Music

Post Malone & Morgan Wallen Hold Atop Billboard Hot 100, Billie Eilish Debuts in Top Five

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, spends a second week at No. 1 on the Billboard Hot 100 songs chart. The song soared in at the summit a week earlier, becoming Post Malone’s sixth leader and Wallen’s second.

Notably, while “I Had Some Help” is the 27th hit to have topped both the Hot 100 and the Hot Country Songs chart, which shares the former’s multimetric methodology, it’s just the second to have debuted atop both tallies and logged its first two weeks on each at No. 1. It joins Oliver Anthony Music’s “Rich Men North of Richmond,” which led in its first two weeks on each list last August-September.

Meanwhile, Billie Eilish bounds onto the Hot 100 at No. 5 with “Lunch.” The song is her sixth top 10 – and highest debut. It’s from her new album Hit Me Hard and Soft, which opens at No. 2 on the Billboard 200 chart.

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 June 1, 2024) will update on Billboard.com tomorrow, May 29, a day later than usual due to the Memorial Day holiday in the U.S. May 27. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.

Below is a rundown of the latest Hot 100’s top 10.

Elvis Presley’s 37 Biggest Hits, From ‘Hound Dog’ to ‘Suspicious Minds’

Elvis Presley is one of history’s most successful artists by Billboard Hot 100 standards, even if you don’t take into account the numerous hits he had before the chart’s inception in 1958. There’s a reason why they call him The King.

In fact, with seven Hot 100 No. 1s and 25 top 10 smashes overall, the late legend is one of very few artists to ever have more than 100 songs enter the chart — an elite group otherwise dominated by modern musicians like Taylor Swift, Beyoncé, Nicki Minaj, Kanye West and Drake. He was also the first-ever act to hit the triple-digit milestone, doing so in 1975, two years before his death.

But a survey of the Memphis legend’s biggest hits wouldn’t be complete without including the tracks he made famous before the Hot 100’s advent, some of which are the most iconic songs of his career. Just factoring in the numbers he accumulated on antiquated rankings, such as the retired Top 100 or disc jockey, juke box and sales charts, brings his total No. 1 count up to 17.

If his quirky persona, bedazzled jumpsuits and once-controversial dance moves don’t continue to live on in infamy for decades to come, then Presley’s buttery voice and soulful, classic rock-pioneering music certainly will. Keep reading to see Elvis’ top 37 hits of all time — on the Hot 100 or otherwise — from “Are You Lonesome To-night?” to “Suspicious Minds,” below.

Songs are ranked by peak position on the Billboard Hot 100 and predecessor charts the Top 100 and charts ranking disc jockey play, juke box play and sales. Ties are broken by weeks at peak position, followed by weeks on chart, with titles that hit the Hot 100 ranked above those on predecessor charts-only; for pre-Hot 100 hits, ties are broken, beyond as noted above, by number of charts on which songs peaked for total weeks cited. Peak dates reflect songs’ first week at No. 1 on any of the aforementioned charts.

Coldplay Make ‘Magic’ With Surprise Guest Sabrina Carpenter at BBC Big Weekend Gig

Coldplay had a special surprise in store for fans on Sunday (May 26) during their headlining set closing out BBC Radio 1’s Big Weekend Festival. While preparing to perform the Ghost Stories favorite “Magic,” singer Chris Martin alluded to the fact that his band has been a staple of the event for the past decade.

“We’ve been playing this, one Big Weekend since we were basically children,” Martin said. “And the reason we play one Big Weekend is because without Radio 1, we would never have kept our jobs.” Then, the singer self-deprecatingly introduced one of the festival’s other performers, Sabrina Carpenter, telling the crowd, “What we’d like to do, to say thank you to you for being so wonderful for the whole three days is bring on a singer who’s much younger, more beautiful, more successful, better in every way, and sing a song of ours that is okay but make it really good.”

With the crowd properly hyped, Martin added, “Welcome, from America, U.S.A., Sabrina Carpenter, let’s go!” Carpenter seemed as jazzed as the audience, responding, “Give it up for Coldplay! What the hell?”

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The band — who have frequently invited guest stars up to join them during the epic two-year Music of the Spheres road trip — leaned into the song’s spare intro, as Martin and Carpenter harmonized, “Call it magic/ Call it true/ I call it magic/ When I’m with you,” while a graphic of a man trapped inside a top hat struggling to hold on to a woman blowing away from him screened behind them.

