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This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music by Junior H; Alejandro Sanz and Rels B; and a new album by Maffio, to name a few.  Explore See latest videos, charts and news A formula that never fails, Maria Becerra and TINI joined forces for the third time on new single “Hasta Que Me Enamoro.” Co-produced by Becerra and XROSS, the track is rooted in an edgy and futuristic Afrobeat and narrates how a girl is in her healing process until she falls in love all over again. “Hasta Que Me Enamoro,” which follows the Argentinean artists’ “High (Remix)” and “Miénteme” collabs, is the closing chapter of Becerra’s Shanina trilogy, one of her alter egos who shape the conceptual universe of her upcoming album.   Speaking of albums, Maffio dropped his 12-track set R.D.L.D. (Rey de la Discoteca), further solidifying his title as hitmaker. For his new set that includes collaborations with artists such as Wisin, Shaggy, Anitta, KRZ and Benny Adam, the Dominican producer and artist traveled to London, Paris and Amsterdam to bring to life an album packed with Afrobeats, Caribbean melodies, global rhythms and electronic house fusions.  “It’s my way of honoring the genre that taught me music has no borders, that it is union, that it is red blood running through every human being,” he said in a statement. “This album is my contribution, my voice, my Afro-Latin and tropical essence joining that infinite kingdom that already exists.” Other new releases this week include music from Junior H, Banda MS and Mon Laferte with Nathy Peluso. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below. Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 7:30 a.m. ET on Monday, Sept. 22. Source link

Shakira wrapped up her historic series of 12 concerts at the GNP Seguros Stadium in Mexico City on Thursday (Sept. 18), marking the most shows from a single tour performed at the iconic venue formerly known as Foro Sol. Explore See latest videos, charts and news The Colombian superstar made history by selling out the capital’s stadium 12 times during her Las Mujeres Ya No Lloran World Tour, drawing 65,000 people each night, according to figures from promoter OCESA, for a total of 780,000 tickets sold. The previous record at the stadium was held by Grupo Firme, with nine shows. Bad Bunny is set to perform eight nights in December as part of his DeBÍ TiRAR MáS FOToS tour. “My last show in Mexico City. Truly, 12 concerts at GNP Stadium, not even in my wildest dreams,” a visibly emotional Shakira said during the show. “Thank you, because this wouldn’t have been possible without you. This has been a true gift that I will never forget.” Shakira’s final night in the capital carried an air of nostalgia and farewell for both the artist and her audience, who passionately sang along to the nearly 30 songs in the setlist. “I want the whole world to know that Mexico is magical,” the Barranquilla native exclaimed at one point as a gesture of gratitude. As she had announced days earlier on social media, Mexican singer Danna joined her again on stage for “Soltera” on Thursday, marking the second time the song was performed live during the tour. The track recently won the 2025 MTV Video Music Award for best Latin. With the Las Mujeres Ya No Lloran tour, Shakira has left her mark on Mexico City — not only because of the special bond she established with her local and international fans, but also for the cultural, social and economic impacts her show had. The singer-songwriter began the first Mexican stretch of the tour in March, with seven dates at the GNP Seguros Stadium. In a second leg, she added five more shows between August and September at the same venue. Throughout her performances, Shakira welcomed special guests, including Grupo Frontera for a live rendition of “(Entre Paréntesis)” on March 25, the aforementioned Danna for “Soltera” on Aug. 26 and Sept. 18, and Mexican star Belinda for “Día de Enero” on Aug. 30. Shakira achieved another milestone in July by selling one million tickets in Mexico as part of the Las Mujeres Ya No Lloran World Tour, according to OCESA, from a total of 28 dates she is close to completing. The Mexican leg of the tour will conclude on Sept. 24 at the Luis Pirata Fuente Stadium in Veracruz, marking the first time the singer will perform in that city. Source link

