BTS llegará por primera vez a la Argentina con tres conciertos en el Estadio Único Diego Armando Maradona de La Plata. RM, Jin, Suga, j-hope, Jimin, V y Jung Kook se presentarán el miércoles 21, el viernes 23 y el sábado 24 de octubre como parte del BTS World Tour ‘ARIRANG’, la gira mundial que marca el regreso del grupo completo a los escenarios. Las tres funciones están agotadas.
El recorrido comenzó el 9 de abril en Goyang, Corea del Sur, y continuará hasta 2027. Con 85 conciertos previstos en 34 ciudades, el tour acompaña una nueva etapa para la banda, que volvió a reunirse después de que sus siete integrantes completaran el servicio militar obligatorio en Corea del Sur.
Tras pasar por Bogotá, Lima y Santiago de Chile, BTS llegará a La Plata para ofrecer tres presentaciones antes de continuar hacia São Paulo, donde cerrará el tramo regional.
Cómo es el espectáculo de la gira ARIRANG
Uno de los elementos centrales de la producción es el escenario de 360 grados, diseñado para que el público rodee el espacio de actuación. El show combina canciones del álbum ARIRANG con éxitos de diferentes etapas de la carrera del grupo.
La gira también incorpora variaciones en el repertorio y guiños a cada ciudad. Durante el tramo latinoamericano, la cobertura de los conciertos registró saludos en español e intercambios con los fans, además de cambios en algunos segmentos del espectáculo.
El setlist de BTS: ¿qué canciones viene tocando?
El repertorio registrado en el concierto del 14 de octubre en Santiago de Chile, publicado por Live Nation, permite anticipar buena parte de las canciones que podrían escucharse en La Plata. La lista incluye 23 temas, aunque el grupo puede introducir modificaciones entre fechas.
Entre las canciones del nuevo álbum aparecen “Hooligan”, “Aliens”, “they don’t know ’bout us”, “Like Animals”, “SWIM”, “Merry Go Round”, “2.0”, “NORMAL”, “FYA” y “Body to Body”.
El repaso por su catálogo incluye “Run BTS”, “FAKE LOVE”, “Not Today”, “MIC Drop”, “Fire”, “IDOL”, “Butter” y “Dynamite”.
En el tramo final también figuran “Come Over”, “RUN”, “Save ME”, “Please” e “Into the Sun”.
El repertorio, sin embargo, no es necesariamente idéntico en todas las ciudades.
Qué dejó el paso de BTS por Sudamérica
BTS comenzó su tramo latinoamericano en Bogotá, Colombia, donde se presentó el 2 y 3 de octubre en el estadio El Campín. Las dos fechas estuvieron agotadas y marcaron el debut del grupo completo en el país.
El paso por la capital colombiana también dejó un dato que trascendió la música: diez días después de los conciertos, el mal estado del césped del estadio obligó a cancelar un partido de fútbol entre Millonarios y Once Caldas. El episodio abrió una discusión sobre las condiciones necesarias para recibir espectáculos masivos en recintos que también se utilizan para competencias deportivas.
En Lima, el grupo se presentó los días 7, 9 y 10 de octubre en el Estadio San Marcos. La fecha adicional se anunció en abril junto con las nuevas funciones de Santiago y Buenos Aires.
En Chile, se presentaron el 14 de octubre, y lo harán nuevamente hoy (16/10) y mañana (17/10) en el Estadio Nacional. La instalación de la producción había generado discusiones sobre el posible impacto del escenario en el césped del recinto, un asunto que requirió negociaciones con las autoridades deportivas.
El tramo argentino será el último de la gira en la región antes de las tres presentaciones programadas en São Paulo, el 28, 30 y 31 de octubre.
Cómo llegar al Estadio Único de La Plata
Capital Federal
En bus
A la ciudad de La Plata llegan dos líneas de transporte interurbano desde la ciudad de Buenos Aires. La línea 129 del Grupo Plaza inicia su recorrido en Plaza Miserere (Plaza Once) y en Estación Retiro (frente a la Estación de Ómnibus) y posee diferentes paradas. El trayecto por la Autopista Ricardo Balbín demora alrededor de una hora. La empresa Costera Metropolitana, que también ofrece este servicio, comienza su recorrido en la plataforma 1 de la Estación de Ómnibus de Retiro y cuenta con distintas paradas. El trayecto por la Autopista Ricardo Balbín dura alrededor de una hora. En ambos casos los transportes finalizan su recorrido en la Terminal de Ómnibus de La Plata (calle 4 y 42).
