Bruce Springsteen has shared his thoughts on the race in Michigan for U.S. Senate, backing Dr. Abdul El-Sayed for the seat as Election Day draws nearer.

In a Monday (Nov. 2) post on Instagram, The Boss shared a statement explaining why he supports the Democratic nominee. “Dr. El-Sayed is a fighter for our American Constitution,” Springsteen wrote. “He’s a fighter for our American Democracy, and he’s a fighter against the corrupt, lawless, and anti-American leadership currently in the White House.”

The musician added, “I’m in his corner 100%.”

The endorsement comes amid a close race in Michigan between Dr. El-Sayed and his Republican opponent, Mike Rogers, to take over Democrat Gary Peters’ seat in the Senate. A Democratic win in Michigan is crucial for Democrats as they work to flip the Senate, and recently, Michigan Rep. Haley Stevens threw everyone a curveball by rescinding her support of Dr. El-Sayed and endorsing Rogers. As a result, the state’s Democratic Party chairman Curtis Hertel announced on X that Stevens “is not a current member of the Michigan Democratic Party, nor will she be in the future.”

Springsteen has long been vocal in his political opinions, especially in recent years. He’s repeatedly spoken out against Donald Trump in particular, which has led the president to publicly take aim at the Rock & Roll Hall of Famer a number of times — not that it’s had any success in silencing the Boss.

“I do what I want to do,” Springsteen — who’s topped the Billboard 200 11 times over the course of his career — told Rolling Stone of using his recent Land of Hopes & Dreams trek as a political statement. “This was the show I wanted to make, the story I wanted to tell … I’m sure there were people, and I’ve read things where people were vehement about the content of the show. And that’s just the way the chips fall.”

See Springsteen’s endorsement of Dr. El-Sayed below.

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Cardi B isn’t a fan of students leaning on AI to pass their classes.

During a recent performance at Johns Hopkins University’s Hoptoberfest, the Billboard Hot 100-topping Bronx rapper had a message for the students in attendance. “Y’all better pass y’all motherf–kin’ semester,” she told the crowd. “And don’t ask ChatGPT for the answer.” This isn’t the first time Cardi has shown her disdain for artificial intelligence. Back in February, she tweeted about having to deal with seeing family get duped by AI on Facebook. “Free my older family members from facebook Ai,” the Grammy winner wrote while adding a robot and weary face emoji.

Cardi was a late addition to Hoptoberfest, the annual Halloween event put on by the university’s Hopkins Student Organization for Programming (HOP), after Canadian singer Daniel Caesar had to suddenly cancel. The student paper, The News-Letter, reported that ticketholders learned about the change in an email that read, “Due to unforeseen circumstances, Daniel Caesar is no longer able to perform. However, we are excited to announce that our new headliner is none other than…CARDI B!!!”

Students didn’t mind the last-minute change, though.

“I was actually pretty excited about Daniel Caesar, I do listen to a good amount of his music,” sophomore Bhavya Guru told the paper. “When they switched it to Cardi B, I was a little surprised and honestly thought it was fake. I’m honestly really hyped for Cardi B and think it’s going to be a lot of fun. I feel like it’s going to be really good to hear a lot of throwbacks.”

Sophomore Lana Hakma was also hyped about the switch and didn’t mind that the event had to be rescheduled from Saturday, Oct. 31, to Sunday, Nov. 1. “I am personally really excited about the change,” she told The News-Letter. “I like Cardi B a lot better and I know her songs.”

In other Cardi news, she’s been making headlines lately through X Spaces and Instagram Live, respectively. First, she talked about how rap beef is boring. “I don’t even give a f–k about these b—hes anymore,” she told fans. “To be honest with you, it’s like, I don’t even like beefing with rap b—hes anymore, because it’s kinda boring.” Then, about a week later, she spoke on how fame and fortune can change how those around you view you. “Being successful, it is so scary,” she said. “Not even because you just don’t know who’s genuine anymore. You just don’t know who got that secret animosity for you. And it’s so crazy, because you could be cheering for somebody, you could be loving on somebody, and they don’t want that.”

