Olivia Dean’s stellar start to 2026 continues as she retains the No. 1 spot on the U.K.’s Official Albums Chart for a second consecutive week on the tally dated Jan. 9.

The British singer’s The Art of Loving returned to the top spot Jan. 2 to score the first No. 1 album on the Official Albums Chart in 2026. Since its release in September, the LP has totaled four non-consecutive weeks at the summit, while breakout hit “Man I Need” earned the No. 1 spot on the Official Singles Chart.

The victory comes ahead of the upcoming 2026 Grammys, where she competes in the best new artist field. She’ll face off against Lola Young, Leon Thomas, Sombr, Alex Warren and KATSEYE for the coveted trophy.

Following a quiet release week, a number of greatest hits and previous favorites dominate the chart. Sabrina Carpenter’s Man’s Best Friend retains its spot at No. 2, while Fleetwood Mac’s 50 Years – Don’t Stop lifts one spot to No. 3. The legendary rock group is one of the acts to benefit from a needle-drop in Stranger Things season five in recent weeks; the band’s 1975 song “Landslide” — which appears on the greatest hits collection — is used in the final episode, and is up to No. 20 on the Singles Chart.

Taylor Swift’s The Life of a Showgirl falls one spot to No. 4, while The Weeknd’s The Highlights holds its position at No. 5. Ed Sheeran’s +−=÷× (Tour Collection) jumps four places to No. 6, and Alex Warren’s You’ll Be Alright Kid (Chapter 1) rises six spots to No. 9. Noah Kahan’s Stick Season bounces back to No. 14 — its highest position since July — while Linkin Park’s 2024 greatest hits collection Papercuts closes at No. 15.

Ahead of the 10th anniversary of his death, David Bowie’s 2016 Legacy collection returns to the top 40 for the first time since 2022 to finish at No. 30. Bowie also appears on the Official Singles Chart with 1977 hit “Heroes,” which also saw a synch in Stranger Things finale as the closing credits song.


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Zach Bryan‘s first album since his split from Brianna “Chickenfry” LaPaglia and getting married to Samantha Leonard, With Heaven on Top, has arrived — and it looks like the country singer has quite a few things to say about both relationships.

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Arriving Friday (Jan. 9), the LP’s most pointed song is arguably “Skin,” which finds Bryan referencing an ex with meaningful ink. LaPaglia notably has a “How lucky are we?” tattoo, the same phrase Bryan included in his song “28” in 2024. He also reportedly got a similar tattoo to match LaPaglia.

“I’m taking a blade to my old tattoos/ I’m draining the blood between me and you … And I ain’t never touching yours again,” he sings on the chorus, and in one of the verses: “Do you love people just to win when it’s over? … Do you still talk s–t on all your friends?”

Bryan also asks in the lyrics, “Are you walking ’round Tribeca with him?” — possibly referencing LaPaglia moving to New York City in late 2024 after their breakup.

Billboard has reached out to Bryan and LaPaglia’s reps for comment.

LaPaglia — who is a social media influencer and podcaster — dated Bryan from 2023 to 2024. After they split, she accused him of emotional abuse and alleged that his team had offered her millions of dollars to stay quiet about their relationship, which she says she declined.

On the last day of 2025, Bryan married Leonard, who is an artist. On another With Heaven on Top song, “Slicked Back,” the Grammy winner croons, “Used to know some folks who put it all online, but you paint landscapes in the evening time.”

LaPaglia hasn’t commented on her ex-boyfriend getting married, although she did post a TikTok shortly after Bryan’s wedding in which she mouths along to Taylor Swift’s “Mastermind.” Many of the commenters on the post interpreted it as shade toward Bryan, with one person writing, “Said a lot without saying nothing my queen.”

And while Bryan sings about taking his tattoo removal into his own hands, LaPaglia has said that she has no plans of parting with hers. In November 2024, she posted a TikTok explaining, “I see a lot of people being like, ‘Well, now I have to get my ‘How lucky are we?’ tattoo removed.’ That was my thing. That is my tattoo.”

“Now we’re matching. OK? Don’t get it removed,” she added in the clip. “This is mine. ‘How lucky are we?’ That was me.”

Listen to With Heaven on Top below.


