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Friday Dance Music Guide: The Week’s Best New Tracks From Channel Tres, LP Giobbi, Tycho & More

This week in dance music: A new album by Sophie, overseen by the late producer’s brother, is coming in September. Kygo, the human music producer, met a terminally ill dog also named Kygo at the former Kygo’s Palm Tree Music Festival in the Hamptons. Las Vegas’ Life Is Beautiful announced a new name, a new format and a September lineup with LCD Soundystem, Peggy Gou and Justice. We took a look at how the the Grammys’ new rule tweaks affect the dance/electronic categories and why DJs are playing so many dance covers. Deadmau5 expressed his displeasure over recent comments by Spotify CEO Daniel Ek, Diplo was hit with a new “revenge porn” lawsuit and ADE 2024 added execs from Empire, Spotify, SoundCloud and more to the program for its event this October.

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And last but never least, these are the best new dance tracks of the week.

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Channel Tres, Head Rush



“The new music I’m making now is just on another level,” Channel Tres told Billboard last year about the output that would become his debut album. And in fact, he was right — with the release of his Head Rush project demonstrating all the inventiveness and easy cool we’ve come to know, love and respect about the Los Angeles-based artist since he broke through circa 2018. Deftly folding in influences from gospel (“Joyful Noise”) to funk (“Candy Paint”) to industrial (“Berghain”), the 17-track album feels like Channel Tres throughout, and features a cool kid assemblage of collaborators including Toro y Moi, Ty Dolla $ign, Estelle, Ravyn Lenae, Thundercat, Teezo Touchdown and Barney Bones.

Out through RCA Records, it comes ahead of summer/fall festival performances at events including HARD Summer, Outside Lands, All Points East and III Points. “A lot of emotion went into this one,” Tres wrote about the LP release. “From it being my first album and then fighting the feelings of imposter syndrome. We here, I’m with you, ill be dancing on tour soon much love.”

LP Giobbi, “Bittersweet”



LP Giobbi’s latest release “Bittersweet” is as it sounds, with the brightness of the vocals (sung by Portugal. The Man’s John Gourley) met with a current of melancholy played out in the simultaneously lush-yet-restrained production. Combined the track gives the feeling of dancing through the tears — especially following the key change in the track’s jammy final third. “Bittersweet” is the first taste of Giobbi’s just-announced second album Dotr, coming this October via Ninja Tune, and written through (and about) the waves of grief the producer experienced after the loss of her mother in law, her longtime piano teacher and a close family friend. Named for the way the producer used sign notes to her parents, Dotr will feature collabs with Brittany Howard, Danielle Ponder, Panama and more artists.

“This album is a lot about what it is to be a daughter, have a daughter and love a daughter, as well as a way of honoring some of the most important women in my life,” the producer says in a statement. “There are also a lot of themes tied to home (the ones we create or the ones we were born into) which, for me, are reflected through my identity as a daughter.”

Isoknock & RL Grime, “Smack Talk”



It makes perfect sense for bass Jedi RL Grime to collaborate with genre phenoms Knock2 and Isoxo (working here together as Isoknock) with their long-awaited collab “Smack Talk” also being perfectly executed and predictably large. Together, the three SoCal-based artists raise an army of sound, with hip-hop influences, a church choir, air horns and straightforward headbanding drops altogether taking shape into the heavy, cinematic style that’s generating so much excitement around Isoxo and Knock2, and which has defined much of Grimes’ catalog.

Tycho, “Phantom”



Low-key legend Tycho returns with the lead single from the forthcoming Infinite Health, the oufit’s sixth studio album. “Phantom” gives ’80s synth pop filtered through a lens of AM radio, hitting the clean, cerebral vibe that’s defined so much of Tycho’s work, but with a slightly darker edge.

“I wanted ‘Phantom’ to feel like a blend of lights in a nightclub with some unknown entity; a moving and shifting intelligence that served as a conduit to a deeper understanding of what’s beneath the surface of existence,” says Tycho leader Scott Hansen. “It’s also about coming to terms with mortality, with the phantom being the ever-present specter. I spent more hours on this song than any other on the record.” Coming August 30 via Mom+Pop, Infinite Health will see the first North American tour from Tycho in five years.

