Jack White has once again turned his focus to U.S. politics, putting President Donald Trump and Elon Musk in his sights at a recent performance.

White is currently in the midst of his global No Name tour, which has seen him perform a number of concerts in areas as diverse as central America, Asia and Oceania in recent months. As Consequence of Sound points out, Feb. 18 saw White wrapping up a brief run of gigs in Canada and the northeastern U.S., closing out the dates with two nights at the Roadrunner in Boston.

During his main set, White shared a rendition of his 2018 single “Corporation,” which originally featured on his third solo album Boarding House Reach, and typically begins with the line “I’m thinking about starting a corporation. Who’s with me?”

In the version played in Boston, White switched up the lyrics to offer a sharp-tongued takedown of Musk, leaning on the Tesla CEO’s involvement in the current administration after debuting the new line, “I was thinking about becoming an oligarch, who’s with me?”

“I was thinking about taking government subsidies and starting my own electric car company. Who’s with me?” White sang. “I’m thinking about not being elected. Never holding a public office. Never serving one day of military service. But somehow having the authority to control parts of the U.S. Government. Who’s with me?

“I’m thinking about not being properly vetted by the Supreme Court or Congress, just doing whatever the hell I want because some fucking bloated asshole orange fucking gorilla who’s failed at every business he’s ever ran wants me to be his golf cart partner!”

This isn’t the first time that White has changed his lyrics to reflect his distaste towards Trump. Previously, The White Stripes sold “Icky Trump” shirts during the President’s successful 2016 campaign, altering the title to their 2007 song “Icky Thump” in the process. In 2018, White performed the song with new lyrics that specifically called out the President by name.

More recently, White reacted to Trump’s 2024 election win by sharing a lengthy social media post in early November to express his disbelief at the state of U.S. politics.

“Americans chose a known, obvious fascist and now America will get whatever this wannabe dictator wants to enact from here on in,” he wrote. “It’s absolutely dumbfounding that this con man succeeded in pulling the wool over so many Americans eyes not once, but twice.”

White has since returned to the road since his February performance, appearing in Europe and the U.K. before his current Japanese leg. However, he’s yet to perform “Corporation” again since the Boston show.

The U.K. streaming market rose to record levels in 2024 as it crossed the £1 billion ($1.28 billion) revenue barrier for the first time, according to annual figures from labels trade body BPI published Wednesday (March 12). 

Subscription, ad-supported and video-streaming revenue totaled £1.02 billion ($1.3 billion) to make up 68.1% of the country’s recorded music revenue, a rise of 5.7% compared to the previous year. In an accompanying statement, the BPI suggested that the increase is in part the result of multiple streaming platforms raising their subscription prices.

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Combined with sales of physical music and digital downloads, along with synch and public performance revenue, the U.K. recorded music market saw total revenue rise 4.8% to £1.49 billion ($1.9 billion), marking a decade of continuous growth. The report notes that since 2014, annual streaming revenue has increased by more than 800% to become the dominant format for recorded music in the U.K.

The 2024 revenue figure is the highest ever achieved in the U.K. in one year. However, after adjusting for inflation, annual revenue is still hundreds of millions of pounds lower compared to where the music industry should have been in real terms since 2006, the first year when public performance and synch were included in the annual total, reports the BPI.

Breaking down streaming revenue, ad-supported streams enjoyed the biggest annual growth in the market last year with an 8.9% increase to £77.9 million ($100 million). However, paid subscriptions to services such as Amazon, Apple, Spotify and YouTube continue to make up the vast majority of total streaming revenue, bringing in £875.5 million ($1.13 billion) in 2024.

Although the physical market generated more revenue in the U.K. than in any year since 2017, growth slowed last year despite high vinyl and CD sales of new albums by artists including Coldplay (Moon Music), Sabrina Carpenter (Short n’ Sweet) and Taylor Swift (The Tortured Poets Department). Total revenue from vinyl, CD and other physical music formats increased by 1.3% in 2024 to £246.5 million ($317.9 million) after climbing 12.8% the year before. Within this, revenue generated by vinyl LPs rose by 2.9% to £145.7 million ($188.2 million), while CD revenue fell by 0.5% in 2024 to £96.7 million ($124 million).

