Chrysalis Records, one of the U.K.’s seminal indepen-dent labels, is to be relaunched as a frontline label, releasing new music for the first time in more than two decades.

The London-based label’s first signing is Brit Award-winning British singer-songwriter Laura Mar-ling, formerly of Virgin EMI, whose last album, 2017’s Semper Femina, was released independently through Kobalt’s label services division.

Her first album for the newly reborn Chrysalis Records will be released later this year in partnership with Partisan Records as a co-branded global release. Further signings will be announced in the coming months, Chrysalis CEO Jeremy Lascelles tells Bill-board.

“There’s no question in our minds that this is the right moment to bring Chrysalis back,” he says. “I’ve frequently praised Laura as being the most important artist of her generation and I believe that to be the case. We couldn’t have wished to be involved with a more brilliant artist.”

Formed in 1968 by Chris Wright and Terry El-lis, Chrysalis Records helped break and develop the international careers of a host of big-selling artists

throughout the ‘70s and ‘80s, including Jethro Tull, Procol Harum, Blondie, Pat Benatar, Huey Lewis and the News, Ultravox, Spandau Ballet, Sinead O’Connor, The Specials and numerous others.

The label was sold to EMI in 1991 who continued to run it as a standalone imprint, achieving huge do-mestic success with British pop star Robbie Williams, before being folded into EMI Records.

Lascelles’ first reign at Chrysalis ran from 1994 to 2011, when it was sold to BMG. Warner subsequently bought the business as part of the deal for Parlophone Records. Lascelles and Robin Millar’s Blue Raincoat Music company acquired the mothballed label in 2016, returning it to independent ownership.

Since then, its owners focus has been on tidying Chrysalis’ vast catalog, but the intention was always to one day relaunch it as a frontline record label, says Lascelles.

The decision to partner with fellow indie label Partisan Records on signing Laura Marling was born out of the two companies achieving international success with Cigarettes After Sex, who are signed to Partisan and managed by Blue Raincoat Music. Other

Chrysalis Records to House New Music Again as a Frontline Label

B Y R I C H A R D S M I R K E

(continued)

YOUR DAILY ENTERTAINMENT NEWS UPDATE

BulletinF E B R UA RY 2 6 , 2 0 2 0 Page 1 of 14

• K-Pop Music Festival in LA

Postponed Over Coronavirus Fears

• Bob Iger Leaving Disney, Bob Chapek

Named New CEO

• FBI Indicts Man for Ticketfly Hack That Compromised 27M

Accounts

• AIRE Radio Networks Signs J Alvarez to Newly-

Created Marketing Platform, Artistas360

• Ryman Hospitality’s Revenue From Country Music

Properties Jumped 24% in 2019

INSIDE

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Page 3 of 14

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artists on Partisan’s roster include IDLES, Fontaines D.C., John Grant and the catalog of Fela Kuti.

“We share offices with Partisan and I know how good they are and how well they work as a team, so I rang [managing direc-tor] Zena White and [founder] Tim Putnam, said what we were thinking of doing and that we’d love to figure out a way that we can work together,” explains Lascelles.

“Right in the midst of that, we discovered that we were both trying to sign Laura Mar-ling. So at that point we just said, ‘Let’s do this one together.’ When we presented that idea to Laura’s management, it completely captured their imagination.”

“There is a really strong synergy between the brand that we are building [at Partisan] and the brand that Chris Wright and Terry Ellis built back in the day, starting in the 1960s, and continuing with Jeremy and Robin’s careers,” says White. “The spirit of what Chrysalis represents creatively are really important values to us at Partisan, so [this partnership] just felt like something that we should absolutely explore.”

For the time being, the partnership between Chrysalis and Partisan is a one-off deal exclusively limited to Laura Marling and an as-yet-unnamed associated project from the singer, but both parties are open to collaborating on other artist releases, if the situation arises.

“The future is the future. We’ll see,” says

Lascelles. “But right now it’s very much a Laura-orientated partnership.”

“Chrysalis is going extremely well in terms of the revenues it’s producing and it feels like we have unblocked the dam that was stopping people discovering and rediscovering the label’s catalog,” says the CEO. “We feel in a good place there now and this feels like a good moment to start putting new music out there.”

K-Pop Music Festival in LA Postponed Over Coronavirus FearsBY JEFF BENJAMIN

Growing concerns over the spread of the coronavirus has led to the postponement of one of the biggest annual K-pop concerts in

the U.S.The Korea Times Music Festival an-

nounced that its concert scheduled for April 25 at the Hollywood Bowl in Los An-geles “has provisionally been postponed due to the increasing uncertainty threat of coro-navirus.” The annual musical festival, which is in its 18th year, had already announced

the likes of K-pop girl group MOMOLAND, solo singer and former Wanna One member Ha Sungwoon and rock band No Brain, with the addition of more acts expected in the coming weeks.

The festival says, “Concert goers can opt for a refund or keep the existing tickets,” noting that current tickets “will remain valid and transferable to the rescheduled concert date.”

According to official counts at press time, the deadly coronavirus outbreak has affected 81,000 people and killed at least 2,700 worldwide. South Korea is the country with the second-highest amount of cases confirmed, with nearly 1,000 infections to date and 10 deaths. The Centers for Disease Control and Prevention recommends that travelers avoid all “nonessential” travel to South Korea due to the spread of the virus there.

South Korea’s concerns over the virus have affected other K-pop business, with artists including TWICE, GOT7 and (G)I-DLE canceling or postponing concerts, tour dates and fan meetings across Asia. Big events like the 2020 Korea Music Awards and the 2020 FACT Music Awards (which had BTS, Monsta X, TWICE and more as confirmed performers) have also been canceled.

The effects have also spread to Europe, with Seventeen canceling the rest of the European and Asian tour dates on their Ode

IN BRIEF

Billboard’s Latin Fest+, now in its 30th year, is the Latin music world’s biggest gathering of dealmakers, power players and artists. These influential figures come together for a series of curated discussions, networking, performances, panels and parties. The highlight of the week is the Billboard Latin Music

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to You world tour. The boy band had just played U.S. arenas like Newark’s Prudential Center and Los Angeles’s The Forum in January.

The Korea Times Music Festival post-ponement is the latest Stateside Asian music event to be affected by the coronavirus after the Overpass Music festival in Oak Canyon Park, California — which featured Malay-sia’s Yuna, Thailand’s Phum Viphurit, and DPR Live and iKON’s Mino from Korea — was postponed from March to Sept. 26.

Many K-pop acts have plans to play America in 2020, with boy bands NCT 127, CIX and 1Team, girl group EVERGLOW and solo singer Changmo all booked for tours or big shows just next month.

Bob Iger Leaving Disney, Bob Chapek Named New CEOBY ERIK HAYDEN , ALEX WEPRIN

It’s the end of an era at The Walt Dis-ney Company.

The conglomerate said on Tuesday that it is naming Bob Chapek as its

next CEO, succeeding Bob Iger immedi-ately. Iger is assuming the role of executive chairman and will lead the board through his contract’s end on Dec. 31, 2021.

