genre pop
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Rihanna hasn’t released a new album since 2016’s Anti, and just as fans might have been giving up hope that we would ever get a new project, the superstar is pulling back the curtain in a new interview. Explore Explore See latest videos, charts and news See latest videos, charts and news On the latest […]
Nikki Glaser is constantly meeting celebrities, but there’s one person she says she’ll never approach: Taylor Swift, who also happens to be one of the comedian’s biggest idols.
While on Armchair Expert With Dax Shepard for an episode of the podcast posted Monday (Feb. 24), Glaser said that she didn’t say hi to the “Karma” singer at the 2025 Grammys — which both women attended earlier this year — and explained why she doesn’t plan on breaking that pattern at future events. “Taylor, she’s just — everyone wants a piece,” Glaser began.
“I will never be the one to be like, ‘Excuse me!’” she continued. “There’s no way that she’s dying for that on a night like this where everyone’s doing it. And of course, she would be so nice. I know exactly how it would go down, but I don’t wanna take someone’s energy away that I require their energy to be put into making great music.”
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“It’s almost rude what I do, when I’m in the same room as Taylor Swift, because I won’t even look her way,” Glaser added.
Neither star took home gold at this year’s Grammys Feb. 2. Glaser lost best comedy album to Dave Chappelle, while Swift was passed up for song, record and album of the year.
About a month prior, Glaser hosted the 2025 Golden Globes — which the “Fortnight” musician did not attend this year, despite being present the year prior when her Eras Tour concert film was up for cinematic and box office achievement (but lost to Greta Gerwig’s Barbie). After helming this year’s ceremony, Glaser joked with a fan on X who asked if she was “pissed” about missing Swift by a year, replying, “Oh you know I was!”
The Someday You’ll Die stand-up’s commitment to giving the pop star wide berth comes at the expense of her own fandom. Glaser has gushed about her love for Swift multiple times and revealed in December that she spent nearly $100,000 to see the musician on 22 Eras Tour shows in 2023 and 2024.
“She has no idea who I am, but I’m just the biggest fan,” she said on Jimmy Kimmel Live! in July of being “addicted” to the Eras trek. “I want to just see it as much as possible, it’s the thing that makes me happiest in the world.”
Watch Glaser’s full interview on Armchair Expert below.
After a five-year break, Adam Levine is back on The Voice and it feels good. The singer said he’s “ready” and “rested” after stepping away from the show for a bit, telling Jennifer Hudson on Tuesday’s (Feb. 25) Jennifer Hudson Show that getting a chance to take a break and hang with wife Behati Prinsloo and the couple’s three young children has been good for him.
“Stepping back into it when I was really ready and comfortable it kind of felt like natural timing for everything,” said Levine, 45, who logged 16 seasons on The Voice before splitting in 2019. Levine was there in the show’s debut season in 2011, slipping into the iconic red chair next to Christina Aguilera, CeeLo Green and his best frenemy, Blake Shelton.
Hudson, who overlapped with Levine during seasons 13 and 15, asked if Levine has changed his strategy at all on he show, noting that he was “not easy to deal with” when she was going up against him. “I’m a pain in the butt,” Levine admitted, revealing that there was no official strategy when the first crew started the reality series that his team won three times.
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“So you just think to yourself, ‘Okay, I’ll just see how this goes,’” he said. More importantly, Hudson noted that Levine is now sitting in Shelton’s old chair after the nine-time champ country singer departed his long-time gig in May 2023 after 12 years.
“Doesn’t smell great,” Levine laughed. “Smells kind of off… weathered. Worn in, the seat’s a little more sunken in cuz he’s big… he’s a tall drink of water that guy. Nah, I think they washed it. It feels good.” He also described being on the “other side” of the stage this time, with John Legend book-ending the panel, a set-up the self-proclaimed “end-seat kind of guy” loves.
In the chat, Levine described taking his whole family on tour with Maroon 5 on the band’s recent run of shows in Asia, as well as being a “heated” basketball coach for his kids and the group’s upcoming “M5LV” Las Vegas residency at the Dolby Live at Park MGM theater in March.
And though he didn’t reveal many details, Levine also promised that M5 has some new music coming “soon,” and though he admitted he always says it, he’s “the most excited” about the upcoming LP, their follow-up to 2021’s Jordi. “We scaled it back a little bit and I did some writing on my own.. I kept it tighter,” he said of writing some of the songs by himself, saying they “harken back to the older stuff.”
Watch Levine on The Jennifer Hudson Show below.
Not unlike the voting body for the Screen Actors Guild Awards, Kate Eberstadt has had Timothée Chalamet on the brain lately. On Tuesday (Feb. 25) morning, she’s sharing an evocative music video for a sly indie-pop song titled “Timmy Chalamet.”
“I want to drink champagne with Timmy Chalamet / Alone in the church in the middle of the day / Go to confession tell him what I want to say,” sings the New York City-based artist over slinky cello strings and a laid-back, irresistible rhythm.
