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As Aerosmith and YUNGBLUD’s collaborative album One More Time debuts at No. 9 on the Billboard 200 (dated Dec. 6), Aerosmith becomes the second group — and fifth act overall — with a newly-charting top 10 in each of the last six decades (1970s through 2020s).
One More Time also marks the first top 10 for YUNGBLUD (after four earlier charting titles) and the 10th top 10 for Aerosmith. The latter was last in the top 10 with its last full-length studio album, 2012’s Music From Another Dimension!, which debuted and peaked at No. 5.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 6, 2025-dated chart will be posted in full on Billboard‘s website on Dec. 2. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Aerosmith notched its first top 10 on the Billboard 200 in 1976 (and only top 10 of the ‘70s) with Rocks (peaking at No. 3). The band then scored one top 10 in the ‘80s (1989’s No. 5-peaking Pump), three in the ‘90s (Get a Grip, No. 1; Big Ones, No. 6 and Nine Lives, No. 1), three in the 2000s (Just Push Play, No. 2; O, Yeah! Ultimate Aerosmith Hits, No. 2 and Honkin’ On Bobo, No. 5), one in the ‘10s (Music From Another Dimension!, No. 5) and now one in the ’20s with One More Time.
Aerosmith is the second group, following The Rolling Stones, with at least one newly-charting top 10 in every decade from the 1970s through the 2020s. Among all acts, there are just five with a new top 10 in each decade in that span: Aerosmith, Paul McCartney, The Rolling Stones, Bruce Springsteen and James Taylor.
The five-track One More Time was preceded by its first single, “My Only Angel,” which debuted at No. 1 on Hot Hard Rock Songs in October and climbs 7-6 (a new peak) on the most recently published Mainstream Rock Airplay chart (dated Dec. 6). On the latter ranking, “My Only Angel” marked the 25th top 10 for Aerosmith and the first for YUNGBLUD. “My Only Angel” is the first top 10 for Aerosmith on the Mainstream Rock Airplay chart since 2004’s “Baby, Please Don’t Go” reached No. 7, and the band’s highest-charting hit since “Jaded” spent five weeks at No. 1 in 2001.
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Stray Kids claim their eighth No. 1 on the Billboard 200 albums chart as DO IT debuts atop the ranking dated Dec. 6. The set earned 295,000 equivalent album units in the United States in the week ending Nov. 27, according to Luminate. Of that sum, traditional album sales comprise 286,000.
All eight of the group’s Billboard 200 chart entries have debuted at No. 1, beginning with ODDINARY in 2022. In September of this year, when KARMA opened atop the list, Stray Kids became the first act to debut at No. 1 with their first eight entries in the 69-year history of the chart. With DO IT’s debut, they extend that record. The Billboard 200 began publishing on a regular, weekly basis in March 1956.
In addition, with an eighth No. 1, Stray Kids extend their record for the most No. 1s among groups this century (since 2000).
Also in the top 10 on the latest Billboard 200 chart, the Wicked: For Good soundtrack debuts at No. 2, Taylor Swift’s The Life of a Showgirl falls from No. 1 for the first time (dipping 1-3 in its eighth week), Tate McRae’s So Close to What surges 21-6 following a deluxe reissue with additional songs, the Hazbin Hotel: Season Two soundtrack jumps 70-8 after its first full week of chart activity and Aerosmith and YUNGBLUD’s collaborative set One More Time arrives at No. 9.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 6, 2025-dated chart will be posted in full on Billboard‘s website on Dec. 2. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of DO IT’s 295,000 first-week equivalent album units, album sales comprise 286,000 (it debuts at No. 1 on the Top Album Sales chart), SEA units comprise 9,000 (equaling 13.98 million on-demand official streams of the sets songs) and TEA units comprise a negligible sum.
DO IT nets the seventh-largest debut week for an album, by units earned, in 2025. The year’s seven biggest debut weeks are: The Life of a Showgirl (4.002 million), Morgan Wallen’s I’m the Problem (493,000), The Weeknd’s Hurry Up Tomorrow (490,000), Sabrina Carpenter’s Man’s Best Friend (366,000), KARMA (313,000), Playboi Carti’s MUSIC (298,000) and DO IT (295,000).
