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Fifty-one years ago, after trying out Zorro, Superman and gorilla costumes, Angus Young took a suggestion from his sister, borrowed her son’s school uniform and wore it onstage. Since then, like his band AC/DC, the lead guitarist’s live persona has been insanely consistent — he once told Billboard that he packs 12 schoolboy costumes for tours.
“We’ve never tried to do something we’re not or looked around to see what the other bands were doing,” Angus said in a 1996 interview. “An audience can tell when you’re phony or you don’t want to be onstage.”

High Voltage, AC/DC’s debut album, set the band’s consistent musical template in 1975 when the record arrived in the group’s home country of Australia. Twelve months later, it reached the United States and, after a few years, established the act as international rock stars.

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Every AC/DC album since, from classics such as 1980’s Back in Black to lesser-known gems like 1995’s Ballbreaker, has exemplified what Billboard declared in a 2014 review of the Rock or Bust album: “Neither trends, age nor the passing of many decades has altered the basic blueprint the band laid out on its 1975 debut, High Voltage.”

“Some people might say that you guys have made the same record over and over 10 times,” an interviewer once suggested to Angus.

“That’s a dirty lie!” he responded. “We’ve made the same record over and over 11 times!”

Of AC/DC’s 19 studio albums, seven have hit the top 10 of the Billboard 200, including two No. 1s, 1981’s For Those About To Rock (We Salute You) and 2008’s Black Ice.

Phillip Rudd, Angus Young, Mark Evans, Malcolm Young, and Bon Scott of AC/DC pose for an Atlantic Records publicity still in front of a graffiti-covered wall circa 1977.

Michael Ochs Archives/Getty Imag

Ten of the band’s tracks have earned more than 177 million streams, beginning with “Thunderstruck” at 1 billion, according to Luminate. AC/DC’s touring power has been similarly steady, from 1978, when it opened for Aerosmith for multiple sold-out arena dates, to 2010, when its four best-selling concerts ever grossed $11.7 million, $12.8 million, $24.6 million and $27 million, all in Australian stadiums, according to Billboard Boxscore.

Despite the loss of Angus’ brother, founding member and rhythm guitarist Malcolm Young, to dementia in 2017, AC/DC rocks on. The band opened its global Power Up tour on April 10 at U.S. Bank Stadium in Minneapolis.

CAA books AC/DC, with agency veterans Rob Light, Chris Dalston and Allison McGregor overseeing dates. The tour takes its name from the 2020 Power Up album. (The band’s repertoire is released by Columbia Records in the United States and by Sony worldwide.) Alvin Handwerker of Prager Metis handles management.

On record, AC/DC began its loud and mighty run 50 years ago, with the release of High Voltage. The album was created in “a very economical two weeks,” as Jeff Apter writes in the 2018 biography High Voltage: The Life of Angus Young. The second week focused on Angus’ guitar solos and the controlled night-prowler shrieks of frontman Bon Scott, who died in 1980.

Angus has said of Alberts, the band’s Sydney studio, “I would have liked to have taken the f–king walls with me and kept them. A guitar just came to life in there. It was a little downtrodden, but it had a great vibe, this energy to it.”

The group’s pathway through the music business began with Sydney publisher Ted Albert, who lived in a mansion called Boomerang and sailed with his father on a yacht of the same name. His company, Albert Productions, had signed Australian rock’n’roll band The Easybeats in 1965, putting out classics such as “Friday on My Mind” and “St. Louis” before it broke up four years later. That act’s rhythm guitarist, George Young, turned out to have talented younger brothers, Malcolm and Angus, and the Albert connection led to AC/DC signing with the company in 1974. George and bandmate Harry Vanda, who served as High Voltage’s co-producers, had a knack for drawing the screechy rock rawness out of Angus and Malcolm.

“That was our first real album,” Angus told Guitar Player in 2003, “and it was the one that defined our style.”

