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21 Mar 2024

hololive English VTuber Hakos Baelz on the Confidence She Gained Through Her First Concept Album: Interview

hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.

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To start off with, could you tell us a little about how you got started as a VTuber?

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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.

Were you already interested in performing music?

Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.

You released “Play Dice!” in February 2022. What did you want to express through this song?

Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.

You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?

Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.

You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?

Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.

So, moving on to your album, what was your initial idea for how it would be structured?

Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.

The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?

Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.

I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.

Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.

There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.

Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.

Which songs were the hardest to record?

Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.

I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?

Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.

In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?

Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!

21 Mar 2024

Billboard Explains: How Shakira Dominated the Charts

Shakira is set to drop her new album Las Mujeres Ya No Lloran, her first in seven years, on Friday (March 22). Ahead of the Colombian hitmaker’s big release, Billboard breaks down Shakira’s biggest hits on the chart, proving why the “Te Felicito” singer is a global force to be reckoned with.

The singer-songwriter from Barranquilla, Colombia first entered the Billboard charts in 1996 with her pop anthem “Estoy Aquí,” which topped the Latin Pop Airplay chart and hit No. 2 on the Hot Latin Songs chart. It was the first of many more to come — to date, Shakira has placed 49 songs on tally, with 35 in the top 10 and 13 No. 1 hits, including “Suerte (Whenever, Wherever),” “Que Me Quedes Tu” and “Loba.”

With 49 songs on Latin Songs, she becomes the woman with the third-most career entries, just behind Karol G with 63 and Ednita Nazario with 53. Meanwhile, Shakira has 21 No. 1s on Latin Airplay, the most of any female artist. On the Hot 100, she made her debut with “Whenever, Wherever” in 2001, which peaked at No. 6. Since, she’s placed 27 more songs on the tally. Over on the Billboard 200, Shakira has 13 entries with five top 10s. Her 2014 self-titled album reached a career-peak for the singer, climbing to No. 2.

Shakira’s Las Mujeres Ya No Lloran will include eight new tracks alongside previously released singles like “TQG” with Karol G, the Rauw Alejandro-assisted “Te Felicito” and “El Jefe” with Fuerza Regida. A remix to her Bizarrap-produced “Music Sessions Vol. 53” featuring Tiesto will also be included in the set. Shakira recruits Bizarrap and Alejandro again for new songs, while tapping new collaborators, including Cardi B and Grupo Frontera.

21 Mar 2024

Tennessee Adopts ELVIS Act, Protecting Artists’ Voices From AI Impersonation

Tennessee governor Bill Lee signed the ELVIS Act into law Thursday (Mar. 21), legislation designed to further protect the state’s artists from artificial intelligence deep fakes. The bill, more formally named the Ensuring Likeness Voice and Image Security Act of 2024, replaces the state’s old right of publicity law, which only included explicit protections for one’s “name, photograph, or likeness,” expanding protections to include voice- and AI-specific concerns for the first time.

Gov. Lee signed the bill into law from a local honky tonk, surrounded by superstar supporters like Luke Bryan and Chris Janson. Lee joked that it was “the coolest bill signing ever.”

The ELVIS Act was introduced by Gov. Lee in January along with State Senate Majority Leader Jack Johnson (R-27) and House Majority Leader William Lambert (R-44), and it has since garnered strong support from the state’s artistic class. Talents like Lindsay Ell, Michael W. Smith, Natalie Grant, Matt Maher and Evanescence‘s David Hodges have been vocal in their support for the bill.

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It also gained support from the recorded music industry and the Human Artistry Campaign, a global initiative of entertainment organizations that pushes for a responsible approach to AI. The initiative has buy-in from more than 180 organizations worldwide, including the RIAA, NMPA, BMI, ASCAP, Recording Academy and American Association of Independent Music (A2IM).

Right of publicity protections vary state-to-state in the United States, leading to a patchwork of laws that make enforcing one’s ownership over one’s name, likeness and voice more complicated. There is an even greater variation among right of publicity laws postmortem. As AI impersonation concerns have grown more prevalent over the last year, there has been a greater push by the music business to gain a federal right of publicity.

