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Chris Hemsworth is lending his considerable star power to Ausmusic T-Shirt Day, an annual fundraising campaign that encourage music fans to buy a shirt, wear it, share it and donate.
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Hemsworth, who plays “Thor” in a succession of blockbuster Marvel films, and is recognized as the highest-paid Australian actor, is an ambassador for the music-meets-fashion project, which takes place across Australia on Nov. 18.
The Aussie actor fronts a new marketing campaign, which launched last week and was created pro bono by Mushroom Creative House.
“This Ausmusic T-Shirt Day we not only want you to show your support by wearing a t-shirt with your favorite Aussie artist on it, but we also want you to donate to the cause.”
For the exercise, Hemsworth wears a Teskey Brothers t-shirt, in honor of the ARIA and APRA Award winning blues-rock band from Melbourne, led by Josh and Sam Teskey.
Hemsworth joins more than 30 stars of Australian music, screen and stage who’ve assembled for the initiative, including Darren Hayes, Kylie Minogue, Cub Sport and Jessica Mauboy, who is also announced Thursday (Oct. 27) as an ambassador.
The campaign is soundtracked by The Chats’ “AC/DC CD,” and will splash across Australian TV and social media channels from next week.
Funds raised will flow to Support Act, the Australian music industry charity which supports musicians, managers, crew and music workers through crisis relief, mental health and wellbeing programs.
“Chris Hemsworth has always been a big supporter of Australian Music, wearing a Teskey Brothers t-shirt in this year’s campaign,” says Clive Miller, CEO of Support Act, “so to have someone of his standing alongside such an incredible artist as Jess Mauboy, really takes our fundraiser and awareness of music workers in need to the next level.”
Ausmusic T-Shirt is supported by ARIA and celebrated across triple j, Double J and the ABC as part of Ausmusic Month. The 2021 edition raised more than A$500,000 ($325,000) for good causes, a record sum for the campaign. This year, organizers are targeting A$750,000, with almost A$85,000 of that pledged at the time of writing.
To find out more visit ausmusictshirtday.org.au and supportact.org.au, and use the hashtag #AusMusicTshirtDay.
Official HIGE DANdism’s “Subtitle” rises 3-1 on the Billboard Japan Hot 100, dated Oct. 26, increasing streams by over 50 percent from the week before.
The theme of the Fuji TV drama series silent debuted at No. 3 last week with 9,905,2947 weekly streams and racked up 18,116,526 this week (No. 1 for the metric), jumping 54.7 percent to climb to the top of the chart. The track was also boosted by downloads (No. 2), video views and radio airplay (No. 4), while also coming in at No. 46 for Twitter mentions.
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Last week’s No. 1 song, Kenshi Yonezu’s “KICK BACK,” slips to No. 2. While the Chainsaw Man opener also increased streams (from 12,556,627 to 15,735,232, up by 25.3 percent, No. 2) this week and topped downloads, it couldn’t overcome the difference between “Subtitle” with the other metrics of the chart’s methodology: No. 5 for radio, No. 6 for Twitter, No. 92 for karaoke, No. 100 for video.
This week saw a number of titles launching with high CD sales, with four songs bowing in the top 10 of the Japan Hot 100. AKB48’s “Hisashiburi no Lip Gloss” topped sales with 429,419 copies sold and THE RAMPAGE from EXILE TRIBE’s “Tsunagekizuna” followed with 142,364 copies sold. “Lip Gloss” came in at No. 7 for look-ups — the number of times a CD is ripped to a computer — No. 9 for Twitter, and No. 70 for radio, while “Tsunagekizuna” topped radio and came in at No. 2 for Twitter, No. 45 for look-ups and No. 64 for streaming. The latter managed to flip the difference in physical sales with the total points gained from other metrics, debuting at No. 3 on the Japan Hot 100 while “Lip Gloss” followed at No. 4.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 17 to 23, here.
Rita Ora and writer, director, and actor Taika Waititi will host the 2022 MTV EMAs, which are set to broadcast live from Düsseldorf, Germany on Sunday, Nov. 13. Harry Styles is this year’s top nominee. Ora previously hosted the EMAs in 2017.
