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Sam Fender has announced his new album, People Watching, alongside confirming details of its eponymous lead single, which will land Friday (Nov. 15).
Arriving on Feb. 21, 2025, via Polydor Records, the Newcastle songwriter’s third LP was partially recorded in London with producer Markus Dravs, then L.A. with Adam Granduciel of Philadelphia rockers The War on Drugs.
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It will follow the hugely successful Seventeen Going Under, which topped the U.K.’s Official Albums Chart upon release in October 2021 and saw Fender headline London’s 40,000-capacity Finsbury Park the following summer.
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To coincide with the news, the 30-year-old has shared that the title track is about “somebody that was like a surrogate mother to me and passed away last November.” In a lengthy Nov. 7 Instagram post, he added: “It’s kind of ironic because she was the one that gave me the confidence to go on stage… now an entire song (and album) connects to her.”
Sharing the artwork, he added: “Me and the band have picked away at these songs for the last couple of years, we recorded so much material in that time and deliberated long and hard over what came next. We settled on this collection for our next outing. Special thanks to Dean and Joe who have been with me every step of the way, they are incredible producers in their own right and I’m eternally proud and grateful for them both. The band has really evolved in this time, I’m a lucky f–ker to be surrounded by such a talented bunch.”
The track received its live debut at an intimate show in Plymouth, south west England, on Aug. 3. The following week, Fender headlined Cornwall’s Boardmasters Festival and then shared the performance to YouTube at the end of the month.
Next month, Fender will commence his first full U.K. tour since 2022. Kicking off in Ireland at the 3Arena in Dublin on Dec. 2, he will then head to Leeds, Manchester, London, Birmingham, Glasgow and conclude the run of shows in his hometown on Dec. 20. In March, he will tour mainland Europe with support from Mercury Prize-nominated singer CMAT.
In the build up to Fender’s comeback, he collaborated with Noah Kahan on a new version of the Vermont artist’s song “Homesick” at the start of 2024. The previous year saw him headline two nights at Newcastle’s St. James’ Park, as well as topping the bill at Reading & Leeds Festival.
On today’s (Nov. 4) episode of the Greatest Pop Stars of the 21st Century podcast, we reach No. 4 on our list with a rapper (and singer) who became a pop star without ever specifically going pop — by changing the face and sound of hip-hop and dragging it further towards the mainstream’s center than it […]
The Latin music community will shine its brightest light on Carlos Vives, who has been honored as the 2024 Person of the Year by the Latin Recording Academy. During the prestigious gala on Wednesday (Nov. 13) at the Miami Beach Convention Center, the beloved Colombian superstar’s immense contributions to the music industry and his tireless humanitarian efforts, such as Tras La Perla, the Rio Grande Music School and others will be recognized.
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“It’s still surprising to me,” Vives told Billboard Español in May. “It’s like a message that the Academy gives at the end because 32 years ago, I chose a path [that was unconventional]. To be successful, to be commercial, there was one way. This other path that’s cultural or has to do with your identity, that doesn’t work, [they would say].”
Winner of 18 Latin Grammys and two Grammys, Carlos Vives is a pioneer of vallenato-pop fusion that has captivated audiences around the world. Over more than three decades, the Santa Marta singer-songwriter has produced hits such as “Fruta Fresca,” “Como Tú” and “Volví a Nacer,” among many others. These timeless songs not only reached No. 1 on the Hot Latin Songs chart, but have also played a crucial role in elevating Colombian popular culture to the world stage.
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“Carlos Vives is one of the most prolific and beloved artists of our time, whose commitment to Latin music and support for the new generations truly personifies the values of our Academy,” said Manuel Abud, CEO of The Latin Recording Academy, in a previous press release. “We honor him as our Person of the Year for his vast contributions to our musical heritage and for his many philanthropic initiatives.”
His 2023 album, Escalona: Nunca Se Había Grabado Así, earned Vives his 18th Latin Grammy when it was crowned best cumbia/vallenato album.
On Wednesday, the eve of the 25th annual Latin Grammy Awards, heartfelt odes are expected from fellow musicians who will pay tribute to Vives’ impact on Latin music by performing versions of his songs. The event will also highlight his work beyond music, including his dedication to social causes and cultural preservation.
