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In its third-quarter earnings report Tuesday (Nov. 15), China’s leading music streaming company Tencent Music Entertainment Group (TME) said quarterly net profits soared 39% to RMB 1.09 billion ($154 million USD) from last year as the number of online music subscribers reached a record 85.3 million.
TME, which owns streaming platforms QQ Music, Kugou and Kuwo, plus karaoke app WeSing, reported that music subscriptions rose 18.3% to RMB 2.25 billion (USD $316 million) for the third quarter ending Sept. 30 compared to the same period in 2021. The number of subscribers rose by nearly 20%, up from 71.2 million in the third quarter 2021.
“As we are employing a balanced approach to grow paying users…revenues from online music services increased at a healthy pace in the third quarter, driven by year-over-year gains in subscriptions,” Cussion Pang, TME’s executive chairman, said in a statement. “Meanwhile, effective cost optimization measures and improved operating efficiency led to increased profitability amid challenging macro conditions this quarter.”
Overall, online music services revenues rose by 18.8% to RMB 3.43 billion (USD $482 million), but that wasn’t enough to offset a 20% decline in revenues from social entertainment and services, the company’s other main business unit. TME’s total revenues fell by 5.6% to RMB 7.37 billion (USD $1.04 billion).
Media companies have reported widespread declines in mobile revenues for the third quarter, as increased prices for many and the worsening economic outlook globally has caused consumers to rethink everyday expenses. TME was not spared from the trend. The number of monthly active mobile music users fell by 7.7% to 587 million in the quarter, compared to 636 million in the third quarter last year — a decline the company attributed to casual listeners dropping off the platform.
Monthly average revenue per paying user of TME’s online music edged 1% lower, to RMB 8.8 million (USD $1.24 million) compared to RMB 8.9 million (USD $1.25 million) during the year-ago period.
The company bought back $800 million of its own stock in the third quarter, part of a $1-billion stock buyback program it announced last spring.
In September, TME launched a secondary listing on the Hong Kong Stock Exchange; it was already publicly traded on the New York Stock Exchange in the United States. Its move to issue secondary shares in Hong Kong followed similar moves by other big Chinese companies seeking to safeguard themselves against potential ramifications of the geopolitical tensions between China and the U.S.
On Jan. 14, songwriter Emily Weisband posted a TikTok video of a new song and asked her followers to play publisher and suggest who should record it. The responses brought a string of worthy targets: Maren Morris, Kelsea Ballerini, Camila Cabello, Lauren Daigle, Demi Lovato and Danielle Bradbery, among others.
Additionally, Tenille Arts offered her own ideas about whom Weisband should have sing it: “Ummm, you. Or me. Lol”
Weisband didn’t know it at the time, but Arts — despite the “Lol” — was very serious about “Jealous of Myself.” “That melody was stuck in my head the minute that I heard it,” Arts says. “I kept going back and watching that TikTok over and over again.”
“Jealous of Myself ” became her newest single when Dreamcatcher Artists released it to country radio via PlayMPE on Oct. 14, exactly nine months after Arts first heard the TikTok.
The song’s actual birth came a day prior to its TikTok debut, when Weisband and Old Dominion’s Trevor Rosen met Big Loud writer John Byron in an upstairs writing room at his publisher’s offices. Byron went into the appointment with an agenda. He had previously lost an eight-year relationship, and he had also recently discovered that his ex had started seeing a man from Colorado who was now moving to Nashville to be near her. Byron was bummed, and his disappointment led to that “Jealous of Myself” title.
“I was very jealous of him,” concedes Byron, “but I was definitely more jealous of me when I did have her. So when I thought of the title, I wrote it down.”
He also held it for that Jan. 13 appointment with Weisband, believing she could provide a woman’s perspective for the idea’s inherent vulnerability. It got a positive response when he introduced it, and while they continued winding through other potential titles, they kept coming back to “Jealous.”
Initially, Byron and Rosen mapped out a musical direction on guitar. “We were trying to just start somewhere with some chords,” Rosen recalls. “But then at one point, Emily walked over — he had a piano sitting there — and she just sat down and started playing. It’s incredible how when she just starts singing whatever comes off the top of her head, we’re like, ‘Oh, my God. That’s it.’ It was magical.”
At some point, they came up with the full hook, “I’m jealous of myself when I had you,” and they determined to make it a mystery for the first-time listener by creating a storyline that would sound initially as if the new girlfriend was the target of the jealousy.
Rosen landed on the opening line, “She’s a little bit younger,” which established a path for the story. “That is such a good misdirection,” says Rosen. “It sounds like it’s a younger girl, but it’s the picture of ‘me’ when I was younger. So everything else sort of started to fall in around that.”
