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Michael Bublé’s evergreen Christmas album returns to No. 1 on Billboard’s Top Holiday Albums chart (dated Nov. 22), rising 2-1. The set, which was released in 2011, has notched a total of 61 weeks atop the list.
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Also on the chart, new projects from Brad Paisley, Trisha Yearwood and Herb Alpert all debut.
The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each units equals one album sales, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The Top Holiday Albums chart will continue to be published on a weekly basis through early January of 2026, when it will jingle away until the next holiday season. (The chart generally returns to Billboard’s weekly chart menu every October.)
Paisley’s Snow Globe Town debuts on the list at No. 15, marking his second charting project on the tally. He previously visited the chart with the 2006 release Brad Paisley Christmas, which peaked at No. 2 in January 2007. Snow Globe Town includes eight newly-penned songs and a selection of classic holiday favorites like “The Christmas Song (Chestnuts Roasting On an Open Fire)” and “Jingle Bell Rock.”
Snow Globe Town also enters at No. 15 on Top Album Sales, No. 14 on Top Current Album Sales and No. 49 on Top Country Albums.
Yearwood’s new Christmastime bows at No. 36 on Top Holiday Albums, and the project includes new takes on classics like “My Favorite Things,” “Pure Imagination” and “Santa Claus Is Coming to Town.” The album also boasts a new original track, “Merry Christmas, Valentine,” co-written and performed by Yearwood and Garth Brooks.
Christmastime also starts at No. 50 on the Top Current Albums chart.
Rounding out the debuts on Top Holiday Albums is Alpert’s Christmas Time Is Here, entering at No. 44. The project, which marks Alpert’s third holiday set, also bows at No. 4 on Contemporary Jazz Albums and No. 18 on the overall Jazz Albums chart. Christmas Time Is Here includes the legendary trumpeter, composer and record label executive’s takes on “All I Want for Christmas Is You,” “Santa Baby” and “Winter Wonderland.”
Alpert’s first seasonal project, 1968’s Christmas Album, reached No. 1 on Billboard’s then-titled Christmas LP’s chart, while his second holiday set, 2017’s The Christmas Wish, reached No. 5 on Top Holiday Albums in 2017.
Trending on Billboard Tate McRae is putting a bow on the So Close to What era with the release of her Billboard 200-topping album’s deluxe edition on Friday (Nov. 21). The 22-year-old is set to add her top three Billboard Hot 100 hit “Tit for Tat” to the project, along with four new songs titled […]
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YEONJUN’s debut solo project NO LABELS: PART 01 debuts at No. 1 on Billboard’s Top Album Sales chart (dated Nov. 22). The TOMORROW X TOGETHER member’s album sold 27,000 copies in the United States in the week ending Nov. 13, according to Luminate.
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Plus, Hayley Williams, ROSALÍA, sombr and Wings all arrive in the top 10 with their latest releases.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
Hayley Williams’ Ego Death at a Bachelorette Party vaults 18-2 on Top Album Sales following its wide release on physical formats during the tracking week. It sold a little over 22,000 copies — the best sales week ever for a solo project from Williams. ROSALÍA also claims her best sales week, with the No. 3 debut of LUX, selling 19,000 copies.
Taylor Swift’s chart-topping The Life of a Showgirl is a non-mover at No. 4 with nearly 19,000 (up 7%) while Stray Kids’ former leader KARMA climbs 7-5 with 13,000 (up 39%). The KPop Demon Hunters soundtrack slips 5-6 with nearly 13,000 (down 6%).
The physical release of sombr’s I Barely Know Her propels the album to a No. 7 debut with 11,000 sold. The album was initially released on Aug. 22 as a digital download, and via streaming services.
The new Wings anthology compilation, WINGS, flies in at No. 8 with a little more than 10,000 sold. Tyler, The Creator’s former No. 1 CHROMAKOPIA falls 2-9 with 10,000 (down 75%) and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack is steady at No. 10, with 9,000 sold (up 37%).