Ora reached No. 3 on the Billboard Hot 100 in 2014 as a featured artist on Iggy Azalea’s “Black Widow.” Waititi won both an Oscar and a Grammy for his work on the 2020 film Jojo Rabbit. His Oscar was for best adapted screenplay; his Grammy, for best compilation soundtrack for visual media.
“I’m thrilled to be back hosting, and sharing the stage with Taika makes it all the more special,” Ora said in a statement. “We’ve got it all at this year’s EMAs, fun surprises, fantastic fashion, comedy, and above all amazing music!”
“Rita Ora is a long-time MTV/EMA favorite and together with the multi-talented Taika Waititi, we’re absolutely certain this powerhouse duo will set the stage for one electrifying night of global music celebration,” said Bruce Gillmer, president of music, music talent, programming and events at Paramount, and chief content officer of music for Paramount+.
The 2022 MTV EMAs will broadcast live on MTV in more than 170 countries and on Pluto TV in select territories across the U.S., Latin America and Europe and Comedy Central in Germany on Nov. 13. It will be available on Paramount+ and Pluto TV globally beginning Nov. 14.
Fans can vote for their favorites across 17 gender-neutral categories at www.mtvema.com until Nov. 9, at 11:59 p.m. CET. There are two new categories this year — best longform video and best metaverse performance.
Gillmer and Richard Godfrey are executive producers of the 2022 MTV EMAs. Debbie Phillips and Chloe Mason are producers.
Midnights is on the brink of earning Taylor Swift a rare U.K. chart double.
Swift’s 10th studio album dropped last Friday (Oct. 21) and immediately caught fire on streaming platforms, smashing Spotify’s global 24-hour record. There’s a lot of love for Midnights (via EMI) in the U.K., with the album pushing past 140,000 combined sales in just three days, good enough for the best opening-week result for any title this year.
Midnights should dominate the singles chart, too.
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Based on midweek sales and streaming data captured by the Official Charts Company, Swift is on the brink of a 1-2-3. Currently, Midnights track “Anti-Hero” leads the chart blast, ahead of “Lavender Blaze” and “Snow on the Beach,” respectively.
Swift should unseat Sam Smith and Kim Petras’ “Unholy” (EMI), ending its four-week run at the top. “Unholy” slips 1-4 on the midweek survey, ahead of David Guetta and Bebe Rexha’s “I’m Good (Blue)” (via Parlophone), down 2-5.
The challenger to Midnights is Arctic Monkeys’ The Car (Domino Recordings). Like Midnights, The Car powers the full complement of three Arctic Monkeys songs into the midweek chart, with “I Ain’t Quite Where I Think I Am” new at No. 16, “Sculptures of Anything Goes” new at No. 17 and “There’d Better Be a Mirrorball” reentering at No. 20.
Meanwhile, two versions of “Miss You” continue to impact the U.K. top 40. Oliver Tree and Robin Schulz’s version, released by Atlantic Records, rises 12-10 on the Official Chart Update, while Southstar’s version, via B1/Ministry of Sound, dips 26-27.
Southstar has accused his fellow German Schulz of releasing a “copycat version,” a claim that places Sony Music and Warner Music at loggerheads. WMG’s Atlantic Records has responded. “Oliver Tree and Robin Schulz’s version of ‘Miss You’ is the definitive version of the song that uses both the recording and underlying composition from Oliver Tree’s original track ‘Jerk,’ says an Atlantic Records U.S. spokesperson via email. “Southstar remixed ‘Jerk’ without permission and then released a version with re-recorded vocals to avoid fully compensating Oliver Tree and his label.”
Further down, Joel Corry and Tom Grennan are eyeing another U.K. top 40 with “Lionheart (Fearless)” (via Atlantic), which starts at No. 36 on the chart update. If it holds its position, “Lionheart” would give Corry a ninth top 40 appearance, and Grennan a seventh.
