Gracie Abrams is crowned on the latest ARIA Albums Chart with Daughter From Hell (via Interscope/Universal), which opens its account at No. 1.

The week’s best-seller on vinyl, Daughter From Hell is the second leader for the U.S. singer and songwriter after The Secret Of Us, which logged three weeks at the summit in 2024-25. Her debut studio album, Good Riddance, managed an Australian chart best of No. 30 in 2023.

Daughter From Hell ousts Olivia Rodrigo’s you seem pretty sad for a girl so in love (Geffen/Universal), down 1-2, while Olivia Dean completes an all-female top three with The Art of Loving (Universal), up 4-3.

Meanwhile, U.S. metalcore act Motionless in White opens at No. 5 on the ARIA Chart with Decades (Roadrunner/Warner), their seventh studio album. That’s Motionless in White’s career high and first appearance in the top 10, besting the No. 14 peak for 2022’s Scoring The End Of The World.

Also new to the chart is viral U.S. singer, songwriter and producer Steve Lacy with Oh Yeah (RCA/Sony), new at No. 19. Close behind is Holly Hebe’s Mood Ring (GYRO Music), new at No. 23 for the top-ranked Australian album on the latest frame, published Friday, July 24. Mood Ring is the Melbourne singer’s third EP and first stint on an ARIA Chart.

Swapmeet, an indie band hailing from Adelaide, Australia, enjoys a top 30 start with their debut album release, Mount Zero (Winspear), new at No. 26, while Liverpool, England metalcore merchants Loathe start at No. 28 with A Stranger To You (Nuclear Blast/ADA).

Over on the ARIA Singles Chart, Ella Langley’s four-times platinum hit “Choosin’ Texas” (Sony Music) enters a seventh non-consecutive week at the top. Langley also impacts the chart with “Weren’t For The Wind” (down 32-36) and “Be Her” (down 40-41).

Female artists lock-up the singles chart podium, too. Olivia Dean’s five-times platinum “Man I Need” (Universal) holds at No. 2 while Dean’s collaboration with fellow Brit Sam Fender, “Rein Me In” (Dew Process/Universal), is unchanged at No. 3.

With a new track, a bub, and a high-profile spot at one of the world’s top electronic music festivals, VASSY’s hands are ridiculously full right now. She wouldn’t have it any other way.

The Darwin-raised, U.S.-based singer and songwriter today (July 24) shares “DAY N NIGHT,” a dancefloor belter with throwback house energy, produced with fellow Australian artist BUST-R. Then, on Sunday (July 26), she’ll debut the track at the sold-out Tomorrowland Belgium, the site of her fierce collaboration with Tiësto 10 years ago to the day.

“Tomorrowland has always held a special place in my heart because it’s where I shared one of the most memorable moments of my career, performing ‘Secrets’ with Tiësto in front of one of the largest crowds in the world,” VASSY tells Billboard. “Now, years later, I’m returning as a new mom to premiere the first single of an entirely new chapter — a moment that feels incredibly special both personally and professionally.”

From Momland to Tomorrowland. No worries.

VASSY is a trailblazer in the EDM world, a hitmaker with upwards of 3 billion career streams, six No. 1s on Billboard’s Dance Club Songs chart, an APRA Billions Award, and a slice of history by becoming the first female and first Australian to receive the EDMA Icon Award in 2023.

“To share the stage with a fellow Aussie artist I’ve built such a creative bond with makes this even more meaningful,” she says of her Tomorrowland slot. Beyond the music, Bust-R and VASSY have created a community that champions Australian dance artists through their radio show. They’ll bring that spirit to Continental Europe with the world premiere of “DAY N NIGHT,” a moment, she explains, that “feels like a full-circle moment in the best possible way.”

“DAY N NIGHT” is the latest in string of drops for VASSY in 2026, including “On Me” with Aussie producer Mind Electric (and Bust-R on the official mix), a track that crashed the top 40 of Billboard’s Dance Airplay Chart and the top 10 on the ARIA Club Chart; along with “Pretty Lady,” “Quiet Storms,” “Star,” and “Night & Day.”

