Music News

Bloodied Post Malone Dares You to Come at Him in Poster for Jake Gyllenhaal ‘Road House’ Remake

Fresh off his mesmerizing performance of “America the Beautiful” at Sunday’s Super Bowl LVIII, Post Malone is bloodied but unbound in a new teaser poster for the upcoming Road House remake. Amazon’s Prime Video released images from the upcoming film on Tuesday (Feb. 13), including one in which Posty gives a menacing “come at me” stare while rocking an orange tank top, his face splattered with blood.

The re-boot of the 1989 bar brawl drama starring Patrick Swayze will get a new leading man in Jake Gyllenhaal in the film due out on March 21. Gyllenhaal will step into the role of UFC fighter turned rough-and-rowdy bouncer James Dalton, with his poster revealing a super buff Jake — with a full left arm sleeve of ink — staring into the camera, his face also showing signs of combat.

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The actor praised Posty for his professionalism on set in an Instagram post, writing, “A man of many talents. To say it was a pleasure working together is an understatement,” alongside a photo of them smiling on set, Malone’s face once again splattered with viscera. An accompanying video shows the two men sharing a joke between shots on set and Gyllenhaal goofing around and ducking under Malone’s outstretched arms while laughing, “hey guys, sorry, what’s going on. Just passing through.”

In addition to Malone and Gyllenhaal, the film stars UFC great Conor McGregor, Daniela Melchior, Billy Magnussen, Lukas Gage, Jessica Williams, Darren Barnet, Arturo Castro and more. Malone has a growing side hustle as an in-demand actor, appearing in Spenser Confidential, Wrath of Man and in voice work in Teenage Mutant Ninja Turtles: Mutant Mayhem and Spider-Man: Across the Spider-Verse; he will also appear as Leo in the upcoming Jennifer Lopez short film This Is Me… Now: A Love Story, due out on Friday (Feb. 16).

Check out Gyllenhaal’s post, the movie posters and a preview of the film below.

‘Jeopardy!’ Contestant Guesses Beyoncé in Category Based on Billboard’s ’50 Greatest Rappers’ List

There is an argument to be made that Beyoncé is, in fact, a rapper — look no further than Megan Thee Stallion’s Grammy-winning “Savage” remix for evidence — but she did not make Billboard and Vibe‘s 2023 list of the 50 Greatest Rappers of All Time, despite what a Jeopardy! contestant guessed on Tuesday’s (Feb. 13) episode.

On the episode, there was a full category based on our list, which we co-authored with our sister publication Vibe early last year to celebrate the 50th anniversary of hip-hop.

To announce the category, Jeopardy! host Ken Jennings said, “And finally, the 50 Greatest Rappers of All Time — chosen not by me, but by Billboard and Vibe.”

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The contestants only stumbled on the $200 clue, which read: “She invited us to ‘Come Into My House’ & also deal with the ‘Wrath of My Madness’; we bow down before this Queen.” Nicole incorrectly guessed Beyoncé — she of the Queen Bey nickname bestowed by her loyal Beyhive — but the answer was actually Queen Latifah, who landed at No. 44 on our list. “Different queen,” Jennings quipped after Kat got the right answer.

Below, find the final four remaining clues from the category along with their correct answers — and where those artists landed on our list.

$400 clue: “In 1986 it was ‘6 ‘N the Mornin’’ for him in the studio but in 2000 it was SVU for him on TV.”

Who is Ice-T? The rapper-turned-actor is No. 45 on our list.

$600 clue: “Billboard said he is ‘often cited as hip-hop’s GOAT behind the boards…a lead rapper on…1988’s Straight Outta Compton.’”

Who is Dr. Dre? The N.W.A and solo star is No. 40 on our list.

$800 clue: “Some numbers: 3 years after taking 9 bullets, he had a Billboard 200 No. 1 debut with Get Rich or Die Tryin’ in 2003.”

Who is 50 Cent? The Eminem signee is No. 17 on our list.

$1,000 clue: “‘Backed by rap’s archetypal hype man in Flavor Flav,’ this Public Enemy leader was a ‘Rebel Without a Pause’ in 1987.”

Who is Chuck D? The activist frontman is No. 34 on our list.

There weren’t any questions about rappers in our top 10 — including Jay-Z, who tops our list — but you can revisit the full countdown here to see where your favorite lands.

