A week after two songs from the hit Netflix film KPop Demon Hunters debuted on the Billboard Hot 100, five more tracks from the movie enter the July 12-dated list, while the other two break into the ranking’s top 40.
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“Golden,” credited to the movie’s fictional girl group HUNTR/X alongside real-life vocalists EJAE, Audrey Nuna and Rei Ami, leads the way, leaping from No. 81 to No. 23. “Your Idol,” by fictional boy band Saja Boys and vocalists Andrew Choi, Neckwav, Kevin Woo and samUIL Lee, jumps to No. 31 after debuting at No. 77.
In the week ending July 3, “Golden” earned 13.6 million official U.S. streams and sold 3,000 downloads, according to Luminate, while “Your Idol” boasted 12.7 million streams and 2,000 downloads. The former is now being promoted to pop radio.
The top debut on the July 12 tally, meanwhile, belongs to “How It’s Done,” credited again to HUNTR/X and its vocalists. It starts at No. 42 thanks to 10 million streams and 2,000 downloads.
Saja Boys cut “Soda Pop” (No. 49) and HUNTR/X’s “What It Sounds Like” (No. 55) and “Takedown” (No. 64) also make the Hot 100, as does “Free,” credited to Rumi, JINU, EJAE and Andrew Choi, at No. 58. (EJAE provides Rumi’s singing voice in the film, while Choi does vocals for JINU.)
Six of the seven songs are also on the Streaming Songs chart, led by “Golden,” which debuts at No. 7. The song becomes the first credited to a fictional act (HUNTR/X) to reach the top 10 in the Streaming Songs tally’s 12-year history.
“Golden” is also the first song from an animated film to reach the Streaming Songs top 10 since tracks from Encanto, the hit 2021 Disney movie, did so, paced by the five-week Hot 100 No. 1 “We Don’t Talk About Bruno,” which spent its final week in the Streaming Songs top 10 on the May 7, 2022-dated survey.
As previously reported, the soundtrack to KPop Demon Hunters concurrently reaches a new No. 3 high on the Billboard 200 via 62,000 equivalent album units. The set, which features 12 songs, becomes the highest-charting soundtrack on the survey this year.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 20:58:592025-07-09 20:58:59‘KPop Demon Hunters’ Attack Billboard Hot 100 With Seven Hits, Led by ‘Golden’
What the biggest music industry deals of 2025 lacked in star power, they made up for in sheer size: The top five transactions announced in the first half of the year include three items over $1 billion, with the smallest coming in at $450 million. Notably, the list doesn’t include the starriest deal of the year so far: Taylor Swift’s purchase of her Big Machine master recordings. Swift’s reclamation of her first six albums attracted more media attention than any other music business deal so far this year, but with a smaller price tag than the top five, it’s left to vie for a spot on the year-ending top 10 (or more) list.
Last year, music companies made numerous noteworthy acquisitions, including Sony Music’s purchase of Queen’s catalog for $1.27 billion; Universal Music Group’s deals for [PIAS] and Downtown Music Holdings (which hasn’t closed and is being reviewed by the European Commission); Blackstone’s $1.6-billion acquisition of Hipgnosis Songs Fund; and New Mountain Capital’s purchase of BMI for between $1.3 billion and $1.5 billion. The live sector was also active, with Legends picking up ASM Global from AEG for $2.3 billion and KKR buying Superstruct for $1.39 billion.
Lacking super-sized catalog acquisitions, Billboard’s list of the largest deals announced in the first half of 2025 is instead dominated by fundraising to enable the purchase of music rights. Two of the five deals involve asset-backed securities (ABSs), a type of debt that allows an owner of large, diversified music catalogs to finance its borrowings with royalties from its catalogs and which has become increasingly common in the music business. Several companies have raised money through ABSs since 2022, including Concord, Kobalt, Hipgnosis Song Management, HarbourView Equity Partners, Chord Music Partners and Influence Media.
Other than Swift’s purchase of her masters, there were numerous other noteworthy catalog deals that fell short of making the top five. Sony Music Publishing acquired Hipgnosis Songs Group for an undisclosed amount that Billboard nonetheless believes is safely below the threshold to make this list. And in March, Create Music Group acquired the catalogs of deadmau5 and his label, mau5trap, followed in April by its purchase of indie electronic label !K7.
Check out the top five deals from the first half of 2025 below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 20:38:292025-07-09 20:38:29The 5 Biggest Music Deals of 2025 So Far: Concord, Pophouse, Warner & More
Temple University will offer a new course this fall focused on Kendrick Lamar and his cultural impact on the Black experience.
Local outlet NBC10 in Philadelphia broke the news earlier this week, announcing the course is titled “Kendrick Lamar and the Moral of M.A.A.D. City.” The course will be taught by professor Timothy Welbeck, who teaches in the Department of Africology and African American Studies and is currently the Director of the Center for Anti-Racism. Welbeck has taught at Temple for 14 years and has often woven hip-hop and the Black experience into his courses. He’s previously taught about urban Black politics, 2Pac and the intersection of rap with Black identity. Welbeck told NBC 10 he’d been planning and prepping this Kendrick course for over a year and has previously used K-Dot’s material in his other classes.
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“My current department chair was very open to the idea and received it almost immediately,” Welbeck told the outlet. “In a lot of ways, our department at Temple specifically, and Temple more broadly, has embraced the study of hip-hop in academic spaces.”
He continued, “Kendrick Lamar is one of the defining voices of his generation, and in many ways, both his art and life is reflective of the Black experience in many telling ways,” Welbeck told NBC10. “Being able to discuss his art in the environment that helps lead him into being the man that he is in a lot of ways can tell you him as an individual, but can also talk about the journey’s towards self-actualization particularly as it is related to the Black experience.”
The course will more particularly focus on how K-Dot and hip-hop examines the evolution of Black expression in America. Welbeck said he hopes the course will help students see the power of hip-hop as a form of art and storytelling.
Kendrick is far from the first Black artist to be a focal point at Temple University, with previous course topics highlighting Jay-Z and Beyoncé’s accomplishments as well.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 20:33:002025-07-09 20:33:00Temple University Unveils New Course Studying Kendrick Lamar & His Cultural Impact
Live Aid boasted plenty of participants who could be considered MVPs – particularly organizer and driving force Bob Geldof. But for a primetime chunk in Philadelphia on June 13, 1985, Daryl Hall & John Oates held that distinction.
The two — who met in the City of Brotherly Love in 1967 and began working together three years later — rolled on stage at about 9:50 p.m. at John F. Kennedy Stadium, starting with their Billboard Hot 100 toppers “Out of Touch” and “Maneater.” They also brought out former Temptations members Eddie Kendricks and David Ruffin to recreate part of their then-recent Apollo Theater medley of the group’s “Get Ready,” “Ain’t Too Proud To Beg,” “The Way You Do the Things You Do” and “My Girl” — complete with some of the Motown group’s trademark dance steps.
But wait, there was more. The augmented Hall & Oates crew stayed on stage to back up Mick Jagger, performing sans Rolling Stones, on his solo tracks “Lonely at the Top” and “Just Another Night” as well as the Stones’ “Miss You.” Then a high-heeled Tina Turner joined the proceedings, taking Michael Jackson’s place on “State of Shock” (a Jagger duet from the Jacksons’ Victory album) and a show-stealing “It’s Only Rock ‘n Roll (But I Like It),” during which Jagger, who’d changed outfits mid-song, memorably ripped off Turner’s leather mini-skirt.
“I felt the significance of it, that’s the best way to put it,” Hall recently told Billboard. “It was one of those moments where we knew something significant was happening.”
“At the time we were at the top of our game in the world of pop,” says Oates, speaking separately to Billboard. “And it was Philadelphia, so it made sense for us to be there. The vibe was great and the energy was just insane. It was something I’ll never forget.”
Neither Hall nor Oates remember specifically how their Live Aid booking came about; both say it came through the duo’s then-manager Tommy Mottola. And because they had performed with Ruffin and Kendricks at the Apollo less than two months before (the Live at the Apollo album came out September 1985), it seemed appropriate to have them be part of Live Aid as well.
Backing Jagger came somewhat out of the blue, however. “Mick had done a solo album (She’s the Boss) at the time and didn’t really have a backing band,” Oates recalls. Hall & Oates’ guitarist G.E. Smith had played guitar on one of the album’s tracks, “Secrets,” which helped connect the two acts. “This really wasn’t initiated by me at all,” Hall says. “I was just a soldier in the army and other people were saying, ‘Mick wants to do this. You’re gonna do this with him and Tina’s involved and you guys bring out David and Eddie…’ It was all sort of planned out, and I just said, ‘Sure, sure, sure.’”
Rehearsals with Jagger at SIR Studios in Manhattan were as memorable as the show itself for Oates. “We had prepared the songs and gone over them and had them pretty well down ‘cause, of course, our ‘80s band was so frickin’ good,” Oates remembers. “We were on stage playing, doing whatever we were doing, and Mick comes into the room and basically jumps on stage, just a ‘you guys ready?’ kind of thing and he said ‘Let’s go!’ and called out a song. We counted it off and he went into the song as if he was playing a giant stadium. He did the whole thing — the chicken wings, prancing around the front of the stage, full-on. It wasn’t like we were in a rehearsal studios just playing the songs; he actual performed it, treated it like it was a full-out performance in front of no one except us. It was shocking, to be honest with you, but it was so frickin’ exciting.”
Hall adds that Jagger was “nervous” about the performance, which was his most high-profile away from the Stones at that point. “He asked me afterwards, ‘How did we do? How did I do?’ It was that kind of thing,” Hall says. “That was interesting, ’cause I see these things from the inside pretty much. Once we got on stage we were just a machine.”
Both Hall & Oates have fond memories of the hang at the stadium that day. “Considering what we were there for, which was starving people in Africa, it was a joyous event,” Hall says. “I would just keep bumping into people and meeting people. Everybody was smiling and shaking hands. It was a really friendly event considering it was the top of the world’s artists at the time. And ’cause we were at the end of the show I got to see everybody as they were performing, one after the other after the other. It was really the ultimate experience to watch as well as participate in.”
Oates had also arrived early in the day to soak in the atmosphere and enjoyed the camaraderie backstage. “Everyone who was done in their trailer, dressing room or wasn’t performing was basically just hanging around. Everybody was nice and pumped. Jack Nicholson, who was a buddy, was there emceeing. It was cool to be in a casual environment, with people all around.”
Oates doesn’t remember much about the night’s shambolic “We Are the World” finale. “I probably blew out my energy during our set and just kind of went through the motions for the encore,” he says. Hall recalls that “everybody was rushing the stage, trying to get in front so people would notice them. (Laughs) I’m not saying that in a bad way; everybody was just kind of feeling good and doing it. It was a lot of adrenaline and energy flying around.”
Promoter Larry Magid, whose Philadelphia-based Electric Factory Concerts firm produced the U.S. show in conjunction with the late Bill Graham, says it was a point of personal pride to have native acts such as Hall & Oates on the bill. “It just worked out to have those acts on,” he remembers. “Hall & Oates with Eddie Kendricks and David Ruffin; both of them were living in Philadelphia at the time. I liked that. I liked Patti LaBelle being from Philadelphia. The Teddy Pendergrass thing [his first performance since a 1982 car crash left him paralyzed from the chest down] was overwhelming, very emotional. And the opening act, the Hooters, was a hot new act from Philadelphia at the time and I was so happy we were able to showcase them.”
Hall acknowledges that having the Stateside portion of Live Aid in Philadelphia (a simultaneous concert took place in London) did make it more resonant. “I felt a little bit of pride in that,” Hall says. “I was glad Philadelphia was the place.”
Hall & Oates, of course, formally ceased working together in 2024 after 18 studio albums and 16 top 10 singles on the Billboard Hot 100. Hall is still touring on the heels of his 2024 solo album, D, while Oates is on the road and will release his new album, Oates, on Aug. 29.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 20:32:592025-07-09 20:32:59Daryl Hall and John Oates Look Back on Playing With Mick Jagger at Live Aid: ‘It Was Shocking, To Be Honest’
NBC’s upcoming Wicked concert special finally has a broadcast date, with the network announcing Wednesday (July 9) when fans will get to watch Ariana Grande and Cynthia Erivo‘s live performances of songs from the musical.
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Arriving just a few weeks ahead of Wicked: For Good, the special will air on NBC at 8 p.m. ET on Nov. 6. The following day, the concert will become available for streaming on Peacock.
According to a release, the showcase will last two hours and feature music from the first Wicked film — along with possible selections from the sequel, which will hit theaters Nov. 21. It’ll take place at the Dolby Theatre in Los Angeles.
The air-date announcement comes two months after NBC first shared that the Billboard Hot 100-topping star and Tony winner would reunite on stage for a Wicked special event. The concert is expected to bolster the hype around Part 2’s premiere, which will come almost exactly a year after the first film in the duology dropped. As of late May, Part 1 had grossed more than $755.9 million worldwide.
“She’s able to access her rage more,” Erivo recently told Billboard of what happens to Elphaba in the upcoming film. “The scent I wore changed. The makeup changed. Little shifts that bring you to a more mature version of who Elphaba becomes. And she is delicious in this next one.”
Erivo and Grande haven’t performed much Wicked material together offscreen, although they did join forces at the 2025 Oscars to sing “Defying Gravity” together on stage. The former also performed “Home” from The Wiz while the latter belted out “Somewhere Over the Rainbow” from The Wizard of Oz; later that night, Wicked took home best costume design and best production design.
See the official poster for NBC’s Wicked concert special below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 19:46:452025-07-09 19:46:45‘Wicked’ Concert Special Featuring Ariana Grande & Cynthia Erivo Sets Air Date
As BTS fans prepare for the release of the forthcoming ARMY documentary Forever We Are Young, a new clip of the film featuring Steve Aoki has arrived.
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In the 19-second clip, the producer describes the “magical moment” when BTS fans and K-pop’s rise in the U.S. “all surged into the ‘MID Drop’ remix and allowed it to break through.”
The song that Aoki refers to, “MIC Drop,” was originally released in September 2017 as a B-side on Love Yourself: Her. Aoki’s edit landed two months later in November as the second single from the EP. In 2021, the video for the remix surpassed the one billion views mark on YouTube.
Forever We Are Young arrives in theaters Wednesday, July 30, via Trafalgar Releasing. The documentary is focused on the group’s international fanbase, BTS ARMY.
The doc was directed by filmmakers Grace Lee and Patty Ahn and explores aspects of ARMY including passion, creativity and activism, following BTS fans across continents. As previously reported by Billboard, “the project dives into the fan-led movements that helped launch BTS into superstardom and reflects on how ARMY has become a global symbol of unity, inclusion and collective strength.”
“There is no BTS without ARMY and no ARMY without BTS,” co-directors Lee and Ahn said in a joint statement. “We’re excited for audiences to go on an emotional journey and meet a fandom that made us laugh, cry, and think.”
Forever We Are Young premiered in March at SXSW 2025 in Austin. Tickets for the July 30 global opening are on sale now.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 19:26:572025-07-09 19:26:57Steve Aoki Recalls ‘Magical Moment’ That Led to ‘MIC Drop’ Remix Breakthrough in New BTS ARMY Film
UPDATE (July 9):Goo Goo Dolls are set to perform at the 39th annual Carousel Ball at the Hyatt Regency Denver on Oct. 11, honoring music icon Neil Diamond. Previous stars who’ve headlined the ball included Sir Elton John, Celine Dion, Whitney Houston and John Legend.
Goo Goo Dolls have landed two No. 1 hits on Billboard’s all-genre Radio Songs chart – “Iris,” which held the top spot for a then record 18 weeks in 1998, and “Slide.”
“We’re excited to take the stage at The Carousel Ball and support an amazing cause,” said Goo Goo Dolls bandmates John Rzeznik and Robby Takac in a joint statement. “The progress the Children’s Diabetes Foundation has made in diabetes research and patient care has brought new hope to countless families and we’re honored to be a part of their special night.”
PREVIOUSLY (April 29):Neil Diamond is set to receive the Inspirational Lifetime Achievement Award by the Children’s Diabetes Foundation at the 39th Annual Carousel Ball on Oct. 11. The event will be held at the Hyatt Regency Hotel in Denver, near the home of CDF’s primary operations and its clinic and research facility, the Barbara Davis Center for Diabetes.
Diamond is just the third recipient of the award, following Sidney Poitier (2016) and Diane Warren (2024).
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Proceeds from The Carousel Ball benefit CDF and focus on patient support, awareness and diabetes research. The Carousel Balls, which date to 1978, collectively have raised more than $117 million.
Diamond, 84, has served on CDF’s advisory board and has attended the organization’s fundraisers for many years, including performing in Denver in 2001, as well as at The Carousel of Hope Ball in Beverly Hills in 2012, where he memorably sang an impromptu duet of “Sweet Caroline” with George Clooney.
“It’s been my absolute joy to have supported the Children’s Diabetes Foundation for so many wonderful years,” Diamond said in a statement. “Barbara Davis and her organization have done an immense amount of good helping kids, adults and their families facing a difficult diagnosis.”
“Neil Diamond is a once-in-a-generation talent,” event chair Dana Davis and honorary chair Barbara Davis said in a joint statement. “As a bestselling recording artist the world over, he is an undeniable force whose songwriting has earned him countless musical accolades. … For over 35 years, Neil has lent his timeless voice to our efforts to find a cure for diabetes. On behalf of the patients and researchers his generosity has touched, we can’t think of anyone more deserving of our Inspirational Lifetime Achievement Award.”
Diamond’s career spans nearly 60 years. He landed his first top 10 hit on the Billboard Hot 100, “Cherry, Cherry,” in October 1966. He has notched three No. 1 hits on the Hot 100 — “Cracklin’ Rosie” (1970), “Song Sung Blue” (1972) and “You Don’t Bring Me Flowers,” a duet with Barbra Streisand (1978). Diamond finally topped the Billboard 200 in 2008, nearly 42 years after he first made that chart, with Home Before Dark.
Diamond was elected to the Songwriters Hall of Fame in 1984 and has received two additional awards from that organization — the Sammy Cahn Lifetime Achievement in 2000 and the Johnny Mercer Award (their top honor) in 2018.
Additionally, Diamond received MusiCares’ Person of the Year Award in 2009, the Kennedy Center Honors in 2011 and a lifetime achievement award from the Recording Academy in 2018. He was voted into the Rock & Roll Hall of Fame in 2011. His achievements also include a Grammy, a Golden Globe Award, an American Music Award, an ASCAP Film and Television Award and a Billboard Icon Award.
In addition to the award to Diamond, The MacMillan Family will be honored with the High Hopes Tribute Award for their nearly three decades of commitment as supporters of CDF. To purchase tickets and tables and learn more about the event, visit the Children’s Diabetes Foundation’s site.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 19:11:522025-07-09 19:11:52Neil Diamond to Receive Inspirational Lifetime Achievement Award at 2025 Carousel Ball, Goo Goo Dolls to Perform
Lauryn Hill ended up hitting the Superdome stage in New Orleans after 2:30 a.m. ET early Saturday (July 5) to close out night one of ESSENCE Festival, which took responsibility for her two-hour performance delay.
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With plenty of chatter surrounding her tardiness, the Fugees legend set the record straight with a lengthy statement clearing the air on Tuesday (July 8).
The Grammy-winning artist admitted this wasn’t the first time production issues have caused her to delay concerts, and also defended her performance artistry and how much of herself she pours into every aspect of her shows.
“Thank you Essence for clarifying that the delays were not my fault,” Hill began on Instagram. “I’m often quiet, knowing full well that God fights my battles. But this is not the first time production delays have delayed my performances. This IS however the first time a promoter has acknowledged the slip up on their end, and this will be the last time I’ll allow production challenges to look like the fault is mine alone, when they aren’t.”
She continued to push back: “There seems to be a misconception out there though that I am somewhere on the Riviera with my feet up, drink in hand, showing up to concerts whenever because I’m too important to care. That’s nonsense. And anyone who’s been a part of these productions knows that IN FACT the opposite is true.”
However, it didn’t come off as if MLH was seeking out sympathy, as she called her artistry and performances a “labor of love.” “I am involved in every aspect of what it takes to put on my shows, because it requires THAT much involvement to protect the integrity of my message and the quality of what I do,” she added.
Lauryn Hill was added to the ESSENCE Festival bill about two days before showtime, and performed deep into the wee hours of Saturday until after 3:35 a.m. ET in front of a sparse Superdome crowd in the Big Easy.
ESSENCE shouldered the blame for Hill’s latenessm, as the entire lineup had to be jumbled throughout an unpredictable night.
“The delay? Not hers. We will take that,” the festival said in a statement. “The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 19:11:512025-07-09 19:11:51Lauryn Hill Addresses ‘Nonsense’ Surrounding Her Show Delays: ‘There Seems to Be a Misconception’
Tori Kelly was made for loving her family, which will be growing very soon. On Wednesday (July 9), the singer announced that she is pregnant with her first baby, marking a major milestone with husband André Murillo.
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In a video posted to her socials, Kelly and the basketball player kiss and snuggle in some shots while dancing on the beach in others. In a song that plays over the footage, the Grammy winner sings, “I’m ready for what comes next/ Let’s make a baby.”
At the end of the video, Kelly shows off her baby bump.
“This year has already been full of highs — getting to perform in stadiums all summer, writing the most personal songs of my career and now getting to start a family with my amazing husband,” she told People in an exclusive statement. “We are just so grateful for what’s to come and can’t wait to meet this little gift from God.”
Kelly and Murillo first started dating in 2016 and got engaged the following year. The soon-to-be first-time parents then got married in May 2018.
A few years later, the athlete was by Kelly’s side when she experienced an alarming health scare. After reports surfaced that doctors had found blood clots in her legs and lungs, Murillo gave fans an update, writing on his Instagram Story at the time, “Tori is smiling again and feeling stronger … Not fully out of the woods but we see the sun … Your love and kindness has been overwhelming.”
Kelly is currently on tour in Europe with Ed Sheeran. Her last album, TORI., arrived in April 2024.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 18:58:022025-07-09 18:58:02Tori Kelly Reveals She’s Pregnant, Expecting First Baby With Husband André Murillo in Sweet Video
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
This week: Oasis’ tour kickoff and Ozzy Osbourne’s live farewell both result in huge streams and sales surges, Toby Keith’s anthem takes over Miley Cyrus’ for the biggest Fourth of July gainer, Beyoncé ekes out one more moment of Cowboy Carter virality and more.
Mama, I’m Feeling Supersonic: Ozzy and Oasis Catalogs See Huge Gains From High-Profile Live Dates
If you or anyone in your life is the least bit interested in ‘90s rock and pop — or knows someone who knows someone originally from the U.K. — chances are you’ve heard about Oasis reuniting for a comeback tour this summer. The Brothers Gallagher kicked off their Live ‘25 global stadium trek — last weekend (July 4-5) with a pair of dates in Cardiff, Wales, marking their first live dates since splitting in 2009, and generally drawing strong reviews for their performances.
The tour doesn’t make it to the U.S. for another month and a half — arriving in Chicago on Aug. 28 and then stopping for a pair of dates on both coasts — but American Anglophiles already seem to be catching the secondhand buzz. Oasis’ catalog drew a combined 5.8 million official on-demand U.S. streams in the three days following the band’s July 4 kickoff show, according to Luminate, nearly doubling its streams (up 94% from just over 3 million) from the three-day period the prior week (June 28-30). The band also moved over 3,600 digital song sales over those days, up 766% from the prior week.
Meanwhile, while one legendary live act geared back up for world domination over the weekend, another one said a final goodbye. Ozzy Osbourne, the 76-year-old Black Sabbath frontman and metal god — who has been found in increasingly fragile health over recent years — made his live farewell at July 5’s much-anticipated Back to the Beginning concert, which saw Osbourne performing both solo and with the original Sabbath lineup (Geezer Butler, Bill Ward and Tony Iommi) one final time, after a day of supporting performances from some of the biggest names in hard rock (Metallica, Tool, Guns N’ Roses).
Osbourne’s streams and sales also climbed significantly following the much-publicized Birmingham, England event, with the Prince of Darkness racking up 4.4 million total streams and 3,900 total digital song sales over July 6 and 7 — up 95% and 1,100% from the same period the prior week. And that was just Ozzy solo — Sabbath also saw massive gains of 104% and 741% to nearly 4.7 million streams and 2,500 digital song sales, respectively, over the same period. — ANDREW UNTERBERGER
Streaming Fireworks: Fourth of July Boosts Toby Keith, Miley Cyrus & More USA Hits
Last Friday (July 4), music fans across the nation celebrated Independence Day by queuing up their favorite anthems related to the US of A, flooding daily streaming charts with Fourth of July music in the process. Among the big winners on streaming platforms were Bruce Springsteen’s “Born in the U.S.A.,” which earned 2.77 million U.S. on-demand streams on Independence Day — as well as a little over 1,000 downloads — and “Party in the U.S.A.” by Miley Cyrus, which earned 2.72 million streams last Friday, according to Luminate.
However, the song that most benefited from the holiday was “Courtesy of the Red, White and Blue (The ANgry American)” by the late Toby Keith, as the patriotic anthem continues to grow in Fourth of July streams in its second year since the country star’s February 2024 passing. “Courtesy” earned a whopping 5.36 million streams on July 4; for comparison, that streaming total was at 504,000 one week earlier (June 27). And after reaching No. 25 on the Billboard Hot 100 during its original run in 2002, the song could very well re-enter the chart more than two decades later — and maybe even challenge its previous peak on the chart. – JASON LIPSHUTZ
Beyoncé’s ‘Cowboy Carter’ Lassoes Potential Hit In ‘Tyrant’ as Tour Nears End
As Queen Bey’s blockbuster Cowboy Carter Tour approaches its conclusion in Las Vegas on July 28, the same TikTok trend that increased streaming activity for her 2016 “All Night” track is now boosting “Tyrant,” a Dolly Parton-assisted track from the back half of her three-time Grammy-winning country LP.
According to Luminate, “Tyrant,” which Beyoncé performs every night on tour, is up over 182% in streaming activity over the past two weeks. During the period of June 13-19 (about a month after TikTok user @cowboydanny’s mashup of “Tyrant” and “All Night” hit the platform), the genre-bending track earned over 664,000 official on-demand U.S. streams. The following week (June 20-26), streams “Tyrant” jumped 41% to over 936,000. By the week of June 27-July 3, during which the “Tyrant” mashup became a trending sound for generally nostalgic edits of fictional characters and real people, the track doubled in streaming activity to a whopping 1.875 million streams.
On TikTok, the official “Tyrant” sound plays in over 22,000 posts, while the sound attached to the mashup boasts a staggering 433,000 clips. Upon release, “Tyrant” peaked at No. 44 on the Hot 100 and No. 12 on Hot Country Songs. Although the end of the tour presumably means an end to Act II of Beyoncé’s still-unfurling album trilogy, perhaps “Tyrant” can carve out a space for itself before she officially transitions into Act III. – KYLE DENIS
Zeddy Will Maintains His Chokehold on TikTok With Yet Another Hit Remix
Zeddy Will has appeared in the column multiple times, and with his ear for remixing popular TikTok sounds, he’ll likely continue to. A little over a year ago (July 5, 2024), Zeddy teamed up with Flint, Mich. Rapper Babyfxce E for “Cant Go Broke.” On June 18, 2025, producer J3WLZ shared a snippet of his remix on TikTok, with the bass-boosted version quickly going viral on the platform. That initial post has since amassed over 830,000 views and over 166,000 likes, with an official remix hitting DSPs a little over a week later on June 27.
The official “Cant Go Broke – Remix” TikTok sound plays in a little under 10,000 clips, but the sound attached to J3WLZ’s initial snippet soundtracks over 88,000 posts. Recently, TikTok users have opted for a rotating dance (which requires at least two people) timed to the lines: “You really good at everything but head, I don’t want your throat/ I don’t want that s–t/ Matter fact, I want your friend, I’m allowed to switch.”
During the period of June 13-19, “Cant Go Broke” earned a little over 19,000 official on-demand U.S. streams, according to Luminate. In the first full week after J3WLZ posted his snippet (June 20-26), that figured exploded by over 954% to over 205,000 streams. In the week after the remix his streaming platforms (June 27-July 3), “Can’t Go Broke” jumped another 788% in streams to over 1.82 million U.S. streams. Over the past two weeks, streaming activity for “Broke,” which currently ranks as the most Shazamed song in the U.S., has increased over 9,266%. – KD
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-07-09 18:47:122025-07-09 18:47:12Oasis’ and Ozzy Osbourne’s Streams Both Up Near 100% After Big Fourth of July Weekend Shows
