Billie Joe Armstrong has never held back on his contempt for Donald Trump. The Green Day singer has been raging against the policies of the 45th and now 47th president for years, and during the band’s first-ever set at the Download Festival in Donington Park in the U.K. on Friday (June 13), the singer lashed out at the U.S. president in unequivocal terms.

“Donald Trump in his administration is a fascist government,” Armstrong told the crowd. “And it’s up to us to fight back.” The comments came just a day before Trump presided over his long-awaited military parade in Washington, D.C. The rare display of military hardware and marching soldiers was meant to celebrate the 250th anniversary of the U.S. Army, whilst also coinciding with Trump’s 79th birthday.

Though the D.C. event did not appear to draw the massive crowds the administration had predicted, a record number of Americans did turn out in historic numbers to protest the Trump White House’s agenda at more than 2,100 “No Kings” rallies, which drew an estimated five million attendees. The rallies featured a profusion of colorful, often profane signs lambasting Trump for what critics argued are imperial tactics to seize as many levers of government power as possible while attempting to drastically cut crucial social services, gutting environmental regulations and using the power of the White House to attack, and punish, perceived enemies.

In addition, Armstrong got the Download crowd to join him in calling Trump a “fat bastard,” in the singer’s latest broadside against the current administration. Back in March, less than 24 hours after Trump and Vice President JD Vance attacked Ukrainian President Volodymyr Zelenskyy during an Oval Office meeting in which the veep accused the wartime leader of being insufficiently grateful for U.S. aid for its three-year battle against Russia.

“Am I retarded or am I just JD Vance,” Armstrong sang in a lyrical tweak to the lyrics to “Jesus of Suburbia,” amending the politically incorrect-on-purpose original, “Am I retarded or am I just overjoyed?”

Last weekend, Armstrong sent a message of solidarity to protesters in Los Angeles who took to the streets to rally against U.S. Immigration and Customs Enforcement (ICE) raids in the city, as well as the president’s decision to deploy the National Guard to L.A. over the mayor, and Gov. Gavin Newson’s, objections.

On June 8, Armstrong posted a video of protests from downtown L.A. on his Instagram Stories, captioned it with a middle-finger emoji and an ice cube, cued to a live version of “F— Off,” a song on the group’s Saviors (Édition de Luxe), the 2025 deluxe version of Green Day’s 2024 album.

Katy Perry has taken time out of her current Australian tour to appear at a Melbourne nightclub celebrating her music.

Perry’s onstage appearance occurred at Chasers Nightclub on Saturday (June 14) following the final Melbourne date of her Lifetimes Tour at Rod Laver Arena. As part of the club’s LGBTQIA+ Poof Doof night, that evening also featured its Katy Club event, where attendees celebrated the music of the pop icon.

However, following a similar event in Brisbane the previous evening, the Melbourne edition featured a special guest by way of Perry herself, who bought the club an evening of free drinks.

“You guys raised me,” footage of the event shows Perry telling the crowd. “I thank you and I love you, you are my chosen family.”

“Because you are my chosen family, a mother must provide for her children,” she added. “So as a provider, I would like to open the bar for one hour. The drinks are on me, baby!”

Notably, Perry’s crashing of her own themed event follows on from a similar instance in Sydney where Lorde appeared at local venue Mary’s Underground while it was hosting an evening dubbed What Was That – after the New Zealand musician’s recent single.

Perry’s Australian tour launched in early June and has so far featured four sold-out dates in Melbourne and three in Sydney. During a recent show at Sydney’s Qudos Bank Arena on June 9, Perry’s performance gained attention after she was joined by a stage invader during her set.

Footage of the incident showed an individual appearing onstage, putting his arm around Perry, who instinctively turns away as the fan continues to dance. “There’s never going to be another show like this, so just enjoy it!” Perry told the audience in response.

The individual was later identified as Johnson Wen, a “serial prankster” known for posting videos of stage invasions to TikTok under the username @pyjamamann. Wen was later arrested and taken to Auburn police station where he was subsequently charged with “entering enclosed land and obstructing a person in performance of work or duties.” 

Wen has since been granted conditional bail ahead of a court appearance on June 23, and has been issued a six month ban from the Sydney Olympic Park precinct which houses Qudos Bank Arena.

