Slipknot is heading back out on the road! The heavy metal legends announced the dates for the North American leg of their Here Comes the Pain Tour on Tuesday (April 30), which arrives amid the 25th anniversary of their debut self-titled album.

“We loved what we did with the first record but we didn’t even know if there was gonna be anything after that,” recalls guitarist Jim Root of 1999’s Slipknot in a press statement. “We just wanted people to hear it. Selling out of records and shows, having successful tours– those are goals for any band. But the dream scenario in some ways, came true for us.”

The North American Here Comes the Pain Tour will kick off on August 6 in Noblesville, Ind., before hitting iconic venues like Madison Square Garden in New York City, the Scotiabank Arena in Toronto and Moody Center in Austin, Texas before wrapping up with Knotfest Iowa at Waterworks Park on September 21. Knocked Loose, Orbit Culture and Vended will be joining the gig as special guests on select dates.

See the full list of tour dates below.

Aug 06: Noblesville, IN – Ruoff Music Center *
Aug 07: Burgettstown, PA – The Pavilion at Star Lake *
Aug 09: Baltimore, MD – CFG Bank Arena *
Aug 10: Camden, NJ – Freedom Mortgage Pavilion *
Aug 12: New York, NY – Madison Square Garden *
Aug 14: Gilford, NH – BankNH Pavilion *
Aug 15: Mansfield, MA – Xfinity Center *
Aug 17: Toronto, ON – Scotiabank Arena *
Sep 07: Auburn, WA – White River Amphitheatre #
Sep 08: Ridgefield, WA – RV Inn Styles Resorts Amphitheater #
Sep 11: Nampa, ID – Ford Idaho Center Amphitheater #
Sep 13: Inglewood, CA – Intuit Dome #
Sep 15: Phoenix, AZ – Talking Stick Resort Amphitheatre #
Sep 17: Austin, TX – Moody Center #
Sep 18: Dallas, TX – Dos Equis Pavilion #
Sep 21: Des Moines, IA – Knotfest Iowa at Waterworks Park #

* w/ Special Guests Knocked Loose and Orbit Culture
# w/ Special Guests Knocked Loose and Vended

Rich the Kid isn’t much of a blackjack player or one to be firing up bets on FanDuel, but he believes every decision in life is a gamble — which doubles as the title of his upcoming LP.

The Queen-born rapper bet on himself when taking a flight to Saudia Arabia for the first time last year to meet up with Ye and Ty Dolla $ign, where the origins of “Carnival” began to take place.

Rich cooked up the slippery chorus and his verse in what he estimates took about “15 to 20 minutes, tops.” The early version of the track eventually got into Kanye’s hands, which he turned into a chanting stadium anthem, with additions from Ty Dolla $ign and Playboi Carti.

“Carnival” hit the ground running as an immediate Vultures 1 fan-favorite when landing on streaming services on Feb. 10. Without much playlisting or radio play, “Carnival” chugged along and finally pushed through to reach the apex on the March 16 Billboard Hot 100, giving Rich The Kid his first No. 1 hit.

“So many people counted you out and down-talking you — to go from that to No. 1, you can’t script it,” he tells Billboard with a smile on his face.

Just a few months prior to “Carnival,” Rich the Kid was down on his luck, as his RCA Records label dropped him and he began plotting his next move.

The single was a full-circle moment for Rich the Kid, who met Kanye two years ago, and says Ye texted him about how people continued to tell him that Rich was a genius. Their universes finally aligned under unlikely circumstances, and the collaboration led to West’s first Hot 100 No. 1 since guesting on Katy Perry’s “ET” in 2011.

RTK will look to carry his momentum into Life’s a Gamble, his first solo album since 2020. Ye has continued to work with Rich since they returned to Los Angeles, as the Vultures duo of West and Ty Dolla $ign will serve as Gamble‘s executive producers.

During his visit to Billboard earlier in April, Rich played album cuts such as “Bandman,” which will serve as the lead single, dropping on May 10. He’s got more heat in the stash, as he teased another possible banger titled “Gimme a Minute,” featuring Peso Pluma and another superstar guest.

Life’s a Gamble is slated to arrive in June, and it will be a busy affair, with co-stars including Ye, Ty Dolla $ign, Chief Keef, BIA, Rob49 and Migos rappers Quavo, Offset and even a posthumous contribution from Takeoff.

Check out the rest of our interview here, as Rich speaks on the magic phone that connected him with Frank Ocean, Vultures 2, “Carnival” and more.

Life’s a Gamble. Talk to me about where your headspace is when naming the album that.

I feel like everything in life’s a gamble. You walk out the front door, you could get hit by a bus. Everything’s a gamble. I’ve took wins and losses with my career and I felt it was a perfect title. I didn’t think twice about it.

Was there a certain gamble in your career that you think paid off?

Just investing in myself and my career. Even to the little things – getting CDs pressed up and handing out mixtapes. I used to have to take the bus from my grandmother’s house from Marietta to get to Atlanta. I had to take the bus to the train station to get to Atlanta. I didn’t have money so I had to take chances investing in myself. To now going to record with Ye and Ty [Dolla $ign] in Saudi [Arabia]. Got a flight and a taxi from the airport. It’s the same hustle.          

What was Ye and Ty [Dolla $ign]’s involvement as executive producers on the project?

The project was almost already done. Ye and Ty been helping me with tweaking the beats. Tuning and making everything perfect. We just been tweaking and making everything perfect – perfecting the sound. That’s something me and Ye got in common. I’ve always wanted to perfect the sound or make the next sound. I feel like that’s what we’re doing. When I go in the studio and I heard beats, I try to go off what I know is the next level. This hasn’t been done before. This is the new sound. I try to elevate it. We been in the studio day-in-day working [in L.A.] on music.

“Carnival” hits No. 1 on the Hot 100 – how did that come together? Take me back to cooking the song up.

I’m independent. It’s kinda like three months before “Carnival” came out, me and my label wasn’t on the same page and [RCA] let me go. What a blessing! It was a big moment for me too.

I had a show in Dubai. Ty was like, “We in f–king Saudi.” I’m like, “S–t, I’m an hour away.” And I had an off day before another show. I’m like, “F–k it, off day I’m gonna go to f–king Saudi.” It was kinda different. I never been out there. You can’t smoke out there. You can’t drink but I think you can drink now they passed it after we left. Like what the f–k, why didn’t they have that when we was there? I got out there at the airport they said I needed a visa. I was like, “How the f–k I need a visa?” They like, “You could buy it right here.”

It was me and my boy. We took a taxi cab about an hour and 15 minutes out. Pulled up to a resort type of thing. It was dope. We get out there. The first night Ye and Ty played me Vultures 1. I was like, “Yeah, this is hard.” Second day, I got woken up early around 11 or 10 and we had a set-up in the room. Me and Ty was recording. I was looking for beats and [TheLabCook] sent me a bunch of beats to my phone and I was going through them. 

When I heard “Carnival,” I just felt, “Oh yeah, this is the one. This is a new-age rage rock star s–t. This is the one.” I pulled it up and after I did my part. I did the chorus first, then the verse. I probably did it in 15 minutes – 20 minutes tops. Ty was in the room while I was recording. I played it back after I took my headphones off. Then Ty got on there. Ye didn’t get on it right away. I left and Ty hit me up before they had the Vegas listening like, “Ye said he wants you on the album. What song do you think we should put on there?” At the time, it was called ‘Honor Roll’ and another song we had did. I was like, “S–t, let’s put ‘Honor Roll’ on there.’” It had that energy. Ye added a lot of production [and] the chants. 

One thing I always think back to, two years ago when I first met Ye, he like “Yo, people are telling me you’re a genius.” He texted me this two years ago. Ye’s a genius. So it’s like two geniuses together. He did the production and picking the chants and I picked the beat. [We] joined forces. [Playboi] Carti got on it two days after Vegas. When I first heard it, I knew it was gonna be No. 1. I was like, “This is a No. 1 song.” I was telling my team that. 

Let’s talk about that road to No. 1 on the Hot 100. Not much playlisting or any radio push, it was really the people. What do you remember about pushing “Carnival” to get to No. 1?

Both [Ye and I] being independent and No. 1 is crazy. It’s crazy, because people was asking me why I’m going so hard. “That’s not even your song.” I’m like, “What you mean? I’m on the song.” I feel it’s just as much my song as everyone on the song. It’s my first No. 1, Carti’s first No. 1, Ye’s first since ‘07 and Ty’s second No. 1. We really made history with one song. Largest streaming song of 2024 as of right now. That’s crazy!

Elliott Wilson said you were the luckiest dude on the planet after that. I was like, “How could you say that?” 

It’s kinda weird. I think he should’ve said something like, “Damn, we watched Rich work for so many years and grind so hard from the bottom. So many collaborations, he’s a young GOAT. Salute him!” Instead, he’s like, “He’s lucky.” What the f–k kind of s–t is that? Keep doing your thing. He too old to be hating on young guys like me. I feel like it’s more No. 1s to come. More No. 1s this year, plural. 

What’s your best memories of “Carnival” rising and just traveling with Ye and the team?

We was in Milan and the energy was insane. Blow the top off the roof. After we performed, we were backstage and they’re still singing “Carnival.” Loud as f–k. I’m like, “What’s going on?” Pulling out, my car was surrounded by fans and I jumped on top of the sprinter and they started singing “Carnival” a cappella. Knowing it’s coming too. I was telling people it’s coming. I’m on the way! Y’all see my track record. Just because I was plotting for a minute doesn’t mean I wasn’t working. This album too, it’s gonna be slapping them in the face. 

What did you think about Ye’s comeback?

I feel like I call myself the comeback kid. I did a comeback and Ye did a comeback. Perfect timing. We did it. 

Vultures 2, is the “Motion” record with you, NBA YoungBoy and Takeoff gonna be on there? You played that for [Ye]?

Yeah, just like that. We were cooking up and working on V2 and I was like, “I think I got something.” Takeoff said something about Ye on the song. 

What else do you got lined up for the rest of the year?

I did a full Latin project. My DJ is Dominican. We been working nonstop the last two or three years recording music with different artists and places. I say some things in Spanish. It’s a lot of the biggest Latin artists in the game on there. J. Balvin, for sure. Arcangel, Peso Pluma. Yovngchimi. I was immersing myself in the culture. It’s not like I was like, “I’m gonna do a Latin album one day.” I was tapping in with people. 

What do you think about this civil war breaking out in rap right now?

I think a lot of the old heads love it. It’s competition. That’s what I been hearing from the OGs. They love the competition of it. 

Do you think that’s lost with the new generation?

I don’t think it’s all the way lost. We got n—as dissing each other all the time. 

Last time we spoke [in 2020], people were talking about your lost Frank Ocean collaboration. Was that actually true?

My phone somehow was uploaded with someone’s contacts. Magic contact book. I have everybody you could imagine’s phone number. Executives, artists, restaurant owners, singers, rappers. 

You got Dua Lipa’s phone number?

Nah, I don’t got Dua Lipa. That’s how I got on that FaceTime with Frank Ocean. When I got the contacts I was like, “What the f–k’s going on?” I started typing in people’s names. Frank Ocean, damn! You could also go to another time I FaceTimed Ye a couple years back. It was the same way. I FaceTimed him and he picked up the phone looking like, “What the f–k is this?” I screenshotted it and posted it [to social media]. To this day, I don’t know how the contact thing happened. I had Rihanna’s number too. 

Did you try hitting Rihanna up?

Yeah, this was three years ago. She didn’t pick up. I texted her saying I was trying to work… I got my first record deal off of that. When I was leaving [Quality Control], I had to pay $500,000 for the buyout, and at the time, I didn’t have $5,000. I had to make something happen, bro. I didn’t know what I was gonna do. I was like, “Let’s go to the magic contact list.” I started typing in record labels from A-Z. A lot of people didn’t answer. Then I typed in Interscope and I called every Interscope person. One person picked up and they was like, “What’s up?” I explained, “I’m Rich the Kid and I got some songs and I’m trying to get signed.” I had a project ready. He’s like, “Bet, come to Interscope this day.” Bet. 

I come to Interscope and I’m playing music for somebody in the office. I played seven songs. It’s hard. Then I’m thinking the meeting’s over and someone else walk in the room like, “Hey, I’m Manny Smith.” The person I thought I was meeting wasn’t him. It was another A&R. Everything was meant to be. I played the music for Manny and he wanted to make it happen. Interscope bought me out of the deal. I was also signed to 300 Entertainment too. They bought them out. I was able to get paid from the deal. Three months later, I released “New Freezer” with Kendrick [Lamar] from this magic phone.

When “Meet Me At Our Spot” went viral a few years ago and eventually peaked at No. 21 on the Billboard Hot 100, Willow collected hordes of new fans. While audience expansion is always welcome, the 23-year-old singer-songwriter first made her Hot 100 debut nearly 15 years ago with “Whip My Hair,” and now, she’s reminiscing on that time with Billboard News ahead of her forthcoming Empathogen album.

“There were a lot of fun things about it,” she muses. “When I was a teenager, I was very like, ‘Uh, no, trauma … there were things that hurt me and things I don’t understand!’ And now, I’m like … obviously, there were things that hurt you and things that you don’t understand, but, overall, my message hasn’t really changed!”

The kid-geared, self-empowerment anthem marked the musical debut of Willow, who was just 10 years old at the time. Co-written by Ronald Jackson and Janae Ratliff and co-produced by Tim Carter and Jukebox & Obanga, “Whip My Hair” played on 2010s party rap, with Willow employing a rap-sung cadence over a mixture of heavy synths and drums. The song reached No. 11 on the Hot 100, becoming the highest charting hit of Willow’s career yet on Billboard’s marquee singles chart. “Whip My Hair” also landed on the Year-End Hot R&B/Hip-Hop Songs ranking for two consecutive years: 2010 (No. 84) and 2011 (No. 76).

“‘Whip My Hair’ is like, ‘be yourself, live out loud, don’t care what anybody thinks, express yourself!’” Willow explains to Billboard News. “That hasn’t really changed. I really feel like ‘Whip My Hair’ is just a foundation for everything that has come later … It was a lot of fun. I am so grateful — I would never take it back.”

Since “Whip My Hair” lit up the charts, Willow has released five solo studio albums and a collaborative LP with Tyler Cole titled The Anxiety. 2021’s Lately I Feel Everything is her only solo album to hit the Billboard 200 (No. 46), buoyed, in large part, by the success of its Travis Barker-assisted lead single, “Transparent Soul.” Later that year, The Anxiety became the second Billboard 200 entry of Willow’s career, climbing all the way to No. 103 and spending 11 weeks on the chart, her longest running title yet.

With a catalog that ranges from ambient alternative music to hair-raising punk-pop and soulful rock n’ roll, it’s no surprise that Willow continued down the musical path she forged with “Whip My Hair” nearly 15 years ago.

“I’ve tried to run away from it. I’ve tried to be like, ‘No! I’m not a musician, I’m gonna do something else,’ and then, guess what? It just keeps coming back!” she says. “That’s how you know something is really important to you. If it causes you pain and discomfort and you’re still wanting to do it? I trust that inner drive. Even through the discomfort, you’re like, ‘I gotta stick with this.’”

As part of one of the last generations of child stars to rise to fame without TikTok, Willow jokes that “it would probably be lit” if she were 10 years old and releasing “Whip My Hair” today. “I can’t even really imagine it … thinking about it actually kind of interesting!”

Empathogen, the sixth studio album from Willow, hits DSPs on Friday, May 3.

A musical, Hell’s Kitchen, and a play, Stereophonic, lead the 2024 Tony nominations, which were announced on Tuesday (April 30) live from Sofitel New York by Tony winners Jesse Tyler Ferguson and Renée Elise Goldsberry. Both productions received 13 nods.

Those two shows were followed in the nominations count by The Outsiders (12), Cabaret at the Kit Kat Club (nine), Appropriate (eight), Merrily We Roll Along and Water for Elephants (seven each), and Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch and Suffs (six each).

The five nominees for best musical are Hell’s Kitchen, Illinoise, The Outsiders, Suffs and Water for Elephants.

The 10 eligible musicals that were passed over for nods as best musical are: Back to the Future: The Musical, Days of Wine and Roses, The Great Gatsby, Harmony, The Heart of Rock and Roll, Here Lies Love, How to Dance in Ohio, Lempicka, The Notebook and Once Upon a One More Time.

The four nominees for best revival of a musical are Cabaret at the Kit Kat Club, which won best musical in 1967; The Who’s Tommy, which was nominated for best musical in 1993; Merrily We Roll Along, which received just one nod in 1982 – original musical score; and Gutenberg! The Musical!, which opened off Broadway in 2006 and on Broadway in 2023.

This is the third time Cabaret has been nominated for best revival of a musical, which puts it in a tie with six other shows for the most nods in this category. It joins Company, Fiddler on the Roof, Guys and Dolls, Gypsy, Peter Pan and Sweeney Todd: The Demon Barber of Fleet Street.

The New Broadway Cast recording of Merrily We Roll Along — starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez — entered Billboard’s Cast Albums chart at No. 1 in November 2023 and returned to the top spot in January 2024. All three actors are nominated for Tonys for their performances.

The two eligible revivals that were passed over for nods for revival of a musical are The Wiz and Spamalot. The original productions of those musicals won best musical in 1975 and 2005, respectively.

Will Butler, formerly of Arcade Fire, was nominated in two categories – best original score and best orchestrations – for his work on Stereophonic. Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine were nominated in those same two categories for their work on The Outsiders. Shaina Taub was also nominated in two categories – best original score and best book of a musical – for her work on Suffs.

The other nominees for best original score are David Byrne and Fatboy Slim (Here Lies Love) and Adam Guettel (Days of Wine and Roses). Byrne won an Oscar and a Grammy for his work on the score for the 1987 film The Last Emperor.

Former first lady Hillary Rodham Clinton is nominated for best musical as a producer of Suffs. She won a Grammy in 1997 for her audiobook It Takes a Village. Jon B. Platt is nominated in that same category as a producer of Illinoise. LaChanze is nominated for best musical as a producer of The Outsiders and for best play as a producer of Jaja’s African Hair Brading. Taraj P. Henson is also nominated for best play for the latter work.

Eddie Redmayne is nominated for best actor in a musical for his role as the emcee in the revival of Cabaret. He won in the same category at the Olivier Awards in 2022, when the production had its West End revival. Actors from the Cabaret revival were Tony-nominated in all four acting categories. Gayle Rankin is up for best actress. Steven Skybell and Bebe Neuwirth are nominated for their featured roles.