In the last month, Jeopardy! has featured a category based on Billboard‘s 500 Best Pop Songs list as well as a full Taylor Swift takeover of every category in a round.

Watch the Beyoncé moment below:

–Additional reporting by Josh Glicksman

Tainy Reflects on First Grammy Nom as a Lead Artist: ‘I Can’t Say It’s Overdue’

Tainy is not a new face for the Recording Academy. His work has been nominated in the past, and just last year, he won his first Golden Gramophone for his participation on Bad Bunny’s Un Verano Sin Ti, which won best música urbana album.

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But this year, the Puerto Rican hitmaker earned his first-ever nomination as a lead artist with his debut album as artist-producer called DATA — a nom he felt was “far-fetched.”

“It’s special. I’ve been working for awhile,” he tells Billboard. “In music, you always see the Grammys like a stamp. … This is my first project. I can’t say it’s overdue because it’s so new. For me, growing up in Puerto Rico, it wasn’t in our goals or in our minds of things we could accomplish. Just seeing the American Grammys seemed so far-fetched. It wasn’t even in my mind, and for it to happen, is not easy to digest and understand  at the moment but I’m blessed to be around all these people who I admire and inspire me in a certain way.” (Karol G’s Mañana Será Bonito won the 2024 Grammy, against DATA and Rauw Alejandro’s Saturno.)

DATA laces his unmatched skills, good music taste, and A-list artist friends such as Bad Bunny, Daddy Yankee, Wisin & Yandel, Julieta Venegas, and more. For Tainy, “it’s super personal.”

“When I started doing music, the people I admired growing up, that’s what they used to do,” he explains. “All these amazing producers would do their own albums and everyone would just hop on and try to do the best track possible. To me, as soon as I became a fan of music and beats, that inspired me so much. I came into the game getting opportunities and working with these artists, and as the genre evolved, those albums didn’t happen anymore. Music changed so much.” 

In the latest Billboard News episode, Tainy shares his strongest song on the set, producing Selena Gomez’s first all-Spanish-language project, and helming his very own concert in Puerto Rico’s coveted Coliseo venue.  

“I’m still growing, I’m still a student of what I do,” he notes. “There’s a lot of things I want to keep on tapping and trying, just give myself a shot and see what happens.”

A Complete Guide to Every 2024 NBA All-Star Weekend Party & Event (Updating)

The 73rd NBA All-Star Game is just around the corner, and beyond the big game, festivities stretch all weekend with some of the biggest stars attending and performing.

Indianapolis, Ind., will host NBA All-Star event for the first time since 1985, with The Pacers’ home arena, Gainbridge Fieldhouse, marking the location for the NBA Rising Stars game on Feb. 16, the HBCU Classic presented by AT&T on Feb. 17 and the 73rd NBA All-Star Game on Feb. 18.

Meanwhile, the State Farm All-Star Saturday Night will be held at Lucas Oil Stadium on Feb. 17 and will feature the Kia Skills Challenge, Starry 3-Point Contest and AT&T Slam Dunk.

For the All-Star Game, the Eastern Conference will feature starters Giannis Antetokounmpo (Milwaukee Bucks), Joel Embiid (Philadelphia 76ers), Jayson Tatum (Boston Celtics), Tyrese Haliburton (Indiana Pacers) and Damian Lillard (Bucks). The Western Conference starters include LeBron James (Los Angeles Lakers), Kevin Durant (Phoenix Suns), Nikola Jokic (Denver Nuggets), Luka Doncic (Dallas Mavericks) and Shai Gilgeous-Alexander (Oklahoma City Thunder).

Fans can tune in to watch the 2024 All-Star Game on Sunday (Feb. 18) at 8 p.m. ET on TNT.

If you’re heading over to Indianapolis for the big weekend, there’s plenty of fun to take part in, including a number of star-studded celebrations. See below for our full list of parties and events during the 2024 NBA All-Star Weekend.

Peso Pluma & Nicki Nicole: A Timeline of Their Relationship

In 2022, the remix of the single “Por Las Noches” united Peso Pluma and Nicki Nicole.

“Just thank you for making this song. It’s amazing how you describe everything I feel right now, you are very talented. Keep killing it,” the Argentine rapper and singer posted on her Instagram stories in October 2022 about the single originally released by the Mexican star in 2021. To this, Peso responded with an invitation to collaborate on the remix of the song: “Thanks to my friend Nicki Nicole for posting me, for sharing the song. I say let’s do the remix.”

On March 1, 2023, the video for the collaboration arrived.

Months later, the couple appeared together on stages, walked red carpets and attended awards ceremonies, until their latest public appearance at the Los Angeles Lakers game in L.A. on Feb. 8.

Just ahead of Valentine’s Day, however, Nicki Nicole and Peso Pluma are apparently over. At least that’s what she hinted at with a strong statement she shared on social media after removing her and the Mexican singer’s photos from her Instagram account.

“Respect is a necessary part of love,” Nicole posted on an Instagram Story on Tuesday (Feb. 13). “What is loved, is respected. What is respected, is cared for. When you are not cared for and there is no respect, I don’t stay there. I leave. It is with great sorrow that I found out the same way you did, thank you for the love you are sending me.”

Her bold statement comes a day after a video of Peso Pluma holding hands with another woman in Las Vegas during Super Bowl weekend went viral. Nicki Nicole’s team declined to make additional comments on the matter. Billboard contacted a representative for Peso Pluma, who at the time of this publication had not responded.

Here is a timeline of the relationship between Peso Pluma and Nicki Nicole:

New Beyoncé! First ‘Wicked’ Trailer! Usher’s Halftime! Super Bowl 2024 Delivers Epic Music Moments

When Usher was announced as the headliner back in September, we all knew the 2024 Super Bowl halftime show was going to be epic. What we couldn’t have possibly predicted is all the other epic music moments to go down on Sunday.

From Beyoncé starring in a Verizon Super Bowl commercial and then surprise-dropping two new songs from her seemingly country-themed “Act II” album coming in March to Ariana Grande and Cynthia Erivo starring in the first trailer for part 1 of the Wicked movie musical out in December, Usher wasn’t the only musician to take advantage of the NFL game’s record ratings.

On the new Billboard Pop Shop Podcast, we talk all about Sunday’s biggest music moments — including Katie being inside the game to shadow Kaskade as the first-ever Super Bowl DJ. Listen below:

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Also on the show, we’ve got chart news on how the late Toby Keith hits No. 1 on the Billboard 200 with 35 Biggest Hits, how 44 albums on the chart gain in the wake of exposure on the Grammy Awards, and how the Grammys send a number of songs racing up the Billboard Hot 100 chart — and back onto the chart, including Tracy Chapman’s “Fast Car.”

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

A Timeline of Russell Simmons’ Sexual Misconduct Allegations

Here’s a full timeline of sexual assault allegations against Simmons, stemming back to November 2017, when the first of many victims came forward with claims of misconduct.

Russell Simmons is once again facing sexual assault allegations.

A former Def Jam video producer filed a complaint to New York Federal Court on Feb. 12, coming forward with claims of rape and sexual assault that took place back in the 1990s. The woman, who filed her complaint under “Jane Doe” to protect her identity, detailed the “devastating” experiences with the music mogul that led to her career being “derailed.” Doe alleged that she was raped in the late ’90s by Simmons at his Manhattan apartment when she visited him at his residence to receive approval for a video.

Russell Simmons has been named the perpetrator in a number of other sexual assault-related lawsuits in recent years. Since the 2017 allegations, multiple women have come forward recounting similar experiences with the Def Jam Records co-founder. Since then, he has maintained his innocence and also claimed to have passed “nine lie detector tests.”

He said in an episode of In Depth with Graham Bensinger at the time, “When someone said, for instance, ‘I was violent’ — one person said that — and I’ve never been violent. Took that. And one said I apologized. I never apologized about assaulting anyone. But if two people say it, because one said it, and #metoo, and the second person said it, then I took a test for it.”

See below for a full timeline of sexual assault allegations against Simmons, stemming back to November 2017, when the first of many victims came forward with claims of misconduct.

Gerardo Ortiz Adds 13th No. 1 on Regional Mexican Airplay With ‘Ahí No Era’

Gerardo Ortiz picks up his 13th No. 1 on Billboard’s Regional Mexican Airplay chart as “Ahí No Era” advances 4-1 on the list dated Feb. 17.

After a week in the top 10, the single crowns the list following a robust 40% gain in audience impressions, to 7.5 million, earned in the U.S. in the tracking week ending Feb. 8, according to Luminate.

As “Ahí No Va” advances, it unseats Xavi’s “La Diabla” from the lead after one week in charge. The latter dips 1-2 with 6.7 million, that’s a 29% decline from the week prior.