And what should fans expect with her live performance in Boom? “Energy, emotion, and a celebration of this new chapter,” VASSY predicts. “After everything that’s changed, it feels incredibly special to return to where so much began and share this moment with the fans.”

VASSY is slated to perform on Tomorrowland’s Planaxis stage on Sunday from 4-5pm.

Stream “DAY N NIGHT” below.

Bon Jovi’s New York fans were left wanting more when frontman Jon Bon Jovi ended the show early on Thursday, July 23, due to illness.

The Rock And Roll Hall of Fame-inducted band cut short their set at Madison Square Garden, the eighth in a nine-show stand, as the singer struggled with the effects of a sinus infection.

“Jon Bon Jovi spoke from stage and told fans he has been battling a sinus infection which led to the show’s early ending,” a rep for Bon Jovi tells People. “As part of the Bon Jovi residency at Madison Square Garden, Jon has said numerous times that it has been a joy to return to live shows for the band. Updated information will be available shortly.”

According to reports, Bon Jovi completed 90 minutes of a set that featured a guest performance by Train’s Pat Monahan, who joined-in for a version of the Slippery When Wet hit from 1986, “Livin’ On a Prayer.”

The dates are part of the band’s Forever Tour, presented by Live Nation, which represents a return to the road after Jon Bon Jovi underwent reconstructive surgery on his vocal cords and then a years-long rehabilitative process.

“Don’t throw away your ticket stubs I’m going to figure something out okay, don’t [fear],” Bon Jovi told the Garden, People reports. “Just hang onto it, I’m going to figure out how to reschedule.”

“I’m gonna have to cool it for a night,” he added, prior to exiting the stage. “I feel great, I’ll see you again soon, bye bye.”

Bon Jovi’s MSG run is scheduled to wrap this Sunday, July 26, after which time the band crosses the Atlantic for five stadium shows in Scotland, the Republic of Ireland and England, the final of which is booked for Sept. 9 at London’s Wembley Stadium, the last of three concerts at the venue.

Jon Bovi has been candid about his recovery, saying the band assembled every month to rehearse to gauge his progress, but that until he felt he could confidently sing through a two-and-a-half-hour show, they weren’t hitting the road. “Day to day, I’m working hard on it,” he told Entertainment Tonight in 2024. “Nothing else matters until I work on getting better. It’s up to God at this point. I’ve done everything I can do. I won’t fake it … the legacy matters too much.”

Billboard’s Friday Music Guide serves as a handy guide to New Music Friday’s most essential releases each week — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

Last week, we featured Gracie Abrams, Steve Lacy, Rick Ross, Carly Rae Jepsen and more.

This week: Charli xcx drops her anticipated new album, Music, Fashion, Film; Tyla drops her second studio album; and Morgan Wallen shares his new single after previewing it live at a recent show… plus much more. Check out all of this week’s picks below:

Charli xcx, Music, Fashion, Film

When Charli xcx dropped “Rock Music” in May, which became the lead single for Music, Fashion, Film, it seemed to accomplish its task of being so divisive that it shifted focus from being her first post-Brat single that wasn’t related to a film soundtrack. And while it wasn’t totally a rock track, and doesn’t totally represent the full scope of her new album, it did prove her point: that she wasn’t setting out to make the same album twice. On Music, Fashion, Film, Charli once again pushes her limits and inspirations beyond dance-pop and into grungy guitars. As Andrew Unterberger writes in Billboard‘s tracks ranked of the album: “Regardless of genre designation — which has never seemed overly important to Charli xcx in the first place — Music, Fashion, Film is another fascinating, addictive, singular catalog entry in a body of work that is quickly becoming one of the 21st century’s most formidable.” — LYNDSEY HAVENS

Tyla, A*Pop

After breaking out with her smash hit “Water” in 2023, Tyla has been a frequent visitor of the Hot 100; last year, she charted “Push 2 Start” and “Chanel,” while this year the South African artist added her collab with Zara Larsson, “She Did It Again,” to the tally. The latter two tracks made the cut for Tyla’s second album, A*POP, out now, alongside an early standout in “That Girl” — a blissful blend of Afropop and R&B stylings with a hypnotic, winding beat that creates a sonic playground for her vocals to explore. — L.H.

