With Black Music Month underway, Hulu is beginning to roll out some of its upcoming documentaries catered to the festivities, notably Anthem.
Directed by Peter Nicks, Anthem will follow composer Kris Bowers (Bridgerton and King Richards) and Grammy-winning producer DJ Dahi’s trek across the nation to rediscover the roots of traditional American Music. During their quest, they find talent from a bevy of genres, such as jazz and soul, to help recreate the national anthem and reflect the modern times in the United States. Joining Nicks, Bowers and Dahi will be Black Panther’s Ryan Coogler and his multimedia company Proximity Media on the production front. Sean Havey, Chris L. Jenkins will also serve as producers.
“Anthem started with the road trip that [Kris Bowers and I] took when we when we went around and started to just feel [and] understand what American music traditionally kind of comes from,” Dahi tells Billboard. “Soul music, country, jazz, native music, blues, and gospel are the foundational music that’s being a part of our being and a part of the different creative processes that people have expressed themselves through. The road trip really helped us see the world.”
Dahi has previously worked with Travis Scott, Kendrick Lamar and Drake. Last year, Dahi had production credits on Lamar’s Grammy-winning album Mr. Morale & The Big Steppers. His prints were on five records: “Father Time,” “Rich Spirit,” “Count Me Out,” “Mirror” and the Billboard Hot 100 top-five single “Die Hard.”
To correspond with the announcement of Anthem, Dahi constructed an exclusive playlist that was instrumental to the documentary and the road trip he and Bowers conducted during their search. Listen below.
Since Thalia burst onto Latin America’s pop culture scene in the late 1980s as a member of Mexican teen group Timbiriche, and then as a soap opera star, she has often collaborated with next-generation talent from Maluma to Sofía Reyes.
But on Thalia’s Mixtape (released April 28 on Sony Music Latin, alongside an accompanying Paramount+ series on May 2), the pop mainstay takes a different approach by re-creating classic rock en Español hits of her childhood, including Soda Stereo’s “Persiana Americana,” Aterciopelado’s “Florecita Rockera” and Hombres G’s “Devuélveme a Mi Chica.” On the lattermost, she even convinced the band’s David Summers to join her revitalized rendition.
Why revive the idea of the mixtape?
It was that little piece of you inside those songs [that] you would record and include in your playlist. The songs that were my life’s soundtrack were rock en Español. So this was about me looking for my teen idols and finding out: How did they write that song? How did their rebelliousness help us find ourselves? And how can a new generation connect with those songs?
David Summers is on the album, and Soda Stereo’s Charly Aberti is in the Paramount+ series. How did it feel to get their approval?
We’re talking about their crown jewels. These are rock en Español anthems for entire generations. But they also loved the idea of presenting them in another way to a new generation. Honestly, being able to sing with them but also vibe with them in a new way was mind-blowing.
Including the mixtape’s collaboration with Kenia OS, why do you collaborate with rising Latin artists?
It has always felt good to me. It’s a necessity. I think we’re better together, especially when it comes to young artists who go up against so much in an industry dominated by men. It’s important to have another woman backing you up.
Will there be a part two to this project?
More than a part two, I hope it inspires other artists. The first step was Thalia’s soundtrack, but I hope other artists come along and do their own mixtape.
Kevyn Cruz was 12 years old when he started writing songs. “My mom gave me my first guitar, and with the first three notes, I learned how to compose,” he recalls. “Little by little, I perfected that art.” Now 26, the Colombian songwriter, known as Keityn, is behind some of the most recent Latin hits by Shakira, Karol G, J Balvin, Maluma and Manuel Turizo, among others.
His women’s empowerment anthems in particular have taken off, with Karol G and Nicki Minaj’s 2019 hit “Tusa” earning him his first No. 1 on the Hot Latin Songs chart and the fiery “Shakira: Bzrp Music Sessions, Vol. 53” by Bizarrap and Shakira spending five weeks at No. 1 on the same chart in 2023. “It’s what the moment allows me to create,” he says. “I don’t plan things or set expectations. I just let things flow.”
This year, Keityn was named songwriter of the year at the ASCAP Latin Music Awards, a recognition he describes as “something difficult to assimilate, but very happy and motivated with my feet on the ground to continue doing it.”
