djfrosty

10 Aug 2023

Taylor Swift’s ‘1989 (Taylor’s Version)’ Is ‘On Its Way’

Surprise! Taylor Swift’s 1989 is the next “Version”.

Swift let fly with the news that many had been waiting for, that 1989 (Taylor’s Version) was “on its way,” with a release date of Oct. 27, she confirms on her social accounts.

Initially issued in 2014, 1989 is the album that “changed my life in countless ways,” continues Swift, adding that “it fills me with such excitement to announce” her latest “Version.”

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

And there’s an added incentive, as if Swifties needed any more hype. “To be perfectly honest,” TayTay writes, “this is my most FAVORITE re-record I’ve ever done because the 5 From The Vault tracks are so insane. I can’t believe they were ever left behind. But not for long!”

1989 (Taylor’s Version) will be Swift’s fourth “Version,” since announcing her re-recording project in 2019. The previous three all logged time at No. 1 on the Billboard 200: Fearless (Taylor’s Version) with two weeks in 2021, Red (Taylor’s Version) with one week in 2021, and Speak Now (Taylor’s Version) with two weeks in 2023.

With 21 total “From The Vault” songs across those three Version albums, Swift has scored multiple top 10 hits on the Hot 100, earned traction at pop radio, and even scored a No. 1, with the 10-minute version of “All Too Well”.

The original recording of 1989 spent a whopping 11 weeks at No. 1 on the all-genre Billboard 200 following its release.

1989 had been a hot pick for Version No. 4, seeing as Swift has already shared a small handful of tracks from it, including “Wildest Dreams (Taylor’s Version),” following the song’s viral turn on TikTok, in November 2021, then “This Love (Taylor’s Version),” which turned up in the trailer for the Amazon Prime series The Summer I Turned Pretty.

Swift seems to set and smash records with relative ease. This year, the pop superstar collected her 12th No. 1 with Speak Now (Taylor’s Version), surpassing Barbra Streisand for the most among women, while she also becoming the first living artist in nearly 60 years with four concurrent albums in the top 10, and nailing 11 albums on the entire 200-position chart for the first time.

As the on-sale for her blockbuster The Eras Tour established new marks in Australia, she swamped the ARIA Albums Chart, securing the top 5 positions in a single frame, an all-time record. She then replaced herself at No. 1 on the tally, becoming the first artist to do so since the ARIA Charts began in 1983.

Confirmation of 1989 (Taylor’s Version) early Thursday ET coincided with the conclusion of Swift’s last night at Los Angeles’ SoFi Stadium, where she’s played a total of six nights, concluding the first U.S. leg of the Eras Tour.

Beginning Aug. 24, she’ll take the trek global with a slew of international dates in Latin America, Asia, Australia and Europe before returning to the states in 2024 for a second lap of North America.

10 Aug 2023

‘Barbie’ Music Producer Mark Ronson Taunts Bill Maher for ‘#ZombieLie’ Critique

When the knives come out for Barbie, Mark Ronson is up for a fight.

The Oscar, Grammy and Brit Award-winning record producer and artist oversaw Barbie: The Album, which, like the feature film it’s paired with, is a global smash hit.

So when the acerbic comedian and TV host Bill Maher gave the film a verbal kicking, describing it as “preachy, man-hating and a #ZombieLie,” Ronson wasn’t having any of it.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“We come to this place for magic,” Ronson begins a tweet, aping the opener in Nicole Kidman’s memorable commercial. “We come to AMC theaters to laugh, to cry, to care… and to furiously google ‘mattel board configuration’ while others are trying to enjoy a f***ing magnificent comedy.”

Ronson knows his stuff. He won the Brit Award in 2008 for best male artist, he collected an Oscar in 2019 for best original song (“Shallow”), and his trophy cabinet to-date includes a Golden Globe and seven Grammys.

The U.S.-based, London-born music man is the executive producer for Barbie: The Album, which includes the popular cuts “Barbie World” by Nicki Minaj and Ice Spice with Aqua; Ryan Gosling’s “I’m Just Ken”; and Dua Lipa’s “Dance The Night,” which he co-produced with Andrew Wyatt and the Picard Brothers.

His return of serve follows Maher’s damning assessment of the pop-culture smash. “OK, ‘Barbie’: I was hoping it wouldn’t be preachy, man-hating, and a #ZombieLie – alas, it was all three,” Maher wrote, joining the likes of Elon Musk and Ben Shapiro, who’ve given the film a thumbs down.