Although fans have been cosplaying as Dr. Frank-N-Furter for half a century thanks to The Rocky Horror Picture Show’s infamous midnight screenings, stepping into the mad scientist’s spangled heels remains a tall order for one reason: Tim Curry. Both on stage and on screen (The Rocky Horror Show debuted on London’s West End in 1973; the Jim Sharman-directed film released in 1975), Curry used his mellifluous voice, wildcat mannerisms and wicked wit to craft one of the most unforgettable characters of all time.

Curry’s Frank was easy to swallow but tough to follow — many who have laced up the corset since then have glimmered, but always in Curry’s shadow. When Jake Shears became the third actor to portray Frank-N-Furter in the current Broadway revival of The Rocky Horror Show at Studio 54, his debut took on a sad, sweet resonance, happening just weeks after Curry’s death at age 80. (Curry passed away on Aug. 25; Shears debuted on Sept. 11, taking over from Paul Soileau, who followed Luke Evans’ Tony-nominated turn.)

“If you’d told me when I was 15 that I’d be in the theater rehearsing for it on the day [Curry’s death] happened — to be able to share that moment with everyone else and be in the theater even now — it feels like a living memorial in a way,” Shears tells Billboard.

It may be a living memorial, but don’t get it twisted: this version of the sci-fi/horror/musical is no hushed, reverent recreation. Directed by Tony winner Sam Pinkleton (Oh, Mary!, Ta-Da!), this production leans into DIY set design, hodgepodge casting and playful camp to reanimate a show that remains as transgressive and titillating as ever. Eight times a week at Studio 54, the Scissor Sisters rocker-turned-actor brings his sly, bratty take on the Sweet Transvestite from Transsexual Transylvania to life.

As he packed his go-to bag ahead of a Tuesday night performance, Shears spoke to Billboard about his lifelong obsession with Rocky Horror, what he thinks about the audience callbacks and how Curry’s death affected his take on the role.  

What’s your backstory with Rocky Horror? Is this something that’s been with you throughout your whole life?

I’m a true Rocky Horror nerd. I don’t think there would be Scissor Sisters without Rocky Horror. I don’t know if I would be a performer without Rocky Horror. I discovered it for myself when I was 12, just about to turn 13. For its 15th anniversary in 1990, they were putting it out on VHS. In celebration of that — I was an avid MTV and VH1 watcher at that age — I started seeing imagery from it and became really, really curious.

Right — it was a late arrival to VHS and a big thing when it finally came out.

My mom wouldn’t let me watch it, and it became a real point of contention between us. So my parents went out of town, and my older sister got me the soundtrack of the original Roxy cast from Los Angeles. That was the first time I heard the songs. Then when my parents were out of town, my sister got me the VHS tape, so I got to see the film for the first time and it just blew my mind. I immediately started figuring out ways to go to the Saturday night screenings, and I became obsessed with it. I’ve always been obsessed with it. It’s always been a part of my fantasies. I think it’s the greatest movie ever made. I think it’s the greatest musical ever made. There’s something about the script, the story — it is so magical.

It really is unlike anything else.

This may be a digression, but Rocky Horror feels to me like a theme park ride. There’s so much going on in it, and there’s this underlying story happening underneath that you only get glimmers of. There’s something about the show that really spurs your imagination on. Your brain fills in so many blanks in Rocky Horror. I think that’s one of the reasons it’s touched so many people. I love that it’s kind of amoral.

The combination of all those things really affected me as a 13-year-old. It was also my first sort of dawning — it was my first “it gets better.” In my book [Boys Keep Swinging] I wrote about it like a message in a bottle, saying, “Hey, we’re out here.” It was like a message from my future. To me, it’s a sacred text. It’s my Rosetta Stone. Getting to do it [on Broadway] is a really deep, deep thing for me. I still kind of can’t believe it, and I don’t know if I’ll ever do anything that will make me as happy as what I’m doing now.

That’s beautiful: 12, 13 is such a formative age. To grow up with that, have it inform your outlook and then step into the heels. How do you top that?

