After a successful touring run in 2024 and 2025, Chayanne is hitting the road once again with his Bailemos Otra Vez (Let’s Dance Again) Tour, set to kick off in the U.S. this fall.

Produced by Cardenas Marketing Network (CMN), the 22-date stint will begin Aug. 28 in Milwaukee and run until Oct. 31 in Orlando. In between, the Puerto Rican swooner will visit key cities including Chicago, Atlanta, Houston, Las Vegas and Miami.

Bailemos Otra Vez takes its name from the hit album released in 2023, which debuted at No. 3 on Latin Pop Albums chart, and is home to the saucy “Bailando Bachata,” which reached No. 1 on the Latin Airplay and Tropical Airplay charts—all in 2023.

In 2024, the artist toured North and Latin America with the same trek, marking his grand comeback to the stage since 2020. His Bailemos Otra Vez 2024 tour grossed $87.6 million across 63 dates, and landed No. 29 on the overall Top Tours Year-End 2025 charts, as reported by Billboard Boxscore.

With its return to the states, the 2026 tour “is the last opportunity to see Chayanne perform with the passion and excellence that has fueled his international success, alongside his signature choreography and powerful stage presence that reflects his continued artistic evolution,” according to a press statement.

Presale tickets go on sale at 10 a.m. local time on April 23, and general tickets at 10 a.m. local time on April 24. For more information, visit here.

See the Bailemos Otra Vez 2026 tour dates below.

courtesy

BTS’ “Swim” scores a fourth week at No. 1 on both the Billboard Global 200 and the Billboard Global Excl. U.S. charts. Three weeks ago, the song debuted as the South Korean superstars’ record-extending eighth leader on each survey.

Related

The latest charts’ upper reaches also sport notable action for a revived Justin Bieber classic and Ella Langley’s smash.

“Swim” tops the Global 200 with 73 million streams (down 12% week over week) and 22,000 downloads sold (down 51%) worldwide April 10-16, according to Luminate. It leads Global Excl. U.S. with 63.4 million streams (down 12%) and 10,000 sold (down 50%) outside the U.S.

Bieber’s “Beauty and a Beat,” featuring Nicki Minaj, blasts onto the Global 200 at No. 4 and Global Excl. U.S. at No. 3, powered on the former by 44.2 million streams — up from just under 10 million the week before — and 3,000 sold worldwide. The song, a No. 6 hit on the U.S.-based Billboard Hot 100 in 2012, was part of his buzzy Coachella performance April 11, a hybrid set that mixed proper live songs with clips of his early hits played directly from YouTube. Bieber adds his ninth top 10 on both global charts.

Meanwhile, Langley’s “Choosin’ Texas” climbs 8-5 on the Global 200 with 36.7 million streams (up 18%) and 12,000 sold worldwide (up 13%). As the hit crowns the U.S.-based Hot Country Songs chart for a 21st week, it becomes just the 10th title since the Global 200 began in September 2020 to have led Hot Country Songs and reached the Global 200’s top five:

  • “Choosin’ Texas,” Ella Langley, No. 5 Global 200 peak (to date), April 25, 2026
  • “What I Want,” Morgan Wallen feat. Tate McRae, No. 5, May 31, 2025
  • “A Bar Song (Tipsy),” Shaboozey, No. 3, July 6, 2024
  • “Texas Hold ‘Em,” Beyoncé, No. 1 (two weeks), March 2, 2024
  • “I Remember Everything,” Zach Bryan feat. Kacey Musgraves, No. 4, Sept. 9, 2023
  • “Rich Men North of Richmond,” Oliver Anthony Music, No. 2, Aug. 26, 2023
  • “Try That in a Small Town,” Jason Aldean, No. 2, July 29, 2023
  • “Last Night,” Morgan Wallen, No. 5, March 18, 2023
  • “All Too Well (Taylor’s Version),” Taylor Swift, No. 1 (one week), Nov. 27, 2021
  • “Forever After All,” Luke Combs, No. 4, Nov. 7, 2020

Elsewhere in the Global 200’s top five, Tame Impala and JENNIE’s “Dracula” rises 3-2 for a new high and Dominic Fike’s “Babydoll” drops to No. 3 from its No. 2 best.

Further on Global Excl. U.S., “Dracula” holds at its No. 2 highpoint, “Babydoll” falls to No. 4 from its No. 3 peak and BTS’ “Body to Body” dips 4-5 after reaching No. 2.

The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

The latest charts, dated April 25, 2026, will update on Billboard.com tomorrow, April 21. For both tallies, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.


Billboard VIP Pass

Ella Langley’s “Be Her” jumps up in the top 10 of the Billboard Hot 100, and so does “Stateside” and Kehlani’s “Folded.”

Tetris Kelly:

This is the Billboard Hot 100 top 10 for the week dated April 25th. “SWIM” dives to No. 10. “Folded” is up a spot, and so is “Stateside.” HUNTR/X is locked in at seven, followed by “So Easy” at No. 6. “Ordinary” is down to five, as Ella’s “Be Her” is up four spots. “I Just Might” stays at No. 3. And “Man, I Need” at two. So grabbing a lucky seventh week at No. 1 is “Choosin’ Texas.” If you want more Billboard, make sure you hit the subscribe button and ring the bell to be notified on all our latest videos.

Coachella dominated headlines once again over the weekend, with a litany of special guests making the festival’s second weekend even buzzier than the first.

After Sabrina Carpenter and Madonna hosted an intergenerational Avengers of Pop convention at the former’s Friday night headlining set (April 17), Justin Bieber brought out several special guests during his Saturday night headlining set (April 18), including SZA, Billie Eilish and Big Sean. Keeping in line with the surprise guest theme, Cardi B celebrated her Sunrise, Fla., Little Miss Drama Tour stop (April 14) by bringing out female rap icon Trina and King of Dancehall Vybz Kartel.

While Coachella continued its reign in California, Ice Spice got active in a different way during a trip to the Golden State over the weekend. The Grammy-nominated rapper was involved in a physical confrontation with another woman while enjoying a meal at Hollywood McDonald’s, unaccompanied by security. According to security footage obtained by TMZ, after Ice rejected the other patron’s advances for a conversation, the young lady slapped the Bronx native across the face, resulting in an altercation that morphed into a multi-person brawl in the middle of the street. In a statement to Billboard, Ice Spice’s attorney, Bradford Cohen, said that he and his team will explore all avenues to “hold the perpetrators responsible for their actions.”

Finally, several hip-hop and R&B icons were announced as part of the newest class of Rock & Roll Hall of Fame inductees last week (April 13), including Sade, Luther Vandross, Wu-Tang Clan, Queen Latifah, MC Lyte and Rick Rubin. Despite winning the fan vote, New Edition unfortunately did not make the cut this year.

With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from JT’s first new single of 2026 to Trap Dickey’s latest banger. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.


Billboard VIP Pass

Billy Strings was most of the way through a second show at the John Paul Jones Arena in Charlottesville, Va. on Saturday night (April 18) when an offstage incident reportedly shut down the show before the Grammy-winning bluegrass star couple play an encore.

While Strings has not yet commented on the mishap in detail, according to Roanoke’s WFIR News, the 33-year-old picker broke his leg during the second of two sold-out shows at the arena when he attempted a kick flip on his skateboard backstage and went down in a heap. Strings posted an X-ray of the aftermath in which serious breaks of his tibia and fibula are visible just above the ankle. The singer/guitarist did not add any additional comment other than the date of the show and a leg emoji.

He also included the show’s setlist, featuring evidence that (per Setlist.fm) Strings did not play the same kind of 5-6 encore set he performed at the venue the previous night. Responding to a “get well soon” comment from the band Thursday, Strings wrote, “understanding in a skateboard accident,” appearing to confirm that the accident was skate-related.

There doesn’t appear to be video of the incident — and a spokesperson for Strings had not returned Billboard‘s request for comment at press time — though Strings did post a killer pic on Saturday of himself pulling off a sky-high ollie backstage, his board several feet off the ground, as well as another shot in which he’s skateboarding his gear around before that night’s show.

In comments on his X-ray post, Strings jokingly responded to a fan who wrote, “we all saw this coming with the skating vids,” in reference to the singer’s earlier skating-related clips and avowed love of riding, with the admission, “I know [sighing emoji] y’all were right.”

Strings is slated to perform at a sold-out show in Charleston, W.V. at the Charleston Coliseum on Wednesday (April 22), with another three sold out shows on tap at the Fishers Event Center in Fishers, Ind. from April 24-26. He then has a significant break on tap before a taping of Austin City Limits on July 2.

In responses to fans questions about possible show postponements or cancellations in the X-ray post on Monday morning (April 20), Strings wrote, “info coming very soon.”

Check out Strings’ X-ray below.


Billboard VIP Pass

BTS‘ new album ARIRANG was a collaborative labor of love for the band, with at least a few members credited as songwriters on every single track. But according to Jung Kook, there’s one thing about the creative process that he’s still kicking himself for months later.

Related

In a candid moment from his individual interview with Rolling Stone posted Monday (April 20), the boy band’s youngest member opened up about his feelings toward co-writing four of the 14 songs on ARIRANG. “I don’t know if I would call it pride?” he began. “But I did feel really great.”

“It’s been a long time since we chose the songs and everything, but there’s one thing I still think about, which is: Why didn’t I do a little more?” Jung Kook continued. “Two months is a really long time. Couldn’t I have done more?”

He added, “I have a lot of regrets about that.”

The singer may wish he’d done more, but he and his bandmates clearly had a lot on their plate already with the making of ARIRANG. Jung Kook personally helped pen the tracks “Alien,” “FYA,” “2.0” and “Hooligan,” all four of which charted on the Billboard Hot 100.

Of the lattermost, Jung Kook recalled to the publication how he “came up with the flow immediately” after hearing the beat and instantly “got to work” crafting the hook. When his bandmates voted to include “Hooligan” on the LP, he says it “felt awesome … that rocked.”

ARIRANG is currently on its third week at No. 1 on the Billboard 200. It marks the septet’s first full-length as a group since 2020; BTS is now on a massive global stadium tour in support of the comeback.

Watch Jung Kook’s full conversation with Rolling Stone above.


Billboard VIP Pass

Live Nation will pay $9.9 million to settle accusations that Ticketmaster charged “deceptive fees” to Washington D.C. residents and misled them about ticket prices — resolving a dispute that’s separate from the company’s blockbuster antitrust case.

In a statement Monday (April 20), DC Attorney General Brian L. Schwalb says the concert giant advertised “deceptively low ticket prices,” then foisted mandatory fees on fans at checkout before using “pressure tactics” like a countdown clock to get them to pay up.

Related

“For at least a decade, Live Nation and Ticketmaster boosted profits by charging predatory, hidden fees,” Schwalb says. “With this settlement, we’re putting millions of dollars back into the pockets of D.C. fans and ensuring that the price fans see when they first start shopping for tickets is the price they actually pay.”

The settlement will resolve claims of illegal “drip pricing” — a practice where sites list deceptively low prices, only to tack on fees and surcharges as consumers near checkout. State and federal regulators have recently imposed new rules requiring sites like Ticketmaster to instead show “all-in” prices showing the full, final purchase total for tickets.

“Live Nation hid the true price of tickets,” Schwalb writes Monday. “This deceptive bait-and-switch tactic deprived consumers of complete information about ticket pricing up front and limited their ability to make informed purchasing decisions.”

A spokesperson for Live Nation did not immediately return a request for comment on Monday.

Though it raises similar gripes, Monday’s settlement is unrelated to the huge antitrust case against Live Nation, in which Schwalb and dozens of other state attorneys general won a verdict that the industry behemoth illegally monopolized the live music business. Live Nation already owes millions from that verdict, and a judge is currently weighing what other penalties to impose, including a potential sale of Ticketmaster.

In addition to hiding the fees until checkout, Schwalb says, Live Nation failed to properly disclose the “nature and purpose” of them. It also used misleading pressure tactics to push fans to accept them, he says, including a countdown timer and pop-up notifications that “created the impression that tickets were scarce and would soon be sold out.”

“If users were inactive for more than one minute, Live Nation’s ticketing platform displayed a message saying ‘Tickets are selling fast. Get yours now before they’re gone,’” Schwalb says. “This message appeared regardless of actual demand for the event.”

Under Monday’s settlement, Live Nation agreed to pay $9.9 million, of which $8.9 will be used to refund fans for fees they paid. It also agreed to change its practices, including advertising only all-in prices, sharing information about why the fees are imposed, and changing its timer and inactivity notice: “Now, the notice more accurately explains how the ticket hold process works.”

Live Nation isn’t the only platform to face a crackdown over all-in pricing. Earlier this month, StubHub agreed to pay $10 million to resolve accusations from the Federal Trade Commission (FTC) that the ticket platform had briefly intentionally ignored the new federal rules.


Billboard VIP Pass

Ella Langley’s “Choosin’ Texas” tallies a seventh nonconsecutive week at No. 1 on the Billboard Hot 100. It became her first leader on the chart in mid-February.

Concurrently, parent album Dandelion sprouts at No. 1 on the Billboard 200. Langley becomes just the second woman to lead the Hot 100 and Billboard 200 simultaneously with country titles (defined as those that have hit Billboard’s Hot Country Songs or Top Country Albums charts). Taylor Swift first doubled up with “All Too Well (Taylor’s Version)” and Red (Taylor’s Version) on the Hot 100 and Billboard 200 for a week in November 2021. With Swift earning the honor via re-recorded material, Langley is the first woman to claim the mark with all-new music.

Related

Meanwhile, fellow Dandelion track “Be Her” bounds 8-4 for a new Hot 100 high, marking Langley’s second top five hit. She becomes the first woman artist that has primarily recorded country music to chart her initial two top five songs in the region simultaneously.

On the multimetric Hot Country Songs chart, “Choosin’ Texas” reigns for a 21st week and “Be Her” holds at its No. 2 best (with both in the top 10 on Country Airplay). Langley cowrote and coproduced both songs.

“It was such a crazy moment,” the Louisiana native told Billboard about finding out that “Choosin’ Texas” had first topped the Hot 100. “My label called, with my team on speaker, and it was just surreal. We loved the song when we wrote it, but none of us thought that it would be the song to do everything it’s doing. It keeps giving us a reason to celebrate new ­milestones.”

Read on for details of this week’s Hot 100 top 10, which again features a prominent presence by women artists overall.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts dated April 25, 2026, will update on Billboard.com tomorrow, April 21. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.


Billboard VIP Pass

Country superstar Jason Aldean takes us through his No. 1 on the Billboard chart hits with personal backstories like how “Don’t You Wanna Stay” came to be with Kelly Clarkson and why she made him throw his studio notes in the trash, why Ludacris was perfect for “Dirt Road Anthem,” how “She’s Country” became the game-changer that launched his superstar status and why he stands by his controversial chart topper “Try That in a Small Town.” 

Jason Aldean:

Hey, what’s up everybody? It’s Jason Aldean here and this is my Billboard Chart history. I just remember that was our first No. 1 song. That was our first No. 1 single. All of us looked really young, you know what I mean? I remember us not having a lot of money. My guitar player in that video had on a pair of, I think he was wearing Chuck Taylors and, gaff tape or something holding them together because we didn’t… I’m like, “Really, that’s the shoes you’re gonna wear for the video today?” That was just kinda the point in time we were at. That was our second single. Our first single had, you know, took like 40 something weeks to crack the top 10. And you know, our first No. 1. And it was just like, you know, I just remember thinking, “Man, if all this goes away tomorrow, I can at least say I had a No. 1 single. “And I remember shooting that video in, in a house in Nashville somewhere. And it was cold, really cold, and that chick was in the pool, so I felt really bad for her, but it was awesome. It was just like us getting started really in the business, learning how to shoot music videos. And I think when we went in to record the first album, we had recorded a lot of demos and things like that leading up to that record. And, you know, I remember that song coming in. John Rich, Big Kenny those guys were songwriters on that song. And we were, you know, they were pitching us a lot of songs back then and, and, that was just one that, you know, I really kinda fell in love with. And I thought that it was really important for us to kind of establish that upfront that, hey, you know, “Hicktown,” these big, like, uptempo rocker type songs, like, we do that, but we also can dial it back a little bit and, and do a, more of a ballad style song like that.

Keep watching for more!

French streaming service Deezer claims in its latest report on AI-generated content that roughly 44% of daily uploads are fully AI-generated — the equivalent of 75,000 every day, or over 2 million per month.

Still, despite that influx of AI-generated songs, Deezer notes that the consumption of these tracks remains low. The uploads only equate to 1-3% of total streams on the platform, and the majority (85%) of these streams have been flagged as fraudulent by Deezer. Anything flagged for fraudulent or artificial streaming activity is demonetized by the company.

Related

If 44% of Deezer’s daily uploads equate to 75,000 tracks, this new press release also implies that the French streaming service is now receiving over 170,000 songs daily — much higher than Luminate’s 2025 end-of-year report that claimed over 100,000 songs are uploaded daily to the streaming service.

Deezer uses a proprietary AI detection tool to scan for songs, and the platform has been consistently providing updates on how many AI songs are uploaded to its platform since January 2025.

According to Deezer, the numbers are growing rapidly.

In January 2025, it reported that the figure was 10,000 songs a day; in April 2025, it noted the figure was 20,000 songs daily; and in September 2025, it reported the number had risen to 30,000 songs daily. In January 2026, the figure was reported as 60,000 songs daily.

In an interview with Billboard about the company’s AI research in May, Aurelien Herault, Deezer’s chief innovation officer, and Manuel Moussallam, its director of research, said that part of the reason why they were finding a growing number of fully-AI generated songs was simply that their “data got better” — as well as the fact that the overall volume of fully AI-generated songs had increased as more users adopted AI tools like Suno and Udio.

To date, that model only searches for fully (not partially) AI-generated songs from select popular models, including Suno and Udio, and once these AI songs are flagged, the French streaming service adds a tag to disclose its AI use. It also removes these AI songs from algorithmic and editorial recommendations and playlists, as well as demonetizes any streams suspected to be artificial.

“AI-generated music is now far from a marginal phenomenon and as daily deliveries keep increasing, we hope the whole music ecosystem will join us in taking action to help safeguard artist’s rights and promote transparency for fans,” says Alexis Lanternier, CEO of Deezer. “Thanks to our technology and the proactive measures we put in place more than a year ago, we have shown that it’s possible to reduce AI-related fraud and payment dilution in streaming to a minimum. Since January, we have made our detection technology available for licensing, and we’re looking forward to seeing industry peers of all kinds join us in the fight for fairness in the age of AI.”


Billboard VIP Pass