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The Doors will turn 60 next year — something drummer John Densmore says the kids who formed the legendary rock group in Los Angeles could never have imagined.
“When I was a kid, 60 years old seemed like, ‘Well, you’ll be dead any minute,’” Densmore tells Billboard with a laugh. “And here we are.”
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The group’s 60th anniversary celebration is upon us, too — starting next month with some key archival releases. Arriving Nov. 22 via Rhino’s High Fidelity audiophile vinyl series is The Doors 1967-1971, a limited edition (3,000 copies) six-LP set that houses the six studio albums the band released during late frontman Jim Morrison’s lifetime. A week later, for Record Store Black Friday, Rhino will release a four-disc remastered vinyl edition of Live in Detroit, taken from a May 8, 1970, concert at the city’s famed Cobo Arena. The 25-song set is the longest concert the Doors ever performed, according to band manager Jeff Jampol of JAM Inc.
Following those, in early 2025, will be Night Divides the Day, a 344-page book from Britain’s Genesis Publications that includes new interviews with Densmore and guitarist Robby Krieger, archival material from Morrison and the late keyboardist Ray Manzarek, commentary from other colleagues, friends and admirers, a treasure trove of photos, a foreword by Nirvana bassist Krist Novoselic and an afterward by conductor and composer Gustavo Dudamel (a recent Billboard cover subject). The 2,000 numbered box sets will be signed by Krieger and Densmore and come with rare demo recordings of “Hello, I Love You” and “Moonlight Drive” on a 7-inch vinyl disc. It’s available for pre-order here.
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These are just the beginning of the Doors’ 60th festivities, according to Jampol. “Here we are 60 years later talking about them, and they’re just as relevant and the music is more relevant than ever, and the message,” Jampol, who also represents the Morrison estate, tells Billboard. “I want to preserve it because I think it’s relevant for new generations. We’re trying to do two things here. We want to do interesting things and fun things for Doors fans, who are great ’cause they’ve always been here with us and they’ll support whatever it is we’re doing, and they’re excellent passers-on of the baton. Then we also want to expose the Doors to people who are not as familiar…this group of potential new fans, which is thousands of times larger. So we’re trying to serve those two distinct fan bases.”
Jampol is confident that either constituency will be impressed by the remastered sound quality of the upcoming vinyl releases, while the book, he adds, is “a thing of beauty” that came in the wake of The Collected Works of Jim Morrison, another Genesis project that came out during 2021. “We started working on this three years ago,” Jampol says, promising that, “there’s some stuff in that book no one’s talked about, photos I’ve never seen.”
Densmore, meanwhile, was particularly flattered by Dudamel’s glowing assessment of the Doors’ creativity in his afterward.
“He talks about my rhythms and said, ‘Oh, a few hundred years down the road the Doors will be remembered like Beethoven and Mozart,’” Densmore says. “I’m like, ‘Holy sh-t! I feel a whole lot of helium rising up in my skull now.’”
Densmore himself has written a couple of books about the Doors — a memoir and another focused on his legal issues with Krieger and Manzarek after they began playing together again during the early 2000s — while Krieger has also published an autobiography. Both are clear about why interest remains so high in the Doors 52 years after its last album of original material.
“When you get right down to it, it’s the songs. We had great songs,” Krieger told Billboard a couple of years ago. “A lot of kids come up to me, like 10-year-old kids, ‘Yeah, I love the doors. You guys are amazing.’ I don’t think they even know about the Jim Morrison myths and all that as much as they love the music. And I think that’s what is gonna carry it for the next 50 years, or more.”
“I hoped we would last 10 years and pay the rent: ‘That’d be cool,’” Densmore says with a laugh. “I knew the ingredients were unique. It was a wonderful, blessed few years. And that we’re still talking about it? Come on, man!”
Other 60th anniversary plans for 2025 are still being finalized, including museum exhibitions and art installations and possibly additional archival releases. Densmore — who played with Krieger during February of 2016 in Los Angeles for a Stand Up to Cancer benefit on what would have been Manzarek’s 77th birthday — says he’d also like to see some sort of performance be part of the celebration.
