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05 Dec 2022

Mariah Carey’s ‘All I Want for Christmas Is You’ Jingles Back to No. 1 on Billboard Global 200 Chart

Mariah Carey’s “All I Want for Christmas Is You” dashes from No. 5 to No. 1 on the Billboard Global 200, adding a ninth total week atop the tally since the list launched in 2020.

Plus, Sam Smith and Kim Petras’ “Unholy” holds for an eighth week at No. 1 on the Billboard Global Excl. U.S. chart.

Meanwhile, holiday classics from Brenda Lee, Wham! and Bobby Helms resurge to the Global 200’s top 10.

The two global charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Carey’s ‘Christmas’ Sleighs Competition on Global 200

Mariah Carey’s “All I Want for Christmas Is You” blasts 5-1 on the Billboard Global 200, with 64.5 million streams (up 47%) and 8,000 sold (up 62%) worldwide in the Nov. 25-Dec. 1 tracking week. The 1994 modern holiday classic adds a ninth week at No. 1, after it topped the chart for four weeks each in the 2020 and 2021 holiday seasons. Notably, the song leads a week earlier this year, on the chart dated Dec. 10, than in the past two years, as it first hit No. 1 on the Dec. 19, 2020, survey and returned to the top of the chart dated Dec. 18, 2021.

Sam Smith and Kim Petras’ “Unholy” keeps at No. 2 on the Global 200, following four weeks at No. 1 beginning in October, and Taylor Swift’s “Anti-Hero” drops to No. 3 after four weeks at the summit starting in November.

Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, bounds 19-4 on the Global 200, after reaching No. 3 in each of the past two holiday seasons, and Wham!’s “Last Christmas,” from 1984, jumps 21-5, after rising to No. 2 over the holidays the past two years. The latter also leaps 27-9 on the Global Excl. U.S. chart, where it has likewise peaked at No. 2.

Elsewhere in the Global 200’s top 10, Bobby Helms’ “Jingle Bell Rock,” from 1957, roars 23-8, after hitting No. 4 in both the 2020 and 2021 holiday seasons.

Smith & Petras Continue Atop Global Excl. U.S.

Sam Smith and Kim Petras’ “Unholy” adds an eighth nonconsecutive week at No. 1 on the Billboard Global Excl. U.S. chart, with 51 million streams (down 3%) and 5,000 downloads sold (down 10%) in territories outside the U.S. Nov. 25-Dec. 1.

Taylor Swift’s “Anti-Hero” holds at No. 2 on Global Excl. U.S., after two weeks at No. 1 beginning in November, and Mariah Carey’s “All I Want for Christmas Is You” soars 16-3, with 37.4 million streams (up 53%) and 3,000 sold (up 67%) outside the U.S. The modern carol topped the chart for a week in the 2020 holiday season and for three weeks over last year’s holidays.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” slips 3-4 on Global Excl. U.S., after hitting No. 2, and Rema and Selena Gomez’s “Calm Down” holds at No. 5 after reaching No. 4.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Dec. 10, 2022) will update on Billboard.com tomorrow (Dec. 6). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

05 Dec 2022

Man Charged in Takeoff’s Killing Says He’s Innocent

HOUSTON (AP) — An attorney for a man accused of fatally shooting rapper Takeoff last month said Monday that the musician’s death outside a Houston bowling alley was a tragedy but that her client says he’s innocent of the crime.

Patrick Xavier Clark, 33, made a brief court appearance in which prosecutors and his defense attorneys agreed to hold a bond reduction hearing on Dec. 14. Clark was arrested on a murder charge last week and is jailed on a $2 million bond.

Clark, handcuffed and dressed in orange jail clothing, did not say anything during Monday’s hearing. Letitia Quinones, one of Clark’s attorneys, told reporters after the hearing that Clark is feeling “nervous and he’s concerned” because “he’s being charged with something that he believes he’s innocent of, so how would anyone do in that type of circumstance?”

Prosecutors declined to comment Monday.

Takeoff, 28, was shot in the head and back as more than 30 people were leaving a private party at the bowling alley. Houston police said at a news conference Friday that the gunfire followed a disagreement over a “lucrative” game of dice around 2:30 a.m. on Nov. 1, but that Takeoff was not involved and was “an innocent bystander.”

Police have said another man and a woman suffered non-life-threatening gunshot injuries, and that at least two people opened fired. Police said investigators are still trying to track down witnesses.

