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Pierce the Veil leads Billboard’s Alternative Airplay chart for a second time, lifting a spot to No. 1 on the Nov. 15-dated survey with “So Far So Fake.”
The veteran rockers from San Diego previously led with “Emergency Contact” for a week in August 2023.
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“Emergency Contact” and “So Far So Fake” are both on the same album, 2023’s The Jaws of Life. So why the two-plus-year gap between Alternative Airplay reigns? While not initially a promoted single, “So Far So Fake” was serviced to radio this summer after it went viral on shortform video platforms such as TikTok, spurred by a dance challenge set mostly to its instrumental break.
Boosted by that buzz, “So Far So Fake” debuted on the multimetric Hot Rock & Alternative Songs chart in August, eventually rising to No. 8 later that month. It also became the band’s first Billboard Hot 100 entry, reaching No. 64.
In between “Emergency Contact” and “So Far So Fake,” Pierce the Veil made Alternative Airplay once via its No. 27-peaking cover of Radiohead’s “Karma Police” in June 2024. The band’s only other charter, “Circles,” hit No. 31 in 2016.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “So Far So Fake” jumps 6-4 with 3.7 million audience impressions in the week ending Nov. 6, up 14%, according to Luminate. It’s Pierce the Veil’s highest-charted song on the tally, having surpassed “Emergency Contact” (No. 10).
“So Far So Fake” ranked at No. 16 on the most recently published Hot Rock & Alternative Songs tally (dated Nov. 8, reflecting data accumulated Oct. 24-30). In addition to its radio airplay, it drew 3.1 million official U.S. streams.
The Jaws of Life debuted at No. 1 on the Top Hard Rock Albums chart in February 2023 and has earned 371,000 equivalent album units to date.
All Billboard charts dated Nov. 15 will update Tuesday, Nov. 11, on Billboard.com.
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KISS, technically, retired this year, but that doesn’t mean you can’t still rock and roll all night with the greasepaint and pyro legends. The band announced the upcoming release of a huge box set celebrating the 50th anniversary of their landmark Alive! concert album.
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The Super Deluxe version of the album will feature 4 CDs + Blu-Ray audio, an Alive! track list t-shirt with 120 tracks, including 88 previously unreleased tracks. The first CD features the original album on one disc for the first time ever, newly remastered from the original 1975 stereo analog master tapes. In addition, CDs two and three will feature two full-length concerts from the 1975 Dressed to Kill tour at the RKO Orpheum Theatre in Davenport, Iowa on July 20, and the Wildwood Convention Hall in Wildwood, N.J. on July 23, newly remixed by the legendary engineer Eddie Kramer from the original multi-track analog tapes with no overdbubs.
The fourth CD will pull together five rehearsal tracks from the Davenport show, including an impromptu jam and another six songs from Cleveland Music Hall in Cleveland, Ohio on June 21, 1975, remixed by Kramer from the original multi-track recordings. The Blu-Ray audio disc will contain a new Alive! mix from Kramer from the original album multi-track analog tapes in Dolby Atmos and Dolby TrueHD 5.1 surround, as well as newly remastered stereo in 192 KHZ 24-bit and 96 KHZ 24-bit PCM stereo set to a new visualizer with unreleased photos and tape box images.
The Super Deluxe version ($400.48) has a number of other extras, including a 100-page hardcover book with extensive liner notes by Ken Sharp and new interviews with singer/guitarist Paul Stanley, bassist/singer Gene Simmons and other notable Alive!-era KISS team members, as well as a number of unreleased photos and rare images. In addition, it will fold in an Alive! 1975 press kit with: four black and white glossy photos, an Alive! tour program, album cover lenticular, t-shirt iron-on, four live color glossy photos, a Peter Criss drum head litho, a number of concert posters, ticket stubs and backstage passes, coasters, guitar picks, bumper stickers and a track-by-track interview with Kramer discussing nearly all the tracks in the collection.
