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R&B/Hip-Hop Fresh Picks of the Week: Central Cee, Daniel Caesar, Kash Doll & More

It’s Monday so you know what that means: new Fresh Picks! This week we’ve handpicked the sweetest releases from emerging R&B/hip-hop acts to fulfill your every need during this Valentine’s week.

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Whether you’re in love, scorned, or unbothered, tap into the best of this week’s releases, featuring artists like Rini, Baby Rose, Daniel Caesar, Kash Doll and more — and don’t forget to share the wealth with the Spotify playlist of this month’s picks below.

Freshest Find: Daniel Caesar, “Let Me Go”

Daniel Caesar is on a roll(out schedule). After releasing the pleading “Do You Like Me?” the Canadian alt-R&B crooner is back with another win, “Let Me Go,” presumably setting up an upcoming album. The track centers Caesar’s signature thick-layered harmonies and ever-present organs, reflective of his church upbringing. “Let Me Go” is an acceptance of defeat when it comes to love, a hard pill to swallow for everyone. Luckily for listeners, Caesar conveys the depleting pain of heartbreak with the utmost care, beauty and replay value.

Rini feat. Bibi Bourelly, “My Luv”

Rini drops off a sexy single in time for Valentine’s Day. “My Luv” is rooted in traditional R&B, built around a bluesy guitar and a warm bassline that sets the tone for an after-hours escapade. The song is the Filipino-Australian’s singer first song of the year.

Nnena, “Dayedreaming”

On “Dayedreaming,” Nnena has to go. The rising neo-soul singer samples Aretha Franklin’s 1972 song of the same name (styled “Day Dreaming”), singing about the cycles of love and ultimately concluding that self-love is the best type there is.

Baby Rose feat. Smino, “I Won’t Tell”

On “I Won’t Tell,” Baby Rose sounds like we’ve never heard her before. The singer-songwriter is playful and bold on the funky new track, an intentional move as she ushers in a new sonic era and celebrates her newfound sense of self. Rose tapped Smino for the song and also announced Through and Through will be released on Apr. 28. “‘I Won’t Tell’ is a fun record that came out of a sleepless night in L.A. jamming with friends,” she says in a press release. “When I began to write it out, I wanted to embrace my own chaos, my shadows. Then Smino slid into it effortlessly and that’s just what this song is, effortless.”

Central Cee, “Me and You”

Central Cee is no stranger to sampling past hits. The U.K. drill rapper surprise-dropped a new single called “Me and You” where he samples Donell Jones’s “Shorty (Got Her Eyes On Me).” Cench taps into his romantic side, rapping “your love is a contagious feeling” and “what’s mine is yours/ it’s not me, it’s us.”

Jordan Ward, “Cherimoya”

Jordan Ward likens his crush to a rare fruit on “Cherimoya.” A bonus track from his upcoming debut album FORWARD (out March 3), the acoustic song is a sweet ballad like its title suggests.

Babyface Ray feat. 42 Dugg, “Ron Artest”

“Live in the flesh, Ron Artest/ Counted me out, came back, I’m a champ,” raps Babyface Ray, paying homage to the basketball icon. The laid-back single is performed in true nonchalant Detroit fashion, but where the delivery is quiet, Ray and 42 Dugg’s confidence is loud. “4 Pockets Full and they ain’t CMG/ Put the music to the side, b—h, I’m signed to the streets,” declares Dugg atop the bouncy synth loop.

Saint Harison feat. Tiana Major9, “homies”

Shining a spotlight on U.K. artist Saint Harison’s rich tone, “homies” captures hearts both sonically and lyrically, as the singer-songwriter uncovers the story of a friendship that went too far. “I think we should’ve stayed homies/ Shoulda never let you in/ Now I’m in my feelings/ I really wanna go back to being just friends,” Harison belts. Joined by Tiana Major6, the pair captivatingly deliver the heartfelt regret of crossing a romantic line that leads to losing a friend.

Kash Doll feat. Peezy, “HEAVY”

At long last, she’s back. Detroit’s leading lady of rap, Kash Doll, delivers a heavy punch with the release of her latest album, BACK ON DEXTER: A GANGSTA GRILLZ MIXTAPE, following a four-year-long hiatus. While tracks like “OH BOY,” featuring a plethora of the city’s finest stand out, “HEAVY” takes a less-is-more approach, the new mom enlisting rising rapper Peezy. Sonically, the track is perfectly Detroit, as Kash taps into heavy braggadocio, rapping, “I just made a hundred chillin’ in the crib restin’/ If you can’t walk on water, you can’t do s–t to impress me.”

Lance Skiiiwalker, “Where to With You”

After seven years, avant-garde multi-hyphenate Lance Skiiiwalker returns with his latest album, Audiodidactic. The project is tailor-made to soundtrack a variety of experiences, drawing on environmental sounds and ambient elements that define the Chicago native’s eccentric sound. “Where to With You” combines elements of jazz, hip-hop and R&B, a perfect addition to any music lover’s playlist.

Need a Last-Minute Gift? Here’s How You Can Get Flowers & Candy Delivered for Valentine’s Day

Looking for a last-minute Valentine’s Day gift? If you missed out on our best Valentine’s Day gift guide, don’t panic just yet. Flowers are a great way to show your love for Valentine’s Day (or Galentine’s Day), and you can have them delivered in time for the big day. 