It wasn’t the only time during the Coldplay set that the 25-year-old singer/actress made her way into their repertoire. While playing their beloved ballad “Fix You,” a few songs earlier, Martin playfully slipped in a shot of Carpenter’s hit “Espresso” into the song to the crowd’s delight, as he sang, “That’s that me, espresso.”

Watch Carpenter join Coldplay for “Magic” below.



Fat Joe Voices 2024 U.S. Open’s Spectacular Awaits Marketing Campaign

Fat Joe added to the excitement for the forthcoming U.S. Open on Tuesday (May 28) by joining forces with the U.S. Tennis Association and lending his voice to their “Spectacular Awaits” campaign. The video finds the Bronx rapper amplifying one of the sport’s biggest live events that will kick off this August. 

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“Get ready for the next level of spectacular,” begins Joe in the hype video. “Get your game face on, and your game day fit on, too. Get the squad together. Get another round and get ready. Get loud, no louder, and get legendary. Spectacular waits.” 

“Engaging a New York City and cultural icon like Fat Joe with our campaign is a great representation of the U.S. Open experience,” said Nicole Kankam, managing director, pro tennis marketing and entertainment, USTA. “His presence is undeniable, and he’s the perfect match for the growing energy, excitement, and profile of the U.S. Open.”

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The Spectacular Awaits campaign holds a special place in Fat Joe’s heart, as it resonates with his personal life. His son Joey, a tennis enthusiast, has been a source of inspiration for the Bronx MC. Last year, Joe celebrated Joey’s birthday and shared playful pictures of them with oversized tennis balls. Joey, who is 33 and lives with autism, has been a focal point of the musician’s efforts to raise awareness about the condition, notably in his 2023 memoir The Book of Jose.

“He inspires me. He’s such a blessing in our life. He’s almost like an angel,” Fat Joe said last year during an episode of The View. “It’s the gift that keeps giving, little Joey, and I’m so proud of him.”

The U.S. Open’s main draw will begin on Monday, Aug. 26, and conclude with the Women’s Singles Final on Saturday, Sept. 7, and the Men’s Singles Final on Sunday, Sept. 8. Tickets for the 2024 U.S. Open go on sale on June 3.

Watch Fat Joe’s videos for the USTA below:





Dead & Company Extends Residency at Las Vegas’ Sphere

Dead & Company will roll into the Sphere for an additional six shows this August, new dates added due to “increased demand.”

Announced today (May 28), the “Dead Forever – Live at Sphere” residency in Las Vegas expands with two weekends of back-to-back dates, bringing the total number to 30.

The new shows are locked in for Aug. 1-3 and Aug. 7-10, an extension to what’s said to be a “must-see” immersive experience that celebrates the legacy of the Rock Hall-inducted Grateful Dead, combining their songbook with the Sphere’s technical spectacles.

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Of course, the band known for their psychedelic musical wanderings will play a unique setlist during each weekend’s shows at the 20,000-capacity state-of-the-art venue that has wowed crowds during the inaugural run by U2 with eye-popping visuals on the world’s highest resolution warp-around LED screen; U2’s U2: UV Achtung Baby Live at Sphere shows began in September and are slated to wind down on March 2.

Dead & Company’s previously announced, 24-date residency began May 16 and was expected to run through July 13.

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The group — which includes Grateful Dead founding member guitarist/singer Bob Weir and longtime drummer/percussionist Mickey Hart, as well as John Mayer, Jeff Chimenti and Oteil Burbridge — formed in 2015. Co-founder drummer Bill Kreutzmann was originally part of the band as well, but he exited in 2023, before the band kicked off what it called its “final tour” last summer.

To ensure that tickets get directly into the hands of Deadheads, advance presale registration is available now here, powered by Seated.

Travel and VIP packages are available now, the artist presale begins Thursday (May 30) and the general on-sale begins Friday (May 31) at 1pm ET. Ticket prices start at $145.

Check out the dates for Dead & Company’s “Dead Forever” Sphere residency below.

May 30, May 31, June 1
June 6, June 7, June 8
June 13, June 14, June 15
June 20, June 21, June 22
July 4, July 5, July 6
July 11, July 12, July 13
Aug. 1, Aug. 2, Aug.3
Aug. 8, Aug. 9, Aug. 10

Codiciado Announces Second Leg of Ando Enfocado U.S. Tour

Following the success of his inaugural U.S. tour, Regional Mexican rising star Codiciado is kicking of a second leg that will take him to 14 U.S. cities.

