Selena Gomez and benny blanco’s first collaborative album, I Said I Love You First, debuts at No. 1 on Billboard’s Top Album Sales chart (dated April 5). It’s the fourth leader for Gomez and first for blanco. The set sold 71,000 copies in the U.S. in the week ending March 27, according to Luminate. It’s the best sales week for Gomez since 2015 and blanco’s best sales week ever.

Of the 71,000 sold, vinyl purchases comprise 21,000 – the biggest week on vinyl for either artist. The title – the first album pairing from the real-life couple – also enters at No. 1 on the Vinyl Albums chart.

In total, I Said I Love You First is Gomez’s eighth top 10 on Top Album Sales, and the first for blanco.

Also debuting in the top 10 on the latest Top Album Sales chart: Japanese Breakfast’s For Melancholy Brunettes (& Sad Women) and My Morning Jacket’s is.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.

Of the 71,000 copies sold of I Said I Love You First, physical sales comprise 38,000 (21,000 on vinyl and 17,000 on CD) and digital download sales comprise 33,000.

The opening-week sales of I Said I Love You First were bolstered by its availability across seven vinyl variants (different color editions, some with alternate covers; including a signed version), three CD versions (a standard CD, a signed edition, and a zine/CD version with expanded packaging), a deluxe box set containing branded merch and a CD, and 10 different digital download iterations.

Of the download editions, firstly, there was a widely available standard set at digital retail. Then, through the album’s opening week, nine additional download variants were issued, all initially exclusively available through Gomez’s webstore, and each sold for $5. All of the variants included the standard album’s 14 songs, plus bonus material. Five of the variants each had one bonus track (“Stained,” “Talk,” “That’s What I’ll Care [Seven Heavens Version],” “Scared of Loving You [Live From Vevo]” and “How Does It Feel To Be Forgotten [Live From Vevo],” respectively) and one contained two bonus cuts (an acoustic version and extended version of the album single “Call Me When You Break Up”). There was also an Explained: Narrated by Selena Gomez edition (with 14 bonus tracks with Gomez providing commentary on each of the set’s 14 songs), a Slowed & Reverbed edition (with 14 bonus slowed and reverbed versions of the album’s songs) and an Instrumentals edition (with 14 bonus instrumental versions of the tracklist).

All nine of the variants became available in the iTunes Store on Wednesday (March 26). The variants were only sold in the iTunes Store through March 27, the final day they were also sold in Gomez’s store.

Lady Gaga’s chart-topping MAYHEM is a non-mover at No. 2 on Top Album Sales with a little over 13,000 sold (down 44%).

Japanese Breakfast lands its best sales week ever and highest charting title on Top Album Sales as For Melancholy Brunettes (& Sad Women) debuts at No. 3 with 13,000 sold. (It’s the second top 10 for the act.) The album’s sales were aided by its availability across eight vinyl variants (including a signed version), along with a standard download, CD and cassette edition. Vinyl sales tallied up to just over 10,000 – the act’s best week on vinyl, and it yields at No. 2 debut on the Vinyl Albums chart.

Kendrick Lamar’s former No. 1 GNX is steady at No. 4 on Top Album Sales (a little more than 11,000; down 9%) while The Weeknd’s chart-topping Hurry Up Tomorrow jumps 15-5 (11,000; up 92% following the release of a deluxe CD boxed set edition of the album sold in the artist’s webstore).

My Morning Jacket’s latest studio album, titled is, debuts at No. 6 on Top Album Sales with nearly 10,000 sold – with 7,000 of that sum on vinyl. It’s the fifth top 10-charting effort for the act. It also launches at No. 4 on the Vinyl Albums chart. The set was available across five vinyl variants, along with a standard CD and download edition.

Rounding out the rest of the top 10 on Top Album Sales: Sabrina Carpenter’s former leader Short n’ Sweet slips 6-7 (nearly 10,000; down 5%), LE SSERAFIM’s HOT falls 1-8 in its second week (8,000; down 80%), Playboi Carti’s MUSIC drops 3-9 (just over 7,000; down 51%) and Chappell Roan’s chart-topping The Rise and Fall of a Midwest Princess dips 9-10 (7,000; down 13%).

Morgan Wallen walked off the ‘SNL’ set early, which stirred memes and debates online as to why he left and around his cryptic post of “Get me to God’s Country.” ‘SNL’ cast members Kenan Thompson responded to his walk-off. Keep watching for all the updates on Morgan Wallen’s abrupt departure.

What do you think of Morgan Wallen walking off? Let us know in the comments.

Tetris Kelly:

Morgan Wallen walked off the SNL set early and then posted “Get me to God’s Country,” which started a flurry of online debate and memes. Some SNL cast members have spoken out, with Morgan finally chiming in. We have the story. Saturday Night Live’s host or musical guest usually stays on stage during the credits, but the country star abruptly left, noticeably causing some confusion. Then, after that, posting “Get me to God’s Country” had the internet and NYC in a tizzy. One user stated: “Sorry, but there’s nothing funnier than saying ‘Get me to God’s Country’ on a photo of your private jet.”

While another user zinged: “Morgan Wallen had to run off the stage at SNL to get back to ‘God’s Country,’ where you can apparently say the N-word and throw chairs off of tall buildings with absolutely no meaningful consequences,” referencing some of his past controversies. Meanwhile, some just showed their version of God’s Country, including the Empire State Building. SNL cast member Kenan Thompson has spoken up, saying: “We’re so used to everybody just turning around and high-fiving us, everybody’s saying, ‘Good job, good job, good job.’ So when there’s a departure from that, it’s like, hmm, I wonder what that’s about? Seems like a complicated individual, I guess. The ‘God’s Country’ of it all is strange because it’s like, what are you trying to say? You trying to say that we are not in God’s Country? We’re not all under God’s umbrella? That’s not necessarily my favorite.”

Keep watching for more.

Veteran Canadian rocker Neil Young has shared his fears over a potential ban from the U.S. that may await him upon his return from Europe.

The musician – who is a dual citizen of Canada and the U.S. – has not been shy in regard to his criticism of President Donald Trump in the past. Previously, Young has gone so far as to call Trump “a disgrace to my country,” and most recently, claim that “the US has lost its standing” on the world stage under the President’s leadership.

However, with an upcoming European tour set to be followed by a run of dates in the U.S., Young has taken to his Archives website to ruminate on the notion that he too may be barred from entering the country for sharing his critical thoughts on Trump.

“When I go to play music in Europe, if I talk about Donald J. Trump, I may be one of those returning to America who is barred or put in jail to sleep on a cement floor with an aluminum blanket,” Young wrote on Tuesday (April 1). “If I come back from Europe and am barred, can’t play my USA tour, all of the folks who bought tickets will not be able to come to a concert by me.

“If the fact that I think Donald Trump is the worst president in the history of our great country could stop me from coming back, what does that say for Freedom? I love America and its people and its music and its culture.”

As Young continued, he reflected on the constitutional right to freedom of speech within the country, likely referring to recent news stories such as the arrest and orders to deport Syrian-born permanent resident and pro-Palestinian activist Mahmoud Khalil.

“By these latest actions of our US government, it seems that those who speak out freely with their own opinions are now vulnerable to a non-existent Trump law,” Young wrote. “Then it seems to me that if you voted for Kamala Harris over Trump, that makes it possible for you to go to jail or be detained, punished in some way for not showing allegiance to what? How spineless is that? Trump is not be able to stand up to anyone who does not agree with his ideas?

“Remember, all months have 30 days,” he concluded. “One country, indivisible, with Liberty and Freedom for all. Remember that? I do.”

Young is currently scheduled to launch his forthcoming tour with the Chrome Hearts in Rättvik, Sweden on June 18, with North American dates set to begin in Charlotte, NC on Aug. 8. The rocker’s previously-announced plans for a free concert in Ukraine to launch the tour were recently cancelled, with Young citing safety concerns as the reason for the decision.

In the words of an iconic 2010 Skrillex track, yes, on my god.

On Tuesday (April 1), the producer released his fourth studio album, the astoundingly titled F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3.

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Consider this name a tone-setter for the tongue-in-cheek, often abrasive, occasionally laugh-out-loud funny, self-deprecating, self-aware, loving and ultimately quite moving project. Made up of 34 tracks, some as short as 29 seconds, the project is, as the opening track “SKRILLEX IS DEAD” requests, best listened to from start to finish, as it plays as a 46-minute continuous mix that compounds upon itself as it barrels along to a soaring finish.

If the project sounds like Skrillex having fun with his friends, that’s because he’s got more than 25 collaborators on the project, with this list including Dylan Brady of 100 Gecs, Boys Noize (the other half of Skrillex’s longtime Dog Blood project), previous collaborator Bibi Bourelly, bass masters Wuki and G Jones and many, many others (with even more pals, including Fred again.. and ISOxo, also listed in the production credits).

So too do all the friends on this album not only indicate just how revered this guy is, but how he’s an excellent curator with an ear for greatness both established and up and coming, with everyone seeming to use their turn on the project to flex as hard as humanly possible in terms of singing, production, sound design, complexity and general heaviness.

Skrillex himself has said little about the project, beyond that it would be his last for Atlantic Records, thanking “all my friends who took part in creating this moment” and reiterating it’s meant to be listened to from start to finish.

So, with a lot left open for interpretation, one can see the album as bridging two sides of the artist born Sonny Moore’s long trajectory, with many moments evoking the hardest, most absurdly heavy moments that defined his earliest output as Skrillex, an era when his work came to define American style dubstep and evolve ideas of what music itself might be.

Meanwhile, the several in which he himself sings both nod to his early days as the vocalist for emo band From First to Last while — in finally using his own voice on his electronic productions — indicate evolution, with Skrillex hereby putting himself out there in an arguably more vulnerable way than on much of his previous output. (And the moments in which he sings are some of the album’s best.)

The album is MC’d by a unidentified booming radio voice, who often drops in jokes that might in passing seem like just goofing around, but, in their frequent allusions to Skrillex being “dead,” Skrillex being “locked in a basement,” being about Atlantic Records, etc. seem to also perhaps indicate the artist’s feelings about this being his final project for his longtime label. (The project, like all of his work, is a jouint release from Atlantic and Skrillex’s own OWSLA label, with no announcement yet about what the future of OWSLA is now that his contract with Atlantic is complete.)

While there were nine years between Skrillex’s first and second albums, F*CK U SKRILLEX is the relatively lightning-speed follow-up to 2023’s Quest for Fire and Don’t Get Too Close. In comparison, these albums feel absolutely contained and also traditional, containing 15 and 12 songs, respectively. To put 34 tracks on an album some might call batsh– (and we mean that as a compliment) suggests a punching through of boundaries, with the project altogether giving a feel of evolution and untethered creativity.

While it’s perhaps a fool’s errand to rank tracks on an album that’s meant to be listened to from start to finish, there are certainly standout moments. These are the album’s 34 tracks, ranked.

Selena Gomez is back in the top 10 on Billboard’s Hot Latin Songs chart (dated April 5) as “Ojos Tristes,” with Benny Blanco and The Marias, debuts at No. 4. Thanks to the reimagination of Jeanette’s 1981 classic ballad “El Muchacho De Los Ojos Tristes,” Blanco and The Marias secure their first top 10 on their second visit to the chart.

“Ojos Tristes” opens at No. 4 on Hot Latin Songs –which blends airplay, digital sales and streaming data into its formula– thanks to gains mainly through streaming activity. The song registered 8.2 million official streams in the U.S. in the tracking week ending March 27, according to Luminate. The sum yields a No. 3 start on Latin Streaming Songs, the fifth top 10 for Gomez and an equal first top 10 for Blanco and The Marias.

Gomez’s “Ojos Tristes” samples “El Muchacho De Los Ojos Tristes” by Spanish-British Jeanette, who rose to the spotlight in the 1970s. While the song, composed by Manuel Alejandro, did not enter the charts, the singer-songwriter’s global hit, “Porque Te Vas,” reached No. 25 high on Latin Pop Airplay in 2008.

The bilingual “Ojos Tristes” intertwines nostalgic melodies with a modern sound, where Gomez sings in English and Maria Zardoya, of The Marias, lends her soft vocals to mirror Jeanette’s style for a modern audience.

The collaboration has propelled Blanco and The Marias to secure their first top 10 on Hot Latin Songs, after each scored an entry. Blanco reached No. 22 high last December as a featured artist on Myke Towers’ “Degenere.” The Marias, meanwhile, scored a No. 17 peak through their Bad Bunny collab “Otro Atardecer” in 2022.

For Gomez, “Ojos Tristes” gives her a fifth top 10 and first since “Selfish Love,” with DJ Snake, debuted and peaked at No. 6 in 2021.

“Ojos Tristes” also makes inroads across other Billboard charts. It debuts at No. 59 on the all-genre Billboard Hot 100. Plus, it starts at No. 63 on the Billboard Global 200 with 19.5 million streams, and at No. 118 on Global Excl. U.S. with 11.3 million clicks outside the U.S.

Sales too assist on the song’s top 10 debut on Hot Latin Songs, as “Ojos Tristes” registers 1,000 downloads in the U.S. which translates into a No. 1 debut on Latin Digital Song Sales.

Shakira has added more dates to her Mexican residency as part of her “Mujeres Ya No Lloran” World Tour and the Colombian singer shares what she loves about her Mexican fans, performing with Grupo Frontera and more!

Have you attended her concert? Let us know in the comments!

Natalia Cano:

Shakira, well, it’s been a series of very exciting concerts in Mexico and I think that together with Gabriel García Márquez, you are the Colombians that Mexico loves the most, that Mexico has adopted. And a very important Mexican section that you have incorporated in this part of your tour, today with Grupo Frontera. If you can tell us a little bit about having this Mexican section and with these guests tonight.

I really wanted to surprise them. The thing is that every day I strive to give them something more because the Mexican public has been so loyal, so affectionate, they have lifted me up every time I have needed it. And I wanted to surprise them with something that would touch their hearts and with Grupo Frontera, I love them, I love them, they have incredible energy, they are extraordinarily talented and I have a great time with them. Every time we did something together, well, we worked on this song or worked together on the music video, it’s always been a very human experience, they’re so genuine and I admire that a lot on the dance floor. So having them on stage today was a real treat. I got really emotional when I saw them, I wanted to hug them all. Payo has a special aura, he’s very handsome. And his voice, he doesn’t miss a note. It’s incredible to sing with him. He plays it safe. So it was an experience, it was very exciting for me, it was one of the highlights of today’s concert.

Keep watching for more!

The first cast announcement for the upcoming Beatles biopics has been confirmed, with Harris Dickinson (John Lennon), Paul Mescal (Paul McCartney), Barry Keoghan (Ringo Starr) and Joseph Quinn (George Harrison) set to play the Fab Four. 

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The quartet will assume the roles for what Sony Pictures is currently dubbing The Beatles – A Four Film Cinematic Event, directed by Sam Mendes (Skyfall, 1917). The group will appear in four separate biopics – one about each member – and all will be released in theatres in April 2028, in what Sony Motion Pictures Boss Tom Rothman’s called a “bingeable moment in cinema” (per Deadline). No further cast members have been announced at this stage, nor has the release order for the four films.

The news was confirmed on Monday night (March 31) at the CinemaCon event in Las Vegas, with Mendes and the all-star cast all appearing on stage to celebrate the announcement. See a photo of all four members together below.

Mendes said that the four separate films will provide “a chance to understand them a little more deeply.” Mendes added that the group “redefined the culture and stayed with you for a lifetime,” and called them “the most significant band of all time.” He also said that he had been trying to make a Beatles film “for years,” but struggled to fit the story into one movie and rejected the idea of a television series.

“There had to be a way to tell the epic story for a new generation,” he told the audience, adding: “I can assure you there is still plenty left to explore and I think we found a way to do that.”

On stage, Dickinson, Mescal, Keoghan and Quinn recited from the band’s song “Sgt. Pepper’s Lonely Hearts Club Band”: “It’s wonderful to be here, it’s certainly a thrill, you’re such a lovely audience, we’d like to take you home with us,” each saying a line.

