Peso Pluma officially kicked off his 2026 Dinastía by Peso Pluma & Friends Tour at the Climate Pledge Arena in Seattle on Sunday night (March 1), where he was joined by Tito Double P, Yahritza y Su Esencia, Armenta and Rey Quinto.
The opening show gifted fans with more than 35 songs, including Peso performing some of his biggest hits, such as “Lady Gaga,” “AMG,” and “Ella Baila Sola,” as well as live bangers from Tito and the other special guests.
Produced by Live Nation, the tour is in support of Peso’s chart-topping collaborative album with Tito Double P called Dínastia, released last Christmas.
“The idea is that we’re a duality — two people with the same last name,” Peso previously said to Billboard about the cover art of the joint album. “We’re opposites, like black and white, yin and yang, angels and demons. The biblical story of Jacob and Esau — two brothers who fought even before they were born — captures that tension. Tito and I might have our differences, but at the end of the day, we’re united. This album is about family, about Mexico, and about what we’re doing for corridos. That’s the bigger picture.”
Dinastíadebuted at No. 1 on Billboard‘s Top Latin Albums chart and Regional Mexican Albums chart in January, and secured a No. 6 launch on the all-genre Billboard 200.
The trek will continue to 30 arenas and amphitheaters in select cities across the country, including San Francisco, Las Vegas, and Los Angeles, before wrapping at Chicago’s United Center on May 7.
See the complete setlist of the opening night of the Dinastía Tour, from Peso Pluma & Friends, below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 21:26:182026-03-02 21:26:18Peso Pluma’s Dinastía Tour Setlist: Here’s Every Song From Kick-Off Show
That self-help mantra is a great reminder not to let old regrets hold us back. But it’s complicated by an old William Faulkner quote: “The past is never dead. It’s not even past.”
Several chunks of Ashley McBryde’s past are unearthed in her latest single, “What If We Don’t,” a song that draws on her pre-stardom work and old relationships, accompanied by a video rooted in a difficult story from her youth. McBryde has used an intense form of therapy, eye movement desensitization and reprocessing (EMDR), to heal that high-school episode, which involved the death of a close friend in a car accident. She still sheds tears talking about that friend — and about one of the song’s co-writers, who also died in 2018.
“Writing and releasing this song now is how I’ve processed it the best,” McBryde notes.
“What If We Don’t” was penned on July 8, 2015, by the self-described “Music Row Freaks,” the cowriting trio of McBryde, Terri Jo Box and Randall Clay, around a metal patio table with an umbrella on the brick-and-mortar back porch at a duplex that Box rented at the time in Nashville’s toney Belle Meade district.
“We definitely brought the neighborhood down with our red necks,” Box says with a laugh.
On that particular day, McBryde announced on her arrival that she needed a “big rock-ballad chorus,” Box recalls. It was a conscious effort by McBryde to find her lane in country music at a time when that rough-edged lane wasn’t acknowledged.
“I love the things that were represented sonically at the time,” she says, “but I didn’t have my Pat Benatar that I could turn to.”
They had that sound in mind as they addressed the frustrations that both McBryde and Box were experiencing in their love lives, where they tended to get involved with friends who turned out to be less-than-ideal partners. “Ashley and I were both in situationships, which we both pretty much stayed in back then,” Box says.
They wrote a power chorus first, sculpting it to McBryde’s formidable range, with a lyric that contemplated two people turning a friendship into something more. When they wrote the more subdued verses, they set up the scenario in the opening frame by picturing two people calling it a night, about to go their separate ways. And in verse two, they considered the results: “things gettin’ weird if it don’t work out.”
“I remember asking her and Randall, ‘Is it weird to say “weird” in a song?’” Box recalls. “Ashley was like, ‘I love it. Let’s just say it, because that’s what it is: weird.’” In the big picture, “What If We Don’t” is all about crossroads.
“That moment of making the decision to take the risk or not take the risk,” says McBryde, “is immediately followed up by, ‘Wow, I get to live with these consequences,’ no matter what they are.”
McBryde first recorded “What If We Don’t” for her 2016 indie album Jalopies & Expensive Guitars. The song didn’t come out quite the way she imagined it, and it never received any significant exposure.
