Mariah Carey is the undisputed Queen of Christmas. The pop singer has lorded over the holiday charts for the past six years with her ubiquitous wintertime classic “All I Want For Christmas Is You.” It seems hard to believe it now if you’ve been anywhere near a store since Halloween, but the yuletide favorite that was released in 1994 did not chart until 2000 and did not hit No. 1 on the Billboard Hot 100 until 2019, fully 25 years after it first hit our ears.

Now, as the holidays really ramp up, the best-selling Christmas song of all time in the U.S. seems like a no-brainer to top the charts every year. But on Tuesday (Dec. 9), MC gave thanks for how it all started in a throwback video she re-posted from a fan feed of an interview she did in 1994 in which she was asked if she hopes one of the songs from her first holiday album, that year’s Merry Christmas, might some day be as ubiquitous as such standards as “White Christmas” or “Rockin’ Around the Christmas Tree.”

“Do you have the hope that one of your songs will be considered a classic one day?” the interviewer asks. “Wouldn’t that be nice, to have a classic Christmas song?”

“I would love it,” says Carey. “I mean I’m not going to be that arrogant as to say, ‘well, you know, this will become a classic or that’s a classic,’ but I’m very happy with them.”

Well, she needn’t have worried, because this week her all-timer jingled its way back to No. 1 on the Billboard Hot 100, leaping up four spots to the top for a record-tying 19th total week at the peak of the chart. “All I Want For Christmas Is You” now matches the runs of two other chart champs: Shaboozey’s “A Bar Song (Tipsy),” in 2024, and Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, in 2019 — for the longest command over the chart’s 67-year history.

After first hitting the top 10 on the chart in December 2017, and the top five for the first time during the 2018 holiday season, “All I Want” finally reached the pinnacle in 2019 (for three weeks), 2020 (two), 2021 (three), 2022 (four), 2023 (two) and 2024 (four).

In case you haven’t heard it, listen to Carey’s Christmas chart champ below.

Amid Billboard’s expansive suite of year-end charts, six venue rankings track 175 of the highest-grossing concert halls in the world, from general admission clubs to international stadiums. Of those 175 rooms, 116 are in the United States, but Billboard is breaking them down further. Where are they? Where aren’t they? Which cities are the most populated with high-traffic concerts?

Las Vegas and Los Angeles have the highest concentration of year-end charting venues, each with 11. New York follows closely with 10, before San Francisco with nine.

Geographical determinations were based on Neilsen’s designated market area (DMA) regions. Year-end charts are based on figures reported to Billboard Boxscore for shows that took place between Oct. 1, 2024, and Sept. 30, 2025.

Vegas tops two of the six venue charts, at No. 1 on Top Venues (15,001+ capacity) with Sphere, and No. 1 on Top Venues (2,501-5k capacity) with The Colosseum at Caesars Palace. New York takes top honors among venues with a capacity of 5,001-10,000 with midtown Manhattan’s Radio City Music Hall. The other three charts are ruled by a stadium in Mexico City, an arena in Austin, and a theater in Nashville.

All of Vegas’ 11 charting venues are located in the city proper. The 11 for Los Angeles includes four in Inglewood, while New York’s 10 include UBS Arena in Belmont Park (Long Island), Prudential Center in Newark, N.J., and MetLife Stadium in East Rutherford, N.J.

After Vegas, L.A., N.Y.C., and S.F., each with nine, 10, or 11 venues on the year-end charts, there is a drop-off to a quartet of cities that boast five apiece: Atlanta, Boston, Denver, and Washington, D.C. Chicago, Dallas, Miami, and Tampa each have four, followed by Nashville with three.

While three of the top four markets are located in the western half of the U.S., it’s the opposite side that pulls more weight. Spread among 24 markets, 63 of America’s 116 charting venues lie east of the Mississippi river. Ten venues fall in the center of the map, with 43 venues, from just 10 different markets, are on the west.

Hover over each region on the map above for more information.

4 Non Blondes, whose 1993 hit “What’s Up?” went viral on TikTok this year via a mashup with Nick Minaj‘s “Beez in the Trap,” will release a new album next year through Kill Rock Stars, the label tells Billboard, marking the band’s first release in more than three decades.

The as-yet-untitled new album will be released through a new Kill Rock Stars imprint, 670 Records, which the label is co-launching with 4 Non Blondes frontwoman Linda Perry. As part of the agreement, Perry is additionally readying a new solo album, Let It Die Here, also for release through Kill Rock Stars/670 in 2026.

Despite achieving success with “What’s Up?” and the band’s platinum-certified 1992 debut album Bigger, Better, Faster, More!, released by Interscope, 4 Non Blondes disbanded in 1994, leading Perry to embark on a lucrative career as a songwriter and producer for star artists including Christina Aguilera (“Beautiful”), Gwen Stefani (“What You Waiting For?”) and P!nk (“Get the Party Started”). After more than 30 years apart, she recently reunited with founding 4 Non Blondes bassist Christa Hillhouse, as well as drummer Dawn Richardson and guitarist Roger Rocha, both members of the group’s original touring band. This year, the reunited foursome played a handful of shows, with three more set for later this month in L.A. and San Francisco.

“I put my feelers out into the universe,” said Perry in a statement of bringing the band back together, initially by setting up a rehearsal in San Francisco. “Playing some songs with 4 Non Blondes just seemed like a fun thing to do, in a way it hadn’t before now. I’ve been behind the scenes for far too long. I want to step out to be the artist I am. I’m just open to all the possibilities that I’ve created around me. I manifest things all the time.”

Perry added that she subsequently wrote “a bunch of new songs, revisit[ed] some old ones, and bam, we have an album. It’s really that simple. They’re all phenomenal players and now they get a chance to show that. I couldn’t ask for a better band to play these songs.”

In the wake of the band’s reunion, “What’s Up?” enjoyed its viral TikTok moment, with the mashup reaching No. 1 on the platform’s trending song charts and generating more than 3 million user-created videos, according to the label; the track also re-entered Billboard‘s Hot Rock & Alternative songs chart. Celebrities who have participated in the trend include Madonna, Jennifer Lopez, and Khloe Kardashian and Kylie Jenner.

The relationship with Kill Rock Stars arose after the label approached Perry’s team about reissuing her debut solo album, In Flight, on vinyl for this year’s Record Store Day Black Friday. The label says those conversations led to talk of collaborating on new music.

“Our partnership with Linda Perry reflects exactly what Kill Rock Stars stands for,” said Sydney Christensen and Rob Jones of Kill Rock Stars in a joint statement. “Her fearless creativity, her career-long commitment to amplifying authentic voices, and her instinct for nurturing artists align directly with our mission. Perry’s body of work, spanning songwriting, production, and artist development, has inspired us for years, showing how visionary, emotionally honest music can shape generations. We share a deep passion for championing singular talent and creating space for artists to take risks, evolve, and be truly heard.”

Added Perry in a statement on the Kill Rock Stars partnership, “I’m super excited to partner up with Kill Rock Stars for yet another release. Let It Die Here, my new album, needs a dedicated and creative team behind it. For me, releasing music is a very personal and intimate experience so I want to know that the company I’m going on this journey with is supporting art and longevity. I feel very confident saying that John Burk and everyone at Kill Rock Stars are intent on building a company led by architects, sculptors, and musicians.”

As the halo of good cheer and warm feelings has just barely begun to fade following the conclusion of Oasis‘ triumphant 2025 global reunion tour, singer Liam Gallagher has hit fans with the worst possible news: the sequel is much further in the distance than they anticipated.

Despite months of rumors, hopeful manifestation and just plain pleading for another round of dates in 2026, Gallagher seemed to shut the door on all that talk over the weekend when he responded to a plea from a supporter to “announce the 2026 dates mate.”

