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Aerosmith and Yungblud’s collaborative EP One More Time debuts at No. 1 across four Billboard album charts, all dated Dec. 6.
In the week ending Nov. 27, One More Time earned 39,000 equivalent album units in the U.S., of which 37,000 was via album sales, according to Luminate.
Among the many chart the album topped is the Top Rock & Alternative Albums chart, marking Yungblud’s first ruler in his career and Aerosmith’s first chart-topper in over a decade. Aerosmith previously topped the ranking, which began in 2006, in 2012 via the one-week rule of Music From Another Dimension!, which had been Aerosmith’s most recent collection of new music prior to One More Time. Yungblud’s previous best, meanwhile, had been the No. 8 debut and peak of his self-titled album in 2022.
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The set also rules Top Hard Rock Albums, Aerosmith’s third ruler (following Music From Another Dimension! and the band’s 2023 Greatest Hits package) and Yungblud’s first appearance on the survey. The album also bows at No. 1 on Top Rock Albums and Indie Store Album Sales.
As previously reported, One More Time also debuts at No. 9 on the all-genre Billboard 200, giving Aerosmith top 10s in each of the last six decades (1970s-2020s), something only Paul McCartney, The Rolling Stones, Bruce Springsteen and James Taylor have also accomplished.
Concurrently, music from One More Time appears twice on the Dec. 6-dated Hot Hard Rock Songs chart, led by lead single “My Only Angel” at No. 11. The song, which bowed at No. 1 on the tally dated Oct. 4, earned 2.7 million radio audience impressions, 723,000 official U.S. streams and sold 1,000 downloads in the week ending Nov. 27. It lifts 7-6 on Mainstream Rock Airplay, having previously become Aerosmith’s first top 10 on the ranking in 21 years.
One More Time is also represented on Hot Hard Rock Songs by “Wild Woman” (No. 14; 853,000 streams, 1,000 downloads), with the latter count good enough for a No. 6 debut on Hard Rock Digital Song Sales.
All Billboard charts dated Dec. 6 will update tomorrow, Dec. 2, on Billboard.com.
50 Cent has said Diddy‘s publicist is accusing the G-Unit leader of being an “adversary” against Puff because of his new Netflix documentary. 50 Cent and Diddy have been going back and forth all day in the wake of the former’s new four part Netflix documentary Sean Combs: The Reckoning, which is set to hit […]
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What’s better than one iconic Michelle? Two!
On Sunday night (Nov. 30), fresh off Thanksgiving festivities, former First Lady Michelle Obama and Grammy-winning music and Broadway star Michelle Williams attended Brandy & Monica‘s much-buzzed-about The Boy Is Mine Tour at Capital One Arena in Washington, D.C.
“A special night!” read the caption of a backstage montage shared by Black Promoters Collective, the production company behind the 32-date trek, to its official Instagram page on Monday morning (Dec. 1). “We were truly honored to have former First Lady [Michelle Obama] in the building for [The Boy Is Mine Tour] stop in DC.”
In the video, the former First Lady can be seen walking backstage and posing for pictures with Brandy, Monica and Kelly Rowland, who performs a 40-minute set as a special guest on each night of the tour. In one clip, Mrs. Obama smiles for a group photo alongside one of Rowland’s former bandmates, Michelle Williams, who was also in attendance.
Last month, Williams earned her first career Grammy nomination outside of Destiny’s Child thanks to her standout work on the 2024 original Broadway cast recording of Death Becomes Her. Nominated for best musical theater album, Williams will face off against Tony-winning heavyweights like Audra McDonald (Gypsy), Jonathan Groff (Just In Time) and Darren Criss (Maybe Happy Ending). In 2024, she performed her signature Death Becomes Her number, “If You Want Perfection,” at the Macy’s Thanksgiving Day Parade.
Like Williams, Mrs. Obama has also had a busy winter. On Nov. 4, she published her third book, The Look, which compiles over 200 photographs chronicling her style evolution inside and beyond the White House. Earlier this year, the former First Lady joined Tina Knowles in conversation for an in-depth look at Knowles’ Matriarch memoir, continuing her decade-plus-long relationship with the Knowles-Carter clan. During a June Las Culturistas podcast episode, the former First Lady raved about Blue Ivy’s growth on Beyoncé’s blockbuster Cowboy Carter Tour, which also included a surprise Destiny’s Child reunion at its final stop.
