Apple Music has shared its 500 most-streamed songs of the decade, with Ed Sheeran leading the pack thanks to 12-week Billboard Hot 100-topper “Shape of You.”

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As announced Saturday (July 5), the British pop star’s 2017 smash has been listened to more than any other song on the platform in the past 10 years, beating out second- and third-place entries “Blinding Lights” by The Weeknd and “God’s Plan” by Drake. “Shape of You” also broke Apple’s record for most first-day streams when it was first released.

The rest of the top 10 was fleshed out by Post Malone and Swae Lee’s “Sunflower,” Posty’s “Rockstar” featuring 21 Savage, Drizzy’s “One Dance” featuring Wizkid and Kyla, Travis Scott’s “Sicko Mode,” Sheeran’s “Perfect,” Chris Brown’s “No Guidance” and Billie Eilish’s “Bad Guy,” in that order. Other tracks that ranked highly were The Chainsmokers and Halsey’s “Closer” at No. 11, Kendrick Lamar’s “Humble” at No. 15, Ariana Grande’s “7 rings” at No. 19 and BTS’ “Dynamite” at No. 34.

With 27, Drake has more songs in the top 500 than any other artist, while Taylor Swift comes in second place with 14. Mariah Carey is the only artist to have a holiday song make it into the upper echelon, with “All I Want for Christmas Is You” coming in at No. 100.

The remaining songs on the 500-count list can be found on a massive playlist unveiled by Apple on Saturday. It comes in celebration of the streamer’s 10-year anniversary.

To keep the festivities going, Apple also shared an interview with Sheeran talking about the creation and impact of “Shape of You.” The track served as the lead single from the musician’s album Divide and won best pop solo performance at the 2018 Grammys.

“No one can take away the song,” Sheeran reflected to Zane Lowe. “I’ll be able to play it forever … I’m just grateful that I have songs like that, that you could be anywhere in the world and someone gives you a guitar and you can make someone happy with it.”

Watch the full interview above.

Ozzy Osbourne and Black Sabbath played their final concert together with an epic send-off at Birmingham’s Villa Park on Saturday (July 5).

The gig, billed as ‘Back to Beginning,’ was a homage to Ozzy and the metal titans who formed in Birmingham back in 1968. Sharon Osbourne, Ozzy’s wife and long-time manager, organized the concert alongside Live Nation.

Ozzy has faced a number of health issues over the years, and Saturday’s gig acted as a retirement for the legendary performer and his Black Sabbath bandmates. The 76-year old has been diagnosed with advanced Parkinson’s disease that has left him with limited mobility, though he is able to sing and perform live. The concert benefited charitable causes, with profits split between Cure Parkinson’s, Birmingham Children’s Hospital and Acorn Children’s Hospice, a Children’s Hospice supported by Aston Villa.

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The full lineup, which kicked off at 1 p.m. BST, featured an all-star cast of performers. Alongside Black Sabbath, the day also saw performances from Metallica, Slayer, Guns N’ Roses, Tool, Pantera, Anthrax and more. 

Throughout the day a number of artists performed covers of Sabbath material. British rocker Yungblud performed Sabbath’s “Changes” with an all-star band; Anthrax performed “Electric Funeral” from Black Sabbath’s 1970 album Paranoid, and Guns N’ Roses took on “Sabbath Bloody Sabbath” in their set.

The huge production ran for 11 hours and was hosted by actor Jason Momoa. The event was also streamed live globally on pay-per-view to hundreds of thousands of fans; entry to the stream was priced at £25 ($34).

A number of big names paid tribute to Ozzy and Black Sabbath, praising their influence. Metallica’s James Hetfield said, “Without Sabbath there would be no Metallica. Thank you boys for giving us purpose in life.” Elton John sent a message in to Ozzy: “You are one of the most remarkable singers of our time… You are the king, you are the legend. You’ve been through so much crap in the last few years. I hope this is the best day of your life so far.”