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If you’re wondering if things get better between Lucy and her toxic boyfriend Stephen in season 3 of Hulu’s Tell Me Lies, by the looks of the couple’s disastrous karaoke night in a new episode, the answer is a resounding no.

The new season hits Hulu on Tuesday, and Billboard is exclusively premiering a clip from episode 2, in which Lucy (Grace Van Patten) signs herself and Stephen (Jackson White) up to sing the Elton John and Kiki Dee duet “Don’t Go Breaking My Heart” at a karaoke bar.

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“Hey, you and I are singing next,” Lucy says, to which Stephen grumbles, “Nah, I don’t think I’m gonna do it.” She successfully drags him up to the stage, only to have him turn around and leave her to go it alone, insisting, “You’ll be fine.”

Anyone familiar with the four-week Billboard Hot 100-topping duet from 1976 knows that it definitely takes two singers trading lyrics to work. Thankfully, Lucy’s bestie Bree (Catherine Missal) comes to the rescue, as she so often does on the show, to help out her friend on the karaoke stage, as Stephen sits at the bar drinking his beer alone.

Watch the clip here:

The Hulu series, which premiered in September 2022, is based on the Carola Lovering book of the same name, which follows Lucy and Stephen as they meet in college and through all eight years of their rocky relationship. While it’s clear from the outside looking in that Stephen is bad news, Lucy matches the show’s title in the season 3 trailer, which ends with Van Patten saying: “I just really feel like things are gonna be different this time.”

Tune in to season 3 on Tuesday, Jan. 13, on Hulu, and watch the trailer below:

HYBE America appointed Johanna Fuentes as executive vp and head of communications and public relations. In the role, L.A.-based Fuentes will oversee all internal and external communications in North and South America. She will oversee communications and PR for the company’s music, film and TV projects, including Big Machine Label Group and Quality Control Music, HYBE’s Latin American and U.S. Hispanic labels and the company’s partnership with Universal Music Group.

With more than 25 years of experience, Fuentes has served in roles at Warner Bros., HBO, Showtime Networks, Bravo and CBS. She was most recently head of global communications for the WarnerMedia Studios and Networks Group and executive vp of worldwide corporate communications and public affairs at Warner Bros.

“Johanna is a world-class communications leader with an extraordinary track record of guiding companies through moments of growth, transformation and cultural impact,” said Isaac Lee, chairman and CEO of HYBE AMERICA, in a statement. “Her strategic vision, deep industry relationships, and ability to connect corporate leadership, artists, and audiences make her an invaluable addition to our executive team as we continue to expand HYBE’s presence and influence across the Americas.”

“I’m thrilled to join HYBE AMERICA at a defining moment for both the company and the global music industry,” added Fuentes. “HYBE is building a next-generation entertainment model with deep roots in culture, fandom, and global ambition. I look forward to bringing my experience navigating periods of rapid change to help define a bold, cohesive narrative that supports the company’s continued expansion across the Americas.”


Tony Goldring joined CAA as an agent in the global touring division. He previously spent 25 years at WME, most recently as head of the agency’s international touring department, where he helped expand touring opportunities for clients including Rihanna, Shakira, Pitbull, Alicia Keys, Duran Duran, Justin Timberlake and Ms. Lauryn Hill.

“Tony is a great addition with his depth of knowledge and experience, and we’re excited to have him join the team,” said Rick Roskin, CAA’s co-head of global touring, in a statement. “As more artists continue to take their tours to new markets, our global touring business continues to grow and evolve. With Tony joining, we’re creating even more opportunities to support clients on a broader scale.”

Check out more of the week’s executive moves below.

Donna Kelce was on her vigilante s–t in the season four premiere of The Traitors, referencing one of future daughter-in-law Taylor Swift‘s craftiest lyrics to prove that she meant business in the kickoff episode.

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Dropping on Peacock on Thursday (Jan. 8), the episode saw Donna — who is the mother of football stars Jason and Travis Kelce — entering the castle with her cast of new opponents. At one point, she borrowed a few words from a certain pop superstar’s Midnights track “Vigilante Shit” to convey that she wouldn’t back down after some of her fellow competitors voted her onto the chopping block.

