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      The Weeknd Nominated for 2020 Polaris Music Awards

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      The ‘Blinding Lights’ hitmaker, thanks to his latest set ‘After Hours’, is among the long list of the best Canadian album of the year along with forty other artists.
      Jun 17, 2020
      AceShowbiz – The Weeknd and Jessie Reyez have made the long list for the 2020 Polaris Music Prize.
      The annual award celebrates the best Canadian album of the year, with records released between June 1 last year and May 31, 2020 eligible for the 2020 honour.
      The Weeknd’s smash hit “After Hours” earned him his long listing while Jessie’s “Before Love Came to Kill Us” is gaining her recognition.
      Alongside the duo, other artists making the long list include 2008 winners Caribou, Lido Pimienta, Andy Shauf, Kaytranada, Dvsn, Leif Vollebekk, Jacques Greene, Daniel Caesar, Cindy Lee, Men I Trust, and Allie X.
      The 40 albums long listed will be narrowed down to a short list of 10, which will be announced on July 15, with the eventual winners receiving $37,000 in prize money in addition to the award on September 21.
      Past Polaris Music Prize winners include Arcade Fire, Buffy Sainte-Marie, Feist, and last year’s victor, rapper Haviah Mighty, who won for her album 13th Floor.

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      DaBaby's 'Blame It on Baby' Dethrones The Weeknd's 'After Hours' on Billboard 200 Chart

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      This week also sees Fiona Apple making a return to the chart after nearly eight years after her new album ‘Fetch the Bolt Cutters’ opens at No. 4 with 44,000 equivalent album units.
      Apr 27, 2020
      AceShowbiz – Meet the new winner of this week’s Billboard 200 chart! Dethroning The Weeknd’s “After Hours” which has been ruling the chart for a month, DaBaby’s “Blame It on Baby” debuts atop the chart in the week ending April 23. The set has earned 124,000 equivalent album units in the U.S., according to Nielsen Music/MRC Data.
      Of the sum, 110,000 are in SEA units with 12,000 being in album sales. Meanwhile, 3,000 are in the form of TEA units. The set marks the eighth week in a row where an R&B/hip-hop title takes the No. 1 spot, the longest stretch for the genre in over a year.
      Falling one spot is former chart-topper “After Hours” by “The Weeknd”. It tallies 55,000 equivalent album units. Following it up is Lil Uzi Vert’s “Eternal Atake” which is unmoved at No. 3 with 54,000 units.
      This week also sees Fiona Apple returning to the chart after nearly eight years after her new album “Fetch the Bolt Cutters” opens at No. 4 with 44,000 equivalent album units. The new set follows her 2012 album “The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do”, which peaked at No. 3 on the July 7, 2012-dated list.
      Plummeting from No. 4 to No. 5 is Lil Baby “My Turn” that earns 42,000 equivalent album units. Post Malone’s “Hollywood’s Bleeding” is stationary at No. 6 with 37,000 units, while Bad Bunny’s “YHLQMDLG” dips from No. 5 to No. 7 with 36,000 units earned.
      Taking No. 8 is Roddy Ricch’s “Please Excuse Me for Being Antisocial” which falls one spot with 34,000 units. Rounding out the Top 10 in this week’s chart are Rod Wave’s “Pray 4 Love” and Tory Lanez’s “The New Toronto 3”. “Pray 4 Love” is steady at No. 9 with 32,000 unit, while “The New Toronto 3” sees a drastic drop from No. 2 to No. 10 in its second week with 28,000 units.
      Top Ten Billboard 200 (Week ending April 23, 2020):
      “Blame It on Baby” – DaBaby (124,000 units)
      “After Hours” – The Weeknd (55,000 units)
      “Eternal Atake” – Lil Uzi Vert (54,000 units)
      “Fetch the Bolt Cutters” – Fiona Apple (44,000 units)
      “My Turn” – Lil Baby (42,000 units)
      “Hollywood’s Bleeding” – Post Malone (37,000 units)
      “YHLQMDLG” – Bad Bunny (36,000 units)
      “Please Excuse Me for Being Antisocial” – Roddy Ricch (34,000 units)
      “Pray 4 Love” – Rod Wave (32,000 units)
      “The New Toronto 3” – Tory Lanez (28,000 units)

