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Beyoncé Cowboy Carter Tour: See Photos From Opening Night

Beyoncé launched her Cowboy Carter and the Rodeo Chitlin Circuit world tour on Monday night (April 28) with the first of five shows at SoFi Stadium in L.A. And, as usual, it was a high-energy, high-fashion feast for the eyes and ears that lasted nearly three-hours.

After opening with the Cowboy Carter track “Ameriican Requiem” and her take on the Beatles’ “Blackbiird,” Bey slid into a bit of “The Star Spangled Banner” (via Jimi Hendrix’s searing Woodstock version of the National Anthem) as the video screen behind her flashed an empowering, urgent message: “Never ask permission for something that already belongs to you.” With a pit stop at Lemonade‘s “Freedom,” she was soon joined by 13-year-old daughter Blue Ivy for a run through the medley of Cowboy Carter‘s “YA YA,” and the 2008 I Am… Sasha Fierce track “Why Don’t You Love Me,” during which the teen once again showed off her already formidable dance skills.

Later in the show, one of the singer and husband Jay-Z’s other children, seven-year-old Rumi Carter, made a surprise appearance during “Protector,” smiling and waving to the crowd during her first-ever on-stage appearance with her mom.

While the 36-song set list leaned heavily into Queen Bey’s Grammy album of the year winning LP, it also included stops at some of her most beloved hits, including “Formation,” “Cuff It” and “Crazy in Love” as she paid tribute to her country foremothers and fathers on such banjo- and fiddle-licked tracks as “Texas Hold ‘Em” and “II Most Wanted” while accompanied by two dozen dancers.

The show had a Wild West theme woven throughout the narrative, including the singer riding a giant robotic mechanical bull and peaking with Beyoncé taking on a crusty white cowboy in a gun fight. The night ended with Beyoncé flying around in a classic car as she led a sing-along to the Cowboy Carter single “16 Carriages.”

Check out images from the first night below.

Dave Grohl Covers LCD Soundsystem, David Bowie During Surprise L.A. School Benefit Fundraiser

Dave Grohl popped into a benefit show at for L.A.’s Oakwood School at Avalon Hollywood over the weekend for a surprise set of covers of some of his favorite songs from LCD Soundsystem, The Knack and David Bowie. Accompanied by Foo Fighters bandmate keyboardist Rami Jaffee, as well as Studio 606 engineer and drummer John Lousteau and Birds of Satan bassist Wiley Hodgden, the quartet had some help from a few of their famous friends as well.

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The set blasted off with a rip through their supercharged cover of LCD Soundsystem’s “Daft Punk Is Playing at My House,” followed by The Knack’s 1979 power pop classic “My Sharona.” The group then made their way through Queen and David Bowie’s “Under Pressure” with expert help from The Struts singer and solo artist Luke Spiller.

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The run ended with a surprise appearance by Lisa Loeb, who joined the group on lead vocals for a cover of Bowie’s “Moonage Daydream.”

The Foo Fighters don’t have any tour dates scheduled for 2025 at the moment, but Grohl has been popping up all over the place lately, including during the first weekend of Coachella on April 19. The rocker hopped on stage with his trusty guitar to join maestro Gustavo Dudamel and the Los Angeles Philharmonic for amped-up orchestral takes on the Foos’ “The Sky Is a Neighborhood” and “Everlong,” marking the first time Grohl has played Foos songs in public since revealing last fall that he’d fathered a child out of his marriage.

In January, he reunited with his former Nirvana bandmate Krist Novoselic and a variety of female singers — including Joan Jett, Kim Gordon, St. Vincent and his daughter, Violet — for a set of Nirvana covers at the FireAid benefit show that also featured Nirvana/Foos guitarist Pat Smear. A month later, Nirvana came together again, with Post Malone on lead vocals, at the SNL 50th anniversary concert.

Spotify Reports 12% Rise in Paid Subscribers for $4.5 Billion First Quarter Revenue

Spotify’s first quarter revenue rose 15% as its subscriber base increased 12%, the company’s highest first quarter subscriber gains since early in the COVID-19 pandemic, the company reported on Tuesday.

The music and podcast streaming giant reported total revenue of 4.2 billion euros ($4.54 billion) in the quarter ending March 31, and total paying subscribers of 268 million, according to filings.

