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Singer-songwriter Warren Zeiders notches his first Billboard Hot 100 chart hit, as “Pretty Little Poison” debuts at No. 86.
The song, released in March through 717/Warner/WEA, arrives with 5.8 million U.S. streams (up 17%), 3.3 million radio airplay audience impressions (up 10%) and 1,000 downloads sold (up 1%) in the Aug. 11-17 tracking week, according to Luminate. It also rises 38-37 on Country Airplay, having become Zeider’s first entry on the survey.
The song’s recent gains can partly be attributed to hype leading up to the release of Zeiders’ debut studio album, Pretty Little Poison, which includes “Poison,” on Aug. 18.
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TikTok has been a factor in the song’s growing profile, as a portion of the track has been used in over 65,000 clips to date. (TikTok does not presently contribute directly to Billboard‘s charts.)
“Poison” concurrently pushes 24-22 on Hot Country Songs, marking Zeider’s highest-charting entry. He previously charted five songs on the list: “Ride the Lightning (717 Tapes)” (No. 30 peak in 2021); “Outskirts of Heaven,” featuring Craig Campbell (No. 49, 2021); “Dark Night (717 Tapes)” (No. 40, 2022); “Wild Horse (717 Tapes)” (No. 35, 2022); and “Up to No Good” (No. 50, 2022).
Zeiders (real name: Brady Zeiders), from Hershey, Pennsylvania, scored his first Billboard chart appearance with “Ride the Lightning (717 Tapes)” in July 2021. The song went viral on TikTok, ahead of its Hot Country Songs debut, and led to a record deal with Warner.
“Warren is a gifted songwriter and storyteller, has the confidence and drive to work harder than anyone, understands all the modern tools at an artist’s fingertips to market and promote themselves, and is just a great human being,” Aaron Bay-Schuck, co-chairman and CEO of Warner Records, said upon Zeiders’ signing. “We just had the best time getting to know one another and both [co-chairman/COO] Tom [Corson] and I felt that Warner Records was a natural fit for Warren.”
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Olivia Rodrigo launches at No. 1 on Billboard’s Hot Rock & Alternative Songs chart for a second time, as “Bad Idea Right?” debuts atop the Aug. 26-dated survey. The singer-songwriter first led with “Brutal,” which reigned in its debut week in June 2021. “Bad Idea Right?” concurrently bows as Rodrigo’s second No. 1, again after […]
The Weeknd will make the long haul later this year for the Australia and New Zealand leg of his After Hours Til Dawn Tour.
The Canadian R&B star is set to play stadiums on his swing Down Under, which kicks off Nov. 20 at Brisbane’s Suncorp Stadium, with stops in Sydney (Accor Stadium, Nov. 24), Melbourne (Marvel Stadium, Dec. 1) and a final date at Eden Park in Auckland, New Zealand (Dec. 7).
Produced by Live Nation, the tour celebrates the Weeknd’s 2020 LP After Hours and 2022’s Dawn FM, both of which led the ARIA Albums Chart (the artist also four total No. 1s in Australia, including Beauty Behind The Madness from 2015 and Starboy from 2016). Special guests on the ANZ tour are Mike Dean and Chxrry22.
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Vodafone customers can secure pre-sale tickets from Aug. 25, through a new arrangement announced today with LN and its joint venture partner Secret Sounds. The general ticket onsale starts Friday, Sept. 1.The Weeknd (real name Abel Tesfaye) has had another busy year, during which time he broke attendance records at London’s Wembley Stadium, made his TV series debut with HBO’s The Idol, and released two cuts from it — “Double Fantasy” featuring Future, and “Popular” with Playboi Carti and Madonna.
The Starboy also jumped on “K-pop” with Travis Scott and Bad Bunny, and released a remix of his 2016 collaboration with Ariana Grande, “Die For You,” marking the duo’s fourth collaboration, following up 2021’s remix of “Save Your Tears,” as well as his feature on her 2014 single “Love Me Harder” and “Off the Table” from Ari’s most recent album, 2020’s Positions.
As his tour works its way around the world, the singer dropped his first-ever live album on March 3, Live at SoFi Stadium, a 31-track collection chronicling his two-night stand at the Los Angeles venue in Nov. 2022.