There isn’t a way to top it. The other fun thing is that I love theater so much, and I love the repetition of it — the absolute grind of it. When you’re doing a five-show weekend, the whole thing turns into one big funhouse mirror. It gets weird. It really does put you in another kind of reality, and getting to do that in this world, with this show, feels like getting to step off the ride at Pirates of the Caribbean and go snoop around the animatronics.

That’s a great way of describing it. When they reached out to you for the role, how did that work? Did you have to do an audition?

I think my whole life has been the audition. But no — I got a call from a producer friend I’ve worked with, who said, “The Rocky Horror folks are looking for you. Do you want me to give them your number?” And I said, “Yes, yes, please.”

I was super secretive and kept it really close because it was such an exciting prospect. I had to protect myself — I could potentially be absolutely devastated if it didn’t go the right way. I’d been sitting around in London so jealous that it was happening in New York. Everyone got an earful around my kitchen table about how badly I wanted it. I was having a lot of FOMO that it even existed. A lot of my close friends were weirded out by the whole thing, because it felt like something I’d put out into the universe and then the universe hit me up.

As you were preparing for the role — between the announcement and your official stage debut — Tim Curry died. Did that change your preparation? Did it change your relationship to the role?

It did a little bit, yeah. It made me not be in denial that Tim Curry has always been in my DNA. It’s always been in my bones. So it’s made me not be super scared of that. I’ve definitely got my own spin on it. But I’m also not afraid to deliver his versions of the songs. There’s no escaping that.

They’re so iconic. But your performance does have its own flavor.

[Joking] The flavor is called cocaine.

[Laughs.] How else do you do eight shows a week?

No, no — I just mean I’ve had a lot of fun thinking about the fact that we’re in Studio 54. I’m paying my respects to the ghosts at 54. We’ve got the moon in there. The spoon’s not there, but that’s been a part of the development of my Frank — Frank is really partying during this night. It’s been really fun to dig in and shape that. Please don’t write that I’m a cocaine addict.

Let the record state that you are simply making a reference to Studio 54’s snowy past, not talking about your own habits. You’re doing so many performances in such a short time. There’s that element of exhaustion, but you are going full force at the same time.

Yes. That’s the fun thing — you get to “Wild and Untamed Thing” at the end, and on a Sunday night I’m exhausted. But I love going into that show with barely anything, where you’re scraping the barrel a little bit and you just have to start and ask, “Where is this going to come from?” That’s always real, and it’s fun to dig around and figure out where that comes from. It’s feral. I love that I get to be absolutely feral on stage and a little bit out of control. There are moments in the show where I feel a little bit out of control.

I can’t help contrasting this with when you played Charlie in Kinky Boots on Broadway, which is such a buttoned-up role.

Oh my God, it’s the exact opposite. But it was amazing I had the opportunity to do that. Before that I did Moisés Kaufman’s Bent in L.A., and I didn’t know how to walk across a stage — I really didn’t know what I was doing. It’s been so delightful in my life to learn this skill. I love being in musicals, I love doing theater. And without doing Charlie in Kinky Boots — which is very buttoned-up, very opposite of my own personality — and without doing the Emcee [in Cabaret on West End], I don’t know if I was ready to do Frank until now.

Without Cabaret, this might have been biting off too much. I saw Tom Hewitt do this; I saw the 2000 version [of The Rocky Horror Show] on Broadway. I moved to New York in ’99. I’ve always thought about that production, always thought about Frank-N-Furter in it throughout my life and thought, “Oh, I wonder if I could do that.” My answer was always, “I don’t think I’ve got the skill. I don’t think I’m capable.” But in the last couple of years I’ve finally come to it. I think 48 is a great year for Frank, too. I don’t know if you can really have a 32-year-old Frank-N-Furter.

Did you talk to Luke Evans or Paul Soileau before taking on the role?

Oh yeah. Luke let me hang out in the dressing room and talk through stuff, and Paul too — both of them were extremely generous. We had a dialogue about the whole thing and still do.

After Tim died you three took the stage together and sang “I’m Going Home,” which was so beautiful. How did that come about?

It was the day Tim died — it was that night. Luke had just said his goodbye; they’d recorded the soundtrack, and Luke had said goodbye to Rocky Horror with tears and everything. Then, next thing you know — Luke hadn’t left town yet, so he was able to step back in. Paul was playing Frank that night, and I was sitting there rehearsing. It was the perfect little moment for us to be able to do that. It was very, very sweet. I’ll never forget it.

How did you feel when you finally debuted in the role?

What was really funny was that when I went into the show — my first Friday night — I had zero nerves. I had a great time, so much fun and I thought, “That’s so crazy. Where is this coming from?” I was very chill. And then the matinee the next day, I was absolutely scared out of my mind. I don’t know why. The nerves came. It’s funny how that happens — there’s no rhyme or reason.

I can see it, because Frank-N-Furter is such a creature of the night, literally. It makes sense for an evening, but it’s a very strange show for the afternoon.

Yes. Star Quezon, who’s amazing in the show with me and plays one of the Phantoms, turned to me after a weekend matinee and said, “It feels like it’s three in the morning.” It was so true. The matinees definitely have a very surreal quality to them.

You mentioned the nerves hitting the second time you performed. Do you have preshow rituals, anything you do to get yourself in the head space?

Once my wig is on and I get the boots on — the heels on — I pace around and make really f–king bizarre faces in the mirror and talk to myself for a while.

I would love to see that.

I make sure the dressing room door is shut.

I know the Narrator handles a lot of the audience callbacks, but has it been an additional curveball that the audience is periodically talking at you, shouting things?

It’s my favorite thing about this show. I love it so much. It’s only a curveball if the audience doesn’t know what they’re doing — that’s when it’s a curveball. I love the callbacks, and I really encourage them. I just ask that it’s not for amateurs. If you’re going to play with me on stage, do it confidently, clearly and know what you’re doing. That’s my one request. I’m down to clown and when it’s good, it’s really good. So I encourage it, but I also encourage those who want to participate at a higher level to really know what they’re doing.

Rocky Horror is a ritual in a lot of ways, and if you don’t know the beats, it’s not going to hit. And you’re at a Broadway show.

Exactly. And technically, callbacks don’t really work when the songs are on because nobody can hear them. So it’s best to stick with the moments when dialogue is going. But I personally love it. My favorite thing is getting surprised when somebody does something really funny that I didn’t expect. I’ve broken a few times on stage.

What has it been like working with Sam Pinkleton on this? I interviewed Sam before Rocky Horror opened, and he’s such a brilliant creative — a perfect mind for something like this.

Sam is so sweet and smart and fun to hang out with and work with. I think he’s amazing, and I think so many other people would follow him anywhere. He’s got a perspective and a humor that is so singular. I adore him and love being around him. It’s a blast. Like I said, me and so many others would do whatever.

He’s doing Annie next — you could literally switch from one Tim Curry role to another.

Oh God. I’m very excited about that show. I’m so curious to see what he’ll do.

Do you have a favorite song to sing in this performance? One that means the most to you?

“I’m Going Home” makes me emotional singing it pretty much every time. For me, it’s this crazy intersection of singing this queer hymn — it feels very spiritual to me — and, just after Tim’s passing, feeling so lucky to get to do what I’m doing. Being there, knowing how important it is for so many people in the theater and looking down at the people who got front-row tickets, at their faces — it’s a really special moment. I love singing it.

It really is gay church.

It feels that way. I love every song in the show, and I’ll never get sick of the music, but I especially love that one. The show is so chaotic in so many ways, so it’s really nice to get to sit down and sing something very still. There aren’t too many moments like that in the show, so it reverberates.

Do you think your feelings toward Rocky Horror have changed now that you’ve stepped into the world of it, as opposed to experiencing it as a fan?

Only in the way that it’s made my appreciation for it go even deeper than it ever would have. My imagination with the show has gotten deeper — my fantasies about the show, these characters, what they’re doing, where they’ve been, what the hell is going on. There’s a whole story going on that you just step into and witness, and you have to fill in those blanks. That’s the magic of it.