Finally, Meghan Trainor’s “Made You Look” (Atlantic) appears to be en route to the top 40. It’s at No. 37 on the chart blast, and should enjoy a nudge following Trainor’s performance of the song Monday (Oct. 24) on The Tonight Show.
All will be revealed when the Official U.K. Singles Chart is published late Friday.
The chart race of the year is only halfway complete, though Taylor Swift’s Midnights is already strides ahead of the pack.
Swift’s tenth studio album and Arctic Monkeys’ seventh studio set, The Car, are both blockbusters that would win almost any U.K. chart battle.
This is no ordinary chart cycle. It’s a heavyweight bout, with both sets notching well over 100,000 chart copies in just three days.
At the midweek point, Midnights has more than 140,000 chart units to secure the advantage. That sum gives Midnights the best start for any album this year, bettering the 113,000 chart units accumulated by Harry Styles’ Harry’s House across its first full week, the OCC reports.
The Car is some distance behind in second place on the Official Chart Update, with 105,000 chart units – an exceptional result for any other week.
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If Midnights stays on target, it will hand Swift her ninth U.K. No. 1 following Red (2012), 1989 (2014), Reputation (2017), Lover (2019), Folklore (2020), Evermore (2020), Fearless (Taylor’s Version) (2021) and Red (Taylor’s Version) (2021). Also, the U.S. artist could swoop in for a chart double; she holds the top three spots on the singles chart update, led by “Anti-Hero.”
Meanwhile, Arctic Monkeys enjoy a spotless streak of six consecutive career No. 1s, starting with their 2006 debut Whatever People Say I Am That’s What I’m Not, and continuing with 2007’s Favourite Worst Nightmare, 2009’s Humbug, 2011’s Suck It And See, 2013’s AM, and 2018’s Tranquility Base Hotel & Casino. Frontman Alex Turner has eight in the row, including his side project, the Last Shadow Puppets.
Based on midweek sales and streaming data published by the OCC, South London artist Loyle Carner could come at No. 3 with his third album, Hugo; veteran Scottish band Simple Minds’ 19th record Direction of the Heart could bow at No. 4; and Australian pop star Kylie Minogue’s sixth studio LP Impossible Princess could return to the chart at No. 5, thanks to a 25th anniversary edition. Impossible Princess originally peaked at No. 10 following its release in 1997.
Norwegian ‘80s pop trio a-ha is set for a return to the U.K. survey this week with True North, new at No. 6 on the chart blast. If True North stays put, it would become the “Take On Me” singers’ highest-charting studio LP in the U.K. since 2009’s Foot of the Mountain went to No. 5.
Finally, Canadian pop singer Carly Rae Jepsen is on track for her career chart peak in the U.K. with The Loneliest Time, eyeing a No. 7 berth; while British alternative-rocker act Dry Cleaning is aiming for a second top 10 appearance with Stumpwork, on track for a No. 8 start.
All will be revealed when the Official U.K. Albums Chart is published late Friday (Oct. 28).
Billboard Japan launched its Women in Music initiative this year, following the established example of Billboard’s annual Women in Music issue that has continued since 2007. A series of interviews focusing on women in the Japanese music industry is being released as one of the first projects under Japan’s Women in Music banner, which will encompass multiple projects, including interviews, live performances and panel discussions.
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Japanese rapper AKKOGORILLA, who named her first album released in 2018 GRRRLISM as an homage to the Riot Grrrl movement, coined the word based on her urge to “transcend the image of [a female rapper] representing girls.” The theme of the 34-year-old’s mini-album Magma I released in June is “something no one can touch / something everyone has.” The trailblazing solo artist who has consistently sent out messages that transcend various categories such as gender, age and nationality sat down with Billboard Japan for an in-depth interview exploring her journey so far.
You’ve been sending out messages of becoming liberated from categorization and biases through various avenues. When did you first feel the need to do so?