While we have five days to go to see if the Oscar-nominated 29-year-old pulls off a best actor win for his portrayal of Bob Dylan in A Complete Unknown, the video for “Timmy Chalamet” harks back to the actor’s breakout role in Luca Guadagnino’s Call Me By Your Name. Directors Maud Oswald & Robin Giles shot “Timmy Chalamet” on film, which gives this clip the sun-soaked, idyllic look of that 2017 masterpiece, even if the imagery here is a bit more fatalistic: the infamous peach is presented here rotting with mold, while in another shot, Eberstadt immerses herself in a river, evoking John Everett Millais’ classic painting Ophelia.
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“This song came out of a pretty lonely and unprecedented period of my life,” explains Eberstadt. She’d been working on an album in a cabin in Michigan when her partner, whom she lived with, broke up with her over the phone.
“I was spiraling,” she admits. “I went on a walk in the snowy woods, processing it all. My producer Jake Crocker had sent me some beats to write to. I came across this one that was a little strange, with a cowbell in it. It felt dystopian in a way that resonated with the state of my world,” she explains.
“I had recently rewatched Call Me By Your Name and was struck by Timothée Chalamet’s incredibly vulnerable and generous performance – in particular, the final scene where he’s crying by the fireplace. His heartbreak was so real, raw, palpable. I just felt like he would understand what I was going through.”
The song came to her in “a tiny little church in the woods,” and she recorded a demo back at the cabin. A few months down the road, Eberstadt and Crocker recorded “Timmy Chalamet” in person, after which composer Phillip Peterson (Lana Del Rey, Haim, St. Vincent, P!nk) “added strings to the track that really made it sparkle,” she says.
Check out the video for Kate Eberstadt’s “Timmy Chalamet” here.
Released Feb. 14 on the deluxe version of Sabrina Carpenter’s album Short n’ Sweet, the remix of her originally solo smash “Please Please Please” — adding Dolly Parton in a featured role — debuts on Billboard’s Hot Country Songs chart (dated March 1). The remix opens at No. 17 on the survey after it drew […]
Two of the most prominent names in New Zealand music have joined forces, with Lorde appearing on “Kāhore He Manu E”, the latest single from Marlon Williams’ first Māori language album.
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Set for release on April 4, Williams’ forthcoming album – Te Whare Tīwekaweka – was first announced in January as the follow-up to 2022’s My Boy, his second-consecutive chart-topper in his native country. Most notably, it’s also his first album recorded in te reo Māori. In addition to being the language of New Zealand’s indigenous population, it’s also Williams’ ancestral tongue, and one which he spent much of the past five years developing.
According to Williams, the motivation behind the album came via the Māori whakatauki (proverb) “Ko te reo Māori, he matapihi ki Te Ao Māori,” which translates to English as “The Māori language is a window to the Māori world.”
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“Through the process of constructing these songs, I’ve found a means of expressing my joys, sorrows and humour in a way that feels both distinctly new, yet also connects me to my tīpuna (ancestors) and my whenua (land, home),” Williams explained.
Previewing the album with first single “Aua Atu Rā,” Williams has now unveiled a collaboration with New Zealand pop superstar Lorde (also known as Ella Yelich-O’Connor).
The track, titled “Kāhore He Manu E,” also comes paired with a music video which captures the pair working together in the studio. The clip itself is taken from the larger forthcoming documentary Marlon Williams: Ngā Ao E Rua – Two Worlds, directed by Ursula Grace Williams about the making of the record.
“‘Kāhore He Manu E’ was one of those gentle labours. It played itself out to me, easily and near complete from the first,” Williams said of the collaboration. “It was also obvious who should be singing it; Ella’s voice in a very real sense wrote the song. The distinct and striking characteristics in her voice cornering and demanding of the melody and phrasing what only her voice could.
“Singing with Ella is incredible; the amount of mind she’s able to pour into the vessel,” he added. “We got to know each other through sharing the highs and lows of touring life, and in a real sense this song is an ode to the colourful but grim wormhole of road life, to the friends made and lost in the folds of time, ‘visions lost in the blur.’”
“Over the course of several years I watched Marlon pull at the threads that became Te Whare Tīwekaweka,” added Lorde. “I saw that the further he got into the album, the deeper my friend came to know himself, his whānau (family) and his world at large. Marlon is an undercover perfectionist, and he was never going to embark on this journey without turning over every stone, crafting complex waiata (songs) that speak to the past while also braiding in his characteristic humour and X-ray vision.
“Singing with Marlon is one of my favourite things to do on earth, whether we are tipsy backstage by a pool table or in a luscious studio, and I was honoured he asked me to sing with him on this album. I’m so proud of my friend.”
Williams first found fame as a teenage musician in New Zealand before moving to Melbourne, Australia in 2013 and launching a solo career. His self-titled debut was issued in 2015 and resulted in widespread acclaim, including an appearance on U.S. television the following year when he was invited to perform on Conan with his band the Yarra Benders.