“Tusa,” Karol G & Nicki Minaj
Keityn did not plan on creating music the day this collaboration was born; in fact, he visited Karol G’s producer, Ovy on the Drums, to play video games and order chicken wings. Yet the hit-maker could not get a violin melody out of his head and asked Keityn to help him write lyrics. “I swear, in less than half an hour, we had ‘Tusa,’ from the pre-chorus to the chorus,” Keityn says. “It flowed too well. The muse was in the house that day. The song was kept in the studio for more than a year, but we knew it was a big hit.” Upon release, it made history as the first title by two women in a lead role to debut atop Hot Latin Songs since the chart’s inception in 1986.
“SHAKIRA: BZRP Music Sessions, Vol. 53,” Bizarrap & Shakira
Following his work with Shakira on “Te Felicito” and “Monotonía,” Keityn was invited to her former house in Barcelona to co-write this empowered dance-pop track, on which she cleverly disses her ex and throws a jab at his new girlfriend. Shakira had first teamed with superproducer Bizarrap, known for his ever-present cap and glasses and intimate studio sessions on YouTube. “The process of this song was a little more complex because Shakira is a woman who likes to give her full attention to each part of the song,” says Keityn. “It took many days changing and removing parts of the lyrics.” The personal, hard-hitting track debuted at No. 9 on the Billboard Hot 100, becoming Shakira’s highest placement since “Beautiful Liar” with Beyoncé hit No. 3 in 2007.
“TQG,” Karol G & Shakira
Karol G and Shakira’s sultry “TQG” was a part of Karol’s historic album, Mañana Será Bonito, which became the first No. 1 all-Spanish-language album by a woman on the Billboard 200. Written in Los Angeles in January 2022, Keityn recalls, “Karol invited me because she was doing something in L.A., and she asked me if I wanted to hang out and make music with her and Ovy on the Drums for a couple of days.” He admits he had the intro of the song in his head for days before connecting with Karol, but that it didn’t really flow until he hit the studio with Ovy. Following its February release, “TQG” reached No. 1 on Hot Latin Songs, where it remained for five weeks.
As CMA Fest gears up to welcome visitors from around the world to downtown Nashville June 8-11, the enduring festival will celebrate 50 years of bringing together country music fans with their favorite artists.
“From a fan’s perspective, there’s nothing else like it in the world,” says Luke Combs, who will perform at Nissan Stadium on the festival’s opening night. “You can go see every act in the genre, from the smallest act to the biggest act, and all you have to do is walk a few blocks. It’s so unique.”
When the inaugural festival was held on April 12, 1972, at Nashville’s Municipal Auditorium, it was billed as Fan Fair, drawing nearly 5,000 attendees and featuring performers including Roy Acuff, Bill Anderson, Loretta Lynn, Ernest Tubb and Jeannie Seely.
“[Fellow country artist] Dottie West and I were very close,” Seely recalls. “Sometimes, just to mess with some of the DJs that were visiting, we would cut station promos as each other. I got pretty good at saying, ‘Hi, I’m Dottie West with RCA. Welcome to Fan Fair.’ ”
Since then, the festival — which was renamed CMA Music Festival in 2004 then CMA Fest in 2018 — has evolved into a four-day event that in 2022 featured more than 150 artists and drew an estimated 80,000 fans daily from every U.S. state and nearly 40 countries. Each night features some of the genre’s biggest artists performing at the 70,000-capacity Nissan Stadium. Artists play CMA Fest for free, with a portion of the proceeds going to the CMA Foundation to aid music education initiatives.
“I appreciate so much what the artists give up to be here,” says Sarah Trahern, Country Music Association CEO since 2014. Every year, Trahern writes thank-you notes to each act who plays the stadium and includes notes from children who have benefited from music education. “The artists that play the weekend shows could be playing different places for a lot of money, but they recognize the history, the fan connection and community aspect of the festival,” says Trahern.
Luke Combs at the 58th Academy of Country Music Awards from Ford Center at The Star on May 11, 2023 in Frisco, Texas. Combs will be among this year’s headliners at Nissan Stadium.
Across five decades of uniting artists and fans, CMA Fest has spurred numerous unforgettable moments — several of them involving autograph lines. In 1988, a power outage forced artists including George Strait and Reba McEntire to sign autographs in the dark. In 1996, Garth Brooks appeared at Fan Fair unannounced and signed autographs for 23 hours straight, never taking a bathroom or food break. In 2010, a young Taylor Swift signed autographs for 13 hours. The festival’s recently created Fan Fair X area inside the Music City Center convention center draws on a long-standing tradition of artists and record labels creating often elaborate autograph-signing booths.
Trisha Yearwood, who made her Fan Fair debut in 1991, recalls how in 1996 her then-manager, Ken Kragen, had the idea of creating a recording booth for fans to sing Yearwood’s No. 1 hit, “XXXs and OOOs.” (She broke through five years earlier with “She’s in Love With the Boy.”) “They’d take home a cassette of them singing with Trisha. It worked so well, except for one thing: I couldn’t get anybody to actually sing unless I sang at the top of my lungs with them,” Yearwood remembers. “That was fun, but after about eight hours straight of that every day, I had no voice. I think it was one of the most creative booths at Fan Fair ever.”
Several artists, including Kelsea Ballerini, Dierks Bentley, Miranda Lambert and Blake Shelton, first attended CMA Fest as fans or even interns.
“I had my headset, my walkie talkie and was driving people around in golf carts to and from their buses to the corrals where artists would sign autographs,” recalls Bentley, who worked as an intern at Fan Fair in 1995. “The first artist I drove was Jo Dee Messina. I remember her being nervous, like, ‘No one’s going to know who I am.’ We pulled up outside the corrals and there’s all these fans shouting her name. I remember going, ‘I think you’re going to be OK.’ I drove Sammy Kershaw around. He was chain-smoking cigarettes the whole time. I still am the biggest Sammy fan of all time. I played my first CMA Fest 10 years later.”
Garth Brooks takes on a 23 hour autograph session during the 25th Annual Fan Fair in 1996 in Nashville.
CMA Fest has been held in multiple locations throughout Nashville over the decades. The event moved from Municipal Auditorium in downtown Nashville to the Tennessee State Fairgrounds in 1982. In 2001, the festival returned to downtown Nashville with a larger presence, including programming at Music City Center and Adelphia Coliseum (now called Nissan Stadium), while also shifting from weekdays to a four-day weekend.
In 2004, the audience at the newly rechristened festival expanded exponentially when CBS aired the two-hour TV special CMA Music Festival: Country’s Night To Rock; since 2005, the event has aired on ABC.
“I think televising the festival was groundbreaking,” says executive producer Robert Deaton, who helms the TV specials for CMA Fest and the CMA Awards, as well as CMA Country Christmas. “Unless you went to see a concert, you never got to see these artists perform in their element — you would see them do a song or two on the CMA Awards or on late-night shows. Soon, fans started going, ‘This is the party we want to be at,’ and attendance kept increasing.”
Still, the jump from fairgrounds to stadium “felt like a risk,” Deaton says, and notes that it took time for CMA Fest to grow into its new home. At first, says Trahern, “we sold the floor and a lot of seats on the first balcony, but the second and third balcony were empty. [So] we wanted to grow this into something bigger. We needed better sound, better sight lines, and the only way to do that was to move from the fairgrounds to the stadium.”
Keith Urban performs at the Nightly Concert at The Coliseum on June 13, 2004 in Downtown Nashville at the 2004 CMA Music Festival.
The festival has a strong history of guest performers, including Paul McCartney in 1974, Bryan Adams in 1993, The Beach Boys in 1996 and a surprise performance by Lil Nas X, Billy Ray Cyrus and Keith Urban of “Old Town Road” in 2019. Deaton says that viewers of this year’s special can expect more collaborations than ever, pairing country artists from different eras, along with some surprise, non-country guests.
Even as this year’s CMA Fest, its corresponding telecast and a forthcoming documentary centered around the festival pay homage to the event’s past and present, Deaton is already looking to future TV specials, where one artist remains on his bucket list: Strait.
“I’d love to get the king, George Strait,” Deaton says. “He can play anything he wants, bring whomever he wants onstage with him. It would be so amazing to have him on the show.”
Expansion isn’t the only way CMA Fest has evolved. Over the past several years, the event has increasingly showcased the breadth of country music, spotlighting artists of color and in the LGBTQ+ community. Last year, the Black Opry was part of CMA Fest, while this year’s festival features Rissi Palmer’s Color Me Country, with Willie Jones, Charly Lowry, Dzaki Sukarno and Julie Williams. Last year, 84 women performed across the festival’s four days; this year’s will feature 106 women artists. CMA Fest attendees can expect performances from both newcomers and fan favorites at the event’s 10 stages, including several outdoor stages that are free and open to the public.
