Music

Five Burning Questions: PinkPantheress & Ice Spice’s ‘Boy’s a Liar’ Debuts at No. 14 on the Hot 100

While we’ve already seen a few proven hitmakers — Miley Cyrus, Shakira, Morgan Wallen — zooming onto the Billboard Hot 100 with splashy hits so far this year, this week we get something a little different: a top 15 debut from two rising pop artists who’ve never reached higher than No. 82 on the chart before.

“Boy’s a Liar” was already a modest streaming success for acclaimed pop&B singer-songwriter PinkPantheress, racking up millions of plays a week. But it didn’t really threaten the Hot 100 until its “Pt. 2” remix premiered on Feb. 3, alongside viral rapper Ice Spice. The new version took off almost immediately, and continued climbing for all last week — resulting in a No. 14 Hot 100 debut on the chart dated Feb. 18.

Why did their combination prove so potent? And which artist does the breakthrough mean more for? Billboard staffers discuss these questions and more below.

1. PinkPantheress’ and Ice Spice’s names won’t be unfamiliar to anyone who’s paid close attention to pop music over the past couple years — particularly online — but their individual solo Hot 100 histories to this point are minimal. What is about their team-up that allowed “Boy’s a Liar” to have such an explosive Hot 100 debut?  

Rania Aniftos: PinkPantheress and Ice Spice teamed up at the perfect point in their careers, where they both had just enough buzz for the collaboration to take off. Also, “Boy’s a Liar” is two cute, fun women singing about how men are trash. It was made for the Hot 100.

Jason Lipshutz: Sometimes, online popularity is multiplied thanks to a collaboration between two well-known (if not high-charting) artists, and then applied to the right song to have both artists explode up the Hot 100. The effect that we’re seeing from “Boy’s a Liar Pt. 2” reminds me a little of Migos and Lil Uzi Vert’s No. 1 smash from 2017, “Bad and Boujee” — not that those songs sound anything alike, but they both soared up the Hot 100 at a time when their respective creators had been cult favorites for a while without a full-on mainstream embrace. We’ll see how high “Boy’s a Liar Pt. 2” can climb, but PinkPantheress and Ice Spice are likely about to experience highly expanded profiles because of it.

Heran Mamo: TikTok has been an impressive launchpad for both artists, so for PinkPantheress and Ice Spice to join forces (and online fanbases), their collaboration was sure to make a lot of noise on the Billboard charts. Sonically, Pink’s U.K. drum and bass-meets-bubblegum pop and Ice’s Brooklyn drill sounds complement one another with their uniquely frenetic rhythms, while Pink’s sweet-sounding, shrill voice and Ice’s bold, raspier voice delivery provide a noteworthy contrast. Not to mention, the “Boy’s a Liar Pt. 2” music video — which currently sits at No. 1 on YouTube’s U.S. Trending music chart — adds to their indomitable power as Gen-Z’s it-girlies.

Andrew Unterberger: Sometimes it just takes a small boost for artists who have long been knocking on the door of the mainstream to break all the way through. The pairing of PinkPantheress and Ice Spice was unexpected but intriguing — and, once you got the chance to hear and see it, pretty logical. If you were interested in either artist, chances are you were checking this out, and you were probably satisfied enough to share it on put it on your heavy-rotation playlists. To see it just snowball from there — to the point where the song now likely has plenty of listeners who were previously unfamiliar with either artist — is mostly just a testament to the song being real good.

Christine Werthman: PinkPantheress and Ice Spice both get a lot of streaming and TikTok love on their own, though that doesn’t necessarily translate to Hot 100 success. But their team-up on “Boy’s a liar Pt. 2″ — not just for a song but also a video — made for a perfect joining of forces that united their fanbases, and their numbers, and catapulted this vulnerable 2:11-long callout to that impressive No. 14 debut. PinkPantheress recently admitted to being picky about her collaborators, and it seems like she held out for the perfect one.

2. The original “Liar” had been lingering around the Spotify daily charts as one of PinkPantheress’ bigger streaming hits, but could never quite seem to get the juice to cross over on its own. Do you think the Pt. 2 with Ice Spice is a superior and/or more commercial version of the song, or do you think it’s mostly excitement over the combination of artists that’s propelling it so far?  

Rania Aniftos: The online hype surrounding Ice Spice lately definitely didn’t hurt. Her soothing rap verse adds a digestible, radio-ready quality to the song without sacrificing its unique sound. Fans in general also seem to be loving female collaborations, as we’ve seen through various team-ups Doja Cat and Megan Thee Stallion have done over the past few years. The unexpected-but-so-natural decision for PinkPantheress and Ice Spice to work together was such a good move, and allowed the song to propel into the mainstream. 