En tren
Tomar el tren línea Roca en la Estación Constitución con dirección a La Plata. Para consultar horarios de esta empresa hacer click acá.
En automóvil
Tomar la Autopista Ricardo Balbín (conocida como Autopista Buenos Aires-La Plata), bajar en el km 52.8 y luego ingresar por la Av. 32 hasta la intersección con la Av. 25. El trayecto es de alrededor de 40 minutos y tiene dos peajes: el de Dock Sud y el de Hudson.
Ruta 2
En automóvil
Desde la Autovía Juan Manuel Fangio (Ruta 2), tomar la bajada hacia La Plata e ingresar a la ciudad por la Av. 44 hasta la intersección con la Av. 25. Luego seguir por la Av. 25 hasta la Av. 32.
La Plata
En bus
Al Estadio Único Ciudad de La Plata llegan las líneas de colectivo Norte 13, Este 45, Este 46, Oeste 16, Oeste 16 Pza. Moreno, Oeste 24, 307 G, 506 ramal 40 y 41.
The post BTS en Argentina: todo lo que tenés que saber sobre los shows de la gira ARIRANG appeared first on Rolling Stone en Español.
¡FUMMMM! ¡PUM! Un silbido agudo y metálico corta el aire pesado de la Plaza de los Dos Congresos. De repente, una parábola de metal encendida surca el cielo plomizo de la tarde del jueves. La granada vuela alta, entre la garúa barométrica, dejando una estela blanca y química antes de estrellarse ruidosa contra la vereda, a pocos metros de donde se apretuja la primera línea de columnas.
¡BANG! Otra bomba en el aire. Y otra más. Un delirante y salvaje show de pirotecnia represiva apunta sobre la marea de banderas, pañuelos y cartones pintados a mano. El impacto forja un hongo de humo tóxico que se abre paso picando en la garganta, quemando las córneas y transformando el centro húmedo de la plaza en un cuadro de terror a secas.
“En la puerta de la casa de la democracia están tirando gases contra el pueblo”, retumba la voz de una estudiante desde el escenario principal, amplificada y rota por los altavoces. Son las 15:30, suena el Himno Nacional y las fuerzas de seguridad activan el protocolo anti-protesta. Escupen los hidrantes con bronca en otra jornada represiva del show del pánico.
Antes de que las flechas de gas cortaran el cielo en dos, la plaza era el territorio de una protesta masiva que hermanaba a la comunidad universitaria, organizaciones campesinas y sociales, y familias del colectivo de la discapacidad. Todos sectores castigados por la pedagogía del ajuste del gobierno libertario. Una convocatoria transversal en defensa de la educación superior, la soberanía territorial y la democracia.
Con el estallido sordo de las bombas como feroz banda de sonido, los dirigentes universitarios leyeron el documento unificado para denunciar el incumplimiento sistemático de la Ley de Financiamiento Universitario por parte de un Poder Ejecutivo que ya ignoró nueve fallos judiciales. Las autoridades de las casas de altos estudios afirmaron que la negativa oficial a aplicar las normas es la expresión lisa y llana de una voluntad de gobernar por decreto de necesidad y urgencia, pasando por encima del Congreso y la Justicia. Alertaron también sobre la parálisis del sistema científico, la caída de las Becas Progresar —congeladas en $35 mil— y el proyecto de Presupuesto 2027, que pretende fijar para las universidades una partida inferior al 1% del PBI.
Mientras la policía avanzaba, en la Casa Rosada el oficialismo ejecutaba su propia batalla cultural en tiempo real. La ministra de Seguridad, Alejandra Monteoliva, salió a justificar en las redes sociales el despliegue represivo. Dijo que fue para evitar que algunos manifestantes convirtieran las calles en una “zona liberada” y anunció denuncias penales contra los detenidos. El saldo de la jornada: 31 demorados y decenas de heridos por impactos de postas de goma y el efecto de los gases químicos.
