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The Revivalists score their second consecutive No. 1 on Billboard’s Adult Alternative Airplay chart with “Good Old Days,” which lifts to the top of the Oct. 28-dated survey. Explore Explore See latest videos, charts and news See latest videos, charts and news The track becomes the band’s fourth Adult Alternative Airplay No. 1. It follows […]
Fifty-nine years after Decca Records proclaimed England’s Newest Hit Makers had arrived on American soil, the Rolling Stones returned to the United States on Thursday (Oct. 19) to launch their latest album, Hackney Diamonds.
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“It seems we always launch our albums in New York,” Mick Jagger told the crowd at the Racket, an intimate New York City venue that’s taken over the Highline Ballroom space. “We’ve done it in a blimp. We’ve done it on a flatbed truck going down 5th avenue,” he said, reading from a Teleprompter. “We were missing launches so much that we had to make another album and come back and re-launch it.”
The Andrew Watt-co-produced Hackney Diamonds has been a long time coming, with the rock n’ roll legends hashing it as early as their 2016 blues covers album Blue & Lonesome. It’s their 26th album released in America, and first since the death of drummer Charlie Watts. But the launch party was filled with the reckless, live-for-the-moment energy that characterizes classic LPs from Out of Our Heads to Sticky Fingers.
During their seven-song set – which kicked off with “Shattered,” the Stones’ punk/disco dispatch from NYC hedonism in the late ‘70s – it was abundantly clear that the Rolling Stones did, in fact, need to make another album, if only to play it live. While it’s unlikely that Diamonds joints will become live staples in the vein of “Jumpin’ Jack Flash” and “Tumbling Dice” (both performed at the show), tackling new songs such as “Angry” and “Bite My Head Off” clearly gave Jagger, Keith Richards and Ronnie Wood the hopeful expectancy that comes with performing material that isn’t an easy slam-dunk in the vein of “Flash.” As a result, they sold the hell of the new stuff, ripping through the new songs with an urgency that’s bound to get lost when you’re doing a song for the 500th time.
For a Stones underplay in a New York venue of a few hundred people, the crowd was naturally dotted with celebrities: Jimmy Fallon, Mary Kate Olsen, Chris Rock, Daniel Craig, Elvis Costello, Diana Krall and Questlove (the pre- and post-show DJ) were all present. Costello nodded along sagely to the music and exchanged bon mots with wife Krall; Fallon headbanged and sang along; Olsen took a smoke break.
For the first three songs of the night, Lady Gaga was on the sidelines, but when the Stones came out for their encore, she was front and center, delivering their new collaborative track “Sweet Sounds of Heaven,” easily the highlight of the night. Wearing a red-and-black sequined body suit, Gaga traded full-throated vocal runs with Jagger on gospel-tinged track. You might not expect an 80-year-old who’s had heart valve replacement surgery to be able to go toe-to-toe with an artist who is probably the most effortlessly talented live performer of our era, but Jagger was clearly jazzed by the energy of the crowd, the pinch-me enthusiasm of Gaga and the jolt of performing new material.
Who knows how much longer the Stones can roll on, but based on their NYC album launch party, we’re lucky that England’s veteran hitmakers haven’t yet called it a day.
Going from the underground to Michael Jackson-level fame overnight is mind-melting for anyone. But for the scruffy 20-something punk rockers in Nirvana it was even more disorienting, and life-changing than they could have ever imagined.
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In an exclusive Billboard preview of next week’s episode of the Conan O’Brien Needs a Friend podcast, the former late night talker sits down with living Nirvana members drummer Dave Grohl and bassist Krist Novoselic to discuss the effects of going from touring in a van to topping the charts.
O’Brien notes that there was just a three-day gap between when Nirvana’s second, and final, major label album, In Utero, dropped in September 1993 and the kick-off of his original late night talk show on NBC, Late Night With Conan O’Brien. “I remembered the music on the album — because I was such a huge fan — being background music to the terror and the weirdness of me starting a late night show from complete obscurity,” says O’Brien, who is also joined by In Utero producer/engineer Steve Albini for the chat celebrating the album’s 30th anniversary.
“That’s similar to the Nirvana experience I would imagine,” says Grohl, who recalls that he was just 21 when the band suddenly became massive in 1991 upon the release of their axis-tilting major label debut, Nevermind; Novoselic was 25, Cobain was 24. “We were kids and so when you talk about the amount of time that’s gone by to me it’s not even so much about the years, it’s about the experiences that just kind of led, one after another, going from three kids that were basically living or touring out of a van to then becoming a huge band.”
Grohl says that the divisive 1993 follow-up turned into the “uncomfortable soundtrack” to that transition from obscurity to intense scrutiny, with the band living in a totally “different world” during the sessions for that album than they were just 16 months earlier.
Trying to put the leap into perspective, Novoselic says that Geffen Records had such modest expectations for Nevermind that it initially printed only 50,000 CD copies. O’Brien adds that he spoke to someone who worked at the label at the time who noted that when the album with “Smells Like Teen Spirit” as its lead single blew up Geffen had to stop printing copies of titles by all its other artists to go full-born on Nevermind.
The three-year period between when Nevermind dropped and singer Kurt Cobain‘s death by suicide in April 1994 felt like “10 years,” according to Novoselic, with Albini putting a button on the chaotic whirlwind by describing how Nirvana went from being “couch surfers to being the biggest band ever in the world” in a span of 18 months.
The problem, O’Brien posits, is that Nirvana came out of the punk scene, where he suggests that flossy displays of wealth and success were considered anathema to the ethos of the DIY culture. Albini, however, pushes back against what he says is a notion often espoused by those outside the scene that punks consider success to be “bad and evil.” It’s worth noting that Cobain was an avowed admirer of he Beatles and that the retro video for the Nevermind single “In Bloom” was an homage to Beatlemania.
“I have never experienced that genuinely from anybody in the punk scene that wasn’t purely an expression of jealousy,” Albini says, adding that, for the most part, Nirvana’s fans wanted them to become successful and beloved. O’Brien clarifies that he was thinking more of the immense pride the band had in topping the charts — Nevermind went from selling 6,000 copies in its first week to hitting No. 1 on the Billboard 200 album chart in January 1992, pushing Michael Jackson’s Bad from the top spot — combined with a WTF? feeling from the band at their historic ascent.
“Before we made the record Nevermind we were pretty much living in squalor,” says Grohl, describing the tiny “f—ing disgusting” apartment he shared with Cobain that was covered in corndog sticks and cigarettes. “I would have done anything to have my own apartment and to be able to do that through making music.”
And, to be fair, the Foo Fighters frontman says he didn’t have $1 million in his bank account overnight when success came, but rather suddenly his per diem was a lordly $15 per day, enough for two packs of cigarettes. Grohl also says he didn’t feel conflicted or harbor any shame in helping to pay off his mother’s house or buying her a car with his newfound cashflow.
“I think the reason why I didn’t feel personally conflicted was because I knew the band hadn’t done anything outside of our true selves to get there,” Grohl says.
The full interview with the trio will debut on Monday (Oct. 23) on the Conan O’Brien Needs a Friend podcast, with an extended version including music slated to debut that same day at 6 p.m. ET on SiriusXm’s Lithium (channel 34); additional broadcasts (all ET) will take place on Oct. 23 at 9 p.m.; Oct. 24 at 10 a.m.; Oct. 25 at 12 a.m. and 1 p.m.; Oct. 26 at 5 p.m.; Oct. 27 at 8 a.m. and 8 p.m.; Oct. 28 at 2 p.m. and Oct. 29 at 6 a.m. and 6 p.m.
Watch the preview of Grohl, Novoselic and Albini on Conan O’Brien Needs a Friend below.
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Impossible is simply a challenge. Just look at Blink-182, which has reunited with its classic lineup for One More Time… (via Columbia), a project millions of fans hoped and dreamed for, but, until a year ago, no-one would have bet a buck on.
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In October 2022, the pop-punk legends announced a reunion with former singer/guitarist Tom DeLonge for a 2023 global tour and the single “EDGING”.
After twice leaving the band — in 2005 and then again in 2014 — DeLonge is back in the lineup alongside singer/bassist Mark Hoppus and drummer Travis Barker for One More Time…, which dropped at the stroke of midnight.
One More Time… is the trio’s ninth studio, and includes “Edging” and previously released title track – both of which led Billboard’s Alternative Airplay chart.
Produced by Barker, it features 17 new songs that “capture the band at the top of their game, layering in themes of tragedy, triumph and most importantly, brotherhood.”
Hoppus, who received a cancer diagnosis in 2021 and, following treatment, got the all-clear in 2022, has said that the new LP is, without a doubt, “one of the best albums we’ve ever made.”
According to a release announcing the project, One More Time… was recorded during a stretch of the Live Nation-promoted 2023 reunion tour, which kicked off with a surprise last-minute addition to the lineup for April’s Coachella Festival.
One More Time… is the followup to 2019’s Nine, the group’s second and final album to feature Alkaline Trio’s Matt Skiba in the guitarist/vocalist spot left vacant by DeLonge.
Blink-182 has eight top 10 hits on the Billboard 200 chart, including No. 1s with Take Off Your Pants And Jacket (from 2001) and California (2016).
The band completes its U.S. round of dates this weekend at When We Were Young festival in Las Vegas, with a run of arena dates to follow in Australia and New Zealand next February and March, then shows in Peru and Mexico.
Stream One More Time… below.
The Rolling Stones are back! The iconic rock n’ roll band unveiled their 26th studio album, Hackney Diamonds, on Friday (Oct. 20). Hackney Diamonds marks the first new Rolling Stones album of original music since the release of 2005’s A Bigger Bang, which peaked at No. 3 on the Billboard 200 chart. The album also is the […]
With its jump into the top 10 of Billboard’s Adult Alternative Airplay chart dated Oct. 21, U2’s “Atomic City” gives the band sole possession of the most top 10s in the ranking’s 27-year history. “Atomic City” vaults 17-4 in its second week on the list, becoming U2’s 27th top 10. That breaks the Bono-led band […]
Mitski retains her lead on the TikTok Billboard Top 50 chart, while Future and Drake make major moves on the Oct. 21-dated survey.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity Oct. 9-15. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
Mitski’s “My Love Mine All Mine” remains at No. 1 on the TikTok Billboard Top 50 for a second week. It’s the second song to reign for more than one week in the tally’s six-week existence, following FamousSally and YB’s “Wassup Gwayy.”
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Concurrently, “My Love Mine All Mine” zooms 9-7 on Billboard’s Hot Rock & Alternative Songs chart, sporting a gain of 28% to 10.7 million official U.S. streams Oct. 6-12, according to Luminate. It also crowns Alternative Streaming Songs, Mitski’s first ruler there.
A pair of debuts follow Mitski, led by Future’s “Wicked,” which bows on the TikTok Billboard Top 50 at No. 2. Why is a song from Future’s 2016 Billboard 200 No. 1 album EVOL ranking so high on a chart in 2023? A dance trend soundtracked by the tune, which mostly utilizes the uploader’s hands. “Wicked” peaked at No. 41 on the Billboard Hot 100 in July 2016.
Meanwhile, a brand-new song enters at No. 3: Drake’s “IDGAF,” featuring Yeat. Simultaneously debuting at No. 2 on the Hot 100 (40.8 million streams) and from the rapper’s new album For All the Dogs (No. 1 on the Billboard 200), “IDGAF” is the runaway success from the LP on TikTok, with users utilizing the sound in a variety of ways, from memes to simply discussing how much they like it.
Four Drake songs from For All the Dogs appear on the TikTok Billboard Top 50 in all, with “IDGAF” followed by “Virginia Beach” (No. 23), “First Person Shooter,” featuring J. Cole (No. 35) and “Rich Baby Daddy,” featuring SZA (No. 37).
The top TikTok Billboard Top 50 debut after Future and Drake belongs to JaidynAlexis, whose “Barbie” starts at No. 13. JaidynAlexis, with whom rapper Blueface has multiple children (the “Barbie” video was released on his YouTube channel), had not appeared on a Billboard ranking before; “Barbie,” released Oct. 2, has made waves on TikTok via a variety of lip-synching and dance clips.
The chart has also gotten into the Halloween spirit, with a pair of covers of “This Is Halloween” from The Nightmare Before Christmas bowing at Nos. 29 (The Party Cats) and 44 (Hairy & Scary Creatures).
See the full TikTok Billboard Top 50 here, including debuts from Jhene Aiko, Darell, Doja Cat and more. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
The Rolling Stones, we’ve learned over the years, is a juggernaut that simply can’t be stopped.
On Friday (Oct. 20), the rock ‘n’ roll legends drop Hackney Diamonds, the British band’s first new studio album or original material in 18 years.
Collaborators include Lady Gaga, Stevie Wonder, Elton John, former bass player Bill Wyman, and, yes, Paul McCartney, creating a “supergroup” — a “dream team” — that unites arguably the two greatest bands of all time, the Beatles and the Stones.
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Ahead of release, guitarist Ronnie Wood stopped by The Tonight Show Starring Jimmy Kimmel on Thursday (Oct. 19) to give the low-down on the new record, the followup to 2005’s A Bigger Bang.
Wood’s verdict? It rocks.
“I can say it’s about time,” he tells Fallon. “It feels so exciting. Because I’m so excited about every track on it, every track has something to say and a different direction.”
That excitement should spill over to Stones fans, even more so with confirmation that the Stones are preparing for live performances.
“We’ve been doing a little rehearsing to see how these songs translate live,” Wood explains. “And they’re really cooking.”
Hackney Diamonds includes contributions from the band’s late drummer, Charlie Watts, who died August 2021, aged 80, a blow that had many fans wondering if we’d ever see or hear again from the Stones. Wood paused to remember his former bandmate. “Some things are beyond our control,” he recounts. “Losing Charlie was one of those things.”
As previously reported, Gaga and Wonder perform on the song “Sweet Sound of Heaven,” while Elton contributes piano to “Live By the Sword.” The late Watts contributes to two of the songs.
It’s McCartney’s bass work on “Bite My Head Off” that has everyone talking, including the two-time Rock And Roll Hall of Famer.
The song is a ball of energy, reckons Wood, and Paul was “so blown away. He was a bit like a school boy, a kid in a toy shop. He loved it. He said, ‘my dreams, a Beatle gets to play on a Rolling Stones album.’”
Hackney Diamonds is the Rolling Stones’ 24th studio album. “We didn’t want to make just any record and put it out,” frontman Mick Jagger said during a live stream in London last month to present the record. “Before we went in [the studio], we said we had to make a record that we really love ourselves. We must say that we are quite pleased with it. I’m not saying we are big-headed about it, but we’re pleased with it and we hope that you all like it.”
Watch Ronnie Wood’s late night interview below.
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After reuniting in September 2022 to end a five-year break, Yellowcard has enjoyed a memorable 2023: the pop-rock veterans released their first new project in seven years, the Childhood Eyes EP, this summer, right around the time they celebrated the 20th anniversary of their beloved 2003 album, Ocean Avenue. That breakthrough full-length included hits like “Ocean Avenue,” “Way Away” and “Only One,” and became the first of their seven albums to reach the top 40 of the Billboard 200.
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Yellowcard will bring their hits to Las Vegas this weekend as part of When We Were Young, the huge pop-punk and emo festival that is back for its second year beginning on Saturday (Oct. 21). Green Day and Blink-182 will be headlining in 2023, and Yellowcard will be sharing a stage that also includes The Offspring, Good Charlotte and 5 Seconds of Summer, among others.
Ahead of When We Were Young — and a 2024 that promises to keep fans of their toes — Yellowcard leader Ryan Key checked in with Billboard about the band’s recent EP, future plans and more, in this edition of 20 Questions:
What’s the first piece of music that you bought for yourself, and what was the medium?
Michael Jackson’s Bad on CD.
What was the first concert you attended?
New Kids on the Block and Boyz II Men at the Jacksonville Memorial Coliseum.
What did your parents do for a living when you were a kid?
My dad was general manager / vice president of a car dealership and my mom was a mom.
Who made you realize you could be an artist full-time?
My mom was a huge source of support for me as a kid and encouraged my creativity, but actually my high school theater teacher, Michael Higgins, made me realize I could be an artist.
What’s at the top of your professional bucket list?
The very top? To one day sit at the Oscars, nominated for an Academy Award for Best Original Score. When I’m not touring with Yellowcard these days, I’m working towards furthering my career in film scoring.
How did your hometown/city shape who you are?
The most influential part of my upbringing in Jacksonville, Florida was attending Douglas Anderson School of the Arts. I feel like most people don’t look back very fondly on their high school experience but mine transformed my life.
What’s the last song you listened to?
I just walked downstairs from the studio, and the Imperial March from Star Wars was playing.
If you could see any artist in concert, dead or alive, who would it be?
Nirvana.
What’s the wildest thing you’ve seen happen in the crowd of one of your sets?
2006 – Brazil. Mix Festival in Sao Paulo, 50,000 people in attendance. The entire place was a giant mosh pit, and in the middle of it, the fans made a human pyramid that was 3 people high and hoisted a Brazilian flag with a Yellowcard logo in the middle of it. It was iconic and I’ll never forget it.
How did the pandemic affect your creative process?
When I lost the ability to tour, I was pretty scared. At that point I didn’t know that Yellowcard would ever be a part of my life again, so losing the ability to play shows on my own made the future and my income really uncertain. In the end, the pandemic turned out to be a strangely positive experience for me though, because it taught me how to take my professional life online, and I built a community with fans like I’d never had before.
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What was the reception like to Yellowcard’s Childhood Eyes EP upon its July release?
Overwhelmingly positive. We were all amazed by the outpouring of support and love for the new songs.
How did the EP capture where the band might be headed next?
We hoped that, with this EP, we were able to rediscover the core sound of the band while also representing who we are now. I think we found exactly the direction we were looking for, and if we do any more new music, we’ll continue down that path.
Yellowcard is playing When We Were Young this weekend. What are you most looking forward to about the festival?
Watching Blink-182 and Green Day play two-hour sets each night.
When We Were Young exploded last year, with some industry members surprised at the demand for a major pop-punk/alternative/emo festival. What do you think the overall reaction to the festival says about where that sound is at?
I think it’s incredibly encouraging for bands like Yellowcard, who are realizing how much life there is left in our careers.
You’ve toured with a lot of the When We Were Young bands. Have you been able to stay in touch with many of them over the years?
Yes – some of my oldest and closest friends will be in Las Vegas, and I think we are all looking forward to recreating the Warped Tour environment and supporting each other.
What’s one thing your most devoted fans don’t know about Yellowcard?
The chorus melody and lyric on “Honest From the Jump” (from our recent Childhood Eyes EP) was taken note for note from one of my solo compositions recorded back in 2020, from a song called “Brighton.” You can hear it on my EP, Everything Except Desire.
What’s your karaoke go-to?
“Say It Ain’t So” by Weezer.
What movie, or song, always makes you cry?
“Evaporated” by Ben Folds Five.
What’s one piece of advice you would give to your younger self?
Get started making electronic music much earlier.
What can Yellowcard fans look forward to in 2024 and beyond?
Everything is top-secret right now, but we have some amazing plans for next year. Fans can follow us on social media to make sure they don’t miss future announcements.
Amazon Music Live is continuing its Thursday Night Football programming throughout the fall, and Amazon Music revealed its upcoming string of star-studded headliners. Explore See latest videos, charts and news See latest videos, charts and news Hosted by 2 Chainz, Amazon Music’s weekly livestreamed concert series after Thursday Night Football will feature Peso Pluma as the performer […]