“Supporting underrepresented communities is a key part of our mission,” Trahern says. “We supported the Country Proud show last year and we’ve moved that onto our own footprint at the Hard Rock stage this year. We are excited to continue to have diversity on all of our stages.”
In 2007, when crowds lined up for events like the Chevy Sports Zone in downtown Nashville, CMA Fest had an aggregate attendance of 191,154 fans at all of its shows.
Music journalist and country music historian Robert K. Oermann feels that CMA Fest fulfills a vital role in terms of exposing artists fans may not see — or hear — elsewhere. “Let’s face it, terrestrial radio is never going to change,” he says bluntly. “They are not interested in Black people or women or anything different. So the best thing is for everyone to go around them, and CMA Fest provides that opportunity. I often see artists there that I love who are not on the radio.”
“It really is about music discovery,” Trahern says. “It’s as important to us to have artists in the baby-act stage as it is when they are in the stadium. Megan Moroney is a great example. Last year she played the spotlight stage as an emerging artist, and now she’s playing the Chevy Riverfront stage and our Nissan Stadium platform stage.”
Even as CMA Fest has grown, the uniqueness of the festival’s unparalleled fan focus remains paramount.
“The fans — and it’s everyone from 6 years old to 96 years old — they want to see a show, get an autograph, have personal contact with their favorite artists,” Oermann says. “That connection is beautiful, and there is no ‘We’re cooler than you are’ attitude from the artists. I don’t think you could have a festival like this in other genres of music.”
Just days after dropping a new album, Foo Fighters have confirmed they’re dropping in on Australia and New Zealand during the next southern summer.
The Foos will embark on a major stadium tour of Australia, starting Nov. 29 at Perth’s HBF Park, before heading east for concerts in Adelaide, Melbourne, Sydney and Brisbane. Then, in the New Year, Dave Grohl and Co. make the leap across the Tasman Sea for January 2024 outdoor concerts in Auckland, Christchurch and Wellington.
Though the Foos haven’t undertaken a headline tour of both countries since 2018, that doesn’t tell the story of the rockers’ connection with Australasian audiences.
The Rock And Roll Hall of Famers are seasoned travelers to the lands Down Under, and they’re always welcome here.
Indeed, when COVID-related lockdowns lifted and borders began to open, the Foos last year made their way to Geelong, 40 miles southwest of Melbourne, for a special date at the GMHBA Stadium.
Who better than the Foos to christen Australia’s live circuit with the first full-capacity stadium show by an international act in Australia since early 2020.
That one-off show, the upcoming tour, and many Foos treks before it, is produced by Frontier Touring, the concerts specialist founded by the late Michael Gudinski. Grohl was so close to Gudinski, he’s a guest in the forthcoming documentary on the Mushroom Group founder, entitled Ego.
Foo Fighters have a longstanding love affair with Australia. Their tenth and latest studio album Medicine At Midnight debuted at No. 1 on the ARIA Chart in February 2021, the band’s eighth leader in these parts.
The band’s 11th studio album But Here We Are dropped last Friday, and represents a new dawn for the act, whose members are still grieving the untimely death last year of talismanic drummer Taylor Hawkins.
The Foos returned to the stage last month for the launch of their current world tour, which includes headline sets at festivals Boston Calling, Sonic Temple, Rock am Ring, Rock im Park, Bonnaroo, Outside Lands, Riot Fest, and more. Josh Freese, a veteran studio and touring drummer, was recently unveiled as the Foos’ full-time drummer.
Tickets for the ANZ tour go on sale Thursday, June 15 via frontiertouring.com/foofighters, with pre-sales available from this Friday, June 9.
One of the world’s biggest sporting events is going to get a little ravey, with Alesso joining the UEFA Champions League Kick Off Show by Pepsi happening ahead of the UEFA World Champions League.
Happening this Saturday (June 10) at Istanbul’s Atatürk Olympic Stadium, this Kick Off Show will feature an appearance by Alesso, who will play in conjunction with co-headlining sets by the event’s previously announced performers, Brazilian queen Anitta and Nigerian star Burna Boy. The Kick Off Show happens ahead of a match between Manchester City and Inter Milan.
“Football and music have been two passions of mine since the early days of my life,” Alesso tells Billboard, “so it is incredible to be able to combine the two in such a massive way.”