The Boy Is Mine Tour runs for just seven more shows before wrapping at VyStar Veterans Memorial Arena in Jacksonville, Fla. on Dec. 14. Over the weekend, Muni Long, who was a part of the initial show lineup, took to Instagram to announce her permanent departure from the tour, writing, “my doctors have made it clear that it’s not safe for me to continue with the remaining dates of the tour.” Grammy-winning “Case of the Ex” singer Mýa will replace Long for the remaining dates.
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For decades, the live music business has relied on a workforce built on gig labor — workers subject to long stretches away from home without the support found in traditional industries. That’s exactly the gap ECCHO Live — formerly known as Touring Career Workshop — is trying to close. And one of the people helping shape that shift is Chuck Hull, the retired tour manager whose 50-year career spans performers from Elvis Presley to Keith Urban.
Hull, who joined the organization’s expanded advisory board after retiring in 2023, says ECCHO Live is addressing a fundamental truth about the touring economy: “We’re essentially an industry with no real HR department, no safety net, and no guaranteed path for sustainability.”
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Last month, ECCHO Live held its largest workshop to date, attracting nearly 500 live event professionals to the Soundcheck Annex in Nashville, including keynote speaker Sarah Trahern, CEO of the Country Music Association. Hull says the large attendance and interest are indicative of an industry in need of support.
ECCHO Live began more than a decade ago as a modest career workshop led by lighting designer and production manager Chris Lyle, who wanted to help newcomers navigate the opaque, freelance-heavy touring world. The early focus was basic but essential, providing guidance in finding work, building a résumé, and handling the financial and personal challenges of life on the road.
One of ECCHO Live’s most influential initiatives is All Access, a first-of-its-kind mental-health program for touring professionals. The program provides four free counseling sessions to anyone working in live entertainment — an initiative that was recently expanded to include spouses. The expansion, Hull says, was an overdue acknowledgment of how touring affects entire families.
“When you’re gone for weeks or months, that stress isn’t just yours — it hits your partner, your kids, your home life,” he explains. “Extending support to spouses was a no-brainer.”
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During the pandemic, ECCHO Live saw a surge in demand for mental-wellness support, and those requests didn’t disappear once touring returned. To meet the growing need, the organization launched All Access On-Site, a roaming mental-health tent that appears backstage at major festivals. Crew members can discreetly sign up for same-day sessions with licensed counselors — a resource that was booked solid at many events.
“Festivals started calling us asking if they could get the activation,” Hull says. “That tells you everything about how needed this is.”
ECCHO Live also provides programming that addresses other weak points in touring employment and helps with financial guidance, including retirement planning for workers who rarely have access to 401(k)s. There are also career development workshops for entry-level and mid-career workers and department-specific training for roles in production, audio, lighting, video and crew management.
Hull describes these programs as “the kinds of resources every corporate employee takes for granted — but that simply don’t exist in live entertainment unless we create them ourselves.”
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ECCHO Live’s mission is supported by funding from a broad coalition of industry organizations, including the Country Music Association, the Academy of Country Music Awards, record labels, promoters, vendors and other stakeholders who rely on the touring labor pipeline.
Hull’s involvement with ECCHO Live comes after one of the longest continuous careers in modern touring. But while his résumé includes Elvis, Fleetwood Mac, Paul McCartney and a 20-year run managing Keith Urban, he says ECCHO Live isn’t about legacy — it’s about ensuring that the next generation of touring personnel have the resources he never had.
“I spent 50 years without a 401(k), without a health plan, without a safety net,” Hull says. “You survived by hustling. That shouldn’t be the only model we offer the people who keep this business running.”
From his advisory role, he sees ECCHO Live as a responsibility — and an overdue shift in an industry that historically expected workers to tough it out. “The old-school roadie mentality was ‘Bury it, don’t talk about it,’” he says. “But times have changed. People are finally willing to say when they need help. ECCHO Live is creating the space for that.”
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With a growing slate of sponsorships and a board that spans touring, vendor ops, production, festivals and corporate live events, ECCHO Live is positioning itself as the first true support network for the touring workforce.
“We’re building structure where there was none,” Hull said. “We’re supporting the people the entire live-entertainment economy is built on. And we’re finally acknowledging that taking care of crews isn’t a luxury — it’s essential.”
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Taylor Swift’s “The Fate of Ophelia” rebounds a spot to No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, leading each list for a third total week. The song spent its first two weeks on each tally at the summit in October.
Three holiday hits catch a sleigh up the Global 200’s top 10, while two climb Global Excl. U.S., led by Mariah Carey’s “All I Want for Christmas Is You.”
Plus, Stray Kids start at No. 8 on Global Excl. U.S. with “Do It.” The song is from their EP of the same name, which launches at No. 1 on the U.S.-based Billboard 200 albums chart.
Elsewhere, Olivia Dean adds her second Global Excl. U.S. top 10 with “So Easy (To Fall in Love)” (11-9).
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“The Fate of Ophelia” tops the Global 200 with 82.7 million streams (down 5% week-over-week) and 35,000 sold (up 199%) worldwide in the week ending Nov. 27. Helping spark its sales surge, its remix with the Chainsmokers was released digitally Nov. 25.
“Golden” by HUNTR/X (the singing trio of EJAE, Audrey Nuna and REI AMI), from Netflix’s KPop Demon Hunters, drops to No. 2 after 17 weeks atop the Global 200 beginning in July.
Carey’s “All I Want for Christmas Is You” jumps 6-3 on the Global 200 with 55.5 million streams (up 41%) and 3,000 sold (up 34%) worldwide. The carol has spent a record 19 weeks at No. 1.
Olivia Dean’s “Man I Need” slips to No. 4 from it No. 3 Global 200 best and Alex Warren’s “Ordinary” falls 4-5, following 10 weeks on top beginning in May.
Two holiday classics return to the Global 200’s top 10, with Wham’s “Last Christmas” up 12-6, with 50.8 million streams (up 43%) and 2,000 sold (up 50%) worldwide, and Brenda Lee’s “Rockin’ Around the Christmas Tree” climbing 24-10, with 35.3 million streams (up 51%) and 1,000 sold (up 32%) globally. The songs have both hit No. 2 highs on the chart.
“The Fate of Ophelia” leads Global Excl. U.S. with 62.1 million streams (down 4%) and 10,000 sold (up 55%) beyond the U.S.
“Golden” backtracks to No. 2 after 17 weeks at No. 1 on Global Excl. U.S.; “Ordinary” rises 4-3 after eight weeks at No. 1 starting in May; and “Man I Need” retreats to No. 4 from its No. 3 high.
“All I Want for Christmas Is You” flies 14-5 on the Global 200 with 35.2 million streams (up 41%) and 2,000 sold (up 38%) outside the U.S. It has collected 14 weeks at No. 1.
“Last Christmas” leaps 20-7 on Global Excl. U.S. led by 32.5 million streams (up 45%) beyond the U.S. The song has reached No. 2 on the survey.
Stray Kids’ “Do It” bounds in at No. 8 on Global Excl. U.S. with 34.5 million streams and 3,000 sold outside the U.S. The group adds its fourth top 10 on the chart.
Plus, Dean’s “So Easy (To Fall in Love)” becomes her second Global Excl. U.S. top 10, ascending 11-9 with a 4% increase to 26.7 million streams outside the U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Dec. 6, 2025) will update on Billboard.com tomorrow, Dec. 2. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Trending on Billboard Ovy on the Drums shares the story behind his hit “La Plena,” the production of “Papasito” with Karol G, and his unique connection with Beéle, whom he has known since he was 15 years old. Ovy on the Drums: Well, the truth is that, well, thank you so much for the nomination. […]
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Credo Holdings Co., Ltd., a hospitality company (Shinjuku-ku, Tokyo; CEO: Koichi Shirai), opened “Billboard Live TAIPEI” on the seventh floor of “ATT 4 FUN” in Taipei’s Xinyi District on Nov. 18, 2025. The opening performances were headlined by Mika Nakashima, with all four stages across two shows completely sold out. She also took part in the venue’s opening ceremony and ribbon-cutting, organized by the group company Taiwan Credo Entertainment.
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“Billboard Live TAIPEI” held its opening ceremony on Nov. 18. The ceremony featured opening artist Mika Nakashima, Masato Kitaguchi, Executive Producer of Billboard Live TAIPEI and Credo CEO Koichi Shirai.
In addition to the ribbon-cutting, commemorative gifts were presented. Mika Nakashima commented, “It is a great honor to be invited to perform the very first show at this memorable venue.” Shirai gifted her with “Kaki (Persimmon),” a glass art piece by Ruri Kobo, explaining, “The word “Kaki” (柿 – persimmon) shares the same pronunciation as “Kaki”‘嘉来 – good fortune to come.’ We chose this piece as a wish for continued good luck and harmony for her.”