“The Doors 60th at the Hollywood Bowl would be quite wonderful,” Densmore says of the venue where the group recorded and filmed a concert during July 1968 (and returned in 1972, after Morrison’s death in 1971). “Willie Nelson did his 90th birthday at the Bowl, so it’d be wonderful to have something like that — me and Robby would play a little bit here and there, and there’d hopefully be lots of wonderful artists that would show up for that. I’d love to see something like that happen.”
Charli XCX told us that in order to properly embrace “Brat Summer” you need to be a little chaotic and “trashy.” But between dropping her Brat album in June, then cueing up the all-star deluxe edition, Brat and it’s completely different but also still brat version (due out on Oct. 11), co-executive producing the soundtrack for the movie Mother Mary and launching her Sweat Tour with Troy Sivan on Sept. 14, the 32-year old singer/songwriter has been anything but messy so far this year.
In fact, she’s been super productive and totally focused. Case in point: did you know that Charli filmed her debut movie role in director Pete Oh’s upcoming drama ERUPCJA? According to Variety, Charlie popped over to Poland for a few weeks in August to film her co-starring role in the drama that also features playwright/actor Jeremy O. Harris (Slave Play) and Lena Góra (Imago). The film reportedly explores the volatile relationship between two women — the title is the Polish word for “eruption” — Góra and XCX (whose character is named Bethany) on the latter’s visit to Warsaw.
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How is it possible to film a whole movie that co-stars the singer whose whole aesthetic was copped by Vice President Kamala Harris’ presidential campaign? It kind of isn’t, according to director Ohs. “[Charli] definitely got recognized a bunch of times,” Ohs said. “She was always really sweet. She took selfies with many a Polish fan.”
Co-star Harris said those photos are how their “secret project” got leaked. “I had a gut feeling that our plan to keep it low key was going to be difficult,” he said. “And that was affirmed the first night I went out in Poland. We were staying at the Nobu Hotel, and that’s close to the queer section, so I walked over to a gay bar, and there was a sign advertising a ‘Brat’ party.”
Harris said when the production moved to a nightclub to film a scene it was “almost impossible” to get it done because of the buzz about the “365” singer. “Every single person in the club was like, ‘Oh my god, Charli XCX is here to do a secret performance.’ And it was like, ‘She is, but not the one you think,’” he said. “We were shooting the same week Obama put her on his playlist as well, which is hilarious.”
Ohs also explained how he roped the pop star into one of his signature seat-of-your-pants productions, which are shot in order and written as they go along, with dialogue often conjured the day before, or morning of, filming. Before Charli dropped Brat in May, she bumped into Ohs and Harris — who had previously worked together on the HBO doc Slave Play. Not a Movie. A Play – at a bar in New York’s Lower East Side at 3 a.m., where Harris introduced her to Ohs.
After Harris described Ohs’ unique filmmaking process to Charli, the director said she responded, “‘I want to do one,’” to which he replied, “‘What are you doing in August? Want to come to Warsaw?”
Charli then reportedly DM’d Ohs the next day and said she was in. “The way he talked about making his films felt akin to making an album and the chance meeting also felt equivalent to the conversational and spontaneous nature of his film making,” Charli emailed Variety about working with Ohs. “Our processes felt linked in some kind of way and it felt right and exciting to pursue some kind of collaboration.”
Those pre-production chats also reportedly included Charli’s suggestion that she play against her brash, unapologetic persona. “She was like, ‘I think it should be completely not me. I feel like I could play super shy,’” Ohs said. “So we’re talking like, Charli XCX is completely unrecognizable as Bethany.”
Ohs added that, “Charli is an excellent actress. She is a performer. She understands what it’s like to have a camera pointed at her. She understands how to convey things through all the different ways in which we communicate, whether it’s with body language or your voice or your facial expressions. She had a scene where she cried, without being asked – she could deliver all the goods. She’s a legit actress. I am proud of us for making a movie this way during Brat summer.”
