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Troye Sivan Gets to ‘Talk Talk’ About Charli XCX Remix | Billboard News

With the announcement of Charli XCX’s Brat remix album, Troye Sivan leads the way with his remix with her on “Talk Talk.” Watch what he had to say about making the remixed single, out now! 

Stay tuned for the full Troye Sivan interview, coming soon!

Troye Sivan: 
We’ve come out with something that I really, really love, like, it slaps I think. 

Why was “Talk Talk” the song that you guys felt like was right for your remix? 

She did the whole remix album, so there’s, like, a remix for every song, and she chose me for “Talk talk.” When she was first working on Brat, she sent me “Talk Talk” and I loved it, obviously. And it was really cool, though, because what she’s done with this remix album is, like, it can be … Some of the remixes are kind of a more maybe traditional feature, where the person has come on and just, you know, is on the second verse, kind of like doing the same melody, but maybe changing some lyrics, but, you know, kind of like that vibe.

What she said as well, though, was that she wanted some of the songs to … She’s just like, “I don’t care if you use one word from the original, it can be a completely new song. But use, use ‘Talk Talk’ as, like, you know, a seed for a song.” Essentially, we sampled “Talk Talk” and created an entirely new pop song out of it. Because I said to her, “If it’s a remix, is this like a, like a six-minute long, like, club song? Or is this like a pop song?” And she was like, “No, it’s a pop song.” I’m like, “OK, cool.”

I had so much fun, kind of, like, taking the scissors to the song that I really, really love, and getting to, kind of, like, chop it and change it and whatever. And we brought in kind of, like, the rush team, and worked on it, and then sent it back to Charli, and Charli did her thing, sent it back to me. It was just kind of like this really fun collaborative process, and we’ve come out with something that I really, really love, it, like, slaps I think, yeah.

Pharrell Williams Confirms He And Chad Hugo Aren’t Speaking

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Pharrell Williams opened up about his relationship with former Neptunes partner Chad Hugo and stated the two aren’t speaking, presumably due to a legal dispute.

The rift between Pharrell Williams and Chad Hugo has been noticeable, and the multifaceted producer has confirmed how deep it is. In a recent interview, Pharrell spoke at length about the new documentary on his life, Piece By Piece. He was asked about Hugo and the lawsuit that was filed against him by his former partner who claims that Pharrell is trying to monopolize The Neptunes, which the two performed under. “I always wish him the absolute best,” Pharrell replied. When asked if the two were on speaking terms, he answered: “No. But I love him, and I always wish him the absolute best, and I’m very grateful for our time together.”

The lawsuit by Hugo was filed in a federal court in April, alleging that Pharrell’s move to register a sole claim to The Neptunes name, which the filing states goes against the duo’s prior agreement that everything be equally divided. Williams made the filing through his PW IP Holdings LLC company in 2022. “Throughout their over thirty-year history, [Hugo] and Williams agreed to, and in fact, have divided all assets,” wrote Hugo’s attorney Kenneth D. Freundlich in the filing. “By ignoring and excluding [Hugo] from the any and all applications filed by applicant for the mark ‘The Neptunes,’ applicant has committed fraud in securing the trademarks and acted in bad faith.”

In response, an attorney for Pharrell claimed the “Happy” artist was “surprised” by the lawsuit, stating that “We have reached out on multiple occasions to share in the ownership and administration of the trademark and will continue to make that offer.”

The news comes as Piece By Piece recently premiered at the Toronto International Film Festival. The Focus Features film, which is animated by LEGO figurines, features Jay-Z, Snoop, Kendrick Lamar, Missy Elliott, Timberlake, Gwen Stefani, Timbaland, and Busta Rhymes lending their voices – as well as Hugo. “This is a next level of breaking so many norms and boundaries of what a typical narrative is. This one feels like it could be the most special thing we’ve ever done,” said Focus Features chair Peter Kujawski.

Is Streaming Broken? The Big AI Fraud Indictment Raises Serious Questions

You can’t say no one’s getting rich from streaming. In an indictment unsealed in early September, federal prosecutors charged musician Michael Smith with fraud and conspiracy in a scheme in which he used AI-generated songs streamed by bots to rake in $10 million in royalties. He allegedly received royalties for hundreds of thousands of songs, at least hundreds of which listed as co-writer the CEO of the AI company Boomy, which had received investment from Warner Music Group. (The CEO, Alex Mitchell, has not been charged with any crime.) 

This is the first criminal case for streaming fraud in the U.S., and its size may make it an outlier. But the frightening ease of creating so many AI songs and using bots to generate royalties with them shows how vulnerable the streaming ecosystem really is. This isn’t news to some executives, but it should come as a wake-up call to the industry as a whole. And it shows how the subscription streaming business model with pro-rata royalty distribution that now powers the recorded music industry is broken — not beyond repair, but certainly to the point where serious changes need to be made.

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One great thing about streaming music platforms, like the internet in general, is how open they are — anyone can upload music, just like anyone can make a TikTok video or write a blog. But that also means that these platforms are vulnerable to fraud, manipulation and undesirable content that erodes the value of the overall experience. (I don’t mean things I don’t like — I mean spam and attempts to manipulate people.) And while the pluses and minuses of this openness are impossible to calculate, there’s a sense in the industry and among creators that this has gradually become less of a feature and more of a bug. 