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With 13 No. 1s to his account, Ortiz still has the second-most among soloists, behind Christian Nodal’s 15 No. 1s. Among all acts, Calibre 50 has the most, with 24.

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Here’s the list of the acts with the most No. 1s since the Regional Mexican Airplay chart launched in 1994:

24, Calibre 50
19, Banda MS de Sergio Lizarraga
18, Banda El Recodo de Cruz Lizarraga
18, Intocable
17, La Arrolladora Banda el Limon de Rene Camacho
16, Conjunto Primavera
16, Los Tigres del Norte
15, Christian Nodal
13, Gerardo Ortiz
12, La Adictiva Banda San Jose de Mesillas

As “Ahí No Va” lands at the summit, Ortiz becomes just the sixth soloist to rule Regional Mexican Airplay in the past year. He joins Christian Nodal (“Un Cumbión Dolido” in June 2023), Alejandro Fernández (“No Es Que Me Quiera Ir” and “Difícil Tu Caso,” last Aug. and Nov. respectively), Carin León (“Indispensable,” last Aug-Sept.), El Fantasma (“La Vida Cara,” last Sept.), Eden Muñoz (“Como En Los Viejos Tiempos,” Jan. 27-dated list), and Xavi (“La Diabla,” chart dated Feb. 10).

Elsewhere, “Ahí No Va” pushes 14-4 on the overall Latin Airplay ranking, for Ortiz’ 17th top 10. The song becomes his highest peak since “Regresa Hermosa” reached an equal No. 4 high in 2016.

Elyanna: The Future Sound of Arabic Pop

As Elyanna steps into a warehouse in downtown Los Angles for Billboard Arabia’s February cover interview and shoot, the weight of anticipation hangs heavily in the air. Despite battling nerves a mere 24 hours before her Dallas gig, the first show in her debut North America tour, Elyanna exudes a quiet determination characteristic of her rapid ascent in the music industry. With only two EPs to her name and a handful of singles, she’s already achieved the remarkable feat of selling out nearly every venue on her tour circuit – a testament to her burgeoning fanbase, undeniable talent and her unique sonic proposition, driving a future sound of global pop music unbound by language.

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Guided by her artist management team at SALXCO and her family, Elyanna navigates the shoot with a delicate balance between preparation and preservation, immersing herself in a playlist with unreleased tracks off her forthcoming LP, shuffling alongside tracks by Ice Spice, Sherine and Doja Cat. The 22-year-old artist starts to find her groove, but she does this silently. In the hush of a prescribed, pre-tour vocal rest, moments of introspection emerge – and it is in these moments of silence we hear Elyanna’s message to the world.

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Elyanna aims to elevate Arabic pop music onto the global stage while using her art to depict her homeland and culture beyond the lens of conflict. Born in Nazareth, Palestine, and moving to L.A. with her immediate family at the age of 15, she seeks to showcase her culture’s beauty in its entirety – its layers, textures, multi-colors and history – countering the media’s portrayal, dominated by the specter of war and destruction.

This carries into every one of her songs and live performances. Whether expressed through her instrumentation, lyrics or Arab-inspired fashion and accessories, we see Palestine through Elyanna’s eyes but also through that of her family. One cannot tell the story of Elyanna without also talking about how each family member plays a pivotal role in her career. Her sister Tali is her stylist, her brother Feras is her co-producer and video director, whereas her mother Abeer contributes to her songwriting. Meanwhile, her father, Amer, is the glue that holds the operations together.

“I would say that takes people who believe in you,” says Elyanna. “So I just surround myself with people that believe in me…. Like my family, like my friends, the people that believed in me and put time in me.”

It is not an exclusively Arab thing to keep your family close by, but it is very Arab to tell a story of generations in one song. We hear this in many of Elyanna’s tracks, first with the ambitious cover of Abdel Halim Hafez’s “Ahwak” (I Love You), a song that consistently permeated every generation since it was released nearly six decades ago. Elyanna’s rendition of “Ahwak” is a mesmerizing homage that breathes new life into the classic by setting the original lyrics against an acoustic piano, as her reverent vocals feel as though they are coming from another time.

“I know it’s a cover,” she says. “But I felt I brought it into my own world. I think that was the point where I knew what I should do next.”