The mystery, and the jealousy, fits in a surprisingly melancholy musical package — surprising, since the bulk of Weisband’s chord progression is major chords, but the flow feels more moody, like a minor key.
“I tend to play different voicings of major chords, so sometimes they’ll sound a little more like longing than just the basic major chord,” she says. “There’ll be like one little note off in the chord that kind of makes it feel a little more dissonant because [I think] the full range of human experience is like this bittersweet, tension thing.”
The melody followed in bittersweet suit. In the pre-chorus, it hangs on the seventh note of the key, one that begs for resolution. But it simultaneously falls in the middle of the chord, literally creating heartbreaking dissonance with two of the three notes in the triad.
Byron played piano for a piano-vocal demo at the end of the session, with Weisband delivering a smoky vocal on the floor, hunched over a microphone she clutched with both hands.
“When Emily sings, she does whatever she needs to get into the real emotion,” says Byron. “She gets down on her knees and starts wearing into this song, and it’s just breaking my heart because the title is already near and dear to me. And so she’s ripping my heart out.”
They determined that it needed an extra diversion after the second chorus, so Weisband added a soaring vocal section on the fly. When it was completed, Weisband was anxious to have people hear “Jealous.”
“Writing songs, to me, has been my healer throughout my life, and that’s why I do it,” she says. “If it’s my healer to write it, then it’s going to heal somebody else who listens to it, you know? I kind of feel that way about every sad song I get to be a part of writing; it’s absolutely a part of the healing.”
Once Arts heard it on TikTok the next day, her team reached out to the writers, and a few weeks later, she enlisted producer Nathan Chapman (Taylor Swift, Keith Urban), who had produced three tracks on her 2021 album, Girl to Girl.
“One of my favorite things that he said to me last time we were working together was to sing the verses like you were telling a story and then to sing the choruses like you’re a singer,” she recalls. “The amount of emotion that he was able to get out of my vocals in the past, I just knew that he was going to be able to pull that out of me.”
OneRepublic’s Ryan Tedder had recently mentioned to Chapman that ’80s pop sounds were beginning to feel in vogue again, and when Arts mentioned that she thought “Jealous” needed an ’80s sort of sound, Chapman thought it was an astute read. He had keyboard player Dave Cohen apply an era-appropriate electric piano, and he gave it a slow build.
“A lot of songs in the ’80s kind of bloom like that, and it’s because people’s attention spans were a lot longer,” reasons Chapman. “I thought, ‘If we’re going to be in that world, let’s really unfold the track the way those songs are treated. Let’s not only hit the piano tones and drum sounds, but let’s hit the architecture of how those records are made as well.’ ”
He also chose to record it like a pop song, building it one track at a time with drummer Aaron Sterling, who also programmed a bass part; Cohen; and guitarist Kevin Kadish. Chapman, Arts and Sara Haze added backing vocals, which grew in prominence as the song progressed. And late in the process, Arts and Dreamcatcher founder Jim Mazza visited Chapman’s studio, convincing him at that point to add atmospheric steel guitar to lend a little more country and a little more pain.
“This is one of those songs where it’s like, ‘All right, producer, don’t screw it up,’ ” Chapman says. “ ‘You got a great song. You had a great direction for the artists, and you got a great vocalist who’s going to crush the vocal — don’t screw it up.’ And in this one situation, I don’t think I did.”
Arts debuted “Jealous of Myself” during a CMA Fest performance in June, and fans asked afterward where they could purchase it. It has since become a featured song in the set, and she’s optimistic that it could become a standout on the airwaves, too, once it gets exposed there.
“It’s a true country song to me,” she says. “It’s a story song, it says something new that really hasn’t been out there, and I think Nathan’s production is so different and unique. And that’s been the response that we’ve had from country radio, that it doesn’t sound like anything else out there right now. I hope that’s a good thing and that we can have another No. 1.”
It’s been over five years since Nickelback released a new album, but one of Canada’s biggest rock exports has finally returned with Get Rollin’ — and its ’70s-styled album cover with a beach-bound van and spray-painted title certainly belies the classic-rock touches within the grooves.
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Whereas the quartet’s last album, 2017’s Feed the Machine, embraced a heavier musical direction, the new album (out Friday, Nov. 18) contrasts bombast with many moments of contemplation and introspection. Working once again with producer Chris Baseford, Nickelback brings its trademark swagger to tracks like “San Quentin” and “Vegas Bomb,” while “Steel Still Rusts” and “Tidal Wave” take more melodic and even haunting turns.
