Music
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Elton John is on the road to recovery. The “Benny and the Jets” singer took to social media on Tuesday (Sept. 3) to reveal that he has been struggling with a “severe eye infection” that left him “with only limited vision in one eye.” He continued in his statement, “I am healing, but it’s an […]
Lil Boosie is looking for a pardon, and it doesn’t matter who the U.S. president will be in 2025. Over the weekend, he went on X to vent about a case he’s been fighting since May of last year. “My case got dismissed for a ruling that was made n the 9th circuit court .2 […]
Sabrina Carpenter’s new studio album, Short n’ Sweet, blasts in atop the Billboard 200 (dated Sept. 7), while all 12 songs from the set hit the Billboard Hot 100.
The set debuts at No. 1 on the Billboard 200 with 362,000 equivalent album units earned in the United States its opening week (Aug. 23-29), according to Luminate. Carpenter earns her first career leader, which opens with the third-largest debut, by units, of 2024.
Concurrently, all 12 songs on Short n’ Sweet land on the Hot 100, including three in the top five and 11 in the top 40. Here’s a recap (with all songs debuts except where noted):
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No. 2, “Taste”
No. 3, “Please Please Please” (up from No. 9; spent one week at No. 1, becoming Carpenter’s first Hot 100 leader, in June)
No. 4, “Espresso” (up from No. 7; peaked at No. 3 in June)
No. 14, “Bed Chem”
No. 15, “Good Graces”
No. 21, “Sharpest Tool”
No. 22, “Juno”
No. 26, “Coincidence”
No. 27, “Slim Pickins”
No. 32, “Dumb & Poetic”
No. 35, “Don’t Smile”
No. 41, “Lie to Girls”
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Carpenter becomes just the third woman to chart at least three songs in the Hot 100’s top five simultaneously, after Taylor Swift and Ariana Grande. The only other acts to log at least three entries in the top five simultaneously are The Beatles, 50 Cent, Justin Bieber, Drake and 21 Savage.
As “Taste,” “Please Please Please” and “Espresso” mark Carpenter’s first three top five Hot 100 hits, she becomes only the second act to ever chart her first three top five hits in the region simultaneously. She joins only The Beatles, who first tripled up on the chart dated March 7, 1964, with “I Want To Hold Your Hand,” “She Loves You” and “Please Please Me” at Nos. 1, 2 and 4, respectively.
With 10 debuts, Carpenter ups her count to 15 career Hot 100 entries. Along with “Espresso” and “Please Please Please,” she previously charted with “Feather” (No. 21 peak in April), “Nonsense” (No. 56, 2023) and “Skin” (No. 48, 2021).
Plus, with 13 Hot 100 entries in 2024, Carpenter ties Grande for the third-most among women, after Swift (36; the most among all acts) and Beyoncé (23).
As Billboard reported today, Morgan Wallen is the first artist in 46 years to land the season-ending No. 1 on Billboard’s Song of the Summer chart in back-to-back years. The country superstar achieves the feat as Post Malone’s “I Had Some Help,” on which he is featured, takes the crown for 2024, one year after […]
Knocked Loose frontman Bryan Garris is an ordinary-looking dude who screams all his lyrics. “I just can’t sing,” Garris tells me matter-of-factly. “I wish all the time that I could, but I probably wouldn’t utilize it for Knocked Loose. We just want to be an intense band. There’s never, ever been a conversation of softening.”
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Even without toning down the mayhem, Garris and co. have scored one of 2024’s most commercially successful new rock albums from one of the genre’s most traditionally un-commercial corners. Knocked Loose play pummeling, metallic hardcore—the kind of stuff that’s forged in basements and DIY venues, fine-tuned for moshing and fan connection.