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      The Weeknd Claims Back No. 1 Spot on Billboard Hot 100 With 'Blinding Lights'

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      Drake’s ‘Toosie Slide’, which debuted at number one, slips to the runner-up position while Roddy Ricch’s ‘The Box’ stays put at the third position on the singles chart.
      Apr 21, 2020
      AceShowbiz – The Weeknd has landed another chart double in the U.S. as his hit “Blinding Lights” returns to number one on the Billboard Hot 100.
      He swaps places with Drake, whose “Toosie Slide” debuted at number one last week – ending The Weeknd’s two-week run at the top of the countdown.
      The Canadian singer’s latest album, “After Hours”, scored a fourth week at the top of the Billboard 200 on Sunday, April 19.

      New dad Roddy Ricch’s “The Box” stays put at three, ahead of Dua Lipa’s “Don’t Start Now” and Doja Cat’s “Say So”, which round out the top five.

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      The Weeknd's 'After Hours' Stays Atop Billboard 200 for a Month Straight

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      This week’s chart also sees Tory Lanez’s ‘The New Toronto 3’ rising to No. 2 with 64,000 equivalent album units with The Land’s ‘The New Abnormal’ debuting at No. 8.
      Apr 20, 2020
      AceShowbiz – The Weeknd continues to rule the Billboard 200 chart. The Canadian star’s latest album “After Hours” has made it a full month at No. 1 on the chart after earning additional 75,000 album equivalent units in the U.S. in the week ending April 16, according to Nielsen Music/MRC Media.
      Of the sum, 52,000 are in SEA units which equals to 73.7 million on-demand streams of the set’s tracks. Meanwhile, 20,000 are in album sales and 3,000 are in TEA units. The numbers come after the artist drops more than 100 different bundles via The Weeknd’s website since the album was released.
      This week’s chart also sees Tory Lanez’s “The New Toronto 3” rising to No. 2 with 64,000 equivalent album units. The album marks the musician’s fifth consecutive top five-charting album. Trailing behind is Lil Uzi Vert’s “Eternal Atake” which is still unmoved at No. 3 with 61,000 equivalent album units.
      Joining others in Top 10 is Lil Baby’s former chart-topper “My Turn”. The set holds steady at No. 4 with 44,000 units. Jumping one spot to No. 5 is Bad Bunny’s “YHLQMDLG” with 39,000 equivalent album units as Post Malone’s “Hollywood’s Bleeding” ascends from No. 9 to No. 6 with 36,000 units.
      As for Roddy Ricch’s “Please Excuse Me for Being Antisocial”, it stays at No. 7 with just under 36,000 units. Meanwhile, The Strokes’ “The New Abnormal” debuts at No. 8 with 35,000 equivalent album units. Of that number, 23,000 come in album sales while 11,000 are in SEA units with less than 1,000 being in TEA units.
      Rod Wave’s ” Pray 4 Love” plummets from No. 2 to No. 9 after earning 34,000 equivalent album units. Rounding out the Top 10 this week is Dua Lipa’s “Future Nostalgia” with 30,000 units.
      Top Ten Billboard 200 (Week ending April 16, 2020):
      “After Hours” – The Weeknd (75,000 units)
      “The New Toronto 3” – Tory Lanez (64,000 units)
      “Eternal Atake” – Lil Uzi Vert (61,000 units)
      “My Turn” – Lil Baby (44,000 units)
      “YHLQMDLG” – Bad Bunny (39,000 units)
      “Hollywood’s Bleeding” – Post Malone (36,000 units)
      “Please Excuse Me for Being Antisocial” – Roddy Ricch (just under 36,000 units)
      “The New Abnormal” – The Strokes (35,000 units)
      “Pray 4 Love” – Rod Wave (34,000 units)
      “Future Nostalgia” – Dua Lipa (30,000 units)