“San Quentin” hit No. 9 on the Mainstream Rock Airplay chart (dated Nov. 5), where the band has had eight No. 1 hits and 20 total in the top 10. Seven of its 10 albums have reached the top 10 of Billboard 200 albums, including the diamond-certified All the Right Reasons peaking at No. 1 in 2005. According to Luminate, in the United States alone, Nickelback has earned a combined 31.6 million equivalent album units, and its catalog has tallied a combined 4.89 billion on-demand official streams.
Brothers Chad and Mike Kroeger (frontman-guitarist and bassist, respectively) sat down with Billboard to discuss Get Rollin’, their maturation through the years, unexpected cover songs and a forthcoming band documentary. Chad also has recently been correcting the perpetual mispronunciation of the siblings’ last name — it actually sounds like “Kruger.” (A different gaffe regarding the band generated some lighthearted headlines earlier this year.)
Some songs here indicate a bit of heartache, like “Tidal Wave” and “Standing in the Dark,” and then “Steel Still Rusts” and “Horizon” give the vibe of searching for something and feeling displaced. Are these related to people whom you know?
Chad Kroeger “Horizon,” to me, just feels like unrequited love. When you’ve got those feelings for someone, but you’re not sure if the other person is willing to leap at the same time because you’re such good friends – that’s where that one comes from. I’ve definitely been stuck in the friend zone and wanted more out of a relationship, and realized that the other person wanted to stay friends … It’s really tough to stay friends after you’ve put your feelings out there. There’s this [feeling of] “I just really kind of want to crawl under a rock right now and hide.” (Laughs.) It’s something I think a lot of people have gone through, and it made for great subject matter on this record.
Was “Steel Still Rusts” inspired by a specific person that you know?
Chad Yeah, 100%. Our first bodyguard. Him telling us these stories about being in conflict overseas and missing the birth of his children and all of these different things. Some really, really unpleasant things that would keep you up at night. Then, coming back, he remembers standing on the corner — I think he was in San Diego — and he looked down and still had sand from the desert on his boots. He was still wearing his fatigues. He said just looking over to Starbucks and then looking down at what you just brought back from a war zone that’s still on your feet is a little bizarre.
It was the stories that he would tell me … and [him not getting] the best treatment when he got home. And I’m not talking about Vietnam, but just trying to get help from [Veterans Affairs]. Just a ton of nightmarish stuff … It was eye-opening and jaw-dropping at the same time.
Mike Kroeger You did a really, really good job with that song, Chad. The lyrics and the way you wrote that — it still gets me every time I listen to it, really. Honestly, it’s a real gut punch for me because I know the guy, I know that story, and you put it so well.
Chad Thank you.
The band wrote a lot more party-hearty and decadent songs back in the day, and that has diminished over time. In the setlist now are fewer songs concerned with sex, and more songs like these new tracks we’re discussing. Was this a conscious choice?
Chad When you’re in your twenties and you’re standing onstage, singing some of the stuff that, I think, is hilarious — I mean, we got to start a song with, “I like your pants around your feet.” I think that’s absolutely hilarious, and they played it on the radio. We have a song where the hook line is, “You look so much cuter with something in your mouth.” And they played that on the radio. That’s “Weird Al” [Yankovic] to me. I think it’s the funniest thing, and the fact that you can listen to that and think that we take ourselves seriously is in itself laughable.
But yeah, you get to a certain age where … I’m 47 years old, and there’s certain things that you just don’t want to see a 47-year-old dude sing onstage. So the subject matter has definitely changed. There’s moments where I look over at [guitarist] Ryan [Peake] when he has to harmonize with certain lines. He’s got a daughter, and I just watch him squirm. He gets so squeamish when he has to sing some of this stuff, and I just think it’s so funny.
You did a shredding cover of “The Devil Went Down to Georgia” in 2020 with guitarist Dave Martone, and last year, you collaborated on a sea shanty rendition of “Rockstar,” complete with a sailor-inspired TikTok clip. Who was doing what drugs when you came up with these ideas?
Mike (Laughs.)
Chad The shanty thing came through our band assistant, Brad, and he found these guys called The Lottery Winners on TikTok. I think it was just the guitar player initially. … Brad’s like, “Dude, we have to reach out to this guy and just say, ‘Would you be interested in doing this with all of us?’ And really lean into this and have some fun with it.”
I wasn’t going to go to the level I went to until I saw Ryan standing in profile, looking out at the ocean on the rocks [for the TikTok video]. That’s literally 40 steps from his living room because he was living right on the water in West [Vancouver]. He just went out there and he put on a knit cap, and he’s just looking very sailor. He started singing this thing. He’s all serious. I got his footage first, and I was like, “I have to pull the boat around.” I went down by the barn I’ve got back there, and I pulled this boat up into my front yard. Brad got a lighting package and he lit me up, and he’s on the back of the truck. I got this sailor’s hat and put on this jacket, and then we were just so committed to this thing. It’s like, “Don’t half-ass it, just go all the way and be silly with it and have fun.” It was just so lighthearted. I love that stuff.
