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Selena Gomez reconnects with her old friend Francia Raisa after rumors of a falling out between the two. Feid, Myke Towers, Manuel Turizo, several members of RBD and more are joining the party at Billboard’s Latin Music Week, October 2nd – 6th in Miami. Nick Jonas falls through a hole in the stage during a […]
Morgan Wallen’s “Last Night” ties Mariah Carey’s “All I Want for Christmas Is You” for the second-most weeks spent atop Billboard’s Streaming Songs chart in the tally’s decade-long history, crowning the Aug. 19-dated survey. Meanwhile, the songs share the record for the most time on top, 18 weeks each, among hits billed to singular acts and no collaborators.
“Last Night” leads Streaming Songs for an 18th nonconsecutive week with 26.3 million official U.S. streams in the Aug. 4-10 tracking week, down 2%, according to Luminate.
The song first crowned the Streaming Songs list dated March 18, its sixth week on the ranking, boasting 47.5 million streams that week. It has not fallen below No. 3 since.
An 18th week at No. 1 ties Carey’s holiday anthem, which first led Streaming Songs upon the Jan. 5, 2019, chart and has returned each year since for anywhere between three and five weeks at No. 1 during the holiday season.
The overall record for most weeks at No. 1 belongs to Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus: 20 weeks in 2019.
Most Weeks at No. 1, Streaming Songs:
20 weeks, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus (2019)
18, “Last Night,” Morgan Wallen (2023)
18, “All I Want for Christmas Is You,” Mariah Carey (2019, 2020, 2021, 2022)
16, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber (2017)
14, “Rockstar,” Post Malone feat. 21 Savage (2017-2018)
14, “Panda,” Desiigner (2016)
13, “We Don’t Talk About Bruno,” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto Cast (2022)
13, “The Box,” Roddy Ricch (2020)
13, “Fancy,” Iggy Azalea feat. Charli XCX (2014)
13, “Wrecking Ball,” Miley Cyrus (2013-2014)
“Last Night” remains Wallen’s only Streaming Songs-topping tune. He first appeared on the ranking with “Whiskey Glasses” in 2019 and rose as high as No. 3 twice, with “Wasted on You” in 2021 and “Don’t Think Jesus” in 2022, prior to the reign of “Last Night.”
“Last Night” concurrently spends its 27th week at No. 1 on Country Streaming Songs, which is nearly halfway to the overall record, kept by Bebe Rexha and Florida Georgia Line’s “Meant To Be,” which ruled for 55 weeks in 2017-19.
As previously reported, “Last Night” spends a 16th week at No. 1 on the multi-metric Billboard Hot 100, rewriting the mark for the most frames at the summit among non-collaborations.
Billboard has more than 200 different weekly charts in its menu, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Here’s a look at 10 acts who appear on surveys for the first time on the Aug. 19-dated charts.
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Ez Mil
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The Filipino-American rapper (full name: Ezekiel Miller Sapiera) scores his first Billboard chart appearance with his new collaboration with Eminem, “Realest.” The track, released Aug. 4 on FFP/Shady Records/Aftermath Entertainment, debuts at No. 3 on both the Rap Digital Song Sales and R&B/Hip-Hop Digital Song Sales charts, and No. 10 on the all-genre Digital Song Sales chart with 4,000 downloads sold in its first week (Aug. 4-10), according to Luminate. Ez Mil also starts at No. 16 on Emerging Artists. Ez Mil has released four LPs: Act 1 and Resonances (both in 2020), DU4LI7Y (2022) and DU4LI7Y: REDUX (Aug. 11; it includes “Realest”). The rapper was born in Olongapo City, Philippines, and now lives in Las Vegas.
