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‘Summer’ Love: Taylor Swift Breaks Record for Most No. 1s Among Soloists on Adult Pop Airplay Chart

Taylor Swift passes P!nk for the most No. 1s among soloists in the history of Billboard’s Adult Pop Airplay chart as “Cruel Summer” climbs to the top of the tally dated Aug. 26. The song becomes Swift’s 11th leader. Among all acts, she trails only Maroon 5, with an overall record 15 No. 1s.

The Adult Pop Airplay chart, which began in Billboard’s pages in March 1996, measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on around 80 U.S. adult top 40 radio stations.

Here’s a recap of Swift’s 11 No. 1s on Adult Pop Airplay.

Title, Weeks at No. 1, Year(s):

  • “Cruel Summer,” one (to date), 2023
  • “Karma,” two, 2023
  • “Anti-Hero,” nine, 2022-23
  • “Willow,” three, 2021
  • “Delicate,” four, 2018
  • “Wildest Dreams,” four, 2015
  • “Bad Blood,” three, 2015
  • “Style,” two, 2015
  • “Blank Space,” six, 2015
  • “Shake It Off,” eight, 2014
  • “I Knew You Were Trouble,” one, 2013

Originally released on Swift’s 2019 album Lover and now being promoted by Republic Records as a single, the song has been gaining momentum in recent months, as Swift has been performing it on her The Eras Tour. It’s the first tour in which she’s been able to spotlight songs from Lover, which was released shortly before the onset of the COVID-19 pandemic.

The song becomes the first Adult Pop Airplay No. 1 from Lover, following four top 10s: “Me!,” featuring Brendon Urie (No. 5 peak, June 2019); “You Need to Calm Down” (No. 3, November 2019); the title track (No. 6, February 2020); and “The Man” (No. 9, April 2020).

“Cruel Summer” concurrently spends a fourth week atop the Pop Airplay chart, where it became Swift’s 12th No. 1, the most among all artists. Swift scores her longest reign on the survey since 2015, when “Bad Blood” dominated for five frames.

On the most recently published, Aug. 19-dated all-genre, multimetric Billboard Hot 100, “Cruel Summer” rose to a new No. 3 best.

All charts dated Aug. 26 will update on Billboard.com Tuesday, Aug. 22.

Phil Wickham Brings ‘Praise Party’ to New Album ‘I Believe’: ‘I’m Writing in a Way That Is Everybody’s Story’

Nearly a decade after earning a 10-week No. 1 run atop Billboard’s Christian Airplay chart with “This Is Amazing Grace,” California native and worship leader Phil Wickham has been enjoying a solid run of radio hits over the past few years.

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In 2021, he had two multi-week chart toppers, with “House of the Lord” and “Battle Belongs” each spending four weeks at the chart’s pinnacle. This year he returned to the Christian Airplay chart’s pole position for two weeks with “This Is Our God,” from his forthcoming 10th studio album, I Believe, out Friday (Aug. 18 on Fair Trade/Columbia).

He recently made a strong showing when the GMA Dove Awards nominations were announced, earning four nominations including the coveted artist of the year category, as well as a song of the year nod for his role in writing the Casting Crowns hit “Then Christ Came,” and a worship song of the year nod for “This Is Our God.”

“It’s an honor,” says Wickham, who last year picked up two GMA Dove Awards trophies. “It’s just God’s grace. It feels like God taking some loaves and fishes and multiplying it to a place where someone would say, ‘This is worth recognizing,’ which is crazy.”

Wickham has become a standout in a new generation of worship leaders in the Contemporary Christian Music space, though his roots in the genre are familial and deep, as the son of members of the 1970s Christian band Parable.

“There’s a service and a thoughtfulness to the listener in worship music,” he says. “I’m not writing this just to share my story. I’m writing in a way that this is everybody’s story, and to give them a new prayer to sing back to God, this is something for us to do together.”

I Believe finds Wickham delving deeper into songwriting and collaboration, alongside his frequent collaborator Jonathan Smith, who is the sole producer on the entire project — an increasing rarity these days.

“It was such a partnership, from choosing songs to getting hyped about the vision for the album,” Wickham says. “We worked on the album on and off for over a year. He wrote on ‘I Believe,’ ‘Sunday is Coming’ and ‘The Jesus Way. I’m kind of sporadic when it comes to making albums and I want to hear every option before I decide on something, musically, which is a producer’s worst nightmare, in a lot of ways. But I love working with him so much because he’s the same way—he wants all the options in front of him.”

Nearly two years ago, Wickham, Smith and others visited the Charlotte, North Carolina campus of the multi-site megachurch Elevation Church, known for the hit worship ensemble Elevation Worship. Wickham and company met for a two-day writing retreat with fellow singer-songwriter Brandon Lake and Elevation Worship pastor/songwriter Steven Furtick. They made the most of the short duration, writing for over 12 hours each day.

“I don’t think we even left to eat,” he says. Numerous songs on the 14-track album came from those sessions, including “This Is Our God,” “Praise the Lord,” and “Relationship.”

“Steven is a writer on so many songs that have just blanketed church music across the world. He understands how to dig deeper to find new ways of phrasing things. But a lot of the songs end up coming from an initial seed of an idea that I have. I just don’t want to go into a session and be like, ‘Gimme your best ideas.’ Like with ‘The Jesus Way,’ I had all the verses and the chorus and was like, ‘I need a bridge.’”

“The Jesus Way” originated in 2020, as a poem that would come to serve as both reminder and self-challenge to live his life with love, grace and forgiveness. “Jesus met people where they are at. He met the poor, visited with sick people that no one else wanted to be around,” Wickham says. “For years, I thought the poem was just for me, but earlier this year, I just felt like people should hear it.

He was so moved by the song’s challenge that he hesitated to record it. “I was reading the lyrics and realizing how far I was from that being the reality of my life,” Wickham says. “I can be selfish and quick to be impatient with people. I’ll think, ‘God’s been so gracious to me and I’m not showing grace right now.’ I hesitated to record it because it’s like, I know how much I fall short of it. But it was written and it felt right, but it was a three-year process to write that song.”

As collaborative in the recording process as he is the writing room, Wickham features two women performers on the album: Tiffany Hudson on “Psalm 23” and Naomi Raine on “Holy Moment.” “Psalm 23” takes the biblical chapter and sets it to music and melody and originated from a plan for a project that would incorporate as many phrases directly from the Psalms as possible.

“I thought it would be fun to put out a Psalms project, making the music feel non-traditional and more singer-songwriter, moodier. I wrote like four or five Psalms, and the project just didn’t happen.” Wickham later came across some of his old voice memos and realized the song would make a perfect fit for his project, a moment of “beauty, and sincerity and sweetness,” he says, “and I knew Tiffany’s voice would sound perfect.”

His collaboration with Naomi Raine on “Holy Moment” came by way of an inspired moment, after the two musicians had been on the same tour. “I wanted another moment on the album where you hear more than just my voice and I thought if I could have anyone on the album, it would be Naomi,” he says.

He didn’t even have a song written at the time he asked her to record with him, but when they looked at their calendars, by happenstance, they both had the same evening open in Nashville (“It was crazy because neither of us are from Nashville,” said Wickham, who still resides in California).

They set up shop in a studio and a conversation about holiness evolved into singing and Wickham estimates they had the song written within an hour or so. “We had no title for it, we didn’t know what we would end up creating, but it became such a song in itself, a holy moment in the studio, we had to call it ‘Holy Moment.’” Wickham says.

Wickham, who is repped by WME, is incorporating several of the album’s songs while on the road on his recently-launched Summer Worship Nights Tour, co-headlined by Lake, with KB offering direct support. Wickham and Lake met years ago, when a mutual friend recommended Lake’s music to Wickham. The two began co-writing together and formed a fast friendship. They now share the same management home, Breit Group.

“We share a lot of the same team members and we wanted to go on the road together and throw a praise party, with as many people as possible,” Wickham says.

Loud Luxury, Two Friends & Bebe Rexha Break Ground With No. 1 on Dance/Mix Show Airplay Chart

Loud Luxury, Two Friends & Bebe Rexha ascend to the summit on the Aug. 19-dated Dance/Mix Show Airplay chart, as “If Only I” rises from No. 3 to No. 1 in its seventh week on the list. They unseat Kylie Minogue, who claimed two weeks atop the list with “Padam Padam,” this week sliding back to No. 2 (down 13% in weekly plays). “If Only I” is the first leader for both Loud Luxury and Two Friends, and the second No. 1 for Rexha.

“If Only I” has been scaling the survey since its July 8 debut at No. 35. Since the July 29-dated list, the song has gained by 17%, 22% and 23% in week-to-week plays, according to Luminate, though gains slow to 4% this week as it reaches the chart’s apex. (The latest chart reflects the tracking week ending Aug. 10 in the U.S.)

All three acts have history on the tally. “If Only I” is the 11th entry for Canadian duo Loud Luxury dating back to 2018’s “Body,” but the first No. 1. It surpasses the previous high of last year’s “These Nights,” which spent two non-consecutive weeks at No. 3 among 20 frames on the list.

It’s also the first leader for Los-Angeles based two-piece Two Friends, bypassing the “Wish You Were Here,” which reached No. 6 last September. Previously, they had charted with “Looking At You” in 2020.

For Rexha, “If Only I” is not only her second No. 1 on the survey, but also her second No. 1 this year. “I’m Good (Blue)” with David Guetta hit No. 1 last October, beginning a non-consecutive 14-week run on top that lasted through the Feb. 18-dated tally.

Rexha has landed 16 titles on the chart altogether, spanning a decade since the Cash Cash collaboration “Take Me Home” rose to No. 2 in November 2013, stuck behind Avicii’s almighty “Wake Me Up,” which was nearing the end of its 10-week reign.

Concurrently, “If Only I” spends a seventh week on the multimetric Hot Dance/Electronic Songs chart at No. 30.

It’s a ‘Barbie’ World: How Songs From the Soundtrack Are Faring in U.S. vs. Worldwide

Yet again, Barbie The Album lands three songs in the top 10 of the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 19).

Barbie‘s (and Ken’s) global journey began on the June 10-dated lists, when Dua Lipa’s “Dance the Night” arrived at No. 24 on the Global 200 and No. 26 on Global Excl. U.S. In between its debut and the film’s July 21 opening, the song drifted into the 40s and 50s before hitting the top 10 on the Aug. 5-dated rankings, blasting 46-27-8 and 45-24-5, respectively.

Nicki Minaj, Ice Spice and Aqua entered the fray on the July 8-dated tallies, when “Barbie World” debuted on the Global 200 at No. 12, fell to No. 61, and shot back to No. 6 in two weeks’ time.

Released just one week before the film, Billie Eilish’s “What Was I Made For?” was spared the roller-coaster chart run, arriving at No. 18 and flying into the top 10 the following frame.

Barbie and its billion-dollar hype led all three songs into the top 10, but the album’s momentum continues as box office receipts recede. Eilish leads the pack, rising to No. 2 on the Global 200. Lipa follows — up to 3 — while Minaj and Ice Spice, with the most immediate tie-in to the film, given their flip of Aqua’s iconic ‘90s chorus, scored the best debut of all Barbie tracks and has stayed relatively steady since the movie’s premier, returning to their No. 6 high.

Even a song as inextricable from the film’s plot as Ryan Gosling’s “I’m Just Ken” continues to make progress. The Mouseketeer-turned Oscar-nominated actor-turned global chart phenom rises 79-70 on the Global 200 and 97-87 on Global Excl. U.S.

Further, Charli XCX inches to a new high of No. 58 on the Global 200 with “Speed Drive.” On Wednesday (Aug. 16), she premiered the song’s official music video, which could give it enough juice to become her highest charting global hit yet (dating back to the charts’ 2020 start).

Through Aug. 16, Barbie is the second highest grossing film of 2023 worldwide, at $1.2 billion. Of that global sum, 45% ($541.9 million) comes from the U.S. and 55% ($660.6 million) comes from foreign territories.

Meanwhile, all five of the soundtrack’s charting hits have a larger international share of streams. They range from “Barbie World” at 63% to “Dance the Night” with 74% non-U.S. clicks. That comes in just shy of the average among all globally charting hits, at 76%.

Seattle’s Bumbershoot Festival Is Back and More Local Than Ever 

Seattle’s famed Bumbershoot music festival has been on hold for three years after the annual event traded producers and the pandemic interrupted live music for years. This Labor Day weekend (Sept. 2-3), however, the beloved festival is back, celebrating its 50th anniversary and focusing in on community.

In January of 2022, Bumbershoot owner Seattle Center selected the New Rising Sun coalition as its production partner to reimagine the local event. With Neumos co-owner Steven Severin, Museums of Museums founder Greg Lundgren and McCaw Hall general manager Joe Paganelli leading the group, the two-day festival is back in the hands of locals and Severin says the community has embraced their vision of putting emphasis on Pacific Northwest artists for the lineup with Band of Horses, Sunny Day Real Estate and headliners Sleater-Kinney and finding ways to make a major festival more accessible to everyone in the community.

“People were like, ‘Holy sh*t. This is what we’ve been asking for,’” Severin says of the lineup announcement. “This is a 50-year-old festival that has gone through many different changes and metamorphosis, and this is how I believe that Seattle wants to see it.”

Most recently, Bumbershoot was produced by AEG Presents, which agreed to produce the festival with Seattle non-profit festival production company One Reel beginning in 2014 to help cover the $1 million in debt One Reel had wracked up. By 2019, AEG announced it would not renew its contract to work on the festival.

Knowing full well that most festivals take years to turn any profit, Severin – who serves as Bumbershoot’s co-president & director of music programming – says New Rising Sun has worked to remove barriers for those who want to attend the milestone event by partnering with e-commerce giant Amazon, which agreed to underwrite presale tickets for this year’s festival to keep the event affordable. Amazon sponsored a special early bird $50 single day and $85 two-day general admission ticket, the lowest ticket prices have been in a decade, according to Severin. The company also worked with arts organization Third Stone to give out 5,000 tickets to area nom-profits and community organizations.

“I’m never going to fault AEG for how they ran things because that is how festivals changed. The whole model changed. You went for bigger and bigger and bigger artists,” says Severin, but now “the money stays here, it doesn’t go to New York or LA. It’s homegrown, as local as it gets.”

Lundgren, who also founded Vital 5 Productions, believes the festival can attract even more locals through its robust art programming. While there will be traditional festival art exhibits such as large-scale paintings and sculptures called Out of Sight, Lundgren says they are “drawing a larger circle around” what people consider art. The festival will include wrestlers, pole dancers, filmmakers, roller skaters, double Dutch jump rope performers, nail artists, makeup artists, fashion designers, extreme pogo stick and sign spinners (yes, like the folks who spin Subway signs on street corners).

“The more that you start to examine people that work within those [expanded art] spaces, the more that you realize that not only is this their daily practice, very similar to a painter or to a modern dancer or to a filmmaker,” says Lundgren. “But their own attitude and their own ethos around what they do is very much centered around self-expression, around how they’re communicating with their larger world.”

There will be a tattoo runway, where anyone can walk the catwalk to show off their body art. People can sing their favorite karaoke song with an improvised burlesque dancer interpretive dancing at burlesque karaoke and the festival will host a Witch Dome with everything from tarot to past life readings and palmists.

“My hope is that by year two or year three you won’t be able to tell who the performer is and who the audience is. To me, that’s a huge success,” says Lundgren. “If we can create a festival that everybody feels like they have not only the capacity, but the invitation to participate in.”

Additionally, Third Stone – the non-profit arm of Bumbershoot – launched the Workforce Development Program to offer young adults aged 17-25 the opportunity to learn critical business skills within the festival and live music setting. In partnership with The UC Theatre’s Concert Career Pathways (CCP) program, this six-month tuition-free, hands-on education experience and paid internship began in April 2023 and will culminate in the opportunity to work on the grounds at the festival and graduation.

This year’s 16 participants come from all around Washington with most coming from low-income communities and identifying as people of color and/or members of the LGBTQ+ community.

“The heart of the program is to reduce barriers of entry into the [music industry] workforce,” says Third Stone executive director James Miles. “The goal is to prepare these young people to take on any job in live production.”

The program includes in-depth courses with industry veterans from around the industry, as well as hands-on jobs putting on this year’s Bumbershoot. Following graduation for the 16 students, Third Stone will help support the participants in landing their desired job.

Tashawnda Nicole Drayton aka Rapper 23 Brazy Wanted For Murder Of 10-Year-Old Boy

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23 Brazy Mugshot

Source: Franklin Virginia PD / Franklin Virginia PD

Crazy news coming out of Virginia as U.S. Marshalls have issued an arrest warrant for rapper 23 Brazy who they allege shot and murdered a 10-year-old child.

On Tuesday (Aug. 15), U.S. Marshalls shared a press release in which they explain that Tashawnda Nicole Drayton aka 23 Brazy is being sought in connection with a shooting that left a 10-year-old dead and a 37-year-old adult male injured in Franklin, Virginia Aug. 9.