“What is a Zombie Lie?,” Maher continues. “Something that never was true, but certain people refuse to stop saying it (tax cuts for the rich increase revenues, e.g.); OR something that USED to be true but no longer is, but certain people pretend it’s still true. ‘Barbie’ is this kind of #ZombieLie.”

Ronson has also used his Twitter account to tease Shapiro, all in the name of Barbie.

Whether Barbie is a hit or miss with Maher, won’t make much difference to the filmmakers, Warner Bros. and Mattel. The film has racked up more than $459 million in North America and passed $1 billion globally. In doing so, Barbie becomes the first live-action film in history that’s directed by a woman solo to join the global box-office billion dollar club, according to The Hollywood Reporter.

09 Aug 2023

The Band’s Former Tour Manager Jonathan Taplin Remembers Robbie Robertson: ‘A Genuine Original’

Jonathan Taplin, the Oscar-nominated filmmaker who produced Martin Scorcese’s first film, Mean Streets, and has written books including The End of Reality: How Four Billionaires Are Selling a Fantasy Future of the Metaverse, Mars and Crypto, served as tour manager for The Band from 1969 through 1976’s The Last Waltz. Taplin remained close with Robertson through the guitarist’s death Wednesday at 81. Reached by phone at his home in Los Angeles, below he discusses Robertson’s career and legacy.

I was producing a tribute to Woody Guthrie in New York for Harold Leventhal, who had been Woody’s manager, with Judy Collins and Arlo Guthrie and Joan Baez. Harold managed to get to Bob Dylan directly, going around Albert Grossman, who was Bob’s manager at the time. Bob said, “Yeah, I’ll do it, but I’m going to bring my band, Levon and the Hawks, with me.” They came down and I was the production guy. And I met them all and we did a soundcheck.

Robbie Robertson

Robbie Robertson, Co-Founder of The Band, Dies at 80

When it was all over — and they did an amazing job, they played three songs and it was really the best thing in the whole thing — Robbie said, “We’re going to go out on the road to support this album Music from Big Pink, would you want to be our tour manager?” I said, “Absolutely.” I was still at Princeton [University] at the time, and that didn’t stop me. Then [The Band’s] Rick Danko drove his car off the road into a ditch and broke his neck, so that tour never happened. 

About six months later, Albert called me and said, “The Band is going to go to California to record their second album and Robbie would like you to be their tour manager, and after that they’re going to go on the road.” We moved all the stuff out to Sammy Davis Jr.’s house on Sunset Plaza and set up a recording studio in his poolhouse, and that was known as the brown album, or the second album. That was a huge breakthrough record for them. 

Then we went and played Winterland [in San Francisco]. That’s the famous incident where [Robertson] was running a 104 [degree] temperature the day of the concert and Albert didn’t want to cancel and [promoter] Bill Graham got a hypnotist to come in and hypnotize Robbie to convince him he wasn’t sick. Somehow, we managed to get him on stage, and Robbie played, and we played two more nights at Winterland, and it was incredible. And we went to the Fillmore East and played there. Nobody had seen these guys. They were like a huge mystery because they hadn’t gone on the road to support Music From Big Pink. It was like, “Who are these people, these mountain men?” They wore suits onstage and they didn’t look like psychedelic rock stars. 

I was their tour manager for three more years. I graduated from Princeton, went on the road with them, and George Harrison asked me to produce The Concert for Bangladesh, so I left The Band, did that and came to California. The Band had stopped touring for a while and Bob didn’t want to tour and George Harrison didn’t want to tour. I came out here and met a young film director named Martin Scorsese and we made a film called Mean Streets. 

Robbie moved out to California and the rest of The Band followed. When Robbie decided to call it a day and have The Last Waltz [The Band’s final concert], he said, “I’d like you to produce this with me” and “Who should direct it?” I said, “Marty would love to direct it, but there’s one problem: He’s doing a movie called New York, New York, and I’m sure he can’t do it.” Robbie said, “Let’s go talk to him about it.” Marty said, “Nobody’s going to do this but me.”

The concert was scheduled for Thanksgiving Day. … We were able to get away and fly Marty up to San Francisco and did the concert and the rest is history.

