Troye Sivan shares how a flirtatious exchange led the way as inspiration for “One of Your Girls.” Keep watching to see how he got Ross Lynch to be in the video and more!

Troye Sivan:
Hey, it’s Troye Sivan, and this is how it went down for my song “One of Your Girls.”

So weirdly, one of your girls actually started in kind of a sad way. Oscar Görres was in L.A. He’s a producer from Sweden, and he was going through some, like, personal stuff at the time, and he was feeling kind of down, and so he went into the studio and started building this track, and he recorded, like, the little vocal thing that you hear in the very beginning of the song. I was freaking out. I was, like, totally, totally obsessed with it. And weirdly, that weekend, there was this one particular guy who had been flirting with me for a really long time. I had never been with a guy before, and I said to him, I texted him, “Let me know if you’re feeling gay on Saturday night,” because he said sometimes he feels to be gay when he, like, drinks. And so then I come in on Monday, full of this, like, inspiration. We wrote the verses first about this, like, this guy that everybody wants and that, you know, like, girls want him, guys want him — tall and has good style and, like, has good taste. It just really started with this, like, pining and this yearning, and then we got stuck on the chorus. We wrote the pre-chorus that day. We had the like, face card. And I thought that was so sick, and I was really obsessed.

Keep watching for more!

Chappell Roan has dropped out of All Things Go, sharing that she needs to prioritize her health in a statement posted one day ahead of her first of two scheduled performances.

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In a message on her Instagram Story Friday (Sept. 27), the 26-year-old wrote, “I apologize to people who have been waiting to see me in NYC & DC this weekend at All Things Go, but I am unable to perform.”

“Things have gotten overwhelming over the past few weeks and I am really feeling it,” Roan continued. “I feel pressures to prioritize a lot of things right now and I need a few days to prioritize my health. I want to be present when I perform and give the best shows possible.”

“Thank you for understanding,” she added. “Be back soon xox.”

Billboard has reached out to Roan’s rep for comment.

In a statement shared with Billboard on behalf of All Things Go, the festival’s spokesperson said they were “heartbroken” to see Roan pull out. “While we know how much you were looking forward to the performances, it’s important to remember that health and well-being always comes first,” the statement continued. “All Things Go strongly supports artists prioritizing their well-being and we ask our community to rally around Chappell Roan with love and understanding.”

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Roan had been slated to perform at both the New York City and Maryland iterations of the festival, which will occur on back-to-back days this weekend. Featuring headliners Laufey, Bleachers, Janelle Monae, Conan Gray, Renee Rapp and Hozier, the original schedule had the “Hot to Go!” artist scheduled for Saturday (Sept. 28) in New York followed by a second performance in the D.C. area Sunday (Sept. 29).

The VMA winner’s departure from the festival comes amid some backlash from fans unhappy with her recent comments about the 2024 presidential election, which began when she told Rolling Stone she doesn’t “feel pressured to endorse someone” in the race between Democrat Kamala Harris and Republican Donald Trump, as she sees “problems on both sides.”

When some people took issue with her choice not to publicly back Harris, with many seeing the VP as the safest choice for LGBTQ issues — something Roan has long been vocal about in her support — the “Good Luck, Babe!” artist responded with a Sept. 24 TikTok video saying that her comments had been “completely taken out of context” and encouraged followers “to use critical thinking skills, learn about what they’re voting for, learn about who they’re voting for, and ask questions.”

When the TikTok sparked even more debate, Roan again posted to the platform Sept. 25. “I’m voting for f–king Kamala,” she said. “But I’m not settling for what has been offered, because that’s questionable … “Obviously, f–k the policies of the right — but also, f–k some of the policies on the left! That’s why I can’t endorse.”

Linkin Park’s “The Emptiness Machine” bounds two spots to No. 1 on Billboard’s Alternative Airplay and Mainstream Rock Airplay charts dated Oct. 5.

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The song reigns in just its third week on both lists. It completes the quickest trip to No. 1 on Alternative Airplay in nearly two years, dating to the three weeks that Blink-182’s “Edging” took in November 2022. On Mainstream Rock Airplay, it’s the fastest since Metallica’s “Lux Æterna” needed only two weeks in December 2022.

Linkin Park now boasts 13 No. 1s on Alternative Airplay, tying Green Day for the second-most rulers since the chart began in September 1988.

Most No. 1s, Alternative Airplay:

  • 15, Red Hot Chili Peppers
  • 13, Green Day
  • 13, Linkin Park
  • 12, Cage the Elephant
  • 12, Foo Fighters
  • 10, Twenty One Pilots
  • 8, U2
  • 8, Weezer
  • 7, The Black Keys
  • 7, Imagine Dragons

Linkin Park first reigned in 2001-02 with “In the End.” Prior to “The Emptiness Machine,” it most recently led with “Lost,” for six weeks in March-May 2023. In between its two latest No. 1s, the group’s “Friendly Fire” hit No. 2 this April.

On Mainstream Rock Airplay, “The Emptiness Machine” is Linkin Park’s 11th No. 1, giving the group sole possession of the ninth-most leaders since the chart first published in 1981. The act first led with “Somewhere I Belong” in 2003.

Most No. 1s, Mainstream Rock Airplay:

  • 19, Shinedown
  • 17, Three Days Grace
  • 15, Five Finger Death Punch
  • 14, Foo Fighters
  • 14, Metallica
  • 13, Godsmack
  • 13, Van Halen
  • 12, Disturbed
  • 11, Linkin Park

“The Emptiness Machine” is part of a streak of three No. 1s in a row on the chart for Linkin Park, following “Lost” and “Friendly Fire.” It’s the first such run for the band, after it strung together two straight leaders twice.

Concurrently, “The Emptiness Machine” tops the all-rock-format, audience-based Rock & Alternative Airplay chart for a third week via 8.6 million audience impressions in the week ending Sept. 26, up 8%, according to Luminate.

The song ruled the most recently published multimetric Hot Hard Rock Songs chart (dated Sept. 28, reflecting the tracking week of Sept. 13-19); in addition to its radio airplay, it earned 8.4 million official U.S. streams and sold 3,000 in that span.

“The Emptiness Machine” is the lead single from From Zero, Linkin Park’s eighth studio album, due Nov. 15. It’s the band’s first full-length with new co-singer Emily Armstrong and drummer Colin Brittain, following the death of singer Chester Bennington in 2017 and departure of longtime drummer Rob Bourdon.

All Billboard charts dated Oct. 5 will update on Billboard.com on Tuesday, Oct. 1.

Lana Dey Rey finally got to wear that white dress she sang about on Chemtrails Over the Country Club. This time it was of the wedding variety, though. People confirmed that the 39-year-old singer born Elizabeth Grant married Louisiana-born alligator tour guide Jeremy Dufrene on Thursday (Sept. 26) after a brief romance that began earlier this year.

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Del Rey has not made a public statement about the nuptials that took place in Louisiana, five months after the singer is believed to have started dating the airboat captain she referred to as “my guy” in an Instagram post from May. Her reps have not yet responded to Billboard‘s request for comment.

It is the first marriage for Del Rey, who briefly dated musician Jack Donoghue in 2022-2023 before it is believed she began her relationship with Dufrene. The couple were first spotted holding hands in public at the Reading & Leeds Festivals in the U.K. in August, and then went public on Sept. 7 when they were photographed alongside fellow guests Taylor Swift and Travis Kelce at model Karen Elson’s wedding in New York City to Electric Lady Studios owner Lee Foster.

According to People, the couple first met in 2019 when Del Rey took a swamp boat tour on which Dufrene was her guide. The reportedly picked up their marriage license at the Lafourche Parish Clark of Court’s office on Sept. 23, after which they had 30 days to tie the knot before it expired.

Defrene’s bio on the Airboat Tours by Arthur site reveals that he worked at a chemical plant and spent his off days shrimping before getting his captain’s license. “He quickly realized that this was a great fit and he has never thought of going back to his previous career at the plant. Jeremy’s a great airboat captain and loves interacting with wildlife & customers,” it reads.

The Daily Mail obtained footage of the nuptials that took place by the water in Des Allemandes, La., the same bayou where divorced father-of-three Dufrene gives his tours. The photos show Del Rey being walked down the aisle by her dad, Robert Grant, wearing a flowing, floor-length white gown.

Luke Combs claims a second week at No. 1 on Billboard’s Country Airplay chart (dated Oct. 5) with “Ain’t No Love in Oklahoma.” The song increased by 2% to 30.7 million audience impressions Sept. 20-26, according to Luminate.

Co-authored by Combs, the hit from the soundtrack Twisters: The Album is the 13th of his 18 Country Airplay leaders to dominate for multiple weeks – and marks another notable career achievement: Combining all his No. 1s, he has now spent more than a year – 53 weeks – at the summit. Kenny Chesney has logged the most weeks at No. 1 (83), dating to the chart’s 1990 start, followed by Tim McGraw (80), George Strait (66), Alan Jackson (60), Blake Shelton (57), Toby Keith and Combs (53 each).

“I’m really blown away,” Combs tells Billboard. “The support from country radio for my music and fans has always been more than I ever could have imagined. I’ve always known they were huge supporters of my music but this proves it in more ways than one.

“I never thought I would get one week at No. 1, but when I did, I felt like I had won the lottery,” Combs marvels. “So, for my songs to have spent a full year at No. 1 with guys I grew up listening to and admiring is more than I could have ever dreamed of. Thank you, country radio, for letting this young man from North Carolina, who most had never heard of when y’all started playing my music, live out his dreams and do what he loves.”

Combs’ longest-leading Country Airplay No. 1 is “Beautiful Crazy,” which posted a seven-week command beginning in March 2019, followed by “Forever After All” (six weeks, starting in June 2021) and “Fast Car” and “Even Though I’m Leaving” (five each, beginning in July 2023 and November 2019, respectively).

Says Tom Oakes, SummitMedia operations manager and program director of Country Airplay reporter KTTS in Springfield, Mo., Combs’ success “is a testament to his ability to relate to the audience. He comes across as an everyday guy working hard to make his mark, raise a family and overcome the challenges life serves up. It comes through his songs, which speak to listeners on a level which they experience and live every day, whether it’s a serious or more dramatic theme, or just flat-out fun.

“At the core of his staying power is his ability to consistently appeal to listeners, as seen through long-term positive research on his music and his success on the concert circuit,” Oakes adds. “‘Oklahoma’ is different production-wise, as it is a straight-out rocker. Whatever he comes with next will likely be different in style and fresh-sounding.”

This summer, singer-songwriter Yeison Jimenez achieved his lifelong dream of selling out the coveted Movistar Arena in Bogotá, Colombia — not once, but three times, with more than 40,000 collective fans attending the shows. The feat was not only historic for Jimenez, but for any música popular (regional Colombian) artist. “No one in the genre has been able to [sell out] a solo arena throughout Colombia,” he says.

Música popular — which fuses ranchera and the string music known as carrilera in Colombia — was born more than five decades ago in the country’s coffee region, which has four departments: Caldas (where Jimenez was born), Quindío, Risaralda and Tolima. Initially known as música de carrilera or música de cantina, its inspiration derived from regional Mexican music and first gained traction in small towns and local bars with the help of genre pioneers including Darío Gómez, Luis Alberto Posada and El Charrito Negro.

As Jimenez tells it, música popular traces back to Gómez in particular. The former notes that when the latter arrived at radio stations with the newborn fusion in the ’70s, they told him he was crazy.

“This is not like vallenato, which is something authentically ours — we did not invent this,” música popular singer Pipe Bueno says. “We are a subgenre that comes from Mexico but with our essence and our flavor. The fact that we are Colombian gives it a different color.”

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Lyrically, a regional Colombian song will often focus on despecho (heartbreak) or rejoicing in good times. Sonically, the arrangements can mirror the instrumentation of mariachi and ranchera music, such as trumpets, violins and the guitarrón (six-string acoustic bass), blended with the accordion, commonly used in vallenato.

As part of the new wave, Bueno and Jimenez — alongside artists including Paola Jara, Luis Alfonso, Jessi Uribe and Arelys Henao — have not only given the genre a modern twist but also propelled it to an international scale. Jimenez first reached Billboard’s Latin Airplay and Regional Mexican Airplay charts with “Tu Amante” in 2021, and he’s now touring nightclubs and theaters across the United States. Bueno, who entered the Latin Digital Song Sales and Latin Rhythm Airplay charts with his 2014 song “La Invitación” (featuring Maluma), has since collaborated with Grupo Firme and inked a deal with Warner Music Latina earlier this year.

“We are an aspirational genre,” Bueno says. “We have been at the top of the streaming charts alongside Peso Pluma. We are filling arenas. It wasn’t like this [when I started my career].”

“When we came into the game, we wanted to make music that would reach other countries and, above all, other generations,” Jimenez adds. “On one hand, there’s a lot of admiration. On the other hand, we are criticized a bit… I don’t pigeonhole myself because we are in another era.”

This story appears in the Sept. 28, 2024, issue of Billboard.

After starring in ‘Empire’ and creating his own films ‘B-Boy Blues’ and ‘The Lost Holiday,’ Jussie Smollett sits down to share how ‘Empire’ contributed to his growth, what it was like to create ‘The Lost Holiday,’ and his experiences facing public scrutiny.

Billboard magazine is pleased to welcome Jussie Smollett. Good to see you, sir.

Thank you for having me. Nice to see you too. 

Good, good. Mr. Multi-Hyphenate, between singing, acting, directing, songwriting, producing, and probably more I don’t even know about, but I wanted to ask you about how singing and acting work creatively together for you. Why is that such a thing for you?

I’ve been so blessed and a little lucky, you know, to be able to do certain projects that just so happened to have a musical component, particularly obviously with ‘Empire,’ that was just the perfect kind of marriage of so many of my loves. Music has always been the driving force behind everything I do, even when making movies, when creating, now that I’m directing and writing and producing and things like that. It’s still, music is the thing that I listen to when I’m writing. Music is the thing that I’m listening to as I’m creating the storyboards of how the scenes are gonna look. And then music is absolutely what guides the edit. So music is just, you know, it’s where I sit.

When you were cast and filming that first season, did you think it was going to do what it did?

I didn’t think about it, because I was just so happy to have a job, and I was so happy to be doing what I love, and, you know, working with great people. And I really didn’t think about that. I just trusted the process.

Keep watching for more!

While accepting best crossover song at the 2024 People’s Choice Country Awards Thursday (Sept. 26), MGK (formerly Machine Gun Kelly) gave the biggest thank you to someone he used to have bad blood with: Jelly Roll.

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Now, the two are both friends and collaborators, with their July duet “Lonely Road” taking home the crossover award at the ceremony, which the “Son of a Sinner” star didn’t attend. “Dude, Jelly Roll. Bubba!” MGK cheered on the stage on behalf of his song partner. “Jelly, I love you. We went from 10 years ago, hating each other, to elevating each other.”

“Comparison is the thief of joy,” the rapper-turned-rocker added, holding up his trophy. “There’s enough room on this couch for everybody. We found camaraderie in the chaos.”

Jelly and the “My Ex’s Best Friend” singer previously addressed their decade-old feud in a Sept. 13 vodcast episode, helping Spotify launch its musician-focused Countdown To series. “It is so funny how much I love you now,” MGK said during their conversation, sitting face to face with the country star. “God, I hated you so much back then.”

“You gotta understand there was only like seven white rappers on Earth at this time, so it was so competitive when you was in that pool, that we were kind of automatically forced against each other anyways,” Jelly added with a laugh at the time. “You were just like, just skinny and handsome. So I was like, I was just a hater. I was just a hater, dude! It’s hard to grow up in front of the whole world.”

In addition to dropping “Lonely Road” in July, Jelly and MGK also shot a music video costarring their respective partners, Bunnie XO and Megan Fox. The visual finds the musicians struggling to provide for their families, so they organize a heist that ends with MGK behind bars, leaving the Jennifer’s Body actress to raise their fictional newborn baby without him.

Watch MGK thank Jelly Roll at the People’s Choice Country Awards below.

Austin City Limits (ACL) will celebrate its 50th season with an assist from Texas native and Grammy winner Kacey Musgraves. The season will launch Saturday, Sept. 28, with an hour’s worth of music from Musgraves.

In the previously taped appearance, she offers a 13-song set, featuring many songs from her latest album, Deeper Well, including the John Prine tribute “Cardinal,” as well as “Sway” and “Too Good to Be True.” She also performs “Butterflies” from her 2018 Grammy-winning album, Golden Hour, and her 2013 CMA Award-winning hit “Follow Your Arrow.”

“We’re gonna leave each other with good vibes,” she told the audience before ending her set with “Three Little Birds.”

“It’s such an honor to be kicking off the 50th season of ACL,” Musgraves said from the famed ACL stage. Her performance marks her third appearance on the series, following her ACL debut in 2014 and a return for season 44 in 2018.

“Kacey Musgraves represents what Austin City Limits is all about — past, present and hopefully future,” said longtime executive producer Terry Lickona in a statement. “There’s a through line from that very first ACL, from Willie to Kacey 50 years later: groundbreaking artists pushing boundaries, with powerful songs and powerful performances. She sets the perfect tone for the 50th anniversary!”

The season premiere airs on Saturday, Sept. 28, at 8 p.m. ET/7 p.m. CT. ACL airs weekly on PBS stations nationwide (check local listings), while full episodes are available to stream on PBS’ website immediately following the initial broadcast.

Watch a sneak peek of Musgraves’ performance of “Cardinal” below:

With the mystery of “LG 6.5” officially solved, Lady Gaga is ready to let fans in on the making of her newest album, Harlequin.

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In a new interview with Rolling Stone, Gaga explained that the idea for her new album of jazz and pop classics came to her after she finished filming Joker: Folie à Deux. After performing for so long as her character Harleen “Lee” Quinzel (aka Harley Quinn), Gaga felt that she still had more to say. “I had such a deep relationship with Lee,” she said. “And when I was done filming the movie, I wasn’t done with her.”

As for why she teased the album as “LG 6.5,” the singer explained that she didn’t want fans to see this only as her next album. “It is my record. It’s a Lady Gaga record, but it’s also inspired by my character and my vision of what a woman can be,” she said. “It’s why the album does not adhere to one genre … it’s not my next studio album that’s a pop record, but it is somewhere in between, and it’s blurring the lines of pop music.”

The new project sees Gaga taking on a series of jazz standards — such as “Get Happy,” “World on a String” and “That’s Life” — much like she did in her Tony Bennett duet albums Cheek to Cheek and Love for Sale. While Gaga says she struggled with not having her friend and collaborator in the studio with her following his death in 2023, she thinks he would have appreciated Harlequin for its shapeshifting nature.

“If I had put rock n’ roll chords over production in a record that I did with Tony years ago, I don’t know how he would’ve felt about that. Tony didn’t love rock n’ roll, but he would’ve said, ‘Wow, that’s amazing,’” she explained. “He was somebody who loved how risk-taking and different I am, and I always thought that was so cool. He was 60 years older than me, and he would flinch less than young people that I would meet … He was just a really compassionate, inclusive person. So he was definitely with us [in the studio], but he was mostly inside of me.”

As for fans still eager to hear what her long-awaited seventh studio album will sound like, Gaga remained tight-lipped, but offered a small hint. “The pop album is nothing like Chromatica. It’s a completely different record,” she said. “It’s meant to be ingested as a time in my life. And I’m also really excited about this idea that I don’t have to adhere to an era if I don’t want to. I can have a few going at once.”