The soundtrack to Netflix’s animated film KPop Demon Hunters hits No. 1 on the Billboard 200 albums chart for the first time, rising 2-1 on the chart dated Sept. 20, after seven nonconsecutive weeks in the runner-up slot. The set earned 128,000 equivalent album units in the United States in the week ending Sept. 11 (up 7%), according to Luminate, marking the album’s best week yet. The surge to No. 1 follows the album’s deluxe reissue on Sept. 5 with additional tracks, plus the wide release of its CD that day.

KPop Demon Hunters’ rise to No. 1 on the Billboard 200 was preceded by four top 10-charted hits on the Billboard Hot 100 songs chart — the most from a soundtrack in nearly 30 years, with the soundtrack the first ever with four simultaneous top 10s. Among those is the No. 1 “Golden” by HUNTR/X — the trio of EJAE, Audrey Nuna and REI AMI (the singing voices of the film’s characters Rumi, Mira and Zoey).

KPop Demon Hunters is the Billboard 200’s first No. 1 soundtrack in three-and-a-half years, since another animated film, Encanto, saw its companion album spend nine nonconsecutive weeks on top (Jan. 15-March 19, 2022).

Notably, as KPop Demon Hunters climbs to No. 1 in its 12th week on the chart, it completes the longest wait to reach No. 1 since Toby Keith’s 2008 release 35 Biggest Hits re-entered the chart at No. 1 on the Feb. 17, 2024-dated list, following his death that Feb. 5. The last album with a longer continuous climb to No. 1 than KPop Demon Hunters was The Kid LAROI’s F*ck Love, which jumped 26-1 in its 53rd consecutive chart week, on the Aug. 7, 2021, list. The latter vaulted to No. 1 following two reissues during that tracking week.

Meawhile, the last soundtrack to take a longer journey to No. 1 was O Brother, Where Art Thou?, which rose 2-1 in its 63rd continuous week on the chart, on the March 23, 2002-dated list. Its ascent to the top was aided by its Grammy Award win for album of the year at the 44th annual ceremony that Feb. 27.

Plus, KPop Demon Hunters spent seven nonconsecutive weeks at No. 2 on the Billboard 200 before reaching No. 1. That’s the longest wait an album endured in the runner-up spot before leading the Billboard 200 in nearly a half-century: In October-November 1977, Linda Ronstadt’s Simple Dreams logged nine weeks at No. 2 before topping the chart at last. (Stray Cats’ Built for Speed holds the record for the most weeks peaking at No. 2: 15 in 1982-83.)

Also in the top 10 of the latest Billboard 200: Justin Bieber’s SWAG vaults 17-4 following its deluxe expansion with 23 additional tracks, and sombr’s I Barely Know Her reaches the top 10 for the first time, rising 12-10 in its third week, following the artist’s performance on the MTV Video Music Awards (Sept. 7).

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. The new Sept. 20, 2025-dated chart will be posted in full on Billboard‘s website on Sept. 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of KPop Demon Hunters’ 128,000 equivalent album units earned in the latest tracking week, SEA units comprise 103,000 (up less than 1%, equaling 141.08 million on-demand official streams of the set’s tracks — it rises 2-1 on Top Streaming Albums for its first week on top), album sales comprise 23,000 (up 56%; it’s pushed down 3-4 on Top Album Sales) and TEA units comprise 2,000 (down 7%).

In the tracking week, the soundtrack got a boost from its deluxe reissue as a digital download and streaming album on Sept. 5 with 23 additional tracks. The additional cuts are mostly sing-along, instrumental and a cappella versions of the album’s hit songs. The album’s sales gain was aided by the wide release of its standard 12-track CD to brick-and-mortar retailers. It is available in five CD variants, each containing a poster and randomized photocard. A vinyl release for the project is expected Oct. 17.

KPop Demon Hunters premiered on June 20 in a limited theatrical release in the U.S. (in three movie theaters), and on Netflix, alongside its soundtrack. The film returned to theaters, this time nationwide, for a limited engagement on Aug. 23-24 as a sing-along version. The same sing-along version hit Netflix on Aug. 25.

In the tracking week ending Sept. 7, the animated film was No. 2 in its 12th week on Netflix’s Top 10 Movies in United States chart, with four of those weeks at No. 1. The movie now stands as the most popular original Netflix film to date.

KPop Demon Hunters is the seventh animated film soundtrack to reach No. 1 on the Billboard 200, since the list began publishing on a regular weekly basis in March 1956. It follows Encanto (nine weeks at No. 1, 2022), Frozen II (one week, 2019), Frozen (13, 2014), Jack Johnson’s Curious George (one, 2006), Pocahontas (one, 1995) and The Lion King (10, 1994-95).