Folamour, “Pressure Makes Diamonds”



On the tenth anniversary of the project, French producer Folamour offers a treatise about the challenges of a career in music, with the song’s title also functioning as its thesis statement. “Pressure Makes Diamonds” is cut from the same sonic cloth as previous tracks like “Poundland Anthem,” with the track made from layers and layers of bright synth, piano stabs, a swell of percussion and the artist’s own vocals, purred with a thick French accent.

ILLIT: See Exclusive Photos & Selfies of the June 2024 K-Pop Rookie of the Month

Find out Yunah, Minju, Moka, Wonhee and Iroha’s favorite songs, movies, MBTI and more.

In a debut that has set new records for the K-pop industry, ILLIT emerged as a new pop titan upon its March start this year, earning its place as an undeniable new artist to watch — and as Billboard‘s first-ever K-Pop Rookie of the Month, for June 2024. The five-member act of Yunah, Minju, Moka, Wonhee and Iroha formed through HYBE’s reality show R U Next? has rewritten K-pop’s global expectations with an explosive, addictive entrance into the international music scene.

ILLIT’s debut single “Magnetic” made chart history by entering the Billboard Hot 100 at No. 91, a feat unprecedented for a K-pop group’s first song. Their Super Real Me EP also impacted the Billboard 200, with a No. 93 debut, and hasn’t left the World Albums chart since it first entered the listing, notching 13 weeks so far. The group’s international appeal was further cemented as “Magnetic” secured spots in the top 10 of the Global 200 and Global 200 Excl US charts, and still remains on both tallies as of the chart dated June 29.

Moving from reality show contestants to chart-topping artists has been a whirlwind. While ILLIT’s road to debut wasn’t without some minor challenges (a last-minute lineup change saw the departure of Youngseo, originally slated to be the sixth member), the quintet dove into dance rehearsals, vocal training, language lessons and fitness routines, with Yunah mentioning that a pre-debut appearance at Paris Fashion Week in February for Acne Studios also required practice to ensure their chicest walks and poses. Initially announced to the world with the name I’ll-It, changing to ILLIT was not only more visually pleasing and accessible, but was designed to better “emphasize the meaning behind the name of ‘I Will ( ) It,’ to represent the potential for infinite possibilities,” its management home HYBE shared. Get to know the rookies more with exclusive photos, selfifes and quiz questions below. Then read the group’s full Billboard spotlight here.

Why ‘Magnetic’ Group ILLIT Is Billboard’s First-Ever K-Pop Rookie of the Month

In a debut that has set new records for the K-pop industry, ILLIT emerged as a new pop titan upon its March start this year, earning its place as an undeniable new artist to watch — and as Billboard‘s first-ever K-Pop Rookie of the Month, for June 2024. The five-member act of Yunah, Minju, Moka, Wonhee and Iroha formed through HYBE’s reality show R U Next? has rewritten K-pop’s global expectations with an explosive, addictive entrance into the international music scene.

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ILLIT’s debut single “Magnetic” made chart history by entering the Billboard Hot 100 at No. 91, a feat unprecedented for a K-pop group’s first song. Their Super Real Me EP also impacted the Billboard 200, with a No. 93 debut, and hasn’t left the World Albums chart since it first entered the listing, notching 13 weeks so far. The group’s international appeal was further cemented as “Magnetic” secured spots in the top 10 of the Global 200 and Global 200 Excl US charts, and still remains on both tallies as of the chart dated June 29.

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“We couldn’t believe our eyes,” Wonhee says. “We’ve never dreamt of seeing ‘Magnetic’ on the Billboard chart.”

Moving from reality show contestants to chart-topping artists has been a whirlwind. While ILLIT’s road to debut wasn’t without some minor challenges (a last-minute lineup change saw the departure of Youngseo, originally slated to be the sixth member), the quintet dove into dance rehearsals, vocal training, language lessons and fitness routines, with Yunah mentioning that a pre-debut appearance at Paris Fashion Week in February for Acne Studios also required practice to ensure their chicest walks and poses. Initially announced to the world with the name I’ll-It, changing to ILLIT was not only more visually pleasing and accessible, but was designed to better “emphasize the meaning behind the name of ‘I Will ( ) It,’ to represent the potential for infinite possibilities,” its management home HYBE shared.

