Music News

27 Oct 2025

20 Terrifying Music Videos for Your Halloween From Lady Gaga, Taylor Swift, Michael Jackson, Ozzy Osbourne & Billie Eilish

Check out horrifying visuals from Sabrina Carpenter, NIN, Rihanna, Doja Cat, Tool and other artists who will haunt your All Hallows Eve.

Lady Gaga,

Lady Gaga, “The Dead Dance”

Courtesy Photo


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It’s spooky season and what is scarier than a blood-drenched Sabrina Carpenter or a Zombie Taylor Swift emerging from the earth? Halloween is the perfect time to gather with friends, gorge on tooth-rotting candy and gather ’round the laptop to screen some of the weirdest, spookiest music videos of all time.

You can’t even talk about spine-tingling clips without starting with the OG zombie dance party: Michael Jackson‘s iconic 1983 video for “Thriller,” directed by filmmaker John Landis (An American Werewolf in London). The 15-minute mini-movie obliterated the bar for music video production at the time, filming for four days and boasting a then unheard-of $500,000 budget thanks to huge dance numbers, cutting-edge special effects and an attention to detail that came from the late singer’s obsession with old school zombie flicks.

MJ blazed the trail, but in the four decades since his landmark monster mash everyone from Swift and Carpenter to Metallica, Rihanna, Billie Eilish, Doja Cat and Lady Gaga have slipped into something icky and uncomfortable to scare, slither and freak out their fans. Sometimes the terrors are campy and kind of fun, as in the Backstreet Boys’ “(Everybody) Backstreet’s Back,” which features plenty of choreo before the fellas start barking at the moon.

Other times, as in Aphex Twin’s legit terrifying “Come to Daddy” or NIN’s stomach-turning “Closer,” the name of the game is cooking up nightmare fuel that will hang around way after the last stale Tootsie Roll peels the enamel off your teeth.

So, buckle up and prepare to bark at the moon as we give you 20 videos guaranteed to haunt your dreams, presented in no particular order.


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27 Oct 2025

Brad Paisley & Tinashe to Perform U.S. National Anthem at 2025 World Series Games 3 & 4

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After Pharrell Williams and the Jonas Brothers performed at the first two games of the 2025 World Series — the first time in 32 years Canada hosted the annual baseball championship — the MLB has unveiled its next slate of performers for games three and four in the matchup between the Toronto Blue Jays and Los Angeles Dodgers.

On Oct. 28 at Dodger Stadium, Brad Paisley will sing the U.S. national anthem before the game starts. Earlier this year, Paisley ranked at No. 14 on Billboard‘s chart-based ranking of the Top Country Artists of the 21st Century. Although his last full-length studio album, Love And War, arrived in 2017, Paisley has new music on the way in the form of his second Christmas album. Titled Snow Globe Town, the 16-track set, which includes eight Paisley-penned originals, will arrive Nov. 7 via MCA Records.

Joining Paisley that day, Grammy-nominated R&B singer-songwriter and Toronto native Jessie Reyez will sing the Canadian national anthem. Earlier this year, Reyez dropped her third studio album, Paid In Memories, which housed collaborations with Lil Wayne, Miguel and 6LACK. On Oct. 14, the “Figures” singer joined Billboard Book Club to chat about her new poetry collection, The People’s Purge: Words of a Goat Princess Volume I.

On Oct. 29, the Dodgers and the Blue Jays will return to Dodger Stadium for the World Series. R&B star Tinashe, who’s currently enjoying her first Hot Dance/Electronic Songs chart-topper with her Disco Lines-assisted “No Broke Boys” (13 weeks), will perform the U.S. national anthem. Last year, the “2 On” singer’s Quantum Baby album spawned her first-ever solo Hot 100 entry in “Nasty” (No. 61).

Representing Toronto for game four is Grammy-nominated powerhouse vocalist Deborah Cox, who will perform the Canadian national anthem. At February’s Grammys, Cox earned her first career nod for best musical theater album thanks to her work on the 2024 Broadway cast recording of The Wiz.

