Nearly sixty years ago, all the Beatles needed was some help from their friends for a run-through of their then-new song “All You Need Is Love” on the “Our World” global satellite broadcast. The first live multisatellite production, which reached more than 400 million people around the planet, ended with the Beatles performing the uplifting song along with the Rolling Stones, Eric Clapton, Marianne Faithfull, Who dummer Keith Moon and Graham Nash.

The special moment will be officially commemorated on June 25 as part of the long-running fan-led initiative — backed by the group’s label, Apple Corps. Ltd. — to celebrate the song’s message by officially dubbing it “Global Beatles Day.”

The idea to celebrate the band with a special day was hatched by lifelong fan Faith Cohen in 2009, turning into an unofficial vehicle for fans around the world to honor the band every year. In the years since, the commemoration has included tribute concerts, sing-alongs and fan gatherings from New York to Tokyo, Buenos Aires and the Fab Four’s hometown of Liverpool.

With more details to be revealed soon, an announcement from the group revealed that along with online and in-person events around the world celebrating John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles will release a colorized version of their BBC Our World performance of “All You Need Is Love” free on YouTube. It will be the first time the performance will be available online, with fans able to weigh in and share their reactions in a live chat.

Writing to superfan Cohen this week, Apple Corps CEO Tom Greene said, “More than ever, the message of The Beatles, and of ‘All You Need Is Love’ speaks to something vital for community, connection, and the power of bringing people together. That is what makes Global Beatles Day so special. It asks nothing more than for people, wherever they are, to stop, listen, and share a little joy.”

Shaboozey has found his “Cowgirl.” And yes, it’s Ciara Miller.

The “A Bar Song (Tipsy)” rapper’s outlaw era gathers pace with the release of “Cowgirl,” and its music video featuring Miller, the star of Bravo’s Summer House.

Directed by Logan Meis and Shaboozey, the music video follows Miller, a fearless gunslinger who strolls into a dodgy saloon in a forsaken nook of the Wild West. Our hero is no wallflower. Giving no s— about anything, she proceeds to out-drink, out-arm wrestle, out-shoot, out-do anything the other cowboys can muster.   

At the top of the clip, an explainer. The action takes place five days after the death of Sheriff Lee. The “Cowgirl” is venting, in a haze, in a rage. No doubt haunted by the death of her partner, the town Sheriff.

The lively song is the followup to the April release “Born To Die,” the first lifted from Shaboozey’s forthcoming concept album The Outlaw Cherie Lee & Other Western Tales.

The forthcoming collection is a Western portrait, a country tale told with Americana, hip-hop, and pop, recounting a “tragic, mythic story of vengeance, love, and transformation,” reads a statement. It’s said to unfold like a Western film, told in chapters with narration, skits, and cinematic transitions.

The main character is Cheri Lee, a woman shaped by violence and driven by loss. On her travels, she falls for an outlaw, which provides her with entry into the world that she’s trying to destroy. It’s complicated, and the story takes a bloody turn, leaving our hero with some big calls to make.

The Outlaw Cherie Lee is due out July 31 via EMPIRE, and is successor to his breakout 2024 project Where I’ve Been, Isn’t Where I’m Going. Shaboozey is responsible for one of the biggest hits of the streaming era with “A Bar Song (Tipsy),” which set a new benchmark by spending more time at No. 1 on Billboard’s Radio Songs chart than any song before it and spending 19 weeks atop the Billboard Hot 100. The success of “A Bar Song” also cemented Shaboozey’s place in music history, making him the first performer to reach the top 10 simultaneously on Country Airplay, Pop Airplay, Adult Pop Airplay, and Rhythmic Airplay charts. Additionally, it became only the second song by a Black artist to lead both the Hot 100 and Hot Country Songs chart.

Watch the “Cowgirl” music video below.

Boards of Canada drought-busting album Inferno has been warmly received in Australia, where it opens its account at No. 3 on the ARIA Chart for the week’s top debut.

That podium finish is the Scottish electronic duo’s career best position and first top 10 appearance, easily eclipsing the No. 24 peak of their last album, Tomorrow’s Harvest, released back in 2013, some 13 years ago. Inferno is this week’s best-seller on wax, taking out top spot on the ARIA Vinyl Chart.

