A concert by the popular Argentine cumbia band Damas Gratis — which had been scheduled to take place on Wednesday (Aug. 6) night at the Movistar Arena in Bogotá — was canceled before it even started after violent clashes erupted inside the venue, then spilled outside. Local police reported one person had died and five injured with stab wounds.

Carlos Fernando Galán, the mayor of Bogotá, addressed the situation in an Instagram Story late Wednesday, and confirmed the fatality. “I regret the death of a person tonight outside the Movistar Arena, who, according to preliminary information, was hit by a car. In any case, this will be investigated.”

Pablo Lescano, leader of Damas Gratis, publicly expressed his sorrow as well. “Chau Bogotá, Colombia. You broke my heart,” he wrote on his Instagram Story. “I’m very sad about everything that happened.”

The incident was marked by violent confrontations reportedly involving rival football fan groups, often referred to as “barras bravas,” who clashed inside the venue as well as in the surrounding areas. These fights led to physical altercations and left several individuals with injuries, some requiring hospitalization.

“The violent incidents that took place at the Movistar Arena before a concert are absolutely reprehensible,” Mayor Galán added in his Instagram Story. “This type of violence cannot be overlooked or accepted as normal. As a result of the fights, several people are being treated at different hospitals in the city.”

Galán said he had called a meeting with the concert promoters, representatives of the Movistar Arena, the secretary of government, the secretary of security and the commander in charge of the Bogotá Metropolitan Police so that “they can present me with a full report of what happened and thus establish responsibility where appropriate,” he explained. “Violence has no place in our society.”

The concert, which was supposed to cap off the band’s mini-tour in Colombia, was plagued by warnings on social media prior to the event, with concerns that rival football fans might clash at the venue, according to local media Clarín.

Bogotá’s secretary of government stated that the event’s private security measures were overwhelmed and clarified that investigations are underway to understand the full scope of what occurred, according to local paper El Tiempo. Meanwhile, the Metropolitan Police reported five people with stab wounds.

Earlier in August, Damas Gratis graced the cover of Billboard Argentina, with Lescano reflecting in the story about 25 years of leading the cumbia villera genre. The pioneering band is known for revolutionizing Argentine cumbia in the late 1990s, blending raw lyrics from urban slang with synthesizer-drenched melodies and rebellious rhythms. Its hit songs “Se Te Ve La Tanga” and “Los Dueños del Pabellón” remain emblematic of the band’s innovative style.

YoungBoy Never Broke Again makes history on the Billboard 200 this week (on the chart dated Aug. 9), as he debuts his 34th album with his latest project, MASA, and surpasses E-40 for the most career entries on the chart among rappers.

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Released July 25 via Never Broke Again/Motown/ICLG, MASA debuted at No. 6 with 49,000 equivalent album units earned in the United States July 25-31, according to Luminate. It also marks his 16th top 10 album, tying him with Jay-Z and Nas for the third-most after Future (18) and Drake (17).

Here’s a look at the rappers with the most Billboard 200 entries:

  • 34, YoungBoy Never Broke Again
  • 33, E-40
  • 30, Snoop Dogg
  • 29, Gucci Mane
  • 29, Tech N9ne
  • 24, Lil Wayne
  • 24, Nas
  • 23, Jay-Z
  • 21, 2Pac
  • 20, Future

At just 25 years old, YoungBoy has already built a staggering Billboard résumé. His relentless output and loyal fanbase have propelled him to milestones most artists take decades to achieve — if they do at all. He first landed on the Billboard 200 in 2017 with his AI YoungBoy mixtape, and thus, charted 34 projects in just eight years since.

2018 and 2022 were especially busy years, as he landed eight projects on the Billboard 200 in each year. MASA is already his second entry of 2025, following More Leaks in March; he released that compilation while incarcerated in Baton Rouge, La., on a federal gun charge.