The ELVIS Act replaces the Personal Rights Protection Act of 1984, which was passed, in part, to extend Elvis Presley‘s publicity rights after he passed away. (At the time, Tennessee did not recognize a postmortem right of publicity). Along with explicitly including a person’s voice as a protected right for the first time, the ELVIS Act also broadens which uses of one’s name, image, photograph and voice are barred.

Previously, the Personal Rights Protection Act only banned uses of a person’s name, photograph and likeness “for purpose of advertising,” which would not include the unauthorized use of AI voices for performance purposes. The ELVIS Act does not limit liability based on context, so it would likely bar any unauthorized use, including in a documentary, song or book, among other mediums.

The federal government is also working on solutions to address publicity rights concerns. Within hours of Gov. Lee’s introduction of the ELVIS Act in Tennessee back in January, a bipartisan group of U.S. House lawmakers revealed the No Artificial Intelligence Fake Replicas And Unauthorized Duplications Act (No AI FRAUD Act), which aims to establish a framework for protecting one’s voice and likeness on a federal level and lays out First Amendment protections. It is said to complement the Senate’s Nurture Originals, Foster Art, and Keep Entertainment Safe Act (NO FAKES Act), a draft bill that was introduced last October.

While most of the music business is aligned on creating a federal right of publicity, David Israelite, president/CEO of the National Music Publishers’ Association (NMPA), warned in a speech delivered at an Association of Independent Music Publishers (AIMP) meeting in February that “while we are 100% supportive of the record labels’ priority to get a federal right of publicity…it does not have a good chance. Within the copyright community, we don’t even agree on [it]. Guess who doesn’t want a federal right of publicity? Film and TV. Guess who’s bigger than the music industry? Film and TV.”

The subject of AI voice cloning has been a controversial topic in the music business since Ghostwriter released the so-called “Fake-Drake” song “Heart On My Sleeve,” which used the AI technology without permission. In some cases, this form of AI can present novel creative opportunities — including its use for pitch records, lyric translations, estate marketing and fan engagement — but it also poses serious threats. If an artist’s voice is cloned by AI without their permission or knowledge, it can confuse, offend, mislead or even scam fans.

21 Mar 2024

Madonna’s ‘Like a Prayer’ at 35: All the Songs Ranked

The Queen of Pop’s monumental masterpiece is still the standard for confessional pop.

Madonna

Madonna performs onstage in spandex and a bustier with back up dancers in September ,1989 in Los Angeles.

Michael Ochs Archives/Getty Images

After a quiet 1988 (her most notable pop culture moment was an acting gig in a Broadway production of David Mamet’s Speed-the-Plow), Madonna returned the following year to conclude the decade she’d dominated in style. The fact Like a Prayer instantly blew all the pop girlies who’d emerged since predecessor True Blue out of the water was no surprise. But no one was prepared for quite how much it changed the game.

Madge’s fourth studio effort still contained its fair share of earworms – you don’t score a trio of singles that hit No. 1 or No. 2 on the Billboard Hot 100 without hooks galore (“Like a Prayer” topped the Hot 100 while follow-ups “Express Yourself” and “Cherish” peaked at No. 2). But this time, the songs were accompanied by a newfound lyrical depth in which the Queen of Pop bared her soul on everything from her marriage breakdown to the death of her mother, and, of course, as implied by the album’s title, her Catholic upbringing. “What was it I wanted to say?,” she once asked rhetorically. “I wanted [the album] to speak to things on my mind.”

Co-produced with regular collaborators Stephen Bray and Patrick Leonard, Madonna’s brutal honesty certainly paid off, with Like a Prayer becoming her third consecutive Billboard 200 chart-topper and staying at No. 1 for six weeks.

Even as we celebrate its 35th anniversary (March 21), it’s still reigning as the benchmark for confessional pop. Here’s a ranking of its 11 tracks from least to most transcendental.

21 Mar 2024

Chris Young Kicks into High Gear, Personally and Professionally, on New Album: ‘I’ve Been Changing Things Up’

Key to any artist’s career progression is a keen sense of knowing what elements of their sound and style require evolution and exploration, but also which should remain constant.