Malcolm Mays
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The actor-filmmaker-musician earns his first placement on Billboard’s charts thanks to “Not Lucky,” featuring Lil Baby. The song, released in June on Mays’ second EP, Street Journal Vol. 1, debuts at No. 39 on the Mainstream R&B/Hip-Hop Airplay chart (up 26% in plays). Mays self-released his debut EP, the five-track Red Flags, in June 2022. Before that, he released three songs: “Ruthless,” in 2016, “Who You Fuckin Wit” (2018) and “Dramatik” (2021). As an actor and filmmaker, Mays has landed roles in the films Southpaw, The Day Shall Come, and Covers (which he also wrote and directed).
Crypta
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The Brazilian death metal band, from São Paulo, notches its first chart appearance, thanks to its second studio album, Shades of Sorrow. Released Aug. 4 on the Austrian label Napalm Records, the set debuts at No. 71 on the Top Current Album Sales chart with 1,000 sold. The band released its first LP, Echoes of the Soul, in 2021. The group also enters at No. 41 on the Emerging Artists chart. Crypta comprises Tainá Bergamaschi (guitar), Luana Dametto (drums), Jéssica di Falchi (guitar) and Fernanda Lira (bass/vocals).
Designer Disguise
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The nu-metalcore band, from Seattle, reaches Billboard’s charts for the first time with its cover of Lil Jon & the East Side Boyz’s classic hit (featuring Ying Yang Twins), “Get Low.” The remake, released in February on InVogue Records, debuts at No. 25 on the Hard Rock Digital Song Sales chart. The original “Get Low” reached No. 2 on the Hot 100 in 2003. The band has also released crunchy covers of other classic 2000s and ’10s hits, including Hilary Duff’s “Come Clean,” LMFAO’s “Sexy and I Know It,” Ludacris’ “Move Bitch” and Sia’s “Chandelier.” Outside of cover singles, Designer Disguise has released two LPs: Surface in 2017 and Elsewaer this January.
9lives
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The artist hits Billboard’s charts for the first time thanks to his team-up with Odetari, “I Love You Hoe.” The song, released July 12, debuts at No. 20 on the Hot Dance/Electronic Songs chart with 1.6 million U.S. streams. The same day, 9lives and Odetari released two other collabs: “Ice Spice HMU” and “Reassure Me.” On Aug. 7, the pair released sped-up and slowed and reverbed mixes of the three tracks. Beyond his collaborations with Odetari, 9lives has released two solo LPs: #exclusive in 2022 and 33.1FM this February.
Tashi
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The actress and singer (full name: Tashiana Washington) makes her first Billboard chart appearance with her song with Samuel Mancini, “Soak.” Released Aug. 4 through Eric West Management Group, it starts at No. 7 on R&B Digital Song Sales and No. 19 on R&B/Hip-Hop Digital Song Sales (1,000 downloads sold). The track was boosted by three additional versions: radio, a cappella and radio a cappella mixes. Tashi released three songs before “Soak”: “Shut Up,” in 2021, “1/2 Way” and “In My Head” (both in 2022). As an actress, she has landed roles in Amazon’s Harlem, HBO’s Betty, HBO’s Random Acts of Flyness and the films Ice Age: Continental Drift and Straight Outta Compton.
Humanity’s Last Breath
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The Swedish metal band debuts on Billboard’s charts for the first time with its new LP, Ashen. The set, released Aug. 4 on Unique Leader Records, debuts at No. 94 on Top Current Album Sales with 1,000 copies sold. The band dropped its first two EPs, Reanimated by Hate and Structures Collapse, in 2010 and 2011, respectively, and added the full-lengths Humanity’s Last Breath (2013), Abyssal (2019) and Välde (2021). Humanity’s Last Breath comprises Klas Blomgren, Fili Danielsson, Tuomas Kurikka, Buster Odeholm and Calle Thomer.
Robert Jon & The Wreck
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The five-piece from Southern California arrives on Billboard’s charts with its new LP, Ride Into the Light. Released Aug. 4 via Journeyman Records, the set debuts at No. 9 on the Blues Albums chart. The group comprises Robert Jon Burrison (lead vocals, guitar), Jake Abernathie (keyboards), Andrew Espantman (drums, background vocals), Warren Murrel (bass) and Henry James Schneekluth (lead guitar, background vocals). The band has a string of U.S. and European tour dates lined up through December.
Michael Daughtry
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The singer-songwriter scores his first chart appearance with his single “Nothing Special.” The song, which he self-released June 16, debuts at No. 28 on Adult Contemporary (up 10% in plays). Daughtry has released four other songs: “What If I,” in 2019, “Save Me Some” (this February), “Paid in Dogs,” with Gail Gallagher, and “Starting Line” (both in July).
Random Acts of Kindness
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The act reaches Billboard’s charts for the first time with “Free To Roam.” Released April 28 on Better World Records, the track debuts at No. 29 on Adult Contemporary (up 49% in plays). The act, led by Ken Freirich, describes the song as “about liberation, freedom, self-expression and empowerment. It’s about breaking free from the chains of a challenging life situation, overcoming adversity, following your dreams and passions and living life to its fullest on your own terms.” Random Acts of Kindness have released one additional song: “Healthcare Workers Rock!,” in 2020.
Latin star Pedro Capó opens up about his latest album, La Neta, going on tour, life after the success of his track “Calma,” new music and more.Pedro Capo:Out of the blue, unexpectedly. It wasn’t supposed to be a single. It wasn’t written with that, you know, looking for that either, that one was absolutely special.
Hi, I’m Pedro Capo and this is Billboard News.
Leila Cobo:Pedro Capo, welcome to Billboard News!
Pedro Capo:Thank you! Happy to be here! Happy to see you! Thanks for having me!
Leila Cobo:Likewise. And now you’re back with ‘La Neta’ tour. This is the first tour since the onset of the pandemic for you.
Pedro Capo:Yeah, yeah. Happy… happy that we finally got here.
Leila Cobo:Tell us about that tour.
Pedro Capo:Yes. Well, we started in Spain, we did four cities over there. And it was a huge success. Every city sold out. We’re now going to Argentina, which they all sold out. I feel like ‘La Neta’ is that you know, the little boat that could, and then we’re going to Mexico and we’re going to be coming to the (United) States so we should be here in October. Very excited about that. ‘La Neta’ was a different- is a different sound. And I feel like it marks a road ahead for me.
Leila Cobo:How so?
Pedro Capo:Because sonically I was coming out of the whole “Calma” thing, which was beautiful, amazing. “Calma” had, you know, happened at such an interesting moment. The pandemic came, I kind of got lost in my sound for a little bit, which is part of our process, I’d say. And ‘La Neta’ was something that I record and produced and write in its entirety in my house. Very personal.Watch the full interview above.
Two new solo songs from BTS’ V top Billboard’s Hot Trending Songs chart, powered by X, dated Aug. 19.
Billboard’s Hot Trending charts, powered by X, track global music-related trends and conversations in real-time across X, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Aug. 4-10.
V’s “Love Me Again” crowns the list. Officially released to most streaming providers on Aug. 11, the song’s music video preceded the debut by premiering on YouTube on Aug. 9.
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It’s V’s first No. 1 on the ranking, which began in 2021; he previously rose as high as No. 4 with “Christmas Tree” in 2022.
V’s “Rainy Days” bows at No. 2; it was released Aug. 11 but was teased during the Aug. 4-10 tracking period, boosting its position on Hot Trending Songs.
A third song from V, “Slow Dancing,” debuts at No. 7 thanks to buzz from the tracklist of Layover, V’s upcoming six-song release, which was announced Aug. 7. Two versions of “Slow Dancing” will be featured on Layover, a standard edition and a piano version. Layover is scheduled for release Sept. 8.
“Siren,” newcomer K-pop group RIIZE’s introduction song, debuts at No. 3 after being released Aug. 6. The seven-piece’s debut album, Get a Guitar, is out Sept. 4.