Robbie Robertson

Robbie Robertson’s Death Mourned by Martin Scorsese, Jason Isbell & More: ‘He Was a Giant…

Other than the famous Neil Young cocaine incident, nobody was out of control at all. In fact, I would say everybody realized they had to be on their best behavior. If you look at that solo guitar battle between Robbie and Eric Clapton on “Further on Down the Road,” that’s the highest level of guitar-playing that you’ll ever see. There was some partying afterwards, but, man, when the thing was going on, everyone who wasn’t on stage was in the wings watching what was on stage, because it was so damn amazing. 

Robbie was kind of a very contained person. He got up early in the morning and went to work, like you would do — in the sense of, like, a newspaperman. He would start writing at 9 in the morning in his little studio. The leadership position evolved. Remember, The Band originally was called Levon and the Hawks. Then Levon [Helm] quit the Dylan tours because he was tired of getting booed all the time. When Levon came back — because Albert got Robbie and the rest of the guys a record deal — something had shifted. It was now more Robbie’s deal, and Robbie was the one who dealt with Albert Grossman a lot. He was more business-oriented than the rest of the guys. 

Over time, Robbie ended up being the only songwriter. That was just default. By Stage Fright, Richard [Manuel] and Rick [Danko] had stopped writing. [Manuel co-wrote two songs on that 1970 album.] So it wasn’t that Robbie wanted to be the only songwriter. It was kind of nobody else was showing up at the party. You become a kind of natural leader. To bring the songs into the studio, you play them for the other guys to figure out their part and then you record them.

I see Robbie as a friend all the time. I was involved with that film they did [in 2019], Once Were Brothers. We were going to get together two weeks ago. He’s been sick for a while, but I didn’t know he was that sick.

He was a genuine original. Not only in his guitar playing but in his songwriting. Here we are confronting this notion that a computer can write a song, and that’s not true. Great music comes from the heart of a genius, and there aren’t a lot of them around, and they aren’t going to come from artificial intelligence. He was one of those geniuses. “The Weight” will stand, and “The Night They Drove Old Dixie Down” will stand. The Latin [quote] said, “Art is long and life is short.”

09 Aug 2023

The Band Received Lifetime Honors at Both the Grammys & Junos: Who Else Has Done That? 

The death of Robbie Robertson on Wednesday (Aug. 9) has put a spotlight on The Band, the ground-breaking group in which he teamed with Rick Danko, Levon Helm, Garth Hudson and Richard Manuel.

The Band was inducted into the Canadian Music Hall of Fame in 1989 and received a lifetime achievement award from the Recording Academy in 1989. Those are the key lifetime career honors presented to artists at the Juno Awards and the Grammys, respectively.

The Band is one of just five acts – and the only group – to receive both of these honors. The Band and two of the other four acts have also been inducted into the Rock and Roll Hall of Fame, which we’ll include here, though our focus is on the career honors linked to the Junos and the Grammys.

The Grammys have a backlog of worthy artists to receive lifetime achievement awards and also trustees awards, which are presented to people whose main contributions are behind-the-scenes. Neil Young, who was inducted into the Canadian Music Hall of Fame in 1982, still hasn’t received a lifetime achievement award from the Recording Academy. (Memo to the Academy: What are you waiting for?) Neither have such other Canadian Music Hall of Fame inductees as Hank Snow, Paul Anka, Gordon Lightfoot, Anne Murray, Rush, Shania Twain, k.d. lang, Alanis Morissette and Sarah McLachlan. Some, but certainly not all, of these artists will likely one day receive the good news from the Recording Academy.

Likewise, producers David Foster, Daniel Lanois and Bob Ezrin, all of whom have been inducted into the Canadian Music Hall of Fame, have yet to receive trustees awards.

Here are the five artists who have received lifetime achievement awards from the Recording Academy and are members of the Canadian Music Hall of Fame.

09 Aug 2023

Robbie Robertson Was as Mythic as the Characters in His Songs: An Appreciation

Robbie Robertson, who died Wednesday (Aug. 9) at the age of 80, was a road warrior, songwriter and guitar hero who helped shape rock’s late-sixties golden age in The Band, provided or curated music for many of Martin Scorsese’s films and made several important solo albums. Over the years, he also emerged as one of rock’s most influential storytellers — myth-maker might be a better word, although he told true stories with dramatic resonance — first in Scorsese’s concert film The Last Waltz, later in the book Testimony: A Memoir and the Band documentary Once Were Brothers, and throughout his career as one of the most compelling raconteurs in the history of popular music.  

