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Drake replaces himself at No. 1 on Billboard’s Streaming Songs chart, as “IDGAF,” featuring Yeat, rises to the top of the Oct. 28-dated tally.
“IDGAF” reigns with 26 million official U.S. streams earned in the Oct. 13-19 tracking week, according to Luminate. The song was down 36% from its opening week sum of 40.8 million streams, but it dropped by a smaller percentage than the previous ruler, “First Person Shooter” featuring J. Cole, which falls to No. 4 (20.3 million streams, a 52% drop).
“IDGAF” is the first song to spend its first week at No. 1 on Streaming Songs while being down in streams since Brenda Lee’s “Rockin’ Around the Christmas Tree,” which first reigned on the Jan. 7 ranking despite a 3% drop to 46.9 million streams that week.
“IDGAF” is Drake’s record-extending 20th Streaming Songs No. 1, the most since the list’s 2013 inception. Justin Bieber and Taylor Swift remain the next-closest acts with six rulers apiece.
Most No. 1s, Streaming Songs20, Drake6, Justin Bieber6, Taylor Swift5, Travis Scott4, Ariana Grande4, Cardi B4, Lil Baby4, Miley Cyrus
Drake is the first act to replace himself at No. 1 on Streaming Songs since he did it previously with “Nonstop” (July 14, 2018) followed by “In My Feelings” (July 21, 2018).
Meanwhile, “IDGAF” marks Yeat’s first Streaming Song topper. The rapper made the chart one time previously, with “Talk” debuting and peaking at No. 17 in September 2022.
Concurrently, “IDGAF” falls 2-4 on the multi-metric Billboard Hot 100. Its parent album, For All the Dogs, ranks at No. 2 on the Billboard 200 with 164,000 equivalent album units earned in its second week.
Last week, the the 28th edition of the annual Amsterdam Dance Event brought thousands of dance industry professionals and nearly 3,000 artists to the city. Over four days (Oct. 18-21), they attended hundreds of panels and more than a thousand after-dark events in more than 200 locations around the city.
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There was much fun and many parties. Of course, a lot of knowledge about the dance music ecosystem was also dropped amidst it all. The conference is “inspiring and gets everyone together,” ADE co-organizer Meindert Kennis told Billboard ahead of the event, but, “we also focus on hands-on information … In the end, that’s what a lot of professionals are coming for, and they need to take home value for themselves or their organization. We try to implement that in all the different elements of ADE to really help the industry push itself forward.”
Here are ten such takeaway points from ADE 2023.
Greater sustainability in the industry can be achieved by more strategic tour routing.
A presentation by Claire O’Neill, the CEO and co-founder of sustainability nonprofit A Greener Future, explored the many ways dance music and the wider industry can mitigate carbon emissions, from limiting meat consumption to avoiding private jets to routing tours more efficiently.
“When we have high-speed tours that are happening and you throw on an extra gig and have to go from one place to another … it’s costing a lot of extra expense, people’s time, trucks on the road, flights,” said O’Neill. “Slower tours and better planning are something we’ve been working on with agents and promoters for some time. It’s a slow burner, because these are very entrenched cultures … in order for us to change some of these systems, we’re going to need to actually change the deal structures … If we have to do dartboard tours and fly people all over the place in order to achieve [a show or tour], it’s never going to be sustainable.”
Labels can help break an artist from emerging markets by focusing on listeners from that market who live elsewhere.
During a discussion on how artists from big, foreign markets can gain global traction, Selina Chowdhury, the Head of Marketing for Emerging Markets at Warner Music Group, noted that “something that’s been key and a focus for our artists is marketing to diaspora markets. For example, [for] India, we’re looking at Canada, Australia, the U.S., the U.A.E. and more. There’s probably well over 30 million people.”
She added this this marketing can be achieved by collaborations with artists in these diaspora markets, through touring in these places or through “custom short form content” that can travel and resonate with potential fans thousands of miles away.
Punjabi music is about to be huge.
“I think something that we’ve been starting to hear a lot about in the international music scene, and we’ll hear a lot more about, is Punjabi music — which is really exciting,” Chowdhury added during this presentation, referring to the style of music that originated in India’s Punjab region. “We have a lot of artists that are using traditional rhythms of melodies and are fusing them with more contemporary styles like R&B and hip-hop, especially out of Toronto.”
