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SYDNEY, Australia — Daniel Johns signs a global publishing deal with BMG, a so-called ”landmark” agreement that includes the veteran Australian artist’s Silverchair catalog.
The worldwide deal includes all of Johns’ compositions on his second solo album FutureNever, which led the ARIA Chart in 2022, along with his Silverchair hits including “Straight Lines,” “The Greatest View,” “Ana’s Song,” “Freak,” “Tomorrow” and “many others reverting into the deal in 2025,” according to a joint statement (the rock trio’s catalog of recordings were united under one roof, at Sony Music Australia, in early 2021).
Confirmed Tuesday, Oct. 31, the new agreement expands on the recording deal Johns struck with BMG in 2017, ahead of the release of FutureNever, which became ARIA’s best-selling new Australian album of 2022.
Now, the independent music company represents the Newcastle-based artist for both publishing and records. Financial terms weren’t disclosed.
“There is nothing without a heartbeat that I value more than my songwriting catalog,” Johns says. “Bringing my life’s work as a composer to BMG signifies the level of faith I have in this company and their people.”
It was BMG that, in 2021, spearheaded the hit Spotify podcast Who Is Daniel Johns? And in 2022, the music company developed Past, Present and FutureNever, the immersive, award-winning exhibition in Melbourne’s iconic Rialto building. Next year will see the release of the “grunge sci-fi” featurette film What if the Future Never Happened?, starring Rasmus King (6 Festivals, Bosch and Rockit) as a young Johns.
FutureNever hit No. 1 on Australia’s chart in April 2022, then, with its vinyl release, returned to the top, a full 22 weeks later – a record-setting gap between stays at the chart penthouse by a solo Australian artist. The LP won for best independent pop album or EP at the 2023 AIR Awards.
Johns is the most ARIA-awarded artist of all time, with 21 pointy trophies, and his collection includes six APRA Music Awards, three of which are for songwriter of the year — a record-equaling haul. Across his recording career, Johns has sold 10 million albums and enjoyed six ARIA No. 1 albums, including all five Silverchair studio releases.
Formed in 1992 by Newcastle schoolmates Johns (vocals, guitar), Ben Gillies (drums) and Chris Joannou (bass), Silverchair enjoyed global success, starting from the tip-off with their grunge-influenced 1995 debut album Frogstomp and the powerhouse single “Tomorrow.” Frogstomp went to No. 9 on the Billboard 200, and its followup, 1997’s Freak Show, peaked at No. 12.
In 2011, still at the peak of their powers, Silverchair’s members announced they would go their separate ways.
Johns’ is also behind FutureNeverFund, a charitable organization to help raise money to create better futures for people and animals in need. The not-for-profit has now raised and disbursed more than A$100,000 from personal and public donations.
“Daniel is a true multi-talent and musical icon,” says Jodie Feld, BMG senior creative director Australia & New Zealand. “It’s an honor for the whole BMG team to expand our relationship with Daniel and to have the opportunity to work across not just a record, but a podcast, film, exhibition and now his iconic publishing catalog.”
If you’re game to tackle Evanescence, you’d better bring the power.
That’s exactly what Joslynn Rose and Rudi did, when they went toe-to-toe Monday night (Oct. 30) on NBC’s The Voice.
The Team Gwen singers came out swinging in the Battles round with a rendition of “My Immortal.” Now 20 years old, “My Immortal” appeared on Fallen, the breakthrough 2003 album from Amy Lee and Co. which dominated sales charts across Europe, the U.K. (hitting No. 1) and the U.S. (No. 3), and gave us the epic number “Bring Me to Life.”
“What a lovely job,” remarked John Legend following the performance. The soul man praised Joslynn for her opener, in which she appeared “in control,” poised and “felt ready to seize the moment.” He’s a fan of her tone, “you really have a beautiful voice and your tone is so lovely.” Rudi, he continued, had power, clarity, and was “really impressive.” If he had to choose, he’d lean towards Rudi.
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Joslynn impressed with her low register, and the control of it, was Reba McEntire’s take. Rudi’s vocals were “wonderful, great stage presence,” she continued, “you both have very powerful voices.” If she had to choose, the country star would go with Rudi.