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Leading into Chris Young’s ninth studio album, Young Love & Saturday Nights, out Friday (March 22) via his longtime label home RCA Records Nashville, the 38-year-old singer-songwriter surveyed his life, personally and professionally, and set about making a series of changes. He switched management companies, joining Red Light Management. He also committed to bettering his health, focusing on healthier meals and a workout regimen with NFL trainer Jeremy Holt, resulting in a 60-pound weight loss. 

“I’ve focused on myself over the past year,” Young tells Billboard. “I spent more time in the gym, changed some things around in my career and spent a lot of time creatively on this album.”

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His commitment to growth extends to his new album, which emanates an energized sound, while Young stretches the scope of topics fans have come to expect from his songs. Young also delves even deeper into music production; solo producing three songs on the new project (he had previously solo produced “Tonight We’re Dancing,” a song on 2021’s Famous Friends), while also continuing to work with his longtime co-producers Chris DeStefano and Corey Crowder.

“I’ve just been changing things up, trying new things out, and I feel like this album is all the more special for that, just having the ability to stretch and grow as an artist and a writer, but also as a producer,” Young says.

Since his eponymous debut project in 2006, Young has accumulated nominations for two Grammys, more than a dozen Academy of Country Music Awards nominations and eight Country Music Association Awards nominations for his work as an artist and producer. He’s earned 11 Billboard Country Airplay chart-toppers and along the way, forged a reputation as one of country music’s most reliable hitmakers.

While his new album features its share of raucous party anthems and polished country grooves that Young’s fans have come to expect, the title track, which currently sits at No. 27 on Country Airplay, comes with a twist. “Young Love & Saturday Nights” interpolates the signature guitar riff from David Bowie’s 1974 song “Rebel Rebel” — something Young says he initially balked at when he first heard the demo of the song. The late Bowie is credited as a writer alongside Ashley Gorley, Josh Thompson and Jesse Frasure.

“We did a full day of just listening to songs from multiple publishers. This one started and I’m like, ‘This is “Rebel, Rebel.” I would never recut that song,’” Young recalls. “They were like, ‘Hold on, we got something coming.’ When I heard the whole song, I loved it. It’s been so much fun to play this at shows and I think it’s something so many people can relate to. Now I got a David Bowie cut on my record, so that’s pretty cool.”

While the album’s title conjures images of teenage years, freedom and passionate romances (not to mention the singer’s surname), at least one song on the album, “Getting Older,” nods to the challenge of aging gracefully, and is a tip of the hat to Young’s father, particularly on the line, “If I get half the chance to be like my old man/ I ain’t afraid of getting’ older.” Johnny Clawson, Dave Fenley and Kyle Sturrock are writers on “Getting Older.”

“I hadn’t done something like that before; it was something I was trying to say — trying to write — and I just couldn’t,” Young says of the song. “Then one of my buddies played me this song and I was like, ‘I have to record this before someone else gets ahold of it.’ That hook is so strong. It’s a really special song.”

Elsewhere, on “Everybody Grew Up,” he muses how even though he and all his buddies have matured and traded cutting class for mowing the grass and other adult responsibilities, those youthful memories of small-town childhood are never far away. “All Dogs Go to Heaven,” which Young wrote with Crowder and Cale Dodds, centers around what he imagines heaven will be like for man’s best friend.

Of course, some things remained constant, such as Young’s unmistakable vocal power and his unyielding devotion to songwriting. As with many of his albums, he’s a co-writer on much of the project, penning 15 of the album’s 18 songs, including already released “Looking For You” and “What She Sees in Me.”

Meanwhile, songs that detail the nuances of relationships proliferate the album, including “Right Now,” which chronicles the “are we/aren’t we” push-and-pull of a couple deciding whether to make their relationship official, and the tenderly romantic ballad “What She Sees in Me.” Elsewhere, “Call It a Day” continues in the vein of the R&B-laced love songs that have become a staple in Young’s repertoire.

“That one was sort of what people expect to be my wheelhouse and you gotta do those, right?” he says of “Call It a Day.” “I got to play around a bit vocally on that one so it was fun.”

While country has certainly become cool again, with a plethora of pop artists making country forays and a batch of newcomers chasing the stripped-back, rock-fused sound of Zach Bryan, Young simply focuses on bettering what he does best.

