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Is Ambient Music Made In Spatial Audio The Path To Wellness? This New Label Is Betting On It

Go to any given spa or yoga studio and you’re likely to hear music or soundscapes designed to help you relax. Sometimes the sound is of a pan flute, or soft rain. Most often, though, you’ll hear some form of ambient music: gentle, often instrumental “chill out” productions meant to enhance the serene atmosphere.  

Now, two longstanding electronic music industry executives, in partnership with leaders in the wellness and music audio technology spaces, are getting into the genre through a new ambient label: Sacred Society Music Group.  

The label is a project of founders Bradley Roulier, who also co-founded the electronic music digital download store Beatport in 2004, and Barbie Beltran, a wellness expert and co-founder of a Denver wellness center also called Sacred Society. Co-founders include Paul Morris — the founder of electronic agency AM Only, which was acquired by Paradigm in 2017, and Tiësto’s longtime manager — and Dolby Atmos specialist Adelio Lombardi. Matthew Evertsen handles A&R and special projects.  

With Sacred Society, the label’s founders are aiming to heighten the quality and effectiveness of ambient music by producing its entire catalog in Dolby Atmos — a move they believe can increase the well-being of listeners who use the genre for relaxation, sleep and various wellness practices.  

“As label owners, we felt we could make this music that is part of life extraordinary,” Roulier tells Billboard.

Based in Denver, the label launched this week with a collection of more than 55 tracks and over six hours of immersive content. A track named “Ancient Chant” features hand drum, a rain stick and lapping water with various bells and a voice repeating, “You have it all inside.” A meditation track, “Inside The Womb Of The Earth,” is precisely 11 minutes and 11 seconds long.  

This music, organized by more than two dozen tags to help users find ambient sounds best suited for certain activities and times of day, is currently available on Apple Music, Tidal and Amazon Music. (It’s not yet on Spotify or YouTube, as those platforms don’t currently support Dolby Atmos.) So far the label features music from nine contributing musicians including Dynasty Electric, Matthew James Kelly, Cobane Ivory, Sean Stolar and Roulier himself, with all artists appearing under the “Sacred Society” name.  

While a barrage of ambient music already exists on the market (a search for “ambient” on Spotify results in upwards of 30 playlists), the Sacred Society founders believe their output is distinguished by its production in Dolby Atmos. The spatial audio technology adds dimension and depth to music and can only be made, and played, through specialized equipment. The label founders claim that listeners will benefit from this technology; as Roulier says, by helping them “explore meditative and ambient soundscapes more deeply than [they] ever thought possible.” 

Sacred Society Music Group’s side3 studio in Denver, Colo./Photo Courtesy Sacred Society Music Group

Sacred Society music is produced exclusively at Denver’s Dolby Atmos-equipped side3 studio, which was built by Lombardi. While construction of the studio required, as a Sacred Society rep says, “significant financial investment,” it was more intensive to set up the precise technical specifications necessary to record in Dolby Atmos.  

But this investment was worth it, Lombardi tells Billboard, because “adding immersive audio to this [music] experience elevates it significantly.”  

This may all sound like a niche endeavor, but there’s potential to tap a wide audience given how many people engage in wellness practices at home and how often this music is licensed for use in facilities like spas and yoga studios. Roulier says the group “wants our music to be widely available within the wellness space globally,” and has discussed launching a subscription service tailored for practitioners, hotels and spas that would allow them to use Sacred Society content commercially. 

The demand for ambient music is also expected to grow; the label cites a report that says the genre was valued at $1.8 billion in 2022, with that number expected to rise to $3.21 billion by 2030. The demand for Dolby Atmos is also expanding, with the label citing a statistic that 90% of Apple Music users have engaged with the format, as well as that plays for music available in spatial audio have more than tripled in the past two years. 

All this work is ultimately meant to deliver on the founders’ goal of sharing the holistic benefits embedded in the genre.

“I have always enjoyed ambient music, and I truly believe that music has the power to heal,” Morris tells Billboard. “With anxiety, depression, and mental health problems having escalated to unprecedented levels in our society, I can’t think of a more fitting time for the launch of Sacred Society Music. I have made a living from music my entire career and, by helping to put this music out into the world, I feel I am giving back in a small way through a medium that has given so much to me.” 

“It’s about providing a unique and serene musical journey for our listeners, regardless of market trends,” Beltran adds. “We aim to offer a path to serenity, self-discovery and inner harmony through the transformative power of sound.” 