While partially attributed to its association with an industry powerhouse like HYBE, their label BELIFT LAB (which also houses ENHYPEN) and the visibility from R U Next?, ILLIT’s breakthrough goes beyond mere circumstance. An addictive blend of sugary-sweet vocals, ready-to-go-viral choreography, and, well, magnetic personalities that viewers fell in love with during their show all struck a chord with a global audience, one hungry for the next K-pop breakout.

With an all-star team including HYBE chairman Bang Si-Hyuk, longtime BTS and TXT producer Slow Rabbit and singer-songwriter Salem Ilese all assisting on Super Real Me, the set’s four tracks point to ILLIT’s promising range, demonstrating where the five members could take their future pop stylings.

Get to know Billboard‘s K-Pop Rookie of the Month better below, with the ILLIT members sharing most of their personal and group stories, and previewing what’s to come next.



Congratulations on your debut, ILLIT! You’ve started so strong with both your debut single and EP entering high on Korea’s charts, as well as on Billboard‘s U.S. and global charts. How did it feel to earn such a strong reaction?

MOKA: It was mind-blowing how so many people loved “Magnetic.” We are very happy that it’s enjoyed and loved by numerous listeners. We’ll try our best to show a better version of ourselves. Thank you!

WONHEE: We couldn’t believe our eyes! We’ve never dreamt of seeing “Magnetic” on the Billboard chart. We’re super happy that so many people are loving “Magnetic.”

While R U Next? and coming from a beloved company can help, do you have any theories as to why your debut resonated so strongly with fans worldwide?

YUNAH: I think the cute, bubbly and hip vibe of our songs represents the charms of K-pop and pop combined well, capturing the audience’s ears and hearts.

MINJU: I can’t believe all the love our global fans are showing us and I’m very grateful. I think they recognize and appreciate the efforts we put into the performances.

Can you explain the meaning of ILLIT to you, and your first reactions to the unique group name?

IROHA: When I first heard the name, I thought the meaning behind it was wonderful. It means “we can be anything,” and that we have infinite potential to become whatever we want to be as a team.

WONHEE: What I loved was how it has such a beautiful meaning to the name. I was so happy to know that we’ve got a name that’s solely ours.



What were the months between the finale of R U Next? and debut like?

IROHA: After R U Next? we moved into the dormitory together and took dance, vocal and language lessons.

YUNAH: Yes! We are dorming together right now. Immediately after the show, I spent time taking lessons and exercising, preparing for the debut. As for the fashion week, we focused on practicing walking and posing in front of the press wall.

When did you find out that “Magnetic” was your debut single and what was your reaction?

MOKA: I think we found out sometime in the winter!! I remember how everyone was excited about the song, and I personally thought the song would be perfect for ILLIT.

WONHEE: I vividly remember how all of us were in awe and shouted “Woah!” Because it was that good!

What other songs are your favorites on the album?

WONHEE: I love “Midnight Fiction” the most, because it has its own aura of warmth that’s delivered with cute and whimsical lyrics.

IROHA: I love all of our tracks, but I have to say it’s “Lucky Girl Syndrome” because my heart gets filled with happiness and I truly feel like a lucky girl whenever I perform for it.



Are any or all of you interested in songwriting, composing or production?

MOKA: We actually haven’t tried [those] yet, but our imagined dreams were reflected in “Midnight Fiction.” It was very interesting to see our stories turn into the lyrics. I’d love to work on lyric writing whenever I have the chance.

Can U.S. fans expect to see you anytime soon?

IROHA: I’ve never been to the U.S. before, but I can’t wait to visit and meet our fans there!

There is inevitable pressure and scrutiny that comes being a public figure. How are you remaining mentally and emotionally strong? Do you have advice or tips for those who might also be going through challenging times?

MOKA: I picture myself achieving my goal, which I find very comforting and nurturing. So I’d recommend this method.

