Music

24 Oct 2025

Mac Miller’s Estate Shares Three New Songs for the 10th Anniversary of ‘GO:OD AM’

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10 years ago, the late Mac Miller made his major-label debut with GO:OD AM, a frank, melodious rumination on addiction, recovery and fame that reached No. 4 on the Billboard 200. On Friday (Oct. 24), the Grammy-nominated rapper’s estate shared three new songs to celebrate the LP’s landmark 10th anniversary.

Led by the Vinny Radio-assisted “Royal Flush,” the expanded 10th anniversary edition of GO:OD AM also includes new cuts titled “Cable Box” and “Carpe Diem.” All three songs are sourced from the original GO:OD AM recording sessions, which at the time, resulted in a 17-track set featuring Miguel, Chief Keef, Lil B, Little Dragon, and Ab-Soul. “100 Grandkids” served as the album’s lead single, reaching No. 100 on the Hot 100, and the Miguel-assisted “Weekend” followed with a No. 46 peak on Hot R&B/Hip-Hop Songs.

To accompany the new songs, Miller’s estate also teamed up with artist Danaé Goset for a series of visualizers, including one for “Rush Hour,” a deep cut from the original GO:OD AM tracklist. Gosset has long been a close collaborator of the Miller estate, having worked on the Balloonerism visuals and the “Star Room (OG Version)” music video that arrived for the 10th anniversary of Watching Movies with the Sound Off.

GO:OD AM (10th Anniversary) is just the latest in a series of moves to celebrate Miller’s beloved third studio album. Last month (Sept. 18), his estate unveiled GO:OD AM (Time Flies, Try to Catch It), a 15-minute, Sam Balaban-helmed documentary chronicling the making of the record. Available on YouTube, the intimate mini-doc has amassed over 320,000 views in just one month.

It’s been a particularly active year for the Miller estate. At the top of the year (Jan. 15), they unveiled Balloonerism, the Pittsburgh rapper’s second posthumous album, which he recorded around 2014. Featuring collaborations with SZA and Delusional Thomas, his alter ego, Balloonerism reached No. 3 on the Billboard 200, marking Miller’s seventh consecutive studio album to reach the chart’s top five. The accompanying animated short film of the same name, which is currently available to stream on Apple TV+, earned a best longform video nomination at the 2025 MTV Video Music Awards.

Check out the “Rush Hour” visualizer below.

24 Oct 2025

Ariana Grande Says ‘Cringe’ Culture Is ‘So Unfair’ After ‘Wicked’ Press Tour Criticism

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Ariana Grande isn’t going to let haters stop her from being her true, authentic self. While speaking to Evan Ross Katz on his Shut Up Evan podcast posted Friday (Oct. 24), the pop star opened up about how much she dislikes the current culture’s aversion to genuine excitement, which often gets written off as “cringe” or “trying too hard.”

“[Earnestness] scares people so much, and I think that’s really sad,” Grande began. “The whole ‘cringe,’ whatever, is just so unfair. Maybe it’s because of, like, PTSD or whatever, but I love so much. I’m so grateful to feel so much.”

“We should be able to be happy and it not be corny or cringe … being passionate about something, loving people,” she continued. “That’s the best. Why do you want me to be sitting here numb? Been there.”

Grande also cited last year’s Wicked press tour — which spawned viral moments such as the “holding space” meme — as a time where hers and costar Cynthia Erivo’s emotional reactions to things were especially mistaken for inauthenticity. “There are so many clips that you would understand if you were there,” she told Katz. “I loved that experience. We had a really beautiful time.”

Speaking of the Wicked press tour, which seemingly lasted for months with countless headline-making interviews, premieres and fan events, Grande said that the promotional cycle for Wicked: For Good has been more low-key for a variety of reasons — the main one being that the R.E.M. Beauty founder is busy filming 2026’s Focker In-Law alongside Skyler Gisondo, Ben Stiller and Robert De Niro.

“With this second one, we’ve been filming,” she explained. “I’m wrapping Fockers on Halloween and flying straight into Brazil, we’re starting the [Wicked] press tour three days later. It’s not necessarily a strategy as much as it’s logistically been a little difficult.”

“But there’s also, there’s a little element of we wanted to make it different this time,” she added. “The first time was so special and so unique that we wanted to make it more about the fans this time.”