The album’s opening track, “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll),” began as a “jam,” Angus recalled in a 1992 interview, published many years later in Classic Rock. “We were just playing away, and my brother George left the tape rolling. After we finished, he was jumping up and down in the studio going, ‘Great, great, this is magic!’ And you’re thinking, ‘What’s he on about?’ And he played it back and there it was. It had that magic atmosphere.”

Although AC/DC became known for its lascivious vocals full of not-so-disguised euphemisms, “It’s a Long Way to the Top” is almost a folk ballad, lamenting endless hard work and “getting old, getting gray, getting ripped off, underpaid.” Country, folk and Americana singers including Lucinda Williams and Cody Jinks have covered it.

The droning track required a droning instrument — bagpipes — as its crucial final touch, the producers’ idea.

“Bagpipes!” exclaimed Steve Leeds, head of album promotion for AC/DC’s longtime U.S. label, Atlantic Records, as reported in Jesse Fink’s 2013 book The Youngs: The Brothers Who Built AC/DC. “There are no bagpipes on the radio, even today. George and Harry were f–king geniuses. They figured it out. Conventional wisdom says, ‘You guys are crazy.’ ”

George knew how to communicate with musicians, and he recognized that the band’s imperfect quality in the studio could lead to spontaneous excitement on its recordings. At one point, while recording the title track, drummer Phil Rudd thought he had “messed up” during a fill, Angus recalled in 1992. “And George is signaling: ‘Keep going. Keep going.’ And we finish that take and we come in and go, ‘OK, we better try again.’ And he goes, ‘No. That was the take.’ And that was the one we used.” The track wound up closing the album.

From Australia to the United States, where it was released in 1976, High Voltage received almost no attention — other than negative attention. Critics were merciless. Rolling Stone’s infamous pan called the band “Australian gross-out champions,” declared hard rock “has unquestionably hit its all-time low,” referred to its rhythm section as “goose-stepping” and concluded the whole operation added up to “calculated stupidity.” A short feature two years later — written by Ira Kaplan, later frontman of Yo La Tengo — concluded, “There’s nothing new going on musically, but AC/DC attacks the old clichés with overwhelming exuberance.”

Many critics back then blooped over Malcolm’s steel-beam rhythms and Angus’ devotional reinterpretations of Muddy Waters and Chuck Berry and stripped-down arrangements that distilled The Rolling Stones, Aerosmith and The Stooges into riffs that gained power with repetition.

“At that time, Rolling Stone was really into the punk genre and were matching up everything to what was the current flavor of the day,” Angus told Vulture in 2020. “What we did was rock’n’roll and we weren’t going to change anything.”

Malcolm Young, Bon Scott, and Angus Young of AC/DC performing at The Nashville Rooms on April 26, 1976 in London.

Dick Barnatt/Redferns

The vision paid off — eventually. Angus would criticize “really soft” Australian radio for being overobsessed with Air Supply and worse. But in the United States, programmers for a small San Antonio rock station picked up High Voltage and aired it immediately. This led to a show at Austin’s 1,500-capacity Armadillo World Headquarters and, later, airplay in the Bay Area and Boston.

“Up until that point, all we had really done was a lot of touring around Australia, so it was great to get into a studio and really hear how we sounded,” Angus recalled in 2003. “What was impressive about that album was that it sold on word-of-mouth alone.”

The band also played at CBGB, the New York punk fixture where the Ramones, Patti Smith, Blondie and Talking Heads first became famous. When Atlantic co-founder Ahmet Ertegun saw that gig, he agreed to sign AC/DC, steering the band at first to the label’s Atco imprint. “I’m not sure I would have signed them when I first heard them,” the late Ertegun told Billboard in 1998. “They were very modern; they were pushing the envelope. They were very young-looking then and very ratty-looking. A lot of those bands had disdain for anything that resembled authority.”

Angus responded, sort of. In a 2020 interview with Billboard, he said, “Some people would say, ‘Well, you have a very juvenile approach to what you’re singing.’ But good rock’n’roll is juvenile, in a sense.”