Stay tuned as we bring you updates — including performances, speeches and exclusive insights — directly from tonight’s ceremony.
Celine Dion just wants to listen to her new single! The legendary vocalist uploaded a hilarious video to her Instagram on Tuesday (Nov. 12), in which she asks Siri on her iPhone to play her cover of Édith Piaf’s “Hymne à L’Amour,” released as a single last month. During her first attempt, Siri responds, “I […]
The negative response to the song “+57” by Karol G, J Balvin, Maluma, Feid, Blessd, Ryan Castro and DFZM has led to a lyric change on YouTube, where, in the video, they now sing “a hot mama since she was 18” instead of “14.”
Although it’s unclear who requested the update, the change on the video streaming platform appeared on Wednesday (Nov. 13), after the controversy over the lyrics reached the Colombian Congress, where a group of politicians asked the Colombian Institute of Family Welfare (ICBF) to summon the authors of the song for a training on the problem of sexual violence in the country.
At press time, the song’s lyrics have not been updated on Spotify or Apple Music. Billboard has also reached out to YouTube for comment.
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According to local newspaper El Tiempo, congresswomen Sonia Bernal (Pacto Histórico) and Karina Espinosa (Partido Liberal) criticized the reggaeton song for lyrics that they consider sexualizing minors (one verse mentions a woman who has been a “mamacita” since she was 14 years old), and even announced that they will present a bill called “decent lyrics,” with which they seek sanctions for those who write songs with explicit content that could be interpreted as a violent reference against women and girls.
Since its release Nov. 7, the track has received a barrage of criticism. Rolling Stone En Español published an article titled “The Disaster of +’57′,” which Colombian President Gustavo Petro shared on his X account expressing that “it’s OK to have a cultural debate.” And the ICBF issued a statement saying that the song “reinforces the sexualization of childhood in our country” and that it “does not contribute to our fight against the commercial sexual exploitation of children and adolescents.”
On Monday (Nov. 11), Karol gave a lengthy response to the criticism and apologized, saying, “I still have a lot to learn.”
“+57,” whose title is the international phone code for Colombia, was produced by hitmaker Ovy on the Drums and written by all of the aforementioned artists along with Keityn and newcomer DFZM. The name of the song, and the union of these superstars, had caused anticipation among fans, who were anticipating a new reggaeton anthem for Colombia.
See the original lyrics to “+57” translated to English below:
Colombia, gangO-O-Ovy on the DrumsWhoa
She told her boyfriend that she was going to sleep now.But her friend damaged her mind12:30 and she started putting on makeupSaid she’d arrive in 20She turned off her cell phone to avoid getting caughtThe baby is bad, but smart, yeah
And although that baby has an ownerShe goes out whenever she wantsThe weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends” (wow)
What we have here is exotic, pills, aguardiente, HpnotiqA chill party, I offer you somethingDrinking, you’re dangerous, they’re not going to catch you
A hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThat, back there, is huge, delicate, pick it up, let it hold
Hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThere is a lot of load below, there is no room for your butt in the car
She has all the codes (oh)Listens to 2Pac and that ass is notoriousI pour the Oreo cream on her abdomen (nasty)To spend it at the strip clubThey don’t even put her on the cover of Q’hubo
Big ass, big ass (awo)Machine shorts so that all that is noticed (tra-tra)I say all the right things so he takes his clothes off
I save your PIN on the BlackBerryIf she has a hit, i’m the remixThat little mouth, to give it some kisses (aha)I called her so that boom, so that boom (yeah)
And although that baby has an ownerShe goes out whenever she wants (ah-ah-ah)The weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends.
The ass is hers and, therefore, it turns on (Zaga!)She knows who she deals withHe seems innocent, those little eyes lieAnd the kitten has it, it depends
Sucking hottie, mamacita, she’s easy (hey)At the disco she is never in the chair (no)For good luck, yellow thongPrettified in case someone catches her
Sucking hottie, mamacita, esa grillaAt the disco she is never in the chairFor good luck, yellow thongPrettified in case someone catches her
Hat on, conceited (does she know?)So that it turns out great for you (ha, ha)That smile on her little mouth confirmsThat little ass of yours is mine with a seal and signatureIf the boyfriend is late, apply the same to him (ha ha)
Because I’ll break itAnd that guy next to me is a mere foolIf the firecracker is too crazy, I’ll ride itBecause in Medallo I’m like Drake in Toronto
Da-da-da-give me location, give me time and I’ll get to youShe looks at me and I give it all to her, she doesn’t want a weddingShe says to eat quietly and eat blindSex has a code, money beats pretty
She has her thing, she doesn’t want to play (ah-ah-ah)She wants to stay with meThe real deal is talking to me, you’re playing FederballIt’s 11:00 PM, take that ass out for a walk
Break, break, break and give it everything, ma, don’t let anyone stop youOrder one from Ovy on the Drums, the ‘boyfriend’ is not worth itAt the disco, marijuana, drink and pullYour boyfriend, the funny one, let him stop and get off
Wants to feel like a womanThere is no drink that is worth it, there is no positive energy that comes out to herShe wants to feel that she is beautiful again (ha ha, do you know, my love?)
And although that baby has an ownerShe goes out whenever she wants (she wants)The weed is working and she is twerking that drunknessPass the drinks mouth to mouth (mouth)She rolls it up (rolls it up), and turns it onAnd if they ask her if she has a boyfriend, it depends, yah
Karol G-G, La Bichota (yeah)Feid, FERXXO (wow) Let’s goMaluma, Don Juan, yeahBlessed, do you know?
Awo (pu-pu-pum), Ryan CastroDF, Latino gang, gangColombia gang-gangJ Balvin, man, manLet’s go, yeah (baby)
Ovy on the DrumsOvy on the drums, mami, mami, mamiKeityn, in the spotlightColombia gang-gang, yeahOh, Hail MaryHa, how cool
50 Cent is a menace when it comes to his social media antics. While 50 and Busta Rhymes are good friends, they roasted each other in a hilarious back-and-forth on Instagram on Tuesday (Nov. 12), which focused on their hairstyle botches of the past.
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50 lit the fuse after seeing Busta’s hair looking darker than usual, and the G-Unit boss accused the “Touch It” rapper of using some colored paint.
“Nah why crazy s–t be happening and [ninja emoji]’s don’t say nothing,” he wrote before including a photo of Fat Joe’s Rewind 10 beard-coloring brand. “I think @fatjoe, Khaled and Tyson need to intervene here. Lol WTF.”
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50 said: “How this n—a Busta paint his whole hair on? How the f–k you let him go outside looking like that, Joe?”
Busta isn’t one to back down and he quickly returned fire with a photo of 50 from several years ago appearing to grow his hair out with some curls at the time. “WHEN YOU GOT THIS TYPE A CRAZY SHT GOIN AND NOBODY IS SAYING NOTHING,” he wrote. “WHAT TYPE ADVISORS YOU LISTENING TO BRUH??? WHAT THE FK IN A 100 JARS OF TCB GEL TYPE SHT IS THIS MY N—A?? @50cent C’MON MAN!! BY THE WAY FIF, THIS S–T LOOK LIKE YA JERRY CURL STINK TOO BRUDDAH!!”
The Queens rap legend then upped the score, calling out Busta Rhymes for having a “leather lineup.” “N—s always gotta one-up me, right? Have one up on me and s–t. I get a banging leather jacket and this n—a Busta get a leather lineup,” he quipped.
Busta Rhymes appeared to get the last word in when he posted a screenshot of a bald and malnourished 50 from his role in 2011’s All Things Fall Apart flick. “THE BLESSINGS DON’T STOP SO WE AIN’T NEVER GONNA STOP,” Busta added. “DAMN @50cent YOU WAS MY #1 CUSTI WHEN I USED TO SELL CRACK HOMIE. DAMN YOUR HAIR LINE BEEN FUCKED UP SINCE THEN BRUH!!”
Of course, Busta and 50 are close and this is all in good fun. Busta Rhymes opened up for 50 on his lucrative Final Lap Tour in 2023, which eclipsed $100 million in earnings and made him the second rapper ever to do so at the time.
See some of the posts in their back-and-forth below:
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated Nov. 23, we look at the chances of a quickly rising hit to halt the increasingly historic reign of the decade’s longest-running Hot 100 No. 1.
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Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): It’s 17 weeks now for Shaboozey atop the Hot 100, giving it sole possession of the title for longest-running No. 1 on the chart this decade, and second place all-time. The only song still standing in its way from standing alone atop all Hot 100 history: Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, which reigned for 19 weeks in 2019. (Coincidentally, Lil Nas X himself has announced the imminent release of his new song “Light Again,” though we’ll see if he still has the viral skills to be able to protect his own chart record — “J Christ,” his first release of 2024, topped out at No. 69.)
Anyway, it’s the same old story with “A Bar Song,” which is mostly slipping in its weekly performance – though it was actually up 2% in sales this week, according to Luminate, rebounding from No. 7 to No. 3 on the Digital Song Sales chart – but not falling fast enough for anything below it to really catch it. Airplay remains at the core of its stronghold, as the song spends a 15th week atop Radio Songs this week, with a 16th week in play next week. Meanwhile, the song might get a bit of a bump this week from the Friday-announced (Nov. 8) Grammy nominations, where Shaboozey is up for five nominations, including best new artist and song of the year for “Bar.”
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Gracie Abrams, “That’s So True” (Interscope/ICLG): For the first time in what feels like a long time, there’s a rising hit with legitimate momentum coming up from behind Shaboozey. Gracie Abrams’ “That’s So True” didn’t look like a world-beater when it debuted on Oct. 18 as one of four new songs on the deluxe edition of her breakout set The Secret of Us, but it’s continued to grow every week since its release, climbing 25-13 on the Hot 100 this week, and even passing “A Bar Song” on Streaming Songs, as it moves up to No. 4 on that chart. TikTok has helped, of course – the song debuts at No. 16 on the TikTok Billboard Top 50 – as has a new official live version from Radio City Music Hall, released to DSPs last week. (It also helps to have the world’s biggest tour as a continued platform, as Abrams continues opening Canadian dates on Taylor Swift’s Eras trek through early December.)
Now, the song has overtaken the top spot on both the Spotify Daily Top Songs USA and the Apple Music real-time chart, while also climbing to just outside the top 10 on the iTunes chart. That streaming momentum could take it to the Hot 100’s 10 next week – and so far, it’s just kept climbing. The question of if it could end up being a legitimate threat to Shaboozey might come down to radio – of course, “A Bar Song” has a massive advantage there as the still-reigning most-played song in the country, while “That’s So True” is just beginning to draw airplay, behind Abrams’ other contemporaneous hits “Close to You” and “I Love You, I’m Sorry.” But “True” is slowly gaining steam there, too, so if it continues to grow while “A Bar Song” shrinks, the gap could be closed before too long.
Can it catch Shaboozey in the next three weeks? Will it get there before the Holiday season rush begins? We’ll see, but if nothing else, it should make the race more exciting in the meantime.
Bruno Mars & Lady Gaga, “Die With a Smile” (Streamline/Interscope/Atlantic/ICLG) & Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG): It’s a good week for Interscope on the charts, as between Abrams, Lady Gaga and Billie Eilish, the label is likely to claim three of the top 10 spots on the Hot 100. The latter two artists are also likely beneficiaries of Friday’s Grammy nominations: “Smile” is up for both song of the year and best pop duo/group performance at the awards, and Eilish – a Grammy darling since sweeping the Big Four in 2020 on her debut album – has seven nominations, including album of the year for Hit Me Hard and Soft and song and record of the year for “Birds of a Feather.”
Both songs should stay in the mix at the Hot 100’s top next week, as “Smile” and “Feather” remain at Nos. 2 and 3 on the chart this week, remaining strong performers across the board – “Feather” holds atop Pop Airplay for an eighth week, and “Smile” may challenge for its first week atop Streaming Songs next frame. But it’s unclear if either has the cards left to play to help get either over the hump, and with Shaboozey also a major Grammy nominee, the bump there for either is unlikely to be major enough to be the difference-maker.
While plenty of Lil Nas X fans are hyping themselves up over his upcoming new single, dance artist Sega Bodega has a few questions for the rapper about one of his promotional photos. Explore Explore See latest videos, charts and news See latest videos, charts and news In a series of posts to his X […]
Jason Kelce is after Mariah Carey‘s crown. After discovering that his new holiday duet with Stevie Nicks outperformed “All I Want for Christmas Is You” on the iTunes charts this week, the retired Eagles center joked with brother Travis Kelce on New Heights that he’s the new “Queen of Christmas.”
Toward the beginning of the podcast episode posted Wednesday (Nov. 13), the Kansas City Chiefs tight end congratulated his older sibling for having “dethroned” the Songbird Supreme with “Maybe This Christmas,” which debuts at No. 1 on the iTunes Top Christmas Songs 2024 chart and bests Carey’s bestselling holiday classic by one spot. The track — a Ron Sexsmith cover Jason recorded with the Fleetwood Mac frontwoman for The Philly Specials’ upcoming charity Christmas album — dropped Nov. 8.
“[Carey’s] song is as good as it gets when it comes to Christmas music,” Travis began. “Jason, how does it feel to officially be the Queen of Christmas?”
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“You know, I’ve fought my whole life to be the Queen of Christmas,” Jason jokingly replied. “The fact that we’re finally there is just really special.”
The Monday Night Countdown host went on to gush, “It was incredible to work with Stevie Nicks” — a process he recently shared with fans on Instagram via a behind-the-scenes video from the unlikely duo’s recording session. “I’m just still in awe that that actually happened,” he added. “This is really really cool. There is no percent chance any song that I’m in should be streaming No. 1 on any service in any genre.”
In response, Travis teasingly brought the elder Kelce back down to earth. “Well, don’t give yourself too much credit,” he said as Jason laughed. “It’s Stevie Nicks.”
Even so, “All I Want for Christmas” is indeed one of the most successful festive tunes of all time. It’s spent a collective 14 weeks at No. 1 on the Billboard Hot 100 and ranks at No. 1 atop Billboard‘s best Christmas songs list and the Greatest of All Time Holiday 100 Songs listing.
Arriving Nov. 22, A Philly Special Christmas Party will mark the third benefit album from The Philly Specials, which is comprised of Jason and Eagles offensive tackles Lane Johnson and Jordan Mailata. Last year’s A Philly Special Christmas Special raised more than $3 million for charity.
This year, proceeds from the vinyl sales of A Philly Special Christmas Party will go toward the Children’s Crisis Treatment Center’s Holiday Toy Drive, Children’s Hospital of Philadelphia’s Snowflake Station and 87 and Running Foundation, as well as a few other organizations based in Philly.
Watch Jason and Travis talk about the former’s new title above.
Rema and Selena Gomez‘s remix video for the Afrobeats star’s 2022 single, “Calm Down” has crossed the one billion views mark on YouTube. The visual for the song that originally appeared on Nigerian singer Rema’s Feb. 2022 debut studio album, Rave & Roses, got a second life in August of that year when Gomez hopped into the visual for the sultry jam.
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In the video, both singers hang out in a living room with green walls and colorful tapestries, with Gomez dancing seductively behind a beaded curtain and shaking her hips alongside Rema as he sings, “I see this fine girl, for my party, she wear yellow/ Every other girl they dey do too much, but this girl mellow/ Naim, I dey find situation, I go use take tell am ‘Hello’/ Finally, I find way to talk to the girl, but she no wan’ follow.”
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Midway through, Gomez sidles up to Rema and adds, “Yeah, I know I look shy but for you i get down, woah/ And my hips make you cry when I’m moving around you/ Do it once, do it twice/ I push back you hold me tight.” The two then join forces on the chorus: “Baby, show me you can calm down, calm down/ Dance with me and take the lead now, lead now/ Got you so high that you can’t come down, come down” as the action turns to an all-white garage where the pair pose on a vintage roadster.
In addition to crossing the billion mark on YT, the song set all kinds or records during its chart run, including the longest run at the top of Billboard’s U.S. Afrobeats Songs chart and first song in history to spend a year on that chart (currently at 138 weeks) and the record for the first African song to log a whole year (57 weeks total) on the Billboard Hot 100. The song also has the record for the most weeks ever spent on Billboard’s Pop Airplay chart, logging an unprecedented 64 weeks as of Jan. 20 of this year; “Calm Down” bested the previous record-holder, Harry Styles’ “As It Was,” which had 63 week at the top in 2022-2023.
Watch the “Calm Down” remix video below.