The upcoming film has approval from McCartney and Starr, as well as Lennon and Harrison’s estates. It marks the first time the group and rights holders Apple have granted full life story and music rights for a scripted film.

The reveal confirms rumors that have swirled about the casting for months. Last year Starr hinted that Keoghan would be playing him in the film, saying “I believe he’s somewhere taking drum lessons, and I hope not too many.” Ridley Scott, who directed Mescal in Gladiator II, accidentally confirmed the latter’s casting in an interview in late 2024, with Mescal responding that it would be “a dream come true” to play McCartney.

Dickinson is best known for his roles in Babygirl (2024) and The Iron Claw (2023), while Quinn had a starring role alongside Mescal in Gladiator II, and also appeared in the most-recent season of Stranger Things.

The four Beatles films will follow the group’s trajectory from their 1960 formation through their time as a touring act and in the studio. The group hold the record for the most No. 1 LPs on the Billboard 200 (19 in total) and most No. 1 singles on the Hot 100 (20 in total).

A number of documentaries and smaller-budget films have been released chronicling the group’s career, including 2009’s Nowhere Boy which focused on Lennon’s early years, and starred Aaron Taylor-Johnson in the leading role. In 2022, The Beatles: Get Back documentary saw Peter Jackson compiling hours of unused footage for an eight-hour epic on Disney+.

Baylee Littrell, son of Backstreet Boys’ Brian Littrell, took center stage during Hollywood Week on American Idol with a moving original song dedicated to his late grandmother.

The 21-year-old’s performance of “Hey Jesus,” a tribute to the woman he called his best friend, brought his parents to tears in the audience. Brian Littrell, visibly emotional, was seen singing along as his son poured his heart out on stage.

“Baylee, you’re so good,” judge Carrie Underwood told him after the performance, noting his “heat” and “genuineness.”

It’s been a few episodes since Baylee first stepped out of his father’s boyband shadow during the season premiere, and this week, he reminded everyone why he earned his spot in Hollywood Week. His heartfelt performance was one of the most memorable of the night and secured him a spot in the next round.

Hollywood Week also saw Idol’s most brutal cut yet, with more than half of the 144 contestants eliminated in what host Ryan Seacrest called “the biggest cut in Idol history.”

Among the standouts moving forward was 17-year-old Isaiah Misailegalu, who wowed with a masterful take on Teddy Swims’ “Lose Control.” “You have such a gift, and you’re so confident on the stage,” said Underwood.

The youngest contestant, 15-year-old Mattie Pruitt, stunned the panel with her performance of Chris Stapleton’s “Cold.” “Nothing about that is 15,” said Bryan, noting the “rasp and pain and heart” in her voice.

Josh King, a 24-year-old airport pianist, found his redemption arc with a stirring rendition of Rick Astley’s “Hopelessly.” “Josh! If you had done that in your audition, you would have gotten three yeses, absolutely,” Underwood told him.

Among the contestants moving forward include Thunderstorm Artis, Amanda Barise, Jamal Roberts, Slater Nalley, Sonny Tennet, and Platinum ticket holders Canaan James Hill, Filo and Kolbi Jordan.

Among those who didn’t make the cut were Landynn Kennedy, Sam Sparks and Mikaela Bautista—contestants who had impressed in earlier rounds but couldn’t recapture the magic under pressure.

Showstoppers Week continues Sunday, April 6 on ABC, followed by head-to-head performances on Monday, April 7.

Australian DJ and producer FISHER just scored one of the most surreal honors of his career: his own official day in Las Vegas.

March 29 is now officially recognized as “Day of the Fish” in Las Vegas, following a city proclamation that was rolled out as FISHER played a headline set at the city’s premiere party hotspot, TAO Beach. The Aussie tech-house star signed the proclamation before taking to the decks to celebrate with fans.

“NO FKN WAY!!! THEY NAMED A DAY AFTER ME IN LAS VEGAS! MARCH 29th IS OFFICIALLY ‘DAY OF THE FISH’!! THANK YOU LEGENDS @taobeach,” he wrote on Instagram on March 31.

The proclamation reads: “We welcome [FISHER] to Las Vegas and thank him for bringing his energy and music to our fabulous city.”

This isn’t the first time FISHER has made waves in Sin City. His 2018 breakout track “Losing It” has become a dance music anthem, dominating festival stages and club sets around the globe. The track hit No. 1 on Billboard’s Dance Club Songs chart and earned him a Grammy nomination for Best Dance Recording, solidifying his status as one of the genre’s most in-demand names.

“Losing It” marked a turning point in dance music, helping usher in a broader appetite for tech-house while launching FISHER from Holy Ship! fan favorite to Coachella and Tomorrowland mainstay. He’s since performed back-to-back sets with longtime collaborator Chris Lake, become a fixture on the Ibiza club circuit, and launched his own label Catch & Release.

FISHER’s honor in Las Vegas arrives just weeks ahead of the return of his homegrown festival, Out 2 Lunch. Taking place May 3–4 on the sands of Surfers Paradise, the two-day event sees him doubling as both host and headliner. The 2024 edition will welcome an impressive lineup of global names including Chris Lake, Patrick Topping, DJ Boring, Noizu, Hayden James, Little Fritter and Shimmy.

The festival follows the record-breaking success of last year’s edition, which drew 30,000 punters to Coolangatta Beach and generated an estimated $50 million for the local economy.

Smashing Pumpkins frontman Billy Corgan will be playing classics from his beloved group when he hits the road this summer, though his backing group will look a little different.

Hitting the live trail throughout June, Corgan will be joined by his new band, the Machines of God, for the 16-date tour of North America. 

Dubbed A Return to Zero, the trek sees Corgan and his band touring in support of the 30th anniversary of the Smashing Pumpkins’ Mellon Collie and the Infinite Sadness, and the 25th anniversary of the 2000 albums Machina/The Machines of God and Machina II/The Friends & Enemies of Modern Music. The tour will feature classics and deep cuts from the records, along with selections from 2024’s Aghori Mhori Mei.

Joining Corgan in the Machines of God is nascent Smashing Pumpkins guitarist Kiki Wong, drummer Jake Hayden, and bassist Kid Tigrrr (aka Jenna Fournier of NIIGHTS).

This isn’t the only retrospective look that Corgan is taking in 2025. In early March, Corgan detailed a forthcoming series of performances which sees him and the Lyric Opera of Chicago reimagining Mellon Collie and the Infinite Sadness in a new operatic light in November. “Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way,” Corgan explained.

Mellon Collie was issued in 1995 as the band’s third album, and managed to become the Smashing Pumpkins’ first release to debut atop the Billboard 200. The record also garnered seven nominations at the 1997 Grammys, including album of the year and best alternative music album, ultimately winning best hard rock performance for lead single, “Bullet with Butterfly Wings.”

Meanwhile, Machina/The Machines of God arrived in February 2000 as the band’s last studio album to be commercially released ahead of their breakup later that year. The record hit No. 3 on the Billboard 200, and received a Grammy nomination for best recording package.

Its follow-up, Machina II/The Friends & Enemies of Modern Music, was released in September of 2000 as a free download after plans to release the records as a double album fell through. A long-awaited reissue of the Machina albums is set to arrive later in the year.

Billy Corgan and the Machines of God – A Return to Zero North American Tour

June 7 – Baltimore Soundstage, Baltimore, MD
June 9 – Paradise Rock Club, Boston, MA
June 11 – Kee to Bala, Muskoka, ON
June 12 – History, Toronto, ON
June 13 – Beanfield Theatre, Montreal, QC
June 15 – Irving Plaza, New York, NY
June 16 – Theatre of Living Arts, Philadelphia, PA
June 17 – Archer Music Hall, Allentown, PA
June 19 – St. Andrew’s Hall, Detroit, MI
June 20 – Taste of Joliet, Joliet, IL
June 21 – Intersection, Grand Rapids, MI
June 23 – Roxian Theatre, Pittsburgh, PA
June 25 – House of Blues Cleveland, Cleveland, OH
June 26 – Bogart’s, Cincinnati, OH
June 27 – Summerfest, Milwaukee, WI
June 29 – Varsity Theater, Minneapolis, MN