Rudi, added Niall Horan, “that was phenomenal. Pretty much flawless. It felt like you were climbing a mountain the whole way through the song. And it kept going, and going. And going.” Her rival, the way she started the performance, “brilliant, to have that poise, to take front and center and sing the way you did was really beautiful, especially for your age.”
Gwen Stefani had the tough choice to make. After thanking her singers, reminding the audience of their potential and talents, and pointing out just how hard a target it was to hit, the No Doubt star went into decision-making-mode.
There could be only one winner of this battle. And that was Rudi, who progresses to the knockouts. “She’s ready for what’s to come in the competition,” Stefani enthused in the washup.
But letting go a fine contestant, yeah, “that sucks.”
Watch below.
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Taylor Swift will be crowned when the U.K. albums chart is published later this week.
The U.S. pop singer opens-up a monster lead in the U.K. chart race with 1989 (Taylor’s Version) (via EMI), which is currently outperforming the rest of the top 40 combined, the Official Charts Company reports.
1989 (Taylor’s Version) reigns over the midweek chart, and is already the year’s best-selling album, amassing 148,000 chart units. That’s more combined units in just three days than Lewis Capaldi’s second LP Broken by Desire to Be Heavenly Sent (95,000 combined units), the previous leader for 2023, clocked in its first full-week. And it’s roughly double the sum collected by Rolling Stones’ Hackney Diamonds (Polydor), the current leader on the weekly chart and, until now, one of the three best-sellers of 2023.
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When the Official U.K. Albums Chart is published late Friday, Oct. 3, Swift will nab her 11th U.K. No. 1 album, a tally that includes the original recording of 1989, which ruled for a single week in 2014. That result would extend her record as the female solo artist with the most chart-topping albums this century. Only Madonna, with 12 U.K. No. 1s, leads Swift on the all-time tally.
The re-recorded edition of 1989 is the fourth of Swift’s six “versions,” and features three bonus tracks and five songs from the “Vault.”
Swift is likely to nab a chart double. Based on midweek singles sales and streaming data published by the OCC, “Is It Over Now” slides into pole position, ahead of “Slut” and “Style,” respectively.
Meanwhile, OMD (Orchestral Manoeuvres in the Dark) is on track for an eighth top 10 album with Bauhaus Staircase (100 Percent Records), new at No. 2 on the midweek tally, ahead of the Stones’ Hackey Diamonds, down 1-3 on the chart blast.
Duran Duran’s “ultimate Halloween party” album Danse Macabre (BMG) is forecast to enter the chart at No. 4, for what would be the Rock and Roll Hall of Famers’ 12th U.K. top 10 LP. The new set, a collection of covers, reinterpretations of DD songs, and three new numbers, is the followup to Future Past, which opened and peaked at No. 3 in 2021.
Also eyeing top 10 berths are new releases from James Blunt (Who We Used to Be at No. 5 via Atlantic), CASisDEAD (Famous Last Words at No. 6 via XL Recordings), Alfie Boe (Open Arms – The Symphonic Songbook at No. 7 via BMG); Simple Minds’ live recording New Gold Dream – Live from Paisley Abbey (No. 8 via BMG), Billy Bragg’s career retrospective The Roaring Forty 1983-2023 (No. 9 via Cooking Vinyl) and Gaslight Anthem (History Books at No. 10 via Rich Mahogany Recordings).
Celebrities are showing off their best Halloween costumes during the creepiest, crawliest time of the year. We round up the best costumes donned so far this Halloween season. Can Taylor Swift’s “Cruel Summer” continue its run at No. 1? Morgan Wallen continues to have a big impact on our charts, SZA and Luke Combs continue […]
SZA adds a record-furthering 50th week at No. 1 on Billboard’s R&B Songwriters chart (dated Oct. 28), thanks to her song “Snooze” and Drake’s “Slime You Out,” on which she’s featured.
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The tracks rank at Nos. 1 and 2, respectively, on the latest Hot R&B Songs chart. SZA co-wrote “Snooze” with Babyface, BLK Beats, Leon G. Thomas III and Khristopher van Riddick-Tynes. She’s also a co-writer on “Slime You Out,” with Drake, 40, BNYX, Noel Cadastre, Grant Lapointe, Chris Powell and Dalton Tennant.
