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“Golden,” from Netflix global smash KPop Demon Hunters, has landed a third week at No. 1 on the U.K.’s Official Singles Chart dated Aug. 22. Credited to the film’s animated girl group HUNTR/X, the track is performed by EJAE, Audrey Nuna and Rei Ami, and has extended its run as the longest-running K-pop chart-topper in U.K. chart history.  Upon hitting the summit for the first time on Aug. 1, “Golden” became only the second K-pop single ever to hit No. 1 on the Official Singles Chart, following PSY’s 2012 mega-smash “Gangnam Style,” which held the top spot for one week. Explore See latest videos, charts and news Meanwhile, Disco Lines and Tinashe’s summer hit “No Broke Boys” has soared to another new peak at No. 2, heralding a career-best position for both artists. Saja Boys, another fictional group from KPop Demon Hunters, follow at No. 3 with “Soda Pop” and also score a second top 10 position (No. 6) with “Your Idol.” The top five is rounded out by Chappell Roan’s former chart-topper “The Subway,” which holds firm at No. 4 ahead of her Reading & Leeds debut on Friday (Aug. 22), and MK and Chrystal’s “Dior” follows at No. 5. Breakout star Olivia Dean continues to see immense chart success as she becomes the first British artist of 2025 to land three tracks inside the top 20 simultaneously. Latest single “Man I Need” earns a No. 8 debut, while “Nice to Each Other” climbs to No. 9. The tracks appear in the top 20 alongside Sam Fender team-up “Rein Me In” (No. 11), while July’s “Lady Lady” stands at No. 38.  BLACKPINK’s storming comeback single “JUMP” leaps to No. 22 following the group’s Wembley Stadium gigs Aug. 15 and 16. Further down the chart, “wgft” by superstars Gunna and Burna Boy cracks the top 40 for the first time, coming in at No. 34. Get weekly rundowns straight to your inbox Sign Up Source link

Taylor Swift made quite a few jaws drop with the photo shoot for her upcoming Life of a Showgirl album, including Erin Andrews. On the latest episode of the sports commentator’s Calm Down podcast with Charissa Thompson, which was posted to YouTube on Friday (Aug. 22), Andrews revealed what she texted the pop star after seeing some of the risqué snaps. On the cover of the Oct. 3-slated album, Swift appears in a bathtub wearing nothing but a revealing bejeweled leotard, and in companion photos for the project, she showcases her figure in various form-fitting showgirl outfits with stark cutouts. “Oh, my god!” Andrews said emphatically on the show, her eyes widening. “We texted her and were like, ‘Good morning!’” “Like, ‘Body-ody!’” the analyst added. “She looked great.” Thompson noted that seeing Swift’s photos made her feel the need to head “to the gym” straight away. The episode comes a little over a week after the 14-time Grammy winner unveiled the Life of a Showgirl cover art while appearing on boyfriend Travis Kelce and Jason Kelce’s New Heights podcast, where Swift also revealed that she’d worked on the new album whenever she had a rare few days off from her global Eras Tour last year. “This is what we talked about and even said to her,” Thompson said on Calm Down. “‘When did you have time to make an album?’ As I’m, like, b—hing about my ‘busy schedule,’ I’m like, ‘This chick was on a tour for two years and then, oh, I don’t know, on her couple off days would fly to Sweden like it was no big thing and make another album.’ I’m constantly in awe of her work ethic.” “Independent of her being Taylor Swift, if you just, in a silo, wrote down all of the things that this chick does and the way that she does them and the rollout and the professionalism and the business of Taylor,” she added. “[That] is what we’re in awe of.” Andrews and Thompson are more than just friends and fans of Swift. They also played a huge part in the musician’s romance with the Kansas City Chiefs tight end, with whom the cohosts have long been friends. After Travis expressed his disappointment on New Heights over not being able to slip Swift his phone number at an Eras show in 2023, Andrews and Thompson urged the singer on their own podcast to give Travis a chance — and the rest was history. Even the athlete told them after the fact, “I owe you big time!!” The Calm Down ladies have since become pals with Swift as well. In a recent Instagram post chronicling his offseason adventures, Travis shared a photo of the whole gang enjoying a fun outing in the snow. Watch Andrews and Thompson gush about Swift’s Life of a Showgirl photos on Calm Down below. Source link

Deftones diehards have been on the hunt for the band’s legendary lost album, Eros, for more than 15 years. The record tracked in 2008 was intended to be the follow-up to their fifth LP, 2006’s Saturday Night Wrist, but then shelved indefinitely. In a new interview with the Guardian, singer Chino Moreno gives fans a long-awaited update on the fate of the album that was scrapped after late bassist Chi Cheng was left in a coma following a 2008 car crash; Cheng died of complications from the accident in 2013 at age 42. While bootlegs of some of the songs have floated around online for years, Moreno said despite being asked about the LP all the time the truth is it’s likely to stay on the vault. “It will most likely never see the light of day,” said Moreno. “That would involve going back to that period and resurrecting unfinished things, and somehow bringing them to completion. ‘Dallas’ is the only song that was anywhere near finished.” Moreno said the band’s just-released tenth studio album, Private Music, started with ideas they’d been working on separately during the COVID-19 pandemic. But when they actually got together to work on it, “none of us wanted to look back at those ideas from the pandemic – we wanted to capture the moment we’re in today. So going back to try to capture what was happening back during Eros, and finishing those ideas, doesn’t really make sense.” Private Music — which dropped just six weeks after the band first announced it — was preceded by the singles “My Mind Is a Mountain” and “Milk of the Madonna,” and features the songs “Locked Club,” “Ecdysis,” “Infinite Source,” “Souvenir” “Cxz,” “I Think About You All the Time,” “Cut Hands,” “~Metal Dream” and “Departing the Body.” The band is in the midst of a headlining tour in support of the album, which will stop at Rogers Arena in Vancouver, B.C. on Friday night (Aug. 22). Get weekly rundowns straight to your inbox Sign Up Source link

K-pop boy band Stray Kids dropped their fourth full-length album on Friday (Aug. 22), KARMA, the 11-track follow-up to December’s Hop mixtape. The collection produced entirely by the group’s production team 3RACHA, opens with the yearning, hard-hitting rap-popper “Bleep” followed by the bouncy hip-pop single “Ceremony.” Explore See latest videos, charts and news The accompanying high-gloss video finds members Bang Chan, Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin and I.N kitting up for a variety of extreme sports challenges in a futuristic landscape. From Changbin dropping hard-hitting rhymes in the middle of an MMA octagon — “We’re moving forward with maximum power/ And we’re gonna dominate, pop it/ Making headlines, big news topic/ My experience points are my countless trophies” — to a Mario Kart-esque race to grab an elusive black ball in a raucous arena and American football players trying to tackle Han as he casually dribbles a soccer ball between them, the visual is full of extreme sports action. Add in some physically impossible break dancing moves, a gravity defying baseball bat swing and other feats of sports superiority and you have… well, a surprise twist at the end that you didn’t see coming. According to a release announcing the LP, the collection tells a story about destiny from a unique Stray Kids perspective. “Destiny is shaped by a tangled web of choices and consequences,” it explains. “KARMA begins with this very idea — an attempt to interpret Stray Kids’ fate. Despite countless external judgments and inner conflicts, they have continued to forge their own path with unwavering resolve. Through their music, Stray Kids represent a story of growth.” Other tracks on the album include the skittery trap R&B banger “Creed,” tear-stained ballad “Mess,” old school, whistle-enhanced baile funk bouncer “Half Time,” EDM jam “Phoenix” and two additional versions of “Ceremony,” a live-sounding “Festival” version and an English version. The group recently completed its largest-ever world tour, Stray Kids World Tour , which brought 54 shows to 34 regions across the world on five continents over 341 days, wrapping up on July 30th in Rome. Watch the “Ceremony” video and listen to KARMA below. Source link

After 22 years of appearances on the Billboard charts, Yellowcard has its first No. 1 song, ending a record wait to top the Alternative Airplay chart. “Better Days,” the lead single from the Florida band’s upcoming album of the same name, leaps 5-1 to crown the Alternative Airplay survey dated Aug. 30. Explore See latest videos, charts and news Yellowcard first reached Alternative Airplay in 2003 with “Way Away,” which peaked at No. 25. That kicked off a roughly three-year period of chart appearances for the band that was paced by the No. 4 high of “Lights and Sounds” in 2006, followed by a nearly 19-year respite before “Better Days” debuted in June. “Better Days” reaches No. 1 a tick under 22 years after “Way Away” debuted on Alternative Airplay on the tally dated Sept. 6, 2003. The nearly 22-year gap between a first entry and first ruler is the longest in the chart’s 37-year history, surpassing the 17 years and nine months it took for Fall Out Boy between its arrival (with the No. 3 classic “Sugar, We’re Goin’ Down” in 2005) and its first No. 1, “Love From the Other Side,” in 2023. Longest Wait Between First Appearance and First No. 1, Alternative Airplay: 21 years, 11 months, three weeks: Yellowcard, “Better Days” (2003-25) 17 years, nine months: Fall Out Boy, “Love From the Other Side” (2005-23) 17 years, two weeks: Stone Temple Pilots, “Between the Lines” (1993-2010) 16 years, 10 months, two weeks: Alice in Chains, “Check My Brain” (1992-2009) 15 years, six months, two weeks: Paramore, “This Is Why” (2007-23) Yellowcard becomes the 10th act to hit No. 1 on Alternative Airplay for the first time in 2025. That’s the most in a single year since 1997, when 11 acts snagged their inaugural leaders. Concurrently, “Better Days” lifts 16-14 on the all-rock-format, audience-based Rock & Alternative Airplay chart via 2.5 million audience impressions earned in the week ending Aug. 21, up 11%, according to Luminate. Better Days, Yellowcard’s 11th studio album and first on the Better Noise label, is due Oct. 10, with production from Travis Barker. Its predecessor, 2016’s Yellowcard, hit No. 5 on the Top Alternative Albums chart and has earned 43,000 equivalent album units. All Billboard charts dated Aug. 30 will update Tuesday, Aug. 26, on Billboard.com. Source link

Academy of Country Music Awards two-time songwriter of the year Jessie Jo Dillon and MCA have partnered to launch Gatsby Records. The imprint’s first release will be Carter Faith’s Cherry Valley, out Oct. 3. The Nashville-based label takes its name from the protagonist of F. Scott Fitzgerald’s classic The Great Gatsby, from whom Dillon drew inspiration. Related “Like Fitzgerald’s Jay Gatsby, I believe in the ‘green light’ – the unwavering hope of a dream coming true,” said Dillon, who serves as Gatsby’s founder/president. “This imprint is a home for artists who aren’t afraid to be themselves, sound different and transform. If it’s raw, if it’s beautiful and if it even scares you a little, then it belongs at Gatsby Records.” Dillon had already worked with Faith — a North Carolina native who blends a traditional sound with a contemporary attitude — as a songwriter on her forthcoming project. And, more recently, Dillon helped get Billy Bob Thornton to star in the music video for album’s “Bar Star,” which came out Aug. 20. (Faith signed to MCA last June, when it was still UMG Nashville). “Carter Faith isn’t just a rising voice in country music – she is a unique storyteller who blends vulnerability with edge,” Dillon continued in a statement. “We share a strong creative synergy and vision, and I couldn’t be prouder to work alongside her to bring the world of Cherry Valley to life. I’m so excited for this new venture and deeply grateful to [MCA chief creative officer] Dave Cobb, [MCA president/CEO] Mike Harris and MCA for collaborating with me to bring my lifelong aspiration of Gatsby Records to fruition.” (L-R): MCA’s Chief Creative Officer Dave Cobb, Carter Faith, Gatsby Records’ Founder & President Jessie Jo Dillon, MCA’s President & CEO Mike Harris Libby Danforth Following Faith, Gatsby’s focus will be on emerging talent with no specific number of releases planned.  “At MCA, we pride ourselves on not just signing artists but truly building long-lasting, meaningful careers. The creation of Gatsby Records is an extension of that vision,” Harris said in a statement. “We’re honored to work with an incredible talent like Jessie Jo Dillon, who is not only one of the premiere songwriters in country music but also a visionary who will push the creative talents of the artists she works with. We’re equally thrilled to have Carter Faith as the first artist to join the imprint – she is truly an immensely talented artist who has an amazing future.”  “I’m beyond excited for the launch and the future of Gatsby Records,” added Cobb. “Working with Jessie Jo has been an absolute dream, she has the incredible ability to get right down to the heart of a song and really dig deep to protect the artist and their vision.” Dillon and MCA already have an affiliation: in April, when UMG Nashville relaunched as MCA following Harris and Cobb’s arrival in February, the label named Dillon as a Song Buddy, a lighthearted title, but one that plays into her ability to support and develop Nashville songwriting talent. The six-time Grammy-nominated Dillon is one of Nashville’s most respected and prolific songwriters, co-penning such tunes as “Lies, Lies, Lies” (Morgan Wallen), “Am I Okay” (Megan Moroney), “10,000 Hours” (Dan + Shay & Justin Bieber), “Halfway to Hell” (Jelly Roll) and “Break Up in the End” (Cole Swindell). Source link

The party is never over for SZA and Drew Barrymore, who continue to support each other years after the former named a song after the latter. In a sweet Instagram post Thursday (Aug. 21), the actress shared a throwback selfie of herself and the Grammy winner on the set of the “Drew Barrymore” music video, which SZA released in 2017. In the snap, both women wear coats while standing on a path lined with buildings, smiling softly at the camera. “Throwback to this ‘pinch me’ moment,” Barrymore wrote in her caption. “I still can’t believe you wrote such a beautiful song and named it my name! I’m the luckiest girl in the world! You’re the greatest.” The post comes more than eight years after the R&B hitmaker released “Drew Barrymore” as the lead single off her debut album, Ctrl, which reached No. 3 on the Billboard 200. Though the track never charted on the Billboard Hot 100, it has steadily become known as a quintessential SZA song and a favorite among fans. And during an appearance on The Drew Barrymore Show in January, the singer — who finished the European leg of her ongoing Grand National Tour with Kendrick Lamar earlier in August — finally got to explain the reasoning for the track’s title to Barrymore herself. “[Growing up,] one of the few lovely white women that I looked up to so much on television was you, because you were so yourself,” SZA told the talk-show host at the time. “You were quirky. Your smile wasn’t perfect … I love the way you talk and the you-ness of you.” “It just reminds me of all the things about myself that make me nervous, but on you, shine so brightly,” SZA added on the show. “It gave me permission to be myself.” During their chat, the two women also reflected on shooting the “Drew Barrymore” music video together. Barrymore only appears in the visual for a moment, but it’s powerful; as SZA collects herself while sitting on an outdoor staircase, the former child star walks past and gives her a reassuring smile. “I was just so excited to show up for you,” Barrymore recalled at the time, to which SZA replied, “I couldn’t believe you did that.” See the actress’ selfie with SZA below: Source link

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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.  Explore See latest videos, charts and news This week, Doja Cat travels back in time, Laufey meets her moment and Sombr makes a sparkling debut. Check out all of this week’s picks below: Doja Cat, “Jealous Type”  Doja Cat has always existed as a singer and rapper, but on new single “Jealous Type,” she seems to exist between two eras: while the single from upcoming album Vie proudly wears its ‘80s rhythmic pop influences on its tiger-print sleeves, Doja carries a modern ferocity, pummeling her relationship woes in the second verse with lines like, “I don’t need a pin-drop or a text tonight / I ain’t even coming out with you, you don’t wanna show me off to your ex or your friends tonight.” Laufey, A Matter of Time  Laufey’s trajectory cannot be replicated — she’s a Chinese-Icelandic singer, composer and multi-instrumentalist, revitalizing jazz and mastering classical pop in front of packed arenas — and her singular spot in modern music makes A Matter of Time so triumphant: her latest full-length sounds unstuck from sonic or storytelling expectations, and thus, Laufey once again surpasses them. Sombr, I Barely Know Her  “Back to Friends” and “Undressed,” Sombr’s pair of streaming smashes, were not flukes: the singer-songwriter born Shane Boose is adept at refracting immediate pop hooks through an earnest croon that’s ripe for alternative radio play, and on debut album I Barely Know Her, he handles every genre exercise — from the slick dance-funk workout “12 to 12” to the breathtaking folk ballad “Canal Street” — with ease, talent and truth. BigXThaPlug, I Hope You’re Happy  Love “All the Way,” BigXThaPlug’s top 10 team-up with Bailey Zimmerman? You’ll find a lot more to embrace on I Hope You’re Happy, the Dallas hip-hop star’s full-length country foray: while Nashville staples like Jelly Roll, Darius Rucker, Luke Combs and Ella Langley handle the hooks, BigX bodies the rap verses, resulting in a mash-up jamboree that’s earnest, commercially viable and a whole lot of fun. Kid Cudi, Free  Scott Mescudi’s creativity runs in so many different directions, and across various multimedia platforms, that a new, proper Kid Cudi album always feels like both a gift and a check-in with an old friend; Free lives up to its title, composed of lyrical fearlessness and fuzzed-out musical explorations (crank “Truman Show” up to the absolute maximum volume, please) that made him such a beloved figure at the start of his career. Stray Kids, KARMA  After conquering charts and arena stages around the world, Stray Kids spend new album KARMA challenging themselves: there’s plenty of their hard-charging, electro-rap pop sound across the best-selling K-pop group’s latest proper album, but songs like “In My Head” and “Ghost” tweak their formula in compelling new ways, and nod toward Stray Kids’ musical growth. Offset, KIARI  As one might expect for a project titled after his birth name, KIARI finds Offset at his most vulnerable, with the Migos mainstay offering a snapshot of his whirlwind life and memories of his rise within popular hip-hop while joined by a wrecking crew of guest stars, including Gunna, Teezo Touchdown, YoungBoy Never Broke Again and Key Glock, the lattermost on the head-knocking highlight “Run It Up.” Editor’s Pick: Deftones, private music  Deftones’ gradual rise to rock’s commercial elite — in which they’re playing to their biggest crowds ever, 30 years into their career — has coincided with consistently great-to-excellent studio output; when it comes to their brooding, atmospheric hard rock, private music does not reinvent the wheel, but songs like “infinite source” and “cut hands” contain more tempo and swagger than their recent full-lengths, and often sport thrilling highs. Source link

At one point in the early 2010s, Bryson Tiller was ready to sign with Drake’s OVO label, but eventually joined RCA Records instead. It’s been a decade since Tiller’s Trapsoul debut, and his career is still crossing paths with the 6 God, as they teamed up for “Outta Time” in 2020. Explore See latest videos, charts and news The Louisville native sat down with New Rory & Mal for the episode that posted Thursday (Aug. 21), during which Tiller was candid on the reason why he never joined OVO. “I’m being so blunt. Honest,” he began. “The only reason I didn’t sign [to OVO] is just because bro didn’t hit me back one time. This was in a moment when my label, like, they was hounding me, they was flying me, they was trying to get me away from Drake.” The singer continued, “I was like, ‘Yo, OVO is really in my blood, for real.’ I really have studied [Drake’s] catalog. There’s a couple of people that I really consider huge strands of my musical DNA, and Drake is one of them.” Bryson admitted he even sent Drake a final text giving him another chance before putting pen to paper at RCA. “He never hit back,” Tiller added. “And I know he’s a super busy dude. I’m not saying that he didn’t want me to sign or whatever, but at that moment, like, I had a kid — people back home that’s looking at me like, ‘Is he gonna do it? Is he gonna make it?’ So I had to go with what was the most sure shot.” The conversation then moved into what Tiller’s career would have looked like if he had ended up becoming part of the OVO family. But as far as fame goes, the 32-year-old was totally cool with being out of the spotlight and working in the background as part of Drake’s team. “When people would say, ‘Oh [Drake’s] gonna put you on the shelf, be in the sweatshop,’ I was like, ‘Cool. I’m cool with that.’ I was like, ‘Dog, I know how to write. I’ll write anything that he asks me to do and be just as rich,’” he said. “If you could take away all my fame right now, nobody recognize me, I’ll be so OK with it.” These days, on the music side, Tiller dropped off his The Vices project, which is one-half of a double-disc, with Solace coming on Oct. 2. Watch the clip with Bryson Tiller below. Source link