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Summer can be unpredictable, especially when it comes to your hair. The heat and humidity can transform your hair from straight to frizzy, but a good blow dryer can save the day, especially in an unexpected hair emergency.

When it comes to the best hair dryers, we like Dyson’s Supersonic Nural, which the brand says is it’s “most intelligent” hair dryer yet. Released in 2024, the 10-inch hair dryer is still one of our daily go-tos, thanks to features like sensor technology that reduces heat damage and a slew of “new and improved” attachments, including a gentle air attachment, styling concentrator, wave and curl diffuser, wide tooth comb and flyaway attachment. Don’t just take our word for it: Beyonce has been seen using the Dyson Nural too.

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What you’ll like this: the Dyson hair dryer is equipped with sensors that automatically reduce heat as the Nural gets close to your head, and a scalp protection mode automatically reduces the heat to 131-degrees, an “optimum temperature for scalp comfort and drying speed,” per Dyson.

Depending on how close it is to your hair, the Nural’s LED lights will adjust from yellow (low heat) to orange (medium heat) or red (high heat) when in Scalp Protect mode.

I tested the Dyson’s Supersonic Nural hair dryer during a trip overseas, and it came in handy when my flat iron failed the vibe check. It’s surprisingly lightweight, not too bulky or loud, and works rather quickly. My hair was silky smooth and felt healthier — not fried.

Another bonus: the Nural is smooth to the touch and has a motion sensor that turns the blow dryer off when you put it down. Plus, it’s compact enough to throw in your luggage and take on summer vacation.

The Dyson Nural Supersonic hair dryer is available in multiple colors online at Amazon but the “amber silk” colorway is the one with the current $100 discount. Don’t wait long though as Amazon pricing could change at any time, so we recommend adding this Dyson to cart while the sale is still live. See more details here.

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This set comes with the lightweight handheld hair dryer, plus interchangeable diffuser and nozzle attachments. More than 73% of shoppers give this Dyson alternative a full five-star rating.

Kid Cudi has long been open about his mental health struggles, and being open about his battles over the years helped a generation of millennial hip-hop fans along the way.

With all of the experience he’s gained along his journey, Cudi is joining the movement We Are Enough as a founding partner, the organization announced Thursday (May 28), in the midst of Mental Health Awareness Month. We Are Enough is an initiative launched to remove the stigma surrounding mental health and benefit those struggling.

“Been open about my struggles for years — I know what it’s like to be in that dark place,” said
Kid Cudi in a statement. “That’s why I’m excited to be a founding member of We Are Enough — a reminder that we already enough, just as we are. 100 percent of proceeds go straight to nonprofits doing the real work on the ground for mental health.”

To kick off the partnership, everyone in attendance of Cudi’s NYC show of his Rebel Ragers Tour at Madison Square Garden on Saturday night (May 30) will receive a We Are Enough bracelet.

We Are Enough was founded by entrepreneur Blake Mycoskie, who faced his own mental health struggles while battling depression, which led him to creating the initiative. Mycoskie is best known for building TOMS into a global footwear brand.

According to the organization’s website, We Are Enough’s mission is to “spread reminders in every form — bracelets, messages, actions, community — until feeling ENOUGH becomes the cultural default.” The organization will donate 100 percent of profits toward benefiting mental health initiatives.

The “Pursuit of Happiness” rapper’s Rebel Ragers Tour started in April and comes to MSG on Saturday, before heading to Camden, N.J.; Hartford, Conn.; Mansfield, Mass., and Bangor, Maine, to kick off the first week of June.

Young MC is the latest artist to walk away from the lineup of the Great American State Fair, the event celebrating America’s 250th anniversary.

The “Bust a Move” rapper was initially announced to the bill, alongside the likes of Martina McBride, Flo Rida, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores, and others, all of them participating in the 16-day “national exposition” kicking off June 25 and wrapping up July 10, with musical performances every Thursday, Friday and Saturday night.

In a social post, Young MC confirms he is out. “I HAVE INFORMED MY AGENTS THAT I WILL NOT BE PERFORMING AT THE FREEDOM 250 EVENT,” he writes. “The artists were never told about any political involvement with the event. And despite the claims by the organizers that the event is non-partisan, SPIN magazine describes it as Trump-backed. I hope to perform in D.C. in the near future at an event that is not so politically charged.”

A description on the Freedom 250 website downplays the political angle of the 250^th anniversary event. “The celebration will unite and showcase all 56 U.S. states and territories in a single World’s Fair-scale event,” reads the blurb. “This is an opportunity for visitors from across America to experience an unforgettable celebration of the people and traditions that define our nation.”

Also featuring carnival rides and stations showcasing the cultures of all 56 American states and territories, the festival will mark the finale of President Donald Trump’s year-long Great American State Fair, which also involves activations in state fairs across the country. The twice-impeached president first previewed plans for the celebrations in July last year, with the White House promising at the time that the administration would “throw the greatest birthday party in American history.”

Young MC joins Morris Day & The Time, which separately left the line-up with the message: “Contrary To Rumor, Morris Day & The Time Will Not Be Performing At The ‘GREAT AMERICAN STATE FAIR.’” A caption for the post adds “It’s a no for me,” with a smiley-face emoji wearing sunglasses.

Born in London, England, to Jamaican immigrant parents, and raised in New York city, the 59-year-old Young MC (real name: Marvin Young) was one of hip-hop’s earliest hitmakers on the Billboard charts, and enjoyed several top 10 hits on the Billboard Hot 100.

As a songwriter, he’s credited with two 1989 smashes for Tone-Loc that enjoyed crossovers, not just in the U.S. music scene but on charts and airwaves around the globe. “Wild Thing” went to No. 2 on the Billboard Hot 100 – at the time, the genre’s highest peaking hit on the flagship chart – while “Funky Cold Medina” nearly duplicated the feat, reaching a No. 3 best. In the same year, he nabbed another classic, this time as a solo artist with “Bust a Move,” which blasted to No. 7 on the Hot 100 and won a Grammy Award for best rap performance.

Delta Goodrem one year, Keli Holiday the next?

The Australian singer, songwriter and co-founder of award-winning electronic duo Peking Duk isn’t against the idea of following in Delta’s footsteps and representing Australia at the Eurovision Song Contest.

Holiday (real name: Adam Hyde) stopped by Triple M’s “Mick In The Morning” on Wednesday, May 27 for a chat with co-hosts Mick Molloy, Rosie Walton, and Nick Riewoldt.

While on air, funnyman Molloy pitched the idea of Holiday throwing his hat into the glittery ring that is Eurovision. “I had a fever dream the other day,” Molloy remarked, “you would win us Eurovision.” He continued, “it’s possibly of no interest to you… it’d be incredible. You go there and do that (“Dancing2” dance), and they would lose their minds.”

Holiday was on the same page. “No, I would give it a crack. We could do it,” he enthused.

Goodrem is a hard act to follow. With her performance of “Eclipse” earlier this month at Wiener Stadthalle, Austria, Australia placed fourth overall — the country’s second-highest finish in the contest’s history, behind only Dami Im’s runner-up effort a decade earlier, in 2016. Bulgaria will host Eurovision 2027 after DARA won in Vienna with “Bangaranga.”

Holiday is flying high right now, thanks to his viral hit “Dancing2,” song of the year winner at the 2025 ARIA Awards. Its parent album, Capital Fiction, opened at No. 3 on the all-genres ARIA Albums Chart in February, and topped the national Australian albums tally. The Canberra-based artist supported the record with a national tour in March that went deep into regional Australia, and headed abroad with his first-ever run of dates in North America.

That’s where Holiday was, briefly, grounded.

As previously reported, Holiday says he was denied re-entry into the United States during that trek, forcing him to cancel a planned New York City performance and return home early. “Unfortunately I’m not going to make it to tonight’s show at Baby’s All Right in NYC,” Holiday wrote on Instagram in March. “I have spent all day detained at the Canadian border and denied entry back into the U.S. despite having the proper visa documentation in place.”