The anniversary edition will also come in a 4-CD box set version with a t-shirt ($287.55), a deluxe picture disc edition with sweatshirt ($251.89) and a premium color vinyl version with a sweatshirt ($125.98). All the editions are slated to ship on Nov. 21, with Kiss Army members eligible for pre-order now here.
Alive! was KISS’ fourth album and their first live LP, as well as a kind of standard-bearer for live rock albums going forward. Though they’d released three albums by that point, the band rose to a new level of fame thanks to the double concert album that collected songs from the theatrical group’s 1974 self-titled debut, as well as that year’s Hotter Than Hell and 1975’s Dressed To Kill, including such future stone-cold live staples as “Deuce,” “Strutter,” “Firehouse,” “Black Diamond,” Cold Gin” and “Rock and Roll All Nite.” (Click here for a taste of Sharp’s extensive history of the making of Alive!)
The album features the indelible work of late founding guitarist Ace Frehley, who died last month at the age of 74 following injuries from a fall in the studio. Frehley will become only the third person to receive the Kennedy Center Honor posthumously when KISS collect the award at a ceremony slated to tape on Dec. 7 and air on CBS on Dec. 23.
Check out the track list for the Alive! 50th anniversary box set below.
CD ONE:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “Nothin’ To Lose”
7. “C’mon And Love Me”
8. “Parasite”
9. “She”
10. “Watchin’ You”
11. “100,000 Years”
12. “Black Diamond”
13. “Rock Bottom”
14. “Cold Gin”
15. “Rock And Roll All Nite”
16. “Let Me Go, Rock ‘N Roll”
LIVE IN DAVENPORT, IOWA – RKO ORPHEUM THEATRE – JULY 20, 1975 – SECOND SHOW*
CD TWO:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 years”
11. Peter Criss Drum Solo / “100,000 Years”
12. “Black Diamond”
13. “Cold Gin”
14. “Let Me Go, Rock ‘N Roll”
LIVE IN WILDWOOD, NEW JERSEY – WILDWOOD CONVENTION HALL – JULY 23, 1975*
CD THREE:
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 years”
11. Peter Criss Drum Solo / “100,000 Years”
12. “Parasite”
13. “Black Diamond”
14. “Cold Gin”
15. “Let Me Go, Rock ‘N Roll”
BONUS LIVE
CD FOUR:
REHEARSALS – LIVE IN DAVENPORT, IOWA – RKO ORPHEUM THEATRE – JULY 20, 1975*
1. “KISS Jam”
2. “Room Service”
3. “Strange Ways”
4. “Rock Bottom”
5. “Watchin’ You”
LIVE IN CLEVELAND, OHIO – CLEVELAND MUSIC HALL – JUNE 21, 1975*
6. “She”
7. Ace Frehley Guitar Solo
8. “Nothin’ To Lose”
9. “C’mon And Love Me”
10. “100,000 Years”
11. Peter Criss Drum Solo / “100,000 Years”
BLU-RAY AUDIO – ALIVE!:
DISC FIVE:
[Dolby Atmos* / Dolby True HD 5.1* / 192kHz 24-bit & 96kHz 24-bit PCM Stereo]
1. “Deuce”
2. “Strutter”
3. “Got To Choose”
4. “Hotter Than Hell”
5. “Firehouse”
6. “Nothin’ To Lose”
7. “C’mon And Love Me”
8. “Parasite”
9. “She”
10. “Watchin’ You”
11. “100,000 Years”
12. “Black Diamond”
13. “Rock Bottom”
14. “Cold Gin”
15. “Rock And Roll All Nite”
16. “Let Me Go, Rock ‘N Roll”
* Previously unreleased
Trending on Billboard Bruce Springsteen’s Nebraska, first released in 1982, returns to Billboard’s charts following its expanded reissue. The set, which peaked at No. 3 on the overall Billboard 200 in its release year, re-enters that list (dated Nov. 8) at No. 26 for its first week on the chart since 1985 and its highest […]
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Slipknot’s legal maneuver to take over the slipknot dot com URL has hit a speed bump, as the domain owner has hired a lawyer and declared that it intends to battle the band in court for control of the website.
