Music
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Leigh band The Lottery Winners has bagged its second No. 1 on the U.K. Albums Chart. KOKO follows their previous LP Anxiety Replacement Therapy, which achieved the feat in 2023.
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The indie-rockers praised their hometown of Leigh in Greater Manchester when celebrating the news, and toasted the local scene and small venues where they learned their craft. Speaking to the Official Charts Company, the four-piece said, “This is for grassroots music. This is for the working class. This is for Leigh. This is for anybody who has a dream — go out there and get it. Make it happen!”
It continues the group’s upward momentum on the Official Albums Chart over the past few years following the band’s 2020 debut, The Lottery Winners (No. 23), its 2020 follow-up Sounds of Isolation (No. 61) and 2021’s Something to Leave the House For (No. 11).
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The group has played at festivals including Glastonbury, and supported British pop icon Robbie Williams on tour. KOKO’s guest vocalists include Nickelback’s Chad Kroeger, Britpop band Shed Seven and more.
Elsewhere, Sabrina Carpenter’s Short n’ Sweet completes the week at No. 2, while Scottish band Deacon Blue’s 11th studio album, The Great Western Road, lands at No. 3, and gives the group its seventh top 10 U.K. album.
Selena Gomez and Benny Blanco’s joint LP, I Said I Love You First, debuts at No. 4 and is Gomez’s second U.K. top 10 album, following 2020’s Rare (No. 2). It’s the first top 10 LP for her fiancé Blanco, who has a number of U.K. No. 1 singles to his name as a writer and producer, including Katy Perry’s “Teenage Dream.”
Lady Gaga’s MAYHEM finishes at No. 5, Playboi Carti’s Music falls from the top spot to No. 7, while The Horrors’ first album in eight years, Night Life, enters the charts at No. 16.
Tyler, the Creator and Nardwuar linked up at VanDusen Botanical Garden in Vancouver, B.C., for their seventh interview in 14 years, and of course, Tyler had some things to say in the chat that dropped Thursday (March 27).
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Nardwuar asked him about how he felt about all the Hip-Hop 50 celebrations, and Tyler expressed gratitude for being able to make a living doing something he loves. “I’m so happy that in some timeline that I get to be apart of something so special,” he said. “Hip-hop has changed so many of our lives, kept so many of us out of trouble. I’m so grateful for it. I’ve had my criticisms of it and all types of s—t, but that’s out of love ’cause man, I love music and hip-hop specifically so much. I’m a true student, I’m a true nerd.”
He continued by bringing up how much the Black Eyed Peas‘ debut album, Behind the Front, and Dr. Dre‘s album 2001 helped shape his ear and inspired him to write his first raps. “I love hip-hop, I love rap. It’s one of the most beautiful things to exist on Earth,” he said before criticizing rappers who get into the game to make a quick buck.
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“We the coolest ever,” he began. “And all these motherf—kers want to copy us and do everything and some n—as be mimicking and mocking it and they just ain’t got the juice, ’cause they don’t really believe it [in their heart]. You can see it, man, some of these folks, man. They be like, ‘I fell in love with hip-hop on this day.’ I don’t know what that is because it’s been around me my whole life. I am rap. I am hip-hop. That’s all I know.”
He added: “Some of these folks, they look at this as a quick money-getting thing. They look at it as a commodity. They look at it just to criticize it, and, like, y’all ain’t grow up the same.”
Tyler has broached this subject before during an interview with Maverick Carter, during which he criticized Ian for biting flows and even rapped, “White boys mocking this s–t and y’all mad at me/ Y’all can suck my d–k” on the Chromakopia track “Thought I Was Dead.” Ian then addressed Tyler’s allegations in a Lyrical Lemonade freestyle earlier this month, rapping, “Back then, I really loved Odd Future/ I ain’t never sat down tryna mock Future/ I ain’t wanna show no disrespect, so I kept my mouth shut and that’s not human.”
Tyler then brought up some of the chatter he noticed online when he dropped his well-received “Hey Now” freestyle in December. “I saw someone say, ‘How Tyler just gonna take Kendrick’s song right after it comes out, and do the same flow over the same beat,’” he recalled. “And I’m like, ‘Damn, that’s somebody else who did not grow up listening to rap or hip-hop.’ ‘Cause if you grew up listening to rap or hip-hop, you know that’s f—king normal … You should have to do a survey and show your ID before you could say s—t on the internet ’cause folks be saying dumb s—t.”
