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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.
[embedded content]
“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)
The Rolling Stones roll all the way to the top of Australia’s albums chart with Hackney Diamonds (Polydor/Universal), for their eighth leader.
Hackney Diamonds debuts at No. 1 on the ARIA Chart, published Friday, Oct. 27, the legendary British rock band’s 34th top 10 title.
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 since A Bigger Bang, which blasted to No. 4 in 2005. Since then, the Stones have clocked up two more leaders in Australia, with hits collection GRRR! in 2012, and covers set Blue & Lonesome in 2016.
Mick Jagger and Co. first led the national chart back in 1964 with their debut, self-titled album.
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The reunited Blink-182 bows at No. 2 on the ARIA Chart with One More Time… (Columbia/Sony), for the pop-rock trio’s ninth top 10 in the land Down Under. One More Time… marks the return of the classic line-up, with guitarist and singer Tom DeLonge slotting back in alongside bass player and vocalist Mark Hoppus, and drummer Travis Barker.
Blink-182 has now led the ARIA Chart on four occasions, including Take Off Your Pants and Jacket (2001), Neighborhoods (2011) and California (2016). One More Time… is the band’s first studio album since 2019’s Nine, which featured Alkaline Trio’s Matt Skiba in place of DeLonge, and which peaked at No. 4.
Olivia Rodrigo’s former leader Guts (Geffen/Universal) closes out the top 3 on the latest tally, holding at No. 3, ahead of LPs from Drake (For All The Dogs down 2-4 via Republic/Universal) and Taylor Swift (Midnights up 6-5 via Universal), respectively.
Over on the ARIA Singles Chart, Doja Cat’s “Paint The Town Red” (via RCA/Sony) retains top spot for the 10th consecutive week. According to ARIA, it’s the 27th single to log 10 or more weeks at the top, a list that’s led by Tones And I’s “Dance Monkey” with 24 non-consecutive weeks. Also, Doja is the sixth solo female act to clock double-figure weeks at No. 1, joining Tones, Dinah Shore (13 weeks with “Buttons And Bows” in 1949), Miley Cyrus (12 weeks with “Flowers” earlier this year), Whitney Houston (10 weeks in 1992-93 with “I Will Always Love You”) and Sandi Thom (10 weeks in 2006 with “I Wish I Was A Punk Rocker”).
It’s worth noting, the Spice Girls reigned over the national tally for 11 weeks in 1996-97 with their signature song “Wannabe,” and Elton John’s record-breaking “Cold Heart” with Dua Lipa, remixed by Aussie electronic act Pnau, spent 10 weeks at the summit in 2021-22.
The latest singles chart podium is completed by Taylor Swift’s “Cruel Summer” (Universal), up 3-2 for a new peak position in its 21st week on the survey, and Tate McRae’s “Greedy” (RCA/Sony), down 2-3.
The top new release this week belongs to Sydney-raised singer and rapper The Kid LAROI with “Too Much” (Columbia/Sony), featuring BTS‘ Jung Kook and Central Cee. It’s new at No. 10 for LAROI’s seventh top 10 single in Australia, the third top 10 for British rapper Central Cee (including a seven-week stretch at No. 1 with Dave on “Sprinter” earlier this year), and the third top tier title for South Korean singer Jung Kook.
The Los Angeles-based LAROI ruled the chart for a week in 2021 with “Without You” and again with “Stay,” his monster hit with Justin Bieber, which owned top spot for 17 weeks in 2021-22.
Taylor Swift’s fourth and latest “Taylor’s Version” isn’t just a release, it’s a healing process.
The pop superstar’s re-recorded LP dropped at the stroke of midnight, nine years to the day since the original 1989 was released back in 2014.
As Swifties everywhere turned on, tuned in and dropped out of whatever they were doing, TayTay turned to her social channels to share a think-piece, laced with easy-to-find easter eggs.
“I was born in 1989, reinvented for the first time in 2014, and a part of me was reclaimed in 2023 with the re-release of this album I love so dearly,” reads Swift’s message, penned in her own handwriting.
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“Never in my wildest dreams did I imagine the magic you would sprinkle on my life for so long.”
The fresh release features newly -recorded editions of all 13 original songs, plus three bonus tracks (“Wonderland,” “New Romantics” and “You Are In Love”) and five cuts from the “Vault” (“Is It Over Now?,” “Now That We Don’t Talk,” “Say Don’t Go,” “Suburban Legends” and “Slut!”).
“This moment is a reflection of the woods we’ve wandered through and all this love between us still glowing in the darkest hour,” she writes. “I present to you, with gratitude and wild wonder, my version of 1989. It’s been waiting for you.”
Swift’s latest social post is accompanied with pictures of the pop star frolicking on a beach, eating ice-cream, living life like it’s 1989 all over again.
With the arrival of 1989 (Taylor’s Version), Swift has just two more albums to re-record: her 2006 self-titled debut and 2017’s Reputation, the last album she released under Big Machine Records. In 2021, she dropped Fearless (Taylor’s Version) and Red (Taylor’s Version), and in July of this year, she released Speak Now (Taylor’s Version).
Stream 1989 (Taylor’s Version) and see TayTay’s social post below.
“We have never thought of ourselves as a rock ‘n’ roll band, more of an ongoing art project,” is how John Taylor has described Duran Duran.
Taylor, the ‘80s heartthrob who co-founded Duran Duran and just happens to play bass guitar like he made a deal with the devil, wasn’t lying.
In the 40-plus years since its members assembled in Birmingham, England, the ongoing project that is Duran Duran has created enough art to fill the National Gallery.
Now, with the release of Danse Macabre, which dropped at the stroke of midnight, Duran Duran is 16 albums deep in a career that’s had it all.
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From their New Romantic origins, advancing into New Wave juggernauts with top-shelf music videos, the classic lineup of Simon Le Bon, Nick Rhodes and the three Taylors, John, Roger and Andy (none are related) dominated the first half of the 1980s like no other group.
That art project split in two (Arcadia and Power Station), scaled down, bagged more hits, enjoyed the comeback smash no-one saw coming, scaled down some more, reunited with the classic lineup, evolved, changed, pushed forward.
Then, a glorious comeback. A headline concert at London’s Hyde Park, a performance at the Queen’s Platinum Jubilee Concert at Buckingham Palace, sold-out shows in the U.S. and induction into the Rock And Roll Hall Of Fame, all in 2022.
And on it goes. Stretching across 13 tracks, Danse Macabre (released is Tape Modern/BMG) is the soundtrack to their “ultimate Halloween party,” a collection of reimagined DD songs, covers (including Billie Eilish’s “Bury A Friend,” The Rolling Stones’ “Paint It Black” and Talking Heads’ “Psycho Killer”) and three fresh cuts, including the previously-released “Black Moonlight” and the title track.
The new release is also a nod to friendships, and includes special collaborations with former band members Andy Taylor and Warren Cuccurullo, plus decades-long collaborator Nile Rodgers, producers Josh Blair and Mr. Hudson, and Victoria De Angelis of Måneskin.
The followup to 2021’s Future Past, which opened and peaked at No. 3 on the Official U.K. Albums Chart, Danse Macabre is another brush stroke in that “ongoing art project” which started more than four decades ago.
Stream Danse Macabre below.
The 2023 Billboard Music Awards are almost here — and the finalists have been revealed! Taylor Swift leads the list with entries in 20 categories as Morgan Wallen and SZA are tied for 17 entries each. Tetris KellyThe 2023 Billboard Music Awards are right around the corner and today we’re excited to reveal our list […]
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Beartooth notches its second No. 1 on Billboard’s Top Hard Rock Albums chart, as The Surface debuts atop the Oct. 28-dated ranking.
The set bows with 17,000 equivalent album units earned in the Oct. 13-19 tracking week, according to Luminate. Of that sum, 12,000 are via album sales, with 7,000 on vinyl.
Beartooth previously ruled Top Hard Rock Albums in 2018 with Disease, which reigned for a week upon its debut that October. The Caleb Shomo-led band adds its fifth top 10 (and total entry), having also charted with Below (No. 2, July 2021), Aggressive (No. 3, 2016) and Disgusting (No. 6, 2014).
Concurrently, The Surface debuts at No. 9 on Top Rock & Alternative Albums, marking Beartooth’s fourth top 10, dating to the No. 4 debut and peak of Aggressive in June 2016. It also starts at No. 5 on the all-genre Top Album Sales chart, where it’s the band’s second top 10.
The release of The Surface was preceded by a pair of radio singles. “Riptide” peaked at No. 11 on the Mainstream Rock Airplay chart in January, while follow-up “Might Love Myself” lifts 6-5 on the latest list. The latter becomes Beartooth’s first top five hit on Mainstream Rock Airplay among three top 10s, surpassing the No. 6-peaking “Hated” in 2017.
“Might Love Myself” also jumps 22-18 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.8 million audience impressions, up 12%.
Five songs from The Surface rank on the Oct. 28-dated, multi-metric Hot Hard Rock Songs survey, paced by “Might Love Myself” at No. 9. In addition to its radio airplay, the song earned 721,000 official U.S. streams. It’s followed by a debut for “I Was Alive” at No. 11 (779,000 streams).
The stars aligned at Las Vegas’ Sphere on Wednesday night (Oct. 25), as Lady Gaga joined U2 on stage for what turned out to be a mini set.
Dressed in a dark leather jacket, black tights and shades, Mother Monster was introduced to stage by Bono as “the most audacious, vivacious woman in any room she’s ever in,” Variety reports.
Sphere is no ordinary room. It’s a $2.3 billion, next-generation entertainment medium, with floor-to-ceiling graphics, thanks to nearly-580,000 square feet of fully programmable LED paneling — the largest screen of its type in the world. The images that have filtered back from U2’s residency are nothing short of mindbending.
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Gaga came to play, and she dueted on “Shallow,” her Oscar-winning, Billboard Hot 100-leading number from A Star is Born, braced by two U2 classics, Rattle and Hum track “All I Want Is You” and the Joshua Tree hit “I Still Haven’t Found What I’m Looking For.”
U2 & Lady Gaga – I Still Haven’t Found What I’m Looking For (Live at Sphere Las Vegas) pic.twitter.com/D7K6qJclkX— 𝕃𝕚𝕥𝕥𝕝𝕖 𝕄𝕠𝕟𝕤𝕥𝕖𝕣𝕤 🇮🇹 (@LMonstersITA) October 26, 2023
It’s not the first time Gaga and U2 have come together to make sweet music.
Back in 2015, Gaga joined U2 at Madison Square Garden for a rendition of “Ordinary Love,” the rock band’s contribution to the soundtrack for the 2013 Nelson Mandela biopic Mandela: Long Walk To Freedom. On that occasion, the pop singer dueted with Bono and played piano.
Gaga is making something of a habit of teaming up with legendary rock bands from the British Isles. Last week, Gaga took the mic during the encore of the Rolling Stones’ intimate show at New York City’s the Racket, for a performance of “Sweet Sounds of Heaven,” the collaborative track lifted from the British band’s 26th album released in America, Hackney Diamonds. With a little help from Gaga, Hackney Diamonds led the midweek U.K. albums chart by a country mile, by outselling the rest of the top 10 combined.
Bono & Co. wrap up their 25-concert U2:UV Achtung Baby Live run in December.
As a member of One Direction and solo artist, Louis Tomlinson has seen more tears and wailing than a veteran midwife. Sometimes, that hysteria shifts into overdrive, with gripping, shirt-ripping and knocks to the body.
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The British pop singer is used to wearing bruises as badges, the result of close encounters with overeager fans, he tells Australia’s commercial radio network Nova.
Leaning into the pit, “it’s by far my favorite part of the show,” he shares with Nova host Smallzy. “The minute you walk out to stage you feel that adrenaline. But literally the closer you get to the crowd, the more of that adrenaline you feel and by the end of the show, yeah I get down in the pit and just kind of immerse myself. And that feeling is absolutely amazing.”
There’s a line, he admits. And it’s sometimes crossed. “I kind of like getting in there and it feeling a little bit rough. I like that. That’s part of it. When they start ripping the clothes off me, it gets a little bit on top, you know? But yeah, is what it is.”
Zooming in from a rainy Berlin, one stop on his current European tour, Tomlinson reveals he’s “got a fat bruise on the back of the arm from the from the other night,” all because “some girl got me in the grip.”
Tomlinson also discusses his star turn in the feature-length documentary, All of Those Voices, which dropped on Paramount + earlier this month. There’s times in the life of a pop star “when it’s been incredibly liberating and times when it’s been tough as well. I’m hoping it gives an honest portrayal of that,” he explains. Was anything cut from the final edit? “Maybe some bad banter or shit jokes,” he quips.
The former 1D star also answers a smattering of fan questions — does he read DMs from randoms (occasionally), will there be a live album or new rock version of “Back to You” (no comment, but he does hint at something in the works), and the song he’s most proud of (“Saturdays.” There’s “something about it live, it feels special”).
Tomlinson’s tour reaches home soil next month for a run of U.K. and Ireland arena shows, in support of Faith In The Future, his second solo album.
Faith In The Future debuted at No. 1 on the Official U.K. Albums Chart last November, for his first solo leader and fifth including his work as a member of One Direction. In the United States, Faith In The Future debuted at No. 2 on Billboard’s Top Album Sales, and at No. 5 on the all-genre Billboard 200, his highest-charting set yet on both tallies.