Nicki Minaj Fires Off “Bigfoot” Diss At Megan Thee Stallion, X Reacts

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Nicki Minaj and Megan Thee Stallion have disrupted the Hip-Hop timeline in a major fashion, with the Queens veteran launching an all-out online assault on the Houston star. After the perceived shot from Megan Thee Stallion towards Nicki Minaj on “Hiss,” the Pink Friday 2 star fired back with the diss track “Bigfoot,” and fans are reacting.

As we previously reported, Megan Thee Stallion dropped her latest single, “Hiss,” last week as part of her return to the music scene, and one line in particular seemed to ruffle the feathers of Nicki Minaj.

The lyric in question reads, “These hoes don’t be mad at Megan, these hoes mad at Megan’s Law/I don’t really know what the problem is, but I guarantee y’all don’t want me to start,” which has been assumed to be about Minaj’s husband, Kenneth Petty and his past legal woes.

This, in turn, sparked Minaj to go on a days-long tirade on social media, egged on her legion of fans known as the “Barbz,” and things got ugly with MTS’ deceased parents being brought into the fray and mention of the shooting incident with Tory Lanez.

With “Bigfoot,” Minaj wasted little time addressing the line mentioned above from “Hiss” and continued to pile on the attacks in a song with all the current tea within.

From “Bigfoot”:

This lil’ beggin’ whore talkin’ ’bout Megan’s law
For a free beat, you could hit Megan raw (Ooh)
If you a ghost writer, Pardi in Megan jaw (Ooh-ooh)
Shots thrown, but I still ain’t let Megan score (Tell ’em)
Bad bitch, she like six foot (Ooh), I call her Big Foot (Brr-brr)
The bitch fell off, I said, “Get up on your good foot” (Ah, ah)

Minaj ends the song by suggesting she. has more ammo in the tank for Megan should she want this beef to continue. As expected, the Barbz and the Hotties, which are MTS’ supporters, are at each other’s virtual throats and we’ve got all the reactions to “Bigfoot” below.



Photo: Getty

8 Things We Learned from 21 Savage on Club Shay Shay

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21 Savage on Club Shay Shay

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A few weeks ago Shannon Sharpe broke the internet and had social media on fire when he had Katt Williams let off a banana clip and air out the entertainment industry to start off 2024, but the man has done a few other pretty in-depth interviews with other celebrities and this time around he got to sit down with Atlanta’s current favorite son, 21 Savage.

Sitting down with the NFL Hall of Famer turned sports analyst turned entertainment journalist, 21 Savage opens up about his childhood and the impact his struggles had on his growth on the road to rap superstardom. A story so intriguing that everyone truly thought he was dropping a movie about his life.

From his experiences as a young immigrant from the UK getting accustomed to life in Atlanta to how getting shot shifted his focus to making music, 21 Savage gets into detail about many aspects of his life that many may not have been familiar with.

Here are the 8 things we learned from 21 Savage on Club Shay Shay.

Talking about when he first moved to Atlanta from London when he was 6 years old, 21 Savage says that his mother was actually coming to visit from friends in the Big Peach and wasn’t actually planning on staying for good. Ultimately, they ended up living here which almost ended up with 21 being deported back to the UK when the Trump administration was cracking down on illegal immigrants during his run as President.

21 Savage says he got into a fight on the first day of elementary school because of his accent. He said after he beat the kid up, everyone started calling him “taekwondo kid” because he kicked a lot during the fight (LMAO).

While he may not seem it due to his facial tattoos and G’d up demeanor, 21 says he was actually a good student in school and even won a spelling bee and math competition in elementary school and got straight A’s. Who would’ve thought? Still, he knew he couldn’t go to college and do other things because he was an immigrant and fell off in his studies knowing his ceiling would only be so high. Ultimately he ended up getting kicked out of school for bringing a gun to school.

Talking about his relationship with his father, 21 says that though he wasn’t there for him as a child, his father was a good dad to his other siblings who lived in the London, so he can’t call him a “bad” daddy. But it wasn’t until his little brother was killed in 2020 that he spoke to his father after 15 years of non-contact. Though he eventually forgave him for not being there, Savage says they still don’t talk because of “things he did as an adult that rubbed me the wrong way.”