Mientras la oposición en Diputados fracasaba en su intento de conseguir quórum para voltear el DNU 70/23, el asesor presidencial Santiago Caputo utilizaba su trinchera en X para desacreditar la movilización: “La única táctica que tienen es infundir terror. Pero ya ni capacidad de daño tienen. El curso de los acontecimientos es inalterable. Tiemblen zurdos, la libertad avanza”.
En las calles, a metros de las vallas y del olor a pólvora, la multitud le ponía cuerpo y voz a las estadísticas de la crisis argentina. Florencia es estudiante de un secundario de San Miguel. Sostiene con rabia un cartel de cartón tatuado a mano: “No hay cadenas más peligrosas que la ignorancia impuesta”. “Tengo planeado estudiar Veterinaria o Relaciones Internacionales. Espero que Milei no cierre las universidades públicas”, confesaba la chica. “Estoy acá para proteger mi futuro y el de todos”.
Cerca del cine Gaumont, José Antonio, estudiante de Biología de la UBA, denuncia sin anestesia la crueldad del modelo: “El gobierno ataca al que piensa distinto. Acá estamos para exigir que se cumpla la ley, que sea justicia”.
Ricardo es un combativo jubilado colectivero de Los 12 Apóstoles, la agrupación que marcha todos los miércoles para protestar por los magros haberes. Con las canas empapadas por el diluvio, el señor no da el brazo a torcer: “Laburé toda la vida y hoy no llego a fin de mes. Es un genocidio lo que hacen con los viejos: se nos mueren 150 compañeros por mes porque les sacaron los remedios o porque no comen”.
A unos pasitos marcha Celeste, estudiante de Trabajo Social y primera universitaria de su familia: “Estoy muy triste por lo que estamos pasando en la facultad. Queremos tener un futuro mejor, por eso defendemos el lugar que puede ayudarnos a conseguir ese sueño”. Una compañera de la estudiante muestra un cartel picante: “La universidad pública nos dio cinco Premios Nobel; la privada, a Milei”.
A las cuatro de la tarde llueve a mares en Congreso, pero en el corazón de la plaza nadie retrocede. Cuando termina el acto, entre las explosiones de las bombas, desde los parlantes del escenario estalla “Ji ji ji”.
Entonces, miles de pibes empapados, docentes con el agua al cuello y trabajadores empobrecidos saltan frente a las bombas de la represión. Pero el pogo de las lacrimógenas no da respiro. ¡FUMMMM! ¡PUM! ¡BANG! Y las columnas salen corriendo a la deriva, envueltas en el humo blanco, con los ojos ciegos bien abiertos y la certeza de saber de qué lado de la mecha se encuentran.
The post El pogo de las lacrimógenas: crónica desde el corazón de la Marcha Federal Universitaria appeared first on Rolling Stone en Español.
Former Black Sabbath and Deep Purple singer/bassist Glenn Hughes told fans that he is on the mend after undergoing another major heart procedure. “Now Home after an 8 day stay, and a 10 hour open heart surgery operation, called aortic valve replacement, exactly the same procedure I had done in 2013, at UCLA Ronald Reagan Medical Center, Westwood, LA,” Hughes, 75, wrote in an Instagram post on Friday (Oct. 16).
Hughes praised his doctor, the head of cardiothoracic surgery at UCLA, and the staff and assured fans, “Each day as I move forward, I am getting my energy back. There is only love in my life. There are no mistakes.”
Back in August, Hughes announced that he was retiring from touring effective immediately, calling off a planned six-week tour due to health issues. The Rock & Roll Hall of Famer said he’d been forced to give up life on the road after half a century on doctor’s advice that he needed heart surgery.
“This past year, I’ve had some health issues. The results from numerous MRIs, CT scans, and an echocardiogram have alerted my medical team, that I need another open-heart surgery,” he wrote at the time. “I really have no option and no choice as health is my number one priority. Grateful to have been chosen with a life full with the gift of music… Thank you for walking beside me.”
Hughes, who began his career as the singer of the British funk rock band Trapeze in the early 1970s, got the chance of a lifetime when he was tapped to replace Deep Purple bassist Roger Glover in 1973, where he sang alongside lead singer David Coverdale on three albums. After the band melted down, Hughes went out on his own, releasing his 1977 solo debut, Play Me Out, the first of more than a dozen solo LPs he’s released. He played with a number of bands throughout the late 1970s and early 1980s, including stepping in to sing lead vocals on the 1986 Black Sabbath album Seventh Star.