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      The Weeknd Tops U.K. Singles Chart With 'Blinding Lights' for Eighth Week

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      The Weeknd dominates the single chart in the United Kingdom with his latest hit single while his new album ‘After Hours’ rounds up the top 5 in the Albums chart.
      Apr 19, 2020
      AceShowbiz – The Weeknd’s huge hit “Blinding Lights” is at the summit of the U.K. singles chart for an eighth week after topping Friday’s April 17, 2020 Official Charts Company rundown.
      The track, which is the biggest selling of 2020 in Britain and has had three separate spells at number one, saw off competition from Saint Jhn’s “Roses”, which climbs to number two.
      Dropping one place to three is Drake’s “Toosie Slide”, while Dua Lipa has two tracks, “Physical” and “Don’t Start Now”, in the fourth and fifth spots respectively.
      She’s also at the top of the albums chart for a second week, with her sophomore record “Future Nostalgia” still at number one, ahead of Lewis Capaldi’s “Divinely Uninspired to a Hellish Extent”, which is at two almost a year after its original release.
      Indie rockers The Strokes’ sixth studio album “The New Abnormal” is this week’s highest new entry at three, with Tory Lanez’s “The New Toronto 3” at four, and The Weeknd’s “After Hours” completing the top five.

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      The Weeknd Spends Third Week at No. 1 on Billboard 200 Chart With 'After Hours'

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      Singer-rapper Rod Waves, meanwhile, comes in at No. 2 with his second album ‘Pray 4 Love’ that marks the most streamed album of the week with 69,000 SEA units out of 72,000 equivalent album units.
      Apr 13, 2020
      AceShowbiz – The Weeknd enjoys his third week at No. 1 on Billboard 200 chart with his new album “After Hours”. The chart-topper set marks the first album to lead for three consecutive weeks since Post Malone’s “Hollywood’s Bleeding” after collecting 90,000 equivalent album units.
      Of that sum, 23,000 comes from traditional album sales with 64,000 being in SEA units. The number is the lowest sum for No. 1 since Harry Styles’ “Fine Line”, which landed atop the Billboard 200 in its second week in early January with 89,000 units.
      Singer-rapper Rod Wave comes in at No. 2 with his second album “Pray 4 Love”. The set earns 72,000 equivalent album units with 69,000 being in SEA unit, making it the most streamed album of the week. Trailing behind at No. 3 is Lil Uzi Vert’s “Eternal Atake” that gains 69,000 album equivalent units.
      Lil Baby’s “My Turn” rises two spots to No. 4 with 48,000 units. Meanwhile, Sam Hunt’s “Southside” jumps in at No. 5 with 46,000 equivalent album units. Of the number, 28,000 is in SEA units, making it the third-largest streaming week ever for a country album and the second top 10 album for Sam.
      Also ascending this week is Bad Bunny’s “YHLQMDLG”, which rises from No. 7 to No. 6 with 43,000 units. Following it up are Roddy Ricch’s “Please Excuse Me for Being Antisocial” and Dua Lipa’s “Future Nostalgia”. Roddy Richh rebounds from No.9 to No. 7 with 38,000 units, while Dua’s new album slips four spots to No. 8 with nearly 38,000 units.
      Post Malone’s “Hollywood’s Bleeding”, which was at No. 11 last week, makes a return to the Top 10 after earning 37,000 album equivalent units. Rounding out the Top 10 this week is Jhene Aiko’s “Chilombo” which also makes a pleasant bumping 12-10 with 27,000 units.
      Top Ten Billboard 200 (Week ending April 9, 2020):
      “After Hours” – The Weeknd (90,000 units)
      “Pray 4 Love” – Rod Wave (72,000 units)
      “Eternal Atake” – Lil Uzi Vert (69,000 units)
      “My Turn” – Lil Baby (48,000 units)
      “Southside” – Sam Hunt (46,000 units)
      “YHLQMDLG” – Bad Bunny (43,000 units)
      “Please Excuse Me for Being Antisocial” – Roddy Ricch (38,000 units)
      “Future Nostalgia” – Dua Lipa (nearly 38,000 units)
      “Hollywood’s Bleeding” – Post Malone (37,000 units)
      “Chilombo” – Jhene Aiko (27,000 units)