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Door Dash, for example, offers same-day delivery on Valentine’s Day flowers from thousands of local and national florists, but if that’s not sweet enough, you can also get them on sale! From now until Feb. 16, shoppers can enjoy 40% off flower orders with code: VDAY40 (up to $25 off). Door Dash is also offering 40% off select retail gifts, décor and more for Valentine’s Day (up to $25 off) from now until Feb. 16 (use code: ANYTHING40) and if you feel like pampering yourself, pick up a Self-Love Bouquet for Valentine’s Day.  

If food is your one true love, you’ll find a number of local restaurants, franchises, coffee shops, bakeries and more on delivery apps along with wine, spirits and non-alcoholic drinks.

From heart-shaped pizzas to heart-shaped donuts, delectable cakes, cookies and chocolates, delivery apps have you covered for Valentine’s Day. Besides Door Dash, Postmates, Grub Hub, Uber Eats and Instacart are offering Valentine’s Day delivery options as well (visit Instacart’s Gifts Hub for gift ideas ranging from affordable flower bouquets, candies and more). You can also try flower delivery companies like Pro Flowers (the limited-edition Whitney Houston bouquet sold out already, but there are several other Valentine’s Day bouquets to shop), 1-800-Flowers and FTD.com for bouquets, balloons, teddy bears, etc.

For jewelry, clothing and other gift options, major retailers like Macy’s, Nordstrom, Target, Kohl’s and Walmart provide in-store pickup (usually within about two hours after placing an order online) and Amazon Prime members get free same-day and one-day shipping on millions of items.

Where to Stream Valentine’s Day Movies Online

Because Valentine’s Day doubles as “single’s awareness day,” spending time alone doesn’t mean you can’t treat yourself. Whether you’re spending V-Day alone of with someone special, romantic comedies are required viewing for Valentine’s Day. Find classic and newly released rom-coms such as When Harry Met Sally, While You Were Sleeping, My Best Friend’s Wedding, Somebody I Used to Know, Shotgun Wedding, The Best Man (and The Best Man: The Final Chapters, Bridget Jones’s Diary, The Wedding Singer, My Big Fat Greek Wedding, Sweet Home Alabama, Brown Sugar, Marry Me, Hitch and other bingeworthy movies on Amazon Prime Video, Peacock, Hulu, HBO Max, Starz, Paramount+ and other streaming platforms many of which already have lists curated for Valentine’s Day.

Joshua Bassett Says Straying From Christianity Led to ‘Addiction, Depression & Eating Disorders’

Joshua Bassett is continuing to speak out about his spirituality. Just a couple weeks after he assured fans that he was okay following concern over his recent religious posts, the 22-year-old singer-songwriter has now shared a video of him publicly declaring Jesus Christ as his “lord and savior” at what looks to be a church service.

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Posted to Bassett’s social media accounts Monday (Feb. 13), the video, which is watermarked with a logo for Bethel Church, shows the High School Musical: The Musical: The Series star standing onstage next to another man, perhaps a worship leader. “My name is Joshua Bassett,” he says into a microphone. “Long story short, I grew up Christian and I ran the other way, as far as I could go, in pursuit of the ‘truth.’”

“That only ended in addiction, depression, suicidal ideation, eating disorders, et cetera,” the “Lie, Lie, Lie” singer continues. “No other teacher gave me anywhere near the peace that Jesus Christ did.”

Bassett’s final statement earns him loud applause from the audience: “I’m here to publicly declare him as my lord and savior.”

Bethel Church is a non-denominational Christian church in Redding, Calif., which livestreams Sunday services. “We believe that there is only one true God who is the eternal King, Creator, and Redeemer of all that is,” reads the church’s belief statement online. “We believe that heaven and hell are real places. There will be a resurrection of the lost and the saved, the one to everlasting death and the other to everlasting life.”

After sharing the video from the church service, Bassett tweeted: “the gospel is GOOD NEWS for all willing to love and obey Him who keeps your heart beating”

At the beginning of the year, he sparked concern for his wellbeing when he abruptly tweeted his belief that “Jesus Christ is the only way.” In late January, he assured fans he was “better than i have ever been” since pledging himself to Jesus and shared personal anecdotes of his spiritual experiences at church.

“His love is great, and my faith is certain. praise be to God forever and ever in Jesus name,” he wrote at the time. “I have also first hand encountered Jesus twice. The experience’s [sic] were richer and more vivid than anything in my entire life… i look forward to speaking about it soon.”

Watch Joshua Bassett speak at Bethel Church below.

After Dominating Early Rounds, Marco Mengoni Wins Sanremo 2023

Marco Mengoni won Sanremo 2023, after the pop star dominated the song contest from start to finish with his song “Due Vite” (“Two Lives”). It was Mengoni’s second victory at the festival, his first coming in 2013 with “L’essenziale” (“The Essential”).

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He triumphed over finalists Lazza, Mr. Rain, Ultimo, and Tananai – all male artists. Upon accepting the prize, Mengoni dedicated it to “all the women who participated this year and brought wonderful songs on stage.”

During a press conference with the top three contestants the day after, he added that “the women of this year’s edition had incredible songs. I was sorry to see that none of them were among the five finalists. Clearly, we still have a lot to do to change things in this country.”

Mengoni, who is signed to Sony Music Entertainment’s Epic Records Italy, also explained why he burst into tears during a previous press conference. “They were tears of joy, of course. You must walk through the difficult times of life. I’m grateful to my life for making me overcome tough experiences that made me grow up as a person. I’m talking about private experiences that I don’t want to disclose.”