Codiciado’s Ando Enfocado tour, produced by Live Nation, kicks off September 27 at BK Paramount in Brooklyn, and will make stops in Miami (The Fillmore), Chicago (Rosemont) and Los Angeles (YouTube Theater), before wrapping up in Reno, NV at the Grand Sierra Resort October 26.

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Codiciado (real name Erick de Jesús Aragón Alcantar), who hails from Tijuana, is a former farmworker who co-founded the successful Grupo Codiciado in 2015, placing three hits on Billboard’s Hot Latin Songs chart. As a solo act since 2021, Codiciado has collaborated with the likes of  Grupo Firme, Natanael Cano, Santa Fe Klan and Peso Pluma, among others, and currently boasts close to 5 million monthly listeners.

The second leg of Codiciado’s tour came about quickly after a first limited, five-city run on the West Coast that included a sold-out date at the Hard Rock Live in Sacramento.

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Tickets for the second, far more extensive leg, will be available via an artist presale starting Thursday (May 30) at 10 a.m. local time, with the general onsale kicking off on Friday (May 31) at 10 a.m. local time on LiveNation.com.

See the full list of dates and venues for the second leg of the Ando Enfocado 2024 U.S. Tour below:

Sept. 27 – Brooklyn, NY @ BK Paramount

Sept. 29 – Rosemont, IL @ Rosemont Theatre

Oct. 3 – Charlotte, NC @ The Fillmore Charlotte

Oct. 4 – Miami, FL @ The Fillmore Miami Beach

Oct. 6 – Atlanta, GA @ Coca Cola Roxy

Oct. 10 – Irving, TX  @ The Pavilion at Toyota Music Factory 

Oct. 11 – San Antonio, TX @ Majestic Theatre

Oct. 12 – Hidalgo, TX @ Payne Arena

Oct. 13 – Houston, TX @ 713 Music Hall

Oct. 18 – El Paso, TX @ El Paso County Coliseum

Oct. 20 – Palm Desert, CA @ Acrisure Arena

Oct. 24 – San José, CA @ San Jose Civic

Oct. 25 – Inglewood, CA @ YouTube Theater

Oct. 26 – Reno, NV @ Grand Sierra Resort*

*Not A Live Nation Date

Lady Gaga’s Chromatica Ball Concert Film Ends With the Only Thing Little Monsters Wanted: LG7 Confirmation

Lady Gaga‘s Gaga Chormatica Ball concert film debuted on Max over the long holiday weekend and while it features all the outrageously outré costumes, staging and musical highlights a Little Monster could want, it also ends with the most delightfully perfect flash forward.

While Gaga has been teasing her next musical era on her socials for months, the film ends with Gaga walking off stage as a super important message flashes on the screen: “LG7 GAGA RETURNS.” The surprise tease comes after Gaga ends the concert writhing on the fire-blazed stage with her black monster claw in the air, screaming “I f–king love you” to her adoring fans. After taking her bows with the dancers, Gaga makes her way to the back of the stage and pulls off yet another series of Michael Jackson-esque dance moves, shuffling to the side then spinning in place, kicking one leg up and grabbing her crotch as the LG7 message flashes on screen.

Gaga made the scene at the Chromatic Ball premiere in Los Angeles last week in one of her typically outrageous red carpet outfits, rocking a white Sleva sleeveless dress made up of car parts. She also spoke in detail for the first time about what he plans are for the follow-up to her 2020 Chromatica album. After posting pics from the ongoing sessions earlier this year, she said at the premiere that she is in the studio, “every single day. I have written so many songs, I’ve been producing so many songs, and it’s nothing like anything that I’ve ever made before. I love to break genre and I love to explore music. There’s something really beautiful about knowing that you will be loved no matter what you do.”

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At press time neither Gaga nor her label had released any additional details about the singer’s seventh studio album.

Check out the moment below.

Dead & Company Pay Tribute to Late NBA Legend Bill Walton: ‘Biggest Deadhead in the World’

Bill Walton was a lot of things: the 1977-78 NBA MVP, two-time league champion, sportscaster and, perhaps most famously, a huge Deadhead. The 6′ 11″ center known as “Big Red” for his flowing, shaggy locks died on Monday (May 27) at age 71 following a battle with cancer.