Robertson spent the first part of his career backing up Ronnie Hawkins and Bob Dylan and then, with The Band, writing and playing songs rooted in American mythology. The stories were his, but the characters seemed so entrenched in the landscape that it sounded like they had been waiting for him to sing about them — Carmen and the Devil, Virgil Caine, the man with the stage fright. Many of these songs sketch out whole stories in small details — if you need to ask why Carmen and the Devil are walking side by side, you’re missing the point, but you can see it’s bad news from a mile away. 

Over the course of his time in The Band, Robertson seemed to age into a kind of mythic character in his own right, and in The Last Waltz, made about The Band’s farewell to the touring life and the star-studded concert they played to commemorate it, he started to examine rock’s own myths. “The road has taken a lot of the great ones,” he says in the movie. “It’s a goddamn impossible way of life.” Along with his bandmates, Robertson turned barstool stories about highway hotels and dodgy dive bars into widescreen epics. “Sixteen years on the road is long enough,” he says elsewhere in the movie, all of 33 at the time. “Twenty years is unthinkable.”  

More than any other work of the time, The Last Waltz gives the main characters of rock’s second chapter the chance to take a bow just as punk and disco took the stage. The concert, famously held at the Winterland Ballroom on Thanksgiving Day, 1976 — complete with a turkey dinner and an orchestra for formal dancing — featured not only Band collaborator Bob Dylan, but also a Beatle (Ringo Starr), a Rolling Stone (Ron Wood), a Laurel Canyon singer-songwriter (Joni Mitchell), a New Orleans pianist (Dr. John), a blues great (Muddy Waters) and a rock star who may have been celebrating the seventies in an eighties style (Neil Young, who according to unconfirmed legend had a visible particle of cocaine in his nose that had to be edited out). The film recounted the story of rock, right up to the point when it splintered into sub-genres.  

Robertson understood this vision better than his bandmates, who seemed to have found his concept pretentious. (The fact that he had a magnetic onscreen charisma that they lacked probably didn’t help, either.) “We were in the moment — we were playing songs we had hardly played before with people from Joni Mitchell to Muddy Waters — and all we could think about was trying to rise to the occasion,” Robertson told me in a 2016 interview. Over the years, the movie became its own myth, to the point that there have been tribute concerts commemorating what was essentially meant to be its own kind of tribute concert. (The film resonated so much with me that in 1998 I bought the movie poster, which has followed me to every apartment or office I’ve had since — a reminder of the music I grew up listening to that by then had come to seem a bit old-fashioned.) 

Robertson’s first solo album, released in 1987, also seemed shrouded in myth — both figuratively in songs like “Somewhere Down that Crazy River” and literally in co-producer Daniel Lanois’ haunted, reverb-heavy production. At a time when mainstream rock was growing slicker, Robertson found a way to maintain some mystery, partly thanks to a list of guest musicians that included U2, Peter Gabriel, Maria McKee and two former members of The Band. He followed that with the New Orleans-themed Storyville (in 1991), projects that explored Native American music and what was then called electronica (Music for The Native Americans in 1994 and Contact from the Underworld of Redboy in 1998), and much later two more solo albums (How to Become Clairivoyant in 2011 and Sinematic in 2019). 

In between those last two solo albums, Robertson published one of the best-ever music memoirs, Testimony, partly because he was there more than anyone else who remembers and he remembered more than anyone else who was there. Even this decision he cast in terms that loomed larger than life. “I just couldn’t carry around all of these stories anymore,” he told me in the 2016 interview. “There were too many and they got too heavy.” This sounds true enough, but it’s an unusually dramatic way to talk — you can practically picture the man weighed down by his memories, like a character out of one of the Scorsese movies for which he provided music. 

In the book, Robertson tells his story with the same eye for detail and epic sweep he used in his songwriting. “It’s a cinematic piece of work and I had to structure the scenes so they fold into one another; as opposed to, then in February this happened, and in March that happened,” he said in 2016. When we spoke, he talked about writing a second book, devoted to his later career — and it’s hard not to wish he had lived to complete it.  