The main way Grande says she and the rest of the Wicked team are planning on reaching fans this time around is through a concert special premiering in early November on NBC.

The interview comes with just one month left until Wicked: For Good arrives in theaters and ties a bow on the epic Wicked saga that kicked off last year. The first film in the duology broke box office records by becoming the highest grossing adaptation of a Broadway musical, while the soundtrack debuted at No. 2 on the Billboard 200.

Elsewhere in the podcast, Grande spoke about getting advice from Madonna and Beyoncé early on in her career, as well as why she thought she’d never release another album after 2020’s Positions.

Watch Grande’s full conversation with Katz above.

24 Oct 2025

Taylor Swift Continues to Dominate the U.K. Charts With Third Week at No. 1

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Taylor Swift has held onto the top spots on both the U.K.’s Official Albums and Singles Charts for a third consecutive week (Oct. 24).

The Life of a Showgirl retains the No. 1 on the LPs chart, while its lead single “The Fate of Ophelia” extends its reign at the summit of the Singles Chart for a third consecutive week. The latter is Swift’s longest-running No. 1 single since “Anti-Hero” from 2022’s Midnights earned six weeks at No. 1; “Is It Over Now? (Taylor’s Version)” (2023) and “Fortnight” (2024) lasted just a single week each.

In its opening week, The Life of a Showgirl smashed numerous records on its way to No. 1 in the U.K. The record had the fastest-selling opening week since 2017 with 423,00 units, trailing only Ed Sheeran’s Divide (672,000). It also became the fastest-selling album on vinyl this century in the U.K., and was named the U.K.’s most-streamed album over the course of seven days in its opening week. She’s also occupied the top spot of the Billboard 200 for the past fortnight.

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The Life of a Showgirl is her 14th U.K. No. 1 album, she also extends her lead with the most No. 1s on the U.K. Albums Charts for an international artist, and now ties for second overall with The Rolling Stones (14). The top spot is also currently a tie between The Beatles and Robbie Williams who both have 15 apiece.

Elsewhere, The Last Dinner Party score the week’s highest new entry with their sophomore album From The Pyre, which Billboard U.K. described as making “good on years of industry hype with a definitive artistic statement.” Their 2024 debut Prelude to Ecstasy peaked at No. 1 upon release.

Olivia Dean’s breakout moment continues as she takes the No. 3 spot on the Official Albums Chart with The Art of Loving, and she lands at No. 2 on the Official Singles Chart with “Man I Need”. Earlier this month, Dean achieved a rare double for a British artist with concurrent No. 1s on the aforementioned charts.

Despite a divisive response from fans and critics, Tame Impala’s Deadbeat closes the week at No. 4 and gives Kevin Parker his third top five album after Currents (2015) and The Slow Rush (2020) which both peaked at No. 3.

There’s little change on the U.K. Singles Chart as, “Golden” from KPop Demon Hunters ends the week at No. 3, RAYE’s “Where Is My Husband!” lifts one place to No. 4 and Swift’s “Opalite” slips one place to No. 5.

24 Oct 2025

Watch Sabrina Carpenter Arrest Gigi Hadid at Her Pittsburgh Show: ‘I’m Getting So Hot & Flustered’

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Not many cops can say they’ve arrested a supermodel, but Sabrina Carpenter can. The pop star added Gigi Hadid to her list of Juno girls on Thursday night (Oct. 23) as SC kicked off the final leg of the Short n’ Sweet Tour in Pittsburgh.

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Ahead of performing “Juno,” Carpenter walked toward the front of the stage where Hadid was standing and the model’s face was broadcast on the arena jumbotron when the police sirents went off. “What’s your name,” she asked. “Gigi, does that stand for gorgeous girl? Oh my God. Gigi, wow, where are you from?”

Rocking a leopard print top over a white t-shirt, Hadid replied: “Bucks County.”

Carpenter, being a fellow Pennsylvania, responded: “Bucks County? I’m kinda from there too. That’s so crazy. Maybe we are soulmates. Gigi, I’m getting so hot and flustered. Oh my God, s—t, that always happens when I get excited about love.”

The singer handed over the signature hot pink handcuffs to Hadid as the “Juno” beat began playing. “This one is for Gigi, everybody,” Carpenter exclaimed, as the model blew her a kiss.

Hadid reposted the clip of her arrest to her Instagram Story. “Guilty as charged,” she fittingly wrote.