The singer confirmed he will represent Italy at Eurovision Song Contest in May. “It will be my first time” in Liverpool, he said.

Rapper Lazza said his second-place finish bodes well for the Italian urban scene. “I’m so happy, long live hip-hop,” he said. While believing he could win, Lazza complimented Mengoni on his victory. “Marco had wonderful song and he’s a great singer.”

The third-place finish by Mr. Rain, another rapper, was also impressive. He maintained a low profile during the competition but then climbed up the rankings with a song about depression, which he sang accompanied by a children’s choir.

“Many people texted me on social media,” he said. “People connected to ‘Supereroi’ [‘Superheroes’] because it talks about asking for help in a moment of weakness. When you’re in a dark place, you feel like you’re the only one suffering and feeling those emotions. The important thing is having the courage to accept yourself and show you for who you are – with the innocence we had when we were children.”

In terms of audience, this year’s edition of Sanremo was the highest rated since 1995. Overall, 63.1% of TV viewers followed the five nights of the event. On average, the final night (Jan. 11) was watched by 12,256,000 people, or 66% of TV viewers.

Here is the definitive full final ranking of the 73rd edition of Sanremo.

  1. Marco Mengoni
  2. Lazza
  3. Mr. Rain
  4. Ultimo
  5. Tananai
  6. Giorgia
  7. Madame
  8. Rosa Chemical
  9. Elodie
  10. Colapesce & Dimartino
  11. Modà
  12. Gianluca Grignani
  13. Coma Cose
  14. Ariete
  15. LDA
  16. Articolo 31
  17. Paola & Chiara
  18. Leo Gassmann
  19. Mara Sattei
  20. Colla Zio
  21. Cugini di Campagna
  22. gIANMARIA
  23. Levante
  24. Olly
  25. Anna Oxa
  26. Will
  27. Shari
  28. Sethu

Terrifying Heights, Marshmallow Dancers & More: What It Was Like Watching Rihanna’s Halftime Show From the Field

In many ways, football is the ultimate “hurry up and wait” game — a timed sport where play isn’t always continuous, where there are regular extended stoppages to check on whether somebody has caught a ball or not (with the definition of a “catch” seemingly always changing), and where two minutes of play can actually take half an hour.

Such is also the case, it turns out, when you’re in a tunnel underneath a stadium of 60,000 rabid football fans waiting to get on the field for the first Rihanna concert in seven years.

Such is the case, really, of the entire week leading up to the Super Bowl — there’s a lot of waiting around for things to happen, then things actually happening in a very short amount of time. It’s the anticipation-payoff corollary: Will the build up be worth the event itself? Welcome to the day of the Super Bowl showdown between the Philadelphia Eagles and Kansas City Chiefs — or, more importantly to many, the day that Rihanna returned to the stage for her first live performance of the decade.

The morning of Super Bowl LVII started well enough. By 11:30 I was geared up and ready to go, wearing Buffalo Bills socks and a Buffalo Bills shirt just to feel something after another mind-numbing playoff exit from my favorite team weeks earlier. If I was going to be on the field, the Bills were coming with me, and I got down to the stadium a little after noon. After nearly being waylaid by Guy Fieri’s Flavortown Tailgate — extremely tempting, given I hadn’t yet eaten, but also seeming like a mirage in the desert distance that I could never get to even if I truly wanted — I found the media tent. It had everything I needed: a free ham and cheese sandwich, free Flamin’ Hot Cheetos, four free carrots in a bag and shelter from the sun. An auspicious beginning. I also acquired a bright orange vest.

There’s a lot of anxiety wrapped up in the Super Bowl, particularly if you’ve never been before. The security seems intimidating, you don’t want to bring or do the wrong thing or wind up in the wrong area, and there are a lot of rules that seem confusing at first. But once you’re there, it’s actually pretty easy — and while you’re waiting for the game to actually start, there’s plenty to fill the time. Like the Gameday Experience outside the stadium, which I wandered to next, where Eagles fans were loudly working on their spelling and a sea of people were either nervously knocking back beers, idly watching a few people attempt a dance-off, or trying to get on TV for the Fox pre-game show, which was being filmed on a raised platform just inside. I found it to be a good day to be a Bills fan, as nobody automatically hates you, and the few people who notice you generally take pity on you and are kind. Some things haven’t changed in 30 years!

But this bright orange vest gave me authority to go onto the field for the pre-game festivities, so that was where I headed next, shortly after 3:00 p.m. local time. Sometimes, with a credential like that, you just have to sort of test the boundaries of where you can go until you find yourself in the right place — and after I was pointed in the vaguely correct direction, I found the right door from the outside to enter the field level. At that point, I walked in after a dude who was carrying a laptop in front of himself and working on it while he was walking, while being filmed by a guy with a big video camera. This turned out to be DJ Snake — a fact I found out minutes later, when he started DJ’ing for the entire stadium on the big screen overlooking the field.

Once on the field itself, the energy was insane, like a dull roar in the background that is actually one of the loudest sounds you’ll ever hear (but weirdly not in an in-your-face way). The players were everywhere, kicking and running drills. Everyone was taking selfies. Paul Rudd was there, wearing an Isiah Pacheco jersey. A Fox Sports camera guy on a raised dais was crushing what appeared to be an apple juice box. Everyone, needless to say, was in championship form. Jordin Sparks was there, talking about her new single and what she was hoping for from the Rihanna show (or, as she put it, “when the game pauses and the Rihanna show comes”). Eagles fans were loudly booing Dak Prescott and then practicing their spelling again. Damar Hamlin was there (Go Bills!). Jay-Z and Blue Ivy were walking around. It was a whole scene, to say the least.