More recently, after releasing a handful of albums with supergroup Black Country Communion, he joined the rock band The Dead Daisies, stepping in as lead singer on a trio of releases in 2020, 2021 and 2022.
In Friday’s post, Hughes kept a chin-up attitude about his health, writing, “Everything is in its right place. Never believe that there is something wrong in your life. You are where you’re supposed to be. Going through those experiences that are necessary for you right now. When you become angry at yourself, because you don’t like the experiences that you are going through, you are hindering your growth. Rather be grateful, & thankful, for every experience that you’re going through.”
Even though things may feel terrible in your life, he added, he encouraged his fans to be thankful for this experience, wherever the journey takes them. “There is a greater purpose to it,” he said. “All is well.”
He got plenty of support from his hard rock brethren, with Quiet Riot/Ozzy Osbourne bassist Rudy Sarzo writing, “Love you brother Glenn 🙏🏼❤️🎸,” Anthrax bassist Frank Bello adding, “Get well soon Glenn!! ❤️❤️🩹 and Testament guitarist Alex Skolnick sharing “Inspirational. Feel better and speedy recovery to you, Sir Glenn 🤞🎶🩻” in the comments on Hughes’ post.
He also got words of encouragement from Whitesnake/Osbourne drummer Brian Tichy, Stone Temple Pilots singer Jeff Gutt, the band Rival Sons and SiriusXM Trunk Nation host Eddie Trunk, among others.
Last August, Hughes was singing a different tune when he told Trunk that his work with the rock supergroup Black Country Communion had “reinvigorated” him and that “the word retirement is something I don’t normally say. I’ve got new purpose. I’ve never felt so strong.”
As weeks go, it was a “pretty weird” one for Powderfinger. In the best possible way.
As previously reported, the beloved Australian rock band will mount a reunion tour next year, pre-sales for which opened on Wednesday, Oct. 14.
“Demand through this week’s presales has been off the charts,” reads an update from the band on Friday (Oct. 16), leaving only “a limited number of tickets” for the general public on-sale this coming Monday, Oct. 19.
The 18 coast-to-coast concerts that were initially announced for September and October 2027, quickly grew to 26 with dates extending into November. “All shows are expected to sell out,” the statement continues.
“With so many fans still hoping to join the biggest singalong of 2027, the band and tour partners are working feverishly on adding more shows,” the band insists. “Fans can be assured that additional shows will be added, one way or another. Details will be shared as soon as they are confirmed.”
After a glittering career that produced five consecutive ARIA No. 1 albums, 18 ARIA Awards and three APRA Awards, including a brace for song of the year, Powderfinger called time in 2010 with The Sunsets Farewell tour, a 34-date national trek.
A nod to the classic song from 2004’s ARIA No. 1 album Vulture Street, the Sunsets jaunt sold more than 300,000 tickets. Few Aussie acts can command that type of box office action.
When the classic lineup of Bernard Fanning (vocals), Ian Haug (guitars), Darren Middleton (guitars), John “JC” Collins (bass) and Jon Coghill (drums) hit the road next year, expect them to crush that final run.
“Ok. That was a pretty weird week,” remarks Fanning on behalf of Powderfinger. “We are truly humbled and overwhelmed by the response to the shows we announced. Thank you so much to everyone that sat through the stress of trying to get tickets. We want you all to know that we understand that there is still a huge appetite for people to come and be a part of the tour so we are working on putting more shows together. We want everyone to have an opportunity to come but it will take a couple of weeks to string it all together. Please be patient. We hear you. Lots of love to you all. Choose Kindness.”
Powderfinger’s tour will feature a homegrown support cast, all of them performing under “stadium-sized big top” in central city locations across the country, including multiple dates in Cairns, far north Queensland, the band’s home state.
“In the week since Powderfinger confirmed their return to the stage, the news has grown into a genuine cultural moment, sparking conversation, nostalgia and celebration across the country,” reads a joint update from Powderfinger, Dew Process Artist Management, Cornershop Agency and Live Nation.
“For a band whose songs have soundtracked so many Australian lives, it’s a response that has left the band deeply humbled and grateful.”
It’s been less than a year since Zach Bryan put out his last album, With Heaven on Top, a 25-track opus that debuted at No. 1 on the Billboard 200 dated Jan. 24, 2026. But it turns out that the prolific Bryan still had more to say.
Today (Oct. 16), he releases the intriguingly titled Young Manhood and Other Donatable Organs, an eight-song EP solely written, per usual, by the Oklahoma singer-songwriter.
Bryan, who turned 30 earlier this year, includes a few tracks he’s road tested on his most recent tour, including “Robot Killed the Working Man” and “Backwards” on the set, which has a similarly intriguing album cover featuring Bryan standing in a field pointing a shotgun at a smiling image of himself about 12 feet away. On Instagram, he posted the cover and then added another image that features him pointing the gun and the song titles are coming out of the barrel. He added a cheery note, “Love you guys very much and hope you enjoy it.”
In his relatively short, extremely successful career, Bryan has paired with such artists as Bruce Springsteen, The War and Treaty, and Kacey Musgraves (on the 2023 Billboard Hot 100 chart-topping duet, “I Remember Everything”), and he continues his collaborative ways on Young Manhood and Other Donatable Organs, partnering with Lana Del Rey on “Lies,” and with the Turnpike Troubadours on “Plainsman.”
The album may be short — it clocks in around 28 minutes — but it packs a wallop in its diversity with Bryan incorporating strings on “Lies” and veering out of his usual mid-tempo safety zone on such tracks as “Dog Days,” as well as choosing some truly inspired opening samples for a few songs. The lyrics are more suggestive than literal and often inscrutable, but Bryan still manages to set an unsettling mood and feeling with almost every song. If marriage has brought a new happiness — he wed last December — it hasn’t found its ways into his music, which is actually a good thing. There’s nothing here that has the sweetness of a love song like 2022’s “Sun to Me.” The world needs the edgy Bryan.
Below, Billboard ranks each of the EP’s eight tracks.
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 Troye Sivan, Remi Wolf, Slayyyter and Pitbull.
This week, Olivia Rodrigo taps pal Chappell Roan for their “Expectations” remix; Tate McRae launches her next chapter with single “Housewife”; Zach Bryan returns with a new EP titled Young Manhood & Other Donatable Organs; and Belgian artist Angèle releases her anticipated third album… plus much more.
Check out all of this week’s picks below:
Olivia Rodrigo, “Expectations (feat. Chappell Roan)”
“Ooh, Olivia does remixes now,” says Chappell with a touch of cheeky sarcasm at the start of O Rod’s reimagined “expectations” single. And while listeners have to wait a while to see or hear from Chappell again, boy is it worth it. The second half of this remix is supercharged, packing an even bigger punch than it’s original thanks to Roan’s very own verse and her continued presence throughout the rest of the track as she takes over on a chorus and seamlessly melds her own powerhouse vocals with Rodrigo’s. The two match each other well in presence and prowess, making for an exceptionally fun remix that will surely be a standout moment if and when it gets a live debut. — LYNDSEY HAVENS
Tate McRae, “Housewife”
With new single “Housewife,” Tate McRae fantasizes a life well lived — full of yachts, “loads of cash” and “prеcious cars,” all of which she sings of and shows off in the song’s video. “I just wanna make a lot of money/ be my own housewife/ You could be the one I’m calling honey/ Be my sex on the side,” the pop star sings on the chorus over midtempo production. The cover art should have been indication enough — on it, Tate is pushing a baby carriage full of money — that her focus is on herself and her bag. She doesn’t need anyone else to provide, and for now, isn’t looking to provide for anyone else. — L.H.