According to Variety, the film is the first in an upcoming string of big screen roles for Charli, which will also include Greg Araki’s erotic thriller “I Want Your Sex” with Olivia Wilde and Cooper Hoffman, a remake of 1978’s documentary-style horror film Faces of Death, as well as Julia Jackman’s graphic novel adaptation 100 Nights of Hero. She is also producing original music for the Amazon comedy series Overcompensating.
The Brat remix album due out on Friday will have reimagined tracks featuring Robyn and Yung Lean, Ariana Grande, the 1975, Troye Sivan, Addison Rae, Lorde, Tinashe, Bon Iver and Billie Eilish, among others.
Andrea Bocelli has touched hearts worldwide with his smooth tenor voice for 30 years, and the Italian superstar is commemorating the anniversary with a new concert film.
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Andrea Bocelli 30: The Celebration will be arriving in theaters on November 8, Mercury Studios and Fathom announced on Tuesday (Oct. 8). The film chronicles 66-year-old Bocelli’s three-day July concert event at the Teatro del Silenzio (Theater of Silence) in Lajatico, a natural amphitheater in Bocelli’s Tuscany hometown. The concert featured a number of tracks from Bocelli’s genre-spanning repertoire, as well as captivating star-studded duets with Ed Sheeran, Shania Twain, Jon Batiste, Brian May, Sofia Vergara, David Foster & Katharine McPhee, Matteo Bocelli, Sofia Carson, Lauren Daigle, Eros Ramazzotti and more.
“The first time I had the idea to celebrate Andrea’s 30th anniversary, I shared it with him and Veronica, and they immediately embraced and supported the vision,” Bocelli’s manager, Francesco Pasquero, said in a press statement. “From that moment, two years of non-stop work followed to turn this dream into reality. The support from the entire team, with Almud and Maverick playing pivotal roles, and powered by Mercury, Impact, and CitySound, was instrumental in bringing this project to life. We created an event that will go down in the history of classical, pop, and crossover music, as nothing like this had ever been achieved before, with such a grand stage and world-class artists from all over the globe. When we saw the final cast come on stage, we were truly amazed by the result— we couldn’t have dreamed of anything better. The incredible direction by Sam Wrench, the artistic vision of Francisco Negrin, and the stage design by Stufish elevated the show to extraordinary levels. I’m deeply honored to have been part of this career-defining moment for Maestro Bocelli.”
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Emmy Award winner Sam Wrench directed the film, and has previously worked on major concert films like Taylor Swift: The Eras Tour and Billie Eilish: Live at The O2. “The lessons I’ve learned from all the concert films I’ve made is always just to trust the music and trust the artists,” he tells Billboard. “Lean into what they’re showing and what they’re putting on, and that will always deliver the best and the most authentic film. That’s always what we’re trying to do, bring that live experience of the evening to to the cinema.”
He added of Bocelli, “I was so excited to celebrate him as an all-arounder, and to really capture the breadth of what he can do on film. To see someone’s artistry and that his voice never, never shows any hint of failure is incredible.”
Ray Nutt, CEO of Fathom Events, mirrored the sentiment. “This concert was so breathtaking in person that we can’t wait to present it to fans worldwide,” he shared in a statement. “The music and pageantry of this amazing event will be even more remarkable on the big screen, and we are beyond proud to be bringing it to theaters around the world so that fans of Maestro Bocelli – and all of the other special guest artists – can see and experience it!”
Andrea Bocelli 30: The Celebration isn’t the only exciting project the vocalist has in store. The 30th anniversary celebration continues with an album, Duets, which will arrive on Oct. 25 via Decca Records/Sugar Music. The 32-track collection includes previously released collaborations with Ed Sheeran, Céline Dion, Dua Lipa, Jennifer Lopez, and Luciano Pavarotti and more, as well as new duets with Shania Twain, Chris Stapleton, Gwen Stefani, Marc Anthony, Karol G, Hans Zimmer and his son, Matteo Bocelli.
Tickets for Andrea Bocelli 30: The Celebration are available to purchase here. Ahead of the film’s release, check out a preview of Bocelli’s breathtaking rendition of “Nessun Dorma” from Giacomo Puccini’s opera Turandot here.
What is it with these former Cowboys quarterbacks? Last year it was Tony Romo erroneously referring to Taylor Swift as Travis Kelce‘s “wife” while calling Kansas City Chiefs games — she is not married to the tight end she’s been dating for a year. Then, on Monday night (Oct. 7) another former Cowboys QB, Troy Aikman, referred to Swift as “the Mrs.” when the camera cut to the 34-year-old star after a second-quarter play by Kelce.
“The Mrs. likes it,” Aikman said as the camera flashed on Swift’s celebration in an Arrowhead Stadium VIP suite, where she was joined by her dad, Scott Swift (as well as Travi’s dad, Ed Kelce). His broadcast mate, Joe Buck, quickly corrected the error, saying, “You know they’re not married?”
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“Oh, I know,” Aikman replied. “I’m sure I’m in trouble for saying that.”
After skipping two games, Swift was back in the suite on Monday night in a plaid dress paired with knee-high boots and glitter freckles. Whether is was celebrating his 35th birthday over the weekend, or having Swift back in the house, Kelce seemed energized during the 26-13 win over the New Orleans Saints, putting up his second best stats of a so-far lackluster season with nine catches for 70 yards to help the Chiefs go to 5-0.
Travis wasn’t the only one glad to have Taylor back on Monday. His older brother, retired NFL legend Jason Kelce, took a moment out of his commentary during the pre-game to acknowledge Swift’s fashionable arrival at Arrowhead. “Hey, look at that now… that looks good,” Jason Kelce said as the camera cut to the singer making her entrance.
Swift celebrated the Chiefs’ fifth straight win to start the season — they are one of two undefeated teams so far this season — by taking a picture in the VIP suite with Chariah Gordon, fiancée of Chiefs wide receiver Mecole Hardman Jr. According to People, Gordon asked Swift “How do you feel after this win?” while the pair were standing in front of a framed poster from Taylor’s Eras Tour.
Noticing her picture on the wall behind them, Swift joked, “Sorry for photobombing myself.” Swift is gearing up to go back on the road on Oct. 18 with the first of three gigs at Hard Rock Stadium in Miami.
It seems everything Shed Seven touches turns to Liquid Gold, with the rockers scoring their second No. 1 album of 2024 on the U.K. Official Album Charts.
Their latest project, Liquid Gold, follows their first-ever chart-topper A Matter of Time back in January, putting them in some seriously elite company. They now stand shoulder-to-shoulder with legends like The Beatles, Queen, Elton John, Diana Ross, Taylor Swift, Ed Sheeran, and ABBA—artists who’ve managed to land two U.K. No. 1 albums in a single year.
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“Can’t quite really believe that we’re standing here once again this year, but this is our second No. 1 of 2024, which is absolutely mind-blowing,” Shed Seven told the Official Charts Company.
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“We would like to thank our amazing label, Cooking Vinyl, all our crew, and most of all, all the fans who’ve been getting out there this week and getting behind us. We’re immensely proud, and we can’t wait to get out on tour and celebrate what an amazing year we’ve had.”
“We’d like to dedicate this to our departed loved ones; our four Dads and Max’s Mum. Thank you”
Just behind Shed Seven, Bring Me The Horizon jumped to No. 2 with POST HUMAN: NeX GEn, thanks to its physical release. The album previously peaked at No. 5 back in June and has now marked the group’s fifth Top 10 album.
Meanwhile, North-West London rapper Nines hit No. 4 with his sixth and final album Quit While You’re Ahead, while Ed Sheeran’s +–=÷× (Tour Collection) secured the No. 5 spot, making this Ed’s eighth Top 10 album.
In a big moment for jazz, Ezra Collective broke into the Top 10 for the first time with Dance, No One’s Watching, debuting at No. 7. The last time jazz had such a big moment in the U.K. Top 10 was Chris Kamara’s Here’s To Christmas in 2019. Ezra Collective previously earned Top 40 success with their Mercury Prize-winning Where I’m Meant To Be in 2022, but this leap to the Top 10 marks a game-changer for the genre.