At first, High Voltage was hardly a blockbuster, neither in its native Australia nor the United States. Not even “T.N.T.” charted on the Billboard Hot 100. But it since has become one of the band’s most beloved tracks, with 436 million U.S. streams, as well as 826 million Spotify plays internationally.

AC/DC’s first track to hit the Hot 100 was “Highway to Hell,” in October 1979, at a modest No. 47. And its debut album didn’t crack the Billboard 200 until 1981, long after Highway to Hell broke into the top 20 and Back in Black followed by reaching No. 4. Album-oriented rock, indeed. High Voltage took five years to go gold in the United States in 1981, according to the RIAA, and hit quadruple-platinum in July 2024.

As it turns out, consistency is exactly half of AC/DC’s formula for commercial success. The other half is a combination of songs that sound perfect no matter how many times they’re played on the radio and onstage. Like the song goes, “If you think it’s easy doing one-night stands/Try playing in a rock-roll band.”

James Hetfield of Metallica put it a different way, describing the live Angus experience to Billboard in 2016: “That guy sweats so much every night. I can’t believe his head is still on his body.”

This story appears in the April 19, 2025, issue of Billboard.

Dua Lipa wrapped the Australian leg of her Radical Optimism world tour on March 29 with one last surprise for Sydney fans: a stripped-back duet of “Big Jet Plane” alongside Angus Stone. Explore Explore See latest videos, charts and news See latest videos, charts and news The crowd at Qudos Bank Arena joined in on […]

Camila Cabello is heading to Australia for two massive shows this August as part of her global Yours, C tour.
The pop star will perform in Sydney and Melbourne, bringing her latest album C,XOXO to life onstage following her recent run of festival appearances across Europe.

The Yours, C tour marks Cabello’s first as a solo artist, with her previous performances in the country as part of Taylor Swift’s Reputation tour. Since then, she’s continued to evolve as a solo artist with hit singles like “Bam Bam” and her genre-blurring fourth studio album C,XOXO, which blends pop, trap, reggaeton and punk.

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Following a string of memorable performances at major international festivals last summer, including Glastonbury Festival (UK), Rock in Rio Lisbon (Portugal), and Tinderbox Festival (Denmark), Camila will kick off the Yours, C tour in Marbella, Spain, before hitting Australia.

Speaking about the tour in February, Cabello wrote on Instagram: “I have been dying to tell you this. You have been so patient, and now it’s finally happening. I haven’t seen you guys on tour in so long, I wanted it to be a love letter to you guys for the summer. For the summer I’m yours.”

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At the BAFTAs in London in February, the “Havana” singer dropped a hint on the red carpet that she would be heading Down Under as part of the tour.

“I’m actually going on tour this summer, for the first time in a very long time, so I’m gonna be on tour all over Europe.” She added, “I’ll be playing some festivals, but a lot of headline shows. I’m gonna be in London July 8th, so I’m excited about that.”

Her latest singles “I Luv It” and “He Knows” have been making waves online and teasing a bold new era for the former Fifth Harmony star.

Camila Cabello – Yours, C Tour Australia Dates

Aug. 20 – Sydney, Qudos Bank ArenaAug. 22 – Melbourne, Rod Laver Arena

Falling in Reverse frontman Ronnie Radke is facing scrutiny after a social media tirade directed at Australian councillors prompted an official report to Tasmania Police.

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The backlash stems from a photo shared by Launceston Mayor Matthew Garwood, who posed with Radke during the band’s current Australian tour. The image quickly drew criticism from councillors and members of the community, referencing Radke’s criminal past, including prior convictions for domestic violence and assault in 2012.

He also faced sexual assault allegations in 2015, though he was not convicted of that offence.

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“I stand in solidarity with all the women who have suffered at the hands of violence, whose voices are continually silenced while men like Ronnie Radke are given hero status,” Councillor Lindi McMahon said in a statement reported by ABC News.