She specifically name checked Canadian artists Ikky, AP Dillon and Indian artist Diljit Dosanjhdoji, who this year became the first ever Punjabi artist to perform at Coachella.
There’s a method artists can use to get their music noticed by Beatport curators.
Roughly 30,000 tracks are submitted to digital download store Beatport every week. “We’re still one of the only platforms that really puts a lot emphasis on human curation, but obviously we have limits,” the platform’s SVP of Creator Services Helen Sartory said during a panel on essential info to know about the brand. “We can’t listen to and put judgments on 30,000 tracks a week.”
Sartory said that the most crucial thing artists can do to stand out is to have a great relationship with their distributors. “It’s the distributors that send us their list of priorities every week and say, ‘Out of all of the tracks we’re sending this week, these are the ones that we really want your curation team to spend some time on,’ and we do listen to everything on that priority list,” she noted. She added that despite some misconceptions, the platform does not require that artists have a certain social following or level of revenue attached to their music to get placement on the platform.
“It really just is about, ‘Do our curators vibe with the music, and do they think there’s a place for it in their genre?’” Sartory said.
Track tags and IDs are essential to help curators understand what’s working “in the wild.”
“If you’re a DJ and you’re posting clips of an amazing moment in your set, please credit the track and credit the artist, because we’re looking at all that stuff,” Sartory said during this same Beatport presentation. She referenced a statistic that 90% of DJs are not ID-ing their tracks in their social media clips, making, she says, “a real problem for the industry, because we want to be able to track that data.”
She also encouraged managers to push for music recognition technology to in clubs and at festival and for artists to register all their music with CMOs, so everyone gets paid when music is played in a set. Such registration also ensures that “when the music performed in the wild, we know about it,” says Sartory. “All of these data points are super important. It sounds boring, but through this [data] we can really spot exciting things happening, and that’s what we can get behind as a platform.”
Some artists had totally different careers before making it in music — just ask HoneyLuv.
During the conversation, Black Dance Music – A Conversation Across Multiple Generation, Detroit legend DJ Minx, BBC Radio 1 presenter Tiffany Calver, and house producer HoneyLuv, this latter artist referred to herself as “someone who likes to live multiple lives.” Indeed. Before rising through the dance scene, she played college basketball, which was “literally my life until I was 21. But then I suffered my second ACL tear in my knee and was like ‘yeah I can’t keep doing this, or I’m not going to be able to walk.’”
Having seen members of her family serve in law enforcement and the CIA, she then decided she also wanted to be in the CIA. To help get herself there, she enrolled in the navy, “but after the second year I was like’ this is not for me.’ I felt like I wasn’t challenged, and I like to be challenged in life.” During this “depressing time,” her friends suggested she do something in music, so she’d practice DJing in her barracks until 1a.m., then be back on duty at 4.am. That was just three years ago. “Never in a million years,” she said, “did I think I’d be in this position.”
Beyoncé‘s Renaissance “shined the light” on Black house artists.
“I did not appreciate them saying that Beyoncé brought back house music — because girl, where did it go, it’s always been right here,” DJ Minx observed during this same conversation. “That was the one thing that got to me. But I also have to say that we have to think about it from the other perspective, as well. Hundreds of thousands of people saw the Renaissance tour. Those people are now onto us that weren’t before… Let [Beyoncé] shine the light where it wasn’t before, because a lot of people do not know that we’re over here killing it. They didn’t, but they do now.”
The White Lotus theme song is meant to give you anxiety.
In a conversation with The White Lotus theme song composer Cristobal Tapia de Veer, he said the song’s “chaos somehow resonated with [the show’s] characters. This music is not really about Hawaii or anything like that, it’s really more about the chaos these stories are creating and the way the characters behave. They’re like savages. They’re abusive. It’s pretty wild, so the wild side of the music is representing that, and somehow mocking them too.”
He added that all the screaming in the song, by design, contributes to the show’s tension. “That’s something we talked about with [series creator Mike White],” added Tapia de Veer. “He wanted it to feel like something terrible was going to happen by the end of an episode…and even though the music is groovy, it made people anxious in some weird way.”
There are straightforward steps artists can take to gain traction on Spotify.
