Music
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Kylie Minogue, the queen of pop, is crowned on Australia’s albums chart with Tension II.
The new collection is Kylie’s ninth leader on the ARIA Chart, fifth in succession, and second in a year; its predecessor, Tension, logged one week at the summit in September 2023.
Tension II (via Mushroom Music) is the Melbourne-raised pop icon’s 17th studio album, and with its fast start on the chart, pushes Kylie to No. 9 on the list of acts with the most No. 1s in Australia, a tally that includes Light Years (from 2000), Fever (2001), X (2007), Kiss Me Once (2014), Golden (2018), Step Back In Time: The Definitive Collection (2019), Disco (2020) and Tension.
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She also has 10 No. 1 singles in Australia, from “Locomotion” in 1987 to “2 Hearts” in 2007, ARIA reports, and she’s on the brink of a 10th No. 1 on the Official U.K. Albums Chart.
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“It is so awesome to see Australia’s OG pop queen continuing to dominate globally and at home, bringing joy and disco into our lives,” comments ARIA CEO Annabelle Herd. “Huge congratulations to her and her team for such a phenomenal career, five consecutive No. 1 albums, and continuing to represent Australia on the world stage.”
Also new to the ARIA Chart, published Friday, Oct. 25, is Dean Lewis’ The Epilogue (Island/Universal), at No. 2. It’s a third top 10 for the triple ARIA Award winner, a tally that includes a No. 1in 2019 with A Place We Knew.
Meanwhile, New South Wales indie rock duo Skegss start at No. 4 with Pacific Highway Music (Concord/Universal), their third full-length album. Skegss now have four top 10s under their belts: 2015 EP 50 Push Ups For A Dollar peaked at No. 4; My Own Mess hit No. 2 in 2018, and 2021’s Rehearsal went all the way to No. 1.
ARIA Award winner Thelma Plum’s lands in the top 10 with I’m Sorry, Now Say It Back (Warner Music Australia), new at No. 7. It’s the Brisbane singer and songwriter’s followup to debut Better In Blak, which peaked at No. 4 in 2019.
Confidence Man impact the top 40 with 3AM (La La La) (via I Oh You/Mushroom), on which the Aussie electro-pop act takes a time-machine back to ’90s rave and clubland. 3AM (La La La) is new at No. 40.
It’s a Melbourne double on the ARIA Charts as Rosé opens at No. 1 on the singles tally with her Bruno Mars collaboration, “APT.” (via Atlantic/Warner). That’s a record-breaking feat, making Rosé the first solo female K-pop artist to lead the chart. She’s just the second solo K-pop singer to rule the ARIA Chart after PSY’s “Gangnam Style” spent six weeks at the top back in 2012.
Rosé was born in Auckland and raised in Melbourne, before making the move to South Korea, where she joined Blackpink and smashed records everywhere. In Australia, the foursome owns the highest-debuting single by a K-pop group in ARIA Chart history, when “Pink Venom” went to No. 1 in 2022.
Declan McKenna is in a transitional state. When Billboard speaks to the British musician in early October, he’s surrounded by boxes while he moves apartments in London. He’s also packing his gear for a string of live headline dates in North America, which include a role as a special guest on Sabrina Carpenter’s Short n’ Sweet tour, his first-ever arena gigs. It’s a period of fresh beginnings and new opportunities.
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Then there’s the biggest change: after a decade signed to Columbia Records, McKenna is going independent. McKenna signed with the label in 2015 aged 16 following the success of his viral single “Brazil” and his victory in Glastonbury Festival’s Emerging Talent Competition. The indie–pop song was a riposte to soccer governing body FIFA and their decision to name Brazil as hosts for the 2014 World Cup without addressing deep-seated inequality and poverty. The track is approaching 675m streams on Spotify.
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McKenna released three LPs on Columbia, most recently What Happened To The Beach? which charted at No.3 on the UK Albums Charts in February. There were shades of Paul McCartney’s 1971 solo record Ram and a looser West Coast feel to the record which was made in LA with producer Gianluca Buccellati, whose credits include Arlo Parks and RAYE. McKenna also played a 10,000 capacity headline show at London’s Alexandra Palace to accompany its release.