It’s been a busy last week for Gigi Hadid, who returned to the runway as an Angel in the 2025 Victoria’s Secret Fashion Show on Oct. 15. However, she’s far from the first famous face to be arrested by Carpenter. Some previous celebrity Juno girls include Millie Bobby Brown, Margaret Qualley and Emma Bunton.

Sabrina Carpenter will hit the stage for a second Pittsburgh show on Friday (Oct. 24) before heading to New York City next week. Watch Sabrina arrest Gigi Hadid here.

24 Oct 2025

Every Taylor Swift Lead Single Ranked, From ‘Tim McGraw’ to ‘The Fate of Ophelia’: Critic’s Picks

Twelve albums, 12 lead singles.

10/24/2025

Taylor Swift - The Fate of Ophelia — Taylor Swift – The Fate of Ophelia

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At press time, Taylor Swift is ruling the Billboard Hot 100 with her 13th No. 1 hit — and it’s all thanks to “The Fate of Ophelia,” the lead single from new album The Life of a Showgirl.

Though the sparkling, smitten love song wasn’t released at any point before the LP dropped, “Ophelia” definitely got the lead single treatment, with the pop star pairing it with a big-budget music video and a TikTok trend-bait dance campaign. It follows the strategy of Swift’s past singles throughout the back half of her catalog, for which she’s been opting to release an album’s tracks all at once while still pushing one as the lead — such as “Fortnight” on The Tortured Poets Department and “Anti-Hero” on Midnights, both of which topped the charts and earned Grammy nods in the major song categories.

Before 2020’s Folklore, however, the singer followed the more traditional format of dropping lead singles well in advance of their respective albums, allowing those tracks to formally usher in a brand new era by making a grand artistic statement. Almost every Swiftie, for instance, remembers exactly where they were the first time they heard Swift say, “Sorry, the old Taylor can’t come to the phone right now” on “Look What You Made Me Do,” which set the stage for Reputation to drop six weeks later.

But no matter which approach the musician has used for her lead singles, each one has notched a memorable and important place in Swift history. From her debut single to “Ophelia,” check out Billboard‘s ranking of all 12 lead album tracks the star has dropped — as well as their chart peaks on the Hot 100 — over the course of her career below.

“Me!”

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Album: Lover
Year: 2019
Hot 100 Peak: No. 2

While a fun song with a cute message, “Me!” is far from the best showcase of Swift’s lyrical and musical prowess on Lover — in fact, it isn’t even the most obvious choice for lead single on the album’s tracklist. For years after the LP’s release, fans would gripe that the far superior “Cruel Summer” was never given the lead song treatment, instincts that would age well when the track unexpectedly reached No. 1 on the Hot 100 four years after it originally dropped. Swift herself didn’t even include “Me!” on her Eras Tour setlist in 2023, making it the only one of her album leads that didn’t make the cut.
“Willow”

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Album: Evermore
Year: 2020
Hot 100 Peak: No. 1

“Willow” is one of Swift’s catchiest tunes, and the witchy music video makes it even better. The disadvantage here is the inevitable comparison listeners were bound to make between “Willow” and Folklore lead single “Cardigan,” with the former’s Etsy-throw-pillow one-liners — “I come back stronger than a ’90s trend” being the main offender — paling in comparison to the gutting, masterful songwriting on the latter.
“Look What You Made Me Do”

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Album: Reputation
Year: 2017
Hot 100 Peak: No. 1 (three weeks)

Using snakes to hint what was coming, Swift insinuated that her newest single was going to involve some spite, and that’s exactly what we got with this hauntingly bitter, bass-thumping tune. If there had been any question that Swift may go back to her country roots, this is a pretty solid confirmation that the innocent, sparkly guitar-playing Swift isn’t making a return (she did declare that the old Taylor was dead, after all).
“Fortnight” (feat. Post Malone)

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Album: The Tortured Poets Department
Year: 2024
Hot 100 Peak: No. 1 (two weeks)

For a fortnight there, “Fortnight” topped the Hot 100 — and for good reason. The simmering, scornful track beautifully blends Swift’s vocals with Posty’s and builds up to a gorgeous melodic bridge that makes you want to hear it again and again, serving as the perfect first taste of Tortured Poets.