The Weeknd’s “After Hours Til Dawn Tour 2023” Australia and New Zealand:Nov. 20 — Suncorp Stadium, BrisbaneNov. 24 — Accor Stadium, SydneyDec. 1 — Marvel Stadium, MelbourneDec. 7 – Eden Park, Auckland
It’s tight at the top of the midweek U.K. chart, as singles by Dua Lipa, Billie Eilish and Olivia Rodrigo joust for the crown.
As it stands, Lipa’s Barbie cut “Dance The Night” (via Warner Records) leads Eilish’s “What Was I Made For?” (Interscope) and Rodrigo’s “Vampire” (Geffen), respectively.
According to the Official Charts Company, less than 1,000 chart units currently separate the top three.
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Lupa will hope for a different result from last week, when “Dance The Night” led on the chart blast, only to be pipped by Eilish in the finals days of the chart week.
If it holds its spot, “Dance The Night” would give Lipa a fourth U.K. chart topper, and her first as a solo artist since “New Rules” back in 2017.
If “Vampire” takes flight and snatches the crown, it would give Rodrigo a third leader after “Drivers License” and “Good 4 U,” both from 2021.
“What Was I Made For?” last Friday (Aug. 18) became Elish’s second U.K. No. 1 single, following her Academy Award-winning James Bond single, “No Time To Die.” And it led an historic tally, on which the top six singles were all recorded by solo female artists.
The Official Chart Update is Girl Powered once again, as female solo artists rule positions 1-6, including Taylor Swift’s “Cruel Summer” (holding at No. 4 via EMI), Peggy Gou’s “(It Goes Like) Nanana” (up 6-5 via XL Recordings) and Doja Cat’s “Paint The Town Red” (Ministry of Sound) set to rise 19-6, for a new high.
Also, Becky Hill’s “Disconnect” (Polydor) with Chase & Status is on the brink of a new peak, up 9-7 on the chart blast, while Nicki Minaj, Ice Spice and Aqua’s “Barbie World” (Atlantic/Capitol/Republic) dips 7-9, bringing to eight the total of female-led singles in the midweek top 10.
All will be revealed when the Official U.K. Singles Chart is published Friday, Aug. 25.
Hozier is headed for his first U.K. chart crown as Unreal Unearth (via Island) establishes a solid lead.
The third album from the Irish singer and songwriter, Unreal Unearth starts at No. 1 on the Official Chart Update, and is set to eclipse his 2014 self-titled debut, which peaked at No. 3 and featured his trans-Atlantic hit single “Take Me to Church.” Hozier’s followup, 2019’s Wasteland, Baby, peaked at No 6.
Based on midweek sales and streaming data published by the Official Charts Company, Scottish indie-rockers the View is set for a No. 2 start with Exorcism Of Youth (Cooking Vinyl), their sixth album. Exorcism should give the band their fourth U.K. top 10 album, and highest peak since their 2007 debut, Hats Off to the Buskers, led the chart. Hats Off to the Buskers contained the band’s first and only top 10 single, “Same Jeans,” which reached No. 3 in the year of release.
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British pop singer and songwriter Birdy could snag a career best on the Official Albums Chart with Portraits (Warner Music U.K.), her fifth album. It’s new at No. 3 on the chart blast. Completing an all-new top four on the midweek tally is U.S. artist Renee Rapp, who is set to open her U.K. chart account with Snow Angel (Interscope), her debut LP. It’s new at No. 4 on the chart blast.
Further down the list, post punk favorites Talking Heads is eyeing a new peak for Stop Making Sense (Parlophone), their live album which returns with an expanded edition to celebrate its 40th anniversary. The set could reeenter at No. 13, bettering its previous peak of No. 24 back in 2000.
As previously reported, Talking Heads members David Byrne, Tina Weymouth, Chris Frantz, and Jerry Harrison will appear together publicly next month for the first time since their 2002 Rock and Roll Hall of Fame induction at an upcoming 40th anniversary celebration of the live concert film, from which the album is cut.
Finally, English boyband Here At Last’s EP 1 (Halo Army) is set to make a top 40 splash, new at No. 22, while BTS member J-Hope could snag his own top 40 with Jack In The Box (Polydor), following the release of an expanded physical version. It’s set to reenter at No. 28 on the midweek survey.
All will be revealed when the Official U.K. Albums Chart is published Aug. 25.
Tones And I has traveled a long way from her days busking on the streets of Australia’s east coast.
Further proof was presented Sunday (Aug. 20) when the Australian singer and songwriter (real name: Toni Watson) performed a mini-set ahead of the FIFA Women’s World Cup final, a matchup between soccer powerhouses Spain and England.
Singing in front of a full house of more than 75,000 spectators at Sydney’s Stadium Australia, Tones powered through four songs, “I Am Free,” “I Made It,” “Fly Away,” and, of course, “Dance Monkey,” her global hit which led the charts in at least 30 countries.
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Released in 2019, “Dance Monkey” went all the way in Australia, where it set the all-time record with 24 weeks at No. 1, and the U.K., where it reigned for 11 weeks, a record for a solo female artist.
Her catalog recently swung past 10 billion streams combined, and now includes World Cup tie-in “The Greatest,” and “Bring It On,” a collaboration with American rapper BIA and French-Senegalese singer-songwriter Diarra Sylla, which featured as the official walkout track to all 64 tournament games.
Produced and co-written by multi-Grammy Award winning producer RedOne, “Bring It On” will be played at future FIFA tournaments.
Tones’ sophomore album, the followup to Welcome to the Madhouse, which led the ARIA Albums Chart following its release in 2021, is expected to arrive in 2024.
Watch Tones’ World Cup Final performance below. For the record, Spain prevailed over England, 1-0, for La Roja’s first title.
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Tones didn’t have the only musical moment at the tourney’s close. As the Matildas campaign came to an end, former child star Nikki Webster was a surprise guest on stage when the home team was unveiled to fans in Brisbane.
Webster, who enjoyed a breakout moment when, aged 13, she performed at the 2000 Sydney Summer Olympics opening ceremony, interacted with the Aussie soccer stars as she sang her signature song “Strawberry Kisses” – a dressing room regular for the Matildas.
After finishing a best-ever fourth in the World Cup, and igniting a frenzy for the roundball game never seen before in these parts, the Matildas were presented with the keys to the city of Brisbane, the 2032 Olympic Games host city, with the promise of a statue to come.
Watch the performance at Brisbane’s Riverstage below.
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Fat bottomed girls might make the rockin’ world go round, but Queen‘s racy song is nowhere to be found on a new release of Greatest Hits.
Recognized as the U.K.’s all-time best-selling album, Queen’s early career compilation is now available on kids’ audio platform Yoto, where listeners can “rock out to” 16 classic tracks, reads a statement.
“Fat Bottomed Girls,” one of the Rock And Roll Hall of Famers’ naughtier songs, is missing from the published tracklist.
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The blurb accompanying the album points out that “the lyrics in some of these songs contain adult themes, including occasional references to violence and drugs.” The songs are the original and unedited recordings, and that “parental discretion is advised” when playing the songs around younger children.
Released in 1978, “Fat Bottomed Girls” was a double-a side with “Bicycle Race,” a relatively harmless song that includes a cheeky reference to those bike-riding “fat bottomed girls,” and appears in the Yoto version of Queen’s Greatest Hits.
The song doesn’t make the cut on Yoto, most likely due its lyrical content. On it, the late Freddie Mercury sings, “Left alone with big fat Fanny/ She was such a naughty nanny/ Big woman, you made a bad boy out of me.”
“Fat Bottomed Girls” has helped Queen‘s Greatest Hits to ride on for several major chart records.
Released in 1981, the set last year passed 1,000 weeks on the Official Albums Chart Top 100, becoming just the third album to do so, and the first by a British act or a rock band; and became the first album to shift seven million chart sales in the U.K. The hits compilation crossed the six million threshold back in 2014.
Ray Hildebrand, the “Paul” in ‘60s pop duo Paul & Paula, died Friday (Aug. 18) in Kansas City, Missouri, at the age of 82.
Hildebrand passed away “peacefully,” and was surrounded by his family, according to a statement from his publicist.
Born December 21, 1940, in Joshua, Texas, Hildebrand met his singing partner Jill Jackson (Paula) while attending Howard Payne College (now called Howard Payne University) in Brownwood the Lone Star State.
Though never romantically involved, Paul & Paula landed a string of songs on Billboard’s charts, including “Young Lovers,” “First Quarrel,” “First Day Back at School,” and “Something Old, Something New,” and their best-known hit, the multi-million-seller from 1963 “Hey Paula,” which Hildebrand penned. The single logged three weeks at No. 1 on the Billboard Hot 100 chart.
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Mercury Records chief Shelby Singleton signed the pair, and reissued “Hey Paula” on its Phillips subsidiary. It was also Singleton who renamed the pair as Paul & Paula, apparently concerned that an act named Ray and Jill singing about “hey, hey Paula” and “hey, hey Paul” was a bridge too far.
Paul & Paula released two albums and a Christmas-themed set, before disbanding in 1965, Hildebrand keen to complete his college education and pursue a different musical direction.
The pair would remain friends, and occasionally reunited for special gigs.
A devout Christian, Hildebrand’s post- Paul & Paula solo recordings were largely a reflection of his faith. “Say I Do” is said to be a trailblazing record of the contemporary Christian genre. Later, he would team up with Paul Land, performing Christian music under the name of Land & Hildebrand.
Hildebrand traveled the country sharing his music and faith, and worked with The Fellowship of Christian Athletes, reps say.
The late singer and songwriter is preceded in death by his wife, Judy Hendricks, and survived by his daughter, Heidi Sterling, and son Mike Hildebrand, both of Kansas City.
Billie Eilish leads an historic chart in the U.K. as “What Was I Made For?” (via Interscope) logs its first week at No. 1.
In a battle of theBarbie tunes, “What Was I Made For?” beats Dua Lipa’s “Dance The Night” (Atlantic Records) to the tape, for Eilish’s second leader after 2020’s “No Time To Die,” the theme song for the James Bond film of the same name.
In doing so, the U.S. pop phenomenon ends the 10-week unbroken reign of Dave and Central Cee’s “Sprinter” (Live Yours/Neighbourhood), which tumbles 1-10.
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A closer look at the chart’s upper ranks reveals a “major record,” in the words of the Official Charts Company, as female solo artists account for the entire top 6 — a feat never seen before in the chart’s 70-year history.
Those history-makers include Olivia Rodrigo’s “Vampire” (up 4-3 via Geffen), Taylor Swift’s “Cruel Summer” (up 7-4 via EMI), Peggy Gou’s “(It Goes Like) Nanana” (up 6-5 via XL Recordings) and Rodrigo’s “Bad Idea Right” (No. 6), which gives the U.S. pop star her sixth top 10 appearance and the week’s highest debut.
Indeed, the top 8 on the latest Official U.K. Singles Chart, published Aug. 18, is led by female artists, with “Barbie World” (Atlantic) by Nicki Minaj, Ice Spice and Aqua, down 5-7, and “Disconnect” (Polydor) by Becky Hill and Chase & Status lifting 9-8, for a new peak.
Of the top 40 on the latest chart, 24 feature, or are led by, female artists, the OCC reports.
“It’s great to see solo women artists make up the top six positions on the U.K. Official Singles Chart for the first time,” comments Dr Jo Twist OBE, chief executive of the BPI. “This increased representation is something we hope becomes commonplace rather than exceptional. For now it’s a milestone that we should celebrate, reflecting a year when the market has been dominated by women artists from the U.K. and globally representing multiple genres.”
The OCC has flicked through the history books to identify several Girl Power milestones. The Official Singles Chart of Nov. 9 1986 marked the first time female vocalists featured on each of the Top 5 singles: Berlin (No. 1), Kim Wilde (No. 2), The Bangles (No. 3), Mel & Kim (No. 4) and Swing Out Sister (No. 5).
Then, on Feb. 14, 1988, the top 3 was led by solo female artists for the first time — Kylie Minogue’s “I Should Be So Lucky,” Tiffany’s “I Think We’re Alone Now” and Taylor Dayne’s “Tell It To My Heart,” respectively.
A decade later, in 1998, saw the first all-female top 5, led by B*Witched’s “To You I Belong”.
Further reinforcing the year of Girl Power on the U.K. charts, the top 5 singles for 2023 is dominated by women, according to the charts compiler, a joint venture of the labels body BPI and retail association ERA. Miley Cyrus’s “Flowers,” which led the chart for 10 weeks between January and March, is the U.K.’s biggest single of the year so far.