Michael Archer Jr., the son of D’Angelo and Angie Stone, has issued a statement following the death of his father on Tuesday (Oct. 14), which comes just seven months after the death of his mother.

“I am grateful for your thoughts and prayers during these very difficult times, as it has been a very rough and sad year for me,” Archer Jr. told People. “I ask that you please continue to keep me in your thoughts as it will not be easy, but one thing that both my parents taught me was to be strong, and I intend to do just that.”

D’Angelo’s family confirmed that the neo-soul icon died at age 51 following a battle with pancreatic cancer. “The shining star of our family has dimmed his light for us in this life,” read the statement, which was shared with Billboard. “After a prolonged and courageous battle with cancer, we are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home, departing this life today, Oct. 14, 2025.”

Stone, founding member of the trio The Sequence, died at age 63 in a car crash on March 1 after her last performance at Mardi Gras Association’s Grand Marshal’s Ball in Mobile, Alabama. “Unfortunately, at around 4 a.m. while heading back to Atlanta from Alabama, the Sprinter flipped over and was subsequently hit by a big rig. Thankfully, all survived except for Angie,” Walter Millsap, president of Conjuction Entertainment, said in a statement obtained by Billboard.

Archer Jr., who performs under the stage name Swayvo Train, shared an Instagram clip of the “Heart and Neo-Soul (Ginuwine and D’Angelo)” episode of MTV’s Family Legacy, where he and Stone watched one of D’Angelo’s old interviews, specifically when he talked about spending the years between his 1995 debut album Brown Sugar and his 2000 album Voodoo with his family. “I had a son. After his birth, I started writing for the album. And this album is dedicated to my son,” D’Angelo says in the interview. “He inspired me not just to write songs but to be a better man and to grow up. And that’s what the album is about. Music to me is about growth, and I grew a lot.”

When Stone passed away earlier this year, Archer Jr. paid tribute in a heartfelt Instagram post. “Hey mama, I ain’t want nothing, just wanted to say I love you … Im so grateful for the lessons that I learned from you, I hope to one day be as good to my kids as you were to me,” he wrote at the time. “I just wanted to you to know that I got it from here , imma be okay… and imma LONG LIVE YOU 4Ever love you mama.”

Morgan Wallen’s “I Got Better” rises to No. 1 on Billboard’s Hot Country Songs chart (dated Oct. 18), becoming his 12th career leader.

The song pulled 13.2 million official U.S. streams, 31 million in radio audience (up 5% in both metrics) and 1,000 sold (up 10%) Oct. 3–9, according to Luminate. Boosting the song’s reach, its official video premiered Oct. 1.

Here’s a look at Wallen’s dozen Hot Country Songs No. 1s, with “I Got Better” dethroning his own “What I Want” after 20 weeks on top:

Dating to Wallen’s initial week atop Hot Country Songs with the first of his 12 No. 1s, no one else has more than four leaders in that stretch (led by Luke Combs).

“I Got Better” marks Wallen’s fourth Hot Country Songs No. 1 from his album I’m the Problem, the second such feat for the superstar. One Thing at a Time produced as many, with the sets currently placing at Nos. 1 and 2, respectively, on Top Country Albums. Plus, with his Dangerous: The Double Album at No. 3, 11 of his 12 Hot Country Songs leaders appear on projects in the album chart’s top three spots.

Combs Drops ‘The Prequel’

Luke Combs claims the top three ranks on Country Digital Song Sales, all with new debuts: “Days Like These” (No. 1; 2,800 sold), “My Kinda Saturday Night” (No. 2; 2,700 sold) and “15 Minutes” (No. 3; 2,100 sold). The songs arrived Oct. 3, collectively packaged under the title The Prequel. He ups his totals to 11 No. 1s and 45 top 10s on the chart.

“Days Like These” concurrently opens at No. 25 on Hot Country Songs, also via 4.3 million streams, and “15 Minutes” enters at No. 46 (2.6 million).

Combs’ current radio-promoted single, “Back in the Saddle,” rises 8-7 for a new Hot Country Songs high. It rides 8-5 on Country Airplay (23.9 million in audience, up 7%).

He made history again: Alok marked his name on the Tomorrowland timeline by breaking his own Latin American record, taking more than 1,000 drones to the skies of Tomorrowland Brazil in Itu, São Paulo, on Sunday (Oct. 12).

The machines created images of the mother flower — the “LIFE”-themed flower that sits center stage on the Tomorrowland main stage — as well as the Alok and Tomorrowland symbols, and a robotic face that moved as a voice interacted with the audience. The phrase “Rave the World” also formed in the sky.