A panel discussion with several Spotify employees noted that the platform currently has 551 million monthly active users, including 222 million paid subscribers in 184 markets. The team said that artists can help connect with fans on the platform by keeping their artist pages current, citing a 77% traffic bump on these pages when an artist releases new music. But given that 50% of artists customize their artist pages after a release, audiences are often missing key info.
Spotify’s Canvas feature, with which artists can pair an eight-second visual loop to a song, also impacts consumption. The presentation noted that listeners who see a Canvas are 5% more likely keep streaming the song, 145% more likely to share it, 20% more likely to add it to playlists, 1.4% more likely to save the track and 9% more likely to visit an artist’s profile page.
A redesigned events feature is also helping artists make more money through Spotify.
A repositioning of the upcoming events of an artist’s Spotify page has, according to the presentation, given these events sections 70% more views, generating 15% more ticket sales.
MELBOURNE, Australia — Roger Field has resigned from Live Nation, Billboard can confirm.
Based in Melbourne, Field is regularly identified as one of Billboard’s international power players, a key figure in live entertainment who led LN’s presence across Australia and New Zealand, before taking the reins in a pan-Asia Pacific role.
It’s understood that Alex Klos will now step into the permanent role as COO of LN ANZ, alongside his position as CFO of the live music giant’s Asia Pacific business.
Field exits after more than 13 years with the company. In 2010, Field joined colleague Luke Hede in launching Live Nation Australia. Two years later, LN acquired Michael Coppel Presents, reuniting the concerts specialists (Field had worked with Coppel in 2003). The promotions would come, with Field elevated from vice president of promotions to chief operating officer, then CEO for Australia and NZ.
Another reward came in 2020, when Field was appointed LN president, Asia Pacific, a new position.
At the height of the pandemic, in mid-2020, Field was appointed to a leadership role for the Live Entertainment Industry Forum (LEIF), created to help safely reactivate concerts, sports and shows of all kinds as restrictions across the country were eased, and he was part of a music industry delegation that helped secure a A$250 million federal government lifeline for the music industry.
During his time at the helm, Field has overseen stadium tours for likes of Taylor Swift, Coldplay, U2 and Red Hot Chili Peppers, the business diversified with its VIP offering, brand partnerships with the likes of National Australia Bank, Telstra and American Express, formed strategic partnerships with government and private entities including Secret Sounds, and added a slew of venues to LN’s portfolio.
“Our venue development is a huge priority for us across both Australia and New Zealand,” Field told this reporter in June. “We’ve just celebrated the return of the iconic Festival Hall in Melbourne to a fulltime live music venue after signing a multi-lease and that’s only the beginning. Our interest in venues of all sizes is partly motivated by having the ability to engage with a variety of artist content, even if we’re not promoting it, but also open to new ticket buying markets.”
Field cut his teeth in ticketing, first with Stoll Moss Theatres in London in 1995, and then with Australian ticketing giant Ticketek, part of TEG, when its Victorian operation opened in 1996.
Live Nation has not commented on Field’s departure.
One does not simply walk into a Bee Gees Battle. Clearly Mac Royals and Rachele Nguyen didn’t get the memo, as the Team Reba constants went toe-to-toe on NBC‘s The Voice, tackling one of the Bee Gees’ creamiest creations.
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The singers’ path to the Battles round couldn’t have been more contrasting. Royals landed a four-chair turn; Nguyen caught the attention of just one coach, the country star Reba McEntire.
On the latest episode Tuesday night (Oct. 24), Royals and Nguyen brought game to the arena, the former displaying his legit soulman skillset, Nguyen showcasing her range and soloist talents.
“Guys, that was so good,” coach Niall Horan remarked. “To take on a song of that stature is brave of itself. I thought the two of you were fantastic.” Horan admitted she was better than he remembered, and she made him remember his error by not turning during the Blind Audition. “To be your age, at 17 and to have that composure, and will to go ‘go give me the biggest song you’ve got,’” he’d go with Nguyen, if the choice was his.
Gwen Stefani remarked on the warmth of Royals’ voice. It’s “buttery,” she enthused. As for Nguyen, “the things you can do with your voice and your instincts,” at her age, it’s “pretty magical.” She won’t choose because, well, she doesn’t have to.