Watch the full interview below.
03/28/2025
Here’s how we feel about Durk’s latest LP.
03/28/2025
Harry Styles made his cab driver do a double take during a recent drive to London.
A private pink taxi service owner named Paula shared on Instagram March 23 that she’d given the pop star a ride to the English capital without even realizing who her famous passenger was at first. Sharing a selfie she took with Styles after the fact, the driver wrote, “Picked up this young fella on my way home tonight.”
“We got chatting, and I said, ‘You really sound like Harry Styles,’” she added. “He said ‘That’s because I am Harry Styles.’ He was such a friendly young chap!”
In the snap, Paula leans out her driver’s-side window as the “Watermelon Sugar” singer — sporting a trim mustache, baseball cap and blue button-down — smiles politely at the camera. On Friday (March 28), Paula reshared the picture onto her Story and wrote, “I drove Harry Styles in One Direction all the way to LONDON.”
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Based on his serendipitous taxi ride, it seems that Styles is back in his home country after spending time in Japan earlier this month. The Grammy winner participated in the Tokyo marathon March 2, finishing in 6,010th place out of a group of more than 37,000 runners, and averaging about 7:47 per mile.
From Tokyo to London, Styles is all over the map, but one place he isn’t headed anytime soon is Las Vegas. At least, he isn’t setting up shop in Sin City for a 2025 residency at The Sphere, as was widely rumored up until March 13, when a rep for the venue shut down the speculation via a statement shared exclusively with Billboard.
“To set the record straight, there has never been plans for Harry Styles to perform at Sphere,” the spokesperson said at the time.
Styles hasn’t toured since 2023, when he closed out his global Love On Tour after two years on the road. His last album, Harry’s House, arrived in 2022. In addition to spawning 15-week Billboard Hot 100 No. 1 single “As It Was” and spending two weeks atop the Billboard 200, the LP won album of the year at the following year’s Grammys.
Once considered a quiet season for the music industry, Ramadan is now a full-blown musical phenomenon. As Firas Abou Fakher, the vp of audience growth and strategy at Universal Music Middle East, puts it, “Ramadan is no longer a ‘break period’ for the music scene like it used to be.”
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In recent years, Ramadan has become a prime time for music releases, fueled by the rise of TV series, commercial campaigns and a growing appetite for nostalgia. But music has always been an essential part of Ramadan’s artistic memory. From the golden voices of Ammar El Sherei and Sayed Mekawy to legendary lyricists like Salah Jaheen, Sayed Hegab and Abdelrahman El-Abnoudi, paired with artistic talents like Nelly and Sherihan, Ali Al Hajjar and Assala, music has long set the stage for unforgettable Ramadan moments.
However, nothing compares to today’s musical boom, where TV series soundtracks and brand-backed anthems dominate streaming charts, transforming the Holy Month into a dynamic season for artists and production houses alike.
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So, how did we get here? Billboard Arabia sat down with top industry insiders and traced the evolution of Ramadan’s soundscape since the ’80s.
More Than Just TV Soundtracks: Music as Part of the Storyline
Lately, Ramadan has become a launchpad for hit songs, with artists strategically linking their releases to trending TV series. According to Wissam Chartouni, co-founder of Glava Holding (home to Watary and Music Is My Life), “artists now have a higher chance of success when their songs are tied to popular TV shows. Additionally, old classics are getting a fresh revival when featured in pivotal scenes.”
A perfect example? This year, Sherine Abdel Wahab’s 2018 album Nassay saw a massive resurgence after its tracks were featured in the Ramadan series Ekhawati (My Sisters), propelling her back to the top of the Billboard Arabia Hot 100 chart.
Karima Damir, the vp of artist development and repertoire growth at Universal Music Middle East, also notes a shift in how artists engage with Ramadan series: “Singers are becoming integral to the storyline itself. We’re even seeing rappers take on acting roles.” Take, for example, Abyusif, who joined Ahmed Mekky in El Ghaoui during the current season, or Shahin, who starred in Lunchbox last year. Arabic music and drama have never been more intertwined.