WONHEE: I still sometimes have some difficulties controlling my nervousness, but my tip is to take a deep breath right before I say something. This helps me relax a bit.

Looking ahead, what’s next for ILLIT? Any chance you’re already planning your first comeback?

YUNAH: We are all working hard for what’s to come — which I want to spoil so badly, but I shouldn’t! [Laughs.]

IROHA: Like YUNAH said, we’re working very hard on it, so please stay tuned!

Anything else you’d like to add at this time?

MINJU: I’m forever grateful for all the love we received for our debut track “Magnetic.” We’re working hard to come back with better music and performances, so please stay tuned!

YUNAH: I can’t begin to express how thankful I am for the love our fans have been showing us. And thank you Billboard for letting us share our stories!



What’s Your Favorite New Music Release of the Week? Vote!

With June coming to an end, this week’s music releases are getting us ready for the hottest months of the year.

Megan Thee Stallion dropped her 18-track, third studio album Megan. She calls on Victoria MonétGloRilla and UGK for assists throughout the 18-track project. The effort is filled with three previously released singles in the No. 1 hit “Hiss,” “Boa” and “Cobra.”

Meanwhile, Camila Cabello unveiled her fourth studio album, C,XOXO. The LP features 14 tracks — two of which are Drake collaborations. It was led by the singles “I Luv It” with Playboi Carti — which peaked at No. 81 on the Billboard Hot 100 — and “He Knows” with Lil Nas X.

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Noah Kahan also continued his string of impressive collaborations by lending a second verse to Kelsea Ballerini’s “Cowboys Cry Too.” The emotional duet comes nearly a month and a half after the two musicians teamed up for a joint performance of Ballerini’s “Mountain With a View” and Kahan’s Billboard Hot 100 top 10 hit “Stick Season” at the 2024 Academy of Country Music Awards. 

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LISA dropped “Rockstar” under the new partnership between RCA Records and LISA’s management company, LLOUD Co., which she founded earlier this year. The song — which LISA co-wrote with Brittany Amaradio, James Essien, Lucy Healey, Ryan Tedder and Sam Homaee and was produced by Tedder and Homaee — was first teased on TikTok earlier this month when LISA joined the social media site and set a Guinness World Record by gaining 1 million followers in just over two hours.

With all these great music releases out, we want to know which one is your favorite. Check out our Friday Music Guide here, and let us know by voting in our poll below.

By The Numbers: How Rap Beef Affects the Culture

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Kendrick Lamar

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When Biggie Smalls asked, “What’s Beef?” he posed the question at the height of the East Coast/West Coast rap rivalry, which would ultimately result in the death of the Brooklyn MC—as well as Tupac Shakur.

But, does beef always have to end in death? Most Hip-Hop fans would hope not. The very nature of the culture is competitive, and rivalries can be thrilling and entertaining when they stay on wax. 

The recent rivalry between Kendrick Lamar and Drake has been one of those quarrels that has reenergized the culture and entertained Hip-Hop fans in a way not seen in years. 

SlotsUp online casino and Media Lab Insights recently prepared and shared statistics that detail the legacy of rap beef—by breaking the statistics and songs into eras which are marked by a major event. 

“These timelines were used to better understand the development of conflicts, success, and the demand for performance in the hip-hop industry,” the report notes. “Their comparison is focused on three main points: the technical aspect (the average tempo of the tracks (which can be calculated by the amount of bars, and the length), the profitability (the amount of platinum albums), and the risks involved (death rate).” 

Researchers at SlotsUp commented on the study. “Until our current era, the more beef was around, the more successful the artists were. Our current era is going against this pattern, with the same amount of deaths and diss tracks as the first era, but with more platinum albums. Over the years, Hip-Hop became less technically demanding, especially after 2004.  This study shows that conflicts aren’t always profitable, and violence can be avoided.” 

The first era was marked by what the researchers called “The Roxanne Wars” in the mid-1980s. Two of the most significant songs were “Roxanne, Roxanne” and “Roxanne’s Revenge.” However, cultural commentators say that there were up to 30 songs related to the beef. The only major death to come out of that era was Scott La Rock—whose murder has not been directly attributed to the beef. The clear winner of this battle was Roxanne Shante, who went on to a lengthy career and is credited as one of the foundational female MC’s.