Explaining why he tried football; Savage says he had to due to his probation which stated he had to participate in extracurricular activities in school. But because his mother couldn’t come up with the money to pay the dues, he only played one season in 9th grade and only hit the field three times.

Though he says that the older cats used to give him a dollar here and there to spit a few bars and even made a few songs with his homies as a young’n, 21 Savage says he didn’t really start taking rap seriously until after he got shot on his 21st birthday. That’s when he started putting money into his grind and now 10 years later and he’s one of the biggest names in the Hip-Hop game.

With many music artists selling their music catalogues for tens and hundreds of millions of dollars, 21 Savage says he would consider doing the same down the line unless he somehow ends up becoming a billionaire.

Keeping it a buck about the influence that Gucci Mane had on him growing up, 21 admits that the beef between Gucci and Young Jeezy had him hating Jeezy hard. “I used to be like ‘F*ck Jeezy! East side! Gucci!’” The revalation came after 21 left Jeezy off his Top 5 rappers from The A list. Of course Gucci Mane was up in his Mount Rushmore though.



Eminem Had a Two-Finger Salute For 49ers Fans During NFC Title Game Loss By His Hometown Lions

While things didn’t turn out the way he would have liked, Eminem had a positive message for his hometown NFL warriors on the Detroit Lions. “So proud of the @Lions,” the D-Town native of his favorite NFL team after the Lions fell to the San Francisco 49ers 34-31 on Sunday, spoiling the Motor City team’s bid to make it to their first-ever Super Bowl.

“Thanks 4 an amazing season!!!! We’ll b back!!!,” Eminem added about the team that put up a 12-5 season that tied the franchise record for most wins. It was a positive boost from one of the team’s most high-profile boosters, with Marshall, 51, showing his hometown pride during the game at Levi’s Stadium in San Fran in another picture captured by a fan in which the rapper — decked out in a Lions shirt and hat — holds up two middle fingers to a group of 49ers fans from his spot in a luxury box.

It was a playful gesture from the “Not Afraid” MC, who recently posted a jokey video aimed at Lions coach Dan Campbell offering to suit up if it would help the team reach the big game. “Yo Dan,” Eminem said in the video. “I’m reporting, I’m gonna report [in the] third quarter, I’m reporting, offensive line, eligible receiver, I’ll be the quarterback, the entire offensive line and the receiver, and I will throw it to myself and I will score a touchdown in the third quarter. Just give me a uniform, or at just least like a helmet. I already have a helmet, it’s not the one for football. It’s just a helmet. But yeah man, I’m here, bro. I’m gonna be there, I’m gonna be there that night, I will suit up and I will score us the winning touchdown.”

And while Em will have to wait another year to see if the Lions can come back stronger, another A-list, chart-topping NFL booster is potentially headed to the Feb. 11 Super Bowl in Las Vegas after the Kansas City Chiefs bested the Baltimore Ravens to advance from the AFC title game. In the family skybox for that one, of course, was Taylor Swift, who once again cheered on her boyfriend, KC tight end Travis Kelce, who had a monster day helping KC reach the Super Bowl for the fourth time in five years.

Because the Lions couldn’t overcome San Francisco QB Brock Purdy’s and company’s late-game surge, dreams of a superstar summit at Vegas’ Allegiant Stadium for the Super Bowl pitting Swifties against Stans will have to wait for a different year.

See Eminem’s tweet below..

Gwen Stefani Says 2024 No Doubt Reunion ‘Happened So Fast’

Gwen Stefani has been fronting No Doubt for nearly 40 years. But after going on what sounded like a permanent hiatus in 2013, last week’s announcement that the singer would be reuniting with longtime bandmates bassist Tony Kanal, guitarist Tom Dumont and drummer Adrian Young for this year’s Coachella festival in April has her psyched to step back into group mode.

“It just happened so fast, and that’s my favorite kind of thing to happen. We haven’t really figured out the next steps of how we’re going to do this, but we’re just all so excited,” Stefani, 54, told People magazine. “And I think really just watching the internet blow up [with] how excited that the fans are? It’s inspiring us.”

The multi-platinum group last reunited in 2012 for the release of their sixth album, Push and Shove, and played some shows in 2015 before going their separate ways to focus on solo projects. “It’s just going to be cool. It’s just going to be: get up there and do what we always do, which is play our music and try to connect and be so grateful that we got this amazing career that we never expected to have,” the singer said of her excitement of revving the crowd up with such iconic hits as “Just a Girl,” “Spiderwebs,” “Don’t Speak,” “Ex-Girlfriend” and “Hey Baby.”

