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Diddy and Bryson Tiller make their move to No. 1 on Billboard’s Adult R&B Airplay chart as “Gotta Move On” crowns the list dated Nov. 26. It’s the first No. 1 for both acts on the chart. The song ascends from No. 2 after a 9% boost in plays that made it the most-played song on U.S. monitored adult R&B radio stations in the week ending Nov. 20, according to Luminate.
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As the collaboration climbs, it ousts Silk Sonic’s “After Last Night,” with Thundercat and Bootsy Collins, from the summit after the latter’s one week in charge.
“Gotta Move On” gives Diddy his first No. 1 on Adult R&B Airplay, on his third appearance. He previously visited through two featured spots – first, on Faith Evans’ “All Night Long,” which reached No. 29 in 1999, and later, alongside fellow guest Enya on Mario Winans’ “I Don’t Wanna Know,” a No. 9 hit from 2004.
Bryson Tiller likewise nets his first Adult R&B Airplay champ, though on his fourth attempt. Before “Move,” the singer-songwriter appeared on the chart with “Insecure,” his collaboration with Jazmine Sullivan (No. 30 in 2017), when he and Rihanna featured on DJ Khaled’s “Wild Thoughts” (No. 13, 2018) and in a supporting role on H.E.R.’s “Could’ve Been” (No. 2, 2019).
While Diddy and Tiller are both new to the Adult R&B Airplay summit, both acts have crafted radio smashes for years for R&B and hip-hop fans. Diddy, whose career dates to the 1990s, has accumulated 15 top 10 hits as an artist on the Mainstream R&B/Hip-Hop Airplay chart, including three No. 1s: “I’ll Be Missing You,” with Faith Evans and featuring 112 (three weeks in 1997), “Bump, Bump, Bump,” with B2K (four, 2003) and “Shake Ya Tailfeather,” with Nelly and Murphy Lee (three, 2003). Tiller, likewise, has his own trio: “Don’t” (five, 2016), “Exchange” (one, 2016) and from DJ Khaled’s “Wild Thoughts” (five, 2017).
“Move” also presented a return to form for both artists on Mainstream R&B/Hip-Hop Airplay, where it reached No. 6 (and reverses 6-8 on the current list). The peak gave Diddy his first top 10 visit on that list since 2010, when “Hello Good Morning,” credited to Diddy – Dirty Money featuring T.I., crested at No. 10. For Tiller, though he’d been in the upper tier as recently as 2020 through a featured turn on Wale’s “Love… Her Fault,” it marks his first time in the region as lead act since “Don’t.”
One does not simply walk into The Voice and perform Stevie Wonder’s “Superstition”. Kique did.
The teenage Miami native shone during the Live Top 13 Performances, with a rendition of Wonder’s funk classic.
During NBC’s singing competition, Kique has been described as a “unique” talent, and he showed again on Monday night (Nov. 21) why he’s been showered with praise.
Kique (real name Robert “Kique” Gomez) has a knack for taking a popular song, and putting his own twist on it.
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Earlier, the 19-year-old Team Gwen artist got through a three-way Knockout Round with a performance of another funky classic, OutKast’s “Hey Ya!”
Kique was introduced to the wonders of Stevie Wonder by his high school band teacher, so “Superstition” is clearly something close to his heart. And on this occasion, he kept the funk, but didn’t overhaul the arrangement. Instead, he went with a “tweak.”
“One of my favorite things to do is change songs,” Kique remarked earlier in the season. “I really want Gwen to see that I’m not just a singer. I’m also a musician. I like to create compositions and make music and change things and make them my own.”
Gwen has noticed. After tonight’s performance, she remarked: “You’re a star.”
Camila Cabello noted that Kique was “having fun” and that he challenges himself with his variations.
Whether America agrees that he’s a star, we’re about to find out.
Voting has kicked off, and the top artists will be revealed during Tuesday’s live results show. Three contestants will be eliminated on what promises to be another nail-biting encounter.
Watch Kique’s performance below.
Dermot Kennedy opens-up a sizeable lead in the U.K. chart race with Sonder (via Island), his second album.
The Irishman’s LP leads the midweek survey, with an advantage of 12,000 chart sales over Taylor Swift’s Midnights (EMI), the next closest title.
Sonder is the followup to Without Fear, which, in 2019, saw Kennedy became the first Irish act in over years to bow at No. 1 in the U.K. with his debut.
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Meanwhile, Queen is all set to make a miracle return to the chart. The legendary rock band returns to the Official Chart Update at No. 3 with The Miracle (Island), following an eight-disc reissue, including six unreleased tracks, four with the late Freddie Mercury on lead vocals.
The Miracle led the weekly chart following its original release in 1989.
Canadian rockers Nickelback are back, and ready to get rolling into the U.K. top 10. The band’s 10th studio album, Get Rollin’ (BMG) is heading for a No. 5 start. If it holds its position, that would mark Nickelback’s sixth U.K. top 5 appearance, the OCC reports.
David Bowie could score another posthumous hit, this time with the original soundtrack to the Brett Morgan-helmed documentary film, Moonage Daydream (via Parlophone). It’s on track for a No. 7 debut, for what would be the Thin White Duke’s 36th U.K. top 10.
Close behind is U.S. metal band Disturbed, which could bag a fourth U.K. top 10 appearance with Divisive (Reprise). It’s new at No. 8 on the chart blast.
Mariah Carey made an early foray into the U.K. singles chart top 40 last Friday (Nov. 18) with her holiday classic, “All I Want For Christmas Is You” (Columbia). It hasn’t quite triggered an avalanche, though a ripple of Christmas-themed recordings are making a move on the albums chart.
Andre Rieu and his Johann Strauss Orchestra are on track for a No. 4 start on the albums chart with Silver Bells (Decca); Andrea, Matteo and Virginia Bocelli’s A Family Christmas (Decca) is poised to lift 13-12; Kylie Minogue’s Kylie Christmas (Parlophone) is set to reenter at No. 27; and Michael Bublé’s multi-platinum gift that keeps-on giving, Christmas (Reprise), is poised to return at No. 35.
All will be revealed when the Official U.K. Albums Chart is published Friday.
Taylor Swift’s “Anti-Hero” (EMI) looks set to extend its reign in the U.K. for a fifth week.
The first track on Swift’s new album Midnights has dominated the Official U.K. Singles Chart since its release, Oct. 21, and is by some distance her longest-ruling No. 1 in that territory (her previous best was a two-week run in 2017 with “Look What You Made Me Do”).
Based on midweek sales and streaming data captured by the Official Charts Company, “Anti-Hero” should hold on for another week, making it five in a row.
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Just four other releases this year have notched more than a month at No. 1 in the U.K.: “We Don’t Talk About Bruno” (7 weeks) by the cast of Encanto, “As It Was” (10 weeks) by Harry Styles and “Afraid To Feel” (8 weeks) by LF SYSTEM.
Meanwhile, Meghan Trainor appears to be moving on up with her doo-wop number, “Made You Look” (Epic), lifting 4-3 on the midweek survey, for what would be a peak position.
The highest new entry on the Official Chart Update belongs to London rapper Clavish, who’s on the verge of his first top 10 with “Rocket Science” (Polydor) featuring D-Block Europe. It’s set to debut at No. 9.
Irish singer and songwriter Dermot Kennedy is on track for his first albums chart crown with Sonder, which leads at the midweek point. He’s on the rise on the U.K. singles survey, as “Kiss Me” (Island) improves 19-12, for what would be a new peak in its 12th week on the survey.
Grime star Stormzy is on fire with his latest, the ballad “Firebabe” (0207/Merky). It lights up 21-19 in its second week on the survey.
Christmas has come early on the U.K. singles chart, with Mariah Carey’s “All I Want For Christmas Is You” (Columbia) making an earlier-than-usual annual return to top 40 on latest chart, published Nov. 18.
Carey’s evergreen number is only going in one direction — up. The record-breaking tune lifts 36-20 on the chart blast, and holds a slim lead over another holiday classic, Wham’s “Last Christmas” (RCA), up 45-22 on the chart blast.
It may be too early to confirm, but Ed Sheeran and Elton John’s “Merry Christmas” (Atlantic) might be here to stay, at least in the annual lead-up to Dec. 25. After hitting No. 1 last December, the duet is poised to return to the survey, at No. 33.
All will be revealed when the Official Chart is published Friday (Nov. 25).
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Australia’s unofficial anthem, Men At Work’s “Down Under,” is feted with APRA AMCOS’ Billions Award, in recognition for surpassing one billion streams across all platforms.
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The award takes into account streaming numbers from all major services including Spotify, Apple Music, YouTube, YouTube Music, Vevo and Amazon, and is said to be the first of its kind to celebrate a songwriter’s streaming achievement.
Frontman and co-songwriter Colin Hay was on hand at the PRO’s offices to receive the accolade.
“I think that more than anything, the way that the song felt was that I had this deep love for this country, but not in a flag waving way, in a very deep spiritual way,” says Hay, who is currently on tour in these parts.
“I didn’t quite understand what it was, but I can still feel it, I can’t often put it into words—I love the place so much. That’s what the song is, it’s about love and celebration in a very true way.”
The 40-year journey for “Down Under” is as remarkable as the travel tales told in its lyrics.
Written by Hay and Men At Work guitarist Ron Strykert, “Down Under” was the second official single from the band’s debut album Business as Usual, released in 1981.
Some two years after its release, both album and single went to No. 1 in the U.S., and in the U.K., a rare achievement for a band from Australia, then and now.
The single reigned for four weeks on the Billboard Hot 100, and has sold two million copies in the U.S., according to APRA AMCOS.
“Down Under” also topped charts in Australia (in 1981) and New Zealand, Canada, Ireland, Denmark, Switzerland and Italy (all 1982), and Men At Work went on to win best new artist at the Grammy Awards.
The song was also the subject of a bruising — and costly — copyright battle, which began in 2009.
With that legal saga in the rearview, “Down Under” has reached new audiences through a drum ‘n’ bass reworking by DJ Luude, which peaked at No. 5 in the U.K. earlier in the year, and it soundtracks the new Tourism Australia campaign, with a re-imagined cut by north-east Arnhem Land band King Stingray, singing in Yolngu Matha and English.
Hay received the distinguished services award for outstanding contribution to Australian music at the Global APRA Music Awards, held 2020 in Los Angeles. On that occasion, he was presented with the trophy by pop superstar Sia, who remarked of her “Uncle Collie,” “You’re my favorite singer.”
Previous inductees into the 1,000,000 List include Sia (for multiple songs), Dean Lewis (“Be Alright”), Flume (“Never Be Like You”), Jake Mason, Ivan Khatchoyan, and Lance Ferguson (for Cookin’ On 3 Burners’ “This Girl”), Starley and P-Money (“Call On Me”), Troye Sivan and Alex Hope (“Youth”) and Tones And I (“Dance Monkey”).
See the full list here.
Billboard News stepped into Diddy’s home and sat down with the legendary artist to discuss his single “Gotta Move On” with Bryson Tiller reaching No. 1 on Billboard’s Adult R&B Airplay chart. Plus, Taylor Swift’s “Anti-Hero” tops the Hot 100 once again.
“I wish you health and love, prosperity. Be kind to each other, ok, and farewell.” With those words, Elton John concluded the final show of his last U.S. tour Sunday night (Nov. 20) at Los Angeles’ Dodger Stadium, leaving behind the thousands of fans paying homage by wearing bejeweled eyeglasses, the hundreds wrapped in multi-colored feather boas, the dozens in sequined Dodgers outfits and one JoJo Siwa in John’s famous orange-plumed devil’s suit with horns, as the singer ascended to the top of the stage in an elevator — and disappeared for good.
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To say it’s the end of an era doesn’t begin to do justice to John and what his live shows have meant over the last six decades. Starting with his now-fabled run at Los Angeles Troubadour in 1970 to 52 years later, few solo artists have left as much of a mark on playing live.
Sunday’s show was his seventh at Dodger Stadium, dating back to his now iconic performances in October 1975 when the sparkly Dodger uniform made its first appearance, and his 103rd in the Los Angeles area. He also remarked it was the 271st show of the Farewell Yellow Brick Show outing, which began in 2018.
The sun may have gone down on the last U.S. show, but the tour will continue through July 2023 stopping in Australia, New Zealand and Europe. By October, the show had already grossed more than $660 million from over 250 U.S. shows. By the time the tour ends, it will undoubtedly surpass U2’s 360 Tour to be the second highest grossing tour in Billboard Boxscore history. The only question is if it can capture Ed Sheeran’s The Divide Tour, which earned $776.4 million.
Billboard Boxscore doesn’t span John’s entire touring life, but in the three decades it has been collecting data, John has grossed more than $1.7 billion to make him the highest grossing solo act in the chart’s history.
But the numbers are only part of the story. He has been a consistently magnificent live performer, not ever slowed by drug addiction, health issues, and now, at 75, age. And his final show of his last American tour at Dodger Stadium, showed why we’re unlikely to ever see an artist like him again in our lifetime.
Here are the top highlights from the show:
The extended takes on classics: They’ve been doing it for years, but it’s still striking to hear John and his band stretch out with bold muscularity on such tunes as “Rocket Man,” “Levon” and “Take Me to the Pilot,” lifting them far beyond the radio versions. They’ve been playing together for decades and have retained a razor sharpness, led by John’s pounding piano playing, Nigel Olsson’s precision drumming and Davey Johnstone’s blazing guitar work that is still stunning to hear without ever appearing superfluous. Somehow, the expanded version of “Levon” turned the song from the pristine, delicate studio take into a bop that had the 50-something, sparkly sweater-wearing man in front of me devising a solo dance worthy of “So You Think You Can Dance” and John dramatically collapsing over his piano by the time it was done.
John’s voice: It’s deeper now and not as sweet and clear as it was during the ‘70s, but the crystal tone has been replaced with a richness that shows off John’s love for the blues. That affinity always informed his playing, but not necessarily his vocals in the early years.
His BFF Brandi Carlile: Carlile was one of three special guests for the show that aired live on Disney + and while it was easy to guess that Kiki Dee and Dua Lipa would be singing their hits with John, Carlile’s song was a surprise. She joined him for “Don’t Let the Sun Go Down On Me,” so famously first turned into a duet by George Michael and John at 1985’s Live Aid. Walking out in a glittery suit of her own (with Rocket and 1 emblazoned on the back), Carlile’s lilting-yet-powerhouse vocals perfectly captured the song’s desperation. However, she couldn’t hide her joy in singing with one of her musical heroes, even giving an adorable fist pump when she left the stage. John came out from the piano to deliver a nostalgic rendition of his and Dee’s 1976 classic, “Don’t Go Breaking My Heart” that finished strong after a timid start, and Lipa and John’s first performance ever together of their 2021 global mashup, “Cold Heart.”
The material: John’s songs have held up beautifully. With a few exceptions (we’re looking at you, 1979’s disco album, Victim of Love), John’s songs have always had a timeless quality to them whether it’s the simple, elegant beauty of “Your Song” or the raucous, barreling “Saturday Night’s Alright for Fighting” or the utter despair of “Sorry Seems to Be the Hardest Word.” They sound as good and relevant today as they did when they first came out decades ago. John and lyricist Bernie Taupin, who came out to a warm ovation, are simply one of the greatest partnerships in musical history. They’ve been creating together since 1967 and though John will no longer tour, he’s given no indication that he plans to stop making music.
John’s gratitude: He’s always made a point of making sure that audience knows how appreciative he is of their support that has enabled him to have such a remarkable career and life. He made sure to thank the fans one more time in a speech that was also a reminder of just how long he has been part of our lives (and through how many formats). “I became successful first in America, and you bought the singles and the albums and the 8 tracks and cassettes, the CDs, and more importantly you bought the tickets to the shows which I love more than anything, which is to play live,” he said. “So, I want to thank you because you made me. Without America, I wouldn’t be here. So, thank you for all the years of love and generosity and loyalty.” The feeling was clearly mutual. To be clichéd and obvious, how wonderful life has been while Elton John has been in the world.
Elton John Nov. 20 set list:
“Bennie and the Jets”
“Philadephia Freedom”
“I Guess That’s Why They Call It The Blues”
“Border Song”
“Tiny Dancer”
“Have Mercy”
“Rocketman”
“Take Me To The Pilot”
“Someone Saved My Life Tonight”
“Levon”
“Candle In The Wind”
“Funeral For A Friend/Love Lies Bleeding”
“Burn Down The Mission”
“Sad Songs Say So Much”
“Sorry Seems To Be The Hardest Word”
“Don’t Let The Sun Go Down On Me”
“The Bitch Is Back”
“I’m Still Standing”
“Don’t Go Breaking My Heart”
“Crocodile Rock”
“Saturday Night’s Alright For Fighting”
“Cold Heart”
“Your Song”
“Goodbye Yellow Brick Road”
The Queen of Christmas is making her presence felt earlier than usual in the U.K.
Mariah Carey’s holiday classic “All I Want For Christmas Is You” (via Columbia) makes its annual merry-go-round into the U.K. top 40, leaping 56-36 on the latest chart, published Nov. 18.
According to the Official Charts Company, that’s the earliest top-flight appearance for the song since its original release back in 1994.
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“All I Want For Christmas Is You” reenters the top 40 in the 46th week of 2022, the charts compiler explains, having previously made its mark in the the 47th week in the years 2021, 2020 and 2017.
Carey and her evergreen hit have been in the news of late, first with the U.S. pop superstar dropping her “it’s time” meme the moment Halloween came to an end.
Then, last week, a federal tribunal rejected Carey’s attempts to trademark her holiday nickname, after another “Queen of Christmas” cried foul.
From now until year’s end, “All I Want For Christmas Is You” should march up the charts.
Brits love the song at this time of year. In December 2020, the single “All I Want for Christmas Is You” finally hit No. 1 in the U.K., a journey that set a new chart record.
In dawdling to the summit in its 70th week, no other song had spent more cycles in the top 40 before snaring the U.K. crown.
Meanwhile, several Christmas-themed numbers are on the way back into the top tier, including Wham’s “Last Christmas” (up 71-42 via RCA) and Brenda Lee’s “Rockin’ Around The Christmas Tree” (No. 92 via MCA).
The Official U.K. Singles Chart is published late Friday.
Louis Tomlinson beats the Boss to score his first solo U.K. No. 1 album with Faith In The Future (via BMG).
As a member of One Direction, Tomlinson triumphed over the national albums survey on four occasions, while his debut solo set, 2020’s Walls, peaked at No. 4.
Perhaps just as sweet is the manner in which Tomlinson claimed the crown. The pop singer’s sophomore set outpaces Bruce Springsteen’s Only The Strong Survive (Columbia), a collection of soul covers, which debuts at No. 2 on the Official Chart.
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And he did so with one arm, following an injury sustained in a fall after performing at New York’s Irving Plaza. “Broken arm but number one in the U.K. Can’t quite believe it,” he wrote on his socials.
Springsteen is a chart goliath in the U.K. with 23 appearances in the top 10, including 12 No. 1s — equal third-best among solo acts, after Robbie Williams (14) and Elvis Presley (13), respectively.
Fewer than 1,200 chart sales split the two albums at the halfway point, the Official Charts Company reported.
Faith In The Future is the week’s best-seller on wax, to lead the Official Vinyl Albums Chart.
Tomlinson is the latest 1D star to enjoy a No. 1 on his own. The first to leave the boyband, Zayn Malik, was also the first to score a solo leader with 2016’s debut Mind Of Mine.
Harry Styles was next with his 2017 self-titled release, and 2022’s third album Harry’s House, while Irishman Niall Horan led the tally with 2020’s Heartbreak Weather.
Liam Payne is still waiting for his solo crown. His 2019 debut, LP1, peaked at No. 17 on the Official U.K. Albums Chart.
Christmas is coming. Expect the Bocelli family to provide the soundtrack for many Brits’ festive season. A Family Christmas (Decca), featuring operatic great Andrea Bocelli, his son Matteo and daughter Virginia, makes a notable climb on the latest chart, published Nov. 18. It’s flying 47-5.
The Christmas spirit is also bottled on Aled Jones and Russell Watson’s Christmas With Aled & Russell (BMG), new at No. 14.
Finally, Nigerian artist Wizkid debuts at No. 16 with his fifth LP More Love, Less Ego (Columbia), his fifth studio album. That’s just one place removed from the Afrobeat act’s career U.K. peak, a No. 15 best for 2020’s Made in Lagos.