You Won’t Go Before You’re Supposed To is 28 minutes of pure carnage, free from any commercial concessions. After dropping on May 10 through Pure Noise Records, the band’s third studio album debuted at No. 1 on three Billboard charts: Independent Albums, Hard Rock Albums and Indie Store Album Sales. The album earned nearly 24,000 units (including an impressive 18,000 in pure sales) in its first week, good for a No. 23 debut on the Billboard 200 dated May 25. Some context: it debuted ahead of a new studio album from Kings of Leon, a major label band with significantly more industry clout. (And among fast-rising newcomers, Knocked Loose came in five spots above Chappell Roan’s The Rise and Fall of a Midwest Princess during that particular chart week.)
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“People were excited to buy this record,” says James Vitalo, Knocked Loose’s manager for Gold Theory Artists. “They carry themselves so well and are so intentional with everything they do. People want to see them win.”
Historically, heavy rock bands tend to forge commercial inroads by making their sound more palatable: think Metallica serving ballads on The Black Album, or Bring Me the Horizon ditching their MySpace deathcore roots and singing big, shiny choruses on 2013’s Sempiternal. Instead, Knocked Loose dug their heels into the sound that made them.
The five-piece (which also includes guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten, and drummer Kevin “Pacsun” Kaine) formed in 2013 in Louisville, Kentucky. “We were thrown into the deep end of DIY touring,” Garris recalls of the early days. “You’re trapped in a basement, either fighting or getting beat up. Louisville was never very violent. Then [we were] going to bigger cities, seeing how hard people mosh.”
Knocked Loose became one of the hottest names in hardcore thanks to their 2014 EP, Pop Culture. They signed to Pure Noise Records, a young indie label best known for breaking pop-punk bands like State Champs and The Story So Far. The pairing was an immediate win for both sides: Pure Noise boosted its cred with a buzzy band outside its typical purview, and Knocked Loose got a label with strong independent distribution (the Orchard distributed You Won’t Go).
Their 2016 debut album Laugh Tracks solidified their national following, particularly with the minute-long tune “Counting Worms.” Its earthquaking breakdown — punctuated by Garris barking, “ARF ARF” — was memed across the alt-kid internet, and gave Knocked Loose an early signature song. Three years later, they’d built such a strong following that 2019 sophomore album A Different Shade of Blue debuted at No. 26 on the Billboard 200, more than 100 spots higher than Laugh Tracks, which started at No. 163 in 2016.
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As Knocked Loose planned its third LP, 2023 brought them an unexpected invite: Coachella. “We immediately said yes,” says Garris. Then the anxious waiting set in: “What’s this going to be? It could be bad, and that would be fine. It’s Coachella. It’s not our normal stage.”
April 16, as their 8:10 p.m. set time approached, the setting looked surprisingly… familiar. “We pull up, go to our stage, and there’s no barricade. This has to be a mistake, they’re probably still setting up. Then our stage manager comes over, he’s wearing a punk shirt, and immediately introduces himself: ‘We’re really excited to have you guys, we know what you’re about, blah, blah, blah.’ I was like, ‘Are you keeping the barricade down?’ He says yeah. I’m thinking, This is insane.”
It was. Seriously, watch this. This was at Coachella:
New eyeballs were on Garris. “Someone said Tom DeLonge [was sidestage], someone said Ethel Cain, which was a big one for me, personally. Then the video came out of Billie Eilish watching us play. I was just like, This doesn’t feel real.”
As Knocked Loose garnered new fans (including some famous ones), Vitalo sensed new interest in Knocked Loose’s scene from various factions of the music industry. “I’ve been working with metal and hardcore bands for 10 years, and over the last two, there’s been a lot of people coming into a space that’s been neglected,” he says. “A lot of record labels, booking agents, and managers are paying attention to something they haven’t paid attention to before. I’m not saying it’s a good or a bad thing, but it’s noticeable. Not letting that go to their heads proves Knocked Loose’s character.”
