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FKA Twigs scores her fourth career No. 1 album on Billboard’s Top Dance Albums chart (dated Feb. 8), thanks to her new LP Eusexua.
Released Jan. 24 via Young/Atlantic/AG, the album opens with 21,000 equivalent album units earned in the week ending Jan. 30 in the U.S., according to Luminate. Of that sum, 12,000 were in pure sales, generating a No. 3 debut on Top Album Sales. Vinyl sales were particularly high for the album — 7,000 — helping the album also debut at No. 3 on Vinyl Albums.

FKA Twigs previously led Top Dance Albums with LP1 in 2014, Magdalene in 2019 and Caprisongs in 2022.

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Her four No. 1s tie her with Aphex Twin, Lindsey Stirling, M.I.A., Marshmello and Pet Shop Boys for the fifth-most No. 1s in the 24-year history of Top Dance Albums, after only Lady Gaga and Louie DeVito (seven each), and Daft Punk and Chainsmokers (six each).

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Eusexua, notably, ends the reign of Charli XCX’s Brat on Top Dance Albums. Brat spent 33 weeks at No. 1 — encompassing the entirety of its chart run — and dips to No. 2 with 16,000 units.

Eusexua concurrently starts at No. 24 on the Billboard 200, becoming the highest charting album of FKA Twigs’ career.

She also debuts five songs from the album on Billboard’s recently launched Hot Dance/Pop Songs chart: “Childlike Things” featuring North West (No. 6), “Striptease” (No. 9), “Eusexua” (No. 10), “Girl Feels Good” (No. 12) and “Perfect Stranger” (No. 15).

Billboard launched the 15-position Hot Dance/Pop Songs chart beginning on the Jan. 18-dated rankings. The chart ranks the most popular current dance/pop songs, featuring titles with dance-centric vocals, melody and hooks, by artists not traditionally rooted in the dance/electronic genre. That same week, the publication revamped its Hot Dance/Electronic Songs chart. The 25-position list ranks the most popular current dance/electronic songs, billed to DJs, producers and long-standing core artists in the dance/electronic genre, with an emphasis on electronic-based production.

Looks like the sample was cleared! Rema announced Tuesday (Feb. 4) that he’ll be releasing his highly anticipated single “Baby (Is It a Crime)” on Friday, Feb. 7, which samples Sade‘s “Is It a Crime.” “Baby ( is it a crime )’ out Friday. + Official music video,” he wrote on X with a black […]

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Source: Julia Beverly / Getty
Marcus Jordan, the son of NBA legend Michael Jordan, was arrested on Monday (Feb. 3) for cocaine possession, DUI, and resisting arrest. Marcus Jordan was booked into the Orange County Jail in Florida, and we’re still seeking more details in the still-developing story.

As reported by TMZ and Page Six, Marcus Jordan, 34, was arrested in the town of Maitland, just outside of Orlando, on Monday after his luxury vehicle was caught on train tracks. Officers arrived at the scene and discovered Jordan in an inebriated state, and he admitted to the authorities that he had been drinking at a gentleman’s club nearby. Jordan failed three sobriety tests and was not given a breathalyzer test.

The officers then searched Jordan’s person and discovered a substance that was revealed to be cocaine. According to Page Six’s report, Jordan was singing for the entire ride as he was en route to getting booked. Jordan’s bond was set at $4,000, and after taking his mugshot and being processed, he was let go shortly after.
Marcus Jordan’s life in the public eye has been under intense scrutiny, especially when he was dating the ex-wife of his father’s former Chicago Bulls teammate, Larsa Pippen, who was previously married to Scottie Pippen. It was rumored then that Jordan was dealing with a drug problem after some questionable images surfaced.
Neither Jordan nor his father have spoken about the arrest publicly.

Photo: Getty

Beyoncé’s long-awaited album of the year victory at the 2025 Grammy Awards for Cowboy Carter has garnered plenty of praise across the music industry, but some weren’t as happy to see Queen Bey rack up the award wins, and The View‘s Whoopi Goldberg isn’t letting it slide.
The actress had some words to share after Raymond Arroyo joined Laura Ingraham’s The Ingraham Angle on Fox News on Monday (Feb. 3), following Bey’s history-making night the evening before, and he slammed the Recording Academy for Beyoncé’s country dominance while she had more wins than artists such as Dolly Parton.

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“The country artists are not really happy about this,” Arroyo said. “I’m gonna put this in some context Laura: Dolly Parton has 10 Grammys. Frank Sinatra had 11 Grammys. Beyoncé has 35. How is that possibly commensurate with that talent? I mean come on.”

He continued to tell the host: “What people don’t know about the Grammys is everybody votes in every genre. You can vote in up to 20 genres. So basically Lady Gaga’s cat sitter votes for, you know, best reggae and best country album. So that’s why you get this ridiculous outcome that has nothing to do with the country audience or the country musicians.”

Oscar winner Goldberg came to Bey’s defense the next day, scolding the pundit on the Tuesday (Feb. 4) episode of The View.

“Sir, are you aware that you have to be in the music industry to be a Grammy voter? So, the cat sitter can’t just vote,” she fired back. “Are you aware that when the Grammys began in 1959, there were only 28 categories — now there are 94?”

Goldberg added: “The year that Frank Sinatra got six nominations despite having two No. 1 albums, he only won one Grammy that night for his album cover — not even for his singing, for the album cover. Listen, man. You can’t do that. She earned it.”

Arroyo is wrong on some other points. Sinatra won nine competitive Grammys, not 11. Voters cannot vote “in up to 20 genres.” In addition to the six General Field categories, voters can vote in no more than 10 categories spread across no more than three fields.

Beyoncé collected another three wins at the 2025 Grammy Awards, including her first album of the year victory for Cowboy Carter to bring her grand total to 35 Grammys. She also took home victories for best country album and best country/group performance for “II Most Wanted” with Miley Cyrus.

Watch Whoopi Goldberg’s slam the conservative pundit on The View below.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. GloRilla is off to the races in 2025. She made her Saturday Night Live debut performing “Yeah Glo!, scored two 2025 […]

Ariana Grande has a lot of gratitude for Thank U, Next. While reflecting on her career in an interview with The Hollywood Reporter‘s Awards Chatter podcast, the singer-actress opened up about the therapeutic powers her smash 2019 album had during a “dark” period in her life.
Of writing and recording Thank U, Next over the span of two weeks just a few months after her previous album, Sweeter, dropped in August 2018, Grande said on the episode posted Monday (Feb. 3), “I think I needed it.”

“I was doing so much therapy, and I was dealing with PTSD and all different kinds of grief and depression and anxiety,” she continued. “I was, of course, treating it very seriously, but having music be a part of that remedy was absolutely contributing to saving my life. They were dark times, and the music brought so much levity.”

Trending on Billboard

It’s not the first time the “Yes, And?” singer has opened up about pouring herself into the Thank U, Next creative process. Around the time she was making the album, she publicly dealt with the grief of losing ex-boyfriend Mac Miller, who died in September 2018, as well as the heartbreak of her split from ex-fiancé Pete Davidson the following October. Months prior, Grande’s Manchester concert was targeted by a deadly terrorist attack, after which she struggled with PTSD.

“[Thank U, Next] poured out with urgency, and it was made with urgency,” she added on Awards Chatter. “It was a means of survival. The label understood that, but they were also very hesitant to stop Sweetener dead in its tracks and move onto an album so quickly … I just said, ‘I don’t really care about the formula. I don’t want to play by the rules at this moment, because this is what I need for my soul.’ It felt really healing and freeing.”

The album ended up spending two weeks atop the Billboard 200, with its title track leading the Billboard Hot 100 at No. 1 for a total of seven weeks. Grande performed songs from both LPs on her subsequent Sweetener World Tour in 2019 — during which time she started hearing “murmurs” that her favorite Broadway musical, Wicked, was in talks to get the live-action treatment in Hollywood, she told Awards Chatter.

Flash forward more than half a decade, and Grande is now Oscar-nominated for her portrayal of Glinda in Jon M. Chu’s adaptation of the show. After the academy unveiled its nominees in late January, the “We Can’t Be Friends” artist wrote on Instagram, “i’m humbled and deeply honored to be in such brilliant company and sharing this with tiny ari who sat and studied Judy Garland singing Somewhere Over the Rainbow just before the big, beautiful bubble entered.”

“i don’t quite have all my words yet, i’m still trying to breathe,” she added of her best supporting actress nod at the time. “but thank you. oh my goodness, thank you.”

If you are on a hunt for more clues about The Weeknd‘s upcoming Hurry Up Tomorrow film, the first trailer for the Trey Edward Shults-directed thriller won’t provide much clarity. The two-minute first look at the movie inspired by the singer’s album of the same name dropped on Tuesday morning (Feb. 4) and unlike many contemporary trailers it leaves more questions unanswered.
The action opens with a vertigo-inducing helicopter shot of an upside down cityscape as co-star Jenna Ortega’s character Anima intones, “Death is nothing at all. It does not kill,” over a shot of the Weeknd submerged in a bathtub up to his eyes.

Then, things start to get a bit weird. As we get our first glimpse of Anima, her voice appears to merge with Abel’s as they say, “everything remains exactly how it was. Whatever we were to each other that we are still.” Keoghan’s character, Abel’s manager, Lee, then pops up with a weary look on his face as a ghostly voice announces (not for the last time in the tailer), “call me by the old familiar name.”

Trending on Billboard

According to EW, in an interview conducted before the trailer dropped, Shults said it was “absolutely” possible that the movie is the vehicle by which Tesfaye will lay his long-running artistic alter ego to rest. “I tried to make the movie in a way where, for his fans and people who want to approach it at that level, I hope it’s very satisfying and you get a good meal out of it,” Shults said. “And for people that aren’t his fans and don’t know anything about him or even care about the final capping of the Weeknd, I think you still have a great movie to go through.

Speaking to Variety last month, Tesfaye confirmed that he was planning to retire his enigmatic Weeknd persona following last month’s release of the Hurry Up Tomorrow album, the conclusion of a trilogy that began with 2020’s After Hours LP and continued on 2022’s Dawn FM. “It’s a headspace I’ve gotta get into that I just don’t have any more desire for,” he said of his stage name. “You have a persona, but then you have the competition of it all. It becomes this rat race: more accolades, more success, more shows, more albums, more awards and more No. 1s. It never ends until you end it.”

The movie follows insomniac Abel as he’s pulled into an “odyssey with a stranger [Anima] who begins to unravel the very core of his existence.” Fans will recognize the by-now-familiar gold leaf-decked hooded robe in the trailer that Tesfaye has been wearing in recent performances in a bit where the bleary-eyed singer is hoisted on a lift up to a stage at a packed arena.

As a techno track bubbles up, we see Keoghan’s Lee trying to hype up Abel — “stop self-doubting, you’re f–king invincible!” he says — whose performance appears to make Anima tear up in the audience. She assures the singer, “this is all very intense, but I’m not trying to hurt you,” adding, “I’m really sorry about this. I really am,” as she sits next to a seemingly dazed and confused Abel on a bed.

The finale 45 seconds are a headlong rush of hectic imagery, including Anima pouring gas in a home as if to torch it as Abel gets more and more freaked out by the chaos around him. In keeping with the album trilogy’s visual presentation of an often-battered, spun-out singer, Shults told EW that the film is about an artist “on the verge of a mental breakdown,” explaining that he meets a woman [Ortega] and they “go on this odyssey together. It’s a mix of psychological thriller and drama. I honestly feel like I’ve never seen a movie quite like it.”

Ortega added that she thinks her character is another version of the singer, “a side of him that the persona the Weeknd doesn’t show as much.” The Hurry Up Tomorrow film — co-written by Shults, Tesfaye and The Idol co-creator Reza Fahim — will premiere in theaters on May 16.

Watch the trailer below.

Shakira, Don Omar and Peso Pluma are set to headline 2025 Sueños Music Festival in Chicago, taking place May 24-25. The full lineup was announced on Tuesday (Feb. 4) with Grupo Frontera, Maria Becerra, Wisin, El Alfa, Tito Double P, Bellakath and Oscar Maydon, among others, also set to perform in Grant Park. Colombian superstar […]

While there were plenty of headlines from the 2025 Grammy Awards — Beyoncé finally wins album of the year! Chappell Roan wins best new artist! Kendrick Lamar wins record and song of the year for a Drake diss track! — there was also plenty of news that emerged around the show. Before Sunday night’s show, […]

Will Drake’s pending defamation lawsuit stop Kendrick Lamar from performing “Not Like Us” during his Super Bowl halftime performance? Legal experts say it might — but that it really shouldn’t.
Under normal circumstances, it’s silly to even ask the question. Obviously a Super Bowl halftime performer will play their chart-topping banger — a track that just swept record and song of the year at the Grammys and was arguably music’s most significant song of the past year.

But these are very much not normal circumstances. Last month, Drake filed a lawsuit over “Not Like Us,” accusing Universal Music Group of defaming him by boosting the scathing diss track. The case, which doesn’t name Lamar as a defendant, claims UMG spread the song’s “malicious narrative” — namely, that Drake is a pedophile — despite knowing it was false.

Trending on Billboard

That pending legal action makes it fair to wonder: When Lamar steps onto the world’s biggest stage on Sunday night (Feb. 9), will he face pressure to avoid the whole mess by just skipping “Not Like Us” entirely?

He shouldn’t, legal experts say, and for a pretty simple reason: Drake’s lawsuit against UMG is a legal loser. “I don’t think the case is strong at all,” says Samantha Barbas, a legal historian and an expert in defamation law at the University of Iowa’s College of Law.

For Drake to eventually win the case over “Not Like Us,” he’ll need to show that Lamar’s claims about him are provably false assertions — meaning the average person would hear them and assume Kendrick was stating actual facts. Barbas says that’ll be tough for Drake to do about a diss track, where fans expect bombast and “rhetorical hyperbole” more so than objective reality.

“In the context of a rap battle, the average listener is going to know that the allegations aren’t to be taken seriously,” she says. “Taunts and wild exaggerations are par for the course.”

Another challenge for Drake is that he’s a public figure. Under key First Amendment rulings by the U.S. Supreme Court, a public figure like Drake must show that UMG either knew the lyrics were false or that the company acted with reckless disregard for the truth — a legal standard that’s intentionally difficult to meet so that rich and famous people don’t abuse libel lawsuits to squelch free speech.

“A high-profile public figure like Drake immediately enters the case with a high burden of proof,” says Roy Gutterman, the director of the Newhouse School’s Tully Center for Free Speech at Syracuse University.

UMG’s attorneys will also likely point to the fact that Drake himself made harmful allegations against Kendrick earlier in the same exchange of diss tracks, including that Lamar had abused his fiancée and that one of his children was fathered by another man. Were those defamatory statements of fact, or merely the exercise of artistic license within the conventions of a specific genre of music?

“Factoring in the context here — music and art within an ongoing dispute between rival musicians — he has an even tougher case,” Gutterman says.

So if Drake’s case is likely to eventually be dismissed, then there’s no reason for Kendrick to hold back on Sunday, right?

Not exactly.

For starters, Federal Communications Commission rules prohibit the airing of “obscene, indecent, or profane content” on broadcast television during primetime hours. To avoid those rules, Super Bowl halftime performers typically avoid curse words or overtly sexual material — something that would probably already preclude the “pedophile” line and other lyrics in “Not Like Us.”

Corporate legal departments are also famously risk averse, and often prefer to play it safe rather than potentially face expensive litigation, even if they’d ultimately win. That could lead any of the big companies involved here to put pressure on Kendrick to skip “Not Like Us.” His label, UMG, has vowed to fight back against Drake’s “frivolous” lawsuit, but might not want to add complications mid-litigation; the game’s broadcaster, Fox, or the NFL itself might worry about getting added to the suit as defendants.

Gutterman said it would be “a significant stretch of liability law” for Drake to successfully sue Fox or the NFL simply because Kendrick played “Not Like Us” at the halftime show. But in practice, that might not be how their in-house attorneys are thinking about it.

“The threat of litigation can have a chilling effect on speech,” Barbas says. “The safe thing to do is not to publish or broadcast.”

Reps for Lamar did not return a request for comment on whether he’ll perform the song. The British tabloid newspaper The Sun, citing anonymous sources, reported last week that Kendrick has faced pressure to skip the track but plans to perform it anyway and “won’t be silenced.” But that report could not be confirmed by Billboard and was not widely re-reported by other outlets.

Asked whether they have a position on whether Lamar plays the song, reps for UMG, Fox, the NFL and Roc Nation (Jay-Z’s company that produces the halftime show) all either declined to comment or did not return requests for comment.

When the show kicks off on Sunday night, the most likely outcome is probably somewhere down the middle: That Kendrick plays the song’s already-iconic instrumental hook and perhaps some of the lyrics, but skips any of the portions that are directly at play in Drake’s lawsuit.

“It wouldn’t be surprising,” Barbas says, “if the challenged lyrics are changed.”