Born Kirsnick Khari Ball, Takeoff was the youngest member of Migos, the Grammy-nominated rap trio from suburban Atlanta that also featured his uncle Quavo and cousin Offset.

Houston Police Chief Troy Finner said last week that investigators didn’t know whether Clark was invited to the party or if he knew Takeoff. Clark works as a DJ, according to court records.

Asked Monday if Clark knew Takeoff, Quinones said, “We really don’t want to go into the facts at this point.”

She said that Takeoff’s death was a “tragedy and it’s happening well too often in our communities.”

“There is a lot of investigation that needs to be done. … So, we just ask that everyone keep an open mind and let the system do its part and let the Constitution do its part and that is, right now he’s innocent until he’s proven guilty,” Quinones said.

Court records indicate Clark was arrested as he was preparing to leave the country for Mexico after getting an expedited passport and that he had a “large amount” of cash.

Quinones said that Clark had been planning to go to Mexico on a vacation but had canceled his trip before his arrest.

“He wasn’t trying to go anywhere,” Quinones said.

Migos first broke through with the massive hit “Versace” in 2013. They had four Top 10 hits on the Billboard Hot 100, though Takeoff was not on their multi-week No. 1 hit “Bad and Boujee,” featuring Lil Uzi Vert. They put out a trilogy of albums called Culture, Culture II and Culture III, with the first two hitting No. 1 on the Billboard 200 album chart.

In the weeks before his death, Takeoff and Quavo put out Only Built for Infinity Links. Takeoff hoped the joint album would build respect for his lyrical abilities, telling the Drink Champs podcast, “It’s time to give me my flowers.”

05 Dec 2022

How Fleetwood Mac’s ‘Don’t Stop’ Soundtracked Bill Clinton’s Campaign 

By the early 1990s, Fleetwood Mac was running on fumes. The group’s 1990 album, Behind the Mask, peaked at No. 18 on the Billboard 200, and Stevie Nicks and Christine McVie, who died on Nov. 30, hinted that they were done touring.

Then the band got some valuable exposure from an unlikely place: Bill Clinton’s 1992 presidential campaign. As Clinton told Billboard, a supporter who drove him to an event in Los Angeles suggested that he use the song and “I knew it was a brilliant idea.”

At the time, with George H. W. Bush in the White House after eight years of Ronald Reagan, the song was like a breath of fresh air: Upbeat, optimistic, and full of the rock n roll sensibility that Clinton symbolized as the first Baby Boomer to serve as president. Clinton himself was a musician – a saxophone player good enough to perform on The Arsenio Hall Show as well as a fan, so it made sense to have a song that reflected his perspective.

“Honestly, Bill and Hillary [Clinton], that was one of their favorite songs,” remembers Paul Begala, the chief strategist of the 1992 campaign who became a counselor to the president after he won. “He had grown up with dreams of becoming a musician and he loved that band.”

In some ways, “Don’t Stop,” which peaked at No. 3 on the Hot 100 in 1977, wasn’t an obvious choice. “Once I got in the race,” Clinton told Billboard, “some of my staff tried to get me to go with a more current song.”

But it worked.

“That song encapsulated everything,” Begala tells Billboard. “He started insisting we play it at every rally – he just loved it. He also loved that Garth Brooks song ‘We Shall Be Free,’ but he settled on ‘Don’t Stop’ because of the message.”

Some of that was the implication that the future belonged to the Baby Boomers. “His conception of Bush was that he was a good man but his time had come and gone,” Begala says. Some of that involved the concept of “future preference,” an idea Clinton learned about from his Georgetown University professor Carroll Quigley.

Quigley “said that America became the greatest nation in history because our people had always embraced two important ideas: that tomorrow can be better than today, and that every one of us has a personal, moral obligation to make it so,” Clinton said. “’Don’t Stop’ captured the sentiment perfectly with both its lyrics and its upbeat, simple melody.”

Fleetwood Mac appreciated his use of the song, and the Rumours-era lineup – Nicks, McVie, John McVie, Mick Fleetwood and Lindsey Buckingham – reunited to play its first show in six years at Clinton’s inaugural ball. That seems to have boosted the band’s sales, and the Feb. 6, 1993, issue of Billboard reported that the band’s Greatest Hits jumped from No. 30 to No. 11 on the Catalog Albums chart, while Rumours debuted on that chart at No. 36.