On her 2019 debut original release, “Oululee Leh” (Tell Me Why), Elyanna unveiled her sonic potential to the world. Co-written by her mother Abeer Margieh, her brother Feras Margieh and songwriters Nasri Atweh, Sari Abboud and Martine Sinotte, the song delves into the profound loneliness born from loss and distance. Its poignant lyrics and haunting instrumentation evoke an intimacy that resonates with anyone who has ever felt like a stranger, offering solace in shared experience through a chorus that sings, “Ouloulee lee” (tell me why).

When I asked Abeer, her mother, whether the song was about the loss of a place or a person, she quickly responded with “a place.” But for Elyanna, it has a double meaning, one that the listener is left to decode independently. It is in this co-writing with her mother and brother that Elyanna’s songs cut across the temporal spectrum, collapsing past, present and future in a single note.

In 2020, Elyanna released her debut album, a self-titled body of work made up of six songs, including “Ouloulee Leh,” “Ahwak” and viral hit “Ana Lehale” (I’m on my Own) feat. Massari, showing an artist on the brink of finding her voice. Two years later, Elyanna dropped her follow up EP, Elyanna 2, driven by hits like “Ala Bali,” also featured in Mo Amer’s Netflix show, and “Ghareeb Alay” feat. Balti, which went on to amass over 50 million views on YouTube with its blend of Latin rhythms and relatable lyrics. With a steady flow of singles, including Elyanna’s 2023 release of “Sokkar,” an Arabic cover of the song by Zubi and Anatu, followed by “Mama Eh,” she continued to underscore her budding pop prowess.

In a short time, the artist managed to land a coveted spot in Coachella’s April 2023 lineup, where she performed the first ever complete Arabic set in the festival’s history. In another milestone moment, Elyanna’s heart-wrenching original song “Olive Branch” (co-written with her brother Feras) was performed live at the 2023 edition of the El Gouna Film Festival. It spotlighted the artist’s unique ability to use her music to drive awareness, while celebrating the richness and beauty of Palestinian culture.



When asked about her role as an Arabic artist, Elyanna articulates a pressing imperative: to disseminate her culture worldwide. While such inquiries often provoke polarizing responses, she gracefully infuses each of her songs with glimpses of cultural richness of her heritage, but she does so in an accessible way.

Much like the intricate stitches of “tarteez” (Palestinian embroidery), Elyanna’s music weaves various influences into a harmonious whole. Each musical passage is akin to uncovering a hidden image as if each thread holds a story waiting to be explored, inviting listeners around the globe to find the patterns that speak to them while resonating with the whole. Now, on the brink of releasing her debut LP, Elyanna continues to blend her multiple cultural influences, be it the Latin textures inherited from her Chilean grandmother or the power of her Palestinian grandfather’s pen, all the while creating an entirely new pop sound.

“It’s really just taking things from life that I love, and now I want to do it in a project that I would call a piece of art,” says Elyanna. “And this project is really experimental.” Lead single “Al Sham” from her upcoming album embodies various cultural elements from the region, showcasing her spirit of experimentation. Fueled by electronic-dabke rhythms, she ingeniously interprets lyrics from Syrian singer Sabah Fakhri’s classic “Khamrat El Hob.” In Elyanna’s version, we dive into the song’s iconic line, “A life without love is like a river without water.” But it’s somewhere within the music video where we get a sense that Elyanna is not a victim of unrequited love or anything else. Instead, she is a formidable force, surrounded by her crew and imagery evoking empowerment, marking a pivotal moment in the lead-up to her debut North America tour.



“I’m on a Billboard cover, and we have a sold-out tour, and I have an album coming,” says Elyanna. “It feels insane to me. I’m doing things I dreamt of my whole life.” She goes on to mention that the tour has the ability to gather Arabs in America together, which is something she looks forward to most.

After postponing her debut tour due to the war in Gaza, Elyanna eventually announced new dates, with 10 stops through the U.S. and Canada. Within 20 seconds of watching her perform, Elyanna’s star potential is undeniable. It’s not just her voice, message or rich influences, but the combination that shapes her artistry, its impact and the future sound of Arabic pop.

This is a translation of a cover story that originally appeared on Billboard Arabia.

Elyanna

Elyanna

Billboard Arabia

10 Taylor Swift Albums Among 44 Projects to See a Billboard 200 Bump After 2024 Grammys

On the Billboard 200 albums chart (dated Feb. 17), 44 albums post unit gains thanks to exposure during the CBS broadcast of the Grammy Awards on Feb. 4. (Any artist who was a presenter, performer, on-air winner or a nominee mentioned during a presentation of an on-air award was considered in our research.)

See the full list of Grammy gainers below.

The highest-ranked Grammy gainer on the chart is SZA’s former No. 1 SOS, which climbs 6-3 with 53,000 equivalent album units earned in the U.S. in the week ending Feb. 8 (up 27%), according to Luminate. On the Grammy Awards, SZA won the best R&B song award for “Snooze” and performed a medley of “Snooze” and “Kill Bill.” The latter was also nominated for record of the year and song of the year. (SZA additionally won Grammys for best progressive R&B album [for SOS] and best pop duo/group performance for the set’s “Ghost in the Machine,” featuring Phoebe Bridgers, but those awards were not presented during the TV broadcast.)

SZA’s previous album, 2017’s Ctrl, also logs a gain, rising 38-30 with 20,000 units (up 12%).

Taylor Swift, who was a multiple nominee and two-time winner at the 2024 Grammy Awards, has 10 gaining albums on the chart, with three in the top 10. Swift took home the prizes for album of the year and best pop vocal album (both for Midnights). With the album of the year win, she became the first act to claim the trophy four times. She was nominated for four more awards – record of the year, song of the year, pop solo performance (all for “Anti-Hero”) and best pop duo/group performance (“Karma,” featuring Ice Spice). Swift’s highest-ranked gaining title on the Billboard 200 is her former No. 1 Midnights, which rises 9-5 with 51,000 units (up 35%).

Here’s a recap of all the artists that post gains on the Billboard 200 (dated Feb. 17) following their exposure on the Grammy Awards. On the broadcast, nine competitive award categories were presented (in chronological order): best pop solo performance, best música urbana album, best country album, best R&B song, best pop vocal album, song of the year, best new artist, record of the year and album of the year. There are a total of 94 competitive categories in total. The vast majority of awards are not presented during the television broadcast.

Performer and winner SZA sizzles with SOS (rising 6-3 with 53,000; up 38%) and Ctrl (38-30 with 20,000; up 12%).

Noah Kahan, who was among the best new artist nominees, sees his Stick Season post an increase, but is pushed down the chart 7-4 (49,000; up 4%).

Swift has a whopping 10 titles on the chart, all of which gain: Midnights (9-5 with 51,000; up 35%), 1989 (Taylor’s Version) (5-8 with 48,000; up 7%), Lover (7-9 with 45,000; up 13%), Folklore (13-14 with 32,000; up 15%), Reputation (16-15 with 30,000; up 15%), Speak Now (Taylor’s Version) (26-25 with 23,000; up 10%), Evermore (34-26 with 21,000; up 11%), Red (Taylor’s Version) (33-28 with 21,000; up 8%), Fearless (Taylor’s Version) (73-63 with 14,000; up 12%) and 1989 (67-65 with 14,000; up 7%).

Zach Bryan, whose self-titled album was among the nominees for best country album, posts a unit gain with that set (8-10 with 42,000; up 5%), Elisabeth (113-116 with 10,000; up 2%) and Summertime Blues (159-154 with 9,000; up 2%). The best country album prize was won by Lainey Wilson’s Bell Bottom Country. Bryan, however, did win a Grammy this year (his first ever), but it was not presented on the broadcast. He won for best country duo/group performance for his first Billboard Hot 100 No. 1 hit, “I Remember Everything,” featuring Kacey Musgraves. (As for Wilson, Bell Bottom Country flies 118-95 with 11,000 units; up 10%).

Travis Scott, who performed a medley of three songs from his Utopia album (“My Eyes, “I Know?” and “Fe!n”) with Playboi Carti, sees Utopia hold steady at No. 12, though with a 10% unit gain (to 36,000). Utopia was also a nominee for best rap album, which was won by Killer Mike’s Michael. Scott also gains with his prior albums Astroworld (69-68 with 14,000; up 5%) and Rodeo (195-187 with 8,000; up 3%).

Performer and multiple nominee Olivia Rodrigo rises with a pair of albums: Guts (17-16 with 28,000; up 10%) and Sour (32-31 with 20,000; up 5%). On the show, she performed Guts single “Vampire.” Rodrigo was nominated for six Grammys this year, including album of the year and best pop vocal album (for Guts), record of the year, song of the year, best pop solo performance (for “Vampire”) and best rock song (Guts’ “Ballad of a Homeschooled Girl”).

Performer Luke Combs, who sang his nominated cover of Tracy Chapman’s “Fast Car” with Chapman herself on the show, sees gains for three of his albums on the chart. Gettin’ Old bumps 31-22 (24,000; up 25%), This One’s for You rises 49-45 (17,000; up 8%) and What You See Is What You Get climbs 82-75 (13,000; up 7%). “Fast Car” was nominated for, but did not win, best country solo performance.

Meanwhile, Chapman re-enters the Billboard 200 at No. 59 with her 1988 self-titled chart-topping album (which contains her original version of “Fast Car”), earning 15,000 units (up 658%). It’s the album’s first appearance on the chart since 1989. It’s also Chapman’s first visit to the chart with any album since the Dec. 12, 2015-dated chart, with her Greatest Hits album spent one week on the list at No. 105.

The Barbie soundtrack bounces 35-32 on the Billboard 200 with 20,000 units earned (up 8%). The album basks in the glow of a pair of performances on the show – Dua Lipa’s show-opening medley (which included a small segment of the album’s “Dance the Night”) and Billie Eilish’s “What Was I Made For?” Both songs earned multiple nominations this year: “Dance” for song of the year and best song written for visual media, “What Was I Made For” for record of the year, song of the year, best pop solo performance, best song written for visual media, and best music video. Mark Ronson, who presented the record of the year award on the show (with his mother-in-law, Meryl Streep), was a five-time nominee this year for his work on the Barbie album. Of the five nominations, he took home the trophy for best compilation soundtrack for visual media for Barbie. (Streep herself is a seven-time Grammy nominee, and scored a nod this year for best audio book, narration, and storytelling recording for Big Tree.)

Speaking of Lipa and Eilish, Lipa’s Future Nostalgia rises 126-108 (10,000 units; up 9%), while Eilish’s Happier Than Ever climbs 136-132 (10,000; up 4%) and When We All Fall Asleep, Where Do We Go? steps 124-112 (10,000; up 6%).

Miley Cyrus, who performed on the show and won two awards, vaults 139-37 with Endless Summer Vacation (18,000; up 101%). Cyrus won her first Grammys this year: best pop solo performance and record of the year for “Flowers,” which she performed.

21 Savage, who joined Burna Boy and Brandy for a medley performance, sees two of his albums post gains: Her Loss, with Drake (48-49 with 17,000; up 1%), and Savage Mode II, with Metro Boomin (99-100 with 11,000; up 2%). 21 Savage also scored five nominations this year, though none of the categories he was competing in were presented during the show.

Lana Del Rey, who scored five nominations this year, including for song of the year (“A&W”) and album of the year (Did You Know That There’s a Tunnel Under Ocean Blvd.), has a trio of albums that gain on the chart. Born To Die bolts 65-51 (16,000; up 18%), Did You Know re-enters at No. 97 (11,000; up 50%) and Ultraviolence re-enters at No. 189 (8,000; up 21%). Del Rey was also brought up onstage by Swift when the latter won album of the year for Midnights. (Del Rey is featured on a song on Midnights, and was also vying for album of the year with Did You Know.)

Karol G, who won her first Grammy Award during the broadcast, for best música urbana album for Mañana Será Bonito, logs a pair of gaining albums on the chart. Mañana moves 64-67 with 14,000 units (up 1%), while Mañana Será Bonito (Bichota Season) rises 94-87 with 12,000 units (up 6%).

Rounding out the chart’s gainers are: best new artist nominee Jelly Roll (Whitsitt Chapel, moving 60-58 with 15,000 units; up 6%), performer Billy Joel (The Essential Billy Joel rises 171-107 with 10,000; up 23%), nominee Doja Cat (nominated twice this year, including for best pop solo performance for “Paint the Town Red,” sees her 2021 album Planet Her post a 1% gain to 10,000 units, though falling 117-124); nominee Ed Sheeran (nominated for best pop vocal album for Subtract, but gains with Divide, rising 151-141 with 9,000 units; up 4%); nominee Tyler Childers (five nominations, including for best country album, for Rustin’ in the Rain; though he gains with Purgatory, climbing 150-149 with 9,000; up 1%); and winner Boygenius. The rock trio was nominated for six awards (including album of the year, for The Record, and record of the year) and won three trophies that were not televised. The Record re-enters at No. 191 with 8,000 units and a gain of 59%.

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. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.