Robertson has an incredible memory, and it says a lot about who he was that he even has a mythic — and true — explanation for it. In Testimony, he writes about how his birth father’s mother was a bootlegger who kept addresses and phone numbers in her head for safety. “My birth father,” he told me, “went on to become a gambler and won because he was a card counter.” You couldn’t make this stuff up if you tried — and Robertson never needed to. 

09 Aug 2023

Luxury Tech: Where to Buy the Sold-Out Montblanc MTB 03 Headphones Online

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

Last month, Montblanc debuted the MTB 03, its first-ever in-ear headphones. The new addition to the luxury brand’s tech category is inspired by the signature aesthetics of the Meisterstück writing instrument and “represents the next generation of audio technology with seamless, everyday integration and stylish yet functional design,” according to the company.

Released on July 1, the $395 headphones feature a 7mm beryllium driver offering “optimal sound quality and acoustics” with active noise cancellation, Bluetooth 5.2 (10-meter range), an ergonomic fit and sleek design. Montblanc launched its MB-01 over-ear headphones in 2020.

“Headphones have become such an essential part of our daily endeavors and digital routines, we wanted to create a high-performance solution that used premium materials to ensure a subtle yet elegant statement of quality, with a design that was uniquely Montblanc. Just as everyone’s handwriting is different, so is everyone’s hearing, requiring the level of customization that Montblanc Sound Signature can offer for an optimal experience,” Dr. Felix Obschonka, director of new technologies at Motblanc, said in a news release sent to Billboard.

The water-resistant headphones utilize the bespoke Montblanc Sound Signature crafted by Axel Grell, the sound guru known for designing Sennheiser headphones. MTB 03 headphones offer 5-6 hours of playback and up to 18 hours with three additional charges from the case.

The headphones are sold out at Montblanc.com but they’re available in select stores and at Nordstrom.

Shop below.

Nordstrom

Montblanc MTB 03 In-Ear Headphones

$395

09 Aug 2023

Portraits From Billboard’s R&B Hip-Hop Live

Billboard honored the top power players across hip-hop and R&B on Tuesday (Aug. 8) and celebrated 50 historic years of hip-hop at the 2023 R&B/Hip-Hop Power Players Event and R&B Hip-Hop Live.

Presented in partnership with VIBE, Billboard R&B Hip-Hop Live took place at The Novo in downtown Los Angeles and featured high energy performances by headliner Metro Boomin and opening acts Coi Leray and Armani White.

Leray took the stage with a jam-packed set that included hits like “B—- Girl,” “Baby Don’t Hurt Me,” “Bops,” “Get Loud,” “Make My Day” and, of course, “Players,” which became her first top 10 entry on the Billboard Hot 100 when it peaked at No. 9 on the tally in April.

White performed tracks like “SILVER TOOTH,” “Onederful” and “Thanksgiving,” as well as his hit single “BILLIE EILISH.”

When Metro Boomin took the stage, he commanded the audience’s attention with tracks including “10 Freaky Girls,” “Niagara Falls (Foot or 2),” “Creepin’,” “Umbrella,” “Minute,” “No Complaints” as well as Spider-Verse cuts including “Calling” and “Self Love.”

Metro also honored his production work by performing “Father Stretch My Hands Pt. 1” (a cut off Kanye West’s Life of Pablo), Post Malone’s “Congratulations” with Quavo and “Heartless” by The Weeknd.

In honor of the exciting R&B Hip-Hop Live event, see below for official portraits from the evening.

09 Aug 2023

Lil Yachty “Solo Steppin Crete Boy,” Stormzy “Angel In The Marble” & More | Daily Visuals 8.9.23

HipHopWired Featured Video

This past January Lil Yachty dropped off his fifth studio album, Let’s Start Here, and though he’s kept a relatively low profile for the past few months, Lil Boat’s been making some waves as of late as if he has something brewing in the kitchen.

This time around the captain of the Sailing Team drops off some new work in “Solo Steppin Crete Boy,” in which Yachty rolls around town draped in an American flag before pulling over and styling in a red Benz in front of a Buddhist monastery to show them the kind of material things that they’re missing out on. Good thing those Buddhists ain’t violent cause that was low-key disrespectful, b. LOL.

Across the pond, UK’s Stormzy styles and profiles without a single piece of ice and for his clip to “Angel In the Marble” attends an elegant event with his peoples while looking ready to be the first Black James Bond.