The second era was one of the most deadly. Lasting from 1992 to 1997, the beef sparked the true rise of the diss track. The research shows that diss tracks and deaths more than doubled while platinum albums skyrocketed to 35. The era saw 10 deaths, with three being the most prominent—Eazy E, 2Pac, and The Notorious B.I.G. The winner of this era could be seen as the recently disgraced Sean “Diddy” Combs as his Bad Boy imprint saw some of its biggest success following the death of B.I.G. This era also marked Hip-Hop’s biggest foray into the pop genre with an increase in record sales that would last for more than a decade—before the proliferation of streaming.

The third era, lasting from 1998-2004, featured the beef between Jay-Z and Nas. This era was also the most financially successful with more than 50 platinum albums. “Eminem was significant in this era,” as the study shows that the Detroit rapper released nine diss tracks. The winner of this era continues to be debated. However, the culture benefited from the end of the beef with Jay and Nas making several concert appearances together. 

INDIO, CA April 12, 2014: Nas was joined by Jay-Z while he performed on the outdoor stage at the Coa

Source: Bethany Mollenkof / Getty

The fourth era: 2005-2008, is one largely of peace—kicked off by the end of the beef between Jay-Z and Nas—two New York rap titans. Also worth noting is the average length of rap songs would begin to get shorter with many getting under the 4-minute mark. The fifth era from 2009-2012, was marked by the release of Kendrick Lamar’s Good Kid, M.A.A.D City. It would be the second era that Eminem would be involved in numerous beefs including with Benzino and Mariah Carey. It was during this era that beef would escalate in southern states with one significant death being that of Slim Dunkin. 



Era number six was from 2013 to 2019. The most significant beef was between Drake and Meek Mill. However, the two would eventually collaborate (again, since they were cool prior to Meek’s Twitter fingers) on “Going Bad.” This era is also marked by continued financial success with more than 40 platinum albums. The murder of Nipsey Hussle would mark the end of this era. 

Our current era began with the coronavirus pandemic, which affected the entire world but also highlighted the significance of “beef,” with the good-natured but often tense musical battles as part of the Verzuz series. But without question, Kendrick Lamar’s “Not Like Us,” is thus far the most powerful diss song of the era—but whether or not it’s over is still up for debate, and Drake. Fortunately, K. Dot did his victory lap by bringing gang members together on one stage as a show of unity at the conclusion of his pop out concert on Juneteenth. 

With SoundOn Integration, Music Creation App Overtune Leans Into TikTok

Last January, Olivia King sat at her dining room table and made a beat — in five minutes.  

The Rhode Island-based pop/R&B artist doesn’t play instruments or use music-production software. Instead, she created her track with Overtune, a music-making app that allows users to combine beats and samples from a wide range of instruments and other sounds, write and record vocals, and otherwise use a simple smartphone interface to make music meant to soundtrack content on platforms like TikTok, Instagram and YouTube. Overtune was developed in Iceland and launched in 2020.

Now, King’s use of the app is helping expand Overtune’s applications beyond social platforms and into more traditional releases. After using Overtune to add her own vocals to her five-minute beat, she made a video of herself performing the song snippet, then posted it to TikTok as part of a brand deal with the app. The video started racking up views; it now has more than 10 million of them.  

Capitalizing on this interest, King created an entire song based on her original minute-long TikTok. A steamy ballad called “Unfinished Business,” the two-minute, 18-second song was made entirely with Overtune beat packs and released last Friday (June 21). It marks the first release through Overtune’s new label service, which is centered on a partnership with SoundOn, the music distribution model launched by TikTok in 2022 in the U.S. and U.K.

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Building SoundOn into Overtune “fits directly into the changing music industry,” says Overtune co-founder Jason Daði Guðjónsson. “Social media platforms like TikTok are at the forefront of that kind of transformation, and I think Overtune is perfectly positioned to help artists navigate the changing landscape by providing them with the tools to create and now also share and monetize their music.” 