In response, Radke lashed out on Instagram, calling the ABC “propaganda pieces of s–t” and directly targeting Councillors McMahon and Andrea Dawkins. He referred to Dawkins as a “disgusting f—ing human,” tagging her account and instructing his followers to “go give her the much needed bullying she deserves.”

City of Launceston CEO Sam Johnson issued a firm response condemning the artist’s comments, calling them “dangerous and irresponsible.”

“The City of Launceston condemns the dangerous and irresponsible actions of US singer Ronnie Radke, who has used his social media platform to incite harassment and abuse against elected councillors,” Johnson’s statement reads.

“His recent Instagram video – which calls on his followers to target and intimidate Councillors who expressed concerns over a photo with the Mayor – is not only reckless but entirely unacceptable.

“Councillors have a duty to represent the interests of the community without fear of intimidation or abuse. No individual – celebrity or otherwise – has the right to weaponise their platform against those who exercise their democratic right to voice concerns.

“Mr Radke’s actions place undue risk on the safety and wellbeing of Councillors and their families, creating a hostile environment that goes against the principles of free speech, accountability, and civil discourse.

He confirmed that Tasmania Police had been contacted regarding the posts, adding that the council had reported Radke’s video to Instagram and urged social media platforms to act on the misuse of their services.

“We call on Mr. Radke to immediately retract his inflammatory statements and take responsibility for the harm his words have caused,” Johnson added. “His actions place undue risk on the safety and wellbeing of Councillors and their families, creating a hostile environment that goes against the principles of free speech, accountability, and civil discourse.”

Radke has since doubled down with a second video on Sunday, again attacking the councillors and showing no indication of retraction.

Meanwhile, Garwood has spoken out after posting the now-deleted photograph of himself of Radke., describing the last few days as “absolute mayhem”.

“I am deeply alarmed to hear of serious threats towards my colleagues and am concerned for their welfare and around the manner in which these uploads were delivered,” he wrote on March 23.

“The recent social media posts made by Ronnie Radke regarding City of Launceston Councillors were entirely his own and do not reflect my views in any way and I condemn the call for bullying and the way in which they have been delivered. I do not condone violence or threats against anyone, and I believe in respectful discourse, even in disagreement; Which is something that I too need to be better at.”

“These posts are a personal response from Mr. Radke to individual’s comments made about him. They were not directly related to my attendance at his show. It is important to separate individual opinions from broader discussions, and I encourage respectful engagement on all matters.”

He continued, “As stated in my previous post, I saw this as simply an opportunity to meet a band I’ve listened to since high school. Never to endorse any specific actions or personal positions of the band. I appreciate that people have differing views on this, and I will continue to respect those perspectives”

King Stingray has announced the departure of lead vocalist Yirrŋa Yunupiŋu just as the band prepares to embark on their massive For The Dreams national tour.
The announcement was shared via the band’s social media on March 19, confirming that Yunupiŋu, who co-founded the band in 2020, will no longer be part of the lineup. Stepping into the role is Ngalakan Wanambi, who has already performed with King Stingray on their recent U.S. tour.

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“Hey everyone, we’ve got some news to share – King Stingray and Yirrŋa have parted ways,” the band wrote. “To keep the fire burning, we’re stoked to introduce the deadly Ngalakan Wanambi stepping up on vocals. He absolutely smashed it with us on our recent U.S. tour, and as always, our main man, Dima Burarrwanga, will be bringing the energy as he always does.”

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Formed in Yirrkala, a remote community in Arnhem Land, King Stingray quickly made a name for themselves with their blend of Yolŋu rock, seamlessly fusing Indigenous sounds with surf-rock and alternative influences. Yunupiŋu, the nephew of the late Dr. M. Yunupiŋu of Yothu Yindi, co-founded the group with guitarist Roy Kellaway, the son of Yothu Yindi bassist Stuart Kellaway.

With Yunupiŋu as lead singer, King Stingray released their self-titled debut album in 2022, followed by For The Dreams in November 2024. The band has since been at the forefront of Australia’s contemporary music scene, winning critical acclaim and multiple awards, including an ARIA for Best Independent Release.

