Latin music executive Claudia Arcay announced on Monday (Aug. 25) the launch of her own new company, Arco Entertainment Agency. The move marks the end of her chapter at Loud And Live, where she spent five years as senior vice president.
“Thank you always to my Loud And Live familia, to Nelson [Albareda], for allowing me to grow professionally and build a great work team,” Arcay said in a statement shared with Billboard. “After 22 years of experience in the industry, I have decided to fulfill my dream and open my agency.”
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Arco Entertainment Agency will specialize in consulting, management, and business management. Through her new company, Arcay will establish a strategic collaboration with Loud And Live as a consultant, according to a press release.
“Claudia has been a fundamental piece in Loud And Live’s growth during these years,” Nelson Albareda, CEO of Loud And Live, added to the statement. “We wish her the best in this new chapter with Arco Entertainment Agency, and we’re excited to continue collaborating with her.”
During her time at Loud And Live, Arcay – whose been included in Billboard lists like Latin Power Players, Women in Music and Top Business Managers – led negotiations and tour planning for Camilo, Carlos Vives, Silvestre Dangond, Ricardo Arjona, Pandora y Flans, Reik and Carlos Rivera, among other artists.
Before joining Loud And Live, Arcay worked alongside Walter Kolm, founder and CEO of WK Entertainment, for over eight years, serving as business manager for Carlos Vives, overseeing the Colombian artist’s operations and overall strategy.
Saturday Night Live boss Lorne Michaels famously runs a tight ship. He doesn’t like it when the cast cracks up during sketches and he expects the show’s musical acts to stick to the script and play the songs they’ve rehearsed for that week’s show.
So, when Sinead O’Connor veered way off during her moving a cappella October 3, 1992 performance of Bob Marley’s “War” on SNL — which she ended by ripping up a picture of then Pope John Paul II and saying “Fight the real enemy” — the singer was reportedly blanket-banned from the NBC network and would never again appear on SNL; O’Connor died of natural causes in July 2023 at age 56.
In a rare interview, Michaels was asked by Puck if he had to think twice about bringing attention to one of the show’s most controversial moments by having Miley Cyrus and Brittany Howard cover O’Connor’s most famous hit: her take on the Prince-penned “Nothing Compares 2 U.” The pair took on the ballad in February during the SNL50: The Anniversary Special celebration and Michaels said it was a no-brainer.
“No,” he said when asked about whether he had any worries about revisiting that controversial moment. “If [O’Connor] were still alive, I would have asked her to sing that song. But it was represented by Miley singing it with so much power.”
The famously stoic Michaels said he “teared up a couple times” during the emotional half-century celebrations earlier this years, saying he wasn’t weeping, per se, but that “a lot of other people were,” especially when Paul McCartney closed the show with the Beatles’ “Carry That Weight.”
Flashing back to the show opener with Paul Simon and Sabrina Carpenter dueting on “Homeward Bound,” Michaels said that even after 50 years of SNL, he was nervous about whether the first gen-now gen collaboration would work. “Earlier anniversary shows, we just did the one show, but I thought a year ago that we could do that [concert the Friday night before at Radio City Music Hall],” he said. “I spoke to Paul Simon about it, and then he got a call from Sabrina Carpenter, who wanted him to do a song with her on her special. And he said, ‘I don’t think I want to do that. Would you take that to Radio City?’ So [the opening] started back then, it was in my head. And then it migrated.”
He knew for sure, however, that he wanted to close with McCartney. “For lots of reasons. The emotion,” Michaels said. “Once he was there, I toyed with him opening, but there was something to closing with ‘Golden Slumbers’ that felt powerful to me. And Paul [Simon] and Sabrina were gonna do ‘Homeward Bound,’ which worked perfectly. It resonated with the audience that was there because for a lot of them, [SNL] was a home for five to 10 years. [The pairing] let the audience know what the show is. It’s now and it’s then.”
As for whether he was holding out for Taylor Swift — who has been on the show six times, including a cameo on the 40th anniversary special — to participate if she’d wanted to, Michaels said that was never in the cards. “She and Travis [Kelce] came to Pete Davidson’s show, the first show of the season before, and I talked to her about it then,” he said. “But I knew that her [Eras] tour was mammoth. And I thought, ‘If she can come, she’ll come, and if she can’t, she can’t.’”
