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Taylor Swift changes the lyrics to “Karma” and kisses Travis Kelce after her concert in Buenos Aires. The singer also made a speech imploring people not to throw things onstage. Drake announces dates for the ’It’s All A Blur Tour – Big As The What?” with J. Cole. Troye Sivan reacts to an ‘SNL’ sketch […]
Christmas comes early to the U.K. singles chart as perennial hits by Wham and Mariah Carey begin their annual march back up the tally. While the Beatles’ plunder the record books with “Now And Then” (Apple Corps), which blasts to No. 1 on the Official U.K. Singles Chart, 60 years after their last leader, two […]
Despite a challenge from Oasis and BTS’ Jung Kook, Taylor Swift holds onto her U.K. chart crown for a second week with 1989 (Taylor’s Version) (via EMI).
The fourth in Swift’s re-recording projects, 1989 (Taylor’s Version) squeezes past Oasis’ The Masterplan (Big Brother), which enjoys a new chart life thanks to a 25th anniversary.
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Originally released in 1998, The Masterplan gathers b-sides from the Britpop era giants’ first three albums, 1994’s Definitely Maybe, 1995’s (What’s The Story) Morning Glory? and 1997’s Be Here Now, and is led-off by “Acquiesce,” a quintessential fan favorite.
The leader at the midweek point, The Masterplan re-enters the chart at No. 2, its original peak position following its release in 1998. It’s the U.K.’s best-seller on wax during the latest chart cycle.
The top new release on the fresh chart, published Friday, Nov. 10 is Jung Kook’s Golden (BigHit Entertainment), which completes the podium at No. 3. Golden becomes the highest-peaking album from a member of BTS, and the best chart position for a solo Korean artist, the Official Charts Company confirms. Album track “Standing Next to You” bows at No. 6 on the national singles chart, his fourth U.K. top 10 this year.
Meanwhile, legendary English pop artist Cliff Richard snags his 48th U.K. top 10 album with Cliff With Strings – My Kinda Life (EastWest/Rhino), new at No. 5, ahead of Johnny Marr’s Spirit Power: The Best Of Johnny Marr (BMG), debuting at No. 7, marking the ex-Smiths guitarist’s fifth solo U.K. top 10 appearance.
It’s Beatlemania once again on the U.K. Singles Chart as “Now And Then” (Apple Corps) powers to No. 1. As fans of the Fab Four feel the rush of nostalgia, the 2000 career retrospective 1 returns to the top 40 at No. 21. The album has logged 444 weeks on the tally, including one week at No. 1 back in 2000.
Finally, titles from Gregory Porter (Christmas Wish at No. 14 via Decca), Caroline Polachek (Desire I Want To Turn Into You at No. 23 via Perpetual Novice) and Van Morrison (Accentuate The Positive at No. 39 via Exile) enter the top 40 for the first time.
The Beatles make history, many times over, with “Now And Then” (Apple Corps) which powers to No. 1 in the U.K.
The Fab Four’s “last” release powers to the summit of the Official U.K. Singles Chart, published Friday, Nov. 10, having opened at No. 42 based on just 10 hours of sales and streams.
The outright leader at the midweek point, when it outpointed the rest of the top 5 combined, “Now And Then” is the Beatles’ 18th U.K. No. 1, extending their record as the British act with the most leaders. The King, Elvis Presley, reigns over that particular list, with 21 No. 1s.
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Also, “Now And Then” tops the weekly tally a full 60 years and six months after the Beatles’ first No. 1, “From Me To You,” marking the longest gap between an act’s first and last chart-topping hit, the Official Charts Company reports.
For the record, the Beatles’ first single “Love Me Do,” the b-side to “Now And Then,” peaked at No. 17 back in 1962.
The impressive numbers behind the latest No. 1 are worth a closer a look.
“Now And Then” chalks up 78,200 combined chart units in the U.K., including 48,600 sales (physical and download) – making it the fastest selling single of 2023.
