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Bad Bunny stellt den weltweiten Zuschauerrekord für die meistgesehene Apple Music Super Bowl Halftime Show aller Zeiten auf und erreicht 4,157 Milliarden Zuschauer 

Eric Alper
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Bad Bunny stellt den weltweiten Zuschauerrekord für die meistgesehene Apple Music Super Bowl Halftime Show aller Zeiten auf und erreicht 4,157 Milliarden Zuschauer 

Heute gaben Apple Music, die NFL und Roc Nation bekannt, dass der Auftritt von Bad Bunny in der Apple Music Super Bowl LX Halftime Show mit 4,157 Milliarden Aufrufen innerhalb von 24 Stunden auf der ganzen Welt, auf YouTube und auf sozialen Plattformen die weltweiten Zuschauerzahlen sprengen wird.

Von der rekordverdächtigen Nutzung in den sozialen Netzwerken bis hin zur beispiellosen globalen Streaming- und Chart-Dominanz – Bad Bunnys Apple Music Super Bowl LX Halftime Show ist ein entscheidender Meilenstein – nicht nur für die NFL und Apple Music, sondern für die globale Musikkultur im Allgemeinen.

Auf Apple Music löste der Auftritt eine der größten kulturellen Echtzeit-Diskussionen in der Geschichte der Plattform aus. Der kulturelle Einfluss schlug sich sofort in der Dominanz des Streaming nieder. Unmittelbar nach der Halftime Show stiegen die Hörerzahlen von Bad Bunny auf Apple Music 7x, wobei „DtMF”, „BAILE INoLVIDABLE” und „Tití Me Preguntó” die meistgestreamten Titel waren.

Allein durch X wurde der Halftime-Moment erzeugt:

  • 2 Milliarden Eindrücke
  • 209 Millionen Videoaufrufe
  • 6+ Millionen Beiträge zum Thema Bad Bunny
  • +409 % mehr als im Vorjahr an Beiträgen während der Halbzeitshow

Nach seiner Pressekonferenz am 5. Februar – die eine rekordverdächtige Anzahl von 68 Millionen Zuschauern erreichte – und während des Super Bowl-Wochenendes stiegen die Aufrufe von Bad Bunny um das Vierfache im Vergleich zu seinen durchschnittlichen Aufrufen im Januar. Zu den Top-Songs nach Gesamtzugriffen auf Apple Music gehören „DtMF”, „BAILE INoLVIDABLE” und „NUEVAYoL”. In dieser Zeit verzeichnete „DtMF” einen 7-fachen Anstieg der Aufrufe auf Apple Music.

In den Stunden nach seinem Auftritt wurde die Apple Music Super Bowl LX Halftime Show Set List Playlist zur meistgespielten Set List auf Apple Music.

Nach seinem Halftime-Auftritt belegte Bad Bunny mit einer Platzierung von fast einem Viertel der Daily Top 100 Global Charts von Apple Music:

  • 24 Songs in den Top 100
  • 9 Songs in den Top 25
  • 6 Songs in den Top 10

„DtMF” beansprucht die weltweite Position #1. Sechs Songs stiegen zum ersten Mal seit mindestens Februar 2025 wieder in die Charts ein, während sein globaler Hit mit Cardi B, „I Like It”, zum ersten Mal seit Januar 2020 wieder in die Charts einstieg.

Am 9. Februar landeteDeBÍ TiRAR MáS FOToS in den Albumcharts von 155 Ländern, erreichte die Top 10 in 128 und belegte die Nummer 1 in 46, darunter Mexiko, Kolumbien, Chile, Brasilien, Deutschland, Frankreich und Spanien.

Auf allen NFL-eigenen Plattformen – einschließlich @NFL und NFL International – haben die Fans mehr als 1.275 Jahre langHalftime-Inhalte (Performance und Begleitmaterial zusammengenommen) angesehen. Dazu gehören:

  • 456 Jahre der Uhrzeit auf Facebook, Instagram und TikTok
  • 822 Jahre an Zeit auf YouTube

Bad Bunny établit un record mondial d’audience sur pour la performance la plus regardée du Super Bowl Halftime Show d’Apple Music, atteignant 4,157 milliards de vues.

Eric Alper
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Bad Bunny établit un record mondial d’audience sur pour la performance la plus regardée du Super Bowl Halftime Show d’Apple Music, atteignant 4,157 milliards de vues.

Aujourd’hui, Apple Music, la NFL et Roc Nation ont annoncé que la performance de Bad Bunny lors du spectacle de mi-temps du Super Bowl LX sur Apple Music a pulvérisé l’audience mondiale, attirant 4,157 milliards de vues en 24 heures à travers la diffusion mondiale, YouTube et les plates-formes sociales.

De la consommation sociale record au streaming mondial sans précédent en passant par la domination des classements, le spectacle de mi-temps du Super Bowl LX d’Apple Music de Bad Bunny est une étape décisive, non seulement pour la NFL et Apple Music, mais aussi pour la culture musicale mondiale dans son ensemble.

Sur Apple Music, la performance a déclenché l’une des plus grandes conversations culturelles en temps réel de l’histoire de la plateforme. L’impact culturel s’est traduit instantanément par une domination du streaming. Immédiatement après le Halftime Show, les écoutes de Bad Bunny sur Apple Music ont bondi de 7x, avec « DtMF », « BAILE INoLVIDABLE » et « Tití Me Preguntó » émergeant comme les titres les plus streamés.

Rien que pour le X, le moment de la mi-temps a été généré :

  • 2 milliards d’impressions
  • 209 millions de vidéos vues
  • Plus de 6 millions de messages liés à Bad Bunny
  • Une augmentation de +409% d’une année sur l’autre dans les posts pendant le Halftime Show

Après sa conférence de presse du 5 février – qui a attiré un nombre record de 68 millions de téléspectateurs – et pendant le week-end du Super Bowl, le nombre d’écoutes de Bad Bunny sur a augmenté de 4 fois par rapport au nombre moyen d’écoutes en janvier. Les chansons les plus écoutées sur Apple Music sont « DtMF », « BAILE INoLVIDABLE » et « NUEVAYoL ». Au cours de cette période, « DtMF » a vu son nombre d’écoutes multiplié par 7 sur Apple Music.

Dans les heures qui ont suivi sa prestation, la liste de lecture Apple Music Super Bowl LX Halftime Show Set List est devenue la liste de lecture la plus lue sur Apple Music.

Après son apparition à la mi-temps, Bad Bunny a occupé près d’un quart du classement Daily Top 100 Global d’Apple Music, en se plaçant :

  • 24 chansons dans le Top 100
  • 9 chansons dans le Top 25
  • 6 chansons dans le Top 10

« DtMF » a revendiqué la position #1 global. Six chansons ont réintégré le classement pour la première fois depuis au moins février 2025, tandis que son succès mondial avec Cardi B, « I Like It », est revenu dans le classement pour la première fois depuis janvier 2020.

Le 9 février, DeBÍ TiRAR MáS FOToS est entré dans le classement des albums dans 155 pays, a atteint le Top 10 dans 128, et s’est emparé de la place #1 dans 46, dont le Mexique, la Colombie, le Chili, le Brésil, l’Allemagne, la France et l’Espagne.

Sur les plateformes appartenant à la NFL – y compris @NFL et NFL International – les fans ont passé plus de 1 275 ansà regarder le contenu de la mi-temps (spectacle et matériel d’accompagnement confondus). Il s’agit notamment de

  • 456 ans de temps de montre sur Facebook, Instagram et TikTok
  • 822 ans de temps de montre sur YouTube

Bad Bunny’s Super Bowl LX Halftime Show Draws 4.157 Billion Views in 24 Hours, Shattering Every Record in Sight

Eric Alper
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Bad Bunny’s Super Bowl LX Halftime Show Draws 4.157 Billion Views in 24 Hours, Shattering Every Record in Sight

Today, Apple Music, the NFL and Roc Nation announced Bad Bunny’s Apple Music Super Bowl LX Halftime Show performance shattered global viewership, drawing 4.157 billion views in 24 hours across global broadcast, YouTube, and social platforms.

From record-breaking social consumption to unprecedented global streaming and chart dominance, Bad Bunny’s Apple Music Super Bowl LX Halftime Show stands as a defining milestone — not just for the NFL and Apple Music, but for global music culture at large.

On Apple Music, the performance sparked one of the largest real-time cultural conversations in platform history. The cultural impact translated instantly to streaming dominance. Immediately following the Halftime Show, Bad Bunny’s listens on Apple Music surged 7x, with “DtMF,” “BAILE INoLVIDABLE,” and “Tití Me Preguntó” emerging as the most streamed tracks.

On X alone, the Halftime moment generated:

  • 2 billion impressions
  • 209 million video views
  • 6+ million Bad Bunny-related posts
  • A +409% year-over-year increase in posts during the Halftime Show

After his press conference on February 5 – which amassed a record breaking 68 million views- and across the Super Bowl weekend, Bad Bunny’s plays increased 4x compared to his average plays in January. Top songs by total plays on Apple Music include “DtMF,” “BAILE INoLVIDABLE,” and “NUEVAYoL.” In this time, “DtMF” saw a 7x surge in plays on Apple Music.

In the hours following his performance, the Apple Music Super Bowl LX Halftime Show Set List playlist became the most-played Set List on Apple Music.

Following his Halftime appearance, Bad Bunny occupied nearly a quarter of Apple Music’s Daily Top 100 Global chart, placing:

  • 24 songs in the Top 100
  • 9 songs in the Top 25
  • 6 songs in the Top 10

“DtMF” claimed the  #1 global position. Six songs re-entered the chart for the first time since at least February 2025, while his global smash with Cardi B, “I Like It,” returned to the chart for the first time since January 2020.

On February 9, DeBÍ TiRAR MáS FOToS  landed on album charts in 155 countries, reached the Top 10 in 128, and claimed the #1 spot in 46, including Mexico, Colombia, Chile, Brazil, Germany, France, and Spain.

Across NFL-owned platforms — including @NFL and NFL International — fans have spent more than 1,275 years watching Halftime content (performance and supporting materials combined). That includes:

  • 456 years of watch time across Facebook, Instagram, and TikTok
  • 822 years of watch time on YouTube

Detroit Poet M.L. Liebler Traces a Life Lived Fully Through Music in Memoir ‘Hound Dog’

Eric Alper
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Detroit Poet M.L. Liebler Traces a Life Lived Fully Through Music in Memoir ‘Hound Dog’

‘Hound Dog: A Poet’s Memoir of Rock, Revolution, and Redemption’ is out March 10, a heartfelt and wide-ranging memoir from award-winning Detroit poet M.L. Liebler, with contributions from Ed Sanders. Moving through fifty-plus years of artistic life with Elvis, Bob Dylan, Robbie Robertson, Hüsker Dü, and Eminem as guideposts, Liebler uses music to chart a life defined by creative conviction, deep personal faith, and an unwavering commitment to championing artistic expression in all its forms.

Hip-Hop Pioneer and Cultural Architect Fab 5 Freddy Tells His Extraordinary Story in ‘Everybody’s Fly’

Eric Alper
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Hip-Hop Pioneer and Cultural Architect Fab 5 Freddy Tells His Extraordinary Story in ‘Everybody’s Fly’

Fab 5 Freddy’s memoir ‘Everybody’s Fly: A Life of Art, Music, and Changing the Culture,’ written with Mark Rozzo, is out March 10 via Penguin Random House. It is the story of one of the most genuinely consequential creative figures of the last half century, told by the man himself. The New Yorker called him “the coolest person in New York.” The resume backs it up completely.

Fred Brathwaite was among the first graffiti artists to move subway tags into fine art galleries. He was the visionary behind Wild Style, the first hip-hop film. He was the bridge between Jean-Michel Basquiat and the downtown new wave scene. He was the first person to take rap global on MTV as the original host of Yo! MTV Raps. And he is literally in the opening lines of Blondie’s Number 1 hit “Rapture,” the song that carried hip-hop from New York streets into mainstream culture worldwide.

‘Everybody’s Fly’ moves from a book-and-jazz-filled Brooklyn childhood through the creative explosions of New York in the 1970s, 80s, and 90s. His circle included Basquiat, Keith Haring, Grandmaster Flash, Andy Warhol, and The Clash. He directed music videos for Snoop Dogg, Nas, and Queen Latifah. He painted subway cars that became moving masterpieces and brought hip-hop into downtown clubs for the first time. At every inflection point in the culture, Brathwaite was not just present, he was pushing.

This is a memoir that doubles as a panoramic cultural history of one of the most creatively fertile periods in American urban life. Fast-moving, deeply personal, and compulsively readable, ‘Everybody’s Fly’ is essential reading for anyone serious about understanding where hip-hop, street art, and downtown New York culture came from and how they took over the world.

Seattle Indie Rockers SHe Said Deliver an Intimate and Electrifying Live Set for KEXP

Eric Alper
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Seattle Indie Rockers SHe Said Deliver an Intimate and Electrifying Live Set for KEXP

KEXP has released the full studio performance from SHe Said, hosted by Cheryl Waters. The four-song set moves through “Like Lions,” “Over The Marionette,” “The Reins,” and “The Real Thing,” giving the six-piece band room to stretch out and demonstrate exactly why they are worth paying close attention to. Fronted by Jen Ayers on lead vocals and electric piano, with Kathy Moore and R L Heyer on guitars, Richard Davidson on bass, Geoff Reading on drums, and Melissa Montalto on keyboards, SHe Said fills the KEXP studio with a sound that is layered, dynamic, and completely alive.

Danish Jazz-Techno Trio Smag På Dig Selv Delivers Their Most Focused and Fearless Album Yet With ‘This Is Why We Lost’

Eric Alper
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Danish Jazz-Techno Trio Smag På Dig Selv Delivers Their Most Focused and Fearless Album Yet With ‘This Is Why We Lost’

Smag På Dig Selv have released ‘This Is Why We Lost,’ their highly anticipated second album, out now via Stunt Records. The Danish trio, comprised of saxophonists Oliver Lauridsen and Thorbjørn Øllgaard alongside drummer Albert Holberg, have built one of the most genuinely singular sounds in contemporary music, blending acoustic instrumentation with techno structures, punk energy, and deep references to 90s dance culture. This album is their most confident and focused statement yet.

The core ambition was to create music that functions inside a trance or club setting while carrying a strong melodic and narrative arc. It works completely. Clash Magazine awarded it a 9/10, calling it impossible not to be physically moved by, while Notion described it as balancing “hypnotic, trance-ready propulsion with melodic vulnerability.” Produced by TMI Tammi, the album features the band’s mothers, a nod to minimalist composer Kali Malone, and a Palestinian folk song, different voices finding space together without losing the thread.

Recent singles include the Radio X-championed “Like A Word I Never Knew,” the Dutch Gabber-inspired “Vik’s Rawcore” featuring vibraphonist Viktoria Søndergaard, and the acoustic techno of “Let’s Go!” The album also carries a direct political dimension, confronting the global rise of right-wing politics with the kind of self-examination that goes beyond easy criticism. “As much as the left wing is good at criticizing the right wing, we should also look inwards,” the band explains.

Since forming in 2018, SPDS have performed at major European festivals, SummerStage in Central Park, SXSW, The Great Escape, and Eurosonic. The international touring reputation they have built is formidable, and ‘This Is Why We Lost’ arrives as the record that fully justifies it.

An extensive international tour runs through spring 2026, with dates across Scandinavia, Eastern Europe, the UK, and beyond.

2026 Tour Dates:

April 15 – Pustervik – Göteborg, SE

April 16 – Blaa – Oslo, NO

April 17 – Debaser – Stockholm, SE

April 18 – Plan B – Malmø, SE

April 22 – Lark – Berlin, DE

April 25 – Atelier Café – Cluj, RO

April 26 – Control Club – Bucharest, RO

April 29 – A38 – Budapest, HU

May 6 – Gazarte Ground Stage – Athens, GR

May 7 – Soul Skg – Thessaloniki, GR

May 16 – Rough Trade – London, UK

May 20 – Hug and Pint – Glasgow, UK

May 21 – Voodoo Daddy’s – Norwich, UK

May 22 – Shindig – Charlton Park, UK

May 23 – Bearded Theory – UK

Harry Styles Brings ‘Kiss All the Time. Disco, Occasionally’ to Netflix in a Stunning One-Night Manchester Concert Film

Eric Alper
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Harry Styles Brings ‘Kiss All the Time. Disco, Occasionally’ to Netflix in a Stunning One-Night Manchester Concert Film

Harry Styles’ One Night in Manchester is now streaming globally on Netflix, capturing the full live performance of his fourth studio album ‘Kiss All the Time. Disco, Occasionally’ filmed at Co-op Live Arena in front of 20,500 fans on the day of the album’s release. Every track from the record is performed in sequence, making this a complete album experience delivered at full concert scale.

The setlist closes with five songs that cement exactly why Styles commands rooms this size. “Golden,” “Watermelon Sugar,” “As It Was,” and “Sign of the Times” close the main set before “Aperture” returns for a second performance as the final note of the night. It is a generous, considered send-off from an artist who clearly understands how to leave an audience.

The one-night-only release show is a tradition Styles has honored for each of his albums, and this Manchester performance is the most ambitious installment yet. It also precedes Together, Together, his record-breaking global residency across seven cities and 67 shows worldwide in 2026, making One Night in Manchester both a celebration of the new album and a preview of what that touring run will deliver at scale.

The film is available now on Netflix for anyone who wants to watch a complete, fully realized concert performance of one of 2026’s most anticipated pop releases.