Trending on Billboard In this week’s episode of Unfiltered, rappers Dave East & DreamDoll debate the best, top five strip club anthems of all time. Stay tuned to hear what their top picks are! What are your top five strip club anthems of all time? Let us know in the comments! Carl Lamarre: Hey! What’s […]
Trending on Billboard Megan Thee Stallion told a jury that she experienced severe depression amid a torrent of online hate from those who doubt that Tory Lanez shot her in 2020. The female rap star (Megan Pete) took the witness stand on Thursday (Nov. 20) in her defamation trial against Milagro Gramz (Milagro Cooper), a […]
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The Country Music Association awarded Big Machine Label Group founder, chairman and CEO Scott Borchetta the 2025 CMA Irving Waugh Award of Excellence on Wednesday (Nov. 19) ahead of the 59th Annual CMA Awards. Borchetta was surprised with the industry honor on the red carpet by Riley Green, a Big Machine Label Group/Nashville Harbor Records & Entertainment artist (and winner of three 2025 CMA Awards).
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Borchetta was also a 2025 CMA Awards nominee in the musical event of the year category as a producer, along with Jimmy Harnen and Dann Huff, of Green’s “Don’t Mind If I Do,” which reunited the singer with Ella Langley. It was Borchetta’s second CMA nod. He was first nominated in 2013 as a producer on Taylor Swift’s Red, an album of the year nominee.
“Scott has played a pivotal role in shaping Country Music’s modern era,” Sarah Trahern, CMA’s CEO, said in a statement. “I’ve watched him navigate this industry with remarkable clarity and conviction — championing emerging talent, supporting legacy artists and investing in ideas that move our genre forward.”
“I truly did not see this coming,”Borchetta said. “A sincere thank you to our extraordinary CEO, Sarah Trahern, and all on the CMA Board for this incredible recognition. Irving Waugh was a true visionary who did so much for Country Music and its culture, and I’m humbled to stand on his shoulders alongside so many who continue to shape and inspire the world of Country Music.”
Big Machine Label Group is home to such stars as Thomas Rhett, Tim McGraw, Rascal Flatts, Carly Pearce, Mötley Crüe and Sheryl Crow. As an executive producer, Borchetta has championed projects such as the 20-track Petty Country and the Grammy-winning documentary Glen Campbell… I’ll Be Me.
Waugh was a radio and TV executive who was active from the late 1940s through the early 1990s. He first joined WSM-Nashville as a radio announcer in 1941. In the late ’40s, after serving in World War II, he returned to WSM and began a career that included positions as commercial manager, GM, vp and president of WSM’s radio and TV operations. He died in April 2007 at age 94.
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The U.K. government hopes to decrease the price of resale tickets by an average £37 per ticket ($48 USD), according to a new report released released Wednesday (Nov. 19) in which it outlined its plan to outlaw ticket resale above face value.
According to a memo outlining the new rules, “Music and sport fans will no longer be ripped off on the ticket resale market thanks to new measures which will destroy the operating model of ticket touts,” also known as scalpers. The memo, released by the country’s Department for Business and Trade and Department for Culture, Media and Sport, adds that Prime Minister Keir Starmer’s government will make it “illegal for tickets to concerts, theatre, comedy, sport and other live events to be resold for more than their original cost.” The news was first reported by multiple U.K. outlets on Monday (Nov. 17) prior to the memo’s release.
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The new rules effectively make ticket resale above face value — defined as “the original ticket price plus unavoidable fees, including service charges” — illegal. The law limits the service fees that resale sites can charge and requires platforms like StubHub and Viagogo “to monitor and enforce compliance with the price cap.” The law also bans fans and resellers from buying more tickets than they are legally entitled to purchase during an initial ticket sale.
The U.K. government’s website features supportive quotes from politicians, music managers and artists about the bill, including U.K. Business Secretary Peter Kyle, who said the legislation taking on scalpers was meant to “smash their model to pieces and make sure more fans can enjoy their favourite stars at a fair price.”