“Don’t get mad, get even,” Donna said with a slight twist on Swift’s lyric, “Don’t get sad, get even.”

The installment was one of three episodes that arrived Thursday, in which Donna was eventually exposed as a “secret traitor.” Her costars banished her from the castle, despite contestant Dorinda Medley pointing out previously, “No one’s gonna murder [Donna] — the Swifties will kill you.”

Before it all went down, though, the former finance executive gushed that her famous sons are big fans of Traitors.

“They’re so excited,” she told a few of her fellow players in the car as they drove to the lavish set. “Jason is the one that got me involved. We just literally, one weekend during playoffs, we binged it. It was great.”

Her sons’ love of the show would have made it doubly awkward if one of Donna’s fears going into the show came true. In a Traitors promo video posted Thursday, she says that the contestants she’d least want to compete against would be “maybe some of my sons’ adversaries … that could either be on other teams, or it could be coaches, or it could be past girlfriends.”

Fortunately, none of the above were in the castle upon Donna’s arrival. Watch the full clip below.

New episodes of The Traitors arrive Thursdays at 9 p.m. ET on Peacock.


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It has been more than seven years since Britney Spears wrapped her global Piece of Me tour. And while fans of the 44-year-old “Toxic” pop star who has effectively retired from the music world are always eager to get any hint that she is considering a return to the stage, on Thursday night (Jan. 8) Britney seemed to put a stop to all that talk.

As far as the the United States is concerned, anyway.

In a sweet Instagram post featuring a throwback picture from her glory days of the singer seated on the bench of a white grand piano next to her keyboard player, Spears revealed that she is planning to offer the instrument to her youngest son, 19-year-old Jayden James Federline, while revealing that she will never, ever tickle those ivories herself in America. “Sending this piano to my son this year!!!,” she wrote, explaining that her signature, frequent dancing videos are sometimes “embarrassing,” but that she “walked through fire to save my life.”

She then dropped a bombshell: “I will never perform in the U.S. again because of extremely sensitive reasons,” Spears said without specifically explaining what those reasons are while also creaking the door open a crack on possibly performing elsewhere in the future. “But I hope to be sitting on a stool with a red rose in my hair, in a bun, performing with my son… in the UK and AUSTRALIA very soon. He’s a huge star and I’m so humbled to be in his presence!!! God speed, little man!!!”

At press time a spokesperson for Spears had not returned Billboard‘s request for comment on the singer’s pledge not to perform in the U.S. again.

Spears was referring to her Jayden, who she has referred to as a “genius” in a December 2024 post after an emotional Christmastime reunion in which she crowed about how they were “like twins.” In March of last year Spears posted a pair of Insta clips of Jayden showing off his piano-playing and rapping skills, dubbing his talents “sick!” and captioning the clip “WOW WOW WOW !!!

Spears has not released an album of new material since 2016’s Glory and her last live show was on Oct. 21, 2018 in Austin, Texas and has repeatedly said in the past that she is done with the music industry.


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2026’s edition of ESNS (Eurosonic Noorderslag) is easily one of the most anticipated in years – and the European music community is showing out for this bumper get-together.

Held in Groningen, Netherlands next week (Jan. 14-17), the historic festival will honor its 40th anniversary having grown from a battle of the bands-style event for Dutch acts into a key part of European music’s calendar. Every January, representatives from across the music industry – labels, associations, streamers, live agents and more – congregate to share ideas and forecast the trends and issues that will dominate the region’s music scene in the months to come.

With several celebrations planned to honor that anniversary, ESNS remains fiercely committed to assessing the here and now. Much of the festival’s conference programming will reflect on Europe’s position in the global music market – and what more can be done. A number of key artists from across the continent – from the U.K.’s Olivia Dean to Catalonia’s Rosalía – have shown that global stars are made and nurtured here. 

Statistics indicate that Europe faces stiff competition from Latin America and Southeast Asia to retain its place as the second-biggest music market (after North America), but that the local industry appears up for the challenge. The current geopolitical status with war on its eastern front in Ukraine — and President Donald Trump’s bullying tactics threatening to start a second one — also looms heavy over any discussions.

Emerging artists from a wide range of European nations will also play a key role. It’s at ESNS that they perform in front of bookers and talent agents that shape the summer’s upcoming festival bills across the country, and showcase a diversity of talent and cultures. These are the stories to look out for.

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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

This week, Bruno Mars at long last returns, Zach Bryan checks in with another sprawling statement, and The Kid LAROI keeps growing up. Check out all of this week’s picks below:

Bruno Mars, “I Just Might” 

Bruno Mars hasn’t released a solo album in nearly a decade — but fortunately for the superstar showman, his music has always been unstuck from time constraints and modern trends. “I Just Might,” which precedes the long-awaited full-length The Romantic, sashays straight from the ‘70s with funked-up guitar and canned horns, while always shoving Mars’ beguiling personality straight up front, just like most of his biggest and best hits.

Zach Bryan, With Heaven on Top 

Although Zach Bryan is prolific enough that a year-and-a-half between full-lengths feels like an eternity, With Heaven on Top, which follows 2024’s The Great American Bar Scene, quickly makes up for the relative wait with 25 songs that examine a whirlwind period in the singer-songwriter’s life — a breakup, a marriage, professional enormity amidst personal growth — with vulnerability and grace.

The Kid LAROI, Before I Forget 

Considering how far back he’s been scoring hits, it’s hard to believe that The Kid LAROI is still only 22 years old — and new album Before I Forget finds the genre-crossing star trying to untangle complex emotions on the cusp of adulthood, reveling in nostalgia for simpler times while also serving up some radio fodder (the silky-smooth recent single “A Perfect World” sounds like it could cross over).

Luke Combs, “Sleepless in a Hotel Room” 

Luke Combs closed out 2025 with the release of “Giving Her Away,” a muted reflection on the shared bond between the groom and the father of the bride at a wedding; “Sleepless in a Hotel Room,” the latest track from his upcoming album The Way I Am, is much more rollicking, with the country superstar picking up the tempo and growling out a “whoa-oh-OH” hook on his first offering of the year.

Ari Lennox, “Twin Flame” 

“I never thought that I would fall for your type,” Ari Lennox admits on “Twin Flame,” an effective new entry from the R&B star’s upcoming Vacancy project, on which Lennox waxes poetic about acting out of character in the presence of her crush and wields her powerhouse voice to convey her surprise and delight.

Carín León & Xavi, “La Morrita” 

Kicking off 2026 in the most spirited fashion possible, Carín León hoists up his national pride — alongside Xavi, one of Mexican music’s skyrocketing new talents — on “La Morrita,” a firecracker collaboration with a dizzying interplay between the pair of voices and the production over the course of two-and-a-half minutes, making for an overflowing celebration.

Editor’s Pick: Robyn, “Talk To Me” 

While Robyn unveiled “Dopamine” as the lead single of her upcoming album Sexistential last fall, “Talk To Me,” one of two new tracks released this week, provides the more blissful physical rush: co-written by Max Martin, “Talk To Me” is spectacular in its dance-pop intricacies and Robyn’s unadorned expression of sexual longings, heralding the full return of one of pop’s very best stars.

Big Loud Records has named Stacy Blythe and Jordan Pettit as co-presidents, with both Blythe and Pettit reporting directly to Big Loud partners Seth England, Joey Moi and Craig Wiseman, the company announced today (Jan. 9).

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Blythe joined Big Loud Records in 2015 and previously served as executive vp of promotion. Blythe will transition to her new role immediately, and will continue to lead the Big Loud Records promotion team. Pettit will begin his new role at Big Loud on Feb. 2, and joins the label from Opry Entertainment Group, where he has served as vp of artist and industry relations.

Blythe and Pettit will oversee all label operations, including artist development, A&R, promotion, marketing, merch, strategic planning and special projects. According to a release, the changes come as the label “enters its most ambitious and globally focused era to date.” 

“Stacy’s impact on Big Loud has been felt from the beginning — her dedication, vision and leadership have shaped our culture and our success in profound ways,” England said in a statement. “As she steps into this new role, it feels like a win for everyone who has grown alongside her. At the same time, we’re thrilled to welcome Jordan, whose experience and relationships across the industry bring fresh energy and perspective to our team. This combination of homegrown leadership and new expertise positions Big Loud for an incredible future.”

“Stepping into the role of co-president is an exciting next chapter, and I’m deeply grateful to Seth, Joey and Craig for their continued belief in me, as well as the trust of our artists and team,” Blythe said in a statement of her own. “Doing this alongside Jordan feels full circle — we started in the industry together, and this moment is especially meaningful. Big Loud Records has always been built on bold ideas, deep relationships and a true artist-first mindset, and forward focus will be on strengthening alignment across the company as we continue to grow. I’m proud of what we’ve built together and energized by where we’re headed.”

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The new roles come as Big Loud has had a banner year, with the Big Loud artist Morgan Wallen being named Billboard‘s artist of the year for 2025, marking the first time Wallen was named the year’s top artist, and with Wallen becoming the first male country artist to achieve the feat in over three decades.

“I have long admired Seth, Craig, Joey, Stacy and the entire Big Loud team for the strength of the Big Loud brand and its cultural impact in Nashville and around the world,” Pettit said in a statement. “Over the years, Big Loud has consistently allowed me to feel like part of the family and I am truly honored to now join this industry-leading organization. I am thankful to the partners for this opportunity to support the team at Big Loud and its exceptional roster of artists and creatives.”

Promoting artists including Wallen, HARDY, Ernest, Lauren Alaina and Ashley Cooke, Big Loud Records was also honored as the No. 1 Billboard Hot Country Songs label in 2021-2025.

The Television Academy announced on Friday (Jan. 9) the rules changes for the 78th Primetime Emmy Awards, several of which pertain to music categories. The academy also added a statement about AI to its Rules & Procedures book, and shed light on its new Legacy Award, which will be presented to classic TV series.

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Here’s a summary of key changes most relevant to the music community.

Outstanding Music Composition for a Documentary/Nonfiction or Reality Program (Original Dramatic Score)

Rule Change: The category formerly known as Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) will now allow eligibility for reality programs that contain an original dramatic score.

2025 winner: Chef’s Table: “José Andrés” – Duncan Thum and David Bertok (Netflix)

Outstanding Main Title Theme Music

Rule Changes: Expanded eligibility to include main-on-end themes. Both a main title theme (appearing at the beginning of the program) and a main-on-end title theme (appearing after the final act, before the end credits/crawl) are eligible.

A main title theme must appear in 50% or more of eligible episodes submitted for the 2026 Emmy competition. The main title theme has been further defined as a musical fingerprint and calling card that is identifiable and unique to a show.

2025 winner: The White Lotus – Cristobal Tapia de Veer (HBO)

Outstanding Movie

Rule change: The name of the Outstanding Television Movie category has been changed to Outstanding Movie to more accurately reflect the evolving landscape of cinematic content created for broadcast or streaming.

2025 winner: Rebel Ridge (Netflix)

AI Statement

The following statement has been added to the academy’s Rules & Procedures book: “The Television Academy reserves the right to inquire about the use of AI in submissions. The core of our recognition remains centered on human storytelling, regardless of the tools used to bring it to life.”

Legacy Award

The academy announced the creation of the Legacy Award, recognizing a program that has made “a profound and lasting impact on audiences and sustained its relevance to society, culture and the industry.” Candidates will be selected annually by the Governors Award committee (to be renamed the Special Awards Committee) and presented to the Board of Governors for a vote.

Criteria for the Legacy Award include:

  • A minimum of 60 episodes aired across a minimum of five seasons.
  • Continued or sustained relevance, influence or inspiration to a genre of television, to an existing or new audience and/or to society and culture.

Preference is given to shows celebrating an anniversary in the year awarded. Programs that were previously awarded the Governors Award are not eligible. These are Masterpiece Theatre (1991), American Idol (2016) and Star Trek (2018). Also, no future Governors Awards may go to a program.

The Legacy Award will be given to the creator(s) and up to four lead executive producers/showrunners whose tenure on the production significantly contributed to its longevity and success (as determined by the Television Academy) and to the main network/studio partner airing the program.

Like the Governors Award, the winners will receive an Emmy statuette. The award may be given out during the Creative Arts Emmy ceremonies, the telecast Emmy ceremony, or the Hall of Fame ceremony.


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