Rock
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Foo Fighters brought a little taste of Halloween to Studio 8H. In a brief promo shot leading up to their first Saturday Night Live musical performance on Oct. 28, the Dave Grohl-led rock outfit dressed up as the main characters from the classic 1939 film. The Foos also shared a brief video of their fantastic […]
Blink-182’s One More Time bows atop the Billboard 200 albums chart (dated Nov. 4), securing the rock trio its third chart-topping set. The new full-length studio album begins with 125,000 equivalent album units earned in the U.S. in the week ending Oct. 26, according to Luminate, largely powered by traditional album sales.
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One More Time is Blink-182’s first album with the group’s longtime lineup of drummer Travis Barker, vocalist/bassist Mark Hoppus and guitarist/vocalist Tom DeLonge since DeLonge departed the group in 2015 for seven years, and the first studio effort from that trio since 2012’s Dogs Eating Dogs EP. (Barker, Hoppus and DeLonge comprised Blink-182 during the band’s mainstream breakthrough in 1999 through 2014.)
Blink-182 previously hit No. 1 on the Billboard 200 with 2016’s California (with the lineup of Barker, Hoppus and guitarist/vocalist Matt Skiba) and 2001’s Take Off Your Pants and Jacket.
One More Time was led by a pair of No. 1s on Billboard’s Alternative Airplay chart: “Edging” (No. 1 for 13 consecutive weeks in 2022-23, the band’s longest run at No. 1 with any of its five leaders) and the title track (No. 1 for two weeks, thus far, including on the most recently published chart, dated Oct. 28). “Edging” marked the first No. 1 for Blink-182 on the Alternative Airplay chart since 2016’s “Bored to Death,” and One More Time is the first Blink-182 album to generate at least two No. 1s on the survey. Both “Edging” and “One More Time” also reached the all-genre, multi-metric Billboard Hot 100, hitting Nos. 61 and 62, respectively – the band’s highest-charting Hot 100 entries since 2004’s “I Miss You” reached No. 42.
Also in the top 10 of the new Billboard 200, The Rolling Stones extend their record for the most top 10-charting albums in the history of the list, as Hackney Diamonds debuts at No. 3, marking the group’s 38th top 10 effort. It’s the Rock & Roll Hall of Famer’s first studio album of all-original material since 2005’s A Bigger Bang.
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 Nov. 4, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 31). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of One More Time’s 125,000 equivalent album units earned in the week ending Oct. 26, album sales comprise 101,000 (making it the top-selling album of the week), SEA units comprise 23,000 (equaling 30.19 million on-demand official streams of the set’s songs) and TEA units comprise 1,000.
Sales of One More Time were bolstered by its availability across 11 vinyl variants (which combined to sell 49,000 copies — the largest sales week for a rock album on vinyl in 2023), a standard CD, a cassette, and a deluxe boxed set with a branded shirt and a CD contained inside. The trio also released a late-in-the-week deluxe digital edition of the album, exclusively sold on the band’s webstore beginning on Oct. 25, which boasts two new bonus songs.
Drake’s chart-topping For All the Dogs is a non-mover at No. 2 with 120,000 equivalent album units earned (down 27%). It also scores its first frame at No. 1 on the recently launched Top Streaming Albums chart.
The Rolling Stones’ new studio album Hackney Diamonds debuts at No. 3 on the Billboard 200 with 101,000 equivalent album units earned. It’s the band’s first effort of all-original material since 2005’s A Bigger Bang, which debuted and peaked at No. 3. Hackney Diamonds marks the Stones’ 38th top 10-charting album, extending the group’s record for the most top 10 albums on the chart (since the list began publishing on a regular, weekly basis in 1956). Hackney Diamonds boasts special guests Lady Gaga, Elton John, Paul McCartney and Stevie Wonder. The set was led by the singles “Angry” and “Sweet Sounds of Heaven” with Gaga. Both reached the Hot Rock & Alternative Songs chart, while “Angry” has also reached the top 10 of the Adult Alternative Airplay tally.
Of Hackney Diamonds’ first-week units, album sales comprise 94,000, SEA units comprise 6,000 (equaling 8.41 million on-demand official streams of the album’s songs) and TEA units comprise 1,000. The album’s sales were enhanced by its availability across more than 30 vinyl variants (totaling 36,000 sold), two deluxe boxed sets (with either a branded shirt or a hat, plus a CD), a digipack CD, a CD/blu-ray box set and a standard CD and download album.
Bad Bunny’s Nadie Sabe Lo Que Va a Pasar Mañana falls 1-4 in its second week on the Billboard 200 with 97,000 equivalent album units earned (down 47%).
The rest of the top 10 on the new Billboard 200 consists of former No. 1s, as Morgan Wallen’s One Thing at a Time climbs 6-5 (69,000; up less than 1%); Taylor Swift’s Midnights rises 9-6 (52,000; up 3%); Swift’s Lover ascends 8-7 (52,000; down less than 1%); Zach Bryan’s self-titled album falls 4-8 (just over 51,000; down 29%); Rod Wave’s Nostalgia dips 7-9 (51,000; down 4%); and Olivia Rodrigo’s Guts is a non-mover at No. 10 (45,000; down 9%).
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.
Whether it’s SoFi Stadium or a random Denny’s in Long Beach, a show is a show. Blink-182 recently staged a concert at one such 24-hour breakfast restaurant, rocking out as if they were playing on a festival stage. “What the f–k is up, Denny’s?” shouted bassist Mark Hoppus in a clip shared by fans on […]
For the first time, Metallica has notched three No. 1 songs on Billboard’s Mainstream Rock Airplay chart from a single album.
“Too Far Gone?” ascends to the top of the Nov. 4-dated ranking, marking the third leader on the list from 72 Seasons, Metallica’s 11th studio album, released in April. “Lux Æterna” led for 11 weeks beginning last December and the title track spent two weeks on top in July.
“Too Far Gone?” is Metallica’s 13th Mainstream Rock Airplay No. 1 overall, slotting the band into a three-way tie with Foo Fighters and Van Halen for the fourth-most rulers in the chart’s 42-year history. Shinedown leads all acts with 18 No. 1s.
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Most No. 1s, Mainstream Rock Airplay18, Shinedown17, Three Days Grace14, Five Finger Death Punch13, Foo Fighters13, Metallica13, Van Halen12, Disturbed12, Godsmack10, Tom Petty (solo and with the Heartbreakers)10, Volbeat
Prior to 72 Seasons, Metallica had scored two Mainstream Rock Airplay No. 1s apiece from three albums: 1996’s Load (“Until It Sleeps” and “Hero of the Day”), 2008’s Death Magnetic (“The Day That Never Comes” and “Cyanide”) and 2016’s Hardwired… to Self-Destruct (“Hardwired” and “Atlas, Rise!”)
Concurrently, “Too Far Gone?” places at No. 7 on the all-rock-format, audience-based Rock & Alternative Airplay survey, after reaching at No. 6, with 3.1 million audience impressions Oct. 20-26, according to Luminate.
On the most recently published multi-metric Hot Hard Rock Songs chart (Oct. 28), “Too Far Gone?” ranked at No. 12. In addition to its radio airplay, the song earned 201,000 official U.S. streams Oct. 13-19.
72 Seasons bowed at No. 1 on the Top Rock & Alternative Albums chart dated April 29 and has earned 324,000 equivalent album units to date.
All Nov. 4-dated Billboard charts will update on Billboard.com on Tuesday, Oct. 31.
Honestly, it’s the most obvious joke out there, so someone had to make it. In a new promo for this weekend’s Saturday Night Live stand-up comedian and first-time host Nate Bargatze is just trying to get through his introduction of himself and musical guest Foo Fighters when break-out featured player Marcello Hernández steps in to spice […]
“We have never thought of ourselves as a rock ‘n’ roll band, more of an ongoing art project,” is how John Taylor has described Duran Duran.
Taylor, the ‘80s heartthrob who co-founded Duran Duran and just happens to play bass guitar like he made a deal with the devil, wasn’t lying.
In the 40-plus years since its members assembled in Birmingham, England, the ongoing project that is Duran Duran has created enough art to fill the National Gallery.
Now, with the release of Danse Macabre, which dropped at the stroke of midnight, Duran Duran is 16 albums deep in a career that’s had it all.
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From their New Romantic origins, advancing into New Wave juggernauts with top-shelf music videos, the classic lineup of Simon Le Bon, Nick Rhodes and the three Taylors, John, Roger and Andy (none are related) dominated the first half of the 1980s like no other group.
That art project split in two (Arcadia and Power Station), scaled down, bagged more hits, enjoyed the comeback smash no-one saw coming, scaled down some more, reunited with the classic lineup, evolved, changed, pushed forward.
Then, a glorious comeback. A headline concert at London’s Hyde Park, a performance at the Queen’s Platinum Jubilee Concert at Buckingham Palace, sold-out shows in the U.S. and induction into the Rock And Roll Hall Of Fame, all in 2022.
And on it goes. Stretching across 13 tracks, Danse Macabre (released is Tape Modern/BMG) is the soundtrack to their “ultimate Halloween party,” a collection of reimagined DD songs, covers (including Billie Eilish’s “Bury A Friend,” The Rolling Stones’ “Paint It Black” and Talking Heads’ “Psycho Killer”) and three fresh cuts, including the previously-released “Black Moonlight” and the title track.
The new release is also a nod to friendships, and includes special collaborations with former band members Andy Taylor and Warren Cuccurullo, plus decades-long collaborator Nile Rodgers, producers Josh Blair and Mr. Hudson, and Victoria De Angelis of Måneskin.
The followup to 2021’s Future Past, which opened and peaked at No. 3 on the Official U.K. Albums Chart, Danse Macabre is another brush stroke in that “ongoing art project” which started more than four decades ago.
Stream Danse Macabre below.
Beartooth notches its second No. 1 on Billboard’s Top Hard Rock Albums chart, as The Surface debuts atop the Oct. 28-dated ranking.
The set bows with 17,000 equivalent album units earned in the Oct. 13-19 tracking week, according to Luminate. Of that sum, 12,000 are via album sales, with 7,000 on vinyl.
Beartooth previously ruled Top Hard Rock Albums in 2018 with Disease, which reigned for a week upon its debut that October. The Caleb Shomo-led band adds its fifth top 10 (and total entry), having also charted with Below (No. 2, July 2021), Aggressive (No. 3, 2016) and Disgusting (No. 6, 2014).
Concurrently, The Surface debuts at No. 9 on Top Rock & Alternative Albums, marking Beartooth’s fourth top 10, dating to the No. 4 debut and peak of Aggressive in June 2016. It also starts at No. 5 on the all-genre Top Album Sales chart, where it’s the band’s second top 10.
The release of The Surface was preceded by a pair of radio singles. “Riptide” peaked at No. 11 on the Mainstream Rock Airplay chart in January, while follow-up “Might Love Myself” lifts 6-5 on the latest list. The latter becomes Beartooth’s first top five hit on Mainstream Rock Airplay among three top 10s, surpassing the No. 6-peaking “Hated” in 2017.
“Might Love Myself” also jumps 22-18 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.8 million audience impressions, up 12%.
Five songs from The Surface rank on the Oct. 28-dated, multi-metric Hot Hard Rock Songs survey, paced by “Might Love Myself” at No. 9. In addition to its radio airplay, the song earned 721,000 official U.S. streams. It’s followed by a debut for “I Was Alive” at No. 11 (779,000 streams).
The stars aligned at Las Vegas’ Sphere on Wednesday night (Oct. 25), as Lady Gaga joined U2 on stage for what turned out to be a mini set.
Dressed in a dark leather jacket, black tights and shades, Mother Monster was introduced to stage by Bono as “the most audacious, vivacious woman in any room she’s ever in,” Variety reports.
Sphere is no ordinary room. It’s a $2.3 billion, next-generation entertainment medium, with floor-to-ceiling graphics, thanks to nearly-580,000 square feet of fully programmable LED paneling — the largest screen of its type in the world. The images that have filtered back from U2’s residency are nothing short of mindbending.
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Gaga came to play, and she dueted on “Shallow,” her Oscar-winning, Billboard Hot 100-leading number from A Star is Born, braced by two U2 classics, Rattle and Hum track “All I Want Is You” and the Joshua Tree hit “I Still Haven’t Found What I’m Looking For.”
U2 & Lady Gaga – I Still Haven’t Found What I’m Looking For (Live at Sphere Las Vegas) pic.twitter.com/D7K6qJclkX— 𝕃𝕚𝕥𝕥𝕝𝕖 𝕄𝕠𝕟𝕤𝕥𝕖𝕣𝕤 🇮🇹 (@LMonstersITA) October 26, 2023
It’s not the first time Gaga and U2 have come together to make sweet music.
Back in 2015, Gaga joined U2 at Madison Square Garden for a rendition of “Ordinary Love,” the rock band’s contribution to the soundtrack for the 2013 Nelson Mandela biopic Mandela: Long Walk To Freedom. On that occasion, the pop singer dueted with Bono and played piano.
Gaga is making something of a habit of teaming up with legendary rock bands from the British Isles. Last week, Gaga took the mic during the encore of the Rolling Stones’ intimate show at New York City’s the Racket, for a performance of “Sweet Sounds of Heaven,” the collaborative track lifted from the British band’s 26th album released in America, Hackney Diamonds. With a little help from Gaga, Hackney Diamonds led the midweek U.K. albums chart by a country mile, by outselling the rest of the top 10 combined.
Bono & Co. wrap up their 25-concert U2:UV Achtung Baby Live run in December.
Michelle Joy, frontwoman for indie rock band Cannons, shared on social media Tuesday that she was recently groped by a concertgoer while she was performing onstage.
“While performing one of our last shows of the tour, I was groped on stage by an audience member,” she wrote in a black-and-white text post, shared to the band’s social media accounts. “It was one of the most uncomfortable things I’ve ever experienced and a complete invasion of my space, privacy, and body. It left me feeling unsafe and violated.”
Alongside the post, she included the caption, “Just want to create a safe space for ourselves and everyone at our shows so found this important to share today.”
Her post continued: “Sexual harassment will absolutely not be tolerated at any Cannons show. Especially being a female fronted band, we care deeply about our shows being a safe environment where not only women, but everyone regardless of gender, age, race, sex, etc. can come together and share in the joy of our music, ourselves included. If you ever feel unsafe or see something that doesn’t feel right, please let someone around you know. We encourage you to speak up, be kind, and take care of one another.”
Cannons — which formed 10 years ago in LA and also includes guitarist Ryan Clapham and bassist and keyboardist Paul Davis — scored their first Alternative Airplay No. 1 in 2021 when “Fire for You” topped the Jan. 30-dated chart. Initially released in 2019, “Fire for You” found a second life thanks to its 2020 appearance in Netflix’s Never Have I Ever.
On Wednesday (Oct. 25), the band took to Instagram Stories to thank fans for their kind words after Joy’s post about the onstage violation. “Reading through your comments now and just wanted to thank all of you for your kind words, encouragement and support, you all are truly THE BEST and we are sooo [grateful] to have such a wonderful fan base, love you very much!!!” they wrote. “Excited to keep moving forward and make live music a little safer for everyone, see you all again soon!”
KROQ DJ Megan Holiday was among the fans chiming in, writing in the comments section of the original post: “Ugh wtf is wrong with people?!! I’m so sorry Michelle. Sending you all the love and hope you’re okay.”
Next up, Cannons join Lovejoy and littleimage for a pair of concerts in Mesa, Arizona, on Dec. 13 and 14.
Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, you can reach out to the Rape, Abuse & Incest National Network (RAINN). The organization provides free, confidential support to sexual assault victims. Call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or visit the anti-sexual violence organization’s website for more information.
Dream Theater are getting the band back together. The Grammy-winning prog rockers announced on Wednesday (Oct. 25) that founding drummer Mike Portnoy will be back in the fold when the group head back into the studio soon to work on their 16th studio album and first with Portnoy since 2009’s Black Clouds & Silver Linings. […]