Boards of Canada, brothers Mike Sandison and Marcus Eoin, were in a two-way joust on the midweek U.K. chart with Paul McCartney’s The Boys of Dungeon Lane. On the latest all-genres ARIA Chart, published late Friday, June 5, McCartney’s new album bows at No. 5 on the Albums Chart. It’s one of McCartney’s 18 top 10 appearances on Australia’s albums chart, ARIA reports, two of which went all the way to No. 1: Wings’ Red Rose Speedway and Band On The Run, both in 1973. As part of the Beatles, the two-time Rock Hall-inducted legend has scooped more than a dozen ARIA No. 1 albums.

Also new to the chart is Florida rock band Shinedown, with EI8HT, their eighth studio collection. It’s new at No. 7.

The top new homegrown release belongs to Amber Lawrence, whose Suburban Cowgirl starts at No. 18. Lawrence, the reigning female artist of the year at the Country Music Awards of Australia, one of her six Golden Guitar Awards, peaked at No. 5 with her last album, 2022’s Living for the Highlights.

South Korean girl group Aespa enjoys a career best result with Lemonade, their second studio album. It’s new at No. 24. Until now, Aespa’s best result had been No. 55 with 2022’s Girls. Further down the list, Aussie singer Chloe Parche bags a top 40 appearance her latest EP Sitting Next To Nellie, new at No. 34.

At the top of the leaderboard, meanwhile, is Drake’s Iceman, which bounces 2-1 for its second non-consecutive reign.

The ARIA Singles Chart has some country flair as Ella Langley’s “Choosin’ Texas” bags the No. 1 spot for its third non-consecutive week. “Choosin’ Texas” lifts 2-1.

The top new debut belongs to Ariana Grande with “Hate That I Made You Love Me,” arriving at No. 2. “Hate That I Made You Love Me,” the first track from her forthcoming eighth studio album, Petal, becomes Grande’s 31st top 20 single. All up, her career tally includes four ARIA No. 1 singles: “No Tears Left To Cry” (2018), “Thank U, Next” (2018), “7 Rings” (2019) and “Positions” (2020).

“Hate That I Made You Love Me” is the only debutant on the latest frame, one that features two Australian made tracks: Tame Impala’s platinum-certified “Dracula” (down 6-7) and G Flip’s “Bed on Fire (up 48-33, a new peak).

PRODUCE 101 JAPAN SHINSEKAI is the fourth season of the survival audition show that brought the world JO1, INI, and ME:I. It will culminate in the debut of a 12-person global boy band with members chosen through voting by Japanese viewers (Kokumin Producers) and, for the first time on the show, global viewers (SEKAI Producers) as well. The announcement of the group’s final members is drawing near, so audiences are watching closely to see how the auditions will turn out.

One area that is drawing even more attention, as the audition excitement ramps up, is the choice of music. Episode 4, which aired on April 9, and Episode 5, which aired on April 16, were a GROUP BATTLE. The 101 trainees were broken up into 16 groups, and each group was assigned one of eight songs, with the two teams assigned the same song competing against each other. Not only were the teams judged on their comprehensive abilities (like their vocals, dance, and rap), but the victors were decided by voting by the audience at the battle site. Tensions were high from the very start, as the trainees found who would be in their groups and what song they’d compete with. Unlike past seasons of PRODUCE 101 JAPAN, the addition of the new FREE Part rules meant that the trainees were able to produce parts of the songs, making their own choreography, performance, and structure decisions. This oft-talked about change meant that their self-production abilities would also be subject to closer scrutiny. Of the songs used in the GROUP BATTLE, JO1’s “Love seeker,” Wanna One’s “Energetic,” and Stray Kids’ “CASE 143” were especially noteworthy because of what happened to their streaming numbers.

JO1’s “Love seeker” saw its streaming numbers rise by 197% in Japan between the week before when PRODUCE 101 JAPAN SHINSEKAI aired and the week when it aired. It also had a 197% increase throughout Asia (based on figures from Japan, Korea, Taiwan, Hong Kong, India, Indonesia, Malaysia, Philippines, Singapore, Thailand, and Vietnam). Another likely factor was JO1’s solo dome tour JO1DER SHOW 2026 ‘EIEN,’ which had the group performing at Tokyo Dome on April 8 and 9 and Kyocera Dome Osaka on April 22 and 23.