Zach Bryan, Young Manhood & Other Donatable Organs
Zach Bryan, who in his relatively short career has paired with such artists as Bruce Springsteen, The War and Treaty and Kacey Musgraves (on the 2023 Billboard Hot 100 chart-topping duet, “I Remember Everything”), continues his collaborative ways on Young Manhood and Other Donatable Organs, an eight-song EP on which he partners beautifully with Lana Del Rey on the bittersweet “Lies” and Turnpike Troubadours on “Plainsman.” The set comes less than a year after With Heaven on Top, his 25-track opus, debuted at No. 1 on the Billboard 200 in January — but he has plenty to say. Even though this set clocks in at around just 28 minutes, Bryan tackles a wide range of topics, including technology on “Robot Killed the Working Man,” as well as stretching musically on such tracks as the thumping “Dog Days.” The set brims with a verve and freshness, no doubt inspired by Bryan’s exhilarating live show. — MELINDA NEWMAN
Angèle, Instinct
In February, Belgian pop star Angèle declared that she was making a claim for world domination with the release of her tough, sexy Justice collab “What You Want.” Already a huge star in her home country (in 2018 Angèle broke Stromae’s record for number of weeks at No. 1 of the Belgian singles charts with her single “Tout oublier”), she’s lesser known outside the country, save for a few moments like her 2020 Dua Lipa collab “Fever.” Instinct, then, is a convincing play for wider recognition, with Angèle not only singing many of its the song in English, but gathering a group of high-caliber collaborators including SebastiAn and Caroline Polacheck (who worked on the album’s excellent single “Love Triangle”) for music that blends pop with electronic in a way that’s not only convincing but, crucially in this era of fast-moving music, memorable. Magnifique! — KATIE BAIN
Ashe, The Girl Of Your Dreams
Following the viral success of single “Stop the Wedding!” — which has climbed to a No. 48 peak on the Hot 100 — singer-songwriter Ashe is sharing her fourth album, The Girl Of Your Dreams. Since breaking out in 2019 with “Moral of the Story,” Ashe more recently teamed with friend and longtime collaborator FINNEAS in 2025 to form a duo called The Favors. While “Wedding” featured downtempo, swaying pop piano production and second single “Funeral” slowed it down even more, isolating Ashe’s vocals with just keys for its first half, new focus track “Lasso the Moon” sounds like a glittering, bouncy fusion of a Sienna Spiro and RAYE song that’s right on time. — L.H.
Fontaines D.C., Dopamine Chamber
There’s a poppy heart within “Mimesis”, a bright, disarmingly catchy hook that sounds like one you’ve always known and cherished. Its radiant sound feels indicative of how, since the anthemic “Jackie Down the Line” stormed out of the gates at the start of the band’s 2022 Skinty Fia campaign, the Fontaines D.C. aesthetic has continued to embody some intriguing contradictions: balancing melodic immediacy with downplayed vocals and weighty, dark, atmospheric fuzz. Expect this one to go off at the band’s first-ever stadium dates next summer. – SOPHIE WILLIAMS
Justice (feat. Tame Impala, SZA, King Gizzard & the Lizard Wizard), “Flower in a Hurricane”
As fans continue to anxiously await Grand Theft Auto VI, Rockstar Games has just revealed Justice as the game’s composers, tasked with crafting an “original dynamic score,” according to a release. The electronic duo is sharing a first taste with new single “Flower in a Hurricane,” which boasts an impressive lineup of collaborators including Tame Impala (Kevin Parker opened for Justice on a three-date tour of Australia last year), SZA and King Gizzard & The Lizard Wizard. The atmospheric opening quickly expands into a melodic fury of grungy guitars, driving drums and sparkling synths, all of which are united by Kevin Parker and SZA’s surprisingly harmonious vocals. — L.H.
Rachel Chinouriri, I Think I Spoke Too Soon
Brit Award-nominated alt-pop singer-songwriter Rachel Chinouriri has finally shared her highly anticipated sophomore studio album, I Think I Spoke Too Soon. Headlined by buzzy singles such as the disco-inflected “One Song Away from Crying,” her new 12-track set traces the years following her What a Devastating Turn of Events breakthrough — and the self-recalibration that came with the development of her frontal lobe. Featuring new collaborators like Lucy Dacus and Eli Teplin, Spoke Too Soon is nobody’s sophomore slump. — KYLE DENIS
Lucky Daye, ALOUD!
Grammy-winning R&B savant Lucky Daye is back with his fourth studio album, ALOUD! Featuring appearances by longtime collaborator Leon Thomas, R&B hitmaker Muni Long, rising Mississippi MC Akeem Ali, hip-hop giant Pusha T and new-school Atlanta punk-pop outfit The Paradox, ALOUD! radically expands Daye’s sonic profile while keeping his soulful vocals front and center. With its title taking its name from the homophonic relationship between the words “allowed” and “aloud,” Daye’s new 15-track set gleefully rejects the idea that an artist needs anyone’s permission to take risks and follow their muse. — K.D.