In a tribute to their biggest superfan, the surviving members of the Grateful Dead honored Walton in an Instagram post on the Dead & Company feed, saying, “Fare you well, fare you well, we love you more than words can tell. Bill was an irreplaceable force and spirit in our family. Father Time, Rhythm Devil, biggest deadhead ever. Over 1000 shows and couldn’t get enough. He loved this band and we loved him.”

The tribute continued, “We will miss our beloved friend, @BillWalton, deeply. Rest in peace and may the four winds blow you safely home. ??⚡️.” The post included several pics of Walton in his signature tie dye vibing out at Dead shows over the years, including several shots of him in elaborate, colorful costumes honoring the times he dressed up as “Father Time” for Dead shows on New Year’s Eve.

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Walton would often weave his love of the Dead into his broadcasts, wearing tie dye Dead shirts while spinning sometimes trippy, hard-to-follow yarns from the sidelines in between calling shots.

Dead singer/guitarist Bob Weir also posted his own memories, including pics with Walton from over the years with the message, “Yo Bill, thanks for the ride. Thanks for the wonderful friendship, the years of color commentary – and the Hall of Fame existence that you wore like headlights. Bon voyage ol’ buddy. We’re sure gonna miss you – but don’t let that slow you down…”

Drummer Mickey Hart weighed in as well, calling Walton, “The best friend I ever had. He was an amazing person, singular, irreplaceable, giving, loving. His love for our music was beyond description. He called himself the luckiest man in the world but it was us who were lucky — to know him, to share the adventure with him,” Hart wrote. “He was the biggest Deadhead in the world and used our music as the soundtrack to his life. After our shows, he would regularly send messages that said, ‘thank you for my life.’ Over 1000 shows, he just couldn’t get enough. Bill had an incredible passion for drums. After any meal at his house, we would play. There was nothing like a Bill Walton… nothing.”

Fellow drummer/percussionist Bill Kreutzmann was equally effusive, posting a pic of Walton on stage during a show helping out behind the kit, writing, “There are incredible stories about Bill Walton that I promised him I would only tell after he passed away, and it’s not nearly that time yet because before we laugh, first we must allow ourselves to cry. Darn it. This is a mournful day. This is a period of mourning.”

Not only did Walton gladly pay tribute to late San Francisco promoter and Dead supporter Bill Graham by slipping into the Father Time outfit, but he also slid in references to the band during broadcasts, occasionally sat in for DJ sets on the group’s SiriusXM channel and was even inducted into the Dead’s Hall of Honor, which the big man said was his highest honor.

Kreutzmann noted that, of course, Walton was an NBA legend, but in the Dead orbit, “he was just a fan – and that made him a legend here, too. In many ways, he was our number one fan… but Bill would’ve taken issue with that ranking because, while he won many awards in his storied basketball career — including MVP — Bill insisted that the Grateful Dead was not a competition — and that all Deadheads were equal. By that same notion, as I flash through decades of adventures with him, there isn’t one favorite memory. They all shine through. And they’re all important, because they all brought us both real happiness. And that’s special. That’s friendship.”

Kreutzmann said that Walton was a “genuine fan that became a genuine friend and someone I always looked up to. But his towering presence was more than just literal. Whenever I play, there will now always be a hole where a seat should be, about ten rows back, center, where Bill used to stand, eyes closed, arms raised, while he felt the music running through him. That was a happy place for him and seeing him out there was one of mine. We never did have a hard time finding him in the crowd.”

He added, “Similarly, when he walked into a room, you knew it – but it wasn’t because of his size. It was because of that laugh of his that broadcasted joy, and it was his easygoing smile that beamed sunshine across any space he ever entered. So, yeah, losing Bill is an irreplaceable loss and, in simple terms, I am heartbroken. When somebody means that much to you, when their friendship is that important – that’s called love. I loved Bill Walton. As we say in the land of the Dead: May the four winds blow him safely home. There are things you can replace. And others you cannot. Bon voyage, old friend, I love you.”

As Kreutzmann suspected, Walton was, indeed, lauded in his death as both an NBA superstar and beloved broadcaster, but just as importantly, as the biggest Deadhead ever.

Check out the tributes below.

