Month: May 2023

On May 12, singer-songwriter Lauren Daigle released her new 10-song self-titled album. Ten more tracks are due later this year, rounding out its bonus edition.

The set launches at No. 1 on Billboard’s Top Christian Albums chart (dated May 27) with 25,000 equivalent album units, including 20,000 in album sales, in the United States May 12-18, according to Luminate. It becomes Daigle’s fourth leader on the list. The project bows at No. 21 on the Billboard 200.

The album, which pairs Daigle with new producer Mike Elizondo, is also her first with Atlantic Records. She signed with the pop label in January in a partnership with her longtime label, Centricity Music.

The LP’s lead single, “Thank God I Do,” tops the streaming-, airplay- and sales-based Hot Christian Songs chart for a second week, having become Daigle’s sixth No. 1. It is No. 13 and climbing on the Adult Contemporary chart. 

Daigle’s new set marks her first new music since Look Up Child, which opened at the Top Christian Albums summit in September 2018 and proceeded to ring up a record 102 frames at the summit. It was bolstered by the crossover smash “You Say,” which dominated Hot Christian Songs for an also unprecedented 132 weeks starting in July 2018.

On Christian Airplay, “You Say” reigned for 18 weeks. It also crossed over, crowning Adult Contemporary for two weeks.

Billboard caught up with Daigle at her management’s offices in Nashville about her new album and some of its recent achievements.

Congratulations on the new album. With 10 songs now and another 10 later this year, is it finished, and why did you decide to release it this way?

Yes, it’s mastered and completed, and we’ll definitely get it out there this year. As far as why, I was in a listening session with some of my team and we heard all 20 songs top to bottom … and it’s a long session! One of them says, “OK, it’s your baby and it’s like asking Van Gogh to cut [The] Starry Night in half, but would you be open to splitting this into two releases?” At first, I was like, “What? … no.” But then thinking about it more and more, I didn’t want listeners forced to skim, say, tracks 14 to 20, because they’re fatigued. So, that’s why.

You’re a big believer in the album format as a cohesive piece of work, aren’t you?

Yeah, it’s a streaming-driven world right now, but I’m an album purist at heart. I love getting in the car, jumping on a road trip and listening to records from start to finish. And something else that makes this fun: I’ve not released an album in five years, so for loyal longtime fans they can get excited about two albums instead of one.

It’s your fourth studio album, yet it’s self-titled. Why did you make that choice? 

First of all, working with Mike Elizondo was a dream, and a dream I didn’t know I had until we started recording together. He’s so collaborative, so I was able to speak into a lot of the creative elements like melodies that I may have held back on before.

Do you mean in the actual recording process?

Yes. We did this old-school, all the musicians on the floor at the same time. I was in the room with the whole band and we all tracked together. Plus, we did as much in one take that we could possibly get. Don’t get me wrong – there’s some overdubs and things like that, but it’s cohesive for the most part. That’s what made the process liberating. It made me feel like I was part of a method that for the most part doesn’t exist anymore.

You have a new label involved in Atlantic, and there has to be some pressure to have a hit as big as “You Say.” How do you not let that consume you?

So, whenever [you’re] creating under rules of comparison to something you’ve done previously, then you’re not really creating from a blank canvas. Essentially, when those questions come up, it’s noise. I have to block out the noise. That way I can stay in the present. If I am going to compare to an earlier song, like “You Say,” it inhibits me from going forward.

Listening to your album as a fan, or even as a former program director, there are many options for hit singles. Why did you come with a ballad as your first single, “Thank God I Do.”

As I push forward, I also don’t want to leave people behind. That’s really imperative. I’m talking about the fans that have been here the entire time. With “Thank God I Do,” to a degree there’s familiarity. Leading with that might feel a little like home.

I was talking to a young fan of yours recently – she’s about 20, a student – and when she started explaining how much “You Say” meant to her, she started tearing up. How do you talk to people like that? They’re not in the record industry; they’re fans and it seems like they’re the most important component.

You’re right, they are the most significant. As an artist, when you have all of these different voices coming at you, these folks have to be the loudest voice. With so many people vying for attention — contracts, appearances, interviews, etc., which is just part of the process, that’s all fine – as long as those fans maintain the loudest voice. I think maintaining that helps keep you grounded.

When I hear about one of these stories, maybe it’s about grief. I try to internalize it, write about it, and in effect, give language and voice to their story that maybe they’ve always longed to say but just didn’t know how. That exchange is the greatest gift that I can ever be a part of.

When we talk about not leaving people behind, does that also include Christian radio? Some of those programmers have been with you since the beginning. 

Christian radio is really vital, and that’s where we launched “Thank God I Do.” As I had my first success in the mainstream, a lot of Christian programmers celebrated that, even cheering me on. That was really beautiful. Another thing that we’re really conscious about is that just because pop stations may be supporting my music, that does not mean we’re leaving any of our early supporters behind. Plus, with streaming such a big part of the puzzle, it’s better for radio in general if they stay united.

Finally, what do you want fans both old and new to take from this album?

I love carrying messages of hope. That’s what inspires me. It’s the thing that motivates me to get up every morning. You never know the moment when someone needs a message or a song to be lifted up. I truly hope that people gain new elements of encouragement from this album. I found myself coming alive making this record, after all that we have been through during the pandemic. I hope that my listeners feel that, too. If they’ve been overwhelmed, overcome, this album is something they too can find strength in.

Jaxsta is awarded Master of Metadata honors at the Music Business Association’s Bizzy Awards 2023, Billboard can exclusively reveal.

Based in Sydney, the official music credits database snags a category that recognizes companies that have made a significant impact in the area of data processing, credit clarification, streamlining or otherwise promoting clean data and best practices.

“We are exceptionally proud to be recognized by the Music Business Association for our excellence in metadata,” comments Jaxsta CEO Beth Appleton in a statement. “It is critical that the industry has one verified source of truth and that we continually value and insist on official credits,” she continues. “Only by doing this, can we ensure that creators are paid quickly, accurately and cost-effectively.”

Currently, Jaxsta’s data set includes over 55 million recordings and almost 15 million works which are matched, deep-linked and searchable by multiple industry identifiers, including ISRC, ISWC, Spotify IDs, UPCs and more.

This Music Biz honor, adds Michael Stone, Jaxsta CTO, “is a testament to the trust placed in Jaxsta by our label partners.”

Jaxsta’s victory closely follows the launch of Vinyl.com. A vinyl-hunter’s dream, the new online store is powered by Jaxsta’s official music credits and gives record buyers verified creative contributions metadata on every album, for a deep dive into artists, songwriters, producers, composers, engineers, musicians and any other contributors.

The vision for Vinyl, its creators say, is to offer quickly expand its offer beyond selling vinyl to include merchandise, tickets, digital collectibles and other “experiences that connect fans with creators.”

First announced and held in 2022, the Bizzy Awards also presents the Leading Light Award, the Agent of Change Award, the #NEXTGEN_NOW One To Watch Award and others.

Read more here.

Ed Sheeran is unmoved at the summit of the U.K. albums survey as – (Subtract) (via Asylum) logs a second week at No. 1.

The English singer and songwriter has a perfect six No. 1s, with all of his albums logging multiple weeks at the top. Just one week after scooping the year-best sales tally in the U.K., Subtract is set to chase down another target. It’ll draw level with the three-week reign of Sheeran’s 2011 debut set + (plus) if it holds its position when the next chart is published, Friday, May 26.

The highest new entry on the latest chart, published May 19, belongs to English rapper Potter Payper, as his debut full-length LP Real Back in Style (0207) starts at No. 2. That’s a career high for the artist (real name: Jamel Bousbaa), who previously cracked the top 10 with 2020 mixtape Training Day 3 (No. 3) and 2021’s Thanks for Waiting (No. 8).

Completing the podium is Jonas Brothers with The Album (Polydor), new at No. 3. It’s the fourth top 10 LP for the brothers Joe, Kevin and Nick Jonas, following 2007 debut Jonas Brothers (No. 8), 2009’s Lines, Vines and Trying Times (No. 9) and 2019’s record Happiness Begins (No. 2).

Also new to the top 10 on the fresh Official U.K. Albums Chart is Brighton, England indie-rock act Lovejoy with their third EP Wake Up & It’s Over (Anvil Cat). It’s new at No. 5, for the four-piece’s first-ever top 10 appearance, bettering the No. 12 peak for 2021’s Pebble Brain.

And finally, Alison Goldfrapp grabs her first solo top 10 album, as The Love Invention (Skint) starts at No. 6. As the singer for electro-pop duo Goldfrapp, alongside Will Gregory, the British artist boasts a further five U.K. Top 10 albums: 2005’s Supernature (No. 2), 2008’s Seventh Tree (No. 2), 2010’s Head First (No. 6), 2013’s Tales of Us (No. 4) and 2017’s Silver Eye (No. 6).

Loreen very nearly made it two wins in the space of a week.

Sweden’s representative at the 2023 Eurovision Song Contest won by a landslide with “Tattoo”. And in the U.K., “Tattoo” (via UMG International) has made a big impression with music fans, as it gathered momentum through the chart week.

“Tattoo” debuts at No. 2 on the Official U.K. Singles Chart, published last Friday (May 19), in a tight race won by Calvin Harris and Ellie Goulding’s “Miracle” (Columbia).

According to the Official Charts Company, “Miracle” clocked up a market-leading 5.1 million U.K. streams during the latest seven-day stretch, for its sixth non-consecutive week at No. 1.

Meanwhile, Loreen lands a new career high, beating the No. 3 best for “Euphoria,” her winning entry from the 2012 Eurovision.

“Tattoo” leads a “record-breaking” charge for Eurovision songs in the U.K. top 10, the OCC reports, as Finland act Käärijä’s “Cha Cha Cha” (No. 6 via WM Finland), U.K. entry Mae Muller’s “I Wrote A Song” (up 45-9 via Capitol) and Norway singer Alessandra’s “Queen of Kings” (No. 10 via Universal Music AS) all enter the top tier for the first time, following the recent song contest, the final of which took place held at May 13 at Liverpool’s M&S Arena.

Further down the list, Chicago hip-hop artist Lil Durk bags his third U.K. top 40 appearance as “All My Life” (Ministry of Sound) featuring J Cole starts at No. 17, while east coast drill rapper Lil Mabu cracks the top 40 for the first time with “Mathematical Disrespect” (Lil Mabu), new at No. 27.

Finally, two songs are enjoying revivals for totally different reasons. Florence + The Machine’s “Dog Days Are Over” (Island), which appeared on the English act’s 2009 album Lungs, is on the rise following its sync to Guardians Of The Galaxy Vol. 3. It’s up 27-21.

And as the U.K. leg of her Renaissance World Tour gets underway, Beyonce’s “Cuff It” (Columbia/Parkwood Ent) reenters the chart at No. 24.

American Idol has a new champion.

Following months of auditions, solo highs, the goodbyes, duets, trips to California and Hawaii, all of it came to a head on Sunday night (May 21) as America chose its Idol.

For those who’ve been a passenger for this latest, 21st edition, the winner had announced himself months ago. The grand finale was confirmation of what many already knew.

During the special on ABC, the three finalists – Iam Tongi, Megan Danielle, and Colin Stough – had their last chance to impress the viewers by way of solo performances and duets with the stars.

And, with millions watching on at home, the stars did come out. Keith Urban, Kylie Minogue, Ellie Goulding, Lionel Richie, TLC, REO Speedwagon, Pitbull & Lil Jon, and others filled the screens.

America chose Tongi and Danielle as the final two contestants.

There could be only one, and that was Tongi.

The Hawaii highschooler with the beautiful voice and the tragic story had captured the hearts of Idol obsessives in recent months. With each performance, Tongi’s legend grew.

On the final, he performed Keith Urban’s “Making Memories of Us,” “Cool Down,” got the tears flowing with a tribute to his own, late father, “I’ll Be Seeing You,” and teamed-up with James Blunt for a rendition of “Monsters.”

Tongi can now kick start his career with a recording contract, part of the spoils that come with winning the annual competition.

Get the winning feeling below.

Kesha’s Gag Order has topped this week’s new music poll.

Music fans voted in a poll published Friday (May 19) on Billboard, choosing the pop singer’s fifth album as their favorite new music release of the past week.

Gag Order brought in more than 68% of the vote, beating out new music from Post Malone (“Mourning”), Bad Bunny (“Where She Goes”), Lewis Capaldi (Broken By Desire to Be Heavenly Sent), Kaytraminé (Kaytraminé), and others.

Kesha’s 13-track collection is the singer’s long-awaited follow-up to 2020’s High Road. The Rick Rubin-produced set was preceded by dual lead singles “Fine Line” and “Eat the Acid,” both of which demonstrate a hard-fought evolution from her early days as pop’s reckless party girl in the early 2010s.

Prior to the album’s release, Kesha also dropped the frenetic “Only Love Can Save Us Now,” which hits the senses as equal parts country, rap and gospel confessional.

“I feel like I’m giving birth to the most intimate thing I’ve ever created,” the star confessed in an interview with Rolling Stone when she announced the album. “I really dug into some of my uglier emotions and sides of myself that are less fun. It’s scary being vulnerable. The fact that I have compiled an entire record of these emotions, of anger, of insecurity, of anxiety, of grief, of pain, of regret, all of that is so nerve-racking — but it’s also so healing.”

Trailing behind Gag Order on the poll is the “other” category, with 11% of the vote, Post Malone’s “Mourning” with 8% of the vote, and Bad Bunny’s “Where She Goes,” with nearly 7% of the vote.

See the final results of this week’s new music release poll below.

Harry Styles is fondly looking back on his Grammy-winning album, Harry’s House.

The 29-year-old pop superstar took to social media on Saturday (May 20) to celebrate the one-year anniversary of his blockbuster third album, which was released on May 20, 2022, through Columbia Records.

“One year of Harry’s House. I’ve never been happier than making this album, thank you for everything,” Styles captioned a photo on Instagram of himself sporting a mustache.

On Harry’s House, the English singer offered some of his most personal and intimate work, pairing candid yet unfussy lyrics with occasionally jazzy and heavily leaning synth-pop instrumentation. The 13-track set found the former One Direction member getting incredibly vulnerable with his audience on tracks like “Matilda,” but amped up the party vibes on “Music for a Sushi Restaurant,” “Cinema” and others.

Earlier this year, Styles took home the Grammy for album of the year at the 2023 Grammy Awards. Harry’s House spent two weeks at. No. 1 on the Billboard 200, while his hit single “As It Was” spent 15 weeks at No. 1 on the Billboard Hot 100. Styles also took home the best pop vocal album award for Harry’s House.

The set logged six non-consecutive weeks atop the Official U.K. Albums Chart in 2022, more than any other album, and “As It Was” topped the U.K.’s year-end singles survey.

Check out Styles’ post on Instagram here.

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