SoundOn is designed to help independent, emerging artists navigate TikTok, upload music, get paid for its use, market and promote themselves on the platform, and distribute their music to outside DSPs. Through its integration into Overtune, paid users can release Overtune-produced songs via SoundOn directly in the app, which has a free tier along with a subscription service priced at $9.99 a month. (This paid option also offers other features like exclusive beat packs.)

“I’ve worked with probably every distributor under the sun, but never before with SoundOn,” says King. “I’m excited for it, because TikTok has changed the music industry.” 

Overtune’s ability to produce music tailor-made for TikTok has attracted serious interest, with the company receiving $2 million in seed funding from Whynow media (founded by Mick Jagger’s son, Gabriel Jagger), along with investments from a group that includes Guitar Hero founder Charles Huang. Its advisory board includes former Sony Music UK head Nick Gatfield. And while the use of the app to make full-length songs is relatively new, along with King’s song, Overtune was used in the creation of “Framtíðin er hérna” (“The Future is Here”), a song made for the National Broadcasting Station of Iceland’s 2023 New Year’s Eve show. 

Overtune’s founders want to make music creation ultra-simple by providing thousands of different sounds that are organized by tempo and pitch for easy matching. (Some commenters were suspicious about whether King had actually made her beat in five minutes, so she made another video in which she recreated the process to prove it.) The app currently offers assistive AI that answers user questions and is developing other AI functions that are being trained on Overtune’s proprietary beat packs. Later this year, the company will also launch a function that lets users generate loops using written prompts.  

Overtune recently added an AI function with which users can apply vocals filters that mimic the voices of artists from Snoop Dogg to Elvis, along with celebs like Morgan Freeman and fictional characters like Marge Simpson. (This function will soon be replaced by AI voices developed in-house and designed to modify individual voices, rather than replicate those of celebrities.)

“The beautiful thing about it,” Guðjónsson says of the app as it currently stands, “is that you don’t have to know anything about tech or music to be able to create songs.” 

Overtune sounds aren’t copyrighted, so users can earn royalties from the music made on the app when it’s uploaded to TikTok and DSPs like Spotify and Apple Music. But Guðjónsson says Overtune users “gravitate toward TikTok” especially, making SoundOn “a natural addition to our offerings.” 

The app also allows users to make music at TikTok’s unique pace. Artists can experiment with song snippets, then use SoundOn to put them on TikTok and test them with audiences before completing the song and releasing it on more traditional DSPs.  

Making distribution easier is also just an extension of the company’s broader mission. “Becoming a musician is not supposed to be that difficult,” Guðjónsson says. “As it is today, you have to own a lot of expensive equipment and have a big presence to be noticed by the labels, but anyone can go through our services.” 

For King, this ease is a major part of the app’s appeal.  

“As an independent artist you have to be consistent, and the best way to be consistent is to be efficient,” she says. “With Overtune I can do a full demo on the app, then distribute through SoundOn, which makes life easier as an independent artist.” 

NewJeans Unite Fans Through Music at Bunnies Camp 2024 Tokyo Dome Fan Meeting: Concert Review

NewJeans took the stage at Tokyo Dome for its Bunnies Camp 2024 fan meeting on Wednesday (June 26), the first of two days the breakout K-pop group performed at the venue for its first-ever headlining show in Japan.

The five-member girl group set a record as a non-Japanese act for shortest period of time since debuting to perform at Tokyo Dome. Tickets for the two-day event quickly sold out to draw a total of 91,200 fans, proving the “Supernatural” group’s overwhelming popularity in Japan where various talented K-pop acts seek to expand their influence.

K-pop fan meetings often feature segments other than live performances, such as games and chatting among members, to focus on interacting with fans. But NewJeans’ event opted to forgo such frivolities for a more music-oriented showcase based solely on the idea of entertaining fans (Bunnies) through song. In addition to all the tracks from their past EPs and singles — “New Jeans,” “OMG,” “Get Up,” “How Sweet” — the girls performed two off their brand-new Japanese debut single, “Supernatural.” This stance was reflected in the mysterious DJ set by the opening act, South Korean music producer 250 (Lee Ho-hyeong), which focused on remixes of NewJeans songs, but with an emphasis on ambient moods.