Jason Lipshutz: Why not both? The remix has certainly benefited from the presence of Ice Spice, who’s been a prominent figure in popular hip-hop throughout this year, thanks in part to her Like.. ? EP. But her presence on “Boy’s a Liar Pt. 2” isn’t a gimmick: even though the song lengths of the original and remix are exactly the same, Ice Spice balances out PinkPantheress’ melodic sighs and jingly chorus with weighty bars, making the song less of a delightful trifle and more of a fleshed-out pop hit.

Heran Mamo: I’d say both. Adding another fast-growing internet sensation like Ice Spice into the mix is the perfect ingredient to make “Boy’s a Liar” a commercial hit. Even leaked TikTok videos of them filming the “Boy’s a Liar Pt. 2” music video in New York made waves before the song was ever released because fans were in disbelief that their favorites were coming together. Additionally, the beginning of Ice’s verse – “He say that I’m good enough, grabbin’ my duh-duh-duh/ Thinkin’ ‘bout sh— that I shouldn’t have (Huh)” – has proven to be one of the most lyrically memorable components of the track, so she adds more value to “Boy’s a Liar” beyond her presence.  

Andrew Unterberger: I wouldn’t say the new version is better, necessarily, but it does make “Liar” feel more like a commercial pop song. The “Pt. 2” version of “Boy’s a Liar” isn’t actually any longer than the original — both run 2:11, just with Ice Spice’s new verse subbed in for PinkPantheress’ second verse on “Pt. 2” — it just feels fuller, thanks the switch-up to Spice’s completely different (but still well-matching) flow. For two artists whose singles have been consistently satisfying, but maybe a little too clipped and weightless for certain pop audiences to really give them full consideration, the combination ends up being more than the sum of its parts.

Christine Werthman: The Bronx rapper brings a grounding element to the original track, which flits about as the British dance-pop artist vocalizes relationship insecurities and frustrations. “Pt. 2” also catches Ice Spice in a less guarded place than usual, and though there’s something novel about that for fans, I don’t think it upped the song’s commercial appeal. Instead, I think it just granted each artist exclusive access to the other’s fanbase, and that combination propelled the plays.

The video dropped 11 days ago, and it already has 12 million views — so watching these two link, looking ultra cool against a New York City backdrop, is enough to get people excited. That said, if “Pt. 2” (or even the original “Boy’s a Liar”) weren’t such a strong track on its own, the collab might not have had such an impact. But the audio plus the visual made it take off.

3. Which of the two artists do you think this debut ultimately means more for?  

Rania Aniftos: I really want to say both, but I’m not going to cheat on this answer. I’m going to say PinkPantheress, because I’ve always known that she’s great, and it’s about time everyone else does too. 

Jason Lipshutz: Probably Ice Spice — who appears to be on the verge of full-blown stardom, after a months-long run of positively received music, increasing meme-ability and growing respect for her microphone skills from the old school and new school hip-hop communities. Make no mistake, “Boy’s a Liar” represents a significant win for PinkPantheress, a critically adored pop savant who is about to play bigger stages. Yet the song feels like another checked box in Ice Spice’s rapid breakthrough as a major artist.

Heran Mamo: PinkPantheress, considering she’s the lead artist on the track and this marks her career-first entry on the Hot 100. She released her debut mixtape, To Hell With It, in October 2021, and besides her latest slew of singles (which includes “Boy’s a Liar”), it’s been relatively quiet on her end. Her evolution from a faceless singer who teases her music on TikTok via viral snippets to charting star with increasing momentum and an actual physical presence has been remarkable to witness in the short years she’s been on the scene.   

Andrew Unterberger: It’s tough, because it means a whole lot for both in different ways. But I’d say Ice Spice gets the slightly bigger boost here as the difference-maker; she also debuts her own slowly growing solo hit “In Ha Mood” at No. 85 this week, and seems well on her way to being one of the most ubiquitous pop figures of 2023. This is a big breakthrough for PinkPantheress and should help her visibility significantly, but if she went back to being a mostly cult-level pop hitmaker after this it wouldn’t be shocking.

Christine Werthman: Ice Spice, since it looks like her co-sign/feature can boost songs to new heights.

4. Once the initial excitement passes, do you see “Liar” continuing to grow into one of the biggest hits of early 2023? Or do you think this strong start is about as good as it will get for the song?  

Rania Aniftos: It’s hard to say because I still haven’t been able to pinpoint what the major 2023 trend in music is yet. It seems like this is going to be the viral song that stays through the summer due to its bubbly nature, but you really never know with the Internet. Every time we think we figured out what’s viral, another random smash comes out of nowhere.  

