“Golden” from KPop Demon Hunters is back on top of the U.K. Singles Chart on Friday (Oct. 31), and brings Taylor Swift’s No. 1 run with “The Fate of Ophelia” to a close after three weeks.

The song, taken from the Netflix smash film, is credited to the animated group HUNTR/X and sung by EJAE, Audrey Nuna and Rei Ami. “Golden” has now appeared at No. 1 on the U.K. Official Singles Chart for nine non-consecutive weeks, making it the longest running No. 1 single for an animated act. The Archies’ “Sugar Sugar” ruled on the U.K. Singles Chart for eight weeks back in 1969, while “We Don’t Talk About Bruno” from Disney’s 2022’s Encanto achieved seven weeks.

Taylor Swift’s “The Fate of Ophelia,” from her The Life of a Showgirl LP, secured three weeks atop the U.K. Singles Chart and became Swift’s longest running No. 1 single since “Anti-Hero” from 2022’s Midnights earned six weeks at No. 1; “Is It Over Now? (Taylor’s Version)” (2023) and “Fortnight” (2024) lasted just a single week each. “The Fate of Ophelia” falls just one place to No. 2, while “Opalite” lifts one place to No. 4.

Swift is also toppled on the U.K. Albums Chart as The Life of a Showgirl falls to No. 3 behind Dave’s The Boy Who Played The Harp (No. 1) and Bon Jovi’s Forever: Legendary Edition (No. 2).

RAYE’s “Where Is My Husband!” continues to rise and hits a new peak at No. 3. The singer-songwriter previously hit the No. 1 spot in 2022 with her 070 Shake collaboration “Escapism.”

Dave’s collaboration with Tems, “Raindance,” is straight in at No. 5, while The Boy Who Played the Harp’s opening track, “History,” is at No. 9, and “Chapter 16” at No. 11. Lily Allen also sees a strong week with songs from West End Girl — “Pussy Palace” (No. 12), the album’s title track (No. 17) and “Madeline” (19) — all charting.

While Tyla is dripping in “Chanel” on her latest designer single, the South African star is making movies on the dancefloor with MOLIY on “Body Go” and holding onto remnants of a past relationship with Lojay on “Memories.”

And there’s no stopping what’s coming from Mavin’s golden children Ayra Starr and Rema on their hypnotic collab “Who’s Dat Girl,” which debuted at No. 3 on U.S. Afrobeats Songs this week (chart dated Nov. 1). The single arrives less than one month after Rema popped out as a surprise guest during Starr’s performance at this year’s Global Citizen Festival, where they duetted on Rema’s “Baby (Is it a Crime)” single from earlier this year and his 2022 international smash “Calm Down,” with Starr filling for Sade’s and Selena Gomez’s parts, respectively.

We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.

Lojay & Tyla, “Memories”  

Lojay and Tyla cosplay as exes who are hesitant to let go of their haunted “Memories” of each other on this tantalizing highlight track from the former’s debut album XOXO. But their mellifluous “Eh-la-la-lo, eh-le-ah-no-ah” harmonies sound like a subtle hint that they’re still meant to be together. The Lagos loverboy reunites with his “Monalisa” collaborator, Afrobeats hitmaker Sarz, who brings his Sarz Academy protégé Twitch along for the duet’s sensual Afropop production.   

MOLIY & Tyla, “Body Go”  

Whether you’re in the back of the cab or in a “section full of baddies” at the club, MOLIY and Tyla command you to “dance, whine your body, go down” on their dancefloor filler. The infectious waist-whining rhythm of “Body Go” complements its come-hither lyricism. Months after releasing her U.S. Afrobeats Songs No. 1 “Shake It To The Max (Fly)” remix, the Ghanaian star continues to seize her moment.  

Ayra Starr & Rema, “Who’s Dat Girl”  

Mavin’s marquee stars Ayra Starr and Rema burn brighter together on their “Who’s Dat Girl” banger. Starr flaunts her It-girl status with poise, while Rema’s rapid-fire flow momentarily steals the spotlight from her – only for listeners to realize he’s spending his whole verse gassing up the gyal. And Ragee and The Elements’ dancehall-inspired and Middle Eastern-influenced production gives “Girl” a multicultural edge.

Young Jonn, “Full Control” 

Young Jonn is giving up “Full Control” of his body tonight on his sleek and sultry single, which arrives ahead of his upcoming sophomore album Blue Disco. Producer Yung Willis’ electronic flourishes and subdued log drums help soundtrack Jiggy’s late-night rendezvous. “This one is about owning your space and moving with confidence. After so many collaborations, I wanted to drop something that’s purely me – my energy, my vision, my vibe,” he said in a press release about “Full Control,” which debuted at No. 42 on U.S. Afrobeats Songs. 

Boj & Anaïs Cardot, “After Hours” 

After delivering gorgeous verses on Asake’s “My Heart” and Wizkid’s “Slow” last year, French Gabonese singer Anaïs Cardot lends her lithe, featherlight vocals once more on Boj’s “After Hours” single ahead of his upcoming album Duplicity. Their intimate exchange floats over Genio Bambino’s guitar-driven production, which softens into an old-school R&B synth loop for an extra touch of romance.  

The Cavemen. feat. Pa Salieu, “Gatekeepers”

The high-life masters just released their new album, Cavy In the City, today (Oct. 31), and on this latest single they brought Gambian-British singer Pa Salieu along for the ride. His contribution to the laid back track is less, singing, less rapping, than it is spoken word, adding a contemplative element to a track that is an engaging groove in the context of the overall album. The duo also announced a series of European dates for early next year, where they’ll take the new record on the road.

Shallipopi feat. Gunna, “HIM”

Shallipopi has been on an incendiary run of late, and this time he taps Atlanta MC Gunna for a street-to-street linkup that manages to feel like it lives simultaneously in both artists’ worlds. Shalli has an extended verse to open the track, using his slinking yet confident delivery to set the tone, before Gunna comes through to flow over the Spanish-inflected guitar that animates the brooding beat. It somehow manages to seem like a commercial hit, even though it’s still rooted in the streets. Another high-quality addition to both catalogs.

Flavour & Baaba Maal, “Afroculture”

Flavour — who also produced this song — often has a very distinct style, and this track embodies that, with driving percussion, traditional vocals and classic instrumentation that delivers a largely instrumental intensity that is lush with its different stylings and insistent in getting in — and staying in — listeners’ heads. It’s almost breathless, and feels much shorter than its three-plus minute run time, even as it fits in an avalanche of elements to create its sound. A real triumph, and a joy.

Lil Kesh feat. Balloranking, “TTGG”

Lil Kesh is one of the best and most consistent artists on the scene right now, and his vocals are distinct from anyone else out there. He’s so adept at melody and crafting catchy hooks that his verses can often fly under the radar, but he’s truly well-rounded in so many different ways that each release of his is a must-listen. Balloranking slides through with a different style on his verse, but it fits well within Kesh’s world on this ode to finding ways to get through tough times (which is one way of putting it). 

Joeboy & Shoday, “Ring”

Joeboy is an effortless vocalist, one of the true crooners in the Afrobeats scene, and this is a twist on his usual love song — finally, after playing around with a number of women, he’s met someone who makes him want to cut off all his relationships to dedicate himself to getting married to the woman of his life. Accompanied by a hilarious music video which shows all that drama coming home to roost, this is another ear worm in his ever-expanding catalog of catchy hooks and varied takes on love songs.

Chris Jones is pledging allegiance to his teammate’s famous fiancée, and Taylor Swift is loving it.

In a sweet moment from a recent press conference, the Kansas City Chiefs defensive tackle walked into the room with the pop star’s Billboard Hot 100-topping single “The Fate of Ophelia” blasting on his phone speaker. “… on the land, the sea …,” Jones sings along to Swift’s voice with a big smile on his face in a video posted to TikTok on Thursday (Oct. 30).

As he exits the junket, Jones once again presses “play” on the track and bops his head to the beat, cranking up the volume on his phone. “Y’all take care!” he says before leaving the room as reporters laugh.

One of the thousands of people who saw the clip was Swift, who gave her stamp of approval by dropping a “like” on the video. The 14-time Grammy winner has liked a number of TikToks featuring the single, including one post of a group of little girls performing original choreography to “Ophelia” at a wedding and another of a young boy reciting the song’s lyrics.

Jones is far from the only person enjoying “The Fate of Ophelia,” which dropped Oct. 3 as part of Swift’s new album, The Life of a Showgirl. The track has ruled at No. 1 on the Hot 100 for three weeks so far, and the pop star is gunning for a fourth aided by the recent release of a stripped-back version titled “The Fate of Ophelia (Alone in My Tower Acoustic Version).”

No. 95 also isn’t the only person on the Chiefs who’s a fan of the Shakespeare-inspired love song. At the team’s game against the Washington Commanders on Monday (Oct. 27), Travis Kelce celebrated his historic 100th touchdown by doing some of his fiancée’s “Fate of Ophelia” choreography in the end zone.

The moment was even more special as Swift herself was in the crowd to cheer on the tight end, who now ties Priest Holmes for the most regular-season TDs in the Chiefs’ history. Despite her busy Showgirl rollout — and possibly wedding planning — the singer has been present at many of Kelce’s home games this season.

Win Butler and Régine Chassagne of Arcade Fire have separated after 22 years of marriage, the band announced Thursday (Oct. 30).

In a statement posted to the Montreal rockers’ Instagram account, the longtime couple shared that “after a long and loving marriage, Win and Régine have decided to separate.”

“They continue to love, admire and support each other as they co-parent their son,” the message continued.

As for the group’s future, the bandmates wrote that their “bond as creative soulmates will endure, as will Arcade Fire.”

“The band send their love and look forward to seeing you all on tour soon,” the statement concluded.

The split comes after a long journey for Butler and Chassagne, who first met in 2001 at McGill University and formed Arcade Fire that same year. The pair tied the knot in 2003 and welcomed their son in 2013.

In 2022, Chassagne stood by her husband after he was accused of sexual misconduct by four people in a Pitchfork report. Butler confirmed at the time that he’d had extramarital relations with the people who came forward, but denied that any of them had been nonconsensual. He also apologized to “anyone who I have hurt with my behavior.”

“Win is my soulmate, my songwriting partner, my husband, the father of my beautiful boy,” Chassagne said in a statement at the time. “I know what is in his heart, and I know he has never, and would never, touch a woman without her consent, and I am certain he never did. He has lost his way and he has found his way back. I love him and love the life we have created together.”

Earlier this year, Arcade Fire dropped Pink Elephant, the band’s first album since the allegations came to light. In April, the group embarked on its Don’t Think About Pink Elephant Tour, which concluded the following month.

See Arcade Fire’s statement below.

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In today’s music economy, where streaming royalties remain thin and ticket prices continue to escalate, one of the fastest-growing and most resilient sectors is merchandise — and few companies are as prominent in the space as Universal Music Group’s wholly owned Bravado, which oversees the world’s largest music merchandise operation.

Bravado aims to unite artists and fans through products that aspire to be more than souvenirs, and at the center of its machine is its president, Matt Young. A 25-year merchandising veteran who joined Bravado four years ago, Young has shepherded the company through an era of unprecedented demand and logistical complexity, helping Bravado grow into a revenue engine that UMG says now generates over $900 million in annual business. But those top-line numbers tell only part of the story.

“We’re building bridges,” Young says, “allowing fans to touch something physical that represents the emotional connection they have to the music.”

Matt Young will participate in a panel at Billboard‘s Live Music Summit, held Nov. 3 in Los Angeles. For tickets and more information, click here.

Young’s path to Bravado traces the broader arc of the merch industry. He began at Roadrunner Records in the late 1990s, when the label had started to flirt with what would become known as “360 deals,” which bundled merchandising with recording and touring rights. From there, he spent time at an independent merch company before moving on to Warner Music and helping it build its merchandise division. “I’ve seen this industry from every angle: indie, major, startups,” he says.

By the time Young joined Bravado in 2021, the merch sector had begun to mature into a sophisticated global business with its own supply chains and sustainability strategies. In his role, he oversees customized blueprints for artists who range from global superstars like Billie Eilish and The Rolling Stones to emerging bands on the club circuit. About one-quarter of Bravado’s roster is non-UMG acts, and the company’s model spans from tour merch sold directly at concerts to retail partnerships with American outlets like Hot Topic and others in Europe and Asia.

“Tickets and T-shirts,” Young muses, are now twin pillars of the touring economy, with some artists selling hundreds of thousands of dollars’ worth of items in a single night. For certain acts, particularly those with deeply engaged fans, the merch table rivals the box office as a source of income. This shift has also forced the industry to rethink product design, moving away from one-size-fits-all T-shirts toward fashion-forward collections, sustainable fabrics, upcycled inventory, exclusive colored vinyl, collectible collaborations and even action figures.

Meanwhile, the evolution of VIP experiences has further blurred the line between merch and fan engagement. Bravado’s premium programs for artist tours range from simple early-entry packages to elaborate meet-and-greet activations that command thousands of dollars. For bands like Pierce the Veil, VIP passes that grant barricade access and exclusive goodie bags have become essential fan experiences, while legacy acts like Def Leppard and KISS have offered photo ops and once-in-a-lifetime perks.

Yet challenges remain. The company must navigate tariffs and geopolitical disruptions to supply chains and shipping routes while managing its inventory and combating bootleggers — both the ones who have long hawked counterfeit shirts outside arenas and those in the Wild West of digital merch, where Instagram scammers selling fake band shirts is an ongoing issue. For Young, though, these obstacles underscore the stakes. In his view, merch is not only about revenue diversification but also about cementing culture through everyday objects that can transform passive listeners into active community members. Merch — and Bravado’s products — are both commerce and cultural currency. “This isn’t just what I listen to,” Young says. “It’s who I am.”

How big is Bravado’s business today?

Universal’s earnings reports show that merchandise generated north of $900 million last year. It’s a substantial piece of UMG’s overall revenue, and it means our side of the business gets attention at the highest levels.

You often describe merch as more than just souvenirs. What do you mean by that?

Music creates an emotion, and merch is the last tangible thing you can hold, wear or display that represents that feeling. A vinyl record — even for someone without a turntable — can be merch. A hoodie or a T-shirt is an identifier: It says, “This is who I am, this is the culture I belong to.” That’s more powerful than a simple transaction.

What does your job look like week to week?

It’s a mix. We run teams in cities across the globe — New York, L.A., London, Berlin, Tokyo, Sydney, Madrid, Nashville. So there’s operational management. But there’s also signing new artists, pitching them ideas, collaborating with labels and making sure our products fit each fan base. We also spend a lot of time on sustainability: upcycling leftover inventory, using recycled materials and building new processes to reduce waste.

How does upcycling work?

We partner with a company called Hallotex. They take old tour stock — unsold shirts, tote bags, whatever — break down the fibers and respin them into new cotton. That gets turned into new blank [shirts] for fresh merch. Or maybe it’s taking old tote bags and turning them into a blanket. It’s about turning excess into opportunity and cutting down on the warehouse full of leftovers that used to define this business.

How do the economics of merch work for artists?

There are three main buckets: tour sales, online stores and retail. On tour, there’s usually a truck following the band with inventory, and most of that money goes directly to the artist on a net-split basis. Online and retail work more like a royalty system since we handle production and logistics. Across the board, the splits are heavily in the artist’s favor — often 80% to 90% after costs. It’s often the No. 2 source of revenue [for artists] after ticket sales. It’s not unusual for a major tour to transact hundreds of thousands of dollars in merch in a single night.

What makes for a successful merch strategy?

Culture. If a band has a lifestyle built around them, merch thrives. Look at Billie Eilish, who insists on sustainability and explains it to fans every night. Or Olivia Rodrigo, who wore her own merch onstage. When the artist truly believes in it, sales follow. It becomes part of their identity and their fans’ identities.

What kinds of products are trending now beyond T-shirts and hoodies?

Exclusive vinyl colorways for tours, blankets for amphitheaters, memorabilia books like Olivia Rodrigo’s, collectible action figures like we did for Rihanna, Slipknot’s masks and jumpsuits. It’s all about matching the lifestyle of the artist with the passion of the fan.

How do global challenges — tariffs, Brexit, supply chain issues — affect you?

They definitely add complexity. Brexit alone changed how we move goods in and out of Europe. Tariffs can impact pricing and margins. But we have logistics teams built to handle that. We try to be nimble and find ways to keep delivering.

What about risk? Not every product is going to be successful. How do you deal with demand uncertainty?

The key is smart inventory control. We measure sales every night on tour and adjust orders quickly so we don’t get stuck with piles of leftovers. Years ago, I inherited a warehouse in Nashville that was literally two football fields wide full of unsold merch. That doesn’t happen anymore. We recycle, upcycle and design smarter so we’re not flooding the market. And when there is excess, we’ll sometimes move it online for fans who couldn’t get to the show.

How much do fashion trends dictate what you create?

A lot. Kids today don’t want the same cuts we sold 10 years ago. Right now, shorter, wider shirts are in. A few years ago, it was skinny fits and super-thin fabrics. Hip-hop audiences might prefer heavyweight blanks, while pop audiences want pajamas or skirts. It’s about curating for each fan base — answering their call rather than handing them a generic black T-shirt.

Do you work outside music, with comedians or podcasters?

Yes. We do VIP and merch for Kevin Hart, and we also work with Shane Gillis, who’s one of the biggest comedians in the country right now. Comedy is different — comedians don’t pile into vans for long tours; they fly in for weekends. But they have catchphrases and bits that translate perfectly to merch. We also work with YouTubers and media personalities if it makes sense for our demographic.

Do macroeconomic shifts — inflation, politics, consumer confidence — ­affect your numbers?

On tour, not really. Since COVID, merch numbers have been the highest we’ve ever seen. People are celebrating being back in shows and merch is part of that. At retail, yes, you see slowdowns when inflation hits or tariffs drive up prices. But live is resilient. People are buying hoodies, vinyl and collectibles as part of the celebration of going to a concert.

Bootleggers have been around ­forever. Are they still a problem?

Always. If you’re buying from a guy in the parking lot, it’s not legit. And while the shirts might be cheap, they fall apart. But there’s also a fascinating subculture of vintage band tees. Original Nirvana or Nine Inch Nails shirts from the ’90s can sell for thousands of dollars today. That market is booming, and in some ways, it fuels demand for new designs, too.

Looking ahead, where’s the growth?

Digital. We’re learning as we go in video games and online platforms — it’s still the Wild West. There’s also a fight against online piracy, with fake ads on Instagram and Facebook. Beyond that, it’s about converting casual fans into superfans with unique, culturally relevant products. At the end of the day, it’s about making sure fans feel closer to their favorite artists.

This story appears in the Oct. 25, 2025, issue of Billboard.