As the deal was approaching its end, McKenna started plotting a new path forward. Now, he’s self-releasing his music via his label Miniature Ponies, a joint venture with ADA, a distribution company owned by Warner Music Group.
“I did like the idea of being independent and not having to explain what you’re doing and why you’re doing it,” McKenna says. “I feel quite confident that I know how to do it, and it felt like the right time to try and get something else out.” He’s effusive with praise with some of his collaborators at the label, but says the relationship had met its natural end having fulfilled his obligations for three studio albums.
McKenna toasts to the new era with a double AA-side single “Champagne” and “That’s Life,” the first release on Miniature Ponies. On the two tracks he fuses more electronic elements into his sound, and retains his passion for hooky songwriting; McKenna’s melodies and choruses are some of the best to come out of British pop in recent years. Both songs examine the ludicrous excesses and follies of success, and on “Champagne” we’re drawn into vacuous conversations where the social currency is attention: “Of course I didn’t mean what I said, I just wanted them to laugh,” he begrudgingly admits.
A key reason behind the decision to go independent, McKenna says, was to streamline the decision making process and to work freely with potential collaborators across his music and visuals.
“If I were there advising my younger self I would say ‘you need to stick to your guns on this,’” McKenna says. “There’s a lot of working through fear from all different corners of the industry but pushing past that and letting creativity happen naturally is so necessary and important.”
Outwardly facing, his catalog so far has shown little signs of compromise. His ambitious 2017 debut What Do You Think About The New Car? was produced with former Vampire Weekend member Rostam Batmanglij and James Ford, whose credits include Arctic Monkeys and Florence + The Machine. 2020’s Zeroes, meanwhile, nodded to ‘70s glam-rock and embraced the imperfect nature of the creative process, and boasts one of his finest songs in “The Key To Life On Earth.”
Likewise, McKenna’s voice continues to be forthright. In 2019 he released the single “British Bombs” which highlighted the role that British arms companies play in fuelling conflict on a global scale; it’s now a fan favorite and a staple of his live performances.
The new independent era dovetails with some of McKenna’s biggest shows. From Nov. 1, he’ll join Carpenter as her main support at arena shows in Los Angeles, Seattle, Denver and more. He said the pair met at Lollapalooza Festival in Chicago last summer where Carpenter revealed she was a fan of his work. Earlier this year Carpenter invited McKenna to join as a special guest, following on from fellow British artist Griff who also got the call for the tour.
“It might be surprising for some people, and it was surprising for me to an extent, because I’m not exactly the bookies favorite to do this gig,” he laughs. “Sabrina, along with a couple other pop artists that are quite obvious, has brought a sense of fun back to pop music”
He adds: “Most of the music I love isn’t super clear about the lyric meanings and intentions. Sabrina has a bit of that. She can hammer home a concept, but also have fun.”
After that he’ll head to Australia for a string of co-headline dates with Northern Irish indie heroes Two Door Cinema Club and next summer McKenna will join Imagine Dragons on their stadium run through Europe, his biggest ever venues. The final date will arrive at his beloved soccer team Tottenham Hotspur’s Spurs Stadium in London. “I feel very lucky as that is a dream gig,” McKenna says.
Next step in his journey as an independent artist is to increase the speed of releases. He says he’s still “hoarding” music that he’s keen to share, something that falls squarely on Miniature Ponies’ label boss: himself.
“I’ve always spearheaded what I’m doing and who I’ve worked with creatively, but there’s a different layer to it now where I don’t have someone looking over my shoulder,” he concludes. “It’s a freeing thing.”
Country music superstar and dedicated Dodgers fan Brad Paisley is set to perform the national anthem for Game 1 of the 2024 World Series this Friday night, Oct. 25, at Dodger Stadium.
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It will mark his fourth time singing at the World Series, a fitting match for a lifelong Dodgers fan. This year’s showdown between the Los Angeles Dodgers and the New York Yankees will start with two games in L.A., followed by the next leg of the series in New York at Yankee Stadium, with Game 1 coverage begins at 7:00 p.m. ET on FOX, FOX Deportes, and ESPN Radio.
With 18 No. 1 hits on Billboard’s Hot Country Songs chart, Paisley has had a major presence on country radio with songs like “We Danced” and “Mud on the Tires.” A member of the Grand Ole Opry since 2001, Paisley has written 21 of his 25 No. 1 hits, and in 2008 became the first artist to achieve 10 consecutive Billboard Country Airplay No. 1 singles.
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His albums have similarly made a mark; Mud on the Tires and Time Well Wasted both claimed multiple weeks at No. 1 on Billboard’s Top Country Albums chart, while his album Hits Alive stayed on the charts for over 135 weeks.
In addition to his chart success, Paisley has earned three Grammys, 15 Academy of Country Music Awards, and 14 Country Music Association Awards, including an Entertainer of the Year award. His longstanding partnership with Carrie Underwood as co-hosts of the CMA Awards for 11 years made them a fan-favorite duo, highlighting his wit and charm alongside his formidable musical talent.
Beyond his accomplishments, Paisley’s deep connection to his fans has driven his success, with hits like “Freedom Was a Highway” and his current single, “Truck Still Works,” which has been climbing the charts and offering a preview of his next album.
The new album, which will likely come out in early 2025, will be his first full-length album since 2017 and his first since moving from Sony Nashville’s Arista imprint to Universal Music Group Nashville’s EMI Records.
“The project has some deeper things on it but, like the song itself, is really about creativity and nostalgia and you know the themes that you want to hear right now,” he told Billboard. “Sometimes, like in these times, it’s great to give people something they just want to turn up and takes them to a place where they feel good.”
Three members of San Diego metalcore band As I Lay Dying have abruptly exited the band, citing clashes with personal morals amid the band’s turbulent history.
Guitarist Ken Susi, bassist Ryan Neff, and drummer Nick Pierce shared statements this week detailing their reasons for his departure, leaving just controversial frontman Tim Lambesis and guitarist Phil Sgrosso in the lineup.
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In a statement posted on social media on Oct. 24, Susi explained that his morals had been “tested to a breaking point.”
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“My time playing with As I Lay Dying has come to an end today. I leave with so much gratitude for everyone who followed and supported me from my days in Unearth to this era of my career,” Susi wrote. “I jumped into the AILD camp with full knowledge of the heightened dramatic history but had a drive to just play great music with great friends.”
He added, “Unfortunately, my personal morals have recently been tested to a breaking point, and it’s not the saddest ending to what could have been the greatest second chance for this band.”
This follows a post by bassist Ryan Neff, who left on Oct. 18, calling it “the right step for my personal and professional journey.”
Susi had noted in his announcement that Neff had received “a lot of backlash for stepping down first.” He added, “I regret not sharing this decision sooner and standing confidently with my friend — he’s a flawless musician and an even better person. I’ll miss you all on this stage, and I look forward to seeing you on the next one. Anyone looking for a guitar player? My resume is ready.”
Neff reflected in his own statement, “As of today, I have made the decision to leave As I Lay Dying,” Neff wrote via Instagram. “This choice comes after much reflection, and I believe it is the right step for my personal and professional journey. I am grateful for the experiences and connections I’ve made during my time with the band. Thank you to all the fans for your support.”
Drummer Nick Pierce joined them in departing, also citing personal reasons in his own statement. “As of now, I am no longer playing drums for As I Lay Dying,” Pierce wrote. “This is far from being the ending I anticipated, and I feel I need to distance myself from the band in an effort to retain my personal health and integrity.”
It follows the band’s touring manager, Alex Kendrick, also announcing his departure from working with the group.
In a now-deleted tweet, Kendrick wrote: “I no longer work for AS I LAY DYING – I do not wish to be asked questions nor will I answer any. I’ve made life long memories that will never be forgotten but my chapter of the book has completed. I wish everyone the best of luck and clearly I’m still rocking with Phil out here.”
Founded in 2000, As I Lay Dying rose to prominence as a Grammy-nominated act but became embroiled in controversy in 2013 when Lambesis was arrested and later sentenced to prison for attempting to hire a hitman to kill his then-wife, Meggan Lambesis. Lambesis pleaded guilty in the case and served two years of a six-year sentence.
After his release in 2016, the band reunited in 2018 with a mix of original and new members. However, tensions lingered. Former guitarist Nick Hippa, along with drummer Jordan Mancino and bassist Josh Gilbert, previously left in 2020. Since then, Susi, Pierce, and Neff joined the lineup, only to now announce their exits.
At the time of writing, Lambesis has not addressed the departures, and the future of As I Lay Dying remains uncertain. Their eighth album, Through Storms Ahead, is still set for release on Nov. 15.
Seven years after delivering “The Cure,” Lady Gaga is finally diagnosing the “Disease.” After some sly teases through a Spotify playlist and a pair of custom websites, Gaga finally confirmed the single’s release date via Instagram on Monday (Oct. 21). In the post, the Grammy and Oscar winner shared the single’s cover art, which finds […]
Summer Walker released her new single “Heart of a Woman” on Friday (Oct. 25) via LVRN and Interscope Records. “Heart of a Woman” is the lead single from her upcoming third studio album Finally Over It. The new LP follows the theme of Walker’s 2021 sophomore album, Still Over It, and 2019 debut album, Over […]
Here it is, Hotties! Megan Thee Stallion dropped her Megan: Act II deluxe album on Friday (Oct. 25) via Hot Girl Productions. The set features 12 new tracks plus “Neva Play,” featuring RM of BTS, as a bonus. TWICE is featured on the remix of her Billboard Hot 100 No. 36 hit “Mamushi,” originally featuring Yuki […]
Halsey is back with yet another trick up her sleeve. The singer dropped her latest album, The Great Impersonator, on Friday (Oct. 25). In addition to previously released singles “The End,” “Lucky,” “Lonely Is the Muse” and “Ego,” the LP also features songs such as “Only Girl Living in LA,” “Dog Years,” “Panic Attack,” “I […]
Kelsea Ballerini has released her fifth full-length studio album, Patterns (out Oct. 25). The four-time Grammy nominee’s new album follows last year’s Rolling Up the Welcome Mat EP, as well as that EP’s extended version, Rolling Up The Welcome Mat (For Good). Rolling Up The Welcome Mat earned critical acclaim, reached No. 11 on Billboard’s […]
Jack Jones — the velvet-voiced crooner who had such hits as “Wives and Lovers” and “The Impossible Dream (The Quest),” but may be best-known today for singing TV’s The Love Boat theme — died on Wednesday at Eisenhower Medical in Rancho Mirage, Calif. He was 86. His wife, Eleonara Jones, said the cause of his death was leukemia, which he had battled for two years.Jones’ death comes just seven months after Steve Lawrence, another singer of similar quality and style, died at 88. They were two of the finest singers of what was then known as easy listening music – music that fell out of favor as rock boomed in the late 1960s and 1970s. That music has seen a rebirth in recent decades under a new branding — traditional pop — with such new stars as Michael Bublé.Jones had three No. 1 hits on Billboard’s Easy Listening chart (now known as Adult Contemporary): “The Race Is On” (1965), “The Impossible Dream (The Quest)” (1966) and “Lady” (1967). Jones received a Grammy nod for best vocal performance, male for “The Impossible Dream,” the standout ballad from the Broadway musical Man of La Mancha. The song also received a Grammy nod for song of the year.Earlier in the 1960s, Jones won two Grammys for best vocal performance, male for Tony Velona’s “Lollipops and Roses” and Burt Bacharach and Hal David’s “Wives and Lovers.”The latter song, which reached No. 14 on the Billboard Hot 100 in January 1964, was also nominated for Grammys for record and song of the year. The lyrics — which warn women “Don’t think because there’s a ring on your finger/ You needn’t try anymore” — are now seen as hopelessly sexist. But if you can get past that, it’s one of Bacharach and David’s best-sounding hits, with a jazzy arrangement and Jones’ suave vocal.Jones addressed the criticism the song received by altering the lyrics to poke fun at men. But he never dropped the song from his set.“Since it’s a politically incorrect song, I start it out with a disclaimer,” he once said. “I hear that women still call up radio stations, angry that such a sexist song is being played. It’s now part of history, it won a Grammy, and I meant no harm when I did it. It made my career, and I’m grateful for that.”
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Jones had three top 20 albums on the Billboard 200: Wives and Lovers, Dear Heart and The Impossible Dream. The latter album remained on the chart for more than a year.Jones, Lawrence and such other singers as Frank Sinatra, Dean Martin, Tony Bennett and Andy Williams were among the last singers of old-guard easy listening music in the 1960s, as rock increasingly came to dominate the charts.As Chris Koseluk noted in The Hollywood Reporter’s obituary of Jones, “When filmmakers wanted to create that easy-listening ’60s vibe, Jones was one of their go-to guys. He can be heard on the soundtracks for Good Morning, Vietnam (1987), Goodfellas (1990), Reckless (1995), Duplex (2003), Bobby (2006) and American Hustle (2013), in which he had a cameo. ‘Lollipops and Roses’ accompanied the end credits on a 2008 episode of Mad Men.”Jones sang the title songs of several films, including A Ticklish Affair (1963), Love With the Proper Stranger (1963) and Where Love Has Gone (1964). On the 1965 Oscar telecast he sang the last-named song, which was nominated for best original song. He opened the 1970 The Best on Record program, the final pre-recorded Grammy-branded show before the live telecast commenced the following year, by singing Joe South’s “Games People Play,” that year’s song of the year winner.Jones sang The Love Boat theme, written by Paul Williams and Charles Fox, during that show’s first eight seasons (1977-85). (Dionne Warwick recorded it for season 9.) The song has elements of kitsch, and certainly the show was TV at its most mindless, but Jones’ dynamic vocal and Williams’ fine lyric (“Love/life’s sweetest reward)” were both work they could be proud of.
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Jones’ recording of “Theme From Love Boat” cracked Billboard’s adult contemporary chart in 1980. His later AC-charting hits also included “Let Me Be the One,” a cover of a superb Williams-Roger Nichols song that was featured on the Carpenters’ 1971 album Carpenters; “What I Did for Love,” the instant-standard from 1975’s Broadway smash A Chorus Line; and “With One More Look at You” from the Barbra Streisand-starring 1976 remake of A Star Is Born.Jones landed his fifth and final Grammy nomination in 1998, best traditional pop vocal performance, for his album Jack Jones Paints a Tribute to Tony Bennett. Bennett, of course, was one of the few old-school traditional pop performers who thrived in recent decades. (Fun Fact: Bennett’s “I Wanna Be Around” and Jones’ “Wives and Lovers” were both nominated for record of the year at the 1964 Grammys. Both lost to Henry Mancini’s “The Days of Wine and Roses.”)Jones continued to appear at casinos, performing arts centers and cabarets until shortly before his death. Jones was married to actress Jill St. John from 1967-69. They were one of the top celebrity couples of their era, each with a highly successful career. (They weren’t bad looking, either.)John Allan Jones was born in Los Angeles on Jan. 14, 1938. His father, tenor Allen Jones, acted in The Marx Brothers’ A Night at the Opera (1935) and A Day at the Races (1937). Jones also acted in Show Boat (1936) and had a hit record in 1938 with “The Donkey Serenade” from the movie The Firefly. The elder Jones had performed the latter song on horseback for Jeanette MacDonald in the 1937 MGM musical. Jack Jones’ mother, Irene Hervey, was a film and TV actress who received a Primetime Emmy nomination in 1969 for an appearance on the long-running sitcom My Three Sons.Jones, who lived in Indian Wells, Calif., was married six times. He was married to Katie Lee Nuckols (also known as the model Lee Larance) from 1960 to 1966; Jill St. John from 1967 to 1969; Gretchen Roberts from 1970 to 1971; Kathryn Simmons, from 1977 to 1982; and Kim Ely from 1982 to 2005. He married Eleonora Donata Peters in 2009.In addition to his wife, he is survived by a daughter, Crystal Thomas, from his marriage to Ms. Nuckols; another daughter, Nicole Ramasco, from his marriage to Ms. Ely; two stepdaughters, Nicole Whitty and Colette Peters, from his marriage to Ms. Peters; and three grandchildren.