Lizzo took a moment on a Sunday morning to share her concerns about cancel culture.

“This may be a random time to say this but it’s on my heart.. cancel culture is appropriation,” Lizzo tweeted on Sunday (Jan. 8).

“There was real outrage from truly marginalized people and now it’s become trendy, misused and misdirected,” she wrote.

Lizzo continued: “I hope we can phase out of this & focus our outrage on the real problems.”

Just days before, the “About Damn Time” singer had taken to social media to shut down the “tired” “discourse around bodies.”

 “I’ve seen comments go from, ‘Oh my gosh, I liked you when you were thick. Why did you lose weight?’ ‘Oh my gosh, why did you get a BBL? I liked your body before.’ ‘Oh my gosh, you’re so big. You need to lose weight but for your health’ to ‘Oh my gosh, you’re so little. You need to get a– or titties or something.’ ‘Oh my gosh, why did she get all that work done? It’s too much work,’” she said in a TikTok video on Friday.

She continued, “Are we OK? Do you see the delusion? Do you realize that artists are not here to fit into your beauty standards? Artists are here to make art. And this body is art. I’mma do whatever I want with this body. I wish that comments costed y’all money so we could see how much time we are f—ing wasting on the wrong thing. Can we leave that s— back there please?”

See Lizzo’s latest message to her fans below.

SZA’s SOS makes it a month at No. 1 on the Billboard 200 chart, as the album spends a fourth straight and total week atop the list (dated Jan. 14). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 5 (down 2%), according to Luminate.

SOS is the first album by a woman to spend its first four weeks at No. 1 in a year, since Adele’s 30 ruled for its first six weeks (Dec. 4, 2021 through Jan. 8, 2022-dated charts) and is the first album by a woman to have four consecutive weeks at No. 1 since 30’s six week-run at No. 1.

SOS is also the first R&B album by a woman to have four weeks at No. 1 since February of 2008, when Alicia Keys’ As I Am notched a fourth and final nonconsecutive week atop the list (Feb. 16, 2008). More strikingly, SOS is the first R&B album by a woman to spend its first four weeks at No. 1 in nearly 30 years, since Janet Jackson’s janet. ruled for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Also in the top 10: holiday albums vacate the region (and chart) entirely after five dotted the top 10 a week ago, while ATEEZ notches its second top 10-charting album, as Spin Off: From the Witness debuts at No. 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 Jan. 14, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 125,000 equivalent album units earned, SEA units comprise 121,500 (down 4%, equaling 162.42 million on-demand official streams of the set’s tracks), album sales comprise 3,000 (up 289%) and TEA units comprise 500 (down 7%). SOS got a sales boost following the release of two new digital album variants of the set, released late on Jan. 5 exclusively in SZA’s Top Dawg Entertainment webstore. The two versions included two bonus tracks (“PSA” and a solo version of the album’s “Open Arms”) and sold for $4.99 each, and one of them boasted alternative cover art. SZA promoted the release on her social media, including her official Twitter.

The rest of the top six on the Billboard 200 consists of former No. 1s. Taylor Swift’s Midnights is a non-mover at No. 2 (117,000 equivalent album units; up 10%). The set’s album sales grew by 7% for the week (to 58,000) following the release of four new digital album variants in Swift’s webstore for one day only on Jan. 5. Each had alternative cover art, an exclusive bonus track (a short “behind the song” commentary from Swift about one of four different songs on the album) and sold for $4.99 each. The four alternative covers, if combined, would complete a clock face image – similar to the back covers of her CD and vinyl LP variants. Swift promoted the limited-time offer in her Instagram Stories.

Metro Boomin’s Heroes & Villains rises 4-3 (57,000 equivalent album units; down 2%), Drake and 21 Savage’s Her Loss bumps 6-4 (52,000; up 4%), Bad Bunny’s Un Verano Sin Ti climbs 7-5 (50,000; up 4%) and Morgan Wallen’s Dangerous: The Double Album jumps 11-6 (42,000; up 6%).

ATEEZ collect its second top 10-charting album on the Billboard 200 as Spin Off: From the Witness debuts at No. 7. The set starts with 41,500 equivalent album units earned. Of that sum, album sales comprise 40,000; SEA units comprise 1,500 (equaling 2.11 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.

CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).

ATEEZ previously visited the top 10 with The World EP.1: Movement last June, debuting and peaking at No. 3.

Rounding out the Billboard 200’s new top 10: Zach Bryan’s American Heartbreak (22-8 with 33,000 equivalent album units; up 12%), Lil Baby’s chart-topping It’s Only Me (20-9 with 32,000; up 6%) and Harry Styles’ former No. 1 Harry’s House (19-10 with 29,000; down 4%). Bryan continues to benefit from his guest appearance in the Dec. 18 episode of the hit show Yellowstone, which has prominently featured his music in previous episodes.

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.

Americana artists gathered Saturday evening (Jan. 7) at Nashville’s City Winery for the fundraising concert Hello From the Hills, which supported a range of nonprofit organizations dedicated to addiction and substance abuse recovery, restorative justice work, and residential recovery/transitional living.

Held by The Hello in There Foundation (which launched in 2021 to remember singer-songwriter John Prine and aims to support people who are marginalized or discriminated against) and Tyler Childers’ Hope in the Hills, the show featured performances from artists including Childers, Jason Isbell, Sierra Ferrell, Amythyst Kiah, and Margo Price with Jeremy Ivey.

Oh Boy Records leader Jody Whelan welcomed the crowd, while singer-songwriter Kathy Mattea served as host for the evening.

“I wanted to thank all the artists who quickly said yes to this show,” Whelan told the crowd. “The Hello in There Foundation would not exist without the fans who love John’s music and the artists community that has come and lifted us up.”

The ongoing love and admiration for the late Prine was palpable throughout the evening, as numerous artists spoke of the songsmith who melded elements of folk and country to build a enviable song catalog that includes “Illegal Smile,” “Sam Stone” and “Angel From Montgomery.”

The bill also included performances from Arlo McKinley, Kelsey Waldon and Tré Burt, artists signed to the Prine-co-founded Oh Boy Records. Waldon offered up “Season’s Ending,” the first song she wrote following Prine’s death in 2020.

Waldon then joined labelmate Burt for “Dixie Red,” and he wielded both harmonica and acoustic guitar for “Sweet Misery.” Other artists on the bill include Buffalo Wabs & the Price Hill Hustle, William Matheny and Darrin Haquard.

The event was presented by Oh Boy Records and management company WhizBangBam (which represents McKinley and Childers, among other artists) benefiting the Prine Family’s The Hello in There Foundation as well as Childers’ Hope in the Hills. The Hello in There Foundation and Hope in the Hills each selected two organizations to receive $10,000 grants, with the donations benefiting the residential recovery program Healing Housing, the restorative justice program Raphah Institute, the substance abuse recovery program the Keith Dixon Foundation, and the transitional living facility Recovery Community Inc.

Here, we recap five standout performances:

Jason Isbell and Amanda Shires, “Cover Me Up”

Americana luminaries Isbell and Shires brought raw, emotional storytelling to their performance of “Tour of Duty,” from Jason Isbell and the 400 Unit’s 2011 album Here We Rest.

“At concerts, people will say, ‘This next song has been very good to me,’” Isbell said. “I think that’s really funny. That makes me laugh every time. I’m gonna tell you right now, I have been very good to this next song, because before I came along, it wasn’t a damn thing,” he said, drawing laughter and cheers from the crowd. He then introduced the intimate, vulnerable love song “Cover Me Up,” from his 2013 album Southeastern. The song, written during the early days of the couple’s relationship, also nods to Isbell’s own recovery journey. A key line, “But I sobered up and swore off that stuff/ Forever this time,” drew hearty cheers from the audience.

Sierra Ferrell Performs Two Unreleased Songs

Clad in a cowboy hat, old-timey dress and with fiddle in hand, Ferrell showed off the undeniable musical prowess and onstage charm that earned her the emerging act of the year win at the Americana Music Association’s Honors & Awards in 2022.

But onstage at City Winery, she didn’t regale the crowd with songs such as her signature “In Dreams”—instead, she introduced two unreleased songs from an album she is currently working on. For the first, she wielded her fiddle for the charming “I Can Drive You Crazy,” before trading her fiddle for an acoustic guitar to deliver another unreleased song, this one a tribute to a string of broken hearts. Host Mattea praised Ferrell’s throwback look and sound, noting it feels like she “lives outside of time.”

Amythyst Kiah

Accompanied only by her electric banjo, the Grammy-nominated artist’s smoky, evocative voice silenced the crowd as Kiah brought the audience into the emotionally complex lyrics of “Firewater” (from her 2021 album Wary+Strange), followed by the classic old-time Appalachia song “Darlin’ Corey.” Kiah’s searing, full-bodied vocal proved a perfect match to convey this tale of a fearless, gun-toting, moonshine-making woman. Kiah’s two-song performance made such an impression on the crowd–and host Mattea–that Mattea welcomed Kiah back to the stage to embrace another round of applause from the audience.

Tommy Prine Honors His Late Father with “Ships in the Harbor”

Nashville native Prine, the son of John Prine, launched his two-song set with “This Far South.” But it was Prine’s potent performance of his debut single “Ships in the Harbor” that hushed the intimate crowd, as he musically acknowledged inevitable change, and sang of loss, pain and acceptance. In a full-circle moment of sorts, it was Isbell’s Southeastern album that inspired the younger Prine to begin writing music at age 17.

Tyler Childers Holds Court

Childers, whose song “All Your’n” was nominated for a Grammy in 2020, closed out the evening with an acoustic set that kept the focus on his well-crafted storytelling, and his full-throttle vocal—which drew numerous cheers and shouts from the crowd.

He also shared how learning fiddle helped him overcome his own struggles with alcohol, noting that he became passionate about learning to better his craft on the instrument. “I can tell you that you spend eight or nine months playing eight hours a day and get alright and then you can not play for about two weeks and [you’re] off. You can put a guitar away for awhile and pick it up and be okay…over the last three or four weeks, I’ve rededicated my life to the fiddle,” he noted. In 2020, Childers released the surprise album Long Violent History, an album largely made of traditional fiddle tunes. His set on Saturday evening included “Creeker,” “Matthew,” and “Lady May.”