Subsequently, Clay died in October 2018 from pneumonia in Pensacola, Fla., as a hurricane descended upon the city. McBryde always harbored regrets that “What If We Don’t” had not received the best possible opportunity, and as she prepped for her next album, she began inserting it into her live set, working it up with her road band, Deadhorse.
“We were out in support of Cody Johnson, so we were trying out new arrangements of a song that has been around a long time in front of 20,000 people a night,” she says. “What a great barometer to go, ‘Well, that worked’ or ‘Well, that didn’t work.’” She enlisted Brothers Osborne guitarist John Osborne to produce the next album, and he appreciated the work they’d already put in before they set foot in his Pinebox Studio on March 6, 2025.
“They really do their homework, and they come in with arrangements,” he says. “I love that, because I can focus on the nitty gritty from the word go.” Box attended the session and was impressed with how deep he went into that nitty gritty.
“John Osborne could go around to every instrument and show what he wanted to hear,” she says. “He could get behind the drums, and then he played the guitar, and he [was] just cool and laid back about everything. He really let Ashley be Ashley.”
McBryde sang live with Deadhorse on every take, knowing that any nuance might unlock something new in the band. While drummer Quinn Hill is behind them in live settings, the musicians were able to make him the visual focal point in the studio.
“I’m watching Quinn play drums like he’s digging a ditch,” McBryde says, “and I’m watching Caleb Hooper’s hair fall into his face — he can’t even see his bass — and it doesn’t matter; his fingers are just flying all over it. And [guitarist] Matt Helmkamp over here ripping solos as though it’s as easy as carrying a bag of chips.”
They treated “What If We Don’t” like a 1980s power ballad, allowing McBryde to take on a Joan Jett/Heart/Pat Benatar persona. “There isn’t a production big enough that she can’t absolutely compete with ease,” Osborne says, “so I went really hard with it, and she was all about it.”
When the band had the framework in place, Osborne overdubbed additional instrumentation, providing some extra guitar parts and thickening the sound with mini-Moog bass and a mellotron that laid synth tones underneath much of the production.
“In the bridge, I put in some really cool pizzicato stabs,” he says. “I grew up playing classical music, and I didn’t appreciate it when I was younger, but as an adult, I love listening to classical music, so I love using sometimes classical rhythms and counterpoints and approaches to sections to create energy.”
Everyone on the team agreed that “What If We Don’t” should be the next single, which reaffirms the friendship with Clay. “We feel him around all the time,” Box says. “It barely feels like he’s not here for it.”
The accompanying video is built roughly around the loss of McBryde’s highschool friend, and it’s notable that the girl has a boyfriend but expresses some sexual tension with McBryde’s character.
“That’s definitely by design, to leave that up to the viewer who the young person is most interested in because at that time, especially at that age group, you’re not sure,” she says. “A lot of the times you’re like, ‘Oh my gosh, I really enjoy hanging out with these two, and I can’t tell exactly.’”
Warner Records Nashville released “What If We Don’t” to country radio via PlayMPE on Jan. 22, assigning an official add date of Feb. 23.
It builds on several different friendships, incorporates the harder edge McBryde always envisioned for it, and allows her to pour herself into some strong emotions in a way that formal therapy never quite provided as she heals her past.
“I may have had a heartache or two when I wrote it,” she says, “but I didn’t have the tools to fully process everything that I was packing into that until now.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 21:15:422026-03-02 21:15:42Ashley McBryde Talks Bringing Her Past Into the Present With New Single ‘What If We Don’t’
A group of siblings who say they were abused by Michael Jackson have brought new child sex trafficking claims against the King of Pop’s estate.
Four of the five Cascio siblings — Edward, Dominic, Marie-Nicole and Aldo — alleged in a Friday (Feb. 27) federal lawsuit that Jackson raped and molested them as children over the course of more than a decade, including at his Neverland ranch and while on the road for the Dangerous world tour and HIStory world tour in the 1990s. The fifth sibling, Frank Cascio, has made similar sex abuse claims in a separate pending legal proceeding.
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“Jackson groomed and brainwashed each plaintiff,” reads the lawsuit, filed by attorney Howard King. “After the abuse started, he isolated them emotionally, and sometimes physically, from responsible adults and from each other. He plied them with drugs and alcohol. He showed them pornography, including pictures of unclothed children, to normalize the abuse and desensitize them. He made them fear and distrust others by convincing them that not only his life, but also their lives and the lives of their family members, would be destroyed if anyone found out what he was doing to them.”