But just as the pre-game music was about to start, I had to leave: There were bigger prizes on the horizon. It is a strange thing to be physically at the Super Bowl and to see less of the actual Super Bowl than you would have if you had stayed home, but such was the mission: on the field for Rihanna. And that meant meeting up with people from Apple Music outside the stadium in order to be ready for the main event.

Yet, in classic Super Bowl fashion, that meant waiting, and waiting, and waiting some more. The music sounded great from outside; the fireworks were fun from outside; the game started while I was outside, and I watched the beginning on a phone screen that was at least 15 seconds delayed, with the crowd 50 yards away from me giving away what had already happened before it happened on the screen. At one point I walked back inside — it is very hot in the sun in Arizona — to see the Chiefs score a touchdown and watch GloRilla walk past on the concourse. And then it was time to meet.

Or, time to go wait in a different area. Walking to meet up with the Apple crew, we walked past around 200 people wearing marshmallow-sized white canvas suits with black plastic drape shawls (which were billowing and blowing away in the wind), who were standing outside the stadium awaiting their cue while a few people with bullhorns shouted reminders on how to enter the show. Basically, we were supposed to follow the marshmallow dancers into the stadium and onto the field. But first we had to wait some more.

At 5:39 pm we started to move, heading inside a gate and down a series of causeways towards the field level. Every few minutes we would move forward, then stop for another few minutes, then move forward again down into the bowels of the stadium. At 5:53 the time finally seemed to come — it was the two-minute warning of the first half, and they shifted us down to where the postgame interviews were to be conducted, underneath the stands (think a much more concrete version of being under the bleachers at a high school football game). It finally seemed to be time to go — but then, as we all huddled around a lone small TV mounted on the wall, we realized that only 10 seconds of the game had actually gone by. Hurry up, and wait; hurry up, and wait.

Patrick Mahomes hurt his ankle. There was yet another delay as referees tried to figure out what a catch was once again. The final two minutes of the half took a literal 26 minutes of real time. And so we waited, milling about behind the marshmallow dancers. Anxiety abounded, both over what was about to happen as well as whether Mahomes would be able to cover everyone’s prop bets. 

At 6:18, there was movement again, and a final instruction from a person with a bullhorn: “Your feet being on the ground is more important than your video looking good!” Well-intentioned, for sure, but there was not going to be much that would get in the way of many people getting their once-in-a-lifetime video of being on the field at the Super Bowl to see a Rihanna show. And then, finally, at 6:22, it happened: flashing credentials along the way, we were hustled up a final corridor and out onto the field, through an unbroken line of security personnel on either side into a corner of the Chiefs end zone. Our marshmallow friends were already on the field in position.

It is pretty hard to describe what it was like to be on the field for those first few moments of Rihanna’s performance, other than surreal. The platforms that she and the dancers were on were impossibly high in the air — not a chance I would sign up for that — and, given all the adrenaline and wall of sound and fireworks and raw energy, it is an incredible feat to be able to perform like that in such a situation. (Much less to do so having been only a few months postpartum, after not being on stage in five years, and oh yeah, while also being currently pregnant. Rihanna is something else, man.)

The whole experience of being on the field for Rihanna was, predictably, a total blur — hours of build up and waiting, and after 19 minutes we were back in the tunnel. But for those 19 minutes I forgot there was a football game being played, such was the total immersion of the show in the stadium. And that short period of time also coincided with the sun completely going down, meaning that the by the time she finished, the final fireworks were against the night sky, like it had lasted an hour or more. And yet all of a sudden it was over, and we were hustled back inside, where the exhilarated dancers were in half-marshmallow dress, and received a big ovation from everyone who walked by back up the several concourses. (The dancers, it should be noted, deservedly were allowed to take the escalators back up.)

The rest of the game felt like a blur after that — but the game itself was fascinating for people-watching purposes. By 7:50, when the Eagles had tied the game, none of the fans on either side were having fun anymore, as the tension started to overwhelm the spectacle. And then, just like that, a mom in Chiefs regalia was dancing, a father-son duo in Eagles gear started swearing profusely next to me and the inevitability of Patrick Mahomes came for everyone in the stadium. 

Suddenly the game, and the American national holiday, was over, as if it had taken mere minutes — a two-week build up for a game that was over far too soon. I will spare the details of the three-hour wait for a ride share car after the game, except to say thank you to the kind soul at a Jack in the Box in Glendale who allowed me to charge my phone from 3% to 11%, thus giving me the cushion I needed to finally book an Uber at 11:00 p.m. But that’s how it is with the Super Bowl, right? Hurry up and wait.

2023 Brit Awards TV Ratings Hit Three-Year High Following Move to Saturday Night

LONDON — The 2023 Brit Awards drew its biggest television audience in three years with 3.9 million viewers watching the show on Saturday Feb. 11, a rise of more than 1 million on the previous year, according to U.K. broadcaster ITV.

The 43rd edition of the Brits, the U.K.’s biggest music awards show, featured live performances from Harry Styles, Stormzy and Sam Smith & Kim Petras, among others, and was staged on a Saturday night for the first time in the Brits’ history. 

The move from the Brits’ traditional mid-week slot to the weekend had the positive impact organizers were hoping for with the show — hosted by Mo Gilligan and broadcast live from London’s The O2 arena — drawing an average audience of 3.3 million viewers over its two-hour running time, peaking at 3.9 million. ITV says another 780,000 people watched the show via its on-demand streaming app ITVx.

In comparison, last year’s ceremony was watched by 2.7 million television viewers in the U.K., down from 2.9 million in 2021 — the Brits’ lowest-ever TV audience, according to industry publication Broadcast.  

Despite this year’s ratings upturn, Saturday’s show is still the Brits’ third-smallest TV audience, failing to surpass the 4.4 million viewers that watched in 2020, and some distance behind the ceremony’s peak popularity at the turn of the millennium when around 9 million people would regularly tune in.  

There are, nevertheless, positives that labels trade body BPI, which organizes the Brits, can take away from this year’s event. Saturday’s broadcast – where Styles enjoyed a clean sweep, winning all four awards for which he was nominated – attracted a 53% audience share of 16-34 year-olds, up from last year’s 33% share, according to ITV.

Music performances and show highlights streamed on the Brit Awards 2023 official YouTube channel have additionally generated around 3 million views in total in the 24 hours after the event, according to Billboard’s calculations.

The Brit Awards’ other digital partners include Facebook, Twitter, TikTok, YouTube Kids, Vevo and fan engagement platform Filmily, while Saturday’s show was live-streamed internationally on YouTube. BPI is due to release its digital audience figures later this week.

The Internets Believe Megan Fox And Machine Gun Kelly Are No Longer Dating

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65th GRAMMY Awards - Red Carpet

Source: Lester Cohen / Getty

It looks like one of the most high-profile celebrity couples may be broken up. The Internets have deduced that Megan Fox and Machine Gun Kelly are no longer dating.

As spotted on High Snobiety the Think Like A Dog star has scrubbed the rapper from all her social media channels. On Sunday, February 12 fans noticed that she stopped following MGK on Instagram. While that is probably the biggest red flag with confirming true love in this era of digital sharing; her followers also noticed she also removed any photos where he was featured. Additionally, she started using cryptic quotes from Beyoncé’s “Pray You Catch Me” (“You can taste the dishonesty/it’s all over your breath”) throughout her Instagram stories. A day later she deactivated her Instagram entirely.

Back in January 2022, the two got engaged after months of a very public relationship. Since then breakup rumors have followed them along with ongoing criticism for their at times bizarre behavior. In April Megan confirmed with Glamour that they drank each other’s blood in pint-sized portions.

“Yeah. So, I guess to drink each other’s blood might mislead people or people are imagining us with goblets and we’re like Game of Thrones, drinking each other’s blood. It’s just a few drops, but yes, we do consume each other’s blood on occasion for ritual purposes only” she explained.

Machine Gun Kelly has yet to comment on Megan’s social media scrubbing but it should be noted that photos of her still live on his feed. So in theory; there still is hope.

Photo: Getty

Adidas Says Ye Split Could Cost Them Over $1B

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adidas + KANYE WEST New Partnership Announcement

Source: Jonathan Leibson / Getty

Adidas has released information that estimates the company could lose over one billion dollars after parting ways with Ye aka Kanye West, citing issues with moving previously manufactured stock as a cause.

On Thursday (Feb. 9), the athletic brand released a statement on its website concerning its estimated financial outlook for this year. It opened by addressing the company’s decision to end its partnership with the rapper last October, stating that it could lose $1.3 billion due to being unable to move the rapper and designer’s Yeezy clothing and footwear. 

“The numbers speak for themselves. We are currently not performing the way we should,” said adidas CEO Bjørn Gulden in the statement. “2023 will be a year of transition to set the base to again be a growing and profitable company.” The full report discloses that $534 million alone could be lost in operating costs for the year and “accounts for the significant adverse impact from not selling the existing stock.”

Adidas had previously expressed plans to sell the remaining Yeezy sneakers under its own name at a discount, which would save them $300 million in marketing fees and royalty payments. That option does come with some challenges. “All of this work is extremely labor intensive and it can only be done one shoe at a time,” said Matt Powell, a footwear retail expert. “So, it’s very costly to go through this process.” Destroying the goods is another option, but industry experts have advised against such a move.

The news comes after the company decided to sever its ties with Ye after the “Father Stretch My Hands” rapper made a series of antisemitic remarks in interviews and online. Initially putting the “partnership under review” after Ye wore a “White Lives Matter” t-shirt. Adidas made the decision to drop him after he appeared on the Drink Champs podcast and said, “I can say antisemitic s*** and adidas cannot drop me.” It follows behind the news that their IVY PARK collaboration with Beyoncé failed to match sales expectations last year, with sales dropping by 50%, according to reports.

Photo: Getty

Rising Japanese Star Ado on Becoming an Adult, Touring and Evolving: ‘I Felt Like I Leveled Up in a Huge Way’

Ado wants to be cool. 

As the Japanese singer – who delivered one of the country’s biggest hits in recent years – raced towards adulthood in 2022, however, she realized her definition of cool needed to evolve. 

Within the span of years, the now-20-year-old singer had gone from being immersed in Japan’s Vocaloid culture – a genre of music that uses a synthesizing software to make vocals and melodies alike – to an utaite (singers who cover songs by other artists) – to unwittingly becoming the voice of a generation, when her viral 2020 hit “Ussewaa” pegged her as the antithesis to the dull routine of adult life. This was all without a physical release and while keeping her identity completely under wraps, which is not uncommon in utaite culture. 