Knocked Loose capitalized on the Coachella momentum. Three weeks later, they unleashed Upon Loss Singles, a two-song collection featuring their first work with Grammy-nominated producer Drew Fulk (Lil Peep, A Day to Remember). This new strain of Knocked Loose — widescreen and hi-fi, while somehow even more brutal—would become fully realized on You Won’t Go Before You’re Supposed To. Take the ominous little coda of “Moss Covers All” that segues seamlessly into the beatdown opening of “Take Me Home,” or the guest appearance from goth-pop artist Poppy, who screams with Garris while Kaine drums a reggaeton rhythm on “Suffocate.” The lattermost track hit the top 10 on Spotify’s Viral 50 chart in May alongside the album drop, and became Knocked Loose’s first entry on the Hot Rock & Alternative Songs chart, reaching No. 46 in May.
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Knocked Loose christened the new album at L.A.’s Shrine Auditorium in May with over 6,000 fans, their largest headlining show yet. Bands that get bigger by getting heavier are rare – but starting in August, Knocked Loose began touring with one of them.
“Knocked Loose slams so hard, they’re gonna have bone problems later in life,” says Slipknot percussionist Shawn “Clown” Crahan, recounting a conversation from the previous night’s gig. “When people say these things out loud, you know they’re doing it.”
Strong words, coming from the guy who’s been slamming kegs and custom drum kits with metal bats in a clown mask for the past three decades. Slipknot is touring behind the 25th anniversary of its self-titled 1999 debut, and Knocked Loose was hand-picked to open the entire trek. “A tour of this scale comes with its own new set of benefits for a band like us,” Garris says. “This is all uncharted territory.”
On Aug. 12, the tour came to New York’s Madison Square Garden. The place was sold out, and this was clearly the headliner’s crowd: parents rocking decades-old Slipknot gear, kids in youth-size tees and replica coveralls. Still, the seats were nearly full in time for Knocked Loose’s opening set, and as Knocked Loose raged, the crowd responded. Fans in the nosebleeds looked up from their nachos. The mosh pit didn’t get as big as it would for Slipknot, but it was livelier.
“You see people who get there early and go straight to the barricade, saving their spot for Slipknot,” Garris tells me. “At the start of our set, they couldn’t care less. Slowly but surely, they start to bob their head, put their hands up. Watching that firsthand is super rewarding.”
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Knocked Loose has a way of winning over the unconverted. Maybe it’s in Garris’ voice. The stereotypical hardcore frontman is some big dude with a deep, guttural scream who sounds like he’s looking for an excuse to beat you up. When Garris screams, he’s high-pitched and a bit unhinged. He sounds like he’s been through some real s–t, not simply here to play the punisher.
“I just got done telling Bryan and those guys about understanding that you’re in the zone,” Clown says. “You need a good team. A family around you, checking for isolation, substance abuse, depression, ego. You can’t just go rock out. Sharon Osborne checked in on me. I had Deftones bass player Chi [Cheng], who’s passed. He would check on me, because we were both family men. I’m checking in on [Knocked Loose] because I understand the realities.”
Music this physical is not easy to play night after night. The rigors of the road affect any popular artist, but Knocked Loose are regularly at risk of hockey-style injuries– and the kind of maladies you can’t see. “I’m definitely not a teenager anymore,” says Garris, who will turn 31 on Sept. 6. “I’m listening to myself and taking care of myself. I can’t do this if I’m not mentally healthy.”
There’s a lot more ahead. After the Slipknot tour wraps Sept. 21, Knocked Loose will embark on a 22-date U.S. headlining tour Oct. 4. It’s a mix of large theaters, amphitheaters, and even arenas. There will be several chances to break that attendance record they set four months ago.
Knocked Loose’s success feels intensely singular, nearly impossible to duplicate. They’ve been fighting the good fight for over a decade, a top-tier band in a genre known for loyal, highly-engaged fans. Many probably see a bit of themselves in Garris. The band’s support team is well-connected. Can Knocked Loose get even bigger?
If another legendary metal band takes them on tour, that wouldn’t hurt. The Grammys have nominated fresh blood like Turnstile, Code Orange, and Deafheaven in the best metal performance category in recent years, if that’s an item Knocked Loose is looking to cross off their list. But really, the core to all this is pushing the envelope with each release, then going out and slaying shows. It’s not that complicated.
“Every time we headline,” muses Garris, “it’s like, Where can we take it now? What’s the next step?”
Jeff Goldblum is a Taylor Swift fan! In a new TikTok shared by Netflix this week, the Emmy winner shared his love for the “I Can Do It With a Broken Heart” singer. “Yes, I am a Swiftie,” he revealed. “My wife Emily and I met her at the SNL 40th anniversary, as it happens, […]
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Lil’ Weezyana Fest is back, and the 2024 edition is going to be extra special. On Tuesday (Sept. 3), Lil Wayne and Live Nation Urban announced the return of the New Orleans music festival and that special guests will include a Hot Boys reunion.
Lil’ Weezyana Fest will go down on November 2 in the Big Easy at the Smoothie King Center, and the Hot Boys on the bill feature Weezy, Juvenile, B.G. and Turk. Also already on the schedule are Rob49 and Mannie Fresh with additional artists to be revealed in the coming weeks.
Earlier this summer there was a Hot Boys reunion at Essence Fest, but Wayne was conspicuously absent. With the entire four man crew on board for November, this should be a moment.
“Lil Wayne embodies the spirit of New Orleans, and Lil’ WeezyAna Fest is a stellar showcase of the city’s dynamic and flourishing music scene,” said Brandon Pankey, VP of Business Development & Operations Live Nation Urban in a statement. “Live Nation Urban celebrates this amazing event and is proud to continue to partner and cultivate the growth of this festival for years to come.”
Produced by Young Money, DMANI and Live Nation Urban, Lil’ Weezyana Fest first launched in 2105, and has since brought top-tier Hip-Hop talent to Weezy’s hometown to celebrate its rich music history and give to back to the community.
Tickets are available via artist presale are already available while tickets will go on sale everywhere starting September 6 at 8AM PT/10AM CT. You can find more right HERE.
Future’s third project of the year is on the way. The Atlanta superstar announced plans for his Mixtape Pluto project back in May, but its arrival appears to be on the horizon. Explore Explore See latest videos, charts and news See latest videos, charts and news A snipped to a blistering track titled “Lil Demon” […]
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, rules as the No. 1 title on Billboard’s Songs of the Summer chart for 2024. The song claims the title after leading the weekly chart all 14 weeks this season.
The 20-position Songs of the Summer running tally tracks the most popular titles based on cumulative performance on the weekly streaming-, airplay- and sales-based Billboard Hot 100 chart from Memorial Day through Labor Day (this year encompassing charts dated June 8 through Sept. 7).
Notably, a country song tops the season-ending Songs of the Summer chart for the second consecutive year, as Wallen’s “Last Night” finished first for 2023. Prior to the past two years, the genre hadn’t won the crown since John Denver’s “Annie’s Song” led in 1974 (as qualified by titles to reach the top 10 on Billboard’s Hot Country Songs chart).
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Meanwhile, as Wallen boasts the seasonal No. 1 on Songs of the Summer in back-to-back years, he’s just the second artist ever to link such a streak, and the first in 46 years: Andy Gibb reigned with “I Just Want To Be Your Everything” in 1977 and “Shadow Dancing” in 1978.
The only other artists with two summer triumphs each overall: Drake, with “One Dance,” featuring WizKid and Kyla, in 2016 and “In My Feelings” in 2018; Katy Perry, with “I Kissed a Girl” in 2008 and “California Gurls,” featuring Snoop Dogg, in 2010; Jay-Z, as featured on Beyoncé’s “Crazy in Love” in 2003 and Rihanna’s “Umbrella” in 2007; Mariah Carey, with “Vision of Love” in 1990 and “We Belong Together” in 2005; and Usher, with “U Remind Me” in 2001 and “Confessions Part II” in 2004.
Shaboozey’s “A Bar Song (Tipsy)” places at No. 2 on the season-wrapping Songs of the Summer chart, as country titles take the top two spots for a second straight and total year. In 2023, Luke Combs’ “Fast Car” finished as the runner-up.