Leslie Odom Jr., who won a Tony in 2016 for best actor in a musical for Hamilton, is nominated for best actor in a play for Purlie Victorious. Kelli O’Hara, who won a Tony for best actress in a musical in 2015 for The King and I, is nominated in that category again for Days of Wine and Roses.

The 2024 American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing. The 2023-24 eligibility season began on April 28, 2023, and ended on Thursday, April 25, 2024. Tony Awards in 26 competitive categories will be voted on by 836 designated Tony voters within the theatre community.

The 77th Annual Tony Awards, which will be hosted by Ariana DeBose for the third consecutive year, will air live on both coasts from the David H. Koch Theater at Lincoln Center for the Performing Arts in New York City on Sunday, June 16 (8-11 p.m. ET/5-8 p.m. PT) on CBS and will stream on Paramount+ in the U.S.

The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the Broadway League and the American Theatre Wing, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are showrunners and executive producers for White Cherry Entertainment, and Weiss will serve as director. Jack Sussman is also an executive producer.

CBS and Pluto TV will present a pre-show, The Tony Awards: Act One, leading into the Tonys. Viewers can access the show on their smart TV, streaming device, mobile app or online by going to Pluto TV and clicking on the “ET” channel. 

Here’s a full list of nominations for the 2024 Tony Awards.

Musicals

Best musical

Hell’s Kitchen;Producers: AK Worldwide Media, Inc., Roc Nation, DML Productions, Mandy Hackett, The Sunshine Group, Julie Yorn, The Jacobs Family, No Guarantees Productions, Front Row Productions, Sharpton Swindal Productions, Grove Entertainment, The Jaime Family, John Gore Organization, Terria Joseph, Andy Nahas, James L. Nederlander, Candy Spelling, Clara Wu Tsai, Universal Music Publishing, Independent Presenters Network, Della Pietra Spark Theatricals, Today Tix ARGU, Score 3 Partners, Aaron Lustbader, The Public Theater, Oskar Eustis, Patrick Willingham

Illinoise;Producers: Orin Wolf, Seaview, John Styles, David Binder, Emily Blavatnik, Susan Rose, ArKtype/Thomas O. Kriegsmann, David F. Schwartz, Patrick Catullo, Jon B. Platt, Diamond & Melvin, Nelson & Tao, Ruth Hendel, Elysabeth Kleinhans, Ted & Mary Jo Shen, Putnam & Thau, Chase & F.K.R., GJJJM Productions, Steve & Leticia Trauber, Tim Forbes, John Gore Organization, James L. Nederlander, Park Avenue Armory, Chicago Shakespeare Theater, Nate Koch, TT Partners, Fisher Center at Bard

The Outsiders;Producers: The Araca Group, American Zoetrope, Olympus Theatricals, Sue Gilad & Larry Rogowsky, Angelina Jolie, Betsy Dollinger, Jonathan & Michelle Clay, Cristina Marie Vivenzio, The Shubert Organization, LaChanze & Marylee Fairbanks, Debra Martin Chase, Sony Music Masterworks, Jamestown Revival Theater, Jennifer & Jonathan Allan Soros, Tanninger Entertainment, Tamlyn Brooke Shusterman, Geffen Playhouse/Howard Tenenbaum/Linda B. Rubin, Kevin Ryan, Mistry Theatrical Ventures, Galt & Irvin Productions, Tulsa Clarks, Paul & Margaret Liljenquist, Bob & Claire Patterson, Voltron Global Media, James L. Nederlander, Warner Bros. Theatre Ventures, The John Gore Organization, Independent Presenters Network, Stephen Lindsay & Brett Sirota, Jeffrey Finn, Playhouse Square, Sue Marks, Indelible InK, Lionheart Productions, The Broadway Investor’s Club, Starhawk Productions, Distant Rumble, Green Leaf Partnership, Michael & Elizabeth Venuti, Leslie Kavanaugh, Deborah & Dave Smith, Belle Productions, Chas & Jen Grossman, Miranda & Sahra Esmonde-White, Rungnapa & Jim Teague, Michael & Molly Schroeder, Casey & Chelsea Baugh, James L. Flautt, Jon L. Morris, Becky Winkler, William Moran Hickey, Jr. & William Horan Hickey, III, Oddly Specific Productions, Melissa Chamberlain & Michael McCartney, Rachel Weinstein, Wavelength Productions, Rob O’Neill & Shane Snow, Eric Stine, Cornice Productions, La Jolla Playhouse

Suffs;Producers: Jill Furman, Rachel Sussman, Hillary Rodham Clinton, Malala Yousafzai, Roy Furman, Allison Rubler, Cue to Cue Productions, Sandy Robertson, Kevin Ryan & Diane Scott Carter, Renee Ring & Paul Zofnass, Walport Productions, Judith Teel Davis & Joe Carroll, Tom D’Angora & Michael D’Angora, Louise Gund, Erica Lynn Schwartz, Stone Arch Theatricals/Mayer Productions, Xan Weiser/Matters of the Art, Nothing Ventured Productions, Christin Brecher, Chutzpah Productions, Morgan Steward, 16 Sunset Productions, The Broadway Investor’s Club, Ari Conte, Rose Maxi, Jennifer Friedland, David Carroll, Julie E. Cohen, The Garelicks, Ruth Ann Harnisch, Meena Harris, John Gore Organization, Laura Lonergan, Sally Martin, Peter May, The Mehiels, Nederlander Presentations, Brian Spector, Candy Spelling, Ed Walson, Zuckerberg/Segal, Needle Productions/Oddly Specific Productions, Alissandra Aronow/Wandi Productions, Craig Balsam/Jennifer Kroman, Burkhardt Jones Productions/Adam Cohen, Vibecke Dahle Dellapolla/Samantha Squeri, Funroe Productions/Kim Khoury, Sheri Clark Henriksen/Robert Tichio, Michelle Noh/Todd B. Rubin, Nick Padgett/Vasi Laurence

Water for Elephants; Producers: Peter Schneider, Jennifer Costello, Grove Entertainment, Frank Marshall, Isaac Robert Hurwitz, Seth A. Goldstein, Jane Bergère, Elizabeth Armstrong, Jason M. Brady, Carl & Jennifer Pasbjerg, Erica Rotstein & Crista Marie Jackson, Jana Bezdek & Jen Hoguet, John H. Tyson, Rich Entertainment Group, Jeremiah J. Harris, John Gore Organization, Jeff & Shannon Fallick, Patti & Mike Sullivan, Rodney Rigby, Larry Lelli, Bonnie Feld, Yonge Street Theatricals, Larry J. Kroll, The Shubert Organization, Nederlander Presentations, Nancy Gibbs, Jack Lane, Amy & PJ Lampi, Gwen Arment & Vasi Laurence, Mark Parkman Fairview Productions, Nothing Ventured Productions, Pam Hurst-Della Pietra & Stephen Pietra, Steven Spielberg & Kate Capshaw, The Glasshouse USA, Willette & Manny Klausner, John Paterakis, Hope Tschopik Schneider, Patty Baker, The Burcaws & Q’d Up Productions, Crescent Road, Cynthia Stroum, Sally Jacobs & Warren Baker, Tawnia Knox & Stuart Snyder, Madison Wells Live & Takonkiet Viravan, Terry H. Morgenthaler, Pamela Moschetti, Gabrielle Palitz & Fahs Productions, The Roehl Family & Chema Verduzco, Shapiro Jensen Schroeder, Tre Amici Productions, We Eat Dreams Productions, Rachel Weinstein, Maik Klokow, Margot Astrachan, Mehr-BB Entertainment

Best revival of a musical

Cabaret at the Kit Kat Club; Producers: ATG Productions, Underbelly, Gavin Kalin Productions, Hunter Arnold, Smith & Brant Theatricals, Wessex Grove, Julie Boardman, Tom Smedes, Peter Stern, Heather Shields, Caiola Productions, Kate Cannova, Adam Blanshay Productions & Nicolas Talar, Aleri Entertainment, Alex Levy Productions, Bunny Rabbit Productions, D’Angora Padgett Productions, Cyrene Esposito, David Treatman, Eddie Redmayne, The Array IV, Bad Robot Live, BlueJay Productions, Grace Street Creative Group, Iocane Productions, Jim Kierstead, Marco Santarelli, Tokyo Broadcasting System Television, George Waud, Yonge Street Theatricals, Federman Koenigsberg Productions/Sara Beth Zivitz, Tina Marie Casamento/Jennifer Johns, M. Kilburg Reedy/Tilman Kemmler, Greenspan Proffer/Kat Kit 4, Patty Baker/Matthew Christopher Pietras, Broadway Strategic Return Fund/Red Mountain Theatre Company, Evan Coles/The Cohn Sisters, Nolan Doran/Fakston Productions, Epic Theatricals/Jeffrey Grove, Jessica Goldman Foung/Andrew Paradis, William Frisbie Tilted Marguerite Steed Hoffman/Willette & Manny Klausner, Vasi Laurence/Stephen C Byrd, Brian & Dayna Lee/City Cowboy Productions, Maybe This Time/3D Productions, Nothing Ventured Productions/Theatre Producers of Color, Perfectly Marvelous/Catherine Schreiber & Co, Second Act/Freedom Theatricals, SSP Holdings/Todd & Bronwyn Bradley, Two Ladies/Nicole Eisenberg, Ilana Waldenberg/W Stage Productions, The Wolf Pack/Burnt Umber Productions, The Shubert Organization

