State Champ Radio Music
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Trending on Billboard 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 […]
Trending on Billboard Reuben Vincent and 9th Wonder have dropped off their new music video for “Just 4 Me,” which appears on their new collaborative album Welcome Home, released Oct. 24. Explore See latest videos, charts and news The North Carolina rapper’s nostalgic visual arrived on Monday (Oct. 27), and features Reuben and R&B singer […]
Trending on Billboard 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 […]
Listen to new must-hear songs from emerging R&B/hip-hop artists like The BLK LT$ and María Isabel.
10/27/2025
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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.
Trending on Billboard 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 […]
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.
‘Ophelia’ Streams, Airplay & Sales
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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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Christmas music decks the halls of the Billboard Holiday 100 at the end of every year, but some creepy cuts lurk around the October charts as well. And make no bones about it: If you create a monster hit in the lab, it may come back to haunt the hit parade every fall. For years, Billboard has tracked the graveyard smashes, thriller nights and legal nightmares that have sunk their teeth into the KILLboard Rot 100.
‘Monster’ Hit
After the novelty single “Monster Mash” by Bobby “Boris” Pickett and the Crypt-Kickers began getting radio play in Boston, the Sept. 29, 1962, Billboard reported that “Boris, Igor and the other bloodsuckers” were clawing their way up the charts. A week later, Billboard profiled Pickett, calling the Army veteran and stage comedian a “versatile lad” who “still holds on to his ambition to be an actor.” On the same page ran a feature about another new act: The Beach Boys. Pickett’s song hit No. 1 by the end of the month — a feat that took the surfin’ slackers another two years.
License to Thrill-er
“The video has a ghoulish theme,” warned the Dec. 3, 1983, Billboard of Michael Jackson’s zombie-filled video for “Thriller,” “but it is brightened by clever plot twists.” The article explained why the video opens with a title card disavowing any “belief in the occult”: Jackson’s discomfort with the video’s imagery, “one reason he avoided a Halloween tie-in.” He didn’t need one. The Dec. 24 issue said the video “shipped a reported 100,000 units — the highest initial shipment in history for an original non-theatrical video.”
Giving Up the Ghost
“It’s the ‘bad boy’ at his most playful in a call-and-response dance-rocker from the film of the same name,” the June 9, 1984, Billboard said of Ray Parker Jr.’s “Ghostbusters.” In the Aug. 11 issue, a headline declared “Bustin’ Makes Ray Feel Good” as the song hit No. 1. And while Parker wasn’t afraid of no ghosts, what about Huey Lewis’ lawyers? They sued him in a plagiarism case for similarities to Lewis’ “I Want a New Drug.” “It’s more like M’s ‘Pop Muzik,’ ” Parker insisted in the Aug. 25 issue.
Lawyers Just Don’t Understand
The Fresh Prince & DJ Jazzy Jeff scared up a lawsuit of their own with the Hot 100 top 15 hit “A Nightmare on My Street.” That title “is turning out to be prophetic,” quipped the Aug. 6, 1988, Billboard. “New Line Cinema, which produces and distributes the A Nightmare on Elm Street series of films, has served papers.” The legal scare buried the song’s video but the soundtrack to the fourth Freddy Krueger flick was still DOA. “Nightmare films have never produced a hit soundtrack,” declared the Sept. 3, 1988, issue. “This one won’t do the trick, either.”
This Is Halloween
“While the holiday doesn’t generate monster-selling albums like Christmas does, the scary celebration has spurred a number of solid-selling titles,” according to the Nov. 2, 2013, issue, citing the “soundtrack to Tim Burton’s The Nightmare Before Christmas,” as well as a long-out-of-print sound effects collection called Sounds of Halloween, which “had moved 528,000 copies to date.” Now, thanks to screaming — er, streaming — platforms Halloween hits rise from the grave every year.
This story appears in the Oct. 25, 2025, issue of Billboard.
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Taylor Swift wanted to work on her reputation when it came to her dancing, so she hired choreographer Mandy Moore.
In an interview with The New York Times published Sunday (Oct. 26), the choreographer opened up about working with the pop superstar to hone her movement skills before embarking in 2023 on her global Eras Tour, which saw Swift looking better than ever as she held her own in several different dance numbers. Before that, though, Moore says the 14-time Grammy winner was insecure about her abilities.
“She’d gotten a bad rap for a long time about her dancing, so she was really in her head,” the dance coach recalled to the publication. “We shifted the focus to how movement was already manifesting in her body — the way she naturally wanted to move. And then we fine-tuned that: ‘OK, that looks a little weird with your shoulders,’ or, ‘Let’s straighten your knee here.’”
“I really admire Taylor’s tenacity,” Moore continued. “She works so hard. Whatever I was putting down, she was picking up. And she’s very clear about what she wants, which I love.”
Elsewhere in the interview, the choreographer spoke in general about how she demystifies dancing for her superstar clients. “Dance is so vulnerable, and that feeling is only magnified by how famous the person is,” she explained. “Some of these artists have been sort of traumatized by dance. And so I end up as a kind of dance therapist.”
“A lot of it is really just getting in a room and being like, ‘Look, here’s this thing that I love, and you can love it too!’” Moore added.
Though Swift’s Eras trek is memorable for a boatload of reasons, one of them is how she clearly leveled up dancing-wise for the excursion. Fans went wild every night for her sexy Chicago-esque chair dance during “Vigilante Shit,” as well as her sultry, serpentine moves throughout the Reputation set.
The hitmaker has continued working with Moore throughout her The Life of a Showgirl era, teaming up to create TikTok trend-worthy choreography for Billboard Hot 100-topping lead single “The Fate of Ophelia.” In Swift’s The Release Party of a Showgirl film, she perfects her own dance moves while on set of the track’s music video, telling the crew at one point, “Can I just try to be a little bit better?”