“I think I’ve been lucky enough to be around long enough that I’ve seen everything from LimeWire and Napster to TVs going away, to LPs coming back to streaming being a thing,” he says. “That’s indicative of how life is. If you are around long enough, things are going to change. Especially as an artist, you have to be able to adapt to that. It’s a real cool thing that people still love country music, and they love all types of it. I think there’s always going to be a place for it. I think that country music is predicated on country music telling stories — and sad songs and waltzes,” he says, citing the Willie Nelson-penned tune that both he and then Keith Whitley recorded. “You can kind of do whatever you want to do, as long as you are saying things that are authentic.”

In April, Young will launch his headlining Young Love & Saturday Nights tour. Rejuvenated physically, emotionally, and musically, he says he’s ready to hit the road.

“There’s been a lot of stuff I’ve changed out, a lot of stuff I’ve worked on. I’m excited to be able to go out there and tour and play this new music,” Young says.

21 Mar 2024

Davido, the Afrobeats Phenomenon, Welcomes All to His World of Music

From his early years surrounded by the rhythms of entertainment to becoming one of the biggest names in Afrobeats, Davido‘s journey is nothing short of inspirational. Born David Adedeji Adeleke, Davido’s passion for music was ignited during his teenage years, a time when he found solace in the melodies and beats that filled his surroundings.

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Davido’s journey began with a love for entertainment, fostered by his upbringing in an environment rich with music and celebrations. Despite initially envisioning himself as a producer, his destiny as an artist unfolded gradually. Inspired by the desire to be a triple threat—engineer, producer, and songwriter—Davido aimed to establish his own label, following in the footsteps of his musical influences like Don Jazzy.

However, fate had different plans. Encouraged by his cousins, Davido took a leap of faith into the spotlight, transitioning from behind-the-scenes producer to an emerging artist. His move back to Nigeria from Atlanta marked the turning point, propelling him into a full-time music career that would soon capture the hearts of millions.

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Davido’s rise to stardom wasn’t overnight; it was a culmination of perseverance, talent, and an unwavering belief in the power of Afrobeats, globally. Reflecting on his journey, Davido emphasizes the importance of incremental breakthroughs and the relentless pursuit of success at every stage.

As Afrobeats gained global prominence, Davido played a pivotal role in its expansion, leveraging his roots and experiences to bridge cultures through music. He recognized early on the universal appeal of Afrobeats, advocating for its recognition on international platforms and paving the way for its widespread acceptance.

Collaboration lies at the heart of Davido’s artistic vision, serving as a catalyst for innovation and cross-cultural exchange. Whether working with established icons or emerging talents, Davido approaches each collaboration with a spirit of mutual respect and creative exploration.

Beyond personal success, Davido is committed to nurturing the next generation of artists, ensuring they receive guidance and support to navigate the complexities of the music industry. He sees collaboration not only as a means of artistic expression but also as a tool for empowerment and legacy building.

Davido’s journey from humble beginnings to global acclaim embodies the transformative power of music. Through his unwavering passion, dedication to authenticity, and commitment to collaboration, Davido continues to shape the landscape of Afrobeats music while inspiring a new generation of artists to follow their dreams. As he continues to evolve as an artist and a cultural ambassador, Davido’s influence on the world of music remains boundless, leaving an indelible mark on the global stage.

21 Mar 2024

GloRilla Offers Advice to Her Younger Self, Talks Importance of Working Hard & Manifesting | Billboard Women in Music 2024

GloRilla offers advice to her younger self and talks about the importance of working hard, manifesting and more backstage at Billboard Women In Music 2024.

GloRilla:
Some advice I would give my younger self would be to always remain true to myself and keep going, never stop. Stay resilient, have diligence and work hard and manifest.

21 Mar 2024

Karol G Shares Why It’s Important to Trust Yourself | Billboard Women In Music 2024

Karol G shares why it’s important to trust yourself, while giving her younger self advice backstage at Billboard Women In Music 2024.

Karol G:
What I would have said to myself many years ago? I would told her to trust herself, to trust that feeling I had inside. I always had a feeling that many times, I tried to repress. If I had relied more on that feeling, I think it would have saved me a lot of time. But here we are anyway, and that’s what I would have told myself and that’s what I’m telling you: Trust in what you have in here.

Watch the full video above!