“Mi Ex Tenia Razon,” from Karol G’s newly released deluxe edition of her album Manana Sera Bonito, debuts at No. 4, while Oliver Anthony’s “Rich Men North of Richmond” premieres at No. 5 after going viral upon its upload on the YouTube channel radiowv on Aug. 8, followed by a full release for downloads and streaming Aug. 11.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
Don Toliver, Moneybagg Yo, Yung Miami and Mr. Eazi are among the talent lineup set for Sean “Diddy” Combs’ upcoming REVOLT WORLD. The reimagined REVOLT Summit, presented by Walmart, will take place Sept. 22-24 in Atlanta.
Embodying this year’s theme, “We Are Hip-Hop,” the additional talent announced thus far includes Jeezy, G Herbo, Joey Bada$$, Omarion, Juvenile, Tank, Tee Grizzley, Saucy Santana, Queen Naija, Lauren London, Young M.A, Uncle Waffles, Jozzy, Curren$y, Babyface Ray, Tyler Lepley, Maiya The Don, Dvsn and Royce Da 5’9”. This year’s slate of keynotes, panels and performances will also feature conversations with key executives and personalities such as LVRN’s Amber Grimes, Apple Music’s Walter Tucker and sports journalist/author Jemele Hill.
Live viewings and tapings of REVOLT’s various hit series are on the bill as well. The show menu includes Caresha Please, The Jason Lee Show, Drink Champs with Noreaga and DJ EFN, Assets Over Liabilities with Rashad Bilal and Troy Millings and Big Facts with Big Bank, DJ Scream and Baby Jade.
In a release announcing the event, REVOLT chairman Combs said, “REVOLT WORLD was created to celebrate the global impact of hip-hop and introduce a new live event category that represents the highest level of entertainment, education and opportunity. Our vision was to build on the tremendous success of REVOLT Summit and deliver a first-of-its-kind event that reimagined the intersection of culture, community and connections with the most influential leaders across generations.”
Added REVOLT CEO Detavio Samuels, “We are thrilled to present this extraordinary lineup of talent at REVOLT WORLD who share our mission to provide access, knowledge and opportunities that amplify our culture’s influence. From industry icons to visionary thought leaders, these individuals embody the spirit of creativity, empowerment and change that REVOLT stands for. Together, we will ignite conversations, spark inspiration and create a lasting impact on a global scale.”
More REVOLT WORLD talent will be revealed closer to the event’s September dates. For additional information about REVOLT WORLD and to purchase tickets now, visit revoltworld.com.
Taylor Swift spends a record-extending 76th week at No. 1 on the Billboard Artist 100 chart (dated Aug. 19), thanks to the continued success of her latest album, Speak Now (Taylor’s Version), as well as 10 additional albums on the Billboard 200 and five songs on the Billboard Hot 100.
The set ranks to No. 4 in its fifth week on the Billboard 200 with 60,000 equivalent album units earned Aug. 4-10, according to Luminate, after spending its first two weeks at No. 1. It became Swift’s first re-recorded album, of three that she’s released so far, to notch its first two weeks at the summit.
Also boosting Swift’s Artist 100 standing are 10 additional albums on the Billboard 200. This is the fifth week (all consecutive) that Swift has landed 11 titles on the survey. Four weeks ago, she became just the third act – and first woman – to chart at least 11 in a single week, following The Beatles and Prince.
Here’s a recap of Swift’s current Billboard 200-charting titles.
Rank, Title:No. 4, Speak Now (Taylor’s Version)No. 5, MidnightsNo. 6, LoverNo. 9, FolkloreNo. 13, 1989No. 15, reputationNo. 18, Red (Taylor’s Version)No. 24, EvermoreNo. 30, Fearless (Taylor’s Version)No. 144, Taylor SwiftNo. 181, Speak Now
Swift also boasts four albums in the Billboard 200’s top 10 for a third time. Last month, she became the first living artist to achieve the feat in nearly 60 years.
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On the Hot 100, Swift charts five songs: “Cruel Summer” (up 4-3, a new high), “Karma” featuring Ice Spice (20-13), “Anti-Hero” (31-18), “Blank Space” (a re-entry at No. 49) and “I Can See You (Taylor’s Version) (From the Vault)” (76-63).
“Blank Space,” Swift’s seven-week Hot 100 No. 1 in 2014-15 from her album 1989, has been gaining in recent weeks, as she has been performing it on The Eras Tour, and ahead of the Aug. 9 announcement of her re-recorded 1989 (Taylor’s Version), due Oct. 27.
Rounding out the Artist 100’s top five, Travis Scott drops to No. 2, Morgan Wallen rises 4-3, Luke Combs lifts 5-4 and Post Malone falls 3-5.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
A new anthology published today (Aug. 15) titled Kick Out the Jams: Jibes, Barbs, Tributes, and Rallying Cries from 35 Years of Music Writing makes the case for Dave Marsh as one of the most influential critics of popular music in recent decades.
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One of the first editors of Creem magazine; a veteran contributor to Rolling Stone and other publications; the author of 25 books (including two best-selling biographies of Bruce Springsteen); the co-founder of the newsletter Rock & Rap Confidential and a longtime host on SiriusXM, Marsh has redefined the the limits of music writing throughout his career. His criticism has offered insights into issues of community, class, race, politics, health, the environment, the music industry and more.
“Dave Marsh has always been a tireless advocate of justice, human rights, and rock’n’roll,” writes Tom Morello, co-founder of Rage Against The Machine, in his cover quote for this collection. “His pen and voice are an important player in the history of the music we love and the struggle for a more just and decent world.”
In this collection — edited by Daniel Wolff and Danny Alexander, with a postscript by Pete Townshend — Marsh writes as a historian, a skeptic, an agitator, a sentimentalist and, above all, a fervent fan and true believer in the power of music.
“Since 1969, Dave Marsh has been writing about music like our lives depended on it,” writes educator Lauren Onkey, the former senior director of NPR Music, in her introduction to Kick Out the Jams. (She references Marsh’s decades of criticism that precedes the work covered in this collection and Marsh published an earlier anthology, Fortunate Son, in 1985).
The opening piece in Kick Out The Jams illustrates how Marsh draws connections like few other critics. In “Elvis: The New Deal Origins of Rock ‘n’ Roll,” Marsh writes: “Like everything else, Presleymania has a political dimension.” Observing that Elvis Presley and his family in Tupelo were “extraordinarily poor,” Marsh notes that, after moving in Memphis, the family benefited from the social safety net created by Franklin Roosevelt’s New Deal legislation during the 1930s, that included income support and public housing.
For all of Presley’s immense talent and vision, the opportunities he seized “were the result of living in a society which, by design, offered people as poor as the Presleys a chance for that breathing space,” writes Marsh in this 1982 essay — pointedly contrasting that era with the dismantling of the social safety net under by conservatives led by then President Ronald Reagan.
(This essay, by the way, is one of several here that was originally published in Musician magazine, one of the most acclaimed music publications of its time, under editor Bill Flanagan and, subsequently, Robert Doerschuk. Once owned by a former parent company of Billboard, Musician folded in 1999 and its rich content has never been archived online).
Marsh knows how to write a great lead. In 1989, Madonna courted controversy (again) by filming a video for her hit “Like a Prayer” in which, amid images of burning crosses, she caresses the statue of a Black religious icon, who comes to life to embrace her.
“The worst thing about the furor over Madonna’s Like a Prayer may be that it obscures a great album,” writes Marsh. “But that just proves that Madonna has entered the rarified ranks of those pop stars who function as lightning rods for a–holes.”
Stars at rarified heights have never escaped Marsh’s sharp pen. Bono’s Product (RED) campaign to raise awareness and funds to halt the spread of HIV/AIDS in Africa, drew the writer’s criticism — which Marsh extended widely to celebrity-driven causes. He quotes Zambian economist Dambisa Moyo, who “observes that she met [Bono] ‘at a party to raise money for Africans—and there were no Africans in the room except for me.’”
In this summer marking the 50th anniversary of hip-hop, it is worth recalling Marsh’s comments about the genre in a 1991 essay “The Death of Rock,” in which Billboard’s Paul Grein makes a cameo appearance. Grein, who then wrote the magazine’s Chart Beat column, observed in his 1990 year-end commentary that no rock bands had topped the Billboard 200 albums chart in that year. However, Marsh writes that the music industry’s segregation by genre “means that the most exciting, rebellious, hardest-rocking music of the early 1990s — rap and hip-hop — can’t be considered rock.”
Marsh often has devoted his writing to celebrating music pioneers. Included here are his essays on John Hammond, Robert Johnson, Woody Guthrie and Pete Seeger, among others. Just as often, he has sought to raise the profile of deserving musicians like those profiled in this collection: Ani DiFranco, Patty Griffin, Alejandro Escovedo, China’s Cui Jian, gospel singer Dorothy Love Coates, or the late Jimmy LaFave.
In May 2017, the month that Marsh’s profile of LaFave ran in the Austin Chronicle, the folk musician died of sarcoma, a rare form of cancer — the same cancer which took the life of Kristen Ann Carr, the daughter of Marsh and his wife, Barbara Carr, in 1993. She was 21.
“I need to eulogize Kristen Ann Carr because her death means I’ll never write about music in the same way,” Marsh wrote in the newsletter Rock and Rap Confidential in March 1993, noting that a decade had passed since he co-founded the newsletter.
“Kristen… belongs here because, however you may have received these past ten years of ranting and raving, I’ve seen RRC as an espousal of life against death. After watching my own child wage that struggle in literal terms, I know there’s a way to live that message to your final breath. You do so by choosing the spirit of hope and affirmation that Kristen held so completely that she awed even her doctors.”
In Kick Out the Jams, amid all the “jibes, barbs and rallying cries,” the work of Dave Marsh pays tribute to the spirit of hope and affirmation that the best music brings into our lives.
(Editor’s note: Thom Duffy is a former contributor to Rock and Rap Confidential and is a supporter of the Kristen Ann Carr Fund, which focuses on supporting research in the treatment and cure of sarcoma, and improving the lives of young adult cancer patients and their families).
Pink’s record-breaking visit to Australia and New Zealand next year will include her first stadium concert in North Queensland.
The Philadelphia pop superstar will bring her Summer Carnival to the land Down Under in 2024, for a trek that expands to 16 Australian shows. Among the newly-announced dates are a fourth and final show at Melbourne’s Marvel Stadium, and a tour-closing concert March 23 at Queensland Country Bank Stadium in Townsville, a venue that typically hosts the rough and tumble of professional rugby league matches.
Pink’s one-off show in Townsville was presented at a press conference, featuring government representatives.
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“Queensland is the only state where Pink is playing three separate cities, and this is the only regional stop,” comments premier Annastacia Palaszczuk, whose government is gearing up for the 2032 Olympics and Paralympics, which will be held in the state capital, Brisbane. “Major concerts like this bring visitors who spend millions of dollars in the tourism economy and support local jobs.”
Live Nation is producing the tour, which the concerts giant insists will be the biggest-selling Australian visit ever by a female artist.
Pink’s 16 stadium concerts is one record, the 725,000 ticket sales she is “currently well beyond,” according to LN, is another.
“Pink’s Aussie shows sold out in minutes across the country,” comments Live Nation Australia president Roger Field, “making the tour extension into North Queensland an exciting next step in meeting this unprecedented demand.”
Setting records in Australia is a regular pastime for Pink. She’s considered an “honorary Aussie,” and has certainly spent enough time here to earn that tag.
On her 2009 Funhouse Tour, she criss-crossed the country for a gobsmacking 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a population of less than 25 million at the time.
For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, hitting 42 arena dates.On the ARIA Charts, Pink has bagged seven No. 1 albums, most recently with Trustfall.
Live Nation Australia chairman Michael Coppel is Pink’s career-long promoter for ANZ, organizing six tours since 2004. On the 20th anniversary of that association, Pink will surpass 3 million tickets sold in Australia and New Zealand, he explains.
“Only fitting that we break new ground with the record to be set at her first show in Northern Queensland at Queensland Country Bank Stadium,” he adds.
Also announced this week, Tones And I will join Pink as special guest on the ANZ swing. The one-time busker, Tones (real name Toni Watson) set new benchmarks with her global hit “Dance Monkey,” which led charts in 30 countries, including 24-week run at No. 1 on the ARIA Chart, a record, and 11 weeks at No. 1 on the Official U.K. Singles Chart, a record for a solo female artist.
Visit livenation.com.au for more.
Summer Carnival Australian Tour 2024Feb. 9 — Allianz Stadium, SydneyFeb. 10 — Allianz Stadium, SydneyFeb. 13 — McDonald Jones Stadium, NewcastleFeb. 16 — Suncorp Stadium, BrisbaneFeb. 17 — Suncorp Stadium, BrisbaneFeb. 20 — Heritage Bank Stadium, Gold CoastFeb. 23 — Marvel Stadium, MelbourneFeb. 24 — Marvel Stadium, MelbourneFeb. 27 — Adelaide OvalMarch 1 — Optus Stadium, PerthMarch 2 — Optus Stadium, PerthMarch 12 — Marvel Stadium, MelbourneMarch 13 — Marvel Stadium, MelbourneMarch 16 — Accor Stadium, SydneyMarch 19 — Suncorp Stadium, BrisbaneMarch 23 — Queensland Country Bank Stadium, TownsvilleWith special guest Tones And I
For the first time in two-and-a-half months, the U.K.’s singles chart is set to crown a new leader. And, right now, that crown looks like a good fit for Dua Lipa.
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The pop superstar leads the midweek chart with “Dance The Night” (via Warner Records), one of several hits from Barbie.
If it swings to the top, up 3-1, “Dance The Night” would be Lipa’s fourth U.K. leader, following “New Rules”; “One Kiss “with Calvin Harris; and “Cold Heart,” her collaboration with Elton John, remixed by PNAU.
Barbie has now passed the US$1 billion milestone at the global box office, and the hit film’s influence can been seen up and down the U.K.’s chart blast. Indeed, it’s an all-Barbie top two, as Billie Eilish’s ballad “What Was I Made For?” slots into second place, less than 1,000 chart units behind “Dance The Night,” the Official Charts Company reports. Other cuts from Barbie: The Album making a midweek mark include “Barbie World” by Nicki Minaj, Ice Spice and Aqua (at No. 7); “Speed Drive” by Charli XCX (No. 14); “I’m Just Ken” by Ryan Gosling (No. 16); and Lizzo’s “Pink” (No. 34).
Meanwhile, Olivia Rodrigo’s “Vampire” (Geffen) completes the midweek podium, at No. 3, while the Grammy-winning pop star is poised to nab the top new entry on the national survey with “Bad Idea Right,” the latest track lifted from her forthcoming sophomore album GUTS. It’s new at No. 5 on the Official Chart Update.
Also set to make a dent on the chart is Fred Again’s “I Adore U” (Atlantic). It’s set to bow at No. 11, for what would be a career-high from the smoking hot Mercury Prize-nominated DJ and producer.
It would appear that Dave and Central Cee’s “Sprinter” (Live Yours/Neighbourhood) has run its final race. The hit song led the national chart for 10 consecutive weeks, but is set to tumble not just from summit, but out of the top 10. Based on sales and streaming data published by the OCC, “Sprinter” will drop to No. 12.
All will be revealed when the Official U.K. Singles Chart is published Friday, Aug. 18.