Mike “The Devil Went Down to Georgia” we had sitting around as an idea for a while that didn’t get fully finished and was just waiting in the wings. When we decided to go for it, before we moved forward with it, we reached out to Charlie Daniels himself to send him the rough idea to hear it and get his approval. And he actually did approve of it. He heard it and said he liked it. He was alive when we did it, and he passed [in 2020] before we released it, so he didn’t get to hear the final version of it, unfortunately.
Mike, your family moved from Hawaii to Los Angeles before the pandemic. Your son wants to make music. What was it like to make that transition?
Mike At first, I was kind of curious how it was going to go. Because when we lived in Canada, we lived in the country, way out in a place not unlike Chad’s place. It was not a short drive to everything. You’re apart from everything. Then when we moved to Hawaii, we lived in out-of-the-way country places, too. So, moving to the Hollywood Hills, I was bracing for some kind of culture shock because it is Hollywood. It’s still weird to say that I live here.
Yesterday when I walked my dog, I saw a deer from my house, so it’s not exactly the concrete jungle. We got coyotes, we got deer, we got owls. We got all that stuff here. I think it’s awesome. We’re in this little pocket of nature that’s really nice, and we can just shut the door and hide out here, and if we want to see what the big, scary world looks like, we go out there.
The band has been working on a documentary for a few years. How is it going to differ from what we’ve seen from you in interviews and onstage? What types of revelations can we expect?
Chad We go back to our hometown, and you can see the house that Mike and I grew up in.
Mike The house that we didn’t grow up in. (Laughs.)
Chad Yeah, that I was rarely at. I think I left when I was 14 and moved out for a while. But we go back to our hometown [of Hanna], and then we play a gig there, and we filmed it. But it’s with our old singer, Scott [Holman], and then we got up and played like three songs. It wasn’t really supposed to be about us playing Nickelback songs. It was about us being back in the old iteration of the band in the early ’90s. We just had a camera crew follow us for about four and a half years and film all kinds of stuff. I think they did a really good job.
Mike There’s some really cool moments of frankness in there that you’re not going to get in this interview. (Group laughter.) I’m sorry.
After being in this band and living this life since 1995, is there any major life lesson you can impart to fans? Any motto you have?
Mike If I can be indulged to speak on behalf of Nickelback here, I think the motto is that the experience that we’ve had, our best move was just to never stop. The thing we did that I think has brought us to this point is that we just didn’t quit on ourselves, and I think that’s something that a lot of people do. They give up on themselves and quit on themselves. I don’t know if our fans just started to like our music or if they just gave up because we just kept pounding until they were going to like it.
Chad You’re going to like us, goddamn it! Whether you like it or not, you’re going to like us!
Mike One thing they call it in Canada is stick-to-itiveness — just keep staying on the path, keeping your eyes down range, and don’t stop moving forward.
Drake and 21 Savage’s collaborative album, Her Loss, debuts at No. 1 on the Billboard 200 chart (dated Nov. 19) with the year’s biggest week for an R&B/hip-hop set and the fourth-largest streaming week ever for any album.
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Her Loss launches with 404,000 equivalent album units earned in the U.S. in the week ending Nov. 10, according to Luminate. Streaming activity drove the bulk of that sum, to the tune of 513.56 million on-demand official streams of its 16 tracks.
Her Loss is the 12th No. 1 for Drake and the third leader for 21 Savage. Drake now solely has the third-most No. 1 albums on the Billboard 200 chart, since the list began publishing on a regular weekly basis in March of 1956. Ahead of him are only The Beatles, with a record 19 No. 1s and Jay-Z with 14. Drake was previously tied with Bruce Springsteen, Barbra Streisand and Taylor Swift, each with 11 No. 1s on the Billboard 200.
Her Loss was announced on Oct. 22 and then-slated for an Oct. 28 release. On Oct. 26, its release was postponed to Nov. 4. The set was released via streaming services and as an album download via digital retailers. A physical release for the set on CD or any other format has not been announced.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 19, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 15). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Her Loss’ 404,000 equivalent album units earned, SEA units comprise 391,000 (equaling 513.56 million on-demand official streams of the set’s tracks), album sales comprise 12,000 and SEA units comprise 1,000.
Biggest Week for an R&B/Hip-Hop Album in 2022: Her Loss tallies not just the largest week for any R&B/hip-hop set in 2022, but the biggest since Drake’s own Certified Lover Boy debuted at No. 1 more than a year ago, with 613,000 units on the Sept. 18, 2021-dated chart. Among all albums in 2022, Her Loss nets the third-biggest week by units earned, trailing only the No. 1 debuts of Taylor Swift’s Midnights (1.578 million; Nov. 5 chart) and Harry Styles’ Harry’s House (521,000; June 4).