A lawyer for Jackson’s estate, Marty Singer, denied the Cascios’ allegations in a Friday statement and said the new lawsuit is a “desperate money grab” and “transparent forum-shopping tactic in their scheme to obtain hundreds of millions of dollars from Michael’s estate and companies.”
The Cascios, who grew up with Jackson and once referred to themselves as his “second family,” were previously staunch public defenders of the star against pedophilia claims. But after HBO’s explosive Leaving Neverland documentary in 2019, the five adult siblings began to claim they were all abused by the star as children.
Without admitting any wrongdoing, the Jackson estate signed a multimillion-dollar settlement with the Cascios in 2019 in exchange for a release of all claims and a promise of confidentiality. But the siblings have since sought to reopen the matter, leading the estate to bring extortion claims against Frank Cascio in arbitration in 2024.
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The arbitration spilled into California state court last year, with Frank seeking to void his family’s settlement because they were allegedly coerced into signing it without consulting independent lawyers or fully understanding its terms. The estate says this is completely false, and a California judge indicated at a January hearing that he’ll likely side with Jackson’s camp and uphold the deal.
Now, Frank’s four other siblings are trying this same argument in federal court. Their lawsuit alleges that after Leaving Neverland “deprogrammed” them from Jackson’s brainwashing, the estate took advantage of their trust to get signatures on a “deceptive and unconscionable document.”
Edward, Dominic, Marie-Nicole and Aldo are seeking a federal court order voiding the settlement, as well as unspecified financial damages for claims of child sex trafficking, negligence, infliction of emotional distress, breach of contract and fraud.
“Plaintiffs reject the Jackson estate’s morally bankrupt efforts to control and silence them,” reads the lawsuit. “Plaintiffs bring this action to hold the Michael Jackson estate, its affiliates and the persons who control or work on their behalf accountable for Jackson’s conduct and their own wrongdoing.”
In a statement, King said the Cascios are seeking “fair compensation for more than a decade of abuse of an entire family,” and that they “hope their filing will embolden other victims and enablers to come forth and shake off the shackles of their silence.”
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Singer responded in his own statement that the Cascios “spent decades defending and affirming Michael’s innocence” before changing their tune. The siblings stated during a 2010 appearance on The Oprah Winfrey Show, for example, that Jackson was “never” inappropriate with them, and Frank wrote in a 2011 memoir, “Michael’s love for children was innocent, and it was profoundly misunderstood.”
Jackson, who died in 2009, was never convicted or held legally liable for any accusation of child sex abuse during his lifetime; he settled a civil claim in 1994 without admitting any wrongdoing, and he was acquitted at a criminal trial in 2005. But such allegations have continued to dog his legacy, most notably when Leaving Neverland amplified claims from two men, Wade Robson and James Safechuck, in disturbing detail.
The Jackson estate vehemently denies all claims of sexual misconduct and has called Leaving Neverland a “one-sided hit job,” suing HBO and getting the documentary removed from the streaming platform. Robson and Safechuck are continuing to litigate civil abuse claims against the estate.
Meanwhile, the estate has been extraordinarily successful at monetizing Jackson’s legacy. Despite the star dying with $500 million in debt, the estate has since generated more than $3 billion with catalog deals and new live shows exploiting the King of Pop’s intellectual property. The estate’s next project, the biopic Michael, is set for release next month.
The Jackson estate says it’s no coincidence that sex abuse accusers have come out of the woodwork now that it has deep pockets.
“Notably, these shakedown attempts come more than 15 years after Michael’s death, thus carrying no risk of being sued for defamation,” said Singer of the Cascio matter. “Sadly, in death just as in life, Michael’s talents and success continue to make him a target.”
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As previously reported, Moroney’s Cloud 9debuts at No. 1 on the Billboard 200 albums chart and Langley’s “Choosin’ Texas” rebounds for a second week atop the Billboard Hot 100 songs survey, after it first led three weeks earlier.
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Moroney and Langley make history as the first women who primarily record country music to rule Billboard’s premier all-genre song and album charts simultaneously, dating to the Hot 100’s August 1958 inception (after the Billboard 200 began publishing on a regular weekly basis March 1956).
In just four other weeks, men/women/group combinations placed country at No. 1 on the surveys together, just not two women in the same week.