During the opening performance, Mika Nakashima stepped onto the stage barefoot and offered a deep bow. She greeted the audience in Chinese—“大家好，我是中島美嘉(Hello everyone, I’m Mika Nakashima!)”—which immediately brought the venue to an eruption of cheers, marking a brilliant and fitting opening for Billboard Live TAIPEI. The show began gently with her signature song “Hanataba,” followed by a series of beloved hits including “Sakura-iro Mau Koro,” “Glamorous Sky” and “Love is Ecstasy.”
Between songs, she commented on the dishes served at the tables, chatted with guests in the front rows, and exchanged high-five moments with fans—fully enjoying the intimate atmosphere that only Billboard Live TAIPEI can offer, where the stage and audience are uniquely close. One guest commented, “I can’t believe I was able to see Mika Nakashima this close—this was truly the best performance of my life, something I will never forget. The food and drinks were also excellent.”
At Billboard Live TAIPEI, the cuisine is supervised by Chef Yoshifumi Kishigami, a French chef with 35 years of experience in Japanese hotel restaurants, while the alcohol program is overseen by Mr. Hsu Chen-Hsuan, champion of the Suntory Cocktail Competition in Taiwan. Together, they ensure that the venue delivers top-quality experiences in both music and dining. “Billboard Live TAIPEI” is set to host a diverse lineup of international performances, featuring artists such as Nathan East, Vivian Hsu (Xu Ruo Xuan), Do As Infinity, Sunwoo Jung-a (鮮于貞娥), Joanna Wang (王若琳), Andrew Chen (陳勢安) and Eric Martin (Mr. Big), among many others.
Trending on Billboard Lorde is giving Justin Bieber his flowers on what she thinks was the song of the summer in 2025: “Daisies.” In a New Yorker piece published Monday (Dec. 1), the New Zealand pop star said that the Canadian singer’s Swag lead single was the “closest we came” to having a bonafide SOTS […]
Trending on Billboard This is partner content. The holiday season is here, and Queen of Christmas Mariah Carey announces her Christmastime residency in Las Vegas for this year. Pentatonix is set to spread holiday cheer with their “Christmas in the City” tour, we’re breaking down why Brenda Lee & Mariah Carey go head to head […]
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After dominating the year with “Mute” and “Whites,” a late 2024 release that quickly took over the diaspora and received a remix from French Montana, Masicka is closing out 2025 with a tender new EP dedicated to the ladies.
Titled Her Name Is Love, the new EP arrives on Dec. 19 via Def Jam Recordings, following the October release of lead single “Keys,” which recently crossed over one million Spotify streams. For Masicka, “Keys” opens the door to the EP’s celebration of women, desire, closeness and the emotional richness that can be found in relationships. “Baby, your body speaks to me, free to me/ She got the keys to my heart,” he croons over the 1Mind & Westen Weiss-produced riddim.
“Her Name Is Love is really me tapping into another dimension of who I am, not stepping away from the grit, but showing that there’s more to the man behind the music,” he exclusively tells Billboard. “The ladies always support my work, and I wanted to create something that speaks directly to them… their stories, their strength, their emotions and the energy they bring to the culture. This EP is about connection, emotion and the different forms love can take.”
Despite waiting until the twelfth month of the year to unleash his new project, Masicka has had a very busy 2025. At August’s Caribbean Music Awards, he won four trophies, including dancehall song of the year (“Hit & Run,” with Shenseea and Di Genius) and reggae song of the year (“Been There Before,” with Romain Virgo). Those new pieces of hardware also complemented his string of buzzy collaborations with artists like Kranium (“Cut the Link”), Mahalia (“Different Type of Love”), Rvssian (“Rich Sex”) and Lila Iké (“Romantic”).
After a banner summer season, Masicka focused on helping his home country rebuild in the wake of this fall’s devastating Hurricane Melissa. His MADE foundation teamed with representatives from Member of Parliament Floyd Green’s office, renowned producer Dunw3ll and Red Stripe to bring food supplies, construction materials, steel and cement to St. Elizabeth.
Masicka made his Def Jam debut in 2023 with Generation of Kings, a 17-song set that reached No. 2 on Reggae Albums. That album, which featured collaborations with the likes of Dexta Daps and Spice, followed two independently released LPs: 2018’s Start from the Grung and 2021’s 438.
“Women always show me love, and this is my way of giving that energy back in a full, meaningful way,” Masicka says. “After the year I’ve had, everything aligned for me to put out a project that celebrates them and shows this refined side of my artistry.”
Check out the official artwork for Masicka’s Her Name Is Love EP below.
Masicka, “her name is Love”
Courtesy