Morgan Wallen, “Been By Now”

During a recent concert in Baltimore, Morgan Wallen surprised fans by previewing his new song, “Been By Now.” Written by Wallen, Charlie Handsome, John Byron, Blake Pendergrass, Rocky Block and Taylor Phillips, “Been By Now” continues Wallen’s penchant for smooth, pop-tilted grooves and songs soaked in heartbreak. “If we were in the stars, they’d have lined right up,” he sings, seemingly resigned to the idea that some relationships are doomed to fizzle. — JESSICA NICHOLSON

JENNIE, “Less than a Lover”

After teasing her new single during her Governors Ball festival set in June, JENNIE decided to drop the summery song ahead of her headlining set at Lollapalooza Chicago next weekend (July 30-Aug. 2). Given the season of its arrival — and lighthearted subject matter, with a title that screams summer fling — “Less than a Lover” is lighter than some of the singer-rapper’s harder hitting songs (think: “Like Jennie”), leaning more into airy singer-songwriter, alternative-pop territory. Perfect for those breezy summer days. — L.H.

The Strokes, Reality Awaits

After pushing back its original release date, Reality Awaits no more — for those ready to hear it. After a handful of festival appearances, including a particularly rousing Coachella set in April, The Strokes release its seventh album today. And as its lead single, “Going Shopping,” teased, the choice of AutoTune is one that sticks around. Across its nine tracks, The Strokes continue to dance between crowd-friendly, fuzzy rock riffs and still wanting to try some new s— (“Liar’s Remorse,” and really all three of the album’s last tracks). The result? A perfectly 2026 album that touches on everything from being a kid to AI, all from a band that’s never without a hot take. — L.H.

KATSEYE, “Animal”

This seductive single from the global girl group is all about knowing a partner’s true self, with the fivesome singing: “Nobody knows you’re outta control/ But I see a side behind the closed doors/ They get a glimpse here on the dance floor/ You move like an animal.” Fittingly, “Animal” will be included on the groups’ upcoming third EP, WILD, which arrives on Aug. 14. — L.H.

The Rolling Stones achieve their first No. 1 on Billboard’s 35-year-old Top Album Sales chart, as the band’s new studio album Foreign Tongues starts atop the list (dated July 25).

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on pure album sales (physical and digital download purchases combined). The chart’s history dates to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.

On the Billboard 200, Foreign Tongues debuts at No. 7, extending the Stones’ own record for the most top 10s (with 39) since the chart began publishing on a regular, weekly basis in March of 1956. After the Stones, Barbra Streisand ranks second with 34 Billboard 200 top 10s, followed by Frank Sinatra with 33.

Foreign Tongues takes a bow in the top 10 on six total U.S. Billboard album charts: Top Album Sales (No. 1), Billboard 200 (No. 7), Top Rock Albums (No. 2), Top Rock & Alternative Albums (No. 3), Vinyl Albums (No. 3) and Indie Store Album Sales (No. 3).

Foreign Tongues leads a busy top 10 on the Top Album Sales chart, where the Heated Rivalry soundtrack debuts at No. 3, while My Chemical Romance’s Danger Days: The True Lives of the Fabulous Killjoys reenters at No. 3 after its deluxe reissue (all versions of the album, old and new, are combined for tracking and charting purposes). YEONJUN’s NO LABELS: PART 02 starts at No. 4, while Madonna’s CONFESSIONS II falls to No. 5 in its second week after debuting atop the list.

Olivia Rodrigo’s chart-topping you seem pretty sad for a girl so in love dips 3-6, Jack White’s Frozen Charlotte starts at No. 7 and ATEEZ’s former No. 1 GOLDEN HOUR : PART.5 descends 2-8. Rounding out the top 10: Future’s The Real Me enters at No. 9 while Michael Jackson’s Thriller falls 5-10.

Pressure makes diamonds. Amy Shark’s soft pop (via Wonderlick/Sony Music) might just be one of those rare gems.

The Australian singer and songwriter’s fourth studio album, out today (July 24) and featuring the previously-released singles “The Biggest Dick,” “Our Last Fight,” “Child of Divorce” and “It’s Kinda Hot,” was shaped by isolation, with strict time constraints, in a foreign land.