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      The Weeknd Claims to Be Owing His Early Success to Ariana Grande

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      The ‘Starboy’ hitmaker, who teamed up with the ‘7 Rings’ singer for the 2014 hit ‘Love Me Harder’, opens up about how he got in touch with super producer Max Martin.
      Apr 9, 2020
      AceShowbiz – The Weeknd owes his early career success to Ariana Grande after his collaboration with the pop star led him to super producer Max Martin.
      The “Starboy” hitmaker teamed up with Ariana for the 2014 hit “Love Me Harder”, which was produced by record-breaking hitmaker Martin, and he now reveals that meeting him led to the creation of his breakout tracks “In the Night”, “Can’t Feel My Face” and the songs on his triple platinum release, “Starboy”.
      “Ariana was kinda my foot in the door with Max, my chance to show him ‘I can play this game,’ y’know?” The Weeknd tells Variety. “But when we got in the room together, we didn’t really connect as much. Then someone invited him to a show I did at the Hollywood Bowl, and he saw 15,000 people singing along, and I think he was like, ‘OK, there’s something I’m not getting.’ ”
      He adds, “So we sat down again, and the first song we created was ‘In the Night’.”

      The singer dropped his fourth album, “After Hours”, last month.

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      The Weeknd Credits Himself for Inspiring Usher to Use His Music Style in 2012 Hit 'Climax'

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      Though initially angry that the ‘My Boo’ singer copied his signature alternative RnB style, the ‘Blinding Lights’ hitmaker now admits that he found the move ‘very flattering.’
      Apr 9, 2020
      AceShowbiz – The Weeknd believed he played a part in the success of Usher’s hit single “Climax”. Eight years after the 2012 song from the “My Boo” singer’s “Looking 4 Myself” album topped the R&B chart, the “Blinding Lights” hitmaker came forward to claim that his fellow musician was inspired by his signature music style.
      In the latest cover story for Variety, the 30-year-old Canadian singer expressed his belief that his 2011 debut remix “House of Balloons” was used by the 41-year-old musician for his 2012 single. ” ‘House of Balloons’ literally changed the sound of pop music before my eyes,” he said. “I heard ‘Climax’, that [2012] Usher song, and was like, ‘Holy f**k, that’s a Weeknd song.’ ”
      The “Starboy” singer, whose real name is Abel Makkonen Tesfaye, admitted that hearing his signature alternative R&B style in the “Yeah!” hitmaker’s music initially made him mad. “It was very flattering, and I knew I was doing something right, but I also got angry,” he gushed. “But the older I got, I realized it’s a good thing.”
      During the interview, the ex-boyfriend of Bella Hadid also discussed the release of his latest album “After Hours”. While many artists postponed their albums because of the crisis caused by the coronavirus pandemic, he pressed on with his plan due to his devotees. “Fans had been waiting for the album, and I felt like I had to deliver it,” he claimed.
      “The commercial success is a blessing, especially because the odds were against me: [Music] streaming is down 10%, stores are closed, people can’t go to concerts, but I didn’t care. I knew how important it was to my fans.”
      The album itself was inspired by The Weeknd’s own story. One particular track, “Snowchild”, spoke about the dark time when he was abusing drugs. “It was tough growing up where I was from,” he noted. “I got into a lot of trouble, got kicked out of school, moved to different schools and finally dropped out.”
      “I really thought film was gonna be my way out, but I couldn’t really make a movie to feel better, you know? Music was very direct therapy; it was immediate and people liked it. It definitely saved my life,” he confided.

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