RAYE is gearing up to touch down on a football field in London this NFL season, with the league announcing that she will headline the halftime show for the Minnesota Vikings vs. Cleveland Browns game on Oct. 5. The game will mark the NFL’s first matchup hosted in London of the 2025-26 season, with two other games played across the pond scheduled for Oct. 12 and 19. The expeditions are part of the league’s efforts to expand the American sport’s presence overseas. “London continues to be a second home for the NFL, and each year we look to elevate the entertainment we bring to fans,” said Tim Tubito, the NFL’s senior director of global game presentation and entertainment, in a statement. “RAYE is one of the U.K.’s most exciting artists, and we know she’ll deliver an incredible performance for our fans which continues to showcase the NFL’s approach to providing the best in sports and entertainment.” “I’m very grateful to NFL for inviting me and the band to perform during this halftime show,” RAYE added. “Hopefully we can provide a memorable and entertaining moment for the crowd and viewers at home.” Also at the Oct. 5 game, English singer-songwriter Pixie Lott will perform the English national anthem, “God Save the King.” The halftime news comes as RAYE is getting ready to kick a new musical era into gear. Following the success of her 2023 smash “Escapism” and album 21st Century Blues, the vocalist dropped a new song titled “Where Is My Husband?” on Friday (Sept. 19). She also confirmed that she’s working on a new album while unveiling plans to embark on a run of global shows dubbed This Tour May Contain New Music. Get weekly rundowns straight to your inbox Sign Up Source link

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below. Explore See latest videos, charts and news Alejandro Sanz & Rels B, “No Me Tires Flores” (Sony Music España) Spanish artists Alejandro Sanz and Rels B merge tradition and modernity in their first collaboration, “No Me Tires Flores.” Evocative both musically and lyrically, the pop song with hints of flamenco and rap speaks to the search for true love. “No, don’t throw flowers at me, that’s for the dead/ No, no one is needed, I understand that now/ It doesn’t cost a billion to buy us/ If you love me like I love you, everything is perfect,” they sing together in the chorus, uniting the singer-songwriter’s husky voice with the softer tones of the rapper in a harmonious way. The song was premiered on Sept. 12 during Sanz’s first of six shows at the National Auditorium in Mexico City as part of his ¿Y Ahora Qué? tour. The moment was captured live, becoming the song’s official music video. — SIGAL RATNER-ARIAS Junior H, “Culpable” (Rancho Humilde/Warner Music Latina) In the midst of his $ad Boyz Live & Broken tour, Junior H delivers his new single “Culpable.” Written by Junior H and David Álvarez, and produced by Andrés Farías, Cristian Osorio, and Gustavo Farías, the song oozes glam and sensuality while staying true to the Música Mexicana star’s emotional trademark. The artist born Antonio Herrera Pérez is joined by the Macedonian Symphony: Fame’s Orchestra for a soft and jazzy pop ballad à la Luis Miguel in the ’90s. “And if I find out about someone else, if I see you, I’ll be jealous/ I know he’s not the real one, he’s a prisoner/ I’ve been through that, and I’ve even lost my ground,” he chants in the track about love, lust, and guilt. Inspired by “The Great Gatsby” era, the cinematic music video directed by Carlos Reyes Vega (Closrv), John Dela Casa and Seb Espin, shows Junior H having a luxurious lifestyle through his “sad boy” lens. — JESSICA ROIZ Banda MS & Fuerza Regida, “Seguro Le Dolió” (Lizos Music) Heartbreak at its finest is the protagonist of this song, an anthem for those hurt by a relationship that didn’t end on good terms. With his rugged vocals, Jesús Ortiz Paz, leader of Fuerza Regida, introduces the story directly: “It sure hurt her, falling from above, from where I put her,” he chants, followed by the softer vocals of Banda MS’ Alan Ramírez: “The so-called princess, one day she lost her manners and she lost me/ Having been the perfect guy was of no use.” Immediately after, the Sinaloa band sounds, and the excellent fusion of two generations of regional Mexican music (with two of the greatest groups) begins. Written by Horacio Palencia, Nathan Galante and Diego Bolela, “Seguro Le Dolió,” which translates to “it probably hurt her,” marks the third collaborative effort between Banda MS and Fuerza Regida. — TERE AGUILERA iLe, “Si Te Contara” (La Buena Fortuna Music) With her new single, Puerto Rican singer-songwriter iLe reaffirms her deep understanding of the mystique contained within the bolero genre, a style rooted in the former Calle 13 member’s sonic DNA. “Si Te Contara” marks her own version of the song popularized by Ismael Rivera in 1959 and originally written by Felix Reina. The Latin GRAMMY winner’s interpretation of this second cut from Como las canto yo, her new LP dedicated to bolero, is passionate and dramatic, yet virtuosic, delighting the listener with vibrant rhythms from the Latin American songbook. In a statement, iLe says she has always enjoyed this song for its beautiful melody “that flows well with calm and a contained sadness.” — NATALIA CANO Israel & New Breed, Coritos Vol. 2 (Integrity Music US) With Coritos Vol. 2, Israel Houghton & New Breed revitalize 16 Christian music classics, both their own work and iconic hymns of the genre in English and Spanish. Recognized for his impact on contemporary English-language gospel, Houghton returns to Spanish with ease to create this tribute to Latin culture, continuing the project begun with Coritos Vol. 1, released in May. The sequel features Alex Campos on “Te Necesito,” Miel San Marcos on the energetic “Coritos con Miel,” Marcos Witt on the moving “Dios Ha sido Bueno,” and his wife Adrienne Bailon-Houghton, formerly of The Cheetah Girls, on a heartfelt version of “Dios Está Aquí.” Also notable is the participation of Janina Rosado, musical director of Juan Luis Guerra and 4.40, on “Gloria Aleluya.” With impeccable live instrumentation, the musicality shines through from start to finish on this album, where gospel collides with a vibrant fusion of Latin music arrangements. — LUISA CALLE aLex vs aLex & S.3.R, “centro (aLt)” (omw records) A hypnotic collision of sensual reggaetón and experimental alt-pop sway, “centro (aLt)” finds New York-based Guatemalan trailblazer aLex vs aLex (Sofía Insua) and Chicago-based Colombian artist S.3.R (Camilo Medina of Divino Niño) reimagining rhythm through intimacy and release. Infused with guaracha-inspired beats, the track invites listeners to lose themselves in its entrancing rhythms and the seamless interplay of bilingual lyrics. Co-written and produced by Medina, “centro (aLt)” builds on aLex vs aLex’s debut EP nyc minute, offering a “looser, sweatier” twist, as Medina describes in the press release. The collaboration marks an exciting fusion of two artists currently pushing the boundaries of Latin alternative music. — ISABELA RAYGOZA Check out more Latin recommendations this week below: Source link

Scientists call the phenomenon of “revenge bedtime procrastination” something humans do when we feel little control over our daily schedules. When there’s not much free time during the day, we often stay up later than we should watching TV or scrolling as a way to “get revenge on” our packed daytime hours. Explore See latest videos, charts and news It’s a behavioral pattern Sammy Virji says helped bring his new album into being. His days would start with an hour’s walk through London to, he says, “get the oxygen flowing.” He’d grab a coffee, cross London Bridge and eventually arrive at the studio. Productivity wasn’t always immediate upon arrival. “I’d be there until nine or maybe later, just messing around,” the producer tells Billboard over Zoom from a lush backyard in the Hollywood Hills, where he’s staying while in Los Angeles for spell. “But I would find myself getting more creative late at night, because I really should’ve been getting ready for bed. I procrastinated in the same way that people will watch Netflix when they should go to sleep. The later it got it was like ‘I shouldn’t be here.’ But with that, I ended up being more creative and doing things I wouldn’t usually do.” The result is Virji’s second album Same Day Cleaning, out today (Sept. 19) via Capitol Records. A 16-track effort featuring collaborations with Skepta, Chris Lake, Flowdan, salute, dancehall powerhouse Spice and a crew of other guests, the cool, stylish album puts an exclamation point on Virji’s rise in the U.S., one during which he’s helped spark a new level of popularity for U.K. garage, also called UKG, or as Virji says it in his accent, “gare-ej.” Virji is among a wave of UKG artists helping popularize the subgenre, forged in the ’90s UK rave scene, in the U.S. Skrillex has dabbled in the sound, and Interplanetry Criminal, Virji’s collaborator on 2024’s undeniable “Damager,” is among the also popularizing the sound for a new generation. Virji’s own trajectory has been marked by huge and hugely well received sets at Portola 2024 and Coachella 2025, along with headlining cross country clubs shows that drew crowds Virji, with a laugh that emphasizes his famously wide smile, lovingly calls “feral.” He’ll be on a U.S. club tour through the end of the year, with the run sprinkled with festival dates and a two-night stint at London’s revered Alexander Palace already on the calendar for April. Below, he talks the new album, America and more. Do you remember a particular idea that came to you late at night at the studio that eventually made it to the album? Yes, “Leroy Street,” which is the final tune on the album and much different than the stuff I usually make. — I was just pissing around, and it was late at night, then suddenly I was kind of like “I’m just going to take a break because my brain was fried, so I tried making this ambient thing.” I added some drums and I was like, “Oh, this is actually quite special.” That basically came from me just being there late at night procrastinating. When did you know the album was done? I don’t know if I’ll ever get that feeling. There will always be bits where it’s like, “I should have changed that or this,” but it kind of is what it is now… I don’t think I’ll ever get that feeling of satisfaction — I’ll still listen to old tunes and be like, “I actually could tweak that,” but I think I was happy with where it was. Was there also a deadline you were working under? Oh yes, there was a deadline as well. [Laughs.] In terms of UKG in the States, what’s your feeling about what your presence here has done to kind of reintroduce that genre, or introduce it in a new way? The first time I came to America was 2023, in June. I played at Sound nightclub for [Night Bass founder] AC Slater. I felt like back then it still wasn’t there, but it was kind of this bass house-ey sound. I still play a lot of bass-ey music. I felt like I did have a few fans out here, but it’s just progressed since then. I don’t really know how it’s blown up so much out here, because it’s never really had like such a big moment. I think it’s right time, right place. What’s your role in that? What I’m doing is trying to make it accessible. And it’s kind of doing that without selling out and just bootlegging something popular. I’ll try and get loads of different a cappellas and run them over the top and keep it exciting, just kind of mashing things up together. It feels like that’s the eternal line that dance artists are walking, or trying to walk, of being accessible but not selling out or veering into something that wouldn’t feel good. What have been your guidelines for doing that? Playing a well known tune in a set, it will always go off well, but it’s kind of cheating. That’s just how I feel. I do that sometimes, but I’ll do things like taking a well known tune that’s not popular right now. I like to play “Pump Up the Jam,” which is old and [people probably] haven’t heard it in a while. I put that on a build up, just to keep it a little bit like, “Yeah, I know this,” then go into something more underground. You spark people’s interest with this well known song, then you take them with you to the next. Yeah, but it’s gotta be the right amount of known. It can’t be too known, right? I find that old music does that well. Does that apply to the music you produce and your work outside of your sets? I do like having that old feel. I think a lot of my music hints at old school garage,

Twenty One Pilots shows are a lot of things: a celebration, a benediction and a chance for the Skeleton Clique to reconnect, dress up in their finest Blurryface drag and shout along to the anthems that make them feel alive and happy to have made it to this moment together. Thursday night’s (Sept. 18) kick off of the duo’s 2025 Clancy Tour: Breach outing at TQL Stadium in Cincinnati, was all of those things, with the added bonus for singer Tyler Joseph and drummer Josh Dun of hearing their extended family lustily sing every lyric to a handful of songs from their barely week-old Breach album back to them as if they were already decades-old canon. If you’ve ever attended one of the Columbus, Ohio-bred band’s shows — and I’ve seen more than a dozen — this was no surprise. Before a single note was played at the two-hour-plus blowout, you could already feel the excitement and buzz brewing as you walked up to the city’s major league soccer stadium. Thousands of Clique-rs were parading around in official, and homemade merch and costumes paying homage to the group’s decade-long Blurryface saga, including ones with their throats and hands drenched in black paint à la Joseph’s stage and music video persona, to ominous red-robed ghouls drifting around like the Bishops from the fictional city of Dema. From grade schoolers to their moms, dads, older siblings and friend groups, the feeling that everyone here was part of the show was palpable. And once Joseph and Dun finally took the stage after a bouncy set from openers Dayglow, it was on, as 21P treated the 21,000 fans to a high-energy run through songs from their across their catalog, including the live debuts of four songs from eighth LP Breach, which dropped last Friday. The expansive, 27-song, pyro-filled set leaned heavily into the twisty lore of the now decade-long Blurryface saga, which launched in 2015 with the Blurryface album, and continued on subsequent LPs Trench (2018), Clancy (2024) and Breach. Joseph admitted that some bits of the show were still getting ironed-out during the first night, but if either man was nervous about the step-up to stadium status it didn’t show, as they paraded through the floor several times to get up-close-and-personal with the Skeleton crew that has made their dreams come true. Below, check out the 10 best moments from the opening night of Twenty One Pilots’ The Clancy Tour: Breach outing. (And click here for the full setlist from night one.) Clique Chic Some bands have merch, others have fans who make their own. While there were plenty of official t-shirts, hats and sash-like Clancy stoles throughout the crowd, many fans came with their own homebrewed homages. There were acres of red and yellow tape slapped across shirts and pants in reference to the shifting, colored-coded Blurryface palette, as well as hands and necks dipped in black paint and plenty of folks in red velvet Bishop robes and balaclava-like masks. Some wore the white horns seen on the head of Ned, the alien-like creature from the “Chlorine” video, and a few brave souls wore full-on Ned furry costumes on the 85-degree night. The sea of costumes and DIY tributes gave the show an every-day-is-Halloween-like feeling, once again bringing the faithful together in a massive, loving we-accept-you-as-you-are group hug. (Have No) Rawfear The night’s second debut came just three songs in with the new album’s emotional “RAWFEAR,” which, though just six days in the world, was met with a full-song sing-along from the Clique. As Joseph sang directly into an old-fashioned video camera mounted on a tripod — which gave the accompanying visual a heightened intimacy — fans eagerly shouted out the “and you go, ooh, ooh, ooh” refrain as if it was their new national anthem. The performance ended with a touching short video filmed just hours before of Clique members showing off their signs, elaborate costumes and communing with their chosen family outside TQL in the lead-up to the show. Don’t Stay In Your Lane, Boy One of the hallmarks of 21P shows is the, literal, closeness of the band and their fans. This usually extends to both Joseph and Dun climbing onto mini plywood platforms held up by the Clique to play the drums or sing directly to them. During the emo funk Blurryface favorite “Lane Boy,” Joseph did just that, clambering from the main stage onto a office desk-sized platform to sing a portion song, putting his safety in his supporter’s hands, with no fear that they’d let him down as he sang, “my creativity’s only free when I’m playing shows.” Satellite of Love Before digging into the Clancy song “Routines in the Night,” Joseph did a slow walk through the crowd, slapping hands and giving some extra love to some of his most ardent admirers, including a youngster in a white shirt with “Clancy” written on it in backwards script. In a tightly choreographed show, Joseph seemed in no hurry to make it to the satellite stage near the other end of the stadium, taking his time and basking in the love all around. And then, it was on, as he and Dun rocked the B stage alongside the “Heavydirtysoul” video car, which erupted into flames midway through “Routines.” The Fire This Time After chest-shaking runs through the fan-favorites “Polarize” and “Chlorine,” both men ambled back to the main stage, with Dun doing a slow march with a flaming torch in one hand and a huge Cincinnati banner — covered in the signatures of Clique members — in the other. At one point, the flame went out and Dun seemed momentarily confused until a crew member grabbed it from his hand and returned it second later, fully alight again. Then, with a big smile, he draped the banner over his bass drum as he cued up the titanic beat from the Trench banger “Jumpsuit.” Set the Sky on Fire Twenty One Pilots shows always have their fair share of pyro. But during the Blurryface

The doubters have been silenced, the fans have been fed; at long last, Cardi B’s sophomore album is finally here. Seven years after Cardi B shaped the game in her image with Invasion of Privacy, the Bronx-bred rapper is back for seconds with Am I the Drama? The 23-track project will feature both of her Billboard Hot 100 No. 1 hits: 2020’s “WAP” and 2021’s “Up,” and will include her most recent singles “Imaginary Playerz” and “Outside.” Cardi has been meticulously rolling out the project for weeks now. She hit the streets of New York City to sell off various copies of her new project, interrupted Jimmy Fallon’s opening monologue to promote said project, and even utilized her own pregnancy announcement to further roll out the album. “Go support my album because I’m a mother of four now,” she joked in an interview with Gayle King after announcing she was expecting a new baby with her boyfriend Stefon Diggs. With all eyes on Cardi, there is an incredible amount of pressure resting on the shoulders of Am I the Drama? Her debut album was a blockbuster hit, debuting atop the Billboard 200 with 255,000 album-equivalent units in its first week, with 103,000 coming from pure album sales. Cardi’s debut album earned the second-biggest first-week sales of 2018 at the time, with Cardi becoming the first female artist to chart thirteen songs simultaneously on the Billboard Hot 100. The accolades kept coming later that year, as Cardi B became the first solo female rapper to win the Best Rap Album Grammy award. With features from Janet Jackson, Cash Cobain, Lizzo, Kehlani and more, and a massive headlining tour right on the horizon, Am I the Drama? on its face seems poised to be an equally substantial moment in Cardi B’s career. But how does the drama sound? Check out Billboard’s ranking of Cardi B’s highly anticipated new album below. (Note: The two lowest tracks are ranked where they are due to them having been released so long before the album, and thus of course not feeling as fresh on first Drama listen.) “Up” Cardi B’s 2021 warning shot still sounds great four years later. The refrain is still catchy, the bassline is still unsettling, and Cardi B’s quippy wit like when she dedicates bars to girls whose “breath smell like horse sex,” still elicits a chuckle. It’s still “Up.” — MACKENZIE CUMMINGS-GRADY “WAP” (feat. Megan Thee Stallion) The nasty bop that started it all. Five years after “WAP” flustered and frustrated conservatives everywhere, Cardi and Meg have continued to dedicate their careers to empowering women in every facet. They remain unfazed by slut-shaming and modern-day political tropes, and continue to be a beacon of sexual empowerment for everyone. The song still slaps, too. — M.C.G. “On My Back” (feat. Lourdiz) An R&B slow jam for her boo, Cardi B’s sultry “On My Back” is aided by an equally sticky hook from Lourdiz. She mostly keeps the bars about sex with her man and tosses in a few odd, kinda funny one-liners along the way like, “I’m on your d—k, I wanna hold it when you pee,” but it’s clear the appreciation is genuine. — M.C.G. “Killin You H—s” Cardi puts the nail in the coffin with “Killin You Hoes,” a reflective flex that focuses on her power as an MC. While she doesn’t name names, she celebrates the power of the Cardi B brand — from her looks to her talents on the mic. “It’s too late, b—h, I’m a whole success story,” she raps with a sparkle in her eye. It’s a fitting closer to an album almost entirely dedicated to the people in Cardi’s life who did her dirty. — M.C.G. “Man of Your Word” Some of the best art comes from vulnerability and an artist like Cardi has always worn her heart on her sleeve. She’s never been shy about addressing her personal life with her fans. That’s why they’re able to ride so hard for her. You’ll always have a fanbase if you’re relatable and that’s been her greatest asset since she first popped off on Instagram. There’s no getting out of Cardi’s group chat. — ANGEL DIAZ “Bodega Baddie” First of all, I’m a bit disappointed in this one because it feels like an interlude when the song title has all the makings of becoming a viral sensation — and secondly, we could’ve used a feature from another New York artist like Ice Spice and Chucky73 to really bring this one home. — A.D. “Magnet” This is yet another banger that I can see being popular on various social media platforms, with shorties lip-syncing and making funny faces and maybe doing those funny dances that they be doing. It’s gonna be funny when they highlight that one particular line. You know the one that I’m talking about. — A.D. “Trophies” From jump, Cardi puts her heel on her enemies’ throats and digs right in. “Trophies” throttles the listener like a battering ram, as Cardi incinerates her foes with bars like, “I could make a n—a rich, I could get a n—a robbed.” The line doubles as a cheeky nod to a controversial IG video from 2019, proving that when it comes to owning the narrative, Cardi is always in control. — M.C.G. “Dead” (feat. Summer Walker) This is a great way to set things off. Cardi’s talking heavy, with lines like, “Guess who make sure that she play nice when we in person?/ And guess who done bodied up more b—es than they surgeon?/ I’m collecting body bags like they purses/ I don’t even rap no more, I drive hearses,” and Summer sounds great. They really should consider linking up more often. Cardi had to address the hectic life she’s been living since rising to superstardom and dropping Invasion of Privacy seven years ago. We had to know where the hell she’s been — and now we know. — A.D. “Imaginary Playerz” Okay, this song

Ed Sheeran has held off competition from Twenty One Pilots and JADE for his ninth No. 1 album on the U.K.’s Official Albums Chart dated Sept. 19. Play gives Sheeran his second chart-topper of 2025 following the success of +–=÷× (Tour Collection), a greatest hits compilation that encompasses his Mathematics album series, which took the top spot in June. Each of his studio albums from that series — 2011’s + (Plus), 2014’s × (Multiply), 2017’s ÷ (Divide), 2021’s = (Equals) and 2023’s – (Subtract) — have hit No. 1, as well as 2019’s No. 6 Collaborations Project and 2023’s Autumn Variations. The superstar now matches Bob Dylan, Take That and Stereophonics on the list of artists with the most U.K. No. 1 albums. The Beatles and Robbie Williams are currently tied at the top of the all-time list with 15 No. 1s each. Following a flurry of release week activity, Sheeran announced the North American leg of his upcoming Loop tour for 2026. The run will commence at the State Farm Arena in Glendale, Ariz., on June 13. Sabrina Carpenter’s Man’s Best Friend remains strong at No. 2, having spent the past two weeks in the top spot. JADE’s That’s Showbiz Baby! earns 2025’s biggest opening week yet for a debut album, finishing the week at No. 3. The Little Mix member’s solo LP was bolstered by an in-store tour of record shops, resulting in a top-place finish on the Official Record Store Chart. Twenty One Pilots’ quest for a U.K. No. 1 album continues as the group’s new LP, Breach, finishes at No. 4. It’s the fifth time the Ohio-born band has missed the top spot following 2015’s Blurryface (No. 5), 2018’s Trench (No. 12), 2021’s Scaled and Icy (3) and 2024’s Clancy (No. 2). Sophie Ellis-Bextor celebrates her highest charting LP in over a decade with Perimenopop closing at No. 5, and gives the pop star her sixth U.K. top 10 overall. Get weekly rundowns straight to your inbox Sign Up Source link

In his 40 years on earth, Kid Cudi has experienced the highest of highs and lowest of lows. He bared his soul, helping millions along the journey, realizing it’s okay to not be okay, and became a trailblazer for emo-rap in the process. Explore See latest videos, charts and news Cudi has continued to refine his repertoire outside of music, sharpening his skills as a director, actor and writer for the silver screen. The Ohio native premieres his Mr. Miracle short film with Billboard on Friday (Sept. 19), which brings his poignant Free track to life and co-stars LaKeith Stanfield. “I wanted this to be a love letter to my fans because they’re part of the reason I’m in this place of peace I’m in right now,” Cudder tells Billboard. “They never left me lonely, they have always been there.” It was only right Cudi took it back to his familiar stomping grounds of Cleveland’s House of Blues for the short film. Shot in black-and-white, the opening scene finds the multi-hyphenate getting mentally ready for a performance while backstage alongside Stanfield, an actor Cudi’s long “respected and admired,” as the duo ruminates about their turbulent journeys to stardom. A cinematic score gives the feeling of a scene straight out of a superhero movie. “Fearlessness, that’s my superpower,” Cudi reflects. “Not many of us have it. You’re like me, I know you’ll understand. I jumped out into the unknown without any fear in my heart.” Kid Cudi continues to recall how many fans have told him they’ve saved their lives, but it’s the eternal connection with fans that’s saved him. “People say I’ve saved their lives and that’s the wildest thing to think about. But in reality, they’ve saved mine,” he says. Following a moment of solace, Cudi rocks the House of Blues stage, while the clip becomes more of a live performance music video to the grungy track. Once he puts the mic down, the lights dim and the darkness Cudi’s surrounded with flips to a light shining on him, the kid’s gonna be alright. Watch the Mr. Miracle short film and check out our brief interview with Cudi below. Billboard: Take us through the inspiration for the ‘Mr. Miracle’ short film as it ties back to the song and ‘Free’? Kid Cudi: Mr. Miracle is a celebration of life and I felt like I wanted to have a moment of reflection in the beginning. I wanted to do something to celebrate them and what better place to do it than in Cleveland in my hometown at the House of Blues, which I have history in — I have performed there a number of times. It made sense to go back and do something for the fans and send them my love through a visual. What made LaKeith Stanfield the right co-star for this as a creative who can relate to your experience? LaKeith has always been somebody I respected and admired for a long time. We recently met, he asked me to get on one of his records for his album, and we became fast friends. You know, our experiences through the darkness are similar — we have both been through the hell and came out on the other side. I know he could relate, you know, as an artist and just as a human on this planet, I know he can relate to what I’ve been through. It just was perfect. I recently acted with him in his short film for our first single Fast Life (coming Sept. 26), so when it came time to set this up I thought it would be great for us to share the camera again. I think that’s something people will notice when they watch — me and him on camera together is a powerful thing. Both of us have put in work throughout the years and just have so much respect from our peers, and to me it’s like getting Will Smith and Martin Lawrence together to do Bad Boys — it’s the ultimate union. This is hopefully the beginning of many things for me and LaKeith. We’re hoping to develop things together. He’s a great scene partner, doing the scene with him was so ill, and I can’t wait to share the screen with him again. He’s a phenomenal actor and an amazing person. The conversation with LaKeith feels like a scene from a superhero movie. Do you ever feel like a superhero with your fearlessness? Yeah man, I do at times feel very superhero-ish with my presence in the culture. I’m someone that people look up to, that they say saved their lives in some way, and I don’t know. I don’t ever want to act like I’m a savior or some superhero because I am just a man, and all I can do is tell my truth and help others. It’s a simple thing for me. I don’t see it as this big extraordinary thing — as an artist that’s our job, that’s our duty. It’s standard to put your heart and soul in your music and not just say a bunch of shit that doesn’t mean anything. Really put a message in there and connect with the fans. The ending feels like you saw the light. Does that message apply to your personal life as well? How would you define that right now? Yeah, the reason I put that in there was to show a visual of what I’m feeling, you know? I love that it goes from dark to a bright light because that’s literally what happened. I was living in the darkness for years and one day I looked up and saw the light. It’s just a powerful feeling. Right now in my life I feel complete. I am thoroughly happy. I have everybody in my life that needs to be there to love and support me — like my wife, my sister, my nieces, my daughter, my best friend, my mom, my brother

Alex Warren’s “Ordinary” continues to be anything but, as it scores a record-tying 14th week at No. 1 on Billboard’s Pop Airplay chart (dated Sept. 27). The song matches Ace of Base’s “The Sign,” which ran up its reign consecutively from February through March 1994, for the longest command since the ranking began in October 1992. “Ordinary,” on Atlantic Records, first topped Pop Airplay in June and has led for all but one week since; Sabrina Carpenter’s “Manchild” interrupted its rule earlier in September. The Pop Airplay chart ranks songs by weekly plays on more than 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate. Here’s a look at the longest leading Pop Airplay hits, all enduring smashes, over the chart’s 32-year history: 14 weeks at No. 1, “Ordinary,” Alex Warren, beginning June 21, 2025 14, “The Sign,” Ace of Base, Feb. 12, 1994 13, “Stay,” The Kid LAROI & Justin Bieber, Sept. 4, 2021 11, “Closer,” The Chainsmokers feat. Halsey, Oct. 8, 2016 11, “Over and Over,” Nelly feat. Tim McGraw, Nov. 6, 2004 11, “Torn,” Natalie Imbruglia, April 25, 1998 11, “I Love You Always Forever,” Donna Lewis, Aug. 31, 1996 11, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 9, 1995 “Ordinary” previously crowned the all-genre, multimetric Billboard Hot 100 for 10 weeks and wrapped at No. 1 on the Songs of the Summer chart. Among its other dominations, it ruled the Billboard Global 200 for 10 weeks and Billboard Global Excl. U.S. for eight frames. Warren recently discussed the song’s mass appeal with Billboard, musing, “When you write a song, you want it to apply to as many people as possible.” All charts dated Sept. 27 will update Tuesday, Sept. 23, on Billboard.com. 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. Get weekly rundowns straight to your inbox Sign Up Source link