Streaming numbers for Wanna One’s “Energetic” rose by 468% in Japan between the week before the show and the week of the show, and rose by 219% across Asia as a whole. On April 6, Wanna One had its first fan meeting in seven years in Seoul, Korea, and the official reformation of the group is believed to have further boosted these numbers. Stray Kids’ “CASE 143” saw streaming plays go up by 145% in Japan and 124% across Asia, both significant increases. These upswings in streaming figures are likely the outcomes of numerous viewers re-listening to the music used in the show and recalling the passionate, dramatic scenes involving the trainees.

Episode 6, which aired on April 30, and Episode 7, which aired on May 7, were a “POSITION BATTLE: OPEN ROUND.” In dance and vocal groups, the lines between vocal, dance, and rap positions have disappeared. We’ve entered an age of all-rounders, where people aren’t confined by the limits of fixed positions. Because of this, during the OPEN ROUND, the trainees were judged for their self-production abilities, including the arrangements and structures they chose for their songs. All nine teams competed with different songs, and the top two trainees from the first round ranking and the top person for each song of the GROUP BATTLE were selected as leaders.

Of the nine songs used for this round, streaming figure growth was especially prominent for Imagine Dragons’ “Natural,” INI’s “DOMINANCE,” and ZEROBASEONE’s “Doctor! Doctor!” When the show aired, “Natural” saw its streaming plays rise by 199% in Japan vs. the previous week, and by 104% for Asia as a whole. For “DOMINANCE,” streaming plays rose by 167% in Japan and 166% across Asia, and for “Doctor! Doctor!” the figures rose by 218% in Japan and 173% across Asia. All were significant increases. The fact that INI and ZEROBASEONE were headliners at KCON JAPAN 2026, which was held from May 8 to 10 at Makuhari Messe, is likely another reason for the climbing streaming figures.

Imagine Dragons’ “Natural” was chosen by the “Nature Self” team, led by CHISATO (Chisato Kobayashi). YURA (Yura Abe) was chosen as main dancer by unanimous agreement, but he was struggling with his defeat in the previous GROUP BATTLE. Dance trainer Rino Nakasone advised him of the importance of reflecting the song’s message in his performance, saying “The song ’Natural’ is all about not bowing under pressure. Don’t keep it all pent up inside.” This drew a lot of attention to how much the song “Natural” had to say. “Nature Self” was chosen as the standout team, which is likely another reason for the rise in streaming numbers.

The “PUNCH LINERS” team, led by RYUJI (Ryuji Sugiyama), chose INI’s “DOMINANCE.” INI members Rihito Ikezaki, Hiroto Nishi, and Jin Matsuda made surprise appearances 101 SPECIAL BUDDIES, cheering on the trainees and providing valuable advice, which resonated with viewers. O.YUSEI (Yusei Obayashi), who was selected as main rapper, asked to be replaced, but with the encouragement of his team members, took to the stage with a bold performance. In a dramatic turn of events, he was chosen as the top member of the team in field voting.

The “LOVE MANUAL” team, led by K.DAIKI (Daiki Kato), selected ZEROBASEONE’s “Doctor! Doctor!” The team was made up of some of the most popular and skilled members, but vocal trainer Kevin Woo expressed disappointment, saying “You were like the Avengers of the teams, so I was expecting a lot from you, but I’m not seeing teamwork.” The team had hit a wall. INI members Takumi Ozaki, Hiromu Takatsuka, and Kyosuke Fujimaki listened attentively to the team’s concerns and helped them take them on, strengthening and uniting the team. K.DAIKI and main vocalist SHINHAENG (Oh Shinhaeng) led their team with a highly polished performance of “Doctor! Doctor!”

Now audiences cast their minds back, recalling the drama behind the songs used in the show and waiting with bated breath to see who will debut as PRODUCE 101 JAPAN SHINSEKAI approaches its conclusion.

—This article by Kaori Komatsu first appeared on Billboard Japan