A week earlier, SZA broke the record for the most weeks notched at No. 1 on R&B Songwriters, as her 49th frame at the summit lifted her past The Weeknd, with 48. Along the way over her record run, her smash “Kill Bill” spent 30 weeks at No. 1 on Hot R&B Songs.
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Across Billboard’s 13 weekly songwriter charts, SZA joins a select number of talents who have reached the milestone of 50-or-more weeks at No. 1. Here’s a recap.
Weeks Spent at No. 1, Chart Name, Artist:121, Gospel Songwriters, Kirk Franklin96, Latin Songwriters, Bad Bunny62, Dance/Electronic Songwriters, f a l l e n62, Dance/Electronic Songwriters, SAINt JHN57, Alternative Songwriters, Dave Bayley56, Rock & Alternative Songwriters, Zach Bryan56, Rock Songwriters, Zach Bryan53, Dance/Electronic Songwriters, Elton John53, Dance/Electronic Songwriters, Bernie Taupin50, Rock & Alternative Songwriters, Dave Bayley50, R&B Songwriters, SZA
In March, Kirk Franklin became the first and, to date, only creative to have led a songwriters survey for 100 weeks.
Spending 50 weeks atop one of Billboard’s 13 producers charts is even more rare. Only five producers have achieved the feat: Joey Moi, with 122 weeks spent at No. 1 on Country Producers; Tainy (119, Latin Producers); Jonathan Lindsey Smith (84, Christian Producers); Kanye West (59, Gospel Producers); and Jeff Pardo (54, Christian Producers).
Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Billboard Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Hot 100 Songwriters and Hot 100 Producers charts and full genre rankings can be found on Billboard.com.
The Taylor Swift takeover is in full swing on the U.K. chart blast.
Based on sales and streaming data for the first 48 hours in the U.K. chart week, Swift is on track to nab the top three spots with songs from 1989 (Taylor’s Version): “Slut,” “Style” and “Is It Over Now,” respectively.
According to the Official Charts Company, just over 200 chart units separate the three songs at this early stage in the chart cycle.
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Swift couldn’t possibly do any better. Unlike Billboard’s Hot 100 chart, the OCC‘s chart rules dictate that a maximum of three tracks by the same artist can impact the top 100 on the Official U.K. Singles Chart.
“Slut,” written by Taylor, Jack Antonoff and Patrik Berger, and “Is It Over Now,” written by Taylor and Antonoff, are two of the album’s five “Vault” tracks, works that were written during the original 1989 sessions, but never made it to the finished version (for the record: 1989 logged one week at the U.K. chart summit in 2014).
The original cut of “Style,” written by Taylor, Max Martin, Shellback and Ali Payami, was released as the third single from first version of 1989, and peaked at No. 21 in the U.K.
The fresh album (via EMI in the U.K.) features newly recorded editions of all 13 original songs, plus three bonus tracks (“Wonderland,” “New Romantics” and “You Are In Love”) and the “Vault” tracks (“Is It Over Now?,” “Now That We Don’t Talk,” “Say Don’t Go,” “Suburban Legends” and “Slut”).
Swift already has 23 top 10 singles in the U.K., including two No. 1s: “Look What You Made Me Do” (from 2017) and “Anti-Hero” (2022). The extend to which she expands on that tally will be revealed late Friday, Nov. 3, when the Official U.K. Singles Chart is published in full.
Thanks to the Taylor Swift effect, Kenya Grace’s three-week reign with “Strangers” (FFRR) looks set to come to a halt. It’s down 1-5 on the First Look chart, just behind Casso, Raye and D-Block Europe’s “Prada” (Ministry of Sound), set to dip 2-4.
As a member of BTS, Jung Kook sets records for fun. The K-pop star is doing it solo, too.
With “Too Much” (via Columbia) entering the Official U.K. Singles Chart at No. 10, Jung Kook becomes the first South Korean solo artist to land three U.K. top 10 singles.
Until now, PSY had the record with two top 10s — “Gangnam Style” (peaking at No. 1 in 2012) and “Gentleman” (No. 10 in 2013).
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“Too Much,” recorded with Australian rapper and singer The Kid LAROI and British rapper Central Cee, is the highest entry on the latest singles survey, published Friday, Oct. 27.
It’s Jung Kook’s third top tier effort, after “Seven” featuring Latto (peaking at No. 3) and Jack Harlow collab “3D” (peaking at No. 5), both from 2023.