With sweater weather season in full swing, The Neighbourhood‘s signature song of the same name is reaching new heights on Spotify in 2026 — and nearly 15 years after its release, the band still can’t believe how fans are still warming up to it.

“Sweater Weather” officially surpassed five billion streams on the platform on Monday (Nov. 2), Spotify confirmed to Billboard, making it just the third song to ever hit the milestone. The mellow track is also the most playlisted song of all time on the streaming service, appearing on more than 103 million user-created playlists.

That’s a long way to come for a song that started as an idea between bandmates Jesse Rutherford, Zach Abels and Jeremiah Freedman when they were teenagers. “It’s still hard to wrap my head around,” Abels tells Billboard of its ongoing success. “We wrote it in my mom’s living room when I was in high school, and now it’s up there as one of the most streamed songs.”

“The song really took on a life of its own through the internet and fans — it feels bigger than the band at this point,” the guitarist continues. “We’re just grateful … People seem to put their own meaning on it, which is probably why it keeps connecting.”

Released ahead of The Neighbourhood’s debut album, I Love You, “Sweater Weather” peaked at No. 14 on the Billboard Hot 100 in 2013 and reached No. 1 on the Billboard Alternative Airplay chart. It has experienced a resurgence just about every autumn since, first hitting one billion Spotify streams in 2021. According to the platform, the song’s annual streams have increased by more than seven times over between 2019 and 2024 alone.

“I think it fits the season,” Abels says of why “Sweater Weather” has become an autumn staple. “There’s an intimate mood to it that people seem to want when it gets colder. Every fall the streams jump, and it ends up on a ton of playlists. We didn’t plan for it to become a seasonal thing, but it’s been consistent for years now.”

He adds, “The hook is very visual and physical, but the overall feeling is pretty universal — that mix of wanting comfort and closeness while everything else feels a little dark.”

It’s not only on Spotify that “Sweater Weather” is carving out an enduring legacy. Just a couple of months ago, the track’s visual surpassed a billion views on YouTube.

With the track still going strong, The Neighbourhood has released four more albums since its I Love You days. Most recently, the band unleashed Ultrasound in November 2025, peaking at No. 20 on the Top Alternative Albums tally; it soundtracked a sold-out world tour across Australia, New Zealand, Asia, Europe and North America

Add your stream to more than five billion others by checking out “Sweater Weather” below.

Australian metalcore band Thornhill will headline and curate Surf’s Up! Festival, a one-day heavy music event at Melbourne’s Riviera Beach Club on Saturday, Feb. 20, 2027, promoter Destroy All Lines announced Monday (Nov. 2).

The bill, selected by the band, features Stand Atlantic, Alpha Wolf, US duo SACE6, Justice for the Damned, Philadelphia’s Varials, Headwreck, Bloom and Blinder. Presale tickets go on sale Thursday (Nov. 5) at 10 a.m. AEDT, with general tickets following Friday (Nov. 6) at 11 a.m. The event is 18+.

“Personally curated by the four of us, we are stoked to be joined by some of the best names in Australian heavy music,” Thornhill said in a statement. “Expect big riffs, good times and a whole lot of energy.”

It’s the second artist-curated heavy bill at the St Kilda venue, following a Polaris-programmed edition staged there in February as part of the Life’s A Beach series.

Thornhill arrive off the strongest run of their career. Their third album, Bodies, debuted at No. 4 on the ARIA albums chart in 2025 and won the ARIA Award for best hard rock or heavy metal album, plus best independent heavy album or EP at the AIR Awards. It was also nominated for Australian album of the year at the J Awards. The band’s 2022 album Heroine reached No. 3 on the ARIA chart and No. 1 on the Australian albums chart, earning an ARIA nomination, while 2019 debut The Dark Pool hit No. 20 on the Australian albums chart. They have toured with Sleep Token, Bring Me the Horizon, Architects and Avenged Sevenfold, and played Download, Welcome to Rockville, Hellfest and Graspop Metal Meeting.

Stand Atlantic released their fifth album, Godbreath, on Oct. 23 through Virgin Music Group, and it debuted at No. 1 on the ARIA albums chart last week — the Sydney band’s first chart-topper, eclipsing the No. 3 peak of 2024’s Was Here. They have toured with Sum 41, A Day to Remember and ONE OK ROCK, with a 2026 Warped Tour run and a UK support slot with Simple Plan.

Alpha Wolf earned an ARIA nomination for best hard rock or heavy metal album with 2020’s A Quiet Place to Die and a Grammy nomination for best boxed or special limited edition package for 2024’s Half Living Things. SACE6 released debut album Brutalist this year and have toured with Dayseeker, Don Broco and Northlane. Varials released their fourth album, Where the Light Leaves, in 2026 and are currently on a North American run supporting Wage War.

Wu-Tang Clan is set to headline the Detroit Lions’ halftime show on Thanksgiving, when the team takes on the Chicago Bears at Ford Field.

Actor and recording artist Antonio Cipriano (Off Campus, Broadway’s Jagged Little Pill), a native of Michigan, is singing the national anthem at Ford Field ahead of the Detroit Lions Thanksgiving Day Classic presented by Ford, which is scheduled to air on CBS at 1 p.m. ET. on Nov. 26.

For the second year, Eminem and Paul Rosenberg, his manager and president of Shady Records, chose the Lions’ halftime show talent as executive producers of the show.

“We often like to do things that are both exciting and unexpected,” said Rosenberg in a press release issued on Sunday (Nov. 1). “A Wu-Tang Clan Thanksgiving performance in Detroit certainly fits that description! Both Eminem and myself have been Wu fans since the early ’90s along with a whole generation of Detroit football fans, and we are honored to bring them to this year’s stage.”

Wu-Tang — RZA, GZA, Method Man, Raekwon, Ghostface Killah, U-God, Masta Killa, Inspectah Deck, Cappadonna and the late Ol’ Dirty Bastard (ODB) — are members of the Rock & Roll Hall of Fame’s Class of 2026, set to be inducted at the Nov. 14 ceremony in Los Angeles. The group just wrapped its Wu-Tang Forever: The Final Chamber Tour.

“Our Thanksgiving Day Classic is one of the greatest traditions in sports, and Wu-Tang Clan is one of the greatest performers in music,” said Detroit Lions president and CEO Rich Haddad on Sunday. “We are thrilled to have Wu-Tang headlining our Thanksgiving halftime show and grateful to Marshall and Paul for their partnership.”

Last year, Jack White headlined the team’s Thanksgiving halftime show, sharing the stage with special guest Eminem.

Harry Styles gave fans a memorable sendoff at his final Together, Together residency show at New York’s Madison Square Garden.

On Saturday (Oct. 31), the 32-year-old pop superstar wrapped up the second night — and 30th show of his residency — with Harryween, dressing as the city’s infamous Pizza Rat.

The “As It Was” singer took the stage in a furry brown onesie complete with oversized pink ears, a long tail and black sunglasses, while carrying a giant foam slice of pizza. The costume appeared to pay homage to the viral 2015 video of a rat dragging a slice of pizza down the stairs of a New York City subway station.

Styles’ backing band joined in the Halloween festivities, dressing as other NYC staples, including a hot dog and a taxi cab.

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The evening also featured a special tribute to Styles, with Madison Square Garden raising a commemorative banner to the arena’s rafters. New York Knicks captain and 2026 NBA Finals MVP Jalen Brunson presented the banner to the singer during the show. The Garden also unveiled a new “Defining Moments” exhibit on its sixth-floor, featuring memorabilia from Styles’ 10-week residency.

During the previous night’s Harryween show on Friday (Oct. 30), the Grammy winner opened the evening dressed as Elvis Presley, while his band and dancers dressed as different versions of Styles from throughout his career. He later changed into the outfit he wore for his 2010 X Factor audition and performed Stevie Wonder’s “Isn’t She Lovely,” the song that helped him advance to the next round of the competition at age 16.

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Styles’ MSG run supported his fourth solo studio album, Kiss All the Time. Disco, Occasionally., which debuted at No. 1 on both the Billboard 200 and the Official U.K. Albums Chart.

Styles’ Together, Together tour will continue through August 2027 with a 25-date extension launching April 2 in Phoenix. The North American leg will include stops in Dallas, Los Angeles, Toronto, Atlanta and Chicago. The European leg begins July 2 in Berlin, with additional dates in Paris, Madrid, Rome and Dublin, before wrapping Aug. 28 with the third and final show at London’s Wembley Stadium.

Gracie Abrams turned her Saturday Night Live return into a two-part costume change, dressing as both leads from Baz Luhrmann’s Romeo + Juliet across her performances on the show’s Halloween episode Saturday (Oct. 31).

For her first song, “Hit the Wall” from her third album Daughter from Hell, Abrams wore Claire Danes’ angel costume from the 1996 film and opened the performance from behind an aquarium, a nod to the movie’s fish-tank meeting scene. She returned later in the episode for “Here You Come, There You Go,” a track from the album’s deluxe edition, in Leonardo DiCaprio’s Hawaiian shirt paired with the metal sleeves from his knight’s armor.

It was Abrams’ second turn as SNL musical guest, following her December 2024 debut on an episode hosted by Chris Rock. Inde Navarrette hosted Saturday’s episode, her first.

The appearance comes off the biggest commercial year of Abrams’ career. Daughter from Hell, released July 17 via Interscope and produced with longtime collaborator Aaron Dessner, debuted at No. 1 on the Billboard 200 with 124,000 equivalent album units, her first chart-topper on the all-genre list. Her 2024 album The Secret of Us had peaked at No. 2.

“Hit the Wall” was the album’s lead single, and Abrams has said it set the tone for everything that followed. “I just remember it being done,” she told Billboard of writing it, describing the session as almost trance-like. The song reached the Billboard Hot 100 and No. 45 on the Billboard Global 200. Her highest-charting song to date remains “That’s So True,” the deluxe-edition track from The Secret of Us that reached No. 6 on the Hot 100 and became her first top 10 there.

Abrams takes Daughter from Hell on the road in December. Her Look at My Life Tour opens Dec. 2 in Denver and runs into May 2027, including four nights at London’s O2 Arena.

Lizzo paid tribute to Dolly Parton this Halloween with a look inspired by the late country legend’s iconic “Jolene” era.

Among her several Halloween costumes this year, the 38-year-old singer and rapper channeled Parton in a look inspired by the artwork for her 1973 hit single.

“​Singing Jolene tonight 4 U @dollyparton,” Lizzo captioned an Instagram video showing off the elaborate costume, which featured a skin-tight yellow jumpsuit adorned with floral designs and a platinum blonde wig.

In the clip, Lizzo also lip-syncs to Parton’s 1967 song “Dumb Blonde,” mouthing the lyrics, “Just cause I’m blonde, don’t think I’m dumb, ’cause this dumb blonde ain’t nobody’s fool.”

SZA was among those impressed by the look, taking to the comments to share her reaction. “How is everything u do perfect,” the singer wrote alongside a face with tears emoji.

In a second post, Lizzo shared several more photos of her Dolly-inspired costume, including one recreating an alternate “Jolene” single cover featuring a bright red background. Another snapshot shows the “Truth Hurts” singer holding a guitar in front of a framed gold certification plaque for Parton’s 2023 album, Rockstar.

The display also celebrates Lizzo’s contribution to Rockstar, Parton’s collection of covers and original songs. Lizzo appeared on the album’s rendition of Led Zeppelin’s “Stairway to Heaven,” playing the flute.

“In 2024 when the world turned its back on me Dolly Parton asked me to play flute on her album,” Lizzo captioned the photo gallery. “I, of course said ‘hell yes’ and my only ask was that she credit Sasha Floot as well… she not only credited @sashabefluting we went on to get a plaque for that album.”

She continued, “Dolly, you icon you, thank you for believing in the good of humanity, for seeing our light in the darkness and loving us anyways! From H-Town to Nashville— ! We will always love you.”

Lizzo also showed off her love of anime for another Halloween costume in 2026, dressing up as Seiko Ayase from the series Dandadan. The singer went all out with the look, sporting a tall white wig and an oversized faux bust.