In traditional album sales, DO IT logs the fourth-largest week of 2025 (debut or otherwise). The four biggest sales weeks in 2025 are the opening frames of: The Life of a Showgirl (3.48 million), Hurry Up Tomorrow (359,000), KARMA (296,000) and DO IT (286,000).
DO IT’s album sales were aided by its availability across seven CD variants (all containing collectible items such as photocards, posters and stickers, with some items randomized), including a signed edition.
As DO IT is mostly in the Korean language, it is the 30th mostly non-English-language album to hit No. 1, and the third of 2025 (following Bad Bunny’s Spanish-language DeBÍ TiRAR MáS FOToS and KARMA). Four mostly non-English titles topped the list in 2024, and all were mostly Korean-language efforts. Of the 30 mostly non-English-language albums to reach No. 1, 20 are mostly Korean, six mostly (or all) Spanish, one mostly Italian, one entirely French and two mostly a blend of Spanish, Italian and French.
The Wicked: For Good film soundtrack, led by Cynthia Erivo and Ariana Grande, debuts at No. 2 on the Billboard 200 (the highest debut for a soundtrack in 2025) with 122,000 equivalent album units earned. Of that sum, album sales comprise 85,000 (it debuts at No. 2 on Top Album Sales, aided by seven vinyl variants and four CD variants, including one signed by Erivo and Grande), SEA units comprise 36,000 (equaling 47.27 million on-demand official streams of the set’s songs; it debuts at No. 6 on Top Streaming Albums) and TEA units comprise 1,000.
Wicked: For Good premiered in movie theaters on Nov. 21 and has earned over $270 million at the U.S. and Canada box office. It follows the first Wicked film, which was released in 2024. The first Wicked soundtrack also debuted (and peaked) at No. 2 on the Billboard 200, launching with 139,000 equivalent album units.
After seven straight weeks at No. 1, Swift’s The Life of a Showgirl falls from the top, dipping 1-3 in its eighth week on the list (86,000 equivalent album units earned, down 5%). Two former No. 1s trail Swift, as I’m the Problem descends 3-4 (75,000, down less than 1%) and the KPop Demon Hunters soundtrack is stationary at No. 5 (67,000, down 2%).
Tate McRae’s chart-topping So Close to What surges 21-6 with 64,000 equivalent album units earned (up 202%) following its deluxe reissue on Nov. 21 with five additional tracks added to the set’s digital download and streaming editions. Among the new cuts: “Tit for Tat,” which peaked at No. 3 on the Billboard Hot 100 (dated Oct. 11).
Olivia Dean’s The Art of Loving is a non-mover in the top 10 on the latest Billboard 200, holding at No. 7 (49,000 equivalent album units earned, down 2%).
The Hazbin Hotel: Season Two soundtrack flies 70-8 on the Billboard 200 after its first full week of chart activity, marking the first top 10 from the popular Prime Video animated series. The set zooms up the list with nearly 46,000 equivalent album units earned (up 250% from its debut at No. 70 with 13,000 units from only two days of activity). The soundtrack was released on Wednesday, Nov. 19; most albums are released on Friday. The tracking week for the Billboard 200 runs Friday through Thursday each week.
In the tracking week ending Nov. 27, the Hazbin Hotel: Season Two album tallied 32,000 SEA units (equaling 46.58 million on-demand official streams for its tracks; it debuts at No. 8 on Top Streaming Albums), 13,500 in traditional album sales (it jumps 32-8 on Top Album Sales) and 500 TEA units.
The Season Two soundtrack surpasses the No. 13 debut and peak of the Hazbin Hotel: Season One soundtrack in February 2024.
With Wicked: For Good, KPop Demon Hunters and Hazbin Hotel: Season Two at Nos. 2, 5 and 8, respectively, there are three soundtracks in the top 10 of the Billboard 200 for the first time in more than six years. It last happened on the April 6, 2019-dated chart, when Lady Gaga and Bradley Cooper’s A Star Is Born, Queen’s Bohemian Rhapsody and Mötley Crüe’s The Dirt were at Nos. 6, 9 and 10.