John Legend paid tribute to the sound of Mac’s voice, “it’s so gorgeous. It is soulful and it has richness and character.” And Nguyen, “you were doing so many exciting things, so many cool musical choices and runs and things of that nature.” If Legend had to choose, he’d go with Mac.
The battle would “come down to how they touch my heart when they’re performing,” McEntire said during rehearsals.
In the end, the choice belonged to her. And she sided with Nguyen.
But wait, there’s more. Before Mac could say some parting words to his coach, Legend came through with the steal. It’s on.
Watch the Season 24 Battle below.
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The celebrity game is an easy one to play. Spot a celebrity, earn yourself a point. The brighter the star, the more points in your bag.
They might not know it yet, but Jimmy Kimmel’s kids won the celebrity game during a school drop-off one morning when they spotted Olivia Rodrigo on the side of the road, and the “Good 4 U” star got in the car.
The moment was, naturally, caught on camera for Kimmel’s late night show, airing Tuesday night, Oct. 24.
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Posing as a hitchhiker, thumb out, Rodrigo gave the kids the surprise of their young lives when she scored a ride.
“You know Olivia, we listen to your music on the way to school all the time,” Kimmel announces to his passengers, two of whom are totally star-struck in the back: nine-year-old Jane and six-year-old son Billy.
After some miles had passed, and some back-and-forth questions, the Rodrigo tunes crank up for some Kimmel family karaoke. And why was she hitching? Surely you saw it coming. Rodrigo doesn’t actually own a drivers license.
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Kimmel kept the motor running, as Rodrigo made her way to his show for a proper Q&A.
The triple Grammy Award winner, three-time Billboard Hot 100 leader, and two-time Billboard 200 champ stopped by to talk house hunting, her fear of ghosts, and the contents of her bag of “President Biden goodies.”
Fame is tricky, even for Rodrigo’s folks. Her dad “brags to his co-workers” about Olivia’s success, her mom is “modest and shy” and she’s “very coy” when asked about her daughter.
Rodrigo, like many of us, is fluent in profanity. When writing songs and whether to insert four-letter words, “I think about it often,” she explains. “I love using a swear word when I think it’s tasteful and necessary.” When penning some Guts tracks, she was “swearing all over them” and had to “pare it back.”
None of those four-letter curses appear in “Ballad of a Homeschooled Girl,” which Rodrigo performed for Kimmel’s audience.
Watch below.
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SYDNEY, Australia – After seven days, roughly 300 performances (nearly 40% of which were international) and upwards of 600 speakers, the inaugural SXSW Sydney is done and dusted.
The likes of Chance The Rapper, Nicole Kidman and Black Mirror creator Charlie Brooker were among the guest speakers who donned a SXSW Sydney lanyard and brought star power to the show, as Sydney turned it on for the music, tech, film and entertainment extravaganza.
October in Australia is a place and time asking for action. In this music and sports-mad country, the weather is heating up, but there’s a lack of competition for eyeballs, attention and cash. The Bigsound music conference finished more than a month ago, the ARIA Awards is a month away. The AFL and NRL seasons are recently wrapped up, the quadrennial cricket and rugby World Cups are playing out abroad, the NBA season has yet to start.
With its brand splashed in the districts around Darling Harbour, and activations dotted around the city — Australia’s biggest metropolis — SXSW Sydney had the place all to itself.
Billboard was there to soak it up at the International Convention & Exhibition Centre, the Tumbalong Park outdoor events space, and the network of pubs, bars and venues that embraced SXSW for a full week, from Oct. 15-22, completing its first expansion out of Austin, TX.
Check out five highlights from the inaugural SXSW Sydney below.
Songtradr’s missionTiming is everything in music and business. So it made perfect sense for Songtradr founder and CEO Paul Wiltshire to participate in a special interview at SXSW just days after his company completed the acquisition of Bandcamp. “Our mission is to stabilise and grow,” the U.S.-born and Australian raised, California-based executive said of the new asset. “There’ll be no adverse changes to the existing product. The team is amazing, and the Bandcamp community is extraordinary and we want to protect that. We’re very confident about the future and where we’re going to be able to go together.”
Wiltshire also confirmed that a flotation for Songtradr is something his team has “definitely looked at.” He continued, “we don’t have a definite timeline as to whether that will happen. The public markets have gone through pretty significant changes in the last two years in particular. But it’s something we continue to observe and we do love Australia.” The ASX, it’s “a very healthy market.”