Chapek, who has been with the company since 1993, has been chairman of Disney Parks, Experiences and Products since 2018. His new contract began on Feb. 24 and ends on Feb. 28, 2023, with his annual base salary increasing to $2.5 million. Chapek, who will become Disney’s seventh CEO, will report to Iger and the board of directors.

On a call with Wall Street analysts Tues-day, Iger said that the Disney board had identified Chapek as his potential successor “quite some time ago.” Iger added that the succession plan, “was not accelerated for any particular reason other than we thought the need was now to make this change.”

Since Iger took over as CEO of Disney

in 2005, he has presided over a period of dramatic expansion for the company, lead-ing buys of Pixar for $7.4 billion, Marvel for $4 billion and Lucasfilm for $4 billion. That strategy, a focus on acquiring franchise intellectual property, paid off. In 2019 alone, Disney films grossed an unprecedented $13 billion at the global box office, including seven blockbusters that hit the $1 billion mark.

Disney’s market cap was roughly $55 bil-lion when Iger took over in 2005, peaked at over $260 billion in January, and as of Feb. 25 sits at $231 billion. And Iger has been one of the highest-paid CEOs in entertainment, with his compensation package at $47.5 mil-lion for the last fiscal year, falling from $65.6 million in fiscal 2018.

In March 2019, Iger presided over the closing of Disney’s biggest acquisition: the $71.3 billion megadeal for Rupert Murdoch’s Fox assets, including the historic 20th Century Fox studio, Fox Searchlight, FX Networks and National Geographic. Months later, Disney assumed full operational con-trol over streamer Hulu. (Also on Tuesday, Disney promoted Hulu chief marketing officer Kelly Campbell to president of the streaming service.)

“The company has gotten larger and more complex in the recent 12 months,” Iger told analysts on the call Tuesday. “With the asset base in place, and our strategy essentially deployed, I felt that I should spend as much time as possible with the creative side of our businesses … because that becomes our big-gest priority in 2021.”

Iger, who joined Disney in 1996, added that he will spend time dealing with all of Disney’s creative endeavors, including at Hulu and Disney+. “My goal is that when I leave here [Chapek] will be just as steeped with all matters creative at the company as I am today,” Iger said.

“Bob, I feel very fortunate to be able to work closely with you during this transition, and I know I will be able to benefit greatly from your wisdom and expertise,” Chapek said on the call, adding that he will “em-brace the same strategic pillars” that Iger championed.

Amid competition from Netflix, Iger prioritized the conglomerate’s efforts on its

own direct-to-consumer platforms, leading to the acquisition of streaming tech provider BAMTech in 2017 and the launch of the Dis-ney+ platform on Nov. 12 of last year. Since its U.S. debut, Disney+ has picked up 28.6 million paid subscribers.

Iger succession speculation had intensi-fied in recent years following the departure of then-heir apparent COO Thomas Staggs in April 2016, just over a year after he had been promoted to the role. Iger then mulled the idea of running for president in 2017 and then, last year, embarked on a media blitz for his memoir The Ride of a Lifetime. Kevin Mayer, chairman of Disney direct-to-consumer and international, who oversees all streaming efforts, was also seen as an internal candidate for Iger’s CEO role.

“I am incredibly honored and humbled to assume the role of CEO of what I truly believe is the greatest company in the world, and to lead our exceptionally talented and dedicated castmembers and employees,” Chapek said. “Bob Iger has built Disney into the most admired and successful media and entertainment company, and I have been lucky to enjoy a front-row seat as a member of his leadership team.”

Iger added on Tuesday, “I have the utmost confidence in Bob and look forward to working closely with him over the next 22 months as he assumes this new role and delves deeper into Disney’s multifaceted global businesses and operations, while I continue to focus on the Company’s creative endeavors.”

Michael Eisner, Iger’s predecessor who ran Disney from 1984 to 2005, wrote on Twitter as the news broke that his succes-sor did a “fantastic job” and expanded “the breadth of the overall company, … orches-trating super growth. And he still has his hand on the creative rudder for almost two more years.”

This article was originally published by The Hollywood Reporter.

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IN BRIEF

FBI Indicts Man for Ticketfly Hack That Compromised 27M AccountsBY DAVE BROOKS

The FBI has indicted Moulak O. Ishak for a May 2018 hack that took down Ticketfly’s servers and temporarily disabled the infra-

structure powering much or the indepen-dent live music industry.

Ishak, who is believed to go by the hacker pseudonym IShAkDz has not been ar-rested, according to the Feb. 18 indictment, although a warrant has been issued for his arrest. He is being charged with one felony count of extortion in relation to damage to a protected computer and one count of forfeiture. If convicted he faces a maximum prison term of three years, a $250,000 fine and three years of supervised release.

“We’re pleased to see that the alleged per-petrator of the malicious attack on Ticketfly that occurred in 2018 has been identified and indicted,” Ticketfly said in a statement. “We appreciate the efforts of the FBI and the United States Attorney’s Office in their continued pursuit of justice and for seeking closure for all involved.”

The case is being handled by the FBI’s San Francisco field office and assistant U.S. Attorney Kimberly Hopkins with the U.S. Attorney’s Office in Northern California. According to the indictment, from May 27 to May 31, 2018, Ishak attempted to “extort from Ticketfly, money and other things of value” by attacking Ticketfly’s servers.

The hack came less than a year after Ticketfly was purchased by Eventbrite and compromised roughly 27 million accounts. With the help of third-party secu-rity experts, the company determined that information including names, addresses, email addresses and phone numbers were stolen, but that credit/debit card info and

passwords were not obtained. Ticketfly’s website was partially down for about a week following the hack, which was described as a “malicious cyber attack.”

Ishak allegedly demanded Bitcoin pay-ment from Ticketfly and defaced the compa-ny’s homepage with a picture of Guy Fawkes and a message reading “Ticketfly HacKeD By IsHaKdZ” and “Your Security Down im not sorry. Next time I will publish database backstage.” In an interview with Mashable, Ishak said he had previously warned the company about security vulnerabilities.

Very little is known about Ishak other than that he has not been previously ar-rested on federal charges. Billboard reached out to the U.S. attorney’s office for comment, but did not receive a response at time of publishing.

AIRE Radio Networks Signs J Alvarez to Newly-Created Marketing Platform, Artistas360BY GRISELDA FLORES

JAlvarez is the latest artist to join AIRE Radio Networks’ Artistas360, a new marketing partnership platform that efforts to connect Latin artists of

all genres with brands for audio, digital and live music campaigns and/or event market-ing partnerships.

Other Latin urbano stars signed to Ar-tistas360 include Ivy Queen and Zion & Lennox.

“SBS has played a significant role in the success of my music career and I’m look-ing forward to our continued collaboration through Artistas360,” Alvarez said about the partnership. “This is a groundbreaking platform that offers artists and brands the

opportunity to supply the demand for more Latin music content and experiences. It’s an honor to be a part of it.”