Their For The Dreams national tour kicks off March 21 at Sydney’s Hordern Pavilion, followed by stops in Brisbane, Adelaide, Melbourne, and Fremantle. Special guests Beddy Rays and The Belair Lip Bombs will join them on select dates.

Despite the lineup change, the band assured fans that the tour will retain the signature King Stingray energy. “This For The Dreams tour is gonna be something really special – same King Stingray spirit, same unstoppable Yolŋu rock and a whole lotta love,” they wrote.

Australia has fallen out of the top 10 global music markets for the first time in nearly three decades, according to the International Federation of the Phonographic Industry’s (IFPI) latest Global Music Report.

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The annual report, released this week, ranks the world’s largest music markets based on recorded music revenues, with the United States, Japan, and the United Kingdom retaining their long-standing dominance in the top three positions. However, for the first time since at least 1996, Australia is absent from the top 10, with Mexico overtaking it to claim the final spot.

Despite this shift, recorded music revenues in Australia continue to rise. The IFPI report states that revenues in Australasia reached $629 million in 2024, reflecting a 6.4% increase, with Australia specifically seeing a 6.1% boost. Similarly, New Zealand experienced a 7.8% revenue increase. Yet, these figures were not enough to maintain Australia’s position in the ranking, as markets like Mexico saw even more rapid growth, with a 15.6% increase, while Brazil, now ranked ninth, grew by a staggering 21.7%.

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Historically, Australia has been a formidable player in the global music industry, reaching as high as No. 6 on the IFPI’s ranking in 2004 and holding that position again from 2007 to 2015. In recent years, however, the country has hovered on the edge of the top 10 before finally dropping out in 2024.

This decline raises questions about the factors influencing Australia’s global standing. While growth remains steady, the rapid expansion of emerging markets suggests a shift in industry investment and audience engagement. Countries like Mexico and Brazil have seen increased investment in A&R, marketing, and local talent development, contributing to their rising influence on the international stage.

The IFPI’s Global Market Overview offers an optimistic outlook overall, noting that worldwide music revenues increased for the tenth consecutive year, growing 4.8% to a total of $29.6 billion. “The growth tells a story of an industry that continues to evolve and adapt around the world – with every region experiencing growth,” the report states.

However, the challenge for Australia lies in securing a stronger foothold in the global landscape amid this evolving market. Recent figures from ARIA indicate six consecutive years of revenue growth in Australia’s recorded music sector, but the nation’s industry leaders may need to explore new strategies to regain their competitive edge. Increased investment in local artists, a greater push for international market penetration, and innovations in streaming and digital distribution could all be key to Australia reclaiming its spot in the global top 10.

The full IFPI Global Music Report is available for review, providing further insights into the shifts shaping the industry in 2025.

Chris Stapleton isn’t taking part in one of Australia’s most infamous concert traditions.
The 10-time Grammy winner, who is currently on his first-ever tour of the country, has made it clear that he won’t be doing a shoey—drinking beer from a shoe—despite the custom being a fan favorite at major performances.

“I’ve heard about this. I asked somebody before I went on for the first night, ‘Is there anything that I should be prepared for?’” Stapleton said according to news.com.au.

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“And then they’re like, ‘Yes, a shoey. They’ll want you to drink beer out of a shoe’. And I said I will graciously decline to do that. But no one has asked me to do that yet and maybe this interview will make someone want to do that. I don’t know. But I’m probably going to decline that request.

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“I mean is there some kind of penalty if I don’t do it? Are they going to throw things at me?”

The country star joins a growing list of artists who have opted out of the tradition, which has been embraced by performers like Luke Combs, Lainey Wilson, and Morgan Wallen. While Stapleton remains appreciative of his Australian fans, he’s keeping the focus on his music rather than sideline antics.

