Australian hip-hop heavyweights Hilltop Hoods have reclaimed a long-held triple j Hottest 100 record from Billie Eilish.

The achievement adds another milestone to the Adelaide group’s decades-long relationship with the countdown, where they have consistently ranked among the most enduring acts in the poll’s history.

Hilltop Hoods have been fixtures of the Hottest 100 since the early 2000s, with songs spanning multiple eras of their career consistently finding favour with triple j voters. Their sustained presence across decades places them among a small group of Australian acts to repeatedly chart in the countdown, reflecting both their crossover appeal and deep-rooted connection to local audiences.

Eilish, by contrast, has built her Hottest 100 footprint in a far shorter time frame, racking up entries since her breakout years and becoming one of the most successful international artists in the poll’s recent history. Her run has been emblematic of triple j’s increasingly global scope, particularly as streaming-driven pop and alternative releases have come to dominate recent countdowns.

The moment also landed amid a notably strong showing for Australian artists in the 2025 list. As the broadcast passed the halfway mark, ABC News reported a significant number of local tracks already locked in, suggesting renewed domestic momentum following recent conversations about declining Australian representation in the countdown.

Beyond chart tallies, the Hottest 100 once again functioned as a cultural snapshot, with listeners tuning in from across Australia and overseas. ABC’s live coverage highlighted international fans streaming the broadcast from Europe, the United States and Southeast Asia, reinforcing the countdown’s reach well beyond its traditional summer backyard parties.

Voting for the Hottest 100 of 2025 closed earlier this month after more than two million votes were cast, with triple j describing this year’s race as one of the tightest in recent memory.

The countdown concludes with the top 10 later today, with further records potentially still in play as the final positions are revealed.

BTS‘ forthcoming Arirang World Tour is arriving as a truly historic live trek for the pop royalty that is the Bangtan Boys — and it requires a monumental setlist to accompany it.

Originally announced with 79 shows across 34 regions in five continents, the tour has already grown in its initial size with two additional U.S. dates added in both Tampa, Florida, and Stanford, California, as the first tickets went on sale this week. The group will things kick off in Goyang, South Korea, on April 9, 2026, and continue throughout 2027 with additional cities said to soon be announced in Japan, the Middle East and beyond.

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The Arirang World Tour marks BTS’ first live concert series since the Permission to Dance on Stage tour that held mini-residencies in Seoul, Los Angeles and Las Vegas in 2021 and 2022 with 22 songs in the main setlist and three songs in the encore. During the period where members handled their individual mandatory military services, BTS members Suga, J-Hope and Jin managed to embark on their own solo tours. Suga embarked on his D-Day Tour across North America and Asia in 2023 before his military enlistment, while J-Hope and Jin both went on their own solo treks post-military service in 2025.

To make the Arirang World Tour as special as possible, we’ve crafted our dream setlist that respects BTS’ career arc, solo spotlights of the members who weren’t able to head out on their solo tours and stadium-sized singalongs with 23 songs in the main set and four in the encore to ensure this is officially the biggest and greatest BTS show to date.

UPDATE (Jan. 23): The Eagles got a double dose of good news on Jan. 22, when the Recording Industry Association of America re-certified their 1976 compilation Eagles/Their Greatest Hits 1971-1975, at the 40 million level and their subsequent studio album Hotel California at the 28 million level. The greatest-hits album was already No. 1 on our list of albums that have been certified Double Diamond or better by the RIAA. The latest upgrade allowed Hotel California to move up from No. 4 to No. 3 on the list.

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PREVIOUSLY (Dec. 5. 2025): Metallica celebrated a major career milestone in May, when their 1991 album Metallica was certified Double Diamond by the Recording Industry Association of America (RIAA). It was just the 14th album to reach that plateau, which signifies shipments of 20 million albums (or streaming equivalent units) in the U.S.