Perry’s tour continues on Tuesday (June 17) with the first of two sold-out dates in Brisbane, before shows in Perth and Adelaide.

Zak Starkey has added another chapter to his ongoing saga with The Who, claiming that his firing occurred after turning down the opportunity to tour with a reformed Oasis.

For those having trouble keeping up with the current state of Starkey’s drumming gigs, trouble first began in April when a spokesman for The Who claimed that “the band made a collective decision to part ways with Zak after this round of shows at the Royal Albert Hall,” referring to a pair of gigs the month prior. 

Starkey later issued a statement noting he was “surprised and saddened” by the news, though guitarist Pete Townshend later claimed Starkey was back in the band following the resolution of “communication issues.” 

In May, however, Townshend seemingly walked back this announcement, taking to social media to announce, “After many years of great work on drums from Zak the time has come for a change,” and welcomed Scott Devours to the lineup for their final shows.

In an attempt to clarify the situation, Starkey claimed just a week later that he hadn’t been “fired” from the band, but rather “‘retired’ to work [on] my own projects.”

Now in a new interview with The Telegraph, Starkey has provided some further insight into the circumstances that led to his leaving The Who. “What happened was I got it right and Roger got it wrong,” Starkey explained.

According to a report from The Who’s Royal Albert Hall shows, newly knighted vocalist Roger Daltrey had stopped several songs mid-performance, citing difficulty hearing the band over the drums. Per Starkey’s recollection, the group played the rarely-performed “The Song is Over,” and a lack of rehearsal meant that Daltrey “came in a bar early.”

The result was a call from band manager Bill Curbishley who shared the bad news with Starkey. “He says, ‘It’s my unfortunate duty to inform you’,” Starkey remembers. “‘That you won’t be needed from now on. Roger says you dropped some beats.’”

Forced to admit he had indeed dropped some beats, Starkey says he was welcomed back to the group, only for the announcement of his retirement to be made soon after. “I don’t blame anyone. I blame The Who because they’re unpredictable, aggressive and f–ing insane,” Starkey explains. 

However, the drummer also revealed that a major issue surrounding his axing relates to a role behind the kit with Oasis. Despite having been a member of The Who since 1996, he also served as a touring drummer for Oasis between 2004 and 2008.

Per his latest interview, Starkey claims that he had in fact turned down the position of drumming for the reunited Manchester group due to his commitments with The Who. Instead, Starkey’s position in Oasis will be filled by the prolific Joey Waronker. 

“He’s the best and we’re lucky to have him,” Liam Gallagher recently said of Waronker’s addition. “I’ve enjoyed all our drummers but this guy is special.”

Despite Starkey’s other focus being Mantra of the Cosmos (a supergroup of sorts featuring members of Happy Mondays and Oasis’ Andy Bell), its members’ touring commitments means he’s likely being left with a clear schedule in 2025.

However, Starkey did close by noting he’d recently spoken to Daltrey, who reportedly told him, “‘Don’t take your drums out of [The Who’s] warehouse yet in case we need you.’”

Billy Ray Cyrus is celebrating Father’s Day with a trip down memory lane. The “Achy Breaky Heart” star posted several family photos in honor of the day on Instagram and X, and wished a “Happy Father’s Day” to all those around him.

The mini picture collection includes snapshots of Billy Ray and family members throughout the years. One cute highlight is a very young Miley Cyrus giving the camera quite a serious gaze while riding a pink, toddler-sized trike with handlebar tassels.

“‘My Grandfather told my Father’… and luckily he taught me ….when your lost …. ‘Stand Still’. Happy Father’s Day to everyone ! Mothers… sisters ….brothers ….friends included !” Cyrus captioned the picture slideshow on Sunday (June 15).

Apparently not shown in the country singer’s Father’s Day post is son Trace, who’s seemingly had a fraught relationship as of late with Billy Ray, whom he recently said is “the lamest man ever to walk planet earth.” The Metro Station musician referred to him as a “delusional, evil person” last week — claiming he skipped the funeral of his “Mammie,” the late mother of Tish Cyrus, back when Billy Ray was still married to Tish. His comments came upon seeing that Billy Ray “flew to Italy for a fashion show” (with girlfriend Elizabeth Hurley). “This man is so hungry for fame it’s pathetic,” wrote Trace on June 10.

Miley’s had more positive thoughts to share. In an interview with The New York Times, the Something Beautiful singer shared candid remarks on her father’s current relationship with the English actress. “As I’ve gotten older, I’m respecting my parents as individuals instead of as parents,” she said.

“My mom’s really loved my dad for her whole life, and I think being married to someone in the music industry and not being a part of it is obviously really hard,” Miley explained. “And so I think I took on some of my mom’s hurt as my own, because it hurt her more than it hurt me as an adult, and so I owned a lot of her pain. But now that my mom is so in love with my stepdad, who I completely adore, and now that my dad, I see him finding happiness, too — I can love them both as individuals instead of as a parental pairing.”

“I’m being an adult about it,” she added. “At first it’s hard, because the little kid in you reacts before the adult in you can go, ‘Yes, that’s your dad, but that’s just another person that deserves to be in his bliss and to be happy.’ My child self has caught up.”

See Billy Ray’s Father’s Day post on Instagram here.

Morgan Wallen’s I’m the Problem spends a month at No. 1 on the Billboard 200 albums chart (dated June 21), as the set earned 209,000 equivalent album units in the United States in the tracking week, ending June 12 (down 15%), according to Luminate. The album debuted at No. 1 on the chart dated May 31.

With 209,000 units earned, Problem lands the largest fourth week for an album since Taylor Swift’s The Tortured Poets Department earned 260,000 in its fourth week (May 25, 2024-dated chart).

Problem is also the first album to spend its first four weeks at No. 1 since Poets perched in the top slot for its first 12 weeks, of its total 17 weeks at No. 1.

Also in the top 10 of the latest Billboard 200, Lil Wayne scores his 13 th top 10-charting set with the No. 2 debut of Tha Carter VI, while ENHYPEN logs its fifth top 10 with DESIRE: UNLEASH at No. 3. Addison Rae’s debut full-length album, Addison, arrives at No. 4, while My Chemical Romance’s Three Cheers for Sweet Revenge, released in 2004, hits the top 10 for the first time (reentering at No. 6) after a deluxe reissue. And, rock band Turnstile notches its first top 10 with its fourth full-length studio set, NEVER ENOUGH, debuting at No. 9.

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 June 21, 2025-dated chart will be posted in full on Billboard‘s website on June 17. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of I’m the Problem’s 209,000 equivalent album units earned in the week ending June 12, SEA units comprise 197,000 (down 14%, equaling 257.9 million on-demand official streams of the set’s songs — it leads Top Streaming Albums for a fourth week), album sales comprise 10,500 (down 34% — it falls 3-9 on Top Album Sales) and TEA units comprise 1,500 (down 15%).

Lil Wayne notches his 13th top 10-charting effort on the Billboard 200 as Tha Carter VI debuts at No. 2 with 108,000 equivalent album units earned. Of that sum, SEA units comprise 73,000 (equaling 97.06 million on-demand official streams of the set’s songs — it debuts at No. 2 on Top Streaming Albums), album sales comprise 34,000 (it debuts at No. 3 on Top Album Sales) and TEA units comprise 1,000.

Lil Wayne’s long-running Tha Carter series began in 2004 with the release of Tha Carter, which debuted and peaked at No. 5 on the July 17, 2004-dated Billboard 200. He followed it with Tha Carter II (No. 2, 2005), Tha Carter III (No. 1 for three weeks, 2008), Tha Carter IV (No. 1 for two weeks, 2011), Tha Carter V (No. 1 for one week, 2018) and now Tha Carter VI.

Tha Carter VI was issued in a variety of configurations, including a standard digital download edition, a physical set with bonus tracks (on two CD variants [one signed] and three vinyl variants [one signed], and a deluxe CD boxed set with a T-shirt), an expanded digital download album and a streaming edition. During the set’s first week of release, two further iterations of the album were issued as download and streaming editions — one with a remix of “Banned from NO,” with Nicki Minaj, and another with that Minaj remix along with “Momma Don’t Worry,” with Future and Lil Baby.

ENHYPEN collects its fifth consecutive, and total, top 10-charting set on the Billboard 200 as DESIRE: UNLEASH arrives at No. 3 with 100,000 equivalent album units earned. Of that sum, album sales comprise 95,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 5,000 (equaling 7.29 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

DESIRE: UNLEASH was available in its first week across 19 CD editions, all with the same audio but with packaging variations. Some editions were signed, and all contained collectible paper ephemera, some randomized.

Addison Rae sees her debut full-length album, Addison, launch at No. 4 on the Billboard 200 with 48,500 equivalent album units earned. Of that sum, SEA units comprise 25,500 (equaling 32.84 million on-demand official streams of its songs, it debuts at No. 13 on Top Streaming Albums), album sales comprise 23,000 (it debuts at No. 5 on Top Album Sales) and TEA units comprise a negligible sum. The 24-year-old singer-actor got her start on TikTok in 2019 and made her Billboard Hot 100 chart debut with “Diet Pepsi” in September 2024; the song buzzed to No. 9 on the Pop Airplay chart in February. She also got a high-profile collab in 2024 thanks to her guest turn on the remix of Charli xcx’s Brat track “Von Dutch.”

The Addison album was available across four vinyl variants, a standard and signed CD, and a deluxe CD boxed set with a T-shirt, and a standard download and streaming edition — all containing the same tracklist. Addison includes Rae’s three previous Hot 100-charting songs: “Diet Pepsi,” “Headphones On” and “Fame Is a Gun.”

SZA’s former No. 1 SOS falls 3-5 on the Billboard 200 with 44,000 equivalent album units earned (down 5%).

My Chemical Romance’s Three Cheers for Sweet Revenge, released in 2004, reaches the top 10 of the Billboard 200 for the first time, as the set reenters at No. 6 following a deluxe reissue. It previously peaked at No. 28 in 2005. In total, Three Cheers marks the fourth top 10-charting effort for the band, and its second-highest-charting set — second only to the No. 2-peaking The Black Parade in 2006. Three Cheers also marks the band’s first top 10 since April 2014, when the compilation May Death Never Stop You: The Greatest Hits 2001-2013 reached No. 9.

In the tracking week ending June 12, Three Cheers earned nearly 44,000 equivalent album units (up 809%), with album sales comprising 37,000 (up 2,987% — it reenters at a new peak of No. 2 on Top Album Sales; it’s the group’s best sales week since Danger Days: The True Lives of the Fabulous Killjoys debuted with 112,000 in 2010), SEA units comprise 7,000 (equaling 8.88 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s 44,000 units earned mark the band’s best week by that metric  since the Billboard 200 began ranking titles by units in December 2014.

For its new deluxe edition, Three Cheers for Sweet Revenge was issued across nine vinyl variants, and a CD, digital download and streaming edition — all with refreshed audio and bonus tracks. All versions of the album, old and new, are combined for tracking and charting purposes.

A sweet album of a different kind, Sabrina Carpenter’s chart-topping Short n’ Sweet, rises one spot to No. 7 on the latest Billboard 200. It earned 41,000 equivalent album units in the latest tracking week (up 11%). Morgan Wallen’s former leader One Thing at a Time dips 6-8 with 39,000 (down 4%).

Rock band Turnstile nets its second chart entry, and first top 10, with the No. 9 debut of NEVER ENOUGH. It earned 38,000 equivalent album units — of which album sales comprise 27,500 (it debuts at No. 4 on Top Album Sales), SEA units comprise a little more than 10,000 (equaling 12.8 million on-demand streams of the set’s songs) and TEA units comprise less than 500. The set’s first-week units and album sales mark career-high frames for the group.

NEVER ENOUGH — Turnstile’s fourth full-length studio album — was preceded by its title track, which reached No. 11 on the Alternative Airplay chart in June. The group made its Billboard chart debut 10 years ago, when the album Nonstop Feeling reached No. 22 on the now-discontinued Heatseekers Albums chart in January 2015.

NEVER ENOUGH was issued across more than a dozen vinyl variants and as a standard CD, cassette, digital download and streaming album, all containing the same tracklist.

Rounding out the top 10 on the latest Billboard 200 is Kendrick Lamar’s chart-topping GNX, which falls 7-10 with 36,000 equivalent album units earned (down 7%).

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.