The metal band initiated a lawsuit last month claiming an anonymous cybersquatter is selling counterfeit merchandise on slipknot.com. The case was brought under the Anti-Cybersquatting Consumer Protection Act, a 1999 federal law that allows intellectual property owners to seize control of infringing domain names.
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Cybersquatting lawsuits often target anonymous site owners who do not respond to the allegations, leading courts to enter no-show default judgments and transfer the domain names without a fight. Big-name brands like Facebook, Verizon and Nintendo have all won these kinds of default rulings over the years.
Slipknot’s lawyers might have expected a default win in this case, since the identity of slipknot.com’s operator is not known. But the anonymous site owner has hired a lawyer: Jeff Neuman, a Virginia-based attorney who specializes in internet domain policy.
“Claimant is the lawful and long-time registrant of the domain name, having continuously owned and maintained it for approximately 24 years,” wrote Neuman in a Wednesday (Nov. 5) court filing.
Neuman says he was just retained on Wednesday (Nov. 5), after the operating entity Slipknot Online Services Ltd. learned about the lawsuit and the risk of a default judgment. He’s asking a judge to push back deadlines so he can review the case and protect his client’s interests.
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“Claimant expressly reserves all defenses … including but not limited to challenges to jurisdiction, ownership, priority and any alleged bad-faith intent to profit,” Neuman wrote. “Counsel acted promptly to file this motion the same day to preserve claimant’s rights.”
Neuman declined to comment on the matter on Thursday (Nov. 6), telling Billboard that he is “still getting up to speed on everything.” A lawyer for Slipknot also declined to comment.
Slipknot’s lawsuit, filed on Oct. 15 in Virginia federal court, claims slipknot.com hosts pay-for-click advertising that directs users to counterfeit band apparel and other merch. These sponsored links trick unwitting Slipknot fans who are looking online for official band merch, the complaint alleges.
The metal band says the cybersquatting here is intentional. Slipknot has been actively recording and touring since the 1990s, and the lawsuit claims its anonymous adversary registered the slipknot.com domain in 2001, after the band rose to prominence.
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Following Ozzy Osbourne’s July 22 death, the legendary rocker makes his presence known on the TouchTunes charts for the third quarter of 2025, paced by a No. 2 debut on the TouchTunes Artists Chart.
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The TouchTunes charts for the third quarter of the year track the most played songs and artists on TouchTunes jukeboxes from July 1 to Sept 30, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. The TouchTunes Artists Chart tracks the same period, combining all of an artist’s plays across both rankings. TouchTunes has jukeboxes in over 60,000 locations worldwide. Its data is not factored into other Billboard charts.
Osbourne’s music had not been featured on TouchTunes’ charts since the songs-based rankings’ inception in the second quarter of 2024 or on the Artists survey since it began in the first quarter of 2025. But after his July death, he vaulted onto the Artists tally at No. 2, behind only Morgan Wallen, who has reigned for all three of the ranking’s iterations so far.
On the TouchTunes Catalog Chart, Osbourne appears three times, twice under his own name. “Mama, I’m Coming Home” leads the trio at No. 3, while “No More Tears” enters at No. 24. The former peaked at No. 28 on the Billboard Hot 100 in 1992, while the latter reached No. 71 the same year, both via the 1991 album No More Tears.
The third Osbourne-related song to chart, meanwhile, is Black Sabbath’s “War Pigs,” which enters at No. 21. The 1970 track stems from Osbourne’s time fronting the rock band and is featured on its sophomore release, Paranoid.
Both Osbourne and the original iteration of Black Sabbath performed at a star-studded final concert, Back to the Beginning, on July 5 in Birmingham, England.
Wallen’s reign on the Artists ranking, meanwhile, is assisted by music from his newest album, I’m the Problem, which was released in May, meaning the latest TouchTunes charts are the first full-quarter period the majority of the LP’s songs have been available. As such, one of the Frontline list’s big movers for the quarter is Wallen’s “What I Want,” featuring Tate McRae, which vaults 18 positions to No. 6 in its second quarter on the tally. Additionally, “I Got Better” and “20 Cigarettes” debut at Nos. 11 and 12, respectively.