Will ABBA Voyage set sail?Thanks to the power of Netflix, the story of Per Sundin and his frontrow seat for the evolution of Spotify is known to millions. The veteran Swedish music industry executive has worked closely with the late Avicii, Tove Lo, Swedish House Mafia, and, of course, ABBA, and is the face of “The Industry” in The Playlist, Netflix’s dramatized account of Spotify and its founder Daniel Ek. After a decades-long career with major music companies, first with Sony Music then Universal, Sundin now serves as CEO of Pophouse Entertainment, the Stockholm-based entertainment company which, among its assets, owns the SHM catalog and a 75% stake in Avicii’s works. Pophouse is the lead investor and production partner for ABBA Voyage, the virtual live concert experience in London.
Sundin, on his first trip Down Under, regaled with tales of the music industry post-millennium SNAFU, working with Björn Ulvaeus (in short, the ABBA star won’t settle for second-best), and he told SXSW Sydney what everyone wanted to hear: that ABBA Voyage could set sail to these parts.
“We have a lot of interest from Singapore and from Australia, from (promoter) Paul (Dainty) and (TEG CEO) Geoff (Jones) and his team. We’ll partner up with them to see if we can find a place, because you need to build an arena. Because in the roof of the building is 600 tons of equipment,” Sundin said during the featured session, Unlocking the Power of Entertainment. “We can’t just go into an existing theater. That’s a challenge for everyone.”
There has been talk about doing another ABBA Voyage in Europe, and, Sundin added, “Las Vegas is really calling for it.”
Chance raps on hip-hop and capitalismWhen Chance The Rapper was announced as a keynote speaker at SXSW Sydney, some delegates were quick to hose down the excitement. The Chicago hip-hop star wasn’t booked to perform on this trip, aside from his on-stage interview with The Brag Media editor-in-chief Poppy Reid. And, for those with a decent memory, he canceled his appearance at the 2019 Splendour In The Grass festival, just one day before he was due to deliver the closing headlining set.
There was no drama, just action, as Chancelor Johnathan Bennett made the journey and delivered a compelling SXSW Sydney Q&A which delved into capitalism, and hip-hop on the genre’s 50th anniversary.
“We all live in a capitalist society and no matter how close you are to your moral center, you’re still working and operating within a system that lives on the backs of the least empowered people. I do a lot of philanthropy work, I do a lot of advocacy, I do a lot of just trying to help people,” he told Reid. “But also just the way that the world is set up right now, I gotta sell merchandise, and even producing T shirts — it’s really hard not to be a capitalist.” To be able to operate “outside of that and to create more cooperative economic systems is something that I’m working towards but I haven’t fully figured out yet.”
Chance also stepped out to enjoy some of the showcase program, throwing his support behind 11-year-old Aussie rapper Inkabee.
GenAI, Web3, Metaverse. Jump in, cautiouslyAI is “not on the horizon. It’s here now and it’s not the Wild West.” APRA AMCOS CEO Dean Ormton told guests at the PRO’s breakfast gathering at SXSW Sydney, during which the organization’s annual results were explored. Computer learning is both “a huge challenge and potential opportunity for music,” Ormston told guests. Those challenges and opportunities are something the PRO and every major content provider and partner is currently trying to figure out.
A separate daytime session on “Activating Music in Web3” brought together Con Raso (Tuned Global), Matty Soudagar (The Metakey) and Becky Yeung (Warner Music Group). “We’re coming into a space where some of these experiments are making some real impact,” explained Soudagar. Four years ago, the popular Roblox game has gone from 20 million users a month to 200 million users a month today, he continued. “It could be half a billion a month in a few years from now. If you zoom out of this metaverse conversation, we realize its primed for exponential growth. The next stage is, how to put together a solution that brings everything together in a frictionless manner for a specific industry. We’re at the stage where we have the technology and we can bring together some strong minds.”
K-pop isn’t slowing downK-pop is roaring, and there’s a lot of fuel left in the tank. Over the course of the week, Spotify House at The Lansdowne Hotel proved a popular hideaway for thousands of SXSW Sydney guests, with its curated lineup of daytime panel discussions, and evening showcases, which included hip-hop star TKay Maidza, punk outfit Teen Jesus and the Jean Teasers, Thai rapper Milli and more.
The House opened its doors on its fourth and final day for a special daytime session on Hallyu (Korean wave), featuring Jungjoo Park, Head of Music at Spotify Korea; Live Nation Australasia’s Wenona Lok; and Virgin Music’s Claire Tate.
Ten years ago when PSY’s “Gangnam Style” blew up, many observers figured Korea’s music scene was a one-hit wonder. Nope. Five years ago, folks were thinking, “this is it guys. It’ll never get bigger,” noted Lok. “This year, Live Nation, we’re bringing the first K-pop act to a stadium in Australia for the first time” with TWICE. “What’s more amazing is, it’s the first girl group of any genre to play a stadium in Australia.” In terms of streaming and ticket sales, there’s no sign of slowing for the Korean music explosion.
To drive home the point, South Korean rappers Lil Cherry and GOLDBUUDA performed at Billboard‘s one off night at The Stage.
Penske Media Corporation, Billboard‘s parent company, is an investor in SXSW.
Westside Gunn re-enters Billboard’s Emerging Artists chart (dated Oct. 28) at No. 1, becoming the top up-and-coming act in the U.S. for the first time, thanks to his new album, And Then You Pray for Me. Explore Explore See latest videos, charts and news See latest videos, charts and news The set, released Oct. 13 […]
De La Ghetto, Bryant Myers, Luar La L and YOVNGCHIMI all score their first entries on the Billboard Hot 100 chart (dated Oct. 28), thanks to their collaborations on Bad Bunny’s new LP, Nadie Sabe Lo Que Va a Pasar Mañana.
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The set, released Oct. 13 on Rimas, debuts at No. 1 on the Billboard 200 with 184,000 equivalent album units earned in its opening week, according to Luminate. It’s the fourth mostly- or all-Spanish-language album to top the chart, after Bad Bunny’s own El Último Tour Del Mundo (2020) and Un Verano Sin Ti (2022) and Karol G’s Mañana Será Bonito (February). All 21 songs from the collection also chart on the latest Hot 100. (The only other track billed on the set is “Europa :(,” which runs 11 seconds long.)
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Luar La L makes his Hot 100 arrival with “Teléfono Nuevo,” with Bad Bunny. The song debuts at No. 32 with 12.3 million U.S. streams earned in its first week. It concurrently debuts at No. 8 on Hot Latin Songs, where it’s his second top 10. Before this week, the Puerto Rican Latin trap singer-songwriter charted three songs on Billboard’s rankings. His previous Bad Bunny collab, “100 Millones,” hit No. 9 on Hot Latin Songs, as well as No. 143 on the Billboard Global 200 in June 2021; his solo track “Caile” reached No. 43 on Billboard Global Excl. U.S. and No. 67 on the Global 200 in September 2022; and “Wait Deh Man,” with Darell, Nicky Jam and Wisin, reached No. 47 on Latin Airplay earlier this month.
Luar La L has released two solo LPs: L3TRA, in 2020, and sequel L3TRA 2, in 2022. He has also collaborated with Eladio Carrión, Farruko and Jay Wheeler, among others.
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Bryant Myers has already tallied multiple Billboard chart hits, but he nets his first Hot 100 entry with “Seda,” with Bad Bunny. The song debuts at No. 38 with 11.4 million U.S. streams. It also starts at No. 10 on Hot Latin Songs, marking his first top 10.
Myers, from Carolina, Puerto Rico, first appeared on a Billboard chart in May 2016, when “Ella Y Yo” (by Pepe Quintana featuring Farruko, Anuel AA, Tempo, Bryant Myers and Almighty) debuted at No. 41, before reaching No. 36. Since then, he’s charted eight additional entries on Hot Latin Songs. Here’s a chronological recap, by peak date.
