Music

Future & Metro Boomin’s ‘We Don’t Trust You’ Debuts at No. 1 on Billboard 200

Future and Metro Boomin’s collaborative album We Don’t Trust You debuts at No. 1 on the Billboard 200 chart (dated April 6) with 2024’s largest week by equivalent album units earned, as well as streams generated by a set’s songs. It lands Future his ninth No. 1 and Metro Boomin his fourth.

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The set launches with 251,000 equivalent album units earned in the U.S. in the week ending March 28, according to Luminate, nearly entirely driven by streaming activity. That marks the biggest week of 2024 by any album, Future’s second-largest week ever and Metro Boomin’s biggest week.

Also in the top 10 of the new Billboard 200, Olivia Rodrigo’s chart-topping Guts zooms 18-2 following a deluxe reissue with additional tracks, and Hozier’s new four-song EP Unheard starts at No. 10, largely powered by its streaming-driven hit “Too Sweet.”

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The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. 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. The new April 6, 2024-dated chart will be posted in full on Billboard‘s website on April 2. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of We Don’t Trust You’s first-week unit sum of 251,000, SEA units comprise 245,000 (equaling 324.31 million on-demand official streams of the set’s 17 songs), traditional album sales comprise 4,500 (the album was only available to purchase as a digital download through traditional digital retailers including iTunes and the Amazon Digital Music Store) and TEA units comprise 1,500.

With 251,000 units earned, the album yields the largest week of 2024, Metro Boomin’s biggest week ever, and Future’s second-largest week ever. For the latter, he logged a bigger week only with another joint effort, when his team-up with Drake on What a Time to Be Alive scored 375,000 units in its opening week (Oct. 10, 2015-dated chart), largely powered by traditional album sales.

Further, We Don’t Trust You’s SEA sum of 245,000 translates to 324.31 million on-demand official streams for the set’s songs — the biggest streaming week for any album since Taylor Swift’s 1989 (Taylor’s Version) racked up 375.49 million clicks for its 21 songs on the Nov. 11, 2023 chart. We Don’t Trust You also claims the biggest streaming week for any album by Future or Metro Boomin.

We Don’t Trust You was announced on March 8 as the first of a two-album project, with its sequel, We Still Don’t Trust You, due April 12.

We Don’t Trust You boasts featured artists Kendrick Lamar, Playboi Carti, Rick Ross, Travis Scott and The Weeknd. However, the set was initially unveiled on March 22 through digital platforms without revealing the featured artists. A few days later, the set’s tracklist was updated to display the guest stars.

The album’s most-streamed song of the week is “Like That,” a co-billed track with Future, Metro Boomin and Kendrick Lamar, which sent “social media into an absolute tizzy.” On the track, Lamar “throws several volleys, suggestively targeting Drake and J. Cole.”

Olivia Rodrigo’s chart-topping Guts flies 18-2 on the Billboard 200 with 73,000 equivalent album units earned (up 155%). The set surges back up the list following its deluxe reissue on March 22 (dubbed the Guts [Spilled] edition) with five additional tracks. The Spilled edition of Guts was issued as a digital download album and via streaming services. It’s not available as a deluxe physical album presently, but will be issued on vinyl on July 19.

Of the five added songs, four of them (“Obsessed,” “Girl I’ve Always Been,” “Scared of My Guitar” and “Stranger”) were previously issued as bonus tracks on vinyl editions of the original Guts release last year, and then collected for a four-song vinyl EP, Guts: The Secret Tracks, that was issued for Record Store Day Black Friday last November. The fifth added song to the new Guts deluxe is “So American,” a previously unreleased track.

On the Billboard 200, Guts vaults to its highest rank since the Oct. 7, 2023-dated list, when it also placed at No. 2 in its third week on the chart.

A pair of former No. 1s is next up on the Billboard 200, as Ariana Grande’s Eternal Sunshine falls 1-3 in its third week (72,000 equivalent album units; down 29%) and Morgan Wallen’s One Thing at a Time dips 3-4 (68,000; down 3%). Noah Kahan’s Stick Season is steady at No. 5 with 44,000 (down 3%).

