Tiësto takes top Streaming and Sales Gainer honors on Billboard‘s multimetric Hot Dance/Electronic Songs chart (dated Feb. 4) with “10:35,” featuring Tate McRae. The collab climbs from No. 6 to No. 5, returning to its highest rank, following the Jan. 19 release of its Joel Corry remix. The track earned 5.8 million official U.S. streams, up 23%, and sold 1,400 downloads, up 15%, while also drawing 3 million radio airplay audience impressions, up 53%, in the Jan. 20-26 tracking week, according to Luminate.
“10:35,” which debuted at No. 8 on the Nov. 19 tally and has remained in the top 10 since, is Tiësto’s eighth top 10, among 36 career entries (dating to the chart’s 2013 inception). It’s McRae’s second, after “You,” with Regard and Troye Sivan, reigned for eight weeks in June-August 2021.
Concurrently, “10:35” improves on Dance/Electronic Streaming Songs (5-3) and Dance/Electronic Digital Song Sales (5-4). Additionally, “10:35” clocks in at No. 72 on the all-genre Billboard Hot 100, debuting as Tiësto’s seventh song to make the survey and McRae’s sixth.
Continuing with Hot Dance/Electronic Songs, ILLENIUM and Nina Nesbitt notch the list’s highest entrance with “Luv Me a Little,” at No. 11. Now with 46 career entries, ILLENIUM ties Calvin Harris for the sixth-most; David Guetta leads with 73, followed by Kygo (61), Marshmello (54), The Chainsmokers (52) and Martin Garrix (51).
“Luv,” Nesbitt’s first showing on the chart, starts with 1.8 million streams. It’s from ILLENIUM’s self-titled album, due April 28.
Shifting to the Dance/Mix Show Airplay chart, Anabel Englund cruises to her eighth top 10, in as many tries, with “Need Me Right” (11-5). Since she first advanced to the top 10 with “So Hot” (12-7, May 2, 2020; the track ultimately peaked at No. 2), Englund matches Corry and Guetta for the most among all acts. Englund has two No. 1s, “Picture Us” (October 2020) and “Underwater,” with MK (April 2021).
“Need” is scoring core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5, All Things Dance) Miami, among other signals. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
Meanwhile, Corry collects his ninth top 10 on Dance/Mix Show Airplay and Tom Grennan grabs his second with “Lionheart (Fearless)” (14-8). The song soars with notable core-dance airplay on SiriusXM’s BPM, Music Choice’s Dance/EDM and KNHC (C89.5) Seattle.
Bad Bunny was all smiles and nerves while presenting his longtime manager, Noah Assad, with the Executive of the Year award at Billboard‘s 2023 Power 100 event on Wednesday (Feb. 2) at Goya Studios.
After being introduced by Leila Cobo, Billboard‘s Chief Content Officer Latin/Español, the global sensation, who typically opts to publicly speak in Spanish, decided to give English a try, lightheartedly joking with the crowd, “Tonight is a special night not because my friend is winning this award, it’s more because I’m making my first English speech ever.” He was met with supportive applause and cheers, with a handful of attendees encouraging him to speak in Spanish anyway. Nevertheless, El Conejo Malo found middle ground, sharing a heartfelt speech in a mix of both languages.
“I know my man doesn’t like this kind of thing — this attention, the speech, this corny s–t,” he said amidst laughter from the crowd. “This award means a lot to me, the same way that my own awards mean a lot for him. It’s because this award is the proof that I’m not working alone, that dreams come true, but it’s never only by yourself. It’s always about team work.”
Together, the dynamic Puerto Rican pair have achieved unprecedented heights in Spanish and English markets, including Bad Bunny’s first of two tours in 2022, El Último Tour del Mundo, boasting the top sales day for any tour on Ticketmaster (since Beyoncé and Jay-Z’s On the Run II tour went on sale in 2018), selling out nearly half a million tickets in less than a week. Four months after the tour closed, Bad Bunny commenced his World’s Hottest Tour stadium run, which made him the first artist to ever achieve separate $100 million-plus tours in the same calendar year. The global pop star’s 81 concerts in 2022 grossed $434.9 million, which marked the highest calendar-year total for any artist since the launching of Billboard Boxscore in the 1980s, posing it to become the biggest Latin tour ever.