Setlist:

  1. Aperture
  2. American Girls
  3. Ready, Steady, Go!
  4. Are You Listening Yet?
  5. Taste Back
  6. The Waiting Game
  7. Season 2 Weight Loss
  8. Coming Up Roses
  9. Pop
  10. Dance No More
  11. Paint By Numbers
  12. Carla’s Song

Encore:

  1. From the Dining Table
  2. Golden
  3. Watermelon Sugar
  4. As It Was
  5. Sign of the Times
  6. Aperture (Again)

Irish Composer BK Pepper Confronts a Fractured World on Ambitious New Album ‘Pagan’

Eric Alper
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Irish Composer BK Pepper Confronts a Fractured World on Ambitious New Album ‘Pagan’

Irish composer and producer BK Pepper has released “Common Ground,” the lead single from his forthcoming second album ‘Pagan,’ arriving April 24 via London-based label Bigo & Twigetti. The single is out now, and it announces an album of genuine scale and ambition, recorded with the Czech National Symphony Orchestra, The Glasshouse Ensemble, and acclaimed violinist Viktor Orri Árnason.

“Common Ground” opens ‘Pagan’ with a piece that pairs orchestral sweep with intimate layered vocals and hushed brass textures. It builds deliberately, mirroring the slow work of genuine human understanding. “Common Ground came from a need to believe that connection is still possible,” Pepper shares. “There is so much noise and division in the world, but underneath it all I think we are far more alike than we admit.” The restraint in the arrangement is as powerful as any of its larger moments.

‘Pagan’ follows Pepper’s critically acclaimed 2020 debut ‘Territories’ and widens the lens considerably. Where that album turned inward, this one confronts systems of belief, religious, political, and personal, and what happens when they fracture. “I was drawn to the idea of the pagan as someone outside the dominant narrative, someone questioning, resisting or searching,” Pepper explains. The album moves between cinematic orchestration and stripped-back vulnerability throughout, both collective and deeply personal in equal measure.

Pepper has recorded at Abbey Road Studios and in unconventional spaces including converted swimming pools. His recent score for the 2024 feature film ‘Swing Bout’ is currently streaming on Apple TV. His live performance film ‘From An Empty Castle’ from 2021 demonstrated his ability to merge striking visual environments with immersive sound.

‘Pagan’ is one of the more compelling orchestral releases on the 2026 calendar, arriving April 24 via Bigo & Twigetti.

Michael Stipe and Andrew Watt Deliver a Stunning “I Played The Fool” for HBO’s “Rooster”

Eric Alper
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Michael Stipe and Andrew Watt Deliver a Stunning “I Played The Fool” for HBO’s “Rooster”

WaterTower Music has released “I Played The Fool (Main Title Theme)” from the new HBO Original series Rooster, performed by Michael Stipe and Andrew Watt and available now on all major streaming platforms. The track marks Stipe’s first new song in three years, a return that carries real weight for anyone who grew up with R.E.M. Paired with Watt’s bold contemporary production, the result is cinematic, emotionally immediate, and impossible to shake.

The collaboration brings together two Grammy Award-winning artists for the first time. Watt produced and co-performed the track, with Travis Barker of Blink-182 on drums and Josh Klinghoffer on guitar and piano. Barker’s driving percussion and Klinghoffer’s atmospheric playing give the song a modern rock foundation while leaving full room for Stipe’s unmistakable voice to do what only it can do.

The enthusiasm from everyone involved is genuine and audible. “Michael Stipe is a hero of mine,” Watt says. “He is one of the true great songwriters of this lifetime.” Series co-creator Bill Lawrence describes watching Watt partner with “one of my favorite songwriter/singers of all time” as a career highlight. Co-creator Matt Tarses, a lifelong R.E.M. devotee, put it simply: when he heard the early demo, he cried.

Rooster is a comedy set on a college campus, centered on the complicated relationship between an author played by Steve Carell and his daughter, played by Charly Clive. Co-created by Bill Lawrence and Matt Tarses and executive produced alongside Jonathan Krisel and Steve Carell among others, the series also stars Danielle Deadwyler, Phil Dunster, John C. McGinley, and Lauren Tsai. The 10-episode season debuted March 8 on HBO and streams on HBO Max, with new episodes weekly through May 10.

“I Played The Fool” establishes the tone of Rooster with a blend of raw emotion, modern rock energy, and songwriting that lands hard from the opening seconds. Andrew Watt called it “the best clapping TV theme song since Friends.” That is a bold claim. Listen once and it is difficult to argue.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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