Stapleton’s tour has been a massive success, with tickets selling out in minutes. His impact on the country music scene has been undeniable, with five No.1 albums and collaborations with Adele, Justin Timberlake, Pink, Dolly Parton, and Taylor Swift. His latest single, “Think I’m In Love With You”, saw renewed success after he performed a special version with Dua Lipa at the Country Music Awards in Texas.

In between sold-out shows, Stapleton has been making time to promote his Traveller Whiskey, which has just launched in Australia.

Partnering with Kentucky distillery Buffalo Trace, he emphasized that this isn’t just a celebrity-branded product, but a passion project.

“I don’t look at it as a side hustle, this is a company that makes some of the finest bourbons in the world and a bottle of something that master distiller Harlen Wheatley has made has been in the studio for every record I’ve ever made,” he said.

“This is a point of passion for me and you know it’s a bit of a hindrance, the perception that it’s a side hustle that somebody makes something somewhere and they get a celebrity to slap their name on it But I’m not into that and I really believe in what’s in the bottle and the people that are making the whiskey and they’re very serious about it and I am too.”

Stapleton’s Australian tour continues with back-to-back sold-out performances at Brisbane Entertainment Centre before heading to Sydney’s Qudos Bank Arena on March 4 and 5.

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Drake and his Anita Max Win world tour in the Oceania region kicked off near the top of the month and was slated to run until March 16. However, reports have emerged that Drake will halt the remaining days of the tour due to scheduling conflicts with a promise of rescheduling those dates.
Drake was scheduled for select show stops in Australia and New Zealand after kicking off the Anita Max Win tour on Feb. 4 in Perth. As seen on Rolling Stone AU/NZ, a rep for the OVO Sound honcho confirmed that the remaining dates will be put on pause and shared a brief statement.

From Rolling Stone AU/NZ:

“Due to a scheduling conflict, four of Drake’s 16 sold-out shows in Australia and New Zealand will be postponed. We are actively working on rescheduling these dates along with adding some additional shows.
All tickets for the affected shows will remain valid for the new dates. Refunds will be available for those who prefer, but please note that as these shows are sold out, any refunded tickets will be released for sale.
We sincerely apologize for the inconvenience and appreciate your patience. Drake and the entire team have had an incredible time doing these shows and are excited to return soon.
We look forward to sharing the rescheduled dates with you as soon as possible.”
Drake was scheduled to play shows on March 4 in Brisbane, then trekking over to Sydney on March 7. The final two shows on March 15 and 16 were slated to take place in Auckland, New Zealand.

Photo: Cole Burston / Getty

Kendrick Lamar remains untouchable at the top of the ARIA Singles Chart, extending his reign at No. 1 with ‘Not Like Us’ while securing another major win as ‘Luther‘ climbs to a new peak at No. 2.

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The latest chart, published Friday (Feb. 21), reflects the ongoing global dominance of Lamar, who has owned 2025 so far—from his record-breaking Super Bowl halftime performance to five Grammy wins, including Record and Song of the Year for ‘Not Like Us.’

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The Drake diss track, which has fueled one of the most publicized rap rivalries in recent memory, continues to drive massive streaming numbers, keeping it firmly at No. 1 in Australia for a second week. Meanwhile, ‘Luther,’ a standout from GNX, leaps from No. 8 to No. 2, further tightening Lamar’s grip on the chart.

He’s not done there—his 2018 Black Panther soundtrack hit ‘All The Stars’ with SZA makes a surprise resurgence, soaring from No. 22 to No. 8, re-entering the top 10 after the Grammy spotlight. Additionally, GNX track ‘tv off’ is on the move, climbing from No. 16 to No. 12 as Lamar maintains four songs in the top 20.

While Lamar dominates the chart, Rosé and Bruno Mars’ ‘APT.’ maintains a strong presence in the top three, slipping from No. 2 to No. 3 after previously peaking at No. 1 on the ARIA Chart last month.