Even before I started music, I was uncomfortable with the idea of being pigeonholed as a girl. When I was in junior high, I saw guys wearing oversized sweatshirts and such in the popular drama series Ikebukuro West Gate Park and just loved it so much. Not love as in romantically interested, but in the sense that I wanted to be like them. I also really loved the anime series Lupin the Third, but wanted to be like [the male protagonist] Lupin III, not [the female frenemy] Fujiko Mine. But this was a time when lookism was still socially unchecked, with the media praising women equipped with typically feminine qualities and articles featuring how to dress so that men will be attracted to you and stuff like that. I also liked fashion magazines, so I was influenced by such values as well and felt really trapped.
How did you pull yourself out of that state?
I think I’m still a mess! [Laughs] When I was feeling trapped, there was also a part of me that said, “Why don’t I just do whatever I want?” I started going to live shows when I entered high school and came across [Japanese two-women band] AFRIRAMPO. I saw them live and felt really excited because they were so cool. I’m not sure how to say it, but something clicked. I began listening to different kinds of music from there and came across [British all-women band] The Slits. The jacket of their album Cut shows the members standing in a row with their upper bodies exposed, and they did it because they felt like doing it, not because someone told them to. They showed me another side of this world. Those influences inspired me to start a band and I played the drums. But there was also a part of me that thought my boyfriend would dump me if he saw the way I was letting myself go all out onstage because it wasn’t cute.
So you were still in the midst of confusion. How did you go from there to becoming a rapper and calling yourself AKKOGORILLA?
I played the drums in a band called HAPPY BIRTHDAY, and was thinking how if we disbanded and I wanted to continue playing music, I’d have to become a studio musician but didn’t have the skill for that. So I began considering a solo career. As a process of ascertaining what I liked, I started out by vocalizing, kind of like therapy, and was rapping before I realized it. Since I was originally a drummer, the act of loudly vocalizing my feelings was a counter for me. Back then, there were far fewer female rappers [in Japan] than there are today. People asked me why I started rapping all of a sudden, but I really had no idea why. [Laughs]
Was there a specific reason why you became aware of gender biases and gender gaps?
That’s definitely when I started competing in MC battles. My [male] opponents would insult me with stuff like, “You must have slept your way to the top” or just plain “you’re ugly” in front of a crowd. If it were between men, the battle would be about picking apart the details of the rapping itself, but female rappers were still uncommon so they honed in on the “being a woman” part. As I was answering them, I gradually began putting into words the sense of discomfort I originally had within myself. But at that time, I didn’t want to call myself a feminist. I hadn’t read up on feminism at all and had this arbitrary image of it being something uncool.
You’re now pretty open about being a feminist. How did your feelings change up to that point?
I do consider myself a feminist now. Before I got to that point, I expressed my discomfort in my own words by writing songs like “Ultragender” and making up words like GRRRLISM. But my biases were based on half-baked knowledge, so I figured I should understand the meaning of the term [feminism] properly by thinking about it with my own mind. After I learned about it, I became convinced that I’m a feminist. Thinking for myself and being myself is what hip-hop means to me, so the fact that I’ve been publicly vocal about being a feminist means I’m taking hip-hop seriously.
Do people react differently now that you declare yourself a feminist?
I’ve received a variety of reactions. I’ve been told things like, “I like your rapping, but you’re going in a bad direction.” I don’t care what strangers say, but it was hard when people closer to me couldn’t understand.
How did you deal with that?
I did my best to be open with them! Some people came around that way, and some didn’t. But things have changed dramatically over the past few years, and the concepts I was putting out in GRRRLISM are considered normal now by the younger generation I meet at concert venues. To be honest, I’ve forgotten what it was like when people didn’t accept my way of thinking. If anyone makes fun of another person’s sexuality out of ignorance in front of me, though, I’ll confront them head-on and talk to them about it.
While it does feel like times are changing, some values remain the same, and the percentage of women in the Japanese music industry is still small. What do you think are the obstacles?
I think what’s important for minorities to stop being minorities is how the people who aren’t [the minorities] behave. In Japan, when someone who isn’t on the receiving end of gender gaps or discrimination against minorities speaks out and says, “This is wrong,” they’re immediately treated like some bossy class representative or something. There’s a widespread sentiment that only those who are party to the issue are allowed to speak out, but that isn’t true. Unless the people who aren’t party to the issue do better, the world isn’t going to change.