Speaking this week on breakfast radio, Holiday said he can’t wait to get back. “I was meant to go to Ol’ Mates [a pub connected to Aussie comedians Hamish Blake and Andy Lee], I was going to do a surprise set there and have a bunch of fun with a bunch of people,” he remarked. “I’m not at liberty to discuss such matters fully at this time… (laughs)… but what I will say, is that I love the United States. I’m gutted I couldn’t do the New York City show, and I hope to get back there soon because there is a lot of people wanting a Keli Holliday show, but I want to bring it to them, so we’ll see.”

The Keli Holiday experience continues with tour dates Down Under, followed by shows in the United Kingdom and Europe through June.

Stream the “Mick In The Morning” interview below.

An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.

In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.

“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.

The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.

The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.

According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.

Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.

“To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”

The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. The Worrell estate’s lead lawyer, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”

“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch, who argued the appeal. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”

Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”

Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only “a tiny fraction of the decades-long body of work George Clinton created and led.”

“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”

Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.

The Australian Recording Industry Association’s special 40^th anniversary Hall of Fame event has a special broadcast home.

Presented Thursday, June 11 in Sydney, the special standalone event will air nationally on the Australian Broadcasting Corporation at 9.15pm AEST (5.15am ET), in what the trade body describes as an “historic first.” The show will then beam out Saturday, June 13 on the free-to-air television channel and digital live stream ABC Entertains and via the public broadcaster’s on-demand iView platform. Separately, show highlights and red carpet moments will be available across ARIA and ABC social channels.

As previously reported, the 2026 edition will break from tradition and induct six acts in total: Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, The Living End and Vika & Linda. 

ARIA has inducted artists into its Hall since 1988. That first class featured Dame Joan Sutherland, Johnny O’Keefe, Slim Dusty, Col Joye, Vanda & Young and AC/DC. In 2005, the trade body created a standalone ceremony ARIA Icons: Hall of Fame, when multiple acts were elevated. It was televised, it resonated with music fans, but proved short-lived as the industry struggled in a post-digital download landscape.

For 2011, the Hall of Fame induction became a spot within the ARIA Music Awards, with two new inductees. Then, from 2012, just one act has been inducted each year at the ARIAs.

Since that first class, scores of Aussie legends have got the nod, from Cold Chisel, to Kylie Minogue, Yothu Yindi, Kasey Chambers, Olivia Newton John, INXS, Crowded House, Archie Roach, Missy Higgins, Tina Arena, and last year’s inductee, You Am I.

Also announced today, May 27, Kate Ceberano, Spiderbait, The Living End, Vika & Linda, Kate-Miller Heidke, Dan Sultan and Mia Wray will perform career-defining hits at the ceremony, organizers say, while the late Gurrumul will be remembered with “a moving celebration” with family members.

Veteran broadcaster and music champion Myf Warhurst is host of the show, to be presented at Sydney’s Carriageworks on Gadigal land. “To be part of the 40th anniversary ARIA Hall of Fame is incredibly special,” Warhurst comments in a statement.

“These artists have shaped Australian culture, soundtracked generations and influenced how we see ourselves through music,” she continues. “From the power and emotion of Gurrumul, to the energy of Spiderbait and The Living End, and the iconic voices of Kate Ceberano, Jenny Morris and Vika & Linda, this is a line-up that truly reflects the depth and brilliance of Australian music. It’s going to be loud, joyful and full of unforgettable moments – exactly what the Hall of Fame should be.”

The ARIA Hall of Fame Special Event is supported by the NSW Government through Sound NSW, and assisted by the Australian Government through the Office for the Arts and Music Australia.

Meanwhile, the 2026 ARIA Awards in partnership with Spotify be presented Wednesday, Nov. 18 at Sydney’s Hordern Pavilion. The recording industry’s flagship ceremony will stream live on Paramount+ and returns to the free-to-air commercial broadcaster Network 10.

As the title character of The Who’s Tommy in its 2024 Broadway revival, Ali Louis Bourzgui sang the show’s most famous refrain: “See me, feel me, touch me, heal me.” That production ran for a too-short four months, but Bourzgui’s haunting voice and magnetic presence left a lasting impression. And two years later, those words he sang as Tommy encapsulate oddly well the ethos — both spoken and not — of his latest role.