21 Mar 2024

Tenacious D’s Britney Spears Cover Tops Rock Digital Song Sales Chart

Tenacious D’s version of Britney Spears’ “…Baby One More Time” is No. 1 on a Billboard chart.

The rendition, recorded for Tenacious D member Jack Black’s new movie Kung Fu Panda 4, starts at No. 1 on the Rock Digital Song Sales survey dated March 23.

The act’s “…Baby One More Time” reigns with 4,000 downloads sold in the U.S. March 8-14, its first week of release, according to Luminate.

Tenacious D notches its first No. 1 on Rock Digital Song Sales, which began in 2010. In fact, it becomes the duo of Jack Black and Kyle Gass’ first No. 1 on any Billboard songs chart, with the pair’s previous commands logged on album surveys – including two leaders on Top Rock & Alternative Albums in 2006’s The Pick of Destiny and 2012’s Rize of the Fenix.

“…Baby One More Time” is also the tandem’s first top 10 on the all-format Digital Song Sales chart, debuting at No. 9, exceeding the No. 36-peaking “The Pick of Destiny” in 2006.

On the multimetric Hot Rock & Alternative Songs chart, “…Baby One More Time” enters at No. 26. In addition to its sales, it earned 2.5 million official U.S. streams and 84,000 radio audience impressions.

Tenacious D charts its second entry on the ranking, after another cover, of Lana Del Rey’s “Video Games,” hit No. 27 last year.

Spears’ original earned its own bump in consumption from the cover, rising 11% to 1.7 million streams March 8-14. The classic became Spears’ breakout hit (and Max Martin’s, as a writer and producer), ruling the Billboard Hot 100 for two weeks beginning in January 1999.

Tenacious D’s version is heard in the credits of Kung Fu Panda 4, which premiered March 8 and stars Black as main character panda Po.

21 Mar 2024

Creepy Nuts’ ‘Bling-Bang-Bang-Born’ at No. 1 for 8th Straight Week on Japan Hot 100

Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Billboard Japan Hot 100 again this week on the chart dated March 20.

Now in its eighth straight week atop the Japan song chart, the MASHLE season 2 opener has surpassed Gen Hoshino’s “Koi” and is tied with Official HIGE DANdism’s “Subtitle” for consecutive weeks at No. 1. (The current record for the longest consecutive stay atop the Japan Hot 100 is 21 weeks, held by YOASOBI’s “Idol.”)

On the chart tallying the week ending March 17, “BBBB” returns to No. 1 for downloads with 21,307 units (though down by about 4.4%) and continues to rule streaming with 24,945,758 weekly streams (up 17%). The rap banger also rises to No. 1 for video views by a margin of more than 6.4 times over the song at No. 2 (12,089,850 views) and moves 2-1 for karaoke, dominating four metrics of the chart’s methodology this week. Creepy Nuts dropped the CD version of the song on Wednesday (March 20) and is set to kick off its nationwide tour on Friday (March 22), and it doesn’t look like the duo’s biggest hit to date will be slowing down anytime soon.

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AKB48’s “Karakon Wink” debuts at No. 2 this week. The 63rd single by the long-running girl group is off to a great start, launching with 463,564 copies to top sales. The song celebrates the “graduation” of member Yuki Kashiwagi, who will be leaving after 17 years of being one of the most beloved and well known members of the group in its 19th year.

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Number_i’s “GOAT” stays in the top 10 at No. 5 this week, selling 19,459 copies in its second week of CD release to surpass 500k copies total. The track is at No. 2 for sales, No. 11 for downloads (3,926 units), No. 36 for streaming (3,109,214 streams), No. 8 for video views (1,151,338 views) and holds at No. 1 for radio airplay.

Fujii Kaze’s “Michi Teyu Ku (Overflowing)” debuts at No. 8 after dropping March 15. The 26-year-old singer-songwriter performed his latest single, written for the Japanese movie April Come She Will, on the premiere episode of NHK’s tiny desk concerts JAPAN series broadcast on March 16. In its first week, the track reached No. 3 for downloads (11,394 units), No. 20 for streaming (4,067,422 streams), No. 7 for video (1,208,331 views), and No. 12 for radio.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from March 11 to 17, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.