Is there anything you rely on to keep you going?
For me, performing live is the best way to take care of myself. I love those moments when my feelings burst out. I also like seeing people bursting with emotion. So I love live performances the most.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan.
Taylor Swift’s Midnights is already a record-setter. Now, Swift’s new studio album is set to crush the U.K. charts.
Based on sales and streaming data from the first 48 hours in the cycle, Swift could snag the top three spots on the Official U.K. Chart.
Swift’s “Anti-Hero” leads the chart blast and is on track to give the U.S. singing star her second U.K. leader, after 2017’s “Look What You Made Me Do.”
“Anti-Hero” got a push with its official music video, which dropped Friday (Oct. 21), following the release proper of Midnights. Swifties were already tuned-into the track, thanks to the singer previously declaring it “one of my favorite songs I’ve ever written,” adding “I really don’t think I’ve delved this far into my insecurities in this detail before.”
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According to the Official Charts Company, Midnights opener “Lavender Haze” is “not far behind” in second spot on the First Look chart, followed by her Lana Del Rey collaboration “Snow On The Beach,” at No. 3.
Those three songs would represent the limit Midnights and its tracks could impact the singles chart. Based on criteria introduced in 2017, acts can have only their three most popular tracks feature in the Official Singles Chart Top 100, a move intended to prevent mega-stars’ albums from flooding the survey.
“Snow On The Beach,” notes the OCC, could secure Del Rey a fifth U.K. top 10 appearance, and first since 2019 collaboration “Don’t Call Me Angel,” with Ariana Grande and Miley Cyrus, which peaked at No. 2.
Midnights bolted out the gate. The set is officially the most-streamed album worldwide in a single day in Spotify history.
If Midnights is crowned on the Official U.K. Albums Chart, when it’s published Friday (Oct. 28), it would be Swift’s ninth leader. Arctic Monkeys, which has swept the U.K. chart with every studio album release, is expected to challenge Swift with their own latest album, The Car.
Meanwhile, two tracks from The Car are set to drive into the U.K. top 20. “I Ain’t Quite Where I Think I Am” is poised to bow at No. 14, the OCC reports, with “Sculptures of Anything Goes” close behind at No. 15.
The midweek U.K. singles and albums surveys will be revealed late Monday (Oct. 24), local time.
Stormzy secures a 26th top 10 as “Hide & Seek” (via Def Jam) storms the U.K. singles chart, while Sam Smith and Kim Petras complete a full month atop the survey with their “Unholy” collaboration.
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“Hide & Seek,” lifted from Stormzy’s upcoming third album This Is What I Mean, is new at No. 7, giving the homegrown hip-hop star the week’s top debut. This Is What I Mean is due out Nov. 25.
Meanwhile, Anne-Marie and Aitch’s “Psycho” (Atlantic) collab is on the climb. After chasing a top 5 spot on the midweek survey, some five weeks after its release, “Psycho” finishes the chart week up 9-6.
No less than seven singles make a splash in the U.K. top 40 for the first time, including British rapper Central Cee, whose “One Up” (Central Cee) arrives at No. 17. “One Up” becomes the Londoner’s 14th U.K. top 40 hit.
The 1975 has the best-selling album in the U.K. this week with Being Funny In A Foreign Language (Dirty Hit). The British pop-rock outfit also bring up their 11th and 12th top 40 appearances, with album tracks “Oh Caroline,” new at No. 29 on the Official U.K. Singles Chart, and “I’m In Love With You,” at No. 34.
Lil Baby also snags two top 40 debuts on the Official Chart, published Friday (Oct. 21), with “California Breeze” (No. 26) and “Real Spill” (No. 36). Both are lifted from the U.S. rapper’s new album It’s Only Me (via Motown/Quality Control), which bows this week at No. 3, a new career high.
Labelmate Lil Yachty floats into the top tier with “Poland,” new at No. 30, for the U.S. rapper’s third top 40 appearance.