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Here is a rundown of the Songs of the Summer chart’s top 10 for 2024:
No. 1, “I Had Some Help,” Post Malone feat. Morgan Wallen
No. 2, “A Bar Song (Tipsy),” Shaboozey
No. 3, “Not Like Us,” Kendrick Lamar
No. 4, “Espresso,” Sabrina Carpenter
No. 5, “Million Dollar Baby,” Tommy Richman
No. 6, “Please Please Please,” Sabrina Carpenter
No. 7, “Too Sweet,” Hozier
No. 8, “Lose Control,” Teddy Swims
No. 9, “Birds of a Feather,” Billie Eilish
No. 10, “Beautiful Things,” Benson Boone
Capping off her buzzy summer, Sabrina Carpenter is the only act with two tracks in the Songs of the Summer top 10 for 2024: “Espresso,” at No. 4, and “Please Please Please,” at No. 6. (Last year, two artists each doubled up: Taylor Swift, with “Cruel Summer” and “Karma,” featuring Ice Spice, and SZA, with “Snooze” and “Kill Bill.”)
Harry Styles’ “As It Was” clinched the season-ending No. 1 on the 2022 Songs of the Summer chart, after BTS’ “Butter” glided to the top spot in 2021 and DaBaby’s “Rockstar,” featuring Roddy Ricch, wrapped at No. 1 in 2020 (marking the last year that the winning hit hasn’t led the weekly chart from start to finish from Memorial Day through Labor Day).
Check out the top 10 summer songs every year throughout the Hot 100’s history (from the chart’s start in 1958), the top 500 Greatest of All Time Songs of the Summer and this season’s final Songs of the Summer chart in its entirety.
Lady Gaga and Bruno Mars’ “Die With a Smile” rises to No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. A week earlier, the song debuted at the runner-up spot on each list.
Plus, Sabrina Carpenter launches at No. 2 on the Global 200 and No. 3 on Global Excl. U.S. with “Taste,” and Chappell Roan’s “Good Luck, Babe!” reaches the Global Excl. U.S. top 10, rising 11-9, while also ranking at No. 8 on the Global 200.
The Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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“Die With a Smile” tops the Global 200 with 97.2 million streams (up 29%) and 12,000 sold (down 62%) worldwide Aug. 23-29. The ballad, released Aug. 16, becomes Lady Gaga and Bruno Mars’ first No. 1 each on the Global 200 since the chart began.
Sabrina Carpenter’s “Taste” opens at No. 2 on the Global 200 with 102 million streams and 8,000 sold worldwide. She adds her third top 10 on the chart, with her “Espresso” holding at No. 3, following three nonconsecutive weeks at No. 1 beginning in June, and “Please Please Please” pushing 6-4 after two weeks at No. 1 also starting in June. All three songs are from her new album, Short n’ Sweet, which blasts in at No. 1 on the U.S.-based Billboard 200.
Billie Eilish’s “Birds of a Feather” falls to No. 5 on the Global 200 after spending the last three weeks at No. 1.
“Die With a Smile” concurrently leads Global Excl. U.S. with 67 million streams (up 39%) and 6,000 sold (down 54%) outside the U.S. Aug. 23-29. As on the Global 200, it marks Lady Gaga and Bruno Mars’ first No. 1 each since the survey started.
Eilish’s “Birds of a Feather” drops to No. 2 after three weeks atop Global Excl. U.S.
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Carpenter’s “Espresso” rebounds 4-3 on Global Excl. U.S., following eight nonconsecutive weeks at No. 1 beginning in May, while her “Taste” bows at No. 4 with 60.2 million streams and 3,000 sold outside the U.S, becoming her third top 10, and “Please Please Please” rises 7-5 following a week at No. 1 in June.
Also in the Global Excl. U.S. top 10, Chappell Roan’s “Good Luck, Babe!” advances 11-9, led by 32.1 million streams (up 6%). As on the Global 200, where the song ranks at No. 8 after reaching No. 7, it becomes her first Global Excl. U.S. top 10.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Sept. 7, 2024) will update on Billboard.com tomorrow, Sept. 4 (a day later than usual due to the Labor Day holiday Sept. 2). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. 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.