Rock
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Billie Eilish ties Imagine Dragons for the most No. 1s – five each – in the 15-year history of Billboard’s Hot Rock & Alternative Songs chart, as “Birds of a Feather” lifts to the top of the Aug. 17-dated survey.
“Birds of a Feather” reigns via 31.8 million radio audience impressions, 22.4 million official U.S. streams and 4,000 downloads sold in the week ending Aug. 8, according to Luminate.
The song follows “Lunch,” which ruled for a week in June, as Eilish’s second leader from her album Hit Me Hard and Soft, released in May.
Eilish first hit No. 1 on Hot Rock & Alternative Songs with “My Future” in 2020 and returned to the top with “Happier Than Ever” in 2021 and “What Was I Made For?” in 2023.
Eilish now shares the record for the most leading titles despite often not being eligible for the tally at the onset of her career, as prior to June 2020, the ranking reflected songs specifically within the confines of the rock genre; since then, it has incorporated alternative music that may have roots in a genre other than rock, such as pop, dance and more.
Most No. 1s, Hot Rock & Alternative Songs:5, Billie Eilish5, Imagine Dragons4, Twenty One Pilots3, Zach Bryan3, Foo Fighters3, Linkin Park
Concurrently, “Birds of a Feather” lifts 2-1 on Hot Alternative Songs, likewise marking her fifth leader. Since the chart began in 2020, only Noah Kahan, Olivia Rodrigo and Taylor Swift also boast more than one leader, with two apiece.
As previously reported, “Birds of a Feather” becomes Eilish’s first No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.
On the all-genre Billboard Hot 100, “Birds of a Feather” leaps 10-7 for a new high as the chart’s top Airplay Gainer.
“Birds of a Feather” debuted at No. 4 on Hot Rock & Alternative Songs upon the chart arrival of Hit Me Hard and Soft. It has steadily risen since, with eight weeks at No. 2 prior to its coronation, thanks at first to attention on TikTok, followed by gains on radio, where it’s followed “Lunch” as the LP’s latest promoted single. It jumps 11-8 on the Pop Airplay list dated Aug. 17 and 25-16 on Adult Pop Airplay.
Hit Me Hard and Soft debuted at No. 1 on the Top Rock & Alternative Albums chart dated June 1 and has reigned for eight weeks. It has earned 1.2 million equivalent album units to date.
The music world continues to line up in support of the presumptive democratic presidential ticket topped by Vice President Kamala Harris and Minnesota Gov. Tim Walz. The dynamic duo who have been barnstorming the country for the past two week since Harris swiftly swapped in to replace President Biden in their bid to deny former President Donald Trump a second term have been getting a boost from a series of music- and celebrity-oriented online fundraisers.
Over the past two weeks a series of cash-cow Zoom fundraisers by “Women for Harris,” a celebrity-studded “White dudes for Harris,” “Latino men for Harris,” “Comics for Harris,” “Cat ladies for Harris,” “VCs for Harris,” as well as Tuesday’s (August 13) “Deadheads for Harris” have raised tens of million; there is also an upcoming (August 27) Zoom organized by Swifties4Kamala.
Now Hoboken, N.J.’s finest, indie pop power trio Yo La Tengo, are making it personal. As in offering to play a private show at the location of your choice to raise funds for the democratic ticket that has injected a dose of joy and energy into a campaign that was seen by many as a grim choice between a struggling sitting president and a divisive former one.
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“In 40 years of touring, Yo La Tengo have brought their music to a wide array of venues: clubs of all sizes, festival stages, minor league baseball stadiums, festival side-stages, an amusement park, the odd pavilion, and a zoo, as well as the occasional empty room, including once by design (see Hanukkah 2020),” the band wrote in a pitch to superfans.
“They have, however, performed only a small handful of ‘house shows.’ Until now!,” they added. “Yo La Tengo would like to announce their availability for a series of intimate acoustic concerts for individuals willing to make a sizable donation to the Harris / Walz U.S. presidential ticket.”
Proposals for the shows will be prioritized by the band based on the amount of the intended contribution, location and trio’s availability, with the bidder in charge of corralling an audience. No filming will be allowed at the shows, though non-performance photos are allowed.
“The other details are up to you, Mx. Big $pender,” they said. “Bring Georgia [Hubley, drums/vocals], Ira [Kaplan, vocals/guitar], and James [McNew, bass/vocals] to your backyard for a quiet get-together with your closest friends! Book them in your living room, basement, barn, or local VFW hall for an audience of people you’ve never met in your life! The logistics are (mostly) your problem, but if you’re willing to spend big to support the Democratic ticket in 2024, Yo La Tengo will come to you.”
Interested fans can fill out a form here, with the band noting that it would be helpful, but not mandatory, for the proposed events to line up with the group’s upcoming tour dates.
If you weren’t lucky enough to attend last September’s all-star tribute to Bruce Springsteen‘s beloved 1982 solo album Nebraska in Nashville, you’re in luck. The show, Bruce Springsteen’s Nebraska: A Celebration in Words and Music will air on PBS on August 31. The first trailer for the special — which is available now on the […]
Jack White never does things the typical way. Take, for instance, the idiosyncratic roll-out of his latest solo album, No Name, which initially was secretly released on July 19 as a free, unlabeled vinyl to unsuspecting customers at his Third Man Records stores in Detroit, Nashville and London. Though he did release it commercially on August 1 as a blue-colored vinyl LP exclusively to independent record stores, and then as a digital download on August 2, his plan to promote the sneak-attack album is just as unconventional.
In an Instagram post on Tuesday (August 13), White explained his plan for an equally sneaky tour in support of the LP, which will take him to small clubs, back yard BBQs and a few festivals to pay the bills. In another surprise, the tour has already begun, but you won’t know if he’s coming to your town because shows will be announced with little advance notice.
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“Hello, and love to all the peoples of the world out there. Lotta folk asking about when we are going to announce ‘tour dates,’ well, we don’t know what to tell you but the tour already started at the Legion a couple of weeks ago,” White wrote of a gig he played at the cozy American Legion Post 82 in Nashville to raise money for a new sound system for the venue. “People keep saying that these are ‘Pop up shows’ we’ve been playing, well, you can call them whatever you want, but we are on tour right now. These are the ‘shows.’”
White and his current band also played a 1,000-capacity show at Detroit’s Saint Andrew’s Hall in his native town on August 5 that served as a kind of album release show for No Name.
The proof is in the pudding, including another pop-up in Nashville on Tuesday night at the 575-capacity The Basement East club, where he tore it up, eliciting urgent questions from fans such as, “Can you perform in my basement, the sound will be absolutely s–tty [fire emoji].” The unorthodox outing is in keeping with White’s longtime allergy to following the rules, from the strict red, white and black color scheme for his previous band, the White Stripes, to the shortest concert ever — a single note — by the Stripes in Newfoundland, Canada in 2007 that consisted of a single note and a cymbal crash.
White continued, “We won’t really be announcing dates in advance so much, we will mostly be playing at small clubs, back yard fetes, and a few festivals here and there to help pay for expenses. Shows will be announced as close to the show date as possible, some shows we won’t even decide to do until that morning. I also want to walk through orchard fields and grab apples off of trees at will and fill my belly full of that fruit if the desire strikes me. I’m looking for that cool breeze you know? Lots of love and rock and roll to you all and you are blessed for giving that love to others, we hope that we see you out on the road soon, if not let’s get coffee and a slice of pie sometime? Music is sacred.”
At press time the only official date on White’s tour itinerary is an appearance at the Desert Daze festival in Rancho Las Perris, CA in October.
Check out the poster and footage from Tuesday night’s show below.
Jack White scores his seventh solo top 10-charting set on Billboard’s Top Album Sales chart as his latest release, No Name, debuts at No. 8 on the chart dated Aug. 17. The effort was initially secretly released on July 19 as a free, unlabeled vinyl to unsuspecting customers at Third Man Records stores in Detroit, Nashville and London. It was then commercially released on Thursday, Aug. 1 as a blue-colored vinyl LP, exclusive to independent record stores, and then widely as a digital download album on August 2.
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In the tracking week of Aug. 2-8 (all Billboard album charts reflect a Friday-Thursday tracking week), No Name sold 7,000 copies – with nearly 4,500 on vinyl. (In the week ending Aug. 1, the album sold about 1,000 copies – all on vinyl.)
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No Name will garner a wider release on Sept. 13 when a standard black vinyl and a CD are due out.
Also in the top 10 of the new Top Album Sales chart, Taylor Swift’s The Tortured Poets Department returns to No. 1 for a seventh nonconsecutive week, Ye (formerly Kanye West) and Ty Dolla $ign’s Vultures 2 debuts at No. 2, Red Velvet’s Cosmic starts at No. 6, Orville Peck’s Stampede gallops in at No. 9 and X’s Smoke & Fiction launches at No. 10.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
The Tortured Poets Department jumps 6-1 on Top Album Sales with a 606% gain to 84,000 copies sold. The set’s sales were bolstered by a number of drivers during the tracking week. It was released in five new digital album variants via Swift’s official webstore for a limited time, each containing the standard album’s 16 songs, along with one exclusive bonus track for $4.99 each (one album contained a “first draft phone memo” version of “My Boy Only Breaks His Favorite Toys,” while the other four contained one live track each from recent stops during her The Eras Tour). In addition, for a limited time, the store restocked three previously available digital album variants with exclusive bonus cuts, and a signed CD edition. Her store also staged a brief sale pricing promotion, whereby 16 previously available physical variants of the album were all discounted by 13% (as 13 is Swift’s favorite number).
At No. 2 on Top Album Sales, Ye and Ty Dolla $ign’s delayed Vultures 2 lands with 60,500 sold in its first week. The set’s opening-week sales were aided by its availability across a widely available standard explicit edition, and a late-in-the-week-released clean edition (on Aug. 8), but no physical formats. Vultures 2 was originally slated for release on March 8, but was released with little advance warning on Saturday, Aug. 3.
Ye’s official webstore also issued five additional explicit digital album variants of Vultures 2 on Wednesday (Aug. 7) and Thursday (Aug. 8), each containing the standard album’s 16 tracks, along with one exclusive studio bonus track per album. All digital albums on Ye’s webstore sold for $5 each. The Vultures 2 album, both clean and explicit, was also discounted to $4.99 in the iTunes Store in the tracking week.
Stray Kids’ ATE falls 1-3 on Top Album Sales in its third week after spending its first two weeks atop the chart. ATE sold a little more than 26,000 copies in the latest tracking frame (down 41%). ENHYPEN’s Romance: Untold is a non-mover at No. 4 with just over 12,000 sold (down 20%).
Billie Eilish’s Hit Me Hard and Soft climbs 11-5 with nearly 10,500 sold and a 35% increase – the set’s first weekly sales gain in its 12 weeks of release. (The gain is largely owed to sales generated by non-traditional retailers, inclusive of Internet-based sellers like Eilish’s official webstore.)
Red Velvet claims its first top 10-charting effort on Top Album Sales as Cosmic debuts at No. 6 with 8,500 sold – the group’s best sales week yet. The Korean pop ensemble previously got as high as No. 40 in 2020 with The Reve Festival: Finale. Cosmic was released as a digital download album, and through streaming services, on June 24. Its physical release, across five CDs, came on Aug. 2. The CD variants include collectible paper ephemera, including a photocard, sticker and a poster (some randomized).
Chappell Roan’s The Rise and Fall of a Midwest Princess returns to the top 10 after three weeks, as the album bolts 17-7 with nearly 8,500 (up 34%). The album’s ascent comes after Roan’s rousing reception at Lollapalooza on Aug. 1.
Orville Peck notches his second top 10 on Top Album Sales as his new studio effort Stampede bows at No. 9 with 6,500 sold in its first week. The set’s sales were bolstered by its availability across eight vinyl variants, which collectively sold nearly 4,500 – enabling its debut at No. 4 on the Vinyl Albums chart.
Closing out the top 10 on the new Top Album Sales chart is X’s new studio album Smoke & Fiction, debuting at No. 10 with the veteran band’s best sales week in the modern era (since 1991, when Luminate began tracking sales), nearly 6,500 sold. It’s also the first top 10 for the act on the Top Album Sales chart. The new set is promoted as the final studio album from the band, which first dented a Billboard chart in 1981 when Wild Gift reached No. 165 in June of that year on the Billboard 200. Smoke & Fiction’s first-week sales were aided by the set’s availability across five vinyl variants, which collectively sold a little over 4,000 copies (enabling its debut at No. 6 on the Vinyl Albums chart).
Foo Fighters closed a two-date stand at Los Angeles’ BMO Stadium on Sunday night with a nearly three-hour set that would have threatened to blow the roof off the venue if it had one. From the high-octane opener “The Teacher” (which is typically part of the encore) to standard closer “Everlong,” Dave Grohl and bandmates […]
Perry Farrell is reclining with a vitamin IV inserted into his left arm, talking about the reunion of Jane’s Addiction, a band that redefined rock music the ‘80s and ‘90s, and offering a stream-of-thought commentary about his music and the state of the world.
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“I don’t want to talk badly about anybody, but I shouldn’t want to let people get away with murder and destroy this planet,” Farrell tells Billboard’s Behind the Setlist podcast when asked about his mindset regarding the intersection of music and commerce. “This planet is too precious to me, and my way of of combating that is to sing [and] to wisen myself. And then I try to get through [using] art and music. And then I build the party and I invite the best people I could invite. And they invite their friends, and they want to show up. And then the next thing you know, you’re standing next to people you’d never be standing next to, you know, and they’re all getting off, and they’re doing their thing, and they feel safe and they feel welcome.”
Jane’s Addiction has been through breakups, arguments and a rotating cast of visiting and semi-permanent members since their 1990 LP Ritual de lo Habitual. This time around, though, Farrell has gathered his original bandmates — guitarist Dave Navarro, bass player Eric Avery and drummer Stephen Perkins — for the first time since 2010.
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The foursome toured Europe from May to July and released a blistering new track, “Imminent Redemption,” on July 24 that harkens back to the group’s first two studio albums, 1988’s Nothing’s Shocking and Ritual de lo Habitual. “It was wonderful to have us all together again,” Farrell admits.
Next comes a co-headlining tour with Love and Rockets that started on Aug. 9 and runs through Sept. 26. “The tour is centered around the the idea of redemption,” says Farrell. “And the era that we’re living in, the era of redemption, it’s going to be a bumpy road. But then there should be peace for 1,000 years. I’ve studied mysticism for a good 30 years. I’m looking forward to the future of the world.”
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With the original members reunited, Farrell says the concerts are featuring only songs they recorded together: the initial three albums — including the 1987, self-titled live album — and “Imminent Redemption.” That means nothing from 2003’s Strays, which features the band’s highest charting single, “Just Because,” nor 2011’s The Great Escape Artist. Strays featured bass player Chris Chaney in place of Avery. Chaney and Dave Sitek from the band TV on the Radio played bass on The Great Escape Artist.
“I wanted everybody to feel comfortable,” Farrell says about the decision not to play songs from other incarnations of Jane’s Addiction. “And I think that was the a good decision. In that regard, I like it. There are other songs that we could do with the original members. That I would like to see before everything is … I don’t want to say busted apart, but I don’t know the next time we’ll be touring again.”
The road to redemption hasn’t been without its bumps, though. Last year, Farrell told a journalist the band planned on entering the studio and recording a new album after a tour in Australia. One of those tracks was “True Love,” a song the band debuted on tour in 2023. But while “Imminent Redemption” reached the public, no album materialized.
“I’m sad to say we got those two songs out, and I thought we were going in a great direction, and all of a sudden, you know, arguing started happening again,” Farrell says with disappointment. “But we’ll still go forward,” he adds. “I’m not going to give up. Not giving up on this. I have to put my money where my mouth is. If I want to talk about freedom and redemption, I’ve gotta live it—and I’ve gotta be truthful too, about it. So, hang in there and pray, really pray for us. I’m praying for the world to to come together.”
Listen to the entire interview with Perry Farrell at the embedded Spotify player, or go to Spotify, Apple Podcasts, iHeart, Amazon Music or Everand.
An exhibition at Seattle’s Museum of Pop Culture has sparked a heated conversation about the real-life use of the slang term “un-alived,” which was spotted on a MoPOP placard that says Nirvana frontman Kurt Cobain “un-alived himself at 27.”
Cobain died by suicide at age 27, on April 8, 1994. The Seattle museum shared this fact on an information card about the “27 Club” (a grouping of artists who all tragically passed away at the young age of 27), patrons have reported.
But in place of “died by suicide,” MoPOP printed the internet slang “un-alived.” The Museum of Popular Culture additionally put up a placard about the social context of the term’s usage in the digital age, also noting that “the Guest Curator has chosen to utilize the term as a gesture of respect towards those who have tragically lost their lives due to mental health struggles.”
On Saturday (Aug. 10), Stereogum pointed out many on social media were likening saying the word “un-alived” in real-life discussions regarding mental health — rather than using it only to circumvent censorship from algorithms on internet platforms like TikTok — to the dystopian world of George Orwell’s 1984, despite the museum’s explanation.
Orwell wrote of “Newspeak,” a simplified, government-directed language intended to limit critical thinking, in the novel. One element of the fictional Newspeak grammar included tagging the simple prefix “un” onto words, instead of developing an expanded vocabulary.
“this is what george orwell was warning us about with 1984,” read one comment on X (formerly Twitter) posted Friday about the museum exhibit material using the word “un-alived.”
“That moment when it wasn’t the government but youtube and social media which caused newspeak from 1984 to become a real thing lmfao,” another person on X added. “And people still say that ‘these are private companies, they don’t have to allow speech they don’t want!’ Yes they do, they are the town square now.”
Meanwhile, another user on the platform offered a different perspective: “It’s MOPop who cares. Their exhibits talk in internet lingo all the time because it’s about pop culture. It’s basically a glorified collection showcase. Twitter people saw the word ‘museum’ and lost their s—.”
Meanwhile, someone else quipped, “This will help them [the museum] go viral on tiktok.”
By Sunday evening, the conversation thread had a new reply with an updated photo — one that showed the wording on the placard has apparently been changed, with “un-alived” being edited to “died by suicide.”
There’s a placard next to it that talks about the social context of “unalive” in how people talk about mental health but this is still stupid pic.twitter.com/iKA30ECUW7— ブランドン (@burandon_sama) August 9, 2024
Ray LaMontagne reaches No. 1 on Billboard’s Adult Alternative Airplay chart for a third time as “Step Into Your Power” ascends to the top of the Aug. 17-dated tally. Explore Explore See latest videos, charts and news See latest videos, charts and news The singer-songwriter last ruled with “Strong Enough” for seven weeks beginning in […]
Spuds of the world unite! Everyone’s favorite devolution merchants, Devo, popped in to NPR’s Tiny Desk studio recently for a raucous four-song set for the public radio series that featured one obscure track they hadn’t performed live in more than four decades.
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With founding singer/keyboardist Mark Mothersbaugh leading the charge alongside brother and longtime guitarist Bob Mothersbaugh and original bassist Gerald Casale, the group bounded out of the gate with the bluesy, bouncing rarity “It Takes a Worried Man.” The song — inspired by the folk/roots classic “Worried Man Blues” — was originally recorded for the little-seen 1982 nuclear panic comedy Human Highway, which was directed by Neil Young, who also co-starred alongside Dean Stockwell, co-writer Dennis Hopper and Devo, who played radioactive waste garbage men in orange outfits and hard hats accented by plastic tubes that snaked down into the band member’s noses.
In addition to Mothersbaugh’s sermon-like breakdown about how everyone is just going for that “big ice cream cone in the sky,” the song featured a wiggy keyboard solo from the frontman, who ,alas, was not wearing the band’s signature yellow flower bucket hat.
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“Wasn’t that uplifting?” said Casale. “See? De-evolution isn’t depressing.” The band then dipped into 1979’s twitchy “Blockhead” from their second studio album, Duty Now For the Future. “Never tips over/ Stands up on his own/ He is a blockhead/ Thinking man full grown/ He comes well-prepared,” Mothersbaugh bellowed in the song about the titular, boring character who he also describes as a “Cube top/ Squared off/ Eight corners/ 90 degree angles/ Flat top” kind of guy.
Joking that he was looking to get spiritual, Casale then set up the buzzing, frenetic surf punk burner “Praying Hands,” which appeared on Devo’s iconic 1978 debut album, Q: Are We Not Men? A: We Are Devo! Shouting the lyrics through a megaphone, Mothersbaugh yelped, “You got your left hand/ You got your right hand/ You got your left hand/ You got your right hand/ While the left hand diddling/ While the right hand goes to work.”
Mothersbaugh, 74, wasn’t content to just blast his hand jive from behind the desk, so he went into the audience to ask NPR staffers what their hands were doing at that very moment before dropping to his knees and putting on a sailor’s cap he’d found in the NPR closet earlier. After rummaging around in the Tiny Desk closet to find some alternate headgear for the 17-minute show, Devo ended the set with another song from their debut, the galloping, herky jerky “Come Back Jonee.” During that one, Mothersbaugh swiped through a series of other hats he pilfered from the public radio storeroom, but, alas, none of them in the shape of the band’s iconic yellow bucket chapeaus.
Devo, who celebrated 50 years of devolution last year, will play the Ohana Festival in Dana Point, CA on Sept. 24.
Watch Devo’s NPR Tiny Desk show below.
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