The Voice coach told the magazine that she’s “completely overwhelmed” by the excitement over the reunion announcement and the wave of love from fans. “I definitely have that little thing in your stomach where you’re like, ‘Oh my gosh! What?’” the three-time Grammy winner said of the good vibe nerves. “It’s going to be amazing.”

So far, No Doubt has not indicated whether the Coachella gig is a one-off or the kick-off to a wider reunion tour. For now, Stefani is booked for a solo gig at a pre-Super Bowl TikTok Tailgate show in Las Vegas before the big game on Feb. 11, with other No Doubt dates announced at press time. “We’ll see you in the desert this April!!!,” read a statement on the band’s social accounts last week announcing the Coachella gig alongside a stacked roster featuring Lana Del Rey, Tyler, The Creator and Doja Cat as headliners, along with Peso Pluma, Lil Uzi Vert, Blur, Ice Spice, J Balvin, Jhené Aiko and more.

Adele Teases a Return to Touring… After She Finishes Her Next Album

Adele is just months away from completing her Weekends With Adele residency at the Colosseum at Caesars Palace in Las Vegas. The run of shows that kicked off in Nov. 2022 and were extended through a June 15 gig this summer is about to end, though the singer gave hope over the weekend that they might not have to travel to see her the next time she releases an album.

According to video posted by fans, during Saturday night’s show Adele teased a return to the road after previously stating that her touring days might be over. “I just don’t think I’m gonna write an album for quite some time,” Adele said about beginning work on the follow-up to her 2021 30 album.

“But next time I do, I’ll come to wherever it is you live,” she added after saying that she “really, really, really” has enjoyed the residency run. It’s not surprising that she’s had fun during her three-year string of shows in Vegas, which the singer has extended several times. It’s been the sight of a number of unexpected surprises, including Adele running into her OB-GYN in the audience, paying tribute to late Friends star Matthew Perry, calling boyfriend Rich Paul her “husband” from the stage and stopping the show to help a couple with their baby gender reveal.

Rather than embark on another massive world tour to promote 30, Adele — who has been open about her struggles with stage fright in the past — opted to stay put in Las Vegas instead after wrapping up the outing for her 25 release in 2017. “Touring isn’t something I’m good at… Applause makes me feel a bit vulnerable. I don’t know if I will ever tour again. The only reason I’ve toured is you. I’m not sure if touring is my bag,” Adele said at the end of the 25 tour at a New Zealand show.

But after postponing her anticipated residency unexpectedly in Jan. 2022 on the eve of opening because she feared there was “no soul” in the production at the time, in an October Instagram post the singer said the stay-put run has changed her life. “I desperately needed to fall back in love with performing live again, and I have. I needed to reconnect with my songs and remember what they mean to me, and I have!,” she wrote alongside a super-cut of video from the shows. “Being on stage over the last year so up close and personal with an audience again after all these years has been a truly extraordinary restorative experience that I’ll never forget. All the hilarious, soulful, wild and heartbreaking interactions we’ve had are banked in my mind for life. The looks on your faces, seeing you laugh and cry together singing your hearts out and hoarding bags of confetti. All the simi dolls, friendship bracelets, flowers, facetime calls and flags. It’s crazy how joyful a show full of sad songs can be!!”

She concluded by saying the twice-a-weekend performances have gotten her revved up again about live performance. “I’ve felt so much and learned so much about myself and you. It’s humanized everything I thought was scary,” she wrote. “Mostly though – it’s just made me realize how much I really enjoy being on stage, that I’m bloody good at it and that it is 100% where I belong!”

Jam Master Jay Murder Trial Kicks Off In Brooklyn, Two Decades After Run-DMC Star’s Shocking Killing

Two men accused of murdering Run-DMC‘s Jam Master Jay will finally head to trial Monday (Jan. 29), more than 21 years after the rap icon’s killing.

Karl Jordan, Jr. and Ronald Washington, who were charged with Jay’s long-unsolved 2002 murder in 2020, will stand trial at a Brooklyn federal courthouse. Prosecutors say the two men killed Jay as payback after a failed cocaine deal; if convicted, they each face the possibility of life in prison.

Following the selection of a jury last week, opening statements are slated to begin at 9:30 a.m. Monday. The trial, before U.S. District Judge LaShann DeArcy Hall, is expected to run for a month.