Fourth-Largest Streaming Week Ever: Her Loss captures the fourth-largest streaming week ever for an album, by total on-demand official streams of its combined tracks (513.56 million). Drake owns three of the top four biggest streaming weeks, and half of the top 10 largest weeks.
The Nos. 1 and 2 biggest streaming weeks were logged by the debut frames of Drake’s Scorpion (745.92 million in 2018) and Certified Lover Boy (743.67 million, 2021), respectively. Swift’s Midnights debut is No. 3 (549.26 million, 2022) and Lil Wayne’s opening week with Tha Carter V is No. 5 (433.02 million, 2018). Nos. 6-10 are the debuts of Post Malone’s beerbongs & bentleys (431.34 million, 2018), Juice WRLD’s Legends Never Die (422.63 million, 2020) and Lil Uzi Vert’s Eternal Atake (400.42 million, 2020), the second week of Drake’s Scorpion (390.98 million, 2018) and the opening frame of Drake’s More Life (384.84 million, 2017).
A Dozen No. 1 Albums: Drake’s even dozen No. 1 albums on the Billboard 200 continues to pull him closer to Jay-Z, who has the record for the most No. 1s among solo acts, with 14. The Beatles have the most No. 1s among all artists, as the Fab Four has 19 leaders. Below is a list of every act with at least 10 No. 1 albums on the Billboard 200, since the list began publishing on a regular weekly basis in March of 1956.
Most Billboard 200 No. 1s:19, The Beatles14, Jay-Z12, Drake11, Bruce Springsteen11, Barbra Streisand11, Taylor Swift10, Eminem10, Elvis Presley10, Ye (formerly known as Kanye West)
Taylor Swift’s Midnights falls to No. 2 on the latest Billboard 200 after spending its first two weeks atop the chart. The set earned 299,000 equivalent album units in the latest tracking week (down 13%). Lil Baby’s former No. 1 It’s Only Me dips 2-3 with 62,000 units (down 24%) and Bad Bunny’s chart-topping Un Verano Sin Ti slips out of the top three for the first time in its 27 chart weeks, as it shifts 3-4 with 58,000 units (down 8%).
Joji achieves his third top 10-charting effort on the Billboard 200 — all of which have debuted in the top five — as Smithereens opens at No. 5 with 57,000 equivalent album units earned. Of that sum, SEA units comprise 39,500 (equaling 52.95 million on-demand official streams of the set’s nine tracks), album sales comprise 17,500 and TEA units comprise a negligible sum. The set was led by the hit single “Glimpse of Us,” which became the artist’s first top 10 (and top 40) hit on the Billboard Hot 100, peaking at No. 8 on the July 2-dated list.
Rounding out the new Billboard 200’s top 10 are Morgan Wallen’s chart-topping Dangerous: The Double Album (falling 5-6 with 41,000 equivalent album units earned; though up 1%), The Weeknd’s The Highlights (6-7 with 39,000; down 4%), Styles’ Harry’s House (9-8 with 30,000; down 4%), Zach Bryan’s American Heartbreak (11-9 with 28,000; up 11%) and Steve Lacy’s Gemini Rights (17-10 with 27,000; up 32% following its release on vinyl on Nov. 4).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Fall Out Boy’s Patrick Stump is getting young Marvel fans in the holiday spirit with the festive new Spidey and His Amazing Friends song “Merry Spidey Christmas.”
Stump, the Grammy-nominated lead singer of Fall Out Boy, is also a songwriter on the Disney Junior series and performs the theme song.
The new Christmas episode — which premiered Friday (Nov. 11) on Disney Channel — follows Team Spidey (Peter Parker, Gwen Stacy and Miles Morales) as they aim to save the spirit of Christmas. Viewers can stream the episode on Disney + starting Nov. 30 as well.
Marvel’s Spidey and his Amazing Friends is the first episodic show Marvel has created for preschoolers. The show, now in its second season, also includes other characters from the Avengers, such as Iron Man, Ant-Man, Wasp and Reptil, the Hulk, Ms. Marvel and Black Panther.
Through his work with Fall Out Boy, Stump has scored four top 10 hits on the Billboard Hot 100: “Sugar We’re Goin’ Down” (No. 8 in 2005), “Dance, Dance” (No. 9 in 2006), “This Ain’t A Scene, It’s An Arms Race” (No. 2 in 2007) and “Centuries” (No. 10 in 2015).
Watch the “Merry Spidey Christmas” music video below:
Louis Tomlinson announced the launch of his world tour in 2023. The announcement coincides with the release of his latest album Faith in the Future, which arrives first thing Friday.