Jason Lipshutz: Although it will be tough for “Liar” to challenge smashes from A-list artists like Miley Cyrus, SZA, Morgan Wallen and Taylor Swift at the top of the Hot 100 in the coming weeks, I do expect the song to keep rising and make a top 10 bow sooner than later. “Liar” is too damn catchy and well-made to be relegated to “viral hit” status, and even though PinkPantheress and Ice Spice have zero track record at pop radio, I could see top 40 programmers taking a chance on a single that’s this accessible, and help its upward momentum continue.

Heran Mamo: I have hope that “Boy’s a Liar” has the momentum to become one of the year’s earliest hits. Pink’s catchy “Good eno-o-ough, good eno-o-ough” post-chorus, cheeky Ice Spice-isms like “grabbin’ my duh-duh-duh” and the candy-coated production ensure this track will be a mainstay. I mean, how could they lose if they’re already chose… like?  

Andrew Unterberger: It’s really never a good idea to underestimate the commercial ceiling for a song that debuts strong out the gate and just keeps growing from there. The song has continued to climb on streaming services’ daily charts — and not just one of them; it’s in the daily top 10 for each of Spotify, Apple Music and YouTube — and radio shouldn’t be far behind. It’ll have its work cut out for it passing some of those bigger names currently occupying the chart’s top spots, so No. 1 might end up being out of reach for it. But the top five feels like a distinct possibility, and sooner than later.

Christine Werthman: All the attention is boosting “Liar” beyond the Ice Spice and PinkPantheress fan spheres, so I think it will climb a little higher from here. Maybe even top 10 material.

5. When a song like this comes out of nowhere (relatively speaking) and zooms into a debut like this, it’s guaranteed the industry will sit up and pay attention to it. So what important industry lessons, if any, do you think can be taken from the early success of “Boy’s a Liar”?  

Rania Aniftos: Songs that sound like Paris Hilton listened to them in 2005 are still very much in – and so are female collaborations! We’ve been on this early 2000’s nostalgia wave in music over the past few months, and I think it’s going to continue well into 2003. I expect to see more of these pop, digital-sounding hooks in the future.  

Jason Lipshutz: A decade ago, there were certain indie-pop artists who were never going to remove the “indie-“ prefix from their categorization and score a mainstream hit; now, in the age of TikTok, left-of-center artists have a very real shot at scoring top 40 hits under the right circumstances. So as unlikely as a hit PinkPantheress single may have seemed a few weeks ago, the industry cannot afford to shrug off the mainstream potential of singer-songwriters who continue to produce top-notch pop. You never know which “Boy’s a Liar” is just around the corner.

Heran Mamo: Make remixes that make sense. Sometimes, songs that are already performing well on their own will be supplemented with remixes that don’t necessarily add to the track beside A-list names (e.g., the Justin Bieber and J Balvin remix of 24k Goldn and iann dior’s “Mood”) and end up doing nothing. PinkPantheress and Ice Spice are two 20-something, pop and rap princesses of the digital age with a similarly eclectic taste in beats. Even Pink said it herself in a cover interview with NME that “when it comes to collaborations, I’m quite picky: I always want someone who can match me well on a track.” And Ice does exactly that on “Boy’s a Liar.”  

Andrew Unterberger: I think there’s something to be said about looking out for buzzy singles that internalize trends that have been going on for some time in the underground, while filtering them through a more accessible pop framework. You can hear some of the frenetic airiness of hyperpop and even a little bit of the bounce of Jersey club in “Boy’s a Liar,” but at the end of the day you wouldn’t say it really belongs to either of those genres — you’d just call it a pop song. Songs that can pull that off, without seeming trend-hoppy or late… the sky’s the limit for ’em, really.

Christine Werthman: PinkPantheress has more monthly listeners on Spotify than Ice Spice (20 million vs. 14 million, respectively), but they’re not lightyears apart in terms of popularity. Perhaps the takeaway is that you don’t need a big Drake-sized feature on your track to make it soar — you just need a smart pairing of artists who naturally vibe, who differ stylistically but aren’t total opposites and, sure, who have each found love in the streaming world. 

Everything We Know About Lele Pons and Guaynaa’s Wedding: Date, Bridal Party, Honeymoon & More

Lele Pons and Guaynaa are celebrating their Valentine’s Day as Billboard Español’s first cover story of the year, fittingly published today (Feb. 14). 

In the hour-long interview, the Latin power couple revealed exciting details about their upcoming wedding and their plan to release a joint album together. They admit that doing both — planning their special day and recording new music together — can be a stressful process. 

“We try to help each other with the stress, and the people around us, too,” Pons tells Billboard Español. “Like your dad, he calms me down a lot. Your mom calms me down a lot,” she says to Guaynaa. 