Gutenberg! The Musical!; Producers: Ambassador Theatre Group, Patrick Catullo, Bad Robot Live, Seth A. Goldstein, Isaac Robert Hurwitz, Runyonland Productions, Elizabeth Armstrong, Timothy Bloom, Larry Lelli, Alchemation, The Council, Crescent Road, Wendy Federman, Marcia Goldberg, Hariton deRoy, LD Entertainment, James L. Nederlander, Al Nocciolino, Spencer Ross, Independent Presenters Network, Medley Houlihan/Score 3 Partners, Tryptyk Studios/Iris Smith, Jonathan Demar/Griffin Dohr, Andrew Diamond/Alexander Donnelly, Futurehome Productions/Koenigsberg Subhedar, Roy Gabay/Nicole Eisenberg, Jessica R. Jenen/Linda B. Rubin, Daniel Powell/Amplify Pictures, Jeremy Wein/Walport Productions, Kristin Caskey, Mike Isaacson, Bee Carrozzini

Merrily We Roll Along; Producers: Sonia Friedman Productions, David Babani, Patrick Catullo, Jeff Romley, Debbie Bisno, Lang Entertainment Group, OHenry Productions, Winkler & Smalberg, Stephanie P. McClelland, Timothy Bloom, Creative Partners Productions, Eastern Standard Time, Fakston Productions, Marc David Levine, No Guarantees, Ted & Mary Jo Shen, Gilad Rogowsky, Playing Field, Key to the City Productions, Richard Batchelder/Trunfio Ryan, FineWomen Productions/Henry R. Muñoz, III, Thomas Swayne/Lamar Richardson, Abrams Corr/Mary Maggio, Osh Ashruf/Brenner-Ivey, Craig Balsam/PBL Productions, deRoy DiMauro Productions/Medley Houlihan, Andrew Diamond/Katler-Solomon Productions, Dodge Hall Productions/Carl Moellenberg, Friedman Simpson/Vernon Stuckelman, William Frisbie/J.J. Powell, Robert Greenblatt/Jonathan Littman, Cleveland O’Neal, III/Tom Tuft, Roth-Manella Productions/Seaview, New York Theatre Workshop

The Who’s Tommy; Producers: Stephen Gabriel, Ira Pittelman, Sue Gilad & Larry Rogowsky, Mary Maggio & Scott Abrams, Tom Tuft and Glenn Fuhrman, Batman Harris/Elliott Cornelious, Laura Matalon/Spencer Waller, Richard Winkler, Sheldon Stone, Firemused Productions/Stone Arch Theatricals, LeonoffFedermanWolosky Productions/Koenigsberg Batchelder, Roy Putrino/Narang Moran, Rich Martino, Aged in Wood/Lee Sachs, Paul and Margaret Liljenquist, R & R Productions, Marla McNally Phillips, Merrie Robin, O’Neill Snow, Work Light Productions, Nederlander Presentations, Independent Presenters Network, John Gore Organization, Palomino Performing Arts, Wavelength Productions, Robert Nederlander, Jr., Botwin Ignal Dawson, Jamie deRoy, Betsy Dollinger, Stacey Woolf Feinberg, Gold Weinstein, Tyce Green, Jenen Rubin, Jim Kierstead, Marco Santarelli, Nancy Timmers, Thomas B. McGrath, Olympus Theatricals, Goodman Theatre

Best performance by an actor in a leading role in a musical

Brody Grant, The Outsiders
Jonathan Groff, Merrily We Roll Along
Dorian Harewood, The Notebook
Brian d’Arcy James, Days of Wine and Roses
Eddie Redmayne, Cabaret at the Kit Kat Club

Best performance by an actress in a leading role in a musical

Eden Espinosa, Lempicka
Maleah Joi Moon, Hell’s Kitchen
Kelli O’Hara, Days of Wine and Roses
Maryann Plunkett, The Notebook
Gayle Rankin, Cabaret at the Kit Kat Club

Best performance by an actor in a featured role in a musical

Roger Bart, Back to the Future: The Musical
Joshua Boone, The Outsiders
Brandon Victor Dixon, Hell’s Kitchen
Sky Lakota-Lynch, The Outsiders
Daniel Radcliffe, Merrily We Roll Along
Steven Skybell, Cabaret at the Kit Kat Club

Best performance by an actress in a featured role in a musical

Shoshana Bean, Hell’s Kitchen
Amber Iman, Lempicka
Nikki M. James, Suffs
Leslie Rodriguez Kritzer, Monty Python’s Spamalot
Kecia Lewis, Hell’s Kitchen
Lindsay Mendez, Merrily We Roll Along
Bebe Neuwirth, Cabaret at the Kit Kat Club

Best direction of a musical

Maria Friedman, Merrily We Roll Along
Michael Greif, Hell’s Kitchen
Leigh Silverman, Suffs
Jessica Stone, Water for Elephants
Danya Taymor, The Outsiders

Best original score (music and/or lyrics) written for the theatre

Days of Wine and Roses; Music & Lyrics: Adam Guettel
Here Lies Love; Music: David Byrne and Fatboy Slim; Lyrics: David Byrne
The Outsiders; Music & Lyrics: Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine
Stereophonic; Music & Lyrics: Will Butler
Suffs; Music & Lyrics: Shaina Taub

Best orchestrations

Timo Andres, Illinoise
Will Butler and Justin Craig, Stereophonic
Justin Levine, Matt Hinkley and Jamestown Revival (Jonathan Clay and Zach Chance), The Outsiders
Tom Kitt and Adam Blackstone, Hell’s Kitchen
Jonathan Tunick, Merrily We Roll Along

Best choreography

Annie-B Parson, Here Lies Love
Camille A. Brown, Hell’s Kitchen
Rick Kuperman and Jeff Kuperman, The Outsiders
Justin Peck, Illinoise
Jesse Robb and Shana Carroll, Water for Elephants

Best book of a musical

Hell’s Kitchen; Kristoffer Diaz
The Notebook; Bekah Brunstetter
The Outsiders; Adam Rapp and Justin Levine
Suffs; Shaina Taub
Water for Elephants; Rick Elice

Best scenic design of a musical

AMP featuring Tatiana Kahvegian, The Outsiders
Robert Brill and Peter Nigrini, Hell’s Kitchen
Takeshi Kata, Water for Elephants
David Korins, Here Lies Love
Riccardo Hernández and Peter Nigrini, Lempicka
Tim Hatley and Finn Ross, Back To The Future: The Musical
Tom Scutt, Cabaret at the Kit Kat Club

Best costume design of a musical

Dede Ayite, Hell’s Kitchen
Linda Cho, The Great Gatsby
David Israel Reynoso, Water for Elephants
Tom Scutt, Cabaret at the Kit Kat Club
Paul Tazewell, Suffs

Best lighting design of a musical

Brandon Stirling Baker, Illinoise
Isabella Byrd, Cabaret at the Kit Kat Club
Natasha Katz, Hell’s Kitchen
Bradley King and David Bengali, Water for Elephants
Brian MacDevitt and Hana S. Kim, The Outsiders

Best sound design of a musical

M.L. Dogg and Cody Spencer, Here Lies Love
Kai Harada, Merrily We Roll Along
Nick Lidster for Autograph, Cabaret at the Kit Kat Club
Gareth Owen, Hell’s Kitchen
Cody Spencer, The Outsiders

Plays

Best play

Jaja’s African Hair Braiding; Author: Jocelyn Bioh; Producers: Manhattan Theatre Club, Lynne Meadow, Chris Jennings, Madison Wells Live, LaChanze, Taraji P. Henson

Mary Jane; Author: Amy Herzog; Producers: Manhattan Theatre Club, Lynne Meadow, Chris Jennings

Mother Play; Author: Paula Vogel; Producers: Second Stage Theater, Carole Rothman, Lisa Lawer Post, Salman and Vienn Al-Rashid, Courtney Lederer and Mark Thierfelder, Jerry and Roz Meyer, Alix L.L. Ritchie, Jayne Baron Sherman

Prayer for the French Republic; Author: Joshua Harmon; Producers: Manhattan Theatre Club, Lynne Meadow, Chris Jennings

Stereophonic; Author: David Adjmi; Producers: Sue Wagner, John Johnson, Seaview, Sonia Friedman Productions, Linden Productions, Ashley Melone, Nick Mills, Jillian Robbins, Stella La Rue, Alex Levy & David Aron, Dori Berinstein, James Bolosh, Burnt Umber Productions, The Cohn Sisters, Cathy Dantchik, Alexander R. Donnelly, Emerald Drive, Federman Koenigsberg, Dann Fink, Ruth Hendel, Larry Hirschhorn, Jenen Rubin, John Gore Organization, Willette & Manny Klausner, LAMF Protozoa, Katrina McCann, Stephanie P. McClelland, No Guarantees, Marissa Palley & Daniel Aron, Anna Schafer, Soto Namoff Productions, Sean Walsh, Bruce & Peggy Wanta, Hillary Wyatt, deRoy Howard, Winkler & Smalberg, 42nd.club, Craig Balsam, Concord Theatricals, Creative Partners Productions, Jonathan Demar, Douglas Denoff, DJD Productions, Echo Lake Entertainment, Faliro House, FilmNation Entertainment, Roy Gabay, GFour Productions, Candy Kosow Gold, Wes Grantom, Rachel Bendit & Mark Bernstein, Playwrights Horizons, Adam Greenfield, Leslie Marcus, Carol Fishman

Best revival of a play

Appropriate; Author: Branden Jacobs-Jenkins; Producers: Second Stage Theater, Carole Rothman, Lisa Lawer Post, Ambassador Theatre Group, Amanda Dubois, Annapurna Theatre, Bad Robot Live

An Enemy of the People; Author: Amy Herzog; Producers: Seaview, Patrick Catullo, Plan B, Roth-Manella Productions, Eric & Marsi Gardiner, John Gore Organization, James L. Nederlander, Jon B. Platt, Atekwana Hutton, Bob Boyett, Chris & Ashlee Clarke, Cohen-Demar Productions, Andrew Diamond, GI6 Productions, Sony Music Masterworks, Triptyk Studios, Trunfio Ryan, Kate Cannova, DJL Productions

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch; Producers: Jeffrey Richards, Hunter Arnold, Leslie Odom, Jr., Louise Gund, Bob Boyett, Curt Cronin, John Joseph, Willette and Manny Klausner, Brenda Boone, Salman Moudhy Al-Rashid, Creative Partners Productions, Irene Gandy, Kayla Greenspan, Mark and David Golub Productions, Kenny Leon, John Gore Organization, W3 Productions, Morwin Schmookler, Van Kaplan, Ken Greiner, Patrick W. Jones, Nicolette Robinson, National Black Theatre, Alan Alda, LaTanya Richardson Jackson, Samuel L. Jackson, Phylicia Rashad, Nnamdi Asomugha, Kerry Washington, The Shubert Organization

Best performance by an actor in a leading role in a play

William Jackson Harper, Uncle Vanya
Leslie Odom, Jr., Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Liev Schreiber, Doubt: A Parable
Jeremy Strong, An Enemy of the People
Michael Stuhlbarg, Patriots

Best performance by an actress in a leading role in a play

Betsy Aidem, Prayer for the French Republic
Jessica Lange, Mother Play
Rachel McAdams, Mary Jane
Sarah Paulson, Appropriate
Amy Ryan, Doubt: A Parable

Best performance by an actor in a featured role in a play

Will Brill, Stereophonic
Eli Gelb, Stereophonic
Jim Parsons, Mother Play
Tom Pecinka, Stereophonic
Corey Stoll, Appropriate

Best performance by an actress in a featured role in a play

Quincy Tyler Bernstine, Doubt: A Parable
Juliana Canfield, Stereophonic
Celia Keenan-Bolger, Mother Play
Sarah Pidgeon, Stereophonic
Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Best direction of a play

Daniel Aukin, Stereophonic
Anne Kauffman, Mary Jane
Kenny Leon, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Lila Neugebauer, Appropriate
Whitney White, Jaja’s African Hair Braiding

Best scenic design of a play

dots, Appropriate
dots, An Enemy of the People
Derek McLane, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, Jaja’s African Hair Braiding
David Zinn, Stereophonic

Best costume design of a play

Dede Ayite, Appropriate
Dede Ayite, Jaja’s African Hair Braiding
Enver Chakartash, Stereophonic
Emilio Sosa, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, An Enemy of the People

Best lighting design of a play

Isabella Byrd, An Enemy of the People
Amith Chandrashaker, Prayer for the French Republic
Jiyoun Chang, Stereophonic
Jane Cox, Appropriate
Natasha Katz, Grey House

Best sound design of a play

Justin Ellington and Stefania Bulbarella, Jaja’s African Hair Braiding
Leah Gelpe, Mary Jane
Tom Gibbons, Grey House
Bray Poor and Will Pickens, Appropriate
Ryan Rumery, Stereophonic

In 2022, Anne Hathaway bested Kelly Clarkson in a hilarious, mega-viral clip from The Kelly Clarkson Show, with the actress belting out “Since U Been Gone” before the singer could even recognize her own song in a game of “Name That Tune.” Two years later, it’s happening all over again.

While stopping by the talk show Tuesday (April 30) to promote the upcoming Prime Video film The Idea of You — in which she costars alongside Nick Galitzine — Hathaway once again went head to head with Clarkson, this time for a round of “Pop Pop Quiz.” But a new clip from the episode begins with the stressed Academy Award-winner saying, “Oh no, it’s happening again!” as the inaugural American Idol champ jokes, “Anne Hathaway is never invited back!”

“I’m just kidding, this is actually becoming a shtick for our show,” Clarkson adds as Hathaway laughs.

The two women were then shown an incomplete snippet of lyrics from the three-time Grammy winner’s 2011 smash “Stronger,” which Clarkson beat the Princess Diaries star to filling in the blanks — before completely mis-identifying the track, not realizing that it was one of her own songs. “That’s Christina Aguilera,” she said, not realizing her error until after a break in the show.

The clip then cuts to Clarkson sitting alone, addressing the camera. “You’ll notice, America, if you know my catalog at all — ’cause I don’t — I thought I was singing a Christina Aguilera song, ‘Fighter,’” she tells viewers. “It’s one of those days. Anne Hathaway is my kryptonite, it’s fine.”

At another point in the episode, Hathaway opened up about becoming friends with Galitzine on set of The Idea of You, which becomes available for streaming Thursday (May 2). Knowing that her costar was “about to become really, really big,” she told Clarkson that she made up a rap to help new fans remember how to pronounce his name.

“Nick Galitzine, Nick Galitzine, he’s got a face for a magazine,” she demonstrated. “But he’s more than just a beauty queen, can’t wait to hear everybody scream for Nick Galitzine.”

Watch Anne Hathaway best Kelly Clarkson for the second time above, and check out her rap for Nick Galitzine below.

Check your local TV listings to see when The Kelly Clarkson Show airs in your area.

U.S. Senators Marsha Blackburn (R-Tenn.) and John Hickenlooper (D-Colo.) have introduced a bill to help support music tourism throughout the country. Dubbed the American Music Tourism Act of 2024, the newly introduced legislation would be an amendment to the Visit America Act that passed in 2022 and required the assistant secretary of commerce for travel and tourism to lead a coordinated national effort to rejuvenate international tourism following declines from the pandemic.  

The American Music Tourism Act of 2024 requires the assistant secretary to identify locations and events in the United States that are important to music tourism and promote domestic travel and tourism to those sites and events.

“Tennesseans know a thing or two about the positive impact that music tourism has on the economy and culture,” Sen. Blackburn said in a statement. “The Volunteer State is proud to be home to so many iconic musical landmarks for tourists to enjoy – from Graceland in Memphis to the Grand Ole Opry in Nashville, Dollywood in Pigeon Forge, and the Birthplace of Country Music Museum in Bristol. This bipartisan legislation promotes music tourism’s fast-growing industry and ensures fans from all over the world can celebrate the rich history of music for generations to come.”

The act classifies music tourism as the act of traveling to a state or locality to visit historic or modern-day music related attractions including museums, studios, venues of all sizes and other sites related to music. The definition also includes traveling somewhere in the U.S. to attend a music festival, concert or other live music performance. If passed, the act would strengthen the economic benefits of music festivals like Tennessee’s Bonarroo or California’s Stagecoach, as well as music venues from Madison Square Garden in New York City to Bluebird Cafe in Nashville.

“Music venues are keepers of our culture. From Red Rocks to the Grand Ole Opry, and hundreds of small venues across our country, millions visit Colorado and all our states to hear world class musicians and connect with each other,” said Sen. Hickenlooper in a statement. “Our bipartisan American Music Tourism Act will support these venues by helping our music tourism industry grow and expand.”

The bipartisan legislation is endorsed by the Recording Academy, the Nashville Songwriter’s Association International, the Recording Industry Association of America, Live Nation Entertainment, the National Independent Venues Association, Tennessee Department of Tourism Development, Tennessee Entertainment Commission, Memphis Tourism, Pigeon Forge Department of Tourism and the Overton Park Shell in Memphis.

“The Recording Academy is pleased to support the American Music Tourism Act and applauds Senators Blackburn and Hickenlooper for their continued dedication to lifting up the music community,” said Recording Academy chief advocacy and public policy officer Todd Dupler in a statement. “Music has long played an important role in our economy and culture. This bill will amplify the music community’s contributions to economic growth and increase understanding of music’s impact on the U.S. and the world.”

Live Nation’s president of Nashville music and business strategy Sally Williams also voiced her approval of the act, stating, “In Nashville, Memphis, and countless other communities across the country, a vibrant live music scene is an economic magnet that draws fans from around the globe. The American Music Tourism Act is an important piece of legislation that will help ensure live music remains a pillar of American culture and tourism, and we’d like to thank the Senator for her leadership on this issue.”

The American Music Tourism Act would leverage this existing framework within the Department of Commerce to highlight and promote music tourism in the United States with the act requiring the assistant secretary to submit their findings, achievements and activities to the congressional and senate committees within one year of its passage and every year thereafter.

“From rural communities to city centers, independent stages attract investment and visitors for the artists and professionals that put on shows and the restaurants, retail, and attractions around them,” said National Independent Venue Association executive director Stephen Parker in an endorsement. “The American Music Tourism Act finally recognizes music tourism as a catalyst for economic development and ensures its growth is a national priority. We applaud Senators Marsha Blackburn and John Hickenlooper for aligning the nation’s tourism strategy with the venues and festivals across our country that the world travels to experience.”

The 22nd season of American Idol is steaming toward its May 19th finale, but before this year’s winner is crowned the show has a few more tricks up its sleeve. During Monday night’s (April 29) Judge’s Song Contest episode that pared the pack of hopefuls down to the top 7, the lineup for Sunday’s (May 5) action-packed episode was revealed.

Ciara will join judges Katy Perry, Lionel Richie and Luke Bryan that night as a guest mentor while the remaining singers take on the “Songs That Make Me Wanna Dance” theme, as well as iconic hits by Adele. Meghan Trainor will also be on hand for a performance before American votes live for the top five.

Adele night will be followed on May 12 by another synergistic Disney Night ep, with the final five performing two beloved songs from the Disney songbook at Walt Disney World as America votes live from coast-to-coast to send the top three to the May 19 season finale.

In addition to a moving tribute to late Idol finalist Mandisa, Monday night’s show found singer Kaibrienne getting eliminated after her emotional take on Olivia Rodrigo’s “Traitor.” Elsewhere, bearded country singer Will Moseley punched his ticket to the next round with a run through Johnny Cash’s “Folsom Prison Blues,” McKenna Faith Breinholt moved forward with Lissie’s “Everywhere I Go,” Jack Blocker crushed Willie Nelson’s “Always On My Mind” and Abi Carter caused chill bumps with her icy, rocking cover of Evanescence’s “Bring Me To Life.”

In addition, Julia Gagnon gave “Over the Rainbow” a country spin, Triston Harper got his twang on for Morgan Wallen’s “Sand In My Boots” and Emmy Russell brought down the house by covering her Memaw Loretta Lynn’s signature theme song, “Coal Miner’s Daughter.”

The episode also featured Blocker and Russell performing judge Richie’s “Hello,” Harper and Moseley drawling Bryan’s hit “What Makes You Country” and the four women (Carter, Kabrienne, Brinholt and Gagnon) covering Perry’s “Wide Awake.”

It’s been a decade, so you might have forgotten, but when Meghan Trainor released her 100% certified bop debut single “All About That Bass” back in 2014, it was a smash. The doo-wop-adjacent song not only hit No. 1 on the Billboard Hot 100, it stayed there for eight consecutive weeks.

Trainor celebrated the 10th anniversary of her break-out smash on Monday (April 29) by dropping in to see Kelly Clarkson on her daytime talk show, where, not for nothing, the host noted that the song was the “best-selling song by a female artist of the previous decade. That’s insane! I feel like you need an Olympic medal for that!”

What better way to fête the firestarter than teaming up with Clarkson for a duet, during which the two singers smiled and bopped their way through the lyrics about having all the right junk in all the right places?

“I see the magazines workin’ that Photoshop/ We know that it ain’t real/ Come on now, make it stop/ If you got beauty, just raise ’em up/ ‘Cause every inch of you is perfect/ From the bottom to the top,” Trainor sang as Clarkson added spot-on ad-libs and the two women fell into perfect harmony on the body positive pre-chorus.

“Yeah, my mama she told me don’t worry about your size/ She says, boys like a little more booty to hold at night/ And no I won’t be no stick-figure, silicone Barbie doll/ So, if that’s what’s you’re into/ Then go ahead and move along,” they harmonized before Clarkson took center stage on the next verse and assured her studio audience that “every inch of you is perfect from the bottom to the top.”

Trainor stuck around to chat as well, with the singer gushing about how in the years since the song has become an anthem for so many fans that she now considers it her “super power.” She also talked about her first tour in seven years and the logistics of traveling with her two young kids, with Clarkson warning that touring with children (and dogs) is going to be a challenge. “Can I give you a tip?,” Clarkson said about the guilt she noted many female musicians have about being on the road with families.

“You feel like you have to wake up with them… don’t do that!” fellow mother of two Clarkson counseled. “Cuz your voice will hate you.”

Trainor recently announced that her sixth studio album, Timeless, is due out on June 14 from Epic Records and dropped the T-Pain-featuring single “Been Like This,” as well as announcing the dates for her Timeless tour, slated to kick off in Cincinnati in September.

Watch Trainor and Clarkson sing “All About That Bass” below.

Country singer Josh Turner, known for hits including “Your Man” and “Would You Go With Me,” has re-signed with longtime label home MCA Nashville. Later this week, Turner will be inducted into the South Carolina Entertainment and Music Hall of Fame. He released the song “Heatin’ Things Up” on Friday (April 26). – Jessica Nicholson

Sister duo Aly & AJ (“Potential Breakup Song,” “Like Whoa,” “Slow Dancing”) signed with UTA for global representation in all areas. Composed of Aly and AJ Michalka, the duo will continue to be represented by Scott Felcher at Felcher & Freifeld, LLP, Joel McKuin at McKuin Frankel Whitehead LLP, Jared Rosenberg at Redlight Management and Andrea Pett-Joseph at Brillstein Entertainment.

British-Brazilian singer-songwriter Liana Flores (“rises the moon”) signed with Verve Records. Flores, who merges bossa nova and folk music, recently toured with Laufey and is ramping up for her first U.S. headlining dates. She’ll release her debut album later this year, preceded by the single “I wish for the rain.” Her booking agents for North and South America are Sam Gans and Wilson Zheng at High Road Touring, with Primary Talent handling the rest of the world.

Absolute Label Services signed a deal with Universal/Capitol Records Italy for the release of Jack Savoretti‘s first Italian language album. Through the deal, which covers the United Kingdom and Ireland, Absolute will manage the distribution, marketing and promotion of the album, titled Miss Italia (set for release on May 17). Savoretti is managed by Niko Michault and Danielle Livesey at P.U.S.H. Music Management.

Also at Absolute, the company signed a deal to market, promote, distribute and handle synch for a new album from “neo-skiffle” band Fairground Attraction. The album, titled Beautiful Happening and set for release Sept. 20 on band member Mark Nevin’s Raresong Recordings label, marks the first time all four original members of the group — Nevin, Eddi Reader, Simon Edwards and Roy Dodds — have worked together since 1989.

Downtown Neighboring Rights signed singer-songwriter ANOHNI (lead singer of ANOHNI and the Johnsons), whose entire catalog will be represented by the company. She’s been a Downtown Music Publishing client since 2022. The company also unveiled an international agreement with publisher and label Position Music (Welshly Arms, 2WEI, Ryan Oakes) as well as TH3RD BRAIN Records (Emmit Fenn, Zerb).

Singer-songwriter Debbii Dawson signed with RCA Records, which released her new single, “Happy World,” on April 19 ahead of a forthcoming EP. Dawson’s booking agency is Wasserman and her managers are Matthew Kennedy and Rachel Higg at WeManage. She has a co-publishing deal with Warner Chappell Music and Katy Perry‘s Unsub Publishing.

Capitol Christian Music Group signed hip-hop/pop artist gio. The 21-year-old’s debut single, “reality,” was just released. His first EP in conjunction with the label is slated to arrive in the fall. – Jessica Nicholson

Country artist Louie TheSinger signed with UTA for global representation in all areas. Louie released his first single for Universal Music Group, “Brothers,” in January and recently announced his Desperado Tour, which launches in June. – Jessica Nicholson

RECORDS Nashville artist Alli Walker, along with her manager, Brad Turcotte, joined Vector Management. Walker, who just released her new single, “Creek,” becomes part of a management roster that also includes Charley Crockett, Molly Tuttle and Marcus King. – Jessica Nicholson

Universal Music Group Nashville signed singer-songwriter Timothy Wayne. A Franklin, Tenn., native, Wayne is currently a sophomore at LSU and working on his first project. He’s slated to support his uncle, Tim McGraw, for several dates on his Standing Room Only Tour. – Jessica Nicholson

The latest episode of American Idol was an eventful one, as the top seven contestants were identified, America waved goodbye to one hopeful, and a musical tribute was paid to the late Idol alum, Mandisa.

Monday night was the Judge’s Song round of Idol’s 22nd season, a game within a game that saw the Top 8 perform one of three songs secretly selected by Luke Bryan, Katy Perry and Lionel Richie.

Will Moseley covered Johnny Cash’s “Folsom Prison Blues,” Kaibrienne sang “Traitor” by Olivia Rodrigo, McKenna Faith Breinholt hit Lissie’s “Everywhere I Go,” Jack Blocker belted out “Always On My Mind,” Abi Carter tackled “Bring Me To Life,” Julia Gagnon went with “Over The Rainbow,” Triston Harper impressed with Morgan Wallen’s “Sand In My Boots” and Emmy Russell performed Loretta Lynn’s signature song, “Coal Miners Daughter.”

Just to add some spice, America voted live for the Top 6, and the judges made a save for the Top 7. When the votes were tallied, Kaibrienne was eliminated.

As previously reported, the special two-hour episode also welcomed back three American Idol alumni to pay homage to late season five star Mandisa.

Melinda Doolittle (season six), Danny Gokey (season eight) and Colton Dixon (season 11) came together to sing one of Mandisa’s favorite songs, “Shackles” by gospel duo Mary Mary.

The 47-year-old Grammy-winning Christian contemporary singer was found dead of as-yet-undisclosed causes in her home earlier this month.

“Mandisa was an adored icon on American Idol and in the music industry,” read a statement from the show. “She had become a platinum-selling artist and had won [a Grammy] for her music. Her passing has left everyone on the show heartbroken, and we extend our deepest condolences to her family.”

Watch the performance below.

Taylor Swift is on track for a second week at No. 1 in the U.K. with The Tortured Poets Department (via EMI).

Unlike last week when Tortured Poets creamed the competition en route to her 12th U.K. No. 1, TayTay has a challenger — in the form of Pet Shop Boys’ new album Nonetheless (Parlophone).

Based on midweek sales and streaming data captured by the Official Charts Company, Nonetheless sits at No. 2, roughly 1,000 chart units behind TayTay’s double-album.

Nonetheless is the veteran British electronic-pop outfit’s 15th studio album, and is predicted to become their 19th U.K. top 10. If it holds its position, Nonetheless would become Neil Tennant and Chris Lowe’s highest-charting collaborative studio album since Very led the chart in 1993, one of the pair’s four No. 1s.

Swift’s Tortured Poets last Friday, April 26, completed the chart cycle with the biggest opening-week in seven years, TayTay’s brightest-ever start in the U.K., and the fastest-selling album of 2024 so far. Also, she now joins Madonna as the solo female artists with the most all-time leaders on the U.K. albums chart, and draws level with Bruce Springsteen on the all-time leaderboard.

Meanwhile, the Zutons are predicted to grab a podium spot with The Big Decider (Icepop). It’s new at No. 3 on the Official Chart Update, and is set up to become the British band’s first U.K. top 5 LP in 18 years.

Also eyeing top 10 debus are St. Vincent, with her self-produced seventh LP All Born Screaming (No. 4 via Total Pleasure), Jess Glynne’s third album JESS (No. 5 via EMI), 5 Seconds of Summer member Luke Hemmings’ new EP Boy (No. 6 via RCA), and French electronic duo Justice with their fourth LP Hyperdrama (No. 10 via Because Music).

All will be revealed when the Official U.K. Albums Chart is published Friday, May 3.

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JoJo Siwa, Chloe Lukasiak, Brooke Hyland, Paige Hyland, Kendall Vertes and Kalani Hilliker are reuniting for Dance Moms: The Reunion, a two-hour special premiering on Lifetime on Wednesday (May 1).

In addition to the dance cast, moms Jessalynn Siwa, Kelly Hyland, Jill Vertes and Kira Hilliker will be featured in the special.

Read on for more details on the special and ways to watch and stream live, without cable.

How to Stream the Dance Moms Reunion from Anywhere

Dance Moms: The Reunion premieres Wednesday, May 1, at 8 p.m. ET/PT. The special, presented by Maybelline, will feature interviews with the cast and a look back at memorable moments, plus updates on the cast and the “lasting impact” that the show has had on their entertainment careers, per Lifetime.

Can you watch Lifetime without cable? Of course! And it doesn’t have to cost you anything up front.

Lifetime is available to stream on Philo, DirecTV Stream, Fubo and other platforms that offer access to the cable network such as Hulu + Live TV, SlingTV and Prime Video (use ExpressVPN to stream internationally).

How to Watch Lifetime for Free

You can watch Lifetime for free when you subscribe to a free trial to streamers such as Philo and DirecTV. Both have affordable streaming plans and a free trial for up to a week, but Philo is the cheaper among the two.

Philo is free for the first week, and $25 per month after the free trial ends. The streaming package includes 90+ channels: Lifetime, LMN, Logo, AMC, A&E, ID Network, HGTV, WEtv, BET, CMT, VH1, MTV, Paramount Network, Nickelodeon, OWN and other channels.

DirecTV Stream is good for streaming live TV on a budget. With local channels in addition to cable networks such as CNN, MTV, BET, AMC, A&E, Paramount Network, Logo, ID, WEtv, OWN, FX, CMT, VH1, Bravo, Nickelodeon, E!, ESPN, ESPN2, FS1, HGTV, MSNBC, Hallmark Channel and several other channels, DirecTV’s streaming plans start at $69.99 per month (when you add the Sports Pack).

The Dance Moms reunion will be available to stream MyLifetime.com beginning on Thursday, but you’ll need to log-in through your cable, streaming or satellite provider to watch.

Directly after the reunion, Lifetime will debut a new compilation show, Dance Moms: Epic Showdowns, at 10 p.m. ET/PT. The weekly series, hosted by Christi Lukasiak, will showcase the most “explosive dance battles and jaw-dropping meltdowns from the series” including the moms and dance teacher Abby Lee Miller.

On Monday, the cast of Dance Moms stopped by Good Morning America to talk about the special and their time on the show. “The first word that comes up is legendary,” Siwa said of being on the show. “I feel like everyone on here has had some sort of legendary experience with Dance Moms.”

Centered around Miller’s dance company and a team of young dancers (and their mothers), the Lifetime reality series premiered in 2011 and aired for eight seasons.

Watch the trailer for Dance Moms: The Reunion below.

Sabrina Carpenter’s “Espresso” is piping hot in the U.K., where it leads the chart race for the first time.

The American singer and actor has a bonafide hit on her hands with “Espresso” (Island), which debuted at No. 6 on the national chart, following its release April 11, and has continued to climb ever since.

“Espresso” is her first top 10 and fourth top 40 appearance on the U.K. chart, following “Feather” (No. 19 peak), “Skin” (No. 28) and “Nonsense” (No. 32).

Carpenter can’t take it to the bank. Taylor Swift’s “Fortnight” featuring Post Malone dips 1-2 on the Official Chart Update, and, based on early sales and streaming data published by the Official Charts Company, is less than 1,000 chart units behind. “Fortnight” last Friday, April 26, opened at No. 1 on the Official Chart, for Swift’s fourth leader, while its parent LP The Tortured Poets Department (EMI) rampaged its way to the summit of the albums chart, for her 12th leader and third chart double.

Another track from Swift’s double album could debut in the top 10, “I Can Do It With A Broken Heart.” It’s new at No. 7 on the Official Chart Update, and could lift her career tally of U.K. top 10s to 29.

Country music has enjoyed a revival on the U.K. charts, first with Beyonce’s No. 1 album Cowboy Carter (Columbia/Parkwood Ent), then Dasha’s single “Austin.” Shaboozey is getting in on the act with “A Bar Song (Tipsy)” (via American Dogwood/Empire), which lifts 27-8 on the chart blast and is set to give the U.S. artist his first U.K. top 10.

Dasha’s “Austin” (Warner Records), meanwhile, is predicted to hold at No. 10.

All will be revealed when the Official U.K. Singles Chart is published late Friday, May 3.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Springtime means cooler weather, and for some, overbearing allergies.

Luckily, air purifiers can help the allergy-stricken find some relief. But regardless of whether you have allergies, it’s good to have an air purifier on deck. It’ll help get rid of dust, mold, pet dander, smoke and more.

To get you on the right track, we commissioned the help of Anna Chan, Billboard’s deputy editor on the digital side — and resident cat lover — to test out a few budget air purifiers that you can buy on Amazon and have delivered overnight, if you’re a Prime member (click here to launch your 30-day free trial).

Below, find our review of the three best air purifiers under $200. The list below includes options that are perfectly giftable for Mother’s Day.

LEVOIT Core Mini Air Purifier

If you’re looking for a smaller, no-frills, plug-and-play air purifier for a cozier room, this could be the winner. Setup takes mere minutes, and the unit – which has three stages of filtration — is streamlined with just one button: The power button.

It turns the unit on/off and control fan speed, which has low, medium and high options. It also has to displays: fan speed and the “check filter” indicator, which turns red when attention is needed. 

BEST AIR PURIFIER UNDER $50

LEVOIT Core Mini Air Purifier for Bedroom Home, 3-in-1 Filter Cleaner with Fragrance

$47.99

Buy Now On Amazon

Size: 6.5” x 6.5” x 10.4”, 2.2 lbs 
Smart Controls: No 
Setup Time: Less than 5 minutes 
Filter Refill Cost: $24.99 

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The fan is also pretty quiet, and is practically silent when on the lowest setting. The medium setting is pretty soft and nearly unnoticeable, even for this very light sleeper. The highest setting – for when your air quality isn’t great – is noticeable, but not distracting. 

One nice little bonus is the built-in aromatherapy tray. Simply pop it open, and add your essential oils to the little pad as needed. Don’t want or need to use this feature? Pretend it’s not there!  

Pros: This small unit fits great on a nightstand or dresser, and barely takes up any space. It’s also very light at barely two pounds, so it’s easy to move around too. 

It’s so quiet you won’t know it’s on, making this a great air purifier for bedrooms. It comes with a little aromatherapy drawer/pad built in, so you won’t need a separate aromatherapy machine in the room. 

Cons: The lack of smart controls means you can’t turn it on/off, adjust the fan speed or check the air quality of the room remotely. And it’s pretty small, so probably may not be as efficient for anything bigger than a medium-sized bedroom.

Coway Airmega True HEPA Air Purifier

Conway’s Airmega True HEPA Air Purifier not only boasts the ability to help purify the air in your home, but does so while looking sleek. (Think super large iPod Shuffle in black or white.) The unit and its three fan speed, four-stage filtration system isn’t huge – though it feels a tad large for a tiny New York City apartment – but it does seem to get the job done with minimal user effort. The control panel features an air-quality indicator (blue = good, purple = moderate, red = unhealthy) and five buttons – power, fan speed, filter change reset, timer and ionizer, though the ionizer isn’t explained in the user manual, so its purpose is unclear to this basic tester. 

BANG FOR YOUR BUCK

Coway Airmega AP-1512HH(W) True HEPA Purifier with Air Quality Monitoring

$159.99 $229.99 30% off

Buy Now On Amazon

Size: 16.8” x 18.3” x 9.6”, 12.3 lbs. 
Smart Controls: No 
Setup Time: Less than 10 minutes
Filter Refill Cost: $59.79  

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The air-quality sensor seems pretty sensitive, and for me, the unit automatically kicked into high gear after a minute of sautéing food in a cast-iron pan, even when the fan in the range hood was on high. Speaking of cooking, the unit boasts the ability to deodorize thanks to the carbon filter, and while it does so a little, it’s no match for someone like me who uses a cast-iron pan daily. Just a little oil and some eggs and hash browns is enough to leave a lingering scent all day in this small apartment despite the unit running the entire time, though it is a little less noticeable than when I didn’t have the Airmega. 

To further prove its sensitivity, the Airmega’s fan speed also went from low to medium immediately after I applied some spray hair wax in a nearby room, and completely skipped the medium setting for high alert/max fan speed when I barely cracked my living room window open on the first nice day of spring. 

While the max fan speed is quite loud (roughly 53 dB(A), according to Coway), it does have the added bonus of seemingly cooling down the air temperature too, which could be a bonus in the summer months. 

Pros: For those of us trying to be cognizant of our electrical use, the unit’s Eco Mode is a great feature. After 30 minutes of the air quality being “good,” the Airmega’s fan switches off automatically to conserve energy. And as soon as it senses a drop in air quality drops, it’s back on. 

The air-quality sensor appears to be pretty sensitive, so this could be a good unit for anyone suffering from allergies or other respiratory issues. And it’s pretty! 

Cons:  The biggest bummer for me was the unit’s lack of smart controls. My apartment may be small, but I’m still sometimes too engrossed in my TV shows (read: lazy) to get up and turn the air purifier down, or off. It’d also be nice to be able to turn the unit on/off from my phone while I’m away from home. 

With con No. 1 noted, I should also point out that on max speed, the air purifier gets loud, like, crank the TV volume waaaaaaaay up loud. (It also woke me up one night when the air quality apparently became bad for some unknown reason, and the unit kicked in on max speed. Alas, without smart controls on my phone, I could not turn it back down without getting out of bed. Spoiler alert: I did not get up.) 

This unit sure does attract cat hair! While unboxing the Airmega and putting it together, it seemed to summon all of my little black cat’s fur from the living room to its casing, as if it were Magneto grabbing all of my silverware with a wave of his fingers. Unluckily for me, my Airmega is white, and my beloved feline is black. 

The user manual is really bare bones, causing minor confusion with the filters during setup, and doesn’t explain how the eco mode or ionizer work. Also, the filter replacement cost is pretty darn high.  

LEVOIT Vital 100S Air Purifier

Good things do come in smaller packages! The Vital 100S is a nice little unit that not only takes up just a small amount of floor space and is quite light, it seems to do a pretty good job of detecting air quality and improving it with its three-stage filtration system while keeping fan noise pretty low. The 100S detects four levels of air quality and is color-coded on the sleek display on top: very good (blue), good (green), moderate (orange) and bad (red). In terms of sensitivity, this unit kicks in quickly when I start cooking on the stovetop with a cast-iron skillet, and within minutes of me turning on my aromatherapy machine.

AIR PURIFIER FOR LARGE ROOMS

LEVOIT Air Purifiers for Home Large Room Bedroom Up to 1110 Ft²

$139.99

Buy Now On Amazon

Size: 12.6” x 6.3” x 16”, 7.26 lbs. 
Smart Controls: Yes 
Setup Time: Less than 10 minutes 
Filter Refill Cost: $31.99 

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The Vital 100S is also marketed for homes with furry little friends running around. It boasts a Pet mode, which, according to Levoit, “alternates between fan speeds to keep your air clean and virtually odor-free with energy efficiency.” The U-shaped air inlet is also supposed to help capture fur and other larger particles (perhaps human hairs?).  

Another highlight is the unit’s VeSync app, which is pretty handy and incredibly easy to set up. Once on your phone, the app allows users to turn the unit on/off remotely, displays the current air quality of your home, and also alerts you when air quality drops and fan speed increases, and vice versa. It also shows you the history of your indoor air quality, as well as filter life, lets you create a schedule and more. 

Pros: It’s quite compact, attractive and easy to tuck into homes with limited space. The app is super easy to use and adds a level of convenience that’s worth the extra cost. 

It’s a very quiet unit, and when in Sleep Mode, you won’t even know it’s on while you snooze! 

Cons: Like the Coway Airmega, the Vital 100S boasts odor control, but neither unit was able to eliminate basic stovetop cooking scents. And while neither was great at this, the Airmega did outperform the Levoit on odor elimination by a smidge. 

The app may show you the filter life left, but that can also be a downside. After three weeks of testing, the filter life had already gone down by 5%. 

For more product recommendation, see our roundup of sustainable tech gadgets to shop beyond Earth Day.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Mother’s Day is less than a month away. Have you started shopping yet?

If the answer is no, we’ve found a hilarious throw pillow that your mom just might love – if she’s a fan of the original Mean Girls.

Tina Fey’s 2004 comedy, which celebrates its 20th anniversary on Tuesday (April 30), still lives rent-free in a lot of our heads, but even if your mom isn’t familiar with Regina George, Gretchen Wieners, Cady Heron and The Plastics, she’ll probably get a laugh out of this handmade pillow inspired by Amy Poehler’s infamous Mean Girls quote: “I’m not like a regular mom, I’m a cool mom.”

Cool Mom Needlepoint Pillow

$108

Buy Now at furbish studio

Buy Now at revolve

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Made from 100 percent wool, the Cool Mom Needle Point Pillow retails for $108. The pillow is available at Furbishstudio.com and retailers such as Revolve, but it’s currently out of stock at Amazon, Bloomingdale’s and Etsy.

Measuring 8 x 14-inches, the throw pillow is hand-embroidered in wool and backed in cotton velvet, per the product description. Besides the laugh factor, your mom will appreciate how much time it takes to make Furbish pillows. Each pillow takes around 20 hours to stitch by hand, according to the company.

Furbish offers a large selection of pillows with funny quotes such as, “If You Don’t Have Anything Nice to Say, Come Sit By Me,” “Nobody Is Perfect. I’m Nobody” “This Is Actually My First Rodeo” and “My Favorite Thing to Make for Dinner Is Reservations.”

While there’s never enough money to show just how much we care for our mothers, shoppers on a tighter budget can turns to Amazon and Walmart to find cheaper pillows and other Mother’s Day gift ideas.

For more shopping recommendations, see our list of new beauty drops of the season, where to buy a Dyson Airwrap in ceramic pink and rose gold and a luxury perfume dupe for under $25.

A new partnership reaches No. 1 on Billboard’s Latin Airplay chart (dated May 4), as Feid and ATL Jacob’s “Luna” rises 2-1 to lead the 50-track-deep ranking. The song becomes the 11th collaboration in 2024 to land at the summit, with three of them Feid collabs.

“Luna,” released on Universal Music Latino/UMLE, ascends to the top slot from No. 2 after a 15% increase to 10.73 million audience impressions on U.S. reporting radio stations during the April 19-25 tracking week, according to Luminate. The new No. 1 unseats Prince Royce and Gabito Ballesteros’ “Cosas de La Peda,” which spent one week in charge. It falls to No. 3 with 8.33 million in audience, down 23%.

“Luna,” produced by ATL Jacob, where the latter also provides background vocals, is one of ten cuts from Feid’s Ferxxocalipsis set, which earned the Colombian a third top 10 on Top Latin Albums (No. 9 debut last December). The song generated significant attention only after Feid shared an acoustic version on his Instagram account in January, thus followed a No. 20 launch on Latin Rhythm Airplay in February, where it holds at No. 1 in its second week.

With the new champ, American rapper ATL Jacob checks into the penthouse on the overall Latin Airplay tally for the first time. Feid, meanwhile, picks up his seventh No. 1 among 14 career entries. Further, as “Luna” shakes up the scoreboard, here’s a look at the 11 collabs, whether through co-billed or three-way combined efforts, that hit No. 1 on Latin Airplay in 2024:

Title, Artist, Peak Date
“Según Quien,” Maluma & Carín León, Jan. 6
“Bubalu,” Feid & Rema, Jan. 13
“Harley Quinn,” Fuerza Regida & Marshmello, Feb. 3
“Borracho y Loco,” Yandel & Myke Towers, Feb. 17
“Qlona,” Karol G & Peso Pluma, March 2
“Por El Contrario,” Becky G, Leonardo Aguilar & Angela Aguilar, March 9
“No Es Normal,” Venesti, Nacho & Maffio, March 16
“Puntería,” Shakira & Cardi B, April 6
“Perro Negro,” Bad Bunny & Feid, April 20
“Cosas de La Peda,” Prince Royce & Gabito Ballesteros, April 27
“Luna,” Feid & ATL Jacob, May 4

In addition to its Latin Airplay control, “Luna” ascends 9-8 on the multi-metric Hot Latin Songs chart, which combines airplay, streaming data, and downloads, despite a 6% dip in streams, to 3.5 million official U.S. streams generated during the same period.

“Luna” is one of the 36-song setlist on Feid’s Ferxxocalipsis Tour, the North American 27-date run that launched in Sacramento April 24 and will close in Miami on July 26.

All charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.