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Dua Lipa will be pulling double duty on SNL in May. Saturday Night Live posted a lineup update for the NBC sketch comedy this weekend, following Saturday night’s Ryan Gosling/Chris Stapleton episode. The “Illusion” artist was announced as both host and musical guest for May 4. Fans in the comments section on Instagram couldn’t help […]
Dua Lipa‘s “Illusion” has topped this week’s new music poll.
Music fans voted in a poll published Friday (April 12) on Billboard, choosing the 28-year-old pop star’s summery new single as their favorite new music release of the past week.
“Illusion” brought in 54% of the vote, beating out new music by Sabrina Carpenter (“Espresso”), Maggie Rogers (Don’t Forget Me), Lil Nas X (“Right There”), Future and Metro Boomin (We Still Don’t Trust You), PartyNextDoor (“Lose My Mind”), and others.
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“Illusion” is the third single the British artist has dropped ahead of her upcoming third studio album, Radical Optimism, following “Houdini” and “Training Season.” The former debuted at No. 11 on the Billboard Hot 100 chart, while the latter entered the chart at No. 27.
“‘Illusion’ was the first song Caroline [Ailin], Danny [Harle], Tobias [Jesso Jr.], Kevin [Parker] and I worked on together, and it really broke the ice for the record,” Dua Lipa said in a press statement. “It’s about knowing what you’re getting yourself into, but staying for the hell of it. The joke’s on them, it’s the fun of playing someone at their own game because ultimately you won’t fall for an illusion.”
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The Tanu Muino-directed music video accompanying the track features Lipa alongside dancers, high divers, and synchronized swimmers at the Piscina Municipal de Montjuïc in Barcelona, Spain.
The 11-track Radical Optimism — her first proper album since 2020’s Future Nostalgia — arrives May 3.
Trailing behind “Illusion” on the poll is Carpenter’s alluring new single “Espresso,” which brought in 22% of the vote.
See the final results of this week’s new music release poll below.
Beyoncé’s Cowboy Carter holds atop the Billboard 200 albums chart (dated April 20), after debuting at No. 1 a week ago, as the set earned 125,500 equivalent album units in the U.S. in the week ending April 11 (down 69%), according to Luminate.
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With a second week in the lead, Cowboy Carter has the most weeks at No. 1 for any Beyoncé album since her self-titled set spent three weeks at No. 1 (its first three weeks on the chart), in December 2013 and January 2014.
Of Beyoncé’s eight No. 1 albums on the Billboard 200, three have spent two or more weeks at No. 1: Cowboy Carter (two, 2024), her self-titled effort (three, in 2013-14) and 4 (two, 2011). (Since her self-titled effort, she’s topped the list three more times, with Lemonade [one week at No. 1, 2016], Renaissance [one week, 2022] and now Cowboy Carter.)
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Elsewhere on the Billboard 200, and for the first time in 2024, three albums debut in the top 10 at the same time, as the latest releases from J. Cole, TOMORROW X TOGETHER and Benson Boone start at Nos. 2, 3 and 6, respectively. The last time the top 10 housed three debuts was on the Nov. 25, 2023-dated list, when Stray Kids, Chris Stapleton and Chris Brown saw their newest albums bow in the region.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 20, 2024-dated chart will be posted in full on Billboard‘s website on April 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Cowboy Carter’s second-week unit sum of 125,500, SEA units comprise 103,000 (down 54%, equaling 132.69 million on-demand official streams of the set’s songs), traditional album sales comprise 20,500 (down 88%) and TEA units comprise 2,000 (down 70%).
While Cowboy Carter’s CD and vinyl editions were available to purchase only via Beyoncé’s official webstore in the set’s first two weeks of release, those physical configurations became widely available to all retailers beginning on April 12. (The album has also been purchasable as a digital download, widely, since its release on March 29.)
At No. 2 on the Billboard 200, J. Cole’s surprise-release album Might Delete Later arrives with 115,000 equivalent album units earned. Of that sum, SEA units comprise 105,000 (equaling 137.95 million on-demand official streams of the set’s 12 songs), album sales comprise 9,000 and TEA units comprise 1,000. The album was only available to stream or to purchase as a digital download.
Might Delete Later was issued on April 5 without warning, and boasts collaborations with Gucci Mane, Cam’ron, Bas, Central Cee, Ari Lennox and Young Dro, among others.
Might Delete Later drew attention for its Kendrick Lamar diss track “7 Minute Drill,” which appears to find Cole responding to Lamar’s apparent disses directed at Cole and Drake on Future and Metro Boomin’s “Like That.” A few days after the release of “7 Minute Drill,” Cole publicly apologized for releasing the track, saying it “don’t sit right with my spirit.” Ultimately, “7 Minute Drill” was removed from the tracklist of the streaming edition of Might Delete Later on April 12, one day after the end of the latest chart’s tracking week. (As of April 14, the song was still available on the digital download edition of the set.) “7 Minute Drill” was the most-streamed song on Might Delete Later during the album’s opening week.
Might Delete Later is J. Cole’s seventh album to reach the top two rungs on the Billboard 200, after he notched six earlier No. 1s in 2011-21. He has logged one other entry on the list, with the Forest Hills Drive: Live, which hit No. 71 in 2016.
TOMORROW X TOGETHER notches its fifth top 10-charting album on the Billboard 200, as Minisode 3: TOMORROW debuts at No. 3 with 107,500 equivalent album units earned. Of that sum, album sales comprise 103,500 (making it the top-selling album of the week), SEA units comprise 4,000 (equaling 5.54 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s sales were supported by its availability across 17 collectible CD editions (including exclusive editions sold by Barnes & Noble, Target and the act’s webstore), all containing randomized paper merchandise (but with the same audio tracklist).
With the Nos. 1-3 titles on the Billboard 200 each earning at least 100,000 equivalent album units, it’s the first time we’ve had as many albums clear 100,000 in a week since the Dec. 2, 2023-dated list. That week, Drake’s For All the Dogs jumped 4-1 with 145,000, Taylor Swift’s 1989 (Taylor’s Version) held at No. 2 with 137,000 and Dolly Parton’s Rockstar debuted at No. 3 with 128,000.
Future and Metro Boomin’s chart-topping We Don’t Trust You falls 2-4 in its third week on the list, earning 99,000 equivalent album units (down 24%). The set’s sequel album, We Still Don’t Trust You, was released on April 12 and will impact next week’s chart dated April 27.
Morgan Wallen’s former leader One Thing at a Time is pushed down 3-5, despite a 4% gain, with 72,000 equivalent album units earned.
Benson Boone’s debut full-length studio album, Fireworks & Rollerblades, skates in at No. 6 with 58,000 equivalent album units earned. It’s the first chart entry for the singer-songwriter. Of the set’s starting sum, SEA units comprise 52,000 (equaling 70.21 million on-demand official streams of the set’s songs), album sales comprise 4,000 (largely from its digital download, as the set’s only physical availability was through a limited release on CD) and TEA units comprise 2,000. The album was led by the hit single “Beautiful Things” (the most-streamed song on the set), which has spent the last nine weeks inside the top five on the Billboard Hot 100 songs chart (through the list dated April 13), peaking at No. 2.
Ariana Grande’s chart-topping Eternal Sunshine falls 4-7 on the Billboard 200 with 48,000 equivalent album units earned (down 17%), Noah Kahan’s Stick Season slips 7-8 (though up 2%) with 45,000 units, Olivia Rodrigo’s former No. 1 Guts dips 6-9 with 43,000 (down 13%) and SZA’s chart-topping SOS drops 9-10, though with a 1% gain, to 40,000 units.
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.
It’s The Tortured Poets Department release week, and beginning April 13, Taylor Swift fans can embark on a search for a secret message from Swift on Apple Music. One word a day will be hidden within Swift’s lyrics on the music streaming service, Apple has announced. Explore Explore See latest videos, charts and news See […]
Olivia Rodrigo invited Jewel to her stage in New York City earlier this week for a live performance of “You Were Meant for Me,” Jewel’s 1995 hit from her debut album, Pieces of You. On Saturday (April 13), Jewel explained exactly how that happened, and why linking up with the young Guts singer was so emotional for her.
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“Her team reached out a little bit before [the show],” Jewel told fans about her Madison Square Garden appearance in a video uploaded to Instagram Saturday afternoon. “And I was excited because I was a fan of Olivia. I’ve been watching her career.”
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She continued, “I became aware of her I think during ‘Drivers License.’ I liked her ’90s aesthetic. It’s a little edgy but very approachable — and she’s writing. She’s writing these songs, and I love them. So I was excited to go out, I was excited to meet her.”
At Rodrigo’s April 9 concert, the last of four Sour Tour shows at the New York venue, the pop star introduced Jewel to her fans by sharing that she would listen to Pieces of You before she went to sleep when she first started getting into songwriting herself.
In Saturday’s video, Jewel referenced her own experience in the music industry, noting, “Something a lot of people don’t realize or talk about in this industry is just how toxic it is. I’m very lucky, we’re all very lucky to get to do our job, but nobody talks about how toxic it is. This industry is like interacting with a poison. You have to have a plan. People will care if you’re famous, people will care if you’re making money … But nobody cares if you’re a good person. Nobody cares if you’re happy.”
The singer-songwriter got teary-eyed as she shared her first impression of Rodrigo after meeting her at Madison Square Garden.
“She’s a good person. She’s grounded and she’s heartfelt,” Jewel said, adding that “it really made me want to meet her parents.”
Fortunately for her, Rodrigo’s mom was there — and Jewel said meeting her turned out to be “the thing that I loved the most.”
Jewel says that some of her favorite songs by Rodrigo include Sour hit “Deja Vu” and Guts‘ “Vampire.”
On her post, she added the following caption: “Yes. I cry musing about @oliviarodrigo. I can’t help it. I care so deeply about how women evolve in this industry. I love supporting women in this biz- lord knows we need all the support we can get. Esp learning how to navigate an industry that often chews folks up – that’s why I’m so proud of her and why I loved meeting her mom … her mom cried she met me… it was such s full circle moment … my music touched her mom when she was young, and she raised Olivia on my music, and then there we all were backstage tearing up about how wild life is.”
See Jewel’s vlog and photos from the show on Instagram.
Lana Del Rey no solo comenzó su set en Coachella antes de tiempo, sino que su entrada fue épica.
El viernes 12 de abril, a las 11:16 p.m., las pantallas principales del festival mostraron una vista aérea de Del Rey y su comitiva acercándose rápidamente. A medida que se estaba más cerca, quedó claro que su equipo no llegaba en los esperados carritos de golf que suelen llevar a las estrellas alrededor del festival de Indio, California, sino en motocicletas. Y mientras sonaba un fragmento de su canción “Jealous Girl” — cuya letra dice “Baby, yo soy una gángster también” en bucle — la caravana de Del Rey dio una vuelta entre la multitud mientras ella sonreía y saludaba a los miles de fans reunidos para ver ese momento.
“¿Qué tal, Coachella?”, preguntó casualmente, después de llegar al centro del escenario y ofrecer una pequeña sonrisa antes de interpretar “Without You” en una fusión de “Doin’ Time” de Sublime con “Summertime Sadness”. “Estoy muy contenta de estar aquí”, añadió con otra sonrisa tenue y aún más breve. Tengamos en cuenta que esta es Lana Del Rey, presidenta del pop de la tristeza y eternamente comprometida con el personaje, ya sea que esté encabezando Coachella o no.
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Como tal, su comportamiento coincidía con el diseño del elaborado escenario, que parecía más una versión degradada de la Mansión Gatsby mucho después de que había ofrecido su última fiesta. Era, por supuesto, el escenario imaginario perfecto para que Del Rey organizara su propia fiesta nocturna, con todo y una banda de swing y bailarines inspirados en la rugiente década de 1920.
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A principios del set, Del Rey hizo notar que tocó en Coachella “exactamente hace 10 años hoy” (cuando estrenó el sencillo “West Coast”), antes de agregar suavemente “todavía estamos haciendo esto”. Sin embargo, no es el hecho de que todavía esté aquí una década después lo que impresiona, sino más bien que todavía es completa e irreverentemente ella misma después de tantos años, o al menos, que la personalidad de Lana Del Rey sigue intacta. De hecho, a lo largo de sus nueve álbumes de estudio, Del Rey parece haberse vuelto aún más ella misma, asumiendo más riesgos experimentales y ofreciendo títulos de canciones más largos y sorprendentes en el camino.
Y esta noche, su set como cabeza de cartel parecía ser una tranquila celebración de eso. Del Rey caminó por el escenario interpretando éxitos que abarcan su carrera y que, en un festival como Coachella, parecían casi gemas underground que estaba cuidadosamente desenterrando. Incluso las esperadas “acrobacias” como cabeza de cartel fueron entregadas con un toque delicado: Interpretó “Ride” mientras giraba lentamente desde un columpio circular cubierto de hojas; ofreció una hermosa interpretación a capela de “The Grants” junto a su trío de coristas; y, lo más notable de todo, cantó “Hope Is a Dangerous Thing for a Woman Like Me to Have – but I Have It” a través de un holograma acompañado por su colaborador y amigo cercano Jack Antonoff al piano, quien coprodujo la canción. (Más temprano esa noche, Jon Batiste tocó el piano para una versión extendida de “Candy Necklace”).
El holograma — aunque un poco mórbido, especialmente considerando la letra “Hola, soy la mujer más famosa que conoces en el iPad/Llamando desde más allá de la tumba” — enfatizaba perfectamente el espíritu del set. Como evidencia, su elección de “Young and Beautiful” (que se utilizó prominentemente en The Great Gatsby) como canción final dejó aún más claro que Del Rey había venido a hacer una declaración.
Como canta en “Young and Beautiful”: “He visto el mundo, lo he hecho todo, ahora tengo mi pastel. He visto el mundo, lo he iluminado como mi escenario”. Todo el tiempo, se cernía la pregunta principal de la canción: “¿Seguirás amándome cuando ya no sea joven y hermosa?”
Más temprano en el set, Billie Eilish dio una respuesta afirmativa.
Tras rumores online de que la superestrella estaría haciendo una aparición especial durante el set de Del Rey (una artista de la cual Eilish ha sido fan durante mucho tiempo), apareció hacia el final del set sobre una enredadera arqueada para hacer un dueto en “Ocean Eyes” y “Video Games”. Después de que terminaron, permanecieron sentadas por un momento más, luciendo realmente asombradas ante la presencia de la otra. “Sal de mi vista”, le dijo Eilish riendo a su heroína.
“Sí, esa es la voz de tu generación, la voz de nuestra generación”, respondió Del Rey. “Estoy tan jodidamente agradecida de que ella esté parada junto a mí en este momento”. A lo que Eilish respondió: “Esta es la razón de la existencia de la mitad de ustedes, incluyendo la mía”.
Esa simple frase llegó al corazón de la audiencia. Claro, el set tuvo sus irregularidades, con momentos de oscuridad y silencio entre muchas canciones y algunos problemas con el volumen del micrófono, todos los cuales Del Rey señaló audiblemente. Y sí, la tendencia de Del Rey a hablar suavemente tanto dentro como fuera del escenario puede que no la hayan hecho la artista principal más obvia para inaugurar Coachella. Pero su impacto sigue siendo innegable.
Pero no crean en mi palabra, créanle a “la voz de nuestra generación”. La artista que quizás no tendríamos si no fuera por una artista como Lana Del Rey haciendo lo que sabe hacer mejor: ser Lana Del Rey.
Mientras entregaba la nota final de “Young and Beautiful”, la banda aceleró el ritmo y sus bailarines reaparecieron con botellas de champán en la mano mientras fuegos artificiales explotaban en el cielo nocturno, todos los ingredientes de una gran fiesta al estilo Gatsby. Y mientras Del Rey se alejaba en moto, tal como había llegado, la fiesta en el escenario continuó mucho después de que ella se fue. Y ese es el punto.
Su impacto innegable es también inolvidable, y es exactamente lo que hace a Lana Del Rey el ícono que es. Un ícono que vale la pena celebrar.
Not only did Lana Del Rey start her Coachella headlining set early, but her entry was epic.
On Friday, April 12, at 11:16 p.m. the festival main stage screens showed an aerial view of Del Rey and her entourage rapidly approaching. As she neared, it became clear her crew was not rolling up on the expected golf carts that often shuttle stars around the Indio, Calif. fest, but rather motorcycles. And as a snippet of her never-to-be-officially-released song “Jealous Girl” played – with the lyric “Baby, I’m a gangster too” on loop – Del Rey’s motorcade took a lap through the crowd as she smiled and waved to the thousands of fans gathered for this very moment.
“What’s up, Coachella,” she asked casually, after making her way to center stage and offering a small smile before performing “Without You” into a fusion of Sublime’s “Doin’ Time” with “Summertime Sadness.” “I’m so happy to be here,” she added with another faint, and even briefer, smile. But keep in mind, this is Lana Del Rey – sad girl pop president and eternally committed to the bit, whether she’s headlining Coachella or not.
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As such, her demeanor matched the elaborate set design that looked much like a dilapidated version of the Gatsby Mansion long after it had thrown its last party. Making it, of course, the perfect imaginary scene for Del Rey to host a late-night shindig of her own complete with a swing band and roaring 20s-inspired backup dancers.
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Early into the set, Del Rey noted that she last played Coachella “exactly 10 years ago to the day” (during which she debuted single “West Coast”), before softly speak-singing, “We’re still doing it.” Yet, it’s not the fact that she is still here a decade in that’s impressive, but more so that she is still entirely and unapologetically herself after so many years – or at least, that the persona of Lana Del Rey is still so intact. In fact, across her nine studio albums, Del Rey has seemingly become even more herself, taking bigger experimental swings and offering longer, more eyebrow-raising track titles along the way.
And tonight, her headlining set seemed to be a quiet celebration of such, during which Del Rey sauntered across the stage performing career-spanning hits that, in a festival setting like Coachella, felt almost like underground gems that she was carefully unearthing. Even the expected “headliner stunts” were delivered with a delicate touch: She performed “Ride” while slowly spinning from within a circular, leaf-covered swing; delivered a gorgeous a cappella rendition of “The Grants” alongside her trio of backup singers; and, most notably of all, sang “Hope Is a Dangerous Thing for a Woman Like Me to Have – but I Have It” via hologram accompanied by collaborator and close friend Jack Antonoff on piano, who co-produced the track. (Earlier in the night, she was joined by Jon Batiste on piano for an extended version of “Candy Necklace.”)
The hologram – though a bit morbid, especially considering the lyric, “Hello, it’s the most famous woman you know on the iPad/Calling from beyond the grave” – perfectly punctuated the spirit of the set. As evidenced by her closing song selection of “Young and Beautiful” (which was prominently used in The Great Gatsby), it became increasingly clear that Del Rey had come to make a statement.
As she sings on “Young and Beautiful: “I’ve seen the world, done it all, had my cake now. I’ve seen the world, lit it up as my stage now.” All the while, the song’s primary question loomed: “Will you still love me when I’m no longer young and beautiful?”
Earlier in the night, Billie Eilish delivered an affirmative answer.
Following online rumors that the superstar would be making a guest appearance during Del Rey’s set (an artist Eilish has long been a fan of), she appeared toward its end atop the arched trellis to duet on “Ocean Eyes” and “Video Games” with Del Rey. After the two were done, they sat a moment longer, seeming genuinely stunned by one another’s presence. “Get the f–k out of my face,” laughed Eilish, speaking to her hero.
“Yep, that’s the voice of your generation, the voice of our generation,” replied Del Rey. “I”m so f—ing grateful she’s standing next to me right now.” To which Eilish replied: “This is the reason for half you b—-es existence, including mine.”
That simple sentence cut to the core of the evening. Sure, the set was spotty at parts – with moments of darkness and silence in between many songs and a handful of issues with mic volume, all of which Del Rey audibly called out. And yes, Del Rey’s soft-spoken tendencies on and off stage may have not made her the most obvious headlining act to kick-off Coachella. But it’s her impact that remains undeniable.
But don’t take my word for it, take it from “the voice of our generation.” The artist who we may not have had it not been for an artist like Lana Del Rey doing what she has and will always do best: being Lana Del Rey.
As she delivered the final note of “Young and Beautiful,” the band picked up steam and her dancers reappeared with champagne bottles in hand as fireworks exploded into the night sky – all the makings of a signature Gatsby blowout. And as Del Rey rode off on motorcycle, just as she came in, the party on stage continued long after she was gone. And that’s the point.
Her undeniable impact is also unforgettable – and exactly what makes Lana Del Rey the icon she is. And one well worth the celebration.
Sabrina Carpenter‘s “give a f—s are on vacation,” as she proclaims in her new single “Espresso,” and the pop superstar unveiled a summery music video on Friday (April 12) to capture that carefree feeling. Explore Explore See latest videos, charts and news See latest videos, charts and news In the clip, the 24-year-old singer is […]
Travis Kelce isn’t the only Swiftie in his family! His 4-year-old niece Wyatt — Jason Kelce‘s eldest daughter — is giving him some major competition for the title of biggest Kelce Swiftie. In a video shared to X on Friday (April 12), both football stars dance around to Taylor Swift‘s Billboard Hot 100-topping “Shake It […]
Billie Eilish is nearly a month away from dropping her third studio album, Hit Me Hard and Soft, this spring without releasing any singles beforehand. However, in a new interview with Apple Music’s Zane Lowe, she decided to break the rules a little bit and tease a 15-second snippet of one of the project’s tracks. […]