Elsewhere, Manchester’s Pale Waves made waves of their own with their fourth studio album Smitten, landing at No. 13, while indie veterans Maximo Park claimed No. 21 with Stream of Life, keeping their streak of Top 40 albums intact.
And in a surprise surge, Benson Boone’s Fireworks & Rollerblades shot back into the Top 40, climbing 20 spots to land at No. 37 in what was a week full of chart shakeups and big wins across the board.
Oasis has extended their highly anticipated Live 25 reunion tour to Australia, marking their first shows in the country since the band’s split in 2009.
As confirmed by Rolling Stone AU/NZ last week, the Britpop legends have announced two stadium dates, with a performance at Melbourne’s Marvel Stadium on Friday, Oct. 31, followed by a show at Sydney’s Accor Stadium on Friday, Nov. 7.
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“People of the land down under. You better run – you better take cover… We are coming. You are most welcome. Oasis will tour Australia in 2025!” a message posted to Oasis’ X (formerly Twitter) account on Oct. 8 read.
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‘People of the land down under.“You better run-you better take cover…”We are coming.You are most welcome.’Oasis will tour Australia in 2025! 🇦🇺Register for the Australian ticket pre-sale private ballot: https://t.co/lms10x64eUThe pre-sale will take place on Monday 14th… pic.twitter.com/WCpRa8pNRF— Oasis (@oasis) October 7, 2024
The band’s return to Australia comes after a string of sold-out dates across Europe and the U.S., reflecting the huge demand for Oasis nearly 25 years after their debut. U.S. dates include a stop at Madison Square Garden in New York on June 14 and a show at SoFi Stadium in Los Angeles on June 21.
As part of the reunion tour, fans can expect to hear hits from the band’s extensive catalog, including tracks like “Wonderwall,” “Champagne Supernova,” and “Don’t Look Back in Anger,” which saw Oasis emerge as one of the most influential rock bands of the ’90s.
Oasis’ impact in Australia has been major. Their second album, (What’s the Story) Morning Glory?, spent four weeks at No. 1 on the ARIA Albums Chart and is certified eight times platinum. The single “Wonderwall” was also voted the No. 1 song in triple j’s “Hottest 100” for 1995.
Pre-sale tickets for the Australian leg of the tour will be available starting Wednesday, Oct. 9, with general sale beginning on Tuesday, Oct. 15.
The Gallaghers will kick off the North American leg of their tour with two shows at Toronto’s Rogers Stadium on Aug. 24 and 25, followed by a performance at Chicago’s Soldier Field on August 28.
They’ll then head to New Jersey for two nights at MetLife Stadium on August 31 and Sept. 1, before wrapping up the U.S. run with two shows at the Rose Bowl in Los Angeles on Sept. 6 and 7. The band will also make a stop in Mexico City on Sept. 12. These are Oasis’ first North American shows in over 16 years.
The last time Oasis played the U.S. in 2008 on the Dig Out Your Soul tour they performed in 10,000-20,000 capacity arenas. The stadiums on their upcoming North American swing will accommodate between 45,000-80,000+ fans.
Oasis 2025 Australia Tour Dates:
Friday, Oct. 31 – Marvel Stadium, Melbourne, VIC
Friday, Nov. 7 – Accor Stadium, Sydney, NSW
Sabrina Carpenter has continued her unstoppable reign on the U.K. Official Singles Chart with her hit “Taste,” which remains at No. 1 for a sixth consecutive week.
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Over the past seven days, the track has garnered 6.2 million streams, keeping it comfortably ahead of Chappell Roan’s “Good Luck Babe” at No. 2. Despite its relentless push for the top spot, “Good Luck Babe” still hasn’t managed to surpass Sabrina’s impressive run.
The Weeknd and Playboi Carti have also made their mark with their collaboration “Timeless,” from The Weeknd’s upcoming sixth album Hurry Up, Tomorrow, debuting at No. 7 on the chart. This marks The Weeknd’s 17th Top 10 hit in the U.K., while for Playboi Carti, it’s his second.
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Meanwhile, Billie Eilish’s “Wildflower” has been steadily climbing the chart and has now broken into the Top 20 for the first time, landing bang on No. 20.
Billie is no stranger to chart-topping success, having previously reached No. 2 with her 2019 smash hit “Bad Guy.” With “Wildflower” continuing to gain momentum, it could mean Billie may be heading for another chart milestone.
In another impressive leap, Linkin Park’s “Heavy Is The Crown” skyrocketed 48 places this week to No. 18, marking the band’s 20th U.K. Top 40 single. It’s clear that even after years in the game and a new vocalist, their fanbase remains as dedicated as ever, proving their staying power in a constantly evolving music landscape.
Addison Rae also continues to rise, as her song “Diet Pepsi” moved up 15 spots to No. 22. This marks her first time breaking into the U.K. Top 40, marking a major achievement for the emerging pop star.
Rounding out the chart’s newcomers is London MC Nines, who enters the Top 40 at No. 39 with “Going Crazy,” following the release of his final album. His latest effort has garnered enough attention to secure his seventh U.K. Top 40 single.
Additionally, Noah Kahan’s “Stick Season,” named the biggest song of the year so far in the U.K., has made a return to the Top 40, landing at No. 40. The track’s ability to rebound into the chart after slipping out showcases its enduring popularity and appeal across various audiences.
Stay tuned to see what tracks make movements on the U.K. Official Charts this week.
Nell Smith, the young Canadian singer-songwriter who captured the hearts of many with her collaboration with The Flaming Lips, has died at just 17 years old.
Her death on Oct. 5 was confirmed by her family in a statement on Instagram, saying, “It pains us so much to say that our feisty, talented, unique, beautiful daughter was cruelly taken from us on Saturday night.”
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“We are reeling from the news and don’t know what to do or say,” they continued. “She had so much more to experience and to give this world but we are grateful that she got to experience so very much in her 17 years. She has left an indelible mark on the word and an unfillable chasm in our hearts.”
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“Hold your kids extra tight tonight and for now please leave us to work through things. We will shout when we need you. Jude, Rachel, Jed and Ike.”
During a Flaming Lips concert on Oct. 6, frontman Wayne Coyne shared the sad news with fans, explaining that Nell had been in a car accident.
Before playing “Everything Has Changed,” Coyne said: “We have a very sad announcement to make tonight. We have a Canadian friend, her name is Nell. We recorded an amazing album with her three years ago, an album full of songs by Nick Cave. We have some very sad messages today – she was killed in a car accident last night.”
“We are reminded once again of the power of music and how encouraging it can be to be around people that you love.”
Nell was preparing for the release of her debut solo album in 2025, which had already garnered support through a successful Kickstarter campaign.
Bella Union’s Simon Raymonde, the head of her label, shared his grief on Instagram: “We are all shocked and devastated to hear of the sudden and tragic passing of our artist and dear friend Nell Smith … While we all try and come to terms with the awful news, and out of respect to Nell’s grieving family, we are unable to make any further comments at this time.”
Nell’s relationship with The Flaming Lips was nothing short of extraordinary. The connection began in 2018 when Nell, then just 12, attended one of their shows dressed in a parrot costume, catching the attention of Coyne.
The moment sparked an ongoing friendship between Nell, Coyne, and her family. Coyne encouraged Nell as she began learning to play guitar, and their collaboration truly took off during the pandemic.
When their plans to record together were derailed by COVID-19, Coyne suggested an ambitious project: Nell would record covers of Nick Cave songs, despite not knowing much about Cave’s work.
The result was Where the Viaduct Looms, a 2021 album featuring Nell’s haunting renditions of Cave’s songs, backed by The Flaming Lips. Coyne remarked at the time, “It is always great to meet excited, young creative people. With Nell, we could see she is on a journey and thought it would be fun to join her for a while and see if we could get things going.”
Nick Cave himself praised Nell’s work, particularly her cover of “Girl in Amber,” writing on The Red Hand Files in 2021, “This version of ‘Girl in Amber’ is just lovely, I was going to say Nell Smith inhabits the song, but that’s wrong, rather she vacates the song, in a way that I could never do.”
“I always found it difficult to step away from this particular song and sing it with its necessary remove, just got so twisted up in the words, I guess.”
“Nell shows a remarkable understanding of the song, a sense of dispassion that is both beautiful and chilling. I just love it. I’m a fan.”
Nell Smith’s journey in music may have been brief, but it was filled with creativity, passion, and a bold spirit. Her collaborations with The Flaming Lips and her unique interpretations of Nick Cave’s work made her a force to be reckoned with in the indie music scene.
Smith’s passing comes during another heartbreaking moment for The Flaming Lips family. The band’s instrumentalist, Steven Drozd, is currently dealing with the disappearance of his 16-year-old daughter, Charlotte “Bowie” Drozd.
Both Drozd himself and frontman Coyne took to their social media pages on Monday (Oct. 7) to share a missing person poster of 16-year-old Charlotte “Bowie” Drozd, who has been missing since around 11:30 a.m. on Saturday. According to the posts, Bowie was last seen on the monorail in Seattle, Washington, near the Space Needle.
Anyone with information is encouraged to contact the Seattle Police Department at 206-625-5011 or call Bowie’s mother, Becky.
Listen to “Into My Arms” by Nell & The Flaming Lips below:
Lady Gaga scores her third No. 1 on Billboard’s Jazz Albums and Traditional Jazz Albums charts, as Harlequin debuts atop both tallies (dated Oct. 12). The companion set to her film Joker: Folie à Deux, earned 25,000 equivalent album units in the U.S. in the week ending Oct. 3, according to Luminate. Of that sum, 16,000 are traditional album sales.
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Gaga previously topped both rankings with her collaborative albums with Tony Bennett: Love for Sale (in 2021) and Cheek to Cheek (2014).
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Harlequin earns the biggest debut week, by units earned, for any jazz album, or traditional jazz album, since Love for Sale earned 41,000 units in its opening week (Oct. 16, 2021-dated charts).
Equivalent album 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. All Oct. 12, 2024-dated charts will be posted in full on Billboard‘s website on Tuesday, Oct. 8. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Harlequin’s first-week units, streaming equivalent album-units comprise nearly 9,000 – equaling 11.34 million official on-demand streams of the album’s songs. The latter figure marks the biggest debut streaming week for a jazz album in over a year, since Laufey’s Bewitched bowed with 22.36 million clicks (Sept. 23, 2023-dated chart).
Harlequin also debuts at No. 20 on the overall Billboard 200 and No. 3 on both Vinyl Albums and Top Album Sales.
Jazz Albums and Traditional Jazz Albums rank the week’s most popular jazz and traditional jazz albums, respectively, by equivalent album units earned. The Billboard 200 ranks the week’s most popular albums across all genres, by units. Vinyl Albums and Top Album Sales tally the week’s top-selling vinyl albums, and overall albums, by traditional album sales.
Also on Top Album Sales, Billy Strings’ Highway Prayer debuts at No. 1 with 19,000 sold in its first week – the act’s biggest sales week ever. It’s also the first No. 1 for the artist. Chappell Roan’s The Rise and Fall of a Midwest Princess slips one spot to No. 2 (18,000; down 67%), Sabrina Carpenter’s Short n’ Sweet is steady at No. 4 (14,000; down 3%), Katy Perry’s 143 falls 2-5 (9,000; down 77%), Luke Bryan’s Mind of a Country Boy bows at No. 6 (nearly 8,000), Taylor Swift’s chart-topping Folklore vaults 33-7 (7,500; up 153% after a stock replenishment of its CD at retail), Stray Kids’ former leader ATE is a non-mover at No. 8 (7,000; down 6%), P1Harmony’s Sad Song falls 3-9 (6,000; down 77%) and Billie Eilish’s Hit Me Hard and Soft climbs 15-10 (nearly 6,000; up 8%).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units.
Forget the red carpet. Taylor Swift‘s new runway is the red-walled tunnels of Arrowhead Stadium. On Monday night (Oct. 7), Swift made a fashionable entrance to watch Travis Kelce‘s Kansas City Chiefs take on the New Orleans Saints for Monday Night Football, pairing a plaid, off-the-shoulder minidress with black knee-high platform boots. But the most […]