As David — the vampire rock star of The Lost Boys, the new musical based on the ‘80s cult-favorite movie of the same name — Bourzgui has to believably telegraph both seductive danger and deep hurt, while often flying high above the stage (and rocking one of the more memorable wigs ever seen on Broadway). The role was made famous in the film by a young Kiefer Sutherland, but Bourzgui imbues it fully with his own charisma — a performance that earned him a Tony nomination for best featured actor in a musical.

“You get auditions sent to you, and most of them, you’re kind of like, ‘This is cool, I can’t really get a grasp of the vibe of this show, but I’ll audition.’ And every once in a while, something comes through where you just feel it tangibly, even through an email,” Bourzgui recalls of first hearing about The Lost Boys. “I saw this initial packet, and I got so excited — like more excited than I’ve been for an audition maybe ever.” 

Much of that had to do with meeting Tony-winning director Michael Arden and hearing demos by The Rescues, the Los Angeles indie band who wrote music and lyrics for the Lost Boys (“I was like oh, these songs are f—ing cool”). But the character of David himself was, Bourzugui says, “so well-written from the start.” Overall, he was struck by how The Lost Boys, despite its big show intentions (and budget), felt like something more intimate, built from the ground up — a feeling that the production ultimately preserves even in the uniquely cavernous space of Broadway’s Palace Theater. 

With traces of glitter still on his face from the day’s matinee, Bourzgui (who is himself a singer/songwriter) spoke to Billboard from his dressing room before a much-needed physical therapy session about how to play a non-cliché vampire, his rock star inspirations, and embracing his own unique voice. 

Movie-to-musical adaptations are popular these days, but it’s rare that they actually work well — and this is one of those rare ones that feels natural onstage. Did you get that sense from the beginning?

Yeah, and I also don’t think I necessarily would have sprung for it if it felt like a generic movie remake, because that’s not the kind of thing I want to be doing. I’ve always kind of been one of those audience members who’s been a little “harrumph” about everything being a movie musical, everything coming from [pre-existent] IP; I am an absolute supporter of completely original work, so that’s what I usually dive towards. But I could tell that this was that, still, somehow. And it’s only proven to be true, and I think it’s also why people are connected to it. [The creative team] never set out to do a remake. It’s not a jukebox musical; if we just used the movie’s soundtrack — all those songs are great, I listen to that album all the time, but they wouldn’t move the plot forward. We didn’t really do anything that’s like copy-paste; the whole thing is in many ways an original work.

It manages to preserve that scrappy “let’s put on a show together” feeling…

There’s a lot of newbies in the room, and I mean that in a positive way. The Rescues were brand-new to this, and so their music was just a true labor of love — they had no jadedness. Apparently they wrote, like, 50 songs for this thing before we got started! And [book co-writer] Chris Hoch is no stranger to the stage, but [book co-writer] David Hornsby is a TV writer, and so for him coming into the theater world and bringing that sort of TV writing sense did so much for this too. Dean Maupin, our drummer, he’s a model and a musician, and he was like, “I kind of want to get into acting,” and all of a sudden his first thing is this Broadway show! We all feel comfortable in this space, because no one has set up any kind of a thing where people have to feel bad for being new at all. 

You have this really unique voice, and thus far in your career it seems like you’ve had the luck of getting to do these non-traditional musicals — in addition to Tommy, you recently played Orpheus in Hadestown and got to do the new musical We Live in Cairo at New York Theater Workshop, where Rent originated. Before you got to Broadway, did you want a more traditional career — or was it always your aim to do something different?

I’m not unaware of how crazy lucky I am, for, like you said, having done this many cool things in such a short amount of time. I’ve always been drawn to new work, and I also have always written my own music, but I think I did get lucky falling in these rooms that were pushing these boundaries. I also think playing guitar kind of got me in some of these places too. I got to do Hadestown — and in all three of these shows, part of my audition process was being able to play guitar. I’ve always wanted to be a character actor, but that sometimes comes as being a secondary [role], so it’s been nice to play some sort of leading roles where I also get to be a chameleon.