AIRE, the official audio network of Span-ish Broadcasting System, will also develop and manage all Artistas360 marketing strat-egies across Spanish Broadcasting System (SBS) radio stations, AIRE Radio Networks, LaMusica digital platform and SBS Enter-tainment.

“The Artistas360 portfolio is rapidly growing with some of the biggest names in Latin music,” Elisa Torres, executive vp AIRE Radio Networks, tells Billboard. “Our objective is to offer a robust list of artists that not only represent a variety of Latin music genres, but that also share the same values, passions and traditions as Hispanic consumers. We launched Artistas360 with the Queen of Reggaeton, Ivy Queen, and the momentum has continued with Zion & Len-nox, J Alvarez — and we are looking forward to announcing additional partnerships in the coming weeks.”

Ryman Hospitality’s Revenue From Country Music Properties Jumped 24% in 2019BY GLENN PEOPLES

The Grand Ole Opry owner’s bet on the country lifestyle is paying off, even though global fears of an uncontained coronavirus is ham-

mering its stock.Ryman Hospitality’s entertainment

properties, including The Grand Ole Opry and legendary country radio station WSM, had revenue of $183.1 million in 2019, up 24.4% from $147.2 million in 2018. Adjusted operating income — with one-time expenses

Page 6 of 14

IN BRIEF

removed — grew 53.4% from $37.8 million to $58 million.

As stock markets around the world cra-tered for a second day, Tuesday’s (Feb. 25) earnings release mentioned the coronavirus that is spreading outside China and scaring investors: “A widespread outbreak of coro-navirus in the United States could adversely affect our business results and guidance,” it reads. Even though Ryman’s earnings exceeded analysts surveyed by Zacks Equity Research, its share price dropped 5.7% on Tuesday on top of a 5.8% fall on Monday. Both declines were on par with other travel-related stocks such as American Airlines and Royal Caribbean Cruises.

Ryman attributes 2019 growth to “the continued growth of its Ole Red brand, a partnership with country star Blake Shelton that has two restaurant/bar/venue spaces, in Nashville; Gatlinburg, Tenn., a tourist destination in the Smoky Mountains; and Tishomingo, Okla. An Ole Red will open in Orlando, Fla. in the second quarter.

The planned acquisition of Block 21, a mixed-use space in downtown Austin that includes the 2,750-seat ACL Theater where the long-running television show Aus-tin City Limits if filmed, will close by the second quarter. Circle Media, a country life-style joint venture that Ryman created with Gray Television, will launch an over-the-top channel “in the middle of 2020.”

Last year, Ryman Hospitality, a real estate investment trust for tax purposes, generated $1.6 billion of revenue, mostly from its hotel and resort properties.

Alejandro Fernandez’s ‘Hecho En México’ Debuts at No. 1 on Top Latin Albums ChartBY PAMELA BUSTIOS

Alejandro Fernández nabs his seventh No. 1 on the Top Latin Albums chart as Hecho en México debuts atop the tally

dated Feb. 29. His 16th studio album opens with 12,000 equivalent album units earned in the week ending Feb. 20, according to Nielsen Music/ MRC Data. Of that sum, 10,000 were in album sales, mostly owed to a concert ticket/album sale redemption offer with his upcoming tour, while the bulk of the remainder was generated by streaming activity.

“I’m super excited with this achieve-ment,” Fernández tells Billboard. “‘Hecho en México’ is an album that connects the Latin community wherever we are. I’m proud to take our Mexican music to the rest of the world and it will be an honor to reconnect with the audience which always supports me during my Hecho en México tour.”

With his new coronation, Fernández be-comes the first act to achieve No. 1s on Top Latin Albums in the 1990s, ‘00s, ‘10s, and ‘20s, starting with his first chart entry and 12-week ruler Me Estoy Enamorando in 1997.

Top Latin Albums ranks the most popular Latin albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

Hecho, which was released Feb. 14 via Universal Music Latino/UMLE, registered a little over 1,000 SEA units in the week ending Feb. 20. That equates to 2 million on-demand streams for the set’s tracks.

The mariachi effort is the first regional Mexican album to debut at No. 1 on Top Latin Albums in over three years. Jenni Rivera’s Paloma Negra Desde Monterrey was the last set to achieve the feat in Nov. 2016 with 4,000 in sales, before Top Latin Albums flipped from an album sales-only ranking to a consumption chart.

Fernández returns to take the crown after almost three years. He last scored a No. 1 in April 2017 with Rompiendo Fronteras. His last No. 1 debut, however, was in 2014 when Confidencias Reales arrived atop the list with a little over 3,000 units.

Two tracks preceded the new album on Hot Latin Songs -which blends airplay, dig-ital sales and streams. “Caballero,” the set’s lead single (No. 20 peak) and “Te Olvidé,” which was premiered live at Premios Los Nuestro 2020 on Feb. 20, debuts at No. 43 on the current chart week.

Over on Regional Mexican Airplay, “Ca-ballero” topped the list for one week (Jan. 11-dated list) while “Te Olvidé” ascends to the top 10.

Beyond his Top Latin Albums coronation, Fernández celebrates another victory as Hecho arrives at No. 1 on Regional Mexican Albums; his first leader since 2009.

On the Bilboard 200 chart, Hecho opens at No. 65, Fernández first chart appearance since 2017.

Anuel AA Confirmed To Speak At Billboard and Telemundo’s 2020 LatinFest+BY JESSICA ROIZ

Anuel AA is confirmed to speak at the 2020 LatinFest+ by Billboard and Telemundo, taking place from April 20 to 23 in Las Vegas.

Registration for 2020 LatinFest+ is already open at http://latinfestplus.com.

The Puerto Rican urban star will par-

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IN BRIEF

ticipate in a panel titled “Viva Live with Anuel,” where he will discuss the making of his forthcoming new album to be released under Sony Music Latin.

Anuel earned his first No. 1 on the Top Latin Albums chart with his 2018 debut album Real Hasta la Muerte (on the list dated July 28). After the global success of hits such as “Ella Quiere Beber,” “Secreto,” and “China,” the Latin trap sensation’s new single “KEII” opens at No. 3 on the Hot Latin Songs chart (dated Feb. 22), earning him his first top 10 debut of the year on the tally and his 14th top 10 overall. The new single, which is Japanese for “respect,” adds his 14th top 10 on the list, following “Me Gusta,” his collaboration with Shakira (No. 6 peak).

Other stars confirmed so far to partici-pate at Latinfest+ include Ozuna, J Balvin, Rosalia, Carlos Vives, and Los Tigres del Norte. Sech, Lunay, Manuel Turizo, Na-tanael Cano, Cazzu, Mariah, Myke Towers, and Jhay Cortez will also participate as part of the “On The Rise: The New Generation of Urban Men and Women” panel.

Formerly known as Billboard Latin Music Week, the three-day event and panel series, which has been revamped and expanded in a partnership with Telemundo, will unite Latin music’s top artists and industry lead-ers. The inaugural Latinfest+ also marks the 30th anniversary of Billboard’s Latin Music Conference, the longest-running and biggest Latin music gathering in the world.