“It’s a process,” he admits, “but we always take a couple of days a week to do nothing and be at home snuggling, watching TV, talking. That makes us more appreciative and makes us step out of the house with the idea that someone is waiting for you at home to have a nice time when the lights go out, that someone is there for you.” Read Sigal Ratner-Arias’ complete Billboard Español cover story here.

Pons and Guaynaa first met in 2019 and dropped their first collaborative effort, “Se Te Nota,” in 2020. After much speculation about whether they were dating, Pons made the relationship Instagram official in December of that same year. Guaynaa popped the big question at the 2022 Tomorrowland during Steve Aoki’s set. 

“Guys, this is my beautiful girlfriend Lele Pons and I want to ask her a quick question,” the Puerto Rican artist said to the many thousands of fans in the audience. “I know what this means to you and how much you love Tomorrowland — Lele, will you marry me?” Among tears of joy, the Venezuelan influencer-turned-singer said “yes” without hesitation. 

Below, find out everything we know about their wedding day (so far) from the new cover story.

Depeche Mode’s ‘Ghosts Again’ Tops Hot Trending Songs Chart

“Ghosts Again,” Depeche Mode’s first single since 2017, debuts at No. 1 on Billboard’s Hot Trending Songs chart, powered by Twitter, dated Feb. 18.

Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Feb. 3-9.

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“Ghosts” was released Feb. 9. Despite just one day of data toward the latest tracking week, it not only earned a No. 1 debut on Hot Trending Songs but is also bubbling under Billboard’s Alternative Airplay chart.

It’s the first taste of music from Memento Mori, the band’s 15th studio album and first since 2017’s Spirit. Due March 24, it’s the group’s first LP since the death of keyboardist Andy Fletcher last year.

Further appearances for “Ghosts” are expected on the Billboard charts dated Feb. 25.

Future’s “I’m Dat N***a,” from his 2022 album I Never Liked You, follows at No. 2. Its surge in activity is owed to a viral social media post showing LeBron James playing the song after he broke the NBA’s all-time scoring record on Feb. 7.

New music from Gracie Abrams, BSS, Linkin Park, Luke Combs and more also appears.

Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.

Morgan Wallen Rebounds for Sixth Week at No. 1 on Artist 100 Chart

Morgan Wallen rises from No. 4 to No. 1 on the Billboard Artist 100 chart (dated Feb. 18), becoming the top musical act in the U.S. for a sixth total week. He tallied his first five weeks at No. 1 in January-February 2021.

Wallen returns to the top spot thanks to seven charting hits on the Billboard Hot 100, led by “Last Night,” which vaults 27-3 after its first full week of tracking, becoming his fifth top 10 song and highest-charting career hit.

Here’s a recap of Wallen’s seven current Hot 100 hits, all of which are on his new album One Thing at a Time, due March 3:

Rank, Title
No. 3, “Last Night”
No. 13, “Thought You Should Know”
No. 18, “You Proof”
No. 38, “I Wrote the Book”
No. 47, “One Thing at a Time”
No. 51, “Everything I Love”
No. 81, “Tennessee Fan”

Also fueling Wallen’s return to No. 1 on the Artist 100 is his prior LP Dangerous: The Double Album, which rises 6-4 on the Billboard 200. The January 2021 release, which sparked his first five weeks atop the Artist 100, spends a 106th week in the Billboard 200’s top 10, tying the West Side Story soundtrack from 1962 for the third-most weeks totaled in the region. They trail only the My Fair Lady original cast recording from 1956 (173 weeks in the top 10) and the Sound of Music soundtrack from 1965 (109).

Wallen extends his record for the most weeks spent at No. 1 on the Artist 100 among primarily country acts. Jason Aldean and Luke Combs follow with three weeks on top apiece. Taylor Swift leads all acts with 63 weeks logged at the summit.

Elsewhere in the Artist 100’s top 10, Shania Twain re-enters at No. 8, as she appears in the top 10 for the first time since reaching No. 2 in 2017. Her new album Queen of Me arrives at No. 10 on the Billboard 200 with 38,000 equivalent album units earned, becoming her sixth top 10. Notably, she joins Madonna as the only women with newly-charting Billboard 200 top 10s in the 1990s, 2000s, ’10s and ’20s (Madonna’s streak also includes the ’80s).

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.

Romeo Santos Secures 21 Top 10s on Hot Latin Songs Thanks to Karol G Collab ‘X Si Volvemos’

Romeo Santos makes his first top 10 debut since 2017 on Billboard’s Hot Latin Songs chart with “X Si Volvemos,” the king of bachata’s first collaboration with Karol G (which translates to “in case we go back”), as the song opens at No. 5 on the Feb. 18-dated list. The also serves as Santos’ 21st hit on Hot Latin Songs.

“X Si Volvemos” bows in the top 10 on the multi-metric ranking mainly on the strength of streaming activity. It logged 8.9 million after its first full tracking week ending on Feb. 9, according to Luminate. Its opening count yields a No. 42 on the all-genre Streaming Songs chart and a No. 2 arrival on Latin Streaming Songs.

The upbeat rhythmic track was released Feb. 10 via Universal Music Latino and it’s the fourth single from Karol G’s fourth studio album Mañana Será Bonito, slated for a Feb. 26 release. The set was preceded by the Hot Latin Songs No. 1 hit “Provenza” (May 14, 2022) and the No. 4-peaking “Gatúbela” (Sept. 2022).

“X Si Volvemos” also traces its top five start to sales and airplay. On the sales front, the collab increased by 132% with 1,300 downloads sold during the same period. It moves 4-2 on Latin Digital Song Sales in its second week.

Airplay contributes minimally to its Hot Latin Songs debut. It registered 1,000 in audience impressions during its first tracking week, not enough to debut on the all-genre Latin Airplay chart this week.

As “Volvemos” arrives at No. 5 on the airplay-streaming- and digital sales-blended Hot Latin Songs ranking, Santos secures his first top 10 debut since “Imitadora,” featuring Nicky Jam and Daddy Yankee, opened at No. 7 in July 2017. Santos’s previous top 10 arrived through “Sus Huellas” (No. 10 high in March 2022). Santos has claimed six top 10s between “Imitadora” and “Volvemos,” with songs that debuted outside the top 10.

Meanwhile, Karol G ups her top 10 career count to 17, the fourth-most among women behind Shakira’s 33 top 10s, Gloria Estefan’s 23, and Ana Gabriel’s 20 (among all acts, Bad Bunny leads with a robust 59 top 10s.)

Elsewhere, “Volvemos” concurrently makes its way into the all-genre Billboard Hot 100 chart, at No. 56: a 13th career entry for Karol G and a 12th for Santos. Further, it joins both Global charts, with a No. 30 start on the Billboard Global 200 and No. 32 on the Global Excl. U.S. tally.

Charlie Puth Announces The Charlie Live Experience 2023 Tour With Clever TikTok Video: See the Dates

Charlie Puth is hitting the road this spring and created a viral TikTok to share the news on Tuesday (Feb. 14).

On the social platform, the pop star started with layers of roaring applause before adding snippets of his hit singles “Attention” and the JungKook-assisted “Left and Right.” Then, he included narration by a female announcer before unveiling the finished product: “Grammy-nominated and multi-platinum singer-songwriter-producer Charlie Puth presents The Charlie Live Experience. See him live in concert across North America in 2023.”

Following a festival stop at Mexico’s Corona Capital Guadalajara on May 20, The Charlie Live Experience is set to kick off on May 24 at The Pavilion at Toyota Music Factory in Dallas. From there, Puth will hit major cities like Nashville, Atlanta, Washington D.C., Philadelphia and New York City across 30 dates before wrapping up July 11 with a show at The Greek Theater in Los Angeles.

Tickets go on sale to the general public on Friday (Feb. 17) at 10 a.m. local time via LiveNation’s website. A special pre-sale with select VIP ticket packages will begin two days prior on Wednesday (Feb. 15).

The tour follows Puth’s series of One Night Only shows at the tail end of 2022, which saw him play an intimate run of theaters and smaller venues across the U.S. to finally debut his latest album Charlie live to his fans for the first time.

In December, the “That’s Hilarious” singer celebrated turning 31 by taking his romance with childhood friend Brooke Sansone public.

Check out Charlie’s TikTok announcement and complete list of upcoming tour dates below.

Shakira Sings Along to SZA’s ‘Kill Bill’ Following Gerard Piqué Breakup Drama: Watch

Let’s just say, Shakira definitely isn’t spending this Valentine’s Day listening to love songs. In the eight months since she and soccer star Gerard Piqué announced their breakup, the 46-year-old musician hasn’t been shy about publicly shading her ex — and in a Tuesday (Feb. 14) TikTok, she may have just done it again by singing along to SZA‘s “Kill Bill.”

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In the TikTok, Shakira wears a black jumpsuit and matching platform heels while mopping the kitchen floor, singing along to the standout single from SZA’s No. 1 album SOS in which she fantasizes about murdering her ex and his new girlfriend: “I might kill my ex, not the best idea / His new girlfriend’s next, how’d I get here?”

The “Hips Don’t Lie” singer didn’t mention Piqué by name in the video or its blank caption, but fans in the comments are convinced they know exactly who the sing-along was directed at. “THE SHADE IS WHAT I’M HERE FOR,” commented one. “I feel you girl,” wrote another. “You’re hella strong. He lost huuuuge time I swear.”

And though it’s probably safe to say that Shakira has no actual plans of committing first-degree murder, she does have experience with an ex quickly moving on to someone new. In her new song with Bizarrap, “BZRP Music Session #53,” she calls out Piqué and slams his new girlfriend, Clara Chia Marti, with whom he went Instagram official last month.

“Good luck with my so-called replacement/ I don’t even know what happened,” she spits on the track, which debuted at No. 9 on the Billboard Hot 100. “You’re acting so weird, I don’t even recognize you/ I’m worth two 22-year-olds/ You traded in a Ferrari for a Twingo/ You traded in a Rolex for a Casio.”

Shakira and Piqué, who dated for 11 years and share sons Milan and Sasha, announced via a joint statement in June 2022 that they were calling it quits. “We regret to confirm that we are separating,” they said at the time. “We ask for privacy at this moment for the well-being of our children, who are our maximum priority. Thank you in advance for your understanding and respect.”

Watch Shakira sing along to SZA’s “Kill Bill” below.

Bright Eyes Return to the Road With Eight-Date U.S. Tour

Bright Eyes fans who missed last year’s first-in-a-decade tour of Conor Oberst and his bandmates Mike Mogis and Nathaniel Walcott will get a second chance at seeing the trio this Friday, when tickets go on sale for eight new Bright Eyes shows at small venues across the Midwest and South as he tours ahead of his performance at the Corona Capital festival in Guadalajara, May 21.

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Demand for the brief tour is expected to be high as Oberst and crew follow up last year’s extensive U.S. and European tour in support of their 2020 record Down In The Weeds, Where The World Once Was, which debuted at No. 36 on the Billboard 200 albums chart.

While the 2022 tour generally received positive reviews from fans — including a July performance at LA Greek’s Theatre that music writer Jeff Miller described as “moving with confidence, playing with heart, and still foraging his woe-is-me persona in a wholly relatable way” — the tour did struggle midway through, with Oberst even walking off stage during a May gig in Houston.

But Oberst and the band were able to iron out the issues and close 2022 with a kinetic and powerful set at the Corona Capital festival inside Mexico City’s sprawling Autodromo Hermanos Rodriguez. From opening his set with anxious and frenzied rendition of his 2020 album opening “Dance and Song” to taking the guitar for a shaking and exhausting ride through “Old Soul Song,” Bright Eyes crew delivered a set that went as close to the edge of Oberst’s discontent as anyone dare venture.

Starting May 10, the 42-year-old Omaha native and his bandmates will perform at the famed Pabst Theater in Milwaukee, First Avenue in Minneapolis and the brand-new Salt Shed in Chicago on May 12, before heading south for a second chance in Houston where he will once again perform at the city’s famed White Oak Music Hall, almost exactly one year from the anniversary of the cancelled 2022 gig. It’s an audacious move, and while his camp is cautious not to overhype his return, it’s encouraging for many to see him face the past on his own terms.

Tickets go on sale at 10 a.m. Central. Purchase tickets here 

BRIGHT EYES 2023 TOUR DATES

May 10 – Milwaukee, WI – Pabst Theater

May 11 – Minneapolis, MN – First Avenue

May 12 – Chicago, IL – Salt Shed

May 13 – Columbia, MO – Rose Park

May 14 – Tulsa, OK – Cain’s Ballroom*

May 15 – Little Rock, AK – The Hall

May 17 – San Antonio, TX – Aztec Theater

May 18 – Houston, TX – White Oak Music Hall

May 21 – Guadalajara, MX – Corona Capital Guadalajara

Bright Eyes

Bright Eyes Spring 2023 Tour Dates

Inhaler Prepares for Rock Stardom: ‘We’re Still Freaked Out That This Has Even Happened’

“We’ll never do a second album again,” jokes Inhaler’s Elijah Hewson, feigning the exhaustion that, at this time last year, was very real for the well-coiffed singer-guitarist and his Inhaler band mates.  

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After two years of pandemic dormancy, the Irish pop-rockers stormed the stage in 2022, amassing more than 100 gigs in support of It Won’t Always Be Like This, the group’s blistering post-punk-goes-pop 2021 debut. The album, which was largely written and recorded during COVID, hit No. 1 in the U.K. and the Dubliners’ native Ireland, shocking the new-coming foursome. 

And so came the need for a worthy follow-up — this time on a working band’s notoriously chaotic schedule. But the tireless lads pulled it off, booking long studio hours in early 2022, between tour stints and festival sets.