“You are now forever connected by the universal melody of LIFE,” Alok wrote on Instagram alongside a video of the drone show. “United through the magical energy of friendship. Thank you, for writing history. Live Today, Love Tomorrow, Unite Forever.”

The crowd gathered at the main stage admired the brightness of the drones that fit in perfectly with the Brazilian DJ’s set.

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In 2024, Alok created a show unlike any other in the festival’s history — not even in the Belgian edition. He sent 600 drones flying over Maeda Park, creating images related to Tomorrowland‘s universe and its identity. The set was voted best performance of 2024 by the Electronic Dance Music Awards (EDMAs) and celebrated by Brazilians as one of the most iconic moments of the festival’s 20 years.

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This year, the Brazilian star raised the bar with more than a thousand drones choreographed and synchronized with fireworks, lasers and lights.

The show was the result of a collaboration between Alok’s creative team and Tomorrowland’s production.

You know the numbers by now, right? Taylor Swift‘s The Life of a Showgirl made history this week by officially moving 4.002 million units in its debut week of release, with 3,479,500 of those coming in sales — both single-week records for an album released in the modern era (since 1991).

Showgirl passes Adele’s 25, which previously held both benchmarks — moving 3.482 million units in its 2015 debut week, with 3.378 million of that number coming in sales. In addition setting those records while debuting atop the Billboard 200, Showgirl launches all 12 of its tracks into the top 12 of the Billboard Hot 100 — also a record for top-end dominance — as lead single and opening track “The Fate of Ophelia” bows at No. 1, becoming Swift’s 13th song to reign on the chart.

How has she managed to set so many new records with this album? And how has she done it at a time when none of her peers seem able to even get within striking distance of her numbers? Billboard staffers answer these questions and more below.

1. Taylor Swift’s The Life of a Showgirl debuts with 3,479,500 in first-week sales and 4.002 million first-week equivalent album units, beating both first-week records for the modern pop era, previously held by Adele’s 25. What’s the word that first comes to mind when you consider this level of accomplishment? 

Eric Renner Brown: Complicated. Swift’s accomplishment is a major feat, of course. But comparing Showgirl‘s release with 25’s is simply apples to oranges. The ways listeners consume new music has changed drastically in the last decade – and Swift has, to her credit, savvily navigated that. Still, Swift’s straight sales edged Adele’s by only about 100,000, and Adele didn’t have the wind of myriad vinyl variants in her sales sails. And while Swift’s equivalent album units figure includes streaming, Adele initially withheld 25 from streaming. When it comes to the charts, changing modes of distribution and consumption can make comparing artists from different eras challenging: What does one make of Future having three times more Hot 100 entries than The Beatles?

Hannah Dailey: Destiny. I think that Taylor was always going to achieve this record one way or another. I don’t think she ever would have stopped working for it until she got it. As astonishing as these numbers are, they’re the culmination of decades of Taylor working her a– off to get to this moment. Whether it was with Showgirl or not, she was always going to take it at some point.  

Kyle Denis: Cool. Seeing two all-time records fall in one week is an incredible moment, but I think I’m too aware of the sweat it took to make this moment possible for me to just sit back in awe. And I wish it was for a better album. 

Danielle Pascual: Incomparable. I’m confident that no other artist alive right now can do these numbers. In the age of streaming, surpassing even one million in album sales is a feat to be celebrated. Selling more than three times that in 2025 speaks to the power of the fanbase Taylor has carefully curated over the past near two decades since her debut. When a world of music is right at your fingertips thanks to DSPs, artists must have a following that truly supports them to have fans go out of their way to buy an album (let alone multiple). With the success of her Taylor’s Versions and the Eras Tour, we’ve already known Taylor to be in a league of her own — but with Showgirl, the ball’s been hit to another galaxy.

Andrew Unterberger: Wrong-proving? Pre-release week, I had several conversations where I said that there was next to no chance of her to break Adele’s first-week record. And that was no knock on Taylor Swift at all, just a recognition of the reality of the situation, which still included Swift falling way short of those totals with the 31-track expanded Tortured Poets at (seemingly) the absolute peak of her popularity, and now coming back with a 12-tracks-only effort where she seemed to have other priorities in mind. But it’s not the first time Swift has reorganized what I previously believed industry realities to be, and I’m confident it won’t be the last.

2. After Swift’s Tortured Poets Department, released at the peak of Eras Tour mania, still fell well short of the Adele first-week records, many thought they might remain beyond her grasp. What do you see as the biggest factor behind her seizing them with this album? 

Eric Renner Brown: Quite frankly, I do not know. For the last several years, every day has felt like Peak Taylor Swift – but even so, April 2024, when Tortured Poets dropped, felt like the true pinnacle of her cultural omnipresence. Did Showgirl surpass Tortured Poets because Swift touted her long-awaited reunion with producers Max Martin and Shellback? Did her recent engagement to Travis Kelce buoy its numbers? Had fans’ wallets finally recovered from the damage done by the Eras Tour merch table? None of these feel substantial enough to totally explain Showgirl outstripping Tortured Poets to such a degree.

Hannah Dailey: I think it was very smart of Taylor to make the Eras Tour such a crucial part of The Life of a Showgirl’s brand, from marketing the album as a behind-the-scenes peek at her life on the road to singing about her experiences on stage with Sabrina Carpenter on the album’s title track. TTPD may have come out during the tour, but Showgirl is the album embodiment of the tour – and even nearly a year after it wrapped, people are still obsessed with all things Eras, meaning that a whole album dedicated to that chapter of Taylor’s life was always going to do phenomenally. 

Kyle Denis: I think capitalizing on post-Eras Tour momentum with another new album, tying Showgirl to her engagement and the beginning of the NFL season, and, of course, putting out seemingly infinite variants of the album are the biggest factors behind Swift seizing Adele’s first-week records. She also made herself incredibly visible throughout release week, appearing on late-night shows on both sides of the pond. It also worth noting that Showgirl tracks were unable to be individually purchased during release week, theoretically spurring more listeners to buy or stream the full 12-track album. 

Danielle Pascual: I think it has a lot to do with the rollout. Because Tortured Poets was released at the height of the Eras Tour, Taylor didn’t really have time to go out and promote the album since her focus was probably on her 3.5 hour stadium shows. On the other hand, since she announced The Life of a Showgirl on her now-fiancé’s podcast in mid-August, it has been all systems go on album promo. From Taylor’s return to radio and late-night interviews to brand activations and more, TS12 has completely infiltrated the mainstream in a way that TS11 did not.

Andrew Unterberger: If this were any other artist, we’d probably saying “well OF COURSE the 12-track set of pop bangers is doing way better than the 16-or-31-track set of tortured poetry.” Maybe we should just be saying it with Swift too.

3. Of Swift’s last two lead singles, “Anti-Hero” reigned on the Billboard Hot 100 for eight weeks, while “Fortnight” with Post Malone reigned for two. Which length of rule do you think the run for “The Fate of Ophelia,” which bows atop the listing this week, will more closely resemble? 

Eric Renner Brown: For much of this year, the upper echelon of the Hot 100 has felt stagnant – which means a Swift takeover could last longer than the brief blink-and-you-miss-it No. 1s we sometimes see in the streaming era. At the same time, Showgirl has felt more siloed off from the broader culture – as much as a multi-million-selling album can feel that way – than Swift’s other recent output. It’s easy to imagine Swift’s fans holding “Ophelia” and other songs from this album in high esteem, even as they fail to seize the zeitgeist like her previous hits have. Especially without another Post-caliber star in the mix, I don’t anticipate “Ophelia” clocking multiple weeks at the top.

Hannah Dailey: Both of my predictions for “Anti-Hero” and “Fortnight” turned out to be wrong, but if I have to guess, I’ll say that “The Fate of Ophelia” will have a No. 1 run that’s more similar to the latter – if only because of how little the Hot 100 top 10 has changed this year. Even when new songs have come for the crown, a lot of them have only remained briefly at the top before falling back behind the top 10’s longterm residents in 2025. 

Kyle Denis: Definitely “Fortnight.” “Ophelia” isn’t nearly as hooky as “Anti-Hero,” and that song already wasn’t as catchy as Taylor’s Red and 1989 pop hits. KPop Demon Hunters’ “Golden” also clearly isn’t going anywhere anytime soon. 

Danielel Pascual: “Anti-Hero.” I’m not so sure “The Fate of Ophelia” will beat eight weeks at No. 1, but I think it will come close. Her latest lead single sounds more like the radio-ready single we’ve come to expect from Swift’s pop projects. Despite the A-list feature of Post Malone on “Fortnight,” the song was a sonic departure for Swift. Timing-wise, I do think the Eras Tour overshadowed that single, whereas now, Taylor can put all her energy into promoting “Ophelia.” If she wanted this to be her biggest No. 1, she could undoubtedly do it.

Andrew Unterberger: I hope it’s more like “Fortnight,” since “Ophelia” is one of my least-favorite Taylor Swift singles. (Actually can we get a longer run for the somehow-highly-underrated “Fortnight” retroactively instead?) But I’d guess it ends up being more like “Anti-Hero” — the streaming numbers are still too gargantuan, and radio is only just starting to get going with the song, with every reason in the world to continue embracing it.

4. The most staggering thing about Taylor Swift moving four million units of an album in one week in 2025 might be that no other artist has even moved one million — and only Adele herself has come particularly close. What do you think is the biggest reason why Swift has separated herself from the pack so dramatically? 

Eric Renner Brown: In the year 2025, Taylor Swift has a remarkably high floor. Her gaudy sales numbers mirror her Eras Tour live statistics, which were similarly Barry-Bonds-on-steroids margins beyond other successful stadium artists. Her popularity feels more akin to the monocultural stars of yesteryear than any of her “peers” today. But when considering the sheer distance by which she has surpassed the rest of pop’s A-list, I do credit some of it to her savvy – to put it uncynically – navigation of how records are sold today. Granted, plenty of other major artists today use things like vinyl variants to bolster their numbers, without attaining Swift’s success; in a world where Swift offers a more limited range of purchasing options, I bet she still healthily trumps Adele and all other challenges, just not by such a staggering margin.

Hannah Dailey: She puts so much effort into turning each of her albums into their own miniature brands. The variants, the visuals, the exclusive photos and poems. Her album sales numbers are consistently wild because she consistently gives fans so many different goodies to get their hands on — and most importantly, she makes it fun for them to do so. Swifties truly want to live inside these album worlds Taylor creates, and where there’s demand, she always knows how to supply. 

Kyle Denis: Her willingness to sweat and play the game. Musically, Showgirl is tailor-made for mass appeal. The song structures and melodies are familiar; the production is largely inoffensive, and any pop radio station can play these lyrics. She also isn’t aligning herself with — or explicitly calling out — a sociopolitical movement. When you combine all of this with Swifty’s nifty marketing mind (30+ variants with exclusive mixes, BTS voice notes, early demos, etc.), you end up with an album and a campaign specifically engineered for mass consumption.

But it also takes a committed fanbase with the buying power to pull this off, and Taylor has conditioned an army of consumers who trust her ability to deliver quality material (to their ears, at least) and believe in the virtues of collecting and investing in the never-ending lore of her career. She’s completely committed her focus to securing the biggest first-week totals possible, and that’s a level of tenacity that a lot of her peers don’t seem to be interested in leaning into. 

Danielle Pascual: No other artist has had anything like the Eras Tour. With it, she brought together die-hard fans and casual listeners, who’ve all come to realize how big of a role her music has had on so much of their lives. Now, it’s been 10 months since that final show, and people are still talking about its impact. Showgirl was introduced as an album that gives fans a look behind the Eras Tour curtain, so attendees of that tour were eager to not just relive the magic but learn more about Taylor’s thought processes during such a whirlwind time of her career.

Andrew Unterberger: It’s pretty hard to point to one thing — it’s more 15-plus years of savvy creative and business decisions building on one another and paying off in a way we’ve simply never seen before. It’s amazing that Taylor Swift has gotten to this point, but it’s not totally shocking: Even as a teenager, you could tell she was playing the long game with her music, always looking to the future and how to continue growing her audience, her profile and her artistry to the point where she is now not just flop-proof, but able to make the other biggest pop stars in the world look like DIY bedroom-pop artists by comparison. She has, in fact, told us that she is a mastermind.

5. Make a prediction: Will Taylor have another album eventually sell more than 4.002 million in a week? 

Eric Renner Brown: Probably! If Showgirl has proven anything, it’s that even in a year where Swift feels less in the zeitgeist (relatively speaking), she can still do mind-boggling – record-breaking, even – numbers. If there’s a future album campaign where she combines Showgirl-esque release mastery with an acclaimed, chart-dominating pre-release single, it’s easy to imagine that album surpassing Showgirl’s sales marks.

Hannah Dailey: Yes. There’s no reason to doubt that she’ll keep topping herself at this point – she always, always proves that she can.  

Kyle Denis: What the hell, sure. 

Danielle Pascual: Yes. When Showgirl was first announced, I didn’t think she could surpass the 2.61 million units moved with Tortured Poets — and clearly I was wrong. Although Taylor’s chart dominance isn’t new, I don’t think it’s over yet. Her next album will be her 13th, and since that’s her favorite number, she’s got to go big or go home, right?

Andrew Unterberger: Yes. Which still feels impossible, of course, but I simply refuse to get burned betting the under with Taylor Swift again.