Latinfest+ will be an immersive, week-long experience for the Latin entertain-ment industry, artists, executives and fans and will include superstar conversations, industry panels and workshops, celebrity fireside chats, live concerts, fan experiences and live activations of some of Billboard’s most celebrated franchises, including On the Rise and Growing Up Latino. The three-day music event culminates with the 2020 Billboard Latin Music Awards, which will air live April 23 on Telemundo. Finalists for the awards will be announced in February. Registration for 2020 LatinFest+ is already open at http://latinfestplus.com.

Clay Bradley Named BMI Vice President of Creative in NashvilleBY ANNIE REUTER

BMI has named Clay Bradley vice president of creative in Nashville. The veteran Music Row execu-tive succeeds Jody Williams, who

announced last year that he was stepping down from the position he held since 2006.

The announcement marks Bradley’s return to BMI. In his new role, Bradley will be responsible for leading the creative team at BMI’s Nashville office. He will begin his new role on March 17, and reports directly to BMI’s senior vice president of creative, Alex Flores.

“There is no better advocate for song-writers than Clay Bradley,” Flores said in a statement. “He has dedicated his career to fostering relationships with Nashville’s songwriting and publishing community and has a unique and innate ability to identify and nurture promising creative talent. I have no doubt that he will continue to build on the incredible success of our team in Nashville, and I am thrilled to welcome Clay home to BMI.”

Bradley previously spent seven years as assistant vice president of BMI’s writer/publisher department, where he helped to sign, nurture and develop the next genera-tion of BMI songwriters. He signed Toby Keith, Kenny Chesney and Casey Beath-ard to BMI, as well as helped to develop the Key West Songwriter’s Festival and the BMI Parking Lot party featuring Jake Owen which evolved into BMI’s “Rooftop on the Row” series.

Most recently, Bradley served as the founder and CEO of Eclipse Music Group, an artist development and publishing company. He managed and negotiated the Eclipse Music roster and helped develop

songwriters Katie Pruitt and Early James, as well as Big Machine artist Payton Smith.

“It is a tremendous honor for me to come back to BMI to represent the world’s great-est songwriters,” Bradley said. “My passion for this creative community is beyond com-pare, and I am grateful to return to a com-pany I love having gained new knowledge, perspectives and experiences over the last five years. I look forward to working with the Nashville team to continue our mission to guide, support and champion the careers of BMI’s incredible roster of songwriting talent.”

Justin Bieber & Poo Bear Tie at No. 1 on R&B Songwriters ChartBY XANDER ZELLNER

Justin Bieber and Poo Bear (real name: Jason Boyd) both rise to No. 1 on Bill-board’s R&B Songwriters chart (dated Feb. 29), each leading for the first time

thanks to 11 entries on the Hot R&B Songs chart from Bieber’s new LP Changes that the pair co-wrote.

Bieber’s “Intentions,” featuring Quavo, which Bieber and Poo Bear co-penned with Quavo, DJ Mecca and Jimmy G, leads Hot R&B Songs for a second week, with 24.3 mil-lion U.S. streams (up 10%) and 24.1 million in radio airplay audience (up 52%), accord-ing to Nielsen Music/MRC Data.

Here’s a look at all 11 of Bieber and Poo Bear’s entries as writers on the latest Hot R&B Songs chart:

Rank, Artist, Title (songwriters in addi-tion to Bieber and Poo Bear)

No. 1, “Intentions,” feat. Quavo (Quavo, DJ Mecca, Jimmy G)

No. 3, “Yummy” (Ashley Boyd, Daniel Hackett, Sasha Sirota)

No. 6, “Forever,” feat. Post Malone & Clever (HARV, Clever, Ali Darwish, Post Malone, Louis Bell, Billy Walsh)

No. 12, “Come Around Me” (DJ Mecca,

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Jimmy G)No. 14, “Habitual” (Tainy, Josh Gudwin)No. 16, “All Around Me” (Sasha Sirota)No. 17, “Get Me,” feat. Kehlani (Boi-1da,

Vinylz, Jun Ha Kim)No. 20, “Running Over,” feat. Lil Dicky

(Lil Dicky, DJ Mecca, Jimmy G)No. 21, “Second Emotion,” feat. Travis

Scott (DJ Mecca, Jimmy G, Travis Scott)No. 22, “Available” (HARV, Pierre McGee,

Ashley Boyd, Milano)No. 24, “Changes” (Nasri Atweh [notably,

the frontman of MAGIC!], Adam Messinger)Poo Bear concurrently leads the R&B Pro-

ducers chart for a second consecutive week, having co-produced all 11 songs listed above.

On this week’s Hot 100 Songwriters chart, Roddy Ricch leads for a sixth week, thanks to his smash “The Box,” which tallies a sev-enth week at No. 1 on the Billboard Hot 100. 30Roc, who produced the track, tops the Hot 100 Producers tally for a seventh week.

The weekly R&B Songwriters and R&B Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot R&B Songs chart; As with Billboard’s yearly recaps, multiple writ-ers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

Check out this week’s full R&B Songwrit-ers and R&B Producers charts, in addition to the other full genre rankings, at Billboard.com/biz.

Carlos Vives Confirmed to Speak at Billboard & Telemundo’s Latinfest+BY COLIN STUTZ

Carlos Vives has been confirmed as speaker for Billboard and Tel-emundo’s Latinfest+ taking place April 20-23 in Las Vegas, NV at

The Venetian Hotel.Vives, who throughout his 25-year long

career has spun global hits such as “La Gota Fria,” “Robarte un Beso” and “La Bicicleta,” will be a speaker in a panel titled “Viva Live with Carlos Vives.” The La Voz coach and Colombian music icon will discuss the mak-ing of his new album, sharing never-before-seen behind-the-scenes material and an exclusive look into his new tour.

Other stars confirmed so far to participate at Latinfest+ include Ozuna, J Balvin, Ro-salia, Anuel AA, and Los Tigres del Norte.

Sech, Lunay, Manuel Turizo, Natanael Cano, Cazzu, Mariah, Myke Towers, and Jhay Cortez will also participate as part of the “On The Rise: The New Generation of Urban Men and Women” panel.

Formerly known as Billboard Latin Music Week, the three-day event and panel series, which has been revamped and expanded in a partnership with Telemundo, will unite Latin music’s top artists and industry lead-ers. The inaugural Latinfest+ also marks the 30th anniversary of Billboard’s Latin Music Conference, the longest-running and biggest Latin music gathering in the world.

Latinfest+ will be an immersive, week-long experience for the Latin entertainment industry, artists, executives and fans and will include superstar conversations, industry panels and workshops, celebrity fireside chats, live concerts, fan experiences and live activa-tions of some of Billboard’s most celebrated franchises, including On the Rise and Grow-ing Up Latino. The three-day music event culminates with the 2020 Billboard Latin Music Awards, which will air live April 23 on Telemundo. Finalists for the awards will be announced in February. Registration for 2020 LatinFest+ is already open at http://latin-festplus.com.