Blink 182 makes an immediate impact with “Edging” (Columbia), the U.S. pop-punk trio’s first recording with Tom DeLonge in a decade. The track, lifted from the reunited band’s forthcoming studio album, debuts at No. 31, for Blink’s 11th top 40 hit.
At the pinnacle of the U.K. chart is Sam Smith and Kim Petras’ “Unholy” (EMI), which locks-in four-straight weeks at No. 1. The latest crown comes as Smith unveils the tracklist and release date for their fourth studio album, Gloria, due out Jan. 27, 2023.
Finally, two versions of the EDM tune “Miss You” are flying on the chart. Oliver Tree’s cut with Robin Schulz (via Atlantic) blasts 28-9, while German EDM producer Southstar’s “Miss You” (B1/Ministry Of Sound) rises 62-23. Both settle into peak positions.
Dave was the big winner at the 2022 GRM Rated Awards, which focuses on the U.K. rap and grime scene. The rapper won four awards, including track of the year and video of the year for “Clash” (featuring Stormzy).
The Rated Awards were held on Saturday Oct. 22 at Magazine London and will be broadcast on E4 on Tuesday Oct. 25 at 10 p.m. BST. Big Zuu and Julie Adenuga hosted the show.
Dave’s second studio album, We’re All Alone in This Together, was named album of the year. It topped the Official U.K. Albums Chart for two weeks in August 2021. Dave also took home the award for male artist of the year.
While accepting the award for track of the year, Dave discussed the long journey that the song took to become a hit. The song reached No. 2 on the Official U.K. Singles Chart.
Joined by Stormzy on stage, Dave explained: “Back in 2019, I’d just finished my tour. My friend [Kyle Evans] who produced this song had just brought Jordan 1s and Jordan 4s so I freestyled ‘Clash.’ I played Stormzy the song in 2020 and then a year after that I got his verse! Four years of a journey to bring you guys this song.”
Breakthrough went to teenage British hip hop duo, A1 x J1. Little Simz added the female artist of the year award to her recent Mercury Prize win. Central Cee continued his global rise by taking home mixtape of the year.
Jamal Edwards, a British music entrepreneur, DJ and founder of the online R&B/hip-hop platform SB.TV, was posthumously presented this year’s legacy award. Edward died on Feb. 20 at age 31 of a cardiac arrhythmia caused by recreational drugs. The award was presented by Post, founder & CEO of GRM Daily, and Rashid Kasirye, founder of Link Up TV. The award was accepted by Edwards’ mother Brenda and sister Tanisha. The presentation included a special video created by Jamal’s team at SBTV to celebrate his life and legacy.
The Rated Awards were founded by GRM Daily, which has chronicled the U.K. rap and grime scene for more than a decade. With 5 million subscribers and an online reach of more than 9 million, GRM claims to be the most viewed British music platform in the U.K.
The nominations recognize achievements between June 1, 2021, and June 1, 2022.
Here’s the full list of nominations, with winners marked.