“I came from a family of three brothers, I’m the oldest one,” Bad Bunny continued. “I never felt what it was like to have a big brother. So I want to thank Noah for being a friend, a partner and being like a big brother to me. I know that it’s tough, no soy facil, but I want to thank him for believing in me from the first day. Not just believing, but making those dreams and that vision real.”
Toward the end of his speech, the Puerto Rican phenomenon appeared to choke up under his sunshine-yellow New York Yankees fitted cap. “I want to thank him for inspiring me to dream bigger, to be a better person. To be more like you,” he directed to Assad. “There’s no big Bad Bunny superstar without Noah Assad. So if you ask me what it feels like to be the number one artist in the world, I have to say, I’m not. Noah is. We are the best. Lo mas hijo de p–a from Puerto Rico.”
As Bad Bunny foreshadowed in his sweet speech, Assad was a man of few words, more comfortable in the “big brother” role as Benito described it: in the wings cheering on his superstar friend. The pair shared a warm embrace before Bad Bunny playfully took the mic with him off stage to spare Assad the public speaking. “He had me crying in the corner,” Assad began. In the end, the mega exec offered a few profound words, shouting out his and Benito’s hometown of Carolina, Puerto Rico, and showering the rapper with praise, as the artist had just done for Assad.
“Everything we do, we do it to Puerto Rico, to the world. I’m honored to be the first Latin [to win this award] even though I don’t look like it,” he joked. “I want to thank Billboard. Billboard has always covered Latin. They never undervalue us in any way. They treat us as equal as the global American market. We have to be very grateful for that. At the end of the day, me and Bunny are products of thousands of people who work very hard on our island. All those walls they had to break down. There are a lot more stories to be told. This is only chapter one.”
Thanking his team back in Puerto Rico who couldn’t be at the event, Assad was brought to tears. “No one wins championships alone,” he says. “It kills me that [my team] isn’t here today. They’re everything.”
Halsey just earned her second Diamond Certified solo record with “Without Me,” but it’s not just a big moment for the pop star. It’s also a big milestone for the Recording Industry Association of America (RIAA), the organization known for awarding artists with Gold, Platinum and Diamond statuses based on song sales and streams, as “Without Me” marks the 100th song to ever reach the coveted Diamond benchmark.
The RIAA presented Halsey with their Diamond Certification during a special ceremony Wednesday (Feb. 1), after which the “Eastside” singer shared photos on Instagram and thanked her fans, record label and more. “Yesterday was just a littleeee out-of-body,” they wrote. “Without Me is my second diamond record, Closer was my first, but my very first one solo!”
It probably goes without saying, but achieving Diamond Certification is no easy feat — that’s why only 100 songs have received the award since its introduction in the late ’90s, after all. A Diamond Certification signifies that a track has gone 10x Platinum, meaning it’s garnered 10 million certified units or more.
“There were a few other really special stats I learned as well including that I have 75x platinum certifications across my catalog,” Halsey continued in their Instagram post. “This whole thing is so surreal. Huge thank you to @riaa_awards for coming out to present this incredible award… [and] all of the fans n friends for making this type of thing possible.”
“Here’s to more years and more tears and more songs,” she concluded.
In honor of 100 Diamond Certified songs, the RIAA released a video recapping every song to ever reach 10x Platinum status, starting with Elton John’s “Something About the Way You Look Tonight / Candle In The Wind 1997,” for which the inaugural Diamond award was created. See which songs from Taylor Swift, Katy Perry, Bruno Mars, Cardi B, Lady Gaga, The Weeknd and more have gone Diamond by watching it on the RIAA’s website.
In 2018, the Recording Academy increased the number of nominees in the Big Four Grammy categories — album, song and record of the year and best new artist — from five to eight. Then, three years later, it boosted the pool from eight to 10.
These expansions were made to recognize more music creators and to represent more genres, according to the academy — yet for country artists, the benefits have thus far been nonexistent.
For the five Grammy Award nomination cycles (for ceremonies taking place in 2019-2023) since the first increase, there have been 196 total Big Four nominations, yet only six have gone to mainstream country artists or projects, with only one victory: Kacey Musgraves’ album of the year trophy for Golden Hour in 2019. In the five cycles before the increase (2014-2018), country artists scored seven nominations of the far smaller 125 total nods.
For the 65th Grammys, which will take place Feb. 5 in Los Angeles, country music is completely absent from the Big Four.
Genre classification can be blurry, but for this story, Billboard counted nominations that went to an artist or music that appears on Billboard’s Country Airplay, Hot Country Songs and Top Country Albums charts or is traditionally considered country. For 2023, that means Brandi Carlile’s album and record of the year nods don’t count in the country tally (though her 2020 song of the year nomination for co-writing Tanya Tucker’s “Bring Me My Flowers Now” did); same with song of the year nominee Taylor Swift, who is now considered a pop artist despite her country start. Best new artist nominee Molly Tuttle plays bluegrass, and while the genre is a branch of country music, her music doesn’t appear on those Billboard charts.
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Previous years also have not-quite-country outliers: Maren Morris’ record of the year nomination for appearing with Zedd and Grey on “The Middle” didn’t count in the 2019-2023 tally since it was a pop hit. Though Sturgill Simpson doesn’t receive mainstream country radio play, A Sailor’s Guide to Earth debuted at No. 1 on the Top Country Albums chart and the set won the Grammy for best country album in 2017, so its album of the year nomination counts in the 2014-2018 tally. Similarly, Margo Price, whose albums chart on Top Country Albums, counts for her 2019 best new artist nomination.
Shelly Maree, the Recording Academy’s country awards manager, considers the low recent total cyclical, in part. “Right now, we’re in another lull period where you’re not hearing country played on top 40 [radio], so you’re not really hearing anybody break through like that, [while] rap and hip-hop and dance are having huge moments,” she says. “You can really kind of plop down into any decade or any five-year period in our top four nominations and you’re going to see reflected what is of the era at that moment.”
But for the country community, the absence of representation in the general field illuminates a bigger concern: that the genre doesn’t receive the broader attention it deserves, hurting its chances at nominations for those trophies. While the academy deems all Grammys equal, the four general-field categories carry more prestige and receive greater media attention.
“Generally speaking, country music remains outside of the large pop music tent, which includes many of the contemporary genres like pop and hip-hop and rock,” says Beverly Keel, Middle Tennessee State University dean of the College of Media and Entertainment and a former MCA Records Nashville executive. “I think a lot of Grammy voters may not even listen to country, and I think there is, in many voters’ minds, still a stigma about country that it’s not as sophisticated, hokey, the music of the conservatives.”
Additionally, despite the notable rise in streaming among younger country artists, the music lacks the global reach some pop-oriented genres enjoy. “Most country stars are not international stars like Beyoncé, Rihanna, Bruno Mars,” Keel says. “Country is largely limited to the United States and Canada, so it doesn’t have the reach, whereas a pop song may be No. 1 in 20 countries.”
As Mary Hilliard Harrington, manager for Dierks Bentley and Elle King, notes by email: “Even prior to 2019, country has been grossly underrepresented in the main categories. It has always been a problem.” The three mainstream country artists with the most career nominations are Willie Nelson (56), Dolly Parton (53) and Vince Gill (47) — but Nelson and Gill have each landed only one Big Four nomination (in 1983 and 2008, respectively), while Parton has earned two (most recently in 1988).
The current generation of country hit-makers hasn’t fared much better. Miranda Lambert, who is nominated in all four country categories this year, has never received a Big Four nomination despite 27 career nods. Only one of Chris Stapleton’s 17 nominations has been in the general field, when Traveller received an album of the year nod for the 2016 Grammys. And one of country’s biggest new stars, Morgan Wallen, didn’t compete at all in 2022: He was shut out from Grammy nominations after his 2021 smash Dangerous: The Double Album was mired in controversy.
Country music has recently fared best in the new artist category, with Price, Luke Combs, Ingrid Andress and Jimmie Allen nabbing nominations since 2019. For the 2023 awards, Zach Bryan, the top new country artist on Billboard’s year-end charts, and rising star Lainey Wilson were both considered leading contenders for best new artist, and their respective labels (Warner Records and BBR Music Group) ran campaigns accordingly. But when nominations were announced in November, neither earned a best new artist nod, nor did anyone else from the genre. Though Wilson made significant press and TV appearances in an effort to reach as broad an audience as possible, Bryan made almost none, which sources say may have limited his exposure to Grammy voters.
Significantly, the overall voting pool lacks enough country advocates to consistently propel the genre into the Big Four without strong support from allies. Of the current 12,000-plus voting members, less than 10% identify with the country genre, according to the academy, compared with pop (23%), jazz (16%), rock (15%), R&B (15%), American roots (13%), alternative (10%) and classical (10%). (Voters can identify with as many genres as they want.) All voting members can cast ballots for the Big Four.
While qualifying creators can still apply to join the academy, following the recommendation of its Task Force on Diversity and Inclusion, in 2018 the academy began inviting creators to join as voting members. The move was meant to make the voting pool more reflective of the diverse creative community and initially focused on women, people of color and those under 40.
In recent years, however, potential new members who identify as country have received fewer invitations than peers in other popular genres. Of the 2,710 invitations extended in 2021, 9% of recipients identified with the country genre, with 13 other genres ranking higher. The highest percentage of invited voters identified as pop (29%), followed by R&B (23%), jazz (18%), alternative (18%), rock (16%) and rap (15%). In 2022, the academy welcomed nearly 2,000 new voting members; 9% cited country as their focus, compared with pop (33%), R&B (22%), alternative (19%) and rap (15%).
The country community’s easiest way to increase its odds would be by boosting its presence in the voting membership. “A really good place to start is talk to your friends and [ask], ‘Are you a Recording Academy member?’ And then step two is, ‘Are you voting?,’ ” Maree says. “This year, we were really encouraging our active members to fulfill that responsibility and use their voices, especially [since] the first round of voting directly dictates our nominations now that we no longer have nominating committees. ‘Are they voting?’ is the first thing we always ask people when they have any kind of questions about what they see when it comes to nominations day.”
Although Keel says a Grammy is “what people grow up dreaming about winning,” for country artists, the conversation doesn’t begin and end with one awards ceremony. More so than many other genres, country music has numerous awards shows to fete its own accomplishments, including the Country Music Association Awards, the Academy of Country Music Awards and the CMT Music Awards. Those ample additional opportunities to bring home trophies could help lessen the sting of a Grammy snub, Harrington says.
“At this point — because it’s nothing new — [the omissions are] more of an eye roll than outrage,” she says. “The country community is truly the best in terms of supporting its artists, celebrating great music and producing our own network television award shows. Being part of the Grammys is cool and a bucket list dream for a lot of artists, but we have it pretty good in Nashville. If we aren’t invited to that party, we’ll just throw our own.”
The announcement on Thursday (Feb. 2) that the Grammy Awards on Sunday, Feb. 5, will include a star-studded segment celebrating the 50th anniversary of hip-hop is just the latest in a long series of milestone moments for the genre on awards shows.
LL Cool J will introduce the segment, which will include performances by Big Boi, Busta Rhymes with Spliff Star, De La Soul, DJ Drama, DJ Jazzy Jeff, Missy Elliott, Future, GloRilla, Grandmaster Flash, Grandmaster Mele Mel & Scorpio/Ethiopian King, Ice-T, Lil Baby, Lil Wayne, The Lox, Method Man, Nelly, Public Enemy, Queen Latifah, Rahiem, Rakim, RUN-DMC, Salt-N-Pepa and Spinderella, Scarface, Swizz Beatz and Too $hort.
“For five decades, hip-hop has not only been a defining force in music, but a major influence on our culture,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Its contributions to art, fashion, sport, politics, and society cannot be overstated. I’m so proud that we are honoring it in such a spectacular way on the Grammy stage.”
While this segment is one of the most lavish celebrations of hip-hop to date on an awards show, rappers have been winning awards and earning plaudits for decades. In September 2022, The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar and 50 Cent became the first Super Bowl halftime show to win a Primetime Emmy for outstanding variety special (live).
Below, take a look at 31 milestones in hip-hop awards history. We’ll keep adding to this list as more history-making moments happen.
The Columbia Public Schools Superintendent has written a letter to families apologizing to parents frustrated about the level of communication regarding last month’s diversity breakfast that included three drag queens who performed before students.
The event, which was organized by the city’s Office of Cultural Affairs, has been blasted by Missouri’s Governor, Attorney General, and by some parents.
Superintendent Dr. Brian Yearwood’s letter says for some, the event demonstrated the importance of inclusion. He also apologizes to parents who have expressed frustration about the level of communication provided to parents.
Yearwood’s letter says the district will review it’s permission slip process that incorporates feedback from parents.
Missouri Attorney General Andrew Bailey says transporting students to a drag show likely violates state law.
Smashing Pumpkins will rock Australia this April for a 10-date festival run, dubbed The World Is A Vampire and featuring touring buddies Jane’s Addiction.
Takings its name from the opening line of “Bullet with Butterfly Wings,” from the Pumpkins’ Grammy Award-winning third studio LP Mellon Collie and the Infinite Sadness, Vampire is the brainchild of founder and frontman Billy Corgan.
Set to kick off April 15 at Stuart Park, Wollongong, Vampire criss-crosses four state and comes to a halt April 30 at Broadwater Parklands, on the Gold Coast.
The trek reunites Smashing Pumpkins and Jane’s Addiction, which joined forces for a major U.S. tour in 2022, Spirits on Fire.
Also on the bill are ARIA Award-winning punk rock heroes Amyl And The Sniffers, alongside Sydney rockers RedHook and seven-piece guitar band Battlesnake, plus local acts.
The alternative music fest promises a break from traditional programming by pitching wrestling matches from Corgan’s NWA (National Wrestling Alliance) with WAOA (Wrestling Alliance of Australia) as part the daily activities.
One World Entertainment is producing the Australian jaunt. General tickets are released midday local time on Friday (Feb. 3).
The World Is A Vampire Festival 2023 Australia tour dates:
April 15 — Stuart Park, Wollongong NSW
April 16 — Sandstone Point, Bribie Island QLD
April 18 — Hordern Pavilion, Sydney NSW *
April 19 — Newcastle Entertainment Centre NSW *
April 22 — Hastings Foreshore, Mornington Peninsula VIC
Bruce Springsteen might be tired of talking. Between two runs of his narrative-heavy Springsteen on Broadway residency and eight episodes of his Renegades: Born in the USA podcast co-hosted with former president Barack Obama, Springsteen had been doing a lot of gabbing in the six years since he last hit the road with longtime backing outfit The E Street Band. But if Wednesday night’s (Feb. 1) opener to the group’s 2023 Tour is any indication, story time is over: The Boss is back, and he just wants to play.
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In fact, for the great majority of the show at Tampa’s Amalie Arena, the only thing Springsteen had to say — outside of the occasional “TAMPA!” holler or stage direction for his 19-piece band — was “one, two, three, four!” as he introduced their next ripper. No mention was made of the relatively long layoff since their last global trek, nor of any of the real-world circumstances that might’ve accounted for a couple of those dormant years, nor even of the fact that this was their first show back; if you’d wandered in from across the street, you’d likely assume they had already been on the road for months already.
But in many ways, that’s just Bruce Springsteen and the E Street Band. They may be rock history’s most successful bar band, but they still have that working man’s approach to the gig — and priority one of Wednesday’s show was demonstrating that they were back in business, and picking right up where they left off. The group was cooking from the opener, Born in the U.S.A. fist-pumping fan-favorite “No Surrender,” and the energy stayed at that level close to throughout the 28-song set. No time for putting on airs; there was six years’ worth of rocking to catch up on.
The setlist also reflected this ethos, with the spirit of the selections being far more side two of The River than side four. (Only one song actually from The River, the boisterous rave-up “Out in the Street,” made the cut; presumably Springsteen figured we got our fill of that double LP the last time out.) Renditions of longtime live staples like “Prove It All Night,” “She’s the One” and “Johnny 99” were positively scorching — and though the show’s setlist was relatively light on major curveballs, longtime fans in attendance were no doubt please to hear the extended shine given to jammier early cuts “The E Street Shuffle” and “Kitty’s Back,” Springsteen even conducting the brass section in individual solos on the latter.
And the man himself remains a physical marvel. His voice is obviously still mighty, but you might’ve wondered if age and time off would result in Springsteen, now 73, appearing visibly diminished. But he still shows a wiry, near-pugilistic scrappiness onstage — perhaps a little stiffer in movement, but no less authoritative and striking for it. Among his classic rock peers, perhaps only Stevie Nicks can compare in terms of the amount electricity they can summon to this day simply by lifting their arms. (Bruce’s years might show most in his sense of humor, including on-stage banter with sideman Stevie Van Zandt during the ending of “Glory Days” about it being “time for us to go home… it’s way past my normal bedtime.”)
The show also aimed to demonstrate that Springsteen still has it as a songwriter, with a whopping six tracks pulled from his 2020 LP Letter to You. (Last year’s Only the Strong Survive cover set got a quick two-song mini-set, while 2019’s dustier group of originals Western Stars was not represented at all.) The new songs meshed surprisingly well with the old — particularly the anthemic “Ghosts,” which already sounds like it should’ve been a live fixture for decades — with the repetitive “House of a Thousand Guitars” the lone selection where you could feel the energy lag a bit. The evening’s most emotionally charged moment might’ve come with Springsteen’s spellbinding solo acoustic performance of Letter ballad “Last Man Standing,” preceded by his lone preamble of the evening — which explained the song as being inspired by the death of an early bandmate, leaving him the lone living member of his first-ever band. “At 15, it’s all tomorrows… at 73, it’s a whole lot of yesterdays,” he summarized, to roaring audience support. “So you gotta make the most of right now.”
It certainly felt like the band made the most of their time in Tampa — particularly once they started blazing through a show-ending run of classics like “Born to Run,” “Rosalita (Come Out Tonight)” and “Dancing in the Dark,” with Springsteen even mimicking his famous dance moves from the latter’s music video. The “Dark” performance also included a rare miscue for the band, as someone came early with the chord changes in the first verse — a foible that came off as more charming than anything, especially with the rest of the group visibly shrugging to themselves and one another, eh whaddya gonna do, it’s opening night, lotta tour still ahead.
The final number was a second Letter to You acoustic rendition, this time of “I’ll See You in My Dreams,” which Springsteen also used to close Springsteen on Broadway in 2021. Dedicating the song to Emily Rose Marcus — the recently deceased daughter of rock critic Greil Marcus — Springsteen’s hushed performance was a thoroughly heartbreaking closer. But as he walked offstage at 10:43 ET, seemingly with time still left for an epic encore (“Thunder Road” perhaps?) the crowd continued buzzing expectantly for a couple minutes — until the house lights came on, confirming that The Boss was indeed checking out. He had said all he needed to say for the night.
Setlist:
No Surrender Ghosts Prove It All Night Letter to You Promised Land Out in the Street Candy’s Room Kitty’s Back Brilliant Disguise Nightshift Don’t Play That Song The E Street Shuffle Johnny 99 Last Man Standing House of a Thousand Guitars Backstreets Because the Night She’s the One Wrecking Ball The Rising Badlands
Encore: Burning Train Born To Run Rosalita (Come Out Tonight) Glory Days Dancing in the Dark Tenth Avenue Freeze-Out I’ll See You in My Dreams
On Feb. 1, 2023, at 1:46 p.m., Springfield Police Officers were sent to Tom Watkins Park at 2100 W. High St. to check the well-being of a male who was making suicidal statements. When the officers arrived, they contacted the man in the middle of the park. While officers were talking with him, he said he had a gun and proceeded to draw a handgun from his waistband. The officers immediately ordered him to drop the gun, but he failed to comply and instead pointed the handgun toward them. The officers fired their handguns at the man, striking him several times. The officers immediately took him into custody and performed life-saving measures while awaiting the arrival of paramedics. However, he did not survive.
The deceased male has been identified as Justin M. Barker, 33, from Springfield. Barker’s family has been notified.
The four officers involved in the shooting incident have been placed on administrative leave pending an internal investigation. The results of a concurrent criminal investigation will be presented to the Greene County Prosecutor’s Office for review.
The Springfield Police Department’s Criminal Investigation Division is investigating this incident. Detectives are asking anyone who has additional information to contact the Springfield Police Department at 417-864-1810 or make an anonymous call to Crime Stoppers at 417-869-TIPS (8477).