By 1997, the band’s classic lineup was back together again – first for a show that was recorded for the live album and TV special The Dance, then for a tour that ran through much of that year. The next year, Fleetwood Mac was inducted into the Rock and Roll Hall of Fame.

In January 2001, Fleetwood Mac reunited to perform at a farewell party for Clinton on the White House lawn. “On one of his last days as president, the staff organized a farewell party on the South Lawn and the band surprised him,” Begala remembers. “I introduced Fleetwood Mac and they started playing ‘Don’t Stop’ and there wasn’t a dry eye in the house.” The band played an 11-song set.

“It was one of the most amazing moments of my life,” Begala says.

Clinton told Billboard that he would always be grateful to Christine McVie and her bandmates for letting him use the song, reuniting to play his inaugural ball and “for giving me a lifetime of great music and memories, and, of course, for that roadmap to the future.”

05 Dec 2022

Howard Stern Calls Out ‘Self Hating’ Kanye West After Hitler Praise

Following Kanye West‘s appearance on Alex Jones’ InfoWars talk show last week, where he praised and admitted that he loves Adolf Hitler and the Nazi party, Howard Stern is joining the long list of celebrities who are speaking out against the rapper — as it’s hardly the first time in recent months that Ye has spread antisemitic hate speech using his platform. 

During his SiriusXM radio show on Monday (Dec. 5), Stern shared that West’s antisemitism made the alt-right conspiracy theorist Jones appear like “a bleeding heart liberal.” He added, “Alex Jones kept trying to throw him a life preserver and Kanye would just slap it away. It was pretty f—ing crazy.”

“I guess he doesn’t know he is Black,” Stern expressed. “He doesn’t understand what Hitler thought of Jews, Black people. [He] thought they were all inferior. He wanted to sterilize Black people. […] For a Black man to be running around saying he loves Hitler, what happened to this guy? What in his life led him to this mental illness?”

Stern also noted a “psychological theory” that he has about West. “I’m sure I’m not the only one that thinks that maybe he hates being Black so much. He’s so self hating,” the radio host then explained. “He wants to wear a hood and pretend he’s a white man. A white man in the Nazi party. In a weird way despises being Black and wants to be accepted by Nazis.”

Listen to Howard Stern’s full SiriusXM episode here.

05 Dec 2022

Milo Yiannopoulos Departs Kanye West’s Presidential Campaign in ‘Mutual‘ Decision

Milo Yiannopoulos is no longer onboard Kanye West‘s presidential campaign, the far-right political personality confirmed in a Sunday (Dec. 4) statement to The Daily Beast.

“Ye and I have come to the mutual conclusion that I should step away from his political team,” said Yiannopoulos, who previously worked as an intern for Republican congresswoman Marjorie Taylor Greene. “I will continue to pray for Ye and all his endeavors.”

Billboard has reached out to Yiannopoulos for comment.

The split comes just a couple weeks after after Kanye — who now goes by — confirmed his intent to run for president in 2024 following his failed White House bid in 2020. Yiannopoulos’ involvement in the campaign was also announced at this time, with the rapper introducing him to paparazzi as someone who was “working on the campaign.” 

A few days after Ye confirmed that Yiannopoulos was part of his political team, the Yeezy founder was spotted dining in Mar-A-Lago with former President Donald Trump and another far-right commentator, Nick Fuentes. Fuentes has become known for his extreme antisemitic and white nationalist views, making him an unsurprising companion for Ye, who’s been repeatedly making antisemitic comments as of late.

Just last week, Ye praised Hitler and said he loved Nazis.  “Every human being has something of value that they brought to the table, especially Hitler,” he told Alex Jones on InfoWars Thursday (Dec. 1). “I love Jewish people, but I also love Nazis.”

The interview and his continued hate speech sparked outrage on social media. President Joe Biden also spoke out after Jones’ chat with Ye, condemning antisemitism and Holocaust denialism in a strongly worded statement on Twitter. “I just want to make a few things clear: The Holocaust happened. Hitler was a demonic figure,” the president wrote. “And instead of giving it a platform, our political leaders should be calling out and rejecting antisemitism wherever it hides. Silence is complicity.”

05 Dec 2022

From the Top, Touring Looks Better Than Ever

Was 2022 the worst “best year ever?” By some measures, the concert business had its most successful year. From Nov. 1, 2021, to Oct. 31, 2022, the top 10 tours grossed a combined $2.2 billion in ticket sales, according to Billboard Boxscore, 36% more than they did in 2019, the previous full year of touring, and more than four times the $519 million they took in during the pandemic-limited 2021.