Released ahead of Jung Kook’s debut solo album Golden, due out Nov. 3, “Too Much” is LAROI’s third and Central Cee’s seventh U.K. top 10, including his 10-week reign with “Sprinter.”
As a member of BTS, Jung Kook has secured four top 10 singles: “Life Goes On” (peaking at No. 10); and “Dynamite,” “Butter” and Coldplay team-up “My Universe,” all peaking at No. 3. On the national albums survey, BTS has collected five top 10s, including two No. 1s (Map of the Soul – Persona and Map of the Soul – 7).
At the top of the pile is Kenya Grace’s “Strangers” (via FFRR), which wins a tight race for its third week at No. 1.
“Strangers” narrowly led by midweek chart, ahead of Cassö, RAYE and D-Block Europe’s “Prada” (Ministry of Sound). And that’s how the chart week ended, with the bouncy dance track “Prada” unchanged at No. 2.
The top three is closed out by a resurgent “Cruel Summer” (EMI) by Taylor Swift, up 14-3 in its 20th week on the chart. “Cruel Summer” heats up thanks to a new live cut, released to coincide with box-office blockbuster The Eras Tour Film.
Finally, Troye Sivan has another reason to smile as ”One of Your Girls” (Polydor) lifts 17-11. Lifted from his third and latest album, Something to Give Each Other, ”One of Your Girls” becomes the Australian pop artist’s highest-peaking U.K. single as a solo artist.
The unstoppable force that is the Rolling Stones reigns over the latest U.K. chart, with Hackney Diamonds (via Polydor).
Mick Jagger and Co. debut at the summit of the Official U.K. Albums Chart, published Friday, Oct. 27, with Hackney Diamonds, which clocks 72,200 chart units in its first week, the Official Charts Company reports.
That’s the third biggest week of sales for an album of 2023 so far, according to the OCC, behind only Lewis Capaldi’s Broken by Desire to be Heavenly Sent, and Ed Sheeran’s – (subtract).
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The outright leader at the midweek stage, Hackney Diamonds outsells the rest of the top 5 combined to snag the Stones’ 14th U.K. No. 1.
With 11 different studio collections reaching the chart summit, the Rolling Stones are now part of the club of acts with the most studio albums to reach No. 1, joining the Beatles, Robbie Williams, and Bruce Springsteen.
Including greatest hits albums, reissues and live albums, the Stones are now equal with Williams on 14 No. 1 albums, a list that’s led by the Beatles with 16.
Hackney Diamonds is also the best-seller on wax to lead this week’s Official Vinyl Albums Chart.
Featuring collaborations with Lady Gaga, Elton John Stevie Wonder and Paul McCartney, and contributions from former bass player Bill Wyman and the group’s late drummer Charlie Watts, Hackney Diamonds is the Stones’ first album of original material in 18 years– since A Bigger Bang, which peaked to No. 2 in 2005
Meanwhile, Blink-182 enjoys a No. 2 debut with One More Time…(Columbia) the reunited pop-punk band’s ninth studio album. One More Time…, which sees original guitarist and singer Tom DeLonge return to the fold, with singer/bassist Mark Hoppus and drummer Travis Barker, becomes their career peak in the U.K. for the classic lineup, improving on the No. 4 for 2001’s Take Off Your Pants and Jacket. The trio did lead the Official U.K. Albums Chart in 2016 with California, which featured Alkaline Trio’s Matt Skiba as the replacement for DeLonge.
Completing an all-new top three is Bombay Bicycle Club’s My Big Day (AWAL/MMM), new at No. 3. My Big Day is the British indie band’s fifth top 10 appearance on the albums tally, a list that includes a leader with 2014’s So Long, See You Tomorrow.
Further down the list, new releases from Barry Can’t Swim (When Will We Land? at No. 12 via Ninja Tune), Richard Hawley (Now Then: The Very Best of Richard Hawley at No. 15 via BMG), Sampha (Lahai at No. 21 via Young) and NSG (AREA BOYZ at No. 28 via NSG Entertainment) land top 40 debuts.
For the first time, Metallica has notched three No. 1 songs on Billboard’s Mainstream Rock Airplay chart from a single album.