First pitch for games three and four is slated for 8 p.m. ET on Tuesday and Wednesday.


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27 Oct 2025

Kenshi Yonezu on ‘Unconscious’ Links Between ‘IRIS OUT’ / ‘JANE DOE,’ Reconnecting With ‘CHAINSAW MAN’ & Hikaru Utada’s Influence: Interview

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Kenshi Yonezu recently sat down with Billboard Japan to discuss his new single “IRIS OUT / JANE DOE.” “IRIS OUT” was written as the theme song for CHAINSAW MAN – THE MOVIE: REZE ARC, while “JANE DOE” serves as its ending theme. “IRIS OUT” sets impulsive vocals and comical lyrics against a swinging groove, while “JANE DOE,” a duet with Hikaru Utada, depicts a world that is both beautiful and dark. Together, they form a striking contrast.

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On the Billboard Japan charts, “IRIS OUT” hit the 100 million–stream milestone four weeks after its debut — the fastest ever in the chart’s history. Meanwhile, on the U.S. Billboard Global 200 that covers more than 200 countries and regions worldwide, the track achieved the highest ranking ever for a Japanese-language song, hitting No. 5 on the chart dated Oct. 4. In step with the movie, the single is currently making waves both at home and abroad.

In this latest interview, Yonezu shared the thoughts that shaped this release, as well as the changes in his day-to-day life after completing his world tour.

First off, tell us about how you’ve been doing. Since wrapping up the Kenshi Yonezu 2025 TOUR / JUNK in April, you’ve likely spent much of the past few months focused on creating. After completing such a large-scale tour, including overseas performances, has there been any changes in your mindset?

Experiencing concerts in countries I’d never been to before on the world tour, in Korea, the U.S., and various cities in Europe, was huge for me. I don’t want to sound disrespectful to those who’d already been listening to my music outside Japan, but since I hadn’t really thought about it much before, I was surprised by the realization that, “So many people have been waiting for me.” I was welcomed so warmly, and even heard voices calling out “Hachi,” a name I haven’t been addressed by in years, which made me genuinely happy. It left me with a very strong feeling of refreshing clarity.

After going through that, I feel like I’ve started aiming for a more productive way of living this year — something I’d always struggled with before. Looking back on my life, if I hadn’t been accepted through music, I think it would have been terrifying. I wasn’t someone who could function socially, just spending all my time making music or drawing at home, neglecting everything else. But now I feel like I’m gradually moving away from that kind of life. It’s very ordinary stuff, but I’ve started doing simple things like keeping a daily routine and paying attention to my health. For most people it might sound like, “Really? Only now?” But for me, it feels like my way of living has shifted a lot. I can’t say for sure whether the concerts were the direct reason, but I do feel they’ve had a big influence.

I saw your shows in Seoul and Los Angeles, and remember you saying, “I’ll come again” while addressing the crowd. Local fans probably took that as a promise of a reunion rather than a one-time visit, and I imagine that feeling developed for you somewhere along the tour.

Yes, that was almost something that just slipped out. Even when I said I’d come again, there wasn’t a concrete plan in place, so I wondered if it might have been an irresponsible thing to say. But the scenes I saw during the tour were radiant. For the first time in my life, it felt like I was truly making eye contact with the audience.

Now, tell us about “IRIS OUT” and “JANE DOE.” After you were asked to work on CHAINSAW MAN – THE MOVIE: REZE ARC, where did the production of the songs begin?

It started with the request to create two songs. One was already decided to be the ending theme, and for the other, the production team was exploring where it would fit within the film. From the beginning, I had a strong, specific idea of what I wanted “JANE DOE,” the ending theme, to sound like. But with “IRIS OUT,” I remember figuring things out as I went along while creating it.

Having written “KICK BACK” for CHAINSAW MAN before, were you mindful of any links between that song and the new ones?