“Understanding the latest trends/ Checking the stock market on my way to work/ Joining a company with pure spirit/ These are the obvious rules for us workers,” she spits on the frenzied electro-rock track, which thumps and pulses and simmers with rage born from helplessness and monotony. She had spent most of her career in a silo, sometimes recording songs in a closet inside her home. At first, “cool” meant brazenly rejecting societal expectations. In her own words, the brash, scathing sound was born from a primal need to resist the hierarchy.

“It was a rebellion against adults and this society, and I really wanted to win,” she tells Billboard. Yet here she was – joining the very contingent she’d scoffed at for the better part of her career.

But Ado is not like most young adults. In fact, she comes with a disarming quietude that most would struggle to reconcile with the pumping anger and scorn of her songs. As time pushed her closer to the other side of the threshold, she felt it was the right moment to broaden her perspective. 

Like any teenager, she had once thought that screaming at the top of her lungs, pouring visceral resentment into her songs and outright rejecting the idea of conformity was the way to achieve that. Ask her about it now, she’d probably laugh and say that emotion without self-awareness is a rebel without a cause. “When I started out, I was quite immature,” she admits. “I really wanted to be taken seriously.” 

As she expanded her vision for Ado, the artist, throughout 2022, some of her own dreams came true. She released her debut album Kyougen, which peaked at No. 9 on the Billboard Japan Hot Albums chart, and then repeated her success with Uta’s Songs: One Piece Film Red, which reached no. 1 on the same chart. 

She’s come to approach her music as less of an outlet and more as an instrument for inspiration: “Going towards the end of the year, I really had proof – through the work that I did, through my performance, through my songs, and getting through challenges mentally as well as within myself – that I had grown. I felt like I leveled up in a huge way.” Her small wins, she says, assured her that she was on the right path.

At first, it sounds like a betrayal of the “young, wild, and free” ethos she’s come to embody, a proverbial “if you can’t beat ‘em, join ‘em” mentality. She would disagree: She’s only becoming more conscientious, not replacing the primordial emotion that underlines her music. It’s an important part of being cool, you see: “[Cool people] are ready to take responsibility for who they are and what they do.” 

With one Japanese tour just weeks behind her, and her new Mars arena tour on the horizon – which will take her to 14 venues across Japan between June and September 2023 – Ado sat down with Billboard to discuss her career and growth. 

You’ve just wrapped up a series of shows across Japan. How are you feeling? 

It was pretty tough, but I was able to connect with my fans and hear their voices. Even though it was tough, when I got on stage, I forgot about everything. Concerts are really fun to do! 

What aspects of it did you think were tough? 

First of all, I have to say travel. Because you’re moving to so many different places, and then you have to go on stage – of course, being on the stage is fun, but it’s repetitive. You have to be your best self over and over again on stage, each night. That was a bit tough. It was really sort of an internal battle with myself.

You actually did a stream recently where you mentioned that you don’t like looking at performances of yourself. Why is that?

That’s right. It’s really uncomfortable for me. I really don’t like seeing myself in [any] media form – concerts, photos, video footage. Even if there’s a slight shadow of myself or a flicker, I just want to shut down the computer or turn it around so I don’t have to see it.

In that case, how are you preparing for the possibility of becoming more and more famous? I imagine as you are going to be performing at different venues, there’s chances of photos or videos. 

I’m quite aware that Ado is loved by the fans, but for some reason… I do equate myself with Ado, the artist, so I do know that I’m loved and people like what I do. But even if I know [what] their objective view [is], the fans’ view of me from the third person and my subjective view [of myself] in the first person, they don’t equate. They don’t match up. So I think there is a discrepancy there.

That sounds like you had trouble loving yourself at some point, even if the fans love you. 

You are right in your assumption. I think, at some point, I would really love to be able to look at the footage or photos of myself and think it’s all great and really appreciate myself. See myself the way the fans see me. I think that would make everything much more fun, but I’m not quite there yet. 

Is that one of your goals for 2023? 

Yes. Not just on an emotional level of just loving myself, but I’d like to be able to achieve that this year through improving my skills. 

There’s not a lot of live performance videos that you’ve uploaded from the tour, except for the one at the Saitama Super Arena. What was special about that performance? 

The Saitama Super Arena, for me, is really valuable and meaningful because it was the day that my dream came true – and because it came true, it encouraged me to keep singing. So, that concert was very important in my life. That’s why I wanted more people to see it. 

This reminds me of a video you uploaded sometime ago, titled “To Everyone Who Was Born In 2002,” where you talked about a blue rose and how it signified dreams coming true. How did you relate to it, especially in context of last year? 

Actually, originally, when we had the design for my image, it was only a long-haired girl. There was no rose in the character design. Then, somewhere along the line, we added a red rose and we went with that for a while. Then, I started looking into blue roses and the significance behind them – 2022 was when that happened. Then, I realized that it was connected to dreams coming true, and that message really appealed to me. So I thought: ‘I’ll use this motif’. That’s why I wear the blue rose on my chest, near my heart. 

What do you think you’ve been trying to achieve in your music and have those goals changed from your debut till now?