In all, Wallen appears across the Frontline and Catalog charts 10 times this quarter — eight times on Frontline and twice on Catalog. That equals his count from the second quarter of 2025; “I Got Better” and “20 Cigarettes” replace “Lies Lies Lies” on Frontline, while “Last Night” departs from Catalog.
The Frontline and Catalog No. 1s are the same as they’ve been since their inception, as Shaboozey’s “A Bar Song (Tipsy)” reigns on the former while Chris Stapleton’s “Tennessee Whiskey” tops the latter. A change is coming soon, though, as “A Bar Song” is approaching its move to catalog status 18 months removed from its release.
Other Frontline movement includes debuts for songs from Alex Warren, Blake Shelton, Jessie Murph, Cardi B, Justin Bieber and Gavin Adcock. Murph in particular starts at No. 21 with “Touch Me Like a Gangster,” while her “Blue Strips” lifts 7-4 for a new peak.
Finally, the genre check-in: according to TouchTunes, the rock genre accounted for 39% of its plays across both Frontline- and Catalog-eligible titles, a 1% increase over quarter two and again the dominant genre on the platform. Country is second at 22%, though its dominance of Frontline-eligible songs remains, accounting for 41% of plays, followed by pop (19%), rap (14%) and rock (12%).
See all rankings below.
TouchTunes Frontline Chart
“A Bar Song (Tipsy),” Shaboozey (=)
“I’m the Problem,” Morgan Wallen (=)
“Pink Pony Club,” Chappell Roan (=)
“Blue Strips,” Jessie Murph (+3)
“I Never Lie,” Zach Top (-1)
“What I Want,” Morgan Wallen feat. Tate McRae (+18)
“I Had Some Help,” Post Malone feat. Morgan Wallen (-2)
“You Look Like You Love Me,” Ella Langley feat. Riley Green (-2)
“Just in Case,” Morgan Wallen (-1)
“All the Way,” BigXthaPlug feat. Bailey Zimmerman (+8)
“I Got Better,” Morgan Wallen (debut)
“20 Cigarettes,” Morgan Wallen (debut)
“Ordinary,” Alex Warren (debut)
“Not Like Us,” Kendrick Lamar (-5)
“Texas,” Blake Shelton (debut)
“Nokia,” Drake (-5)
“Messy,” Lola Young (-4)
“Love Somebody,” Morgan Wallen (-8)
“Luther,” Kendrick Lamar with SZA (-5)
“I’m a Little Crazy,” Morgan Wallen (-4)
“Touch Me Like a Gangster,” Jessie Murph (debut)
“Outside,” Cardi B (debut)
“Daisies,” Justin Bieber (debut)
“Last One To Know,” Gavin Adcock (debut)
“I Am Not Okay,” Jelly Roll (re-entry)
TouchTunes Catalog Chart
“Tennessee Whiskey,” Chris Stapleton (=)
“I Love This Bar,” Toby Keith (=)
“Mama, I’m Coming Home,” Ozzy Osbourne (debut)
“Lose Control,” Teddy Swims (-1)
“Friends in Low Places,” Garth Brooks (-1)
“Sweet Child o’ Mine,” Guns N’ Roses (+11)
“Simple Man,” Lynyrd Skynyrd (-1)
“Brown Eyed Girl,” Van Morrison (+7)
“Neon Moon,” Brooks & Dunn (-4)
“Whiskey Glasses,” Morgan Wallen (-2)
“I Think I’ll Just Stay Here and Drink,” Merle Haggard (-4)
“Drinkin’ Problem,” Midland (-3)
“Copperhead Road,” Steve Earle (-3)
“Family Tradition,” Hank Williams Jr. (-2)
“Fat Bottomed Girls,” Queen (-1)
“Rockstar,” Nickelback (-5)
“Thunderstruck,” AC/DC (+1)
“In the Air Tonight,” Phil Collins (+4)
“Cowgirls,” Morgan Wallen feat. ERNEST (=)
“Don’t Stop Believin’,” Journey (-7)
“War Pigs,” Black Sabbath (debut)
“Pour Some Sugar on Me,” Def Leppard (+2)
“Something in the Orange,” Zach Bryan (=)
“No More Tears,” Ozzy Osbourne (debut)
“Should’ve Been a Cowboy,” Toby Keith (debut)
TouchTunes Artists Chart
Morgan Wallen (=)
Ozzy Osbourne (debut)
Toby Keith (-1)
Chris Stapleton (-1)
Lynyrd Skynyrd (+1)
AC/DC (-2)
Zach Bryan (=)
Drake (=)
Shaboozey (-4)
George Strait (=)
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Over the last 12 years, Greg Harris has quietly, methodically steered the Rock & Roll Hall of Fame to massive financial growth despite a swamp of issues — from its lack of female inductees to Rolling Stone founder Jann S. Wenner’s abrupt 2020 departure as foundation chairman to Dolly Parton’s (temporary) refusal to accept her nomination. According to ProPublica, the Cleveland-based hall and museum’s revenue increased from $19.2 million in Harris’ first year as president and CEO in 2012 to $54.8 million in 2023, while its annual visitors recently hit 1.5 million. “We worked to grow the business so that we’d be more stable,” says Harris. “And we have an incredible group of donors.”
Talking to Billboard by phone from the museum’s I.M. Pei-designed pyramid — before he visited the construction site of its $135 million, 50,000-square-foot expansion — Harris previewed the 2025 Rock & Roll Hall of Fame ceremony to induct Outkast, Cyndi Lauper, Joe Cocker, The White Stripes and others. (The show, this Saturday Nov. 8, will be livestreamed on Disney+.) He also discussed the Hall of Fame’s six new board members, plus Chris Kelly, a partner at Cleveland law firm Jones Day, who became board chair in July. A former Philadelphia record-store owner, folklorist and top National Baseball Hall of Fame exec, Harris spoke of the common “emotional impact” of sports, music and folklore during the conversation, which you can read in full below.
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What accounts for the revenue growth since you’ve been president?
Harris: We’ve greatly increased our visitation in those years. We made the museum more experiential. Odds are, in the summer, there’s a live band onstage. You can play guitars and drums and things in new spaces that we’ve built and jam with other visitors. We’ve made a lot of investments in improving the visitor experience, and they’ve paid off.
What’s the greatest percentage of revenue? Is it the paid visitors, or something else?
Visitors, ticket sales and retail sales are incredibly important, and we have a lot of events and groups that do events. Our fundraising is what’s enabled us to do this massive expansion project.
It strikes me that the iconic names from the ’50s and ’60s have mostly been inducted, so the Hall of Fame has to update it with new generations. Is that difficult? Fun? Both?
It’s a healthy project to continue to look at different eras. And maybe going against your hypothesis is that Chubby Checker and Joe Cocker are going in, and you could extend that up to the ’70s and ’80s and ’90s with Warren Zevon.
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Do you get as many, “That’s not rock ‘n’ roll, that’s Dolly Parton, or [fill in the blank],” as much as you used to?
I believe that’s died down. This big tent of rock ‘n’ roll, that all these different genres and sounds and eras fit into it, has become much more widely accepted. It’s fun to tell these stories about how it all fits together rather than defend a decision here or there. It’s all rock ‘n’ roll. It all fits.
Everybody has a hot take on who should be in and who shouldn’t. What’s yours?
When I came over here, you would think about a certain artist, and most of them have gotten in. Back then, I thought Tom Waits should be in, of course — now he’s in. Stevie Ray [Vaughan] — now he’s in. Hall and Oates — now they’re in. That’s the debate we get to have all year long. At this moment, let’s celebrate this year’s inductees.
The new trustees have business backgrounds, not music backgrounds. Why is that the right criteria to lead the Hall of Fame?
What we look for is good trustees that will help advise us, help us think bigger and help us grow. Because the museum has such an economic impact in northeast Ohio, we do have quite a few of them from northeast Ohio, and they’re here to make sure this entity is terrific for this region while still being terrific for the world.
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Chris Kelly, the new board chair, was head of the Republican National Convention host committee in 2016. Did that come up in the process of choosing him for the Hall of Fame, since so many people involved in the organization are politically progressive?
The host committee is what every city has when they try to attract a political convention. That convention was in Cleveland in 2016, but the reason why cities want them is because they’re a massive economic boon to the local economy. It’s not a political statement. It’s about attracting these things, like attracting the Olympics to your town.
Early in your career, you went from founding the Philadelphia Record Exchange to studying folklore in Cooperstown, N.Y., which led you to the Baseball Hall of Fame, then here. What was that transition like?
When I discovered there were these people called folklorists who do oral history, they make documentary films, they produce records, I thought, “What a career, that’s me.” After the Record Exchange, I road-managed some bands. I went back to college and thought I’d go to law school and worked for a law firm, and it just wasn’t for me. That’s when I went heavy on the folklore and museum studies. The great thing is, it’s a history of everyday people, and in many ways that’s what rock ‘n’ roll is all about.
Anything I’ve missed?
One thing is to make sure fans tune in. Go online and watch the streams of the induction. Visit us in Cleveland. We’re open 363 days a year. We have an exhibit right now on Saturday Night Live, 50 years of music that contains every performance. You can watch all of them.
[Harris calls back 30 seconds after the interview.]
What I should’ve ended with was, I love all museums, but this is the greatest museum in the world, and the one place where every visitor has a memory tied to the songs. People come through, they hear a certain song or they remember something they heard in college, the greatest road trip of their life … all that is tied to the music we get to honor every single day at the museum.
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After more than 50 years on the road, Journey is preparing for one last victory lap.
On Thursday (Nov. 5), the Rock & Roll Hall of Fame band announced plans for its Final Frontier Tour, a 60-date North American trek that will kick off Feb. 28 at Giant Center in Hershey, Pennsylvania, and run through July 2 in Laredo, Texas.
Billed as “A Special Evening With Journey,” the tour will feature a new stage production and a career-spanning setlist packed with the band’s biggest hits — including “Don’t Stop Believin’,” “Any Way You Want It,” “Faithfully,” “Lights” and more — along with a handful of deeper cuts for longtime fans. All dates are being promoted by AEG Presents.
“This tour is our heartfelt thank-you to the fans who’ve been with us every step of the way,” said founder and guitarist Neal Schon in a statement. “We’re pulling out all the stops — the hits, the deep cuts, the energy, the spectacle. It’s a full-circle celebration of the music that’s brought us all together.”
Schon emphasized that while this marks the final chapter for Journey as a touring act, he has no plans to step away from music entirely. “I want everyone to know I’m not done,” he said. “Music is still burning strong inside me, and there are new creative horizons ahead.”
Keyboardist Jonathan Cain called the farewell run a chance to reconnect with the fans one more time. “We’ve shared our music with millions and this tour is about gratitude, connection and one last chance to feel that magic together,” he said.
Frontman Arnel Pineda, who joined the band in 2007 after being discovered by Schon on YouTube, added: “Every night on stage has been a dream come true. I’m honored to be part of this legacy.”
The current lineup also features Jason Derlatka (keyboards, vocals), Deen Castronovo (drums, vocals) and Todd Jensen (bass).
Since forming in 1973, Journey has sold more than 100 million albums worldwide, scored 18 top 40 Billboard Hot 100 singles, and earned RIAA diamond certification for its Greatest Hits album. “Don’t Stop Believin’” passed 1 billion streams on Spotify in 2024 and remains one of the most downloaded songs in the history of digital music.
The band was inducted into the Rock & Roll Hall of Fame in 2017 and received the Billboard Legends of Live award for its blockbuster co-headline tour with Def Leppard in 2018, which sold more than 1 million tickets.
Tickets go on sale to the general public Nov. 14 at 10 a.m. local time. Citi cardmembers will have access to a presale beginning Nov. 11 at 10 a.m. local time through Citi Entertainment. A limited number of VIP packages — including premium seats and exclusive merch — will be available.
Journey’s Final Frontier Tour dates are below:
Feb. 28: Hershey, PA @ GIANT Center
March 1: Pittsburgh, PA @ PPG Paints Arena
March 4: Washington, D.C. @ Capital One Arena
March 5: Trenton, NJ @ CURE Insurance Arena
March 7: Ottawa, ON @ Canadian Tire Centre
March 9: Hamilton, ON @ TD Coliseum
March 11: Montreal, QC @ Bell Centre
March 12: Quebec City, QC @ Vidéotron Centre
March 14: Hartford, CT @ PeoplesBank Arena
March 16: Columbus, OH @ Nationwide Arena
March 17: Indianapolis, IN @ Gainbridge Fieldhouse
March 19: Milwaukee, WI @ Fiserv Forum
March 21: Memphis, TN @ FedExForum
March 22: Lexington, KY @ Rupp Arena
March 25: N. Little Rock, AR @ Simmons Bank Arena
March 26: Kansas City, MO @ T-Mobile Center
March 28: New Orleans, LA @ Smoothie King Center
March 29: Bossier City, LA @ Brookshire Grocery Arena
March 31: Austin, TX @ Moody Center
April 3: Oklahoma City, OK @ Paycom Center
April 4: Wichita, KS @ INTRUST Bank Arena
April 6: Sioux Falls, SD @ Denny Sanford PREMIER Center
April 8: Des Moines, IA @ CASEY’S CENTER
April 9: Lincoln, NE @ Pinnacle Bank Arena
April 12: Salt Lake City, UT @ Delta Center
April 14: Boise, ID @ ExtraMile Arena
April 15: Spokane, WA @ Spokane Arena
April 17: Vancouver, BC @ Pacific Coliseum
April 19: Eugene, OR @ Matthew Knight Arena
April 21: Sacramento, CA @ Golden 1 Center
April 22: Bakersfield, CA @ Dignity Health Arena
April 24: Fresno, CA @ Save Mart Center at Fresno State
May 15: Tampa, FL @ Benchmark International Arena
May 16: Jacksonville, FL @ VyStar Veterans Memorial Arena
May 18: Columbia, SC @ Colonial Life Arena
May 20: Charlotte, NC @ Spectrum Center
May 21: Greensboro, NC @ First Horizon Coliseum
May 23: Atlantic City, NJ @ Jim Whelan Boardwalk Hall
May 27: State College, PA @ Bryce Jordan Center
May 28: Charlottesville, VA @ John Paul Jones Arena
May 30: Knoxville, TN @ Food City Center
May 31: Savannah, GA @ Enmarket Arena
June 3: Hampton, VA @ Hampton Coliseum
June 4: Roanoke, VA @ Berglund Center Coliseum
June 6: Worcester, MA @ DCU Center
June 7: Manchester, NH @ SNHU Arena
June 10: Buffalo, NY @ KeyBank Center
June 11: Allentown, PA @ PPL Center
June 13: Cincinnati, OH @ Heritage Bank Center
June 14: Grand Rapids, MI @ Van Andel Arena
June 17: Evansville, IN @ Ford Center
June 18: Fort Wayne, IN @ Allen County War Memorial Coliseum
June 20: Champaign, IL @ State Farm Center
June 21: Green Bay, WI @ Resch Center
June 24: Moline, IL @ Vibrant Arena at the MARK
June 25: Springfield, MO @ Great Southern Bank Arena
June 27: Tupelo, MS @ Cadence Bank Arena
June 28: Lafayette, LA @ CAJUNDOME
July 1: Corpus Christi, TX @ Hilliard Center
July 2: Laredo, TX @ Sames Auto Arena
4 Non Blondes’ “What’s Up?” is back on the Billboard charts, thanks to a viral trend.
The 1993 No. 14-peaking Billboard Hot 100 classic reenters the Hot Rock & Alternative Songs tally dated Nov. 8 at No. 13, as users on shortform video platforms such as TikTok have been mashing up the track with Nicki Minaj’s 2012 hit “Beez in the Trap.” (Older songs are eligible for Billboard’s multimetric charts if in the top half and with a meaningful reason for their resurgences.)
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In the week ending Oct. 30, “What’s Up?” drew 4.2 million official U.S. streams, up 17%, according to Luminate. It also sold 1,000 downloads, a 34% boost week-over-week, sparking a second week at No. 3 on the Rock Digital Song Sales tally.
Over the past few weeks, streams of “What’s Up?” have steadily gained. A month prior to the Nov. 8 rankings (in the tracking week for charts dated Oct. 4), the song accumulated 2.7 million streams. A year ago this week (Nov. 9, 2024), the track pulled 2.2 million streams.
As for “Beez in the Trap,” the tune from Minaj’s 2012 album Pink Friday: Roman Reloaded (the track hit No. 7 on Hot R&B/Hip-Hop Songs that year) totaled 1.7 million on-demand streams in the week of Oct. 24-30, up 47%. A month ago (week ending Sept. 25), it drew 484,000 streams.
The viral sound featuring both songs synchs up their choruses: 4 Non Blondes singer Linda Perry’s refrain of “And I say, hey, what’s going on?” merges with Minaj’s “Bitches ain’t shit and they ain’t sayin’ nothing/ A hundred motherfuckers can’t tell me nothing/ I beez in the trap” verse.
That said, the original versions of each are having their own moments on platforms including TikTok, although many videos still reference the prevailing meme; some of the top-performing clips, for instance, find users lip-synching to “What’s Up?” but then mouthing along to the lyrics of “Beez in the Trap” at its usual cue even though its audio isn’t playing.
The mashup sound is lip-synch-heavy, as well, with some of the most viral uses indicated by two participants standing back-to-back, one taking the 4 Non Blondes lyrics and the other assuming Minaj’s role. The trend has been utilized by everyone from typical creators to folks dressed up in cosplay or Halloween costumes to celebrities such as Anitta, Jimmy Fallon, Kylie Jenner, Khloe Kardashian and Jennifer Lopez. Lopez’s version even got Perry herself in on the fun.
Brandi Carlile breaks the record for most No. 1’s by a woman on Billboard’s Top Rock & Alternative Albums chart, as her latest album Returning to Myself debuts atop the Nov. 8-dated tally.
In its first week, ending Oct. 30, Returning to Myself earned 35,000 equivalent album units, according to Luminate. That sum includes 32,000 in album sales.
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Returning to Myself is Carlile’s fifth No. 1 on the ranking, all achieved consecutively. She first led with 2015’s The Firewatcher’s Daughter, followed by 2018’s By the Way, I Forgive You, 2021’s In These Silent Days and this year’s Elton John collaboration Who Believes in Angels?.
Carlile’s five leaders are the most by a woman or woman-led act since Top Rock & Alternative Albums began in 2006. Previously, she was tied for the mark with Florence + the Machine and Paramore. (The distinction may be short lived; the former’s new album, Everybody Scream, was released Oct. 31 and will hit next week’s Billboard charts, dated Nov. 15.)
Returning to Myself also starts at No. 1 on Top Rock Albums and Americana/Folk Albums. It’s Carlile’s sixth ruler on the latter list, second only to Bob Dylan’s eight.
Elsewhere, Returning to Myself marks Carlile’s second No. 1 on Top Album Sales, and first since By the Way, I Forgive You. Of the new set’s 32,000 in sales, 15,000 are via vinyl; as a result, the LP starts at No. 2 on Vinyl Albums.
On the all-format Billboard 200, Returning to Myself opens at No. 7, marking Carlile’s fifth top 10, where she first ranked with the No. 10-peaking Bear Creek in 2012. Her personal best on the chart was set by By the Way, I Forgive You (No. 5).
Returning to Myself’s title track lead single reached No. 12 on Adult Alternative Airplay (Oct. 18). Its follow-up, “Human,” is bubbling under the list.
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