Olivia Dean is still the best, certainly with respect to Australia’s official albums tally. But Troye Sivan isn’t far behind.
Dean’s The Art Of Loving (via Universal) retains top spot on the ARIA Albums Chart, while Sivan’s fourth studio album, She’s The Best (EMI), opens its account at No. 2. An eight-time ARIA Award winner, Sivan peaked out at No. 6 with 2015’s Blue Neighbourhood, No. 3 in 2018 with Bloom and enjoyed a week at No. 1 with 2023’s Something To Give Each Other.
Dean is still feeling the love from her Australian arena tour, which wrapped up this week and sends her sophomore LP back to No. 1 on the ARIA Chart for a 15th non-consecutive cycle. On the singles tally, she has no less than six titles in the top 40.
Tame Impala is also on the road in Australia, and enjoying a lift on the ARIA Albums Chart as 2025’s Deadbeat (Columbia/Sony) rises 47-5. Kevin Parker and Co. will play Melbourne’s Rod Laver Arena tonight and Monday (Oct. 19), followed by three shows at Sydney’s Afterpay Arena and a pair of concerts at RAC Arena in his hometown, Perth. Frontier Touring, Chugg Entertainment and Laneway Presents are promoting the 12-date national Deadbeat tour.
Geese frontman Cameron Winter bags a top 10 entry on the ARIA Chart, published late Friday, Oct. 16, with Live At Carnegie Hall (PIAS/Inertia), at No. 8, while Chase & Status are close behind with Generic Everything (Warner) at No. 9. That’s easily a career-best chart position for the British drum ‘n’ bass act, which has released seven albums for a previous best of No. 38 for 2013’s Brand New Machine.
U.S. singer and songwriter Remi Wolf (Mud at No. 20 via Island/Universal), British electro-pop veterans Pet Shop Boys (A man from the Future at No. 22 via Parlophone/Warner), Sydney alt-pop artist Darcy Lane (Vampires & Liars at No. 32), Western Australian rock act Grub (Grub at No. 36 via MGM), and international girl group Katseye (Wild at No. 44 via Interscope/Universal) enjoy top 40 berths.
Over on the ARIA Singles Chart, Taylor Swift’s “Patient Zero” (Republic/Universal) improves 2-1, for a second non-consecutive week at No. 1. The top debut belongs to Welsh singer Jamie Miller, whose “Babydoll” (Universal) appears at No. 35.
A$AP Rocky’s Don’t Be Dumb – Disc 2 is finally on the way. The Harlem rapper set the deluxe project’s rollout in motion with the release of its lead single “Shroom Clouds,” which hit streaming services for the first time on Friday (Oct. 16).
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Fans of the Mob frontman might be familiar with “Shroom Clouds,” which was previously titled “Mushroom Clouds” and saw Rocky perform it live at a 420 Weedmaps event and Governors Ball in 2021, as well as during his Amazon Music Live set in 2022.
A$AP Mob’s Hector Delgado helms the trippy production, while Rocky delivers a catchy chorus. “Super stoned, super high/ March, April, May, shroom, July/ Super stoned, super high/ See mushroom clouds in the sky,” he raps.
Speaking to Billboard earlier this week, Rocky confirmed that Disc 2 is on the horizon and detailed what songs will be making the cut while teasing the “next chapter” of his career.
“This music video — I don’t know if you remember that — was a fan favorite. I performed it a few times, but now we gonna re-release it,” he said. “Disc 2 is all of the songs that I dropped that those alter egos didn’t get an album to live on, because the next chapter is right after that.”
Rocky’s Don’t Be Dumb arrived in January and served as his first LP since 2018’s TESTING. The experimental album debuted atop the Billboard 200 with 123,000 total album-equivalent units earned, which marked his first No. 1 in over a decade.
After wrapping up his European trek, the 38-year-old will be bringing the Don’t Be Dumb World Tour to five arenas across Australia and New Zealand this December. General tickets will be on sale on Friday at 1 p.m. local time.
Listen to “Shroom Clouds” below.
The release of a new Avalanches album is never a trifling matter.
With their debut 2000 album Since I Left You, the Australian electronic act let loose into the world a masterpiece. A peerless, timeless work, its creators meticulously sewed thousands of vinyl samples from the likes of Françoise Hardy, Sérgio Mendes, Raekwon, Wayne and Shuster, and even Madonna.