SNL will return to the air for its 51st season on Oct. 4.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-25 12:21:312025-08-25 12:21:31Lorne Michaels Reveals Whether He Would Have Invited Sinead O’Connor to ‘SNL 50’ Celebration If She Was Alive
Back in 2018, Travis Scott made his Reading Festival debut and it felt like a headline performance in its own right. Now, seven years on, he returned to the iconic U.K. festival to officially close out Sunday night (Aug. 24) as the main stage headliner.
When Scott last appeared at Reading, his rising stardom was at an all-time high, just weeks on from the release of the critically-acclaimed Astroworld. Playing a Friday night sub-headliner slot on the Main Stage, he delivered a jubilant, amped-up performance, drawing what was arguably the largest crowd of the festival that year, overshadowing even the likes of Post Malone and headliners Fall Out Boy.
There might have been some lingering questions following his mixed reception at Reading’s sister festival Leeds on Friday – where reports suggested he ended his set 30 minutes early – but those doubts were quickly put to rest. With his Reading slot trimmed to a sharp one-hour set, Scott powered through a rapidfire, 25-song run spanning Rodeo, Astroworld, Utopia and more.
To those unfamiliar, Reading Festival’s final day carries its own kind of lore. Once infamously marked by tent-burning antics (a ritual that’s now, thankfully, more rare), Sunday at Reading has always been known to get rowdy. Scott clearly understood the assignment – this one was, in his own words, for “the ragers.”
Here are the seven of the best moments from his set.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-25 11:21:232025-08-25 11:21:23Travis Scott Gives Reading Festival a Fiery Finale: 7 Best Moments
Indie-rockers The Maccabees called it quits at an inopportune moment.
The indie band – made up of Orlando Weeks (vocals), Hugo and Felix White (guitars), Rupert Jarvis (bass) and Sam Doyle (drums) – split in 2017 following the release of their sole U.K. No. 1 record, 2015’s Marks to Prove It. The band split on good terms, rather feeling that it was time to pursue something new. Total bummer.
But where they waved goodbye with an emotional U.K. farewell tour, other bands from that time stuck it out and met new audiences on streamers and festivals: The Kooks, The Wombats and Bloc Party have spent the past decade growing their audiences and hitting commercial highs. Felix White has spoken of seeing these bands and his contemporaries headline festivals like Reading & Leeds and All Points East and wondering… what if?
After a run of solo projects, in late 2024 the group seized the moment for a return and announced a comeback at All Points East, held in east London’s Victoria Park. No new music, just giving their devoted fans the good times all over again. An all-star support bill was amassed with Bombay Bicycle Club, CMAT, The Cribs and more giving Sunday’s bill (Aug. 24) the feel of a gleeful school reunion after years different adventures. After spots at APE for dance (Barry Can’t Swim, Chase & Status) and pop (Raye), the festival gave indieheads a day out to remember and wrap up this summer’s festival run.
These were the best moments from The Maccabees emotional return concert at All Points East.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-25 10:26:362025-08-25 10:26:36The Maccabees, Jamie T and CMAT Smash the Most Indie Day of the Summer: 7 Best Moments from London’s All Points East
Royel Otis doesn’t do flashy gimmicks, make bold, brash statements or lay down anything that could be confused with cheese or syrup.
Nevertheless, their ascent has been rapid.
The Sydney duo of Royel Maddell and Otis Pavlovic went from a development project, to cracking the Billboard Hot 100, cleaning up at the ARIA Awards, and, more recently the top spot on a Billboard chart, doing so in bullet time.
On Friday, Aug. 22, the indie-pop duo put a smacker on us in the form of Hickey (via OURNESS / Capitol Records), the followup to their 2024 debut Pratts & Pain which cracked the top 10 on the ARIA Chart in their homeland, peaking at No. 10. It’s a collection that is, at times, dreamy with hints of psychedelic pop, nostalgic twists, and the stuff that gets parties started.
After the “rollercoaster” year that was 2024, says Pavlovic, during which they cleaned up with four ARIAs, and their cover of The Cranberries’ “Linger” for SiriusXM entered the Billboard Hot 100 at No. 94, the years-long friends cruised into songwriting mode.