On the homegrown front, Dom Dolla remains the highest-charting Australian artist this week, with ‘Dreamin’,’ though the club anthem takes a hit, sliding from No. 33 to No. 43. Despite the drop, the track has been a festival favorite, keeping him in the ARIA mix.

With multiple songs holding top positions across streaming platforms and radio airplay, Kendrick Lamar’s grip on 2025 remains unshaken. ‘Not Like Us’ continues to be one of the most talked-about hip-hop tracks of the decade, and as GNX builds momentum, it’s clear Lamar is set for an unstoppable run this year.

Over on the ARIA Albums Chart, Sabrina Carpenter’s Short n’ Sweet returns to No. 1, rebounding from No. 4. The pop star’s breakout album has been a global success, ranking as the third-biggest release of 2024 behind albums from Taylor Swift and Billie Eilish. The album’s deluxe edition, released on Feb. 14, helped boost its performance, alongside the debut of ‘Busy Woman’ at No. 22 on the singles chart.

Drake and PARTYNEXTDOOR, who’ve been lighting up Australia on the Anita Max Win Tour, land at No. 2 on the albums chart with their collaborative LP, $ome $exy $ongs 4 U, which dropped on Valentine’s Day.

Three tracks from the album make an impact on the singles chart, with Drake’s solo cut ‘Nokia’ entering at No. 28. The project follows Drake’s streak of No. 1 albums in Australia, including Views (2016), Scorpion (2018), Dark Lane Demo Tapes (2020), Certified Lover Boy (2021), and For All the Dogs (2023).

Brisbane artist Mallrat earns a top 40 debut with Light Hit My Face Like A Straight Right, entering at No. 35. It marks her third ARIA-charting project following Driving Music (No. 10 in 2019) and Butterfly Blue (No. 6 in 2022). Close behind, Canberra rock band Hands Like Houses enters at No. 36 with their fifth studio album, Atmospherics.

Drake’s Anita Max Win Tour in Australia continues to deliver viral moments—this time, with the rapper handing out $30,000 to a pregnant fan at his Sydney show at Qudos Bank Arena on Wednesday night (Feb. 19).

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During a break in his set, Drake was scanning the crowd for signs when he spotted one that read: “I’m 20 weeks pregnant.” In a video circulating social media, the “Hotline Bling” rapper immediately reacted with disbelief.

“Are you 20 weeks pregnant? Get out of the pit. Get outta there,” Drake told the fan, later identified as Tiana Henderson, before instructing security to move her to VIP seating. “Give her some VIP tickets immediately and like $30,000,” he added before jokingly asking, “Who the f—brings a baby to a mosh pit?”

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Henderson and her friend were then escorted out of the packed general admission area to a more comfortable spot in VIP.

Drake’s latest giveaway is just one of many on his Anita Max Win Tour, where he has been handing out cash to fans throughout Australia. At his Melbourne show earlier this month, he reportedly gifted a fan $25,000 after noticing a sign referencing his son, Adonis, and another $20,000 to a concertgoer celebrating her birthday. While performing in Perth, he handed out $40,000 to two fans, including one waving the Canadian flag.

Earlier this week, he made headlines again by giving $30,000 to a fan in Sydney who held up a sign asking for help to quit their job at McDonald’s. The rapper played into the Australian slang, repeating the request in an exaggerated Aussie accent: “Help us quit Maccas, mate.”

In addition to his on-stage giveaways, Drake has been using the tour to promote $ome $exy $ongs 4 U, his newly released joint album with longtime collaborator PARTYNEXTDOOR, who has joined him on-stage during his Australian tour.

Released on Feb. 14, the project has been a commercial success, earning over 56.6 million first-day streams on Spotify—making it the second-highest debut of the year. $ome $exy $ongs 4 U also broke the record for the biggest R&B/Soul album in Apple Music’s history by first-day streams worldwide.

Drake and Party are set to headline the first day of this year’s Wireless Festival in London with special guest Summer Walker in July. Drake will also headline the next two days with “The Mandem,” Burna Boy, and the Worl’ Boss Vybz Kartel by his side.

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