“Too Far Gone?” ascends to the top of the Nov. 4-dated ranking, marking the third leader on the list from 72 Seasons, Metallica’s 11th studio album, released in April. “Lux Æterna” led for 11 weeks beginning last December and the title track spent two weeks on top in July.
“Too Far Gone?” is Metallica’s 13th Mainstream Rock Airplay No. 1 overall, slotting the band into a three-way tie with Foo Fighters and Van Halen for the fourth-most rulers in the chart’s 42-year history. Shinedown leads all acts with 18 No. 1s.
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Most No. 1s, Mainstream Rock Airplay18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Foo Fighters13, Metallica13, Van Halen12, Disturbed12, Godsmack10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
Prior to 72 Seasons, Metallica had scored two Mainstream Rock Airplay No. 1s apiece from three albums: 1996’s Load (“Until It Sleeps” and “Hero of the Day”), 2008’s Death Magnetic (“The Day That Never Comes” and “Cyanide”) and 2016’s Hardwired… to Self-Destruct (“Hardwired” and “Atlas, Rise!”)
Concurrently, “Too Far Gone?” places at No. 7 on the all-rock-format, audience-based Rock & Alternative Airplay survey, after reaching at No. 6, with 3.1 million audience impressions Oct. 20-26, according to Luminate.
On the most recently published multi-metric Hot Hard Rock Songs chart (Oct. 28), “Too Far Gone?” ranked at No. 12. In addition to its radio airplay, the song earned 201,000 official U.S. streams Oct. 13-19.
72 Seasons bowed at No. 1 on the Top Rock & Alternative Albums chart dated April 29 and has earned 324,000 equivalent album units to date.
All Nov. 4-dated Billboard charts will update on Billboard.com on Tuesday, Oct. 31.
Niall Horan must be feeling pretty good about himself right now.
When the members of One Direction inevitably splintered off in their own directions, the Irishman, like his former bandmates, embarked on a solo career. He’s now three albums in, with three consecutive No. 1s on Billboard’s Top Album Sales, and three top 10s on the all-genres Billboard 200 chart, including a No. 1 for his 2017 debut solo effort Flicker.
He’s gone one better in the U.K., where his sophomore album Heartbreak Weather (from 2020) and his third and most recent LP, 2023’s The Show, both spent time at No. 1.
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For the cherry on top, Horan stepped into a full-time coach’s role on season 23 of NBC’s The Voice, and immediately walked away a winner, thanks to 19-year-old contestant Gina Miles.
The luck of the Irish, perhaps.
Horan has more where that came from. After The Show, the Encore: a deluxe edition featuring nine bonus tracks. Slated for release Nov. 3 via Capitol Records, the expanded version of The Show includes a collaboration with “Ceilings” singer Lizzy McAlpine on a new version of “You Could Start A Cult,” which dropped at the stroke of midnight.
When the full package arrives, expect a collaboration with rival The Voice coach John Legend on a reimagined version of the title track, plus live recordings from the Electric Picnic festival and Spotify Studios, along with alternate versions of “Meltdown” and “On A Night Like Tonight” from Horan’s Vevo Extended Play session.
Vinyl and CD editions will follow on April 5, 2024, and a 2-LP vinyl edition of The Show: The Encore, which includes a 72-page hardcover 12” x 12” book, is available to pre-order at his official website.
There’ll be more Horan to go around next year, when the pop singer embarks on an international tour in support of his third LP, playing more than 80 dates, including two shows at New York City’s Madison Square Garden. Before that, he’ll perform at 93.3 FLZ Jingle Ball – Tampa (Nov. 26) and 102.7 KIIS FM Jingle Ball – Los Angeles (Dec. 1).
Stream “You Could Start A Cult” with Lizzy McAlpine below.
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“The Show: The Encore” tracklist:
Heaven
If You Leave Me
Meltdown
Never Grow Up
The Show
You Could Start A Cult
Save My Life
On A Night Like Tonight
Science
Must Be Love
You Could Start A Cult (with Lizzy McAlpine)
The Show (with John Legend)
Heaven (Live from Electric Picnic)
If You Leave Me / Everybody Wants To Rule The World (Live from Electric Picnic)
Meltdown (Vevo Extended Play)
Save My Life (Live from Electric Picnic)
On A Night Like Tonight (Vevo Extended Play)
Science (Live from Spotify Studios)
Something In The Orange (Live from Spotify Studios)