“We just kind of work together, bounce ideas off each other or whatever,” Maddell explains. The songwriting process, he continues, “it’s just us showing each other ideas, like demos that we’ve recorded at home. Then we just work from there. I don’t know how anyone has actual schedules or a routine of how they write songs, personally.”
Trust the process. Great songs, good vibes and a cracking live set have placed Royel Otis on the bill for the biggest festivals this year, including Glastonbury Festival, Lollapalooza Berlin and Chicago, Fuji Rock Festival, Pukkelpop, and Reading & Leeds.
On Spotify, Royel Otis has amassed more than 10.8 million followers and counting. Last November, Ourness partnered with Capitol to get Royel Otis into the hearts and minds or more music fans. The process did its thing when Hickey single “Moody” became their first-ever No. 1 on a Billboard chart, summiting on the Adult Alternative Airplay tally in July.
For his work guiding the band, Ourness co-founder/director Andrew Klippel was named as Billboard’s Executive of the Week, and manager of the year at Australia’s 2025 AAM Awards.
And why the name Hickey? “Because love bites harder than any other emotion in the world…” the lads remark on social media.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-25 09:07:442025-08-25 09:07:44With a No. 1 In Their Pockets, Royel Otis Hit Us With ‘Hickey’
The alternative rock legend and his formidable band will embark on a tour of Australia and Aotearoa New Zealand next January and February, their first dates in these parts since 2017.
Produced by Supersonic, the 10-show trek will visit a string of outdoor cultural spots, kicking off Jan. 17 at Fremantle Park, WA. Along the way, Cave’s Wild God Tour will visit Adelaide Entertainment Centre, The Domain Sydney, Brisbane’s Victoria Park, Melbourne’s Alexandra Gardens, and head east for two shows at TSB Arena in Wellington, the New Zealand capital.
Tickets go on sale this Friday, Aug. 29 at 10am local time from nickcave.com.
“I can’t wait to get to Australia and New Zealand with The Bad Seeds and to bring you our epic Wild God show,” Cave comments in a statement. “It’s been a long time coming, and I’ve missed both Australia and New Zealand very much. It will be a wild and mighty joy.”
The alternative rockers’ setlist will include songs from their 18th and latest studio album Wild God, alongside songs spanning their four-decade career, a statement reads.
Cave has no shortage of classics in his repertoire. In the U.K., his adopted homeland, the band has landed seven top 10 albums, including Wild God, which opened and peaked at No. 5 last year. Cave was inducted into the ARIA Hall of Fame in 2007.
Produced by Cave and Bad Seeds/Dirty Three collaborator Warren Ellis, and mixed by David Fridmann, Wild God hit No. 66 on the Billboard 200, one of his nine titles to impact the albums chart.
Wild God, released through Cave’s own label Bad Seed, via a new, exclusive worldwide licensing agreement with Play It Again Sam, an imprint of the independent [PIAS] label group, was nominated for a raft of awards, including two Grammy categories (best alternative music album and best alternative music performance), best alternative rock record at the Libera Awards and the 2024 Australian Music Prize.
Before heading Down Under, Cave will complete his pan-European solo jaunt with a string of shows in Germany, Luxembourg and elsewhere.
Nick Cave & The Bad Seeds ‘The Wild God Tour’Australia And Aotearoa New Zealand 2026 Tickets on sale Friday, August 29 at 10am local time from nickcave.com.
Presented by Supersonic Australasia
Jan. 17 — Fremantle Park, Perth WA (Presented By The City Of Fremantle)
Jan. 20 — Adelaide Entertainment Centre, SA
Jan. 23, 24 –The Domain Sydney, NSW
Jan. 27 — Victoria Park, Brisbane, QLD
Jan. 30, 31, Feb. 1 — Alexandra Gardens, Melbourne, VIC
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-25 03:32:302025-08-25 03:32:30Nick Cave & The Bad Seeds Set 2026 ‘Wild God’ Tour of Australia, New Zealand
Netflix appears to have its first No. 1 box-office title in the streaming company’s 18-year history thanks to the sensation of KPop Demon Hunters.
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Rival studios on Sunday (Aug. 24) estimated KPop Demon Hunters led all films over the weekend with $16-18 million in ticket sales. Distribution executives from three studios shared their estimates for the Netflix phenomenon on condition of anonymity because the streaming company has a policy of not reporting ticket sales.
Following a dominating few weeks as one of the most popular Netflix releases ever, the streamer put the film into 1,750 theaters for sing-along screenings Saturday and Sunday. Studios are able to accurately estimate ticket sales for all releases on Sunday morning, though the uncommon nature of the KPop Demon Hunters release means a wider variance. Some estimates were as high as $20 million.
It amounted to a victory lap for KPop Demon Hunters, arguably the biggest hit of Hollywood’s summer, and an ironic success for Netflix, whose emphasis on streaming, not theatrical release, upended the movie industry. Another sore spot for Hollywood: The film was developed and produced by Sony Pictures, which sold it to Netflix.
Not all exhibitors went along. AMC, the largest theater chain in North America, declined to show the movie. But that didn’t stop Netflix from claiming the box-office title its more traditional competitors typically own.
David A. Gross, who runs the movie consulting firm FranchiseRe, called it “a completely unique two-day musical event.”
“It may turn out to be higher,” said Gross. “Theater owners are quick on their feet and can add capacity according to demand.”
The theatrical release, though limited, is out of the ordinary for the streaming giant, which has long stressed a commitment to subscriber releases. The movie debuted on the platform in late June and is currently Netflix’s most-watched animated original film.
The film centers on HUNTR/X, a K-pop superstar trio doubling as demon hunters. The members, Rumi (Arden Cho), Mira (May Hong) and Zooey (Ji-young Yoo), must protect their fans and face their biggest enemy yet: a rival boy band made up of demons in disguise.
Zach Cregger’s horror hit Weapons maintained strength in the box office during its third weekend, bringing in $15.6 million domestically. The buzzy horror movie has proved its staying power, raking in over $100 million globally since its release.
Disney’s Freakier Friday landed behind the horror movie once again, earning $9.2 million in North American theaters.
The two films are “real bright spots” as the box office heads into a “rather quiet finish” for the summer, said Paul Dergarabedian, senior media analyst for the data firm Comscore. Both films, which premiered simultaneously earlier this month, had a minimal 36% drop from last weekend.
“I think we have to look at the currency of the goodwill generated by people having these great summer moviegoing experiences,” Dergarabedian said. “We have to look at that as a more important metric than just the bottom-line dollars and cents.”
The Fantastic Four: First Steps earned $5.9 million domestically during its fifth weekend. The movie enjoyed a strong $118 million debut but has experienced a steady decline.
Newcomer Honey Don’t! opened in 1,317 North American theaters with a weekend gross estimate of $3 million, in line with expectations. The movie made it to the top 10, right above The Naked Gun.
The dark comedy stars Margaret Qualley as Honey O’Donahue, a small-town private investigator who investigates a slew of strange deaths tied to a church in Bakersfield, California.
Top 10 movies by domestic box office
With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:
1. Weapons, $15.6 million 2. Freakier Friday, $9.2 million 3. The Fantastic Four: First Steps, $5.9 million 4. The Bad Guys 2, $5.1 million 5. Nobody 2, $3.7 million 6. Superman, $3.4 million 7. Honey Don’t!, $3 million 8. The Naked Gun, $3 million 9. Jurassic World Rebirth, $2.1 million 10. Relay, $2 million
KARMA, the new album from Stray Kids, tops this week’s fan-voted music poll.
Music fans voted in a poll published Friday (Aug. 22) on Billboard, choosing the K-pop group’s fresh LP as their favorite new release of the past week.
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KARMA topped the ranking in a week that also saw new releases streaming in from Doja Cat, Laufey and more. In a narrow victory KARMA was the crowd’s top pick, with the set bringing in more than 50% of the vote — sliding just ahead of Doja Cat’s new single.
Stray Kids’ fresh full-length LP is a collection of 11 tracks — including the single “Ceremony” feat. STAY — all produced by 3RACHA.
KARMA tells a story about destiny from the unique perspective of Stray Kids, according to a press release that announced the album. “Destiny is shaped by a tangled web of choices and consequences,” it said. “KARMA begins with this very idea — an attempt to interpret Stray Kids’ fate. Despite countless external judgments and inner conflicts, they have continued to forge their own path with unwavering resolve. Through their music, Stray Kids represent a story of growth.”
The boy band wrapped their largest world tour to date, Stray Kids World Tour <dominATE>, at the end of July after putting on 54 shows across five continents.
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Among the new releases trailing behind KARMA on this week’s poll are Doja Cat’s “Jealous Type,” coming in with 47% of the vote. Laufey’s A Matter of Time, Sombr’s I Barely Know Her, Deftones’ Private Music, Offset’s KIARI, Kid Cudi’s Free and BigXThaPlug’s I Hope You’re Happy follow.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-24 21:21:192025-08-24 21:21:19Fans Choose Stray Kids’ ‘KARMA’ as This Week’s Favorite New Music
The frontman played matchmaker — and mock security guard — during the band’s concert at London’s Wembley Stadium on Friday (Aug. 22), helping a fan stage a marriage proposal with a bit of humor.
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Before letting the romantic moment unfold, the singer paused the show to conduct some playful “basic security checks” to ensure there were no surprises — a clear nod to a recent viral mishap.
In fan-captured footage shared on TikTok, Martin is seen spotting a man in the crowd holding a sign that read, “I want to propose,” with an arrow pointing to the woman in front of him. Martin decided to intervene, but with some light-hearted screening first.
“Okay, now listen. My brother, I need you to nod as I do some basic security checks, okay?” Martin said to the man. “Is this person your partner? Yes? No one else’s partner?” After the man nodded yes, the “Yellow” singer continued. “Are you cousins or siblings, or anything weird like that? Are you AI? Are you real people? Okay, then I think we can continue.”
Martin then broke into a musical cue, singing, “My beautiful brother, here is some advice for free. As we all look on and see you go down, I advise you to get down on one knee.”
With cheers from across the stadium, the man dropped to one knee and proposed. The woman said yes, and the couple sealed the moment with a kiss. “Congratulations, my brother and my sister,” Martin said. “What a beautiful girl. What a wonderful guy. On a day like this, I encourage you to kiss. I hope you’re happy until the day that you die.”
The light-hearted scene comes about a month after a more controversial kiss-cam moment at Coldplay’s show at Boston’s Gillette Stadium in mid-July. During that segment, former Astronomer CEO Andy Byron and the company’s HR executive Kristin Cabot — both married to other people — were caught on the stadium screens sharing an intimate embrace.
At the time, Martin joked that the two might be having an affair, a comment that turned out to be accurate. The moment exploded online, leading to widespread memes, the CEO’s resignation and a strange twist in which Martin’s ex Gwyneth Paltrow was hired in as a temporary spokesperson for Astronomer in a comical PR move to manage the fallout.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-24 20:10:562025-08-24 20:10:56Coldplay’s Chris Martin Jokingly Performs ‘Security Checks’ Before Marriage Proposal at London Show
Morgan Wallen’s I’m the Problem notches its 12th nonconsecutive week at No. 1 on the Billboard 200 chart (dated Aug. 30). The set earned 121,000 equivalent album units in the United States in the week ending Aug. 21 (down 4%), according to Luminate. I’m the Problem debuted at No. 1 on the May 31-dated chart, spent it first eight weeks in the pole position, stepped away from the top for two weeks and then returned to No. 1 for four weeks running.
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Also in the top 10 of the latest Billboard 200, Conan Gray scores his highest-charting album yet as Wishbone bows at No. 3, Billie Eilish’s Hit Me Hard and Soft jumps back into the top 10 after a new one-year anniversary vinyl variant was released, and Taylor Swift’s The Tortured Poets Department returns to the top 10 following the buzz surrounding the announcement of her upcoming The Life of a Showgirl album.
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 Aug. 30, 2025-dated chart will be posted in full on Billboard‘s website on Aug. 26. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of I’m the Problem’s 121,000 equivalent album units earned in the week ending Aug. 21, SEA units comprise 116,000 (down 4%, equaling 154.02 million on-demand official streams of the set’s songs — it leads Top Streaming Albums for a 13th nonconsecutive week), album sales comprise 4,000 (up 1%; it moves 21-17 on Top Album Sales) and TEA units comprise 1,000 (up 1%).
Cumulatively, Wallen’s three No. 1 albums (I’m the Problem, One Thing at a Time and Dangerous: The Double Album) have spent a total of 41 weeks at No. 1 on the Billboard 200. That puts him in second place for the most weeks at No. 1 this century, surpassing Adele’s 40 weeks on top. Only Taylor Swift, with 86 weeks at No. 1 since 2000, has more. Before I’m the Problem’s 12 weeks at No. 1, One Thing at a Time ruled for 19 nonconsecutive weeks in 2023-34 and Dangerous: The Double Album was tops for 10 straight weeks in 2021.