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The venue brimmed with intense anticipation before the show began, and when NewJeans actually appeared on stage, the crowd erupted into a fierce frenzy that felt like it would blow off the roof of the stadium. But the five members — including Hyein, who had been on hiatus to recover from a foot injury — showed no signs of nervousness in the face of such a spectacle and went on to hype up the audience with live renditions of their signature songs such as “Attention” and “Cookie,” amplifying the energy of the original songs many times over with assistance from a band consisting of guitarist Kazuki Isogai (SANABAGUN.), bassist Kazuki Arai (King Gnu), keyboardist Yudai Ohi (SANABAGUN.), and drummer Soy. Although there were concerns about Hyein’s condition, she looked well and made a strong comeback, impressing fans with her vibrant, cool performance.

In addition to popular songs like “Hype Boy” and “Super Shy,” the highlights of the day were the solo performances that showcased the charms of each member through a fresh approach — Danielle and Hanni’s sweet duo performance of the unreleased song “Hold It Down,” a strong solo dance by Haerin, and Danielle debuting her beautiful R&B-inspired original track “Butterflies (With U).” 

The girls also covered J-pop songs ranging from classic to contemporary to the delight of the audience, including performances of Vaundy’s “Odoriko” (Dancing Girl) by Minji, Mariya Takeuchi’s “Plastic Love” by Hyein, and Seiko Matsuda’s “Aoi Sangosho” (Blue Coral Reef) by Hanni. Moreover, the girls not only sang these songs, but also created a unique space where the content of each song and the members’ personalities were fused together, as in the performance of “Odoriko,” where Minji threw down her bag with a determined look on her face and started running, a complete change from the cool demeanor she maintained in the first half of the set. NewJeans is known for its beautiful and fragile image, spearheaded by label head Min Hee Jin, and this aesthetic was brilliantly carried through here as well.

The fan meeting also featured guest acts on both days, and J-pop duo YOASOBI appeared on Day 1 (Rina Sawayama took the stage on Day 2) — not as an opening act, but incorporated into the main set. YOASOBI singer ikura joined the group for “Right Now” as if she were the sixth member, surprising the audience with their coordinated formation. The two acts then segued into YOASOBI’s song “Biri-Biri,” smoothly performing the Pokemon-inspired number featuring a cute melody and solid drum and bass beat that perfectly matches NewJeans’ style.

After YOASOBI led the audience to a spectacular climax with its performance of “Idol,” Billboard Japan’s 2023 Song of the Year — unfortunately sans members of NewJeans — the five girls returned to the stage and upped the excitement with an energetic performance of their upbeat hit “ETA,” the audience erupting into a thunderous chorus of “What’s your ETA?” By this time, the band’s groove and the members’ cute but powerful voices and vibrant dance moves were perfectly integrated, and a unique exuberance typical of NewJeans filled the entire venue. Even during the laid-back “OMG,” which the members performed on a moving float, the venue was charged with a strange excitement that had nothing to do with relaxation. To be honest, I was personally concerned that the group’s musicality and a venue with tens of thousands of people might not necessarily be a good match, but on this day, NewJeans completely took over the stadium, a promising result in light of the group’s future performances at large-scale music festivals overseas.

The members closed the main set with “Ditto,” bringing the show to a happy ending with its pleasant groove and familiar dance moves. Answering calls for an encore, the group returned to perform the last song of the evening, “ASAP,” ending the fan meeting in style covered in a huge amount of confetti. The overwhelming satisfaction from the live performance itself — hard to believe it’s only been two years since the group was formed — as well as the tremendous response on social media after the show (with focus on the unexpected covers), will no doubt lead to even greater enthusiasm for the group.

–This concert review by neu_mura first appeared on Billboard Japan

Bilibili Launches ‘New Generation Musicians Program’ Contest for Singer/Songwriters in China

On June 13, the Chinese video platform Bilibili officially launched the “New Generation Musicians Program – Original Season.” This program features a large-scale music creation and musician selection contest for singer/songwriters. It will also provide a 5 million RMB (renminbi) fund, along with diverse exposure opportunities for participants.