“The underlying data at the moment is very healthy, engagement remains high, retention is strong,” Spotify founder and CEO Daniel Ek said in a statement.

The company’s operating income, which measures the company’s profit minus costs, rose to 509 million euros ($579 million). Spotify’s gross margin, the percentage of money it keeps on a sale after costs are taken out, improved 400 basis points from last year to 31.6%.

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The company noted that this marked the highest gains for subscribers in the first quarter since 2020, when millions signed up for Spotify accounts at the start of the pandemic. Monthly average users also rose 10% to 678 million compared to this quarter a year ago.

The demand for music streaming comes in a period marked by heightened global and macroeconomic uncertainty, Ek noted.

“Thanks to our freemium model people have the flexibility to stay with us even when things feel more uncertain,” Ek said. “So yes, the short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”

Ek and other Spotify executives will discuss the company’s earnings in more detail on a call with investors and analysts at 8:30 a.m. in New York.

The Financial Times reported last week (April 25) that Spotify is preparing to raise the monthly price of its individual subscriptions across Europe and Latin America by about one euro as soon as this summer.

Here are the company’s first quarter highlights:

  • Subscribers increased 12% Y/Y to 268 million. 
  • Monthly Active Users reached 678 million up by 10% Y/Y.
  • Total Revenue was up 15% Y/Y to €4.2 billion.
  • Gross Margin improved by ~400 bps YoY to 31.6%.
  • Operating Income rose to €509M.

Chris Stapleton and Beatles Covers Light Up ‘The Voice’ Playoffs

Six contestants were eliminated during The Voice Season 27 Playoffs on Monday night (April 28), as Team Adam and Team Kelsea faced off in a night filled with standout performances, tough decisions, and no second chances.

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Team Kelsea lost Jaelen Johnston, Darius J, and Tinika Wyatt, while Team Adam eliminated Britton Moore, Conor James, and Ethan Eckenroad.

Each coach began the night with five artists but was tasked with narrowing their rosters down to just two singers each to advance to the Live Shows. The Playoffs featured no Steals or Saves, and all elimination decisions were made solely by the coaches.

Kelsea Ballerini’s team was mentored by Sheryl Crow, while Adam Levine’s artists were guided by LeAnn Rimes. From Team Kelsea, Iris Herrera secured her spot in the Live Shows with a powerful performance of Chris Stapleton’s “White Horse.”

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“Iris, you just did everything that makes you you. You did the best you’ve ever done. You know you’re supposed to be here, and that is such a superpower to have as an artist and as a woman. But you know you belong here.” Ballerini praised.

Alanna Lynise also advanced with her emotional rendition of SZA’s “Nobody Gets Me.” Ballerini said, “Everything she’s shown is top tier, top shelf.”

On Team Adam, Lucia Flores-Wiseman impressed the coaches with her version of The Beatles’ “In My Life.” Adam Levine told her, “Man, Lucia, I’ve never heard anyone like you. All of it is so refreshingly yours. It’s been a beautiful experience working with you. There is just something about Lucia that is singular and on its own level.”

Kolby Cordell also moved forward with his high-energy take on Bruno Mars’ “Finesse.” Levine applauded him, saying, “You’ve just shot up as… the biggest and best on the show.”

John Legend and Michael Bublé’s teams are set to compete in next week’s episode as The Voice Playoffs continue.

Bowen Yang Joins Role Model as ‘Sally’ During ‘Tonight Show’ Debut

Bowen Yang made a surprise appearance as Role Model’s “Sally” during the singer’s performance of “Sally, When the Wine Runs Out” on The Tonight Show Starring Jimmy Fallon on Monday night (April 28).

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Marking Role Model’s debut on the late-night talk show, the 27-year-old pop singer-songwriter, whose real name is Tucker Pillsbury, was joined by the Saturday Night Live star for a playful rendition of his viral fan-favorite, fully embracing the role and sending the audience into cheers.

Yang’s appearance on Monday night came just after he was spotted enjoying Charli XCX’s set at Coachella the previous weekend, in another fan-captured viral moment..