Some of this growth follows an existing trend. Since 2013, the live business has grown steadily between 5% and 10% a year, thanks to international expansion and an increasing number of megatours. In 2013, eight acts took in over $100 million at the box office — Bon Jovi, P!nk, Bruce Springsteen, Beyoncé, Rihanna, Taylor Swift, The Rolling Stones and the Cirque du Soleil Michael Jackson show.

But the business also experienced a sharp uptick this year, driven by a combination of pent-up demand, a number of big tours and inflation. Sixteen tours crossed the $100 million mark, and the number of concert tickets sold in the first three quarters of 2022 was up 37% over 2019, according to Live Nation’s most recent quarterly report.

The bad news, however, is twofold: More work for fewer employees in the wake of pandemic layoffs, plus rising costs for staffing, production and travel, threaten to erode profits. “We are working harder than ever just to try and make sure we don’t lose any ground,” says Jim Cressman, founder and owner of Canadian independent promoter Invictus Entertainment.

Cressman and Live Nation executives say that fans also seem to be changing their concertgoing habits by waiting longer to buy tickets. About 30% of tickets for this year’s Lollapalooza festival in Chicago were purchased five days or fewer before the event, according to Live Nation. It’s a concerning trend for promoters and tour organizers who have become accustomed to scaling event costs up and down based on projections from early sales. Fans are also getting wise to the fact that ticket prices, especially on the secondary market, tend to drop over time.

The names of the top 10 tours won’t surprise anyone who follows the industry. No. 1 is Bad Bunny, who did two tours during this time frame: El Último Tour del Mundo, which ran from February to April and grossed $116 million, and World’s Hottest Tour, which brought in $246 million from August to the end of the Billboard Boxscore touring year; it will run until Dec. 10. The tour dates within this time frame, as well as isolated hometown shows in Puerto Rico, grossed a combined $373.5 million, the third-highest year-end total in Boxscore history after Ed Sheeran’s $429.5 million in 2018 and The Rolling Stones’ $425 million in 2006.

This is the first year that each tour in the top 10 grossed over $100 million and the top five each took in more than $200 million. Some of that is due to higher ticket prices: Bad Bunny tickets cost an average of $201, while tickets to Sheeran’s No. 1 2019 ÷ (Divide) shows cost an average of $86; the average ticket price of a top 10 tour was $130.76, up from $114.29 in 2019. Some of that growth comes from inflation, of course, while some is from a shift to higher ticket prices in order to capture revenue that once went to the secondary market. “The spending levels are really the same,” says Live Nation Global Touring chairman Arthur Fogel. “It’s just that artists are capturing more of it than ever before.”

Farther down the Top Tours chart, the growth also stays consistent. The top 40 tours grossed a total of $4.6 billion, up from a total of $3.5 billion in 2019, a difference of 32%

The New Scorecard

This year, Billboard Boxscore created a new chart to rank tours by number of tickets sold, not just revenue, although that information had already been included. And although promoters were concerned earlier in 2022 that touring market oversaturation would mean concerts drew fewer fans, the chart actually shows the opposite — major concerts attracted larger audiences without cannibalizing other shows. In 2022, a combined 17.1 million people saw the top 10 attended tours, up 21% from a combined 2019 attendance of 14.1 million. This year also marked the first time that 19 of the top 20 attended tours drew over 900,000 fans.

The top 10 tours also represent one of the youngest lists in recent years, with an average headliner age of 49.3, as opposed to 51.2 in 2019 and 54.6 in 2021. The oldest act was The Rolling Stones — Mick Jagger and Keith Richards will both be 79 by the end of the year, and Ron Wood is 75. The youngest acts were Harry Styles and Bad Bunny, both of whom turned 28 this year.

As in years past, Live Nation dominated the business, exclusively promoting half of the top 20 — which grossed a combined $1.5 billion — as well as Bad Bunny’s stadium shows, in collaboration with Cárdenas Marketing Network, and some shows for My Chemical Romance and Paul McCartney. AEG Presents follows with a handful of global tours, including Elton John, that combined accounted for $843 million. CMN powered Bad Bunny at No. 1 and Daddy Yankee at No. 13, while Mercury Concerts led the Latin American dates for Guns N’ Roses. Sheeran, at No. 3, was promoted by a mix of buyers throughout Europe.