And then, with with a seven-word dagger to the hearts of the Bucket Hat Nation, Gallagher responded, “we’re not doing anything in 2026 mate.” Gallagher also threw cold water on persistent whispers that the band was preparing to stage a long-awaited return to the site of one of their biggest shows ever at Knebworth in their native England. When an Oasis fan group posted that the current odds are “1/2 with William Hill to play at Knebworth next year,” the singer was clear: “ITS NOT HAPPENING.”

Specifically, answering another fan who plainly asked “Knebworth next year? your so ignorant never answer me,” soccer-mad Liam retorted, “Nothing going on next year except the WC [World Cup].” Adding insult to injury, Gallagher responded to the question, “brother dont you have s–t to do today,” with the plainspoken retort, “I don’t snizzle to do until 2027, I mean happy Christmas.”

The apparent 2026 hiatus comes after the once battling Gallagher brothers ended their 16-year hiatus with 41 sold-out shows on five continents this year. The gigs, which were rapturously received by diehards who never thought they’d see Liam and older brother songwriter/guitarist Noel on stage together again after their bitter 2009 split, appeared to be the first salvo in what was possibly a full-bore return to regular touring.

At press time a spokesperson for the group had not returned Billboard‘s request for comment on Gallagher’s latest comments.

Though they never officially announced any further shows, Liam has appeared to hint that their work is not done yet in a series of tweets last month, in which he wrote  “I know things you don’t” on X, following an earlier tease that “it’s not even half time yet.” After admitting that there were a “few tuts and raised eyebrows” when he’d earlier teased that he’d see fans again next year, Liam offered a succinct one-word answer on a potential 2026 tour: “No,” he wrote.

Then, the group seemed to definitively close the door on any speculation about 2026 dates when they posted some highlight pics from the tour with the message, “there will now be a pause for a period of reflection.” In keeping with his one step forward, three steps back approach, though, Liam soon pried the door open a crack once again in response to further fan questions about when they will play again and if they will mix up their rigid set list next time around.

“There’s loads more classics we need to play for you when we go out again I mean happy Christmas,” Gallagher said.

So for now, bask in the glory, hold on to those memories (if you were there) and wait for the upcoming, as-yet-unscheduled, live film documenting the tour produced by Oscar-nominated writer/producer/director Steven Knight (Peaky Blinders) and directed by Dylan Southern and Will Lovelace (Meet Me in the Bathroom).

Tileyard Education has announced the return of its Music Business Summer Camp, created in association with Billboard U.K.

The virtual course is set to run across four Saturday sessions starting June 6, 2026, and concluding later that month on June 27. The monthlong programme is designed for emerging artists and aspiring industry professionals looking to gain a practical understanding of how the modern music business operates.

The online course will take place from 12 p.m. to 4:45 p.m. BST each Saturday, including a 45-minute lunch break. Fees are set at £750 ($999). Participants under 18 will not be eligible to take part, and registrations may be cancelled with a refund if age requirements are not met.

Tileyard Education operates out of Tileyard London, the world’s largest independent music community, home to more than 150 recording studios and over 200 creative businesses. The campus brings together artists and companies across the global music ecosystem, including Focusrite, SoundCloud, Ableton, Noel Gallagher, The Prodigy and Sigala, fostering collaboration across recording, production, publishing and creative development.

The summer camp’s partnership with Billboard U.K. brings together Tileyard’s education arm with one of the most influential voices in global music culture. Billboard’s charts and editorial coverage continue to serve as a key reference point for artists, fans and industry professionals worldwide, spanning executives, promoters, publishers, radio programmers, legal teams and digital platforms.

According to Tileyard Education, the programme will offer hands-on training and real-world insight delivered by leading experts from across the international music industry, with lecturers set to be announced at a later date. The curriculum is aimed at providing participants with a deeper, working knowledge of the business, from foundational principles to practical application.

Former participants of the programme have highlighted its emphasis on industry access and real-world learning. Past attendee Chloe Gamble described the experience as “a truly great experience,” pointing to the opportunity to learn directly from professionals and build connections within the Tileyard community. Jake Lane, meanwhile, shared that knowledge gained during the course helped him apply legal fundamentals in real-life work, including creating contracts and onboarding clients.