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Slim Shady’s not dead on Australia’s charts.
Eminem’s The Death of Slim Shady (Coup de Grâce) (via Interscope/Universal) enters a second week at No. 1 on the ARIA Albums Chart, published Friday, July 26.
As previously reported, The Death of Slim Shady (Coup de Grâce) is the Rap God’s 11th No. 1 in Australia, a streak that reaches back to The Marshall Mathers LP in 2000. It’s his 10th to debut at the summit.
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The top new release on the latest ARIA Chart belongs to K-pop group Stray Kids with their mini album Ate (VMG/Universal), new at No. 5. It’s Stray Kids’ fifth ARIA Top 50 appearance after Noeasy (No. 14 in 2021), Maxident (No. 4 in 2022), 5-Star and Rock-Star (both peaked at No. 2 in 2023).
Stray Kids have an Australian connection through bandmates Felix and Bang Chan. Earlier this week, the pop group announced the Australia leg of their dominATE world tour, with shows at Melbourne’s Marvel Stadium (Oct. 19) and Sydney’s Allianz Stadium (Oct. 26), produced by Live Nation.
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British indie band Glass Animals roars to No. 5 with I Love You So F***ing (via Polydor/Universal), their fourth studio album. Glass Animals made an early breakthrough with Australian audiences when, in 2021, their song “Heat Waves” won triple j’s Hottest 100 countdown. “Heat Waves” went on to finish 2021 as the year’s best-selling single in Australia.
As TV Girl completes a four-date, three-city tour of Australia, the U.S. alternative pop act lands chart debuts with the independently-released 2016 LP Who Really Cares (at No. 13) and 2014 debut French Exit (No. 19). TV Girl wrapped its national tour July 20 with a performance at Brisbane’s Riverstage with The Last Dinner Party.
Further down the albums tally, BTS member Jimin’s new album Muse (BigHit Entertainment/Universal) arrives at No. 27, for his first solo appearance on the national albums survey.
Over on the ARIA Singles Chart, Shaboozey’s “A Bar Song (Tipsy)” (via Empire) starts a fourth consecutive week at No. 1. Meanwhile, Billie Eilish’s “Birds Of A Feather” flies 3-2, for a new chart position. According to ARIA, it’s the U.S. pop phenomenon’s fourth single to reach the top 2 following “Bad Guy,” “Everything I Wanted” and “What Was I Made For?” “Birds of a Feather” is lifted from former No. 1 Hit Me Hard And Soft, which dips 2-3 on the albums leaderboard.
Finally, Sabrina Carpenter doubles up with top 5 appearances for platinum-certified “Espresso” (down 2-3 via Island/Universal) and “Please Please Please” (down 4-5). Both singles have logged time at No. 1.
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It’s a whole new ballgame for Katy Perry, as the “Roar” singer is confirmed as the headline performer for the AFL Grand Final.
The U.S. pop star will perform this September at the imposing Melbourne Cricket Ground, the venue for the ’s showpiece event.
On Thursday, July 25 the league announced her appearance at the grand final, confirming weeks of speculation.
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“The sound of millions of Aussies roaring at the same spectacle, I’d like to hear that,” she says in a promo, a reference to the code’s “I’d Like to See That” campaign in the ‘90s. “100,000 passionate fans roaring at the mighty MCG,” says adds in the clip posted by the AFL, “I can’t wait to hear that.”
The AFL’s big day is scheduled for Saturday, Sept. 28.
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It won’t be the first time Perry has performed at the MCG for a major sporting event. In March 2020, just days before the pandemic shut borders and venues everywhere, Perry sang at the final of the ICC Women’s T20 World Cup, an abbreviated format of cricket.
Whether she wraps her head around Aussies rules’ unique gameplay and terminology remains to be seen.
Perry is, of course, on the musical comeback trail. Earlier this month, she dropped “Woman’s World,” her first new music since 2020’s Smile, which reached No. 5 on the Billboard 200.
The song serves as the lead track to her upcoming, long-awaited dance-pop album, 143, which is code for “I love you” and is due to arrive on Sept. 20. “Woman’s World” hasn’t set the charts on fire. The track bowed at No. 63 on the Billboard Hot 100, one of her 36 appearances on the tally, and No. 47 on the Official U.K. Singles Chart.
MELBOURNE, Australia — In a restructuring that’s touted as one of the most significant changes to Mushroom Group in more than two decades, the independent music powerhouse unveils Mushroom Music — a new division that incorporates its recording, publishing and neighboring rights activities.
Unveiled Thursday, July 25 with a new website and social presence, Mushroom Music is said to be the largest music collective of its kind in the region, representing the likes of Vance Joy, Kylie Minogue, The Teskey Brothers, Jimmy Barnes, Childish Gambino, Kehlani, Julia Jacklin, Archie Roach, Wolf Alice, Amy Shark, Red Hot Chili Peppers, Missy Higgins, Confidence Man and many others.
Mushroom Music has been several years in the making, explains Mushroom Group CEO Matt Gudinski. “This transformation,” he says, “is about harnessing the collective strengths and experience of our individual recording, publishing and neighboring rights companies.
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Leading Mushroom Music as co-CEOs are Chris Maund (formerly COO Mushroom Labels & Publishing) and Linda Bosidis (formerly managing director Mushroom Music Publishing), reporting to Gudinski.
Within the new structure, Bosidis remains primarily focused on the publishing division and Maund on recordings, neighboring rights and new opportunities, while neighboring rights specialist Susan Cotchin continues to lead the Good Neighbour business as managing director.
With the changes, Mushroom’s record labels Liberation Records, Ivy League Records, Bloodlines, Liberator Music, Soothsayer and 100s + 1000s are now part of the Mushroom Music pot, and will not longer “outwardly” exist, Maund explains. “We had expanded to eight separate record labels, which doesn’t make sense strategically or efficiently for a single independent music company.” I OH YOU and Valve Sounds will remain standalone label partners of Mushroom Music.
Mushroom Music’s restructured executive team includes Damian Slevison (managing director, A&R and commercial), Dan Baker (managing director, strategy & audience), Julia Hill (director, media & artist relations), Dean McLachlan (senior director, iconic artists and catalogue), Korda Marshall (managing director, world ex-ANZ), Erol Yurdagul (senior director, A&R and creative), Layne Buckley (manager, A&R), Johann Ponniah (founder, I OH YOU Group), Nick Dunshea (senior director, international & operations) and Madeleine O’Gorman (general manager, UK/Europe).
By consolidating the labels, it’s enabled the new division to bring A&R into a single team led by Slevison; its media, streaming, marketing, and audience functions are merged into a single, fully aligned department led by Baker; and the social media and audience team is expanding with new hires, and a streamlined global marketing team is being created across Mushroom’s Australian, U.K., and U.S. offices. “It’s going to make a big difference,” says Maund.
Adds Bosidis, “the new setup aims to streamline our operations and broaden idea-sharing within the company. As co-CEOs, Chris and I will have distinct roles: I will focus on publishing, Chris on recordings, neighboring rights, and other strategic areas.” And despite their separate responsibilities, “we will collaborate closely on vision, strategy, and company culture for Mushroom Music.”
The launch of Mushroom Music follows the group’s 50th birthday celebrations in 2023, which, along the way, involved a raft of releases, both musical, visual and branded merchandise, and culminated in an all-star concert at Melbourne’s Rod Laver Arena. Fittingly, a life-size statute of Michael Gudinski, the legendary late entrepreneur who formed Mushroom Group all those years ago, stands facing the arena.
“It’s been a long journey to really get to this point,” Matt Gudinski says of Mushroom Music. “A big part of it was really bringing everyone together, aligning everyone’s priorities and strengths, and also creating a greater pathway for people and a greater set up to attract the best people to be part of Mushroom’s infrastructure.”
This new setup is the “most significant change to how Mushroom supports Australian artists since the sale of Mushroom Records in 1998.”
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