Run-DMC, a trio consisting of Jason “Jam Master Jay” Mizell, Joseph “Rev. Run” Simmons and Darryl “DMC” McDaniels, is widely credited as one of the most influential early acts in hip-hop history. The trio’s 1985 release, King of Rock, was hip-hop’s first platinum album, and the group’s 1986 cover of Aerosmith’s “Walk This Way” reached No. 4 on the Billboard Hot 100.

Jay’s shocking 2002 killing had long been one of hip hop’s famous cold cases, joining the unsolved murders of Tupac Shakur and The Notorious B.I.G. Though witnesses were in the room when the murder happened, and police generated a number of leads, no charges were filed until August 2020, when prosecutors finally unveiled the case against Washington and Jordan.

According to charging documents and statements by prosecutors, Washington and Jordan broke into Jay’s studio on the night of Oct. 30, 2002. Washington allegedly initially pointed a gun at another individual in the studio; as he was doing so, Jordan allegedly fired two shots, one of which struck Jay in the head at close range, killing him almost instantly.

The motive for the killing was allegedly a drug deal gone bad. Prosecutors say Jay had arranged to purchase 10 kilograms of cocaine that would be distributed in Maryland by Washington, Jordan and others. When Jay backed out of the deal, prosecutors say, the two decided to kill him.

“The defendants allegedly carried out the cold-blooded murder of Jason Mizell, a brazen act that has finally caught up with them thanks to the dedicated detectives, agents and prosecutors who never gave up on this case,” prosecutors said at the time. “The charges announced today begin to provide a measure of justice to the family and friends of the victim, and make clear that the rule of law will be upheld, whether that takes days, months, or decades.”

Jay Bryant, a third man allegedly involved in the killing who prosecutors charged with murder last May, will have a separate trial later this year.

Ahead of the trial, Jordan and Washington argued that prosecutors waited too long to charge them, meaning they wouldn’t be able to properly defend themselves. For instance, Jordan said cell phone records that would support his alibi were no longer available, and that key witnesses would have trouble remembering information.

But in September 2022, the federal judge overseeing the case rejected those arguments, calling them “speculative” and unsupported by evidence: “The court has no idea what Jordan believes the phone records contain, how they could conceivably contradict the Government’s evidence, and how those contradictions could conceivably demonstrate that Jordan did not commit the crime.”

Atarayo Talks New ‘Dangers in My Heart’ Opening Song ‘I am…’ & First Show Abroad: Interview

Atarayo, a three-member band that calls itself “a band raised on sadness,” released their new song “I am…” on Jan. 8. It’s been consistently praised for its lyrics, which are delicate depictions of people’s emotions, and its sound, which help highlight the lyrics to even fuller effect. “I am…,” their first release of 2024, was written as the opening theme song for season two of the TV anime The Dangers in My Heart. It’s written from the perspective of the show’s protagonist, reflecting his inner feelings. Billboard Japan spoke with Atarayo about their past and future growth, including their first-ever overseas performance, playing in Taiwan in 2023, about their latest song, and about their plans for future overseas shows.

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In 2023, you played at the ISLAND’s LA RUE Music & Arts Festival in Taiwan. What was it like playing a show outside Japan for the first time?

Hitomi (vocals and guitar): At first, I was really nervous, but the audience was really engaged, and everyone sang along in Japanese. That blew me away. Japanese audiences almost never sing along with us, they listen intently. The Taiwanese audience was different. There was a real sense of oneness with the crowd. It was really fun.

Takeo (bass): At first, I was pretty nervous, too, but then when we actually started playing, the audience’s vibe was great.

Marcy (guitar): Yeah, everyone was filming with their phones, but they were really into the show. There was a real sense of freedom. It felt very different from Japan, and it was a ton of fun. The stage was huge, too. When we were checking out the venue the day before, I idly wondered what the place would look like totally packed, but the on the day of the show the audience was really big.

Did experiencing your first show outside of Japan give you a stronger desire to play overseas more?

Hitomi: Yeah, it was a great experience seeing how warmly we were welcomed. After playing the festival in Taiwan, we got offers from other countries in Asia, saying “Come play here, too.” If there’s that much of an audience who wants to see us, I’d love to actively perform more overseas.

You recently released “I am…,” your first release of 2024. It’s the opening theme for the second season of the anime The Dangers in My Heart. What kind of concept did you have going into the writing process?