Double Diamond albums were unthinkable when the RIAA launched its gold awards program in 1958. Only one album was certified gold that year (signifying $1 million in manufacturer’s dollar volume; the criteria later changed) – the soundtrack to the film adaptation of Rodgers & Hammerstein’s stage musical Oklahoma!, starring Gordon MacRae and Shirley Jones.

Album sales grew through the 1960s and 1970s, thanks to such blockbusters as The BeatlesAbbey Road and Carole King’s Tapestry, but there was nothing higher than gold albums until 1976, when the RIAA finally introduced platinum albums (signifying sales of 1 million units). The first platinum album was EaglesTheir Greatest Hits 1971-1975 in February 1976.

Sales continued to grow in the late ’70s and ’80s, leading the RIAA to add multiplatinum awards in October 1984. Michael Jackson’s Thriller was certified that month for sales of 20 million, Fleetwood Mac’s Rumours came in at 12 million and the Bee Gees-led Saturday Night Fever soundtrack was certified at 11 million. Though the RIAA wouldn’t coin the terms until later, these three blockbusters were the first Diamond albums – with Thriller being the first Double Diamond album.

There are now 14 Double Diamond albums. As you will see, Eagles are the only act with two Double Diamond albums. Robert John “Mutt” Lange is the only producer with two Diamond Albums, and they couldn’t be much more varied – Shania Twain’s Come on Over and AC/DC’s Back in Black.

Here is every Double Diamond-certified album. We show the release date, record label, producer(s), Billboard 200 peak, RIAA certification history, top 10 singles on the Billboard Hot 100 and more. They are listed in ascending order.

Pharrell Williams is facing a lawsuit from his former Neptunes partner Chad Hugo, who claims his longtime friend has cut him out of their company and owes him as much as $1 million from an N.E.R.D. album.

Before Pharrell became a solo superstar, he and Hugo formed a prolific songwriting duo for years, producing massive hits like Nelly’s “Hot in Herre,” Snoop Dogg’s “Drop It Like It’s Hot,” Gwen Stefani’s “Hollaback Girl” and Justin Timberlake’s “Rock Your Body.” They also formed two-thirds of N.E.R.D., a hip-hop/rock band that enjoyed its own run of hit albums in the 2000s and 2010s.

But in a strongly-worded lawsuit filed Friday (Jan. 23), Hugo accuses Williams — his friend since their Virginia childhoods — of committing a wide range of legal wrongdoing against his former partner.

“Williams engaged in self-dealing, concealed material information, and … diverted revenues owed to plaintiff,” writes Hugo’s attorney, Brent J. Lehman of the law firm Munck Wilson Mandala. “Such willful, fraudulent, and malicious conduct warrants the imposition of punitive damages.”

Friday’s lawsuit, obtained and first reported by Billboard, isn’t the first legal battle between the two collaborators. Back in 2024, Hugo filed another action accusing Pharrell of “fraudulently” seeking sole control over the “Neptunes” name; that dispute remains pending at a federal trademark tribunal.

But the new case broadens the fight significantly, with Hugo accusing Williams of withholding royalties and refusing to hand over documents that would help Hugo figure out how much he’s owed — part of what his lawyers call a “systemic denial” of his rights as a partner. In one passage, Hugo’s lawyers say he’s potentially owed up to $1 million in damages from the 2017 N.E.R.D. album No One Ever Really Dies alone.

“Plaintiff has not received his appropriate share of royalties in connection with The Neptunes and N.E.R.D.’s album sales and released music, as well as distributions from touring income, and various merchandising deals,” Lehman writes.

A spokesperson for Pharrell did not immediately return a request for comment on Friday.

Hugo and Pharrell were still working together between 2020 and 2022, when The Neptunes produced music for artists like Megan Thee Stallion, Rosalía and A$AP Ferg. As recently as 2022, shortly before the duo were inducted into the Songwriters Hall of Fame, Hugo told Billboard that he had recently been in the recording studio “with my fellow Neptune, comrade Pharrell Williams.”

But under the surface, conflict was allegedly brewing. Hugo’s lawyers say he made repeated efforts starting in 2021 to get Pharrell to hand over “monthly statements, books and records, and royalty statements” as required by their operating agreement. In August 2021, Hugo’s attorneys started sending Williams demand letters seeking financial disclosures, doing so repeatedly over the last four years. But they say he largely ignored them, only offering “limited” and “incomplete” documents.

“Defendant Williams’ persistent failure to provide [financial records] constitutes a breach of the operating agreement,” Hugo’s lawyers say. “Plaintiff has been deprived of the transparency necessary to evaluate buyout proposals, confirm the calculation and categorization of distributions owed to him … and assess revenues.”

Amid that growing tension, Hugo filed his trademark case in March 2024, claiming that Pharrell and his company were improperly trying to unilaterally register trademarks for their shared Neptunes name. As first reported by Billboard, Hugo claimed that their partnership required them to share the name rights: “Applicant has committed fraud in securing the trademarks and acted in bad faith,” he alleged.

At the time, Pharrell’s reps downplayed the dispute, saying they had repeatedly offered to involve Hugo and had always intended both men to “share in ownership” of the name. In a September 2024 interview, however, the star confirmed that he and Hugo were no longer on speaking terms: “I love him, and I always wish him the absolute best, and I’m very grateful for our time together.”

In the new lawsuit, Hugo’s attorneys say the dispute has only continued to grow — and that their client is owed substantial money. They say they’ve seen no revenue at all since September 2023 from an N.E.R.D. merchandising partnership, for instance, and they claim they’re owed “at least $325,000-$575,000” from No One Ever, with “potential damages” over the album “exceeding $750k-$1M.”

As recently as last month, Hugo’s lawyers say, Pharrell’s attorneys “promised to produce documents” about the company’s finances. But they claim that ultimately “no documents were ever produced” to resolve the situation: “Notably, defendant Williams’ counsel admitted having difficulty accessing the documents but acknowledged that such documents exist.”

In technical legal terms, the lawsuit accuses Williams of breaching his fiduciary duty, seeks an accounting of the royalties for both the Neptunes and N.E.R.D., and asks for a declaratory judgment clarifying their rights under the operating agreement.

“After years of obfuscation by Pharrell and his team, Mr. Hugo had no choice but to seek substantial compensation and accountability in court,” said Lehman, the producer’s attorney, in an emailed statement to Billboard. “We look forward to presenting the evidence and obtaining the full relief the law provides.”

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Harry Styles’ new album, Kiss All the Time. Disco, Occasionally, is coming this spring — but will there be any featured artists joining him on the dance floor?

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According to the British pop star, no. In an interview with Capital Breakfast on Friday (Jan. 23), Styles managed fan expectations by revealing that — like all three of his prior solo albums — HS4 won’t include any special guests. “There are no collabs on this album,” he said, choosing not to beat around the bush when asked about it point-blank.

He added with a shy grin, “Just me.”

The musician’s answer may not come as a surprise, as Styles has never been one for including duets on his albums. His 2017 self-titled debut, 2019’s Fine Line and 2022’s Harry’s House were all strictly solo works, and all of them reached No. 1 on the Billboard 200.

The interview comes hours after the release of Styles’ first single in years, “Aperture.” The house-inspired track marks the first taste fans are getting of Kiss All the Time. Disco, Occasionally, which is due out March 6.

Elsewhere in the interview, the One Direction alum spoke about having to “fall in love with music all over again” during his three-year break from the spotlight after feeling burned out from his Love On Tour, as well as gushed about his lifelong love of Shania Twain, who will be joining him on a few dates of his recently announced Together, Together tour.

And while Styles’ fans have shown up to his shows in sparkles and feather boas in the past, the Grammy winner told Capital Breakfast that this time around, “I just want them to come ready to dance.”

“I want them to come ready to be with their friends, close their eyes, open their eyes, dance, let it go and be whatever and whoever they are in that moment,” he said. “And I think it’s going to be fun and I’ll be right there with them.”

Watch Styles’ full interview on Capital Breakfast below.


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