Did elements of playing Orpheus and Tommy prepare you to do David?

With both of those shows, I needed to learn what my voice was, because, like you said, it is a little different. I was hard on myself in college, because I wanted to sound like the people I heard on Broadway who were making it, and that was such a very clean sound, and I always had a bit of a rasp, which now I like because it’s great for rock, but I always had a different timbre and was trying to morph it into something else. [But] the minute I started leaning into it, that’s when I started getting jobs.

Tommy and Orpheus were both huge vocal lifts, so I learned how to work on stamina and how to protect my instrument. In this show I’m singing a lot of rock but also screaming and trying to be scary. I also think it was really nice to play Orpheus before David, because they are so different, but I think what makes David effective is having an Orpheus inside of him, like a Russian doll — like, this sweet little boy who wants to fix the world, but somewhere along the way he got really f—ed up. 

Much has been made of your excellent wig, but I’m equally interested in what it’s like to sing with vampire teeth — I’d imagine it’s a complicated saliva situation? 

The teeth are interesting. It’s actually not that hard at all — they’re like Invisalign, they just click in. It’s a mock of my actual teeth, and then they cut out the back plastic, so I can just have the fangs and sound normal. The saliva thing is an aspect… I’ve been usually okay, but there have been a few times, like right after the first time I wear them, I fly up into the air where I’m singing, and there’s literal drool hanging down. [Laughs]

Movement — the flying of course, but also just how you carry yourself — also feels like a huge aspect of how you’ve built this character…

100%, I wanted to go in and make the vampire of it all not cliché or cheesy. So I thought that it would be effective to really figure out what [David’s] body was like — I think he’s technically over 100 years old, or at least in his late 90s. What would it be like for someone like that to be in the body of a 20-year-old, and when does that wax and wane? A lot of the show, I’m really fast, and I’ll do something kind of athletic, and then there are moments when I think he lets the weight of the world slip in on him, and he kind of remembers everything he’s been through in the past century. The whole rock star thing is a character to him, so that he can disassociate from his truth. I’ve also played with the movement pattern of him being like a snake — this sort of slithery thing. All those little touchstones help me make this a real guy with layers.

Are there particular people who you’re channeling in your portrayal of David too? 

I would say the three main people I’m drawing inspiration from are Tim Curry, David Bowie and Sam Reed, who plays Lestat on the Interview With The Vampire TV show right now. Especially David Bowie in Labyrinth, where it’s a little weird, and you’re like, “What is this guy doing? This is crazy,” but there’s also kind of a connection to gender queerness too.

After seeing you in Tommy, my first thought was actually that you gave me major young Tim Curry vibes! Would you do Frank-N-Furter in Rocky Horror? 

Tim Curry has always been a huge, huge, huge inspiration for me, 100%. I would love to do that part for sure.
 

Taylor Swift’s longtime lawyer argued in court on Wednesday (May 27) that the First Amendment protects The Life of a Showgirl from trademark claims.

Douglas Baldridge appeared in Los Angeles federal court to oppose Las Vegas performer Maren Wade’s injunction bid. Wade, who puts on a cabaret show called “Confessions of a Showgirl,” alleges Swift’s latest No. 1 album infringes her intellectual property and wants to block The Life of a Showgirl merch sales until the litigation is fully resolved.

Judge Serena R. Murillo opened up the hearing by suggesting that her “real concern” in this case is whether The Life of a Showgirl should be shielded from trademark litigation because the album is a piece of art — that is, a so-called expressive work under First Amendment case law. Wade’s attorney, Jaymie Parkkinen, argued on Wednesday that the answer is no because Swift uses the album title not just for music, but also for a massive “branding campaign.”

Baldridge, who has represented Swift for years as both outside counsel at the firm Venable and in-house during her record-breaking Eras Tour, countered that The Life of a Showgirl is a “classic expressive work.” He cited Lady Gaga’s recent court victory in a similar trademark lawsuit over her Mayhem album on artistic expression grounds.

“That’s why the First Amendment applies here, and that’s why they can’t get a preliminary injunction, much less win the case,” Baldridge said.

Wade, born Maren Flagg, has owned the trademark “Confessions of a Showgirl” since 2015 for her touring cabaret show about the escapades of a modern-day Las Vegas performer. Swift’s company TAS Rights Management sought to trademark the phrase “The Life of a Showgirl” upon the album’s announcement in August, but the U.S. Patent and Trademark Office (USPTO) preliminarily denied the application due to a likelihood of confusion with Wade’s existing mark. The trademark request remains pending.

The Life of a Showgirl debuted atop the Billboard 200 in October with a record 4 million units in its first week, and the album went on to reign atop the chart for 12 weeks. Then came the lawsuit: Wade sued Swift in March, claiming the new era “threatened to swallow” her much smaller business.

During Wednesday’s hearing, Parkkinen argued that Wade’s trademark is “being absorbed in real-time.” He said an injunction would make a huge difference for Wade, while any resulting lost profits for Swift or her label partners at Universal Music Group would be nothing more than a “rounding error.”

Meanwhile, Swift’s attorneys have asserted in response to the lawsuit that there are significant differences between “Confessions of a Showgirl” and The Life of a Showgirl. Pointedly, they noted in a May court filing that while Swift plays sold-out stadiums, Wade “performs, if at all, in small intimate venues, such as a 55+ active community.”

Swift’s camp has also criticized Wade for intentionally associating herself with Swift’s brand on Instagram and TikTok, citing more than 40 posts that featured hashtags like #thelifeofashowgirl, #TS12, #taylorswift and #swifties. On Wednesday, Baldridge pointed to one post in which Wade said she was in her “showgirl era.”

“I don’t know if your honor follows Ms. Swift, but ‘era’ is a pretty big word for us,” said Baldridge.

Judge Murillo did not announce any ruling on the injunction motion during the hearing, saying a written decision would come down “shortly.” Swift’s team has also requested separately to dismiss the lawsuit outright, and that motion remains pending.

As any artist knows, it’s a tough task to score a top 10 hit on the Billboard Hot 100. The feat usually requires some blend of the following ingredients: a strong song, a charismatic artist, aggressive promotion efforts, a devoted fan base; and, more recently, a viral live performance, meme or other stroke of luck. And that’s just to do it once. To rise (and stay) at the top of the game, demands a consistency that few artists ever achieve. But when artists lock onto that golden combination, they can accomplish a string of hits in rapid succession.

To celebrate those artists, Billboard compiled a roll call of artists who cemented their pop dominance by landing five or more top 10 hits from a single album. Not only does such a feat rely on the same qualities listed above, but either recreating those moments over an extensive period of months, or in recent years, capitalize on streaming’s reshaping of the industry to stack several top 10s upon a big album’s arrival.

It should come as little surprise, then, that the first album to house five top 10s was Michael Jackson’s Thriller, the best-selling album of all time. At the time, Jackson set the benchmark of seven top 10s from one album – a feat later equaled by Bruce Springsteen’s Born in the USA (1984-85), Janet Jackson’s Rhythm Nation 1814 (1989-91) and Drake’s Scorpion (2018). The record then quickly changed hands multiple times: Drake’s Certified Lover Boy scored nine top 10 successes in 2021, but was soon eclipsed by Taylor Swift’s 2022 album Midnights, which upped the record to 10. Swift repeated the perfect 10 with her 2024 release, The Tortured Poets Department, and 2025’s The Life of a Showgirl, while Drake joined the club with 2026’s ICEMAN.

Check out our rundown of albums that have produced five or more top 10 hits on the Hot 100. Drake owns the most projects on the list, with four different albums – while Janet Jackson, Michael Jackson, Taylor Swift and Morgan Wallen are the only other acts with multiple appearances. The who’s-who covers a cross-section of genres, including pop, rock, R&B and hip-hop and includes superstars such as Bon Jovi, Whitney Houston and Katy Perry.

(Note: This list only covers original editions, though three albums – Usher’s Confessions, Rihanna’s Good Girl Gone Bad and Taylor Swift’s Fearless – would qualify if expanded to deluxe versions and reissues.)