KPop Demon Hunters ends a dry spell for soundtracks at No. 1 on the Billboard 200. It’s been three years and six months since Encanto spent its ninth and final week atop the list (dated March 19, 2022). That’s the longest the chart has gone without a soundtrack at No. 1 since the three-year and nearly eight-month gap between the second and final week at No. 1 for Armageddon (July 25, 1998) and the first of two weeks at No. 1 for O Brother, Where Art Thou? (March 23, 2002).

Back on the latest Billboard 200, Sabrina Carpenter’s Man’s Best Friend falls to No. 2 with 119,000 equivalent album units earned (down 68%) after debuting at No. 1 a week ago. Morgan Wallen’s chart-topping I’m the Problem is a non-mover at No. 3 with 98,000 (down 6%).

Justin Bieber’s SWAG surges 17-4 with 80,000 equivalent album units (up 223%) after it was surprise reissued in a deluxe edition as a digital download and streaming album on Sept. 5 with 23 additional tracks. The deluxe edition is dubbed SWAG II and contains the original SWAG album’s 21 tracks, along with an additional 23 bonus tracks. The original SWAG album was also a surprise affair, arriving on July 11 with little notice; it debuted at its No. 2 best. All versions of SWAG are combined for tracking and charting purposes.

SWAG also gets an assist from the release of the standard 21-track album’s release on CD and via two deluxe CD boxed sets (each containing a branded T-shirt and a copy of the standard SWAG album).

Alex Warren’s You’ll Be Alright, Kid is a non-mover at No. 5 on the Billboard 200 with 38,000 equivalent album units earned (up less than 1%). SZA’s chart-topping SOS climbs 9-6 (just over 33,000, down 2%), Wallen’s former leader One Thing at a Time dips 6-7 (33,000, down 6%), Stray Kids’ chart-topping KARMA falls 4-8 (32,000, down 49%), and Gunna’s The Last Wun falls 8-9 (31,000, down 10%).

Closing out the top 10 is sombr’s debut studio album I Barely Know Her, which rises 12-10 in its third week on the chart — and its first week in the top 10. The set earned 29,000 equivalent album units in the latest tracking week (up 5%). The rise comes after sombr performed a medley of the album’s “Back to Friends” and “12 to 12” on the MTV Video Music Awards broadcast on CBS on Sept. 7. Prior to the album’s ascent to the top 10, its singles “Back to Friends” and “Undressed” both hit the top 30 of the Hot 100 and the top 20 of the all-genre Streaming Songs chart.

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Zach Bryan and Gavin Adcock were involved in a heated confrontation that nearly turned physical at the Born & Raised Festival in Pryor, Oklahoma.

On Saturday (Sept. 13), the two country artists were caught on camera in a verbal altercation just moments before Adcock, 26, was scheduled to perform at the event.

A video clip, shared on Instagram by Adcock, shows the singers arguing from opposite sides of a chain-link fence.

“Hey, do you want to fight like a man? Come open the gate,” Bryan, 29, is heard saying before angrily shoving the fence.

“When you get death threats from Sack Cryin before you headline in his hometown,” Adcock wrote over the short clip, using a mocking nickname for Bryan. He captioned the post, “Eat a snickers bro.”

In another video posted to Facebook, Bryan is seen climbing over the barbed-wire-topped fence and lunging toward Adcock before being restrained by security. Adcock is shown walking away while escorted by a guard.

Adcock faced criticism in the comments section, with one user writing, “He scaled a barbed wire fence … and you didn’t do s—t and hid behind security … this lil clip ain’t fooling anybody.” Adcock responded, “Had a show to play for Oklahoma. Wasn’t going to jail over that Psycho,” according to Penn Live.

Billboard has reached out to representatives for both Bryan and Adcock for comment.

The confrontation appears to be the latest chapter in an ongoing feud between the two country singers, which began earlier this summer.

In mid-July, Adcock seemed to throw shade at Bryan over an interaction involving a 14-year-old fan who was disappointed after not receiving an autograph from the “I Remember Everything” singer. In a since-deleted TikTok comment following the second night of Bryan’s three-show run at MetLife Stadium in New Jersey, Bryan wrote, “You’re not entitled after someone plays two and a half hours to a picture or a hello,” adding the NSFW acronym “GOMD.”

Adcock later responded on X, criticizing Bryan’s handling of the situation. “If you can’t handle the criticism of a 14 year old why do people idolize you?” he wrote. “That kid was head over heels to meet you and spent/ parents spent a ton of money to see you. He’s got feeling too and a you’re a ‘grown man’ nearly 30. They’re the only reason you are around.”

Adcock expanded on his criticism during an appearance on Rolling Stone’s Nashville Now podcast.

“It wasn’t about not wanting to sign autographs after a show, it’s like letting a 14-year-old kid rant, without saying, ‘get off my d—k.’ You’re bigger than that,” he said. “I think Zach Bryan puts on a big mask in his day-to-day life and sometimes he can’t help but rip it off and show his true colors,” he said, without elaborating on what those “true colors” might be.