It’s 38,000 physical sales are the most by a single in almost a decade. The last record to top it was “Something I Need,” by The X Factor 2014 champion Ben Haenow, which raked in 47,000 physical sales. It’s the fastest-selling vinyl single of the century so far with 19,400 copies sold on wax in the U.K., and it’s easily the group’s most-streamed single (5.03 million plays) and video (2.15 million plays) in a seven-day cycle.Also, the Beatles are the act with the longest gap ever between No. 1 singles (54 years), and the oldest band to top the national singles chart. Surviving members Ringo Starr (83) and Paul McCartney (81) are the second and third oldest chart-topping artists, respectively, after Sir Captain Tom Moore, who was 99 when the charity fundraiser “You’ll Never Walk Alone” (Decca/Universal) with entertainer Michael Ball and the NHS Voices of Care Choir led the tally in April 2020.
“If there were ever any doubts that the Beatles are the greatest band of all time,” comments Martin Talbot, CEO of the Official Charts Company, “they have surely consigned them to history this week.”
Read more here.
It’s Taylor Swift‘s week, again, on Australia‘s charts as Jung Kook arrives at No. 2 with Golden (via ING/Universal), the BTS star’s debut solo album.
That result matches the record for the highest solo debut LP from a Korean artist in Australia, equaling the effort from his BTS bandmate Suga (aka Agust D), who started at No. 2 on the ARIA Chart with his D-2 mixtape in 2020.
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Golden carries previously-released collaborations with 3D and Seven and the new single “Standing Next To You,” new at No. 33 on the latest ARIA Chart.
As a member of BTS, Jung Kook has led the ARIA Albums Chart on three occasions: with Map Of The Soul: Persona (from 2019), Map Of The Soul: 7 (2020) and Proof (2022).
At the top of the ARIA Albums Chart, published Friday, Nov. 10 is Taylor Swift’s 1989 (Taylor’s Version) (via Universal), now entering its second consecutive week at No. 1.
Completing the top 3 on the national albums tally is another Swift hit, Midnights, up lifts 4-3 in its 55th week. There’s no denying her domination of the charts, as Swift logs five of the top 10 albums and nine of the top 40. Over on the singles survey, Swift’s “Is It Over Now? (Taylor’s Version) (From The Vault)” is unmoved from No. 1. According to ARIA, the U.S. pop superstar has accumulated 24 total weeks at No. 1, across 10 songs, starting with 2008’s “Love Story”.
Swift will perform seven dates across two Australian cities early next year on the Australian leg of her The Eras Tour, produced by Frontier Touring.
Finally, the “last” Beatles song “Now And Then” (Capitol/Universal) debuts at No. 6 on the ARIA Singles Chart.
The track began life as a demo written and sung by John Lennon, was later developed and worked on by Paul McCartney, George Harrison and Ringo Starr, and now completed by Paul and Ringo (and some help from artificial intelligence), more than 40 years after the group began work on it.
A rough mix for “Now And Then” was recorded with producer Jeff Lynne back in 1994, but was ultimately shelved because Lennon’s vocals and piano couldn’t be uncoupled from the recording. Two unearthed demos were completed at the time and released as part of the Beatles’ Anthology project, “Free As A Bird” and “Real Love.” The second of those, “Real Love,” hit No. 6 back in 1996, and was the Beatles’ last top 50 single in Australia until now, ARIA reports.
The Beatles have 26 No. 1s in Australia, from 1962 to 1970 when the Fab Four officially split (that run includes a stretch of 14 consecutive leaders from 1966-1970). Elvis Presley is second on the all-time list of leaders with 14.
The Beatles also own the record for most weeks at No. 1 on the ARIA Singles Chart, at 130 weeks.
Beartooth reaches No. 1 on Billboard’s Mainstream Rock Airplay chart for the first time, as “Might Love Myself” rises to the top of the Nov. 18-dated survey.
The song is the Columbus, Ohio, band’s 11th entry on Mainstream Rock Airplay. The Caleb Shomo-fronted act first reached the chart in 2015 with “Beaten In Lips,” which peaked at No. 33 that February. Prior to “Might Love Myself,” Beartooth snagged a pair of top 10s: “Hated” (No. 6, April 2017) and “Disease” (No. 9, December 2018).
