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Miguel is celebrating 15 years of All I Want Is You. The singer shares stories about some of his favorite tracks on the album, his experience working with J. Cole on “Power Trip” and their friendship, the re-emergence of “Sure Thing” among the younger generation, collaborating with j-hope on “Sweet Dreams,” how he plans to incorporate his roots into his new music and more!
Are you excited for Miguel’s new music? Let us know in the comments!
Carl Lamarre:Yo, what’s going on? Y’all I’m deputy director of R&B and hip-hop, Mr. Carl Lamarre, and welcome to Billboard News In Conversation. We got a Grammy Award winner, R&B heavyweight, Mr. Miguel. My brother, how are you feeling?
Miguel:I’m all right, man. How are you doing?
It’s a blessed day. It is a blessed day because we’re gonna do something special here. One of your albums has a special anniversary this year. All I Want Is You 15. What did that number mean to you? Because that’s a whole ninth-grade album I was telling you before.
It’s a journey, you know, you think about, you know how much time it took to get that album out, right? You know, on what it took to get there, just in terms of cycles and growth and challenges and failures and learning experiences, and then to kind of have all of the blessings in between that point and this point in my career. It’s beautiful. This is a trip, man.
Walk us back to when you met, of course, the big homie record, exact extraordinaire, Mark Pitts, because you played them some records, which I saw was originally meant for Usher and that dude was like, “Uh uh, we gonna keep this. We gonna keep Miguel. We gonna build.” Talk about that.
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ENHYPEN delivered a sizzling performance at Coachella 2025, and we got a glimpse of the boys during their rehearsal process, as well as before and after their festival performance. They shared what it was like to prepare for one of the world’s biggest music festivals — and more! What was your favorite part of ENHYPEN’s […]
On the latest Billboard 200 albums chart (dated April 26), SZA’s SOS surpasses Adele’s 21 for the most weeks spent in the top 10 among albums by women.
SOS, released in 2022, garners its 85th nonconsecutive week in the top 10 on the chart, where it climbs 4-3. Adele’s 21, released in 2011, was last in the top 10 for its 84th and final (nonconsecutive) week in the region on the Jan. 9, 2016-dated chart.
The new April 26, 2025-dated chart will be posted in full on Billboard‘s website April 22.
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Both SOS and 21 are former No. 1s, with SOS having spent 12 weeks atop the tally and 21 having logged 24 weeks at No. 1 (a record among albums by women). SOS collected its two most recent weeks at No. 1 in January following its SOS Deluxe: LANA reissue with additional songs.
Further, SOS now ties Peter, Paul and Mary’s self-titled album for the third-most weeks in the top 10 among albums by a singular artist. They both trail two albums by Morgan Wallen (Dangerous: The Double Album, with 158; and One Thing at a Time, with 106).
Since the Billboard 200 began publishing on a regular weekly basis, with the March 24, 1956-dated chart, the album with the most weeks in the top 10 is the original cast recording of stage musical My Fair Lady, with 173 weeks in the top 10 between 1956-60.
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.
Albums With the Most Weeks in the Top 10 on the Billboard 200 Chart:Weeks in Top 10, Artist, Title, Year First Reached Top 10173, Original Cast, My Fair Lady, 1956158, Morgan Wallen, Dangerous: The Double Album, 2023109, Soundtrack, The Sound of Music, 1965106, Morgan Wallen, One Thing at a Time, 2023106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Original Cast, Oklahoma!, 195685, SZA, SOS, 202285, Peter, Paul and Mary, Peter, Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(From March 24, 1956, through the April 26, 2025-dated chart)
Because of how the Billboard 200 chart is now compiled, where streaming activity is blended with album sales and track sales, albums tend to spend a longer time on the list thanks to continued streaming activity. The chart only began utilizing streaming information in its methodology in December 2014. Before then, the chart was based solely on traditional album sales.
Also, a lengthy tracklist with multiple popular songs can help accrue large streaming totals, so albums like SOS, One Thing at a Time and Dangerous — each with more than 30 songs apiece — benefit from the continued weekly streams of their long tracklists.
Further, older albums (known as catalog albums; generally defined today as titles at least 18 months old) were mostly restricted from charting on the Billboard 200 from May 25, 1991, through Nov. 28, 2009. After that, catalog and current (new/recently released) albums have charted together on the Billboard 200. In turn, older albums now regularly spend hundreds of weeks on the chart. On the April 26, 2025-dated list, for example, there are more than 30 albums with least 400 total weeks on the chart. Before the rule change in December 2009, allowing catalog albums back onto the chart, only three albums had spent more than 400 weeks on the list – led by Pink Floyd’s chart-topping The Dark Side of the Moon. Today, it continues to hold the record for the most weeks on the list, with 990.
Coachella is officially wrapped for 2025, and we’re taking you through the highlights of everything that happened during weekend 2. From Tyla’s outfit inspo speculation to ENHYPEN revealing a new mini-album, keep watching for everything you missed! Stay tuned for our All Access Tour Stop with ENHYPEN dropping later today! What did you think of […]
Alex Warren moves up in the top 10. Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated April 26. Morgan Wallen falls to 10, while Benson bounces to No. 9 after Coachella. BigXthaPlug’s country collab slips to eight. Teddy Swims is up to seven. Shaboozey is locked at No. 6. Alex […]
The sun hadn’t even set on what was planned to be Bluesfest’s final day before the official confirmation was given that the event would live on.
The long-running festival has become an institution on the Australian festivals calendar across its 36-year history. Names such as Bob Dylan, BB King, Paul Simon, John Mayer, Mary J Blige, and Kendrick Lamar, plus homegrown stars Cold Chisel, Midnight Oil and Tash Sultana, have all performed over the years, with the dizzying lineups also offering chances for rising stars to receive a vital platform.
However, this year’s event – which ran from April 17-20 on Australia’s east coast – was initially set to be the final outing for the long-running festival.
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“To my Dear Bluesfest Family, and after more than 50 years in the music business, Bluesfest has been a labour of love, a celebration of music, community, and the resilient spirit of our fans,” festival director Peter Noble wrote in a statement last year.
“But after the 2025 festival, as much as it pains me to say this, it’s time to close this chapter,” he continued. “As I said earlier this year at Bluesfest 2024, next year’s festival will be happening and it definitely is, but it will be our last.”
However, in December, Noble had changed his tune, explaining that the decision to call time on the event was an attempt to regain the support of the New South Wales state government, and noted that organizers were already booking acts for their 2026 edition.
On Sunday, April 20, Bluesfest officially confirmed that the festival would live on, revealing that it would be taking place across the Easter long weekend of 2026, from April 2-5. Additionally, attendees were also given the chance to purchase “pre-early bird tickets,” with the offer expiring at the conclusion of the festival.
“Please support our festival and guarantee our future by the simple act of buying your ticket at the best possible price at the festival today,” organizers wrote on social media. Traditionally, standard early bird tickets for the next festival are put on sale shortly after the previous event, with organizers expected to do so in the near future.
The announcement of Bluesfest’s 2026 return also took place one day after Noble stood with Senator Sarah Hanson-Young and Mandy Nolan as the Australian Greens party launched their Festivals Support Package on the grounds of the festival.
The Greens’ proposed package to revitalize Australian festivals includes $20 million AUD per year in direct festival grants, $2 million AUD for a comprehensive review of the failures relating to the insurance market that is affecting the live music sector, and a national festival strategy, alongside tax offsets for artists and venues.
“Our festivals are in crisis,” Hanson-Young said. “Over the past few years we’ve seen the cancellation after cancellation of loved and iconic festivals. It’s clear that the government needs to step in to help the industry.”
“With rising costs, insurance issues, and festival cancellations across the country, this plan brings hope and much-needed support to keep Australia’s festival scene alive and thriving,” Bluesfest organizers added.
The 2025 edition of Bluesfest featured Crowded House, Chaka Khan and Toto in the headline positions, with a wide variety of Australian and international acts completing the vast bill. Artist details for the 2026 revival of Bluesfest are yet to be announced, though will ostensibly be revealed around August/September, as is traditional for the festival’s first lineup announcement
XG is lighting up Coachella again this weekend, and we’re taking you behind the scenes of how they prepped for the big night. From exclusive footage of them in rehearsals to an interview about what their favorite part of Coachella has been, keep watching for an exclusive sneak peek! What did you think of XG’s […]
LE SSERAFIM teamed up with Jade, TWICE nabbed Coldplay, and Morgan Wallen is back with Post Malone. Keep watching for the latest and hottest music collabs that have dropped this week! What’s your favorite collab? Let us know in the comments below! Tetris Kelly: There are so many epic collaborations this Friday, and we’re breaking […]
Post Malone is one of Coachella’s headliners for 2025, and we’re breaking down his journey to Coachella. Keep watching to learn more! Tetris Kelly:Post Malone is heading back to Coachella, but this time he’s a headliner! This isn’t Post’s first time at the fest — he performed back in 2018 and again in 2023 as […]
During the 2019 Billboard Women in Music gathering, Spanish superstar Rosalía gave an honest speech. She recounted her experience of going to the studio to find that the sound engineer and the producer were both men; when she studied music in college, the musicians were all men. The reality for women in the music industry has changed somewhat in recent years, but it’s still not enough.
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“I will never stop ’til I find and see the same number of women as men in the studio,” said the winner of 11 Latin Grammys and two Grammy awards, to the awe of her listeners.
What Rosalía said years ago confirms the recent report of USC Annenberg, published last January, about Inclusion in the Recording Studio, which reveals the inequity in women’s representation in music. She Runs The Boards, by the platform Platoon, is one global initiative seeking to transform that situation through immersive musical laboratories. The program came to Mexico for the first time this year in collaboration with the American Society of Composers, Artists and Editors (ASCAP).
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She Runs the Boards Mexico took place from March 20 to 22, after a successful first experience in Miami in late 2024. The global musical program, created by women for women, aims to challenge the lack of racial and gender diversity in the global music industry.
“One of the reasons we wanted to do She Runs The Boards was because we saw a very low percentage of women, engineers, producers and composers, in the music industry in general, so starting an initiative like this was a way to try to increase that percentage,” said Grace Hsiu, Senior Strategy Editor for Artists in Platoon and co-founder of the program.
“It’s very unusual for any type of studio session to be totally female, so being able to do this and bringing it to Mexico City is a big win for us,” Hsiu adds.
She Runs The Boards Mexico included the participation of performers Lena Burke, Lucky and Valentina Perdido, in addition to the composers Mónica Vélez, Agua Tinta, Amanda Coronel, Covi Quintana, Luisa Almaguer, Marcela de la Garza and Shu Cantoral; the producers GRTSCH and RLPK; and audio engineers Karen Valdivieso, Lizzy Landau and Mariana Aguilar.
Over three days, this group of creatives and technicians, mostly Mexican, joined forces at Casa de Copas, a recording studio in the old Sony Studios complex in Mexico City, the headquarters for this song camp.
Divided in three groups that changed every day, these women, of different ages, nationalities, roles, careers and musical genres, brought together their ideas, talent and passion to create a diverse array of songs, from ballad pop to merengue, dark-alternative pop and Mexican regional music.
“Music isn’t just sound, it’s the collective heartbeat of the people who make it,” says Luis Castro, Creative Director of US Latin & International Affairs for ASCAP. “True artistic expression flourishes when minds connect, spirits align and voices join together in a team.”
The laboratory brought together Mónica Vélez, a recognized figure in the Hispanic music industry; experienced pianist Lena Burke; Luchy DR, a singer with great vocal versatility; Luisa Almaguer, representative of the trans community and a rising alternative musician in Mexico; talented young people like GRTSCH and RPLK, all to create songs, composed by Amanda Coronel and Marcela de la Garza, recognized in the Mexican regional music scene, and mixed by young engineers Michelle Anzo and Karen Valdivieso.
During the selection process, Luis Castro from ASCAP says, they sought out participants who had “something in common” creatively speaking. Then they aimed to pair experienced participants with authors that were beginning their careers.
“What’s the best way to start if not with women?” says Guillermo “Pinky” Mordan, Head of Latin at Platoon. “I had a really nice experience because I saw how the groups formed and the respect that they have for each other as colleagues and women. Seeing them flow was something that made me proud.”
Mónica Vélez, one of the most respected Mexican composers in the Hispanic scene and winner of two Latin Grammys, affirms women’s advancement, in music and elsewhere, is unstoppable.
“When an idea is necessary, many minds begin to repeat it around the world. No one can stop us from moving forward, because there are a lot of us having different ideas and getting them off the ground indifferent spaces and skies,” Vélez says.
The Mexican songwriter Mónica de la Garza says that over the years, she has watched women taking up more and more space in the music industry, above all in audio engineering and production.
“Finding each other as songwriters, supported by other women in the process of creation, production and musical recording, is something that makes me proud and inspires me,” de la Garza says.
The Puerto Rican Valentina Perdido, who participated as a performer and composer, expresses that it was “an honor to work with so many talented women.” “I’m still a small artist in New York, and coming to this big city and getting in the studio with all these women has been one of the most incredible experiences.”
“Pinky” Mordan emphasizes that there are clear examples of how women are leading in the music business today, with figures in the United States like Taylor Swift, Lady Gaga and Beyonce. In Latin America, the Colombian women Karol G and Shakira stand out, the latter with world records from her Grammy-winning 2024 album Las Mujeres Ya No Lloran, which marked her triumphant return to music after seven years. “But we also want these generations of women to direct men’s projects, for them to be the ones showing the way,” he adds.
“For us it’s not just about coming to Mexico and doing this song camp once,” says Grace Hsiu. “We really live this every day, and we defend it because it’s important for women to have this opportunity. It’s important for women to realize they can be engineers. They don’t have to just be in front of the consoles, they can also be behind the consoles,” she concludes.
The multi-award and GRAMMY® winning label Platoon was acquired by Apple in 2018. The boutique artist services company identifies groundbreaking talent from around the world, while providing invaluable and innovative tools and services to build their careers and reach new fans. Platoon landed its first success shortly after their inception when they signed the then-unknown Billie Eilish, laying the groundwork for her ascent to global stardom, alongside other household names such as Mr Eazi and Victoria Monét. Current signings include Saint Harison, RZA, Khaid, Gustavo Dudamel and the Los Angeles Philharmonic and more.