Here’s a recap of the select five frames in which country titles (defined as those that have hit Billboard’s Top Country Albums or Hot Country Songs) have topped the Billboard 200 and Hot 100 together:
Date, Billboard 200 No. 1 / Hot 100 No. 1:
March 7, 2026, Cloud 9, Megan Moroney / “Choosin’ Texas,” Ella Langley
Oct. 26, 2024, Beautifully Broken, Jelly Roll / “A Bar Song (Tipsy),” Shaboozey
Aug. 31, 2024, F-1 Trillion, Post Malone / “A Bar Song (Tipsy),” Shaboozey
July 22, 2023, Speak Now (Taylor’s Version), Taylor Swift / “Last Night,” Morgan Wallen
April 30, 1977, Hotel California, Eagles / “Southern Nights,” Glen Campbell
Also contributing to the chart double-up for women artists, Miranda Lambert is among the co-writers and co-producers of “Choosin’ Texas.” Langley and Lambert co-penned the song with Luke Dick and Joybeth Taylor and co-produced it with Ben West. It became the first Hot 100 No. 1 for each talent; Moroney earns her first Billboard 200 leader.
Further sharing the achievement, Cloud 9 and “Choosin’ Texas” are both Sony Music Entertainment releases, the former on Megan Moroney / Columbia / Columbia Nashville / Sony Music Nashville and the latter on SAWGOD / Columbia (with country radio promotion by Triple Tigers).
Following the release of Moroney’s Cloud 9, “Choosin’ Texas” previews Langley’s album Dandelion, due April 10.
All charts dated March 7 will update on Billboard.com tomorrow, March 3.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 20:37:162026-03-02 20:37:16Megan Moroney & Ella Langley Become First Pair of Women in Country Music to Top Billboard 200 & Hot 100 Simultaneously
This week’s crop of fresh music, includes LeAnn Rimes‘ powerhouse ballad that connects with her current role on the series 9-1-1 Nashville. Rodney Crowell teams with Emmylou Harris and Lera Lynn for a powerful collaboration about finding hope in despair. Elsewhere, Joe Nichols gets vulnerable on his latest release, while Avery Anna and Trey Pendley also offer up new music.
Check out all of these and more in Billboard‘s roundup of some of the best country, bluegrass and/or Americana songs of the week below.
LeAnn Rimes, “Wild Things Run”
LeAnn Rimes returns with a deeply affecting new ballad about exalts a love both passionate and untamed one that manages to silence any doubters. The song, inspired by her role as Dixie on the series 911: Nashville, the song unfolds over an expansive melody, blending it with Rimes’ powerhouse soprano, proving that she remains one of country music’s most dynamic vocalists.
After anonymously releasing this song last year, Rodney Crowell teams up with Emmylou Harris and Lera Lynn for an official release. The song centers on finding hope in times of frustration and despair, and keeping in community with those who can offer comfort. Harris, Lynn and Crowell trade off verses and offer up luxurious harmonies on lines that both acknowledge pain and hope for a better future, such as “We’ll taste the bitter tears till the darkness disappears/ While we’re leaning on each other ’til we can hold our own.” Together, they create a stirring song of conviction and hope.
Joe Nichols, “Fighting the Good Fight”
Joe Nichols’ latest pairs a laid-back vocal and instrumentation with vulnerable, personal lyrics about overcoming his own childhood with a parent whose “tough love was a little too rough,” and ultimately finding a way to ensure his own children grow up experiencing a relationship marked by love, kindness and gentleness. As always, Nichols’ rich country vocal shines.
Avery Anna, “Man Downstairs”
Avery Anna follows recent collabs with Sam Barber and Max McNown with her newest release, which initially feels like a moody, post-breakup ballad, but quickly surges into a rage-fueled rocker with careening electric guitar and unyielding percussion. “I hope you have fun with the man downstairs,” she sings in a voice that brings a duality of honeyed sweetness and acerbic rage, making for a release that’s both elegant and assertive.
Trey Pendley, “Like a River”
On his new Podunk EP, Pendley includes this bluesy, romantic track. Over a mesh of banjo, pedal steel and organ, Pendley turns in one of his most soulful vocals to date turning a laid-back melody into a declaration of his adoration for a lover who showed up at the perfect time. “I’ll go where you wanna take me/ Couldn’t go backwards if I tried,” he sings. Straightforward and earnest, this intimate track is nicely delivered.
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Looking to relive Brat Summer? Charli xcx’s mockumentary The Moment is now available to stream in the comfort of your own home.
The “360” singer’s film received a limited screening in theaters, and grossed close to $428,000 on four screens for a per-theater average of $107,000, according toDeadline. If you didn’t get a chance to see the singer’s flick in theaters, both Apple TV and Amazon Prime Video have Charli’s certified Brat creation available to stream. If you’re still looking to get that theater experience, tickets to in-person showings of The Moment are still available on Fandango.
On Amazon, the film will be available starting Monday (March 2) at 9 p.m. ET. Those curious can pre-order the film for just $24.99 now. If you’d rather watch on Apple TV, all you need is a subscription to the streaming service, which will run you $12.99 a month. With your subscription, you’ll be able to watch The Moment on demand, along with other great titles featured in Apple TV’s extensive library.
The Moment is a mockumentary that follows Charli xcx as the singer gets ready for her debut arena tour. The satire flick features Charli along with actors Alexander Skarsgård, Rachel Sennott and a cameo from Kylie Jenner.
Directed by Aidan Zamiri and produced by Charli in collaboration with David Hinojosa, The Moment is a unique romp through the singer’s Brat brainchild. The film is set to release Jan. 30, according to A24. Alexander Skarsgård plays a high-profile director hired to film Charli’s show, blurring the lines between reality and fiction. The movie also stars Rachel Sennott and features a cameo from Kylie Jenner.
In short, the film aims at taking a closer look at the cultural phenom that was Brat, Charli’s 2024 album. On theBillboard charts, collaborative tracks off the album such as “Guess” featuring Billie Eilish and “Sympathy Is a Knife” with Ariana Grande made the top 50, landing at 12 and 36, respectively.
The Brat takeover was an interesting one, given Charli had been making music for more than 15 years with plenty of hits under her belt, from “Boom Clap” to her feature work on hits such as Iggy Azalea’s “Fancy” to “I Love It” by Icona Pop. Her rise poses an interesting question about fame and when artists really “make” it, a notion that is heavily explored in memes such as the infamous “Khia asylum,” of which Charli was a former member. The same can be said for artists including Zara Larsson, who is currently having a moment thanks to her track “Midnight Sun,” although she’s been pumping out hits since 2015.
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Ella Langley’s “Choosin’ Texas” twirls back to No. 1 on the Billboard Hot 100, adding a second week atop the chart. Up from the runner-up spot, it first led the list three weeks earlier.
Meanwhile, as “Choosin’ Texas” rules the Hot 100, Megan Moroney’s Cloud 9debuts atop the Billboard 200 albums chart — making Langley and Moroney the first women who primarily record country music to lead Billboard’s premier all-genre song and album charts simultaneously, dating to the Hot 100’s August 1958 inception (after the Billboard 200 began publishing on a regular weekly basis March 1956; in four other weeks, men/women/group combinations placed country music at No. 1 on the surveys together, but not two women in the same week).
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Also contributing to the chart double-up for women artists, Miranda Lambert is among the co-writers and co-producers of “Choosin’ Texas.” Langley and Lambert co-penned the song with Luke Dick and Joybeth Taylor and co-produced it with Ben West. It became the first Hot 100 No. 1 for each talent; Moroney earns her first Billboard 200 leader.
“Choosin’ Texas” previews Langley’s album Dandelion, due April 10.
Plus, Alex Warren’s former Hot 100 No. 1, “Ordinary,” reaches a milestone in the chart’s top three.
Check out the full rundown of this week’s Hot 100 top 10 below.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated March 7, 2026) will update on Billboard.com tomorrow, March 3. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.
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.
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Kehlani’s “Folded” and sombr return to the top 10 of the Hot 100. Taylor Swift’s “Opalite” reached No. 1 last week, but will she be able to hold on to it this week?
Tetris Kelly: This is the Billboard Hot 100 top 10 for the week dated March 7. “Folded” is in at No.10. Sombr is up to nine. Bad Bunny slips to eight, “The Fate of Ophelia lifts to seven. “Golden” is up to No. 6, as is “I Just Might” to five. “Opalite” falls to No. 4. “Ordinary” is at No. 3. “Man I Need” is at its No. 2 peak. And returning to No. 1 is Ella Langley’s “Choosin’ Texas.”