Aerosmith and YUNGBLUD team up for a No. 9 debut with their collaborative project One More Time. It’s the 10th top 10 for Aerosmith and first for YUNGBLUD. The set earned 39,000 equivalent album units. Album sales comprise 37,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 2,000 (equaling 2.32 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. The album’s first-week sales were aided by its availability across six vinyl variants (including one signed by YUNGBLUD), four CD iterations (two signed by YUNGBLUD and one where Aerosmith’s Steven Tyler spray painted across the CD booklets en masse and then those were collated into their packaging) and a cassette tape.
While YUNGBLUD visits the top 10 for the first time (after four earlier charting titles), Aerosmith clocks its first top 10 since 2012’s Music From Another Dimension! debuted and peaked at No. 5 that year. Further, Aerosmith is the second group, and fifth act overall, to have earned new top 10s in the 1970s, ‘80s, ‘90s, 2000s, ‘10s and ‘20s. Aerosmith notched its first top 10 in 1976 (and only top 10 of the ‘70s) with Rocks (peaking at No. 3). The band then scored one top 10 in the ‘80s (1989’s No. 5-peaking Pump), three in the ‘90s (Get a Grip, No. 1; Big Ones, No. 6 and Nine Lives, No. 1), three in the 2000s (Just Push Play, No. 2; O, Yeah! Ultimate Aerosmith Hits, No. 2 and Honkin’ On Bobo, No. 5), one in the ‘10s (Music From Another Dimension!, No. 5) and now one in the ’20s with One More Time.
Aerosmith is the second group, following The Rolling Stones, with at least one newly-charting top 10 in every decade from the 1970s through the 2020s. Among all acts, there are just five with a new top 10 in each decade in that span: Aerosmith, Paul McCartney, The Rolling Stones, Bruce Springsteen and James Taylor.
The five-track One More Time was preceded by its first single, “My Only Angel,” which debuted at No. 1 on Hot Hard Rock Songs in October and climbs 7-6 (a new peak) on the most recently published Mainstream Rock Airplay chart (dated Dec. 6). On the latter ranking, “My Only Angel” marked the 25th top 10 for Aerosmith and the first for YUNGBLUD. “My Only Angel” is the first top 10 on the Mainstream Rock Airplay chart for Aerosmith since 2004’s “Baby, Please Don’t Go” reached No. 7, and the band’s highest-charting hit since “Jaded” spent five weeks at No. 1 in 2001.
Closing out the top 10 on the latest Billboard 200 is Summer Walker’s Finally Over It, which falls 2-10 in its second week (37,000 equivalent album units earned, down 52%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
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A$AP Rocky and Margaret Qualley star as a couple embarking on a new chapter together in Chanel’s latest short film.
Released Sunday (Nov. 30), the surreal three-minute clip, directed by French filmmaker Michel Gondry, opens with the rapper, 37, and actress, 31, waking up together in bed before Qualley rushes off to a New York City subway.
Rocky sneaks after her, sprinting through Manhattan streets and even swimming across a river — all in red silk pajamas — to reach her and propose in a romantically cinematic gesture. The silent visuals are set to music by Le Motel.
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The mesmerizing short serves as a teaser for Chanel’s Métiers d’Art 2026 show, set to debut Tuesday (Dec. 2) at 8 p.m. ET, with the full video releasing the same day.
A$AP Rocky, recently named Chanel’s newest ambassador, reflected on collaborating with Gondry, who is perhaps best known for directing Eternal Sunshine of the Spotless Mind, which earned him an Oscar for best original screenplay in 2005.
“All of my music videos that I direct derived some inspiration from one of his films. I plan on directing my own feature. I look up to people like him,” Rocky told Vanity Fair.
After posting a teaser of the short film on Instagram, fans flooded the comments with humorous reactions, many referencing the rapper’s partner Rihanna, with whom he shares three children.
“It takes a brave woman to get in bed with Rihanna’s husband,” one wrote. Another added, “Boutta send this to RiRi.”
Qualley, meanwhile, is married to music producer and Bleachers frontman Jack Antonoff. The couple tied the knot in August 2023 in a star-studded ceremony attended by Taylor Swift, Lana Del Rey, Channing Tatum, Zoë Kravitz and Cara Delevingne.
Watch Chanel’s short film, starring A$AP Rocky and Margaret Qualley, on Instagram below.
Limp Bizkit is honoring their late co-founder and bassist Sam Rivers.