Beartooth becomes the first act to score a first Mainstream Rock Airplay No. 1 since Avatar, whose “The Dirt I’m Buried In” led in September. Three acts in all have nabbed their premiere rulers in 2023, with Beartooth and Avatar joined by Bad Omens with “Just Pretend” in March. Four such acts, via three songs, accomplished the feat as lead artists in 2022: Nita Strauss and David Draiman (both on “Dead Inside,” that January), Jelly Roll (“Dead Man Walking,” May) and Motionless in White (“Masterpiece,” October).
Concurrently, “Might Love Myself” holds at its No. 11 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.5 million audience impressions, up 6%, Nov. 3-9, according to Luminate. The song is Beartooth’s top-ranking career hit on the ranking.
On the most recent multi-metric Hot Hard Rock Songs chart (Nov. 11), “Might Love Myself” ranked at its No. 9 best. In addition to its radio airplay, the song earned 495,000 official U.S. streams Oct. 27-Nov. 2.
The track is the second single, following “Riptide,” from The Surface, Beartooth’s fifth studio album. The set started at No. 1 on the Top Hard Rock Albums chart dated Oct. 28 and has earned 53,000 equivalent album units to date.
All Billboard charts dated Nov. 18 will update on Billboard.com on Tuesday, Nov. 14.
Releases by Travis Scott, SZA, Harry Styles and Luke Combs, along with continued paid subscription growth, helped Sony Music Entertainment revenues hit a record 408 billion yen ($2.83 billion at the quarter’s average exchange rate) in its fiscal second quarter ended Sept. 30, up 13.7% from the prior-year period, parent company Sony Corp. announced Thursday.
The company’s previous high for quarterly revenue was 363.7 billion yen ($2.57 billion) in the third quarter of fiscal 2022 (the quarter ended Dec. 31, 2022).
Adjusted operating income grew 10.9% to 97 billion ($672 million). Adjusted OI excludes the impact of a $41.2 million one-time benefit recognized in the prior-year quarter related to settlements of copyright infringement lawsuits. The appreciation of the yen contributed some of the revenue growth in the quarter. Of the 49.4 billion yen ($342 million) revenue increase, foreign exchange accounted for a 12.7 billion yen ($88 million) gain — about a quarter of the improvement.
Recorded music revenues grew 13.3% to 253.8 billion yen ($1.76 billion) on the strength of subscription streaming services such as Spotify, Apple Music and YouTube Music. Streaming revenue grew 14.4% to 173.9 billion yen ($1.2 billion), accounting for 69% of recorded music revenues. Other revenues, which encompass merchandise, licensing and live performances, jumped 51.6% to 50.9 billion yen ($352 million). Physical revenues dropped 14.4% to 20.8 billion yen and download sales fell 42.2% to 8.2 billion yen ($57 million), although the two categories combined accounted for only 11.4% of recorded music sales.
Miley Cyrus’s Endless Summer Vacation, Beyoncé’s Renaissance, Lil Durk’s Almost Healed, Doja Cat’s Scarlet and Luke Comb’s This One’s For You were also among Sony Music’s top ten recorded music releases ranked by revenue. In Japan, Sony Music Entertainment’s top title was Social Path, a Japanese-language EP by K-pop group Stray Kids released with JYP Entertainment. Social Path hit No. 1 on the Billboard Japan Hot Albums chart for two weeks in September.
In the music publishing division, a 14.8% increase in streaming revenue helped total publishing revenue increase 12.6% to 82.7 billion yen ($573 million). Other publishing revenue, which includes mechanical, performance royalties and synch licensing, grew 9.6% to 34.3 billion yen ($237 million).
The visual media and platform division rose 5.7% to 62.9 billion yen ($436 million) and accounted for 15.7% of Sony Music’s total revenue. The division includes mobile games, software for PCs and game consoles, and sales related to software development contracts.
Sony Music increased its full-year guidance for revenue by 5%, or 70 billion yen ($485 million), and adjusted operating income before depreciation and amortization by 4%, or 15 billion yen ($104 million). The upward revisions were due to the impact of foreign exchange, increased streaming revenues in the music publishing division and higher mobile game sales in the visual media and platform division.
Financial metrics for Sony Music’s second fiscal quarter ended Sept. 30, 2023:
Revenue of 408.7 billion yen ($2.83 billion), up 13.7% year over year.