At this point, more than 100,000 new tracks are uploaded to streaming services daily. And while some of this reflects an inspiring explosion of amateur creativity, some of it is, sometimes literally, noise (not the artistic kind). Millions of those tracks are never heard, so they provide no consumer value — they just clutter up streaming service interfaces — while others are streamed a few times a year. From the point of view of some rightsholders, part of the solution may lie in a system of “artist-centric” royalties that privileges more popular artists and tracks. Even if this can be done fairly, though, this only addresses the financial issue — it does nothing for the user experience.

For users, finding the song they want can be like looking for “Silver Threads and Golden Needles” in a fast-expanding haystack. A search for that song on Apple Music brings up five listings for the same Linda Ronstadt recording, several listings of what seems to be another Ronstadt recording, and multiple versions of a few other performances. In this case, they all seem to be professional recordings, but how many of the listings are for the same one? It’s far from obvious. 

From the perspective of major labels and most indies, the problems with streaming are all about making sure consumers can filter “professional music” from tracks uploaded by amateur creators — bar bands and hobbyists. But that prioritizes sellers over consumers. The truth is that the streaming business is broken in a number of ways. The big streaming services are very effective at steering users to big new releases and mainstream pop and hip-hop, which is one reason why major labels like them so much. But they don’t do a great job of serving consumers who are not that interested in new mainstream music or old favorites. And rightsholders aren’t exactly pushing for change here. From their perspective, under the current pro-rata royalty system, it makes economic sense to focus on the mostly young users who spend hours a day streaming music. Those who listen less, who tend to be older, are literally worth less.

It shows. If you’re interested in cool new rock bands — and a substantial number of people still seem to be — the streaming experience just isn’t as good. Algorithmic recommendations aren’t great. Less popular genres aren’t served well, either. If you search for John Coltrane — hardly an obscure artist — Spotify offers icons for John Coltrane, John Coltrane & Johnny Hartman, the John Coltrane Quartet, the John Coltrane Quintet, the John Coltrane Trio and two for the John Coltrane Sextet, plus some others. It’s hard to know what this means from an accounting perspective — one entry for the Sextet has 928 monthly listeners and the other has none. If you want to listen to John Coltrane, though, it’s not a great experience.  

What does this have to do with streaming fraud? Not much — but also everything. If the goal of streaming services is to offer as much music as possible, they’re kicking ass. But most consumers would prefer an experience that’s easier to navigate. This ought to mean less music, with a limit on what can be uploaded, which some services already have; the sheer amount of music Smith had online ought to have suggested a problem, and it seems to have done so after some time. It should mean rethinking the pro-rata royalty system to make everyone’s listening habits generate money for their favorite artists. And it needs to mean spending some money to make streaming services look more like a record store and less like a swap-meet table. 

These ideas may not be popular — streaming services don’t want the burden or expense of curating what they offer, and most of the labels so eager to fight fraud also fear the loss of the pro-rata system that disproportionately benefits their biggest artists. (In this industry, one illegitimate play for one song is fraud but a system that pays unpopular artists less is a business model.) But the industry needs to think about what consumers want — easy ways to find the song they want, music discovery that works in different genres, and a royalty system that benefits the artists they listen to. Shouldn’t they get it? 

Cardi B Announces The Birth Of Her Third Child On Instagram

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Congratulations are in order for Cardi B as she’s once again a proud mama to a healthy baby girl.

On Thursday (Sept. 12) the Grammy Award-winning rapper took to Instagram to reveal that earlier this week she gave birth to her third child with a picture of herself holding her newborn seed with a caption that read “The prettiest lil thing ?? 9/7/24 ???.”

The birth of her third child comes a month and change after Cardi B filed for divorce from her baby daddy, Offset, which immediately led to X users to chime in with their thoughts and opinions. Surprisingly enough Cardi announced her third pregnancy shortly after filing for divorce which future sent Xer’s into a spiral with astonishment and shock. Needless to say, Cardi B isn’t scared to take on life’s challenges alone if she feel she has to. Luckily she’s a multi-millionaire so that’ll definitely help her get by.

Still, it seems like Offset has no problem co-parenting with his soon to be ex-wife so at least she’ll be getting some support from her former beau going forward. Good man… well, depending on how you look at the entire situation as a whole. Just sayin.’

Check out pics of Cardi B’s latest addition to her growing family below and let us know your thoughts in the comments section.

Angela Rye Cooks Jill Stein On ‘The Breakfast Club,’ Xitter Rejoices

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Jill Stein faced off with Angela Rye on The Breakfast Club and had several talking points rebuked, with social media cheering the situation.

Green Party presidential candidate Jill Stein appeared on The Breakfast Club on Thursday (September 12) and faced off with journalist Angela Rye who was a guest host on the show. Stein got off to a bad start when Rye asked her why she felt her campaign was “winnable”, noting that Stein wasn’t on the ballot in at least 13 states including three that allow write-in votes and reading off all of her electoral losses dating back to 2002. “We will be on the ballot for 95% of voters. That is more than enough to win an election,” Stein replied.

Rye would then ask about the Green Party’s lack of grassroots organization, prompting her to ask Stein about how many members were in the House of Representatives. “How many total are there? What is it, 600, some number?”, Stein replied. Rye would correct her. Charlamagne Tha God pointed out that Stein and the Green Party appeared to have “a lot more smoke for the Democratic Party”. That led Ware to deliver an attack on Congresswoman Alexandria Ocasio-Cortez for her critique of the Green Party and on Vice President Kamala Harris for her stance on Israel and Gaza.