‘Hope’ Rewarded: Gabby Barrett Hits No. 1 on Emerging Artists ChartBY XANDER ZELLNER

Gabby Barrett rises 2-1 on Bill-board’s Emerging Artists chart (dated Feb. 29), ruling for the first time thanks to her break-

through single “I Hope.”The track hits a new high on Hot Country

Songs (7-6), with 19.8 million airplay audi-ence impressions (up 9%), 8.7 million U.S. streams (up 5%) and 8,000 downloads sold (up 12%), according to Nielsen Music/MRC Data.

Notably, when “I Hope” reached the top 10 on the Hot Country Songs chart dated Jan. 25, Barrett became the first woman to earn a career-opening top 10 unaccompa-nied by another artist since Carly Pearce, with “Every Little Thing,” in October-No-vember 2017.

Barrett competed on ABC’s American Idol in 2018, finishing third behind winner Maddie Poppe and runner-up Caleb Lee Hutchinson.

Among other Emerging Artists chart moves, Beach Bunny debuts at No. 8, thanks to the group’s debut studio album Honey-moon (released via Mom + Pop Records). The set opens at No. 21 on Alternative Al-bums and No. 38 on Top Rock Albums with 6,000 equivalent album units.

Plus, Tennis arrives at No. 18 on Emerg-ing Artists, thanks to the band’s fifth LP Swimmer (released on Mutually Detrimental Records), which debuts at No. 39 on Top Album Sales with 3,000 copies sold.

The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encom-passing Billboard Artist 100, which mea-sures artist activity across multiple Billboard charts, including the Billboard Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each

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week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.

Check out this week’s full Emerging Art-ists chart here.

APA Signs Havana Rock Band Sweet Lizzy ProjectBY TAYLOR MIMS

Five-piece Havana rock band Sweet Lizzy Project has signed with APA for global representation.

The group consists of lead vocal-ist and lyricist Lisset Diaz, co-writer and bandleader Miguel Comas, Wilfredo Gatell on keyboards, Alejandro Gonzalez on bass and drummer Ángel Luis Millet.

Their latest album Technicolor was released last week (Feb. 21), but the group’s first break came during the 2017 filming of the PBS special Havana Time Machine, that surveyed the city’s music scene and culmi-nated in a live concert featuring the band alongside some more-traditional Cuban artists.

Based on the band’s appearance on the PBS show, The Mavericks’ lead singer Raul Malo and his wife Betty (now the band’s manager) sponsored Sweet Lizzy Project for U.S. work visas and signed them to Malo’s record label, Mono Mundo Recordings. The band then uprooted to Nashville to begin their career in the U.S.

When Malo met the band, they were already regulars on state television and a mature touring operation with staging, techs and roadies. In addition, they had begun working on Technicolor, whose initial tracks were recorded in Comas’ bedroom studio, but later mixed with the whole band at Nashville’s famed Blackbird Studio.

“We can overcome the impression that Cuban music is only rumba and son,” said

Comas in a release. “Having the chance to play for American audiences, that is a win for us already. We’ve had everything against us, but we are here.”

“We’ve been outsiders from the start,” added Diaz. “In Cuba, we were swimming against the tide by singing rock ’n’ roll in English. It took us time to gain respect by the institutions that would let us play our music. And then we had a chance to come here, and we’re outsiders again. But that’s okay. We just want to play.”

The band has opened dates for Heart, Joan Jett, JOHNNYSWIM and Jamey Johnson. The band is embarking on a North American tour throughout the year. Dates can be found below.

UPCOMING TOUR DATES:2/28 — Nashville, TN @ Bourbon Street

Blue and Boogie Bar2/29 — Memphis, TN @ Halloran Centre

at the Orpheum Theatre3/18 — Austin, TX @ Waterloo Records

in-store with Raul Malo (Mavericks)3/19 — Austin, TX @ SXSW, Bloody Mary

Morning3/26 — Birmingham, AL @ The Nick3/27 — Nashville, TN @ The Basement4/02 — Houston, TX @ Mucky Duck4/03 — Austin, TX @ Austin City Limits

at the Moody Theater w/The Mavericks4/04 — Austin, TX @ Austin City Limits

at the Moody Theater w/The Mavericks4/05 — Dallas, TX @ Sundown at Granada4/08 — Kansas City, MO @ Knuckleheads4/17 — Waverly, AL @ Standard Deluxe4/24 — Panama City Beach, FL @ SAND-

JAM Music Festival4/25 — Miami, FL @ Bar Nancy4/26 — Jacksonville, FL @ Jack Rabbits5/07 — Uncasville, CT @ Wolf Den at

Mohegan Sun6/05 — Pelham, TX @ The Caverns, open-

ing for The Mavericks6/06 — Atlanta, GA @ Variety Playhouse,

opening for The Mavericks6/12 — Alexander, AL @ Jazz Fest

Josh Osborne Hits No. 1 on Country Songwriters Chart, Thanks to Hits by Sam Hunt & MoreBY XANDER ZELLNER

Josh Osborne rises to No. 1 on Bill-board’s Country Songwriters chart (dated Feb. 29), leading for the first time thanks to a trio of hits on the lat-

est Hot Country Songs chart.Sam Hunt’s “Kinfolks,” which Osborne

co-wrote with Hunt, Zach Crowell and Jerry Flowers, leads at its No. 3 Hot Country Songs high with 41.1 million in all-format radio reach (up 3%), 7.8 million U.S. streams (up 5%) and 3,000 downloads sold (up 1%), according to Nielsen Music/MRC Data. The song concurrently climbs to No. 1 on Coun-try Airplay, earning Osborne his 16th No. 1 as a writer, and Hunt his sixth as an artist.

Old Dominion’s “One Man Band,” which Osborne wrote with Matt Ramsey, Trevor Rosen and Brad Tursi, is next on Hot Coun-try Songs at No. 4, followed by Blake Shelton and Gwen Stefani’s”Nobody but You,” co-written with Ross Copperman, Tommy Lee James and Shane McAnally, at No. 10.

Osborne boasts an impressive history of writing hits on Billboard’s charts. Along with his 16 Country Airplay No. 1s, he’s penned 52 Hot Country Songs entries, six of which have risen to No. 1:

Artist, Title, Peak DateKenny Chesney, “Come Over,” Aug. 11,

2012 (two weeks at No. 1)Sam Hunt, “Leave the Night On,” Nov. 15,

2014 (one)Sam Hunt, “Take Your Time,” Feb. 21,

2015 (11)Kenny Chesney feat. P!nk, “Setting the

World on Fire,” Oct. 22, 2016 (four)Artists of Then, Now & Forever, “Forever

Country,” Oct. 8, 2016 (two)

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Sam Hunt, “Body Like a Back Road,” Feb. 25, 2017 (34)

Osborne succeeds Jimmy Robbins atop Country Songwriters, after the latter, now at No. 3, led for a week, thanks to his writing credits on Maren Morris’ “The Bones” and Kelsea Ballerini’s”Homecoming Queen?”

The weekly Country Songwriters and Country Producers charts are based on total points accrued by a songwriter and produc-er, respectively, for each attributed song that appears on the Hot Country Songs chart; As with Billboard’s yearly recaps, multiple writ-ers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

Check out this week’s full Country Song-writers and Country Producers charts, in addition to the other full genre rankings, at this link.

Harry Styles Announces a Spooktacular Two-Night Halloween Treat For New York FansBY COLIN STUTZ

Harry Styles added two very special dates to his upcom-ing Love On Tour outing on Wednesday (Feb. 26) when

he announced that he’s throwing a spook-tacular “Harryween” party on Oct. 30 and 31 in New York. The “fancy dress party” at Madison Square Garden will feature special guest masked country singer Orville Peck and Harry expects you to show up in your masked finest.

“Fans are encouraged to participate in the festivities by dressing in their favorite costumes (fancy dress),” according to a statement. Styles revealed the special shows on The Today Show on Wednesday morn-ing during a performance of songs from his

second solo album, Fine Line. Styles already had three sold-out MSG shows on the books for July, with tickets for the two additional gigs slated to go on sale to the general public on March 6 at 10 a.m. local time.

American Express cardmembers can buy tickets to the Harryween shows begin-ning Monday (March 2) at 10 a.m. local time through March 5 at 10 p.m. local time; click here for presale registration through Ticketmaster’s Verified Fan program. Styles will kick off his 2020 world tour in April in his native UK and drop the Dave Meyers-di-rected video for the song “Falling” on Friday (Feb. 28).

Soda Stereo’s Charly Alberti & Zeta Bosio Pull Back the Curtain on Gracias Totales Tour: ExclusiveBY JUDY CANTOR-NAVAS

On Saturday, Soda Stereo’s Gra-cias Totales tour kicks off at the El Campin stadium in Bogota, Colombia. The 16 concerts in

10 countries — which Soda drummer Charly Alberti describes as shows “for be-ing together one last time” — will be Latin America’s most repercussive rock band’s first live appearances without Gustavo Ce-rati, the group’s late magnetic singer, lyrical composer and guitarist, who died in 2014 at the age of 55. During the concerts, Cerati’s voice and image (onscreen) will make ap-pearances. More than a dozen widely known artists — including Aterciopelados’ Andrea Echevarri, Café Tacvba’s Rubén Albarrán, Chilean singer Mon Laferte and Coldplay’s Chris Martin — will perform Soda Stereo songs live or via video.

In separate interviews from their respec-tive homes in Buenos Aires, Alberti and bassist Zeta Bosio spoke (in Spanish) with

joy about the upcoming concerts, answering the obvious question — why? — and reveal-ing details of what has been almost two years of preparations.

They also wanted to make some things clear about what they say has erroneously been called a “comeback” tour. “We never said this is the return of the band or that the band will keep going,” says Bosio. “This is our life, these are our songs and we want to play them one more time.”

“There’s something that’s very important for us with this tour and that’s respect,” comments Alberti. “We are doing this with respect for our story, for the public and for the absence of Gustavo. We’re not going to try and hide the fact that Gustavo isn’t here; we know Gustavo is not here. We are going to do it in a way that is more real, that has more of an impact and that is more respect-ful.”

Alberti is eager to put to rest speculations about who would take the place of Cerati in the trio during the concerts, a question that began buzzing on social media along with a mix of fan excitement and incredulous criticism of the idea when the tour was an-nounced last October.

“At no time will there be just one guitarist on the stage,” explains Alberti, who stresses that the tour had been thought out in metic-ulous detail. “There can’t be just one singer in the show. There’s a moral reason for that. No one can replace Gustavo.”

Instead, the invited artists will join Alberti and Bosio onstage — 14 on the U.S. leg of the tour, which starts in New York on April 14, and continues in Miami, LA and Houston. They also include longtime Soda collaborator Richard Coleman, Puerto Rican rocker Draco Rosa, Argentine Oscar-winning composer Gustavo Santaolalla, Mexico’s Julieta Venegas, and Bosio’s son, guitarist Simon Bosio.

“It’s like an all-star gathering,” says Bosio. “A selection of incredible artists from all over Latin America who exemplify the internationality that the group had in the region and how beloved the band was; there are artists from different generations for whom Soda has had a special place in their life. A lot of them are friends, and others have always expressed their admiration for

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the band.”“There will be no one onstage who does

not have some kind of connection to Soda Stereo,” Alberti states. Martin, who sang Soda Stereo’s “De Música Ligera” with Coldplay during a concert in Buenos Aires in 2017, Cerati’s son Benito Cerati, Babasóni-cos frontman Adrián Dárgelos, Los Tres singer Álvaro Henriquez, León Larregui (Zoé) and Juanes are among those who will make appearances on a video screen mea-suring more than 4,000 square feet.

“The screen will be like a space and time machine,” says Alberti.

While the schedules of the diverse artists involved required such long-distance stag-ing, the time element will be provided most strikingly by the voice and image of Cerati.

“It’s going to happen in some moments of the show but not all the time,” the drummer, who is 56, and has had second careers as an entrepreneur and environmental activist, explains. “It’s very moving, and it’s basically what people have dreamed of, what they have been telling us these past years, how much they’d like to see us again, to go back in time and watch us live. Well, we are going to make that happen for them.”

The idea for the tour originated after Bosio, 61 and now known to club crowds as a DJ, and Alberti went back to the studio together for a deep listen to the band’s dis-cography. The pair had each gone on to solo projects after a reunion tour with Cerati in 2007 (the trio had broken up in 1997), but they revisited the band’s body of work for the 2017 premiere of Sep7imo Día, a Cirque du Soleil production based on Soda’s story, for which they created a soundtrack from the band’s recordings.

“It brought us together in the studio for almost a whole year,” recalls Bosio. “We were shut in working with the multi-tracks from most of our records, which we had never listened to again before. It was right after Gustavo’s death. We really went through a period of mourning in the studio.”

“It was very difficult to even listen to the songs at first,” Alberti says. “But we were working with our music over an extended period, and with the work we started to come to terms with our emotions.”

“And we came out stronger,” says Bosio.

“With the desire to play those songs again. And then when we saw what happened with the [Cirque] show, how the people in the audience celebrated the music that was coming from the speakers even with no live band. We said to each other that it could be fantastic to do something.”

“When all of that with Cirque was over, Zeta and I kind of looked at each other and said, che, what now?” Alberti recounts. “I said, ‘Why don’t we keep getting together in the studio once in a while and play a bit?’ A few days later, Zeta brought his bass to my studio and, through Protools, we played together with Gus. It was kind of something we did to have a good time, to feel good, just between us.”

“We listened to the tracks with Gus-tavo’s voice while Charly and I played live,” explains Bosio. “I think from that moment, we felt that it was a good thing.” With the encouragement of some of the people who had collaborated with Soda throughout the band’s trajectory, the idea of a tour began to take shape.