Plus, Swift’s gothic self-directed video for the project is one of her best, winning video of the year at the 2024 VMAs.
“The Fate of Ophelia”

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Album: The Life of a Showgirl
Year: 2025
Hot 100 Peak: No. 1 (TBD)

Any number of the songs on Showgirl could have easily served as the lead single, with Swift reuniting with Max Martin and Shellback to pack the album full of pop radio-ready bangers. But there’s something particularly magical about this ultra catchy and quotable love song describing the singer’s romance with Travis Kelce — especially considering the full-circle moment of it arriving nearly two decades after Swift first referenced Shakespeare in a lovey-dovey lead single.
“Tim McGraw”

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Album: Taylor Swift
Year: 2006
Hot 100 Peak: No. 40

For a girl who was just getting her start in the songwriting business (while her friends were busy doing high school homework), Swift’s lyricism and smooth vocals on “Tim McGraw” are highly impressive. Perhaps the only issue with it is that both her songwriting and singing have consistently improved throughout the subsequent 11 years.
“We Are Never Ever Getting Back Together”

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Album: Red
Year: 2012
Hot 100 Peak: No. 1 (three weeks)

Swift was technically still considered country at this point in her career, but her initial single from Red definitely pointed towards the eventual pop direction she’d take, adding a little more sass than she had ever brought before (like, ever). Most of her pre-Red breakup songs had a sense of despair and sadness, but there’s absolutely none of that in this farewell tune, which makes it all the more desirable to those who are looking for a way to tell their exes off for good — Swiftie or not.
“Mine”

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Album: Speak Now
Year: 2010
Hot 100 Peak: No. 3

Swift had shown that she’s a master at writing love songs with her first two albums, but the first single from her third album showed that she was nowhere near finished writing them — and getting better and better at it. “Mine” is as cute as they come, telling the tale of a couple who are taking on the world together, closing out the spirited chorus with a perfectly mushy-gushy love song line: “You are the best thing that’s ever been mine.”
“Cardigan”

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Album: Folklore
Year: 2020
Hot 100 Peak: No. 1

Aside from “Cardigan” being one of the most beautiful-sounding songs in Swift’s catalog, and aside from it also containing some her most moving songwriting to date, this track was the perfect choice to introduce people to the Folklore cinematic universe. It perfectly sets up the complex, nuanced love triangle between characters James, Betty and August/Augustine through some of the most haunting lyrics the singer has ever penned, including: “I knew everything when I was young/ I knew I’d curse you for the longest time/ Chasing shadows in the grocery line/ I knew you’d miss me once the thrill expired/ And you’d be standing in my front porch light.”
“Anti-Hero”

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Album: Midnights
Year: 2022
Hot 100 Peak: No. 1 (eight weeks)

For all intents and purposes, “Anti-Hero” should be the least relatable song on Swift’s discography. Not many people, for instance, can relate to the gargantuan responsibility of being globally famous, or to dreaming about one’s future daughter-in-law killing them for financial gain. But somehow, she made one of the most honest, self-effacing accounts of what it’s like to be the biggest pop star on the planet feel accessible to the general public — a feat that can be chalked up in part to her ability to infuse her clever sense of humor into hooks like “It’s me, hi, I’m the problem, it’s me.”
“Shake It Off”

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Album: 1989
Year: 2014
Hot 100 Peak: No. 1 (four weeks)

Ditching the banjos and country twang, Swift introduced her new pop sound with this sick beat – and a chorus that makes singing (and dancing) along unavoidable. While parts of Red showcased a bolder, almost more confident side to Swift, 1989 as a whole proved her to be practically invincible (especially after that album of the year Grammy). That’s immediately apparent from the moment the pounding bass begins in “Shake It Off” and is further solidified through the hater-dismissing lyrics. This is one of those gems that even those in the worst moods can’t help smiling and shaking along to.
“Love Story”

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Album: Fearless
Year: 2008
Hot 100 Peak: No. 4

If “sophomore slump” was even still a thing in 2008, Swift’s Fearless certainly didn’t fall into that curse, and she established that straight out of the gate with this Romeo-and-Juliet-tributing anthem. Starting out with an enchanting banjo, the track’s awe-inspiring series of building melodies (and sweet story line) make for quite the happy ending and belt-worthy finale. While it may not necessarily be her catchiest single to date, a then-teenage Swift crafted a song that made people of all ages want to find their own love story — in under four minutes — and that is the sign of true musical genius.