The One Direction alum also dropped the single “Silver Tongues” ahead of the album’s release this week. The single, which includes pop-punk elements, is the third track from the album and the one Tomlinson is most proud of creating, he said in a press release.
In an interview with SiriusXM, Tomlinson described Faith in the Future as a much more dynamic record. His tour comes shortly after the completion of his Walls Tour months ago. “It’s really important to me in the live show, but also in how the tracks are produced as well,” Tomlinson said. “Me and the producers were a little braver on this record. It was marginally one-dimensional on the first record where I was just thinking about guitar sounds and guitar-driven songs.”
The tour will span American, Canadian and European dates, beginning in Connecticut before wrapping up at Forest Hills Stadium in New York City.
Faith in the Future will be Tomlinson’s second studio album. His first studio album, Walls, debuted Jan. 31, 2020, at No. 9 on the Billboard 200.
U.S. & Canada tour dates5.26.2023 – Uncasville, CT – Mohegan Sun Arena5.27.2023 – Gilford, NH – Bank of New Hampshire Pavilion5.29.2023 – Laval, QC – Place Bell5.30.2023 – Toronto, ON – Budweiser Stage6.1.2023 – Cuyahoga Falls, OH – Blossom Music Center6.2.2023 – Sterling Heights, MI – Michigan Lottery Amphitheatre6.3.2023 – Cincinnati, OH – The ICON Festival Stage6.6.2023 – Columbus, OH – KEMBA Live! Outdoor6.7.2023 – Indianapolis, IN – TCU Amphitheater at White River State Park6.9.2023 – St. Louis, MO – Saint Louis Music Park6.10.2023 – Kansas City, MO – Starlight Theatre6.13.2023- Milwaukee, WI – BMO Pavilion6.15.2023 – Chicago, IL – Huntington Bank Pavilion6.16.2023 – Minneapolis, MN – The Armory6.17.2023 – Council Bluffs, IA – Harrah’s Stir Cove6.19.2023 – Sioux Falls, SD – Denny Stanford Premier Center6.21.2023 – Morrison, CO – Red Rocks Amphitheatre6.24.2023 – Seattle, WA – WAMU Theater6.26.2023 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre6.27.2023 – Troutdale, OR – McMenamins Edgefield Concerts6.29.2023 – Berkeley, CA – The Greek Theatre6.30.2023 – Los Angeles, CA – The Hollywood Bowl7.1.2023 – Las Vegas, NV – The Chelsea at The Cosmopolitan7.3.2023 – Phoenix, AZ – Arizona Financial Theatre7.6.2023 – Dallas, TX – The Pavilion at Toyota Music Factory7.7.2023 – Austin, TX – Moody Amphitheater at Waterloo Park7.8.2023 – Woodlands, TX – The Cynthia Woods Mitchell Pavilion7.11.2023 – St. Augustine, FL – St. Augustine Amphitheatre7.13.2023 – Hollywood, FL – Hard Rock Live at Seminole Hard Rock Hollywood7.14.2023 – Tampa, FL – Yuengling Center7.15.2023 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park7.18.2023 – Nashville, TN – Ascend Amphitheater7.19.2023 – Charlotte, NC – Charlotte Metro Credit Union Amphitheatre7.21.2023 – Raleigh, NC – Red Hat Amphitheater7.22.2023- Columbia, MD – Merriweather Post Pavilion7.24.2023 – Boston, MA – MGM Music Hall at Fenway7.27.2023 – Philadelphia, PA – TD Pavilion at The Mann7.28.2023 – Asbury Park, NJ – Stone Pony Summer Stage7.29.2023 – New York, NY – Forest Hills Stadium
U.K. & Europe tour dates8.29.2023 – Hamburg, Germany – Barclays Arena8.31.2023 – Copenhagen, Denmark – Royal Arena9.1.2023 – Oslo, Norway – Spektrum9.2.2023 – Stockholm, Sweden – Hovet9.4.2023 – Helsinki, Finland – Ice Hall9.5.2023 – Tallinn, Estonia – Saku Arena9.7.2023 – Riga, Latvia – Arena Riga9.8.2023 – Kaunas, Lithuania – Zalgiris Arena9.10.2023 – Krakow, Poland – Tauron Arena9.11.2023 – Lodsz, Poland – Atlas Arena9.13.2023 – Vienna, Austria – Wiener Stadthalle9.14.2023 – Ljubljana, Slovenia – Stozice Arena9.15.2023 – Budapest, Hungary – Budapest Arena9.17.2023 – Bucharest, Romania – Arenele Romane9.18.2023 – Sofia, Bulgaria – Arena Armeec9.20.2023 – Athens, Greece – Petras Theater10.1.2023 – Bilbao, Spain – Bilbao Arena Miribilla10.3.2023 – Lisbon, Portugal – Altice Arena10.5.2023 – Madrid, Spain – WiZink Center10.6.2023 – Barcelona, Spain – Palau Sant Jordi10.8.2023 – Turin, Italy – Palau Alpitour10.9.2023 – Bologna, Italy – Unipol Arena10.11.2023 – Esch-sur-Alzette, Luxembourg – Rockhal10.12.2023 – Antwerp, Belgium – Sportpaleis10.14.2023 – Paris, France – Accor Arena10.15.2023 – Amsterdam, Netherlands – Ziggo Dome10.17.2023 – Cologne, Germany – Lanxess Arena10.19.2023 – Prague, Czech Republic – O2 Arena10.20.2023 – Berlin, Germany – Mercedes-Benz Arena10.22.2023 – Munich, Germany – Olympiahalle10.23.2023 – Zurich, Switzerland – Hallenstadion11.08.2023 – Dublin, Ireland – 3Arena11.10.2023 – Sheffield, United Kingdom – Utilita Arena11.11.2023 – Manchester, United Kingdom – AO Arena11.12.2023 – Glasgow, United Kingdom – OVO Hydro11.14.2023 – Brighton, United Kingdom – Brighton Centre11.15.2023 – Cardiff, United Kingdom – International Arena11.17.2023 – London, United Kingdom – The O211.18.2023 – Birmingham, United Kingdom – Resorts World Arena
The Beatles’ Revolver album, first released in 1966, rushes to No. 1 on multiple Billboard charts following its deluxe expanded reissue on Oct. 28. The set re-enters at No. 1 on Top Rock & Alternative Albums, Top Rock Albums and Catalog Albums (all dated Nov. 12) – its first week at No. 1 on all three lists. Revolver also re-enters Top Album Sales, Vinyl Albums and Tastemaker Albums at No. 2.
On the Billboard 200, the former No. 1 – which spent six weeks atop the list in 1966 – re-enters the list at No. 4.
For Revolver’s special edition, the album was reintroduced and remixed in a variety of expanded formats and editions, including many with previously unreleased tracks. The range included a standard digital album priced at $9.99 in the iTunes Store up through a boxed set boasting four vinyl LPs and two seven-inch singles that sold for $200 or more, depending on the retailer.
All versions of Revolver, old and new, are combined for tracking and charting purposes. In the tracking week ending Nov. 3, Revolver earned 54,000 equivalent album units in the U.S. (up 1,963%). Of that sum, traditional album sales comprise 46,000 (up 6,346%).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Top Rock & Alternative Albums, Top Rock Albums and Catalog Albums rank the week’s most popular rock and alternative albums, rock albums and catalog albums, respectively, by equivalent album units. (Catalog albums are older albums, generally those at least 18-months old.) Tastemaker Albums ranks the week’s best-selling albums at independent and small chain record stores. Vinyl Albums tallies the top-selling vinyl albums of the week.
Of Revolver’s 46,000 in album sales for the week, physical sales comprise 42,000 (18,000 on vinyl and 24,000 on CD) and digital album download sales comprise 4,000.
The rerelease of Revolver is part of the ongoing series of expanded reissues of select studio albums by The Beatles. It follows reissues of Let It Be in 2021 (first released in 1970), Abbey Road in 2019 (first released in 1969), The Beatles in 2018 (often referred to as the White Album, first released in 1968) and Sgt. Pepper’s Lonely Hearts Club Band in 2017 (first released in 1967).
Taylor Swift’s Midnights holds at No. 1 on Top Album Sales for a second week, selling 114,000 copies (down 90%). In its debut frame a week ago, the set exploded atop the list with 1.140 million copies sold.
Grateful Dead’s Dave’s Picks, Volume 44: Autzen Stadium, U. of Oregon, Eugene, OR – 6/23/90 debuts at No. 3 on Top Album Sales with 22,000 sold. Dave’s Picks is the act’s continuing live archival release series, named for the group’s archivist, David Lemieux, that has been going strong since its first release in 2012. Releases in the series are issued exclusively on CD and in limited quantities.
On the Billboard 200 chart, Dave’s Picks, Vol. 44 debuts at No. 3 – marking the band’s 54th top 40-charting album on the list. The act continues to have the most top 40 albums among groups since the chart began regularly publishing on a weekly basis in March of 1956. The acts with the most top 40 albums on the Billboard 200 are: Frank Sinatra (58), Elvis Presley (58), Barbra Streisand (54), Grateful Dead (54) and Bob Dylan (51). (Thirty-six of Grateful Dead’s 53 top 40-charting albums are from the Dave’s Picks series.)
A trio of debuts is next up on Top Album Sales as Berner’s From Seed to Sale (14,000), Baby Keem’s The Melodic Blue (11,000) and Polyphia’s Remember That You Will Die (10,000) bow at Nos. 4-6, respectively. It’s the first top 10-charting set for the latter two acts, while Berner notches his second top 10 effort. The Melodic Blue was initially released a little over a year ago as a digital download album, but makes its belated debut on Top Album Sales following its vinyl LP release on Oct. 28; nearly all of its sales for the week were on vinyl. The album has yet to be issued on CD or any other physical format.
LE SSERAFIM’s ANTIFRAGILE falls 3-7 on Top Album Sales in its second week (7,000; down 65%).
Foo Fighters’ new greatest hits compilation The Essential Foo Fighters debuts at No. 8 on Top Album Sales with 7,000 sold. Of that sum, physical sales comprise 6,500 (3,500 on vinyl and 3,000 on CD) and digital album downloads comprise 500. The album also bows in the top 10 across a variety of other charts, including Top Rock & Alternative Albums, Top Rock Albums, Top Hard Rock Albums and Top Alternative Albums. The set also launches at No. 42 on the Billboard 200.
The 21-track The Essential Foo Fighters includes such hit songs as “All My Life,” “Best of You,” “Learn to Fly,” “Long Road to Ruin,” “Rope,” “The Pretender” and “Walk” – all of which hit No. 1 on the Alternative Airplay chart.
The Essential brand is the long-running compilation series from Sony Music’s catalog division, Legacy, and has charted dozens of charting titles on the Billboard 200 and Top Album Sales since the early 2000s from artists such as Bob Dylan, Michael Jackson, Britney Spears and Barbra Streisand.
The Essential Foo Fighters is the first in the Essential series to reach the top 10 on Top Album Sales. Previously, the highest-charting effort in the Essential series on Top Album Sales was The Essential Bruce Springsteen, when it debuted and peaked at No. 14 on the Nov. 29, 2003-dated chart.
The Essential Foo Fighters is the highest charting Essential album on the Billboard 200 since The Essential Michael Jackson rose to No. 31 on the Sept. 8, 2018-dated chart. The Essential Foo Fighters is also the highest debut from the Essential line since The Essential Leonard Cohen debuted and peaked at No. 13 on the Dec. 3, 2016 chart, following his death.
Harry Styles’ former No. 1 Harry’s House climbs 12-9 with a little over 6,000 sold (down 2%), while Demon Hunter clocks its fourth top 10 with the No. 10 arrival of Exile (6,000).
In the week ending Nov. 3, there were 1.618 million albums sold in the U.S. (down 42.1% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.237 million (up 46%) and digital albums comprised 381,000 (up 24.4%).
There were 621,000 CD albums sold in the week ending Nov. 3 (down 37.8% week-over-week) and 606,000 vinyl albums sold (down 52.3%). Year-to-date CD album sales stand at 29.021 million (down 7.1% compared to the same time frame a year ago) and year-to-date vinyl album sales total 32.574 million (up 3.7%).
Overall year-to-date album sales total 79.244 million (down 6.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 62.049 million (down 1.6%) and digital album sales total 17.194 million (down 21%).
JoJo Siwa is enjoying the holiday season with a little help from Ocean Spray. The 19-year-old singer, dancer and actress spoke with Billboard this week about her new partnership with the cranberry product company, as well as their new collaborative TikTok challenge.
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“I genuinely put the cranberry sauce on everything,” Siwa tells Billboard of the fitting partnership. The star’s cranberry-loving habits didn’t develop on their own, as Siwa says even age-old family recipes would be paired with the cranberry product.
The star, who originally rose to fame after becoming a series regular on Lifetime’s popular series, Dance Moms, explains that she grew up using Ocean Spray’s cranberry sauce on meals like relish and, of course, Thanksgiving dinner. She even witnessed her mom using the sauce on her family’s generational chicken and broccoli.
“I remember my mom would make our favorite meal — It’s called chicken and brocooli, and it’s a fancy casserole that’s been in her family for years.” Siwa shares. “And on the side, we’d have Ocean Spray cranberry jelly sauce. It’s the perfect opposite taste of every meal you put it with.”
Siwa, who’s since moved to Los Angeles from Nebraska, now says her favorite way to use the company’s cranberry spread is on deli sandwiches when cooking for herself.
To announce her partnership, Siwa fittingly took to TikTok. She posted her first “jiggle with us” challenge on TikTok with the aim of getting everyone of all ages wiggling and jiggling, just like the cranberry sauce famously does. “It’s a fun, easy, inclusive challenge,” said Siwa.
See it below.