Former chart-toppers populate Nos. 6-9 on the latest chart, and all are non-movers from the previous week. SZA’s SOS is No. 6 (41,000; down 6%), Taylor Swift’s Lover is No. 7 (40,000; down 1%), Zach Bryan’s self-titled album is No. 8 (39,000; down 3%) and Swift’s 1989 (Taylor’s Version) is No. 9 (38,000; down 4%).

Hozier rounds out the top 10 on the new Billboard 200 as his four-song EP Unheard debuts at No. 10. The set earned nearly 38,000 equivalent album units, mostly from streaming activity. Of that starting sum, SEA units comprise 34,000 (equaling 44.15 million on-demand official streams of the set’s four songs), album sales comprise 3,000 and TEA units comprise a negligible sum. Unheard marks Hozier’s fourth top 10-charting effort, following Unreal Unearth (No. 3, 2023), Wasteland, Baby! (No. 1, 2019) and his self-titled set (No. 2, 2014).

Unheard collects four songs that were recorded for, but not included on, Unreal Unearth. Among the four tracks is the gone-viral “Too Sweet,” which drives much of the streaming activity of Unheard. The song was first heard through a teaser snippet during Hozier’s March 6 appearance on the How Long Gone podcast. The clip swiftly went viral through the artist’s fanbase, followed by popularity on TikTok and then a warm embrace on streaming services.

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.

Fans Choose J-Hope’s ‘Hope on the Street Vol. 1’ as This Week’s Favorite New Music

J-Hope‘s Hope on the Street Vol. 1 tops this week’s new music poll.

Music fans voted in a poll published Friday (March 29) on Billboard, choosing the BTS member’s solo mini-album as their favorite new music release of the past week.

Fans showed major support for J-Hope’s latest project, which won the poll by a landslide, bringing in more than 96% of the vote. Poll voters selected Hope on the Street Vol. 1 over new music releases by Beyoncé, MGK and Trippie Redd, Camila Cabello and Playboi Carti and more.

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The six-track solo album, described in a press release as spanning a “diverse array of sounds and moods that showcase J-Hope’s musical prowess and depth,” features special guests including Jung Kook on “i Wonder,” and Benny Blanco and Chic’s Nile Rodgers on “Lock/Unlock.” Plus there’s a dance mix of “What If” with Jinbo the SuperFreak, and “NEURON” featuring Gaeko of Dynamic Duo and yoonmirae.

Hope on the Street Vol. 1‘s release was accompanied by a six-part docuseries (also called Hope on the Street) about J-Hope’s artistic roots and street dance background. The docuseries debuted earlier in the week on Prime Video.

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Trailing behind J-Hope’s mini-album on this week’s poll is Beyoncé’s Cowboy Carter album, MGK x Trippie Redd’s Genre:Sadboy EP, and Camila Cabello feat. Playboi Carti’s single “I Luv It.”

See the final results of this week’s poll below. Check out Billboard‘s Friday Music Guide here to catch up with the must-hear releases of the week.

Vanessa Carlton Helps NHL’s John Carlson Celebrate Reaching 1,000-Game Milestone

Washington Capitals defenseman John Carlson has reached the milestone of 1,000 NHL games, and pop singer Vanessa Carlton lent her voice to be part of the celebration.

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Carlton remixed her hit song “A Thousand Miles” with Carlson-themed lyrics as part of a collaboration between the team and the production company Fresh Tape Media.

On Saturday night against the Boston Bruins, Carlson became the 128th defenseman in league history to skate in 1,000 regular-season games. Through his first 999, the 34-year-old has played the 41st-most minutes of any player in the league since ice time started being tracked officially in 1997-98, totaling just under 24,000 minutes — plus 3,005 more in the playoffs.

“He’s not just a point producer that is just playing the top of the power play and able to play that for 20 years,” coach Spencer Carbery said. “He’s playing that, plus he’s playing penalty kill, plus he’s playing 5 on 5 when you need to defend a lead and when you need to score a goal. That ability and uniqueness, there’s very few that log minutes in all those situations like he has throughout his career.”