Bryant Myers’ Hot Latin Songs History:Pepe Quintana feat. Farruko, Anuel AA, Tempo, Bryant Myers and Almighty, “Ella Y Yo” (No. 34 peak, 2016)Maluma feat. Bryant Myers, Noriel & Juhn. “Cuatro Babys” (No. 15, 2016)Bryant Myers & Bad Bunny, “Triste” (No. 35, 2018)Bryant Myers, “Tanta Falta” (No. 47, 2018)Bryant Myers & Anuel AA, “Gan-Ga” (No. 11, 2019)Bryant Myers, Nicky Jam & Arcangel feat. Darell & El Alfa, “Wow!” (No. 36, 2020)Bryant Myers, “Airdrop” (No. 43, 2021)Jay Wheeler, Anuel AA, Hades666, Dei V & Bryant Myers, “Pacto” (No. 29, 2023)Bad Bunny & Bryant Myers, “Seda” (No. 10, 2023)
Myers has also charted three LPs on Top Latin Albums: La Oscuridad (No. 4 peak in 2018), Cambio De Clima, with Miky Woodz (No. 20, 2019), and Bendecido (No. 16, 2020).
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YOVNGCHIMI is a relative newcomer to Billboard’s charts, but lands his first Hot 100 entry this with “Mercedes Carota,” with Bad Bunny. The song debuts at No. 57 with 9.7 million U.S. streams. It also starts at No. 16 on Hot Latin Songs. The Puerto Rican drill and trap artist charted three tracks previously on Hot Latin Songs, all in 2022: “Diamantes En Mis Dientes” with Anuel AA (No. 41 peak), “Modelito,” with Mora (No. 42), and “La Ruta” with Arcangel (No. 45).
YOVNGCHIMI released his first studio album, Gangsta Grillz: Mvrda Gvng, with DJ Drama, in May.
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De La Ghetto has forged a successful career on Billboard’s charts since the mid-2000s, but he’s now officially a Hot 100-charting artist for the first time, thanks to “Acho PR,” with Bad Bunny, Arcangel and Nengo Flow. The song debuts at No. 83 on the Hot 100 with 8 million U.S. streams earned in its first week of release. It also starts at No. 24 on Hot Latin Songs.
De La Ghetto first appeared on a Billboard chart in May 2006, when “Intro” with Naldo, Tommy Viera, Arcangel and Nengo Flow, debuted and peaked at No. 33 on Latin Rhythm Airplay. (Arcangel and De La Ghetto were billed as a duo at the time).
De La Ghetto has charted 15 tracks on Hot Latin Songs. Here’s a recap.
De La Ghetto’s Hot Latin Songs Chart History:Yaga Y Mackie feat. Arcangel y De La Ghetto, “Aparentemente” (No. 42 peak, 2007)De La Ghetto, “El Dificil” (No. 42, 2008)De La Ghetto, “Tu Te Imaginas” (No. 33, 2009)DJ Luian & Mambo Kingz Presentan: De La Ghetto – Arcangel x Ozuna x Anuel, “La Ocasion” (No. 21, 2016)De La Ghetto, “Acercate” (No. 33, 2016)Mueka feat. Cosculluela, J Balvin, Arcangel & De La Ghetto, “DM” (No. 33, 2017)Arcangel x De La Ghetto, “Mas Que Ayer” (No. 41, 2017)De La Ghetto, Daddy Yankee, Ozuna & Chris Jeday, “La Formula” (No. 23, 2017)Sofia Reyes feat. Jason Derulo & De La Ghetto, “1, 2, 3” (No. 24, 2018)Revol, J Balvin & Bad Bunny feat. Arcangel & De La Ghetto, “Dime” (No. 21, 2018)De La Ghetto, Wisin & Maluma, “Todo El Amor” (No. 40, 2018)Dalex, Arcangel, Manuel Turizo, De La Ghetto & Beele, “+Linda” (No. 43, 2020)De La Ghetto & Rauw Alejandro, “Loco Por Perrearte” (No. 44, 2022)Anuel AA, Jowel & Randy & De La Ghetto feat. Yailin La Mas Viral, “La Maquina” (No. 23, 2022)Bad Bunny, Arcangel, De La Ghetto & Nengo Flow, “Acho PR” (No. 24, 2023)
The Bronx-born artist has also logged three titles on the Top Latin Albums chart: Masacre Musical (No. 46, 2008), Mi Movimiento (No. 5, 2018) and Los Chulitos (No. 17, 2020).
Hip-hop heavyweight Chuck D of Public Enemy and Hall & Oates co-founder John Oates are among the big names added to the lineup for South by Southwest (SXSW) 2024, set to take place March 8-16 in its traditional home of Austin, TX.
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The Rock And Roll Hall of Fame-inducted artists ride the second wave of featured speakers for the 38th annual gathering, announced today (Oct. 24), with AMD Lisa Su chair and CEO confirmed as the first keynote speaker.
For the 2024 edition of SXSW, Chuck D will participate in the daytime session Def Jam Renewed: The Hip-Hop Legend’s Next 40 years, which includes speakers Tunji Balogun (chairman and CEO of Def Jam Recordings), Bryan Biniak (president of Songtradr and GM of Bandcamp) and rapper Lady London, for an exploration of the iconic hip-hop label’s roots, the decisions that have “propelled it to global recognition for its creativity, quality, and authenticity,” and more.
Also, Oates will discuss Fame, Fortune, and Managing A Hit Music Career, in a Q&A with Alex Heiche, founder and CEO of music finance firm Sound Royalties, which will trace the singer and songwriter’s hitmaking career.
“Every year at SXSW, we’re privileged to host leaders and trailblazers who have risen to the top of their fields through hard work, thought leadership, and passion for their craft,” comments Hugh Forrest, co-president and chief programming officer.
AMD’s Su is “an innovator who continues to pioneer advancements in the chip industry and new ideas that will accommodate the needs of quickly developing AI-related technologies.”
The 2024 SXSW Conference is organized into 24 programming tracks, including advertising & brand experience, artificial intelligence, climate change, creating film & TV, creator economy, culture, design, energy, music & tech, music careers, psychedelics and more.
As previously reported, British indie band Dry Cleaning, New York punk rockers Bodega, and Swedish alternative act Waterbaby lead the first round of showcasing artists tapped for the South by Southwest Music Festival 2024.
SXSW 2024 is sponsored by Porsche, C4 Energy, and The Austin Chronicle. The SXSW Schedule will launch online Oct. 31, providing a complete rundown of 2024 programming.
Established in 1987 in the Lone Star State, SXSW is both a conference and festivals extravaganza that celebrates the convergence of tech, film and television, music, education, and culture.
Today’s announcement closely follows the conclusion of the inaugural SXSW Sydney. Held Oct. 15-22, SXSW Sydney is a collaboration with TEG, the NSW Government and Destination NSW, and is the brand’s official Asia Pacific leg.
SXSW signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, the companies announced in April 2021, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.
Visit SXSW.com for more.
Celebrities, tunes, outdoor sport, fundraising and grown dudes dressed as food: these are some of Katy Perry’s favorite things, and she brought them all together over the weekend for the first annual Light Up The Court Pickleball Tournament.
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Perry hosted the tourney Sunday (Oct. 22) at Montecito Club in her hometown of Santa Barbara, CA, with a slew of high-profile pickleball players including Meghan Trainor, Rob Lowe, Kate Hudson and her partner Orlando Bloom.
“My mom brought (maybe even forced) her love for pickleball upon our family,” she writes on Instagram, “and now we’ve decided to use those pickle powers for good.”
All proceeds benefited Firework Foundation, founded in 2019 by Perry and her sister Angela Lerche, with a mission to empower children from underserved communities by “igniting their inner light through the arts.”
For the record, Eric Geeb and Brett Williams took the championship title, while Perry got her game on for a mic’d exhibition in which she and Federico Staksrud took on Bloom and Maggie Brascia. Team Katy took them out 13-11.
Celsius sponsored the VIP Players Lawn, while Stanley, The Pick, Malk Milk, CRBN and Selkirk were among the sponsoring brands for the debut event, produced by Ngoc Nguyen (Nguyen Strategies).
Money raised will go towards “scholarships, more camps, and programming to bring the arts to kids from underserved communities,” Perry explains.
The pop superstar is currently in her sixth consecutive season as a judge on American Idol and, simultaneously, performing her Las Vegas residency, PLAY.
In 2011, she became the first woman, and second artist overall following Michael Jackson, to land five No. 1s on the Billboard Hot 100 from an album. That album, Teenage Dream, is one of her three leaders on the Billboard 200 chart. All told, she has scored nine leaders on the Billboard Hot 100 and she was the first artist in RIAA history to earn three RIAA Diamond Song Awards – for three of those No. 1s, “Firework,” “Dark Horse” and “Roar.”