From the start, I felt strongly that I didn’t want it to turn into something like “KICK BACK Part 2.” I never really felt that risk with “JANE DOE,” but with “IRIS OUT,” I sensed that if I let my guard down, it could easily end up becoming “KICK BACK Part 2.” So I placed a lot of importance on how to differentiate it from “KICK BACK.” It’s a song with a complex and eccentric structure, full of dynamism, so if that’s like a rollercoaster, then I wanted “IRIS OUT” to be more like a free-fall ride — starting with a jolt, racing straight ahead, and ending abruptly. I was very conscious of giving it that kind of decisiveness. 

“IRIS OUT” feels like a song with a deliberately narrow focus, in the best way. It seems to reflect how Denji is led around as a character. How do you see it?

Since CHAINSAW MAN – THE MOVIE: REZE ARC features Reze as such an important character, I thought it’d be better to keep the focus on the relationship between Denji and Reze. In CHAINSAW MAN and in Tatsuki Fujimoto’s manga in general, there are often women who throw men off balance. I think that’s one of Fujimoto’s hallmarks as a writer, and the “Reze Arc” is very much a story where that nuance stands out. So it felt necessary to keep everything centered on Denji being enthralled by a woman named Reze, who is such an alluring and beguiling woman. By honing in on that single axis and driving straight into it, I felt I could differentiate it from “KICK BACK.”

What do you think makes Reze so appealing?

It’s that she playfully unsettles and misleads him in a way that’s somehow enjoyable. She blushes, casts an upturned gaze at Denji, and teases him a little while making her affection for him unmistakably clear. Of course someone like Denji would fall for it, and in a way, the desire to be deceived is actually an important aspect of romantic feelings. She’s charming and mischievous, but at the same time has a certain mysterious quality — you never really know what she’s thinking. If someone asked, “Who is that girl?” the truth is, no one really knows. She’s the kind of presence that unsettles your senses in the most pleasurable way possible.

Tell us about “JANE DOE” as well. Since it was intended to play during the ending of the Reze Arc movie, what was your initial concept for the song?

At first, I thought it probably shouldn’t be me singing. My male voice didn’t feel at all appropriate for the ending of the Reze Arc movie. I had a strong sense from the start that the song needed to be led by a female voice to work properly. I really like the duet “I’ve Seen It All” by Björk and Thom Yorke from Dancer in the Dark. I felt that kind of nuance would fit perfectly, and started creating the song with that in mind. From there, there were various twists and turns — I even tried a version that was nostalgic and evoked youthful feelings — but it felt overly circuitous. In the end, I felt that a duet with a slightly melancholic, dark vibe would be the most fitting. That’s how it came together.

You mentioned in your comments that you didn’t have a specific singer in mind when you began writing it. At what point in the songwriting process did you imagine Hikaru Utada for the track?

I started from the piano riff, and when the melody and lyrics for the first verse began to take shape, I was thinking it had to be Hikaru Utada. My personal impression of their voice is that it can be melancholic, wistful, and lonely, while at the same time — including their smoky tones — it has a freshness that sweeps through like a breeze. They have both qualities. Also, when listening to their music, there’s a sense of being overpowered by their immense talent and the brilliance of their songs and voice. There’s both a tremendous presence and a certain ethereality in their inner world. I even felt that without that duality, the song wouldn’t work.

Hikaru Utada is an extremely multi-faceted artist, and throughout their career they’ve given form to many different expressions. With “JANE DOE,” it feels like the sense of loss that often appears in their work is being drawn out. What are your thoughts on that?

Two of my personal Hikaru Utada favorites are “FINAL DISTANCE” and “Dareka no Negai ga Kanau Koro.” I first heard those songs in junior high, and they were the starting points for Utada-san’s presence becoming a big part of my life. I went to one of their concerts recently, where they performed the original “DISTANCE” in a remixed version. It was presented with a happiness and overflowing sense of euphoria that stood in contrast to “FINAL DISTANCE.” They were singing “hitotsu niwa narenai” (though we can’t be one) while dancing joyfully, and I thought it was wonderful. This is just my personal impression, but I feel that kind of duality, ambiguity, and kind of helplessness is something that lives strongly in their music. I felt there was something in common with what Reze embodies. Of course, I’m not saying Utada-san is like Reze.