Pressure, all of it.

Shark, a proud Queenslander, born and raised on the Gold Coast, decamped to the Welsh town of Barry, where she cut the LP in the studio of longtime producer Dann Hume (Matt Corby, Tash Sultana, Troye Sivan), in an old, converted church.

The project, a sink-or-swim adventure, was thrust upon Shark by her husband and manager Shane Billings.

“I hadn’t written a song in a hot minute and I wasn’t even interested,” she recounts in a chat over Zoom. “I was just super-exhausted. Everyone goes through those moments, but I really hit a bit of a low and I found it really hard to get back up. He knew I was in this weird cycle, where what makes me happy is writing the song, but I don’t want to write the song. He knew I really want my happy places in the studio and making music.”

So, gentle pressure was applied. The studio was booked, with a hard start date. “I’m like, ‘yeah, but I’ve got no songs. So whatever. Just cancel, like, that’s embarrassing.’ I was just getting so mad at him. He said, ‘you’ve got a month. You just write it yourself.’”

There was no ducking out. With time ticking away, Amy committed, focused, got to work. The cone of silence descended for one month of writing, followed by that stretch in Wales where a local café was the only getaway. The magic returned. “It was such a rollercoaster, but I’m just so proud of myself. I really went for it,” she continues. While in Hume’s sessions, Shark set her phone to “do not disturb” for the entire month.

“I needed that project. I needed something to sink my teeth into.” And bite down she did, building a collection of 11 intimate songs, with no co-writes, no guest features, no drums.

Shark is coming in hot off three consecutive No. 1 albums, most recently 2024’s Sunday Sadness. Across her career, Shark has collected eight ARIA Awards and four APRA APRAs, including the coveted song of the year, and landed multi-platinum singles including “I Said Hi,” “Everybody Rise” and “Adore,” which established her as one of Australia’s outstanding pop artists.

The physical challenge that was the creation of soft pop hasn’t been her only pressure test of late. Shark made her feature film debut this year in the fight flick Beast, cast in a central role alongside Russell Crowe, Dan Macpherson and Luke Hemsworth. “I’m stoked that I’m a part of this amazing movie,” she enthuses. “Not every actress gets to experience their first role with an a-lister,” she says of Crowe, “let alone an a-lister that gave me the time of day, and really helped me so much.”

Whether soft pop flies to the top of the chart leaderboard like its predecessors, isn’t the point. “It would be great, because it feels special to get the No. 1, but I don’t think I’m gonna be as devastated as I might have been in the past,” she explains. “Another thing I’ve kind of learned over the years is to just, like, really enjoy the process and not rely so much on outcomes.” Also, Charli xcx is “coming in hot on the same day,” Shark says with a laugh.

Stream soft pop below.

Charli xcx‘s next era is here. The British pop star released her Music, Fashion, Film album on Friday (July 24), which follows Charli helming the Wuthering Heights soundtrack in February.

Charli’s new LP boasts 11 songs in total, including her four previously released singles: “Camera,” “SS26,” “Rock Music” and “Wink Wink.”

The album’s closer, “No One Lasts Forever,” features the project’s lone guest, a conversation with director David Cronenberg. Charli told Triple J that she paid him a visit in Toronto.

“We spoke for an hour,” she explained. “We kind of chose the parts that felt most related to the song. The entire conversation is just so interesting. He’s such an interesting person, and smart and kind. I could listen to him talk forever… I think he has a really interesting perspective on legacy and art and artists.”

Charli gave fans an early taste of the album when performing select tracks from the LP during her underplay shows in NYC and London earlier in July.

Following the arrival of Music, Fashion, Film, Charli will hit the road for a North American arena tour. The trek is slated to kick off in Philadelphia on Sept. 11 and will make stops in Brooklyn, Toronto, Los Angeles and Las Vegas.

Charli xcx leveled up in the pop zeitgeist with her Brat album in June 2024, which reached No. 3 on the Billboard 200 and won three Grammys. The project marks her highest-charting LP to date.

Stream Music, Fashion, Film below.

Nivea revealed an unfortunate health update during a recent drive around Atlanta with CadillacChroniclesTV.