In her own statement, U.K. Culture Secretary Lisa Nandy compared ticket scalpers to “a shadow industry, acting without consequence” while Dan Smith of the band Bastille described the legislation as “a good step towards protecting music fans from being ripped off.”
The new rules apply to both ticket resale platforms and social media sites where fans buy and sell goods. Violating the new regulations, according to the government, could result in large financial penalties from the U.K.’s Competition and Markets Authority (CMA).
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“Government analysis suggests that these measures could save fans around £112 million annually [$146 million USD], with 900,000 more tickets bought directly from primary sellers each year,” the government’s website reads.
The law is meant to build on a development from September in which the Competition and Markets Authority secured commitments from Ticketmaster to give U.K. fans 24 hours’ notice if Ticketmaster plans to use tiered pricing and provide clearer information about how the company’s online queues work, among other measures.
“The CMA’s enforcement action in this case, and the measures agreed with Ticketmaster, send a clear message to all ticketing websites that fans must have access to clear and timely pricing information with accurate ticket descriptions, especially where there are different pricing models and queues in play,” the government’s website reads. “In the future, the CMA will be able to respond even more swiftly and robustly to breaches of consumer law.”
The new legislation drew both praise and condemnation from different corners of the music industry. U.S.-based pro-ticket resale group the National Association of Ticket Brokers warned in a statement that it does “not support efforts to thwart competition. We discourage laws that impose price caps that make it more difficult for ticketing companies to compete with one another.”
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Others were more supportive, with Chris Lipscomb, managing girector for AXS U.K., telling Billboard in a statement, “We strongly support the UK government’s efforts to strengthen safeguards around ticket resale, which align with AXS’s longstanding practices in support of fair fan access.”
Matt Kaplan, who heads up U.K. and EU operations for fan-to-fan exchange Tixel, said “the UK’s move to outlaw touting is a huge win for fans, artists and the wider industry, and we fully support this long-overdue reform. Tixel was built to tackle these exact problems, and after nearly a decade fighting for fair, transparent resale in multiple markets around the world, we’re proud to see a framework emerge that protects fans, restores trust and shuts out the bad actors.”
In a statement to Billboard, Nathaniel Marro with the National Independent Talent Organization (NITO) added, “We hope policymakers stateside are paying attention and that reining in predatory resellers is a global movement.” Also in a statement, Stephen Parker of the National Independent Venue Association (NIVA) called on “state lawmakers throughout the United States to follow the United Kingdom’s (UK) proposed ticket resale price cap.”
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Carrie Underwood is an eight-time Grammy winner, a three-time ACM entertainer of the year winner, an American Idol judge, an actress and a businesswoman — and she’s also a mom to two sons, Jacob and Isaiah. Thus, Underwood is well-acquainted with the scourge facing countless parents right now: Kids’ obsession with the phrase “6-7.” The trend has become so popular, in fact, that it was named Dictionary.com’s Word of the Year.
During a preview clip for American Idol‘s upcoming season, Underwood greets a contestant on the show, Uzziah Hutchinson, who works with kids and references the popular catchphrase.
“I bet you get a lot of funny stories,” Underwood says, with the contestant replying, “Right now, it’s ‘6-7.’”
Immediately, Underwood begins mimicking the hand gesture that goes with the catchphrase, which is wildly popular with school-age kids. “6-7” originally came from the song “Doot Doot (6 7)” by rapper Skrilla, in reference to NBA star LaMelo Ball’s height, but it’s mostly just become extremely popular for students to repeat — and an annoyance for many parents and teachers.
Fortunately, Underwood has a scheme to get the “6-7” craze to halt.
“Here’s how we stop that, Uzziah. I have the cure,” Underwood says. “Every time the kids say ‘6-7,’ we have to immediately say [singing], ‘5-3-0-9,’” she says — referencing Tommy Tutone’s Billboard Hot 100 top five hit “867-5309/Jenny” from 1982.