“It’s been hard to keep this announcement under wraps over the past few months of preparation from all teams but we are finally here, ready to showcase this amazing performance,” the Swedish producer, who spent four weeks on the Hot 100 last year with his Katy Perry collab “When I’m Gone,” continues. “I hope all the fans of football and music are ready to experience something like never before!”
The Kick Off Show and the following match will be broadcast in more than 200 countries, with the game regularly drawing upwards of 350 million viewers.
The event has previously featured artists from the electronic realm, with a 2021 headlining show by Marshmello using virtual and extended reality to broadcast the spectacle amidst the pandemic. Last year’s Kick Off show featured a performance by Camila Cabello from France’s Stade de France. Previous performers have included Dua Lipa in 2018 and Imagine Dragons in 2019.
Lewis Capaldi’sBroken By Desire To Be Heavenly Sent (via EMI) won’t be budged from the U.K. chart summit.
The Scottish singer and songwriter enters a second unbroken weekat No. 1. That’s still a long way off the 10-week reign of Capaldi’s 2019 debut, Divinely Uninspired To A Hellish Extent.
Capaldi might have had an anxious moment or three, on account of Taylor Swift’s reignited Midnights (EMI) set. TayTay’s 10th studio album blasts 10-8 following the release of the repackaged Til Dawn edition, finishing the chart week just 1,100 chart units adrift in second place.
As previously reported, three cuts from the repacked Midnights LP make an impact on the national singles chart: “Karma” featuring Ice Spice, “Snow on the Beach” with Lana Del Rey, and “Hits Different.”
Completing the podium finish is Harry Styles’ former chart-leading third solo studio album Harry’s House (Columbia), up 3-2. Harry’s House and Styles’ second studio effort, 2019’s Fine Line (16-13), enjoy a lift as the former One Direction star completes his Love On Tour shows on home turf.
Another major league artist touring the U.K. –and enjoying an albums chart bounce — is Beyoncé. The former Destiny’s Child star’s Renaissance World Tour lap of the U.K. helps her latest LP, Renaissance (Columbia/Parkwood Ent) climb 7-6 on the current tally, published June 2.
Sparks lights up the survey with The Girl Is Crying In Her Latte (Island), new at No. 7. That’s the U.S. alternative pop outfit’s U.K. chart peak, and fifth U.K. top 10 appearance, dating back to 1974’s Kimono My House (No. 4).
Mick Hucknall’s Simply Red earns a 15th U.K. top 10 appearance with Time (Rhino), new at No. 8, while Arlo Parks snags a second with My Soft Machine, new at No. 9. My Soft Machine is the follow-up to Parks’ debut, Collapsed in Sunbeams (Transgressive), which scooped the coveted Mercury Prize in 2021.
Finally, the “Tina Turner effect” can be seen on the albums chart, as U.K. fans grieve the death of the superstar in the best way possible — by returning to her music. Turner’s hits collection Simply The Best (Parlophone) roars 79-19, and The Platinum Collection reenters the chart at No. 32.
For the third and final night of Taylor Swift’s Chicago outing — which took over Soldier Field and the surrounding South Loop area — the superstar pulled out all the stops.
On her first night in the Windy City, Swift celebrated the start of Pride month by sharing a special, and urgent, message to the sold-out stadium. “I’m looking out tonight, I’m seeing so many incredible individuals who are living authentically and beautifully and this is a safe space for you,” Swift said “This is a celebratory space for you.”
“One of the things that makes me feel so prideful is getting to be with you, and watching you interact with each other, and being so loving, and so thoughtful, and so caring,” she continued, later adding, “I wish that every place was safe and beautiful for people in the LGBTQ community.”
For her second night, she welcomed country star Maren Morris to the stage for one of her surprise songs, the live debut of “You All Over Me,” a From The Vault track included on Fearless (Taylor’s Version). Following the long-awaited moment, Morris posted a black and white photo of the pair on Instagram, writing: “We finally got to play ‘You All Over Me’ and I won’t ever be shutting up about it. Love you Taylor Swift and love you always, Chicago.”
As for the third night (Sunday June 5), two opening acts the city had yet to see took to the stage: Gracie Abrams and MUNA (lead vocalist Katie Gavin, who is from the Chicago suburbs, noted the specialness of a hometown show). And while Swift’s set featured minor hiccups — from a mic malfunction to a surprise mid-set snack (the accidental swallowing of a bug) — Swift handled such moments with humor and grace, only making them that much more memorable. And proving that even a superstar like Swift, who can perform to tens of thousands of fans night after night, is also, somehow, still relatable.
Below are the seven best moments from her Chicago finale, of which Swift said: “When we have three in a row, there’s always a special reserve of energy we are saving for the third night… this is it.”
The chart miracle that is Calvin Harris and Ellie Goulding’s EDM hit is showing no signs of letting-up in the U.K.
“Miracle” (via Columbia) retains top spot on the Official U.K. Singles Chart, published June 2, for an eighth non-consecutive week at No. 1.
That feat equals Harris’ all-time reign over the U.K. survey, matching the eight weeks “One Kiss” with Dua Lipa spent at the summit back in 2018.
Meanwhile, David Kushner’s viral hit “Daylight” (Miserable Music) holds at No. 2, while Afrobeats artist Rema’s “Calm Down” (Mavin) completes the podium, up 5-3 for a new high.
Loreen’s 2023 Eurovision Song Contest-winning entry “Tattoo” (Polydor) continues to stick around, logging a third week in the top 10. The Swedish singer’s pan-European hit dips 4-10.
The highest new entry on the latest survey belongs to J Hus, as “It’s Crazy” (Black Butter) arrives at No. 15. “It’s Crazy” is the East London rapper’s first taste of new music as a lead artist in three years. With its lofty debut, the hip-hop artist earns his 13th U.K. top 40 appearance.
Taylor Swift is on the rise once again, thanks to the release of Midnights (The Til Dawn Edition) (via EMI). A trio of tracks make a dent — the maximum allowed under the Official Charts Company’s singles chart criteria — led by “Karma,” this week’s big gainer thanks to a new cut featuring rising rapper “Ice Spice”. It’s up 67-12, while “Hits Different” bows at No. 18 and “Snow On The Beach,” which features additional lines from guest artist Lana Del Rey, reenters the top 40 at No. 24.
Also new to the chart is Dua Lipa’s “Dance The Night” (Warner Records), lifted from the forthcoming Barbie movie soundtrack. It drops in at No. 20, for Lipa’s 23rd U.K. top 40 appearance.
Finally, as news of Tina Turner’s death spread the globe, fans paid their respects by listening to the rock legend’s greatest hits. The late singer’s signature song “The Best” (Parlophone) reenters the U.K. chart at No. 25, having peaked at No. 5 in 1989, while her comeback smash from 1984, “What’s Love Got To Do With It,” returns at No. 35. “What’s Love Got To Do With It” is Turner’s highest-peaking solo track in the U.K., reaching No. 3. Turner died May 24 at the age of 83.
Music fans voted in a poll published Friday (June 2) on Billboard, choosing the pop singer’s star-studded collaboration as their favorite new music release of the past week.
“Popular” earned 52% of the vote, narrowly beating out Stray Kids’ latest album 5-Star, while also triumphing over the Foo Fighters (But Here We Are), Metro Boomin’ (the soundtrack for Spider-Man: Across the Spider-Verse), Peso Pluma & Bizarrap (“BZRP Music Sessions, Vol. 55”), Jelly Roll (Whitsitt Chapel) and others.
The new song from the pop-rap trio is the latest from The Idol, The Weeknd’s new HBO show starring himself and Lily-Rose Depp set to premiere tonight (Sunday, June 4) at 9 p.m. ET. The series follows pop star Jocelyn (Depp) as she tries to mount a comeback with some help from the enigmatic Tedros (The Weeknd).
Speaking about the song in an interview with Apple Music’s Zane Lowe, The Weeknd gushed over Madonna’s involvement in the track. “Madonna, Madge, she’s the ultimate co-sign for this song, for this album, and for this TV show,” he said. “I’ve always wanted to work with her. I’ve always wanted to write and produce a Madonna album — well, co-produce with her, of cours, because she’s a visionary and she has such a singular vision — and I just want to come into her world and create a classic Madonna album.”
Coming in just behind “Popular” is Stray Kids’ new album 5-Star with 42% of the vote, the Foo Fighters’ But Here We Are with 3.7% of the vote, and Metro Boomin’s Spider-Verse soundtrack with just 0.6% of the vote.
Check out the final results of our weekly new music poll below:
Are you still listening?
3628718137
Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)
