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Enigmatic English electronic extraordinaire Aphex Twin (aka Richard D. James) has released a surprise compilation album, with Music from the Merch Desk (2016–2023) collecting a number of limited edition recordings from the past decade. Explore Explore See latest videos, charts and news See latest videos, charts and news Released on Tuesday (Dec. 17) without any […]
After more than a decade away from the iconic performing space, Katie Crutchfield has brought Waxahatchee back to NPR‘s Tiny Desk Concert series.
Appearing in support of her latest album, the Grammy-nominated Tiger’s Blood, Crutchfield ran through a five song set which included three tracks from her latest record, alongside the recent single “Much Ado About Nothing” and 2020’s “Fire”.
Backed by a full five-piece band, the performance is a picture of evolution for the Alabama musician, whose 2013 debut on the series in support of Cerulean Salt is one she looks back on with some mixed emotions.
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“I have been here before, it was about 11 years ago,” Crutchfield explained during her set.
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“I sort rolled out of the tour van, I didn’t realize I was going in be the NPR building, I sort of didn’t really know what I was doing at all. My amp broke in the middle,” she added. “I’m really happy to be back.”
Taking to her personal Substack newsletter after the fact, Crutchfield reflected on that initial performance, noting it does “leave some room for improvement”.
“It’s giving endearingly green and inexperienced and tiny bangs she cut herself in a hurry,” she wrote. “It’s a sweet little relic of my early 20s but I am thrilled to have been given the opportunity to go back and do it again as a full grown adult with my band and some newer songs.”
Though this latest return to NPR’s Tiny Desk Concert series is her second in-person appearance, Crutchfield did however show up with Kevin Morby in 2020 as part of the lockdown-inspired Tiny Desk (Home) Concert series.
Crutchfield’s latest effort as Waxahatchee, Tiger’s Blood, is currently up for Best Americana Album at the 2025 Grammy Awards in early February. It follows on from an impressive global showing for the record, which also featured a No. 146 position on the Billboard 200 and No. 27 on the Independent Albums chart.
Just a month after Bad Bunny bagged his 77th top 10 on Billboard’s Hot Latin Songs chart, the Puerto Rican adds a new top 10 to his roster of songs, as “El Club” debuts at No. 2 on the Dec. 21-dated list. The new arrival extends his scope to 78 top 10s across a seventh calendar year, dating back to his first in 2017.
“El Club,”, along with its music video, was released Dec. 5 on Rimas Entertainment. The song launches at No. 2 as the Hot Shot Debut of the week largely to its streaming activity –9.5 million official U.S. streams in the tracking week of Dec. 6-12, according to Luminate. The sum also sparks a No. 2 entrance on Latin Streaming Songs for a record-extending 83 top 10s there.
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“El Club,” Benito’s second solo single of the year, follows “Una Velita,” a song that addressed the destructive effects of hurricane María on his native Puerto Rico in 2017, which launched at No. 4 on Hot Latin Songs with 6.6 million official U.S. streams (Oct. 5-dated list). The multi-metric tally combines streaming data, digital sales and audience impressions into its formula.
Despite a negligible number of downloads in its first week, “El Club” advances 11-2 on Latin Digital Song Sales, also Benito’s 78th top 10 there.
With “El Club,” Bad Bunny stacks his 78th top 10 on Hot Latin Songs, further extending the distance from the next competitor, Enrique Iglesias, who last secured a top 10 through his Anuel AA collab, “Fútbol y Rumba” (No. 8 debut and peak in 2020).
As Bad Bunny’s top 10 collection grows, here’s a look at the artists with the most top 10s on Hot Latin Songs since its inception in 1986:
78, Bad Bunny39, Enrique Iglesias39, Luis Miguel37, Daddy Yankee37, Shakira
Further, “El Club” starts at No. 66 on the overall Billboard Hot 100, for Benito’s 97th entry there, still the most for a Latin artist. It also makes its No. 39 entrance on both the Billboard Global 200 and Global Excl. U.S. charts, with 31 million global streams and 22 million clicks outside the U.S., respectively.
All charts (dated Dec. 21, 2024) will update on Billboard.com tomorrow (Dec. 17). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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The Billboard Family Hits of the Week compiles what’s new and worth your family’s time in music, movies, TV, books, games and more. Forget the mind-numbing scrolling and searching “what to watch for family movie night” … again. The best in family entertainment each week is all in one place, in this handy guide. Isn’t it satisfying to cross something off your list?
