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Liam Gallagher is approaching higher ground, as Knebworth 22 (via Warner Records) leads the race for the U.K. chart title.
Cut during the British rocker’s two sold-out shows at Knebworth in June last year, where he played to crowds of 170,000, the live collection leads the midweek chart.
If it holds its momentum, Knebworth 22 would give Gallagher his fifth solo No. 1 album, and bragging rights over his brother Noel Gallagher, who boasts four No. 1 albums with his High Flying Birds, and missed out by a fraction on claiming a fifth when Foo Fighters won a tight chart race in June.
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Liam Gallagher is no stranger to life in the U.K. chart penthouse. As frontman with Oasis, he led the chart on eight occasions, a consecutive streak that includes all seven of the band’s studio albums, plus the 2010 compilation Time Flies.
Knebworth was, of course, the setting of Oasis’ legendary gigs, played across two nights in August 1996, a moment in time that was captured for the feature-length documentary Knebworth 1996, directed by Jake Scott, and for its companion album which peaked at No. 4 on the U.K. chart in 2021.
As a solo artist, Liam Gallagher has led the national tally with As You Were (2017), Why Me? Why Not (2019), MTV Unplugged (2020) and C’mon You Know (2022).
Dropping in at No. 2 on the Official Chart Update is the Hives’ The Death Of Randy Fitzsimmons (Disques Hives), the Swedish rockers’ sixth album and first in more than a decade. Fitzsimmons is on track to become the group’s career peak and third top 10 title, including their 2002 breakthrough Your New Favourite Band, released on Alan McGee’s Poptones, and 2004 followup Tyrannosaurus Hives (Polydor), both peaking at No. 7.
Completing an all-new top three on the latest chart blast is Volcano (Caiola), from electronic act Jungle. Volcano should blast to the duo’s fourth top 10 appearance.
Finally, John Lydon’s’s post-punk outfit Public Image Ltd could snag a first-ever U.K. top 10 with End of the World (PIL Official), set to start at No. 7, while new releases from London rapper Fredo (Unfinished Business via PG Records at No. 11) and English singer-songwriter Lucy Spraggan (Balance via CTRL at No. 12) are just outside the top tier.
All will be revealed when the Official U.K. Albums Chart is published Friday, Aug. 18.
Ever heard a song and thought, “Wow, that didn’t age well”? So have a few of your favorite artists … about their own music.
There’s Hayley Williams, who’s long been vocal about her aversion to Paramore‘s own “Misery Business,” even choosing to temporarily retire the track from the band’s live shows in spite of it being one of their most successful songs to date, peaking at No. 26 on the Billboard Hot 100. There’s Taylor Swift, who back in the day toed the line on her debut album’s single “Picture to Burn,” which included a since-updated lyric (now infamous among Swifties who enjoy digging up old copies of the album just to see whether it includes the original words) joking about spreading rumors your ex-boyfriend is gay to get revenge.
Swift also recently updated another lyric, this time the Speak Now (Taylor’s Version) album cut “Better Than Revenge.” In the years since the original Speak Now was released in October 2010, critics accused Swift of “slut-shaming” her romantic rival in the lyrics, when she sings: “She’s not a saint and she’s not what you think, she’s an actress, whoa/ She’s better known for the things that she does on the mattress, whoa.” In the re-recorded version, Swift keeps the first line the same but changes the latter line to: “He was a moth to the flame, she was holding the matches, whoa.”
Then there’s Lizzo, who rectified the use of a controversial word on her song “Grrrls” in less than three days time. The second single off of her album Special was quickly met with criticism over its use of the ableist term “spaz” — something the “Rumors” star didn’t take lightly. “It’s been brought to my attention that there is a harmful word in my new song,” she said in a statement. “Let me make one thing clear: I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand the power words can have (whether intentionally or in my case, unintentionally).
“I’m proud to say there’s a new version of GRRRLS with a lyric change,” she continued. “This is a result of me listening and taking action. As an influential artist I’m dedicated to being part of the change I’ve been waiting to see in the world.”
Weeks later, Beyonce faced the same criticism for using the same word in her Renaissance song “Heated.” Days later, her spokesperson told Billboard that the term would be “replaced.”
From sexism to homophobia, ableism to racial prejudice, there are songs containing wording that simply doesn’t jive with the world’s modern perspectives. See how 10 artists — from the above mentioned to the Black Eyed Peas, Michael Jackson and beyond — have taken steps to move their music forward by changing offensive language.
Taylor Swift, “Better Than Revenge” & “Picture to Burn”
Taylor Swift’s former seven-week No. 1 hit “Blank Space,” from her 2014 LP 1989, re-enters the Billboard Hot 100 chart (dated Aug. 19), marking its first appearance on the survey since its initial 36-week chart run in 2014-15.
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“Blank Space” re-enters with 8.4 million U.S. streams (up 23%), 4.3 million radio airplay audience impressions (essentially even week-over-week) and 1,000 downloads sold (up 51%), in the Aug. 4-10 tracking week, according to Luminate.
The song has been gaining in recent weeks, as Swift has been performing it on The Eras Tour, and ahead of the announcement of her re-recorded 1989 (Taylor’s Version) on Aug. 9. The song also jumps to No. 40 on the Billboard Global 200 chart, up 10% to 25.4 million streams worldwide (reflecting consumption in the U.S. and around 200 other countries).
1989 (Taylor’s Version), Swift’s fourth re-recorded set from her catalog, is due Oct. 27. Her original 1989 album spent 11 weeks at No. 1 on the Billboard 200 in 2014-15, matching Fearless as her longest-leading No. 1 album.
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“Blank Space” was a monumental hit for Swift, marking her third and longest-leading No. 1 at the time. With seven weeks at the summit, it stood as Swift’s longest-leading hit until “Anti-Hero” tallied eight weeks on top last November through this January. “Blank Space” also earned Grammy Award nominations for record of the year, song of the year and best pop solo performance.
Swift has since upped her total to nine Hot 100 No. 1s. Here’s a recap.
Taylor Swift’s Billboard Hot 100 No. 1s:“Anti-Hero” (eight weeks, 2022-23)“All Too Well (Taylor’s Version)” (one, 2021)“Willow” (one, 2020)“Cardigan” (one, 2020)“Look What You Made Me Do” (three, 2017)“Bad Blood,” feat. Kendrick Lamar (one, 2015)“Blank Space” (seven, 2014-15)“Shake It Off” (four, 2014)“We Are Never Ever Getting Back Together” (three, 2012)
Older songs such as “Blank Space” are eligible to re-enter the Hot 100 if they rank in the top 50 and have meaningful reasons for their resurgences. We occasionally see this phenomenon when catalog songs go viral or are newly promoted, as with Swift’s “Cruel Summer” (from 2019 and, now promoted as a single, up to No. 3 on the Hot 100), or have notable TV/film synchs that generate newfound interest, as was the case with Kate Bush’s 1985 classic “Running Up That Hill (A Deal With God)” last year. This explains why we see holiday songs storming the Hot 100 each winter, Michael Jackson’s “Thriller” returning after Halloween and, most recently, Miley Cyrus’ “Party in the U.S.A.” back on the Hot 100 last month following Fourth of July-related gains.
Morgan Wallen and Travis Scott remain on top of our Billboard Hot 100 and Billboard 200 charts, BTS’ Jung Kook and BlackPink’s Jennie model for Calvin Klein for their fall 2023 campaign. Nicki Minaj, Selena Gomez and Addison Rae all seem to tease upcoming music. Lil Tjay teaches us five things to know about him […]
King Stingray continued its golden run with a brace of wins at the 2023 National Indigenous Music Awards (NIMAs), held Saturday (Feb. 12) at Darwin Amphitheatre on Larrakia Country.
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Formed in Northeast Arnhem Land, the Stingers, as they’re lovingly known in these parts, snagged song of the year and film clip of the year both for “Let’s Go,” converting two-of-two nominations.
Earlier in the month, the Yolngu surf-rockers dominated the 2023 AIR Awards with three trophies, adding to a collection that includes the Michael Gudinski breakthrough artist, best new artist at the 2022 Rolling Stone Australia Awards, first-prize in the Vanda & Young Global Songwriting Competition, and the 2022 Australian Music Prize.
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Also at the 2023 NIMAs, Budjerah won the coveted artist of the year category, adding to his own impressive haul. The rising singer and songwriter from Fingal Head, New South Wales, was the inaugural winner of the Michael Gudinski prize at the 2021 ARIAs, he has also collected best new artist at the 2023 RS Awards and, in 2022, won his first APRA Award for most performed R&B/soul work of the year (“Higher” with Matt Corby).
Queensland singer and songwriter Thelma Plum scooped the album of the year NIMA for Meanjin, while the Indigenous language award was bestowed to traditional songman Ngulmiya for his self-titled debut album.
One of the night’s outstanding moments belonged to Yothu Yindi, as the “Treaty” singers were inducted into the NIMAs Hall of Fame for their “long and powerful contributions to Indigenous and Australian music across several decades,” reads a statement from organizers.
During the induction ceremony, the band’s original lineup, along with King Stingray vocalist Yirrŋa Yunupiŋu, nephew of the late Dr M Yunupiŋu, took to the stage for a rocking rendition of their signature song.
Performers on the evening included Kobie Dee, Dean Brady, Plum, Barkaa, Ngulmiya and Budjerah and the Red Flag Dancers.
“So proud of all the artists, performers, nominees and winners at this year’s NIMAs,” comments NIMA creative director Ben Graetz. “It was an exceptional night of Blak excellence.”
An initiative of trade body MusicNT, the NIMAs, now in its 19th year, are a celebration of the “finest celebration of First Nations music”.
Read more here.
2023 National Indigenous Music Awards WinnersArtist of the Year — BudjerahNew Talent of the Year — BumpyFilm Clip of the Year — King Stingray, “Let’s Go”Song of the Year — King Stingray, “Let’s Go”Album of the Year — Thelma Plum, MeanjinCommunity Clip of the Year — Wildfire Manwurrk, “Mararradj”Indigenous Language Award — Ngulmiya, Self-TitledHall of Fame — Yothu YindiArchie Roach Foundation Award — Wildfire Manwurrk
Ron S. Peno, frontman and co-founder of Died Pretty, which, thanks to combination of his stagecraft, a handful of evergreen singles, and a cult following, had a seat at the front of Australia’s alternative rock explosion in the 1990s, died Friday (Aug. 11) after a years-long battle with cancer. He was 68.
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News of his death was confirmed by the official Died Pretty social accounts.
“With great sadness we announce the passing of our singer Ron S Peno who left us peacefully on Friday evening in the presence of his loving wife Charity and his son Zebadiah, at his home in South Yarra, Melbourne,” the tribute reads.
For the last four and a half years as he battled cancer, “Ron displayed a resolute positivity and a profound depth of character that has proved inspirational to his fellow band members, manager and many friends,” the message continues. “In the face of adversity he was towering.”
Formed in Sydney in the 1980s, Peno and Died Pretty channeled the look and sound of their heroes from New York’s punk scene, including the Velvet Underground and Television, and injected it with psychedelic rock.
As the band built a buzz on the live circuit, their releases would follow the proper trajectory on the ARIA Charts. Early releases merely tickled the tally, though debut Free Dirt from 1986 continues to grow in stature, and cracked Rolling Stone Australia’s list of 200 Greatest Australian Albums of All Time, published December 2021 (placing at No. 153).
Died Pretty’s Lost from 1988 appeared at No. 99 on the ARIA Albums Chart, and 1990 followup Every Brilliant Eye peaked at No. 79, according to data supplied by the trade body to Billboard. Then, with 1991’s Doughboy Hollow, a first top 40 appearance. Peaking at No. 24 on the national albums survey, Doughboy Hollow was powered by two of the band’s evergreen songs, “D.C.” and “Sweetheart,” numbers that captured the spirit of the time. The Australian Broadcasting Corporation’s triple j station had embarked on its national rollout in 1989, and those two songs sounded sweet on its airwaves (a 2018 poll of the 50 Best Australian Albums of the 90s, published by triple j’s sister station, Double J, placed Doughboy Hollow at No. 22).
Meanwhile, the late Ken West and Viv Lees were working on a game-changing festival, the Big Day Out, which would kick-off the following year in Sydney, and rapidly grew into a national production, selling 330,000 tickets at its peak. Died Pretty was on the inaugural BDO lineup.
After striking a deal with Sony Music’s Columbia division, Died Pretty enjoyed a career-best chart placing in 1993, hitting No. 11 with Trace, and 1996’s Sold would hit No. 29. While signed to Sony Music, Died Pretty were invited to Europe to showcase their talents for the music major’s international executives.
In 2008, induction into Hall of Fame at the The Age EG Awards, celebrating Victoria’s creative scene.
Peno joined his bandmates on the road for several major tours in the past decade, including the A Day on the Green outdoor concert series in 2016, with Hoodoo Gurus, Sunnyboys, Violent Femmes and Ratcat, and a joint national tour the following year with Radio Birdman.
The singer’s battle with cancer became a public one when, in February 2019, it was announced via the band’s social channels that Peno had been diagnosed with oesophageal cancer and that all upcoming shows were scrapped as he underwent treatment.
Support Act, the charity for Australia’s music community, rallied behind Peno with the “Help a Mate” appeal.
“For the 40 years Ron entertained us as Died Pretty’s frontman he was never less than always charismatic,” reads the tribute from his surviving bandmates. “He has provided warm and enduring memories for those who shared the stage with him and for his audience. For many he is the soundtrack of their lives. He leaves us a legacy of extraordinary recordings that will continue to be treasured into the future.“Our hearts go out to Charity, Zebadiah and all his family and friends at this time. Ron will be sorely missed. The world will be a smaller place without him.”
Dave and Central Cee’s “Sprinter” (via Live Yours/Neighbourhood) outraces the field in the U.K. for the 10th week, setting a new record in the process.
“Sprinter” becomes the first U.K. rap track to enter double figures at the summit of the Official U.K. Singles Chart, further proof of the global phenomenon that is hip-hop, a genre that’s currently celebrating its 50th anniversary as a genre.
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Meanwhile, Becky Hill and Chase & Status lift into the top 10 for the first time with “Disconnect” (Polydor), up 15-9. With that gain, Hill boasts her sixth U.K. top 10 hit, while Chase & Status land a fifth — and first in ten years. Chase & Status appear again further down the Official U.K. Singles Chart, published Aug. 11, with Flowdan and Bou on “Baddadan” (EMI), up 31-21 for a new peak position.
It’s strength in numbers for Nathan Dawe, Joel Corry and Ella Henderson as “0800 Heaven” (Atlantic) improves 9-10, while Calvin Harris and Sam Smith’s latest collaboration, “Desire” (Columbia), gains 18-12, for a new chart best.
There’s a new peak position for Ryan Gosling’s Barbie number “I’m Just Ken” (Atlantic), up 14-13; D.O.D’s “So Much In Love” (Armada), up 23-16; and Anne-Marie and Shania Twain‘s duet, “Unhealthy” (Atlantic/Asylum/EMI) up 22-18, also a new high
Doja Cat has the highest new entry on the Official U.K. Chart with “Paint the Town Red” (Ministry of Sound). It’s new at No. 20 for the U.S. artist’s 15th top 40 single and first top 20 appearance in two years, since 2021’s “Woman” reached No. 13.
Finally, Travis Scott scores his 17th U.K. top 40 with “Telekinesis” (Epic) featuring SZA and Future. The track, lifted from the U.S. rapper’s No. 1 album Utopia, starts at No. 31 on the Official Chart.
It’s victory for Cian Ducrot, the Irish singer and songwriter who races to No. 1 in the U.K. with his debut LP.
Ducrot overcomes a deficit at the midweek stage to snag the chart crown with Victory (via Polydor), ahead of Skindred’s eighth studio album, Smile (Earache).
Few chart races will come any tighter than this. Ducrot’s winning margin over Skindred, the Welsh heavy metal outfit, is just 150 chart units, the Official Charts Company reports.
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Despite missing out on a debut crown, there’s no frowning for Skindred as Smile gives the Newport band its highest chart peak in the U.K., and first top 10 appearance.
Previously, Skindred impacted the U.K. top 40 with 2014’s Kill the Power (No. 28 peak), 2015’s Volume (No. 29) and 2018’s Big Tings (No. 26).
Also, Smile is the week’s most downloaded LP and the best seller on wax.
Completing the top 3 on the Official U.K. Albums Chart, published Aug. 11, is Travis Scott’s previous leader Utopia (RCA), which dips 1-3.
South Yorkshire, England indie rock act the Sherlocks enjoy a career-best chart performance with People Like Me & You (Teddyboy), new at No. 4. The Sherlocks previously landed top 10 berths with 2017’s Live for the Moment (No. 6) and 2022’s World I Understand (No. 9).
Close behind is Miles Kane‘s One Man Band (Modern Sky), new at No. 5, the British artist’s highest-charting solo album. Kane has two No. 1 albums as part of the Last Shadow Puppets, his collaborative project with Arctic Monkeys’ Alex Turner, and boasts seven top 40 albums, five as a solo artist.
Finally, N-Dubz lands a fourth top 10 in the U.K. and equal career best with Timeless (EMI), the homegrown hip-hop act’s comeback album. It’s new at No. 6, matching their previous chart peak with 2009’s Against All Odds. Timeless is N-Dubz’s first studio album release in 13 years.
Disturbed notches its 12th ruler on Billboard’s Mainstream Rock Airplay chart, as “Unstoppable” rises to No. 1 on the Aug. 19-dated tally.
It’s the David Draiman-fronted quartet’s first leader on the list since “Hey You,” which reigned for three weeks in September 2022.
In between “Hey You” and “Unstoppable,” the band reached No. 2 with “Bad Man” this March.
Disturbed first led Mainstream Rock Airplay in November 2006 with its cover of Genesis‘ 1980s classic “Land of Confusion.”
With 12 No. 1s, Disturbed moves into a four-way tie for the fifth-most toppers in the chart’s 42-year history, alongside Foo Fighters, Godsmack and Metallica. Shinedown leads all acts with 18 No. 1s.
Most No. 1s, Mainstream Rock Airplay18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Van Halen12, Disturbed12, Foo Fighters12, Godsmack12, Metallica10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
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Concurrently, “Unstoppable” bullets at its No. 9 best on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.9 million audience impressions, up 7%, Aug. 4-10, according to Luminate.
On the most recently published, multi-metric Hot Hard Rock Songs tally (dated Aug. 12), “Unstoppable” re-entered at No. 23. In addition to its radio airplay, the song earned 230,000 official U.S. streams in the July 28-Aug. 3 tracking week.
“Unstoppable” is the third single from Divisive, Disturbed’s eighth studio album. The LP debuted at No. 1 on the Top Hard Rock Albums list last December and has earned 115,000 equivalent album units to date.
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Post Malone’s alternative-leaning new album Austin becomes his first to reach No. 1 on Billboard’s Top Rock & Alternative Albums and Top Alternative Albums charts, debuting atop both lists dated Aug. 12.
Austin bows with 113,000 equivalent album units earned July 28-Aug. 3, according to Luminate. Of that sum, 34,000 units are via album sales, with the bulk from streaming equivalent units (78,000).
That 113,000-unit count is the fourth-biggest on Top Rock & Alternative Albums in 2023 (and the most for a solo male), behind, among all acts, only Metallica’s 72 Seasons (146,000, April 29), Melanie Martinez’s Portals (142,000, April 15) and Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd (115,000, April 8). It’s also the third-largest on Top Alternative Albums this year, trailing only the aforementioned Martinez and Del Rey LPs.
Post Malone makes his first appearance on both charts; although he has logged hits in a featured role on multiple rock- and alternative-focused song charts, none of his albums was classified fully as alternative before Austin.
Concurrently, Austin begins at No. 2 on the all-genre Billboard 200. It’s his second straight title to debut at No. 2, following Twelve Carat Toothache in 2022, and his fourth total within the top two (following Beerbongs & Bentleys in 2018 and Hollywood’s Bleeding in 2019, both No. 1s).
Ten songs from Austin appear on the Hot Rock & Alternative Songs survey, paced by “Enough Is Enough,” which debuts at No. 5 with 9.9 million official U.S. streams, 80,000 airplay audience impressions and 2,000 downloads sold. The song also leads a collection of Austin tracks on Alternative Streaming Songs, bounding in at No. 3.
The album’s lead single, “Chemical,” peaked at No. 13 on the all-genre Billboard Hot 100 dated April 29 (and concurrently ranks at No. 35 on the latest list). It reached Nos. 6 and 8 on Pop Airplay and Adult Pop Airplay, respectively, in June, while also achieving highs of No. 16 on Adult Contemporary, No. 24 on Alternative Airplay and No. 25 on Rhythmic Airplay. Latest radio single “Mourning” this week places at No. 11 on Rhythmic Airplay, after hitting No. 8, and rises to No. 18 on Pop Airplay.