Hitomi: First off, since it’s the opening theme song, we wanted it to have a lot of energy. As for the lyrics, the anime’s producers asked that we write the song from the perspective of the show’s protagonist, Kyotaro Ichikawa, so we always kept that in mind as we worked on the song. I’d read the comic the show is based on, so when writing the lyrics, I imagined what kind of poem Ichikawa would write if he were to write a poem. There’s actually a scene in the show where he writes a poem, and my own personal impression is that people who write poems have something buried deep inside. Ichikawa must have a lot inside that he thinks but doesn’t say out loud, so I thought about how he’d express that if he put it to music. Ichikawa’s feelings are especially reflected in the first verse.

What kind of character do you see Ichikawa as?

Hitomi: Hmm…kind of difficult and stubborn (laughs). He has these ideals and things he wants to do, but he just can’t fully accept himself and his ideas for what they are. However, in season two, he gradually comes to accept himself more.

What are your feelings on The Dangers in My Heart itself?

Hitomi: It’s not just a simple, straightforward romance anime. There are a lot of lines that really get you, emotionally, in its depictions of how Ichikawa grows as a person. When I read it, I had a lot of insights myself.

Marcy: When I read it, I just thought, “Man, I’m jealous. I wish a beautiful girl like that was in love with me when I was that age” (laughs).

Hitomi: You’re too honest (laughs).

Marcy: But, seriously, in the song, there are two guitar solos, which represent the relationship between Ichikawa and his love interest. We wrote the song so that its whole sound — both its highs and its lows — depict Ichikawa’s own feelings.

Takeo, what do you think about The Dangers in My Heart?

Takeo: I sympathize with Ichikawa.

Hitomi: Ichikawa’s a lot like Takeo (laughs). Sometimes, looking at Ichikawa, I’m like “Is this Takeo?”

Takeo: Both Hitomi and Marcy were telling me that, so I read the comic, and there were all these times where I found myself thinking, “I get it, Ichikawa. I know exactly how you feel” (laughs).

I feel like the lyrics to “I am…” depict a real sense of change, as epitomized by the line “It’s like I’m no longer me.” In your activities as Atarayo, have there been any changes of your own that have surpassed your own expectations?

Hitomi: Ichikawa’s own changes are changes for the better. Through his interactions with Anna Yamada he discovers parts of himself that he wasn’t previously aware of. I’ve felt the same about myself. I was really shy and withdrawn when I was little. Now, I’m standing on stage, singing in front of people. That’s because these two people changed me. I’m still scared to get up on stage sometimes, but I think if we keep on as a band, I’ll grow even more bold, and one day the me that’s up there on stage will be one that I didn’t even realize was in me. That’ll probably change our live performances and how we express ourselves, too.

Marcy: During our shows, I used to really look in from the outside, taking a kind of aloof stance, but lately I’ve really been getting absorbed in the shows, and sometimes I find myself sobbing despite myself. I think I get more into the songs now and I’ve become able to play my guitar in a way that better conveys the emotions of the songs to people. Another change is that I couldn’t afford to buy draft beer in the past, but now I can drink it every day (laughs).

(Laughs) Marcy and Takeo, have you seen any changes in Hitomi?

Takeo: Um… Not really (laughs).

Marcy: She’s been the same since we were in school (laughs).

Hitomi: No, I’ve changed! (Laughs) For example, my voice doesn’t tremble during shows anymore. I feel like before I wasn’t able to focus on how to express myself, or on my performance, I was just trying to make it through the show.

Marcy: Yeah, when it comes to music, you’ve changed. Listening back to old demos, your voice was really, how should I say it…green? Very youthful. Now your voice has gotten a lot bolder. Also, the amount of feeling you put in to the lyrics and singing is totally different from our first live shows. It’s not just Hitomi, either. Our legs used to always be trembling when we performed, so that’s been a big change. But our day-to-day lives haven’t really changed, right?  At least, when we go to a bar, nothing’s changed (laughs).

Hitomi: As long as I’m growing musically, that’s enough (laughs).

This interview by Fumiaki Amano first appeared on Billboard Japan

Noah Kahan Extends Reign Over U.K. Chart With ‘Stick Season’

Noah Kahan extends his winning season in the U.K., as the American artist logs a fourth consecutive week at No. 1, and nabs the top debut.

