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Lil Durk, already facing a mountain of legal issues, was just named in a wrongful death lawsuit in connection to the murder-for-hire plot that left a cousin of a rival dead. In the recent court filing in Illinois, Lil Durk, his record label, and another business were the target of the lawsuit.
As reported by the Chicago Sun-Times, Lil Durk, real name Durk Banks, is being held on charges connected to the shooting death of rival rapper Quando Rondo’s cousin, Saviay’a Robinson, also known as Lul Pab or Bandup Pablo. The lawsuit was filed in Cook County in Durk’s home state and is aimed towards his Only The Family recording label and a connected business interest along with the rapper.
“The premature loss of Mr. Robinson has devastated his family and community,” Warren Postman, an attorney representing Robinson’s mother, Andrea Laquila Robinson, shared. “We filed this lawsuit to hold those responsible accountable and to ensure his family receives the support they need during this difficult time.”
There has not been an official response from Banks or his legal team.
Lil Durk was arrested in October of last year in Miami as he attempted to board a chartered plane. The arrest came as investigators unsealed an indictment that revealed charges against five men in the murder-for-hire plot. Quando Rondo, real name Tyquian Bowman, was the alleged target of the hit but Robinson was the one who was gunned down in Los Angeles back in 2022.
Rondo was targeted in response to the shooting death of Durk ally King Von, who died after confronting Rondo and his crew in Atlanta. Authorities say that Durk’s Only The Family recording label was also a front for a criminal organization with Durk as its mastermind.
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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 200 dated Mar. 8, we look at the chances of Tate McRae’s So Close to What to become the pop hitmaker’s first album to top the chart.
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Tate McRae, So Close to What (RCA): For folks who had been missing the days when pop stars were Pop Stars, few rising artists in the genre were as exciting as Canadian dancer-turned-singer Tate McRae. While McRae first broke out in the early decade with the relatively downtempo “You Broke Me First,” it soon became clear she was more at home delivering high-energy pop music with creative music videos and top-notch choreography – evoking Ariana Grande with her 2023 smash “Greedy,” which hit the chart’s top five in early 2024, and even earning some Britney Spears comparisons on that song’s parent album, Think Later.
McRae has wasted no time in building on the moment from that set – which peaked at No. 4 on the Billboard 200 in December 2023 – with the release last Friday of her third album So Close to What. The 15-track set features guest appearances from rapper Flo Milli (“Bloodonmyhands”) and her hitmaker BF The Kid LAROI (“I Know Love”), as well as the advance singles “It’s OK I’m OK,” “2 Hands” and “Sports Car.” Each of those songs debuted in the top 40 of the Billboard Hot 100, further establishing McRae as one of the hottest artists in pop and helping to build hype for the new set.
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Could the album cap her years-long rise to stardom with a No. 1 debut on the Billboard 200? McRae is certainly going for it: So Close is available for purchase in three different CD variants (one signed), a cassette, seven different vinyl variants (two signed) and even four different digital albums, including one version with an alternate cover and three bonus tracks: “Siren Sounds,” now also available on streaming, and the purchase-only “Better Than I Was” and “Call My Bluff.” In addition, McRae has been on something of a media blitz in the past week or so, appearing on The Tonight Show With Jimmy Fallon on Tuesday night, while also doing video interviews with Zane Lowe, AmEx, Jake Shane, iHeartRadio, Allure, Variety and Billboard.
The album is expected to sell well, and has also been off to a strong start streaming. McRae is pushing the set’s “Revolving Door” as a new single — releasing one of her physical and intricately choreographed videos yet along with it – and the song is performing very well out of the gate, ranking in the top 10 on both the Apple Music realtime chart and Spotify’s Daily Top Songs USA chart. What’s more, the full album tracklist has been littering both listings since the album’s debut, with the majority of its 15 tracks still ranking in the top 100. It should all up to the biggest release week yet for McRae, with a bow likely in the six digits.
Will it be enough to get the album the top spot? Well, McRae shouldn’t face much competition from fellow new releases – no other sets released on Friday are expected to even threaten the top 10 – but of course, she’ll need to post a sizeable number to get past some of the LPs that have been regulars in the chart’s top tier the past week. Still, McRae has to like her chances of getting that No. 1, and of claiming a W for the old-school pop stars atop the charts this week.