On the agency front, the leader is Creative Artists Agency, with eight acts in the top 20: Styles, Red Hot Chili Peppers, The Weeknd, Lady Gaga, the Eagles, Dua Lipa, Justin Bieber and My Chemical Romance. Wasserman Music had four clients in the top 20 — Sheeran, Coldplay, Kenny Chesney and Billie Eilish — while UTA had two: Bad Bunny and Guns N’ Roses.

Three of the top tours — John, McCartney and The Rolling Stones — have global touring deals with AEG but don’t have a traditional booking agency deal. WME had only one artist in the top 20 with Daddy Yankee. So did the Neal Agency, started in February by Austin Neal, son of longtime WME agent Kevin Neal. Austin formed the agency to represent Morgan Wallen, who took a hiatus from touring after his use of a racial slur was caught on video in 2021. Wallen grossed $128 million in 2022 from 66 shows.

05 Dec 2022

Alison Wonderland Launches FMU Records: ‘I Don’t Want Artists to Feel Like a Statistic; I Want Them to Feel Like Humans’

New year; new vision.

As 2023 draws closer, Alex Sholler — known to many as the mega-successful producer/singer/songwriter/instrumentalist/party-starter Alison Wonderland — is revving up the engines of her latest venture: FMU Records.

With the label, Sholler intends to spotlight left of center electronic music made by up-and-coming artists along with her own Dark Electronic genre currently coming into greater focus via her Whyte Fang project.

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This Thursday (December 8), FMU Records will drop its debut release, “I Surrender.” A collaboration between Argentinean producer Dabow and South African artist Jon Casey, the track is a play-it-loud tapestry of percussion punctuated with trap bass and wavy synths that serves as a mood setter for FMU.

With the label, Sholler hopes to use her global platform to give shine to rising stars and provide a place where artists can release music without bowing to the kinds of craven, algorithm-based marketing strategies many begrudgingly endure.

“For FMU, we are just going to push good music,” she tells Billboard. “Artists won’t have to do TikToks to ensure their tracks do well. I just want to get cool, good music out there.”

Distribution for FMU is being handled via Ingrooves, while Alison Wonderland music will continue to be handled by EMI/AUS — which released Alison Wonderland’s three studio albums, including 2022’s Loner, which hit No. 3 on Dance/Electronics albums this past May.

But early 2023 sees Sholler putting her focus outside of Alison Wonderland, with FMU Records set to drop the debut album from her Whyte Fang project this spring. After spending six years on the backburner while Sholler took over the scene as Alison Wonderland, the project soft-launched earlier this year with a trio of singles — “Girl,” “333” and “TIDES” — that showcased a hypnotic, hard-edged sound well-suited for late nights in dark clubs.

Dropping March 31, 2023, the Whyte Fang album will include that trio of previously released singles and come in tandem with a warehouse launch party happening in New York earlier that month. The event will feature a Whyte Fang performance, which Sholler calls “not just a musical, but a whole artistic experience where the lighting, visuals, set, and live listening experience is all very cohesive.

“I’m just excited for people to see what’s going on in my mind,” she adds, “and [I’m excited] that I have complete creative control over it.” 

The launch of this label was described in a press release as “one of the most important steps” in your career thus far. Does that feel true for you and if so, why?

Yes, this does feel true to me. I have always felt like I should take advantage of my reach as an established artist and give up-and-coming artists a chance to use my platform and keep control of their music — it’s something I feel very passionate about now.

I think that currently, artists feel a lot of pressure to be content creators, marketing managers, and promoters. I don’t want artists to feel like a statistic, I want them to feel like humans. I’m finding it hard to navigate myself in this world, with the pressure of only looking at numbers rather than the music. I just want to throw cool parties and hope things grow organically. I want to use my platform to give these young artists exposure. 

My understanding is also that the label is intended to give you yourself more freedom. What does that mean to you? What will it look like in practice?

My Alison project is not able to be signed to FMU Records, but Whyte Fang is, so I’m able to really do what I want, without the opinion of teams of people. I guess I also have the freedom to sign whatever track I want, which is really exciting.

Do you feel like you haven’t had as much freedom as you would have liked in prior label relationships?

I 100% didn’t have as much freedom in past relationships, but I don’t think anyone does with big record labels. Don’t get me wrong, I have always had the freedom to release the music I wanted, but in terms of getting marketing budgets or singles supported you have to play ball with what the label wants to spend money on. Things like being told to do TikToks for my songs to get more budget makes me sad; it feels sterile and not the type of creative I am, and I’m sick of it. It’s archaic.  