“It is the talking point of AOC the other day, taking her marching orders from the DNC, that we are only running for president,” Stein stated. “It is amazing to hear you talk about women of color as parroting talking points instead of us looking at basic math,” Rye said, adding: “The one thing AOC has done that you haven’t, is win some elections.”

Those who managed to catch the episode noted how much Rye countered Stein’s talking points, and applauded her for doing so. Others criticized Rye for appearing to be too combative, with one Ocasio-Cortez noted the exchange in a post on X, formerly Twitter, writing: “This is a person running for President who doesn’t even know how many US Representatives there are. If we want to be real about building alternatives to the status quo, we must build a left that is serious, powerful, and persuasive. This is not that.”

Check out more of the responses below.

1. Elie Mystal

2. Jamarrius

3. Lis Smith

4. Benjamin P. Dixon

6. Chris Evans

7. Drew Comments

Japan’s Vocaloid Scene: Top Trend for the First Half of 2024 Is ‘Room for Interpretation’

On Billboard JAPAN’s “Niconico VOCALOID SONGS” 2024 mid-year ranking, announced on June 7, Yoshida Yasei’s “Override” took the top spot. This chart tracks the popularity of Vocaloid songs on Niconico, ranking the top 20 based on data such as the total number of plays, the total number of videos, the number of comments, the number of likes, and other figures, multiplied by coefficients developed by Billboard JAPAN. Chart results have been published on a weekly basis since December 7, 2022.

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Sasuke Haraguchi’s “HITO Mania” took the No. 1 spot on the “Niconico VOCALOID SONGS TOP20” for the first time on September 20, 2023, keeping its position for 18 consecutive weeks, a new record for the chart. This had a huge impact on the Vocaloid scene. However, on the January 24, 2024 chart, “HITO Mania” was dethroned by Yoshida Yasei’s “Override,” failing to reach the 19 week mark. What’s important to note is that while jon-YAKITORY’s “Konton Boogie,” Sasuke Haraguchi’s “Medicine,” and nbaji’s “Sukina Souzai Happyou Dragon” then took the number one positions, “Override” made a comeback, claiming the number one position once more. This is a testament to the song’s tremendous momentum. It combines a catchy, distinctively Vocaloid, unforgettable melody with lyrics that can be taken as lampooning society itself, taking the position that there’s no way to know what lies beneath the things people say. The music video, featuring Kasane Teto, makes quite the impression, packed with net memes. The popularity of “Override” also got a boost from derivative works.

◎Yoshida Yasei’s “Override”

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Not only have there been changes in the sound of Vocaloid songs, but also in the voice synthesis software used to make them. For example, KAFU, which was released as CeVIO AI voice synthesis software in July 2021, was based on the voice of KAMITSUBAKI STUDIO’s virtual singer KAF, and its use became a major trend starting in 2021. The Niconico VOCALOID SONGS chart has included Tsumiki’s “Phony” (2021), Hiiragi Magnetite’s “Marshall Maximizer” (2021), and Iyowa’s “Kyu-kurarin” (2021), all of which feature KAFU. In addition to Yamaha’s VOCALOID, there is now a growing range of voice synthesis software, including VOICEROID, CeVIO AI, and Synthesizer V. This wide selection has led to more diverse music.

The mid-year chart for 2024 has been taken by storm by songs featuring Kasane Teto in particular. There’s Yoshida Yasei’s “Override” (No. 1), Sasuke Haraguchi’s “HITO Mania” (No. 2), Sasuke Haraguchi’s “Medicine” (No. 3), 32ki’s “Mesmerizer” (No. 6), nbaji’s “Sukina Souzai Happyou Dragon” (No. 7)… The chart is top-heavy with songs that use Kasane Teto. A major reason for this boom is the commercial release of Synthesizer V AI Kasane Teto on April 27, 2023. This voice synthesizer, which can produce more human, realistic vocals, began as an April Fool’s hoax: in March 2008, users on the 2channel message board announced the creation of new Vocaloid software named “Kasane Teto.” Coincidentally, the free UTAU voice synthesis software had been released in March of the same year. With UTAU, it was possible to use the voice of Mayo Oyamano, who provided the fake vocals for the prank, as a voicebank. With this, Kasane Teto was launched as an “official” voice synthesizer. As if to celebrate the 15th anniversary of this serendipitous beginning, the chart for the first half of 2024 is packed with Kasane Teto songs, whether made using the Synthesizer V version or the UTAU version.

Listening again to the songs in the chart, a few other interesting commonalities spring up. The first that stands out is the way that net memes and common phrases are sprinkled throughout. For example, these include “Override,” whose video appears to be a homage to Surii’s “Telecaster B-Boy,” “HITO Mania,” which takes a poke at modern society using familiar, cut-and-pasted expressions, and “Konton Boogie,” which includes the nostalgic 2000’s meme “What is that? Does it taste good?” From the early days of the Vocaloid scene until around 2015, lyrics were often direct, telling a story, as can be heard in ryo’s “Melt” or Scop’s “Irony.” However, in recent years, Vocaloid songs have had a growing tendency to use metaphors, symbolism, and difficult lyrics. We live in an age in which the things that people say are often taken in isolation, divorced from their context, shared and spread, and interpreted in unintended ways. Perhaps this is what is behind the new trend of Vocaloid lyrics becoming strings of abstract expressions. In the comments, people provide various interpretations, attempting to unravel the messages lurking within these abstractions. The massive hit “HITO Mania” typifies this, with deep lyrics that can be seen as skewering society, carried by a clipped audio backing. Its lyrics bear wide room for interpretation.