Leading up to winter break, you might be looking for ideas on how to entertain your kids while they’re out of school. If shiny new gifts and holiday cheer start losing their shine as the days go on, let Billboard Family step in with suggestions for what to check out together in mid-late December.
Need to get out of the house together? On Friday, Dec. 20, Disney’s Mufasa: The Lion King opens in movie theaters, featuring a superstar mother-daughter duo on the cast list. Among the voices lending their talent to the film is 12-year-old Blue Ivy Carter as Kiara, Simba and Nala’s daughther. Blue Ivy is the real-life daughter of parents Jay-Z and Beyoncé, who reprises her role as Nala in the franchise’s latest theatrical release.
Would you rather stay in? Gather up some holiday treats (maybe you’d like to try baking Taylor Swift‘s chai sugar cookies with cinnamon eggnog icing) and cozy up at the couch for the Inside Out spin-off Dream Productions, a miniseries now streaming on Disney+. At just four 20-minute episodes, it’s about the length of a typical family movie.
We’re always looking for contenders to add to our holiday season playlist, and Lady Gaga‘s new rock cover of “Santa Claus Is Coming to Town” puts a fun twist on a classic.
Always here with a rec for the Swiftie in your home, I’ll say that if you haven’t watched them yet, this series of behind-the-scenes clips (just uploaded to YouTube on Swift’s birthday) are worth tuning in to with fans of any age. They give a glimpse at the work the singer puts in off the stage and behind the camera, in the less glamorous but just as creative role of director.
Find out more about this week’s top picks in the Billboard Family Hits of the Week:
Stream Pixar’s ‘Dream Productions’ on Disney+
As the chapter of who was responsible for 2Pac‘s death finally closes with the arrest of Keffe D, more stories from that fateful night are being told.
Young Noble of the Outlawz, who frequently collaborated with the late rapper and actor — sat down with The Art of Dialogue to talk about Pac’s final days in the hospital after he was shot in Las Vegas after a Mike Tyson fight in 1996.
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He began talking about the day the Notorious B.I.G. got shot in Los Angeles by revealing that the group had recently signed to Death Row and that he remembered them getting kicked out of a hotel after the staff accused them of pimping due to “too much female activity.” Noble then recalled watching the news about Biggie and feeling like “hip-hop was dying.”
Adding, “This ain’t how it’s supposed to be. We didn’t wish that on Biggie or nothin’ like that. It felt devastating,” before acknowledging that some members of the Outlawz were featured on 2Pac’s “Hit ‘Em Up” where he dissed Big.
Towards the end of the interview, Noble started speaking on being there with Pac in the hospital. “I was right there, front and center,” he said before referring to the longstanding rumors that the late rapper allegedly faked his death and moved to Cuba.
“Let them tell it, he’s still alive underground like Bin Laden somewhere hiding or in Cuba… Nah, he really died. I really was in the hospital. I really saw him with tubes in his body. I really saw his body full of fluid real big. He wasn’t skinny with the six-pack; his body was full. He really f—king died on us.”
The New Jersey rapper then claimed Pac’s mother made the decision to “let her son go,” saying, “He probably could have lived. His momma said, ‘Nah, f—k all that. I think he lost his finger, he was gonna lose a lung, they were gonna do all these surgeries. You know how strong your momma gotta to be to say, ‘Damn, he’s probably could make it. I don’t want my son to endure no more pain in this world. Y’all tear him down.’ That sh—t is devastating.”
He then added, “She let her son go. ‘Pac ain’t die; Afeni said, ‘Let my son fly,’” before getting emotional and walking off set as he continued to talk about how his friend’s life has been “dissected” since his untimely passing.
You can watch the full clip below.
Ariana Grande has brought the magic to Wicked as Glinda the Good Witch — and even snagged a Golden Globe nomination for her performance. One person who is particularly happy for her is Amanda Seyfried, who also auditioned for the coveted role. Explore Explore See latest videos, charts and news See latest videos, charts and […]
André 3000 and Beyoncé have teamed up for collaborations in the past and he even named a song after Queen Bey on his New Blue Sun album.
The Hollywood Reporter caught up with Three Stacks on Monday (Dec. 16) for a rare sit-down interview, where he reflected on working with the pop icon.