Just 15 months after their thrilling curtain-raiser — and with nerve-racking slots at Glastonbury and Lollapalooza now in the rear-view — Inhaler returns with Cuts and Bruises, another jangle-and-thump effort full of confidence and anthemic abandon, out this Friday (Feb. 17) through Geffen. The guitar-heavy sequel sharply merges callbacks to the band’s ‘80s muses — The Stone Roses, Joy Division — with touches of American fascination, courtesy of the band’s run of packed club shows across the U.S. last spring. Suddenly Bruce Springsteen and Bob Dylan have joined the party as influences. 

After last year’s hectic return to normalcy, the band — Hewson, guitarist Rob Keating, bassist Josh Jenkinson and drummer Ryan McMahon — plans for a busy 2023, with another list of festivals booked, not to mention opening slots for Harry Styles and Arctic Monkeys. It’s easy to imagine a 1975-like obsession before this next album cycle is finished, although the band mates, who have been making noise together since their early teens, can scarcely believe any of it.

Billboard caught up with the ascendant band to retrace their wild 2022, unpack the origins of Cuts and Bruises, and learn how a well-timed documentary influenced their promising next chapter. 

How was your very busy 2022, and being able to get back on stage and debut songs written in pandemic isolation? 

Ryan McMahon: When we went back to gigging, seeing all these new, unfamiliar faces, singing back the songs was quite a shock to our system. And that was crazy for us to get back out touring and going into places in America, for example, where we never thought we’d be able to go and people knew our songs. We were talking a lot about how we’re very guilty of feeling like we’ve got this sense of imposter syndrome in our minds. We don’t feel worthy, in a lot of ways, of some of the things we get to do.

How has the reception been with U.S. fans, who have been a little slower to catch Inhaler fever?    

RM: It’s surreal, because we always pictured America as this fictional place.

Elijah Hewson: I think people [in America] listen to music in a really different way than they do in Europe. Not that it’s like they don’t listen to music as much in Europe, but I feel like when we came here, right off the bat, people were very warm to us and we felt like it gave us a lot of drive and a lot of it made us feel like, oh, “Come on, lads.” And I guess it’s that age-old thing of Irish people coming to America and feeling like the whole world’s at their feet, at their fingertips. 

Since you last spoke to Billboard, your debut album, It Won’t Always Be Like This, hit No. 1 in several countries, including your native Ireland. What’s it like to have a chart-topper in your own country?

RM: We still almost feel like it didn’t happen. I mean, when you get into a band when you’re 12 or 13, you don’t ever think that you’re going to go and take on the world with your boys. You just want to get into a room and make noise, because you’re not really that good at anything else. And so fast forward nine, 10 years later, and you wake up to find out that your album that you wrote during a pandemic is No. 1 in the country that you grew up in? It’s hard to put into words, really.

Let’s talk about the new album. First off, why call it Cuts and Bruises

EH: I think we kind of realized that being in a band is maybe, sounds silly, but more of a commitment than we thought. Not in a sense that we have to work, but I think in relation to our relationships with each other. It’s a little bit like a marriage, and I think there’s always going to be a little bit of residual scar tissue left over after so many years of working and playing with each other.

We’re starting to realize that it’s important to look after those relationships and pay attention to them, and we have a responsibility to look after each other. And I think that just kept coming up, after the pandemic and being on the road together, it just felt like the only thing we could write about. So I guess the title reflects that, in a way. And it’s not a serious injury. It’s something that we’re able to brush off and heal from.

In a way, the pandemic bought you guys extra time to fine-tune your first album. But Cuts and Bruises was made in the real world, in between a rigorous touring schedule. How much harder was this one to finish? 

EH: Switching between those two processes was very exhausting. And I think we all kind of crawled out the back end of 2021 just feeling like we were just really, really — not burnt out, but I think we’d given everything that we could, and I think in some ways the pressure of that, and the spontaneity of it, and the speed at which we did things probably did help the album. And thankfully, we had our producer [Antony Genn] in there to kind of light the fire under our arse, as he often does. And that really kept us on the straight and narrow while we were back in the studio.

How did this new influx of touring experience — and growing confidence in your abilities — influence the writing of Cuts and Bruises

EH: I think we learned a lot of lessons on the first one, and I think when we came into the second we had a better picture of how we wanted to do things. … I think the main thing we said is we wanted less information, to let the songs breathe a bit.

I think we were just more confident, and you don’t have to add as much if you are confident in the songs and material. And that was the basis of what we went off and I think it guided us pretty well. But other than that, I mean, you’re going in hoping that you come out with something at the end that is bigger than the sum of its parts. I don’t think anybody really knows what they’re doing. And as David Bowie said, “If you knew what you were doing, it’d be boring. You’d be disappointed.”

Is there one song on the new album you’d point to as the guiding light for what this project is trying to say? 

EH: Maybe “Now You Got Me,” because it’s about commitment to something, and a lot of the lyrics are about joining the band and stuff like that. And I think that paints a picture, for me, of the whole album and where we are right now. 

RM: [The song] sums up just the overall residing theme of it being an album of love songs, about loving your friends, really.

You guys talk a lot about being in a band and your commitment to each other. I know you all watched The Beatles documentary Get Back, which touches on some similar themes. How did that impact how Inhaler functions? 

EH: It couldn’t have come out at a better time for us to be preparing to go into a studio to make a new album. And it was also very interesting for us to watch that and watch some of the conversations that they’d be having with each other as the biggest and best band to ever exist. And we’re just watching it going, “Hey, we argue about that!”

The lead single “These Are the Days” is a big, anthemic song. How’d you land on it to introduce the new album? 

JJ: It was funny, because “These Are the Days” was kind of overlooked at the time but we played it to our producers and our managers and they were like, “Hey, there’s something there. Let’s get cooking on that straight away.” Even though it was one of the later demos to arrive, it was one of the first songs we’d finished and we thought it was a good way of coming back into releasing music and saying, “Hey, here we are again. Are people still interested in us?” It just worked out in that way.

How about “If You’re Going to Break My Heart,” which is a departure for you guys? It sounds like an American folk or country song.

RM: That came to us from listening to a lot of Bob Dylan and The Band and Bruce Springsteen, and us falling in love with America, really, and touring it and visiting places like Nashville and sort of familiarizing ourselves a bit more with country music and the storytelling that goes behind that. In music, country artists are the best storytellers. I think that’s what we were aiming for. I think that song actually came fairly naturally to us in the studio, because it’s not super rigid-sounding. It’s a lot more loose and it sounds like a live band, which is, again, what we wanted to achieve with this record.

What does it mean to you to be a rock band in 2023 that’s still finding an audience in real life, especially as so many artists your age are living on TikTok? 

EH: It’s everything to us. When we were kids, the most uncool thing you could do was pick up a guitar and join a band. And everyone was like, “Oh, that’s cute.” I think we were just doing it for ourselves, really, because that’s how we found each other — we just wanted to listen to Stone Roses and Joy Division, and it drew us close.

And we saw Arctic Monkeys came out with AM in 2013 and that was very guitar-driven, and “Do I Wanna Know?,” it was a huge single, and I think that gave us a little bit of hope. And I also think that maybe people are just sick of hearing stuff that doesn’t feel authentic. And I think it doesn’t get much more authentic than hearing the clang of a guitar, and that’s a very visceral, physical sound. Maybe that’s why people like listening to bands like us, I guess. But we’re still like, a “pop and roll.” We’re not like idols. We’re still very kind of freaked out that this has even happened.

Lana Del Rey Fully Embraces Her Sensual Side on 7-Minute ‘A&W’: Listen

Lana Del Rey is back with yet another track to precede the release of her forthcoming album. On Tuesday (Feb. 14), the “Born to Die” singer returned with “A&W” the second single from Did you know that there’s a tunnel under Ocean Blvd.

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“A&W” — an abbreviation of “American W—e” — sees Del Rey reflecting on the trappings of her youth as she takes a sensual step into adulthood, appreciating and admiring her own body and the desires it allows her to indulge in, though true love or passion is not on the table.

“Call him up, come in to my bedroom/ Ended up we f–k on the hotel floor/ It’s not about having someone to love me anymorе/ This is the experiеnce of being an American w—e,” she croons on the chorus of the simmering track.

The track takes a turn by the four-minute mark, with its acoustic guitar getting swapped out for booming, down tempo trap beats as she sings of a mysterious man named Jimmy, whose way of living she can’t help but be captivated by, despite knowing his behavior is potentially destructive. “Jimmy, if you switch it up, you should light it up/ Jimmy, if you leave the house, find me in the club/ Your mom called, I told her ‘You’re f—ing up big time,’” she teases on the second half of the track.

Though Del Rey has yet to comment on the track, producer Jack Antonoff said in an Instagram post last year that he is fond of “A&W.” “Can’t wait for everyone to hear this album – ‘american w—e’ is my favorite we’ve ever done,” he wrote at the time.

Ahead of the March 24 release of Did You Know That There’s a Tunnel Under Ocean Blvd, Lana Del Rey will be honored with the Visionary Award at Billboard’s Women in Music event on March 1. Abbott Elementary‘s Quinta Brunson will host the event; tickets are available to purchase here.

Listen to “A&W” in the video above.