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Behold, a new offering. As thousands of Sleep Token‘s New York Worshippers sauntered their way into Brooklyn’s Barclays Center on Monday night (Sept. 22), it was striking how diverse many of Vessel and Co.’s loyalest followers were. Explore See latest videos, charts and news There were the truly devout: those doused in ethereal black cloaks, fishnets, lace, masks and sparkling jewelry (I watched as one especially pious fan was forced to exit and re-enter the metal detector four times, handing off more and more gold jewels to the security guard as she went). Then there were the tattooed 30-somethings, the gothic couples decorated in matching black lipstick and jet-black hair, the fans in button-up shirts and shined shoes who had clearly just come from work, and the Gen X husbands-and-wives with their angsty teen children, eager to see what all the hubbub was about. If I were the deity Sleep, I’d have been pleased with how many vastly different people had gathered to worship in my name. Sleep Token’s packed, sold-out Barclays Center gig came as no surprise, considering the astronomical few years the anonymous rockers have had. Their last album, Take Me Back to Eden, hit No. 16 on the Billboard 200 back in 2023 — an impressive feat, considering all eyes were on Hip-Hop for its 50th birthday. Their fourth and latest album, Even in Arcadia, which was released in May via RCA Records, then hit No. 1 on the Billboard 200. All 10 of its tracks also appeared in the lower half of the Billboard Hot 100, cementing the fantastical group as crossover hitmakers. That diversified appeal was evident in the fans’ varied Sleep Token introduction stories. After Thornhill’s rockin’ opening set brought the venue to life, I listened as two Worshippers swapped Token tales. One of them had stumbled upon Sleep Token at a music festival a few years ago and had been hooked on the band’s teachings ever since, while the other had flown to New York from rural Texas just to be at the evening’s show. It was his first time ever in New York. After an hour of gabbing, the curtain finally descended, and the opening chords of “Look to Windward” began to twinkle in. As frontman Vessel’s vocals filled Barclay’s halls, the veteran simply said to the novice: “Enjoy the ritual!” The ritual was electric. Aided by the Espera vocal trio, Sleep Token’s songs filled the stadium with ease as Vessel screamed and crooned his way through the band’s biggest hits—from “The Offering” to “Caramel” to “The Summoning.” The guitars and drums chugged along in tandem, as each band member casually wandered across the surprisingly detailed set, which included rocky levels, spitfire lasers, and even a fully functional waterfall. Vessel also hit plenty of what have become his signature hop-skip dance moves, his vogue-inspired posturing, and even gave IV a full-blown back massage while the guitarist shredded his way through his “The Summoning” guitar solo. The lighthearted juxtaposition of Vessel’s stage presence with the moody and solemn nature of Sleep Token’s music served as a good reminder that, even apart from all the lore, this is just a really solid rock band with songs that pack a heavy punch when performed live. Vessel never addressed the audience, and there was no “thank you, New York” as the band departed, but the fans — who screamed out every syllable and moshed through the biggest drops — didn’t seem to mind. The songs carried a bigger emotional meaning for Sleep Token’s fans, and in classic Token fashion, the band presented itself as merely a delivery system for them. Source link

More than 18 years after its release, Rihanna’s “Breakin’ Dishes” is a Billboard Hot 100 hit for the first time. The song, from Rihanna’s third album, 2007’s Good Girl Gone Bad, debuts on the Sept. 27-dated Hot 100 at No. 86, driven primarily by 5.8 million official U.S. streams, up 8% week-over-week, Sept. 12-18, according to Luminate. What sparked the cut’s Hot 100 start nearly two full decades after listeners were introduced to it? The song is the latest classic track to reach the Hot 100 years after its release. Another is at No. 100: Radiohead’s “Let Down,” originally from 1997. As recently chronicled, older songs are eligible to appear on the Hot 100 and genre-focused offshoot charts that also blend streaming, radio airplay and sales data if experiencing significant growth. “Breakin’ Dishes,” which hit No. 4 on the Dance Club Play Songs chart in 2008, has gained placement on prominent playlists on DSPs including Amazon, Apple and Spotify in recent weeks, while Rihanna’s catalog was recently added to TikTok. Notably, SiriusXM’s TikTok Radio (which reports to Billboard’s Pop Airplay chart) is now spinning the song in all dayparts. The song also spends its 13th week on the Billboard Global 200, dating to its first frame in January. After ranking between Nos. 144 and 200 through March, it reentered the Aug. 30 chart at No. 152 and in the past three weeks has jumped 76-68-45. Plus, it opens at No. 7 on Hot Dance/Pop Songs. “Breakin’ Dishes” bows as Rihanna’s 64th Hot 100 hit. Exactly half have hit the top 10, with 14 reaching No. 1. She first made the list more than 20 years ago, when “Pon De Replay” debuted on the June 11, 2005-dated chart. That track introduced her debut album, Music of the Sun, released Aug. 29, 2005. “Breakin’ Dishes” becomes the ninth Hot 100 entry from Good Girl Gone Bad, including its 2007 original version and its 2008 Reloaded expanded reissue. Lead single “Umbrella,” featuring Jay-Z, reigned (rained?) for seven weeks, followed by “Shut Up and Drive” (No. 15); “Hate That I Love You,” featuring Ne-Yo (No. 7); “Don’t Stop the Music” (No. 3); “Take a Bow” (No. 1, one week); Maroon 5’s “If I Never See Your Face Again,” featuring Rihanna (No. 51); “Disturbia” (No. 1, two weeks); and “Rehab” (No. 18). Good Girl Gone Bad debuted at its No. 2 Billboard 200 peak (June 23, 2007) and adds its 201st week on the latest chart. It rises 104-92, marking its first rank in the survey’s top half in more than two-and-a-half years, up 3% to 12,000 equivalent album units. The set has earned 8.6 million units to date. It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here. Source link

Redacción Panamericana El Ministerio de Cultura tomó cartas en el escándalo del Metropolitano y denunció a la joven que lanzó insultos racistas. El pasado 22 de septiembre, pasajeros del Metropolitano captaron a Alejandra Argumedo Alegre lanzando insultos racistas, y ahora el caso escaló hasta las más altas instancias del Estado. El Ministerio de Cultura interpuso una denuncia formal ante la Fiscalía de la Nación contra la joven, luego de que testigos grabaran su comportamiento y lo difundieran en redes, donde se volvió viral. Te puede interesar Paloma de la Guaracha arremete contra Néstor Villanueva: “Debería estar en la cárcel” Alejandra Argumedo es denunciada por el Ministerio de Cultura La Procuraduría del sector presentó la denuncia, que sanciona expresamente los actos de discriminación. La Procuraduría remitió el documento a la Secretaría General de la Fiscalía y solicitó el inicio de las investigaciones, además de la aplicación de sanciones conforme a la ley. El ministerio recalcó que lo sucedido constituye un acto de discriminación étnico-racial, al reproducir expresiones que refuerzan prejuicios y estereotipos contra colectivos de pueblos originarios y personas de procedencia andina. Te puede interesar Pamela López revela que ya no está conviviendo con Paul Michael: “Mis hijos no saben que tenemos una relación” Ola de indignación en redes sociales El video de los insultos se viralizó en TikTok, X y Facebook, donde miles de usuarios criticaron la actitud de la mujer y exigieron un castigo ejemplar. Algunos influencers y figuras públicas también se pronunciaron, calificando la situación como “vergonzosa” y “un retroceso en la lucha contra el racismo”. Línea para denunciar casos de racismo El Ministerio de Cultura recordó que los ciudadanos cuentan con el servicio Alerta contra el Racismo, que ofrece seis modalidades de atención, entre ellas la línea gratuita 1817, disponible para denunciar cualquier incidente de discriminación étnico-racial en el país. @felixvilla2026 El video de una mujer insultando con frases racistas en el Metropolitano se hizo viral. al parecer sería identificada como Ale Argumedo, comunicadora y conductora de un podcast deportivo. #FelixVilla2026 #Racismo #Metropolitano #Comentariosracistas ♬ sonido original – felixvilla2026 Source link

A$AP Rocky and Rihanna love their boys, but when their third baby arrives soon, the couple is crossing their fingers it’s a girl. In a new cover story interview with Elle published Tuesday (Sept. 23), the rapper was candid about the fact that he and his superstar partner are openly hoping their next child is made of sugar, spice and everything nice. “I hope it’s a girl. I really do,” Rocky told the publication. “We’re praying for a girl.” “I feel like it’s going to be a girl,” he continued. “This pregnancy is so different from the other two. You can tell from the experience. I hope it’s a baby girl, man. I need that.” Ri and Rocky are already parents to young sons RZA and Riot Rose. The billionaire mogul announced that she was pregnant again by debuting her baby bump in May at the 2025 Met Gala, which the latter cochaired. The couple has been together since at least 2019, though they’ve yet to tie the knot — at least to the public’s knowledge. “How you know I’m not already a husband?” Rocky teased in his Elle interview. “I’m still not gonna confirm it.” Now, both stars are busy juggling multiple projects, with Ri overseeing her Fenty empire as Rocky works on ventures in fashion and acting. His latest screen project was starring in Molly Bronstein’s If I Had Legs I’d Kick You. But according to the New York native, family is his and Ri’s most important area of focus right now. “We don’t talk too much about work, because we deal with that all day, every day,” he told the publication of their relationship. “When you come home, it’s about family. It’s about your relationship. It’s about your household. It ain’t about all that other s–t.” “We try to keep the business separate,” he added. “What she does is what she does, and what I do is what I do. But when we collab, that’s fun because I get to be creative with her. She’s so trusting of me.” See Rocky on the cover of Elle below. Source link

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Kenny Chesney is speaking out about the heartbreaking loss of his friend and frequent cowriter Brett James, who died in a small-engine plane crash on Sept. 18 in North Carolina. James was 57. “A very difficult goodbye to my Brother Of The Sun Brett James. I haven’t wanted to post cause I didn’t want to believe it,” Chesney wrote on social media on Monday (Sept. 22). “Brett and I shared a unique bond. A Brotherhood. A kinship. We wrote ‘Reality’ and ‘Out Last Night’ on the same afternoon sitting on my pool deck in the Virgin Islands two days after Christmas. We had a lot of authentic life fun writing songs together over the years and I’m sure going to miss it.” Chesney continued, “It’s hard to process his creative soul being gone. This kind of loss. I feel as if part of my creative soul went with him. It will be a void in my life and creativity forever. I’ve never known writing songs or being on the road without him. Half the songs in my shows are songs he wrote or songs we wrote together. So it’s impossible for me to do shows moving forward and not think about him. I can’t believe I’m saying it but adios Brett James. Thank you for being a lifer, for being a shirtless, sunburned troubadour, for your friendship, your songs and all the laughs. Save me a seat at the After Party!” James was a close friend and creative collaborator of Chesney’s, as a writer on songs including “When The Sun Goes Down,” “Out Last Night,” “Just to Say We Did,” “Keg in the Closet,” “Spirit of a Storm” and many others. The late artist also wrote numerous songs for musicians including Carrie Underwood, Keith Urban, Jason Aldean, Tim McGraw and Rascal Flatts. Alongside his tribute, Chesney shared photos of himself with James, including onstage performances, as well as behind-the-scenes trips and writing sessions. Chesney ended his tribute with lyrics to one of the numerous songs James had a hand in writing, “Knowing You: “God we were so alive/ I was a kid on a carnival ride/ Holding my breath til the moment you were gonna leave me to soon/ But I’d do it all over cause damn it was good knowing you.” James was a Grammy winner (for co-writing Carrie Underwood’s “Jesus, Take the Wheel”) and a member of the Nashville Songwriters Hall of Fame’s class of 2020, officially inducted in 2021. He was also a CMA board member, a two-time ASCAP country songwriter of the year winner and launched the music publishing company Cornman Music. Source link

A$AP Rocky and Drake exchanged shots in the midst of the 6 God’s battle with Kendrick Lamar, while the OVO boss went on to file a defamation lawsuit against Universal Music Group for the alleged artificial inflation of Lamar’s “Not Like Us.” In his ELLE cover story published on Tuesday (Sept. 23), Rocky reflected on testing the waters during the Kenny-Drizzy feud, and ultimately, his decision to back off. “It was healthy for hip-hop,” he said of the back-and-forth. “The battle was between Kendrick and Drake, not Drake and everybody else who might have said something at that time, and that’s mainly why I fell back.” However, Rocky isn’t supportive of the idea of Drake filing a lawsuit against his label regarding the impact of Kendrick’s “Not Like Us,” as the Harlem rapper doesn’t see any place for litigation as part of hip-hop battle culture. “I just hate the way it’s turning out with [Drake] suing and all that,” he added. “What part of the game is that? What type of s—t is that? That’s none of my business, I guess.” A$AP Rocky sniped at Drake on Metro Boomin and Future’s 2024 WE STILL DON’T TRUST YOU album cut “Show of Hands.” The 6 God returned the favor by making some time to jab at Rocky on his three-part “Family Matters” diss track, aiming mostly at Kendrick Lamar. At the top of 2025, Drake filed a defamation lawsuit against UMG, claiming his longtime label knew Lamar’s “inflammatory allegations” in the Billboard Hot 100-topping “Not Like Us” were false, but claims it chose “corporate greed over the safety and well-being of its artists.” In a statement shared with Billboard at the time, the label strongly denied the allegations: “We have not and do not engage in defamation — against any individual.” The lawsuit remains tied up in the courts. In August, Drake’s attorneys filed a claim that UMG withheld key evidence and his lawyers were looking to get their hands on potentially damning emails revolving around UMG CEO Lucian Grainge talking about the Grammy-winning “Not Like Us” and Kendrick Lamar’s deal with the label. Get weekly rundowns straight to your inbox Sign Up Source link

B—h, she said what she said. After unveiling a new cover for her upcoming album Vie, Doja Cat is standing by the artwork — despite receiving some “harsh criticism” about it. The rapper first unveiled the new art on Instagram on Monday (Sept. 22), showing off a photo of herself in a tattered wedding dress, hanging from a yellow parachute caught in a tree. “Falling in love is putting trust in the hands of yourself and others,” she wrote of the portrait. “The yellow parachute represents curiosity, happiness and adventure.” “Flying you towards new experiences and scenes, taking a leap of faith, and holding no bounds,” she continued. “The tree represents life and wisdom. Giving you a sense of safety within its branches, but the pain from the fall teaches you that those scratches can be healed. You don’t have to hit the ground. Love grows upward but more importantly down.” “It’s the roots that keep you steady,” she added. “This is the cover of my album.” The new cover arrives about a month after Doja premiered what fans originally thought was the official Vie artwork: a close-up photo of the California native surrounded by red roses. Apparently, some listeners aren’t too keen on the new artwork, as Doja took to X on Tuesday (Sept. 23) to defend her creative choices. “You can’t make me feel bad for a cover that has visceral meaning,” she wrote. “The greatest armor is love and integrity. I forgive your harsh criticism but for me I won yet again for following my heart. If I was you I wouldn’t.” Doja has never been shy about shutting down criticism, especially when it comes to her art. Just weeks ago, she asserted her dominance as one of the leading female rappers in the game, telling someone online who doubted her skills, “Please stop trying to downplay my ability.” That said, Doja has also been open about the fact that Vie is much more pop-focused, with similarities to her earlier hits such as “Say So.” “It’s taken until the beginning of this next album, Vie, to appreciate my older stuff,” she told CBS Sunday Morning recently. “I think [this album] was a return to that.” See Doja’s Vie cover and post on X below. You can’t make me feel bad for a cover that has visceral meaning. The greatest armor is love and integrity. I forgive your harsh criticism but for me I won yet again for following my heart. If I was you I wouldn’t. — DOJA CAT (@DojaCat) September 23, 2025 Source link

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