You sing from Denji’s perspective in “IRIS OUT.” Listening to “JANE DOE,” it almost feels as if Utada is taking on the role of Reze. Was that intentional?

I explained to Utada-san that I wanted to create a duet between a girl carrying something incredibly complex and a boy who essentially doesn’t understand that at all, and asked them to sing it in that way. They approached that with their own take and that’s how it took shape.

What did you communicate with Utada in terms of recording and production?

Since they live in London, the recording process was carried out by exchanging data, almost like corresponding back and forth in letters. We did have one phone call, and during that conversation they told me something along the lines of, “I think if you sing it this way, your voice will stand out more.” I really felt they were right. That’s because Utada-san and I have very different sensibilities when it comes to singing. They’re a musician rooted in R&B and other styles that move with a laid-back, rich sense of rhythm. On the other hand, I come from a background in Vocaloid and computer-generated music, where I tend to place more importance on the vertical grid lines. I can also lean into an alternative rock-like urgency. Since we’re so different in nature, when Utada’s voice is layered onto something I’ve written, it makes the song feel much more full-bodied. That difference between us was really wonderful. As I mentioned earlier, the song ended up embodying the contrast between a girl carrying something deeply complicated and a boy who, at heart, doesn’t understand any of it. That wasn’t something we set out to do at all — it just happened as a result. But it feels like we arrived at the one and only way it could be.

The lines ”Let’s fill this world with mistakes“ in “JANE DOE” and “In this world right now, you’re my one-and-only perfect answer” in “IRIS OUT” feel deeply connected. Were you aware of contrasting or linking the two when you were writing them?

Not at all. When I’m writing a song, I’m completely absorbed in it, so I often only notice connections later on. Even with the title of “JANE DOE,” I realized later that it ties to a song in the Reze Arc movie — a Russian song that Reze sings alone in the story, which includes the line, “Jane slept in a church.” I only noticed that after finishing the song. I find it interesting when these kinds of unconscious links emerge naturally.

—This interview by Tomonori Shiba first appeared on Billboard Japan

27 Oct 2025

Drake Delivers a Surprise Performance at Vybz Kartel’s First-Ever Show in Toronto

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Drake made a surprise appearance at Vybz Kartel’s first Toronto show ever on Sunday night (Oct. 26). According to fan-captured videos, 6 God popped out to give the dancehall icon his flowers and then proceeded to perform an eight-track set for the thousands in attendance at a sold-out Scotiabank Arena.

“Look at all these people right here, how much we’ve spent with this man’s music right here. I used to hand out flyers outside of a club called Escape just to go inside to the club and listen to your tunes,” Drizzy recalled. “So one more time, please as a city, as a family make some motherf—king noise.”

The 6 God kept the vibes going after asking for permission to run through some hits. He performed a plethora of wide-ranging hits from a balcony in the lower bowl that included “Controlla,” “Which One,” “Hold On We’re Going Home,” “One Dance,” “Rich Baby Daddy,” “Signs,” “Hotline Bling” and “Nokia.”

Sunday was the first of three Vybz Kartel concerts presented by OVO, which marks his first time performing north of the border. The Worl’ Boss will return to the stage on Monday (Oct. 27) and Thursday (Oct. 30).

Vybz Kartel and Drake previously linked up over the summer when they hit the stage together overseas at Wireless Festival in London.

Drizzy’s 39th birthday was on Oct. 24, and he celebrated with a trip to the Bahamas, which saw him alongside plenty of friends and family. He also collected six diamond plaques from the RIAA, adding to his loaded trophy case.

For Drake fans, it’s now all eyes on Iceman, which remains without a release date.


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27 Oct 2025

Megan Thee Stallion Claims Her Haters Are ‘Getting Paid’ to Criticize Her: ‘These Are Bots’

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Megan Thee Stallion claims a lot of her biggest haters online are “bots” that are getting paid to troll her.

