The British weather might have turned wet, windy and wild this week, but HUNTR/X’s “Golden” still shines bright as it spends a fifth non-consecutive week as U.K. No. 1 (Sep. 5).

The breakout song from Netflix’s hit animation KPop Demon Hunters extends its streak as the Official Singles Chart’s longest-running K-pop No. 1 single; PSY’s “Gangnam Style” is the only other song from the genre to have hit the top spot, doing so for a sole week in 2012. “Golden” is credited to the fictional group HUNTR/X, and is sung by EJAE, Audrey Nuna and Rei Ami.

Two additional songs from the flick land in the top 10 with Saja Boys’ “Soda Pop” (No. 5) and “Your Idol” (No. 8) contributing to the film’s dominance. Elsewhere K-pop thrives with girl group TWICE seeing success with two singles – “Takedown” (No. 24) and “Strategy” (No. 32) – landing on the charts. Following their shows at Wembley Stadium, BLACKPINK’s “JUMP” bounces to No. 34.

Olivia Dean’s “Man I Need” finishes the week at No. 2, her highest spot ever on the U.K. Singles Chart. Three other songs also land in the top 40 with “Nice To Each Other” (No. 9), Sam Fender collaboration “Rein Me In” (No. 11) and 2023’s “Dive” (No. 22) all having strong weeks. Last week Dean sold out her entire U.K. arena tour – including four dates at The O2 in London – and “Man I Need” has also cracked the Hot 100, finishing the week at No. 82.

Alongside her triumph on the U.K. Albums Chart with Man’s Best Friend, Sabrina Carpenter places three songs in the top 10 with “Tears” closing the week at No. 3, “Manchild” at No. 4, and “My Man on Willpower” at No. 7.

Following their respective sold-out shows in London, classic hits from Coldplay (“Sparks”, No. 19) and Gorillaz (“Feel Good Inc”, No. 30) both make appearances in the top 40.

She’s back where she belongs: Sabrina Carpenter has romped to No. 1 on the U.K.’s Official Albums Chart with Man’s Best Friend (Sep. 5).

The new LP gives Carpenter her second chart-topper in little over a year following 2024’s Short n’ Sweet, which spent five weeks at No. 1. “Manchild,” the lead single from her new LP, earned two weeks at the summit of the U.K.’s Official Singles Chart earlier this summer.   

Carpenter also claims 2025’s biggest opening week for an international artist, with 85,500 units shifted in the first seven days. Lady Gaga’s Mayhem held the record previously (55,000) but North Shields-born rocker Sam Fender’s People Watching is still the one to beat, which debuted with 119,000 units back in February.

Carpenter currently has three albums inside the top 40 with Short n’ Sweet (No. 8) and 2023’s Emails I Can’t Send (No. 23) both receiving a bump. On Thursday (Sep. 4), she treated fans with surprise bonus track “Such a Funny Way,” which is available to download from her website. “The sentiment is one i always thought could really be the end of Man’s Best Friend in another universe! i didn’t want you to wait too long to have it and get to know it,” she wrote on her Instagram profile.

Irish country-pop star CMAT scores a career-high with her third LP Euro-Country peaking at No. 2. The Dublin-born singer-songwriter — real name Ciara Mary-Alice Thompson — has performed extensively at U.K. and European festivals this summer, including Glastonbury and All Points East festival. The LP features “Take a Sexy Picture Of Me” which inspired a viral TikTok dance earlier this year.

Bryan Adams earns his 12th top 10 LP with Roll With The Punches (No. 3) and he’s closely followed by Oasis’ greatest hits collection Time Flies… (1994-2009) (No. 4). Swedish rock band The Hives score their fourth top 10 record with The Hives Forever Forever The Hives landing at No. 5.

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Taylor Swift just made shapewear cool thanks to Victoria’s Secret.

The “Lover” singer was seen celebrating her bestie Brittany Mahomes’ 30th birthday in Nashville over the weekend. Mahomes shared some moments from the festivities to her Instagram on Sept. 3, along with a photo of her and Swift accompanied by the caption “THIRTY.” In the photo, Swift was seen styled in a Victoria’s Secret Classic Silk Corset in black.

The silhouette is fitted and plunging with thin shoulder straps and structural panelling meant to cinch the waist and create shape, hence the term shapewear. Accompanying her all-black number, Swift sported a few gold accessories, including a Jacquie Aiche Marquis Diamond Snake Head Roll chain, a custom Lorraine Schwartz T necklace and, of course, her glitzy new engagement ring. On her feet, Swift opted for Versace Medusa Buckle Leather Platform Mules, a staple in her wardrobe.

While you can’t get Swift’s exact style, given it’s an older model from the brand that has long since sold out, we’ve found a pretty good dupe that is virtually identical to the OG. Enter Victoria’s Secret SmoothingShimmer Cinched Tank Top in black.

Retailing for $49.95, this piece features all the proverbial bells and whistles that her OG top has and more, including a corsetted waist and a supportive bodice that makes your girls look good. Thin shoulder straps give way to a plunging neckline — a stylish cut that gives all the drama.

While you can wear this top on it’s own like Swift, the tank is meant to be shapewear, meaning it is usually layered on underneath something to enhance the shape of your frame. When worn beneath something, this top sits smoothly. No lumps or bumps here. The tank is seamless, so much so that you probably won’t even know it’s there.

Corseted tops seem to be a go-to for the singer these days, especially in neutral hues. In fact, Swift wore this same corset top while attending a Kansas City Chiefs game against the Denver Broncos back in 2024. When she’s not wearing Victoria’s Secret, her corset tops often hail from brands like Vivienne Westwood, Gucci, Versace, House of CB and Balenciaga, just to name a few. The silhouette is timeless and flirty. It can be layered under or over pieces to give them shape and drama, or worn solo. Corsets are also great transitional pieces, meaning you can wear them in the summer or fall without issue.

In August, the Trans-Siberian Orchestra unveiled plans for one the most ambitious tours in the group’s 25-year history — 106 concerts across 64 major markets from two touring teams crisscrossing North America with truckloads of production gear including video walls, lifts carrying musicians over crowds, and tons of lighting gear. Each piece of equipment was designed for rapid loading and unloading from tightly packed semitrucks, sometimes multiple times per day, and to perform flawlessly during the show. The fast pace means that some shows must be created without a pre-rig — typically set up in advance by a smaller crew to install essential rigging like motors and trusses — meaning the entire show must be assembled and struck within a single day. 

That’s a daunting task which requires “us to bring on the smartest guys we know in touring — SGPS ShowRig,” says TSO tour director Elliot Saltzman, who has worked with the Las Vegas-based company since 2006. “They became part of the team, not just a vendor.” 

That team-oriented approach has helped SGPS ShowRig carve out a space in one of the industry’s most competitive sectors — concert production design, fabrication and automation. Founded in 1974 by Eric Pearce as Showlights, the company grew into SGPS — short for Show Group Production Services — by creating complex show pieces for major artists, like Kanye West’s floating stages from his Saint Pablo tour to MGK’s show-stopping helicopter built for his 2022 arena tour.

From its 250,000-square-foot headquarters in Las Vegas, plus five other facilities worldwide, SGPS supplies the skeletal systems of live entertainment: the trusses, lifts, and automation rigs that make tours, residencies, festivals, and corporate shows move. 

Demand for concert production is busier than ever, SGPS ShowRig President Ned Collett says, and the complexity of the requests is constantly evolving. Clients increasingly want automation that can safely move artists and set pieces in new ways. “Lifts are still the most popular,” he explains. “Drum risers, artist lifts, stages that rotate or elevate—but video walls that open and close, or stages that turn between bands, are also very popular. The challenge is giving designers the creative motion they want while making it reliable and tourable.”

Reliability isn’t just a talking point — it’s Pearce’s founding mantra: every piece of equipment is built “like an English brick shithouse” to endure the rigors of the road, engineered for compact packing, repeated load-ins and load-outs, and flawless, millimeter-precise performance. The company’s own technicians often travel with tours to make sure each piece works when needed.  

Creative director John McGuire of Traskhouse, who has designed shows for West, Blink-182 and Travis Scott, relies on SGPS for large-scale manufacturing. His LA studio prototypes his designs, then SGPS executes the steel and aluminum builds. “They’re phenomenal at metal work, truss structure, and automation,” McGuire says. For Scott’s 2023 Coachella set, SGPS fabricated the circular stage and lifts that became the centerpiece of the production. 

McGuire recalls SGPS manufacturing the internal structure for 40-foot Kid Cudi statues that appeared in New York, Los Angeles, and Paris. “They gave me the backbone I could then turn into creative sculpture,” he says. 

For Saltzman and TSO, the challenge is repetition at scale. The orchestra mounts more than 100 shows each holiday season, sometimes two a day, with effects like a giant Tesla coil or synchronized snow globe that must work identically in every city. “Our audiences expect consistency, whether at Madison Square Garden or a matinee in Green Bay,” Saltzman says. “SGPS ensures the globe goes up and down when it’s supposed to, every time.”

Those expectations have shaped SGPS’s approach. The company routinely hosts multi-day planning meetings in Las Vegas with lighting, sound, pyro, and video vendors. Engineers examine how many times each piece of equipment must be touched by crew hands, designing systems to minimize labor. “We counted how many hands touch a truss or a light fixture,” Saltzman says. “If you can reduce it from 10 to five, you’ve saved time and money”. 

Automation remains the company’s growth engine. Executives note that hydraulic systems are largely gone, replaced by servo motors that allow precise, oil-free control. Designers are leaning on lifts and turntables to create dramatic reveals and fast changeovers. “There’s a trend back to mechanical movement — walls that fly apart, stages that rotate — because it adds surprise and energy for the audience,” Collett says. 

Another driver is economics. With trucking and fuel costs rising, artists and promoters want gear that is lighter, modular, and fits into fewer trucks. SGPS engineers increasingly work with designers to re-specify materials and re-engineer staging to fit tight budgets. “At the end of the day, we’re all working for the artist,” Collett explained during a tour of the Vegas facility. “If we can help them stay on the road with seven trucks instead of nine, that’s real money saved.” 

Despite its size—SGPS is widely seen as one of the largest rigging and automation firms in the business—the company frequently partners with rivals like PRG and Solotech. “We’re the skeletal system,” Collett says. “Our competitors are also our clients.” That ecosystem means SGPS’s lifts or turntables might be the unseen foundation of productions branded under other companies’ banners. 

As the industry heads into another busy touring year, SGPS is positioning itself to handle bigger demands. The company’s inventory of 20-plus touring lifts is nearly fully booked each summer, executives said, and the pipeline of permanent installations continues to expand. Current touring clients include Bad Bunny, Post Malone, Jelly Roll, Luke Bryan, and Las Vegas residencies like Barry Manilow’s. 

Saltzman, who has staged shows for decades, frames it simply: “In our business, you can’t have a bad day. We have to do eight, sometimes ten shows a week, every week. SGPS helps us make that possible.”