During their first concert since Rivers’ passing in mid-October, the Fred Durst–fronted rap-rock band paid tribute to the musician with an emotional video at Mexico City’s Estadio Fray Nano on Saturday (Nov. 29).
The brief clip featured an image of Rivers accompanied by the messages “Sam Rivers, our brother forever” and “Sam Rivers, we love you forever.” As the video ended, the members of Limp Bizkit embraced one another while the crowd chanted the late bassist’s name.
Earlier in the day, drummer John Otto reflected on the loss of his close friend and bandmate in a heartfelt Instagram post.
“Today is going to be tough,” Otto wrote. “A first I never wanted to experience. Especially not now. You’ve been there for so many major firsts in my life. Some of my earliest memories were made with you. We grew up together. Laughed together. Realized our dreams together. And traveled the world together.”
He continued, “You’ve always been there. The godfather to my girls, my best friend – my brother. There will never be another you. We’re going to honor the life you lived and the love you spread with every show we play. You’ll always be with us.”
The drummer closed his message with gratitude for the band’s supporters. “Thank you to our fans for all the messages of support and tributes to Sam. It means the world to us. This one’s for you Sammy,” he wrote.
The Mexico City show featured bassist Richie Buxton (aka Kid Not), who also performs with Ecca Vandal, the group supporting Limp Bizkit on their upcoming South American dates.
Rivers passed away on Oct. 18 at age 48. An official cause of death had not been revealed at press time. The musician had been diagnosed with liver disease in 2011 after years of heavy drinking and underwent a liver transplant in 2017, following a temporary departure from the band in 2015. He rejoined Limp Bizkit in 2018.
After Rivers’ death, Durst shared an emotional tribute, calling it “so tragic he’s not here now” and writing that he’d shed “gallons and gallons of tears since yesterday,” adding, “My God, Sam’s a legend. He did it. He lived it.”
The band — also featuring guitarist Wes Borland, DJ Lethal and Otto — issued a joint statement honoring their beloved bandmate as well.
“Sam Rivers wasn’t just our bass player — he was pure magic,” they wrote. “The pulse beneath every song, the calm in the chaos, the soul in the sound. From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous.”
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Hayley Williams is drawing a firm boundary ahead of her 2026 solo tour. The Paramore frontwoman, who recently announced an expanded run of dates due to high demand, said she intends her shows to be explicitly inclusive spaces — and made clear that anyone who holds discriminatory views should not expect to feel comfortable attending.
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In a new interview with Clash, Williams said she wants the tour to be a place where every fan can “feel welcome to the party,” but added that this commitment also requires her to take a public stance about who she does not want in the room.
“I don’t want racists around, and I don’t want sexist people around, and I don’t want people there who think that trans people are a burden,” she said. “I think that’s a hard line for me now.”
Williams explained that she hopes anyone holding those beliefs will “walk in the door and realise that the gang’s all here, all banded together around something positive,” adding: “All are welcome if you believe all should be welcome… If you don’t believe that, you’re not welcome.”
Her upcoming tour — which supports her latest solo album, Ego Death at a Bachelorette Party — The North American leg kicks off on March 28 in Atlanta and willl include stops in Toronto, Boston, Philadelphia, New York, Chicago, Nashville, Austin, Oakland, Los Angeles, and more, before she hits the UK and Europe in June next year.
Williams has long used her platform to advocate for equality, particularly in her home state of Tennessee. Last year, after declining an official state honor, she criticised the actions of the state’s Republican leadership, calling out what she described as “blatant racism” and encouraging young people to vote with equality in mind.
The singer has also spoken openly about the sexism she has faced throughout her career. In 2022, she said she avoided playing guitar on stage because of the likelihood of derisive comments, and in 2023 she addressed online backlash after postponing Paramore shows due to illness, calling out “internet bros” and clarifying that most rock bands would not co-sign that behaviour.
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Iggy Azalea is officially closing the door on her rap career.
The Australian-born artist, who has shifted her focus to entrepreneurial and digital ventures in recent years, reaffirmed that she does not plan to return to the music industry. The update came via Instagram on Friday (Nov. 28), when the “Fancy” rapper shared a selfie that prompted a fan to ask whether she had recently signed a new record deal.