What’s the tone for FMU? Is there one song that sort of sums up your ethos?

I’m all about people being open-minded. Dark Electronic music is really what comes to mind; it’s what I gravitate towards and with this label, I’m really going to be able to showcase that. I used to run warehouse parties, and I really find the dark, minimalistic vibe very appealing.

Will FMU release future Alison Wonderland projects and if so, where does that put your relationship with EMI/AUS?

For the record, EMI/AUS have always been incredibly supportive and always has let me do what I want. I love that team, they support this [new project], and they are aware of this. I love the people that work there, and they have done an incredible job. They have always given me freedom and fought for me — they are the rare exception of people in this industry who are decent and care about the artist, and I mean that with all my heart. There should never be any negativity toward that team. I love them.  My previous comments are about the larger record label machine, not about any particular individuals.

Tell me about the Whyte Fang album and why 2023 is the right time to release it? 

Because I’m f–king ready! I’ve been bursting at the seams, and I’m going to go so hard. I’m putting my heart and soul into this album. I feel like so much of the experimental music I make is overshadowed by what my record label has picked to put into the forefront, and I need a home for that, because I really gravitate towards those beats.

05 Dec 2022

Lizzo, Lil Nas X & Machine Gun Kelly Lead Lineup for Mad Cool Festival 2023

Mad Cool Festival announced its 2023 lineup on Monday (Dec. 5) with headliners including Lizzo, Lil Nas X, Machine Gun Kelly and more.

The three artists will hit the stage in Madrid on the festival’s opening day, July 6, along with Robbie WIlliams, while Sigur Rós, The 1975, Franz Ferdinand, Rina Sawayama and Paolo Nutini help round out the Thursday roster.

Headliners for the following two days include Queens of the Stone Age, The Black Keys, Sam Smith, Red Hot Chili Peppers, Liam Gallagher and The Prodigy, with one slot each on Friday, July 7 and Saturday, July 8 yet to be announced. Additional artists across the second and third days of the festival will include the likes of Rüfü Du Sol, Jacob Collier, Angel Olsen, The Driver Era, Jamie XX, Years & Years, Sylvan Esso and more. Honey Dijon, The Blessed Madonna, Anfisa Letyago are among the DJs slated to take over The Loop for non-stop dance sets on each day.

Three-day passes for the fest go on sale to the general public on Dec. 15 with single day tickets available for purchase starting Dec. 29. A presale for each by Santander SmartBank will begin three days prior on, respectively, Dec. 12 and 26.

Last year’s fifth anniversary of the Spain-based event brought Metallica, Imagine Dragons, Twenty One Pilots, Muse, Kings of Leon and Pixies to the capital city after two years of the festival being cancelled due to the coronavirus pandemic.

Check out the entire Mad Cool Festival 2023 roster below.

05 Dec 2022

Taylor Swift, The Beatles, Elvis & More Artists With the Most Weeks at No. 1 on the Billboard 200: Full List

As Taylor Swift‘s Midnights logs its fifth week at No. 1 on the Billboard 200,  Swift becomes just the third artist in the history of Billboard‘s flagship album chart to log 60 or more weeks at No. 1. That’s pretty impressive when you consider that the chart dates back to March 1956, more than 33 years before Swift was born.

Elvis Presley was the first artist to log 60 weeks at No. 1. He reached that milestone in the Billboard issue dated April 14, 1962, when his Blue Hawaii soundtrack was in its 18th of 20 weeks on top. He has since spent seven additional weeks at No. 1, for a career total of 67.

The Beatles were the second artists to log 60 weeks at No. 1. The Fab Four reached that milestone in the issue dated Feb. 12, 1966, when Rubber Soul was in its sixth and final week at No. 1. Incredibly, at that point the group wasn’t even halfway through its commanding tally of weeks at No. 1, which currently stands at 132.

The Fine Print: If you count the Saturday Night Fever soundtrack (which logged 24 weeks at No. 1 in 1978) as a Bee Gees album, the trio had 31 weeks on top. Bee Gees had six tracks on the album — five of which were No. 1 hits on the Billboard Hot 100. But Billboard counts it as a multi-artist soundtrack album.

Here’s a look at all acts with 30 or more weeks at No. 1 on the Billboard 200 since March 24, 1956, when the chart began publishing on a consistent weekly basis. Ties are shown in alphabetical order: