Taylor Swift’s The Life Of A Showgirl isn’t moving from the spotlight on the ARIA Charts.

After snagging the entire top 12 of the national singles chart last week, Taylor dominates once again with eight of the top 10, with The Fate Of Ophelia locking up top spot for a second week.

Meanwhile, The Life Of A Showgirl enters a second week at No. 1 on the ARIA Albums Chart, as Swift completes another chart double.

Across her career, Swift has accumulated 70 weeks on top of the national albums survey, according to ARIA, an accomplishment that has origins dating back in 2010 with Speak Now, which spent one week at the top.

The top new release on the latest ARIA Albums Chart, published Friday, Oct. 17, is Pete Murray’s Longing, at No. 5. Longing is the Queensland singer and songwriter’s seventh full-length studio album and first in eight years, three of which reached No. 1 (Feeler in 2003, See The Sun in 2005, Summer At Eureka in 2008).

Another artist from the Sunshine State, Gold Coast singer, songwriter and producer Lyric, bags a debut 10 appearance with her second EP, The Art Of Falling First. It’s new at No. 9, and is one of eight homegrown titles on the survey.

Beloved Indigenous artist Baker Boy bags a top 20 appearance with his sophomore album, DJANDJAY, new at No. 13. The winner of six ARIA Awards and the recipient of the Young Australian of the Year in 2019, Baker Boy (real name: Danzal Baker) dropped his debut album Gela in 2021, for a No. 3 best.

Meanwhile, former Noiseworks and INXS frontman Jon Stevens snags a top 40 debut  with his 11th solo album, Shimmer. It’s new at No. 30. With Stevens on the mic, Noiseworks scored four top 10 albums, topping the tally in 1991 with Love Versus Money.

Sheppard founding member Amy Sheppard drops in at No. 45 with her debut full-length album, Born To Be Country. The Brisbane artist enjoyed a No. 16 peak with her 2022 EP Nothing But Wild, and landed four top 10 albums with Sheppard, including a No. 1 with 2018’s Watching The Sky.

Over on the ARIA Singles Chart, the highest new entry belongs to BLACKPINK’s Jisoo and former One Direction singer Zayn, as their collaboration “Eyes Closed” opens at No. 47. No Australian titles appear in the top 50.

All Time Low notch up double digits with Everyone’s Talking!, which arrives today, Oct. 17, through the alternative rock veterans’ own label Basement Noise Records.

Everyone’s Talking! is the 10th full-length studio LP from the Maryland quartet, comprising Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick, and features the previously-released “Sugar,” a collaboration with Grammy Award winning singer and songwriter JoJo, and the first single “Suckerpunch.”

All Time Low have landed 10 titles on the Billboard 200 chart, including five top 10 appearances. All told, the rockers have racked up 5 billion career streams, and led Billboard’s Alternative Airplay chart with “Sleepwalking” (in 2023) and “Monsters,” featuring blackbear, the latter logging 18 weeks at the summit in 2020-21.

All Time Low has been roadtesting new material on their 30-plus-date Everyone’s Talking! Tour, which kicked off earlier this month and endured a hiccup earlier this week when the band skipped shows at Red Rocks and Seattle when frontman Gaskarth was sidelined with a throat infection.

Gaskarth has been cleared to continue on the tour, reads a statement (though he’s being “extremely mindful of his voice”) and fans are invited to celebrate the new LP with a free concert today, Oct. 17 at The Fremont Street Experience in Downtown Las Vegas, ahead of the band’s spot at the When We Were Young Festival this weekend.

In the closing weeks of 2025, All Time Low will head Down Under for the 2025 Good Things Festival, a three-date east coast run of Australia featuring the likes of Tool, Weezer and Garbage. The U.K. and Europe beckon in 2026, when All Time Low will embark on a stretch of headline arena shows starting Jan. 20 in Glasgow, Scotland, and visiting London, Paris, Prague, Barcelona and elsewhere.

Everyone’s Talking! is issued in partnership with Photo Finish Records/Virgin Music Group. Stream it in full below.

Kevin Parker winds back the clock, tunes up the dancefloor and reminds us to get our arms out wide (or up high) on Deadbeat, Tame Impala’s fifth and latest full-length studio album.