◎Sasuke Haraguchi’s “HITO Mania”



The Vocaloid scene, which sprang from Niconico, is very welcoming to all kinds of derivative works, such as dance and vocal covers. “Sukina Souzai Happyou Dragon” took the No. 4 spot in the Neta Kyoku Tokosai (“Joke Song Festival”) category in VocaColle 2023 Summer. Parody comics and art by artists like the manga creator Sakamegane caused it to trend on X (Twitter), and its popularity exploded. User-generated content now holds the key to becoming a hit, and in some cases creators themselves actively encourage the creation of derivative works. For example, in the comments of his video “Override,” Yoshida Yasei provided tips for creating derivative works. nbaji wrote in the description box of his own videos that derivative works and parody songs were welcome. Moves such as these have accelerated the sharing of the songs. The killer tunes of the Vocaloid scene aren’t just the product of high musical quality, but involve various interwoven factors, including derivative works.

The chart for the first half of 2024 features many unique songs with the unique passion and individuality so typical of Niconico. It will be one to remember and it’ll be interesting to see what kinds of new killer tunes will one day dethrone them.

This article by Mio Komachi was planned for publication in June 2024, but Niconico service was suspended due to a cyberattack, and is instead being published in September 2024

Nostalgia Thyme! The Lenox Spice Village Is Back After 35 Years: Here’s How to Shop the Collection Online

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

The Lenox Spice Village is back for the first time since the 1980s. Despite being discontinued decades ago, the adorable spice jars went viral on TikTok and Instagram, and now they’re being sold for as much as $2,500 on Etsy.

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With all the digital fanfare, Lenox opted to bring the Spice Village back for another run. The second edition is just as “lovely and whimsically nostalgic as the 1989 originals,” per the product description, and the price hasn’t gone up. The retro spice jars retail for $15 each.

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Want the full set? The Lenox Spice Village retails for $285 and features 24 spices packaged in miniature Victorian houses made from the brand’s fine ivory porcelain and hand-painted with spice-inspired designs. Each spice house measures 3-inches tall x 1.75-inches long x 1.75-inches wide.

Lenox

Lenox Spice Village 24-Jar Full Collection

The Spice Village includes rosemary, oregano, basil, allspice, cinnamon, nutmeg, garlic, saffron, bay, tarragon, ginger, thyme, parsley, marjoram, mustard, clove, coriander, sage, paprika, onion, chive, pepper, celery and dill.

“The relaunch of the Spice Village was inspired by the overwhelming enthusiasm from our customers,” Jennifer DiBenedetti, vice president of marketing at Lenox shared with the Food Network in August. “The popularity of the original set on Instagram and TikTok,” she adds, “made it clear that our customers see the Spice Village as a cherished piece of art and nostalgia. We wanted to honor that sentiment by bringing it back for a new generation of collectors.”

The Spice Village, six-piece spice set ($72) and individual spices will be released on Sept. 15. They’re available for pre-order at Lenox.com and Macy’s while supplies last.

For more kitchen essentials, check out the Yeti cast iron pan, the viral Always Pan from Our Place and KitchenAid’s Evergreen Stand Mixer.

Latin Remix of the Week: Nathy Peluso’s ‘Club Grasa’ EP

In our Latin Remix of the Week series, we spotlight remixes that the Billboard Latin and Billboard Español editors deem to be exceptional and distinct from the rest. We might not publish a review every week. This is our selection today.

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Following her latest album, Grasa, Nathy Peluso debuts Club Grasa, an eight-track EP that turbocharges half of the album’s original 16 tracks with a dance floor-ready twist. In her first remix project, she harnesses the talents of international electronic producers to reinvent these tracks. Elements of rap, salsa, soul and acoustic melodies are reinterpreted through the lenses of these diverse artists, reflecting a global EDM aesthetic.

“This whole process has been an experiment and a super fun journey for me,” Nathy Peluso shared in a press release. “I’ve handed over my music to producers from the international clubbing scene, giving them total freedom to reinterpret it from its core.”

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She also describes Club Grasa as a project that pushes her creative boundaries through collaboration, embodying the album’s intent for listeners to experience the “music in their own unique ways.”

The lineup includes Spain’s nusar3000, TRISTÁN!, Ideas Radicales, and Phoac; Argentina’s Garoto 3000 and Tayhana — who is also Mexican; Colombia’s CRRDR, and the U.K.’s Mura Masa.

The Grammy-winning British producer Mura Masa brings a glitchy electro touch to “Menina,” featuring Spanish-Brazilian artist Lua de Santana. Mura Masa, born Alex Crossen, shared his enthusiasm. “Nathy is really wonderful and Grasa is such a great album with a real sonic identity,” he said in a press release. “I wanted to take what she and Lua de Santana had done with the original and recontextualize those conceptual elements into a more club-friendly setting without compromising that identity.”