Check out the rest of today’s drops including work from DDG, Fat Trel, and more.

LIL YACHTY – “SOLO STEPPIN CRETE BOY”



STORMZY – “ANGEL IN THE MARBLE”



DDG – “RIZZ”



FAT TREL – “NI**A WHAT”



310BABII – “SOAK CITY”



JBEE – “JUST 4 ME”



YUNGEEN ACE – “NOT ALRIGHT, NOT OKAY”



BENNY BANKS – “GLAMOURLESS”



HipHopWired Radio

Our staff has picked their favorite stations, take a listen…

09 Aug 2023

Starbucks Is Celebrating Taylor Swift’s U.S. Eras Tour Wrap by Playing Her Music

Starbucks is taking “Starbucks lovers” to a whole new level.

The popular coffee chain is celebrating the end of Taylor Swift’s U.S. leg of her Eras tour by bumping a playlist of her music inside its U.S. company-operated stores, according to TMZ. As expected, the 122-track playlist is called “Starbucks Lovers,” in reference to the often misheard lyrics in Swift’s 1989 hit, “Blank Space.”

To add to the fun, Starbucks also assigned each of Swift’s album eras with one of their signature drinks, with the brand’s iced blonde latte giving Fearless while the Pink Drink radiates Lover energy and Reputation is a strong nitro cold brew, among others.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The show on Wednesday (Aug. 9) marks Swift’s last night at SoFi Stadium, where she’s played a total of six nights, concluding the first U.S. leg of the Eras Tour. Starting Aug. 24, she’ll take the trek global with a slew of international dates in Latin America, Asia, Australia and Europe before returning to the states in 2024 for a second North American leg.

The pop star was left enchanted during her second-to-last show on Tuesday, following her performance of “Champagne Problems,” when the crowd rewarded her with a nearly eight-minute standing ovation.

“I think it’s safe to say that I, like all people, will experience a certain amount of emotional downward spirals throughout the course of the rest of my life and in those moments, you can rest assured I’m gonna think about what you just did,” she told the crowd, getting slightly emotional. “And I’m gonna feel better. So thank you. That was insane. It was crazy.” 

09 Aug 2023

Bad Bunny’s ‘Where She Goes’ Arrives at No. 1 on Latin Airplay

A week after Bad Bunny secured his 26th top 10 on Billboard’s Latin Airplay chart with “Where She Goes,” the Puerto Rican adds a new chart success as the track captures the crown on the Aug. 12-dated ranking.

“Where She Goes” climbs from No. 2 on the overall Latin airplay tally with 9.22 million audience impressions, that’s a 2% gain from the week prior, earned in the week ending Aug. 3, according to Luminate.

With “Goes” Benito pick up his 22nd No. 1 and becomes the seventh artist overall with as many or more champs on Latin Airplay. Plus, he enters a tie with Maluma and Wisin for the fifth-most since the chart’s inception in 1994. Here’s the recap:

35, J Balvin
22, Enrique Iglesias
32, Ozuna
28, Daddy Yankee
22, Bad Bunny
22, Maluma
22, Wisin

“Goes” takes the lead a month after “Un X100to,” with Grupo Frontera, capped its six-week reign (July 8-dated list). The track took over Latin Airplay in its third week, the fastest journey to the top spot among Bad Bunny’s 22 No. 1s.

Latin Airplay is one of nine charts where “Goes” has reached the top 10. In addition to topping Latin Airplay, it has hit No. 1 on the Billboard Global 200, Latin Digital Song Sales, and Latin Rhythm Airplay; No. 2 on Hot Latin Songs; No. 3 on Global Excl. U.S., Streaming Songs, and Latin Streaming Songs; and No. 8 on the Billboard Hot 100.

Feid & Sean Paul Link Up with New Top 10: Elsewhere on Latin Airplay, Feid and Sean Paul combine forces for a new top 10 as “Niña Bonita” climbs 11-4.

The song takes the Greatest Gainer honors with a 36% gain in audience impressions, generating 8.6 million, during the same tracking period.

“Niña Bonita” is just the second collaboration with an artist who primarily records in a language other than Spanish to reach the top 10 on Latin Airplay in 2023, after Ozuna paired-up with Congolese French artist Gims on the three-week ruler “Arhbo (Music From The FIFA World Cup Quatar 2022)”, the track held in the top 10 for six weeks between late 2022-23.