“F*** no,” Azalea replied in the comments. “But I did consider signing, for weeks. I’m very sure I don’t want to come back to the music industry.”
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Her comment follows years of gradual distance from major releases. Azalea’s last studio album, The End of an Era, arrived in 2021 and marked a personal milestone, intended as a closing chapter before a pivot to new creative paths. Her 2014 debut, The New Classic, made a global impact with the Billboard No. 1 single “Fancy” and established her as one of the most commercially successful Australian rappers of the decade.
Earlier this year, Azalea publicly alleged on X (formerly Twitter) that Universal Music Group owed her what she described as “millions of dollars in back pay” from international royalties. She claimed the amount in question was in the “eight-figure range” and said the corporation “technically stole” earnings during her early career. UMG did not comment at the time, and Azalea has continued to discuss the issue while advocating for artist rights and royalty transparency online.
In August, she appeared on ABC News and spoke candidly about the pressures she experienced at the height of her fame. She recalled being labeled an “industry plant” early on and described the rap industry as a “battlefield.” “I was stepping on landmines left and right, and I just couldn’t survive it. It’s not survivable,” she said. She added that while she made mistakes along the way, the emotional toll of navigating the spotlight ultimately reshaped her relationship with music.
“There are some things I walked into and deserve, or things I could have done better,” she said. “But I can’t sit here all day long feeling sorry about that. It’s just part of life.”
Azalea has since focused on business ventures — including cryptocurrency projects and online creative work — and has not hinted at reconsidering her decision. Her latest comments suggest her retirement from music is firm, with no plans for a comeback on the horizon.
Trending on Billboard Vanessa Hudgens and husband Cole Tucker have welcomed their second child together. The High School Musical alum — and singer behind pop songs including 2008’s “Sneakernight” and 2006’s “Come Back to Me” — announced her newborn’s birth on Saturday (Nov. 29) with a photo of herself hooked up to monitors in a hospital bed. […]
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Radiohead is making history at London’s O2 Arena.
Following four sold-out shows earlier this month, the iconic U.K. band broke the venue’s attendance record, previously held by Metallica in 2017.
The Oxford-formed band played the O2 on Nov. 21, 22, 24 and 25, with each show drawing more than 22,200 concert-goers, and the final show reaching 22,355 attendees, the venue announced on X.
“These past four record-breaking nights will go down in the venue’s history, with Radiohead breaking the attendance records each night,” Christian D’Acuna, the O2’s senior programming director, said in a statement.
“We knew how special these exclusive shows would be and we’re so grateful to the band for bringing them to the O2. It’s been a true honor to host them, and each night they played different set lists spanning their incredible back catalogue. These shows will be remembered for years to come.”
After a seven-year absence from touring, Radiohead returned to the stage on Nov. 4 at Madrid’s Movistar Arena to launch a sold-out 20-date European tour. The trek includes stops across the U.K. and Europe, with shows in Madrid, Bologna, Copenhagen, Berlin, and the four-night residency in London.
This marks Radiohead’s first live performances together since summer 2018, when they played at Philadelphia’s Wells Fargo Center in August of that year.
Reflecting on the recent reunion, drummer Philip Selway said in a press statement, “Last year, we got together to rehearse, just for the hell of it. After a seven-year pause, it felt really good to play the songs again and reconnect with a musical identity that has become lodged deep inside all five of us.”
Radiohead went on hiatus after completing an extensive world tour supporting their 2016 album, A Moon Shaped Pool. The album became their sixth No. 1 on the U.K. Official Albums Chart, reached No. 3 on the Billboard 200, and earned the group a Coachella headlining slot in 2017.
Trending on Billboard Kelly Clarkson has officially joined Spotify’s Billions Club. The 43-year-old pop superstar and talk show host earned her place in the streaming service’s elite circle as her hit “Since U Been Gone” became her first song to surpass 1 billion streams on Spotify. The pop-rock anthem was released as the second single […]
Trending on Billboard Sean “Diddy” Combs is supporting his fellow inmates this Thanksgiving. While serving his first year at FCI Fort Dix in New Jersey, the 56-year-old hip-hop mogul helped organize and fund a Thanksgiving meal for 1,000 inmates at the federal correctional institution on Thursday (Nov. 27), according to TMZ. “Thanksgiving, to me, is […]