Despite the public feud, Adcock admitted he has never met Bryan. “I wouldn’t say Zach Bryan is my buddy,” he told the podcast. “I ain’t his buddy, he ain’t my buddy. I ain’t met the guy. I don’t need him.”

As her wedding date with Benny Blanco nears, Selena Gomez mentioned her future children in an appearance on Amy Poehler’s podcast.

Chatting on this week’s episode of Good Hang With Amy Poehler, Gomez named the movie she plans to make her kids watch someday.

Gomez congratulated the comedian on her work portraying Joy in Disney and Pixar’s Inside Out and Inside Out 2, sharing that the animated movie franchise’s sequel — which introduces Anxiety (the character and emotion) into 13-year-old protagonist Riley’s life — had her in tears. In fact, the singer/actress/businesswoman thinks Inside Out 2 should be required viewing for all kids — including her own.

“I watched it with my sister and I completely sobbed because it’s so factual … I almost feel like it should have been a requirement in school to watch that as a homework assignment,” Gomez said on the podcast’s Sept. 9 episode. She added that Gracie, her 12-year-old sister, also cried. (Watch the full episode below.)

“There’s that kind of heartbreak that happens when Anxiety moves in,” Poehler agreed. “No matter the age, you’re either feeling it in real time as a young person, [or] you’re remembering that feeling as a person in your 30s or 40s or 50s and above when your paint set got some darker colors in it. It’s part of growing up, but it’s brutal.”

“It is. I’m gonna make my children watch it,” said Gomez, who’s not a parent now, but is getting ready for her upcoming nuptials to Blanco, clarified that thought: “Not yet.”

“I know, I know they don’t exist yet, but I can’t wait,” Poehler replied amid squeals of wanting to see Selena with a baby.

“They don’t,” said Gomez.

Her future children popped up again in conversation. The I Said I Love You First singer, who also stars in Only Murders in the Building and runs cosmetics company Rare Beauty, says she has a hard time telling people “no,” but that might change “when I have kids.”

“I feel like I owe a lot of people in the world any sort of smile, hug, picture, so it’s very hard,” Gomez explained. “When I don’t do it, I promise you it’s because I’m either really having a hard time dealing with my anxiety, or I’m late, which I try not to be. But in general, it’s a lot — ‘cause I love doing it. I think about it too much. I’ll think about if I missed that one person. It can get crazy in my head.”

“I feel protective of you,” Poehler told her. “As a women that is older … I think that any woman in her 30s is doing that thing where they’re trying to figure out, basically, what is expensive for me with energy? You start protecting it.”

Gomez responded, “I think that’ll happen moreso if I, when I, have kids. I’ll probably put more boundaries up for the sake of the sanity of, you know, what that will look like.”

Before the interview, Poehler talked to Only Murders co-star Martin Short about Gomez, who raved about working with her and described what it’s like when the horde of paparazzi turns up while the pop star’s filming scenes on the streets of New York City.

“When Selena joins us, there’s about 120 paparazzi and they’re there all day,” Short told Poehler. “I’m sure they’re just waiting for her to fall or stumble or [be] mean — therefore they could make more money from it. That’s been her life. She does have security on the streets — we all do — but she’s so lovely with them and they’ve been in her life so long. The only time I ever saw her get a little stern is when they were a little abrupt to like this 14-year-old fan of hers, and she goes, ‘Never do that.’ You can’t fault her.”

Meanwhile Gomez recounted one particular on-set incident caught on camera while filming season two: “Someone said a vile word to someone else, and it was a photographer … I just looked at him and I gave him the finger. There’s just one shot of me [giving the finger]. And he missed it. He’s not even the one who got it. The other people started laughing, and I was like, I don’t even care. I’m just so … I can’t tolerate this kind of stuff. But then they want that kind of reaction, so I’m like, damnit.”

Poehler shrugged it off: “One finger in 33 years?”

“There’s probably been a couple more,” Gomez admitted.

“We can probably find them,” Poehler quipped.

Brothers Liam and Noel Gallagher reunited in Mexico after 17 years on Friday (Sept. 12), and the long wait to see Oasis live again was worth every moment — with the differences that led to their 2009 breakup behind replaced by a celebration of pure, unfiltered rock and roll.

The British band’s inaugural stop in Latin America on their highly successful Oasis Live ’25 reunion tour — which launched in Cardiff, Wales, on July 4 — drew a crowd of 65,000 fans at Mexico City’s Estadio GNP Seguros, according to promoter OCESA. It was the first of two sold-out nights at the iconic venue, which witnessed a majestic two-hour performance featuring songs that have become generational anthems globally.

“¡Viva México!”, shouted frontman Liam Gallagher visibly moved, as he walked onto the stage hand in hand with his brother Noel. “It’s good to be back!”

The massive screens displayed the message “This is happening,” followed by “Mexico City,” setting the tone for an unforgettable night. Later, Liam delivered another compliment that the crowd celebrated enthusiastically: “You’re fuchsia, beautiful, heavenly and majestic.”

The setlist performed in the Latin American country stayed true to what the band has been playing in previous shows, opening with “Hello” and including tracks like “Acquiesce,” “Morning Glory,” “Some Might Say,” “Cigarettes & Alcohol,” “Supersonic,” “Stand by Me” and “Live Forever.” And closing with the powerful “Wonderwall” and “Champagne Supernova.”

As has been the tradition during their reunion tour, Oasis was joined on stage by a cardboard cutout of Spanish soccer manager Pep Guardiola, who leads Manchester City. But here, they gave it a Mexican touch by placing a traditional charro sombrero on it.

One of the most emotional moments came during the performance of “Acquiesce,” when Noel sang the song’s chorus with heartfelt conviction: “Because we need each other, we believe in one another,” creating a feeling of hope among fans.

On the eve of the show, Oasis announced their arrival by lighting up Mexico City’s sky with a drone display that formed the band’s name. The spectacle flew over the majestic Bosque de Chapultepec, surprising locals and quickly going viral on social media.

For this leg of their tour, the Gallagher brothers were joined by guitarist Paul “Bonehead” Arthur, guitarist Gem Archer, bassist Andy Bell, and drummer Joey Waronker. The opening act for the night was the American rock band Cage the Elephant.

On Saturday (Sept. 13), Oasis is set to perform a second night in Mexico City before heading back to London for two shows at Wembley Stadium, on Sept. 27 and 28. The Latin American leg of the tour will resume on Nov. 15 in Argentina, continuing through Chile and concluding in Brazil on Nov. 22-23.

Organizers of Farm Aid 40 have confirmed that this year’s festival will proceed as planned at the University of Minnesota, following a resolution between the university’s administration and striking workers.

On Saturday (Sept. 13), Farm Aid organizers announced on social media that the annual event will be held at Minneapolis’ Huntington Bank Stadium on Sept. 20, after the university and Teamsters Local 320 reached a labor agreement.

“Farm Aid is grateful that the University of Minnesota and Teamsters Local 320 have reached an agreement,” organizers wrote on Instagram. “We are thrilled to confirm that Farm Aid 40 will go forward in Minneapolis as planned.”

They continued, “For four decades, Farm Aid has stood with farmers and workers. Today’s agreement is a reminder of what can be achieved when people come together in the spirit of fairness and solidarity.”

The 2025 edition of Farm Aid — marking the festival’s 40th anniversary — will feature headliners Willie Nelson, Neil Young, John Mellencamp, Dave Matthews, Kenny Chesney, Margo Price and Billy Strings, among others. The event is expected to draw a crowd of approximately 50,000 fans.

“We look forward to celebrating that spirit on September 20 — alongside farmers, workers, advocates, artists and fans — in a day of music and community that honors this shared history,” the statement concluded.

The labor dispute had cast uncertainty over the event in recent weeks. On Friday (Sept. 12), Farm Aid revealed that Nelson, the festival’s co-founder and president, had personally spoken with Minnesota Governor Tim Walz in an effort to help resolve the situation.

“I spoke with @mngovernor, and I’m grateful that he understands what’s at stake for farmers and Farm Aid,” Nelson said in a statement on Instagram. “His involvement is very appreciated. We both know that, ultimately, it’s up to the University to do the right thing, and soon, so that Farm Aid 40 can go forward.”

Farm Aid first announced the location for its 40th anniversary concert in May, naming the University of Minnesota as host. But on Sept. 4, members of Teamsters Local 320 — which represents public sector employees including custodial, maintenance, food service and sanitation staff — voted to reject a proposed contract extension. The union went on strike days later.

Crews were set to begin building the festival infrastructure on Sept. 12. Prior to the agreement, organizers acknowledged the difficulty of relocating the event at such a late stage.

“It is critical to understand that if Farm Aid 40 is forced to move or cancel, the financial impact could be devastating,” organizers said in a previous statement to Billboard. “The expenses already incurred to bring this historic event to Minnesota may well threaten the survival of our organization after four decades of service to family farmers.”

“We urge the University of Minnesota to settle this contract quickly so that Farm Aid 40 can proceed as intended — to celebrate four decades of farmers, music, and solidarity. The world is watching, and together we can make sure this anniversary is remembered for unity, not division.”

Since being founded in 1985, Farm Aid has raised more than $85 million “to promote a strong and resilient family farm system of agriculture,” according to its website.

See Farm Aid’s statement about moving forward in Minneapolis on Instagram below.