“Really just being excited about working together because we performed together during the ‘Hey Ya!’ times in England [in 2003],” the Outkast legend recalled. “That was some of the first times I’ve met her, so being able to record, I think we’ve always had respect for each other and been fans.
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He continued: “To be reached out by Beyoncé, ‘Hey, can you get on this song?’ I’m like, ‘Hell, yeah, you know I’m with it.’ Yeah, it was a cool musical family thing. I think people from a certain era, we have a kinship.”
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Three Stacks and Bey joined forces for “Back to Black” from The Great Gatsby soundtrack in 2013 and “Party” a couple of years prior. He detailed the vision of naming his “Ninety Three ‘Til Infinity And Beyoncé” after the Houston-bred music deity.
“The title was really a play on words, just referencing things that I was into,” he began. “Souls of Mischief, one of their most famous songs was called ’93 ‘Til Infinity,’ and that’s when I was coming out of high school. That was one of my favorite rap tracks. Then I thought it was funny to put that together with a Toy Story proclamation, ‘Until infinity and beyond.’”
Dre even received Jay-Z and Bey’s blessing: “That was a thing that the character would say in the movie, and I would say, “Why not Beyoncé?” It was funny; it was a play on pop culture stuff. I reached out to Jay-Z and Beyoncé and asked if it was cool. She’s like, ‘Yeah.’ So I was happy.”
Elsewhere in the interview, André 3000 voiced his frustration with the media continuously referring to New Blue Sun, which is nominated for album of the year, best alternative jazz album and best instrumental composition at the 2025 Grammy Awards, as a “flute album.”
“The media has touted it as this flute album and I think it’s a misrepresentation of the album,” he said. “It’s way more than a flute album. They belittle it by calling it a flute album because there are actual flutists that have made flute albums, like Jethro Tull and Paul Horn. I think it could be a turnoff to some people if they think, ‘Yo, he’s just in a room playing this flute.’”
The extreme metal tour Chaos & Carnage has returned for its sixth year on the road with veteran death metal outfit Dying Fetus leading the 16-date tour of clubs and theaters alongside longtime British metalheads Cradle of Filth.
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Both bands have long been staples of the black metal and grindcore scenes dating back to the early 1990s, and Chaos & Carnage is a touring project created by industry veterans Jason Malhoyt of Imperial Artist Management and agent JJ Cassiere, who launched indie booking agency 33 And West in 2018.
Dying Fetus and Cradle of Filth are joined on the 2025 Chaos & Carnage Tour by five support acts, including Italian symphonic death metal outfit Fleshgod Apocalypse, Australian progressive metal six piece Ne Obliviscaris, New York metal group Undeath along with newcomers Vomit Forth and Corpse Pile.
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Originally launched in 2018, Chaos & Carnage is slated to play its sixth tour this year as a showcase for the elite of heavy metal and black metal, with past headliners including Whitechapel, Carnifex, Suicide Silence, Cattle Decapitation, Lorna Shore, Humanity’s Last Breath and more.
Tickets go on sale Friday, Dec. 20, at 10 a.m. local time. VIP upgrades are available Monday, Jan. 6, at 10 a.m. local time, exclusively at ChaosAndCarnage.com.
Chaos & Carnage 2025 Tour Dates are below:
April 17 – Berkeley, CA @ UC TheatreApril 19 – Los Angeles, CA @ The WilternApril 20 – Phoenix, AZ @ The Van BurenApril 22 – Albuquerque, NM @ El Rey Theater 04/24 Dallas, TX @ Granada TheaterApril 26 – San Antonio, TX @ Vibes Event Center 04/27 Houston, TX @ House of BluesApril 29 – Nashville, TN @ Brooklyn BowlMay 1 – New York, NY @ Palladium Times Square 05/02 Richmond, VA @ The NationalMay 3 – Reading, PA @ ReverbMay 4 – Worcester, MA @ The PalladiumMay 6 – Montreal, QC CAN @ L’OlympiaMay 7 – Toronto, ONT CAN @ RebelMay 8 – Pontiac, MI @ The CrofootMay 9 – Chicago, IL @ RadiusMay 10 – Des Moines, IA @ Val Air BallroomMay 12 – Wichita, KS @ Temple LiveMay 14 – Denver, CO @ Fillmore Auditorium
In the world of electronic dance music, the West has long led the way with its frequent collaborations, driving technical advancements and making electronic music culture popular worldwide. Inspired by Western electronic music culture, ZHANGYE, in collaboration with Cyanhill Music, has created the CHINA EDM Vol.1 compilation, marking a new chapter in Chinese electronic dance music.
This compilation features not only exclusive tracks from top producers such as BEAUZ, CORSAK, Panta.Q, and WILLIM, but also selects other tracks from hundreds of contributors, showcasing the diversity and vitality of Chinese electronic music.
The release of the CHINA EDM Vol.1 compilation is not only a summary of the development of Chinese electronic dance music, but also a new beginning. Crafted to international standards, it aims to promote the works of outstanding Chinese producers on the world stage. On Nov. 29, this musical feast was spectacularly staged at the Escape deLux nightclub in Amsterdam, Netherlands, under the theme of “CHINA EDM NIGHT,” marking a significant step in the global journey of Chinese electronic music.
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“CHINA EDM NIGHT” was an unprecedented performance featuring “Beats from the East,” bringing the rhythm of the Orient to the Western stage. This event was a live rendition of the CHINA EDM Vol.1 compilation and a significant showcase of Chinese electronic music culture to the world. The performance took place at the renowned Amsterdam nightclub Escape deLux, known for its unique atmosphere and high-quality music events.
To ensure that the “CHINA EDM NIGHT” performance garnered more attention in the Netherlands, the organizers put significant effort into promotion. Offline advertising reached close to 4,000 advertising spaces, including large billboards, metro stations, hotels and public notice boards, promoting the compilation, artists and the event activities comprehensively to ensure that the performance information reached every potential audience member.
The release of the CHINA EDM Vol.1 compilation and the staging of the “CHINA EDM NIGHT” performance mark a significant step for Chinese electronic dance music on the global stage. This is a collective showcase of Chinese electronic music producers, as well as an international dissemination of Chinese electronic music culture.
CORSAK
Courtesy of CORSAK
Gracie Abrams had lots of new eyes on her during her Saturday Night Live musical-guest debut over the weekend, including Barbra Streisand‘s — and Babs liked what she saw.
Two days after the 25-year-old pop star performed on the live comedy series for the first time ever Saturday, the Broadway legend shared a photo of Abrams singing and playing guitar on the 30 Rock stage and wrote, “I just saw a wonderful new singer named GRACIE ABRAMS (@gracieabrams) on Saturday Night Live this weekend.”
Streisand also pointed out the former Eras Tour opener’s famous parentage. “And it turns out she’s the daughter of my friend JJ Abrams!” the Funny Girl actress wrote, shouting out the Star Wars: The Force Awakens director.
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Gracie performed two tracks on the Chris Rock-hosted episode of SNL, starting with runaway hit “That’s So True.” Released in October as part of her The Secret of Us deluxe album, the track became the California native’s first-ever Billboard Hot 100 top 10 hit in November, so far peaking at No. 6.
The star followed it up with “I Love You, I’m Sorry,” a hit from the original The Secret of Us track list, which peaked at No. 19 on the Hot 100 in October. In a recent year-end conversation with Billboard, Gracie spoke about both of the tracks, noting, “When ‘I Love You, I’m Sorry’ ended up being the song that took off the most, I felt like it was — not that we needed it — permission to allow acoustic guitar to remain the driving force behind ‘That’s So True,’ which came from the feeling of living with a burning, fiery rage of jealousy.”
“Seeing the life that song is having right now is psychotic to me,” added the musician, who recently announced a run of North American tour dates in support of her deluxe album.
Streisand also released new music this year, dropping “Love Will Survive” in April for Peacock’s The Tattooist of Auschwitz. “Because of the rise in antisemitism around the world today, I wanted to sing ‘Love Will Survive’ in the context of this series as a way of remembering the six-million souls who were lost less than 80 years ago,” she said of the project in a statement at the time. “And also to say that even in the darkest of times, the power of love can triumph and endure.”
Gracie and the Yentl star also have something else in common: Both are up for awards at the 2025 Grammys. The former is in the running for best pop duo/group performance thanks to her “Us” duet with Taylor Swift, while Streisand earned nods for best song written for visual media thanks to “Love Will Survive” and best audio book, narration, and storytelling recording for memoir My Name Is Barbra.