The event concluded with a pair of sets from Ozzy in the final hour. The first included five songs from his lengthy solo career and with members of his touring band; Ozzy was perched on a throne during the performances. 

Then Ozzy and fellow original Black Sabbath members Tony Iommi (guitar), Bill Ward (drums) and Geezer Butler (bass) reunited for the closing performance. This was the first time Ward had performed with the band since 2005.

See the full setlist from Ozzy’s performances below.

Pop-punk is having a moment, and two of the most popular bands from the genre’s early 2000s peak teamed up for a celebration at Festival d’été de Québec (FEQ).

Avril Lavigne headlined the gargantuan main stage on the historic Plains of Abraham in Quebec City on Friday night (July 4) for more than 80,000 fans, which also coincided with the final date of her Greatest Hits Tour with fellow Canadians Simple Plan.

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The two acts recently released the collaborative track “Young and Dumb,” which reflects on their 2002 heights from the perspective of their current selves. They played the nostalgic tune for the crowd at FEQ, inviting a group of fans up on stage — ranging from young children to diehards who have been following them for over 20 years — and gave them all special signed Avril Lavigne skateboards.

Since it was their final show together, though, Lavigne invited Simple Plan to stay up on stage a little longer. They decided to pay tribute to another of the biggest pop-punk bands of the era, which she said influenced both acts’ careers: blink-182. Together, they played a cover of one of their most enduring hits, “All The Small Things,” while the crowd all sang along.

Lavigne has been teaming up for covers lately, reuniting with her ex-husband Deryck Whibley for a performance of Sum 41’s “In Too Deep” at a recent Warped Tour performance.

While the mall-set teen angst and big emotions of the early ’00s pop-punk boom felt life-or-death dramatic to teens of the era, Lavigne has started to lean into the campy appeal of the music.

Some fans (many now in their late 30s or early 40s, like Lavigne herself) came decked out in her signature “Complicated” era black eyeliner and necktie combo. Lavigne donned a sequined green guitar for performances of songs like “My Happy Ending.” She raised a toast to teenagers, adults and “adults that still act like teenagers” for “Here’s to Never Growing Up” and led the crowd in sing-alongs of songs like “Sk8er Boi.” She shouted out her hometown of Napanee, Ontario.

She may not be as animated onstage as she once was, but her deep catalogue of hits easily kept the crowd engaged. Occasionally, during songs like “What the Hell,” she took a moment to flex her vocal chops, reminding us that beneath the zeitgeist-defining pop hits, she has always had an incredible voice.

In their earlier set, Simple Plan brought the energy. The band hails from Montreal, and they used the rare opportunity playing for Quebecois fans to do the majority of their stage banter in French. They also invited up rising Quebec singer Claudia Bouvette for their bilingual version of “Jet Lag” (originally a duet with Marie-Mai).

Lead singer Pierre Bouvier donned a shirt that said “I’m Just a Kid” with “Kid” crossed out and replaced with “Adult.” They leaned into the fun aspect of their hook-heavy tunes, even breaking out their What’s New Scooby-Doo? theme song while people in Scooby Doo costumes danced around them. They played some of their own crowd-pleasing covers too, putting their spin on Smash Mouth’s “All Star” and The Killers’ “Mr. Brightside.” At one point, Bouvier switched places with drummer Chuck Comeau as he dove into the audience to crowd-surf.

It felt like 2002 all over again.

This article was originally published on Billboard Canada.

Kesha is a free artist at last — period.

After years of working toward this moment, the singer-songwriter has dropped her first-ever independent LP, . (Period), featuring 11 fun-fueled pop tracks. Led by singles “Joyride,” “Yippee-Ki-Yay,” “Delusional,” “The One” and “Boy Crazy,” the project marks her first full-length release under her own Kesha Records.

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Leading up to the album’s release on Friday (July 4), Kesha has been open about how emotional and empowering the process of assuming control over her own artistry has been. Prior to . (Period), she was under contract to Kemosabe Records, despite her yearslong legal battle with label owner Dr. Luke, whom she accused of drugging her and raping her at a 2005 party in 2014. The producer has always vehemently denied the allegations, and the two parties reached a settlement in 2023.

In March 2024, Kesha was finally released from her deal with Kemosabe. With her first album since, the artist says she feels like she’s experiencing a “homecoming,” as she told Billboard in a recent interview.

“I really do feel like it’s been a homecoming in a lot of ways — not only legally, to the rights of my voice, but to letting go of that internalized shame, of letting all that go and coming home to my own body, my joy, myself,” Kesha said. “And part of that has been healing my relationship with the records that I’ve put out that were difficult to make — that were perceived in a way that wasn’t the way I intended, that were tied to events that I don’t stand for.”

. (Period) marks Kesha’s sixth studio album, and her first since 2023’s Gag Order. She’s scored four top 10 albums on the Billboard 200 over the course of her career, including No. 1 hits Animal (2010) and Rainbow (2017).

Stream Kesha’s . (Period) below.

Drake addresses what happened amid, and in the aftermath of, his fallout with Kendrick Lamar on new song “What Did I Miss?” — a track the Toronto rapper dropped unexpectedly at midnight (July 5).

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On the surprise single Drake calls out those who turned their backs on him: “You n—-s just better not ask for no favors,” he warns. “It’s love for my brothers and death to a traitor.”

“I don’t give a f– if you love me/ I don’t give a f— if you like me/ Askin’ me ‘How did it feel?’/ Can’t say it didn’t surprise me/ Last time I looked to my right/ You n—-s was standing beside me/ How can some people I love/ Hang around pussies who try me?/ Let’s go,” says Drake, wrapping an introspective chorus with one question on repeat: “What did I miss?”

Later, he references sightings at Kendrick’s 2024 Pop Out show, lamenting, “It feels like nobody’s there until you start givin’ out two-tones/ And nobody cares until they in front of your tombstone/ Y’all been on that type of timing for too long/ Iceman, Tiffany blue stones/ I done made plenty s— right out of two wrongs/ S—, let’s go.”

On a third verse, he raps, “What did I miss?/ When I was looking at y’all and cooking with y’all/ And giving out verses and bookings to y’all?/ Making sure wires were hit/ Man, what did I miss?/ When you was all in my crib lookin’ at hoes/ Word for word at all of the shows/ You always felt like this, man? What did I miss?”

“What Did I Miss?” was penned by Drake, produced by London Cyr, O Lil Angel, DJ LEWIS, FNZ, Elyas, GYZ, Tay Keith, OZ and Patron, and released via OVO/Republic on streaming services.

Ahead of the song’s premiere, fans caught an unannounced livestream on Friday that had Drake clocking in at an Iceman warehouse, where he went from sipping coffee on break to launching into a solo performance of the new track: first surrounded by rifles on the break room TV screen, and then among ice blocks in the warehouse freezer. The footage also had him driving an Iceman truck around the city and making small talk with fans approaching his vehicle: “Iceman, man, you already know,” Drake said at one point. “C’mon, bro, you already know.”

Drake didn’t upload the event to his channels after streaming, but fans captured and shared the clip across social media, speculating “Iceman” is a new album era.

Stream Drake’s new song “What Did I Miss?” below.

Kelly Clarkson‘s 4th of July opening of her Studio Sessions concert series, a residency at The Colosseum at Caesars Palace in Las Vegas, was canceled shortly before she was expected to take the stage Friday night. The singer said both of her shows this weekend, scheduled for July 4 and July 5, would not go on.

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Clarkson’s announcement was released around 6:30 p.m. local time. Ticketmaster lists her show time as 8 p.m.

“We have been working 24/7 to make Studio Sessions the most intimate and extraordinary experience with and for my incredible fans. I am beyond grateful that you always show up for me and I am devastated to have to postpone tonight and tomorrow’s opening at Caesars,” the pop star, who’s the original American Idol and now a daytime talk show host, wrote in a statement shared on Instagram Friday evening (July 4).

“The prep and rehearsals have taken a toll on my voice,” said Clarkson. “I want the shows to be perfect for y’all and I need to protect myself from doing serious damage so I am taking this weekend and next week to rest up so that we can deliver what you all deserve.”

She added, “The show is truly incredible. The musicians and singers are outstanding, and I want us all to start out strong.  I can’t wait to be back next weekend and show y’all what we’ve been working on.”

Kelly Clarkson: Studio Sessions was announced in early February. Clarkson had expressed excitement about returning to Vegas following her 2023 and 2024 residencies at PH Live at Planet Hollywood Resort & Casino.

The residency was set to kick off on the 4th of July and run through mid-August, before a break that would have her going back to The Colosseum for four dates in November.

Clarkson is now expected to open the show on Friday, July 11.

Morgan Wallen logs his 18th No. 1 — and the fourth from his album I’m the Problem — on Billboard’s Country Airplay chart as “Just in Case” ascends two spots to the top of the survey dated July 12.

The single surged 22% to 29.4 million audience impressions June 27-July 3, according to Luminate.

Wallen co-authored the song, and Joey Moi produced it.

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The ballad becomes the fourth Country Airplay chart-topper among the 37 songs on Wallen’s blockbuster I’m the Problem, which has led Top Country Albums and the Billboard 200 in its first six weeks of release. The title track dominated for eight weeks beginning in April, “Love Somebody” ruled for three weeks in February, and “Lies Lies Lies” led for a week last November.

Notably, as we pass the halfway point this year, Wallen’s latest Country Airplay No. 1 marks his third of 2025 — no other act has more than one. In 2024, he became the first artist to roll up five leaders in a single year since the list launched in 1990: “Lies Lies Lies”; “Cowgirls,” featuring Ernest; Post Malone’s “I Had Some Help,” featuring Wallen; “Man Made a Bar,” featuring Eric Church, and Thomas Rhett’s “Mamaw’s House,” featuring Wallen.

Rhett’s Milestone 25th Top 10

Speaking of Thomas Rhett, he claims his 25th Country Airplay top 10 with his co-authored “After All the Bars Are Closed.” The single pushes 12-9 (19 million, up 15%). It follows “Beautiful as You,” which hit No. 2 in November. His first top 10, “It Goes Like This,” became his first of 20 No. 1s in October 2013.

Bryan’s Top 10 ‘Country Song’

Luke Bryan scores his 37th Country Airplay top 10 as “Country Song Came On” lifts 11-10 (18.1 million, up 8%). “Love You, Miss You, Mean It” awarded the American Idol judge his prior top 10 (No. 2 last October). His rookie entry “All My Friends Say” hit No. 5 in 2007, while “Rain Is a Good Thing” became his first of 26 No. 1s in 2010.

Bryan ties Reba McEntire for the 10th-most Country Airplay 10s (surpassing Garth Brooks’ 36). Kenny Chesney, Tim McGraw and George Strait lead the pack with 61 each.

Between a surprise appearance from Jay-Z in Paris, Blue Ivy’s routinely show-stealing “Déjà Vu” dance breaks, and an impromptu mid-air “tippin’ on 44s” moment in Houston, Beyoncé‘s record-smashing Cowboy Carter Tour has been filled with viral moments. Nonetheless, Queen Bey pulled out all the stops for her July 4 show at Maryland’s Northwest Stadium, just outside of Washington, D.C., the U.S. capital.

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In its Grammy-winning exploration and illumination of the oft-obfuscated Black roots of American country music (and early rock ‘n’ roll), Beyoncé’s Cowboy Carter LP found the music icon squaring her personal catharsis (the album was largely made in response to her negative experience at the 2016 CMA Awards) with a look at how the recording industry mirrors the exploitation and discardment of Black minds and lives in America at large.