The Vermont singer and songwriter’s “Stick Season” (via Republic Records) enters a full month atop of the Official U.K. Singles Chart, raking-in a market-leading 8.7 million streams, the OCC reports.

Kahan sticks another top 10, his second, as “Homesick” (Polydor/Republic Records) featuring Sam Fender debuts at No. 5.

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“Homesick” is also Fender’s second U.K. top 10 hit, following “Seventeen Going Under,” which this week vaults back into the top 40 following the release of the new collaboration. “Seventeen Going Under” returns at No. 32, having peaked at No. 3 in 2022.

Meanwhile, the parent to “Stick Season” and “Homesick,” Stick Season, lifts 4-2 for a new high on the Official U.K. Albums Chart.

Saltburn continues to light a flame under Sophie Ellis-Bextor’s 2001 hit “Murder on the Dancefloor” (Polydor). The British pop singer’s disco number lifts 3-2, its peak position from 23 years ago. Emerald Fennell’s dark drama is in the hunt for five BAFTAs, including best British film.

Another British pop nugget from the noughts is riding high on the U.K. chart, thanks to a sync to the silver screen. Natasha Bedingfield’s international breakthrough “Unwritten” (Phonogenic) improves 18-13. Originally released in 2004, “Unwritten” catches flight after its inclusion in the romcom “Anyone But You.”

Meanwhile, Benson Boone, the U.S.-born singer, multi-instrumentalist and TikTok star, who was named as MTV’s Global PUSH Artist for October 2023, is on target for his first U.K. top 20 appearance with “Beautiful Things” (Warner Records). It’s new at No. 18.

English singer Becky Hill and Australian producer Sonny Fodera enter the top tier with “Never Be Alone” (Polydor), new at No. 34. It becomes Becky’s 19th top 40, a tally that includes a No. 1 with Oliver Heldens on 2014’s “Gecko (Overdrive)”; and Fodera’s second overall.

U.S. viral artist David Kushner scores a second U.K. top 40 appearance with “Skin and Bones” (Miserable Music), new at No. 36. It’s the followup to “Daylight,” which last year climbed the ladder to No. 2.

Finally, Norwegian EDM star Kygo and “Sweet But Psycho” singer Ava Max bag a top 40 on debut with “Whatever” (Columbia/Kygo). “Whatever,” which lifts its chorus from Shakira’s English-language breakout single “Wherever, Whenever” from 2001, is new at No. 39. It’s Kygo’s 10th and Ava’s sixth U.K. top 40.

Green Day Grabs U.K. No. 1 With ‘Saviors’

Green Day is on top in the U.K. with Saviors (Reprise), the U.S. pop-punk trio’s 14th studio album.

Opening at No. 1 on the Official U.K. Albums Chart, published Friday, Jan. 26, Saviors is the Rock Hall-inducted band’s fifth leader in the U.K., after American Idiot (2004), 21st Century Breakdown (2009), Revolution Radio (2016) and Father of All… (2020).

The outright leader at the midweek stage, when it was the outselling the rest of the top 10 combined, Green Day draws level with the Foo Fighters, Prince and Celine Dion and other acts with five U.K. leaders.

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Saviors finishes the cycle as the best-seller on wax, according to the Official Charts Company, with vinyl generating one-third of its first-total tally.

The Bay Area trio of Billie Joe Armstrong, Mike Dirnt and Tré Cool will reward their legion of British fans this summer with a run of dates on The Saviors Tour, a stretch that includes concerts at Manchester’s Old Trafford Stadium, Isle of Wight Festival, and London’s Wembley Stadium.

The only way is up for Noah Kahan, whose breakthrough third studio album Stick Season (Island) rises 4-2 for a new peak position. Meanwhile, the title track from the Vermont, U.S. singer-songwriter leads the U.K. singles chart for a fourth successive week.

Completing the podium on the albums tally is The Weeknd’s The Highlights (via Republic Records/XO), up 5-3.

Also new to the latest U.K. chart is Neck Deep’s eponymously titled fifth studio LP. Neck Deep (via Hopeless) bows at No. 11, for the Welsh pop-punk outfit’s fourth U.K. top 40, after 2015’s Life’s Not Out to Get You (No. 8), 2015’s The Peace and the Panic (No. 4) and 2020’s All Distortions are Intentional (No. 4).

Finally, British heavy metal veterans Saxon snag an 11th U.K. top 40 album with Hell, Fire and Damnation (Militia Guard Music), new at No. 19.