From U.S.Marshalls.gov:

Drayton is a Black female, with brown eyes and black hair.  She stands 5 feet 11 inches and weighs approximately 250 pounds. She has “only loyalty” tattooed above her left eyebrow, “23 Brazy” in red letters on her forehead, along with several tattoos on her face and neck. Drayton also has multiple tattoos on both of her arms and hands.

Drayton has ties all over the Hampton Roads area and should be considered armed and dangerous.

Following the shooting authorities issued the arrest warrant for Drayton, which includes counts for “first-degree murder, attempted first-degree murder, aggravated malicious wounding, two counts of shooting into an occupied dwelling, use of a firearm in commission of a felony, threat to burn or damage a building, possession of a firearm by a convicted felon, and discharge of a firearm in a public place,” according to the press release.

No motive for the shooting has been revealed as of yet, but don’t be surprised if you don’t hear a new record from 23 Brazy for a very long time whether she’s still roaming free or locked up behind bars.

In a Facebook post detailing the murder, Police Chief Steve Patterson wrote, “This is a very sad day for the City of Franklin. Any loss of life is unwarranted but for a 10-year-old to be the victim of violent crime is unacceptable and we as a community must come together and end this senselessness. The Franklin Police Department offers its condolences to the family of the young man killed today and hopes the community will come together to support both families during this time.”

A $5,000 reward is being offered for anyone who can help tip authorities to Brazy’s whereabouts and arrest.

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Warren Zeiders Translates Viral Hits Into Debut Album ‘Pretty Little Poison’: ‘I Have Always Loved Connecting With People’

On Friday (Aug. 18), singer-songwriter Warren Zeiders, who first broke through with his 2021 hit “Ride the Lightning,” issues Pretty Little Poison — his debut, full-length major label project on Warner Records. But a scant four years ago, Zeiders had his sights set on a sports career, not music.

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Growing up in Pennsylvania, Zeiders’ childhood was focused on lacrosse games, tournaments and practices. Outside of the occasional tinkering with a guitar he picked up in sixth grade, there were none of the childhood musical outlets that singer-songwriters typically espouse, such as church choirs or high school bands. He continued playing lacrosse while studying at Frostburg State University, until a series of sports concussions ultimately sidelined his sports ambitions in 2019, swiftly followed by the onslaught of the COVID-19 pandemic in 2020, which forced him to find a new outlet.

“I had an identity crisis when I had to give up lacrosse,” Zeiders tells Billboard, calling from a tour stop in Montana. “I was a collegiate athlete; that’s what me and my family had worked for — the money invested, the travel, the tournaments and leagues. They were always at sporting events, traveling with me, meeting with colleges and all that. So going through seven concussions, I went through a bit of depression, because concussions are not easy to go through. I had a really severe one my freshman year of college. I was confined to a black room for a while, missing classes, missing exams. I could barely watch TV, because of how jacked up I was.”

At the height of the COVID-19 pandemic, he began posting acoustic cover songs on TikTok, reengaging with his love for music. The videos’ views began soaring, and soon, listeners were asking for original material.

Zeiders grew up in a business-oriented household; his parents were entrepreneurs; his mother was a CFO, with an accounting background. Meanwhile, his father sold insurance and investments. So when fans began asking Zeiders to post his own original songs, he says, “I had that business mindset of, ‘If they want this from me, maybe I should start marketing myself,’ because I was starting to build traction.”

In December 2020, Zeiders released his original track “On the Run.” Soon after, Underscore Works’ Charly Salvatore signed Zeiders as one of his flagship management clients at the company. Zeiders came to Nashville for a series of co-writing sessions, resulting in “Ride the Lightning,” which he wrote with Rob Crosby and Eric Paslay.

“Ride the Lightning” surged on TikTok, while Zeiders issued an acoustic covers project and The 717 Tapes EP. By the time Zeiders revealed he had signed with Warner Records in January 2022, he was also celebrating an RIAA Gold certification for “Ride the Lightning.”

The song proved a showcase for his grainy, full-throated voice, something he says he painstakingly worked on throughout his upcoming project, produced by Ross Copperman, Bart Butler and Ryan Gore.

“There was a heartache with doing this, because I’m such a perfectionist, and I think most artists are in our own ways,” Zeiders says. “I must have sang ‘Pretty Little Poison’ a thousand times in the studio. I wanted the instrumentation to be perfect, to fit the vibe of what this song is saying. Each individual song has its own life and its own story to tell. I believe it needs its own character for each song, and you can sing a song a million different ways. I wanted to be in the mindset of that character to convey each story with absolute truth.”

He wrote the album’s title track last summer, with Jared Keim and Ryan Beaver; the song has now cracked the top 40 on Billboard’s Country Airplay chart.

“I remember when we got [to the writing session], I said, ‘I want to write a love song, in Warren Zeiders’s terms.’” Zeiders recalls. “It was minor keys, and a dark twist on a love song, because the lyrics are really about someone’s who you know isn’t great to be in a relationship with, but you keep going back to them. Ryan had the concept a possible title called ‘Pretty Poison.’ I added the word ‘Little’ to it, and once we had that concept and title, we were off to the races. We wrote the song in just over an hour, maybe two hours and I was like, ‘I need that demo as soon as possible.’ They got it to me the next day, I sent it to my manager and it went to A&R, the label. Everyone felt it was going to touch a lot of lives.”

Elsewhere on the album, homage to his Pennsylvania roots in “Pittsburgh Steel” and leans on his faith in “God Only Knows.” He reunited with his “Pretty Little Poison” co-writers to craft the album’s closer, “Cowboy Rides Away.”

Zeiders is a co-writer on nearly every song on Pretty Little Poison, with the lone exception being “What Goes on Inside Your Head,” written by Chris Stapleton and Lee Thomas Miller.

“I remember meeting Lee at our listening party a couple of months ago, after the record was recorded,” Zeiders recalls. “Lee thanked me for recording the song and was like, ‘You have no idea how many years this song has been passed around town and how many ‘Nos’ we’ve gotten.’ I was like, ‘How would no one want to cut this song? It’s beautiful.’ And he was like, ‘You’d be surprised. Some people can get scared to cut it after they listen to a Chris Stapleton demo.’ But I loved the song and I wasn’t trying to do Chris Stapleton’s version — I wanted to do my own version. I loved recording it and I was like, ‘This is one I will sure as hell sing the crap out of.’”

With the hit songs have come a surge of performances; in May, Zeiders played his first stadium show — ironically, opening up for Stapleton and Little Big Town during George Strait’s show at Ohio Stadium. In June, he joined Jelly Roll onstage during the Tailgates and Tallboys festival, for a rendition of Lynyrd Skynyrd’s “Simple Man.” Jelly Roll also recently gave Zeiders a shoutout on social media. This fall, Zeiders will return for the second half of his own headlining Pretty Little Poison tour.

Zeiders’ strong familial bonds continue now in his music career — his mother has taken on the role of his business manager, while his father will be joining him on the road this fall.

“He just wants to help out any way he can, so he might be selling merch or whatnot,” Zeiders says. “He just likes seeing the shows and meeting the fans. They are actually moving to Nashville as we speak, packing everything up in Pennsylvania, which is crazy to think I won’t be back home to say goodbye to my old house.”

Zeiders may not have spent his entire life performing onstage, but says his extroverted personality and the discipline he learned on the sports field have been assets.

“I’ve always had a big personality; I was always the talker in my family and had a marketing and sales background. I sold cars for two years. I just have always loved connecting with people. After I played my first show, it just felt like this is what I was made to do. I try to keep myself in a good position, physically and mentally, because people who come to shows are giving their time, their money, getting babysitters for the night, doing what they have to do to be at shows. My job is to be the best version of myself to put on a show, so I can welcome them into what I’m building and hopefully keep them as fans.”

Lil Nas X to Give a Peek Behind the Curtain in New Documentary ‘Long Live Montero’

Sure, Lil Nas X may be known for his love of trolling fans and haters alike. But with his latest announcement, the pop sensation is ready to show everyone a more sincere side of himself.

On Friday (Aug. 18), Lil Nas X announced the official world premiere of his new documentary Lil Nas X: Long Live Montero. Chronicling his life on the road during the Long Live Montero tour, the project is set to debut during the Toronto International Film Festival, which kicks off on Sept. 7.

The film — directed by Carlos López Estrada and Zac Manuel and produced by RadicalMedia — will not only deal with the creation, production and execution of the star’s globe-spanning tour of the same name. Long Live Montero will also take a look back at Lil Nas X’s many achievements, and deal with “an artist on tour navigating identity, family, expectations and acceptance, all while reflecting on his place within the legacy of Black, queer performers,” according to a press release.

Speaking about the film, TIFF CEO Cameron Bailey called the documentary “a triumphant ode to the extraordinary power of self-expression,” while also expressing his excitement for audiences to see it. “In this groundbreaking documentary, we witness Lil Nas X challenging boundaries and reshaping the artistic landscape. The film’s captivating journey underscores the profound impact of Lil Nas X, who fearlessly brings audiences together through the universal language of music. We are thrilled to host Lil Nas X at TIFF this year.”

To learn more about the Toronto International Film Festival, including how to get tickets, click here. See the poster for the project below:

Britney Spears’ Estranged Husband Sam Asghari Denies Threats to ‘Exploit’ Singer Amid Divorce

Representatives for Britney Spears’ estranged husband, Sam Asghari, are denying reports that the fitness instructor/actor has threatening to challenge the couple’s pre-nuptial agreement and release damaging information about the singer in the midst of their divorce proceedings.

Asghari, 29, filed for divorce from the pop icon on Wednesday (Aug. 16) in Los Angeles Superior Court, per documents obtained by Billboard. The filing noted that the couple separated on July 28, with Asghari citing irreconcilable differences as the reason for divorce their divorce. He is seeking spousal support from Spears, 41, who regained control over her personal and business affairs in Nov. 2021 after 13 years.

“There are many claims that Sam is challenging the prenup and threatening to exploit his ex-wife with videos. However, all these claims are false, as no negative intention has ever been directed towards her and never will be. Sam has always and will always support her,” Asghari’s manager, Brandon Cohen, told NBC. The statement came after several tabloid reports claimed that Asghari was prepared to released embarrassing information; at press time spokespeople for Spears and Asghari had not returned Billboard‘s request for comment on the reports.

A day after filing for divorce from Spears, Asghari — who an unnamed source reportedly told NBC has moved out of the couple’s home — posted a statement on his Instagram Stories on Thursday in which he wrote, “After six years of love and commitment to each other, my wife and I have decided to end our journey together. We will hold onto the love and respect we have for each other and I wish her the best always. S— happens. Asking for privacy seems ridiculous so I will just ask for everyone including media to be kind and thoughtful.”

Spears and Asghari began dating in 2016 after they met on the set of her “Slumber Party” music video and after dating for five years they got engaged in September 2021 and married in a star-studded Los Angeles wedding in June 2022.

Pink Changes ‘Don’t Let Me Get Me’ Lyric About Britney Spears Amid Sam Asghari Divorce

It looks like Pink is showing support for Britney Spears amid the latter pop star’s divorce from Sam Asghari.

At her Wednesday night (Aug. 16) concert at Detroit’s Comerica Park, the “So What” singer subtly changed a lyric in her 2001 song “Don’t Let Me Get Me,” sneaking in a compliment to Spears. “Tired of being compared to sweet Britney Spears,” Pink sang, instead of the original line, “Tired of being compared to d–n Britney Spears.”

“She’s so pretty,” Pink continued with the original lyrics, singing with nothing but an acoustic guitar accompanying her. “That just ain’t me.”

The gesture came on the heels of reports that Spears and her husband, dancer Sam Asghari, are splitting. Asghari filed for divorce in Los Angeles Wednesday, and shared a statement on Instagram Thursday (Aug. 17) about the two ending their marriage. “After six years of love and commitment to each other, my wife and I have decided to end our journey together,” he wrote. “We will hold onto the love and respect we have for each other and I wish her the best always. S–t happens. Asking for privacy seems rediculous [sic] so I will just ask for everyone including media to be kind and thoughtful.”

The split comes a little over a year after the couple married in June 2022, tying the knot with a star-studded ceremony in L.A. They’d gotten engaged in 2021, about five years after first meeting on set of Spears’ “Slumber Party” music video.

Earlier this year, Pink — who’s currently in the middle of Summer Carnival tour — clarified her intentions behind the Spears name-check in “Don’t Let Me Get Me,” revealing she’s “always felt like a big sister” to the “Toxic” musician. “I’m very protective of her, and she’s the sweetest person in the world,” Pink told People in February, though later added she’s not currently in touch with the Princess of Pop. “I wish her well. I cover her in light all day long.”

See Pink’s lyric change below: