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Papa Roach notches its 10th career No. 1, and its fourth from its 2022 album Ego Trip, on Billboard’s Mainstream Rock Airplay chart, as “Leave a Light On” leaps 4-1 on the Feb. 24-dated survey.
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Papa Roach becomes the 11th act to achieve 10 of more rulers in the chart’s 43-year history. Shinedown leads all acts with 19 No. 1s.
Speaking of Shinedown, Papa Roach joins the band as one of only seven acts with at least four Mainstream Rock Airplay No. 1s from a single album. Eight sets in all have reached the milestone, with two belonging to Shinedown. The Black Crowes first did so in 1992 via The Southern Harmony and Musical Companion. Prior to Papa Roach, Linkin Park joined the elite club thanks to a fourth No. 1 from its 2003 album Meteora, with “Lost” leading from the set’s 20th-anniversary deluxe version.
Albums With Four or More Mainstream Rock Airplay No. 1s:5, The Sound of Madness, Shinedown, 2008-11: “Devour,” “Second Chance,” “Sound of Madness,” “The Crow & the Butterfly,” “Diamond Eyes (Boom-Lay Boom-Lay Boom)” (the lattermost song was added for the album’s 2010 deluxe release)4, Ego Trip, Papa Roach, 2021-24: “Kill the Noise,” “No Apologies,” “Cut the Line,” “Leave a Light On”4, Meteora, Linkin Park, 2003-04; 2023: “Somewhere I Belong,” “Numb,” “Lying From You,” “Lost” (the lattermost song was added for the album’s 2023 20th anniversary reissue)4, F8, Five Finger Death Punch, 2020-21: “Inside Out,” “A Little Bit Off,” “Living the Dream,” “Darkness Settles In”4, When Legends Rise, Godsmack, 2018-20: “Bulletproof,” “When Legends Rise,” “Under Your Scars,” “Unforgettable”4, Attention Attention, Shinedown, 2018-20: “Devil,” “Get Up,” “Monsters,” “Attention Attention”4, Immortalized, Disturbed, 2015-16: “The Vengeful One,” “The Light,” “The Sound of Silence,” “Open Your Eyes”4, The Southern Harmony and Musical Companion, The Black Crowes, 1992: “Remedy,” “Sting Me,” “Thorn in My Pride,” “Hotel Illness”
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Papa Roach first topped Mainstream Rock Airplay in 2009, for six weeks with “Lifeline.” The band’s history on the chart stretches back to 2000, when its debut entry “Last Resort” hit No. 4.
“Leave a Light On” is the sixth song from Ego Trip to reach Mainstream Rock Airplay. In addition to its four rulers, “Swerve” peaked at No. 35 in September 2021 and “Stand Up” reached No. 12 in April 2022.
Concurrently, “Leave a Light On” lifts 25-22 on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it ranks at No. 12, after hitting No. 10, with 3.3 million audience impressions, up 2%, Feb. 9-15, according to Luminate.
Ego Trip, Papa Roach’s 11th studio LP, debuted at No. 6 on the Top Hard Rock Albums chart in April 2022 and has earned 125,000 equivalent album units to date.
All Billboard charts dated Feb. 24 will update on Billboard.com Wednesday, Feb. 21, a day later than usual due to the Presidents’ Day holiday (Feb. 19) in the U.S.
Kanye West and Ty Dolla $ign land at No. 1 in Australia with Vultures 1.
The result, which answers a question on how international audiences would respond to Ye’s recent controversies, is his fifth ARIA Chart leader, following Yeezus (June 2013), Ye (June 2018), Jesus Is King (Nov. 2019) and Donda (March 2021), an album from which a record-setting 19 tracks flooded the singles tally.
The independently-released effort is a career best for Ty Dolla $ign (Universal), beating the No. 37 peak of Beach House 3 in 2017.
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Also new to the ARIA Albums Chart, published Friday, Feb. 16, is Jessica Mauboy‘s Yours Forever, new at No. 10 for the homegrown pop star’s eighth top 10 album.