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24 Oct 2025

6ix9ine Claims He Owes the IRS $8 Million Because the Government Wanted to Make an ‘Example’ Out Of Him

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6ix9ine says that he didn’t know how to manage his money and now owes the U.S. government $8 million in unpaid taxes.

During a livestream with Deshhae Frost on Thursday (Oct. 23), the rainbow-haired rapper explained that his money troubles began once he got famous, and that no one showed him how to properly manage his funds.

“I was like, ‘Yo, Damn, all my tax-paying dollars is going to [the IRS],” 6ix9ine said. “You know, I did something that — I didn’t know how to manage my money. So my f—king — my accountant wasn’t writing nothing off. So I got into a problem with the IRS.”

He went on to say that he’s paid back $6 million and that he’s in the process of paying back the last $2 million. He also added that he felt slightly targeted, but that he’ll pay it back regardless.

“That’s $8 million going to a universe that we don’t even know where it’s going to,” he joked. “So at the end of the day, I just gotta be more smarter with my money. I’m 6ix9ine at the end of the day. The way they treat everybody else and the way they treat 6ix9ine, there’s different rules, different things. I think they want to make me an example,” he said. “That’s cool. As long as I’m with free and with my family, we gon’ pay these n—as their money. Get ’em all this money, we don’t know where it’s goin’ to. But we’re gonna do the right thing.”

6ix9ine has been deep in a press run recently, and making some controversial headlines in the process. In a separate interview on One Night with Steiny, 6ix9ine clowned his longtime foe Lil Tjay for being shot at a Chipotle in New Jersey back in 2022.

“…He almost lost his life for a burrito,” 6ix9ine said at one point. “You know that burrito bowl… So you got your rice and beans, then they slide your bowl and it goes to the meats. Then right before you get to the salad and the [guacamole] and whatever, n—as hit that n—a. I know that he’s banned from all Chipotles.”

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24 Oct 2025

Kenny Chesney & Dierks Bentley Will Bring Their Music to ‘College GameDay’ in Nashville

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On Saturday (Oct. 25), ESPN’s College GameDay will take place in Nashville, being held at Vanderbilt University’s FirstBank Stadium for the first time since 2008, and there will be a strong country presence when College GameDay visits Music City.

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Country artists Kenny Chesney and Dierks Bentley are both set to perform at Vanderbilt’s Wyatt Lawn, as College GameDay features a top 15 SEC face-off between the Missouri Tigers and Vanderbilt’s Commodores.

Nashville native and comedian Nate Bargatze will serve as the celebrity guest picker. Bargatze previously appeared on College GameDay in 2023 at the LSU vs. Alabama game, held in Tuscaloosa, Alabama.

This marks just the latest high-profile appearance from Chesney in Nashville, as the country singer was recently inducted as a member of the Country Music Hall of Fame on Oct. 19, alongside fellow 2025 inductees, producer Tony Brown and the late singer-songwriter June Carter Cash. Among those celebrating Chesney that evening were performers Megan Moroney, Kelsea Ballerini and Eric Church. Chesney just announced his new slate of 2026 summer shows at Sphere in Las Vegas, and next month will release the book Heart Life Music.

Earlier this year, Vanderbilt University graduate Bentley released his new album Broken Branches and was out on the road this year headlining his Broken Branches tour, featuring openers Zach Top and The Band Loula. His Broken Branches album featured collaborations with Stephen Wilson Jr. (“Cold Beer Can”) and Miranda Lambert (“Never You”), while the album’s title track was a collaboration with John Anderson and Riley Green.

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24 Oct 2025

Luke Combs Is ‘Back in the Saddle’ Atop Country Airplay Chart For 19th No. 1 Hit

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Luke Combs earns his 19th No. 1 on Billboard’s Country Airplay chart as “Back in the Saddle” gallops three spots on the ranking dated Nov. 1, up 23% to 30.8 million audience impressions Oct. 17-23, according to Luminate.

The single is expected to appear on Combs’ sixth studio album, due in early 2026. His latest leader extends one of the most consistent radio runs in recent history – dating to his first week at No. 1 in May 2017, with “Hurricane” he and Morgan Wallen are tied for the most Country Airplay leaders.

“Back in the Saddle” is also Combs’ 18th Country Airplay No. 1 as a co-writer and eighth as a co-producer. (His only leader as a recording artist that he didn’t write: his 2023 cover of Tracy Chapman’s “Fast Car.”)

Combs’ strategic social media teasers have helped power the success of “Back in the Saddle,” from pre-release cryptic clips featuring NASCAR icons Dale Earnhardt Jr. and Richard Petty to an acoustic preview that quickly went viral with fans. The rollout built steady anticipation and framed the song as a crowd-pleaser before it ever hit radio. Its official video added to the momentum with behind-the-scenes footage further spotlighting the NASCAR tie-in.

Beyond Combs’ 19 Country Airplay No. 1s, he’s logged six on Billboard’s multimetric Hot Country Songs chart, four on Country Streaming Songs and 11 on Country Digital Song Sales.

New Top 10s for McCollum, Parmalee

Both Parker McCollum and Parmalee break into the Country Airplay top 10. McCollum’s “What Kinda Man” rises 11-8 with 17.1 million audience impressions (up 8%), marking his fifth appearance in that range. The Conroe, Texas, native has earned three No. 1s.

Plus, Parmalee’s “Cowgirl” climbs 12-10 (17 million, up 9%). The four-man band collects its eighth top 10, a run that includes four No. 1s dating to its first, “Carolina,” in 2013. All five of the group’s Country Airplay entries this decade have hit the top 10.

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24 Oct 2025

Here’s Why Guns N’ Roses Won’t Be Playing The Sphere, According to Slash

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While other legendary rock bands have performed at the Las Vegas Sphere, Slash revealed that Guns N’ Roses apparently has no plans to take over the venue.

During an interview with Sirius XM’s Trunk Nation on Thursday (Oct. 23), Slash admitted he was worrisome that the venue might not be rock & roll friendly.

“I haven’t been [to the Sphere] yet, but just everything that I’ve seen, or most everything that I’ve seen of it, looks amazing,” Slash said. “I’m real trepidatious about playing there, because… It’s a great visual show. I think that in almost every case for a band, it becomes a visual show as opposed to seeing a rock n’ roll show. So there’s that.”

The Eagles are currently in the middle of their ongoing residency at the Sphere, and Slash shared that he had spoken with his fellow rockers about what it’s like to perform there.

Joe Walsh told him, “It’s not really sort of rock ‘n’ roll friendly, the way that it’s set up. So it’s just one of those things where it seems like a really cool thing, and conceptually there’s probably a lot of cool things that you could do, but I don’t think it would be the right environment for a proper rock n’ roll show.”

Slash also commented on Metallica, who are reportedly in talks to perform at the venue. Slash said he could picture them making it work, adding, “I’d be interested to see that too. I could see them doing it… You have to prepare your mind to put on not just a band performance, but 50 percent of what you’re doing is going to be the projection, or whatever you call that — the outer wall, what you’re putting on as content.”

Despite his apprehensions, Slash hinted that “maybe down the road” Guns N’ Roses might consider playing at the Sphere.

Meanwhile, the venue most recently announced that the reunited No Doubt will be the next band to fill up the Las Vegas venue, with the rock group scheduled for 12 shows next May.

24 Oct 2025

‘Say It and Worry About the Consequences Later’: Evan Dando Talks Writing His Memoir

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Evan Dando is squeezing a lot of work out of himself and his band the Lemonheads these days.

On Friday (Oct. 24), the group releases Love Chant, its first album of new material in 19 years. It follows the publication earlier this month of Dando’s Rumors of My Demise: A Memoir, and he reports he’s already at work on two more albums, a collection of Townes Van Zandt songs as well as the next Lemonheads set.

“I want to just keep working as much as possible ’cause we had such an extended stay away from doing anything — so why not do lots of things now?” Dando tells Billboard via Zoom from Nashville, where he’s recording the Van Zandt album. “I go through phases and stages — circles and cycles, as Willie Nelson would say. It’s a great feeling,” he continues, touching up a small painting during the discussion. “I have the urge to create like never before.”

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Though they’re out during the same month, Dando resists tying the memoir and the album too closely together. Love Chant’s personal (and at times autobiographical) lyrics, he says, “are what I always do,” so he feels the two projects “put the whole story in perspective a bit, but more in a general way.” Nevertheless, Dando continues, “I always dreamt of a time when I’d be putting out, like, two or three things all at once. I remember when Johnny Cash did that, three things at once or something, I thought, ‘yeah, that’s a way to go,’ especially when you’re a little bit older. Why not do a bunch of things at once. That’s really smart.”