Despite slowing growth in physical formats, the BPI attributed the continued strength in vinyl partially to the enthusiasm of new generations of music fans. In 2024, eight of the year-end top 10 across vinyl were current records, led by Chappell Roan (The Rise And Fall Of A Midwest Princess), Charli XCX (Brat) and Fontaines D.C. (Romance). In 2014, half of the top 10 sellers were catalogue titles.

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At the start of the decade, CD revenue in the U.K. suffered from a series of year-on-year double-digit percentage declines, but over the last three years, it has stabilized. Like vinyl, the CD market is led by new releases.

Elsewhere, public performance revenue climbed 5.6% year-on-year to £161.7 million ($206.5 million), while synch revenue ended the year with a new annual high of £43.9 million ($56.7 million).

In terms of individual songs, four singles generated more than 200 million audio and video streams last year: Noah Kahan’s “Stick Season” with 233.1 million streams, Benson Boone’s “Beautiful Things” with 219.3 million streams, Carpenter’s “Espresso” with 202.8 million streams and Teddy Swims‘ “Lose Control” with 201.6 million streams. Kahan and Carpenter’s tracks each spent seven weeks atop the Official U.K. Singles Chart, while Boone enjoyed two weeks atop the summit. Swims, meanwhile, peaked at No. 2 but earned the most-downloaded single of 2024 in the U.K., with 67,000 units sold.

More than a dozen other tracks scored over 100 million audio and video streams in the U.K. in 2024. These included “Stargazing”, the breakthrough hit by BRITs Rising Star 2025 winner Myles Smith, as well as releases by fellow British artists Cassö, RAYE, D-Block Europe (“Prada”), and Artemas (“I Like The Way You Kiss Me”). 

Despite gains in each area of the U.K. recorded music market, Dr. Jo Twist, BPI’s CEO, stressed the importance of raising awareness around the government’s potential future approach to generative artificial intelligence training. At present, a data mining exception to copyright law is being discussed, meaning that AI developers could use songs for AI training in instances where artists have not “opted out” of their work being included. 

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Last month, over 1,000 artists, including Kate Bush, Damon Albarn, Annie Lennox and Hans Zimmer, contributed to a new “silent” album to protest this proposal. Titled Is This What We Want?, the album featured recordings of empty studios. In an accompanying statement, the use of silence was said to represent “the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.”

“After a decade of growth, it is all too easy to take for granted the success of UK recorded music and the vital role record businesses play in this, underpinned by copyright, by investing billions to nurture and promote diverse talent from across the UK,” said Twist in a statement. “But in the face of intensifying global competition, it’s essential they’re empowered by a supportive policy environment to keep British artists on the world’s top step.

“Crucially, this requires the exciting potential of AI to be realised by the government safeguarding the UK’s gold-standard copyright framework and not siding with global big tech at the expense of human artistry and our world-leading creative industries,” Twist continued.

Concord is an advanced talks to acquire music distributor Stem, according to multiple sources close to the talks.

Los Angeles-based Stem is a 10-year-old digital distributor that gives independent artists ownership of their works and retains a distribution fee. Nashville-based Concord has vast music publishing and recorded music catalogs that include the compositions of Rodgers & Hammerstein, classical music publishing company Boosey & Hawkes, and the catalog of Round Hill Music, which it purchased in 2023 for $469 million.

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Financial terms are unknown, but a report at Music Business Worldwide claims the deal could reach $50 million. The Hollywood Reporter cites sources as saying that figure “is wildly inaccurate” and that negotiations could result in a partial sale.

Stem would help Concord in its ambition to develop its frontline business. While Concord’s annual revenue is split roughly 50-50 between its publishing and recorded music divisions, it has notched more publishing hits, such as Miley Cyrus’ “Flowers,” which Concord owns a piece of through Tyler Johnson’s co-writing credit. In September, Concord merged its Concord Records and Fantasy Records into a single label, naming Margi Cheske and Mark Williams as co-presidents.

Concord’s frontline record label business includes Rounder Records, Concord Jazz, Fearless Records, Concord Theatrical Recordings and the Kidz Bop franchise. Concord also has joint ventures in Loma Vista Recordings with Tom Whalley; Easy Eye Sound with Dan Auerbach; and PULSE Records with PULSE Music Group. Launched in 2023, PULSE Records saw major success with Tommy Richman’s 2024 hit “Million Dollar Baby.” Billboard estimates the song generated $4.99 million from on-demand audio streams and digital song sales, based on Luminate data.