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Yours Forever is Mauboy’s first LP for Warner Music, and is the followup to 2019’s Hilda, her second ARIA No. 1 album.
A trio of leading ladies from the United States are in the market, or on the way. And the excitement around their live appearances are impacting the national charts.
Taylor Swift kicks off the Australia leg of her The Eras Tour tonight, with the first of three consecutive nights at the Melbourne Cricket Ground. Currently, half of the top 10 titles on the ARIA Chart, and eight of the top 20, belong to TayTay. Produced by Frontier Touring, Swift’s tour of these parts wraps next week with a four-night stand at Sydney’s Accor Stadium.
Pink, meanwhile, is touring stadiums for Live Nation, a trek that sees her former leader Trustfall (RCA/Sony) return to the top 10, up 36-9.
And SZA’s SOS (RCA/Sony) spikes, following the announcement of an arena tour of these parts, also produced by LN. SOS lifts 10-5.
Over on the ARIA Singles Chart, published today, Noah Kahan’s “Stick Season” (Universal) logs a third week at No. 1. “Stick Season” leads a podium ahead of Benson Boone’s “Beautiful Things” (Warner) and Jack Harlow’s “Lovin On Me” (Atlantic/Warner), respectively.
Six weeks after Audacy filed for bankruptcy, a corporate maneuver that sees Soros Fund Management emerge as the radio company’s primary shareholder.
Soros Fund Management takes its seat at the head of the table after acquiring a sizeable chunk of Audacy’s debt, roughly $414 million in total.
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The private investment management fund takes around 40% of Audacy’s total senior debt, source tells the New York Post, outsizing the stakes held by the likes of PGIM, Capital Commercial Finance, Goldman Sachs Asset Management, Mockingbird Credit Opportunities Company, and Solus Alternative Asset Management.
Billboard reached out to Audacy but reps hadn’t responded at press time.
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Led by chairman George Soros, who founded the private investment management fund in 1970, Soros Fund Management has experience working with radio and media assets, including $80 million invested for Latino Media Networks by way of Lakestar Finance, notes Radio Ink, plus investments in Vice Media and Crooked Media.
Addressing the Soros development, Audacy noted, “The decision by our existing and new debtholders to become equity holders in Audacy represents a significant vote of confidence in our company and the future of the radio and audio business.”
Its statement continues, “We expect to emerge from our restructuring process with a strong capital structure and well-positioned to capitalize on our strategic transformation into a scaled leading multi-platform audio content and entertainment company. We intend to continue running our business, executing our strategy and delivering for our listeners and advertisers as we always do.”
The Soros investment comes amid a turbulent time for Audacy, which on Jan. 7 said it would file for Chapter 11 bankruptcy protection to reduce debts.
The Philadelphia-based broadcasting giant, formerly named Entercom, said at the time that a deal with debt holders would reduce its debt load by about 80%, from $1.9 billion, acquired primarily from its 2017 merger with CBS Radio, down to $350 million, according to The Hollywood Reporter.
That agreement, first disclosed by The Wall Street Journal, would give Audacy’s debt holders equity in the reorganized company.
Audacy’s portfolio includes 230 radio stations, among them WCBS in New York, KROQ in Los Angeles, WFAN Sports Radio in New York and WBBM Newsradio in Chicago. Audacy’s podcasting brands include two studios, Cadence13 and Pineapple Street Studios, and Popcorn, an online marketplace for connecting creators and brands. Each month, the business claims to engage with over 170 million.
Trouble was brewing back in May 2023 when the business warned that a weak financial outlook could cause it to default on its debt.
Audacy has previously said it does not expect any operational impact due to the bankruptcy and restructuring.
A hearing to approve the Audacy restructuring plan is set for Feb. 20 in a Houston bankruptcy court.
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Benson Boone reaches No. 1 for the first time on Billboard’s Streaming Songs chart, as “Beautiful Things” lifts 5-1 on the Feb. 17-dated ranking.
In the Feb. 2-8 tracking week, “Beautiful Things” earned 22.8 million official U.S. streams, according to Luminate. That’s up 23% from the previous frame (Jan. 26-Feb. 1), when the song accumulated 18.5 million streams.
