Djo Tops the Spotify Charts

Djo, the project by actor Joe Kerry (Steve from Stranger Things) has the new number one song on Spotify’s Global Charts.

The track originally came out on his 2022 album, Decide, but has since been released as a standalone single after gaining some traction. Now, the song is sitting pretty at #1 on Spotify’s Global Chart with 6.5 million streams—but it’s not the first time it’s enjoyed the view. “End of Beginning” went viral on TikTok in 2024, which saw it reach the milestone for the first time. It’s also #1 on the U.S. Spotify Chart with 1.38 million streams.

Jimmy Kimmel Cuts Back Musical Guests

Jimmy Kimmel will be reducing the musical guests to only twice per week:

Multiple sources familiar with the matter say Kimmel music producer Jim Pitt had informed them in the past several weeks about the move, though none who spoke with THR say they were given any reason on the decision. The ABC late night show is not expected to get shorter, another source familiar with the matter says. […] The decrease is the latest below to a late night TV ecosystem that has already been cutting down on music in the past several years. NBC’s Late Night With Seth Meyers, for example, rarely if ever features musical guests on the show now, and the show lost its Fred Armisen-fronted house band in 2024 due to budget cuts. Meanwhile, even before the news of the show’s cancellation, The Late Show With Stephen Colbert‘s musical guest inclusion had waned as well, and the cancellation takes an entire show off the board for artist features.

Knowing about, posting about, and staying up late to watch musical guests on late shows was a staple of my teenage years. This sucks.

‘James Bond’ Coming to Netflix

James Bond

Variety:

Twenty-six James Bond films (the 25 Eon joints, plus the prodigal Never Say Never Again) are coming to Netflix this month. The deal was inked last year, with Bond making the streamer jump alongside other MGM films like Legally Blonde, Rocky, and series The Man in the High Castle. Sources told Deadline the movie is a “strategic business decision designed to broaden global reach and reengage audiences.” To put in less business-speak terms, it’s to remind people James Bond exists before Denis Villeneuve’s version comes to theaters.

Prince Streams Surge After ‘Stranger Things’ Placement

Prince

Prince is having a surge in streams after being featured in the Stranger Things finale:

According to data released by Spotify, “Purple Rain” saw a 243% increase in global streams between December 31st (when the Stranger Things finale debuted) and January 1st, 2026. Additionally, the song saw a 577% increase in streaming by Gen Z users, who hopefully weren’t hearing it for the first time. “When Doves Cry” experienced smaller but similar results: a 200% increase in global streams, with a 128% increase for Gen Z specifically. The feature also brought an increased interest in Prince’s catalog overall, with a 190% increase in global streaming.

Napster Pivoting to Being an AI Platform

Headphones

Digital Music News:

Napster is no longer a music streaming service. We’ve become an AI platform for creating and experiencing music in new ways. That means the streaming catalog and playlists from the old app won’t work here,” the splash screen reads. “We know this can be frustrating, especially if you spent years building your playlists. To make things easier, you can export all your Napster playlists in just a few clicks.

Josh Ritter Talks With Rolling Stone

Josh Ritter

Josh Ritter talked with Rolling Stone about his latest album:

“I’m going through all the things that all of us are in this country right now,” he says. “All these enormous feelings and uncertainties. In inviting the muse in to experience that, I’m inviting it to be witnessed. It helps me to make sense of my own life and make sense of my own feelings.”

Pop-Punk’s 2000s Explosion: 20 Years Later

Rolling Stone

Rolling Stone revisits the early 2000’s pop-punk and emo explosion:

It all points back to 2005, the year pop punk and emo exploded into the mainstream like never before, taking over the world of Billboard charts and MTV. Fall Out Boy released their seminal record From Under the Cork Tree, trading spots on TRL with My Chemical Romance, Paramore debuted onto the scene with All We Know Is Falling, and Panic! at the Disco’s LP Fever You Can’t Sweat Out proved just how vital the internet was to the genre’s success. 

But pop-punk and emo’s meteoric rise wouldn’t be complete without bands like Motion City Soundtrack, Gym Class Heroes, and Cartel, who each helped build the genre’s wave into a tsunami in the early-aughts. Now, 20 years later, they’re reflecting on the genre’s takeover as they plot just how to keep the spirit alive.

Another Case for Owning Music

Stephanie Vee makes the case for owning your music:

To me, a music streaming subscription only really makes sense if you’re at that impressionable stage of your life where you still live and breathe new music – or if you’re one of those rare people who continue to seek out new music as you age. As for the rest of us? I think we should maybe just own our shit and stop paying tech CEOs to rent it. Chances are, I’ll still be rocking out to Hot Fuss in my retirement home, so why should I rent it from the likes of Daniel Ek for the next four decades (or longer)?

If you’re reading this website there’s probably a good chance you’re in that “rare” camp.

Layoffs at Penske Media Corporation

Rolling Stone

Rolling Stone, Variety, and Billboard have all laid off staff before the holidays:

Penske Media Corporation (PMC) has conducted multiple rounds of layoffs across its music and entertainment outlets in 2025. These cuts have impacted writers at BillboardRolling Stone, and Variety as the corporation faces revenue pressures from Google’s AI summaries.

YouTube Pulls Out of Billboard Charts

YouTube

YouTube has announced it’s pulling its data from Billboard’s charts:

Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported. This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.

Paul Resnikoff, writing for Digital Music News, has the argument for why YouTube should change, not Billboard:

That logic goes something like this: more dedicated, paying fans – and their purchases – are far more valuable to the music industry and its artists, songwriters, publishers, and labels than freebie ad-supported ones. And the charts should reflect that.

The rest is just making up the numbers to fit. Paid stuff feeds the music industry, and accordingly, it weighs more heavily in the rankings. It’s logical enough.

Just one problem: in that framework, YouTube will never be a heavy chart influencer compared to other streaming platforms and formats. The harsh reality is that YouTube Music, once a promising paid platform, never materialized as a serious competitor to Apple Music or Spotify – and with the music subscription market now maturing, it’s unlikely to catch up.

Can Quitting Streaming Music Bring You Closer to It?

Craig Manning recently shared an article from Matt Schimkowitz of the AV Club in the forums discussing how quitting streaming services helped save the author’s relationship with music:

The albums are the same, but on streaming, there’s no friction between acquiring an album and listening to it. Low-effort acquisition led to low-effort consumption, and as soon as I put even the slightest bit of work into it, I found more to love. Reading liner notes, admiring album art, and loading a CD into the $30 burner we bought after canceling all made a bigger impression than replaying the same tired playlists I would turn to when decision paralysis made choice impossible. After all, a smaller collection is more welcoming to the lost art of letting an album grow on you. If I took the time to seek out music, be it at the library, the record store, or on Bandcamp, I would be more likely to connect with it.

As a whole I enjoyed the piece. The underlying idea is a good one: spending more time with music, letting it grow on you, letting it be a part of your life, and not becoming just a passive listener to music are all good ideas. It’s one of the reasons I love spending time with vinyl records. There’s a part of collecting, of the intentionality of the process of buying a record, spending time with it and only it, that really resonates with me. It reminds me of the joy of getting a new album when I was younger and the entire experience.

But I’m not ready to give up my streaming service just yet.

I still like using it for music discovery and it’s still very much how I do the most of my listening. But I still curate my “Apple Music” collection in a similar way as I did my old iPod/iTunes one. Cleaning up metadata. Collecting extra album tracks and b-sides. And being (trying to be) diligent about what I actually add to my collection. I’ve found just trying to be more present with my music has helped. Giving favorite artists the multiple listens they deserve. Spending time with full albums vs playlists or shuffling tracks. This is how I’ve stayed connected with music over the years.

US Administration Threatens Spotify

Stuart Dredge, writing fro Music Ally:

Spotify has been taking heat in recent months for its decision to accept and run recruitment ads for the US Immigration and Customs Enforcement (ICE) agency.

Now, in an unwelcome end-of-year twist for the company, it’s being threatened by the US administration with new “fees or restrictions” on its business. Not because of anything Spotify has done, but because of intensifying tensions between the US and the European Union.

This being 2025 (and this being this US administration) the threat was made in a post on X by the official United States Trade Representative account.

The Weeknd Closes Catalog Partnership

The Weeknd

Variety is reporting The Weeknd has closed a catalog partnership with Lyric said to be valued at one billion dollars:

The rep notes that the joint venture is not a conventional catalog sale: “From the beginning of the meeting, it was clear to all at Lyric that Abel would not sell his catalog. He wanted to be more innovative and creative in the way we established a partnership. To that end, through this venture, we constructed and launched a new business model with Abel and his iconic catalog whereby Abel and his team have the freedom to execute their creative vision with the entirety of his rights, both publishing and masters. This unique catalog deal sets a new standard for artist equity and control.”

Imogen Heap’s Auracles Signs SoundCloud Partnership Deal

Imogen Heap

 Dylan Smith, writing for Digital Music News:

The involved companies just recently confirmed their deal in a formal release, after SoundCloud head Eliah Seton and Heap discussed the integration during last month’s Web Summit event. Coinciding with the official disclosure, the November sit down’s audio has become available on SoundCloud.

Billed as a “comprehensive and forward-thinking suite of tools,” Auracles is said to afford artists one-stop control over metadata, stems, press materials, contact info, and a whole lot else via its “sovereign digital ID.”