The KPop Demon Hunters soundtrack holds at No. 2 on the Billboard 200 with 108,000 equivalent album units earned (up 3%). The album debuted at No. 8 nine weeks ago and has never left the top 10. The last soundtrack to spend its first nine weeks in the top 10 was Fifty Shades of Grey in 2015, which spent its first 14 weeks in the top 10.
Further, KPop Demon Hunters has spent five nonconsecutive weeks at No. 2 — its peak to date. The last soundtrack to spend at least five weeks at No. 2, without reaching No. 1, was Forrest Gump in 1994, which notched five straight frames in the runner-up spot (behind another soundtrack, The Lion King). KPop Demon Hunters is likely to sport further gains on next week’s charts, with the Netflix film getting a wide release in movie theaters for a sing-a-long event this weekend.
Conan Gray scores his highest-charting album ever on the Billboard 200 as Wishbone bows at No. 3. It launches with 71,000 equivalent album units earned — his best week by units earned. Of that sum, album sales comprise 53,000 (his best sales week yet — it debuts at No. 1 on Top Album Sales), SEA units comprise 18,000 (equaling 23.71 million on-demand official streams of the set’s songs; it debuts at No. 27 on Top Streaming Albums) and TEA units comprise a negligible sum. The set’s first-week sales were bolstered by its availability across seven CD variants (including signed editions) and seven vinyl editions (some signed) and a standard digital download edition.
Gray previously hit the top 10 of the Billboard 200 twice, with Superache (No. 9 in 2022) and Kid Krow (No. 5 in 2020).
Wishbone was preceded by its single “Vodka Cranberry,” which peaked at No. 38 on the Pop Airplay chart.
Gunna’s The Last Wun falls one spot to No. 4 on its second week on the Billboard 200 (48,000 equivalent album units, down 40%), while Alex Warren’s You’ll Be Alright, Kid is steady at its No. 5 high for a second week (nearly 40,000 units, down 6%).
Billie Eilish’s Hit Me Hard and Soft rallies 24-6 after the release of a one-year anniversary vinyl edition of the album. The set, counting all versions of the album, including the new vinyl variant, earned 38,000 equivalent album units in the tracking week (up 64%). Of that sum, vinyl sales accounted for nearly 18,000. The anniversary edition of the vinyl was pressed on bio-vinyl dark blue and orange splatter with its cover printed on silver mirror foil board and contains a poster.
Hit Me Hard and Soft, which peaked at No. 2 in its debut week (chart dated June 1, 2024), was last in the top 10 on the June 7, 2025-dated list (at No. 9) and last ranked as high on the Feb. 22, 2025, chart (when it was also at No. 6).
Morgan Wallen’s chart-topping One Thing at a Time rises a spot to No. 7 on the latest Billboard 200 (nearly 38,000 equivalent album units, down 1%), SZA’s former leader SOS is up two spots to No. 8 (35,000, down 1%) and Justin Bieber’s SWAG falls 7-9 (nearly 33,000, down 15%).
Closing out the top 10 is Taylor Swift’s former No. 1 The Tortured Poets Department, which jumps 18-10 with 30,500 equivalent album units earned (up 18%). Swift’s most recent studio album, which led the chart for 17 nonconsecutive weeks beginning in May 2024, returns to the top 10 for the first time since the Feb. 15-dated list (No. 9).
Poets’ vault back into the top 10 comes after Swift’s Aug. 12 announcement of her forthcoming new studio album, The Life of a Showgirl (due Oct. 3). On Aug. 13, Swift provided further details about the album, including its tracklist and producers, and appeared on her boyfriend Travis Kelce’s podcast, New Heights, to chat about the project. YouTube announced that the pod peaked at 1.3 million concurrent livestream viewers — more than any other podcast has garnered since the platform launched a “dedicated podcast experience in 2023,” per the company.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-24 19:01:372025-08-24 19:01:37Morgan Wallen’s ‘I’m the Problem’ Makes It a Dozen Weeks at No. 1 on Billboard 200