Billie Eilish Says She Would Never Play a Three-Hour Concert: ‘That’s Literally Psychotic’

Billie Eilish leaves it all on the stage during her concerts. But unlike some of her peers — or even such elder statesman as Bruce Springsteen and Paul McCartney — the “Lunch” singer has no interest in pushing her concerts into the three-hour zone.

At a time when Taylor Swift is regularly pushing past the 180-minute mark on her Eras Tour after Beyoncé also crossed the two-hour-plus pop rubicon on her 2023 Renaissance tour, in a pop-in chat with fans on the Stationhead app over the weekend Eilish was asked if her audience can expect that kind of Hollywood epic length show from her on the upcoming Hit Me Hard and Soft tour.

“I’m not doing a three-hour show, that’s literally psychotic,” Eilish said per fan recordings of the comments. “Nobody wants that. You guys don’t want that. I don’t want that. I don’t even want that as a fan. My favorite artist in the world, I’m not trying to hear them for three hours. That’s far too long”

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While it seems Eilish won’t be joining Swift in the three-hour concert marathon anytime soon, the two women were tied together on the charts when, last week, for the first time in eight years two albums earned more than 300,000 equivalent album units in a single week in the U.S., according to Luminate. On the most recent Billboard 200 albums chart (dated June 1), Swift’s The Tortured Poets Department held onto the top of the list for a fifth straight and total week with 378,000 units earned in the week ending May 23 (up 45%) while Eilish’s third LP debuted at No. 2 with a career-best 339,000 units.

In keeping with her pledge to not cross into Oppenheimer-length productions, when Eilish was asked on Stationhead if fans can expect to hear all the new Hit Me Hard songs on her upcoming world tour – which kicks off in North American on Sept. 29 in Quebec — the singer said she “can’t do that” because then her shows would be “like a million years long.”

Wu-Tang Clan’s ‘Once Upon a Time in Shaolin’ Will be Played at an Art Exhibition In Tasmania

The only existing copy of Wu-Tang Clan’s Once Upon a Time in Shaolin, one of the greatest collector’s items in recorded music history, will finally get its public debut.

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There is a catch: you’ll have to visit Tasmania next month to hear it.

The Museum of Old and New Art (MONA) in Hobart, the capital of the Apple Isle, has loaned the one-off record for its upcoming exhibition, Namedropping.

Mona’s Frying Pan Studios will host 30-minute listening parties twice-a-day from June 15-24, where a curated selection of tracks from the album will be played.

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“During Namedropping,” reads a statement, “the world’s only copy of the Wu-Tang Clan’s fabled seventh studio album will be on display in the museum. We’re giving you the chance to hear it, too. At least some of it.”

Tickets are free – if you are lucky enough to secure a ticket, the museum handily warns – and available only for over-18s.

“You hear talk about once-in-a-lifetime opportunities: this is probably one of them,” reads a statement.

The brief history of Once Upon a Time in Shaolin is so unusual, it’s worthy of its own feature film.

The hip-hop pioneers announced the secret, one-of-a-kind pressing in 2015, a rebuff to the digital world in which we now live. And put the record under the hammer.

“When you buy a painting or a sculpture, you’re buying that piece rather than the right to replicate it,” says RZA in a Q&A on the online auction site. “Owning a Picasso doesn’t mean you can sell prints or reproductions, but that you’re the sole owner of a unique original. And that’s what Once Upon a Time in Shaolin is. It’s a unique original rather than a master copy of an album.” The Clan delivered the coup de grâce on the project by deleting all digital files.

The winning bidder was Martin Shkreli, the notorious so-called “pharma bro” who went on a headline-dominating rampage when he both hiked up prices of the HIV/AIDS drug Daraprim and purchased the unreleased double-disc for a cool $2 million.

He continued to capture headlines when promised to share the album publicly, but only if Donald Trump was elected as president. That happened, and Shkreli shared a small series of videos, all of which featured him with snippets of the album playing in the background – despite being under orders from the Clan to not play the album for 88 years.

Shkreli attempted to sell the album on eBay, chastened by the backlash he’d received from a member of the Clan and the music world. The sale didn’t go through and, in 2018, following Shkreli’s conviction for securities fraud, he was forced to part ways with the album under a federal court-ordered seizure of assets.

In 2021 the US Department of Justice reportedly sold the album for $4 million to digital art collective PleasrDAO, its current owner.