Album of the year
Cleo Sol – MotherWINNER: Dave – We’re All Alone in This TogetherFredo – Independence DayKnucks – ALPHA PLACEKojey Radical – Reason to SmileLittle Simz – Sometimes I Might Be IntrovertM Huncho – Chasing EuphoriaTion Wayne – Green With Envy
Track of the year
Aitch – “Baby” (feat. Ashanti)ArrDee – “Flowers (Say My Name)”Benzz – “Je M’appelle”Central Cee – “Obsessed With You”D-Block Europe – “Overseas” (feat. Central Cee)Dave – “Starlight”WINNER: Dave – “Clash” (feat. Stormzy)Potter Payper – “Gangsteritus”Russ Millions – “Reggae & Calypso” (feat. Buni & YV)SwitchOTR – “Coming for You” (feat. A1 x J1)
Video of the year
Aitch – “1989”Aitch – “Learning Curve”CASisDEAD – “Boys Will Be Boys”Dave – “Verdansk”WINNER: Dave – “Clash” (feat. Stormzy)Knucks – “Alpha House” / “Hide & Seek”Little Simz – “Point and Kill” (feat. Obongjayar)M Huncho – “Warzone” (feat. Headie One)Pa Salieu – “Glidin’” (feat. slowthai)Stefflon Don & Ms Banks – “Dip”
Female artist of the year
Cleo SolDarkooDreya MacFLOIvorian DollWINNER: Little SimzMahaliaMiraa MayMs BanksStefflon Don
Male artist of the year
ArrDeeCentral CeeD-Block EuropeWINNER: DaveDigga DK-TrapM HunchoPotter PayperRuss MillionsTion Wayne
Breakthrough of the year
WINNER: A1 x J1ArzBru-CClavishDreya MacKnucksNemzzzRimzeeSaintéSwitchOTR
Mixtape of the year
ArrDee – Pier PressureWINNER: Central Cee – 23D-Block Europe – Home Alone 2Digga D – Noughty by NatureK-Trap – TrapoK-Trap & Blade Brown – JointsM1llionz – Provisional LicensePotter Payper – Thanks for WaitingUnknown T – AdolescenceYoungs Teflon – All Eyes on Me Against the World
Personality of the year
Big ZuuChunkzHarry PineroWINNER: KSIMo GilliganMunya ChawawaNella RoseSpecs GonzalezYung FillyZeze Millz
Producer of the year
ChucksInfloWINNER: JAE5LiTek & WhyJayLUCIDP2JQuincy TellemVennaNathaniel LondonYoung Chencs
Radio DJ of the year
Charlie SlothDJ TargetHenrie KwushueWINNER: Kenny AllstarManny NorteRob BruceSir SpyroSnoochie ShyTiffany CalverYinka & Shayna Marie
The 1975 lands at No. 1 on the U.K. albums chart with Being Funny In A Foreign Language, the British alternative rock outfit’s fifth consecutive leader.
Led by Matt Healy, the Cheshire, England band previously led the Official U.K. Chart their self-titled 2013 set, 2016’s I like it when you sleep, for you are so beautiful yet so unaware of it, 2018’s A Brief Enquiry Into Online Relationships, and 2020’s Notes On A Conditional Form.
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With their fast start, the 1975 enter the premium class of artists to have taken top spot with all five of their studio albums, drawing level with Ed Sheeran. The leader of that particular tally is Noel Gallagher, whose unbroken streak across Oasis and Noel Gallagher’s High Flying Birds LPs stands at 10.
Being Funny In A Foreign Language also starts at No. 1 on Australia’s all-genres ARIA Chart.
Coming in at No. 2 on the latest U.K. chart, published Oct. 21, is Red Hot Chili Peppers’ Return To The Dream Canteen (Warner Records). It’s the veteran U.S. rock act’s 10th U.K. top 10, and the followup to Unlimited Love, which dropped in April of this year and went to No. 1.
One spot down the chart, Atlanta hip-hop artist Lil Baby bounces to his first solo top 5 appearance with It’s Only Me (Motown/Quality Control), new at No. 3. That effort beats the No. 5 best for his 2021 collaborative project with Lil Durk, The Voice Of The Heroes. It’s Only Me blasts to No. 1 on the latest Billboard 200.
U.S. rock veterans Alter Bridge bag a fifth U.K. top 10 record with Pawns & Kings (Napalm), starting at No. 6, while Big Moon enjoys a first top 10 appearance with Is Everything (Fiction), arriving at No. 9. The English indie-rock four-piece previously impacted the chart with 2020’s Walking Like We Do, peaking at No. 19.
Also debuting on the latest frame is London rapper Rimzee, with his third mixtape Cold Feet (Rimzee), new at No. 11; Britpop-era band the Lightning Seeds with their comeback effort, See You In The Stars (BMG), at No. 16; English folk group the Unthanks with Sorrows Away (Rabblerouser), at No. 26; the Vamps, with their career retrospective 10 Years Of The Vamps (UMR/Virgin), at No. 30; and production wizard Brian Eno with FOREVERANDEVERNOMORE (Universal Music Recording), new at No. 32.