Dando, who now resides in Brazil, says Love Chant — produced by Apollo Nove (Bebel Gilberto, Rita Lee, Seu Jorge) at A9 Audio in Sao Paulo — was drawn from a cache of more than 30 songs written during the years since the Lemonheads’ self-titled 2006 album. The Lou Reed-esque “The Key of Victory,” for instance, came from a groove on a tape Dando found of himself playing it for nearly 45 minutes. The buoyant “Cell Phone Blues,” meanwhile, has also been around for a number of years and is described by Dando as “one of those songs that was like a dare — ‘I dare you to put that one out!,’ and it wound up through various things we did in the studio, good enough to make it.” “Roky,” meanwhile, is a homage to the late psychedelic rock hero Roky Erickson that came from a sound check jam after Dando and the Lemonheads learned about Erickson’s death on May 31, 2019.

“I am especially proud of this record. We’ve never had so much fun making a record,” he says.

Ultimately, Dando hopes, “we’ll get a trio (of albums) out of this. I like to work in two- or three-record phases, like the (Rolling) Stones did when they went from Let It Bleed to Beggars Banquet to Sticky Fingers. (Love Chant)’s kind of like my Some Girls; that was their redemption, ’cause that record was so good, and this is the same way ’cause I think we got a bunch of records out of the one session, just like they did.”

As Love Chant comes out, Dando is still promoting Rumors of My Demise, a frank and illuminating account of his eventful life co-written with Jim Ruland. Dando pulled few punches. He addresses his upbringing, the impact of his parents’ divorce, his fascination with Charles Manson, sleepwalking issues, his struggles with pop stardom (and being a particularly good-looking pop star) after the Lemonheads hit it big during the early ‘90s, his battles with the music business and his well-documented drug use and the trainwrecks that caused in his life and career.

The book also delves into his creative process as well as Dando’s Forrest Gump-like relationships with assorted celebrities (Johnny Depp, Kate Moss, Milla Jovovich, Elizabeth Moses and others) and a non-relationship with Courtney Love, despite, Dando writes, her attempts otherwise. Dando was particularly dismayed that onetime Nirvana member Pat Smear, a friend, told him that Kurt Cobain believed Dando and Love had an affair; “‘Oh God,’ I thought, ‘Kurt Cobain went to his death thinking I’d slept with Courtney.’ I wanted to be honest and talk about whatever,” Dando says. “I have a difficult time shutting my mouth, anyway, so the book — why any different? I guess I was always, in the back of my mind, ‘No, don’t hold back. Just say it and worry about the consequences later, and we’ll see what happens.’”

Dando — who married video director Antonia Teixeira last year — has given up hard drugs such as heroin and crack but still imbibes in the occasional marijuana, LSD and mushrooms. “I don’t know if being completely sober is something I ever want to be,” he confesses in Rumors of My Demise — the title a reference to the many rumors about Dando’s death that have surfaced over the years. Despite all the sordid experiences, however, he came away from the book feeling like “the story’s not over yet, which is nice.” And even in his worst years, he adds, he was confident that would be the case.

“In the back of my mind I was always, like, ‘I’m gonna get through this somehow,’” Dando says. “I had a feeling about it, and it did happen. I’ve been lucky that I generally get a lot of good will from people, people doing nice things for me. But I was literally underneath this tsunami of death, fate or whatever, and skipped out of the way just in time. But I knew in my heart, ‘I’m gonna get out of this situation,’ and I did.”

Among his conclusions, Dando claims he’s “not famous anymore” and writes about coming to terms with what he calls the “elder-statesman era” of the Lemonheads.” While he feels he’s “turned into the grunge relic I was always afraid I’d become,” he is unconditional about his gratitude for being able to make music his life’s work — then, and now. “We’ve been around so long that it’s almost like a grudging respect — like the ugly building or the old hooker that just won’t go away, so people have to deal with it,” Dando says. “I love that. It’s a very human quality, this dogged refusal to give up.”

Dando is now jonesing to write more. “I’d like to write a ‘real’ book about something besides myself,” he says — if not fiction than a proposed “field guide to soft drinks” or other music topics. “I called up (the publisher) once, last minute, and was like, ‘Could we change the whole thing? Can I just write about other bands?’ and they were like, ‘Uh…no,’” he recalls with a laugh. “But I wanted to be a writer since I was a teenager, so I hope there’s more.”

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