The initiative aims to empower musicians to make choices, with a focus on “Musicians helping musicians,” garnering industry support. Eight artists, including Chen Chusheng, Chen Li, Penny Tai, Han Hong, Hua Chenyu, David Tao, Wang Sulong and Tia Ray, are collaborating with the contestants. Sony Music will handle album production, while Billboard China will provide comprehensive coverage of the event. Sixteen acclaimed music critics will assist in promotion through online media, and 13 record labels will offer performance and collaboration opportunities to the contestants.

In 2023, Bilibili introduced the “New Generation Musicians Program – Girls Season” to showcase female musicians, achieving significant success. Industry insiders anticipate that this year’s event will unveil more rising stars in the Chinese music scene.

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Black Music Month Memorabilia: Tupac, Snoop Dogg, Jimi Hendrix & Other Collectibles to Shop

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The Black Music Month celebration continues! Billboard is celebrating the month-long event, which honors the contributions of Black artists in music, by highlighting a collection of memorabilia to shop from artists such as Tupac, Snoop Dogg, Jimi Hendrix, Notorious B.I.G. and Bob Marley.

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Billboard teamed back up with talkshoplive to share a roundup of collectibles to shop starting on Friday (June 27). Billboard’s Tetris Kelly and Cat Johnson dropped by the historic Guitar Center location on Sunset Boulevard in Los Angeles to give fans a first-hand look at some of the memorabilia at a budget-friendly price.  

What’s on the shop list for Black Music Month? From Tupac and Snoop Dogg Funko figurines to apparel and music books, the collection has a mix of cool products for fans to buy.

A poster of Tupac in a prayer pose and a Funko version of the late rapper honoring his debut album 2Pacalypse Now are featured among the list of items. There’s also a jumbo Funko Pop! edition of Snoop Dogg from the “Drop It Likes It’s Hot” music video. Uncle Snoop’s Funko stands 10-inches tall – almost double the size of your average Funko Pop!

Hip-hop fans can grab coffee (or tea) in the Notorious B.I.G. ceramic mug featuring the “It was all a dream” lyric from Biggie’s “Juicy” single and a baby photo of the late rapper from his Ready to Die album.

And there’s even more to shop, like this mini-replica of the Jimi Hendrix Monterey Fender Stratocaster guitar, a Hendrix mural T-shirt, and a Bob Marley music book that teaches you how to play “No Woman, No Cry” “Could You Be Loved” and other Marley songs on a Ukulele.

Check out the video above to shop Billboard’s picks for Black Music Month.

Xavi’s ‘OOTD’& More: Which Is Your Favorite New Latin Music Release This Week? Vote!

This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists such as Xavi, Manuel Turizo, Maria Becerra, Buscabulla and more.

Both Manuel Turizo and Xavi offered a preview of the albums they are respectively working on. The Colombian hitmaker released “Dios Te Cuide,” which will be featured on his upcoming fourth studio album, 201, set to release later this year. 

Meanwhile, Xavi delivered the ultra-catchy “OOTD,” powered by sierreño guitars and his distinctive raspy vocals. As the name suggests, the Mexican-American artist sings about a girl who loves showing off her outfits on social media and making a few people jealous with her posts along the way. “Before going to sleep, she uploads a photo on Insta, so that loser can see her,” Xavi croons.

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Other notable releases includes Buscabulla’s first single in four years. Comprised of Raquel Berrios and Luis Del Valle, Buscabulla’s “11:11” is an electro pop track about finding purpose and fulfillment in life. Alvaro Soler contributes a perfect song for the summer celebrating the type of love that sounds almost too good to be true. “I imagined you/ Having breakfast kisses in bed/ Waking up next to you every morning/ And if we fight, let it be with the pillow/ As I imagined you,” Soler sings in the chorus.

The poll below also includes other standout releases including Villano Antillano’s new album Miss Misogyny, Las Villa’s “Down” and Ha*Ash’s “El Cielo Te Mandó Para Mí.” Who should win this week? Vote among other new releases: