Last year’s Eurovision Song Contest winner, Swiss singer Nemo, announced on Thursday (Dec. 11) that they will return the winner’s trophy in protest of Israel being allowed to compete in the 2026 event. In an Instagram post announcing their decision, the global singing competition’s first openly non-binary champ — who won the contest in May 2024 with their operatic pop anthem “The Code” — wrote that they will always be grateful for the experience, but that they must send their trophy back in protest.

“Last year I won Eurovision and with it I was awarded the trophy,” Nemo said in a video in which they held up the prize, an oversized glass microphone. “And even though I’m immensely grateful for the community around this contest and everything this experience has taught me both as a person and an artist, today I no longer feel this trophy belongs on my shelf.”

Nemo continued, “Eurovision says it stands for unity, inclusion, and dignity for all. Those values made this contest meaningful to me. But Israel’s continued participation, during what the UN’s Independent International Commission of Inquiry has concluded to be a genocide, shows a clear conflict between those ideals and the decisions made by the EBU (European Broadcasting Union).”

The singer’s action came after five other countries have announced they will boycott next year’s contest after a Dec. 4 vote in which the governing EBU declined to expel Israel over its conduct in the war against Hamas in Gaza. Iceland, Ireland, the Netherlands, Slovenia and Spain said they will sit out the 2026 contest, which is slated to take place in Vienna in May following Austrian singer JJ’s win for the song “Wasted Love”; the winning country traditionally hosts the following year’s event.

In addition, 11 of the 16 entrants from Portugal’s song selection contest, Festival da Canção, have said they will refuse to perform if they win, also out of protest of Israel’s inclusion.

Nemo said their decision was not about individuals or artists, but about what they said was the contest repeatedly being used to “soften the image of a state accused of severe wrongdoing, all while the EBU insisted Eurovision is ‘non-political.’” Eurovision has long stated that it is a non-political event and has asked the participating broadcasters and performers to refrain from making political statements in their songs and selections, though politics have crept in numerous times over the years.

Following Russia’s unprovoked invasion of Ukraine in 2022, the country was banned from that year’s competition. The calls for a ban on Israel have grown louder over the past two year due to the nation’s devastating war against Hamas in Gaza, which decimated the territory and led to what officials described as a famine, with an independent United Nations inquiry calling the military action a genocide, a claim Israel has repeatedly denied.

Pointing to the handful of nations withdrawing, Nemo suggested that when that happens, “it should be clear that something is deeply wrong. That’s why I’ve decided that I’m sending my trophy back to the EBU headquarters in Geneva. With gratitude and a clear message: Live what you claim. If the values we celebrate onstage aren’t lived offstage, then even the most beautiful songs lose their meaning. I’m waiting for the moment those words and actions align. Until then, this trophy is yours.”

In the comments on the post, Nemo added that they will always be grateful to the Eurovision community, the fans who voted and the artist they shared the stage with in 2024, and the experience that “shaped me as a person and musician. This decision comes from care for the values Eurovision promises, not from rejection of the people who make it special. Music still connects us. That belief hasn’t changed.”

Before Nemo’s post, Eurovision director Martin Green posted an open letter to the contest’s fans explaining the decision to include Israel next year. “I know that many of you will be feeling strong emotions at this time. I certainly am, which is why I wanted to write directly to you,” Green wrote. “I also know you feel strongly about events in the Middle East and how those realities connect to the Eurovision Song Contest. No one can fail to be moved by what we have seen in the region in the past few years. Some of you have written to us, spoken out, or expressed anger and pain at what they see as silence in the face of tragedy. I want to say that we hear you. We understand why you feel so strongly and that we care too.”

Green noted that the 70-year-old contest was born in a “divided and fractured Europe — as a symbol of unity, peace, and hope through music. Those foundations have not changed and neither has the Contest’s purpose. This Contest has survived and thrived despite wars, political upheaval, and shifting borders. Through it all, it has remained a place where people from all corners of Europe, and now the world, can come together to celebrate creativity and connection despite, and because of, the world around us.”

Given the concerns, Green said Eurovision will ensure that all participating broadcasters will respect the rules of the competition and if they don’t, “you have a personal pledge from me, we will not tolerate it and call it out.”

Nemo’s action and the withdrawals of the five countries has cast a cloud over what is typically a joyous, silly and outrageous song competition beloved for its often schmaltzy ballads, bonkers disco bangers and a massive global audience eager to see their nation hoist the cup. In addition to casting out Russian in 2022, Israel’s participation over the past two years has stirred up protests and led to calls for the country’s 2025 entry, singer Yuval Raphael, to be booted from the competition.

The survivor of the Oct. 7, 2023 Nova Festival massacre in Israel — which was part of a surprise attack by Hamas raiders in which more than 1,200 Israelis were murdered and 250 were kidnapped — came in second place this year with her anthem “New Day Will Rise.”


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SYDNEY, Australia — Ollie Wards will soon depart from TikTok, where he has served as director of music for Australia and NZ since August 2020.

“After an awesome 5.5 years, soon I’m hanging up my headphones at TikTok,” he writes on LinkedIn.

A triple j stalwart, Wards joined TikTok as its first director of music for ANZ, based in Sydney, with responsibilities for driving its music strategy, and overseeing emerging and established artists and their role within the short–video streamer’s creator community.

Prior to that, he served in several positions with triple j, the state-funded national youth broadcaster, including breakfast show producer, program director and, later as network head.

Despite the recording industry‘s well-reported issues with TikTok, Wards is well-liked in the music business and community, and respected for his artist-first approach, and determination for taking domestic talent to the world.

As he departs, Wards reflects on some of his proudest achievements. Among them, building the world’s first TikTok radio station with iHeart, now Australia’s leading digital station for under-30s; creating the first TikTok x TV simulcast concerts; overseeing dozens of high-quality live music productions, including the first TikTok stadium livestream with Six60 when NZ was the only place enjoying concerts during lockdown; producing TikTok Awards performances; and the creation of “liner notes” — a list of 11 guiding principles to work by, he explains.  

NZ-born Wards presents No. 3 liner note as an example, one that reads: “We aim to be contactable, while being effective at scale and as transparent as possible with our artists and industry partners – the most ‘human’ team at a music platform.”

On that note, he remarks, “in a world of increasingly opaque pathways for artists, pitch portals, helpdesks and bots – hopefully that approach of being a human amongst it all helped. Though maybe being ‘human’ is the minimum.”

Wards is keeping his options open. “In 2026, I’m open for business,” he writes.

Slaughter Gang season has returned. Nearly two years following American Dream, 21 Savage has one question: What Happened to the Streets? The Atlanta rapper’s fourth LP hit streaming services on Friday (Dec. 12).

It’s a star-studded affair, with 21 recruiting some familiar faces, as Drake, Young Nudy, Latto, G Herbo, GloRilla, Metro Boomin and Lil Baby make guest appearances on the project.

The 33-year-old enlisted artist Slate for the devilish cover art, and $9.99 CD versions quickly sold out. Resellers have listed the four CD pack on sites such as eBay for prices north of $300 and $400, turning the CD edition into an instant collector’s item for 21 Savage fans.

2025 was a pretty quiet year for 21, who didn’t release a single leading into the album, but he ended up notching a guest appearance on Summer Walker’s “Get Yo Boy” track in November.

21 will look to make it a trifecta and top the Billboard 200 for a third consecutive album. His last LP, American Dream, arrived in January 2024 and earned 133,000 total album-equivalent units. The project was 21’s fourth to reach the album chart summit (including collab efforts) and netted him 14 more Billboard Hot 100 entries.

The “a lot” rapper has kept the entire album under wraps, leaving much to the imagination of the Slaughter Gang faithful heading into the project. 21 released a menacing trailer to set the tone earlier this week, where he made his return official and put the album on the release calendar for Friday.

Here are all 14 tracks from What Happened to the Streets? ranked.

One year after taking one final bow on the Eras tour stage, Taylor Swift is pulling the curtain back. The End of an Era, a six-part docuseries focused on the biggest tour of the superstar’s career, premiered its first two episodes on Disney+ on Friday (Dec. 12), with further episodes rolling out in the coming weeks.

And while The End of an Era could have existed as pure fan service — and that is certainly an aspect of the opening episodes, with slow-motion shots of an unstoppable Swift and adoring supporters — the heart of the series is a documentation of singular pop spectacle, unpacking the personalities behind the tour and how they came together to producer something so massive.

Of course, that starts with Swift, whose attention to detail is both unsurprising and mesmerizing to witness in the context of pushing the Eras show to become more dazzling. The docuseries showcases the germination of the tour, and how it kept changing — including the incorporation of a new era, The Tortured Poets Department, as well as recurring and guest stage presences.

Her passion to entertain, to take care of her tour family, to clarify her artistic intent and to also simply enjoy every moment of the tour is presented as a balancing act that she can’t help but keep up. Just as there were no half-measures in the three-hour-plus show, Swift does not hold back in The End of an Era, and you finish each episode with a greater understanding of her intent.

The Eras tour will forever be a special experience for countless attendees, and The End of an Era honors that indispensability — while also tossing out new tidbits that even the super-fans will appreciate. Here are six things we learned from the first two episodes of The End of an Era.


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Olivia Dean nabs her first chart double in Australia, as “Man I Need” retains top spot on the ARIA Singles Chart and its parent The Art Of Loving (via Universal) returns to the top of the albums tally.

“Man I Need” leads the national survey for a fourth consecutive week, while, after nine weeks, her sophomore collection The Art Of Loving returns to the top spot on the ARIA Albums Chart, up 2-1.

Dean’s performance of “Man I Need” at the 2025 ARIA Awards last month helped fuel the English singer’s hot chart run, and a fuller set the following evening at Sydney’s Fleet Steps left fans wanting more.

They’ll get what they want. Dean returns next October for the The Art of Loving tour, an east coast arena jaunt produced by Handsome Tours and Laneway Presents.

“Man I Need” leads three Dean cuts in the top 10, ahead of “So Easy (To Fall In Love)” (at No. 6), and “Nice To Each Other” (No. 8), both unmoved week-on-week.

Christmas is just around the corner, and Kylie Minogue is helping Aussies slip into the festive mood with Kylie Christmas (Fully Wrapped) (Warner Music), which drops in at No. 4 on the ARIA Albums Chart. The 10th anniversary edition of Kylie Christmas features four newly-minted tracks, including  “Hot In December,” “This Time Of Year,” “Office Party” and “XMAS,” an Amazon Music Original.

The Princess of Pop is a superstar in her homeland, with 21 top 10 albums, including nine leaders, to go with 17 ARIA Awards. In 2011, Kylie was inducted into the ARIA Hall of Fame by former prime minister Julia Gillard, and she’s recognized as the highest-selling female Australian artist of all time.

Christmas means summer in Australia. And summer means touring. Australians have no shortage of options on the live circuit right now, as Lady Gaga, AC/DC, Lewis Capaldi, Kendrick Lamar, sombr and others travel through.

Gaga’s ongoing stadium tour, her first visit to these parts in 11 years, sends her latest album, Mayhem (Interscope/Universal), up 17-5. Mayhem logged one week at the top of the leaderboard in March this year, for her fifth No. 1.

Meanwhile, Lamar’s GNX (Interscope/Universal) improves 21-7, and leads the ARIA Vinyl Chart. GNX topped the all-genres albums chart for one week in December 2024 and returned to the summit for a second non-consecutive week in February this year.

Two live recordings crash the top 40 on the latest chart, published Friday, Dec. 12. Olivia Rodrigo’s Live From Glastonbury (A BBC Recording) (Interscope/Universal) debuts at No. 11, and just misses out on giving the U.S. pop phenom her third top 10 album following Sour (2021) and Guts (2023), both of which hit No. 1.

Nick Cave & The Bad Seeds bow at No. 22 with Live God (PIAS/Inertia), recorded during the alternative rock legends’ 2024 European tour. Cave has collected seven ARIA Awards, was inducted into the ARIA Hall of Fame in 2007 and has two No. 1 albums with the Bad Seeds (Push The Sky Away in 2013 and Skeleton Tree in 2016).

Sydney producer, DJ and singer Alison Wonderland’s Ghost World (EMI) opens its account at No. 42.

No new releases impact the ARIA Top 50 Singles Chart, and just one homegrown recording appears on the current frame, Tame Impala’s “Dracula” (Columbia/Sony), down 33-40. Tame Impala mastermind Kevin Parker opened for Justice’s arena tour, which wrapped last Sunday, Dec. 7 at Brisbane Entertainment Centre, and he joined the French electronic act on stage each night for a performance of their Grammy Award-winning number “Neverender.”

Gorillaz swing into our lives once again with “Damascus,” another new track from their forthcoming album, The Mountain.

Dropping at the stroke of midnight, “Damascus” is a proper international adventure.

The exotic cut was recorded in Damascus, London, Devon, Mumbai and New York, and features the talents of Syrian artist Omar Souleyman and NYC rapper and singer Yasiin Bey (formerly Mos Def), both of whom are credited as songwriters, alongside Gorillaz frontman Damon Albarn.

Fans got the jump on “Damascus” when it received its live debut at Gorillaz’s surprise performance of The Mountain at London’s Copper Box Arena in September, ahead of spots at Madrid’s Gaia Festival and Together For Palestine at Wembley Arena, when the beloved “cartoon band” was joined on stage by the London Arab Orchestra.

Gorillaz’ ninth studio album, The Mountain is due out Feb. 27, 2026 on the band’s own new label KONG.

The collection is described by reps as “an expansive sonic landscape of instruments and sounds, richly layered with voices, melodies and addictive beats,” and boasts an impressive lineup of collaborators and several voices “of friends” that have passed, including Bobby Womack, Dennis Hopper and Mark E Smith.

“Damascus” is one of 15 songs on The Mountain, which collects previously-released songs “The God of Lying” (feat. IDLES), “The Manifesto” (feat. Trueno and Proof) and “The Happy Dictator” (feat. Sparks).

Gorillaz will support the release with The Mountain Tour, which gets underway with two warm-up shows in Bradford, England on March 13 and 14 before opening night, March 20 in Manchester. The tour will visit arenas across the U.K. and Ireland, plus a one-off headline show at London’s Tottenham Hotspur Stadium on Saturday, June 20, for the band’s biggest show in their homeland to-date, with support from Sparks and Trueno. European festival slots will follow next summer.

Gorillaz last released a new album in 2023 with Cracker Island, which peaked at No. 3 on the Billboard 200, their fifth top 10 appearance. Cracker Island was nominated for best alternative music album at the 2024 Grammy Awards.

Pre-save “The Mountain” here, pre-order here, and stream “Damascus” below.


The Mountain Tracklisting:
1. “The Mountain” (feat. Dennis Hopper, Ajay Prasanna, Anoushka Shankar, Amaan Ali
Bangash and Ayaan Ali Bangash)
2. “The Moon Cave” (feat. Asha Puthli, Bobby Womack, Dave Jolicoeur, Jalen Ngonda
and Black Thought)
3. “The Happy Dictator” (feat. Sparks)
4. “The Hardest Thing” (feat. Tony Allen)
5. “Orange County” (feat. Bizarrap, Kara Jackson and Anoushka Shankar)
6. “The God of Lying” (feat. IDLES)
7. “The Empty Dream Machine” (feat. Black Thought, Johnny Marr and Anoushka
Shankar)
8. “The Manifesto” (feat. Trueno and Proof)
9. “The Plastic Guru” (feat. Johnny Marr and Anoushka Shankar)
10. “Delirium” (feat. Mark E. Smith)
11. “Damascus” (feat. Omar Souleyman and Yasiin Bey)
12. “The Shadowy Light” (feat. Asha Bhosle, Gruff Rhys, Ajay Prasanna, Amaan Ali Bangash and Ayaan Ali Bangash)
13. “Casablanca” (feat. Paul Simonon and Johnny Marr)
14. “The Sweet Prince” (feat. Ajay Prasanna, Johnny Marr and Anoushka Shankar)
15. “The Sad God” (feat. Black Thought, Ajay Prasanna and Anoushka Shankar)

The Zootopia 2 soundtrack debuts at No. 6 on Billboard’s Kid Albums chart (dated Dec. 13), while Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas extends its record for the most weeks at No. 1, holding atop the list for a 125th nonconsecutive week.

Zootopia 2 is the companion album to the animated film of the same name, which has earned more than $220 million at the United States and Canada box office since its release in movie theaters on Nov. 26. It’s the sequel to the 2016 film Zootopia, which won the Academy Award for best animated feature and was one of the highest-grossing films of 2016.

While the first Zootopia album did not reach the Kid Albums chart, it did peak at No. 8 on the Soundtracks tally and at No. 121 on the overall all-genre Billboard 200.

The Zootopia 2 soundtrack is comprised largely of score composed by Michael Giacchino. It has one new song, “Zoo,” performed by Shakira, who voices the pop star character named Gazelle in both films. “Zoo” was written for the film by Shakira, Ed Sheeran and Blake Slatkin. (“Zoo,” meanwhile, also debuts at No. 6 on the Digital Song Sales chart.)

Elsewhere in the top 10 on the latest Kid Albums chart, three holiday titles dot the region, led by the soundtrack to A Charlie Brown Christmas and Dr. Seuss’ How the Grinch Stole Christmas! at Nos. 1 and 2, respectively. Christmas With The Chipmunks, from Alvin, Simon and Theodore With David Seville, vaults 24-8.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

There’s a new Dyson Airwrap on the market, and it’s the brand’s most futuristic hair tool yet. The Dyson Airwrap i.d. is a multi-styler and dryer with one-touch curling and styling capabilities that you can control through the Dyson app. The latest Dyson device dropped last year and was one of the hardest products to find in stores and online. But, you can score a Dyson Airwrap i.d. on sale now for a whopping $170 off as part of a holiday promotion at Dyson.com.

Everyone from Selena Gomez to Emma Stone have been known to use the Dyson Airwrap, and it’s not just for women either: The Bear star Jeremy Allen White used an Airwrap to perfect his curls at last year’s Golden Globe Awards.

The Dyson Airwrap i.d. uses Bluetooth technology to offer what the company has billed as a “more personalized styling experience.” Case in point: the haircare tool has a “personalized curling sequence” that allows you to style your hair with the touch of a button, without having to endlessly wind or twirl the wand. With help from the Dyson app, Airwrap i.d. also remembers your user data — such as hair type, hair length, and your skill level with haircare devices — to further automate the styling process. And the Airwrap i.d does all that while “maintaining heat and airflow,” per Dyson.

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The hair tool is available in two options: Dyson Airwrap i.d. Multi-styler for Curly to Coily Hair, and Dyson Airwrap i.d. Multi-styler for Straight to Wavy Hair. In our experience, the Airwrap not only curls, it also helps to add sleekness, volume and can create waves, if bouncy ringlets are not your thing.

Don’t like the blue and copper colorway? Dyson’s newest Airwrap comes in multiple colors, including a limited-edition “Amber Silk” colorway that’s on sale now at Nordstrom and Sephora below.

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Nordstrom has the Airwrap i.d. on sale as part of its “Winter Savings Event,” with other clothing items, bags, jewelry and shoes on sale for up to 33% off. Sephora, meantime, also has the “Amber Silk” Airwrap on sale. Sephora Beauty Insiders can save an additional 20% off with the promo code SAVEGIFTS at Sephora.com.


The Dyson Airwrap is a great gift idea for the holidays or for a special occasion, and it’s still in stock as of this writing. But as with all Dyson deals, this one won’t last long so we recommend adding to cart while the sale price is still live. Dyson, Nordstrom and Sephora all say the Airwrap i.d. will ship in time for Christmas delivery if you order soon.

Want products to pair with your new Airwrap? Dyson debuted a line of hair styling products last year designed to be used with its haircare tools. The Chitosan collection consists of Pre-Styling Hair Cream ($59.99) and Post-Styling Hair Serum ($59.99) designed to fight humidity and frizz to help your hairstyles last longer. The line takes its name from chitosan, “a complex macromolecule derived from oyster mushrooms” and the star ingredient in the product lineup.  

Dyson’s Chitosan collection is available at Sephora and Dyson.com.

Vince Guaraldi Trio’s soundtrack to the A Charlie Brown Christmas animated TV special is back in the top 10 on the Billboard 200 chart (dated Dec. 13) for the first time in nearly three years. It surges 18-9 with 46,000 equivalent album units earned (up 68%) in the United States in the week ending Dec. 4, according to Luminate.

It was last in the top 10 on the Jan. 7, 2023-dated chart, when it ranked at No. 10.

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.

Of the 46,000 units the album earned for the week, album sales comprise 20,000 — up 64% and largely owed to vinyl purchases; it jumps 10-4 on Top Album Sales. The album earns its biggest sales week in three years, since it sold 23,000 copies on the Dec. 31, 2022. chart.

A Charlie Brown Christmas is among a crowded top 10 on the Top Album Sales chart, which is jam-packed full of gaining titles thanks to sales gains generated by Black Friday promotions. Seven of the top 10 titles all post gains. Stray Kids’ DO IT leads the chart (60,000 sold, down 79% in its second week), Taylor Swift’s The Life of a Showgirl rises 4-2 (46,000, up 121%), the Wicked: For Good soundtrack dips 2-3 (43,000, down 49% in its second week), the KPop Demon Hunters soundtrack is up 6-5 (19,000, up 32%), the Stranger Things: The WSQK Collection jumps 26-6 (18,000, up 268%), Sabrina Carpenter’s Man’s Best Friend ascends 13-7 (17,000, up 72%), Stray Kids’ KARMA falls 5-8 (16,000, down 9%), the Wicked soundtrack dips 7-9 (15,000, though up 11%) and KATSEYE’s Beautiful Chaos rises 12-10 (15,000, up 42%).

A Charlie Brown Christmas also holds at No. 1 on both the Kid Albums and Independent Albums charts. It additionally appears in the top 10 on a sleigh-ful of other rankings: Jazz Albums (No. 2), Traditional Jazz Albums (No. 2), Top Holiday Albums (No. 3), Catalog Albums (No. 3), Soundtracks (No. 3), Indie Store Album Sales (No. 3), Vinyl Albums (No. 4). It also climbs 43-13 on Top Streaming Albums.

The A Charlie Brown Christmas soundtrack was released in 1965, the same year that the Emmy Award-winning special premiered on CBS, but it did not reach any Billboard ranking until 1987. That year, it debuted on the Top Holiday Albums chart, where it later peaked at No. 2 (Jan. 27, 2007). On the Billboard 200 chart, the set visited the top 10 for the first time on the Jan. 2, 2021-dated list, later peaking at No. 6 on the Jan. 1, 2022-dated chart.

It’s Beéle for the win on Vevo’s most-watched chart of 2025, as the Colombian singer-songwriter snags the top 2 spots.

Beéle leads the streaming video platform’s view count for new videos with “Mi Refe,” his collaboration with Ovy on The Drums, which accumulated 245.8 million views during the year.

The Barranquilla-born artist backs it up with “No Tiene Sentido” at No. 2, with 193 million total views, while K-pop star JENNIE, a founding member of BLACKPINK, slots in at No. 3 with “Like JENNIE,” which accumulated 177.6 million plays.

Beéle’s Vevo 1-2 caps a breakout year for the artist, who made his first appearance on Billboard’s albums rankings with his debut collection BORONDO back in May, bowing at No. 10 on Top Latin Albums and No. 4 on Top Latin Rhythm Albums on the lists. Earlier, BORONDO track “Mi Refe” cracked the top 10 on Latin Rhythm Airplay, in April.

For those breakthroughs and more, Billboard tapped Beéle (real name: Brandon de Jesús López Orozco) as Latin Artist on the Rise in May.

Where Beéle had the hottest new videos, Lady Gaga and Bruno Mars’ “Die With a Smile” was killer. Despite being released in 2024, the superstar collab was the most-watched music video on Vevo this year, with 932 million global views.

In other takeaways from Vevo’s annual end-of-year charts, “Like JENNIE” was the most-watched premiere with 33.4 million global views within the first 14 days of its release. JENNIE’s “ExtraL” with Doechii, “Love Hangover” with Dominic Fike, and “ZEN” were also some of the most watched premieres on Vevo worldwide, according to statement from the streaming platform.

“This was a historical year for Vevo, especially having a K-pop music video as our top premiere of the year,” comments JP Evangelista, senior VP, content, programming & marketing, Vevo. “Music video viewership in 2025 reflected diverse consumer palettes, with fans increasingly watching artists from all corners of the world, spanning a variety of genres, sub-genres, and local scenes.”

Meanwhile, the most-watched video of 2025 in the United States was Chris Brown’s “Residuals” (49.4 million) ahead of Mariah the Scientist’s “Burning Blue” (30.7 million) and Morgan Wallen’s “Smile” (26.6 million), respectively.

And in Australia, Lady Gaga pulled a magic trick as “Abracadabra” (2.24 million) led the way. Also, Mother Monster was the most reviewed artist in that market, with 22.3 million accumulated views across all her clips, ahead of Sabrina Carpenter (17.92 million) and Eminem (17.92 million), respectively. Homegrown rockers AC/DC crack the year-end top 10 artists frame, at No. 10, with 13.06 million total views.