State Champ Radio Music News
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Trending on Billboard The Foo Fighters will warm up for their planned run of summer 2026 North American stadium shows with a run of U.K. and European stadium gigs. The Foos’ Take Cover European tour is slated to kick off on June 10 at Oslo, Norway’s Unity Arena. Explore See latest videos, charts and news […]
Trending on Billboard The Jonas Brothers will ring in the new year in Florida after a 2025 run of shows celebrating their 20th anniversary as a group. Nick, Joe and Kevin Jonas will take the stage at the Hard Rock Hotel & Casino on Dec. 31 for a two-hour show slated to kick off at […]
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Independent music venue Antone’s has been guaranteed another 50 years in downtown Austin.
On Monday (Nov. 10), the club’s owners announced they had signed a 50-year lease for the venue’s current location on East 5th Street, which will see the iconic space through to its 100th anniversary in 2075.
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The Antone’s brand has been in several locations throughout its history, with its most recent ownership group landing on a former glass depot on the busy East 5th Street. The venue’s current edition, which opened on New Year’s Eve 2015, includes the 400-capacity concert hall, a record shop called Big Henry’s and an event space on its upper floor. The long-term lease includes all three spaces, while the event space and bar will be transformed into an Antone’s museum.
This summer, the venue, which originally opened in 1975, celebrated its 50th anniversary with a commemorative merch collection, a touring show and an anniversary box set that included live recordings from the blues club’s history.
“We’ve got to use this milestone and the achievement of the 50th to switch from surviving to thriving,” Antone’s co-owner Will Bridges tells Billboard. “It’s crazy to think that Antone’s would have a 100th anniversary and by having that long of a term, to just be able to think and plan long term.”
When Antone’s took over its current space, the owners signed a 10-year lease with two five-year options, with Bridges noting the landlord has been nothing but supportive of the venue. However, the ownership group saw an opportunity to receive a grant from the local Iconic Venue Fund if Antone’s had a secure position in the city, such as land ownership or a long-term lease agreement. Other Austin venues that have benefited from the fund include Hole in the Wall and Empire Control Room & Garage.
Thanks to the 50-year lease, Antone’s has been selected to receive a $1.3 million investment from Rally Austin (home to the Austin Cultural Trust that controls the Iconic Venue Fund) to create a museum called Antone’s “World Famous” Museum of the Blues. The museum, which will be housed permanently on Antone’s upper level beginning in 2027, will celebrate Austin’s blues heritage and foster educational and community programming. It will donate a portion of its proceeds to the city’s Rally for Live Music Fund.
On Monday (Nov. 10), Antone’s will also launch the Antone’s Forever Fund as part of the Clifford Antone Foundation, to ensure the museum’s educational, cultural and community initiatives are continually advancing.
The museum will be open both during the day and in the evenings, providing additional revenue to support the venue and the Clifford Antone Foundation. The Iconic Venue Fund grant also includes a five-year operating stipend to help grow museum operations.
Given the response to the Antone’s 50th All Stars shows in Los Angeles, New York and Nashville, Antone’s creative and musical director Zach Ernst believes these new developments will help cement the venue’s legacy.
“All this extra activity we did this year under the banner of the 50th really reminded us how important Antone’s is outside of Austin,” Ernst tells Billboard. “We really do deserve this kind of [support] as an institution. It’s hard for worker bees like me and Will to think that way. But it is all thanks to Clifford Antone and his vision back in ‘75.”
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Travis Scott delivered a major surprise for fans during the Japanese leg of his Circus Maximus tour over the weekend, bringing out Kanye West for an unannounced set at the Belluna Dome in Tokorozawa on Saturday (Nov. 8).
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In fan-shot footage circulating online, West — who had his face covered — pulled off his mask mid-show to roaring applause before launching into his 2007 anthem “Can’t Tell Me Nothing.”
Scott remained onstage as a hype man and support act throughout Ye’s mini-set, which included hits like “Runaway,” “Heartless,” “Flashing Lights,” “Stronger,” and “All of the Lights.” The duo performed together in front of a packed Tokyo crowd as part of Scott’s two-night Japan stopover.
Scott previously hinted at a potential reunion with West during a Circus Maximus show in October, telling fans, “We might have to do something special.”
In April, La Flame spoke of his relationship with the controversial rapper in his Complex cover story. “S–t, man. That’s my kid’s uncle,” he said in the interview, which appears to have taken place in February. “That guy took me in when I was young, when I was like 19. He taught me a lot about music. And not even just ‘taught’ me, but he allowed me to experience the creation of music.”
The surprise performance comes just days after West made headlines for a sit-down with Israeli Rabbi Yoshiyahu Yosef Pinto, where he addressed past antisemitic comments and expressed a desire to make amends.
“I feel really blessed to be able to sit here with you today and just take accountability,” Ye told Rabbi Yoshiyahu Yosef Pinto in a video posted on social media.
“It’s a big deal for me as a man to come and take accountability for all the things that I’ve said, and I really just appreciate you embracing me with open arms and allowing me to make amends. And this is the beginning and the first steps, and the first brick by brick to build back the strong walls.”
West’s last major live performance was his Vultures listening event earlier in 2025, while Scott continues to tour globally.
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Oasis have officially wrapped their 2025 Australian tour, marking a triumphant return down under with over 320,000 fans attending across five stadium shows in Melbourne and Sydney.
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The Britpop icons played three sold-out nights at Melbourne’s Marvel Stadium, followed by two shows at Accor Stadium in Sydney, concluding on Saturday (Nov. 8). It’s one of the highest-attended rock tours in Australia this year — and one with lasting impact.
“Thanks for putting up with us. We know we were d–kheads sometimes,” Liam Gallagher told the Sydney crowd. “Your support has put us back on the map. Respect! You’ve got a lovely f–king country. See you again.”
The reunion tour has drawn headlines for more than just nostalgia. In Melbourne, seismic sensors at the Seismology Research Centre reportedly picked up tremors during the band’s performances — a rare but real phenomenon caused by thousands of fans stomping and singing in unison.
One of the city’s most iconic live music venues, Cherry Bar, credited the band with sparking a major nightlife revival. “The darkest hour is before the dawn, Melbourne and Cherry Bar needed a hero and who knew that it would come in the shape of a couple of ‘no f#cks given’ Mancunian larrikins?!” wrote owner James Young on social media, calling it the bar’s “biggest weekend and biggest week on record.”
While the first show had some minor issues, including a fan launching flares into the crowd, the tour’s reception has been overwhelmingly positive.
Billboard said of the rockers’ first Melbourne gig, “Kicking off with ‘Hello,’ into which Liam inserted the lyrics ‘it’s good to be back,’ then ‘Acquiesce,’ and ‘Morning Glory,’ provided an opening combination that hit hard and fast. ‘G’day,’ Liam told the 58,000 gathered fans, Tina Arena and Jelly Roll among them. ‘Did you miss us? Because we missed you.’”
“This tour is off to a blinder, a result for anyone in the place who wanted, waited for this band, and used the opportunity to go let it all out, and sing at the top of their lungs.”
Oasis now heads to South America for shows in Argentina, Chile and Brazil, before continuing their global tour into 2026.
Trending on Billboard Tate McRae‘s So Close to What, which debuted at No. 1 on the Billboard 200 upon its original release in March, is getting the deluxe treatment. A version of the album with additional tracks is coming in two weeks, McRae said in an announcement on Saturday (Nov. 8). Explore See latest videos, […]
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“Bandaids,” the new single from Katy Perry, tops this week’s fan-voted music poll.
Music fans voted in a poll published Friday (Nov. 7) on Billboard, choosing Perry’s latest track as their favorite new release.
“Bandaids” made its arrival during a week that also saw new music releases from Rosalía, Hilary Duff, Kehlani and more, and brought in 44% of the vote.
The song about moving on following the end of a longterm relationship — Perry’s first since splitting with actor Orlando Bloom — has the pop star singing, “Got so used to you letting me down/ No use tryna send flowers now/ Telling myself you’ll change, you don’t/ Bandaids over a broken heart/ Tried all the medications/ Lowered my expectations/ Made every justification/ Bleeding out, bleeding out, bleeding out slow/ Bandaids over a broken heart.”
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“tbh I struggled for months with the idea of putting this song out… even after all these years it can be scary to be vulnerable… but hopefully the lyrics of this song resonate with someone going through what I have been through and maybe they won’t feel so alone and will find the strength to keep going like I have,” she wrote to fans on Instagram.
Perry’s been on the road with her Lifetimes Tour since April, and is currently finishing up the European leg of the trek before making her way to China later this month.
Her last full-length studio album, 143, was released in 2024 and debuted at No. 6 on the Billboard 200 chart.
Among the new releases trailing behind “Bandaids” are Rosalía’s Lux, with 37% of the vote; Hilary Duff’s “Mature,” with 9% of the vote, and Kehlani’s “Out the Window,” with 2% of the vote.
See the final results of this week’s poll below.
Trending on Billboard Bad Company joined an exclusive club on Saturday (Nov. 8), becoming just the 10th artist whose debut album had topped the Billboard 200 to be inducted into the Rock & Roll Hall of Fame. The band’s eponymous debut album reached No. 1 in the issue dated Sept. 28, 1974, dethroning Stevie Wonder’s […]
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Taylor Swift’s The Life of a Showgirl continues to dance atop the Billboard 200 for a fifth straight week at No. 1 (on the chart dated Nov. 15). It earned 120,000 equivalent album units in the United States in the week ending Nov. 6 (down 18%), according to Luminate.
The Life of a Showgirl is only the second album in 2025 to spend its five weeks at No. 1, following Morgan Wallen’s I’m the Problem (which spent its first eight weeks atop the list, of its total 12 at No. 1). Swift’s last album, The Tortured Poets Department, spent its first 12 weeks at No. 1 in 2024, of its total 17 weeks atop the list. Three of her albums have led for their first five chart weeks or more, starting with Folklore, which reigned for its first six weeks in 2020, of eight overall weeks at No. 1.
Also in the top 10 of the latest Billboard 200, Florence + the Machine notch their fifth top 10-charted effort, as Everybody Scream debuts at No. 4, while Tyler, The Creator’s chart-topping CHROMAKOPIA vaults 117-5 after its one-year anniversary reissue.
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, Nov. 15, 2025-dated chart will be posted in full on Billboard‘s website on Nov. 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Life of a Showgirl’s 120,000 equivalent album units earned in the latest tracking week, SEA units comprise 98,000 (down 18%, equaling 129.07 million on-demand official streams of the set’s tracks — it’s No. 1 on Top Streaming Albums for a fifth week), album sales comprise 18,000 (down 21%; it falls 3-4 on Top Album Sales) and TEA units comprise 4,000 (up 11%).
At Nos. 2 and 3 on the Billboard 200, the KPop Demon Hunters soundtrack and Morgan Wallen’s I’m the Problem are non-movers. The former No. 1s earned 84,000 equivalent album units (down less than 1%) and 77,000 units (up 2%), respectively.
Florence + the Machine’s Everybody Scream debuts at No. 4 on the Billboard 200, marking the fifth top 10 for the act. The set arrives with 56,000 equivalent album units earned. Of that sum, album sales comprise 44,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 12,000 (equaling 15.25 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), four CD variants (one signed) and a standard digital download album (all with the same tracklist). There was also a deluxe download edition with four “chamber version” bonus tracks — alternative versions of the album’s title track, “Sympathy Magic,” “The Old Religion” and “Drink Deep.”
The new album was preceded by its lead single, its title track, which has hit the top 10 on both the Alternative Airplay and Adult Alternative Airplay charts, while also reaching No. 37 on the Hot Rock & Alternative Songs chart.
Florence + the Machine previously reached the top 10 on the Billboard 200 with their previous four studio albums: Dance Fever (No. 7 in 2022), High as Hope (No. 2 in 2018), How Big How Blue How Beautiful (No. 1 in 2015) and Ceremonials (No. 6 in 2011). The act’s first studio set, Lungs, peaked at No. 14 in 2010 and spent two and-a-half years on the chart.
Tyler, The Creator’s former No. 1 CHROMAKOPIA shoots 117-5 on the Billboard 200 following its one-year anniversary reissue on CD, vinyl and in two deluxe boxed sets (containing branded merch and a copy of the CD). It earned 51,000 equivalent album units (up 390%), with 41,000 of that sum in traditional album sales (up from a negligible sum in the week previous). CHROMAKOPIA debuted at No. 1 on the Nov. 9, 2024-dated chart and spent its first three weeks atop the list.
Sabrina Carpenter’s chart-topping Man’s Best Friend slips 5-6 on the latest Billboard 200 with 38,000 equivalent album units earned (down 8%), while Olivia Dean’s The Art of Loving falls 6-7 (37,000, down 3%). A trio of former No. 1s rounds out the top 10: SZA’s SOS rises 10-8 (31,000, down less than 1%), Morgan Wallen’s One Thing at a Time steps 11-9 (30,000, up 3%) and Cardi B’s AM I THE DRAMA? dips 8-10 (down 12%).
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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Salt-N-Pepa‘s Spinderella is now the first female DJ ever inducted into the Rock & Roll Hall of Fame.
The historic moment happened Saturday (Nov. 8) during the the Rock & Roll Hall of Fame induction ceremony at Los Angeles’ Peacock Theater, where Salt-N-Pepa were inducted into the Hall of Fame.
After a speech from Missy Elliott, the trio performed a medley of their classic hits including 1987’s “Push It” and 1993’s “Whatta Man,” for which they were joined by the song’s original collaborators En Vogue.
The trio then made its own acceptance speeches, with Salt-N-Pepa DJ Spinderella, whose real name is Deidra Muriel Roper, noting that the honor makes her the first female DJ ever inducted into the Rock & Roll Hall of Fame.
“When I started, it was a rare thing to see a woman behind turntables,” Spinderella said. “It was literally the boys club, so I had to carve my own lane. I had to show up. It was dedication; it was my craft, and I never missed a beat, in 40 years y’all… I carry every female DJ who ever dared to dream. Every woman who touched a turntable and said, ‘I can do that too.’ This is ours. Respect the DJ.”
DJs already in the Rock & Roll Hall of Fame include DJ Kool Herc, who was inducted in 2003 and Grandmaster Flash, who was inducted in 2007.
The trio’s Saturday night acceptance speech also saw Salt-N-Pepa’s Cheryl “Salt” James referencing the group’s lawsuit, filed in May, against Universal Music Group to regain control of their masters, alleging that the record company has not honored Salt-N-Pepa’s copyright clawback rights and has punished them by taking their music off streaming.
“We’re in a fight for our masters that rightfully belong to us…,” James said. “After 40 years, our streaming music has been taking down from all streaming platforms because the industry doesn’t want to play fair,” then, amid cheers, added that “Salt-N- Pepa has never been afraid of a fight.”