The song premiered at No. 5 on the Feb. 3-dated survey via 15.7 million streams, meaning the song has gained by at least 18% in streams in every week since its release so far (it debuted on streaming platforms on Jan. 18 following a multi-week tease on TikTok).
Boone’s No. 1 on Streaming Songs makes him the first act to snag their first ruler on the chart as a lead artist since Doja Cat, whose “Paint the Town Red” reigned in October 2023.
As Doja Cat had a multi-song history on Streaming Songs prior to her first No. 1, unlike Boone, Boone becomes the first to top the list in their first appearance as a lead act since Oliver Anthony Music, with “Rich Men North of Richmond,” in September 2023.
The other claim to fame for Boone is that “Beautiful Things” is the first song of 2024 to rise to No. 1 for its first reign on Streaming Songs rather than debuting there. The last song to do that was Jack Harlow’s “Lovin on Me,” which reached the top in its second week (Dec. 2, 2023) after debuting at No. 2 the week before.
Concurrently, as previously reported, “Beautiful Things” jumps 8-3 on the multi-metric Billboard Hot 100. In addition to its streams, the song earned 3.4 million radio audience impressions, (up 321%) and 9,000 downloads (up 15%). Early airplay success has been courtesy of the Adult Pop Airplay (No. 28) and Pop Airplay (No. 32) charts.
The tune also tops the Global 200 for the first time.
“Beautiful Things” is currently a standalone single for Boone, who’s released two EPs, Walk Me Home… (2022) and Pulse (2023).
Kansas City disc jockey Lisa Lopez-Galvan was killed in the shooting at the Chiefs’ Super Bowl parade.In a statement on its Facebook page, KKFI 90.1 FM confirmed Lopez-Galvan’s death, remarking that the “senseless act has taken a beautiful person from her family and this KC community.”Lopez-Galvan, a mother of two, co-hosted “Taste of Tejano” for KKFI since March 2022.“It is with sincere sadness and an extremely heavy and broken heart that we let our community know that KKFI DJ Lisa Lopez, host of Taste of Tejano lost her life today in the shooting at the KC Chiefs’ rally. Our hearts and prayers are with her family,” the statement reads. “We encourage anyone who feels they saw something to reach out to law enforcement at 816 234 5111.”
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A followup message urges listeners, friends and family to “please keep our Lisa and the Lopez family in your prayers.”A private mobile DJ for more than 15 years, the bilingual Lopez-Galvan played “for all types of crowds,” reads a statement from KKFI, carried “plenty of music knowledge” and was a lifelong music fan. “For Lisa music is life and a source of happiness,” reads her biog.Earlier, officials reported that one person died and at least 21 others were wounded in the incident west of Union Station, which occurred towards the end of a parade in Kansas City, Mo, celebrating the Chiefs’ win in the Super Bowl last weekend. According to reports, police detained three suspects.A statement from the Chiefs reads, “We are truly saddened by the senseless act of violence that occurred outside of Union Station at the conclusion of today’s parade and rally. Our hearts go out to the victims, their families and all of Kansas City.” All of the franchise’s players, coaches, staff and their families are said to be “safe and accounted for.”Several hospitals in the area treated the wounded, including eight with “immediately” life-threatening injuries and seven with life-threatening injuries, according to the Kansas City Fire Department.
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Jennifer Lopez is a romantic, sure, but she’s not hopeless with it. And definitely not a sex addict. A love addict? Now we’re talking.
That’s the word according to Lopez. The pop veteran stopped by Carrie & Tommy’s drive-time Australian radio station drive show on the Hit Network, for an exploration of her two-part This Is Me…Now project — an album and an Amazon original film, This Is Me…Now: A Love Story, both set for release this Friday, Feb. 16.
Directed by Dave Meyers (Ariana Grande, Taylor Swift), This Is Me…Now: A Love Story is said to showcase “her journey to love through her own eyes.” For her Australian radio spot, Lopez was asked about the moment in the official trailer, when her pals stage an intervention, telling the “If You Had My Love” singer that she just might be a sex addict.