“That’ll work!” Uzziah said.
“And if we all band together and do that, it will stop,” Underwood insists. “It’s gonna take all of us.”
Season 24 of American Idol will launch on Jan. 26 — exactly 67 days from now — welcoming back Underwood as a judge alongside Luke Bryan and Lionel Richie. The music competition airs on ABC and streams on Hulu.
See the American Idol preview clip below:
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Warner Music Group (WMG) reported a 23% decline in annual profit for the fiscal year ending Sept. 30 on Thursday (Nov. 20), as restructuring costs and the end of the company’s BMG distribution deal weighed on revenue.
However, executives struck an optimistic tone during their earnings presentation, pointing to higher publishing and recorded music revenue, driven by subscription streaming growth, as evidence that their cost-cutting and reinvestment strategy was working.
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WMG’s share price fell 2.66% on Thursday to $29.69. However, analysts at Guggenheim Partners, who have rated WMG a buy over the past few quarters, wrote in a note to investors that the company’s subscription streaming revenue and growth forecast is “encouraging.”
“We modestly raise our [full year 2026] revenue … estimates primarily reflecting higher subscription revenue as a result of pricing adjustments,” Michael Morris, equity analyst at Guggenheim, wrote on Thursday.
Here are a few of the highlights from WMG’s earnings presentation and filings.
Digital music revenue growth and market share improvement
WMG’s digital income improved by 3% in the year, helped by two straight quarters of recorded music streaming growth. Music subscription streaming rose by 8.5% during the quarter. Ad-supported streaming grew by 3%.
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This was driven by hits from sombr, whose “Back to Friends” has spent 33 weeks on the Billboard Hot 100, Cardi B’s Am I The Drama?, which has spent the past two months on the Billboard 200, and Twenty One Pilots, whose Breach had the best debut week for a rock album in six years.
On an earnings call, WMG CEO Robert Kyncl noted that the company’s share of the Spotify Top 200 grew “by around 6 percentage points versus fiscal 2024” and that it “had the No. 2 market share” for the full quarter.
Meeting savings goals by using AI for dealmaking
WMG is on track to meet its goal of cutting internal costs by $200 million in 2026 and $300 million in 2027, said Armin Zerza, WMG’s CFO. Because the company is investing more in front-line artist development and key regions and genres, Zerza added, it has focused on savings in back-office functions.
In addition to introducing the cloud-based finance software SAP in Zerza’s department and using data to tailor marketing spend, WMG is working with an AI company to help “optimize” its mergers and acquisitions strategy, Zerza added.
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Ultimately, the company’s cost savings plan, along with other growth, is expected to drive a 150 to 200 basis point improvement in WMG’s adjusted operating income before depreciation and amortization (OIBDA) margins.
Details on the Tempo and Bain Deals
WMG’s February acquisition of 50.1% of Tempo Music was for a “consideration of $77 million, including transaction costs,” and it included the option to buy out the remainder of Tempo for $73 million before the end of November 2027, according to an SEC filing released Thursday. That acquisition saw WMG recognize $351 million in publishing copyrights and $88 million in recorded music catalogs, along with $13 million in cash and other assets. Also included in the acquisition was $311 million of asset-backed securities secured by some of Tempo’s catalog, according to the filing. The Tempo catalog includes rights to songs by Wiz Khalifa, Florida Georgia Line and Brett James.
Additionally, Warner disclosed in filings that as part of the joint venture it announced in June to acquire catalogs with Bain, it secured a $500 million line of credit.
Zerza said during the earnings presentation that WMG’s joint venture with Bain has a robust pipeline of deals they expect to begin announcing in 2026.
Trending on Billboard Tucker Wetmore & Old Dominion take us behind the scenes of their CMA Awards rehearsals before the big show and discuss what went into these performances. Tetris Kelly: The CMAs took over Nashville this week, and Tucker Wetmore and Old Dominion show you what went down behind the scenes in Billboard All […]