Dropping at midnight, Oct. 17, Deadbeat is the production maestro’s first Tame Impala album in five years, and the first through the Sony Music network, by way of a new deal with Columbia Records.

As previously reported, Deadbeat is inspired by the “bush doof” culture of Parker’s native Western Australia rave scene, a moment in time impressively captured on its first release, “End of Summer”.

Parker will assemble his touring band for a raft of newly-announced pan-European and U.K. concerts next year, starting April 4 at Super Bock Arena in Porto, Portugal and wrapping up May 13 at 3Arena in Dublin, Ireland.

He’ll get matters underway next when, when The Deadbeat Tour kicks off its North America run with a show Oct. 27 at Brooklyn’s Barclays Center.

Deadbeat drops half a decade after The Slow Rush, from February 2020, a record that went to No. 1 on Australia’s ARIA Chart, and earned career peak positions on the Billboard 200 and Official U.K. Albums Chart UK, both at No. 3. Its predecessor, 2015’s Currents, topped the Australian chart and crashed the top 5 in the U.S. (at No. 4) and in the U.K. (No. 3), where Parker and his Tame Impala bandmates collected the Brit Award for best international group.

Earlier this year, Parker won his first Grammy Award from five career nominations, as Tame Impala collected the golden gramophone for best dance/electronic with “Neverender,” a collaboration with Gaspard Augé and Xavier De Rosnay, the French electronic music duo better known as Justice.

Deadbeat also features the previously released cuts “Loser” and “Dracula,” Tame Impala’s first and appearance on the Billboard Hot 100, on which it recently opened at No. 55. Deadbeat can be streamed in full below.

Ty Dolla $ign dropped his fourth studio album Tycoon on Friday (Oct. 17) via Atlantic Records.

“A tycoon is a boss. It came from a Japanese word ‘tycoon,’ which means ‘great lord.’ It’s the same thing — great boss, the best at your craft. The top of your game, right?” he told Billboard in a new interview. “That’s what I feel like I’ve reached. There’s still heights I wanna reach, there’s still places I wanna go, there’s still more goals I have, but I’m there. I’m one of the biggest artists in the game.”

He released three singles prior to the project: the Wayne Wonder-sampling “All In,” “Smile Body Pretty Face,” featuring Kodak Black and YG, and “Show Me Love,” featuring Tory Lanez.

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Tycoon comes five years after Ty’s last solo studio album Featuring Ty Dolla $ign. While nodding to his consistency as a collaborator, the 25-track project included multiple collabs with Ye, Mustard, Quavo, Nicki Minaj, Jhené Aiko, FKA twigs and more. Featuring Ty Dolla $ign peaked at No. 4 on the Billboard 200 and No. 2 on Top R&B/Hip-Hop Albums. In September, Billboard honored Ty with the Collab Impact Award at The Future of Music & Money event, in partnership with UBS and powered by Feeture.

He and Ye dropped their ¥$ collab albums Vultures 1 and Vultures 2, the former of which topped the Billboard 200 for two weeks. Vulture 1‘s hit single “Carnival,” featuring Rich the Kid and Playboi Carti, reached No. 1 on the Billboard Hot 100, marking Ty’s second Hot 100 No. 1 after 2018’s “Psycho” with Post Malone.

Listen to Tycoon below.

Underpinning The Last Dinner Party’s polished, Rococo-era aesthetic is an epic striving for greatness. When the London-formed five-piece crashed into the indie consciousness two years ago, they arrived seemingly fully-formed, with a fairytale arc to their origin story. Major record labels had clamoured over them after YouTube footage of a set at the tiny Windmill pub in Brixton gathered momentum in late 2022, leading to a deal with Island. 

The success of the storming and anthemic debut single “Nothing Matters” made the group, alongside recent Billboard U.K. cover stars Wet Leg, a rare British guitar band from the last few years admitted to the genre’s increasingly rarefied upper echelons. It was a remarkable rise, though perhaps what’s more admirable is how The Last Dinner Party turned all of that immediate attention into a foundation for longevity as a unit. 

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Rather than blast straight into the theaters it could have filled, the group toured smaller venues and took a step back from media commitments in order to grow their confidence as performers, honing one of the most energetic live shows on the circuit. Yet in the U.K., The Last Dinner Party’s swift ascent became subject to scrutiny online, with the term “industry plant” disproportionately thrown its way; images of early gigs from 2021 onwards, however, show that the band had been steadily gathering a cult following for years prior to its mainstream crossover moment.

By early 2024, their BRIT and Mercury Prize-nominated debut LP Prelude to Ecstasy reached the top of the Official U.K. Albums Chart with the biggest opening week for a debut by a band in the U.K. since 2015. Unlike its explosively successful predecessor, which was buoyed by tight, richly-decorated pop melodies, new record From the Pyre is darker and more ambitious. These 10 songs see The Last Dinner Party weave tales of greed and obsession, hinting at a fabulist side to its writing by pulling from Greek mythology, and references such as Joan Of Arc, apocalyptic imagery and the Medieval age. 

With an extensive U.K. headline tour on the horizon, including first-time arena billings, From the Pyre arrives as The Last Dinner Party makes good on years of industry hype with a definitive artistic statement. Consider the moment met. See our ranking of the 10 songs from From the Pyre below.


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This weekend, Sabrina Carpenter will return to the Saturday Night Live stage — but this time, she’ll be hosting.

In new promos for her double duty as host and musical guest on Saturday’s show, Carpenter scoffs when castmember Marcello Hernandez asks if she’s “scared to host.”

“Me? I perform in front of thousands of screaming fans every night,” Carpenter replies casually.

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“So you’re not scared?” Hernandez asks, to which Carpenter responds, “No. I’m terrified. But not of hosting. Deep down, my greatest fear is…”

At this point, Carpenter and Hernandez share their identical greatest fear in unison: ” …My dentist grows a really long beard and during the appointment it tickles my chest.” The pair look at each other stunned and just walk away.

Elsewhere in the promos, Carpenter and Hernandez give a pep talk to any viewers who might be washing dishes, and Carpenter threatens to arrest the cameraman for being too hot — just like she does in the crowd on her Short n’ Sweet Tour.

In fact, she previously arrested Hernandez, in character as Domingo, at one of her Los Angeles shows last year. He was reprising his role as the seductive SNL character who originated in a viral sketch last fall set to the tune of Carpenter’s smash hit “Espresso.” “My name’s Domingo,” Hernandez said from the crowd to wild cheers, after catching Carpenter’s attention. When Carpenter asks where he’s from (“I’m from Miami, baby,” he growls), she replies, “I wish you were from my bedroom.”

While it’s her first time hosting, Carpenter was a musical guest in May 2024 and she also popped up on February’s SNL50 special, duetting with Paul Simon and co-starring with Pedro Pascual in a new Domingo sketch. Carpenter is currently back on her Short n’ Sweet Tour — though she’s also promoting her August album Man’s Best Friend this time around — and she’ll return to L.A. for six new dates, wrapping Nov. 23.

Saturday Night Live airs at 11:30 p.m. ET/8:30 p.m. PT on NBC and streams on Peacock. (See all the options to watch SNL here.) Watch the new promos below:

The late Ace Frehley‘s history on the Billboard Hot 100 chart is stacked with iconic rock smashes like “Beth,” “Rock and Roll All Nite (Live)” and “Shout It Out Loud,” all from his work as a founding member of the rock band KISS, in addition to his own late 1970s solo smash “New York Groove.”

After KISS formed in 1973 with Peter Criss, Frehley, Gene Simmons and Paul Stanley, the band would begin its Billboard chart takeover in April 1974, when its self-titled debut album hit the Billboard 200, while the single’ “Kissin’ Time” arrived on the Hot 100 the following month.

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Before Frehley departed KISS in the early 1980s, the band had racked up an impressive collection of hits on the Hot 100, including top 40-charting singles like “Rock and Roll All Nite (Live)” (a No. 12 hit in 1976), “Shout It Out Loud” (No. 31 in 1976), the ballad “Beth” (No. 7 in 1976), “Hard Luck Woman” (No. 15 in 1977) and the disco-flavored “I Was Made for Lovin’ You” (No. 11 in 1979). (Frehley would famously reunite with KISS in 1996 for a reunion tour and new albums. He left the act a second time in 2002.)

In 1978, the four founding members of KISS each released their own solo albums and singles, with Frehley scoring the highest-charting Hot 100 hit of the quartet, with his No. 13-peaking “New York Groove” in 1979. Its parent album, Frehley’s self-titled solo debut, would reach No. 26 on the Billboard 200 and become his first of more than 10 charting albums (both as a soloist or as the frontman of the band Frehley’s Comet) through 2024’s 10,000 Volts.

Below is a top 10 ranking of Frehley’s biggest hits on the Hot 100 chart, as a soloist and during his time with KISS. The ranking is based on actual performance on the weekly Hot 100 through the Oct. 18, 2025, chart. Titles are ranked on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.

Temu wants to dismiss a lawsuit over counterfeit MF Doom merchandise brought by the late hip-hop legend’s estate, arguing in a new court filing that it’s not responsible for the actions of independent Chinese sellers who use the e-commerce site.

Gas Drawls LLC, which manages the estate of MF Doom (Daniel Dumile), filed suit in August, accusing Temu of selling dozens of knock-off t-shirts, hats, posters and other merchandise displaying the deceased rapper’s name and signature mask. Temu’s attorneys have now responded with a court filing that calls the case legally defective.

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“Gas Drawls’ complaint suffers from a fundamental problem: it fails to plead any plausible facts supporting its conclusory allegation that Temu — rather than independent third-party sellers — made, sold and shipped the allegedly infringing products,” write Temu’s lawyers from the firm Knobbe Martens in the Thursday (Oct. 16) filing.

Temu’s attorneys say the company’s business model clearly leaves the selling of products to independent third parties in China. They argue that Temu is just the intermediary — and that under intellectual property law, a platform can’t be held directly liable for infringement by third-party users.

Another problem with the lawsuit, argues Temu, is that the MF Doom estate is trying to claim ownership of the deceased rapper’s likeness. But Temu says post-mortem rights of publicity do not exist in the United Kingdom, where MF Doom died in 2020.

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Temu maintains that it “takes intellectual property rights seriously” and has a robust system for users to report infringement on the site. According to the motion, MF Doom’s estate never availed itself of these procedures before resorting to litigation.  

“Nonetheless, upon receiving the draft, Temu promptly investigated the matter,” write Temu’s lawyers. “Acting out of an abundance of caution and in accordance with its IP policies — not as an admission of merit to Gas Drawls’ claims — Temu removed every listing that it could identify from the poor-quality screenshots provided.”

Temu is asking a judge to dismiss all of the MF Doom estate’s claims outright. And if the lawsuit moves forward, the company wants, at the very least, to remove the estate’s “irrelevant and inflammatory” allegations that accuse it of “unethical” and “horrific” business practices.

The MF Doom estate declined to comment on the motion. But its attorney, Jeff Gluck, pointed out to Billboard that some infringing merchandise is still available on Temu despite the company’s claims to the contrary.

Gluck is also representing Twenty One Pilots in another lawsuit against Temu. Brought just days before the musical duo debuted their new album Breach atop the Billboard 200 last month, that case similarly alleged that Temu is flooding the market with cheap knockoff merch.

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Founding KISS guitarist Ace Frehley died Thursday (Oct. 16) at age 74 after sustaining injuries suffered during a fall last month.

Frehley’s family issued a statement announcing the guitarist’s death, saying in part: “We are completely devastated and heartbroken. In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth. … Reflecting on all of his incredible life achievements, Ace’s memory will continue to live on forever!”

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Frehley’s fellow rockers were also heartbroken when the news broke, coming out in droves on social media to share their love and condolences for the late musician and his family.

The guitarist’s onetime KISS bandmate and fellow co-founder Gene Simmons posted on X, writing, “Our hearts are broken. Ace has passed on. No one can touch Ace’s legacy. I know he loved the fans. He told me many times. Sadder still, Ace didn’t live long enough to be honored at the Kennedy Ctr Honors event in Dec. Ace was the eternal rock soldier. Long may his legacy live on!”

KISS will be honored at the 2025 Kennedy Center Honors, taping Dec. 7 and airing Dec. 23 on CBS. Frehley will be just the third person to receive the honor posthumously.

Tool frontman Maynard James Keenan posted a throwback photo of Frehley on Instagram, writing “Godspeed, Ace.”

Rage Against the Machine’s Tom Morello also posted a lengthy tribute, writing on Instagram that Frehley was, “My first guitar hero.”

“The legendary Space Ace Frehley inspired generations to love rock n roll and love rock n roll guitar playing,” Morello wrote. “His timeless riffs and solos, the billowing smoke coming from his Les Paul, the rockets shooting from his headstock, his cool spacey onstage wobble and his unforgettable crazy laugh will be missed but will never be forgotten. Thank you, Ace for a lifetime of great music and memories.

Grunge rockers Pearl Jam also shared a statement, noting that in their early days as a band they “spent untold hours talking about KISS and buying KISS stuff.”

“Ace was a hero of mine and also I would consider a friend,” guitarist Mike McCready added. “I studied his solos endlessly over the years.”

Poison’s Brett Michaels also shared a photo he took with the late musician, adding, “Ace, my brother, I surely cannot thank you enough for the years of great music, the many festivals we’ve done together and your lead guitar on Nothing But A Good Time. All my love and respect, from my family and myself – may you rest in peace!!!”

Frehley played on KISS’ first nine albums before he left the band in 1982. He later returned for the group’s 1998 reunion album, Psycho Circus, but left a few years later in 2002. The guitarist also released nine solo studio albums throughout his career.

Brooklyn Mirage — the 32,000-square-foot open-air nightclub that has helped define Brooklyn’s nightlife since 2017 — is set to be torn down, according to new filings with New York City’s Department of Buildings.

Public records show that Avant Gardner LLC, the company behind the venue complex, submitted a permit application on Tuesday (Oct. 14) seeking approval to demolish the Mirage. The two other venues at the Avant Gardner complex, Kings Hall and the Great Hall, are set to remain open through December.

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The filing lists a $1.5 million budget for the demolition project and names H&O Engineering as the contractor. It remains unclear when demolition will begin, but filings indicate the project will be a straightforward teardown.

Opened in 2017, the Mirage quickly became one of the most coveted venues for touring DJs and electronic acts, earning recognition from DJ Mag and being named “Best Venue” by EDM.com in 2024 for its innovative design and large-scale production.

Behind the scenes, however, Avant Gardner faced mounting challenges. The company became embroiled in multiple lawsuits alleging overly aggressive security practices and clashed with the New York State Liquor Authority. The situation worsened in 2023 when Avant Gardner’s production of the Electric Zoo festival collapsed amid permitting issues and overcrowding, forcing the cancellation of one of the festival’s three days.

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The fallout from Electric Zoo, including multiple lawsuits filed by fans, triggered an ownership reshuffle. Axar Capital, one of Avant Gardner’s senior creditors, took a leading role in the company, while hospitality veteran Josh Wyatt was brought in as CEO. Wyatt closed Avant Gardner last November to begin an ambitious renovation of the 80,000-square-foot complex, including an expanded dance floor designed to be the largest in New York City.

At its peak, the Brooklyn Mirage stood 65 feet high and featured a 30K-resolution wraparound LED wall, 100 L-Acoustics loudspeakers and a kinetic shutter system. The remodeled venue was slated to reopen May 1, 2025, with a two-night run by techno artist Sara Landry.

But the reopening never happened, as the project became mired in permitting issues with the city’s Department of Buildings. As an open-air venue that typically operates only in warmer months, Brooklyn Mirage functioned under a Temporary Place of Assembly Certificate of Occupancy that had to be renewed annually. Wyatt’s 2025 redesign included a prefabricated wooden structure standing 65 feet high and nearly 200 feet long — a scale that ultimately complicated the city’s permitting process.

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When the Department of Buildings declined to issue the necessary permits, the venue posted a message to Instagram asking fans for patience.

“We want to be clear: the venue is show-ready and the New Mirage has been built to exacting safety, structural, mechanical, and technical specifications,” the since-deleted post read. “However, we were not able to meet the final inspection deadline today.”

On May 22, Wyatt stepped down as CEO and was replaced by veteran music executive and touring artist Gary Richards. Three months later, in August, Avant Gardner filed for Chapter 11 bankruptcy. Bankruptcy records show that the company owes about $194 million to creditors, with about $900,000 in cash in the bank.

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