickets surpass 1992’s 402,000.

Routing for the Shows of a Lost World Tour mixed arenas and amphitheaters in the U.S., yielding its biggest returns in the expected markets. Three shows at Los Angeles’ Hollywood Bowl grossed $4.9 million and sold 50,800 tickets, while a three-peat at New York’s Madison Square Garden brought in $4.1 million from 44,300 tickets. Atlanta, Montreal and San Francisco follow.

Nightly attendance never dipped below 12,000, and averaged 15,629. That marks a 43% improvement over 2016’s 10,952, which itself was a 48% bump from The Cure’s 2008 tour. The band hadn’t averaged such a high attendance since 1989, when it paced 19,539 tickets in support of Disintegration. (That album was, at the time, the band’s highest charting album on the Billboard 200 [No. 12], containing its highest ranking hit on the Billboard Hot 100: “Love Song” [No. 2].)

This bar graph mirrors the peak-valley-peak trajectory that Billboard reported on Janet Jackson’s comeback spring tour. Both acts have sprawling discographies with close to a half century’s worth of beloved songs. That’s the kind of pitch that, after an extended break, can elevate an artist into their highly profitable legacy era, so-to-speak, soaking one’s deep roster of hits in a bath of nostalgia and extra disposable income.

Janet Jackson and The Cure may not make for the most obvious apples-to-apples comparison. But like Jackson, The Cure established a Boxscore peak around the turn of the ‘90s, before letting its legacy build to a new peak in the 2020s. Like Jackson, The Cure is touring without new material, many years away from its last album. (The band last released a new studio set in 2008.) Their 2023 shows marked the first North American tour for either act since the mid-2010s.

And while the effects of Jackson’s highly publicized mid-’00s controversy don’t quite apply here, the Shows of a Lost World Tour generated its own batch of headlines earlier this year. Frontman Robert Smith spoke out about various “scams” and fees, courtesy Ticketmaster and the larger secondary market, resisting dynamic pricing, platinum ticketing and scaled re-sale. The band went as far as to ensure that every show had a price option of $30 or less. Further, after fans made Smith aware of exorbitant fees, he negotiated with Ticketmaster to issue refunds.

As lines between primary and secondary ticket sellers blur and pricing strategies become more creative, concert revenues for arena acts have surged. And though it may seem like perfect timing to pair those ticketing practices with The Cure’s much-anticipated return to the stage, the band’s defiant public stand against gouging fans worked out in the end.

The Shows of a Lost World Tour averaged a $68.54 price, 37% less than the triple-digit average ticket among the top 50 tours on Billboard’s midyear 2023 recap. Only one artist in that top 50 – The 1975 – averaged less ($63.01), and that was with mostly European shows, where tickets haven’t exploded in the same way as the U.S., where The Cure played.

Still, the tour made enough money to have ranked among the top 20, had its shows been eligible (The midyear charts are based on shows between Nov. 1, 2022 – April 30, 2023. The Cure’s tour began on May 10.). The Cure’s bulked-up, career-high grosses are owed to consistently sold-out crowds, perhaps nudged along by the band’s steadfast dedication to affordable tickets.

Though the Shows of a Lost World Tour has wrapped, The Cure will play a slew of festivals plus a few standalone shows in Latin America between September and December.

Stretching back to 1985, The Cure has grossed a reported $146.1 million and sold 3 million tickets.

12 Jul 2023

Miley Cyrus’ ‘Party in the U.S.A.’ Returns to Hot 100 After July 4 Gains

Miley Cyrus’ “Party in the U.S.A.” is back on the Billboard Hot 100 chart (dated July 15) for the first time since its initial chart run in 2009-10, thanks to annual Fourth of July gains.

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The song (released on her former label Hollywood Records; she’s now signed to Columbia Records) re-enters the Hot 100 at No. 50 with 8 million U.S. streams (up 64%), 5.2 million radio airplay audience impressions (up 34%) and 6,000 downloads sold (up 560%) in the June 30-July 6 tracking week, according to Luminate. The sales sum helps it also re-enter the Digital Song Sales chart at No. 7.

“Party in the U.S.A.” was a smash hit during its original chart run. It debuted and peaked at No. 2 on the Hot 100 in August 2009, becoming Cyrus’ highest charting song at the time. She had previously reached the top 10 with “See You Again” (No. 10 peak in 2008), “7 Things” (No. 9; 2008), “The Climb” (No. 4; 2009) and “He Could Be The One” (No. 10; 2009).

The re-entry is an added bonus to an already huge year for Cyrus. In March, she dropped her eighth studio album, Endless Summer Vacation, which hit No. 3 on the Billboard 200 after its debut, becoming her 14th top 10. Ahead of the LP’s release, lead single “Flowers” debuted at No. 1 on the Hot 100 in January and spent eight weeks on top. It ranks at No. 5 this week in its 25th consecutive week on the chart — all of which has been spent in the top five. The song became her second No. 1, after the three-week reign of “Wrecking Ball” in 2013.

“Flowers” also hit No. 1 on four individual radio formats: Adult Pop Airplay (for 17 weeks), Adult Contemporary (14 and counting), Pop Airplay (10) and Dance/Mix Show Airplay (four). It ruled the all-format Radio Songs chart for 18 weeks, setting a new record for a title by a woman. In the chart’s history, only The Weeknd’s “Blinding Lights” has spent more time at No. 1, with 26 weeks.

In total, five songs from Endless Summer Vacation have charted on the Hot 100: “Flowers,” “River” (No. 32 peak), “Jaded” (No. 56), “Thousand Miles” featuring Brandi Carlile (No. 68) and “Rose Colored Lenses” (No. 91).

Older songs such as “Party in the U.S.A.” are eligible for the Hot 100 if they rank within the top 50 and have a meaningful reason for their resurgences. We occasionally see this phenomenon during the year if catalog songs go viral and/or are newly promoted, as with Taylor Swift’s “Cruel Summer” (from 2019 and now in the Hot 100’s top 10) or have notable TV/film synchs that generate newfound interest, as was the case with Kate Bush’s 1985 classic “Running Up That Hill (A Deal With God)” last year. And we see it during every holiday season, when festive songs storm the higher ranks of the Hot 100.