Fast-forward a quarter century, Since I Left You sits in a class of all-time classics. Fresh as a field of daisies.
Then, the “difficult second album.” The Avalanches recorded and rejected the followup. Years went by without a peep, save for the score to the King Kong stage musical and a batch of remixes.
When their full-length sophomore collecting Wildflower finally bloomed, 16 long years had passed. Wildflower went straight to No. 1 on the ARIA Albums Chart.
A third album travelled at comparative light-speed in 2020, We Will Always Love You, and later scooped the coveted Australian Music Prize, for the best album of the year.
Now led by Robbie Chater, Tony Di Blasi and Andy Szekere, The Avalanches rumble on with their fourth studio effort No Bad Memories. It’s an album stacked with tracks (31 of them) and guests, including Karen O, John Glacier, Jamie xx, Barry Can’t Swim, Rivers Cuomo and Mike Patton.
No Bad Memories (via Modular Recordings/Universal) explores “the magical intersection of advertising, memory and nostalgia,” reads a statement accompanying the project, “examining how jingles, sonic logos, commercials and the sounds of technology quietly embed themselves in our lives, becoming inseparable from the memories they soundtrack.”
Sonically, it’s a joy. With bounce and soul. The Avalanches manage to harness the energy of a litter of Pomeranians.
“Our album No Bad Memories is out in the world today,” reads a statement from the act. “We’re beyond grateful for the endless enthusiasm and love our music receives after all this time. Thank you for taking the time to listen, we hope you enjoy it.”
Timing out at 52 minutes, No Bad Memories is accompanied by a music video for “I Give Everything I Have 2 U” featuring Loaded Honey. Haley Joel Osment stars in the visual, shot by cinematographer Andrés Arochi (Long Legs) on location in Tokyo.
“Working with our friend Haley on the visual for this song was such a thrill,” The Avalanches say of the Sixth Sense actor. “A one-take scenario with Haley trying to navigate the Shibuya traffic, a huge camera strapped to the outside of his windshield is not a bad memory indeed!”
Avalanches dates are coming up in the United States, Continental Europe, the United Kingdom and Asia, followed by a tour of Australia in early 2027.
Stream No Bad Memories and watch the music video for “I Give Everything I Have 2 U” below.
Zach Bryan is back with new music, as his EP Young Manhood And Other Donatable Organs is out Friday (Oct. 16) via Warner Records.
The eight-song collection includes collabs with Lana Del Rey (“Lies”) and Turnpike Troubadours (“Plainsman”). Other tracks on the new EP include “Robot Killed The Working Man” and “Backwards.”
The fresh set marks Bryan’s first new music since his sixth studio album, With Heaven On Top, which released in January and debuted atop the all-genre Billboard 200 chart (soon after, he also released an acoustic version of With Heaven On Top). The 25-song album included “Plastic Cigarette,” which rose to No. 13 on the Billboard Hot 100 and No. 2 on the Hot Country Songs chart.
Bryan also just announced his upcoming stadium tour, the 2027 Young Manhood And Other Donatable Organs Tour, which will play 19 stadiums across North America and Australia next year. The tour will also feature support from John Fogerty, Ryan Bingham and The Texas Gentlemen, Vance Joy, Fey Fili, Gabriella Rose and Emma Ogier.
Tickets for his tour go on sale to the public Friday, Oct. 23 at 10 a.m. local time at zachbryan.com. The trek launches in North America on April 28 at U.S. Bank Stadium in Minneapolis, and will include stops at Chicago’s Soldier Field, Atlanta’s Mercedes-Benz Stadium and Philadelphia’s Lincoln Financial Field, before heading to Australia with performances at Melbourne’s Marvel Stadium, Sydney’s Accor Stadium and Brisbane’s Suncorp Stadium.
Bryan is a touring titan. On Billboard’s 2025 year-end Boxscore Top Tours chart, he ranked No. 13 globally with $159.6 million in gross revenue from 941,000 tickets sold.
Bryan earned a Hot 100 chart-topper in 2023, with the Kacey Musgraves collab “I Remember Everything.” In addition to With Heaven On Top, Bryan’s 2023 self-titled project also topped the Billboard 200.
Stream Young Manhood And Other Donatable Organs below.