The remixes showcase a range of styles and influences. Nusar3000 infuses “Real” with a more adrenaline-pumping approach, while TRISTÁN!’s synth-futurist sound transforms “Corleone.” Tayhana’s remix of “Aprender a Amar” contrasts with Garoto 3000’s bouncy approach to “Manhattan.” PHOAC and Merca Bae explore Caribbean-industrial sounds in their respective remixes, with CRRDR blending tribal and Latin club rhythms in “Todo Roto.”

Listen to Nathy Peluso’s Club Grasa EP below:

Dustin Lynch & Jelly Roll’s ‘Chevrolet’ Cruises to No. 1 on Country Airplay Chart

Dustin Lynch’s “Chevrolet,” featuring Jelly Roll, rides two spots to No. 1 on Billboard’s Country Airplay chart (dated Sept. 21).

The single – Lynch’s ninth Country Airplay leader and Jelly Roll’s fifth – increased 10% to 30.1 million audience impressions Sept. 6-12, according to Luminate.

“Chevrolet” was written by Chase McGill, Jessi Alexander and Hunter Phelps, with Mentor Williams also receiving writer billing, as it interpolates his classic “Drift Away.” Recorded by Dobie Gray, the original hit No. 5 on the Billboard Hot 100 hit in 1973. Plus, Uncle Kracker’s update, featuring Gray, reached No. 9 in 2003.

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“The response to this song has been absolutely wild to see in our live shows from way early on,” Lynch tells Billboard. “This iconic melody from ‘Drift Away’ is deep within all of us, and connects us instantly for such an epic sing-along. There’s a nostalgia to it that just feels good, and it becoming my ninth No. 1 on Billboard’s Country Airplay chart means so much, especially since I get to celebrate this with my buddy Jelly. To the fans that have been on this crazy journey with me, this one is for you! Let’s keep riding y’all – I’m just getting started!”



Notably, “Chevrolet” is the latest Country Airplay No. 1 to either interpolate or remake a past hit. It’s the second in a row, as it supplants Shaboozey’s “A Bar Song (Tipsy),” which updates J-Kwon’s 2004 hip-hop hit “Tipsy.”

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Before that, Kane Brown’s “I Can Feel It,” which reworks Phil Collins’ “In the Air Tonight,” led Country Airplay for a week in March; Luke Combs’ faithful cover of Tracy Chapman’s “Fast Car” reigned for five weeks beginning last July; and Cole Swindell’s “She Had Me at Heads Carolina,” which reimagines Jo Dee Messina’s “Heads Carolina, Tails California,” banked four weeks at No. 1 beginning in September 2022.

Plus, Jelly Roll joined MGK for “Lonely Road.” The reinterpretation of John Denver’s “Take Me Home, Country Roads” has spent the last weeks in the top 40 of the multimetric Hot Country Songs chart.

“Chevrolet,” which Zach Crowell and Ben Phillips produced, is from Lynch’s album Killed the Cowboy. He last topped Country Airplay with “Thinking ‘Bout You,” featuring MacKenzie Porter, for six weeks beginning in December 2021. His other No. 1s: “Ridin’ Roads,” for one week in January 2020; “Good Girl” (one, January 2019); “Small Town Boy” (four weeks, starting in September 2017); “Seein’ Red” (one, February 2017); “Mind Reader” (one, June 2016); “Hell of a Night” (one, September 2015); and “Where It’s At (Yep, Yep)” (two, September-October 2014).

Jelly Roll boasts the longest active streak of Country Airplay No. 1s from the start of a career at the format. (Kane Brown boasts the longest run overall: six, dating to July 2021.) Jelly Roll previously led with “Halfway to Hell,” for one week in June; “Save Me,” featuring Lainey Wilson (two weeks, December 2023); “Need a Favor” (four, beginning in August 2023); and “Son of a Sinner” (one, January 2023).

Jelly Roll concurrently climbs 14-11 (17 million, up 15%) on Country Airplay with his own “I Am Not Okay” (Bailee & Buddy/BMG/Republic/Stoney Creek).

Traveling ‘Miles’

Marshmello and the aforementioned Kane Brown’s “Miles on It” hits the Country Airplay top 10 (11-7; 20.8 million, up 19%). Marshmello reaches the tier in the DJ’s first visit to the chart. Brown banks his 13th top 10 and first since “I Can Feel It,” which became his 11th No. 1 in March.

All charts dated Sept. 21 will update Tuesday, Sept. 17 on Billboard.com.

Additional reporting by Gary Trust.

20 Questions With Yolanda Adams: Gospel Icon Discusses New Album, ‘Kingdom Business’ & 2024 NABJ Convention Performance

In terms of 21st-century music, there are few gospel artists who can traverse genres and retain the same levels of respect and integrity wherever their music takes them. One of those artists is Yolanda Adams

Across her sprawling, nearly four-decade career, Adams has lifted contemporary gospel to staggering mainstream heights, including five No. 1s on Top Gospel Albums from 16 career top ten entries. 1999’s blockbuster Mountain High…Valley Low is Adams’ most impressive showing on the Billboard charts, spending a whopping 32 weeks atop Gospel Albums, reaching No. 24 on the all-genre Billboard 200, and spawning the massive crossover hit “Open My Heart,” which leveraged success across R&B, dance, and gospel audiences to No. 57 peak on the Billboard Hot 100. An accomplished singer, songwriter, and radio host, Adams has also doubled down on her acting bona fides with two hit seasons of Kingdom Business, a BET+ musical drama executive produced by fellow gospel icon Kirk Franklin