On Sunday (Oct. 26), Megan hopped on Instagram Live to issue a quick PSA to her followers and supporters in the wake of her dropping off her new single, “Lover Girl.”

“When I do peep online and see what y’all doing, I feel like y’all get so easily riled up and easily discouraged when y’all know people get paid to talk crazy about me,” Meg began. “Like, don’t it seem a little weird like how overwhelming a lot of Megan Thee Stallion hate seem? Like, it don’t seem right, do it?”

She continued, “It’s not, because people are getting paid to do this. These are bots, these are paid people. Like, if you scroll through some of these people’s tweets, it be a man that’s been tweeting about sports for eight years. Now all of a sudden, he just hate Megan Thee Stallion. These people are getting paid to do this. Stop listening to them. B—h, they time up … What is there even to hate on? I don’t be doing that. I’ll be in the house with my man [Klay Thompson], with my dogs, watching anime, at the studio.”

Meg’s new song shows how loved up she is when it comes to Thompson, who plays guard for the Dallas Mavericks. She raps on the track: “I had to lock in when I found out he could handle me (Yeah)/ Some n—as call me extra (OK), my n—a call me precious (Yeah)/ This s–t be easy when you find somebody on your level (Come on)/ My n—a say, ‘My lady,’ he never say, ‘My b—h.’”


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27 Oct 2025

Kevin Jonas Finally Announces Release Date For His Debut Solo Single, ‘Changing’

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Two decades into their career Kevin Jonas is finally ready to break free. The 37-year-old eldest Jonas Brothers member announced the release date for his first-ever solo track on Sunday night (Oct. 26). The news came during the JoBros’ Samsung TV Plus livestream from Orlando as part of their ongoing JONAS20: Greetings From Your Hometown tour, during which the band was joined by special guests Khalid, Sebastian Yatra and Moana star Auli’i Cravalho and Kevin revealed that his solo debut, “Changing,” will officially drop on Nov. 20.

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According to a release, the song Kevin has been previewing on the tour was produced by Mark Schick and Jason Evigan. Fan footage of an August show at Fenway Park found Kevin admitting, “I’m super nervous, so bear with me,” before leaning into the ballad’s Bee Gees-like falsetto chorus, “Maybe I’m jaded/ Maybe I’m chasin’ the highs to escape/ So, I keep changing/ I, I keep changing.”

On Sunday night, Kevin posted a video from the cover shoot for the “Changing” single. “I can’t believe I can actually say that,” Jonas said of his excitement about finally stepping out on his own. In the ensuing shots, Jonas poses for the pics wearing a black tank top and matching jeans with a blue button-down and a five o’clock shadow beard. In another angle on the “super nervous” clip, Kevin’s wife, Danielle, is seen in the audience freaking out and getting teary eyed over her hubby playing his debut solo track in concert, later dialing up their daughters to share the familial screams of delight.

While Kevin started out pop rocking with his younger brothers Nick and Joe in 2005, the group’s members began to venture out by 2011, with Joe releasing his debut solo album, Fastlife, and Nick hitting the road with his side project, Nick Jonas & the Administration, that year. Just two years later they went their separate ways in 2013 after canceling more than two dozen dates citing “creative differences.”

They were back together by 2019 with the Billboard Hot 100 No. 1 smash “Sucker,” and have since released three more albums, 2019’s Happiness Begins, 2023’s The Album and this year’s Greetings From Your Hometown. While Kevin has kept things in the family to date, Nick Jonas has appeared in nearly a dozen films and released four solo albums to date, as well as 2010’s Who I Am with the Administration. Joe has released the solo efforts Fastlife and 2025’s Music for People Who Believe in Love, as well as the self-titled 2016 debut from his dance pop side project DNCE, hitting No. 9 on the Billboard Hot 100 with their 2015 single “Cake By the Ocean.”

The JoBros’ 20th anniversary tour will hit Atlanta’s State Farm Arena on Tuesday night (Oct. 28).

Check out a video preview of “Changing” here.


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27 Oct 2025

BMG Enters Faith-Based Music Market With By Design Partnership

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Recently-launched music company By Design, co-founded and led by music execs Josh Bailey, Jeremy Holley, Rod Riley and Josh Thompson, has partnered with BMG. The new partnership is set to include global distribution, label services, joint label signings and a co-investment strategy that will reach across catalog acquisitions through Archetype Music (a music rights holding company acquiring faith-based music rights).

By Design’s roster currently includes country singer-songwriter Frankie Ballard, as well as pop-folk singer-songwriter Zoe Levert and singer-songwriter Alex Jude. The label is also part of a larger company ecosystem, which includes Archetype Music, and nonprofit organization Blueprint, which aims to equip and empower faith-based creators.

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“Faith-driven music has long been of particular interest to many members of the BMG team,” Jon Loba, President of Frontline Recordings, BMG Americas, said in a statement. “Even though we have not specifically engaged in that line of business, there has always been the desire and intention to do so. The opportunity to partner with By Design offered the perfect, complimentary alliance with exceptional, proven industry executives, who have the same heart and artist-first approach to music as BMG. We are so incredibly excited to join forces with Rod, Jeremy, both Josh’s and the entire By Design team, to enter a global genre that is one of the most powerful cultural forces rising today.”
 
“We partnered with BMG to scale purpose-driven music without compromising values,” Thompson said. “Their global reach empowers us to honor each artist’s original design – and share it on a global stage.”
 
“We believe the next global movement in music will be rooted in faith and community, not algorithms and trends,” Bailey added. “With BMG’s international infrastructure and our shared commitment to empowering artists, we’re building a new kind of platform, one that’s both spiritually grounded and globally scaled.”

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“By Design exists to champion the creators behind this movement, artists who carry purpose in their message and originality into a culture hungry for meaning,” Holley added.

By Design’s launch comes as the Contemporary Christian Music (CCM) genre has seen a surge. Earlier this year, two CCM songs made simultaneous appearances on Billboard’s all-genre Hot 100, marking the first time two CCM songs have reached that mark simultaneously in 11 years. Those songs were Forrest Frank’s “Your Way’s Better” and the Brandon Lake-Jelly Roll collaboration “Hard Fought Hallelujah.” Earlier this month, Phil Wickham also made his Hot 100 chart debut with the song “What An Awesome God.”


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27 Oct 2025

Sabrina Carpenter Arrests Anne Hathaway at NYC Show ‘for Being the Most Perfect Princess in the World’

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Sabrina Carpenter kicked off her sold-out five-show run at NYC’s Madison Square Garden on Sunday night (Oct. 26), and the singer added to her star-studded list of “Juno” girls by arresting actress Anne Hathaway.

“It’s a crime to be this gorgeous. Hello, what’s your name? You’re Anne, wow! I just don’t know what to do when I see a face like this,” Carpenter said to Hathaway, who was on the MSG jumbotron in a black top and navy jeans.

Hathaway played into her Princess Diaries role as she told the pop star she made the trip from Genovia to MSG.

“Has anyone ever told you you look like a princess? I’m in the presence of a princess, I’m getting so flustered,” Carpenter replied in fan-captured videos. “Anne, can I arrest you for being the most perfect princess in the world?”

Before performing “Juno,” Carpenter handed over the pink handcuffs to Hathaway. “This one’s for Anne, everybody,” the pop star said.

Hathaway is the latest star to be arrested by the singer. Previous Juno girls include Gigi Hadid, Millie Bobby Brown, Margaret Qualley and Emma Bunton.

The Devil Wears Prada actress is a Madison Square Garden mainstay, typically attending New York Knicks games, so it’s no surprise to see her pull up to Carpenter’s Garden show.

Sabrina is going to be in a New York state of mind this week, as she’ll return to the MSG stage four more times for the final leg of the Short n’ Sweet Tour, which will include NYC shows on Halloween and a final concert on Nov. 1.


