Morgan Wallen’s One Thing at a Time continues to cruise at No. 1 on the Billboard 200, as the album spends a fifth straight and total week atop chart (dated April 15). The set earned 173,000 equivalent album units in the United States in the week ending April 6 (down 12%), according to Luminate. One Thing at a Time debuted at No. 1 on the Billboard 200 dated March 18 and has held in place ever since.

Across Wallen’s two No. 1 albums on the Billboard 200, One Thing at a Time and Dangerous: The Double Album, he has now spent a total of 15 weeks atop the chart. That surpasses Bad Bunny for the second-most weeks at No. 1 this decade. Only Taylor Swift has more weeks at No. 1 since the start of 2020, with 20 total.

Also in the top 10 of the new Billboard 200 chart, Melanie Martinez scores her highest-charting album yet with the No. 2 debut of Portals, Tyler, the Creator’s former No. 1 Call Me If You Get Lost surges 137-3 after its deluxe reissue with eight additional songs and supergroup Boygenius starts at No. 4 with its first full-length studio album (and major label debut), The Record.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 15, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (April 11). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 173,000 equivalent album units earned in the week ending April 6, SEA units comprise 162,000 (down 9%, equaling 215.58 million on-demand official streams of the set’s 36 songs), album sales comprise 8,000 (down 53%) and TEA units comprise 3,000 (down 6%).

Martinez logs her highest-charting album yet on the Billboard 200, as her new studio effort Portals opens at No. 2. The set earned 142,000 equivalent album units, her biggest week ever by units earned. Of that sum, album sales comprise 99,000 (her largest sales week ever), SEA units comprise 42,000 (equaling 60.58 million on-demand official streams of the set’s songs, her largest streaming week ever) and TEA units comprise 1,000 units.

In total, Portals marks Martinez’s third top 10-charting set, following K-12 (No. 3 peak in 2019) and Cry Baby (No. 6 in 2015).

The new album was previewed by the songs “Void” (the set’s official first single) and “Death,” both of which have reached the top 40 on the Hot Rock & Alternative Songs chart, while “Death” debuted on the Billboard Hot 100 dated April 1 at No. 95. The latter debut is Martinez’s first appearance on the Hot 100 since 2012, and the first time she’s charted with anything that wasn’t part of her run as a contestant on NBC’s The Voice. (Her two previous entries on the Hot 100 were both covers from the reality competition show.)

Portals’ sizable first-week sales of 99,000 was supported by 21 different physical variants of the album — six vinyl LPs, 14 CDs and one cassette. The audio content across all of the editions is the same; the variations are mostly distinguished by their packaging (including color vinyl editions, alternative covers, a signed CD and four deluxe boxed sets with either a tank top or a shirt along with a CD).

Tyler, the Creator’s chart-topping Call Me If You Get Lost jumps from No. 137 to No. 3 following its deluxe reissue on March 31. The set, first released in 2021, was reintroduced to the market with eight additional songs (dubbed the Call Me If You Get Lost: The Estate Sale edition). All versions of the album, old and new, are combined for tracking and charting purposes.

In total, Call Me If You Get Lost earned 68,000 equivalent album units for the week, up 617%. The bulk of that sum was driven by SEA activity: 57,000 (up 734%, equaling 77.97 million on-demand official streams of all of the set’s songs, old and new). The set also sold 11,000 copies, including digital download and CD editions of the new deluxe version (though the CD is exclusively sold through the artist’s webstore at this time).

Call Me If You Get Lost was last in the top 10 almost a year ago, on the April 30, 2022-dated chart, when the album zoomed 120-1 after its belated release on vinyl pushed it back to the top. It first led in July 2021 upon its debut.

Rock supergroup Boygenius sees its debut full-length studio album — and major label debut — The Record launch at No. 3 on the Billboard 200. The trio comprises Julien Baker, Phoebe Bridgers and Lucy Dacus. The set starts with 67,000 equivalent album units earned. Of that sum, album sales comprise 53,000, SEA units comprise 14,000 (equaling 18.17 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

The Record was previewed by a trio of charting songs on Billboard’s tallies: “Emily I’m Sorry,” “Not Strong Enough” and “$20.” The latter two charted on the Adult Alternative Airplay chart (with “Not Strong Enough” hitting the top 10 on the April 15-dated list), while the former two both reached Hot Rock & Alternative Songs.

The Record was supported largely by vinyl sales. Of the album’s overall first-week units, vinyl sales represented 67% of the total sum (45,000 of 67,000). And, of the album’s traditional album sales number, vinyl accounts for 85% of the total (45,000 of 53,000). The Record was available in eight different-colored vinyl variants, including exclusives for indie stores, Target and Urban Outfitters.

SZA’s former No. 1 SOS is a non-mover at No. 5 on the Billboard 200 with 64,000 equivalent album units earned (down 8%), Swift’s chart-topping Midnights rises 7-6 with 61,000 (up 5%) and Luke Combs’ Gettin’ Old dips 4-7 with 54,000 (down 46% in its second week). Wallen’s chart-topping Dangerous: The Double Album climbs 9-8 with 45,000 (up 3%), Metro Boomin’s former No. 1 Heroes & Villains falls 8-9 with 42,000 (down 7%), and Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd. drops 3-10 with 38,000 (down 67% in its second week).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Jazz saxophonist and music teacher Edward “Kidd” Jordan died in his sleep Friday (April 7), surrounded by family at his New Orleans home, family publicist Vincent Sylvain said. He was 87.

During his 50-year career, Jordan showcased his musical talents across New Orleans while also collaborating with music legends like Ray Charles, Aretha Franklin, Stevie Wonder and more.

