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Paramore are back, baby. They’re back with a new album, This Is Time (via Atlantic Records), their first in six years. They’re back (soon) with a major tour. And they’re back on our TV screens.
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On Tuesday night (Feb. 14), Hayley Williams, Zac Farro, Taylor York and a backing cast stopped by Jimmy Kimmel Live for a performance of “Running Out of Time,” lifted from their sixth and latest album.
Kimmel was a handy warm-up for the reunited pop-punk outfit. They’re all set to hit the road for a global trek in support of the LP, kicking off in South America in early March, followed by a U.K. jaunt in April, and a North American run starting in May.
Along the way, they’ll perform at London’s O2 Arena, New York’s Madison Square Garden, Toronto’s Scotiabank Arena, Los Angeles’ Kia Forum, and hit a set at Bonnaroo in Nashville, TN.
This Is Time is the followup to 2017’s After Laughter, which peaked at No. 6 on the Billboard 200 chart, and is one of the band’s three top 10 appearances, including their self-titled 2013 leader.
This Is Time got away to a fast start in the U.K. It was the leader on the midweek chart, blowing away its nearest competition by 2:1, according to the Official Charts Company.
Watch the late-night performance below.
MELBOURNE, Australia — Labels trade body ARIA has questioned the motives behind TikTok’s “test” on users in these parts and demanded the short-form video platform immediately restore access to all music, for all Australians.
Earlier this month, ByteDance confirmed it was conducting an experiment in Australia, where TikTokers would have restrictions placed on their music options to soundtrack clips.
“Over the coming weeks we will be running a test in Australia to analyse how music is accessed and used on the platform,” reads a message from a TikTok rep. “Not all music is included in this test and we do not expect it to impact everyone on TikTok.”
The “test is underway,” and the app expects “that some of our users will not be able to access our full music and sounds library. For more than half of our community there will be no change to their experience and the test will not impact them.”
It’s unclear how many users have had their experience dampened, which titles and music labels have been removed, or precisely what TikTok hopes to gain from this procedure.
In one scenario, observers say, should TikTok find its users stay and stick to the app in the absence of major-label hits, the tech firm could gain an upper hand when it comes time to negotiate on content licenses.
On Wednesday (Feb. 15), ARIA addressed the elephant in the room.
In a carefully-worded statement, ARIA questions TikTok’s “decision to limit and remove access to music for select Australian creators and users” on its platform over the coming weeks.
“It is frustrating to see TikTok deliberately disrupt Australians’ user and creator experience in an attempt to downplay the significance of music on its platform,” comments ARIA CEO, Annabelle Herd, in a statement.
“After exploiting artists’ content and relationships with fans to build the platform, TikTok now seeks to rationalize cutting artists’ compensation by staging a ‘test’ of music’s role in content discovery.”
Herd points out the contraction in TikTok’s past mission statements.
“This is despite the fact that in 2021 TikTok’s global head of music, Ole Obermann, said: ‘Music is at the heart of the TikTok experience.’” This “test,” adds Herd, “is presented as an effort to analyse, improve and enhance the platform’s wider sound library, but as little as five months ago, TikTok’s chief operating officer Vanessa Pappas said that 80% of content consumed on TikTok is programmed by algorithms.”
If this is the case, Herd explains, “then it’s difficult to trust that this is a true test. TikTok can set its Australian algorithm upfront to – within parameters they define – deliver the results they want.”
And the results ARIA wants?
“Australians deserve better,” Herd concludes. “TikTok should end this ‘test’ immediately and restore music access to all users and creators.”
TikTok is a real hit with Gen Z in Australia, and is already a more popular social platform than Twitter among all Internet users in these parts, according to data published in the Digital 2022 Australia report.
The annual study found that users spent 40% more time scrolling the app each month compared with the previous year, and it’s now ahead of Twitter among the percentage of internet users who regularly use the platform.
Separately, TikTok recently launched SoundOn in Australia, a tool that allows creators to upload their music directly, and get paid.
The new platform, which is already live in the U.S., U.K., Brazil, Indonesia and elsewhere, helps independent emerging artists navigate its service, upload music and get paid for its use, market and promote themselves on TikTok and distribute their music to outside DSPs.
Future’s “Wait” pays off as the rapper’s hit single “Wait for U,” featuring Drake and Tems, breaks the record for the most weeks in the top 10 on Billboard’s Rap Airplay chart.
The single, which won a Grammy Award for best melodic rap performance on Feb. 5, captures an unprecedented 40th week in the top 10 despite a 4-5 decline and 7% drop in weekly audience, according to Luminate.
With a 40th week in the top 10, “Wait” surpasses Pop Smoke’s “What You Know Bout Love” as the track with the most weeks in the Rap Airplay top 10. The late Pop Smoke set the mark on the chart dated Oct. 2, 2021, as “Know” ranked at No. 10 for its 39th week in the upper tier.
As the leaderboard shuffles, here’s a look at the tracks with the most weeks in the top 10 of Rap Airplay since the list began in 1999.
Weeks in Top 10, Song Title, Artist, Year(s) in Top 1040, “Wait for U,” Future featuring Drake & Tems, 2022-2339, “What You Know Bout Love,” Pop Smoke, 202138, “Back That Thang Up,” Juvenile featuring Mannie Fresh & Lil Wayne, 1999-200038, “Suge,” DaBaby, 2019-2038, “Baddest,” Yung Bleu, 2 Chainz & Chris Brown, 2021-2237, “Power Trip,” J. Cole featuring Miguel, 2013-1436, “For the Night,” Pop Smoke featuring Lil Baby & DaBaby, 2020-2134, “Girls Want Girls,” Drake featuring Lil Baby, 2021-2234, “Big Energy,” Latto, 2021-2234, “Super Gremlin,” Kodak Black, 2022
During its recordbreaking stay, “Wait” captured 18 weeks at No. 1 on the Rap Airplay chart to claim the second-longest run in the chart’s history. It trails only the 19-week reign for Kid Ink’s “Show Me,” featuring Chris Brown, in 2014.
The combination of three radio favorite artists has proven an irresistible teamup for radio programmers and listeners alike. Since its release in April 2022 on Future’s I Never Liked You album, “Wait” has dominated the artists’ home radio R&B/hip-hop format and led to breakthroughs in other arenas. “Wait” racked up a record 16 weeks at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and is nearing the all-time top 10 mark there, too. Plus, it led to Future’s biggest Pop Airplay success as a lead act with its No. 20 peak, as all three of his higher-peaking songs featured him alongside core pop acts: Maroon 5’s “Cold” (No. 8), Taylor Swift’s “End Game,” also featuring Ed Sheeran (No. 10) and Ariana Grande’s “Everyday” (No. 18).
The radio juggernaut has also boosted Tems’ appeal in the radio world. Between featured turns on “Wait” and Wizkid’s 2021 smash “Essence,” which ruled R&B/Hip-Hop Airplay for 27 weeks, the Nigerian singer-songwriter quickly became a favorite at the radio format. The two titans helped generate interest in her own work, with “Free Mind” the top beneficiary. The song, first released on her 2020 EP, For Broken Ears, improved in streams and led to a radio campaign of its own. It clearly worked – this week, “Free Mind” sits at No. 1 on the R&B/Hip-Hop Airplay chart for a sixth week.
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“Ghosts Again,” Depeche Mode’s first single since 2017, debuts at No. 1 on Billboard’s Hot Trending Songs chart, powered by Twitter, dated Feb. 18.
Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, 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 Feb. 3-9.
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“Ghosts” was released Feb. 9. Despite just one day of data toward the latest tracking week, it not only earned a No. 1 debut on Hot Trending Songs but is also bubbling under Billboard’s Alternative Airplay chart.
It’s the first taste of music from Memento Mori, the band’s 15th studio album and first since 2017’s Spirit. Due March 24, it’s the group’s first LP since the death of keyboardist Andy Fletcher last year.
Further appearances for “Ghosts” are expected on the Billboard charts dated Feb. 25.
Future’s “I’m Dat N***a,” from his 2022 album I Never Liked You, follows at No. 2. Its surge in activity is owed to a viral social media post showing LeBron James playing the song after he broke the NBA’s all-time scoring record on Feb. 7.
New music from Gracie Abrams, BSS, Linkin Park, Luke Combs and more also appears.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
Paramore’s reunion could net the pop-punk veterans a U.K. chart crown.
Hayley Williams, Zac Farro and Taylor York reunited on This Is Why (via Atlantic), their six album and first since 2017’s After Laughter. It could also be their first U.K. No. 1 in nearly a decade.
Based on sales and streaming data reported by the Official Charts Company, This Is Why is the clear leader at the midweek stage. It’s currently out-selling its nearest rival, You Me At Six’s Truth Decay (Underdog), by more than two-units-to-one.
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If it maintains its trajectory, This Is Why will follow Paramore’s Brand New Eyes (from 2009) and Paramore (2013) to the top of the chart.
You Me At Six’s Truth Decay, No. 2 on the Official Chart Update, should give the Surrey, England rock outfit a seventh top 10 entry.
The Rolling Stones, meanwhile, are rolling to a 42nd top 10 appearance with their live hits retrospective GRRR! Live (Mercury Studios). It’s on track for a No. 6 debut.
Several winners from last Saturday’s 2023 BRIT Awards should see gains on the Official U.K. Albums Chart, published Friday (Feb. 17). Harry Styles’ third studio album Harry’s House (Columbia) is on course to climb 12-3 after collecting album of the year, while British group and best new artist winners Wet Leg could reenter the top 40 with their chart-topping eponymously titled debut. Wet Leg (Domino Recordings) is at No. 33 on the Official Chart Update.
Finally, a string of reissues look set to peak positions on the national chart. Scottish alternative rock outfit Mogwai has a pair of re-issues on track for new highs — 1997 debut Mogwai Young Team (at No. 12 via Chemikal Underground), and their sophomore LP Come On Die Young (No. 24).
Also, Gary Numan’s new wave act Tubeway Army could see their 1978 self-titled debut beat its previous best. Tubeway Army (via Beggars Banquet) blasts into the midweek chart at No. 13, ahead of its No. 14 peak position from 1979.
S Club 7 are bringing it all back for a reunion tour of the U.K. and Ireland.
The original seven members — Rachel Stevens, Bradley McIntosh, Hannah Spearritt, Jo O’Meara, Jon Lee, Paul Cattermole and Tina Barrett — will set out for a 25th anniversary nostalgia trip later in the year.
As it stands, the British pop outfit will play 11 arena dates, scheduled to kick off Oct. 13 at Liverpool’s M&S Bank Arena, then visit Sheffield, Newcastle, Glasgow, Dublin, Cardiff and more cities, before wrapping Oct. 28 at London’s The O2.
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“After eight years it feels amazing to announce that we’re reuniting and performing together again,” reads a statement from the reunited group.
“We’re so excited to bring the S Club party back to our fans across the country to celebrate 25 years of S Club 7,” the message continues.
“We can’t even believe it’s been so long. Music and friendship have always been at the core of everything that we’ve ever done. We hope everyone can join us for one big party.”
Tickets will be available to the public from Friday (Feb. 17).
Formed in 1998 by pop svengali Simon Fuller, S Club 7 went on to become one of the U.K.’s biggest pop bands of the late 1990s and early 2000s.
Along the way, the seven-strong act landed four U.K. No. 1 singles (“Bring It All Back,” “Never Had A Dream Come True,” “Don’t Stop Movin’” and “Have You Ever”) and a No. 1 album with 2000’s 7.
Fans will remember that they also starred on the family sitcom Miami 7/S Club 7 in Miami, about seven friends who relocate to Miami in search of fame, playing exaggerated versions of their own personalities. (The show aired on ABC Family in the United States.)
The group disbanded in 2003, with Stevens going on to enjoy a high-profile pop career in her homeland, bagging five top 10 singles, including No. 2s for “Sweet Dreams My LA Ex” (2003) and “Some Girls” (2004).
Then, in 2014, the singers joined forces once more to perform for the BBC Children In Need appeal. The reunion gathered pace when a U.K. tour was booked the following year.
More on the 2023 tour will be revealed at a press conference Tuesday morning (Feb. 14), streamed live on Instagram and YouTube.
Got a question about the tour? Comment below and two lucky fans will get their question answered at tomorrow’s Press Conference, streaming LIVE on Instagram and YouTube Tuesday 14th February at 11am GMT 📣📣📣 pic.twitter.com/54vvk9QJ2N— S Club 7 (@SClub7) February 13, 2023
Miley Cyrus should take the bouquet once again in the U.K. chart race, as “Flowers” (via Columbia) takes a considerable early lead.
Cyrus’ latest hit is “flying” on the midweek chart, the OCC reports, and is well-placed to snag a fifth consecutive week at No. 1 on the Official U.K. Singles Chart, when it’s published late Friday (Feb. 17).
“Flowers” is easily Miley’s longest-reigning No. 1 in the U.K., beating the single-week runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
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Also on the latest chart blast, PinkPantheress could pounce to a new peak position — and a career high — with “Boy’s a liar” (Warner Bros). The tune, which is juiced-up by the release of a remix featuring rising U.S. rapper Ice Spice, lifts 15-4 on the Official Chart Update.
The BBC Sound of… 2022 winner has three top 40 singles to her name, with “Boy’s a liar” last week giving her a first-ever top 10 appearance.
Meanwhile, Coi Leray’s viral number “Players” (Uptown/Republic Records) is shuffling up the chart, and is on the verge of giving the U.S. rapper a first top 10. It’s up 12-11 on the midweek survey.
Finally, Linkin Park makes a noteworthy impact on the chart blast with “Lost” (Warner Bros), a previously unreleased track which features vocals from the band’s late leader singer Chester Bennington.
It’s set to appear at No. 16 on the chart blast, for the nu metal act’s 18th U.K. top 40 appearance. “Lost” is one of six unreleased songs on Meteora 20, the 20th anniversary edition of their sophomore album. Meteora 20th Anniversary Edition will be released through Warner Records on April 7.
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As Billboard / VIBE’s 50 Greatest Rappers of All-Time list continues to spark debate amongst fans and rappers on social media, Missy Elliott expressed her gratitude about making it into the top 20 with during a chat with Billboard.
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“Oh man, being on a list like that with the names I saw, sometimes you still have to pinch yourself,” says Missy, who entered the tally at No. 19. “Sometimes, even if you think you’re great, you still look around and see so many icons and legends in this list, and you’re just humbled to be a part of that list. And to be in the top 20 when talking about that many people. I am blessed. I am thankful, and yeah, it feels good. It most definitely feels good, especially when you work hard. I was thinking of something Lil Wayne said the other night along the lines of just being acknowledged. That is everything to an artist.”
Missy also just participated in the GRAMMY’s HipHop50 performance, which included a sea of heralded icons including Grandmaster Flash, LL Cool J, Ice-T, Nelly, Run-D.M.C., GloRilla and many more. From a fan perspective, it was a one-of-a-kind experience for Missy, who relished watching some of her favorites perform as much as she loved sharing the stage with them.
“It was such nostalgia because I remember sitting in my living room and watching Public Enemy and Eric B. and Rakim and De La Soul and [Queen] Latifah and Salt-N-Pepa and once again, just like that [Billboard] list I am a part of this 50-year hip-hop tribute. And I tell you — this is no lie — no matter how many awards or accolades I have collected, I still pinch myself when I’m in those spaces because those people are so legendary to me,” she said.
On Sunday night (Feb. 12), Missy starred alongside Jack Harlow in a Doritos Super Bowl commercial that left the “First Class” MC similarly starstruck. “[She’s] completely down to Earth and an open book,” raved Harlow about Elliott. “She left me inspired.”
You can watch the full commercial here.