“At first we were like, ‘No, no...’ but then we thought, ‘Why not?’” recalls Alberti. “Why not do something that people who are tired of tributes [by other musicians] have been asking us to do for years. Let’s do something for the fans, and for ourselves and perform as Soda for the last time.”

“This tour has to be the manifestation of the memory of what it was like when we played our songs,” says Bosio. “It’s a celebra-tion paying homage to what we miss most — which is Gustavo.

“We didn’t want to lose time,” Bosio con-tinues. “If we both went off to do our own things, we didn’t know when we would be able to get together again. We started there in the studio, even listening on the multi-tracks to all of the guitars that Gustavo had recorded, which weren’t the same as what he played live, since on the stage he com-bined everything for one guitar. Now we can re-produce what he did on the albums live with various guitarists.”

When it came time to compile the set lists, Bosio and Alberti looked at songs that had particular significance for each partici-pating artist. They also crossed off the songs that they felt should not be performed at all.

“There were the songs that we couldn’t do without Gustavo,” Alberti explains. “Like ‘Final Caja Negra’ — that, among others, is impossible to do if Gustavo isn’t there, be-cause it came from the pure chemistry of the three of us onstage. It can’t be repeated. So then we started looking at what each person could sing. It’s very important to that these are not versions, it’s Soda Stereo with the singers singing as Gustavo did. That was our specific request, to reproduce them in a way that Gustavo sang them. The band sounds like Soda Stereo, and the singers perform them as close to the way Gustavo did as pos-sible, although of course it depends on who is singing them.”

The tour, called Gracias Totales for the phrase that has been tied to Cerati since he said it at the end of the band’s farewell show in 1997 in Buenos Aires, will travel to nine Latin American countries.

“We’re going back to the stadiums in places that we played in the ‘80s and ‘90s,” says Bosio. “It’s something incredible, like what happened with the [2007] Me Veras Volver [reunion] tour.”

In the U.S., Gracias Totales will come to major venues like LA’s Forum and the Bar-clays Center in Brooklyn.

“Soda is a very big phenomenon,” Bosio says. “It’s like a legacy that passes from generation to generation…what allows us to see that we can do something like this now are things like Spotify, that today make it easier to understand [the band’s impact]. People keep listening to Soda in their house, in their telephones and their cars, and in their hearts.”

“Our intention as a band was always to just do what we could do for ourselves and for our public,” says Alberti. “Soda was always about doing what we wanted to do and people really got what it was about. It was always about breaking molds and doing something new.”

“This is in some way another chapter for Soda and the ability to talk about Gustavo in the present is a positive thing,” says Bosio. “We’re going to go out on this tour and I feel that Gustavo is coming with us, somehow he is going to be there. And that is something miraculous.”

“This is a show for singing and being

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together one last time,” adds Alberti. “For me, it is clearly an end, a closure, a celebra-tion with our audience who always followed us and gave us their love. This show is so we can all get together and say, ‘This was Soda Stereo.’”

Find information about the tour and tickets here.

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Big ChangesJustin Bieber scores his seventh No. 1 on the Billboard 200 as Changes debuts atop the tally. The set earned 231,000 equivalent album units in the United States in the week ending Feb. 20, according to Nielsen Music/MRC Data. It’s his first album since 2015’s Purpose arrived at No. 1 on the Dec. 5, 2015-dated chart with 649,000 units.

Changes also starts at No. 1 on Top R&B/Hip-Hop Albums and Top R&B Albums.

Of Changes’ first-week sum, 126,000 are album sales, bolstered by a concert ticket/album sale redemption offer with the star’s upcoming tour and many merchandise/album bundles sold via Bieber’s official web store.

At 25, Bieber is the youngest solo artist to log seven Billboard 200 No. 1s. (He turns 26 on March 1.) He beats Elvis Presley, who earned his seventh No. 1 (of 10 total) when he was 26 years and 11 months old (with Blue Hawaii on Dec. 11, 1961). —KEITH CAULFIELD

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JUSTIN BIEBER Changes SCHOOLBOY/RAYMOND BRAUN/DEF JAM 1 1

2 A BOOGIE WIT DA HOODIE Artist 2.0 HIGHBRIDGE THE LABEL/ATLANTIC/AG 2 1

3 TAME IMPALA The Slow Rush MODULAR/INTERSCOPE/IGA 3 1

1 4 RODDY RICCH Please Excuse Me For Being Antisocial BIRD VISION/ATLANTIC/AG 1 11

5 MONSTA X ALL ABOUT LUV EPIC 5 1

2 6 POST MALONE Hollywood’s Bleeding REPUBLIC 1 24

5 7 BILLIE EILISH 2 When We All Fall Asleep, Where Do We Go? DARKROOM/INTERSCOPE/IGA 1 47

7 8 GG POP SMOKE Meet The Woo, V.2 VICTOR VICTOR WORLDWIDE/REPUBLIC 7 2

3 9 EMINEM Music To Be Murdered By SHADY/AFTERMATH/INTERSCOPE/IGA 1 5

8 10 HALSEY Manic CAPITOL 2 5

12 11 SOUNDTRACK Frozen II WALT DISNEY 1 14

9 12 DABABY KIRK SOUTHCOAST/INTERSCOPE/IGA 1 21

11 13 HARRY STYLES Fine Line ERSKINE/COLUMBIA 1 10

10 14 TAYLOR SWIFT Lover REPUBLIC 1 26

6 15 LIL WAYNE Funeral YOUNG MONEY/REPUBLIC 1 3

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13 17 JACKBOYS JACKBOYS CACTUS JACK/EPIC 1 8

15 18 SUMMER WALKER Over It LVRN/INTERSCOPE/IGA 2 20

16 19 LIZZO Cuz I Love You NICE LIFE/ATLANTIC/AG 4 44

18 20 YOUNGBOY NEVER BROKE AGAIN AI YoungBoy 2 NEVER BROKE AGAIN/ATLANTIC/AG 1 19

17 21 ROD WAVE Ghetto Gospel ALAMO/IGA 10 16

25 22 BILLIE EILISH Dont Smile At Me DARKROOM/INTERSCOPE/IGA 14 113

21 23 POST MALONE 3 beerbongs & bentleys REPUBLIC 1 95

24 24 LEWIS CAPALDI Divinely Uninspired To A Hellish Extent VERTIGO/CAPITOL 20 40

19 25 YOUNG THUG So Much Fun YOUNG STONER LIFE/300/ATLANTIC/AG 1 27

26 EDEN No Future MCMXCV LTD./ASTRALWERKS 26 1

22 27 JUICE WRLD Goodbye & Good Riddance GRADE A/INTERSCOPE/IGA 4 92

27 28 CAMILA CABELLO Romance SYCO/EPIC 3 11

36 29 LUKE COMBS 3 This One’s For You RIVER HOUSE/COLUMBIA NASHVILLE/SMN 4 142

30 $UICIDEBOY$ Stop Staring At The Shadows G*59 30 1

34 31 QUEEN 8 Greatest Hits HOLLYWOOD 11 374

32 BARRY MANILOW Night Songs II STILETTO 32 1

26 33 MONEYBAGG YO Time Served N-LESS/INTERSCOPE/IGA 3 6

31 34 JUICE WRLD Death Race For Love GRADE A/INTERSCOPE/IGA 1 50

35 35 DRAKE 5 Scorpion YOUNG MONEY/CASH MONEY/REPUBLIC 1 86

29 36 TRIPPIE REDD A Love Letter To You 4 TENTHOUSAND PROJECTS 1 13

37 37 TRAVIS SCOTT 3 ASTROWORLD CACTUS JACK/GRAND HUSTLE/EPIC 1 81

39 38 DOJA CAT Hot Pink KEMOSABE/RCA 19 16

38 39 ED SHEERAN No.6 Collaborations Project ATLANTIC/AG 1 32

40 40 TONES AND I The Kids Are Coming (EP) BAD BATCH/ELEKTRA/EMG 30 20

28 41 MAC MILLER Circles WARNER 3 5

42 42 POST MALONE 3 Stoney REPUBLIC 4 167

41 43 CHRIS BROWN Indigo CBE/RCA 1 34

44 SOUNDTRACK ZOMBIES 2 WALT DISNEY 44 1

33 45 SELENA GOMEZ Rare INTERSCOPE/IGA 1 6

50 46 ELTON JOHN Diamonds ROCKET/ISLAND/UME 7 119

43 47 MUSTARD Perfect Ten 10 SUMMERS/INTERSCOPE/IGA 8 34

32 48 LIL NAS X 7 (EP) COLUMBIA 2 35

49 49 KHALID Free Spirit RIGHT HAND/RCA 1 46

48 50 ARIANA GRANDE Thank U, Next REPUBLIC 1 54

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45 51 BLAKE SHELTON Fully Loaded: God’s Country WARNER MUSIC NASHVILLE/WMN 2 10

55 52 MORGAN WALLEN If I Know Me BIG LOUD 35 73

47 53 VARIOUS ARTISTS Dreamville & J. Cole: Revenge Of The Dreamers III DREAMVILLE/INTERSCOPE/IGA 1 33

52 54 XXXTENTACION ? BAD VIBES FOREVER 1 101

58 55 ED SHEERAN 4 ÷ (Divide) ATLANTIC/AG 1 155

30 56 YO GOTTI Untrapped INEVITABLE/CMG/EPIC 10 3

56 57 ORIGINAL BROADWAY CAST 6 Hamilton: An American Musical HAMILTON UPTOWN/ATLANTIC/AG 3 230

53 58 YNW MELLY Melly vs. Melvin YNW MELLY/300/AG 8 13

54 59 LIL TJAY True 2 Myself COLUMBIA 5 19

51 60 EMINEM 7 Curtain Call: The Hits SHADY/AFTERMATH/INTERSCOPE/IGA 1 484

20 61 BRENT FAIYAZ Fuck The World LOST KIDS 20 2

62 62 KHALID 3 American Teen RIGHT HAND/RCA 4 155

23 63 SOUNDTRACK Birds Of Prey: The Album DC/ATLANTIC/AG 23 2

61 64 A BOOGIE WIT DA HOODIE Hoodie SZN HIGHBRIDGE THE LABEL/ATLANTIC/AG 1 61

65 ALEJANDRO FERNANDEZ Hecho En Mexico UNIVERSAL MUSIC LATINO/UMLE 65 1

65 66 SHAWN MENDES Shawn Mendes ISLAND/REPUBLIC 1 91

70 67 CREEDENCE CLEARWATER REVIVAL 10 Chronicle The 20 Greatest Hits FANTASY/CONCORD 22 459

46 68 RUSS SHAKE THE SNOW GLOBE DIEMON/RUSS MY WAY/COLUMBIA 4 3

60 69 DABABY Baby On Baby SOUTHCOAST/INTERSCOPE/IGA 7 51

68 70 CHRIS STAPLETON 4 Traveller MERCURY NASHVILLE/UMGN 1 232

71 HUEY LEWIS AND THE NEWS Weather NEW HULEX/BMG 71 1

64 72 NF The Search NF REAL MUSIC/CAROLINE 1 30

73 CARLY PEARCE Carly Pearce BIG MACHINE/BMLG 73 1

63 74 BOB MARLEY AND THE WAILERS 15 Legend: The Best Of... TUFF GONG/ISLAND/UME 5 614

59 75 LIL TECCA We Love You Tecca GALACTIC/REPUBLIC 4 25

44 76 KEY GLOCK Yellow Tape PAPER ROUTE EMPIRE 14 3

66 77 LIL UZI VERT Luv Is Rage 2 GENERATION NOW/ATLANTIC/AG 1 130

78 NATHANIEL RATELIFF And It’s Still Alright STAX/CONCORD 78 1

69 79 TREVOR DANIEL Homesick (EP) ALAMO/IGA 64 14

75 80 KANE BROWN Experiment ZONE 4/RCA NASHVILLE/SMN 1 67

77 81 JOURNEY 15 Journey’s Greatest Hits COLUMBIA/LEGACY 10 604

78 82 LAUREN DAIGLE Look Up Child CENTRICITY/12TONE 3 76

83 83 MAREN MORRIS GIRL COLUMBIA NASHVILLE/SMN 4 50

73 84 CARDI B 3 Invasion Of Privacy THE KSR GROUP/ATLANTIC/AG 1 98

76 85 THE BEATLES 11 1 APPLE/CAPITOL/UME 1 408

80 86 THE BEATLES 12 Abbey Road APPLE/CAPITOL/UME 1 349

71 87 KENDRICK LAMAR 3 DAMN. TOP DAWG/AFTERMATH/INTERSCOPE/IGA 1 149

82 88 DAN + SHAY Dan + Shay WARNER MUSIC NASHVILLE/WMN 6 87

91 89 FLEETWOOD MAC 20 Rumours WARNER BROS./RHINO 1 360

96 90 THE WEEKND 3 Starboy XO/REPUBLIC 1 169

72 91 TYLER, THE CREATOR IGOR COLUMBIA 1 40

81 92 JONAS BROTHERS Happiness Begins REPUBLIC 1 37

94 93 THE WEEKND 3 Beauty Behind The Madness XO/REPUBLIC 1 233

79 94 SOUNDTRACK 4 Frozen WALT DISNEY 1 142

85 95 DRAKE 6 Take Care YOUNG MONEY/CASH MONEY/REPUBLIC 1 364

84 96 SOUNDTRACK 3 The Greatest Showman FOX/20TH CENTURY FOX/ATLANTIC/AG 1 115

74 97 VARIOUS ARTISTS Quality Control: Control The Streets, Volume 2 QUALITY CONTROL/MOTOWN/CAPITOL 3 27

87 98 BAD BUNNY X 100PRE RIMAS 11 61

99 TINK Hopeless Romantic WINTER’S DIARY/WD/EMPIRE 99 1

89 100 POLO G Die A Legend COLUMBIA 6 37

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