Born in Crowley in 1935, Jordan moved to New Orleans at 20 years old and created The Improvisation Arts Quintet in 1975. The group produced a diverse catalogue of avant-garde music described as “an evolution of complementary imagery moving together and apart, each artist becoming an ear, an eye and most of all a heart for the sake of the creative spiritual soul.”

He was a music professor at Southern University of New Orleans, later becoming chairman of the university’s jazz studies program.

During his 34 years at SUNO, “he shared his vision of improvisation and encouraged students to find their authentic creative voices,” Sylvain said. “Mr. Jordan’s legacy is solidified by his insistence that his students’ music contain one critical element — originality. And he practices what he preaches.”

Jordan also was an instructor at the New Orleans Jazz and Heritage Foundation’s School of Music for 25 years and served as artistic director for the Louis Armstrong Satchmo Jazz Camp. He retired in 2006.

“Kidd dedicated his life to teaching youngsters of all ages. His passing is the end of an era of music education in New Orleans,” said Jackie Harris, executive director of the Louis “Satchmo” Armstrong Educational Foundation.

“His spirit and determination was a shining example that gave musicians the confidence to express themselves with ‘No Compromise,’” said Harris, referencing Jordan’s first record, No Compromise.

Prominent former students include Wynton and Branford Marsalis, Jon Batiste, Donald Harrison Jr., Tony Dagradi, Troy “Trombone Shorty” Andrews and “Big” Sam Williams.

Jordan also taught his seven children, Edward Jr., Kent, Christie, Paul, Stephanie, Rachel and Marlon. Four of them became professional musicians: Kent on flute, Stephanie as a singer, Rachel as a classical violinist and Marlon on trumpet.

The French Ministry of Culture in 1985 anointed him a knight, or chevalier, of the Ordre des Arts et des Lettres, a prestigious award given to those who have produced exceptional work in arts or literature. Jordan also received a Lifetime Achievement Honoree recognition at the Vision Festival XIII in New York in 2008, and was named a “jazz hero” by the Jazz Journalist Association in 2013.

In addition to his children, Jordan is survived by his wife, Edvidge Chatters Jordan.

Funeral arrangements are pending.

Graham Nash is sharing new details about David Crosby‘s death.

Following the announcement of his passing on Jan. 19, Crosby’s family noted that the two-time Rock and Roll Hall of Famer died following a “long illness,” but did not elaborate on the exact cause.

In a new interview, the Crosby, Stills & Nash singer says that his former bandmate had contracted COVID-19 for a second time prior to his death.

“He was rehearsing for a show to do in Los Angeles with a full band,” Nash said during the Kyle Meredith With… podcast. “After three days of rehearsals, he felt a little sick. And he’d already had COVID, and he had COVID again. And so he went home and decided that he would take a nap, and he never woke up. But he died in his bed, and that is fantastic.”

Nash aded that Crosby was lucky to have lived as long as he did.

“I mean, the fact that he made it to 81 was astonishing,” he said. “But [his death] was a shock. It was kind of like an earthquake, you know? You get the initial shock and then you figure out that you survived. But these aftershocks kept coming up, and they’re diminishing in size as I go along.”

Nash said earlier this year that he and Crosby — who were famously estranged for years before the pioneering folk-rocker’s passing — were in the midst of making peace just before Crosby died.

“The fact is that we were getting a little closer at the end. He had sent me a voicemail saying that he wanted to talk to apologize, and could we set up a time to talk,” Nash told AARP magazine in February. “I emailed him back and said, ‘Okay, call me at 11 o’clock tomorrow your time, which is 2 o’clock on the East Coast.’ He never called, and then he was gone.”

Nash told AARP that he suspected Crosby may have known the end was near. “Since his liver transplant and all his stents. He had seven stents. His body was really failing,” he said of Crosby, who was open about his long struggle with drug addiction. “But once again, I can only try to remember the good times, because we had many of them.”

Following Crosby’s death, Nash shared a statement about his “friend” Crosby on social media.

“I know people tend to focus on how volatile our relationship has been at times, but what has always mattered to David and me more than anything was the pure joy of the music we created together, the sound we discovered with one another, and the deep friendship we shared over all these many long years,” he wrote on Instagram.

A British performance of The Bodyguard musical ended in unrequited love for some audience members who couldn’t refrain from singing along to the anthemic finale.

The show at the Palace Theatre in Manchester screeched to a halt Friday (April 7) when two unruly patrons were ejected for joining the lead in singing “I Will Always Love You,” the soaring, emotional ballad made famous by Whitney Houston.

It was not supposed to be a singalong. Ushers carried signs saying, “Please refrain from singing” and announcements were made in advance that patrons would have a chance to join along at the end but not to sing during the show, said Tash Kenyon, an audience member.

During the closing number, somebody shouted, “Does this mean we can start singing now?” Kenyon said. A tone-deaf voice projected from the balcony and competed with the vocals of Melody Thornton, a former member of The Pussycat Dolls.

Laughter then turned to anger and confusion, Karl Bradley told the Manchester Evening News.

“The stage then just went black again and that’s when it really started to kick off on the higher tier, you could really hear screams and audible gasps,” Bradley said. “Everyone starting standing up and looking over. There was chants of ‘out, out, out’ to get them gone.”

When the lights came up, the unwanted backup singers were being hauled out of their seats by theater security and audience members began cheering.

But the music and show were over.

A spokesperson for the theater said the show was canceled because disruptive fans who refused to stay seated had spoiled the performance.

Thornton posted a video on Instagram thanking respectful fans and apologizing for those who weren’t.

Greater Manchester Police said it spoke with the two people who were removed by security and would review evidence before taking any action.