After she performed a couple of her classic hits plus a new track from an upcoming project, host Mr. Brian Freeman asked the R&B singer what she was thankful for and that when she broke the news that she’s been battling leukemia.

“Well, first of all, I was diagnosed with leukemia earlier this year, and I’m so grateful to God,” she told Freeman. “I’ve been going through treatment, and everything is going great, so far. And I expect it to continue. Amen, amen, amen. Very grateful for life. It’s so cliché to say you don’t know the time nor the hour, but it’s true and it just helped me put a lot of things in perspective, and I live in gratitude, like, religiously, and I’m just grateful for everything.”

She’s staying positive, though, as she’s back focusing on her music and is currently enrolled in audio engineering school. “I’m doing things I wanna do,” the 44-year-old mother of four said. “I’m definitely back into my music, and I’m going to school for audio engineering. I’ve always wanted to learn how to engineer, and mixing engineering in particular.” 

Nivea then said that she’s trying to be “more present in the the moment” as she continues to love her kids while also being grateful and taking every opportunity that comes her way.

The Grammy-nominated artist did not specify which form of the blood cancer that she’s currently fighting.

PRS For Music has named Ben McOwen Wilson as the nonprofit collection society’s new CEO on Friday (July 24).

McOwen Wilson replaces Andrea Czapary Martin, who announced her departure from the role in March after seven years. McOwen Wilson will assume the title on Oct. 12.

McOwen Wilson has previously held a number of key roles across technology, gaming and culture, most recently acting as the managing director EMEA for Google Play & Google Television from September 2022 onwards. Prior to this, McOwen Wilson operated in a number of key partnership roles for YouTube for over a decade.

He has also worked extensively with the U.K. government and industry through the U.K. Creative Industries Council and the Creative Industries Federation, with a focus on issues such as intellectual property, innovation and growth. 

McOwen Wilson was selected by the PRS Members’ Council following an “extensive international search.” A press statement from the society highlights the areas of focus for McOwen Wilson in the new role, saying that “as AI, gaming, digital platforms and new forms of music consumption reshape the industry, he has spent the past 20 years building partnerships across complex digital ecosystems while working with rights holders, broadcasters, creators and policymakers.”

In its 2025 financial results, royalty collections for PRS’ 190,000 members — composed of songwriters, composers and publishers — increased by 7.7% year-on-year to £1.24 billion ($1.6 billion). 

Earlier this month a case brought by Blur’s Dave Rowntree against PRS was thrown out of London’s Court of Appeal. Rowntree had sought to bring a class action suit against the society in relation to the distribution of its so-called ‘black box’ royalties; these royalties are distributed on a pro rata distribution to its writer and publisher based on the same proportions as identified royalties. 

The Court of Appeal ruled that “there is nothing inherently unfair about the pro rata distribution” of unallocated royalties, recognizing that the system operates with incomplete information.

Speaking on the appointment Julian Nott, chair of the PRS Members’ Council said, “Songwriters, composers and publishers need a society working tirelessly to champion them and their rights. A society which embraces innovation and has the confidence to shape the future, not simply respond to it.”

He continued, “Ben is an outstanding leader with all the skills necessary to guide PRS for Music through the many changes in the music industry and the wider media market. Ben impressed us from the very beginning. He understands the technologies that are transforming the creative industries, but he also understands that innovation only succeeds if it works for the creators. We are confident that he will champion members’ interests at home and around the world, leading us boldly into the next phase of our evolution.”

McOwen Wilson added, “PRS for Music is built on trust, transparency, and a relentless commitment to its members,” said Ben McOwen Wilson. “It is a privilege to lead this organisation at a time when the voice of the creator must be louder than ever.”

“In the age of AI and accelerated digital distribution, protecting the integrity and value of human creativity is our most urgent priority. My focus will be on ensuring PRS serves as a catalyst for our members’ success, ensuring they remain at the centre of a sustainable and growing global music ecosystem.”

“My first priority will be to listen and learn. To understand the needs of members, customers, and partners, and with them shape an ambitious future for the society. I am excited by the opportunities ahead of us and committed to serve our members’ interests unswervingly.”