Adjusted operating income of 97 billion yen ($672 million), up 10.9% year over year.
Recorded music revenue of 253.7 billion yen ($1.76 billion), up 13.3% year over year.
Music publishing revenues of 82.7 billion yen ($573 million), up 12.6% year over year.
Visual media and platform revenue of 62.9 billion yen ($436 million), up 5.7% year over year.
It’s that time of year again, the fall, when the flowers drop ahead of the dark, colder months.
Appropriately it was Hibiscus that fell on The Masked Singer on Wednesday night (Nov. 8), and the U.S. reality TV star behind the mask was eliminated from the 2023 competition.
“One-Hit Wonders” was the theme of Fox’s kooky singing contest, as Anteater (singing “Walking in Memphis” by Marc Cohn), Candelabra (singing “1 Thing” by Amerie), Donut (performing “Hooked on a Feeling” by Blue Swede) and Hibiscus (performing “It’s Raining Men by the Weather Girls”) put on a show. Hibiscus and Anteater came off second best, and went into the Smackdown with a rendition of Toni Basil’s “Hey Mickey.”
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Only one could stay. Anteater had it licked.
Under the Hibiscus mask was Real Housewife of New York City and cabaret singer Luann De Lesseps, also known as “The Countess.”
“So much fun,” she said before heading for the exit. “I had the best time”. A parting message, “I’ll see you all at my cabaret show.” And a simple request to keep Hibiscus outfit with her impressive collection.
De Lesseps as Hibiscus departs the competition, joining the likes of Posey as Hawk, Billie Jean King as Royal Hen, Michael Rapaport as Pickle, Tom Sandoval as Diver, Anthony Anderson as Rubber Ducky and Demi Lovato as Anonymouse as this season’s unmasked celebrities.
Robin Thicke, Nicole Scherzinger, Ken Jeong and Jenny McCarthy return as judges for the latest season, which airs Wednesdays on Fox at 8 p.m.
Hosted by Nick Cannon, a wide variety of stars have competed in their ridiculous outfits since the show debuted in 2019, from sports superstars to comedians, actors and more, but the standouts are typically musicians. The very first winner was hip-hop artist T-Pain, who left his trademark Auto-Tune behind to show off his pipes au naturel.
Watch Hibiscus’ final acts below.
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The 2023 CMA Awards are in the books. Lainey Wilson was the big winner, with wins in five categories. That ties the one-year record, first set by Johnny Cash in 1969 and later matched by Vince Gill (1993) and Alan Jackson (2002). This also sets a new, one-year record for a female artist. Just one […]
Lainey Wilson was the big winner at the 2023 CMA Awards, which were held at Bridgestone Arena in Nashville on Wednesday (Nov 8). Wilson won in five categories, which ties the one-year record, first set by Johnny Cash in 1969 and later matched by Vince Gill (1993) and Alan Jackson (2002). This also sets a new, one-year record for a female artist. Alison Krauss, Taylor Swift and Miranda Lambert each won in four categories in one night.
Just one year after winning new artist of the year, Wilson won entertainer of the year. That ties Garth Brooks’ quick sprint from the horizon award (as new artist of the year was then called) in 1990 to his first entertainer of the year award in 1991. No other artist in CMA history has made this leap that quickly. Just the fact that a woman has won entertainer of the year is newsworthy. Wilson is the first woman to prevail in that top category since Taylor Swift in 2011.
Wilson also won album of the year, female vocalist of the year and two awards shared with HARDY – musical event of the year and music video of the year. This was the second year in a row that Wilson won female vocalist of the year. She’s the first artist to win consecutive awards in that category since Miranda Lambert won six in a row from 2010-15.
And Wilson’s Bell Bottom Country won album of the year. The album peaked at No. 9 on Top Country Albums. It’s just the fourth album that didn’t reach the top five on that chart to win this award. The three previous ones that didn’t were Merle Haggard’s Let Me Tell You About a Song (1972, No. 7), Anne Murray’s A Little Good News (1984, No. 9) and Patty Loveless’ When Fallen Angels Fly (1995, No. 8). (Of course, it’s possible the album will surpass its original No. 9 peak in the wake of the awards. Stay tuned.)
Luke Combs won single of the year for his hit remake of Tracy Chapman’s “Fast Car.” The smash topped Billboard’s Hot Country Songs chart for four weeks. In addition, “Fast Car” logged eight weeks at No. 2 on the Billboard Hot 100. It’s just the fifth CMA single of the year winner to reach No. 1 or No. 2 on the all-genre Hot 100. It follows Jeannie C. Riley’s “Harper Valley P.T.A.” (1968, No. 1), Johnny Cash’s “A Boy Named Sue” (1969, No. 2), Freddy Fender’s “Before the Next Teardrop Falls” (1975, No. 1) and Lady A’s “Need You Now” (2010, No. 2).
“Fast Car” also won song of the year for its songwriter, Tracy Chapman (who was not in attendance). Chapman’s original version of “Fast Car” reached No. 6 on the Hot 100 in 1988. It’s the third CMA song of the year winner that was widely known before the version that prompted the CMA to award the song. “Always on My Mind” won in both 1982 and 1983, tied to Willie Nelson’s hit version, but many knew the song from previous versions by Elvis Presley and Brenda Lee. “The Wind Beneath My Wings, which won in 1984, was known for other versions by Sheena Easton and Gladys Knight & the Pips.
“Fast Car” is the first song written by a solitary writer to win song of the year since Taylor Swift’s “Better Man” took the award six years ago. Four other CMA song of the year winners in this century were written by solitary writers – “Where Were You (When the World Stopped Turning)” (2002, Alan Jackson), “Stay” (2008, Jennifer Nettles), “If I Die Young” (2011, Kimberly Perry) and “Humble and Kind” (2016, Lori McKenna).
Chapman is the first Black songwriter to win for song of the year, and joins a short list of Black CMA winners. Charley Pride won entertainer of the year and male vocalist of the year in 1971 and repeated in the latter category in 1972. Darius Rucker won new artist of the year in 2009. Jimmie Allen won in that same category in 2021. (We might have seen two Black acts win CMA Awards for the first time this year. The highly-regarded The War and Treaty were nominated for vocal duo of the year, but Brothers Osborne prevailed again.)
Jelly Roll won new artist of the year. Jelly Roll, 38, is the second-oldest solo artist to win in this category (or its predecessor category, the horizon award). Darius Rucker was 43 when he won in 2009. Other solo artists who were 35 plus when they won are Ricky Van Shelton (36 in 1988), Suzy Bogguss (35 in 1992), Chris Stapleton (37 in 2015), Ashley McBryde (36 in 2019) and Jimmie Allen (36 in 2021).
Jelly Roll said he was 39 in his acceptance speech, which he delivered with the zeal of an evangelical preacher. It’s unusual in this youth-focused business for an artist to make himself out to be older than he actually is. Jelly Roll turns 39 next month.
Jelly Roll opened the telecast with his breakthrough smash “Need a Favor,” on which he was backed by Wynonna. Wynonna won the horizon award, the forerunner of new artist of the year, in 1984 with her mother Naomi as The Judds.
Brothers Osborne won vocal duo of the year for the sixth time. Only two other duos in CMA history have won six or more awards in this category. Brooks & Dunn lead with 14 wins. The Judds won seven times (counting three wins in the group category). The Judds’ seven wins were consecutive. Brooks & Dunn’s long streak was interrupted in 2000 by Montgomery Gentry. Brothers Osborne’s run was interrupted in 2017-18 by Dan + Shay.
Old Dominion won vocal group of the year for the sixth year in a row. Old Dominion is just the fourth group to win six years in a row in this category. They follow The Statler Brothers (1972-77), Rascal Flatts (2003-08) and Little Big Town (2012-17). The Statlers won nine times total, more than any other group in the history of the category.
Fiddler Jenee Fleenor won musician of the year for the fifth year in a row. That’s the longest winning streak in that category since guitarist Mac McAnally won eight years in a row (2008-15). With Fleenor’s win, steel guitarist Paul Franklin lost in the category for the 31st time. That’s not a typo – he has been nominated, and lost, in the category 31 times.