Music
Page: 330
Nothing More claims two straight No. 1s on Billboard’s Mainstream Rock Airplay chart for the first time, ruling the Nov. 23-dated ranking with “Angel Song” featuring David Draiman.
Explore
See latest videos, charts and news
See latest videos, charts and news
The song follows the band’s two-week reign with prior single “If It Doesn’t Hurt” in June and July.
Nothing More now boasts three total Mainstream Rock Airplay No. 1s, having also led with “Go to War” in 2017.
As for Draiman, frontman of Disturbed, “Angel Song” is his second solo No. 1 on the chart, following “Dead Inside” with Nita Strauss in 2022. Disturbed has scored 12 rulers, while he made another trip to the top as the singer of the short-lived band Device (with “Vilify” in 2013).
Trending on Billboard
Concurrently, “Angel Song” bullets at its No. 11 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.9 million audience impressions (up 14%), Nov. 8-14, according to Luminate. That’s the band’s second-best rank on the tally, following the No. 7 peak of “If It Doesn’t Hurt.”
On the most recently published multimetric Hot Hard Rock Songs chart (dated Nov. 16, reflecting data Nov. 1-7), “Angel Song” placed at a new No. 10 best, becoming Nothing More’s second top 10 dating to the ranking’s 2020 inception. (“If It Doesn’t Hurt” reached No. 8 in February.) In addition to its radio airplay, “Angel Song” earned 365,000 official U.S. streams, according to Luminate.
The track is the second single from Carnal, Nothing More’s seventh studio album. The set bowed at No. 9 on the Top Hard Rock Albums chart in July and has earned 48,000 equivalent album units to date.
All Billboard charts dated Nov. 23 will update on Billboard.com Tuesday, Nov. 19.
Lady Gaga and Bruno Mars’ “Die With a Smile” bounds four spots to No. 1 on Billboard’s Pop Airplay chart (dated Nov. 23).
The ballad, on Streamline/Atlantic/Interscope/ICLG, reigns with Greatest Gainer honors, up 10% in plays at the format Nov. 8-14, according to Luminate. The song drew an average of 77 plays per reporter playing it in that span (translating to a play roughly every two hours).
The Pop Airplay chart ranks songs by weekly plays on over 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
Notably, Gaga rules Pop Airplay for the first time since the chart dated April 9, 2011, with “Born This Way.” She rewrites the mark for returning to No. 1 after the longest break: 13 years, seven months and two weeks. (In between, she logged six top 10s.) Mariah Carey previously held the distinction, with a wait of nine years, four months and three weeks between “One Sweet Day” with Boyz II Men in 1995-96, and “We Belong Together” in 2005. (Last year, Miley Cyrus ended a nine-year, two-month and two-week break between the reigns of “Wrecking Ball” in 2013 and “Flowers.”)
Trending on Billboard
Mars last led Pop Airplay with “Finesse,” with Cardi B, in 2018.
Gaga now boasts eight career Pop Airplay No. 1s and Mars, 10 – tying him with Justin Bieber for the most among solo males. Here’s a look at the acts with the most leaders since the chart began in October 1992:
13, Taylor Swift11, Maroon 511, Katy Perry11, Rihanna10, Justin Bieber10, Ariana Grande10, Bruno Mars9, P!nk8, Doja Cat8, Lady Gaga8, Justin Timberlake7, Beyoncé
Plus, Gaga becomes only the third act to have topped Pop Airplay in the 2000s, ‘10s and ‘20s, joining Maroon 5 and Taylor Swift. Gaga scored a career-launching-record six No. 1s on her first six tries in 2009-10, beginning with “Just Dance” featuring Colby O’Donis.
As previously reported, “Die With a Smile” crowned the Billboard Global 200 chart for eight weeks in September-October, the most for any song this year. It drew 119.6 million streams worldwide Nov. 1-7 and has tallied over 100 million streams globally in each of the last 10 weeks (through the Nov. 16-dated chart), the longest such streak since the survey began in September 2020.
Meanwhile, Gaga’s new solo single “Disease” holds at its No. 18 high on the Nov. 23-dated Pop Airplay chart (up 12% in plays).
All charts dated Nov. 23 will update Tuesday, Nov. 19, on Billboard.com.
When the Eras Tour first started nearly two years ago, Taylor Swift‘s The Tortured Poets Department didn’t even exist. Now, the trek has just a handful of shows left, and the bestselling album is up for multiple Grammys.
At her Canada-leg kickoff concert in Toronto Thursday (Nov. 14) — the singer’s first performance since Grammy nods were announced the week prior — Swift took a moment during the night’s surprise song section to reflect on her 11th studio album’s success. “You guys did something over the course of the last few months,” she began, moments before diving into an acoustic-guitar mashup of “My Boy Only Breaks His Favorite Toys” and Reputation‘s “This Is Why We Can’t Have Nice Things.”
“What you did with embracing Tortured Poets Department the album, it’s truly blown my mind,” she continued, as captured in fan videos. “Because it’s truly emotional to me. This album — I wrote it during the Eras Tour. I wrote that album, made that album, all trying to keep it a secret from you guys, and then announced the album. And we basically were working really hard to secretly put together a new chapter of the Eras Tour of The Tortured Poets Department, and we wanted to surprise you guys with it.”
Trending on Billboard
Swift then thanked her fans for being “so wonderful about digging into this album and understanding where I was coming from with it.” “Everything that happens is a direct reflection of the passion you show, and you guys got this album nominated for six Grammys,” she added. “So thank you.”
The “Anti-Hero” singer’s first of six shows in Toronto came six days after the Recording Academy unveiled its 2025 honorees, revealing that The Tortured Poets Department — which spent 15 weeks at No. 1 on the Billboard 200 — is in the running for album of the year. It makes Swift the woman with the most AOTY nominations ever, and follows her record-breaking fourth win in the category last year with Midnights, which made her the artist with the most AOTY wins in Grammy history.
This year, Swift is also up for record and song of the year for “Fortnight,” her Billboard Hot 100-topping duet with Post Malone, which also snagged her a Grammy nod for best music video. Plus, Tortured Poets is being considered for best pop vocal album, while the superstar’s Gracie Abrams collaboration, “Us,” is recognized in the best pop duo/group performance category.
Swift now has just a total of eight Eras Tour shows left before the culture-shifting trek concludes Dec. 8 in Vancouver, B.C. When it first started in March 2023, the three-hour-plus program was a very different show. Instead of the now-nightly Tortured Poets section that’s been in play since the album dropped in April, the performer used to sing extended selections from her first 10 albums. To make room for new tracks such as “Fortnight,” “I Can Do It With a Broken Heart” and “Who’s Afraid of Little Old Me?,” Swift cut several of her older songs and combined her Folklore and Evermore sections into one.
It’s best to let Darren Criss describe the simply complex story of Maybe Happy Ending, the new musical he co-stars in with Broadway newcomer Helen J. Shen. “There’s what the story is and then there’s what the show is about,” the Emmy and Golden Globe-winning singer/actor/songwriter tells Billboard in an interview you can watch above.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Those aren’t necessarily the same things,” he notes about the musical love story from Will Aronson and Hue Park, in which the former Glee star and Shen appear as obsolete Helperbot robots who meet cute and fall in love. “Thematically, it’s about two elderly people in hospice who decide to break out of the situation to go connect with their family,” says Criss about what sounds like a potentially dark theme.
And while that “grim, depressing construct for a show” doesn’t sound like the stuff of uplifting Broadway magic, Criss promises that the musical’s creators have somehow morphed that idea about the chilly march of time and hard lessons about love and life into a “really charming, kind little world” filled with Helper robots who are living embodiments of our iPhones and other digital assistants.
Because many of us imbue our inanimate digital devices with human-like qualities, sometimes holding on to them well past their best-by use date, Criss says the musical asks what happens when those objects become more like us?
Shen makes her Broadway debut in the play alongside theater/TV/movie veteran Criss, 37, after turning heads last year in the ensemble of the Off Broadway musical Teeth. She says one of the most exciting parts of performing in the show is the chance to take the lead in a completely new piece of theater not based on any existing intellectual property or a reboot/revival, but something that theatergoers have never seen before.
“It’s super overwhelming. The idea of it has been something that I’ve dreamed about my whole life,” says Shen, 24 of originating a character on Broadway. “And to have it come to fruition with this particular story, with this particular group of people I just feel… abundance. I feel so lucky and grateful.”
Both say they feel really blessed to be part of the show, with Criss noting that he has typically starred in “iconic” roles in his previous Broadway runs, including as Harry Potter in A Very Potter Musical, J. Pierrpont Finch in How to Succeed in Business Without Really Trying, Seymour in Little Shop of Horrors and Hedwig in Hedwig and the Angry Inch, among others. “These are things people know and love,” he says of those classics.
“[Which] were great, with or without me. I now go in there trying to do my own thing and make it my own and there’s the excitement of the challenge, but also the pressure of living up to a certain thing and wanting to do your own thing,” he adds about trying to find something of yourself in a well-known role people may have seen many other times with other performers. “Whereas this, it’s an open canvas, not only for us, but for the audience. They don’t have any preconceived notions. That’s the best thing about this.”
Because it is a new experience, audiences don’t know what to expect, which both actors say makes attendees really listen and sit up in their seats to take in all the nuance of the show that also heralds the Broadway debuts for creators Aronson and Park; it began its life on stage in Seoul, South Korea in 2016 and was later produced in Japan and China as well.
Maybe Happy Ending, directed by Michael Arden (Parade), is open now at the Belasco Theatre on Broadway.
Gracie Abrams has landed a second week at No. 1 on the U.K. Singles Chart with “That’s So True,” the breakout song from the deluxe edition of her sophomore album, The Secret of Us. Last week “That’s So True” gave Abrams her maiden chart-topper in the U.K., and follows The Secret of Us debuting at […]
Musical theater stars Michael Ball and Alfie Boe have landed their fourth No.1 album as a duo on the U.K.’s Official Albums Chart.
The British pair – who have both performed extensively in West End show Les Misérables among others over the years – released their fourth studio album Together At Home via Tag8 Music. It follows their previous releases Together (2016), Together Again (2017) and festive collection Together at Christmas (2020), all of which landed at the summit of the chart. Ball also has two No. 1 records to his name as a soloist.
Sabrina Carpenter’s Short n’ Sweet finishes at No. 2 following the news that the LP was nominated in three categories at the 2025 Grammys: album of the year, best pop vocal album and best engineered album (non-classical). Carpenter nabbed seven nods in total, including best new artist.
Explore
See latest videos, charts and news
See latest videos, charts and news
The Cure’s Songs of a Lost World holds steady at No. 3, having previously been at the top spot last week, which gave them their first chart-topping album in 32 years. The band also saw success on multiple Billboard charts over the last week, including topping the Total Album Sales chart and landing at No. 4 on the Billboard 200.
Trending on Billboard
There’s also an entry in the top 10 for Lancaster rockers Massive Wagons, as their seventh studio LP, Earth to Grace, finishes at No. 4. It’s their first to land in the top five and their third to place inside the top 10.
As new documentary film Elton John: Never Too Late lands on Disney+, the Rocket Man’s enduring Diamonds greatest hits collection returns to the top 10 this week, rising four spots to No. 8.
Elsewhere, rising U.K. rappers Fimiguerrero, Len and Lancey Foux score their first collaborative top 40 album with Conglomerate at No. 23.
Scottish icons Primal Scream, led by vocalist Bobby Gillespie, return to the top 40 with their 12th studio album, Come Ahead. It’s their first new material in eight years, and their 13th top 40 record across a 37 year career.
Country Music Hall of Famers Brooks & Dunn just released their new collaborative Reboot II album (which follows their 2019 Reboot album), again teaming with many of today’s chart-toppers to record new versions of the duo’s enduring classic ’90s country hits. Explore See latest videos, charts and news See latest videos, charts and news In […]
Mike Tyson’s gearing up for a return to the ring against YouTuber-turned-boxer Jake Paul on Friday night (Nov. 15), and Iron Mike is serving up plenty of viral moments heading into the bout. And unsurprisingly, 50 Cent has some thoughts to share about it.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
It all started when Tyson went deep with 14-year-old interviewer Jazzy when comparing legacy to ego, and how once you’re dead, life is meaningless and it doesn’t matter anymore. “Well, I don’t know. I don’t believe in the word legacy,” Tyson said in the interview posted Thursday (Nov. 14). “I just think that’s another word for ego. Legacy doesn’t mean nothing. That’s just a word everybody grabbed onto. Somebody said that word and everyone grabbed not the word so now it’s used every five seconds. It means absolutely nothing to me.”
Trending on Billboard
The boxing legend continued: “I’m just passing through. I’ma die and it’s gonna be over. Who cares about legacy after that? What a big ego. So I’ma die and I want people to think that I’m this, I’m great? No. We’re nothing. We’re dead. We’re dust. We’re absolutely nothing. Our legacy is nothing.”
Jazzy handled the response well for a teenager, admitting she’d never heard that type of answer to her question.
In another clip from the chat, the teen asked the boxer what he thought of his opponent. “I don’t think much of him,” Tyson admitted, before noting Paul is “very funny.”
The interview quickly spread like wildfire on social media, and 50 — not one to mince words when something gets on his radar — claimed Mike was scaring the kids.
“Goddam it ! Mike ya scaring the kids, WTF chill. Note to self, keep the kids away from Mike,” he wrote to X.
That wasn’t it for headlines for Tyson on Thursday (Nov. 14), as tensions boiled over at the official weigh-ins when Iron Mike took offense to Paul appearing to step on his toes during the face-off, with Mike slapping his opponent across the face.
50 had more jokes, as he reposted an older interview clip of Tyson admitting how much he hates when people step on his feet. “If someone stepped on my feet, I’d totally give up and tap out,” Tyson says in the video.
“See you step on an older man’s feet, and s–t can get crazy. LOL,” 50 added with his caption to the post.
No more talking, as Tyson and Jake Paul will finally step into the ring and fight on Friday night. The boxing main card starts at 8 p.m. ET and is streaming on Netflix.
Watch Tyson’s interview with Jazzy below:
Morgan Wallen earns his 15th No. 1 on Billboard’s Country Airplay chart as “Lies Lies Lies” ascends a spot to the top of the tally dated Nov. 23. During the Nov. 8-14 tracking week, it drew 30.3 million audience impressions, according to Luminate.
Explore
See latest videos, charts and news
See latest videos, charts and news
The song was written by Jessie Jo Dillon, Josh Miller, Daniel Ross and Chris Tompkins, and produced by Joey Moi. It’s the lead single from an upcoming Wallen album.
Notably, Wallen rounds up his fifth Country Airplay chart-topper of 2024 – marking the first time that an act has amassed five No. 1s in a single year dating to the list’s January 1990 launch. “Lies Lies Lies” follows “Cowgirls” (featuring Ernest), which led for a week in in July; Post Malone’s “I Had Some Help” (featuring Wallen; four weeks, June-July); “Man Made a Bar” (featuring Eric Church; one week, April); and Thomas Rhett’s “Mamaw’s House” (featuring Wallen; one week, March).
Trending on Billboard
Luke Combs (2021) and Garth Brooks (1991 and 1993) each collected four new Country Airplay No. 1s in single years, while Wallen ranked at the summit with four songs in 2023, including “You Proof,” which first led in 2022. (Brooks remains the only act to notch as many as four new No. 1s all as a lead artist in a single year, in both 1991 and 1993).
McGraw Ties for Most Top 10s
Tim McGraw claims his own slice of Country Airplay history, scoring his record-tying 61st top 10 as “One Bad Habit” bounds 11-5 (24 million, up 40%).
Marc Beeson, Aaron Eshuis and Tony Lane wrote the song, which McGraw produced with Byron Gallimore.
McGraw matches Kenny Chesney and George Strait for the most Country Airplay top 10s. Alan Jackson is next with 51, followed by Keith Urban (44), Toby Keith (42) and Brooks & Dunn (41).
Plus, with “One Bad Habit” climbing to No. 5, McGraw pads his lead for the most top five Country Airplay hits: 55. Strait is second with 53 and Chesney has 50.
McGraw last reached the Country Airplay top tier with “Standing Room Only,” which hit No. 2 last November. He earned his first top 10 with the No. 8-peaking “Indian Outlaw” in April 1994. Follow-up “Don’t Take the Girl” became his first of 29 No. 1s when it dominated for its first of two frames the next month. He most recently led with two hits in 2016: his own “Humble and Kind” (one week, that June) and as featured on Florida Georgia Line’s “May We All” (two weeks, December).
“Hard to Wait for Christmas,” a sweet holiday duet by Lady A‘s Hillary Scott and her daughter Eisele Kaye, has arrived to get you in the Christmas spirit.
The surprise holiday song was released Friday (Nov. 15).
“We hope this song makes families smile and encourages them to laugh and have fun together as they wait patiently (or not!) for Christmas,” Scott says in a statement about the festive new tune featuring her 11-year-old. “My favorite line from the song is about how it feels better to give than to receive, and if we could say anything about the Christmas season, it is that we hope you have a giving heart. That’s what really makes Christmas special — the gift of your time to the people you love, and the gift of your generosity to those in need.”
On Instagram Friday morning, Scott announced the song to fans: “Eisele and I have an early Christmas present for you… Our new Christmas song ‘Hard To Wait For Christmas’ is OUT NOW!”
Trending on Billboard
“Last year Eisele, her dad, and I sat and wrote this song after a little family drama trying to explain to her sisters, Betsy and Emory, why we were not able to open every single day of the advent calendar. This conversation led into all the other reasons why it is hard to wait for Christmas,” wrote Scott, who’s a Grammy Award-winning artist with country trio Lady A and Christian group Hillary Scott & The Scott Family; both acts have topped various Billboard charts.
Hillary Scott ft. Eisele Kaye, “Hard to Wait for Christmas”
Hodges Usry
She added, “Our hope is that this song makes your family smile and lean into the playful spirit of the holiday season while you wait 40 more days until Christmas. We wish you a Merry Christmas.”
“It’s hard to wait for Christmas/ All the joy there is to share/ Like cookies baking in the oven/ The sweetest smell that fills the air/ Let’s hold our hope/ And shine our light/ Before it’s Christmas Eve/ We know this season’s so much more/ Than presents and a tree/ But honestly … It’s hard to wait for Christmas,” the mother-daughter duo sings together with joy, trading lead vocals on the chorus. You can feel them smiling throughout the recording.
“Hard to Wait for Christmas” is available to stream now on Spotify, Apple Music, Pandora, Amazon Music and YouTube Music. The track was produced by Scott, Chris Tyrrell and Ryan Gore.
Scott shared some adorable holiday memories — like a home video of herself singing “Santa Claus Is Coming to Town” as a little girl, and one of a younger Eisele singing “Jingle Bells” — on Instagram leading up to Friday’s song release.
Plus, on release day, she unveiled the official visualizer for “Hard to Wait for Christmas,” which shows Hillary and Eisele in the recording studio and spending time with the whole family (mom Hillary, dad Chris, Eisele, and younger sisters Betsy and Emory), all dressed beautifully for a holiday card photo shoot. It’s fun to get a glimpse at everyone’s personalities (and to spot Eisele rocking a cool Niall Horan concert tee!).
The “Hard to Wait for Christmas” video, which might inspire you to start baking cookies this weekend, can be seen on Scott’s YouTube channel. If you want to learn the words to the song with your own kids, check out the cute advent calendar-themed lyric video, too.