Coldplay are only halfway through their current Australian tour, but already it’s managed to break a long-standing attendance record in the country.

Touring in support of their ninth and tenth albums, 2021’s Music of the Spheres and 2024’s Moon Music (which peaked at No. 4 and No. 1 on the Billboard 200 upon release, respectively), the group launched their current trek at Melbourne’s Marvel Stadium on Oct. 30, with their fourth show in the city wrapping up on Nov. 3.

While the run of shows has featured a few surprises (including a guest appearance from The Karate Kid’s Ralph Macchio during their song of the same name), their Melbourne run has been completed with news that the band broke the attendance record for a band at the venue, with 227,000 fans turning out across the four shows.

“Coldplay have officially broken our all-time largest attendance record for a band at Marvel Stadium, with 227k people attending across the four Music of The Spheres World Tour shows held at the Stadium,” the venue wrote on Instagram today (Nov. 4).

According to the venue’s own history, the current record for highest-attended concert belongs to fellow English musician Adele, whose performance on March 19, 2017 was attended by a total of 77,327. Just shy of one year later, Ed Sheeran broke the record for the largest attendance for a concert series by a single artist, bringing in a total audience of 257,751 across four shows in March 2018.

Coldplay’s new attendance figure breaks the previous record set by Australian rockers AC/DC, whose Black Ice World Tour saw the band perform three shows at the venue in February 2010 to a total of 181,495 patrons.

The new record sees Coldplay only just relegated to third place in terms of the venue’s all-time attendance records, with Pink’s ‘Summer Carnival’ Tour resulting in a total of 228,000 concertgoers across four shows in February and March of this year.

The current tour is Coldplay’s first in Australia since 2016, though they performed two shows in Perth in 2023 due to an exclusive agreement with the state’s tourism board. Coldplay will finish their Australian tour with four shows at Sydney’s Accor Stadium this week.

The arbitration process governing SESAC’s performance license rates has determined that for the 2023-2026 licensing period, a blanket fee of 0.2824% of revenue — or a 10.4% increase from the prior period’s rate of 0.2557% of revenue — will be set, according to a press release from the Radio Music License Committee (RLMC).

The rate represents the amount SESAC, a performing rights organization (PRO), can charge stations in exchange for playing works from their repertory over terrestrial radio.

Each side characterized the final rate determination differently, with the RLMC claiming victory because the arbitration panel rejected SESAC’s efforts to more than double the rate, and also substantially expand the license revenue base. But SESAC says the arbitration award reflects a failure by the RLMC in its attempt to lower the rate.

The rate decision is retroactive to Jan. 1, 2023, which means that stations paying the SESAC interim licensing fee at 2022 rates will receive “a modest true-up adjustment.” The arbitration process governing SESAC’s rates came about as a result of a 2015 RMLC antitrust litigation settlement with SESAC that set forth a rate arbitration process for the next 20 years.

The RMLC announcement claims SESAC sought to justify its efforts to increase rates and expand the licensing revenue base by relying upon rates set for other music licensors.

Meanwhile, SESAC’s statement on the determination says the RMLC failed in its attempt to tie SESAC’s rates to those of BMI and ASCAP, the two U.S. PROs, which operate under consent decrees that mandate a rate trial in the Southern District of New York when negotiations fail.

“Despite the fact that no increase was warranted, the arbitration decision reported here constitutes a significant victory for RMLC-represented radio stations given SESAC’s demands, and comes at a challenging economic time for the industry,” RMLC chairman Ed Atsinger said in a statement. “The RMLC intends to continue to defend and protect the interests of its members at a time when all of the performing right organizations are seeking to aggressively increase their fees.”

In another aspect of the rate determination, the RLMC said that “long-form license terms are still being worked out but it is expected that the non-music format stations will continue to pay the same 77.5% discount” off of the above music stations’ headline rate. Mathematically speaking, that means the RMLC expects that the non-music rate fee will be set at 0.06354% of revenue, or a 10.5% increase from the prior rate of 0.0575%, Billboard estimates.

