State Champ Radio Music
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Win Butler and Régine Chassagne of Arcade Fire have separated after 22 years of marriage, the band announced Thursday (Oct. 30).
In a statement posted to the Montreal rockers’ Instagram account, the longtime couple shared that “after a long and loving marriage, Win and Régine have decided to separate.”
“They continue to love, admire and support each other as they co-parent their son,” the message continued.
As for the group’s future, the bandmates wrote that their “bond as creative soulmates will endure, as will Arcade Fire.”
“The band send their love and look forward to seeing you all on tour soon,” the statement concluded.
The split comes after a long journey for Butler and Chassagne, who first met in 2001 at McGill University and formed Arcade Fire that same year. The pair tied the knot in 2003 and welcomed their son in 2013.
In 2022, Chassagne stood by her husband after he was accused of sexual misconduct by four people in a Pitchfork report. Butler confirmed at the time that he’d had extramarital relations with the people who came forward, but denied that any of them had been nonconsensual. He also apologized to “anyone who I have hurt with my behavior.”
“Win is my soulmate, my songwriting partner, my husband, the father of my beautiful boy,” Chassagne said in a statement at the time. “I know what is in his heart, and I know he has never, and would never, touch a woman without her consent, and I am certain he never did. He has lost his way and he has found his way back. I love him and love the life we have created together.”
Earlier this year, Arcade Fire dropped Pink Elephant, the band’s first album since the allegations came to light. In April, the group embarked on its Don’t Think About Pink Elephant Tour, which concluded the following month.
See Arcade Fire’s statement below.
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Count pop radio as the latest realm that Gwi-Ma can’t conquer.
The KPop Demon Hunters underworld villain proves no match for the approximately 150 radio stations that have lifted HUNTR/X to No. 1 on Billboard’s Pop Airplay chart, where the protagonist trio of Netflix’s record-breaking animated film reigns with its anthem “Golden.”
The song, on Visva/Republic, rises two spots to No. 1 on the Pop Airplay chart dated Nov. 8, up 9% in plays week-over-week Oct. 24-30. (Stations are monitored by Mediabase, with data provided to Billboard by Luminate.)
“‘Golden’ has truly become a defining pop moment, an instant lean-in, turn-it-up track,” says Alex Tear, vp of music programming for SiriusXM and Pandora. SiriusXM’s Hits 1, which reports to the Pop Airplay tally, has played the song more than 1,100 times since June.
Thanks to the movie’s wide reach, “There’s that immediate familiarity and big emotion that just hits,” Tear says of “Golden.” “It’s become part of our channel’s DNA — vibrant, global and built for pop radio.”
Mark Adams, vp of pop programming for iHeartMedia and program director of the chain’s flagship WHTZ (Z100) New York, became a fan of KPop Demon Hunters a day after its June 20 release. “My algorithm knows me well,” he says. “I watched it that Saturday morning and just kind of immediately got it. I thought the animation was terrific. I thought the music was extraordinarily catchy.”
Adams says that he didn’t hesitate when considering the pop radio appeal of “Golden,” whose lyrics cite certain plot points, which could either confuse listeners not versed in the film or draw them in further if they’re superfans (or, on Oct. 31, KPop candy hunters). “When I’m listening to tunes,” Adams muses, “I’m just listening — is there a hook? Is it a pop cultural moment?”
Adams shares that he was so taken by the film after watching it “that Monday I shared with the national team: ‘Hey guys, you may not have heard about this yet, but there’s this movie on Netflix and the songs are amazing.’ That first week on Z100, we spiked ‘Golden’ in. It wasn’t in heavy rotation, but a few times, as well as [HUNTR/X’s] ‘How It’s Done.’ ”
With Pop Airplay panelist WHTZ now more than 600 plays into “Golden,” KPop Demon Hunters songs “are strong on their own merit,” Adams says. “It wasn’t a really difficult push to convince programmers to realize that this is a real thing.”
Despite the movie’s immediate and enduring success, Adams notes that radio still serves a key role in helping ingrain hits in the pop consciousness. “I think it’s a little complicated,” he says. “Even as big a platform as Netflix is, you’re still dealing with that audience, and that isn’t everyone. That helps lay the groundwork for music discovery, but it still takes weeks and months of committed, consistent airplay to really break things to the masses.”
Plus, says Adams, “people crave human connection, having somebody say, ‘Hey, this is a song you should be paying attention to.’ People feel like they’re part of a community and they want to be part of that shared pop cultural moment. I think that’s what we excel at.”
Meanwhile, Hits 1 has played other KPop Demon Hunters songs, including Saja Boys’ “Soda Pop” and “Your Idol” (fine, Gwi-Ma gets that), furthering the connection between the film and pop radio. “Golden” spent eight weeks at No. 1 on the multimetric Billboard Hot 100 from mid-August through mid-October, while “Soda Pop” and “Your Idol” each hit the chart’s top five.
“We’ve been intentional about giving space to songs that cross borders and connect with our audience,” Tear says. “These tracks feel natural next to Taylor Swift, Alex Warren or Olivia Dean. We’re always looking for that global pop conversation. Listeners don’t hear boundaries, they just hear great songs.”
Trending on Billboard A$AP Rocky once again has people wondering if he’s put a ring on it. In a new cover story interview with Perfect magazine, the rapper made a provocative claim about his longtime love Rihanna, with whom he shares three young children. When asked to describe the times when he’s felt the greatest […]
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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: Tricks and treats from Florence + The Machine’s howling latest, an early Mother’s Day gift from Tyler, the Creator and a right-on-time R&B love song from Brent Faiyaz.
Florence + The Machine, Everybody Scream
We all scream for Florence + The Machine’s latest, an appropriately titled album for a Halloween release, certainly. The horrors here are not necessarily of the jump-scare variety, but more the realities of life as both a veteran pop-rock star not always given her due and as a woman facing double-standards in the music industry — one who recently endured a potentially life-threatening ectopic pregnancy, as she detailed in a recent Guardian profile. But regardless, Florence is no Final Girl, and Everybody Scream evinces the mighty strength she’s developed as a singer, artist and person: “Come on, come I can take it/ Gimme everything you got/ What else?” she goads in “Sympathy Magic.” Besides, as she attests in “Witch Dance,” “Your threats and your promises, they don’t scare me/ After all, there’s nobody more monstrous than me.”
Tyler, The Creator, “Mother”
Tyler, the Creator apparently considers his newly released bonus track “Mother” such an important of his CHROMAKOPIA experience that his new CHROMAKOPIA+ sticks it in the middle of the tracklist, not just at the end. A sympathetic song about his mom’s experience having him, raising him and trying to teach him life wisdom, the track even includes an interlude of said matriarch warning him not to get arrested, because she had no intent of bailing him out of jail. He also holds some grace for his father: “Father told me nothin’/ F–k it…. I hold no grudges, I heard he a fan.” The beat and the backing grunts are tense (and intense), but the electric piano is warm and tender.
Brent Faiyaz, “Have To.”
In what’s turning out to be an excellent year for crossover R&B, it’s a perfect time for the return of hitmaker Brent Faiyaz. Especially with a song this irresistible: “Have To.” is an immaculately produced love song about Faiyaz doing whatever has to do to be where he needs to be: “I’m in a race with time to get where I belong/ ‘Cause it feels so right after all these nights alone.” Sweetly urgent but never overly insistent — and winking enough to avoid any undue sweatiness, including multiple vocal tracks of a pitch-altered Faiyaz basically dueting with himself — “Have To.” is another big winner for Faiyaz.
Reneé Rapp, “Lucky”
Frisky, poppy, lightly grungy alt-rock certainly seems to be the musical sweet spot for Reneé Rapp, as evidenced first by her impressive August sophomore LP Bite Me, and now from her new song “Lucky.” Recorded for the Now You See Me: Now You Don’t soundtrack — sure — “Lucky” features Rapp bragging about her charmed life over propulsive guitars and occasional synth flares, even throwing in a little meta-nudge with the bridge’s “It’s almost like I’m Reneé.” Extra points for actually working the film’s title into the lyrics.
Sub Focus feat. Grimes, “Entwined”
Grimes ‘n’ Bass! As the wait continues for the follow-up to 2020’s Miss Anthropocene, Grimes has been busy with one-offs and collabs — most recently teaming up with the U.K. producer Sub Focus for this week’s “Entwined,” whose moaning, growling, frequently shape-shifting beat is the perfect bed for the Canadian alt-pop star to wail over. It might not be explicitly spooky-scary, but if you happen to be one song short on your Halloween playlist for this weekend, it’s unsettling and intense enough to be a fit.
Oklou, Choke Enough (Deluxe)
Speaking of Grimes — rising French electro-pop singer-songwriter Oklou arrived with heavy Claire Boucher vibes earlier this year on shimmering debut album Choke Enough. If that 13-track set understandably left you craving more, the artist born Marylou Vanina Mayniel reissues the set this week with four bonus cuts, including the previously released fka Twigs collab “Viscus,” the gorgeous synth ballad “What’s Good,” and the uncharacteristically acoustic (but still satisfyingly warped) “The Fishsong Unplugged.”
Trending on Billboard Samara Joy will be adding another checkmark to her growing list of milestones this weekend when she makes her debut on Austin City Limits. The 2025 NAACP Image Award winner and five-time Grammy-winning artist will take her bow on PBS stations nationwide tomorrow, Nov. 1 (7 p.m. CT/8 p.m. ET). Explore See […]
Trending on Billboard Some people dress up in elaborate costumes on Halloween, but this year Taylor Swift is stripping things all the way back. The pop juggernaut surprise released an unplugged version of her The Life of a Showgirl hit “The Fate of Ophelia” on Thursday night (Oct. 30). The acoustic guitar-forward “The Fate of […]
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A Turnstile concert in Richmond, Va., has resurfaced in the news following viral footage of an audacious stage dive and an earlier pepper spray incident that prompted backlash and an ongoing investigation into police conduct.
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The Baltimore hardcore band played Brown’s Island in September, and as is typical for their high-octane live shows, fans were encouraged to join the band onstage during their performance of “Birds.”
In video footage that recently gained traction online, one fan is seen sprinting across the stage and launching himself over the photo pit, attempting to clear a large gap between the stage and the barricade. The crowd erupts as he rotates midair, landing with the back of his legs clipping the top of the barricade before crashing into the audience.
The stunt is just one of several wild moments from the show. That same night, another fan was pepper sprayed by a local sheriff’s deputy — an act that drew widespread criticism after fan-filmed footage captured the officer brandishing a can of spray and firing it directly into a teen’s face. Bassist Franz Lyons, standing nearby onstage, is seen recoiling and shielding his eyes from the dispersing spray.
Speaking about the incident at the time with The Guardian, Turnstile frontman Brendan Yates called it “A cowardly action from an officer coming in and spraying a 15-year-old kid and then walking away – I don’t think that’s an isolated event. But at our shows, it was a new thing. It’s something that we strive to keep away.”
The incident was later confirmed to be under review. Richmond Sheriff Antoinette Irving announced that her office had launched an internal investigation and was reviewing bodycam footage to determine the circumstances around the use of force. Further details about the outcome of the investigation have not yet been released.
Turnstile has become one of the most critically acclaimed live acts in recent years, breaking out of the underground with their 2021 album Glow On. The record debuted at No. 30 on the Billboard 200 and landed the band three Grammy nominations: best rock album (Glow On), best rock song (“Holiday”), and best rock performance (“Blackout”).
Their live shows — often defined by nonstop mosh pits, stage dives, and cathartic fan interaction — have helped them secure spots on major festival stages including Coachella, Glastonbury, and Lollapalooza. The Brown’s Island show was part of their fall U.S. tour ahead of a U.K. and European run that kicked off in Dublin on Oct. 31.
The European tour includes upcoming stops in Glasgow, Manchester, and London, before heading through Hamburg, Amsterdam, Milan, Paris and more. Turnstile will then head Down Under in January for a series of Australian shows.
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Taylor Swift continues her domination of the ARIA charts this week, locking in her fourth consecutive double-header as The Life of a Showgirl and “The Fate of Ophelia” remain at No. 1 on the Albums and Singles charts, respectively.