PartyNextDoor & Drake, $ome $exy $ongs 4 U (OVO/Santa Anna/Republic): McRae’s strongest competition this week may come from a couple of her countrymen, with fellow Canucks PartyNextDoor and Drake reigning on the chart this week with their new collaborative set $ome $exy $ongs 4 U. The album — which includes the 6 God claiming “I feel like Tate McRae” on its “Small Town Fame” — will obviously drop in consumption following its 246,000-unit debut week, and as of publishing there haven’t been any new issues of the album to help goose second-week sales. But the album is still streaming pretty well, with “Die Trying,” “Gimme a Hug” and particularly “Nokia” hanging around as the set’s breakout hits. It may or may not be enough to fend off McRae from the top spot this week, but it should be enough to stave off any cackling about the album being a total one-week wonder.
Kendrick Lamar, GNX (pgLang/Interscope/ICLG): Of course, there’s no mentioning Drake these days – or anyone else, really – without also mentioning the perpetually grinning Kung Fu Kenny, still on his victory lap following a triumphant 2024 that’s led into an even-more celebratory early 2025. We may have finally gone a weekend without “Not Like Us” being performed to a building full of celebrities rapping along to it, but Lamar still does have four of the top five songs in the country, three of which come from his late-2024 blockbuster GNX, which rates at No. 2 on the Billboard 200 this week and is likely to hang around the top of the chart essentially for the foreseeable future. In the mid-2020s, the road to the Super Bowl goes through Kansas City, and the road to the top of the Billboard charts goes through Kendrick Lamar.
Coldplay has long established itself as a global touring force. By the end of 2024, The Music of the Spheres World Tour had become the most attended tour in history, via 11 legs of international concerts in five continents. Now, the band rules January’s Boxscore recap by breaking new ground with its first shows in India.
Over nine shows between Jan. 9-26, Coldplay grossed $56.6 million and sold 590,000 tickets in January, according to figures reported to Billboard Boxscore. It’s the sixth time that the British quartet has ruled the monthly Top Tours ranking, continuing a cat-and-mouse chase to the record books.
In November, Coldplay scored its fifth win, pulling out of a three-way tie with Beyoncé and Trans-Siberian Orchestra. Then, TSO caught up in December with its own fifth victory. Now, Coldplay inches to six. With a packed schedule between April and September, the band is in a better position to match Elton John and Bad Bunny’s record seven before TSO begins its annual holiday run in November.
Coldplay’s January run began with four shows at Abu Dhabi’s Zayed Sports City Stadium between Jan. 9-14. Those dates earned $28 million and sold 203,000 tickets, securing No. 1 on Top Boxscores. The band’s last trip to the United Arab Emirates was a one-night engagement on New Year’s Eve of 2016, raking in $4.3 million from 31,300 tickets during the A Head Full of Dreams Tour. The 2025 shows averaged $7 million and 50,800 tickets, marking improvements of 63% and 62%. But considering the expansion to four nights, Coldplay was able to sextuple its prior stop.
Then, the band went to India for the first time in its career, playing three shows in Mumbai on Jan. 18 and 20-21, grossing $12.8 million from 164,000 tickets. Finally, there were two shows at Ahmedabad’s Narrenda Modi Stadium. Those grossed $15.7 million and sold 224,000 tickets.
At more than 110,000 for each night, Coldplay broke the record for the largest stadium shows of the 21st century. The Ahmedabad shows sold 111,581 tickets on Jan. 25 and 111,989 on Jan. 26, narrowly bypassing George Strait’s 110,905 at Kyle Field at Texas A&M last June. Strait’s date remains the bestselling U.S. stadium show ever.
This is Coldplay’s second leg of shows in Asia during the Music of the Spheres World Tour. Between November 2023 and February 2024, it grossed $129.4 million and sold 884,000 tickets from dates in Japan, Malaysia, Taiwan and more. Altogether, the entire continent has generated $186 million in grosses for the record-breaking tour, with more shows scheduled in April in Hong Kong and South Korea.
After that, the Music of the Spheres World Tour will continue with 17 shows in the U.S. and Canada, plus 12 in the United Kingdom, scheduled to wrap the trek with 10 hometown shows at London’s Wembley Stadium. Since its 2022 launch, the tour has sold 10.9 million tickets and grossed just under $1.2 billion, making it the best-selling and second highest-grossing tour in Boxscore history.
Coldplay nearly doubles its closest competition, with Luke Combs and SEVENTEEN at Nos. 2-3 with $30.3 million and $28.8 million, respectively. Only three more acts grossed more than $10 million, as the Eagles, Justin Timberlake and ATEEZ follow.
January was a particularly strong month for K-pop groups, with ENHYPEN as the third Korean act in the top 10, at No. 8 with $7.7 million from just two shows. SEVENTEEN and ENHYPEN score with shows in Asia – the former in the Philippines and Singapore and the latter in Japan. ATEEZ had a string of European dates, peaking with more than 22,000 tickets over two nights at London’s O2 Arena.
As is becoming increasingly common since its 2023 opening, Sphere is No. 1 on Top Venues (15,001+ capacity). Both acts who played shows there in January are among the top 10 touring acts, headed by the Eagles at No. 4. Two weekends of dates combined to $18.7 million and 65,600 tickets, pushing the band’s residency to $98 million and 327,000 tickets since its Sept. 20 kickoff. With four February shows still to be reported and more scheduled in March and April, those totals will likely soar beyond $150 million and half a million tickets.
At No. 9, Anyma posts $7.5 million and 52,300 tickets from three shows at the Las Vegas arena. Combined with its five shows in December, the Italian American DJ drove $21 million and 137,000 tickets, marking a successful close to the venue’s first electronic residency.
January is historically a dry month, with Western stadium tours on pause for cold weather. It makes sense then that Asia and Oceania make up nine of the month’s top 10 stadiums, powered by Coldplay and the K-pop acts mentioned earlier, plus Luke Combs with shows in Brisbane and Sydney. They leave room for Mexico City’s Estadio GNP Seguros at No. 8, with $8.9 million from Kygo ($3.3 million on Jan. 25) and Linkin Park ($5.6 million on Jan. 31).
Even indoors, January calendars were light. In November and December, seven arenas eclipsed $10 million in each month, while Sphere is January’s only entry on Top Venues (15,001+ capacity) to gross eight figures.
Radio City Music Hall lores over the Top Venues (5,001-10k capacity) chart with $13.2 million – nearly five times the $2.7 million of Sydney’s Hordern Pavilion at No. 2. The New York theater benefits from the final shows of its Christmas Spectacular, with engagements later in the month from Dave Chappelle, The Giggly Squad, and Hugh Jackman.
Lauryn Hill paid loving tribute to the “beauty and brilliance” of late quiet storm singer Robert Flack on Tuesday (Feb. 25) in a lengthy post in which the Fugees frontwoman and solo star described the world-changing, enduring impact the “Killing Me Softly With His Song” singer had on her life and career.
“Whitney Houston once said to me that Roberta Flack’s voice was one of the purest voices she’d ever heard. I grew up scouring the records my Parents collected. Mrs. Flack was one of their favorites and quite instantly became one of mine as soon as I was exposed to her,” Hill, 49, said of Grammy-winning singer Flack, who died on Monday at 88 of undisclosed causes.
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“She looked cool and intelligent, gentle and yet militant. The songs she recorded from ‘Compared To What’ to ‘The First Time Ever I Saw Your Face’ to her version of ‘Ballad Of The Sad Young Men’ fascinated me with their beauty and sophistication,” Hill continued in an Instagram post that featured a gallery of Flack in her 1970s prime, as well as a shot of the two women together as part of one of the many emotional tributes to the singer, pianist and lifelong educator.
“Mrs. Flack was an artist, a singer-songwriter, a pianist and composer who moved me and showed me through her own creative choices and standards what else was possible within the idiom of Soul,” wrote Hill, who noted that though Flack did not write her Grammy-winning, career-defining 1973 Billboard Hot 100 No. 1 hit “Killing Me Softly With His Song” — it was penned by Charles Fox, Norman Gimbel and Lori Lieberman — she made it “hugely popular.”
In fact, not only did Flack score a No. 1 with the track and win record of the year and best pop vocal performance, female Grammys for “Killing” in 1974, she also gave Hill and her group the song that “catapulted myself and the Fugees into household phenomena.”
The hip-hop group recorded their own version of the song in 1996 and also hit No. 1 around the world — though not in the U.S. because it wasn’t officially released as a commercial single — topping the Pop Airplay and R&B/Hip-Hop Airplay charts on its way to winning the group a Grammy for best R&B vocal performance by a duo/group and an MTV Video Music Award for best R&B video. Flack and the Fugees performed the song together at the 1996 VMAS.
“We wanted to honor the beauty and brilliance of this song and her performance of it to our generation,” Hill wrote. “I will forever be grateful for the sensitivity and delicate power of her Love and Artistry. Rest in Grace Beloved One.”
Check out Hill’s tribute here.
Billie Eilish is moving full steam ahead in 2025, with the pop star teasing in a recent interview that she’s ready to get back in the studio following last year’s hit album Hit Me Hard and Soft — that is, whenever she finds the time while on tour this year, something she hinted might not end as soon as fans think.
While in Australia for the latest leg of her global Hit Me Hard and Soft trek, Eilish was candid about her plans for the next 12 months in an interview with Hit Network posted Wednesday (Feb. 26). “Definitely getting back into the studio and doing stuff,” she began. “I mean, I definitely have more tour.”
“Lots of tour to do,” she added, before teasing, “Probably more than I’m even scheduled for that’s going to come, which I’m excited about.”
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Eilish is currently booked through the end of June, with the “Lunch” singer scheduled to embark on a European leg shortly after her Australian run of dates ends in March. So far, she’s completed four shows in Brisbane and two of four nights in Sydney.
Before that, the nine-time Grammy winner spent about two months touring through North America before closing out with five shows at the Kia Forum in Inglewood, Calif. Just before shipping off to Australia, Eilish performed her hit single “Birds of a Feather” at the 2025 Grammys, where the song was also nominated for song and record of the year, while Hit Me Hard and Soft was up for album of the year; she ended up losing to Kendrick Lamar’s “Not Like Us” for both song categories, and Beyoncé’s Cowboy Carter for AOTY.
The “What Was I Made For?” artist has still had a banner year with her third studio album, which debuted at No. 2 on the Billboard 200. “Birds of a Feather” — which peaked at No. 2 on the Billboard Hot 100 — was also one of the most streamed songs of 2024, with Spotify reporting in January that the buoyant love song beat out all other tracks on the platform last year.
While speaking to Hit Network, however, Eilish revealed that she truly had no idea the LP would be received so well. “I’ve definitely learned that I never have any idea what people are gonna like or not like,” she told the outlet. “In the making of this album, I had a couple moments of like, ‘They’re not going to like it; people aren’t going to like it; it’s not good enough; what if it’s not universal?’”
“And then, I gave it up and thought, ‘You know what? I don’t care at all,’” she added. “‘I’m not making this for anyone but myself.’”
Watch Eilish hint at getting back in the studio and adding more tour dates above.
This article was created in paid partnership with Victoria Beer.
Carlos Vives and Carín León will perform on day four of the 2025 Viña del Mar International Song Festival, taking place Wednesday night (Feb. 26) at the Quinta Vergara Amphitheater in the coastal city of Viña del Mar in Chile. Both artists will play approximately one-hour shows as part of the week-long festival which kicked off on Sunday, February 23.
Headliner Vives is slated to take the stage at approximately 7:30 p.m. ET, followed by a performance by León scheduled for around 11:15 p.m. ET, after a set by comedian Edo Caroe.
León’s performance is presented by Victoria Beer. Victoria Beer and Carin León share pride for their Mexican heritage. Victoria Beer is considered Mexico’s oldest beer brand, with a unique history beginning in Toluca. By continuing their partnership with León, the ultra-premium beer gives back to fans and celebrates the impact of Música Mexicana.
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The performances by Vives and León are part of the six-day lineup of the 64th annual Viña del Mar broadcast, which year after year is Chile’s highest rated television show. Each night features a headliner, a supporting artist, a comedian and an international song festival in folk and pop categories, where contestants compete every night for a winner in each.
Vives returns to Viña for a remarkable fifth time in his career, which spans dozens of hits that have played across the continent. He has placed 30 songs in the Billboard Hot Latin Songs chart, five of those reaching No. 1: “Fruta Fresca” (1999), “Déjame Entrar” (2001), “Luna Nueva” (2002), “Como Tú” (2004), and “Volví a Nacer (2012). His albums Déjame Entrar (2001), Corazón Profundo (2013), and Más + Corazón: Profundo Tour (2015) have topped the Top Latin Albums chart. Vives was also named the 2024 Latin Recording Academy Person Of The Year. Vives will perform with his full band, La Provincia, and also announced the launch of his Latin American tour this year.
Meanwhile, León will make his Viña del Mar debut, also performing with his full band from Hermosillo, Mexico. León has six No. 1 hits on the Regional Mexican Airplay chart with three of those entering the all-genre Billboard Hot 100 chart in 2023: “Que Vuelvas” with Grupo Frontera, “Primera Cita,” and the Maluma-assisted “Según Quién.” The artist is taking the Viña stage just days after being one of the top winners at the 2025 Premio Lo Nuestro, where he nabbed five awards.
Vives and León are friends and recently released a collaboration, “La Chancleta,” also featuring Chimbala.
Viña will continue Thursday (Feb. 27) with performances by headliner Incubus and The Cult and wrapping on Friday (Feb. 28) with an urban night featuring headliner Duki, Eladio Carrión and Kid Voodoo. Marc Anthony, Bacilos, Myriam Hernández and Ha*Ash already performed earlier in the week, with Hernandez, a Chilean icon, receiving a platinum gaviota, the highest possible honor to be granted in Viña. Tuesday night’s performance, featuring Morat and Sebastian Yatra, was rescheduled for Saturday after a nationwide power outage.
All nights will be livestreamed in the United States on Billboard and Billboard Español. Performances can be viewed on the player in this story beginning at 7:15 p.m. ET.
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Kendrick Lamar and SZA land new No. 1s on Billboard’s Streaming Songs chart – Lamar his seventh, SZA her third – as “Luther” rises to the top of the March 1-dated ranking.
“Luther” enjoys its coronation in its 13th week on the tally with 45.2 million official U.S. streams in the week ending Feb. 20, a boost of 6%, according to Luminate.
Originally released as part of Lamar’s album GNX on Nov. 22, “Luther” finally climbs to No. 1 on Streaming Songs after it was performed during Lamar’s Super Bowl halftime show set on Feb. 9, plus continued success on user-generated content apps such as TikTok.
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Lamar replaces himself atop the survey; “Not Like Us,” also performed during the halftime show, ascended back to the summit on the Feb. 22 list via 49 million streams Feb. 7-13; it ranks at No. 2 on the latest ranking (39.2 million streams, down 20%).
All told, Lamar boasts seven No. 1s on Streaming Songs, which began in 2013. With his seventh ruler, he assumes sole possession of the third-most No. 1s in the chart’s history, breaking out of what had been a three-way tie with Ariana Grande and Justin Bieber.
Most No. 1s, Streaming Songs
20, Drake
9, Taylor Swift
7, Kendrick Lamar
6, Ariana Grande
6, Justin Bieber
5, Travis Scott
Lamar first reigned in 2017 with the four-week rule of “Humble.” Four of his No. 1s have occurred in the past year, beginning with the reign of Future, Metro Boomin and Lamar’s “Like That,” which led for three weeks beginning last April.
As for SZA, “Luther” is her third leader, following four weeks at No. 1 for “Kill Bill” in 2022 and 2023 and one frame atop the survey in 2023 for Drake’s “Slime You Out,” on which she’s featured.
Concurrently, as previously reported, “Luther” rises to No. 1 on the multimetric Billboard Hot 100.
The 2025 Louder Than Life festival in Louisville, KY will feature headliners Slayer, Rob Zombie, Avenged Sevenfold, Deftones and Bring Me the Horizon. The 11th edition of the four-day event (Sept 18-21) at the Highland Festival Grounds at Kentucky Exposition Center will welcome more than 160 bands, marking the biggest lineup in the fest’s history, including a number of reunions, anniversaries, farewell shows and runs through classic albums.
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Among the other acts slated to take the six stages are: Lamb of God, Down, Cavalera (performing 1993’s Chaos A.D. in full), Carcass, Municipal Waste, Winds of Plague (reunion), Rob Zombie (playing an exclusive 25th anniversary celebration of White Zombie’s 1995 classic Astro-Creep 2000), Marilyn Manson, Cannibal Corpse, Exodus, the Black Dahlia Murder and Fear Factory (celebrating 30th anniversary of Demanufacture) on night one alongside the reunited Slayer.
Night two will find A7X (in their only U.S. headlining show of 2025) joined by: Breaking Benjamin, Mudvayne, Insane Clown Posse (farewell set), Static-X, Dope (25-year anniversary set), Nonpoint, Sleep Token, Spiritbox, Dayseeker, All Time Low and Hollywood Undead, among others. The third night will feature Deftones along with A Perfect Circle, Stone Temple Pilots, Acid Bath, Failure, Superheaven, Quannic, Bad Omens, I Prevail, Motionless in White, Black Veil Brides, Machine Head, Trivium (playing 20th anniversary celebration of Ascendancy), Chimaira (reunion), August Burns Red, Cypress Hill, Kittie (25th anniversary of Spit) and more.
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The final night pairs Bring Me the Horizon with Evanescence, Knocked Loose, Bilmuri, $uicideboy$, Three Days Grace, Wage War, We Came As Romans, Tech N9ne, Sleep Theory, Flyleaf with Lacey Sturm, Hinder, Crossfade (reunion), Testament, Sebastian Bach, Accept, Yngwie Malmsteen and Iron Maiden singer Bruce Dickinson.
“Louder Than Life has always been about showcasing the future of rock and heavy music while honoring the legends who paved the way. Bands like Bring Me The Horizon, Sleep Token, Bad Omens, $uicideboy$, Motionless In White, Spiritbox, I Prevail, Slaughter To Prevail, Lorna Shore, Wage War, Dayseeker, and Knocked Loose aren’t just performing — they’re defining the next generation of headliners,” said promoter Danny Wimmer in a statement. “At the same time, pioneers like Slayer, Deftones, A Perfect Circle, and Avenged Sevenfold have set the standard, proving that this music is always evolving. This is where the past, present, and future of heavy music collide.”
“We’re coming back to Louder Than Life in Louisville. Get ready f*ckers!” said Slayer bassist/singer Tom Arraya.
Four-day and single-day GA, VIP and Angel’s Envy Top Shelf passes are sale now here.
Check out the full Louder Than Life 2025 poster below.
The All-American Rejects took off like a rocket in the 2000s, reaching No. 25 with its 2003, self-titled debut album and No. 6 with 2005’s Move Along, which sent the pop-punk singalong “Dirty Little Secret” to No. 4 on the Billboard Hot 100. Then came the 2010s. As is typical with bands that find success in a particular musical era, The All-American Rejects’ popularity faded.
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“I think any band that sticks together for this long kind of goes through one of those periods,” Nick Wheeler tells Billboard’s Behind the Setlist podcast. “I grew up on Def Leppard and Bon Jovi, and I remember bands like that had a hard time in the 1990s. Our version of that was the 2010s. We put out a few songs in that in that era. We did a couple tours in that era. But nobody gave a s–t. And that’s fine. We were very lucky to go on that decade-long ride.”
The When We Were Young festival in Las Vegas in 2022 was a turning point for the band. After years spent playing state fairs and theme parks — “It wasn’t fulfilling,” says Wheeler — When We Were Young, which capitalized on nostalgia for emo and punk bands from the ’00s, let The All-American Rejects know there was still immense interest in the band. “On stage, we had so much fun with each other,” he says. “The crowd actually gave a s—t. I wasn’t just a bunch of people eating hot dogs.”
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That led the band to take a leap of faith and set up, as Wheeler describes it, “an actual tour in real venues where people have to pay to show up.” The quartet wasn’t sure anybody would come. “It might be a complete disaster,” he says.
But the band was energized from their experience at When We Were Young and was looking forward to touring with acts they had befriended earlier in their career. “We’re just gonna have fun, and we’re gonna play some real shows for maybe five people,” Wheeler jokes.
Dubbed the Wet Hot All-American Summer Tour, the first All-American Rejects tour in a decade covered the continental U.S. and featured rotating support from The Get Up Kids, New Found Glory, Motion City Soundtrack and The Starting Line. “It ended up being the most successful tour of our entire career,” says Wheeler. “Never would have guessed. Certainly did not expect it.”
The following year, The All-American Rejects toured heavily in the U.S. and made their first trip to South America to perform on the I Wanna Be tour with such bands as Simple Plan and A Day to Remember. At the end of 2024, the band recorded a cover of the 1997 Harvey Danger song “Flagpole Sitta” and released it through Spin Records. The band is now “inspired and creating new music,” says Wheeler. “It’s kind of been this little baby-step snowball that was set in motion two and a half years [ago].”
Listen to the entire interview with The All-American Rejects’ Nick Wheeler in the embedded Spotify player below, or go to Spotify, Apple Podcasts, iHeart, Amazon Music, Podbean or Everand.
Like millions of Swifties everywhere, Travis Kelce‘s emotional-support artist is Taylor Swift — especially following his recent heartbreak at the 2025 Super Bowl. On the latest episode of their New Heights podcast posted Wednesday (Feb. 26), the tight end and his older brother, retired Philadelphia Eagles center Jason Kelce, opened up about the music they […]