In the beginning, I was expressing that emotional anger quite strongly [through my music]. I really wanted to be taken seriously, and it was a rebellion against adults and this society of adults, and I really wanted to win. Having said that, now I’m 20, and I have become an adult. When I started out, it was quite immature. Now, as opposed to anger being the main motivation, it’s about motivating kids or young people for their dreams to come true. If they have dreams, maybe I could symbolize that, or inspire them to make their dreams come true. 

I like that you brought up being an adult. When I was watching “To Everyone Who Was Born in 2002,” I wondered: were you at all disappointed by adulthood not being all that it’s chalked up to be? 

I’m not sure if the word “disappointment” is correct – but when I tried being an adult, I realized that you [can’t] just switch it on and off. When I was 19, I realized it’s more like a state of mind that you gradually move into. So, when I did become 20, I wasn’t really shocked or hugely disappointed, but I thought that I wasn’t self-aware enough yet. I grapple with that at the moment as well. But, I will leave it to my future self. I think my future self will be okay. 

Vocaloid producer Ine recently spoke about you in an interview, and he thought you were very cool. You’ve mentioned before that you want to be a “cool” artist – what do you think makes an artist cool?

I would say first of all, voice is really important to me. And if they are a songwriter, it would be their choice of words. [But] I really do think it’s about their state of mind and who they are as a person. I think that’s also a big part of being cool – that they’re ready to take responsibility for who they are and what they do. 

Sometime ago, you got really emotional in a stream because, in 2022, you hadn’t been able to put out a lot of utaite songs. Did you feel like you were losing touch with your roots? 

Yes, I think I was very used to releasing utaite music, and [in 2022] compared to a lot of my other releases, it was much less. So, I think I was a bit emotional and sad about that. 

2022 was a big year for Vocaloid as well. One of the things that happened was Billboard Japan launching their Nico Nico Vocaloid Chart. In his interview, Ine said that he was excited but also scared about the development, because Vocaloid originally symbolized a community of people who made music because they loved it. He said: “When there’s the potential for your creations to be recognized for their quality, it also highlights the fact that your creations aren’t getting recognized.” Do you share his emotions? 

Ine-san is a producer, and I am an utaite, so there might be a difference [in approach] there, but personally, I am not really scared. But… I can understand as a producer why he would [say that]. Regarding the chart itself being established, I think it’s amazing, because it shows how much Vocaloid music is loved, and many people want to hear it. So, I am really excited about the future of Vocaloid music. 

New Year, New Stars: 12 Chinese Artists Reflect on 2022 & Look Ahead to 2023

“The past is a prologue, something to treasure on the long road of life.”

Although life slowed down for many people in China in 2022, the country witnessed many heartwarming stage performances, artist breakthroughs, an emerging new generation of young musicians and the growing role that technology is playing in music.

To bid farewell to 2022 and usher in 2023, Billboard China spent an evening with 12 musicians from different generations and musical styles. They shared their achievements in 2022, their thoughts on the past year, and expressed their expectations for the future.

Keep Singing and Exploring

Even though Zheng Jun, Zhang Yuan and Su Xing (Allen Su) are industry veterans, 2022 was a brand-new experience for them.

Zheng Jun, a Chinese rock legend, was among the cast of contestants when Call Me by Fire (Season 2) premiered in August. In an interview, he said that his friends were afraid that his participation in the show would “make him lose his integrity in his later years,” but he responded that, “In my later years, I intend to break new personal ground, not preserve the old.”

In trailers for the show, Zheng stunned audiences with his casual demeanor. Far from seeming “called by fire,” he instead practiced meditation, ate barbecue and applied facial masks. When it came time to hit the stage, he instantly took audiences back to the golden age of rock and roll with his floral shirts and classic swagger. Zheng has claimed that “all I’ve ever dreamed of is true love and freedom,” and this sentiment shines through in his stage performances.

People have commented how Zheng seems to have remained the same, something all-too-rare in these ever-changing times. For Zheng, his reverence for his songs, his passion for music and his dedication to creating the best art possible has never changed.

In other ways, however, Zheng has changed. He is now more relaxed, happier and more optimistic. For him, the show feels like an adventure with friends both old and new. Before the competition got underway, Zheng sent a message to his friend Faye Wong saying that his only goal was to “have fun.”

In contrast, Zhang Yuan and Su Xing (Allen Su) brought about an upswing for themselves in 2022. 0713, the down-and-out men’s team, finally saw things turn around after an unexpected resurgence in popularity after their appearance on Welcome to the Mushroom House.

Reflecting on 2022, Zhang Yuan says he is pleased that he participated in as many music variety shows as he did. He is also happy that he managed to secure many different stages to show what he was capable of, and that he got to participate in some original soundtracks. Su also joked about having such a heavy workload on the show that it was enough to make him “happy for more than half a year.”

From Super Boy (Happy Boy) to Welcome to the Mushroom House, and then onto even bigger and better stages down the line, 0713 owe their success to their persistence. Zhang Yuan continued to innovate with his music, and found that music and the stage still held the highest allure for him, even after having been in the industry for many years.

Su cast an even wider net. He participated in talk shows, tried his hand at being a sports blogger and dabbled in content planning for variety shows.

They may be pursuing different goals, but they are taking a similar path. Personal milestones and progress will come naturally when you love what you do and keep an open and inquisitive heart and mind.

Zheng Jun, the oldest member, along with Zhang Yuan and Su Xing (Allen Su), come from the first generation of talent shows. Throughout the years, their admiration and love for music has never faded, and they have ceaselessly explored the infinite possibilities that music affords them. Overcoming all obstacles that lay ahead of them, they always walk their own path.

New Styles and Tasks

Some musicians focus on their styles and areas of expertise, while others turn to new tasks and directions, enjoying the occasional detour in their musical journey.

From Morning Bound for Midnight to The Direction of Light, music fans have become familiar with Zhang Bichen’s work over the past few years. Somewhat unusually for someone with such a commanding stage presence, Zhang openly admits that she has maintained the habit of ”thinking and summarizing” ever since her debut. In her creative process both on and off the stage, she has carefully analyzed her own experiences, and jumps at any opportunity she gets to compare and contrast them with other musicians.

This constant loop of dissection and communication led her to make some interesting creative choices in 2022. Wearing a spunky ponytail and a light and comfortable denim jacket, Zhang walked out into the auditorium with a completely revamped image, jumping up and down as she sang “Select C.” This was the first time that Zhang, a singer with extensive stage experience, had participated in a show where she could interact with the audience more directly. This experience has made her look forward to dipping her toes into other music styles and discovering more aspects of herself in 2023 while she prepares her new album.

Both Pan Yunqi and Wang Yinuo started as trainees of the 2022 season of Sing! China, and they now have officially embarked on the road of becoming professional musicians. For these two fresh faces, the world is their oyster.

Although Pan is very young, she is often praised for her assertive stage presence. Possessing a maturity beyond her years, she excels at heartwarming narrative-based songs, but also tried her hand at “My Good Luck,” which is more of a traditional ballad. While she may be new, this college student is clearly not afraid of trying new things.

Wang’s timid outwardly appearance belies the robustness of his singing voice. A quote from one of his songs: “Just look forward, don’t look at money/ At least your heart will not loosen when you look forward.” Offstage, he is a down-to-earth and sensible person who stresses the importance of healthy eating and sleeping habits.

After singing a series of popular OSTs, Ye Xuanqing began to delve into more original works as well as production. She said that learning about different artistic processes could help improve her ability to appreciate art, facilitate her own ability to create, and further clarify where she stood amongst all of this.

Hu Shih, a Chinese litterateur once said, “Why be afraid of the infinity of truth? Joy resides in every step of growth.” Newcomers and veterans in the music industry always face new tasks. So long as they dare to think, do, and try, they can unlock the infinite potential that resides within them.

Find the Right Positioning and Expand the Boundaries

For the young musicians who are on the rise, 2022 was undoubtedly an important moment for them to mature as artists. Some of them released their first EPs, and some had their first concerts.

In an industry where newcomers are always emerging en masse, young musicians often regard finding where they fit in and answering the question of “Who am I?” as the most important task every new year.

Chen Zhuoxuan was nothing if not blunt. “The pressure of this competition is through the roof,” Chen Zhuoxuan says bluntly. Her solution to deal with the pressure? Determine the musical style and direction that best suits her and try her utmost to stand out as an artist. In her spare moments, she practices her songs and has been learning the cello, guitar, and ukulele. She has also been studying arrangement and other music-related skills.

For Wu Xuanyi, it’s all about passion. To be given an opportunity to stand in the spotlight and express herself is the greatest reward her musical journey has given her so far. She prefers using her passion in pursuit of personal satisfaction and growth. Wu firmly believes that the most basic elements are the most important ones, so she always trains her basic skills and vocalization to ensure that they can always be called upon when needed.

Relative newcomer He Luoluo says in the interview that making plans wasn’t his strong suit — he just wants to experience the here and now. But he remains remarkably serious when it comes to his music and performing on stage. After an initial period where he lacked direction, he eventually entered the entertainment industry when he was 18 years old. Now in his twenties, he has his feet firmly planted on the ground.

Yang Haoming hopes to pursue music and acting simultaneously, as he “can’t stand the idea of having any regrets.” Yang has been acting in film and television dramas since his debut as a music artist. He released a new EP immediately after having a difficult time with his acting agent. Yang felt that his heart was telling him to push himself to expand his boundaries.

New Technologies

On Dec. 12, TME announced the debut of Lucy, the company’s first hyper-realistic virtual idol, creating another hot topic for Chinese music circles in 2022.

After the release of her first single, “Superposition State Girl,” many music fans wondered if Lucy’s voice was real. In fact, her voice is generated by feeding her mass amounts of data pertaining to the singing and timbres of specific targets. Her proficient singing abilities allow her voice to span multiple octaves with ease as well as pull off transposition, trills and portamentos.

As an AI idol, Lucy also has her own independent personality and preferences. Being intensely curious about daily life, she likes to observe and collect the sounds and sights of the world around her. Subway announcements on a busy line in the early morning, the sound of coffee beans being ground in the afternoon, the ticking sound of the traffic lights counting down in the evening…they are all enough to light a creative spark within Lucy.

The virtual idol must face the challenge of breaking through walls between virtual and real world in order to truly communicate with audiences and other musicians. Wandering in different dimensions is also a constant source of inspiration for Lucy. Achieving cross-dimensional cooperation with human musicians is one of her goals in 2023.

Lucy is more than an AI idol who produces AI music. In the future, a new open-source sound based on Lucy’s voice will facilitate music creation in other application scenarios. Music creators will be able to make use of Lucy’s voice clips or open-source sounds to achieve technology-driven creative music co-creation.

Jam Hsiao Ching-Teng

Jam Hsiao Ching-Teng

Courtesy of Billboard China