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“No, no,” she says with a laugh. “People can think all kinds of things when they’re seeing you from the outside, thinking they know what your life is, and you’re like ‘well that’s actually the opposite of the truth’, but it was nice to toy around with all of those ideas.”
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If anything, she would characterize herself “more of a love addict or a workaholic than everything else.”
Lopez co-wrote the film, described in a statement as a “narrative-driven cinematic odyssey, steeped in mythological storytelling and personal healing.”
A decade has passed since Lopez’s last studio album, 2014’s A.K.A., which peaked at No. 8, one of her eight top 10s on the Billboard 200 chart.
Time away from creating music has been restorative. “I feel like this is the best album that I’ve ever made,” she tells Carrie & Tommy. “The most honest and true – it took a long time for me as a musical artist to get there. I’m really happy and proud of this in a way that I don’t think I ever have been before.”
Her ninth studio album, This Is Me…Now completes a concept, an “examination of that journey” from the release of This Is Me.. Then back in 2002 when she was dating Ben Affleck, to her subsequent marriage to the Batman star, and “wanting to share it with the world” through the lens of the project, she continues. “They’ve followed me on that journey and watched me make mistakes and go in and out of relationships and wondered what was going on.”
Lopez and Affleck split in 2004, reunited in 2021 and finally tied the knot in a surprise Las Vegas wedding in July 2022 – 20 years after that album release. The rest has been like, well, a romantic film.
“I got to the point in my life where I felt like I have some answers about this, and actually, true love does exist, and some things are forever,” she enthuses. “Don’t give up hope.”
The new album features a sequel to a track from the first This Is Me album, “Dear Ben Pt. II,” plus the previously released, dance-y single “Can’t Get Enough.”
Stream the interview here.
With SZA’s album SOS leading the way and the market enjoying more growth in streaming royalties, Sony Music’s revenue grew 16.0% to 422.1 billion yen ($2.85 billion at the period’s average exchange rate) in its fiscal third quarter ended Dec. 31, the company announced Wednesday (Feb. 14).
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Other top releases for the quarter were Travis Scott’s Utopia, Rod Wave’s Nostalgia, Doja Cat’s Scarlet, Blink-182’s One More Time…, Tate McRae’s Think Later, Harry Styles’ Harry’s House and Fuerza Regida’s Pa Las Baby’s Y Belikeada. A couple holiday classics were amongst Sony’s top albums in the Christmas quarter: Mariah Carey’s Merry Christmas and Phil Spector’s A Christmas Gift for You From Phil Spector.
Streaming fueled growth in both the recorded music and music publishing segments of the business. Paid subscriptions were a major factor in the first full quarter after Spotify raised prices in roughly 50 markets, including the U.S., in July. Favorable foreign exchange rates accounted for about 24% of the quarter’s 58.4 billion yen ($394.9 million) revenue increase.
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Its double-digit revenue growth was comparable on a percentage basis to other music companies that have released earnings. In the same quarter, Warner Music Group’s revenue grew 17.5% to $1.75 billion and Reservoir Media revenue improved 19% to $35.5 million. Spotify, the largest single source for music royalties globally, grew revenue by 16% to 3.67 billion euros ($4.05 billion).
Sony Music’s margins improved across the board, too. Operating income improved 20.8% to 76.1 billion yen ($514.4 million) and adjusted operating income before depreciation and amortization jumped 25.3% to 98.5 billion yen ($666.2 million). Adjusted OIBDA margin improved nearly two percentage points to 23.3% from 21.6% in the prior-year quarter.
The strong quarter led Sony Music to raise its full-year forecasts for the third consecutive quarter. On Wednesday, the company raised the forecasts for both revenue and adjusted OIBDA by 10 billion yen ($68 million) — revenue from 1.56 trillion yen ($10.37 billion at the current exchange rate) to 1.57 trillion yen ($10.43 billion) and adjusted OIBDA from 350 billion yen ($2.33 billion) to 360 million yen ($2.39 billion). When the company released its fiscal second quarter earnings in November, it increased its revenue guidance by 5% to 70 billion yen ($485 million) and adjusted OIBDA by 4%, or 15 billion yen ($104 million). In August, it raised its revenue forecast by 6%.
Both music divisions each posted solid year-over-year gains in the quarter. Recorded music revenues jumped 19.9% to 286.5 billion yen ($1.94 billion). Streaming revenue rose 17.2% to 186.5 billion yen ($1.26 billion) and accounted for about 58% of the segment’s improvement. Physical revenue gained just 1.5% to 31.5 billion yen ($213.2 million). The “other” category — including merchandise, live performances and licensing revenue from synch, public performance and broadcast — jumped 45.9% to 59.7 billion yen ($403.9 million).
Music publishing revenue rose 16.1% to 86.1 billion yen ($582 million). Streaming revenue climbed 22.4% to 50.9 billion yen ($343.9 million) and accounted for 78% of the segment’s year-over-year gain. Publishing’s “other” category grew 8% to 35.2 billion yen ($238.1 million).
Visual media and platform revenue declined 5.1% to 45 billion yen ($304.4 million). The segment includes mobile gaming, software for PCs and game consoles, and software development contracts.
Financial metrics for Sony Music’s fiscal third quarter ended Dec. 31, 2023:
Revenue of 422.1 billion yen ($2.85 billion), up 16.0% year over year.
Adjusted operating income of 98.5 billion yen ($666.2 million), up 25.3% year over year.
Recorded music of 286.5 billion yen ($1.94 million), up 19.9% year over year.
Music publishing revenue of 86.1 billion yen ($582 million), up 16.1% year over year.
Visual media and platform revenue of 45 billion yen ($304.4 million), down 5.1% year over year.
SZA’s forthcoming tour of Australia and New Zealand swells to nine concerts, with the addition this week of two new dates.
The U.S. R&B star will make the long haul in support of her hit album SOS, starting with two shows at Auckland’s Spark Arena (April 15 and 16), and followed by a run of Australia’s three main east coast cities: Sydney, Melbourne and Brisbane. A second concert at Brisbane Entertainment Centre is added for April 20, and a third show is slotted in at Qudos Bank Arena for April 26.
Live Nation Entertainment is producing the tour of ANZ, SZA’s first of these parts in almost five years.
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SOS (via RCA/Sony Music) connected with Australian audiences like few other albums in 2023. Released at the back-end of 2022, the album came in at No. 5 on the ARIA year-end chart for 2023, behind collections from Taylor Swift, The Weeknd and Morgan Wallen.
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SZA’s hit “Kill Bill” logged one week on top of the ARIA Singles Chart in 2023 and finished the year as the No. 3 single, according to ARIA, behind Miley Cyrus’ “Flowers” and Morgan Wallen’s “Last Night,” respectively.
Also, the St. Louis, MO-born artist was shortlisted for most popular international artist at the 2023 ARIA Awards, a category ultimately won by Taylor Swift.
More than a year after its release, SOS is still busting records. The single “Snooze” recently earned an unprecedented 30th week at No. 1 on Billboard’s R&B/Hip-Hop Airplay chart, the most by any song in the list’s 31-year history.
SZA collected three trophies at the Grammy Awards, with best R&B song for “Snooze,” best pop duo/group performance for “Ghost in the Machine” collaboration with Phoebe Bridges, best progressive R&B album for SOS.
SZA’s The SOS Australia & New Zealand Tour Dates:April 15 – Auckland, New Zealand – Spark ArenaApril 16 – Auckland, New Zealand – Spark ArenaApril 19 – Brisbane, Australia – Brisbane Entertainment CentreApril 20 – Brisbane, Australia – Brisbane Entertainment Centre (* new show)April 23 – Sydney, Australia – Qudos Bank ArenaApril 24 – Sydney, Australia – Qudos Bank ArenaApril 26 – Sydney, Australia – Qudos Bank Arena (* new show)April 29 – Melbourne, Australia – Rod Laver ArenaApril 30 – Melbourne, Australia – Rod Laver Arena