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Carlson, who is originally from Natick, Massachusetts, but spent much of his childhood in New Jersey, has taken more than 26,000 regular-season shifts, all with Washington, since getting drafted in the first round in 2008 and making his debut in 2009.

“You try not to think about it like that,” Carlson said Saturday morning when told that stat.

Carlton’s song remix was released after the player with a similar sounding last name spoke to reporters following the team’s morning skate.

Carlson is the 80th player to dress in 1,000 games with one team. His milestone comes a couple of weeks after teammate T.J. Oshie hit 1,000, and going through that helped prepare Carlson for what to expect not only Saturday night but next weekend (April 7 vs. Ottawa) when the Capitals hold a ceremony to honor him.

“You got so much going on now, in the now, in this league and where we are and just worrying about what’s at stake all the time,” Carlson said. “Just trying not to be a distraction to what we have on our plate right now and where we are.”

The Capitals are trying to return to the playoffs after missing last year for the first time in Carlson’s pro career. He was a huge part of their 2018 Stanley Cup run, playing in all 24 games and recording 20 points while averaging nearly 26 minutes a night.

Travis Scott Performs ‘My Eyes’ & ‘Fe!n,’ Joins Please Don’t Destroy & Ramy Youssef for ‘We Got Too High’ Sketch on ‘SNL’

Travis Scott‘s SNL gig this weekend included performances of “My Eyes,” “Fe!n” featuring Playboi Carti and new song “We Got Too High” — with Please Don’t Destroy and Ramy Youssef.

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The Houston rapper brought a taste of Utopia to the Saturday Night Live stage with the two album tracks for the March 30 episode of the NBC late-night sketch comedy show. Before the show aired, Scott premiered a music video for “Fe!n” on YouTube.

But he regretted partying with the Please Don’t Destroy guys (Ben Marshall, John Higgins, and Martin Herlihy) and Poor Things actor Ramy Youssef during “We Got Too High.”

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The tune for their night out started out typical enough: “On our way to the function/ We smokin’ blunts and/ Feeling so alive/ All the honeys lookin’ scrumptious.”

But things turned sour: “I think we got too high/ Smoked too much and I got scared/ Haven’t smoked since high school/ This is not fun/ If I close my eyes, am I still like, here?/ Am I standing normal?/ Where is Ramy?”

Youssef, hosting SNL, was not partaking in the same party activity as everyone else, but was he was not fine. He got lost in his own anxiety at the club and probably had the worst time of all. Feeling out of place, he agonized over something stupid he’d said earlier in the evening: “We’re gonna have a twisted, rockin’ ball.” Relatable.

“Man, why’d I bring them?” Scott wondered. “They’re actin’ crazy/ And why is that guy being held like a baby?”

Watch Scott’s SNL appearances below. For those without cable, the broadcast streams on Peacock, which you can sign up for at the link here. Having a Peacock account also gives fans access to previous SNL episodes.




https://youtube.com/watch?v=l8qLwdK8Zd0&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent


https://youtube.com/watch?v=iXZ1MmaOhWU&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

Shania Twain Revisits the Enduring Cultural Impact of ‘Man! I Feel Like a Woman!’ Video to Honor 25th Anniversary

In the latest installment of Vevo Footnotes, Shania Twain takes fans behind the scenes of the music video for “Man! I Feel Like a Woman!” in honor of the 25th anniversary of the empowering song.

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In 1999, “Man! I Feel Like a Woman!” reached No. 23 on the all-genre Billboard Hot 100, and reached No. 4 on the Hot Country Songs chart. But the song’s spirit of empowerment, confidence and freedom have etched an enduring, decades-spanning connection with music fans. The song, and its video, continue to draw superb viewership on Vevo. From 2016-2022, “Man! I Feel Like a Woman!” saw an average lift of 31% in global daily views annually on International Women’s Day (March 8) over the previous 10 weeks leading up to the holiday, including a 57% lift in global daily views in 2021 and a 24% lift in 2022.

In the Vevo Footprints video, Twain discusses the song’s role in breaking barriers and defying genres, and crafting lyrics that she says centered on “liberation, independence and the human spirit.”

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“I was standing up for myself through the song,” she says in the annotated video. “I wasn’t being apologetic for all the things I had been criticized for in my life — ‘You can’t do that, you can’t wear that, that’s too tight, that’s too short.’ This was my song that really said you know what I love about being a woman! I’m feeling comfortable in my own skin! That’s awesome!” She also added of the song’s rock-fueled instrumentation, “I wanted to go beyond country music and this song was pushing my genre boundaries. Musically it was not limited to one genre. It’s rock, it’s pop, it’s country.”

She also discusses the intentional fashion decisions she and her team made for the video, which was inspired by the styling in Robert Palmer’s “Addicted to Love.”



 “We wanted to take that idea and turn it on its head,” Twain says. “We wanted to make something unexpected and the role reversal was the vision… [Fashion designer/stylist] Mark Bauer got to work on the wardrobe, with that idea in mind, and dressed me in that amazing high women’s coat, the top hat, with the veil added for a touch of femininity, in what was a ‘typically’ masculine outfit.” She added, “As part of the role reversal, it was important to have the guys be really sexy and androgynous. All of the little details of the fashion were considered and on purpose. It’s a real credit to Mark and his talent.”

Twain also remembers “getting a lot of flack for doing what we did at that time. We were taking country music to a place it hadn’t been before and some people didn’t like that.”

She recalled even the art department questioning whether female listeners would feel threatened by the video.

“I remember the art department saying, ‘This is way too sexy! The women listeners are not going to like this! They’re going to feel threatened.’ They told me I was going to alienate a huge part of my audience. I knew that women would totally get it,” Twain says.

But clearly, the song has become an anthem — whether helping people hype up for a night of partying, or serving as an encouragement for being confident in themselves and their own personal visions. “Man! I Feel Like a Woman!” also won a Grammy in 2000 for best female country vocal performance.

Banda, Corridos & Covers: Gabito Ballesteros Delivers Eclectic Set at Tecate Pa’l Norte 2024

In a span of thee hours, the Oasis Bacardí stage at Tecate Pa’l Norte 2024 was host to three very different artists on Saturday (March 30): Yng Lvcas (reggaeton), Humbe (pop) and Gabito Ballesteros (corridos tumbados).

Ballesteros, who took the stage at 9:15 p.m., honored the stage’s eclectic taste by delivering a genre-spanning, 50-minute set that included classic banda hits, his corridos-turned-anthems and covers of pop-rock songs, including “Me Voy” by Julieta Venegas and Maná’s “Clavado en un Bar.”

Before taking the stage, a video played on the screen with footage of the 24-year-old singer-songwriter as a kid singing with a mariachi. The video chronicled Ballesteros’ hustle, starting from when he was young and singing in a church choir to today, leading forces in the música mexicana scene alongside artists like Peso Pluma, Natanael Cano and Junior H, all with whom he’s collaborated.

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He kicked off with “El Muchacho Alegre,” a banda gem that got everyone dancing. He also performed another banda classic, “El Sinaloense,” igniting a zapateado showdown with festivalgoers dancing up a storm.

Clad in all black, dark sunglasses and thick silver chains around his neck, Ballesteros was accompanied by a troupe of musicians that played trumpets, clarinets, tubas, requintos, an accordion, a tololoche and drums, which allowed Ballesteros to go from banda to corridos throughout his set. When it came to performing corridos, he delivered the hits, from “Lady Gaga” to “LOU LOU” (a fan favorite that called for an encore), “El Tsurito” and “El Boss,” his latest song with Natanael Cano.

Que chingones son, los amo (you’re amazing, I love you),” he said, acknowledging the massive crowd that gathered to watch him play.

He also performed “A Puro Dolor” — a cover of Son by Four’s hit, which he released as a single last year — and Venegas’ “Me Voy,” revealing that it’s a song that will be included on his upcoming album.

He surprised fans by singing his version of Maná’s “Clavado en un Bar.” “It’s the first time we sing this live,” he shared. “Let’s see how it sounds.” The cover inspired a sing-along among fans who seemed to approve his take on the ’90s song.

Day two of the festival also featured sets by Anitta, Danna Paola, Thirty Seconds to Mars, Louis Tomlinson, and Blink-182, the main stage closing act.

Peso Pluma Surprises Anitta With Birthday Cake & ‘Las Mañanitas’ at Tecate Pa’l Norte

Anitta performing on any stage is enough of a celebration, but on Saturday (March 30), it was double the celebration at the 2024 Tecate Pa’l Norte festival in Monterrey, Nuevo León.

The Brazilian star was celebrating her 31st birthday and, as is Mexican tradition, she was honored with “Las Mañanitas” (the birthday song) by a mariachi — and it came by the way of Mexican superstar Peso Pluma, who surprised her not only by having a mariachi in tow, but a big booty-shaped birthday cake. It was totally unexpected, and the “Envolver” singer was in disbelief when the man in all black carrying the cake onstage was Peso Pluma, who revealed his identity by taking off his balaclava mask. The crowd roared when they realized it was the corridos singer.

“Let’s hear it loud for Anitta. Today is the birthday of the queen of Brazil, the queen of Brazilian funk, and she is in Mexico for the first time with us,” Peso Pluma said in Spanish onstage. “Look at that cake,” Anitta responded. Anitta and Peso Pluma later shared a sweet and innocent kiss on the mouth after the fans chanted, “Beso, beso, beso” (kiss, kiss, kiss). Watch the moment here.

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Although the crowd was hoping that the pair would sing their hit song “Bellakeo” together, Peso Pluma left the stage after the “Mañanitas” and birthday cake surprise. She did sing the song, though alone. Throughout her set, she twerked and performed other hits like “Envolver,” “Mil Veces” and “Funk Rave.”

Day two of the festival featured other sets by artists like Gabito Ballesteros, Danna Paola, Thirty Seconds to Mars, Louis Tomlinson and Blink-182, who was in charge of closing the main stage.

Peso Pluma sorprende a Anitta con pastel y ‘Las mañanitas’ en Tecate Pa’l Norte

Que Anitta actúe en cualquier escenario es motivo suficiente para celebrar, pero el sábado (30 de marzo) el motivo fue doble en el festival Tecate Pa’l Norte en Monterrey, Nuevo León.

La estrella brasileña celebraba su 31 cumpleaños y, como es tradición mexicana, fue honrada con “Las mañanitas” de la mano del superastro mexicano Peso Pluma, quien la sorprendió no solo con un mariachi, sino también con un enorme pastel de cumpleaños en forma de trasero. Fue totalmente inesperado y la cantante de “Envolver” no podía creerlo cuando el hombre vestido de negro que llevaba el pastel al escenario se reveló como Peso Pluma al quitarse su pasamontañas. La multitud rugió cuando se dio cuenta de que era el cantante de corridos.

“Que se escuche fuerte el grito para Anitta, hoy es el cumpleaños de la reina de Brasil, de la reina del funk brasileño, y está por primera vez en México con nosotros”, dijo Peso Pluma en el escenario. “Mira la torta”, respondió Anitta.

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Anitta y Peso Pluma luego compartieron un dulce, aunque inocente beso en la boca luego que los fans corearan “beso, beso, beso”. Mira el momento aquí.

Aunque la multitud esperaba que ambos cantan juntos su éxito “Bellakeo”, Peso Pluma abandonó el escenario después de “Las mañanitas” y la sorpresa del pastel. Ella sí interpretó la canción, aunque sola. Durante su set, hizo twerking y cantó otros éxitos como “Envolver”, “Mil veces” y “Funk Rave”.

El segundo día del festival también contó con las actuaciones de artistas como Gabito Ballesteros, Danna Paola, Thirty Seconds to Mars, Louis Tomlinson, y Blink-182, que estuvo a cargo de cerrar la jornada en el escenario principal.

Beyoncé & Post Malone’s ‘Levii’s Jeans’ Puts Levi’s in ‘Cowboy Carter’ Mode

“Levii’s Jeans,” the Beyoncé and Post Malone duet on Cowboy Carter, has the Levi’s brand joining the BeyHive this weekend.

“Oh to be Levi’s jeans right now,” the denim company posted — along with jeans and cowboy hat emojis — on Instagram and TikTok on Friday (March 29). The caption was made on a post featuring mostly photos of the backside of various Levi’s jean styles, inspired by the content of the song.

Levi’s even changed its Instagram profile logo and display name to “Levii’s” in homage to the playful Cowboy Carter duet.

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“FKA Levi’s,” wrote the brand in an updated account bio, topping it off with a bee emoji — in reference to Beyoncé’s fan group.

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The two artists smoothly share vocal duties on the flirty, radio-ready song.

“You call me pretty little thing/ And I love to turn him on/ Boy, I’ll let you be my Levi’s jeans/ So you can hug that a– all day long,” Beyoncé sings during an earworm of a chorus, with Post Malone picking up at “Come here, you sexy little thing/ Snap a picture, bring it on/ Oh, girl, I wish I was your Levi’s jeans/ The way you poppin’ out my phone/ I love you down to the bone.”

Other features on Beyoncé’s Cowboy Carter include Miley Cyrus, Dolly Parton, Willie Nelson and more.

Next up, music fans will hear Post Malone on a track with Taylor Swift — “Fortnight,” the opener of Swift’s upcoming The Tortured Poets Department album, out on April 19.

Post also collaborated in the studio with Noah Kahan for an updated version of Kahan’s “Dial Drunk” that was released over the summer, with Kahan describing their get-together as “exactly what I wanted an experience with Post Malone to be; he was sitting crossed-legged, drinking Bud Lights [and] smoking cigarettes.”

Listen to Cowboy Carter‘s “Levii’s Jeans” collab between Beyoncé and Post Malone below.



Nancy Sinatra Reacts to Beyoncé’s ‘Ya Ya’ Sampling ‘These Boots Are Made for Walkin”

Nancy Sinatra has shared her thoughts on Beyoncé‘s Cowboy Carter track “Ya Ya” kicking off with a sample of her own work, the 1966 hit “These Boots Are Made for Walkin’.”

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“Ya Ya,” the 20th song on Beyoncé’s new album, reimagines Sinatra’s Billboard Hot 100 No. 1 in its call-and-response intro. On Friday (March 29), Sinatra posted her reaction to hearing “These Boots Are Made for Walkin’” on the set, which dropped that day.

“To have a little piece of one of my records in a @Beyonce song is very meaningful to me because I love her,” Sinatra wrote on X (formerly Twitter). “She represents what is great about today’s music and I’m delighted to be a tiny part of it.”

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She added, “This may be the best sample of ‘Boots’ yet! And the beat goes on… #Beyonce.”

“These Boots Are Made for Walkin’” was penned by Lee Hazlewood, and Sinatra’s recording was released in December 1965. By February 1966, it had reached the top of the Hot 100.

Beyoncé’s “Ya Ya” also interpolates The Beach Boys’ “Good Vibrations” and Mickey & Sylvia’s “Love Is Strange.” Cowboy Carter works in a number of memorable samples and interpolations, which Billboard has compiled.

“The joy of creating music is that there are no rules,” Beyoncé said in the press release about Cowboy Carter, a project which she’s said took over five years to complete. “The more I see the world evolving the more I felt a deeper connection to purity. With artificial intelligence and digital filters and programming, I wanted to go back to real instruments, and I used very old ones. I didn’t want some layers of instruments like strings, especially guitars, and organs perfectly in tune. I kept some songs raw and leaned into folk. All the sounds were so organic and human, everyday things like the wind, snaps and even the sound of birds and chickens, the sounds of nature.”

She also noted: “I think people are going to be surprised because I don’t think this music is what everyone expects, but it’s the best music I’ve ever made.”

Listen to Beyoncé’s new track “Ya Ya” and revisit Sinatra’s “These Boots Are Made for Walkin’” below. Billboard ranked all 27 of Cowboy Carter‘s tracks here.