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Megan Moroney earns her first No. 1 on the Billboard 200 albums chart, as Cloud 9 debuts atop the list dated March 7. The set is the singer-songwriter’s third studio effort and starts with 147,000 equivalent album units earned in the United States in the week ending Feb. 26, according to Luminate. That marks the biggest week for a country album by a woman in nearly two years.
Also in the top 10 of the latest Billboard 200, Hilary Duff’s first album in more than a decade, luck… or something, starts at No. 3; Baby Keem notches his highest-charting album yet with the No. 4 arrival of Ca$ino; and Mumford & Sons score their sixth top 10 with the No. 10 bow of Prizefighter.
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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 7, 2026-dated chart will be posted in full on Billboard‘s website on March 3. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Cloud 9’s 147,000 equivalent album units earned in the latest tracking week, album sales comprise 78,000 (Moroney’s best sales week; it debuts as her first No. 1 on Top Album Sales), SEA units comprise 69,000 (equaling 71.54 million on-demand official streams of the set’s tracks, her best streaming week; it debuts at No. 2 on Top Streaming Albums) and TEA units comprise a negligible sum.
Cloud 9 is the second top 10, and third chart entry, for Moroney. She previously hit the chart with Am I Okay? (No. 9 in 2024) and Lucky (No. 38 in 2023). Cloud 9 also marks the first country album by a woman to be No. 1 on the Billboard 200 since Beyoncé spent two weeks atop the list with her first country effort, Cowboy Carter, on the charts dated April 13 and 20, 2024.
Among country albums by women, Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (90.08 million in its third week; April 27, 2024, chart).
Few country albums by women have reached No. 1 on the Billboard 200 in the past 10 years (dating to March 2016): just seven albums by five women. They are: Cloud 9, Cowboy Carter, Taylor Swift’s Speak Now (Taylor’s Version) in 2023, Red (Taylor’s Version) in 2021 and Fearless (Taylor’s Version) in 2021, Carrie Underwood’s Cry Pretty in 2018 and Shania Twain’s Now in 2017. In the same 10-year span, 17 country albums by 11 different men have hit No. 1.
Cloud 9’s first-week sales got a boost from its availability across five vinyl variants (including a signed edition and a Target-exclusive version with two bonus tracks), three CD variants (including a signed edition, and a Target-exclusive version with two bonus tracks) and four deluxe boxed sets containing a piece of branded clothing and a copy of the CD.
The album was preceded by four charting tracks on Billboard’s charts, all of which reached the top 40 on the Hot Country Songs chart (“6 Months Later,” “Beautiful Things,” “Wish I Didn’t” and the title track). “6 Months Later” also scored Moroney her highest-charting hit on the all-genre Billboard Hot 100 when it reached No. 29 in January.
Bad Bunny’s DeBÍ TiRAR MáS FOToS falls to No. 2 on the Billboard 200, with 85,000 equivalent album units earned (down 37%).
After more than a decade, Hilary Duff returns to the Billboard 200 chart with luck… or something debuting at No. 3. The set, her first studio album since 2015’s Breathe In. Breathe Out., arrives with 84,000 equivalent album units earned. Of that sum, album sales comprise 73,000 (her best sales week since 2007; it debuts at No. 2 on Top Album Sales), SEA units comprise 11,000 (equaling 11.51 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.
In total, luck… or something gives the singer-actor her fifth top 10, following Breathe In. Breathe Out. (No. 5 peak in 2015), Dignity (No. 3, 2007), Most Wanted (No. 1, 2005), her self-titled effort (No. 2, 2004) and Metamorphosis (No. 1, 2003).
The new album’s first-week sales were aided by its availability across seven vinyl variants (including a signed edition), three CD variants (including a signed edition, and a Walmart-exclusive edition with seven bonus tracks), a deluxe boxed set containing a branded shirt and a signed CD, and a deluxe digital download edition with 11 bonus tracks (including the seven bonus Walmart tracks, plus four additional cuts).
The new album was preceded by the chart hit “Roommates,” which has reached the top 20 of the Adult Pop Airplay chart and the top 30 of Pop Airplay.
Baby Keem clocks his second top 10 — and highest-charting album yet — as Ca$ino cashes in with a No. 4 debut. The set earned 72,000 equivalent album units in its first week. Of that sum, SEA units comprise 55,500 (equaling 56.67 million on-demand official streams of the set’s songs; it debuts at No. 5 on Top Streaming Albums), album sales comprise 16,500 (his best sales week, it debuts at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.
Ca$ino is the rapper’s third chart entry, following The Melodic Blue (No. 5 peak in 2021) and Die for My Bitch (No. 162, 2020). The new album’s first-week sales benefited from its availability on vinyl, CD and two deluxe boxed sets (each containing branded merch and a copy of the CD).
Morgan Wallen’s chart-topping I’m the Problem moves 4-5 on the latest Billboard 200 (nearly 71,000 equivalent album units earned, down 8%) and Don Toliver’s former No. 1 OCTANE falls 3-6 (68,000 units, down 13%). Olivia Dean’s The Art of Loving dips 5-7 (61,000 units, down 15%) while two former No. 1s follow, as J. Cole’s The Fall-Off slides 2-8 (53,000 units, down 34%) and Swift’s The Life of a Showgirl is a non-mover at No. 9 (44,000 units, down 13%).
Rounding out the top 10 is Mumford & Sons’ Prizefighter, punching in at No. 10 with nearly 44,000 equivalent album units earned. It’s the sixth top 10-charted effort for the band, and comes less than a year after its previous studio release, Rushmere. Of the new album’s first-week units, album sales comprise 25,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 18,500 (equaling 18.69 million on-demand official streams of the set’s songs, it debuts at No. 32 on Top Streaming Albums) and TEA units comprise 500.
The album was preceded by the radio-promoted single “Rubber Band Man” (featuring Hozier), which notched 10 nonconsecutive weeks atop the Adult Alternative Airplay chart from November through February. It also peaked at No. 2 on Alternative Airplay.
Prizefigher’s first-week sales got a lift from its availability across seven vinyl variants (including a signed edition) and four CD variants.
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.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 19:25:462026-03-02 19:25:46Megan Moroney Earns First No. 1 Album on Billboard 200 Chart With ‘Cloud 9’
The California Supreme Court has refused Tory Lanez’s bid to overturn his convictions for shooting Megan Thee Stallion, effectively affirming his 10-year prison sentence.
In an order issued last week, the state’s top court denied a petition for review filed by the singer (Daystar Peterson), who was found guilty in 2022 of shooting Megan (Megan Pete) in the foot during a drunken argument on a Hollywood Hills street.
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Lanez and his supporters have long maintained his innocence, arguing there’s insufficient proof he was the shooter and that he received an unfair trial. But a lower appeals court rejected that argument in November, upholding the conviction and his lengthy prison sentence.
The new order by the Supreme Court, issued Wednesday (Feb. 25), refused Lanez’s request for the high court to review that earlier ruling. Like the U.S. Supreme Court, California’s highest court hears only a small fraction of the cases it receives.
The order comes more than five years after the July 12, 2020, shooting, which happened as a driver was shuttling Lanez, Megan and her assistant/friend Kelsey Harris from a party at Kylie Jenner’s house. According to prosecutors, when Megan got out of a vehicle and began walking away, Lanez shouted “Dance, b—h!” and fired a gun at her feet, striking her once.
Following the incident, Megan initially told police officers that she had cut her foot stepping on broken glass, but days later alleged that she had been shot. Lanez was eventually charged with the shooting in October 2022.
During a blockbuster trial in Los Angeles court, Lanez’s lawyers tried to sow doubt over who had really pulled the trigger, painting a scenario in which Harris could have been the shooter. But a key defense witness offered confusing eyewitness testimony, and prosecutors pointed to an earlier interview in which Harris pinned the blame squarely on Lanez. Megan herself offered powerful testimony that Lanez had been the one to shoot her, and neither Lanez nor the driver took the witness stand.
Lanez and his supporters have refused to accept that verdict, calling it a “miscarriage of justice.” His legal team has filed multiple forms of appeal to challenge the verdict, each of which has now been rejected. They have also repeatedly made public claims about new or alternative evidence that allegedly exonerates him, but Megan’s reps and prosecutors strongly deny that.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 19:25:452026-03-02 19:25:45Tory Lanez Appeal Rejected by California Supreme Court in Megan Thee Stallion Shooting Case
