Categoría: Billboard

“It’s hard singing about s—t that feels sad,” says Khamari. And with buzzy, somber tracks ranging from 2021’s “Doctor, My Eyes” to this year’s triumvirate of To Dry a Tear pre-release singles comprising the bulk of his catalog, Khamari knows a thing or two about sadness.  After officially debuting with 2020’s Eldorado EP, scoring an Usher placement with the R&B icon’s Marshmello-assisted “Too Much” and sharing a stream of follow-up singles, the Boston-born, Los Angeles-based singer-songwriter unleashed his debut studio album in 2023. Titled A Brief Nirvana, Khamari’s RCA Records debut announced the arrival of a new, strikingly post-Frank Ocean rising R&B star. Armed with classical training and a Berklee College of Music background, a beautifully forlorn falsetto that explores everything from existentialism to mortality and a wide range of genre-agnostic influences, Khamari primarily operates in the blues lane of R&B, while never forsaking his contemporary approach to narrative songwriting.  Last winter, Khamari parted ways with RCA, citing creative differences, and joined forces with independent record label Encore Recordings ahead of his new full-length, the enrapturing To Dry a Tear. Introduced by singles such as “Head in a Jar,” “Sycamore Tree” and “Lonely in the Jungle,” Khamari’s sophomore album distills two years of life experience into 11 incredibly lush and seamlessly sequenced tracks. Across the album, Khamari gets introspective regarding withering romances, crises of faith and the frustrating allure of distance. Pulling from D’Angelo’s “Untitled” and the understated drama of Jeff Buckley, To Dry a Tear finds Khamari building on the sampling innovations of his debut, while reaching new heights as both producer and arranger.  “A lot of the things I was aiming for on this project were an imperfect version of something already,” he tells Billboard. “When I listen to D’Angelo or Jeff Buckley, none of that s—t is perfect. It’s a very raw version of what they had in their head, and it’s a very musical, dramatic emotion they experienced. Trying to translate that into something today can be difficult in terms of production style, but that’s definitely something that I fought for. I don’t want it to be perfect; I just want it to be this version of imperfect.”  Below, Khamari discusses crafting his sophomore LP, parting ways with RCA and the rise of rock influences in contemporary R&B. Was there a particular song that signaled to you that you were headed towards a new album?  Every song is so individual in the creative process that there wasn’t one song that was [clearly] the centerpiece. There were definitely dope moments along the way, like writing “Lonely in the Jungle” and “Sycamore Tree” and “Lord, Forgive Me” and “Acres.” Those were such specific moments that I was like, “This is definitely going to be a part of whatever I do.”  Who did you most closely work with to bring this album to life?  My collaborators are still similar to the [Brief Nirvana cast, including production duo Trackside]. I brought in a lot of my musician homies and my music director, Q, to help me flesh out ideas that I started in my bedroom. I play a lot of keys on the album, as well as guitar. I’m also leading the production that ties everything together. I play bass on “Lonely in the Jungle” too. I had a hand in all of the parts for songs like “Lonely” and “Lord, Forgive Me,” even if I didn’t play them myself.  How would you compare the experience of creating a project driven by samples to one that’s not?  With samples, you have to be respectful of the [original record’s] history and context. You’re thinking about where everything came from, what it was a part of, and what it meant to other people and how it feels. With original music, starting from scratch is so dope because it’s a blank slate, and the possibilities are endless.   But that’s also why it’s hard. You’re making sure the parts don’t just feel good musically, you’re also ensuring they feel tightly knit enough that they’re memorable for anyone that’s not a music head. It’s daunting to try and find a very distilled version of something that feels musical and is still very original, given that everything’s already been done.  You flip D’Angelo’s “Untitled (How Does It Feel)” on “Sycamore Tree.” Is there added pressure when you’re messing with a song of that magnitude?  I didn’t run into that. I genuinely try not to put out things that I don’t love. I obviously respect the history of D’Angelo and what he’s done for R&B music, so when something like that comes up, I’m like, “This is a part of my history too.” It’s a part of my inspiration and my process. I’ve listened to it as many times as my parents; it’s in my blood. I don’t feel pressure in that way — but there’s definitely that moment when you hope he or whoever is going to clear the song hears that I’m trying to pay homage.  Jeff Buckley is also a major influence on this album’s sound. What drew you to his music?   I’m always looking for inspiration outside of what other people who look and sound like me would be inspired by. Jeff Buckley was it for me. He came up in conversation with my manager, and I listened to him one day, and I was like, “How the f—k did you not put me onto this s—t earlier?”  I love Red Hot Chili Peppers and The Strokes and alternative rock, but [Buckley] was one person I’d never heard before. There’s such drama in his music, voice, and even his guitar-playing. He plays so gently, but he’s also very aggressive in the same way that there’s drama in a Kanye album. I was able to really appreciate that and figure out how to bring some of that into what I do.  What was the most difficult song for you to land on a final mix for?  All of them. [Laughs.] If you ask

“It’s safe to say that Rihanna is the premier artist of the second half of the decade, with no signs of wear and tear,” Michael Menachem wrote in a review of her then-new single, “Disturbia,” in the July 5, 2008, Billboard issue. “This latest is a sort of ‘Thriller’ for partygoers, with multilayered vocals cascading across Ri’s lower register, alongside fun scatting, a la ‘bum bum bi dum bum,’” the spotlight lauded. “In short order, Rihanna has become the trustworthy ‘it’ girl of our time.” The same week, “Disturbia” debuted at No. 18 on the Billboard Hot 100. Among Rihanna’s prior 11 entries, she had never opened in the chart’s top half (starting at a No. 51 best to that point with “Unfaithful” in May 2006). Seven weeks after its arrival, “Disturbia” hit No. 1 on the Hot 100 dated Aug. 23, 2008. Beginning a two-week reign, it became Rihanna’s fourth leader, following “Take a Bow” (one week, May 2008), “Umbrella,” featuring Jay-Z (seven weeks, June-July 2007) and “SOS” (three, May 2006). “Disturbia” and “Take a Bow” were released from the deluxe Reloaded edition, released in June 2008, of Rihanna’s 2007 album Good Girl Gone Bad. “Umbrella” introduced the original version. Among the writers of “Disturbia,” Chris Brown earned his second of two Hot 100 No. 1s as an author. He previously led as a writer and recording artist with “Kiss Kiss” in 2007. That hit was penned with T-Pain, who produced it and is featured on it. “Disturbia” was solely produced by Brian Kennedy, who crowned the Hot 100 with his first entry in that role. He’s since added two more top 10s: Kelly Clarkson’s “Mr. Know-It-All” (No. 10 peak, November 2011) and Brown’s “Don’t Wake Me Up” (No. 10, November 2012). He most recently reached the chart via The Weeknd’s “Here We Go… Again,” featuring Tyler, The Creator, in 2022. “Disturbia” also topped the Pop Airplay and Dance Club Songs charts and was nominated for best dance/electronic recording at the Grammy Awards in 2009. Rihanna has, of course, continued to fulfill the promise of the praise in Billboard’s review of “Disturbia.” The superstar artist and fashion mogul has upped her count to 14 Hot 100 No. 1s — the most among all acts over the first quarter of the 21st century. Source link

Doja Cat is back. The Grammy-winning rapper-singer returned on Friday (Aug. 8), serving up the first taste of her upcoming album Vie, as “Jealous Type” hit streaming services. “Jealous Type” feels like a return to Hot Pink Doja, and the disco-pop track may sound familiar to fans as she previewed it on Instagram Live in April, and it later provided the soundtrack to Doja Cat’s Marc Jacobs ad in May. “Boy, let me know if this is careless/ I could be torn between two roads and I just can’t decide/ Which one is leading me to hell or paradise/ Baby, I can’t hurt you, sure, but I’m the jealous type/ I’m the jealous type,” she sings. Vie remains without a release date, but Doja relayed to V Magazine that her Scarlet follow-up is a pop-focused project. “I do want to be self-aware enough to admit the fact that this is a pop-driven project,” she said. “I know that I can make pop music, and pop is just that it’s popular. It starts to become a bit of a thing that’s viewed as a sport by people who are just bystanders to it, who enjoy it, but maybe also don’t respect it or what it is, which is just music … They see it as if this is some kind of football for girls and gays.” Showing off her bilingual abilities, Doja Cat revealed in June that her album was finished, but wrote the X message in French. While she hadn’t released any singles in 2025 until now, she’s been busy on the collaboration side. Doja joined up with RAYE and LISA on “Born Again” and hopped on Jack Harlow’s “Just Us.” She also appeared with Don Toliver on the F1 soundtrack for “Lose My Mind.” Listen to “Jealous Type” below. Get weekly rundowns straight to your inbox Sign Up Source link

In our Latin Remix of the Week series, we spotlight remixes that the Billboard Latin and Billboard Español editors deem to be exceptional and distinct from the rest. We might not publish a review every week. This is our selection today. Netón Vega knows the power of stepping into the electronic music scene and he doesn’t take it for granted. “It’s a global genre,” the 23-year-old Mexican hitmaker tells Billboard. “For us in regional Mexican, it’s been more complicated to be global but that’s why it’s key to form alliances.” Vega and Peso Pluma‘s “Morena” has been remixed by renowned DJ and producer Tiësto, who after performing the head-bobbing and euphoric EDM version of the corrido at multiple global music festivals, reached out to Vega’s team two months ago to officially record the remix, which drops today (Aug. 22). “When we heard what he had done with the song, Peso and I loved it and we liked the idea of making it an official release,” says Vega, who is known for his musical versatility, thriving in both regional Mexican and reggaetón. The three plan to record a music video for the remix later this month. “Morena” is the fourth track on Vega’s debut album Mi Vida Mi Muerte, which was released in February and debuted at Nos. 1 and 2 on the Regional Mexican Albums and Top Latin Albums charts (dated March 8), respectively. “This means a lot for my music,” adds Vega, who is a self-declared fan of electronic music. “We all benefit. Tiësto will gain a new audience with us, and we’ll get an audience that we don’t have yet, which is Europe.” Netón Vega is set to speak at the 2025 Billboard Latin Music Week, slated to run Oct. 20–24 at the Fillmore Miami Beach. The week will feature panels, live performances, workshops, and networking events, wrapping up with a special celebration concert on Oct. 24. The event aligns with the 2025 Billboard Latin Music Awards, airing live from Miami on Thursday, Oct. 23 on Telemundo and Peacock. Tickets for Latin Music Week 2025 are now available at BillboardLatinMusicWeek.com. Listen to the remix below: Neton Vega & Tiésto Courtesy of Rogelio Trapero By M Source link

Punk godmother Patti Smith‘s landmark 1975 debut album, Horses, is getting the golden jubilee treatment. The John Cale-produced classic that introduced the world to Smith’s signature poetry-meets-punk style will be re-released on Oct. 10 by Legacy Recordings in an expanded 50th anniversary edition in a 2-LP and 2-CD format. Explore See latest videos, charts and news In addition to the original eight-track LP remastered from the original 1/4″ master tapes, the refresh will also feature a number of previously unreleased outtakes and rarities, including Smith’s 1975 RCA audition tape. In addition to such favorites as “Gloria,” “Redondo Beach,” “Birdland” and the multi-part “Land,” the re-release will feature the previously unreleased songs, including the skittering, frenetic jazz rocker “Snowball,” “Birdland (alternate take),” “Distant Fingers,” “The Hunter Gets Captured By the Game” and “We Three.” Smith is in peak form on “Snowball,” featuring spiky guitar work from her longtime musical consigliere guitarist and co-writer Lenny Kaye and the urgent lyrics, “When it hits me I’m so amazed/ When it hits me I’m feeling crazed/ When it hits me I start to recall/ Memories flooding like a snowball running down a hill.” The anniversary edition will also feature RCA demos of the thrilling “Gloria” and “Redondo Beach,” as well as alternate takes on “Kimberly” and “Break It Up.” In addition, on Nov. 4, Smith will publish her long-awaited memoir Bread of Angels, which is described by publisher Random House Publishing as the singer’s, “most intimate and visionary work.” In it, Smith delves into her post-WWII childhood in working class Philadelphia and South Jersey, as well her teenage years, “when the first glimmers of art and romance take hold, her rise as punk rock icon to her retreat from public life when she meets her one true love and starts a family on the shores of Lake Saint Clair, Michigan.” The book, which also covers Smith’s marriage to late MC5 guitarist Fred “Sonic” Smith — its release date is timed to fall on the anniversary of Smith’s 1994 passing — is a look at the pivotal early years when, “Arthur Rimbaud and Bob Dylan emerge as creative role models as she begins to write poetry then lyrics, ultimately merging both into the songs of iconic recordings such as Horses, Wave, and Easter.” The 288-page book is the follow-up to Smith’s National Book Award-winning 2010 memoir Just Kids documenting her relationship with artist/photographer Robert Mapplethorpe, as well as her acclaimed 2015 follow-up, M Train. Smith will embark on a world tour celebrating the Horses anniversary this fall, kicking off a European run on Oct. 6 in Dublin, Ireland at 3Arena before moving to North American shores starting on Nov. 10 at the Paramount Theatre in Seattle. The tour is currently slated to run through a Nov. 29 show at the Met in Philadelphia. She will be joined on the tour by Kaye and another longtime band member, drummer Jay Dee Daugherty, who both played on Horses. Listen to “Snowball” below. Source link

Several months ago, Russell Dickerson was at a crossroads. The gregarious country singer had experienced success, including four Billboard Country Airplay No. 1s between 2017 and 2020, but his career had seemed to level off. Explore See latest videos, charts and news “I had gotten to a point last year of just like surrendering it to God: ‘I’m burnt out. I’ve tried. My wheels have spun. I’ve been going and going and going, but it feels like I’m on a treadmill,’” he recalls over breakfast during a recent trip to Los Angeles. Exhausted, he decided, “I’m not going to keep hustling and hustling and saying yes to everything.” Compounding his growing frustration, at the beginning of this year his business managers told Dickerson that with the high level of production he wanted on his headlining Russellmania tour, he would only net about $60,000 from the road for the entire year. “I was like, ‘I may quit. We should just wipe the books, and I’ll stay at home and drive an Uber,’” he says. Then “Happen to Me” happened to him. The ebullient song, written by Chris LaCorte, Jessie Jo Dillon, Chase McGill and Dickerson, with a credit also given to “Girls Just Want to Have Fun” writer Robert Hazard for its interpolation of the Cyndi Lauper hit, details a random meeting with a woman in a bar that is about to change his life for the better. The tune, which was only meant to be an album cut that would add even more energy to his high-octane live show, took off. The song, which has climbed to No. 5 on the Country Airplay chart, garnered more than 130 million streams and became an immediate viral sensation, in part thanks to an endearing dance Dickerson — who learned his moves from watching Michael Jackson and Usher — created, complete with raised arm clapping, booty shaking and twerking. He’s now posted multiple versions of the dance, including in the gym, on the golf course and on the beach, and even from a Target while back-to-school shopping with his son. There are also star-studded versions with fellow artists Carly Pearce, Lauren Alaina and Maddie & Tae, and Dickerson promises more to come. As the popularity of “Happen to Me” rose, Dickerson began selling more concert tickets, adding extra nights and expanding to bigger venues on his tour, which has just started its third leg. “Our business managers were like, ‘You’re going to be just fine,’” he says. As early as two weeks after the song’s release in March, “I felt an immediate shift — even in Nashville, arms-crossed, jaded, industry town,” Dickerson says, describing the first time he played it in Music City later that month and the audience roared as soon as it recognized the opening chords. “That’s the feeling that I’ve been chasing… That’s the most electric feeling in my career. I’m a big, crazy dreamer and I feel like for the first time in my career, what I’m seeing is matching up to my dreams.” The song is the breakout hit from Dickerson’s new album, Famous Back Home, out today (Aug. 22) on Triple Tigers. The title track deals with balancing his career and family life as both expand. “Before you have kids, you’re like, ‘Dude, I want this [career] to be as big and crazy and everything as possible,’” the father of two young boys says. “And then I’m to the point now where I don’t want anything to take away from my home life. Obviously, we travel all the time, and it just gets harder. Remy is almost five and [he asks] ‘How many sleeps until you’re back?’ My No. 1 priority is how can we be efficient in this whole crazy career and still have a beautiful family. When I come home, [my kids] run to me. I’m famous back home.” For this tour, Dickerson and his wife have focused on alone time. “Kailey has been coming out with me, just us. We finally got a full-time nanny. Thank you, Jesus,” he says. But the pair often find themselves working on their separate pursuits: Kailey recently signed a deal for two non-fiction books and a children’s book, “so she’s working on that while we’re on the road together,” Dickerson says proudly. “We go on a coffee date every day. It’s been so amazing just to have us time to have a conversation.” If the title track looks at his current life, the album also looks backward on the reflective “16 Me,” an autobiographical song that reveals how the musical spark was ignited in Dickerson when he picked up a guitar and was leading his church worship group and learning how to perform in front of an audience as a teen. “Sixteen is such a ‘Where is my life going’ kind of thing, but you’re not really that worried about it yet. It’s a cool thing to just look back and picture you right here with your 16-year-old self.” Dickerson signed with Range Management almost two years ago and that helped realign his priorities, including creating the new album, his first full-length release since 2022’s self-titled set. Previously, in a blurry, non-ending cycle, he would bring songwriters on the road with him and then as soon as he was home, he would head into the studio. “When I was opening — 30-minute set, easy — I could write all day, but now that I’m headlining, that’s a 90-minute full-on performance,” he says. “I don’t want to write on the road. Range has been very strategic in how we book my calendar now and it’s been so much more productive. If it’s everything all the time, nothing gets attention. It was just so beneficial to go back to that old feeling of one thing at a time.” The change has also helped with his ADHD, a condition he’s been very open about, as he’s often able to hyperfocus on one thing. “My brain never stops, so song ideas are just

The Kelce brothers always have a good time on their New Heights podcast. But don’t think it’s all fun and games. Jason and Travis Kelce are serious performers and broadcasters who are well aware of the need for proper modulation. After Taylor Swift smashed records last week when she appeared on their Aug. 13 pod to reveal the details about her upcoming 12th studio album, The Life of a Showgirl, the show shared a behind-the-scenes outtake on Wednesday (Aug. 20) to give Swifties a sense of the hard work that goes into sounding so good. “Everyone knows you should always warm up before doing a podcast [laughing crying emoji],” read the caption on the post, which opens with Travis exaggeratedly saying, “Oh my gosh, Jason!,” followed by retired NFL great Jason Kelce carefully enunciating the old classic, “ow now brown cow.” Then we see a split-screen of the brothers firing up another standard tongue-twisting exercise, “Unique, New York,” as Taylor purses her lips and the camera cuts to a close-up of her doing lip drills, trilling her lips as her voice goes up and down to Jason’s fascination. “See now that’s the…” he begins to say as Taylor continues trilling and Travis bellows, “I’M REALLY EXICTED!!!” It’s a good thing they were warmed-up, because Swift needed her stamina to make it through the two-hour episode which featured a discussion of the new album, due out on Oct. 3, as well as the couple opening up about their personal life, first date and love story and Swift describing the emotional process of getting back her album masters. Watch the vocal warm-up below. Get weekly rundowns straight to your inbox Sign Up Source link

As Oasis gear up to bring their triumphant reunion tour to North America next week, on Thursday (Aug. 21) the group issued the latest live track from their kick-off run of shows in the U.K. and Ireland. As with the other performance versions to date, the take on the Definitely Maybe song “Bring It On Down” has a crackling energy, as well as a massive crowd clap-along through the middle section. “You’re the outcast, you’re the underclass/ But you don’t care, because you’re living fast/ You’re the uninvited guest who stays ’till the end/ I know you’ve got a problem that the devil sends,” singer Liam Gallagher sneers in a near-punk snarl as guitarist/songwriter Noel Gallagher shreds behind him on the track. The song was recorded at Edinburgh, Scotland’s Murrayfield Stadium on Aug. 9 during the first of two shows at the venue. It joins the previous live offerings from the band, which have included the fan-favorite 1995 single “Wonderwall” from one of their recent shows in Dublin, Ireland, as well as “Slide Away” from the kick-off in Cardiff, Wales, “Cigarettes & Alcohol” from their home town of Manchester and “Little By Little” from a five-night London run. Following a short break, the band will kick off their North American dates on Sunday (Aug. 24) at Rogers Stadium in Toronto — where the band will play a second show on Monday (Aug. 25) — before heading south to Soldier Field in Chicago (Aug. 28), MetLife Stadium in East Rutherford, N.J. (Aug. 31, Sept. 1), the Rose Bowl in Pasadena, Calif. (Sept. 6, 7) and Estadio GNP Seguros in Mexico City (Sept. 12, 13). Cage the Elephant will be the opening act on all the North American dates, with Liverpool band Cast joining for the N.J. and California shows. Listen to the live version of “Bring It On Down” below. Get weekly rundowns straight to your inbox Sign Up Source link

In Nell Mescal’s north London bedroom, two vision boards stand tall and proud: one at the end of her bed, and one on her ceiling. “They are positioned so that when I get up in the morning, I have to look at them,” the songwriter tells Billboard U.K. over Zoom, with a glint in her eye. Explore See latest videos, charts and news These collages of images represent Mescal’s artist goals and dreams, serving as a daily force of inspiration. “When people come over, I’m like, ‘Don’t look at my wall, it looks crazy,” she continues, before reeling off some highlights from the dozens of photos adorned around her room: everything from snaps of her favourite artists and the venues she wants to play in the future, to cherished memories with family and friends. “And what I will say very quickly is, I have Billboard magazine on my wall too,” she adds, laughing. Though Mescal chuckles at her own ambition, it’s hard to deny how betting on herself has started to pay off. One of the 22-year-old sources of strength is her spirituality; beyond her vision boards and a steadfast belief in manifestation, she collects crystals and reads tarot cards. It’s these practices that have kept her grounded since she left school early and moved to the capital from Maynooth, Ireland at age 18, having released music as an independent artist for three years, before signing with Atlantic Records [Charli xcx, Ed Sheeran] this past spring. It’s this jump to a major label, as well as the many identity-forming experiences that can accompany young adulthood, that inform and color Mescal’s forthcoming second EP The Closest We’ll Get, due Oct. 17. Its six songs, which weave together profound introspection with resolute self-affirmation, are steeped in a folksy warmth à la Leith Ross or Julia Jacklin. This approach serves a record that excavates a failed relationship with bracing vulnerability, in the process revealing a statement of purpose and artistry that Mescal has worked toward for years. Heartbreak is a theme she touched on across last year’s Can I Miss It for a Minute? EP, but here it comes into focus through rich, kinetic instrumentation and the burgeoning confidence of a young woman increasingly at ease with her status. As her eldest brother Paul’s star continues to rise ahead of her own – the actor landed an Academy Award nomination in 2023 for Aftersun – she has faced scrutiny online regarding the influence of his fame.  She has contended with this discourse by speaking out on the long and winding path she has followed to get to this point; Mescal was bullied “relentlessly” when she started making music in school, an experience she depicts on the emotive track “Warm Body.” She adds: “Regardless of what’s happened, I was always going to be chipping away at the music – it’s all I’ve ever cared about. But signing to a major label was one of those huge moments of feeling like, ‘Wow, people do actually believe in me.’” What’s something you’ve learned about yourself in the transition from indie artist to major label signee that surprised you? I guess I thought I was going to falter. You always have that voice inside your head that’s going, “You can’t do it.” But I also have a voice that’s like, “No, you can.” I was waiting for that moment where it felt like it was all too much, and it never really came. I just channelled every scary emotion into something more positive, and I learned that I could trust myself in the way that I hadn’t been able to before. There were times where I thought, “Am I just blindly doing this?” But actually it felt like, “No, you just stand in the power of what’s happening, and what you’ve created and what the people around you have created.” How do you take care of your mental health now that expectations are higher? Has the label supported you in setting those boundaries? Everyone on my team has been amazing. But you know what — all of this has been no more intense than it was when it was just me and my manager. [As an artist], you always have the exact same fears, no matter who joins or no matter who leaves. From the very beginning, it’s only been about the music. These aren’t new emotions I’m feeling, and it’s not new pressure. I think regardless if I had stayed independent, or if I hadn’t, I would still have had a goal and a mission that I’m on, a world that I’m building, too. I’m still putting that same pressure on myself. What do you feel like your relationship is with the music industry? And how has it evolved? I think I would like to be at the point where I feel as though I’ve really found where I’m at in the music industry, but I think that [position] just keeps changing. You can go two steps forward and then feel like, “Woah, what the hell… I’m like 10 steps behind now.” I can’t be on a ladder that I don’t feel is necessary to me, but I’m making the music that I really like making, and I’m surrounded by really beautiful, amazing musicians. I’m trying to pave my own way. Have you been in situations as a songwriter where your ideas weren’t heard? Yeah, definitely. There have been times where I’ve struggled; I had one of those moments last year where I was not really making the music I wanted to make. I wasn’t feeling content, I guess. I turned around to loads of people in my life and said, “For the next six months, I’m going to throw myself into everything that is making me uncomfortable and hope that my life changes.” I had to reckon with my mental health, my physical health, my friendships… every part of my life. I threw myself into all these different situations, and six months later, I

It’s another killer week for KPop Demon Hunters, which is slaying the ARIA Charts like no other animated soundtrack. The musical counterpart to the hit Netflix animated action/musical collects another double and is now a record holder, as it logs a sixth non-consecutive week atop the national albums tally for a sixth non-consecutive frame. Explore See latest videos, charts and news It’s now the biggest chart-topper from an animated movie since the official charts launched in 1983, according to ARIA, beating Trolls (three weeks at No. 1 in 2017), Frozen (two weeks in 2014) and many others. It’s another bright, shiny week for KPop Demon Hunters hit “Golden,” which retains top spot on the ARIA Singles Chart for the third successive frame, and is one of six tracks from the compilation in the top 10. Expect the recording to stay at or near the top of Australia’s charts. Cinema chain HOYTS will exclusively screen K-Pop Demon Hunters: Sing-Along Version in its sites across Australia and New Zealand this weekend. KPop Demon Hunters outguns Conan Gray’s new album Wishbone, which drops in at No. 2 on ARIA Albums Chart. The American singer, songwriter and former YouTuber now has three top 10 albums in Australia, including 2022’s Superache (peaking at No. 8) and 2024’s Found Heaven (No. 10). Also impacting the top 10 is Jordan Davis with Learn The Hard Way, new at No. 9. That’s a career high for Davis, who is rumored to be plotting an Australian tour next year. Australian deathcore act Justice For The Damned snag a third top 40 appearance with Stay Relentless, new at No. 13. while Mama Kin Spender debuts at No. 20 with Promises, the homegrown duo’s second album and first chart appearance. Taylor Swift’s tease of a new album, The Life Of A Showgirl, is enough to send a batch of her albums back up Australia’s chart. Leading the way is The Tortured Poets Department up 29-14, while Folklore improves 25-17, Lover lifts 45-19, Reputation gains 38-26 and Midnights vaults 63-34. The Life Of A Showgirl is due out Oct. 3, 2025. No new releases appear on the ARIA Singles Chart, and just one homegrown recording cracks the top 50 — Crowded House’s 1986 classic “Don’t Dream It’s Over,” which continues its revival after placing at No. 5 in triple j’s hottest 100 of Australian songs. Now certified nine-times platinum, “Dream” is down slightly, 37-38. Source link