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.

Austin City Limits Music Festival launches its three-night broadcast event tonight (Oct. 6) on Hulu. This year’s festival will take place over two weekends: Oct. 4-6 and Oct. 11-13 at Zilker Park in Austin, Texas.

Headliners include Tyler the Creator, Dua Lipa, Chris Stapleton and Blink-182. Hulu’s ACL Fest coverage starts at 5:05 ET, 4:05 p.m. CT and 2:05 ET on Oct. 4, 5 and 6. Headlining performances take place at night.

If you’re not a Hulu subscriber, click below to launch your free 30-day trial to stream ACL Fest for free. The festival streams at no additional charge to subscribers and you can watch from anywhere (TV, computer, smart phone, etc). Hulu offers live access to stream music festivals such as ACL Fest, Bonnaroo and Lollapalooza.

Opening night of ACL Fest will be headlined by Stapleton, the latter of which will stream on Hulu at 9:30 p.m. ET/8:30 p.m. CT.

Also included on Friday’s streaming schedule: Asleep at the Wheel, Leon Bridges, Carin León, Stephen Sanchez, Foster the People, The Marías, Norah Jones, Dasha, Conner Price, Fletcher and Peter Robinson. Dua Lipa and Pretty Lights are scheduled to headline on Saturday (streaming at 10:30 p.m. ET/9:30 p.m. CT for Lipa and 10:40 p.m. ET/9:40 p.m. PT for Pretty Lights). Reneé Rapp, Teddy Swims, Benson Boone, Vince Staples, Khruangbin, Remi Wolf, Something Corporate, Hermanos Gutiérrez and Kenny Beats will perform Saturday while Sunday’s lineup includes Chappell Roan, That Mexican OT, Kehlani and Tyler, the Creator. (Click here to learn how to stream ACL Fest internationally.)

Other performers expected to take the stage at ACL Fest 2024 include Porter Robinson, Kevin Abstract, Barry Can’t Swim, Jeezy, Santigold, Eggy, Royel Otis, Remi Wolf, Jungle, That Mexican OT, Cannons, Mickey Guyton, Flipturn, San Holo, Orville Peck, Something Corporate, Pretty Lights, QVEEN Herby and Petey.

Catch all the fun live on Hulu here, or, if you want to be there in person, last-minute tickets are available on StubHub, Vivid Seats and other ticketing sites. Pricing ranges from around $350 and above, passes for tomorrow are selling out fast but you can find cheaper tickets for next weekend. Purchase tickets below.

For a fourth straight year, Vince Guaraldi’s soundtrack to It’s the Great Pumpkin, Charlie Brown returns to No. 1 on Billboard’s Kid Albums chart, largely powered by vinyl album sales. The set rises one spot on the Oct. 5-dated list, which ranks the week’s top-selling kid albums in the United States according to Luminate. The latest chart reflects the week ending Sept. 26.

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The companion album to the 1996 animated TV special has spent at least one week at No. 1 on Kid Albums every year from 2021 onwards, for a total of six nonconsecutive weeks on top.

The soundtrack also climbs 9-8 on Jazz Albums and holds at No. 6 on Traditional Jazz Albums. It peaked at No. 2 on both rankings in 2019.

It’s the Great Pumpkin, Charlie Brown first aired on broadcast TV on CBS, before migrating to ABC, and eventually to the paid streaming service Apple TV+. The latter has announced that the special will stream for free this year on Oct. 19-20.

Guaraldi controls three of the top four titles on the latest Kid Albums chart, as his evergreen A Charlie Brown Christmas TV soundtrack (credited to Vince Guaraldi Trio) rises 5-2, and the You’re Not Elected, Charlie Brown TV soundtrack climbs 6-4. A Charlie Brown Christmas first aired on CBS in 1965. You’re Not Elected, Charlie Brown premiered on CBS on Oct. 29, 1972, shortly before the Nov. 7 U.S. presidential election between Richard Nixon and George McGovern.

The You’re Not Elected Charlie Brown garnered the first commercial release of its complete soundtrack ever on Sept. 6 across CD, vinyl and digital download configurations. Tracks on the album include “Incumbent Waltz,” “Elect Linus (Dilemma) / Woodstock’s Wake Up” and the title track.

Rounding out the top five on the Kid Albums chart is the chart-topping Disney rock covers set A Whole New Sound (holding steady at No. 3) and the chart-topping Hannah Montana: The Movie soundtrack (falling 4-5).

Tommy Richman sent Rap Twitter into a frenzy last night (Oct. 2.)

The singer out of Virginia — whose single “Million Dollar Baby” went viral and was on its way to dominating the summer until the Kendrick and Drake battle thwarted those dreams — sent out a now-deleted tweet seemingly distancing himself from the genre that propelled him to sudden stardom. “I am not a hip hop artist,” he said before trying to clarify what he meant after the tweet started to take off.

He then got into a back and forth with popular West Coast radio personality DJ Hed with the DJ responding to Tommy’s original tweet by saying Hip-Hop stations should stop playing his music. “Fasho. So every Hip-Hop station playing [‘Million Dollar Baby’] or [‘Devil Is A Lie‘] should stop today. Thanks for the Heds Up?”

Hed then sent out a couple tweets saying he suddenly had “2 open slots” available on his SiriusXM radio show and that “NO ONE is bigger than the culture.” Richman responded to the former with a quote tweet, saying, “I’ll say again, Im thankful for everything. I’m saying I don’t wanna be boxed in. I grew up on hip hop. But I’m a singer.”

DJ Hed then tried explain to Tommy why his original tweet rubbed people the wrong way. “Understood, however there are nuances that can be perceived when statements are made,” he said. “I don’t believe you have malicious intent but I do believe there is much to be learned about the system that you have entered within this thing we do. I hope it works out for you (Not sarcasm.)”

Tommy then tried to clarify further, saying, “I meant to say I’m not SOLEY a hip hop artist.”

Many Hip-Hop fans are weary of most white artists because there have been instances where they use the genre as a springboard into other genres and to grab some sort of relevance within the culture. Post Malone with “White Iverson” and Miley Cyrus‘ brief soiree with the sound with her 2013 album Bangerz are the two examples some have cited. Post and Miley also had questionable quotes about the genre that drew ire from fans.

In other Tommy Richman news, he sat down with Apple Music’s Zane Lowe and revealed that he grew up listening to rock and didn’t really get into rap until a friend introduced him to Kanye’s music. His parents were big Motley Crue fans and named him after drummer Tommy Lee. They also talked about his new album Coyote and touring with Brent Faiyaz, among other things.

You can watch the full interview here.

From CDs to streaming to AI, new technology has had an outsized impact on the music industry for decades — and Venice Music founder/CEO Troy Carter predicts the next big technological shift will come in the form of synthetic artists.

At a panel titled “The Future of Streaming” at the inaugural Trapital Summit in Hollywood on Thursday (Oct. 3), Carter said he does not believe audiences will be able to tell the difference between physical artists and their holographic images in the coming years — and that those lifelike holograms represent the next big revenue generator in music.

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To illustrate his point, Carter highlighted what Industrial Light & Magic created for the ABBA Voyage holographic concerts in London. “In terms of live experience, it’s a combination of artificial intelligence and high-end holographic imaging that seems real. The audience won’t be able to tell the difference,” said Carter. “When you go to whatever streaming service, you won’t be able to tell whether that is a human artist or a synthetic artist. When you go to see them live, you won’t be able to tell if it is a human artist or synthetic artist. And the audience won’t care.”

The bold prediction from the former Spotify executive stemmed from Trapital founder and moderator Dan Runcie’s question about what will replace streaming in the music consumption hierarchy as the technology reaches its saturation point.

While Carter stated that the ascension of synthetic artists will take away from “the purity that our industry thrives on…the genie is out of the bottle and the audience doesn’t care,” he said. “They’re going to gravitate towards it and it’s going to be hugely competitive with what legacy music is today.”

The use of synthetic artists, Carter believes, will be beneficial to both human artists and the wider industry due to its scale. By employing them, he said, “you could do [live experiences and recorded music] in every language. You could do it in all parts of the world. Then there are ways for real artists to be able to use that technology to be able to scale their businesses, as well.”

The discussion followed Carter’s thoughts earlier in the panel on where the music industry needs to be placing its energy now that, in his words, the trend of signing artists from TikTok is “starting to crumble.”

“Everybody chased what was hot on TikTok. We gave the keys to TikTok,” said Carter. “Everybody bet on ephemeral artists for the most part and ephemeral songs on TikTok and that’s starting to crumble now. We got to get to a point where it’s, ‘Okay, let’s bet on the art. Let’s bet on the artist. Let’s bet on development and really put strategy around that.’ The people who can do that are going to build billion-dollar brands with artists.”

According to Carter, the music industry can best use new technologies to its advantage by striking true partnerships with the companies that create it.

“In order for this to work, you need partners in this ecosystem whose incentives are aligned with our industry,” he said. “Me going inside of Spotify, Lyor [Cohen] going inside of YouTube, Jimmy [Iovine] and Larry [Jackson] going inside of Apple, it was people who were actually internally helping to align the interest [of music and technology] and being able to explain why [the music] is important. Some great things came out of that, in terms of building real partnerships. We have to hold all partners who are coming into our industry, who we’re giving content to, accountable for that.”

Kesha and Joe Jonas are just two of the artists that are changing their song lyrics referencing Diddy following the news that there are 120 sexual assault lawsuits against him.

Tetris Kelly

It’s the Diddy effect from Joe Jonas to Kesha. Artists are changing their lyrics as the Diddy fallout continues, and this Jobro is the latest one. Joe’s DNCE, track “Cake By The Ocean” ‘s original lyrics, went “Walk for me, baby, I’ll be Diddy. You’ll be Naomi. Whoa oh,” but in clips from live shows last weekend, Jonas seemed to omit Diddy’s name and just mentioned supermodel Naomi Campbell, the Jonas Brothers are currently on tour, delighting fans with hits and covers. “Wake up in the morning feeling like P Diddy” Kesha’s iconic opening to “Tick Tock” also got a facelift with her changing the lyric too, you know what? I’ll let her say it “Wake up in the morning like f*ck. P Diddy, grab my glasses. I’m out the door. I’m gonna hit this city.” Any Diddy lyrics you can think of that may end up getting this treatment. Let us know in the comments.

Demi Lovato and Penn Badgley got deep on the latest episode of Podcrushed, with the 32-year-old singer/actress opening up about her ongoing eating disorder treatments, gender presentation and more in an interview posted Thursday (Oct. 3).

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Sitting across from the You actor, Lovato gave an update on how they’re currently managing their body image and mental health — all things the Camp Rock star has previously been open about. “I have a treatment team that I work with that helps me stay in recovery, and I’ve been in recovery from bulimia for five, going on six, years now,” she said. “I’m trying to learn body acceptance rather than body positivity, because body positivity feels like, ‘I can’t even reach that yet.’ I have a nutritionist and a therapist that specializes in eating disorders.”

Adding that cooking meals at home feels like “the biggest ‘F— you’” to her eating disorder, Lovato continued that “the main thing that I’m working on is just body acceptance, and looking in the mirror and being like, ‘This body is strong … This body saved my life and fought for my life when I overdosed. This body is a miracle.’”

The interview comes a few weeks after the Sept. 17 premiere of Lovato’s Child Star Hulu documentary, on which the vocalist further explored their past struggles and interviewed fellow celebrities — Christina Ricci, Drew Barrymore and Jojo Siwa, to name a few — about their own experiences with child fame. Lovato also recently dropped a companion single for the self-directed film titled “You’ll Be OK, Kid.”

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But while Badgley had Lovato in his presence, there was another song he wanted to sing with her: 2021’s emotional ballad “Anyone” from Dancing With the Devil. In a clip posted to Podcrushed‘s Instagram, the Gossip Girl alum starts out the song before listening in awe as the “Cool for the Summer” artist took the floor.

Elsewhere in Badgley’s interview with Lovato, the Princess Protection Program star opened up about feeling more comfortable balancing masculinity with femininity as it pertains to their gender presentation. “I came out as nonbinary [in 2021]. I really shed that image of that hyper-feminine pop star that I had been for so many years. I cut all my hair off and it was really freeing for me.”

“I feel masculine and feminine,” Lovato continued. “I have both energies in me. At that point in my life, I really shunned the feminine energy in me, and now I’m able to embrace both.”

Watch Badgley interview Lovato above, and check out their mini-duet below.

Country music star Garth Brooks is facing a lawsuit over allegations that he sexually assaulted an unnamed woman while she worked for him as a hairstylist and makeup artist.

In a lawsuit filed Thursday (Oct. 3) in Los Angeles court, attorneys for the anonymous Jane Roe accuser claim Brooks raped her during a May 2019 stay in a Los Angeles hotel room and also exposed her to “other appalling sexual conduct” during that same year.

The lawsuit claims that the singer took advantage of the accuser’s mounting financial troubles to subject her to “a side of Brooks that he conceals from the public.”

“This side of Brooks believes he is entitled to sexual gratification when he wants it, and using a female employee to get it is fair game,” Roe’s attorneys write.

Notably, the accuser also alleges that Brooks was behind a mysterious lawsuit filed last month, obtained by Billboard, in which an anonymous “celebrity” plaintiff sued in Mississippi federal court over an an unnamed accuser’s sexual abuse allegations. Calling the accusations false and an “ongoing attempted extortion,” the earlier case asked a judge to stop her from further publicizing them.

“The abusive Mississippi action by Brooks is a blatant attempt to further control and bully his sexual assault victims by utilizing his multimillionaire resources to game the legal system,” Roe’s lawyers write in Thursday’s complaint. “Brooks is desperate to prevent his millions of fans from learning about the horrific things he has said and done to a junior female employee who did nothing to deserve such treatment.”

A representative for Brooks did not immediately return a request for comment.

In her lawsuit, the plaintiff claims she began working in 1999 for Brooks’ wife, Trisha Yearwood, but started to work for Brooks in 2017. When she experienced financial difficulties in 2019, she says Brooks offered to help her by giving her more work.

The first alleged incident occurred earlier in 2019, when Brooks allegedly emerged from the shower naked and forced the accuser to touch his erect penis and said he had fantasized about her performing oral sex on him. She says she denied his advances but continued to work for him.

Months later, in May, Roe claims that when she and Brooks stayed together in a Los Angeles hotel, he booked only a single room for both of them. She claims that during their stay, he violently raped her in the room.

During the months that followed, the plaintiff claims Brooks repeatedly acted inappropriately toward her in other ways, including sending sexually explicit text messages, physically groping her breasts, and making sexually charged remarks toward her.

“We applaud our client’s courage in moving forward with her complaint against Garth Brooks,” said the accuser’s attorneys, from the prominent plaintiff’s firm Wigdor LLP. “The complaint filed today demonstrates that sexual predators exist not only in corporate America, Hollywood and in the rap and rock and roll industries but also in the world of country music.”

Karol G holds strong at No. 1 on the Billboard Argentina Hot 100 chart as “Si Antes Te Hubiera Conocido” tops the Oct. 5-dated ranking. The tropical song ties with Los Angeles Azules y Emilia’s “Perdonarte Para Qué?” for the fifth-most weeks at the summit in 2024.

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Here’s a review of the songs with the most weeks at No. 1 on the Billboard Argentina Hot 100 chart in 2024 so far:

Weeks at No. 1, Song, Artists
11, “Hoy,” Valentino Merlo & The La Planta
10, “Una Foto (Remix),” Mesita, Nicki Nicole, Tiago PZK & Emilia
5, “Bésame (Remix),” Bhavi, Seven Kayne, Milo j, Tiago PZK, KHEA & Neo Pistea
4, “Hola Perdida (Remix),” Luck Ra & KHEA
3, “Si Antes Te Hubiera Conocido,” Karol G
3, “Perdonarte Para Qué?,” Los Angeles Azules & Emilia

Valentino Merlo and The La Planta’s “Hoy” remains at No. 2 for a fourth week, after the song’s 11-week coronation starting the July 6-dated tally.

Paulo Londra bounds back in the top 10 with his Valentino Merlo and Luck Ra collab, “Princesa,” which rallies 20-10 for its new peak. Londra last landed in the upper region with the No. 8-peaking “Party En El Barrio,” featuring Duki, in September 2022.

The Hot Shot Debut of the week goes to Feid and Yandel’s “Háblame Claro,” which launches at No. 57. The pair previously collaborated through “Yandel 150” which peaked at No. 6 in April 2023.

Elsewhere, Cris Mj and FloyyMenor take the weekly Greatest Gainer honors as “Después De La 1” climbs 24 spots, from No. 42 to No. 18. The Chileans also place two other collabs on the current ranking: while “Déjame Pensar” opens at No. 99, “Gata Only” rises 46-45, after the song peaked at No. 3 in March.

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.

Clarks has become a staple footwear since its start in 1825 as a family-founded slipper company. Over time, they expanded beyond the cozy slip-on, developing the first foot-shaped shoes and making a name as a brand that crafts comfortable footwear that’s also fashion-forward.

Since their origin, Clarks shoes have been on the feet of British soldiers, rappers and even rock stars. And it’s the Desert Boots that have cemented themselves as a “timeless” shoe with roots in reggae, folk and rock.

Oasis
Liam and Noel Gallagher of the band Oasis performing for the “Teenage Cancer Trust” concert at Albert Hall in London, England. February 6, 2002.

It doesn’t take too much digging to find Oasis lead singer Liam Gallagher wearing a pair of Clarks Desert Boots. Throughout the ’90s, he could be seen pairing most of his outfits, on and offstage, with a pair of the boots — most notably when he won a Brit Award in 1996 for best album and on the street in 2020. Bob Dylan is another artist who could be seen wearing the simple boots, in addition to The Beatles, who were known to wear the shoes at times.

Desert Boots’ popularity spans across countries, at one point taking over Jamaican fashion, according to reporting by Vogue. The shoes became a major staple in reggae clubs, and the growth in sales led Clarks to redesign the shoe with a longer, narrow toe in an effort to cater to Caribbean style.

Keep reading to shop the Clarks classic shoe below.

dark brown clarks desert boots

Desert Boot – Dark Khaki Suede

Rather than reach for your typical white sneakers, these dark brown boots bring a polished look using a luxurious suede material and matching upper and sole shade. Originally released in the ’50s, the style remains a popular pick and is topped off with “unfussy” laces.


light khaki suede clarks desert boots

Desert Boot – Sand Suede

Not only can you see Gallagher wearing a similar shade of the Desert Boot, but the light brown colorway can be paired with everything from jeans to trousers without taking away from your statement shirt. The outer suede material brings a polished yet laid-back look that’ll help complete your outfits in style.


black leather desert boot clarks

Desert Boot – Black Polished

Giving off a more dressed up appearance is the Black Polished version of the Clarks boot. It comes with a premium leather material for added comfort and durability. You’ll also find the classic fobs by the laces as well as a rubber crepe sole for additional support.


black and tan croc distressed desert boot

Desert Boot – Black Distressed Croc

Clarks’ latest iteration of the Desert Boot is a distressed croc style that represents the brand’s shift towards more modern designs. Taking inspiration from Tokyo’s Urahara fashion scene, the shoe comes in the classic Desert Boot shape with an elevated twist. The upper comes with a distressed leather material paired with flat lacing and the classic crepe sole found in any of the Originals shoes.


Beyond the Desert Boot, Clarks Wallabees have become the shoe to sport in hip-hop, with artists including Tyler, the Creator, Drake and the Wu-Tang Clan seen sporting the everyday shoe on various occasions. The love for the style goes beyond being seen on rapper’s feet, which you can hear in Wu-Tang’s “Gravel Pit” when Method Man raps: “The best thing since stocks in Clark Wallabees.”

For more product recommendations, check out ShopBillboard‘s roundups of the best jelly shoes, platform boots and knee-high boots.

Charlie Puth is launching his own comedy show, so having comedy legend Will Ferrell onboard can only be helpful, right? Wrong.

In the upcoming Charlie Puth Show cold open shared exclusively with Billboard on Thursday (Oct. 3), the “See You Again” hitmaker asks the Saturday Night Live alum for advice on how to lead a successful comedy series as the pair follow along with a personal trainer. Ferrell, however, doesn’t offer much useful guidance; for starters, it takes him a while to even understand what Puth’s project actually is.

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“So it’s like a reality show?” questions the Elf star. “Like The Masked Singer? You should be a bat, or a seahorse, or a giraffe.”

The pair then argues over whether Puth is a big enough star to make a substantial splash with his Roku show’s first episode. “I’m not as big as like, Harry Styles …,” the singer/songwriter says, to which Ferrell deadpans: “I would say you’re as big as Harry Styles. Well … maybe not.”

Elsewhere in the clip, Ferrell demonstrates his “perfect pitch” abilities as Puth shakes his head before the actor passes on some sage words of wisdom. “There is only one entity who has final say in television: Judge Judy,” Ferrell says.

The video comes one day ahead of The Charlie Puth Show‘s Oct. 4 premiere on Roku. Spread out across six episodes, the mock reality show finds Puth trying out new things in an effort to maintain his relevance in pop culture while joined by a slew of celebrity friends, including John Legend, Courteney Cox and Dorinda Medley, to name a few.

In an interview with People published Thursday, Puth opened up about the show’s on-the-fly dialogue and self-deprecating humor. “I have no problem making fun of myself because it’s just not that serious,” he told the publication. “There’s so many more serious things in the world right now to worry about. It’s nice to just have some comic relief and not take yourself so seriously.”

Watch the Charlie Puth Show‘s cold open above.