Stem, which raised $40 million in three fundraising rounds from 2017 to 2022, has been looking for a strategic investor since at least last year to give it access to more funding for artist advances after losing a series of stars to major labels. Competition for artists seeking distribution deals had picked up enough that Stem “lost numerous deals historically as it wasn’t able to be competitive with advances,” according to a Stem pitch deck Billboard obtained in 2024.

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In 2023, Stem secured a $250 million credit facility from Victory Park Capital to expand its advance check product, which has funded projects by Brent Faiyaz and Justine Skye. That line of credit was “restrictive,” a source with knowledge of the company tells Billboard, because it was doled out on a deal-by-deal basis, requiring each artist’s project to recoup its own advance. Lewis says a better option is to borrow against the whole company’s balance sheet so that if one artist’s project flops, the loan can be repaid by a successful one.

“Music is a hit-driven business, and you need to have capital that understands that and is willing to allow you to take the risk across multiple projects, knowing that the overall portfolio will perform,” this person says.

It was for that reason that Stem was looking for equity investors rather than debt. Outside investors, many from the venture capital world, already own a majority of Stem’s equity. Stem’s decision to provide artists with advances came at a time when interest rates were lower than they are today, and one industry source speculates that rising interest rates were a pressing matter for Stem. Concord would likely be able to provide Stem with a lower cost of capital, this source tells Billboard. Concord has raised more than $3 billion from three asset-backed securities led by Apollo Global Management.

Warner Music Group (WMG) has also been in the market for a distribution company, having passed on an opportunity to acquire TuneCore owner Believe in 2024. But speaking at a Morgan Stanley conference on Monday (March 11), WMG CEO Robert Kyncl suggested the company could build rather than buy a distributor at the going rates. “I’ve looked at all distribution companies over the last 18 months … and what I can tell you is that we’re not willing to grow this at all costs,” Kyncl said.

Two-time CMA entertainer of the year winner Luke Bryan has notched 26 No. 1 chart-toppers since his debut in 2007 with “All My Friends Say,” so it’s safe to say he’s knows a thing or two about choosing a hit song.

But every artist has songs they’ve passed on and later regretted not recording. For Bryan, one of those songs is a certain Morgan Wallen hit that reached No. 1 on the Country Airplay chart in 2022.

During an appearance on radio/media personality Bobby Bones’ BobbyCast, Bryan discussed passing on the song. “There was a point in my career where I had sang about trucks enough to where I…I passed, stupidly, on the Morgan [Wallen song] ‘Sand in My Boots,’ because it had Chevrolet in it,” Bryan said, referring to a line in the song’s chorus that goes, “But now I’m dodging potholes in my sunburnt Silverado.”

Asked by Bones if the song had too much truck imagery in it for Bryan at the time, Bryan said, “I just went through two years of my life where I was like, ‘I sing about trucks a lot, I sing about tailgates.’ I think I got in my head a little bit because I think I had a lot of negativity, socially, on socials, that I was getting pegged as maybe a one trick pony in that lane.”

“You’re also a victim of your own success,” Bones noted, to which Bryan responded, “Which happens…I’ll take that any d— day of the week.”

In the interview, Bryan would go on to note the pros and cons of building a hit career that features so many light-hearted hit songs such as “Country Girl (Shake It For Me)” and “That’s My Kind of Night,” combined with his outgoing personality–though Bryan has also released more somber songs including “Do I,” “Drink a Beer,” and the fan-favorite “We Rode in Trucks.”

“I think no matter how people wanna categorize me, I think generally think my personality is ‘Let’s have some fun,’” Bryan said, saying he felt that though his hit songs and megawatt personality have drawn in legions of fans, those same attributes caused him to be overlooked at times when it comes to certain awards categories.

“If I don’t get male vocalist of the year, and Grammys or whatever because I may be known as the guy that has had fun through throughout his career and put out a lot of fun songs, I’m cool with that,” Bryan said. “I think, vocally, I may have been overlooked for that party-ness. I think there’s stuff out there that I’ve done vocally, that certainly it’s not Chris Stapleton vocals and Ronnie Dunn vocals and the guys who are really, really known as vocalists, but I think I might have gotten overlooked in that a little bit, which is fine.”

Still, knowing the grind it takes for any rising artist to truly see their career take off, he feels his personality has been a key factor in his rise to hitmaker and headliner. “Every artist that makes the leap from throwing out some radio hits, they’ve gotta have something that takes them to that…I didn’t ever know I’d be like what’s termed a ‘superstar’…Every time somebody introduces me as ‘Country Music superstar, Luke Bryan,’ it still freaks me out. I’m still like, ‘How in the hell did I pull that title off?’ So when you look at somebody that goes from climbing, digging, digging…one hit, two hit, three, four, then next thing you know they blow up to be a superstar, there’s something about ’em that made that happen. And with me, I think it was my personality and willingness onstage to just go for whatever, to dance and cut up. I think that was different enough to set me apart.”

See Bryan’s full appearance on the BobbyCast below:

Acclaimed composer Hans Zimmer has reflected on his inability to add another Academy Award to his shelf thanks to Dune: Part Two, noting his disqualification was simply due to a “a stupid rule.”

The German composer has spent more than 35 years working on crafting scores for Hollywood films, with his efforts resulting in two Academy Awards for his efforts. From 12 nominations at the Oscars, Zimmer has taken home the best original score award just twice, once in 1995 for The Lion King, and again in 2022 for his work on Dune.

With director Denis Villeneuve releasing Dune: Part Two in March 2024, many fans could have expected Zimmer to add another feather to his cap thanks to the nascent entry in the franchise. However, in October, Variety reported that Zimmer’s score for the film was deemed ineligible for submission to the Academy Awards due to “surpassing the Academy’s limit on pre-existing music.”

According to the Academy’s rule: “In cases such as sequels and franchises from any media, the score must not use more than 20% of pre-existing themes and music borrowed from previous scores in the franchise.” Due to Zimmer’s score for Dune: Part Two incorporating elements and key cues from the Oscar-winning score to 2021’s Dune, it was therefore deemed ineligible for submission.

Though Villeneuve and the film’s team were undeterred in their efforts for Zimmer to be recognized for his work, the score was ultimately disqualified and did not appear on the ballot for consideration. The film did however receive a total of five nominations, taking home best sound and best visual effects at the ceremony on March 2.

In a new interview with the Happy Sad Confused podcast, Zimmer reflected on the small controversy when host Josh Horowitz asked if the disqualification was a “sore point” for the composer.

“It’s not really a sore point. It’s just such a stupid point – how can it be a sore point?” Zimmer asked. “I got disqualified because I was using material from the first movie in the second movie, but it’s not a sequel. It is the completion of the arc, both movies are one arc. 

“So was I supposed to go and take all the character themes away and write new character themes and develop them?” he added. “It’s just a stupid rule. What I didn’t want to do is go and bitch about it.”

Zimmer’s recent comments also continue on from what he told Variety back in October, stating his belief that Dune: Part Two is simply a continuation of the narrative begun in the first film.

“It’s called Dune: Part Two, not Dune 2,” he explained. “The story starts the second we finish the first movie. We are still within that story, those characters, and it would be foolish and completely uncinematic to go and write new themes for the characters instead of enlarging the theme.”

Zimmer is planning to return for Villeneuve’s next film in the series, with Dune: Messiah reportedly set to begin filming in mid-2025.

When we say j-hope is comfortable on the stage, we mean from his head all the way down to his fuzzy feet.

On Monday night’s (March 10) episode of The Tonight Show Starring Jimmy Fallon, the BTS star will make his solo debut performance on the late-night show, joined by R&B singer Miguel for their new collaboration “Sweet Dreams.”

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In exclusive photos shared with Billboard, j-hope can be seen under the neon Tonight Show sign, wearing jeans with large leather patches on the legs, a black vest-and-blazer combo, and adorable brown bunny slippers on his feet. We can also see Miguel in the pics, wearing a black suit and a bandana tied around his head.

THE TONIGHT SHOW STARRING JIMMY FALLON -- Episode 2105 -- Pictured: (l-r) on Monday, March 10, 2025 -- (Photo by: Todd Owyoung/NBC)
THE TONIGHT SHOW STARRING JIMMY FALLON — Episode 2105 — Pictured: (l-r) on Monday, March 10, 2025 — (Photo by: Todd Owyoung/NBC)

“Sweet Dreams” is j-hope’s first proper release since his special album Hope on the Street Vol.1, which arrived a year ago this month. The project reached No. 5 on the  Billboard 200, his highest solo peak on the chart to date.

THE TONIGHT SHOW STARRING JIMMY FALLON -- Episode 2105 -- Pictured: (l-r) on Monday, March 10, 2025 -- (Photo by: Todd Owyoung/NBC)
THE TONIGHT SHOW STARRING JIMMY FALLON — Episode 2105 — Pictured: (l-r) on Monday, March 10, 2025 — (Photo by: Todd Owyoung/NBC)

Back in 2018, J-Hope’s superstar group BTS — also comprised of SUGA, Jin, RM, Jimin, V and Jung Kook — joined The Tonight Show for the first time and performed the Billboard Hot 100 No. 11 hit “Idol” and “I’m Fine.” In 2020, the boys made multiple Tonight Show appearances — including a couple of virtual performances on the show during the COVID-19 pandemic — before returning again in 2021 for performances of their No. 1 hits “Butter” and “Permission to Dance.”

To catch j-hope’s performance, tune in to The Tonight Show Starring Jimmy Fallon at 11:35 p.m. ET/PT Monday night on NBC.

THE TONIGHT SHOW STARRING JIMMY FALLON -- Episode 2105 -- Pictured: (l-r) on Monday, March 10, 2025 -- (Photo by: Todd Owyoung/NBC)
THE TONIGHT SHOW STARRING JIMMY FALLON — Episode 2105 — Pictured: (l-r) on Monday, March 10, 2025 — (Photo by: Todd Owyoung/NBC)

An unexpected appearance by Ms. Lauryn Hill and Wyclef Jean was just one of the many riveting moments at the celebration of life honoring the legendary Roberta Flack inside Harlem, New York’s Abyssinian Baptist Church on Monday (March 10).

Among the additional stars, executives, friends and family lifting up their voices in tribute to the pioneering singer-songwriter-musician-activist were Stevie Wonder, Valerie Simpson, Phylicia Rashad, Dionne Warwick, Alicia Keys, India.Arie, Peabo Bryson and Clive Davis. Flack died on Feb. 24 at age 88.

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Before segueing into a beautiful and measured take on the Flack classic “The First Time Ever I Saw Your Face,” an emotional Hill sniffled her way through reflections about her late idol. “We weren’t formally asked to do this because I think they were a little shy in asking us to attend,” Hill began. “So we kind of bum-rushed the service because it really wouldn’t be possible for us to just stand by and not participate.

“The artistry of Ms. Roberta Flack was beyond trailblazing,” Hill continued in part. “Like Nina Simone, she carved out for me a pathway of soulful Black intellectual sublime beauty that not only spoke to Black resistance directly in lyric and statement, but was Black resistance to racism, bigotry and limitations by virtue of its existence. … She didn’t just write about the beauty; she was the beauty. She didn’t just write about resistance; her existence was a form of resistance. She wrote our stories in forms the established authorities of the time could not deny; compositions wrapped with graceful classical forms and nuances that would not nor could not be dismissed. … I thank my parents for introducing me to her masterful music. Thank you to our Father in Heaven, to our God on high for blessing and enriching all of our lives with her presence and undeniable gifts. Roberta Flack is legend.”

Met with resounding applause, cheers and a standing ovation inside the packed church, Hill and Jean — accompanied by a pianist and three backing vocalists — launched into a sing-along of the Fugees’ hit reinterpretation of the Flack gem “Killing Me Softly With His Song.” Adding an extra touch to the performance: Wonder standing in the church aisle playing the harmonica.

Following next on the program, Wonder prefaced his musical contribution with insightful comments that touched on Flack’s artistry as well as her commitment to activism. “The great thing about not having the ability to see with your eyes is the great opportunity in being able to see even better with your heart,” he shared. “So I knew how beautiful Roberta was. I celebrate that because I see that so much of the world and yes, this nation too, must be blind at this point … and it breaks my heart. And Roberta, I want to just say to you in spirit, I thank you for letting me hear your voice, letting me know your spirit, letting me know your heart and letting me be able to share with you songs that I was writing.”

One of those songs was “If It’s Magic.” Accompanied solely by a harpist, Wonder delivered a piercing take on the track, which is featured on his award-winning double album Songs in the Key of Life. Joined afterwards by the harpist and a conga player as he sat at the piano, Wonder performed a song that he wrote for Flack, “I Can See the Sun.” Noted Wonder at the end, “She spread love all over this world.’

Songwriter Hall of Fame member Valerie Simpson (along with late husband Nick Ashford) also sat down at the piano for an improvised take on one of Ashford & Simpson’s signature hits “Ain’t Nothing Like the Real Thing,” in salute to Flack’s artistic authenticity. Among the other memorable performances was famed backing vocalist Lisa Fischer’s searing and soaring version of “Somewhere (There’s a Place for Us)” from West Side Story. Also sharing their reflections and memories were actress Phylicia Rashad, Flack’s cousin Carol Flack, Flack’s longtime manager/friend Suzanne Koga and family friend Santita Jackson. Jackson, a singer who once toured with Flack, said her father Rev. Jesse Jackson wanted her to remind attendees of one important fact: that Flack “was the perfect blend of soul and science; she put her ego to the side and just sang the song. A pure genius.”

Rounding out Flack’s celebration of life were video clips featuring reflections from a diverse range of artists and industry personages such as Clive Davis (“There will never be another Roberta Flack”), Oprah Winfrey, Alicia Keys, India.Arie, Peabo Bryson, Dionne Warwick, Les McCann and Yoko Ono. Letters from former vp Kamala Harris and Recording Academy CEO Harvey Mason jr. were read as well. Rev. Al Sharpton delivered the eulogy; presiding over the memorial service was Abyssinian Baptist Church’s Rev. Dr. Kevin Johnson. The celebration program also noted that donations in Flack’s memory can be sent to the RobertaFlackFoundation.org.

Benny Blanco turned 37 years old on Saturday (March 8), and Selena Gomez celebrated her fiancé’s birthday with an adorable Instagram post.

“I’m not sure what I did to deserve you but damn am I glad you were born.. happy birthday baby,” the “Love You Like a Love Song” singer wrote alongside photos of the pair snuggling up and smiling together.

See her post here.

As part of their weekend celebration, Gomez and Blanco returned to the restaurant where they had their first date, Jitlada Restaurant, an authentic Thai food joint in Los Angeles. In a video shared by the Grammy-winning producer to his Instagram page, the duo team up with the restaurant’s owner, Sarin “Jazz” Sing, to remake the shrimp they enjoyed on their first date.

The couple is visibly excited to be cooking up the fried shrimp with curry, dipping the shellfish in tapioca flour before frying them up and pouring the lemongrass-flavored curry over the dish. At the end of the video, Gomez smiles to the camera as she takes a bite of the delicious meal.

See the post here. Sing also took to the comment section of the video, sweetly writing, “Love and appreciate you so much can’t wait to to cook on your wedding you both are so kind to me.”

The couple began dating in June 2023, and got engaged late last year. Gomez shared the happy news with a Dec. 11 Instagram carousel featuring her marquise-cut engagement ring, along with the caption, “forever begins now..”

J Balvin and Feid’s “Doblexxo” snags the No. 1 spot on Billboard’s Latin Airplay chart as the song climbs 6-1 for its first week atop the March 15-dated list. The song lands at the summit in its 13th week.

“I feel super excited to know that our fans have embraced this song in such a way,” Balvin tells Billboard. “Feid’s talent is undeniable and our chemistry when it comes to making music has always been amazing. I can’t wait to sing ‘Doblexxo’ live during my upcoming Rayo tour.”

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In the tracking week ending March 6, “Doblexxo” pulled 8.4 million audience impressions earned in the U.S., according to Luminate; that’s a 32% gain from the week prior when the song generated 6.1 million.

With “Doblexxo,” Balvin achieves his record-extending 37th No. 1s since the Latin Airplay chart began in 1994, opening a wider gap from his next competitor (Ozuna, 34 champs). Feid bags his ninth ruler. The latter last reached the top with “Si Sabe Ferxxo,” with Blessd, which spent a week at No. 1 in June 2024.

Except for 2024, Balvin has placed at least one champ every year during his decadelong No. 1 chart career, dating back to “6AM,” featuring Farruko (May 2014). He completed his most lucrative period in 2022, placing nine No. 1 hits between February and October then. The year before, Balvin reached his second-best run, with six No. 1s in 2019.

Good reception across Latin rhythmic stations also spurs its coronation on the Latin Rhythm Airplay chart, where “Doblexxo” jumps 3-1. There, Balvin also stands firmly ahead of the rest, with 37 No. 1s. (Daddy Yankee follows with 35.)

The song’s 13-week climb to No. 1 marks a longer stride to the top than Balvin and Feid’s past pair-up, “Porfa” — where Maluma, Nicky Jam, Sech and Justin Quiles are also part of the billing — as it ruled after eight weeks in August 2020.

“Doblexxo” is the fourth radio promoted single from Balvin’s sixth studio album Rayo, which debuted and peaked at No. 5 on Latin Rhythm Albums last August.

All charts (dated March 15, 2025) will update on Billboard.com tomorrow, March 11. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Kendrick Lamar’s GNX returns to No. 1 on the Billboard 200 for a third nonconsecutive week on top. The set climbs 3-1 (on the March 15-dated chart) with 90,500 equivalent album units earned in the U.S. in the week ending March 6 (down 15%), according to Luminate. GNX debuted atop the chart dated Dec. 7, 2024, and returned to the top on the Feb. 22-dated chart in the wake of its physical release and Lamar’s Super Bowl LIX halftime show (Feb. 9).

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Meanwhile, the lone debut in the top 10 is LISA, whose first full-length studio album, Alter Ego, enters at No. 7. She becomes the second member of the chart-topping group BLACKPINK to notch a solo top 10 effort, following ROSÉ.

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 March 15, 2025-dated chart will be posted in full on Billboard‘s website on March 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of GNX’s 90,500 equivalent album units earned in the latest tracking week, SEA units comprise 73,000 (down 15%, equaling 103.14 million on-demand official streams; it holds at No. 3 on Top Streaming Albums), album sales comprise 16,500 (down 13%; it’s a non-mover at No. 2 on Top Album Sales) and TEA units comprise 1,000 (down 18%).

PARTYNEXTDOOR and Drake’s chart-topping $ome $exy $ongs 4 U holds at No. 2 on the Billboard 200 with 90,000 equivalent album units earned (down 24%; while it holds at No. 1 on Top Streaming Albums for a third week).

Tate McRae’s So Close To What falls to No. 3 with 87,000 equialent album units (down 51%) after debuting atop the chart a week ago.

Nos. 4-6 on the latest Billboard 200 are all former chart-toppers, and non-movers, as SZA’s SOS is No. 4 (74,000 equivalent album units; down 10%), Sabrina Carpenter’s Short n’ Sweet is No. 5 (64,000; down 16%) and Bad Bunny’s Debí Tirar Más Fotos is No. 6 (56,000; down 11%).

LISA has the top debut of the week as her first full-length studio effort, Alter Ego, enters at No. 7 with 45,500 equivalent album units earned. Of that sum, album sales comprise 28,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 16,500 (equaling 23.12 million on-demand official streams of the set’s songs; it debuts at No. 31 on Top Streaming Albums) and TEA units comprise 1,000.

During the album’s release week, LISA performed on the Academy Awards (March 2), taking part in a tribute to the music of the James Bond film series, where she performed Wings’ “Live and Let Die.” She recently made her acting debut in the third season of HBO’s The White Lotus (which premiered on Feb. 16).

Alter Ego was preceded by a trio of charting songs from the album on the Billboard Hot 100 chart: “Rockstar” (No. 70 peak in July 2024), “New Woman” (featuring Rosalía; No. 97 in August) and “Born Again” (featuring Doja Cat and RAYE; No. 68 in February).

Alter Ego was issued as a standard 12-song album (on streamers, and to purchase as a digital download, CD and vinyl), a 15-song set (with three bonus tracks, on streamers and as digital download) and a 19-track set (with three additional remixes and a voice note from the artist, sold as a digital download exclusively on LISA’s official webstore). The set was issued across nine CD variants (including a signed edition; with all containing collectible paper ephemera such as randomized photocards), six deluxe CD boxed sets (each containing a copy of the album on CD and a branded piece of clothing) and two vinyl variants (including one signed edition).

LISA is a member of the Billboard 200-topping quartet BLACKPINK, who saw its last album, BORN PINK, debut atop the chart dated Oct. 1, 2022, after the act’s The Album became its first top 10 (No. 2, 2020). LISA is the second member of the group to notch a top 10-charting solo effort on the Billboard 200, following ROSÉ, whose rosie debuted and peaked at No. 3 on the Dec. 21, 2024-dated chart.

Rounding out the rest of the top 10 on the latest Billboard 200: Chappell Roan’s The Rise and Fall of a Midwest Princess is a non-mover at No. 8 (43,000 equivalent album units earned; down 8%), Morgan Wallen’s chart-topping One Thing at a Time is steady at No. 9 (42,000; up 2%) and The Weeknd’s former leader Hurry Up Tomorrow falls 7-10 (40,000; down 19%).

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.