Williams has also dabbled in acting alongside his musician career, arguably becoming best known to U.S. audiences when he appeared in Bradley Cooper’s 2018 A Star is Born as himself, and as Johnny Abbot in the Netflix series Sweet Tooth.
The new single isn’t the first time that Williams and Lorde have collaborated together, either. In 2019, the pair performed at a benefit concert for victims of the Christchurch terror attack, sharing an arresting duet of Simon & Garfunkel’s classic No. 1 hit “The Sound of Silence.” In 2021, Lorde appeared at Williams’ Auckland concert to guest on a cover of Bruce Springsteen‘s “Tougher Than the Rest,” lifted from his 1987 LP Tunnel of Love.
Months after their tribute to The Boss, Lorde herself dabbled with the Māori language when she shared Te Ao Mārama – a five-track companion EP to Solar Power, sung entirely in te reo Māori.
Sabrina Carpenter’s Short n’ Sweet hits No. 1 for the first time on Billboard’s Top Album Sales chart, as the six-month-old set jumps 6-1 on the list dated March 1. It vaults to No. 1 following its deluxe reissue on Feb. 14 with five additional bonus tracks on CD, digital download and two vinyl variants.
In the week ending Feb. 20 in the U.S., Short n’ Sweet sold 71,000 copies across all versions – old and new combined – increasing by 616% in sales. It’s the second-largest sales week for the project, following its opening week (Sept. 7, 2024-dated chart), when it launched at No. 2 with 184,000 copies sold.
Short n’ Sweet marks Carpenter’s first No. 1 on Top Album Sales out of seven total entries on the list.
Short n’ Sweet also returns to No. 1 on the Vinyl Albums chart, for a third nonconsecutive week, as it sold nearly 48,000 copies on vinyl (up 626%). Of Short n’ Sweet’s total overall sales to date, vinyl sales comprise 61% (372,000 of 606,000).
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 (TEA) units and streaming equivalent album (SEA) units. The new March 1, 2025-dated chart will be posted in full on Billboard‘s website on Feb. 25.
Elsewhere on the latest Top Album Sales chart, Kendrick Lamar’s GNX falls 1-2 with 30,000 copies sold (down 74%) while PARTYNEXTDOOR and Drake’s $ome $exy $ongs 4 U bows at No. 3 with 25,000. The Lumineers’ Automatic arrives at No. 4 with 16,000 while Chappell Roan’s chart-topping The Rise and Fall of a Midwest Princess rounds out the top five, falling 4-5 with 11,000 sold (down 22%).
The Weeknd’s former No. 1 Hurry Up Tomorrow falls 2-6 (11,000; down 63%), Stray Kids’ chart-topping HOP rises 9-7 (8,000; down less than 1%), Billie Eilish’s Hit Me Hard and Soft slips 7-8 (nearly 8,000; down 21%), the Wicked film soundtrack falls 8-9 (nearly 7,000; down 24%) and Lamar’s good kid, m.A.A.d city is a non-mover at No. 10 (6,000; down 10%).
The BRIT Awards has announced that A.G. Cook is the recipient of this year’s producer of the year award.
The British musician was an executive producer for Charli XCX’s Brat LP, which hit No. 3 on the Billboard 200, and No. 1 on the U.K.’s Official Albums Chart.
Cook has had co-writing and co-producer credits on a number of albums, including Beyoncé’s Renaissance in 2020, but he is best known for his working relationship with Charli XCX. Cook has played executive producer on several of Charli’s projects: 2017 mixtapes Number 1 Angel and Pop 2; 2019 LP Charli; and 2020’s How I’m Feeling Now.
Speaking on the news, Cook said, “As someone who’s always felt like a bit of an outsider, I’m very flattered to be recognized by The BRITs. From the early PC Music days to the Charli mixtapes and beyond, I’ve been lucky to work on so much music that I truly believe in. In particular, I’d like to dedicate this moment to Sophie, whose vision and artistry is still a driving force for producers everywhere.”
The honorary producer of the year prize was first awarded in 1977 to The Beatles producer George Martin, and in recent years has been won by Fred Again.. (2020), Inflo (2022), David Guetta (2023) and Chase & Status (2024). Cook was selected for the prize by a panel of expert judges.
Cook has been a key player in the British and international pop scene for the past decade. In 2013, he established the influential PC Music record label, which is credited with spearheading the hyperpop sound. In 2024, he released his third studio album, Britpop, which appeared on Billboard U.K.’s albums of the year list, with Sophie Williams writing that the LP “felt like a safe, uplifting, candy-striped wonderland where one could hide from growing global anxiety.”
The BRIT Awards ceremony will take place Saturday (March 1) at London’s O2 Arena, and will be hosted by comedian Jack Whitehall. Performances on the night will come from Sabrina Carpenter, Sam Fender, Teddy Swims, Shaboozey and more, and the ceremony will be broadcast live on ITV and on streaming service ITV X from 8:15 p.m. GMT.
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