It’s been 13 years since Adams’ last LP – 2011’s Dove Award-winning Becoming – and each of those years provides ample inspiration for 2024’s Sunny Days (out Sept. 13), created over the course of the past six years. Crafted in collaboration with Jimmy Jam & Terry Lewis, Donald Lawrence, John Jackson, Warryn Campbell, and Sir the Baptist, Sunny Days is a genre-fusing 16-track set that invites listeners to reevaluate their relationship with God and find ways to source inspiration from their own hearts and minds. “Church Doors,” the album’s lead single, arrived two weeks ago (Aug. 29) alongside a Fatima Robinson-helmed music video and two dance mixes featuring contributions from Terry Hunter and J. Ivy. 

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To help promote the album, Adams will embark on the Reunion Tour, a 33-date North American arena trek that also features Franklin, Marvin Sapp, Fred Hammond, The Clark Sisters, and special guest Kierra Sheard-Kelly

“I’ve been in rehearsals for two weeks. You may get a 30-minute or an hour break and then you’re back at it,” Adams explains to Billboard. “The closer you get to tomorrow, the more you’re trying to iron out the kinks, but I’m excited! I’m performing [two new songs from Sunny Days], ‘Church Doors’ and the remix.” 

In an enlightening conversation with Billboard, Yolanda Adams details the making of Sunny Days, what she wants next in her acting career, taking the stage after a Trump-tainted NABJ Convention, and a possible RuPaul collaboration.



1. Why was now the time to come back with a new album? 

Yolanda Adams: Well, I’m like LL Cool J, don’t call it a comeback! [Laughs.] I’ve been busy, but it was finally time to make sure that the project we started in 2018 actually got done. I’ve told my daughter forever: If you start something, you got to finish it. 

2. When was the moment you knew you had a full record on your soul?  

Maybe about two years ago. Jimmy [Jam] and Terry [Lewis] and I have been working since 2018. As soon as [that year’s] Grammys was over, the next day I was in the studio writing and putting some stuff down. Getting together with those guys is magic all the time because we’re always on the same trajectory of where we want the music to go for the world. 

 We worked on like three songs and then went back home. I started touring and then [my daughter] Taylor graduated, we [moved] her into Howard [University], and then the pandemic started. We couldn’t get back into the studio because the world was locked. Then in the beginning of 2021 was the first season of Kingdom Business. Jimmy and Terry were [also] working with Babyface for a Vegas residency, and then all of a sudden they started talking about the second season of Kingdom Business, so in between all of that we were doing a song here and a song there. 

This journey is just like the journey of life. You have your stops, you have your starts, you have your up days, you have your down days, you have your days of “Okay, what are we really doing?” And finally, we finished everything. 

3. What was the song that finally made the album feel complete? 

Once we finished the last two songs with Don Lawrence and Sir the Baptist. They were the two we were missing. We thought we had hit everybody who’s been a fan, and everybody who wonders “What can we get from Yolanda this time?”  

4. Why did “Sunny Days” feel like the appropriate title track? 

The world has been in such a weird place between 2018 and 2024. Sometimes we take for granted that the way we’re living today is going to be the same tomorrow or a couple of years from now. We have gone through [these] roller [coasters] of political and cultural craziness, and I wanted to write a song that expresses staying at an even type of keel, no matter what happens. No matter what you see, your perspective still has to be one of faith and optimism, so that’s why the entire album is called Sunny Days

5. “On God” is a fantastic opener. How did that track come together? 

That track came together because of a young man named Jamel [Smith], whose uncle John [Jackson] if I can say this, is our new “Big Jim.” He has this way of creating melodies, and Jamel has that young, fresh way of approaching gospel music without tearing down its integrity but giving it this fresh sound to where you want to keep listening to it. 

6. On “When We Pray,” there’s a really poignant lyric that goes: “Pain ain’t exclusive to you.” What was on your mind as you were writing these songs and sequencing the album?  

“When We Pray” is one of those songs that we wanted to hone in on because to get through life, you’re going to have to have an anchor. As believers, our anchor is prayer. That keeps us in communication with God. It keeps us grounded [and] balanced. Sometimes people feel that they’re on an island with their own pain, and that’s where the lyric comes from. There are eight billion people on this Earth, somebody at this present moment is feeling the same pain that you are. Don’t feel like you’re all alone by yourself, because He is the answer. When you pray, He hears exactly what you say. 

7. There are a lot of different styles on the album – a bit of contemporary R&B, some funk, a little nod to Afropop – what were you listening to while crafting this album? 

I don’t listen to anyone else in my genre when I’m preparing an album. I don’t listen to anyone in genres that I love — like jazz, R&B, techno, or funk — because I want to hear my sound for that particular project. I listen to seascapes and a lot of Beethoven.  I don’t like listening to what someone else is doing in my genre, because I never want to compare myself to what they’re doing. Chances are, if they’re younger than me, I’ve been there and I’ve done that because what I was doing when I was their age is now standard. 

I want to authentically be myself musically and spiritually, so I pull concepts and inspiration out of asking myself questions and journaling. I have notebooks all over my house. I call either Jimmy or Terry and I say, “Hey, this is what I’m listening to in my head, and think this is what I hear.” Then they [and Jackson] come up with these chord structures, and so does my [musical director] Rodney East. Music, just like life, is a collaboration. I don’t know anyone on this earth who doesn’t need anybody. That’s just the way great music happens and I believe that this album is going to change the way people view God. 

A lot of people have fallen into the trap of this Christian nationalist way of looking at God, and God has never placed himself in a box. So, we should never place God in a box. When your God can hate anyone that He created, we have a problem. He created each one of us knowing us and loving us. If he can know us, create us, love us, and be proud of us, why can’t we do the same thing? 



8. What were the first and last songs recorded for this album? 

The very first song we recorded after the 2018 Grammys was “I Give You Peace” That is our adult version of a lullaby for grown people. I had just gone through some business challenges, I was trying to put something in the market and the market didn’t grasp it. I was at a happy place in my music and life, but this product could not get off the ground. My daughter was about to go to college and she was in a happy place and all of that. And I’m like, why isn’t this working?

It was just as though I heard God speaking to me. I’m in my office right by the stairwell and I look and the piano is there, and I hear God say, “Embrace the change you go through because in time it will reveal. Now face the day with expectancy, for your wounded heart will heal. There is a moment that you will notice a joy washes over you and takes the pain away. Now, step by step, your strengths [are] renewed.” God is about movement. God is about energy. God is about a step-by-step learning situation. I may not have even written that song, without going through what I did. 

“Church Doors” was the last song that we did and we were in Chicago. 

9. Last song recorded but the lead single — how did that happen? 

Isn’t that something?! Sylvia Rhone fell in love with both of those songs that Donald Lawrence and Sir the Baptist wrote. Now, of course, she loves Jimmy and Terry and she loves Warryn Campbell, who’s on there as well, but she fell in love with “Church Doors.” The first version of that song that she heard was the demo which was real gospel-y, and she loves gospel music. [Ezekiel “Zeke” Lewis] was also like “Oh, this one right here,” so we were all in agreement. 

10. You came out the gate with two very different mixes of “Church Doors,” why was that important for you to do? 

Oh my gosh, I don’t know if a lot of people know this, but I love to dance! Growing up in a household full of music and siblings that had fun [together], there was this musical joy that we had with no restrictions. We were Baptists, and Baptists could smoke and drink and go to the bowling alley and wear pants and all that. I didn’t have all of the restrictions that everybody else did, God was cool enough to go to the bowling alley with us. [Laughs.] He was also cool enough to go to the movies and be at church studies. 

[My team] sent a suggestion of the dance mix and I said, “Listen, if we’re going to do a dance mix, it better be fire.” Because if I have a dance mix, I’m going to dance! Me and Donald just cracked up, and he was like, “Sis, I got you.” So, they called J. Ivy and he hopped on it too. I’m just really excited that people get a chance to see all the versions of who I am and what I enjoy. 

11. Talk to me about the music video. Did you know you were going a bit viral on X (formerly Twitter)? 

Come on. I mean, we couldn’t ask for a better video! We couldn’t ask for a better choreographer or a better cinematographer. You get all of these views of different aspects of this song, which is really a testimony song. I think everybody can relate to it because there are times in our lives when we feel like we don’t know what’s going to happen and then you hear the Spirit of the Lord say, “Hey, you’re not done. You ain’t seen nothing yet, because your best is yet to come.” And you’re like, “When you let me get to those church doors, I’m going to tell them all what you’ve done for me.” 

And then Fatima came in with some great choreography. She has a great eye. Everything worked together, I loved the clothes, the youthful look, the fact that some of the young people were from Kanye’s Sunday Service [choir], and that these were actual union dancers who did not feel any inhibition because “Church Doors” is a gospel/inspirational song. I just wanted them to have fun because I believe that God intends for us to enjoy our life, and you enjoy it the way you enjoy it. 

Of course, Woody [McClain] is the icing on the cake. The connection that we had during the video was just like… thank you so much for being in the video, nephew! I owe you. 

12. Do you have any cities that you particularly love to perform in or that you’re most excited to go to on the Reunion Tour? 

I love all the cities that we’re going to, but if I had to pick a specific city it would be Houston. There’s nothing like performing in your hometown where people who grew up with you are happy to see you doing something great. It feels so good because I live in a city where I am applauded, and not just tolerated. I’m accepted in all areas of my city, politically and socially. I just love it. 

13. You performed at the NABJ conference earlier this year. What was it like taking the stage after all of the Trump drama that had plagued the conference in the previous days? 

I think the NABJ got a bad rap for being who they are. They’re journalists, and the journalist’s job is to get the story. I don’t agree with [Trump] on a lot of things, but I do [believe] that as a journalist, you should speak to those you agree and disagree with. 

The problem with that specific incident is that [Trump] did not come with a heart to be open and honest. He had a whole bunch of stipulations, which you’re never supposed to give a journalist. They’re not asking him questions about Epstein Island or anything like that. They’re asking him legitimate questions as to why we should or should not vote for [him]. Because his M.O. is to attack, I think those ladies that were on stage were used. 

I’m a part of NABJ in Houston because my first degree is in radio/TV journalism. To hear from Roland Martin and Joy Reid… they were heartbroken. When you’re on the board and you get sideswiped with some things, of course, you’re going to ask your people, “Hey, what’s up with that?” 

Once we actually got to the performance on that Monday night, [the conference attendees] were ready for God to relieve them of that drama. By the time we got there, some folks weren’t sure if they wanted to be a part of this organization any longer. Sometimes, our job is to change the atmosphere and texture of people’s hearts so that they can get rid of the anger and stress and be softened again to do their jobs with the skill that they had been doing their jobs with before. And that’s one thing I’m very proud of when it comes to Team Adams — we understand our responsibility to make sure that wherever we go that atmosphere turns into [one] of love, acceptance, encouragement, and inspiration.



14. Where do you hope Kingdom Business goes next? 

I hope that Kingdom Business gets its rightful place in the annals of great Black television. Although it’s drama and fantasy to a certain extent, I want people to glean from this show that [regardless of who we are] we all have things in our lives that we wish weren’t there. And some of those things come from our upbringing. 

[When I think of my character Denita, I think about] how many parents have nitpicked in their children’s lives to the point that the happiness that could have been theirs is not. Then that child turns into a grown-up who’s mad at the world. Not that we need to be the psychiatry of Black television, but I really think that we can speak to those dynamics that these two seasons of Kingdom Business kind of opened up. What I hope happens in [future[ seasons is that we start talking about those things that people are afraid to talk about. I ain’t scared of nobody, I’m Denita Jordan! [Laughs]. I’m not afraid to confront the past in a way that teaches us how not to bring certain things in the future. We have the opportunity of making this one of the premier African-American Emmy-winning programs, I think. 

15. Do you have a dream role? 

Of course, Denita stretches me, but anything that can stretch me past people’s imaginations of who I am [would be my dream world]. I want to play a multifaceted character that you haven’t seen a gospel artist or a person of inspiration play. That may be a Leontyne Price or a Lola Falana – I know Lori Harvey is playing Lola Falana in [Fight Night: The Million Dollar Heist] — but them, or Josephine Baker, those kinds of people. They were multifaceted and they were politically astute.  

Even Mahalia Jackson, she did a lot for the cause of the Southern Christian Leadership Conference and the NAACP and the Urban League. She would give portions of her concert revenue to make sure that those things were good. She would cook for Dr. Martin Luther King Jr. and those folks. Those are things that I think people need to know about, African-American women who have really done some great things 

16. In April, you scored your first number one on Gospel Airplay since 2005’s “Be Blessed.” What does it mean to you to have that kind of career longevity? 

I’m still humbled by it. I am still astonished that after all these years, I’m still loving what I do and it’s not a chore to do it. Just give me some Chai tea with a couple of shots in it –- espresso! [laughs] — and some green grapes and I’m ready.  

I deem it an honor and a privilege to be able to go all over the world and do what we do the way we do it. I am surrounded by brilliant people at this table, and in Chicago, New York, LA, and Houston. I’m a different kind of boss; I give everyone room to blossom because I think that’s leadership. I just believe that God continues to pour out not just his spirit, but his favor on all of us because we really want to make the world a better place. 

17. Do you think there’s merit to the argument that today’s mainstream R&B singers are vocally lacking because they haven’t been trained in the church, or is that dynamic overblown? 

I think there are some incredible singers out there in the R&B realm right now. I don’t think that anyone has to have church choir training or any kind of choir training. But as a person who grew up in the church and understands what that choir training means, the church – good, bad, and different – is your first stage. And that stage can build you, or it can break you down. And thank God, I was a part of a church that built me. From my very first church in the peewee choir to the present day, I get a sense of community. I get a sense of brotherhood and sisterhood. I get the sense of a prayer commune, so to speak, that will not let me fall or fail. 

Sometimes people just need a little guidance. I remember singing the solo one time, and the church was like [mimes deadpan expression]. I was like, “Well, I gotta go practice.” So, I do believe that there is some merit to having that foundation, and that means different things for different people. The one thing I can say is that I have never heard an R&B singer who came out of the church and could not sing. Tank is one of those, like, “Ms. Yolanda, my daddy was a pastor and blah blah blah.” I said, “I know, baby — because you do them kinda runs you only find in the tenor section of the Second Baptist Church!” 

18. At the Grammys this year, you said you would collaborate with RuPaul. Give me three words to describe what that would sound like. 

Fun, dancing, electrifying! 

19. What voices most excite you in gospel music right now? 

Oh man, so many! Almost 100% of the artists that are out. I love Jekalyn [Carr], I love Le’Andria [Johnson], I love all of the Tashas. There’s so much talent in gospel music. Koryn Hawthorne, Jonathan McReynolds, I just love gospel music and the expression of joy that comes in gospel music. We can sing a song for 15 minutes and not sing the same thing twice. I think people who are not fans of the [current] gospel [scene] are not giving it enough grace.  

I said this years ago: I love Mahalia Jackson, but I can’t sing “Elijah Rock” like Mahalia Jackson did in the 50s and the 40s and be relevant to the times right now because there are people who have no idea who Mahalia Jackson is. But they do know who Yolanda Adams is — “Already Alright,” The Battle is the Lord’s,” etc. — and now they’re going to get a chance to enjoy even more with Sunny Days. You have to evolve with what’s going on in the world. We don’t have to change who we are, but move with the times so much so that people will say, “Oh! That’s a fresh take on that.” 

20. What song from Sunny Days are you most excited for fans to hear? 

It would have to be “Sunny Days.” It’s one of those songs that makes you smile when you hear it, and I want them to feel that sentiment in their lives.