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27 Oct 2025

Taylor Swift’s ‘The Fate of Ophelia’ Leads Hot 100 for Third Week, Olivia Dean & Leon Thomas Hit Top 10

Taylor Swift’s “The Fate of Ophelia” crowns the Billboard Hot 100 for a third week.

The superstar’s new album, The Life of a Showgirl, concurrently adds a third week at No. 1 on the Billboard 200 chart, following its modern-era-record debut with 4.002 million equivalent album units two weeks earlier.

Thanks to the set and the song, Swift makes more history. Two weeks ago, she logged the 17th instance of an artist launching atop the Billboard 200 and Hot 100 simultaneously. It marked the record seventh time that she earned the honor (which she inaugurated in August 2020 with Folklore and “Cardigan”). In only two of the first 16 such double debuts, an album and song tallied a second consecutive week atop the charts — both by Swift, via Midnights and “Anti-Hero” in 2022 and The Tortured Poets Department and “Fortnight,” featuring Post Malone, in 2024.

Now, The Life of a Showgirl and “The Fate of Ophelia” make for the first occurrence of an artist debuting atop the Billboard 200 and Hot 100 side-by-side and both titles maintaining their respective commands for their first three weeks.

Meanwhile, two acts earn their first Hot 100 top 10s: Olivia Dean’s “Man I Need” bounds 17-8 and Leon Thomas’ “Mutt” charges 18-10.

Check out the full rundown of this week’s Hot 100 top 10 below.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 1, 2025) will update on Billboard.com tomorrow, Oct. 28. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

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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27 Oct 2025

BLACKPINK Choreographer Reveals Which ‘Iconic’ Act Almost Made a Cameo at Band’s Coachella Set

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On stage, the four ladies of BLACKPINK make their intricate, dynamic dance moves look effortless. But in reality, it takes a lot of work to bring to life the vision of choreographers such as Kiel Tutin, who recently broke down some of the most iconic numbers he’s crafted for the girl group.

In a video for Page Six published Monday (Oct. 27), Tutin shared insight into how everything from BLACKPINK’s iconic “Pink Venom” routine to the foursome’s headlining Coachella set in 2023 came to be. Of the former — which would earn members ROSÉ, LISA, JISOO and JENNIE the VMA for best choreography — the instructor explained that he thinks the group’s memorable dance for the 2022 single helped propel them to new heights (thanks in part to a particular pop superstar).

“The girls performed [‘Pink Venom’] at the VMAs, Taylor Swift was dancing to it, and it was on her playlists for her shows,” Tutin said of the number. “It was a really big hit, and probably, hopefully led to us being the contender for headliner at Coachella.”

Indeed, “Pink Venom” was a huge success for the quartet, with the track reaching No. 22 on the Billboard Hot 100. When it came time for BLACKPINK to make history as the first K-pop act to ever headline Coachella, Tutin came aboard as creative director as well as choreographer.

“I’m a huge, huge girl group fan,” he gushed in the video. “My first love was the Spice Girls, and then my second love — and ultimately my biggest love — is a U.K. girl group called Girls Aloud.”

The latter band’s “iconic” number featuring feather fans at the 2009 BRIT Awards would inspire the creative direction of BLACKPINK’s performance of “Typa Girl” in the desert. Meanwhile, Tutin and his team considered tapping the former to make a cameo during the headlining set, he revealed.

“We did explore the idea of guest acts,” Tutin told the outlet. “I only wanted to explore that if it was someone equally as iconic. Something we definitely explored looking into was the Spice Girls. [It] would have been epic, but ultimately we decided that BLACKPINK didn’t need any guest act, and they could hold down the stage by themselves.”

Throughout the video, Tutin praised the band’s work ethic, revealing that ROSÉ, LISA, JISOO and JENNIE had only three to five days to rehearse for Coachella. Two years later, the group is currently on tour after taking a short break to pursue solo projects. BLACKPINK’s next stop is set for Nov. 1 in Jakarta.

Watch Tutin break down his work with BLACKPINK below.


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