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The feat marks yet another high in a standout year for Swift, with both her re-recordings and original material continuing to perform strongly in Australia. Her latest chart-toppers have held steady across Halloween week — a fitting flex for a pop sorceress who’s made chart magic her signature move.
Meanwhile, Australian country artist James Johnston celebrates a new career high, debuting at No. 5 with his sophomore album Where You’ll Find Me, which also lands at No. 1 on the ARIA Australian Albums Chart. It follows the success of his debut Raised Like That, which peaked at No. 7 in 2023.
British pop icon Lily Allen returns to the top 10 with West End Girl, her first album in seven years. The project opens at No. 6, becoming her fifth top 10 ARIA album. Her previous efforts include 2009’s chart-topping It’s Not Me, It’s You and 2014’s Sheezus, which peaked at No. 4.
UK rapper Dave also makes a strong entrance with The Boy Who Played the Harp, debuting at No. 7. It follows his 2021 project We’re All Alone in This Together, which reached No. 5.
Melbourne’s Paul Dempsey claims the No. 8 spot with Shotgun Karaoke Vol. II, a covers record that features renditions of songs by R.E.M., Patti Smith, Cher, and more. The Something for Kate frontman also lands at No. 2 on the ARIA Vinyl Albums Chart. Dempsey has a long history of top-charting albums, both solo and with his band, including No. 1 albums The Official Fiction (2003) and Desert Lights (2006).
On the Singles Chart, Olivia Dean continues her Australian ascent. “Man I Need” holds firm at No. 2, while “So Easy (To Fall In Love)” jumps to No. 7 from No. 22. Former hit “Nice To Each Other” climbs from No. 16 to No. 12. Dean now has five tracks in the top 50 as she gears up to perform at the ARIA Awards on Nov. 19.
Fleetwood Mac’s Rumours holds the No. 1 spot on the On Replay Albums Chart, while Teddy Swims’ “Lose Control” continues its reign atop the Hitseekers Singles Chart.
Trending on Billboard Ken Carson is back with a haunting new single just in time for Halloween. Released Oct. 31, “yes” sees the Opium rapper dive deeper into his blown-out, post-apocalyptic sound — arriving alongside his ongoing run on Playboi Carti’s Antagonist 2.0 world tour. Produced by Clif Shyne, the track delivers Carson’s signature distortion-drenched […]
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Offset has delivered a Halloween treat to fans, releasing his surprise new solo album Haunted by Fame.
Released via UMG Recordings, Haunted by Fame features guest appearances from NBA Youngboy, NoCap, and Lil Dump. Offset also dropped a horror-themed music video for lead track “Ya Digg,” directed by HousePartii, pairing eerie visuals with haunted-house production.
The Migos rapper teased the project just hours before release, writing cryptic messages on social media and sharing a masked teaser clip that hinted at the darker sonic palette.
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The 11-track project arrives just two months after his introspective third solo effort Kiari, continuing a prolific run for the Atlanta rapper. While Kiari leaned introspective, Haunted by Fame sees Offset trading raw confessionals for paranoia-laced production, distorted hooks, and sparse 808s.
Offset’s Billboard chart history includes more than 30 entries on the Hot 100 as a solo artist, though he has yet to score a No. 1 hit on the chart.
Offset has logged over 30 solo entries on the Billboard Hot 100, though he’s yet to claim a solo No. 1. His highest-charting solo cut, “Ric Flair Drip,” reached No. 13, while featured spots on hits like Tyga’s “Taste” (No. 8) and Kodak Black’s “Zeze” (No. 2) helped boost his profile.
His debut album Father of 4 opened at No. 4 on the Billboard 200 in 2019 with 89,000 units, followed by Set It Off in 2023, which debuted at No. 5 with 70,000 units and hit No. 2 on the Top R&B/Hip-Hop Albums chart. Offset’s collaborative run—spanning Cardi B, Travis Scott, 21 Savage, and more—continues to keep him in rotation. And with Migos, he hit No. 1 on the Hot 100 in 2017 with “Bad and Boujee” featuring Lil Uzi Vert.
Haunted by Fame marks Offset’s fourth solo project and second album of 2025.
Stream Haunted By Fame below.