Unlike many artists, who tease singles for months and space out releases by years, YoungBoy takes a different approach. He circumvents the traditional album rollout and instead floods the market with new projects at a remarkable pace. Of his 34 entries, only eight are technically studio albums (including MASA), while 20 are mixtapes, three compiled various cuts and three are EPs. (See the full list below.)

Since 2010, the only artist overall to chart more albums on the Billboard 200 is the Grateful Dead (88), a total heavily fueled by the ongoing Dave’s Picks series, which repackages the band’s old live shows. YoungBoy ran up his total based on new material.

Dating even further back to 2000, the only proper artists (excluding franchises) to chart more projects than YoungBoy this century — Grateful Dead (an even 100), Bill & Gloria Gaither (47), Elvis Presley (42), Bob Dylan (40), Willie Nelson (39), Pearl Jam (38), Neil Young (37) and Prince (35) — are all generational talents who have decades’ worth of catalog releases, reissues and compilations. YoungBoy is a full generation or two removed from all those names.

Despite breaking records and reaching new career milestones, the high-volume approach may have its downsides. In a 2023 cover story for Billboard, YoungBoy called his non-stop release output “a disease,” and described it as a compulsion. “Literally, I cannot help myself. I tell myself sometimes, ‘I’m not going to drop until months from now,’ but it’s addictive. I wish I knew when I was younger how unhealthy this was for me. Whatever type of energy I had inside me, I would’ve pushed it toward something else.”

His strategy isn’t entirely unprecedented. Drake has long followed a similar flood-the-market philosophy, and it’s paid off for him. He holds many Billboard Hot 100 records, including most overall entries (360), helped by frequent releases and the fact that streaming weighs heavily in the Hot 100’s methodology. But while Drake’s reign stretches back to 2009, YoungBoy didn’t appear on the Hot 100 until 2017. And yet, by 2023, he became just the 13th artist ever to log 100 or more Hot 100 entries. He was also the youngest to do so, at age 23.

For comparison, E-40 has amassed his 33 Billboard 200 chart entries over nearly 30 years (1993-2022). YoungBoy did it in just eight.

Whether or not the pace is sustainable, the results speak for themselves. YoungBoy has already etched his name in chart history.

Every YoungBoy Never Broke Again Album to Chart on the Billboard 200 (In Order)

Title (Peak Position; Peak Year)

  • AI YoungBoy (No. 24; 2017)
  • Fed Baby’s with Moneybagg Yo (No. 21; 2017)
  • Ain’t Too Long (No. 173; 2018)
  • Until Death Call My Name (No. 7; 2018)
  • Master the Day of Judgement (No. 139; 2018)
  • 4 Respect (No. 19; 2018)
  • 4Freedom (No. 100; 2018)
  • 4Loyalty (No. 97; 2018)
  • 4Respect 4Freedom 4Loyalty 4WhatImportant (No. 14; 2018)
  • Decided (No. 41; 2018)
  • Realer (No. 15; 2019)
  • AI YoungBoy 2 (No. 1; 2019)
  • Still Flexin, Still Steppin (No. 2; 2020)
  • 38 Baby 2 (No. 1; 2020)
  • Top (No. 1; 2020)
  • Until I Return (No. 10; 2020)
  • Nobody Safe with Rich the Kid (No. 43; 2020)
  • Sincerely, Kentrell (No. 1; 2021)
  • From the Bayou with Birdman (No. 19; 2021)
  • Colors (No. 2; 2022)
  • Better Than You with DaBaby (No. 10; 2022)
  • The Last Slimeto (No. 2; 2022)
  • Realer 2 (No. 6; 2022)
  • 3800 Degrees (No. 12; 2022)
  • Ma’ I Got a Family (A Gangsta Grillz Special Edition Hosted by DJ Drama) (No. 7; 2022)
  • 3860 with Quando Rondo (No. 62; 2022)
  • Lost Files (No. 45; 2023)
  • I Rest My Case (No. 9; 2023)
  • Don’t Try This at Home (No. 5; 2023)
  • Richest Opp (No. 4; 2023)
  • Decided 2 (No. 17; 2023)
  • I Just Got a Lot On Shoulders (No. 159; 2024)
  • More Leaks (No. 29; 2025)
  • MASA (No. 6; 2025)

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Athletic and lifestyle brand Champion just launched its latest game-changing campaign with help from everyday champions in music and sports.

Spearheading the new campaign are trailblazers in their own field and faces, namely music artist The Kid LAROI, gold medal gymnast turned advocate Aly Raisman and style leader Romeo Beckham. To celebrate the champion within you, you can shop the full collection now at Target.

Other big names featured in the campaign include martial arts prodigy Rayna Vallandingham, Beast Games winner Jeffrey Randall Allen, Colombian actor-musician Juan Palau, K-pop choreographer Lia Kim, and gold medal freestyle skier and activist Gus Kenworthy.

The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Women’s Snap Front Top in Teal Blue

A collared top with a boxy construction.


The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Men’s Snap Hoodie in Gray Blue

A comfy men’s hoodie with snap closures.


Throughout the campaign’s imagery, each tastemaker is decked out in head-to-toe Champion from colorful crewnecks to sporty and retro sports bras. There’s something to shop for both men and women and even kids. Some of our favorite apparel from the collection includes the women’s Snap Front Top in Teal Blue, men’s Snap Hoodie in Gray Blue, women’s High-Rise Fleece Wide Leg Sweatpants in Heather Gray and the men’s Football Shirt in Red.

The women’s Snap Front Top retailing for $44 comes in an inclusive range of sizes from XS to 4X with two colorways from Teal Blue, our favorite, to Maroon. Whichever size or colorway you pick, the top’s construction is the same. You’ve got a collared neckline that gives way to nifty snap closures and a boxy and cozy fit. Retro Champion branding can be seen fixed to the top’s breast pocket.

Similarly, the men’s Snap Hoodie retailing for $44 includes snap closures on the neckline that are more ergonomic than standard buttons. The men’s hoodie comes in sizes small to XXL and one colorway, Gray Blue. The piece features white and blue trim, a wide front pocket and a cozy hood. Retro-esque Champion branding can be seen throughout. Both the hoodie and top can be styled casually, worn with athleisure like joggers, leggings or denim jorts.

The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Women’s High-Rise Fleece Wide Leg Sweatpants in Heather Gray

Baggy sweatpants with a drawstring closure.


The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Men’s Football Shirt in Red

A red football-esque top.


The High-Rise Fleece Wide Leg Sweatpants are all about comfort. Retailing for $34, this piece comes in sizes XS to 4X and features four colorways: Heather Gray (our favorite), Blue, Cream and Red. The bottoms are made of a plush essential weave fleece fabric with a high-rise, wide leg composition for a more comfortable fit. The silhouette also includes a roomy elastic waistband with a drawcord and side pockets. Embroidered Champion logo detailing can be seen throughout, offering the style a subtle branded touch.

In a sportier twist, the men’s Football shirt aims at mimicking the fit and composition of a football jersey. Retailing for $20, the shirt comes in sizes small and XXL and Red and Light Off-White colorways. The top’s fit is boxy and incorporates collegiate striping in white and black on the sleeves and large numbering in black on the front. Champion’s logo is fixed to the front. This piece is another casual offering we can see styled alongside baggy jeans or basketball shorts for a sporty feel.

“Champion’s identity is rooted in cultural leadership,” said Stefani Fleurant, evp, marketing, sport & lifestyle at Authentic, in a statement. “By partnering with talent who are redefining excellence in their fields, we’re reinforcing our commitment to inspiring a worldwide community that is united by creativity, confidence and the Champion spirit.”

The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Men’s IPO Squish Slide Sandals in Black

Black slides with the Champion logo on the straps.


The champion-centric collection also includes a slew of accessories. Our favorites? The Center Backpack and the men’s IPO Squish Slide Sandals. Comfy and casual, the slip-on IPO Squish Slide Sandals are a lightweight and casual option we can envision becoming your next go-to lounging shoes. Retailing for $20, the shoe comes in sizes 7 to 13 and Black, Blue/Off-White and Red/Navy Blue colorways. The slides feature a dual-density construction with squishy midsoles and durable density outsoles for maximum comfort with every step. Champion branding is affixed to the straps.

The Center Backpack is a great option for our readers heading back to school. The style retails for $29.99 and is ultra-roomy for the school essentials. The backpack comes in a slew of colorways; our favorite is the Blue/Pink. Adjustable padded straps give way to mesh water bottle pockets, ample internal pockets and a dedicated air mesh laptop sleeve.

The Kid LAROI Joins Champions for Champion Campaign: Shop the Collection

Champion Center Backpack in Blue/Pink

A blue and pink backpack.


It’s been 14 months since we first heard “The Subway,” as debuted by Chappell Roan as part of her set at New York’s Governors Ball festival in June 2024. Since that performance — which she repeated at a number of other festivals and live dates over the subsequent year-plus — fans have been clamoring for an official studio version. And after about a week of teasing, on last Thursday (July 31) at 8:00 p.m. ET, they finally got it, along with a new music video that followed the next morning, thus marking the fullest rollout we’ve gotten for a new Chappell Roan single since she became a superstar early last year.

To mark the occasion, we’re bringing back the Rollout Report Card — which we first debuted back in March to discuss the full release of Lady Gaga’s Mayhem album — to talk both about “The Subway” as a song and as the center for an enter promotional era. Host Andrew Unterberger and Billboard Pride editor Stephen Daw return from that episode, and we’re joined by Billboard writer Hannah Dailey, who was in attendance for Roan’s Gov Ball “Subway” debut (and has been watching the video she took of it for the last 14 months while anxiously awaiting the studio version).

Over the course of our discussion, we give Roan letter grades for everything from the timing of the “Subway” rollout to the coherence of the entire promo push, while also debating many of the most pressing questions around the official song: Did it need to take so long? Did it improve on the live version? Does the video live up to our expectations of what we’d always hoped for a big-budget Roan visual? Should the song’s outro have actually been a bridge? What are our expectations for the song’s chart performance? Is it really going to be another five years until we get Chappell Roan’s sophomore album?

Check it out above, and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!

And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:

Transgender Law Center

Trans Lifeline

Destination Tomorrow

Gender-Affirming Care Fundraising on GoFundMe

Also, please consider giving your local congresspeople a call in support of trans rights, with contact information you can find on 5Calls.org.

What’s the one thing that could make a Stan seriously Stan out? How about a surprise appearance form Slim Shady himself at the New York premiere of the Stans movie? Eminem blew some superfans’ minds on Wednesday night (Aug. 6) when he pulled off an unannounced pop-in to the screening of the documentary about his most ardent admirers.

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The gathering on The Rooftop at Pier 17 found Marshall briefly taking the stage to address his shouting Stans, thanking them for coming out. “Let me tell you why this s–t is crazy to me,” he said in a video of his remarks posted by Shady Media. “Because, when I was writing the song ‘Stan,’ I think I was just understanding the impact that my music was having on some people. And it’s so crazy to me to look at, over my career, just the fact that I was able to impact people,” he continued as the repeated shouts of “I love you” interrupted his comments.

“I love you too,” he replied. “I’m trying to think of what the f–k I’m saying here… When I was writing this song I didn’t understand the impact my music was having on people at the time and it was really surreal to me, and it’s still surreal to this day to look out here and see all you and the fact that my music has inspired you. This film is a thank you to all of you for sticking by me for this whole f–king time… I just want to thank you from the bottom of my heart.”

In addition to addressing the crowd, Eminem also met some fans and hung out with a few, again thanking them for their support over the past quarter century. In one video from the meet and greet, a woman thanks Marshall for “saving my life,” spurring the rapper to immediately turn to her and give her a huge hug.

In addition, actor Devon Sawa, who portrayed obsessive fan Stan in the original video for the 2000 song from his The Marshall Mathers LP also pulled up to the STANS lookalike contest in New York to meet some fellow Stans, pose with Slim Shady and help judge the contest.

Stans was directed by Steven Leckart (The Day Sports Stood Still) and produced by Eminem, his longtime manager Paul Rosenberg and Antoine Fuqua, among others. The film spotlights 20 fans who talk in depth about how Eminem’s music and story has impacted their lives, and features a rare sit-down interview with the rapper that is sprinkled throughout the nearly two-hour doc. It also features commentary from friends and close associates, including Ed Sheeran, Dr. Dre, Jimmy Iovine, Adam Sandler, LL Cool J, “Stan” collaborator Dido and former MTV TRL host Carson Daly.

Warner Music Group said on Thursday (Aug. 7) its quarterly revenue rose 9% to roughly $1.7 billion on 8% growth of recorded music and and 10% increase in publishing revenue, offsetting the end of Warner’s distribution contract witih BMG.

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Total recorded music grew to $1.35 billion and publishing revenue increased to $335 million for the quarter ending June 30, 2025. The success of Alex Warren’s “Ordinary,” which topped the Billboard Hot 100 for nine weeks, and Teddy Swims’ “Lose Control,” which became the first song in Billboard chart history to spend more than 100 weeks on the Hot 100, drove 4% growth in streaming revenue, with overall digital revenue increasing 5.3% to $929 million. Subscription streaming grew to 8.5%, due to a true-up payment from a streaming service.

Music publishing digital revenue increased 5.2% to $204 million, with streaming revenue also growing by 5.2%, driven by growth in recorded music artist services and expanded-rights and licensing revenue, and music publishing performance, synchronization and mechanical revenue. Recorded music physical revenue was slightly lower at $119 million from $120 million a year ago.

“This quarter we delivered massive chart hits, breakthrough stars, strong revenue growth and market share gains … all of which show our strategy is working,” Warner Music Group CEO Robert Kyncl said in a statement. “As we continue to evolve, we’re focusing on the artists, songwriters and markets with the greatest potential, while expanding our iconic catalog and building the dynamic teams and tools that will help our talent have the biggest global impact.”

The company reported a $16 million net loss in the quarter compared to last year’s $141 million net income, mainly due to negative impacts form foreign exchange conversions. Warner Music earns more than half of its income from outside of the United States, and its euro-denominated debt resulted in a $70 million loss in the quarter. Losses on hedging activity totaling $8 million were partially offset by a $25 million income tax expense savings.

Total digital and physical services revenue rose 4.6% to $1.05 billion.

Adjusted operating income before depreciation and amortization (OIBDA) increased 18.0% to $373 million from $316 million and Adjusted OIBDA margin increased 1.8 percentage points to 22.1% from 20.3% in the prior-year quarter. The increases include the $9 million impact of the copyright settlement in recorded music and the $12 million impact of the true-up payment from a streaming partner.

By now you’ve either toppled into a heap trying to do the viral Nicki Minaj Stiletto Challenge, or you won’t stop forwarding your successful attempt to all your annoyed friends. Congrats on that, because it’s not easy, not even for Minaj herself.

The trend started taking off earlier this summer when fans keyed in on a particularly athletic post from Minaj’s 2013 video for her Lil Wayne collab “High School” — in which she wears stilettos and crosses one leg over the other while balancing both feet on the ground near the edge of a pool — and began posting videos of themselves hitting the pose while balanced on all kinds of precarious props.

Naturally, the rapper decided to get in on the action as well in a post on Tuesday (Aug. 5) in which struck a series of poses on the ground near a pool while wearing a very short black dress. Here’s the thing: even Nicki realized that it’s not as easy as she made it look that first time.

In the post, Minaj apologized to her Barbz for not quite hitting the pose, explaining that she had a classic wardrobe malfunction while filming the video. “about that pose…. Ummm 😩 this Chanel dress was just a tad shorter than I thought & the thongs definitely didn’t help,” Minaj wrote. “Didn’t want to make it explicit.😃 Both feet on the ground tho. Ten toes. Ima put on a diff outfit that won’t show so much skin & do it again for you guys later.”

To date, a number of celebs have tried their hand at the challenge, including Ciara, Dancing with the Stars‘ Witney Carson and Jenna Bush Hager. They succeeded, but things did not go so well for Russian influencer Mariana Barutkina, 32, who became a cautionary tale after she tried to balance on a container of baby formula on top of a saucepan, but slipped off and fractured her spine.

Even in death, Ozzy Osbourne will never be far from his fans. After mourners left thousands of tributes to the late heavy metal legend on Black Sabbath Bridge in Ozzy’s native Birmingham, England following his death from a heart attack on July 22 at age 76, those flowers and keepsakes have been preserved and cataloged for posterity.

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According to a video post from the Central Birmingham Business Improvement District, the items have all been methodically laid out on the floor of a giant warehouse to be sorted and tagged before they are shared with the Osbourne family. “After we carefully moved all items from the Black Sabbath Bridge and Navigation St Mural to a secret location, they have been sorted by our team ready to be sent to the Osbourne family. Thank you again to everyone who took the time to pay their respects,” read the caption to the video.

The accompanying clip shows row upon row of flower arrangements arrayed on the floor after BID workers carefully removed them from the bridge and packed them in plastic bins. “Every piece is being laid out individually, cataloged and treated with care,” reads an on-screen caption over footage of a workers in yellow vests carefully placing the bouquets on the floor in neat rows.

The video also features images of dozens of framed photos and drawings of Ozzy, handwritten notes, along with Black Sabbath T-shirts and rows of Aston Villa scarves and banners honoring Osbourne’s favorite football team, as well as dozens of stuffed bat plushies. “Our team has been working to respectfully sort the items, ensuring they’re preserved in the best possible condition,” a caption explains.

The team is creating a digital record of every tribute over the next few weeks that will eventually be sent to Osbourne’s family. In addition, all the flowers are being mulched and bagged, with the compost headed to Ozzy’s final resting place.

Osbourne’s funeral cortege paraded past the Black Sabbath Bridge during his July 30 funeral in Birmingham, just weeks after Ozzy’s final performance at the all-star Back to the Beginning charity concert.

Check out a video of the process here.

Selena Gomez has appeared as the latest guest on the Therapuss podcast, speaking to host Jake Shane about myriad topics, ranging from her acting career, to mental health and her relationship with Benny Blanco.

Launching her discussion with Shane by focusing on a recap of the recent happenings in her life, Gomez turned her focus towards Rare Beauty, the cosmetics company she founded in 2020 which supports mental health organizations with a portion of its sales.

As Gomez explained, the mental health aspect was one that was important to her given the experiences she has had with the topic over the years. 

“I tried to share my story in hopes that it would be something to help others, and I think I did that when I admitted that I had struggled through my bipolar diagnosis,” she explained. “So that was more of a release for me. 

“And then I realized anything that I touch or anything I’m a part of, it has to give back and some sort of element. And that just always has been my key demographic – it’s people who don’t feel seen or heard or, even know what’s going on and in their own mind.”

“I just believe in therapy,” she added on the topic of mental health. “I’m on medication and I feel really lucky that I’m in the position that I’m in now and I believe in all of that.”

Another large focus of Gomez’s appearance on Therapuss was the topic of her engagement to producer Benny Blanco. The pair confirmed their relationship in 2023 before becoming engaged in late 2024, and later collaborating together on March’s I Said I Love You First album.

“I couldn’t be more excited,” Gomez said of her forthcoming wedding. “There’s so much happening at the moment with [Blanco] working on some projects that he has to wrap up and we just have things we want to finish and our own personal endeavors before we get into all the nitty gritty. 

“I just have really never felt so sure about something and I also don’t want to jinx it by saying that.” 

Shane also used the opportunity to ask Gomez about how she and Blanco first met, with the musician explaining that they had both met early on in their respective musical careers, though their initial relationship was little more than a casual friendship. 

“I feel like he was an acquaintance, if that makes sense,” she explains. “To be honest [we weren’t] besties, I just thought he was nice and then we did a few songs together.”

After reuniting to work on 2023’s “Single Soon,” their casual friendship eventually took a deeper turn. “We spoke for two hours and I asked him to hook me up with anybody that he knew that was cute and he was like, ‘Oh we do these things, these dinner nights. You should come,’” she recalls. “And next thing you know we’re dating.

“But he was terrified in the beginning cause he was like, ‘It’s work and it’s complicated and people are going to get mad,’ and I’m like, ‘I don’t give a s–t; kiss me.’”

Watch Selena Gomez’s appearance on Therapuss below.

Gains from streaming services in both recorded music and publishing pushed Sony Music’s consolidated revenue up 5.3% in the first fiscal quarter ended June 30, the company announced Wednesday (Aug. 6). 

Total revenue reached 465.3 billion yen ($3.22 billion at the average exchange rate in the quarter) while operating income improved 8.0% to 92.8 billion yen ($641.8 million). 

The yen-denominated results included a negative impact from foreign exchange of nearly 28 billion yen ($194 million) due to the yen gaining over 5% against the U.S. dollar since the previous quarter.  

Recorded music revenue rose 0.7% to 301.5 billion yen ($2.09 billion) but improved 8.4% on a dollar basis (not in constant currency). Streaming revenue fell 0.3% to 196.0 billion yen ($1.36 billion), although dollar-denominated streaming revenue grew 7.3%. 

Other recorded music revenue improved 2.8% to 105.5 billion ($729.4 million). In the other category, physical sales rose 10.6% to 26 billion yen ($180.4 million) and download sales jumped 52% to 9.8 billion yen ($68 million). The remainder of other revenue — public performance, broadcast and sync — fell 4.2% to 69.5 billion yen ($481 million).  

Sony Music Entertainment’s top album in the quarter was Bad Bunny’s DeBÍ TiRAR MáS FOToS. Other top titles include SZA’s SOS, Sleep Token’s Even in Arcadia, Tate McRae’s So Close to What and Bad Bunny’s previous album, Un Verano Sin Ti. Sony Music Japan’s top release was Hollow by K-pop group Stray Kids, followed by two titles by Sakurazaka46, Addiction and Make or Break, and Plazma / BOW AND ARROW by Kenshi Yonezu. 

In the music publishing division, revenue rose 2.1% to 98.7 billion yen ($682.5 million). The segment’s streaming revenue rose 0.4% to 56.7 billion yen ($392.4 million). On a dollar-denominated basis, publishing revenue rose 9.8% and streaming revenue grew 8.1%. 

Excluding the visual media and platform division, which includes mobile games, Sony Music’s quarterly revenue from recorded music and publishing increased 1.1%. However, on a dollar basis, recorded music and publishing increased 8.8% from the prior-year quarter. Visual media and platform revenue jumped 47.8% due to higher gaming revenue and the consolidation of eplus, a ticketing platform. 

The current fiscal year is looking better than it did three months ago. Gains in the recorded music division, mainly from growth in revenue from streaming services, led Sony Music to lift its prior forecast for fiscal 2025 by 20 billion yen ($135.6 million at the current exchange rate) to 1.87 trillion yen ($12.68 billion). That would represent 2.7% annual revenue growth unadjusted for foreign exchange.