“The arbitration award reflects another failure of the RMLC to impose regulated rates on SESAC since SESAC and the RMLC concluded their settlement in 2015,” SESAC performing rights president and CEO Scott Jungmichel said in a statement. “The panel awarded SESAC an over 10% increase while rejecting the RMLC’s attempts to lower the rate, turn back the clock, and yoke SESAC to the regulated rates paid by ASCAP and BMI. In addition, the revenue base subject to the fee is significantly greater than the revenue upon which station groups had sought to pay under the 2017 award.”

Tyler, the Creator scores his third No. 1 album on the Billboard 200 chart as his new studio effort, CHROMAKOPIA, arrives atop the tally (dated Nov. 9). The set launches with 299,500 equivalent album units earned in the U.S. in the week ending Oct. 31, his best week ever in terms of units. Its starting sum — the sixth-largest debut of 2024 — is also notable because the album arrived on an off-cycle Monday (Oct. 28), and thus had only four days of activity in its first tracking week. (Most albums are released on a Friday, giving them a full seven days of activity in their opening chart week.)

The album was announced on Oct. 17, slightly more than 10 days before its release on Oct. 28.

CHROMAKOPIA also claims Tyler, the Creator’s biggest streaming week ever for an album, and largest sales week ever — again, after only four days of availability. Streams and sales were so strong for the set, it would have been No. 1 off streams alone, or solely on sales.

He previously hit No. 1 on the chart with his last two releases, Call Me If You Get Lost (in 2021) and Igor (in 2019). In total, CHROMAKOPIA marks his seventh top 10-charting set on the Billboard 200 — the entirety of his charting efforts.

Also in the top 10 of the new Billboard 200, Halsey logs her fifth top two-charting set as The Great Impersonator debuts at No. 2, Kelsea Ballerini achieves her highest-charting album ever as Patterns opens at No. 4 and Eminem’s chart-topping The Death of Slim Shady (Coup de Grâce) vaults 44-6 after its vinyl release.

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 Nov. 9, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday, Nov. 5. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of CHROMAKOPIA’s 299,500 equivalent album units earned, SEA units comprise 157,000 (equaling 212.55 million on-demand official streams of the 14 songs on the streaming edition of the album, his best streaming week ever; it debuts at No. 1 on Top Streaming Albums chart), album sales comprise 142,000 (his best sales week ever; it debuts at No. 1 on the Top Album Sales chart) and TEA units comprise 500 units. Vinyl sales accounted for 66,000 of the album’s first-week number, which is Tyler, the Creator’s best week ever on vinyl, and the third-biggest debut week on vinyl for a rap album since Luminate began tracking sales in 1991.

CHROMAKOPIA was issued as an 11-song standard digital download album, a 14-song album on CD and vinyl, and a 14-song digital deluxe and streaming album. (The two 14-song editions each had three additional songs versus the standard 11-song album. The 14-song CD and vinyl added “Mother,” “Sticky” (featuring Sexyy Red and Lil Wayne) and “Thought I Was Dead” (featuring Santigold). The 14-song digital and streaming edition added “Balloon” (featuring Doechii), “Sticky” (featuring GloRilla, Lil Wayne and Sexyy Red) and “Thought I Was Dead” (featuring ScHoolboy Q and Santigold).

Album sales were bolstered by the set’s availability across six deluxe collectible CD boxed sets (each containing a CD, poster and another branded merch item) and a green-colored vinyl pressing. The boxed sets and vinyl were exclusively sold via the artist’s official webstore. A stand-alone CD was available to pre-order, exclusively, in the same store, but has yet to be shipped to customers. All physical editions of the album are only available via the artist’s webstore.

The standard 11-song digital download album, as well as the 14-song deluxe digital edition, was widely available through the iTunes Store and similar services (but were not sold on the artist’s webstore).

At No. 2 on the Billboard 200, Halsey’s The Great Impersonator debuts with 93,000 equivalent album units earned. Of that sum, album sales comprise 81,000, SEA units comprise 12,000 (equaling 16.05 million on-demand streams of the songs on the streaming edition of the album) and TEA units comprise a negligible sum. The Great Impersonator is the fifth top 10-charting set for Halsey, all of which have debuted in the top two positions of the list.