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Role Model has made it a tradition throughout his “No Place Like Tour” to invite a fan or special guest onstage to portray “Sally” during live performances of the track. What started as a spontaneous idea has since seen celebrities like Dylan Minnette and Jake Shane (the very first “Sally” at a Dallas show on Feb. 28, 2025) take part in the fun.

The rising star recently told Triple J of the hit, “For me, dance-y songs are probably the hardest things to write. I can’t do it. And that was like my one goal. I was like, I have to do this, even if it takes me an extra year. And I think we did it.”

“We had no plans to do this whole ‘Sally’ thing,” Role Model also recently told Teen Vogue. “I knew right before the tour started that Jake Shane was going to be in Dallas at the same time doing the show, so we were like, ‘Oh, we should bring him out.’”

Earlier this month, Role Model surprised fans with a guest appearance from Reneé Rapp during a show in Los Angeles, during which the singer walked out and began dancing. “Aw, s—, here we go again, I’m falling headfirst/ Ankles hit the two-step, Sally makes my head hurt/ Heard through the grapevine, she can be a diva/ Cold like Minnesota, hotter than a fever,” the audience sang the bridge as the duo hugged it out and danced together.

Watch Role Model’s Tonight Show performance featuring Bowen Yang below.

Kneecap Issue Apology to Families of Murdered Politicians for ‘Kill Your MPs’ Remarks

Northern Irish hip-hop trio Kneecap have shared a new statement following mounting criticism over resurfaced footage of alleged on-stage comments.

On Monday (Apr. 28), London’s Metropolitan Police confirmed that a clip of the group allegedly calling for the death of British MPs (members of parliament) is being assessed by anti-terror police in the U.K. 

Filmed at a London gig in November 2023, it appears to show one member of the band saying: “The only good Tory is a dead Tory. Kill your local MP.” At the time, the Conservative Party – also known as the Tories – were in government with a large majority.

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It followed the news that last week that a video of the band expressing support for Hamas and Hezbollah – both of which are ascribed terror group status by the U.K. government – was also being assessed by the Met. Under anti-terror laws in the country, it is an offence under the Terrorism Act 2000 to “invite support for a proscribed organisation.”

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On Sunday, (Apr. 27), a Metropolitan Police spokesman said: “We were made aware of a video on 22 April, believed to be from an event in November 2024, and it has been referred to the counter-terrorism internet referral unit for assessment and to determine whether any further police investigation may be required. We have also been made aware of another video believed to be from an event in November 2023.” The group are yet to be charged with any offence.

In response, Labour MP for Hemel Hempstead David Taylor and Scotland’s First Minister John Swinney have made public calls for the removal of Kneecap from several summer festival performances, including Glastonbury and TRNSMT in Glasgow.

Now, Kneecap – made up of rappers Liam Óg Ó Hannaidh and Naoise Ó Cairealláin and beat-maker JJ Ó Dochartaigh – have responded with a statement posted to their Instagram page, addressing their alleged support of Hamas, Hezbollah, and promoting violence against British MPs.

“Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay,” it read. “We know this more than anyone, given our nation’s history. We also reject any suggestion that we would seek to incite violence against any MP or individual. Ever. An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.”

The trio continued, in part: “We also reject any suggestion that we would seek to incite violence against any MP or individual. Ever. An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.”

Elsewhere in the post, Kneecap went on to apologise to the families of Labour MP Jo Cox and Conservative MP Sir David Amess, who recently condemned the band of “inciting violence.” Both MPs were murdered in 2016 and 2021 respectively.

“To the Amess and Cox families, we send our heartfelt apologies, we never intended to cause you hurt,” Kneecap said.

Doubling down on their stance, they concluded: “Kneecap’s message has always been – and remains – one of love, inclusion, and hope. This is why our music resonates across generations, countries, classes and cultures and has brought hundreds of thousands of people to our gigs. No smear campaign will change that.” Read the full statement below.

The new statement comes in the wake of the fall-out following the band’s sets at Coachella earlier this month. During their performance, Kneecap displayed a message stating, “Israel is committing genocide against the Palestinian people. It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.”

On Friday (Apr. 25), meanwhile, it emerged that the group had split with their U.S. booking agent, IAG, and there have been calls for the group’s U.S. work visas to be revoked. Kneecap are currently scheduled to perform a headline tour in North America this October.

Beyoncé’s Cowboy Carter Tour Setlist: Every Song From the First Show

“Five Nights of Beyoncé!” That was the tagline trumpeted across television and radio throughout Los Angeles ahead of the Monday (April 28) night kickoff for the 35-time Grammy winner’s highly anticipated Cowboy Carter Tour at SoFi Stadium in neighboring Inglewood, Calif.

The 32-market stadium tour — across nine cities in the U.S. and Europe — borrows its name from Beyoncé’s eighth studio album. Released in March 2024, the country-themed project is the second act in a three-album arc that launched with Act 1: Renaissance in 2022. Featuring a mix of R&B, folk, blues and Americana, Cowboy Carter presented guest turns and cameos by country legends Dolly Parton, Linda Martell and Willie Nelson, contemporary stars Miley Cyrus and Post Malone, and emerging Black country artists such as Shaboozey, Tanner Adell and Brittney Spencer. (Not to mention a cast of stellar musicians from Stevie Wonder and Nile Rodgers to Jon Batiste, Gary Clark Jr. and Rhiannon Giddens.)

Powered by hits and fan faves like “Texas Hold ‘Em” (her ninth Billboard Hot 100 No. 1), covers of Parton’s “Jolene” and the Beatles’ “Blackbird” plus “Levii’s Jeans (with Malone) and “Ya Ya,” Cowboy Carter garnered a leading 11 nominations for the 67th Grammy Awards. The album ultimately won three gold gramophones: best country duo/group performance for “II Most Wanted” (with Cyrus), best country album (the first Black artist to claim that honor) and album of the year — an honor that had long eluded Beyoncé, making her the first Black female to win that marquee category since Ms. Lauryn Hill in 1999.

Beyoncé last visited SoFi Stadium when she brought her Renaissance World Tour to the venue. She played three sold-out nights at the venue in September 2023, highlights of which included a surprise appearance by Diana Ross who led the audience in singing “Happy Birthday” to Beyoncé.

On Christmas Day last year, Beyoncé gave fans a glimpse of what might be in store for the Cowboy Carter Tour when she performed several tracks with special guests like Post Malone, Shaboozey and daughter Blue Ivy for the halftime show during the Baltimore Ravens vs. Houston Texans football game at Houston’s NRG Stadium.

Here’s a look at Beyoncé’s opening night setlist for the Cowboy Carter Tour.

  • “Ameriican Requiem”
  • “Blackbiird”
  • “The Star-Spangled Banner”
  • “Freedom”
  • “YA YA”
  • “OH LOUISIANA” (Interlude)
  • “AMERICA HAS A PROBLEM”
  • “SPAGHETTII”
  • “Formation”
  • “MY HOUSE”
  • “Diva”
  • “WHO IS COWBOY CARTER?”
  • “ALLIIGATOR TEARS”
  • “JUST FOR FUN”
  • “PROTECTOR”
  • “FLAMENCO”
  • “DESERT EAGLE”
  • “RIIVERDANCE”
  • “II HANDS II HEAVEN”
  • Medley of “Sweet Honey Buckiin”, “Summer Renaissance” and “Pure/Honey”
  • “Jolene”
  • “Daddy Lessons”
  • “BODYGUARD”
  • “II MOST WANTED”
  • “CUFF IT”
  • “TYRANT”
  • “THIQUE”
  • “LEVII’S JEANS”
  • “DAUGHTER”
  • “I’M THAT GIRL”
  • “COZY”
  • “ALIEN SUPERSTAR”
  • “TEXAS HOLD ‘EM”
  • “Crazy in Love”
  • “HEATED”
  • “Before I Let Go”
  • “16 CARRIAGES”
  • “AMEN”

The Beths Announce North American Tour Dates Alongside New Single, ‘Metal’

New Zealand indie outfit The Beths are gearing up to enter their new era, unveiling a new signing, new single, and new tour dates.

The Auckland-formed quartet made their return this week with the release of new single “Metal,” which arrives as their first piece of new music since 2023’s expanded edition of the previous year’s Expert in a Dying Field LP. The original record peaked at no. 6 on the Heatseekers chart, while the reissue also included new single “Watching the Credits,” which also featured on Barack Obama’s 2023 summer playlist.

Alongside their 2025 return, The Beths have announced their signing to Epitaph sister label ANTI-, ostensibly indicating an imminent announcement of their fourth album. In the meantime, however, the group have previewed what’s to come with “Metal,” a single born out of a time of rigorous touring, mental health struggles, and several diagnoses for vocalist and guitarist Elizabeth Stokes.

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“In some ways ‘Metal’ is a song about being alive and existing in a human body,” Stokes explains. “That is something I have been acutely aware of in the last few years, where I have been on what one might call a ‘health journey’. 

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“For parts of the last few years, I kind of felt like my body was a vehicle that had carried me pretty well thus far but was breaking down, something I had little to no control over,” she adds. “All of the steps in the Rube Goldberg machine of life are so unlikely, and yet here we are in it. I have a hunger and a curiosity for learning about the world around me, and for learning about myself. And despite all the ways that my body feels like a broken machine, I still marvel at the complexity of such a machine.”

“I can hold that knowledge in one hand, and yet with the other hand I can point to my reflection and just be like ‘you are s–t.’ Or ‘ugly.’ Or ‘worthless,’” Stokes concludes. “I can reliably respond to any suggestion that I might be able to achieve any small thing with ‘no’. And these are variations of the ‘short word’ referenced in the song.”

Additionally, The Beths have also announced an extensive global tour, which launches in the U.K. in September ahead of a run of European shows, and then wraps up with a 26-date run of North American gigs between October and November.

The Beths – 2025 North American Tour

Oct. 30 – The Orange Peel, Asheville, NC
Oct. 31 – Variety Playhouse, Atlanta, GA
Nov. 1 – Brooklyn Bowl, Nashville, TN
Nov. 3 – The Studio at the Bomb Factory, Dallas, TX
Nov. 4 – Emo’s, Austin, TX
Nov. 6 – The Van Buren, Phoenix, AZ
Nov. 7 – The Wiltern, Los Angeles, CA
Nov. 8 – The Fillmore, San Francisco, CA
Nov. 12 – Ace of Spades, Sacramento, CA
Nov. 14 – Crystal Ballroom, Portland, OR
Nov. 15 – The Moore Theatre, Seattle, WA
Nov. 16 – Commodore Ballroom, Vancouver, British Columbia
Nov. 18 – Metro Music Hall, Salt Lake City, UT
Nov. 19 – Ogden Theatre, Denver, CO
Nov. 21 – The Truman, Kansas City, MO
Nov. 22 – Palace Theatre, Saint Paul, MN
Nov. 23 – The Salt Shed, Chicago, IL
Nov. 25 – Globe Iron, Cleveland, OH
Nov. 26 – Roxian Theatre, Pittsburgh, PA
Nov. 28 – Danforth Music Hall, Toronto, Ontario
Nov. 29 – Beanfield Theatre, Montreal, Quebec
Dec. 2 – Royale, Boston, MA
Dec. 3 – Fete Music Hall, Providence, RI
Dec. 5 – Brooklyn Paramount, Brooklyn, NY
Dec. 6 – Union Transfer, Philadelphia, PA
Dec. 9 – 9:30 Club, Washington, D.C.

U.K.’s LIVE Music Fund Crosses Milestone Following Contributions From Diana Ross, Pulp & More

LONDON — The U.K.’s LIVE industry group (Live music Industry Venues & Entertainment) has announced that contributions to its music fund has crossed the £500,000 ($668,007) milestone. The fund supports the grassroots music scene, and has been backed by stars such as Diana Ross, Pulp, Mumford & Sons and Hans Zimmer, all of whom have pledged to donate £1 ($1.30) from every ticket sale for upcoming arena shows.

LIVE campaigns and raises awareness for issues facing the U.K.’s live music scene, with a particular focus on the grassroots music scene and its workers. It represents 15 live music organizations, including the Music Venue Trust, the Music Managers Forum, Featured Artists Coalition among others.

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The LIVE Trust, established in January 2025, receives funding from a voluntary contribution of £1 per ticket from arena and stadium shows with a capacity of over 5000. A funding strategy is then implemented alongside a panel of industry experts, ensuring the funds reach venues, promoters, festivals and artists.

A proposed ticket levy has long been discussed in the U.K. to help stem the tide of grassroots music venues closures. The MVT reports that over 150 venues have closed across the U.K. since 2023, citing a number of financial challenges following the COVID-19 pandemic and the cost of living crisis. 

The current Labour government has supported the idea of the levy. Speaking in a parliamentary debate in January, Chris Bryant (creative industries minister) backed the idea of a levy in either format: “If the scheme does not happen voluntarily, will we make it statutory? Yes,” he said.

A number of big name acts have already committed portions from ticket sales in recent years, including Sam Fender, Katy Perry, Enter Shikari and more. Coldplay will donate 10% of the revenue from their upcoming Wembley Stadium residency to the Music Venue Trust, one of LIVE’s members. The group will play a record 10 nights at the venue in August and September.

Last week LIVE shared their Music Fans’ Voice report, which surveyed 8000 concert goers about the state of the live music industry, with 93% of respondents backing the £1 per ticket contribution.

Jon Collins, CEO of LIVE said, “This is a welcome milestone for The LIVE Trust and marks a very significant contribution to the grassroots live music sector. What this demonstrates is that there is a real appetite from performers and their teams to support the wider live ecosystem and we applaud and thank those that have already taken this initiative. Whilst this is an excellent start there is still much work to do if we are to convince government that a voluntary rather than statutory levy is both workable and sustainable.”

Devin Townsend Announces ‘Indefinite’ Break From Touring

Prolific Canadian metal musician Devin Townsend has revealed to fans that his forthcoming run of North American tour dates will be his last for the “foreseeable future” as he takes a “vacation” from touring.

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The 52-year-old shared the news with his fans via a video message on Monday (April 28), telling them they should embrace the upcoming opportunity to catch him live throughout May.

“For nearly 35 years, I’ve followed a creative path guided by instinct—each album, each tour, each project a new chapter in a story I’ve felt compelled to tell,” he added in an accompanying message. “My mind latches onto concepts, and I love chasing them down. That chase has made this journey wild, unpredictable, and deeply fulfilling.

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“Over the years, I’ve heard it countless times: ‘Dev, take a break… please.’ But the flood of ideas, the excitement, and the support of incredible musicians and listeners have kept me going, kept me touring, and kept me grateful for a life on the road.

“That said, things have changed—especially since the pandemic,” he added. “Booking tours now means planning up to two years in advance. With fewer venues, fewer crews, and a saturated touring circuit, it’s become more challenging than ever to line things up.”

As a result, Townsend explained that when he wraps up his upcoming run of dates in Los Angeles on May 23, it will be the “last time you’ll see me on stage for the foreseeable future.” Continuing, he noted that his extended period of rest will see him taking time to “breathe and recalibrate” as he deals with the necessities of life and he tends to the “dozen things that I’ve been waiting to do for all these years that have to be pushed aside due to the constant touring.”

“That doesn’t mean I’m done playing live. Not by a long shot,” he continued. “I’ll be performing until my final breath. But right now, I need to be present for the people who need me, and to give myself the space to reflect on everything I’ve been through.”

Townsend also added that he would be taking the time to launch a new YouTube series called The Ruby Quaker Show where he explores the numerous creative ventures he has had on the back burner for years. “Now I’m making the time to bring them to life, without that familiar pressure of knowing I’ll be gone again in a month,” he says.

In the meantime, Townsend also added that he would be doing his best to make the upcoming shows as “meaningful and unforgettable as possible” before he takes an extended period of leave from the stage.

“I will return to the stage. But first, I need to reset,” he concluded. “Touring has been a beautiful, exhausting constant in my life, and for once, I’m listening to the voice that says: slow down. I want to create from a place of calm inspiration rather than frantic obligation. And until I can truly be there for the people who rely on me, my creativity won’t be at its best.”

Townsend first rose to prominence in the ‘90s after working with and touring alongside Steve Vai, before founding Strapping Young Lad in 1994. The group would ultimately split in 2007, though Townsend had already embarked upon a prolific solo career by this point, with releases under the Devin Townsend Project and Casualties of Cool monikers also arriving over the years.

While the Devin Townsend Project’s 2012 release Epicloud would hit No. 105 on the Billboard 200 and top the Heatseekers chart, he would receive his biggest success in 2013 when reached No. 73 on the Billboard 200.