From Fawazeer to Viral Ads
For decades, Ramadan’s “fawazeer” (riddle-based variety shows) ruled the entertainment scene, with stars like Nelly and Sherihan leading the stage. Nelly dazzled audiences with standout performances in works like Al Khatba (The Matchmaker) and Arousati (My Doll), where she collaborated with iconic poet, lyricist and playwright Salah Jahin. Meanwhile, Samir Ghanem brought to life the beloved character Fatoota, accompanied by a long, comedic opening theme composed by Sayed Mekawy—one that still lingers in memory today.
In the ’90s, Sherihan reigned supreme with productions like “Hagat W Mehtagat” (Needs and Wants), penned by Egyptian songwriter Sayed Hegab and set to music by composer Moudy El Imam, who blended fast-paced rhythms with vibrant orchestral arrangements.
These productions were packed with elaborate song-and-dance numbers composed by musical giants. But as the 2000s rolled in, fawazeer faded, making room for a new powerhouse: Ramadan commercials. In recent years, brands have gone beyond simple jingles. Instead, they have invested in cinematic-style music videos with chart-topping stars, sometimes downplaying their product’s presence to ensure the song has standalone appeal.
Some of these ad songs have become cultural hits, such as “Asmar Oyonoh Samrah” (Brown-skinned, brown-eyed) and “Ramadan Fi Masr Haga Tanya” (Ramadan in Egypt is something else), performed by Hussein Al Jassmi, a staple on Billboard Arabia’s charts.
This year alone, A-list artists like Al Jassmi, Sherine, Elissa, Tamer Hosny, Angham, Wegz and Ahmed Saad (who led an impressive seven different ad campaigns) dominated Ramadan’s musical space.
Mohamed Jaber, vice president of Mazzika Group, explains this shift: “Brands are now creating songs that can live beyond Ramadan. The goal is for people to play these tracks at gatherings and celebrations, making them more than just an ad—they become part of our culture.”
The Soundtrack Lives On
Despite all these shifts, one thing remains unchanged—TV series intro songs still reign supreme. Since the 1980s, Ramadan drama intros have been a gateway for timeless hits. Legendary collaborations like Sayed Hegab and Ammar El Sherei set the foundation for this genre, creating unforgettable classics. This is evident in the iconic Layali El Helmeya (Al-Hilmiya Nights) theme song, written by Hegab, composed by Michel El Masry and performed by Mohamed El Helou in 1987.
The 1990s ushered in the golden era of intro soundtracks in both Egyptian and Syrian drama. In Egypt, poets like Ahmed Fouad Negm in Zizinia and Abdelrahman El Abnoudi with Ze’ab El Gabal penned lyrics for TV dramas, while Ali El Haggar’s performances of the songs “Bawabat El Halawani” and “El Mal wel Banoon” became iconic.
Meanwhile, in Syria, the 1994 series Nihayat Rajol Shujaa (The End of a Brave Man) marked a turning point. Featuring a fully composed original score by Tarek Al Nasser, its theme, “Ya Rouh La Tahzani,” became an integral part of the show’s identity.
Syrian drama also saw a flourishing partnership between director Hatem Ali and composer Taher Mamelli, who infused an epic musical approach into productions like “Al Fosoul Al Arbaa,” “Boqaat Daw” and “Thikrayat Az Zaman Al Qaadem.” Mamelli often unearthed local voices, adding authenticity to his scores.
The Rise of Pop Stars and the Evolution of Ramadan’s TV Theme Songs
TV series like Salah Ad Din Al Ayyubi (2002), Qasim Amin (2003) and Nizar Qabbani (2005) marked a turning point. Following their success, production companies began recruiting top pop stars for theme songs. Pop star Assala lent her voice to all three, bringing celebrated poets’ words to life and leaving a deep impression on Arab audiences. These songs transcended their series, taking on national and emotional significance.
During this era, Egypt’s Ramadan TV season changed, with more channels and bigger productions. Some lyricists preserved the ‘90s spirit, like Ayman Bahgat Kamar’s “Abbas Al-Abyad fi Al-Yawm Al-Aswad” (2004), composed by Mahmoud Talaat and performed by Medhat Saleh. However, commercial pressures meant lyricists often wrote intros based solely on show titles, leading to more generic hooks, as seen in the show El Kaboos.
New voices emerged in theme songs. Hisham Abbas performed “Yetrebba Fi Ezo” (2007), composed by Talaat. In 2010, Ahmed Mekky broke new ground by writing and performing his own hip-hop intro, a massive success in rural Egyptian dialect.
In the Gulf, Nawal Al Kuwaitia became a staple Ramadan drama voice, singing for Al Raha, Al Dereesha and Damat Omr, while Asma Lamnawar mastered Khaleeji music with Oyun Al Hob, Sara and Ahbabtak Mundhu Al Sighar.
Meanwhile, historical Syrian dramas grew in popularity. The iconic show Bab Al Hara (2006–2017) featured a legendary theme song, “Elli Beddo Yetahadda,” performed by Adnan Al Hallaq with lyrics by Osama Al Saud and music by Saad Al Husseini.
Pop stars continue to shape TV intros, making them more like standalone hits designed for viral success. This year, Syrian dramas introduced fresh voices like Ziad Bourji, Nassif Zeytoun, Rahma Riad and Abir Nehme. Rising star Al Shami debuted with Taht Sabe’ Ard, marking a strategic shift as producers capitalized on his recent fame.
The Rise of Shaabi and Mahraganat Music
By the mid-2010s, Ramadan’s musical landscape had expanded beyond traditional soundtracks. Enter the street anthems: Mahraganat and traditional hip-hop-infused tracks became regulars in TV series intros, performed by artists such as Hassan Shakosh and Bousy. In 2020, Bi 100 Wish (With a Hundred Faces) became the first show to feature a Mahragan intro song, Millionaire, performed by El Madfaagya and famed actress Nelly Karim.
Fast forward to Ramadan 2024 and 2025. Mahraganat star Essam Sasa achieved record-breaking success with his intro songs, ranking among the few to reach the Billboard Arabia charts. His track “Etnen Be Maqam Malayin” (Two Are Worth Millions), from the series Massar Egbari, landed in the Hot 100’s top 10 last year.
With Ramadan now a season of cultural significance beyond religious observance, its musical phenomenon continues to evolve, marking a unique space where nostalgia, innovation and commercial success intersect.
Dylan Scott’s “This Town’s Been Too Good to Us” jumps three places to No. 1 on Billboard’s Country Airplay chart (dated April 5). During the March 21-27 tracking week, the song increased by 17% to 27.5 million audience impressions, according to Luminate.
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Scott co-wrote the single with John Byron, Ashley Gorley, Taylor Phillips and Ryan Vojtesak.
The fourth Country Airplay leader for 34-year-old Scott from Bastrop, La., follows his duet with Dylan Marlowe, “Boys Back Home,” which hit No. 2 in January. Scott earned his first No. 1, among seven top 10s, with “My Girl,” in July 2017. He led again with “New Truck” in August 2022 and “Can’t Have Mine” in December 2023. All three of his previous chart-toppers ruled for one week each.
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Scott’s two other top 10s both reached No. 2: “Nobody,” in June 2021, and “Hooked,” in September 2018.
Meanwhile, as Scott’s latest leader hits the summit in its 55th chart week, it completes the longest trip to No. 1 since Parmalee’s “Gonna Love You” needed 56 frames to reach the apex in December.
Scott’s next album, Easy Does It, is due May 30.
38’s Special
Blake Shelton claims his 38th Country Airplay top 10 as “Texas” steps 11-10 (16.6 million, up 2%). The song follows his Post Malone collaboration “Pour Me a Drink,” which dominated for three weeks last October, becoming his 29th No. 1 (and Post Malone’s second).
Shelton’s first of 63 Country Airplay entries, “Austin,” dominated for five weeks starting in August 2001.
“Texas” is the lead single from Shelton’s album For Recreational Use Only, expected May 9.
All charts dated April 5 will update Tuesday, April 1, on Billboard.com.
Will Smith is back. The West Philly native returned with his first album since 2005’s Lost and Found on Friday (March 28) as Based on a True Story hit streaming services.
Smith doesn’t hold back on the LP as he confronts topics such as his infamous Oscars slap of Chris Rock in 2022, and the constant chatter surrounding his relationship with his wife, Jada Pinkett-Smith.
“Took a lot, I’m back on top, y’all gon’ have to get acclimatеd/ Won’t stop, my s–t’s still hot even though I won’t get nominatеd/ Personal life with my wife, mind your business, it’s complicated,” he raps on “You Lookin’ For Me?”
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Smith uses the opener “Int. Barbershop — Day” to set the tone for the project, which consists of a conversation between multiple people discussing various narratives that have shaped The Fresh Prince’s career.
“I heard he won the Oscar but he had to give it back/ And you know they only made him do that s–t because he’s Black,” one person says.
Another chimes in with a reference to the Chris Rock slap: “Him and Jada both crazy, girl, what you talkin’ bout/ You better keep his wife’s name out of your mouth.”
The conversation continues to touch on Will Smith being “canceled” temporarily, and how some may never forgive him for his actions. (The actor-rapper ended up receiving a 10-year ban from the Oscars for slapping Rock, which saw him tell the comedian to “keep my wife’s name out of your f—ing mouth” following a G.I. Jane joke about Pinkett-Smith.)
Smith has since resigned from the Academy of Motion Picture Arts and Sciences, and has been apologetic to Rock for slapping him onstage.
Earlier this week, the 56-year-old told the Associated Press that he’s “looking to be the best human I can possibly be, and I’m gonna take what I get with that” regarding his mindset going forward amid the fallout from the Oscars slap.
Smith’s Based on a True Story arrived on Friday. Before diving into the project, Smith revealed he called Jay-Z and Kendrick Lamar to solicit their advice on how he should go about getting back into rap.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Ariana Grande’s Eternal Sunshine gets brighter, Lil Durk shares his story and Selena Gomez finally releases a fan favorite. Check out all of this week’s picks below:
Ariana Grande, Eternal Sunshine Deluxe: Brighter Days Ahead
While Ariana Grande’s Eternal Sunshine album already feels like ages ago — thanks in part to a wildly successful Wicked campaign, which netted the pop superstar an Oscar nod — this deluxe edition not only adds six new top-notch cuts to her most recent full-length, but also serves as a reason to revisit one of Ari’s most accomplished artistic statements, one year later.
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Lil Durk, Deep Thoughts
Lil Durk’s ninth studio album exists in a singular context from the rest of his catalog, as the Chicago rap star is currently in prison and awaiting trial while facing murder-for-hire charges, but Deep Thoughts turns that uncertainty into a compelling listen, with Future, Lil Baby and Jhene Aiko all stopping by to support Durk as he works through his fears and doubts behind bars.
Selena Gomez, “Stained”
One week after she and fiancé Benny Blanco unveiled their collaborative album I Said I Love You First, Selena Gomez has given fans a thank-you gift with the studio version of “Stained,” a smoky standout that originally leaked in 2017 during an exciting creative run and, with its echoing harmonies and trap drums swirling around Gomez’s haunted words, still sounds fresh today.
Lucy Dacus, Forever is a Feeling
Lucy Dacus’ personal and professional circumstances have changed since her last full-length — she’s signed to a major label, the success of Boygenius has greatly elevated her profile, and she recently confirmed a relationship with Julien Baker, which serves as the basis of her new album’s romantic slant — but her distinct songwriting flair remains intact, and helps connect Forever is a Feeling to the rest of her oeuvre.
Playboi Carti, Music – Sorry 4 Da Wait
After flooding the Hot 100 with all 30 tracks from his long-awaited new album Music, Playboi Carti has tossed four new songs onto the project as a means of apologizing to fans for the prolonged gap between Whole Lotta Red and its follow-up; the final song, “FOMDJ,” is a tough-as-nails highlight, with the type of juxtaposition between crunchy production and elastic flow that Carti often embraces.
Linkin Park, “Up From the Bottom”
If From Zero, the rock group’s first album in seven years and Emily Armstrong’s debut as co-vocalist, represented a band working towards a new identity last year, the pulse-pounding “Up From the Bottom” may hint at the sound Linkin Park will explore more deeply in the future, as a punk anthem with coiled energy and more natural interplay between Armstrong and Mike Shinoda.
Feid feat. Ty Dolla $ign, “DALLAX”
The flip phones and cassette players featured in the music video to “DALLAX” are not the only retro components to Feid and Ty Dolla $ign’s new collaboration: as the reggaetón and R&B veteran bounce off each other, their styles blend into a sound that harkens back to the rhythmic pop of the turn of the century, with modern flourishes but a nostalgic foundation.
Mumford & Sons, Rushmere
At a moment when folk-rock is back in vogue, Mumford & Sons, perhaps the movement’s biggest breakthrough act in the early 2010s, has returned with an album that gestures toward the band’s past while not abiding by its boundaries. Rushmere is a free-wheeling rock affair that builds upon the confidence that Marcus Mumford demonstrated on his 2022 self-titled solo album.
Jessie Reyez, Paid in Memories
Paid in Memories is the sprawling project that Jessie Reyez has been working towards her entire career, with the singer-songwriter no longer reducing her aesthetic to chase success, writing about her experiences with heightened vulnerability and ultimately producing the best songs of her career. “NYB,” “BEGGIN 4 LUV” and the 6lack team-up “6LESSINGS” are immediate highlights.
Editor’s Pick: Free Range, Lost & Found
As Free Range, Chicago-based singer-songwriter Sofia Jensen writes songs that linger in the air and rattle in your brain long after they’ve dissipated. Lost & Found, their follow-up to 2023’s Practice, contains breathtaking beauty made out of very few production tricks — a testament to Jensen’s disarming delivery, as they yearn for connection and let their voice crack over straightforward yet effective arrangements.
Billie Eilish just revealed which female rapper has her vote for GOAT status — and given the fact that the MC in question is widely regarded as the Queen of Rap, the “Bad Guy” singer’s answer probably won’t be a surprise.
In a Complex video posted Thursday (March 27), Eilish and best friend/influencer Quen Blackwell discussed their greatest-of-all-time picks for a variety of different subjects. When it came to best female rapper, the nine-time Grammy winner didn’t need to think twice.
“Nicki Minaj is like, obviously …,” Eilish said. “Nicki is GOAT, for sure.”
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The star also shared her GOAT life-anthem songs, revealing, “Honestly, I’ve been listening to a lot of old Gaga — like, ‘Poker Face,’ ‘G.U.Y.,’ ‘Alejandro’ — that is my s–t right now.”
As for her favorite album to cry to, Eilish selected Sufjan Stevens’ Carrie & Lowell. “‘Fourth of July,’ specifically on that album, is so upsetting,” she told Blackwell. “Deeply, deeply upsetting. And so beautiful and just so dark.”
And when it came to GOAT vocalists, the California native had a few different answers. “Off the top of my head, Ella Fitzgerald is, like, my favorite singer,” she said. “Or f–king Tori Kelly. I’ve actually been a Tori Kelly fan since I think I was 11.”
“Beyoncé, I mean, duh,” Eilish added. “That’s duh. [Her voice] is so perfect. Perfect. Unbelievable. I’ve never heard her sing, like, a flat note ever.”
Eilish is currently on a short break from her ongoing Hit Me Hard and Soft Tour, which kicked off in North America in the fall. Following a run of Australian dates earlier this year, the two-time Oscar winner will resume the trek April 23 in Sweden to kick off a European leg lasting through July.
Her third studio album, Hit Me Hard and Soft, dropped in May 2024. The project reached No. 2 on the Billboard 200 and spawned Billboard Hot 100 top 10 hits “Lunch” and “Birds of a Feather.”
Watch Eilish discuss her GOAT choices above.
Mumford & Sons announced an extensive summer 2025 North American tour on Friday (March 28) in support of their just-released Rushmere album. To celebrate the folk rockers’ first LP in seven years, Marcus Mumford, Ben Lovett and Ted Dwane will launch a summer tour of arenas and amphitheaters beginning on June 5 at the Hayden Homes Amphitheater in Bend, OR.
The run will feature stops in California, Indiana, Ohio, New York, Ontario, Montana, Colorado, Georgia and Alabama during the summer, before the group return in October for a second string of dates in Illinois, Pennsylvania, Quebec, Tennessee, Texas and Oklahoma, winding down at the CHI Health Center Arena in Omaha, NE on Oct. 26.
The new album — named for the spot in Wimbledon, U.K. where the band members first met — was produced in collaboration with Grammy-winner Dave Cobb and recorded in Nashville, Savannah, GA and Devon, England. The upcoming run of dates will expand on a series of intimate shows the group performed this month in Europe, Australia and the U.S., culminating with a gig on Wednesday (March 26) in Brooklyn.
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Tickets for the North American shows will go on sale on April 4; click here for information on pre-sale and on-sales. Mumford & Sons has teamed with PLUS 1 to support War Child, with $1 from every ticket sold going to the organization to help and protect children affected by war.
Check out the tour dates for Mumford & Sons’ 2025 North American tour (and their European swing) below.
June 5: Bend, OR @ Hayden Homes Amphitheater*
June 9: Berkeley, CA @ The Greek Theatre*
June 12: Los Angeles, CA @ Hollywood Bowl†
June 14: West Valley City, UT @ Utah First Credit Union Amphitheatre†
June 17: Noblesville, IN @ Ruoff Music Center†
June 18: Cuyahoga Falls, OH @ Blossom Music Center†
June 20: Mansfield, MA @ Xfinity Center†
June 21: Saratoga Springs, NY @ Saratoga Performing Arts Center‡
June 22: Columbia, MD @ Merriweather Post Pavilion†
June 24: Toronto, ON @ Budweiser Stage†
July 18: Quincy, WA @ The Gorge Amphitheatre§
July 19: Whitefish, MT @ Under The Big Sky Festival
July 21: Morrison, CO @ Red Rocks Amphitheatre^
July 22: Morrison, CO @ Red Rocks Amphitheatre^
July 24: Bonner Springs, KS @ Azura Amphitheater#
July 26: Alpharetta, GA @ Ameris Bank Amphitheatre#
July 27: Charleston, SC @ Credit One Stadium#
July 29: Raleigh, NC @ Coastal Credit Union Music Park||
July 31: Huntsville, AL @ Orion Amphitheater||
August 8: Forest Hills, NY @ Forest Hills Stadium~
Oct. 8: Chicago, IL @ United Center**
Oct. 9: St. Paul, MN @ Xcel Energy Center**
Oct. 11: Milwaukee, WI @ Fiserv Forum**
Oct. 12: Columbus, OH @ Nationwide Arena**
Oct. 14: Philadelphia, PA @ Wells Fargo Center**
Oct. 16: Buffalo, NY @ KeyBank Center**
Oct. 17: Montréal, QC @ Centre Bell**
Oct. 19: Pittsburgh, PA @ PPG Paints Arena**
Oct. 20: Detroit, MI @ Little Caesars Arena**
Oct. 22: Nashville, TN @ Bridgestone Arena††
Oct. 24: Austin, TX @ Moody Center††
Oct. 25: Tulsa, OK @ BOK Center††
Oct. 26: Omaha, NE @ CHI Health Center Arena††
2025 European tour dates
July 4: Dublin, Ireland @ Malahide Castle
July 7: Verona, Italy @ Arena di Verona
Nov. 6: Stockholm, Sweden @ Avicii Arena
Nov. 8: Copenhagen, Denmark @ Royal Arena
Nov. 10: Berlin, Germany @ Uber Arena
Nov. 12: Cologne, Germany @ Lanxess Arena
Nov. 13: Antwerp, Belgium @ Sportpaleis
Nov. 14: Paris, France @ Adidas Arena
Nov. 16: Esch-sur-Alzette, Luxembourg @ Rockhal
Nov. 17: Amsterdam, Netherlands @ Ziggo Dome
Nov. 19: Bologna, Italy @ Unipol Arena
Nov. 20: Zurich, Switzerland @ Hallenstadion
Nov. 21: Milan, Italy @ Unipol Forum
Nov. 23: Barcelona, Spain @ Palau Sant Jordi
Nov. 25: Lisbon, Portugal @ Sagres Campo Pequeno
Nov. 29: Newcastle, U.K. @ Utilita Arena††
Nov. 30: Leeds, U.K. @ First Direct Arena††
Dec. 2: Glasgow, U.K. @ OVO Hyrdo††
Dec. 3: Manchester, U.K. @ Co-op Live††
Dec. 5: Sheffield, U.K. @ Utilita Arena††
Dec. 7: Birmingham, U.K. @ Utilita Arena††
Dec. 8: Cardiff, U.K. @ Utilita Arena††
Dec. 10: London, U.K. @ The O2††
Dec. 11: London, U.K. @ The O2††
*with Divorce
†with Good Neighbours
‡with Gigi Perez
§with Japanese Breakfast
^with Madison Cunningham
#with Gregory Alan Isakov
||with Margo Price
~with Lucius
**with Michael Kiwanuka
††with Sierra Ferrell