The album’s first-week sales were aided by its availability across many permutations: a dozen deluxe collectible CD boxed sets (each containing a CD and branded merchandise), a standard CD, a standard signed CD, four alternative cover CDs (each signed) and eight vinyl variants (including one signed edition). Most of the offerings were exclusively sold in Halsey’s official webstore. The album was also released as a standard digital album, and via seven alternative digital download albums (each with one to three exclusive bonus tracks unique to each of the seven editions) — all of which sold for a discounted $4.99.

The vinyl sales added up to just over 26,000 copies — Halsey’s best week on vinyl ever.

Sabrina Carpenter’s former leader Short n’ Sweet falls 2-3 on the new Billboard 200 with 74,000 equivalent album units earned (down 5%).

Kelsea Ballerini’s Patterns bows at No. 4 on the Billboard 200, marking her highest-charting album ever and second top 10-charting set. It arrives with 54,000 equivalent album units earned — her best week by units. Of that sum, album sales comprise 35,000 (her second-largest sales week), SEA units comprise 19,000 and TEA units comprise a negligible sum.

Ballerini had previously gone as high as No. 7 on the Billboard 200 with Unapologetically in 2017.

The new album was preceded by the song “Cowboys Cry Too,” with Noah Kahan, which reached the top 20 on the Hot Country Songs chart in July.

The set’s first-week sales were encouraged by its availability across eight vinyl variants (including one signed edition), three digital download editions (a standard set, one with bonus commentary tracks and one with two bonus song tracks), and two CDs (including one signed variant). Her vinyl sales totaled 12,000 for the week — Ballerini’s best week ever on vinyl.

Rod Wave’s Last Lap dips 4-5 on the Billboard 200 with 51,000 equivalent album units earned (down 24%), while Eminem’s The Death of Slim Shady (Coup de Grâce) jumps 44-6 with 49,000 units (up 193%) after its release on vinyl and cassette. The latter was issued across five vinyl editions (mostly color variants) which combined to sell 31,000 copies in the tracking week — Eminem’s best week ever on vinyl.

Rounding out the rest of the top 10 on the new Billboard 200: Gracie Abrams’ The Secret of Us rises 8-7 (49,000 equivalent album units earned; down less than 1%), Morgan Wallen’s chart-topping One Thing at a Time falls 6-8 (46,000; down 9%), Billie Eilish’s Hit Me Hard and Soft is steady at No. 9 (nearly 46,000; down 5%) and GloRilla’s Glorious falls 7-10 (45,000; down 11%).

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.

The Weeknd and Anitta‘s collaboration “São Paulo” has taken the top spot in this week’s new music poll, showcasing a variety of genres.

In a poll published on Friday (Nov. 1) by Billboard, music fans voted the superstar collab as their favorite new release, with “São Paulo” garnering nearly 66% of the votes. This impressive margin placed it ahead of new music from Shawn Mendes (“Heart of Gold”), The Cure (Songs of a Lost World), Ethel Cain (“Punish”) and Megan Moroney (Blue Christmas… Duh), among others.

The electrifying track will be featured on The Weeknd’s upcoming album, Hurry Up Tomorrow. A release date for the project has not yet been announced. The pair debuted “São Paulo” at a special one-night-only event in Estádio MorumBIS in São Paulo on Sept. 7, which was livestreamed for fans.

“We knew it was too special to just play on stage. We saw great potential in the song and found the beat, which is the heart of the show,” The Weeknd previously told Billboard Brazil.

The “São Paulo” music video features a surreal visual of Anitta with an exaggerated baby bump, where her belly appears to sing The Weeknd’s parts, with lips emerging from her belly button. The eerie clip concludes with the word “Phantasm,” leaving fans speculating whether it relates to an album or song title.

In addition to “São Paulo,” The Weeknd has released two other tracks from Hurry Up Tomorrow: “Dancing in the Flames” and “Timeless,” featuring Playboi Carti. “Dancing in the Flames” reached No. 14 on the Billboard Hot 100 chart, while “Timeless” peaked at No. 3.

In this week’s poll, Shawn Mendes’ “Heart of Gold” trailed significantly, capturing nearly 30% of the vote. The song is written in memory of a childhood friend who passed away from a drug overdose.

Check out the final results of this week’s poll below and visit Billboard‘s Friday Music Guide for more must-hear releases.