Manchester’s Radar Festival is seeing a growing wave of artist withdrawals in the wake of Bob Vylan’s controversial Glastonbury performance and subsequent removal from the Manchester event’s lineup.

The latest act to announce their exit is Dublin metalcore band Hero In Error, who announced on Instagram that they would no longer perform at the independent event, set to run through July 6 at Manchester’s O2 Victoria Warehouse. “We will not be performing at Radar Festival this weekend,” they began in a statement.

“After speaking with Radar’s organisers, it’s clear they’re facing the same pressures that many de-platformed artists are currently experiencing. They are good people, and it’s evident they stand for progressive ideals.”

They continued, “Both they and the artists being targeted are caught in a wider effort to deflect attention from the reality of what’s happening. We respect the work Radar has done, but we believe that stepping back from this year’s event is the right decision at this time.”

Their departure follows similar moves from The Scratch and ĠENN, who also withdrew over the weekend in protest of Bob Vylan’s removal. Meanwhile, The Scratch shared their own message with fans, explaining their decision to withdraw as an act of solidarity.

“The censorship and de-platforming of artists speaking out against the ongoing genocide in Gaza is greasy, dangerous and must be challenged,” they wrote. “To be clear, this decision is not a criticism of Radar Festival. We understand it was an incredibly difficult and complex situation. This is about showing solidarity with Bob Vylan and any artist who may face similar treatment in the future.”

They continued, “Shadowy government influence and wealthy lobbying groups should not be allowed to dictate who is given a platform and what can be said on it. This situation will only worsen unless we, as artists, support one another and take action.”

ĠENN echoed a similar sentiment, citing concerns about “bullying, censorship, and strong-arming” directed at Bob Vylan and Radar Festival.

“As a minority on pretty much every line-up, and with a relatively modest platform, we considered whether we could use our physical presence to speak against the bullying, censorship, and strong-arming demonstrated towards the likes of both Bob Vylan and Radar,” the band said. “For our safety and sanity, we’ve made the final decision to pull out from performing at Radar this weekend.”

“Our fight should not be focused on the policing of those who are trying to spread awareness within their means. This is a distraction from a wider picture. Pressure needs to be placed on those who are instigating the censorship of a genocide happening in real time.”

Bob Vylan were pulled from Radar earlier this week after leading chants of “death to the IDF” during their Glastonbury set on June 28. The duo also criticised the BBC, the U.S. and U.K. governments, and more, sparking widespread backlash. Glastonbury organisers said the chants “crossed a line,” calling it “anti-Semitism, hate speech or incitement to violence.”

In the days since, Bob Vylan have been dropped by their agency, lost multiple international festival slots, and had their U.S. visas revoked. The duo maintain that their remarks were not calling for harm to any group but rather “the dismantling of a violent military machine.”

Radar Festival organiser Catherine Jackson-Smith has been vocal about the pressure placed on the event, saying it was “categorically one of the most horrendous professional discussions I’ve ever had” to remove Bob Vylan. “I cannot express clearly enough that I wanted Bob Vylan to perform at our festival,” she told the Two Promoters One Pod podcast but revealed the decision was made to avoid jeopardising the festival’s entire Saturday program.

Meanwhile, Massive Attack and other artists including Amyl and The Sniffers and Soft Play have publicly supported Bob Vylan, urging the media to focus on “what is happening daily to the people of Gaza” rather than silencing artists who speak out.

Radar Festival has yet to confirm a replacement for Bob Vylan’s headline slot.

Sabrina Carpenter turned London’s BST Hyde Park into a full moon party Sunday night (July 6), bringing out surprise guests Duran Duran for a raucous rendition of their 1982 hit “Hungry Like the Wolf.”

The 25-year-old pop sensation performed two consecutive sold-out shows at the iconic outdoor venue, kicking off July 5 with an all-star supporting cast including Clairo, Beabadoobee, Amber Mark, Luvcat, Ider, Sofy, Dellaxoz, The Tulips and Sola. For her second night on July 6, Carpenter returned with Clairo again, alongside Olivia Dean, Chloe Qisha, Miso Extra, Tanner Adell, and others.

On Sunday night, she had the crowd rehearse their howls before introducing her surprise guests. “I also thought it might be fun if I brought out some friends of mine from the U.K.,” Carpenter teased. “I’m going to need you guys to put that howling to good use. But everybody please give it up and make so much noise for the legendary Duran Duran.”

Frontman Simon Le Bon and bassist John Taylor joined Carpenter on stage to perform the band’s 1982 classic “Hungry Like the Wolf.” Le Bon took the lead vocals as Carpenter chimed in with harmonies and later handled the second verse.

The special appearance capped off Carpenter’s two-night Hyde Park stint, part of her ongoing Short n’ Sweet World Tour, which has seen the singer graduate from theatres to arenas and festival main stages worldwide. This leg comes ahead of her upcoming album Man’s Best Friend, the follow-up to 2024’s Short n’ Sweet.

Sharing the news on Instagram last month, Carpenter unveiled the project’s sensual cover art — a photo of the Grammy winner down on her knees in black stilettos, held in place by a man gripping a fistful of her hair — and revealed that it will arrive Aug. 29. “i can’t wait for it to be yours x,” she added in her caption.

According to its Spotify countdown pageMan’s Best Friend will feature 12 tracks, including lead single “Manchild,” which recently dropped and is gunning for a high debut on the Billboard Hot 100. The country-tinged track — co-written and produced alongside Carpenter’s Short n’ Sweet collaborators Jack Antonoff and Amy Allen — finds the Girl Meets World alum playfully calling out incompetent men.

Carpenter is set to headline Lollapalooza in Chicago on Aug. 3 before embarking on the second North American leg of her tour, which will run through November.

On July 5 and 6, BLACKPINK launched their Deadline World Tour with a solo concert held at the Goyang Sports Complex.

Marking their first full-group performance in 2 years and 8 months, this show was more than just a comeback—it was the beginning of a brand new chapter in their history. As the first K-pop girl group to perform solo at the Goyang Main Stadium, the concert set a new milestone.

Credit: YG Entertainment

This tour reaffirmed why BLACKPINK is widely regarded as K-pop legends. Kicking off with “Kill This Love,” the concert was filled with explosive energy from start to finish.

The highlight of the night was the live premiere of their brand-new track “Jump,” which sent tens of thousands of fans into a frenzy. The powerful sound and choreography underscored how BLACKPINK’s musical world continues to evolve.

On July 5 and 6, BLACKPINK launched their Deadline World Tour with a solo concert held at the Goyang Sports Complex.

Credit: YG Entertainment

YG

Each of the four members has spent the past years honing their skills through solo activities in the global market, and they brought that growth to the stage with individual performances that showcased their unique styles and artistry.

What made this concert even more meaningful was the members’ direct involvement in every aspect of production—from stage design to choreography, sets, and props—creating an experience that felt deeply personal and authentic to fans. The show encapsulated BLACKPINK’s musical journey so far, while also hinting at the exciting future ahead.

Credit: YG Entertainment

Joining the group on stage were world-class band sessions and dancers who have worked with global pop icons like Lady Gaga and Ariana Grande, enhancing the performance with dynamic and fresh energy.

Supported by a top-tier creative team from Korea and beyond, the show struck a perfect balance between cutting-edge production and emotional resonance, transforming it from a concert into a true cultural experience.

And this is only the beginning. With 31 shows planned across 16 cities around the world, the DEADLINE tour marks the start of BLACKPINK’s next era. Expectations are already sky-high—and once again, BLACKPINK is poised to raise the bar for what K-pop can be on the global stage.

Credit: YG Entertainment

‘블랙핑크 인 유어 에리어!’ 블랙핑크가 돌아왔다. 월드투어 ‘DEADLINE’ 고양에서 성대한 개막

지난 7월 5일과 6일, 블랙핑크는 고양종합운동장에서 단독 콘서트 ‘BLACKPINK WORLD TOUR DEADLINE IN GOYANG’을 열고, 2년 8개월 만의 전 세계 팬들과의 새로운 여정을 시작했다. K-팝 걸그룹 최초로 고양종합운동장 주경기장에 입성한 이번 공연은, 단순한 컴백이 아닌 새로운 K-POP 역사의 첫 장이었다.

이번 투어는 블랙핑크가 왜 ‘K-팝 레전드’로 불리는지를 다시금 입증한 자리였다. 첫 곡 ‘Kill This Love’를 시작으로, 무대는 압도적인 에너지로 채워졌으며, 공연의 하이라이트는 단연 이번 콘서트에서 처음 공개된 신곡 “Jump”였다. 이 곡은 무대를 찾은 수만 명의 팬들을 열광시켰고, 블랙핑크의 음악 세계가 여전히 진화 중임을 강하게 각인시켰다.

네 멤버는 각자 개인 활동을 통해 글로벌 시장에서 활약하며 역량을 끌어올렸고, 이번 콘서트에서 멤버별 솔로 무대를 선보이며 각자의 개성과 음악성을 녹여냈다. 특히 무대 연출, 세트, 안무, 소품에 이르기까지 멤버들이 직접 제작에 참여해 더욱 진정성 있는 무대를 완성했다는 점이 팬들에게 깊은 감동을 선사했다. 공연 전체는 블랙핑크의 음악 여정을 집약한 동시에, 그들이 앞으로 보여줄 미래를 암시하는 무대로 꾸려졌다.

이번 공연에는 레이디 가가, 아리아나 그란데 등 글로벌 팝스타와 함께 작업한 최정상급 밴드 세션과 댄서들이 합류해 역동적이면서도 신선한 퍼포먼스를 완성시켰다. 국내외 최정상의 스태프가 참여한 무대는 기술과 감성이 조화를 이루며, 단순한 공연을 넘어 하나의 문화적 경험으로 자리매김했다.

이제 시작일 뿐이다. 고양을 출발점으로 전 세계 16개 도시에서 31회차 공연이 예정된 DEADLINE 투어는, 블랙핑크가 펼쳐나갈 ‘새로운 시대의 이야기’를 예고하고 있다. 팬들의 기대는 이미 최고조에 달했으며, 블랙핑크는 그 기대를 넘어서는 무대로 또 한 번 K-팝의 기준을 다시 쓰고 있다.

Kelly Osbourne and Slipknot‘s Sid Wilson are engaged, the couple shared on Sunday (July 6). Wilson proposed during Ozzy Osbourne and Black Sabbath‘s farewell concert on Saturday in Birmingham, England, in front of Kelly’s family, whose reactions were caught on camera.

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“Kelly, you know I love you more than anything in the world–” Wilson began, only to be momentarily interrupted by a quip from Ozzy that brought on a room full of laughs: “F— off, you’re not marrying my daughter.”

In a video of the proposal posted on Instagram by Kelly, her soon-to-be fiancé is seen picking up where he left off: “Nothing would make me happier than spending the rest of my life with you. So, in front of your family and all of our friends, Kelly, will you marry me?”

He got down on one knee, and Kelly accepted. She let him put a ring on her finger, to unanimous cheers.

Kelly and Sid have one child together, 2-year-old Sidney, who was born in 2022. Mom Sharon Osbourne excitedly announced his birth and his name on The Talk in January 2023, though Kelly commented after the show that she was “not ready to share him with the world.”

The couple first met in 1999, when Slipknot was touring with Ozzfest. In January 2022, Kelly shared that they were together.

“After 23 years of friendship I can’t believe where we have ended up!” she said of her relationship with Wilson, writing on Instagram that she was “deeply in love.” She called Wilson her “best friend” and “soulmate.”

Ozzy Osbourne and Black Sabbath’s “Back to the Beginning” concert, featuring the band’s original lineup (Osbourne, Tony Iommi, Geezer Butler and Bill Ward), had 45,000 fans descending on Villa Park for an all-star stadium show on Saturday. Alongside the main event — the final setlist included five songs from Ozzy’s solo career and four Black Sabbath songs — the day saw performances from Metallica, Slayer, Guns N’ Roses, Tool, Pantera, Anthrax and more. 

The KPop Demon Hunters soundtrack surges 8-3 in its second week on the Billboard 200 albums chart (dated July 12), becoming the highest-charting soundtrack of 2025. Previously among soundtracks in 2025, Wicked reached a No. 4 high in January, after debuting and peaking at No. 2 in December 2024.

Further, KPop Demon Hunters becomes the highest-charting soundtrack to an animated film since Encanto spent nine weeks at No. 1 in 2022.

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KPop Demon Hunters premiered on June 20 on Netflix alongside its soundtrack. In the tracking week ending June 29, KPop Demon Hunters jumped 6-2 in its second week on Netflix’s Top 10 Movies in United States chart.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 12, 2025-dated chart will be posted in full on Billboard‘s website on July 8.

In the tracking week ending July 3, the KPop Demon Hunters album earned 62,000 equivalent album units (up 97%), according to Luminate. Of that sum, SEA units comprise 56,000 (up 108%, equaling 77.42 million on-demand official streams of the set’s songs — it jumps 10-2 on Top Streaming Albums), album sales comprise 4,500 (up 31%, it’s pushed down 18-22 on Top Album Sales) and TEA units comprise 1,500 (up 24%).

The set’s haul of 77.42 million streams for its songs is the largest streaming week for a soundtrack in nearly two years — since the Barbie soundtrack claimed 79.32 million on the Aug. 19, 2023-dated chart (its third week on the chart).

Sean “Diddy” Combs got a standing ovation from fellow inmates when the music mogul returned to jail after winning acquittals on potential life-in-prison charges, providing what his lawyer says might have been the best thing he could do for Black incarcerated men in America.

“They all said: ‘We never get to see anyone who beats the government,’” attorney Marc Agnifilo said in a weekend interview days after a jury acquitted Combs of sex trafficking and racketeering conspiracy charges.

Combs, 55, remains jailed after his Wednesday (July 2) conviction on prostitution-related charges and could still face several years in prison at an upcoming sentencing after being credited for 10 months already served.

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After federal agents raided his homes in Los Angeles and Miami in March 2024, the lawyer said he told Combs to expect arrest on sex trafficking charges.

“I said: ‘Maybe it’s your fate in life to be the guy who wins,’” he recalled during a telephone interview briefly interrupted by a jailhouse call from Combs. “They need to see that someone can win. I think he took that to heart.”

Blunt trial strategy works

The verdict came after a veteran team of eight defense lawyers led by Agnifilo executed a trial strategy that resonated with jurors. Combs passed lawyers notes during effective cross examinations of nearly three dozen witnesses over two months, including Combs’ ex-employees.

The lawyers told jurors Combs was a jealous domestic abuser with a drug problem who participated in the swinger lifestyle through threesomes involving Combs, his girlfriends and another man.

“You may think to yourself, wow, he is a really bad boyfriend,” Combs’ lawyer Teny Geragos told jurors in her May opening statement. But that, she said, “is simply not sex trafficking.”

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Agnifilo said the blunt talk was a “no brainer.”

“The violence was so clear and up front and we knew the government was going to try to confuse the jury into thinking it was part of a sex trafficking effort. So we had to tell the jury what it was so they wouldn’t think it was something it wasn’t,” he said.

Combs and his lawyers seemed deflated Tuesday when jurors said they were deadlocked on the racketeering count but reached a verdict on sex trafficking and lesser prostitution-related charges. A judge ordered them back to deliberate Wednesday.

“No one knows what to think,” Agnifilo said. Then he slept on it.

Morning surprise awakes lawyer

“I wake up at three in the morning and I text Teny and say: ”We have to get a bail application together,” he recalled. “It’s going to be a good verdict for us but I think he went down on the prostitution counts so let’s try to get him out.”

He said he “kind of whipped everybody into feeling better” after concluding jurors would have convicted him of racketeering if they had convicted him of sex trafficking because trafficking was an alleged component of racketeering.

Agnifilo met with Combs before court and Combs entered the courtroom rejuvenated. Smiling, the onetime Catholic schoolboy prayed with family. In less than an hour, the jury matched Agnifilo’s prediction.

The seemingly chastened Combs mouthed “thank you” to jurors and smiled as family and supporters applauded. After he was escorted from the room, spectators cheered the defense team, a few chanting: “Dream Team! Dream Team!” Several lawyers, including Geragos, cried.

“This was a major victory for the defense and a major loss for the prosecution,” said Mitchell Epner, a lawyer who worked with Agnifilo as a federal prosecutor in New Jersey over two decades ago. He credited “a dream team of defense lawyers” against prosecutors who almost always win.

Agnifilo showcased what would become his trial strategy — belittling the charges and mocking the investigation that led to them — last September in arguing unsuccessfully for bail. The case against Combs was what happens when the “federal government comes into our bedrooms,” he said.

Lawyers gently questioned most witnesses

During an eight-week trial, Combs’ lawyers picked apart the prosecution case with mostly gentle but firm cross-examinations. Combs never testified and his lawyers called no witnesses.

Sarah Krissoff, a federal prosecutor in Manhattan from 2008 to 2021, said Combs’ defense team “had a narrative from the beginning and they did all of it without putting on any witnesses. That’s masterful.”

Ironically, Agnifilo expanded the use of racketeering laws as a federal prosecutor on an organized crime task force in New Jersey two decades ago, using them often to indict street gangs in violence-torn cities.

“I knew the weak points in the statute,” he said. “The statute is very mechanical. If you know how the car works, you know where the fail points are.”

He said prosecutors had “dozens of fail points.”

“They didn’t have a conspiracy, they just didn’t,” he said. “They basically had Combs’ personal life and tried to build racketeering around personal assistants.”

Some personal assistants, even after viewing videos of Combs beating his longtime girlfriend, Casandra “Cassie” Ventura, had glowing things to say about Combs on cross examination.

Once freed, Combs likely to re-enter domestic abusers program

For Combs, Agnifilo sees a long road ahead once he is freed as he works on personal demons, likely re-entering a program for domestic batterers that he had just started before his arrest.

“He’s doing OK,” said Agnifilo, who speaks with him four or five times daily.

He said Combs genuinely desires improvement and “realizes he has flaws like everyone else that he never worked on.”

“He burns hot in all matters. I think what he has come to see is that he has these flaws and there’s no amount of fame and no amount of fortune that can erase them,” he said. “You can’t cover them up.”

For Agnifilo, a final surprise awaited him after Combs’ bail was rejected when a man collapsed into violent seizures at the elevators outside the courtroom.

“I’m like: ‘What the hell?’” recalled the lawyer schooled in treating seizures.

Agnifilo straddled him, pulling him onto his side and using a foot to prevent him from rolling backward while a law partner, Jacob Kaplan, put a backpack under the man’s head and Agnifilo’s daughter took his pulse.

“We made sure he didn’t choke on vomit. It was crazy. I was worried about him,” he said.

The man was eventually taken away conscious by rescue workers, leaving Agnifilo to ponder a tumultuous day.

“It was like I was getting punked by God,” he said.

Lana Del Rey‘s gone from singing “Diet Pepsi” in her car to on her stage at Wembley Stadium — inviting opener Addison Rae back out to perform alongside her at her July 3-4 London concerts.

Lana took verse one of Addison’s single — with its lyrics about her ripped blue jeans, cherry red lips and body that’s “a work of art you’d die to see,” all of which wouldn’t sound out of place in the earlier years of LDR’s own discography — and Addison joined in on the “untouched, XO, young lust, let’s go” pre-chorus, with the two vocalists coming together on the hook: “When we drive in your car, I’m your baby/ Losing all my innocence in the backseat/ Say you love, say you love, say you love me/ Losing all my innocence in the backsеat.”

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“Sooo good!!” Lana herself commented on a video of their duet that had been posted by a fan on Instagram after the London gigs.

The pair also sang Lana’s new ditty “57.5,” an earworm she’d debuted at Stagecoach that walks the line between owning her brand of fame and finding the humor in just how many millions of fellow melancholic music lovers must be out there — with a nod for country fans to catch. (Watch a clip captured by the same Wembley concertgoer on Instagram here.)

“I still talk to Jesus, yes/ But I still call up psychics when I need advice/ I still fly commercial/ You need an autograph? S—, I don’t mind/ If you want the secret to success, I suggest showing up in a Ross dress,” she sings in verse one, referencing the time she told red carpet correspondents she bought her Grammys dress at the mall, before launching into a campy, catchy chorus: “I got 57.5 million listeners on Spotify/ Roger Miller made ’em laugh/ I guess some folks still like to cry/ I ain’t got a man, but maybe one of them is a fan of mine/ In that 57.5 million listeners on Spotify.”

“@honeymoon I will never forget this,” Addison wrote in an Instagram post recapping her momentous weekend sharing the stage with Lana. “Thank you so much to the most beautiful divine woman, heart, soul, mind… Lana. I am the happiest and luckiest girl on earth. Being next to you is spiritual.” Ladybug, infinity and bouquet emojis were used in Lana’s honor.

“Thank you @honeymoon. You are forever,” she added in another post from London, topping off this comment with a swan emoji.

Before announcing Addison as an opening act or or heading overseas for tour, Lana uploaded an Instagram Story that captured the sweet reaction she’d had upon vibing to “Diet Pepsi” while driving her car, hand over her mouth and eyes tearing up.

“Diet Pepsi” was released as the first single from Addison’s eponymous debut album, Addison, and was the influencer-turned-pop newcomer’s first to chart on the Billboard Hot 100, in fall 2024. By the time of Addison‘s the album’s release last month, the set saw a No. 4 launch on Billboard 200.

Addison Rae was among a trio of opening acts announced just ahead of Lana Del Rey’s U.K. and Ireland stadium run, a short stint of five shows. While the “Headphones On” singer got the gig with Lana in London, London Grammar performed in Cardiff and BANKS joined the tour in Glasgow, Liverpool and Dublin.

It’s a wrap for Lana’s tour, leaving fans to now await the unveiling of her 10th studio album, formerly known as Lasso and The Right Person Will Stay at different points of time. Its original release date was delayed to an as-yet-unknown date, and the project’s current working title has not been publicly confirmed, but fans have so far heard the songs “Henry, Come On” and “Bluebird,” both available on streaming services — as well as live renditions of “Stars Fell on Alabama,” “Quiet in the South” and the aforementioned “57.5,” all assumed album tracks.

Addison has her debut headlining tour to look forward to, with dates across select cities in Europe, North America and Australia spanning August through November.

Morgan Wallen’s I’m the Problem rules the Billboard 200 albums chart (dated July 12) for a seventh consecutive, and total, week. The set earned 173,000 equivalent album units in the United States in the week ending July 3 — down a scant 3% compared to the previous week. The album opened at No. 1 on the May 31 chart.

With 173,000 units earned, Problem lands the largest total for an album in its seventh week on the chart since Adele’s 25 earned 194,000 in its seventh week nearly a decade ago (on the Jan. 23, 2016-dated chart).

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Also in the top 10 of the latest Billboard 200, Lorde’s Virgin debuts at No. 2, the KPop Demon Hunters soundtrack surges 8-3, KATSEYE’s BEAUTIFUL CHAOS bows at No. 4, Playboi Carti’s chart-topping MUSIC vaults 28-8 after its vinyl release and RussW!LD starts at No. 10.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 12, 2025-dated chart will be posted in full on Billboard‘s website on July 8. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of I’m the Problem’s 173,000 equivalent album units earned in the week ending July 3, SEA units comprise 164,000 (down 3%, equaling 215 million on-demand official streams of the set’s songs — it leads Top Streaming Albums for a seventh week), album sales comprise 7,500 (up 2% — it falls 7-11 on Top Album Sales) and TEA units comprise 1,500 (up 6%).

Lorde achieves her fourth top 10 album on the Billboard 200 as her latest studio project, Virgin, debuts at No. 2. All four of her top 10s have also debuted inside the top five (as Virgin follows Solar Power, with a No. 5 debut and peak, 2021; Melodrama, No. 1, 2017, and Pure Heroine, No. 3, 2013). Virgin bows with 71,000 equivalent album units earned. Of that sum, album sales comprise 42,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 29,000 (equaling 37.07 million on-demand official streams of the set’s songs — it debuts at No. 6 on Top Streaming Albums) and TEA units comprise a negligible sum.

Virgin’s first-week sales were aided by its availability across eight vinyl variants (including two signed editions), a standard CD and a digital download. All versions contained the same tracklist. Lorde’s vinyl sales added up to 31,000 — her best week ever on vinyl.

The album was announced on April 30 and preceded by the Billboard Hot 100-charting track “What Was That,” which debuted and peaked at No. 36 on the May 10-dated chart (her highest charting song since 2017’s “Green Light” hit No. 19). Lorde’s Ultrasound Tour of North America and Europe launches on Sept. 17 in Austin, Texas.

The KPop Demon Hunters soundtrack surges 8-3 on the Billboard 200 in its second week on the chart — earning 62,000 equivalent album units (up 97%). Of that sum, SEA units comprise 56,000 (up 108%, equaling 77.42 million on-demand official streams of the set’s songs — it jumps 10-2 on Top Streaming Albums), album sales comprise 4,500 (up 31%, it’s pushed down 18-22 on Top Album Sales) and TEA units comprise 1,500 (up 24%).

The set’s haul of 77.42 million streams for its songs is the largest streaming week for a soundtrack in  nearly two years, since the Barbie soundtrack claimed 79.32 million on the Aug. 19, 2023-dated chart (its third week on the chart).

With KPop Demon Hunters’ 8-3 climb on the Billboard 200, it becomes the highest-charting soundtrack of 2025, and the highest-charting soundtrack to an animated film since Encanto spent nine weeks at No. 1 in 2022. (Previously among soundtracks in 2025, Wicked reached a No. 4 high in January, after debuting and peaking at No. 2 in December 2024.)

KPop Demon Hunters premiered on June 20 on Netflix alongside its soundtrack. In the tracking week ending June 29, KPop Demon Hunters jumped 6-2 in its second week on Netflix’s Top 10 Movies in United States chart.

KATSEYE claims its first top 10 album on the Billboard 200 with the No. 4 debut of its second project, BEAUTIFUL CHAOS. The pop group’s five-song set opens with 44,000 equivalent album units earned. Of that sum, album sales comprise 30,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 14,000 (equaling 21.36 million on-demand official streams of the set’s songs; it bows at No. 47 on Top Streaming Albums) and TEA units comprise a negligible sum.

The album’s first-week sales were bolstered by its availability across nine CD variants and four vinyl variants (one signed), all with the same audio but with packaging variations. All contained collectible paper ephemera, some randomized. It was also issued as a standard digital download album for purchase.

BEAUTIFUL CHAOS was announced on May 7 and the album’s release was preceded by a pair of charting entries on the Hot 100: “Gnarly” (No. 90) and “Gabriela” (No. 94).

Karol G’s Tropicoqueta falls 3-5 on the Billboard 200 in its second week (40,000 equivalent album units earned; down 29%), Wallen’s chart-topping One Thing at a Time is pushed down 5-6 (nearly 40,000; up 7%) and SZA’s former No. 1 SOS descends 4-7 (39,000; down 17%). Playboi Carti’s former leader MUSIC jumps 28-8 with 35,000 (up 83%), following its release on vinyl (pressed on two variants). The album sold 16,500 copies in the tracking week (up 12,593%), largely from vinyl purchases.

Sabrina Carpenter’s chart-topping Short n’ Sweet slides 6-9 on the Billboard 200 with 33,000 equivalent album units earned (down 5%).

Russ closes out the top 10 with the No. 10 debut of his latest album, W!LD, entering at No. 10 with 32,000 equivalent album units earned. The set marks his fourth top 10-charted effort. Of the new album’s 32,000 units, album sales comprise 25,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 7,000 (equaling 9.15 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

W!LD was announced on March 18 and preceded by the radio-promoted track “Crazy,” which has reached the top 30 on the Rhythmic Airplay chart. The album’s first-week sales were aided by its availability across three vinyl variants, three CD variants and three cassette variants (some signed), as well as a standard digital download. All contained the same tracklist, and all of the physical editions were exclusively sold via Russ’ official webstore. There was also an expanded edition of the download album, sold via the webstore, that includes narration from the artist.

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.

LL Cool J and Jazmine Sullivan said they wouldn’t perform at a Fourth of July festival in Philadelphia in support of a strike by nearly 10,000 city workers.

LL Cool J had been scheduled to appear at the Wawa Welcome America Festival on Friday, along with Sullivan and other performers.

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In a video posted on social media, he said that “there’s absolutely no way that I can perform, cross a picket line and pick up money when I know that people are out there fighting for a living wage.”

“I hope, I hope, I hope that, you know, the mayor and the city can make a deal. I hope it works out,” the rapper said.

LL Cool J also said that he never wants to disappoint his fans and that he planned to be in Philadelphia in case an agreement is reached.

The festival came as the strike moved into a fourth day Friday. Trash has been piling up in some areas, and more than 30 Medical Examiner’s Office staffers have been ordered back to work because of a growing backlog of bodies in storage.

Sullivan, a Philadelphia native and Grammy award-winning artist, said in a post on Instagram on Friday that she would stand with the striking workers “until the city and the union find a way to bring fair living wages to our working class. I love my city and I believe in you,” she wrote. “Hopefully we will get to celebrate when things are better.”

The latest talks between the city and leaders of District Council 33 — the largest of four major unions representing city workers — ended late Wednesday. Both sides have said they were willing to continue negotiations. The union represents many of the city’s blue-collar workers, from trash collectors to clerks to security guards. Police and firefighters are not on strike.

The city has offered a three-year contract with annual raises of about 3%, which the union said amounts to little more than $1,000 after taxes for members making $46,000 a year on average.

Mayor Cherelle Parker has said the city has “put its best offer on the table.” She stressed that the effective 13% pay hike over her four-year term — including last year’s 5% bump — along with a fifth step on the pay scale would be the best contract the union has seen in decades.

Parker responded to LL Cool J’s statement, saying that she spoke with him on Thursday.

“I respect his decision, and understand his desire to see the city unified,” the mayor said. “He is always welcome in Philadelphia.”

The union also responded, saying LL Cool J’s support for municipal workers “highlights his commitment to social justice and community well-being.”

“His support not only brings attention to our efforts but also inspires others to recognize and advocate for the rights and respect of all workers,” the union said. “It’s heartening to see public figures using their influence to champion causes that matter to everyday people.”

On Thursday, Common Pleas Court Judge Sierra Thomas-Street approved the city’s request to have the medical examiner’s office staffers return to work because bodies have been piling up there in storage, posing a health and safety risk. Those workers include death and forensic investigators, forensic technicians and clerks.

The order came a day after the judge ordered some emergency service dispatchers and essential water department employees back to work.

Mounting trash piles in some parts of the city were also still causing grief for residents and officials, who have strongly urged residents to follow the collection guidelines imposed when the strike began Tuesday. They also urged residents to report problems at the trash collection sites, and noted trash is being cleared as fast as possible and the city is working to open more sites.

Lorde has earned her first U.K. No. 1 LP as Virgin tops the Official Albums Chart dated July 4.

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Her fourth studio album surpasses her previous records to hit the top spot, beating 2013’s Pure Heroine (No. 4), 2017’s Melodrama (No. 5) and 2021 LP Solar Power (No. 2).

Speaking to the Official Charts Company, Lorde says, “I cannot believe that I’ve got Number 1 in the U.K.! This is absolutely insane. I felt so much love from the U.K. on Virgin. I cannot thank you enough and I cannot wait to see you on the tour very, very soon. Sending all my love. Love you guys so much!”

The New Zealand-born star appeared at Glastonbury last weekend (June 27) with a surprise set to open the festival, performing Virgin in full. Later this year, she will hit the U.K and Ireland for an arena tour, including a stop at London’s 20,000-capacity O2 Arena.

Bruce Springsteen earns his 25th top 10 LP with epic boxset Tracks II: The Lost Albums, which features 82 previously-unheard tracks from the period spanning 1983 to 2018. 

Sabrina Carpenter’s Short n’ Sweet, meanwhile, breaks a long-standing record as it closes the week at No. 2. At 45 weeks, her LP boasts the longest consecutive top five streak for a solo artist LP in Official Albums Chart history, surpassing Elvis Presley’s G.I. Blues and its 44-week run.

Ed Sheeran’s +–=÷× (Tour Collection) finishes at No. 4, while Rod Stewart experiences a post-Glasto boost for his career-spanning Ultimate Hits collection (No. 5). Stewart performed in the Legend’s slot on the Pyramid Stage last Sunday (June 29) and was joined by former Small Face bandmate Ronnie Wood during his performance.