On Independence Day, Beyoncé entered the stage with her rousing Cowboy Carter opener, “Ameriican Requiem”; introduced by backup dancers doused in blue, the 35-time Grammy-winner’s vocals reverberated across the stadium. The song, something of a funeral march for an antiquated version of America, set a resiliently optimistic tone for the rest of the night. Between performing the entire Cowboy Carter LP, weaving in classic hits from across her nearly 30-year-strong catalog and incorporating recent hits from Black Southern stars like GloRilla (“TGIF”) and BigXthaPlug (“The Biggest”), Beyoncé crafted a sacred space for Black Americans (and those belonging to the country’s most mistreated groups) to host their own emotionally complex acknowledgement of the nation’s birthday.

Here are the seven best moments of Beyoncé’s Cowboy Carter Tour on July 4 in Washington, D.C.

The great wait is over. After 16 years away, Oasis are back together onstage.

“The stars have aligned,” they wrote in their announcement back in August 2024, which sent the U.K. — and the world — into a frenzy. “Come see,” they added, for this miracle “will not be televised.”

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It was Cardiff, Wales, that emerged as the city lucky to be chosen for opening night, their first live concert since August 2009. The last time Noel and Liam Gallagher were in a stadium together, a fight erupted and the former called time on the band. On Friday night (July 4), they strode onstage together united, again. They walked in hand-in-hand as “F-kin’ in the Bushes” blared over the speakers; it was like old times.

The build-up has been dominated by silence. Aside from one press photo, the brothers had not been seen together in public. They’ve given no interviews, released no new music, and only communicated with fans through terse statements released by their management. Rumors about the lineups and setlists have swirled, and still… nothing. So much of this Live ‘25 tour – 41 shows in total, 19 in the U.K. and Ireland – was a mystery. It’s a hark back to when, back in 1993, the band skulked onstage at Glasgow’s King Wah-Wah Hut as complete unknowns, a moment etched into folklore as their star was about to go supernova.

But as they said, a new dawn is here. These were the biggest moments from Oasis’ comeback show in Cardiff, Wales.

Bad Bunny has dropped a powerful political statement on Friday (July 4) with the release of his new video “NUEVAYol.”

In the video, which celebrates Latin culture in New York, the global superstar pays tribute to the Puerto Rican diaspora and delivers a sharp critique of Donald Trump’s anti-immigrant policies.

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One of the most striking moments in the video happens when a voice that sounds like Trump echoes through a vintage ’70s radio. The message is clear and direct: “I made a mistake. I want to apologize to the immigrants in America,” says the AI-powered Trump voice. “I’m in the United States. I know America is the whole continent. I want to say that this country is nothing without the immigrants. This country is nothing without Mexicans, Dominicans, Puerto Ricans, Colombians, Venezuelans, Cubans…”

Aside from being an artistic gesture, it is a Fourth of July statement at a time when immigrant communities in the United States are the target of an aggressive deportation campaign. Just Thursday, Congress passed Trump’s “Big Beautiful Bill,” which bolsters ICE’s power with 10,000 new agents and 100,000 additional detention center beds.

This is not the first time Bad Bunny has spoken out against the inhumane treatment of immigrants. In June, the artist slammed ICE in a video recorded in Carolina, Puerto Rico, where officers are seen detaining several people in the streets. “Those mother—-ers are in these cars, RAV4s. They came here… sons of bi—es, instead of letting the people alone and working,” Benito says in the video.

In the “NUEVAYol” video, directed by Renell Medrano, Bad Bunny not only critiques anti-immigrant policies, but also proudly celebrates his Puerto Rican heritage. In one standout scene, the Statue of Liberty’s forehead is draped with a massive Puerto Rican flag. The video closes with a powerful message in Spanish: “Together We Are Stronger.”

Watch the video for “NUEVAYol” below: