State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

12:00 am 12:00 pm

Current show
blank

State Champ Radio Mix

12:00 am 12:00 pm


Blog

Page: 60

MUSIC AWARDS JAPAN (MAJ), the largest music awards in the country, is set to take place at the ROHM Theatre Kyoto on May 21 and 22.
With this year’s theme “Connecting with the World, Illuminating the Future of Music,” the inaugural international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), jointly established by five major organizations in the Japanese music industry, including Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference. 

Although the entities are in the same industry, the five organizations have rarely collaborated until now because of differences in business and objectives. But the crisis faced by the entertainment and live music industry due to the COVID-19 pandemic, as well as the spread of streaming services and the success of Japanese entertainment spaces such as the world of anime, prompted the five organizations to unite to work for the future of the country’s music industry.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The content industry, which includes music, is worth 4.7 trillion yen and gaining momentum. That’s a sizable figure compared to the sectors in Japan’s export sales, as the automobile industry is worth 17.3 trillion yen, the semiconductor industry is worth 5.7 trillion and the steel industry is worth 5.1 trillion. The Japan Business Federation has positioned content as a key industry for the country and proposed that it be increased from 4.7 trillion to 20 trillion yen by 2033. The export of entertainment from Japan to the world is set to become a full-fledged industry. And with the aim of supporting and promoting the globalization and sustainable growth of the country’s music industry, CEIPA joined forces with TOYOTA GROUP to launch the MUSIC WAY PROJECT. In March, the project hosted a showcase event in the United States featuring Ado, ATARASHII GAKKO! and YOASOBI called matsuri ’25: Japanese Music Experience LOS ANGELES. It was presented by CEIPA x TOYOTA GROUP “MUSIC WAY PROJECT,” and the MUSIC AWARDS JAPAN ceremony is part of this endeavor.

So, why was the MUSIC AWARDS JAPAN created in the first place? The answer lies in the changes in Japan’s unique music market, which sits on the border between opportunity and challenge. According to the RIAJ, physical sales accounted for 62.5% of Japan’s content sales in 2024. According to the IFPI, Japan maintains the world’s second largest market and its market structure differs from that of other countries. The temporary increase in disposable time due to the stay-at-home orders during the pandemic led to the expansion of the streaming market worldwide and a change in market structure has also occurred in Japan. Today, the number of artists gaining recognition in the U.S. and East Asian countries is increasing, and the revenues of the streaming and live music industries continue to rise. The Japanese music industry and companies are seeing potential in the fact that the number of Japanese songs and artists being listened to outside the country are only gaining traction.

When it comes to nominations, MUSIC AWARDS JAPAN places importance on four factors: transparency, global collaboration, celebration and creativity. The awards place the highest importance on trust and fairness, both from the artists and creators involved, as well as from the listeners who support the music. The criteria for selection, including the chart data from Billboard Japan, of approximately 3,000 works entered in the 62 categories include the six major awards for Song of the Year, Artist of the Year and more. The considered works are ones that have gained significant attention and recognition between Jan. 29, 2024, to Jan. 26, 2025. The entries for each category were announced in March, and the nominees will be revealed on Thursday, April 17. The detailed rules and schedule for how these works are selected as final nominees are listed on the website. The overseas voting members include Hannah Karp (Editorial Director, Billboard), Lucian Grainge (Chairman and CEO, Universal Music Group), Rob Stringer (Chairman, Sony Music Group) and Robert Kyncl (CEO, Warner Music Group).

Now, CEIPA is calling on music industry professionals eligible to vote to consider the future of Japan and music when choosing works they think deserve an award. This means there is nothing wrong with artists voting for their own work or for those of other artists. There are also categories where fans can vote for the artists they support, too.

The nominated works chosen through this process have just been announced and can be seen onthe awards’ official website. After another round of voting, the winners will be announced at the awards ceremony, which will be broadcasted live on YouTube so viewers across the world can have the opportunity to hear the selected works. This will be a step toward helping artists in their activities overseas. Although the majority of awards are targeted at Japanese works, there are also awards that celebrate Asian artists in collaboration with other Asian countries, and awards that recognize foreign artists who are listened to in Japan.

As the inaugural awards aim to deepen the connection between Japanese music and the rest of the world, Yellow Magic Orchestra (YMO) has been honored with the Symbol of Music Awards Japan 2025. Founded in 1978 by Haruomi Hosono and the late musicians Ryuichi Sakamoto and Yukihiro Takahashi, YMO is one of Japan’s most beloved acts who toured successfully overseas from the early days of their career and gained popularity around the world. The “Rydeen” group’s timeless, innovative music, activities and style make them a “symbolic presence that teaches us the future” that the MAJ strives to aim for. A YMO tribute concert will take place at the Kyoto International Conference Center on May 20.

“We want to use matsuri ’25 and MAJ as springboards to promote Japan’s wonderful music content,” Tatsuya Nomura, president of the Federation of Music Producers Japan and chairman of the Music Awards Japan Executive Committee, said at the matsuri ’25 JP Music Industry Mixer & Panel press conference hosted by JETRO. “And we want to create the future of the Japanese music industry through a cycle in which Japanese artists are inspired by these projects and create wonderful works.”

Global music exchange will influence fans around the world and will lead to the enrichment of the global music market as a whole. As the Japanese music industry prepares to make a strong move toward repositioning itself in the world market, it’s surely worth paying attention to the direction it’s taking.

Last month, Billboard was invited to the Spotify offices in Downtown Los Angeles to meet its top editors and curators and get an inside look at how Spotify’s playlists come together, genre-by-genre. And leading that team is Sulinna Ong, global head of editorial at Spotify. Over time, Ong has held a variety of roles at companies like Live Nation, Sony BMG Music and French streaming service Deezer, before joining Spotify in 2019. After coming aboard, she served as its Head of Music (UK) and Head of Artist and Label Services (UK) before taking the helm of editorial.
In her role, Ong has worked to evolve what playlists can be — from launching the ephemeral and personalized options like Daylist and AI DJ, to further building out the worlds of longstanding flagship playlists RapCaviar and Today’s Top Hits. These days, most of all, Ong is interested in adding more context to the playlists, as she senses Spotify users becoming increasingly interested in having more of a human touch to those listening experiences.

Trending on Billboard

To explain her strategy with Spotify’s editorial in 2025, Ong sat down with Billboard for an extended interview to explain her stance on AI music in playlists, changing user behavior, future growth markets and why she wants to bring her team of editors into the spotlight more than ever.

What are some of your goals for Spotify’s editorial team in 2025? 

We’re thinking about how to make the playlists more engaging, and we think it’s a combination of short-form video and editorial. We refer to our roles as editorial, but they also involve curation. Editorial is the storytelling, the context: “Why is this important? Why is it culturally relevant?” The curation is, “What song? What artist?” There’s an art to combining both. As we look to the future, the editorial side is becoming even more critical. We are doubling down as human music editors in music discovery and trend forecasting in 2025.

What will this editorial short-form look like? And is it something that’s interactive, allowing for comments, likes, etc.? 

We format this in what we call editorial Watchfeeds. That will include written track commentary, editor videos and more. We’ve been thinking about how do we incorporate social and community elements? Whether that’s commenting, liking — it’s a combination of all those things.

Spotify used to have more social-like features, like the direct message feature, which has since been removed. Do you see this move towards more social elements as a way to retain users in-app? 

We want to broaden the ecosystem. We want to have our users spend as much [time] as possible and interact with one another as well. One of the editorial Watchfeeds that we did, as an early example to test the hypothesis, was Carl Chery [head of urban editorial] during the Drake–Kendrick battle. We kept getting asked, especially Carl, about what was happening. It was all coming so fast. So we did an editorial Watchfeed where we explained it in sequence. That did really well. Some of the feedback from users was, “I didn’t have to go elsewhere to find this information.” That was really interesting for me. 

Why did you decide that short-form video was the right way to editorialize these playlists? 

In a world where people’s attention spans are short, it made sense. Are users really going to sit and watch a 30 minute diatribe monologue before getting into the playlist? That’s not realistic.

TikTok, Reels and Shorts have been in the short-form video space for years now. Is Spotify getting on this trend too late? 

We’re not a social media platform. This is a tool to expand the storytelling experience of the music and the recommendations, which is why it’s not all short-form video. It’s just one part of our toolkit. Text and track commentary is also something we want to do, so it’s not all short-form video content. 

For a long time, it was Daniel Ek’s goal to make Spotify the destination for audio. More recently, that goal has expanded to video. The Watchfeed is not the first time Spotify has experimented with video. What have you learned from previous successes and failures with video on Spotify? 

We experimented with longer-form video a few years ago, and it didn’t really connect. I think actually podcasts were something that were really interesting for us to watch. It was interesting to see how core video actually ended up being to the podcast experience and the podcast audience. Yes, podcasts are longer-form, but might that be interesting for a playlist experience to try some kind of video for editorializing? I come back to editorializing because that’s what podcasts do — they provide context on a topic. We thought the next step is to do that for music. It’s not exactly the same experience, it’s not like for like, but there are components of that technology that became Watchfeed.

Until now, Spotify’s curators have largely worked anonymously. Why change that?

A lot of thought went into it. When you think about the era that we’re in in terms of AI and machine learning, people want to know — is this AI or human? What’s your point of view? AI doesn’t have a point of view. We found that people actually are interested about the people behind the playlist. 

Over the couple of years, Spotify has leaned into cutting edge tech-driven features like Daylist or AI DJ. In 2025, though you’re leaning into editorializing playlists. How do you see the balance between human and algorithmic aspects of playlisting today? 

They live together. I’ve never seen it as an either/or situation. I think you need both and both have unique strengths. Over time the editorial role has grown. But we are still focused on the strengths of each and combining the two. 

AI has played a key role in some of your newer features, like AI DJ, but how does the editorial team treat generative AI music that ends up on Spotify? Do you have any rules against playlisting it? 

We are focused on human artists and the music they create. That is what we feel is really important. We did curate, though, Kito’s track [“Cold Touch”] that used Grimes’ AI voice on it. But Kito is a bonafide artist that had the blessing of another artist to use her AI likeness and voice. That is different to us. But we think very thoughtfully about our focus on supporting real, human artists. To this point so far, I have not seen a generative AI artist or track take off. That’s not to say that it won’t happen in the future, but right now, that’s not what we’re seeing.

What markets do you think will grow significantly in the next few years? 

India will only be a more important player. Same with Southeast Asia. It’s interesting to look at Southeast Asia because we see Western artists actually getting their foothold in countries like the Philippines. In general, local-language content continues to grow. 

I’ve been asking all of your editors the same question: What is the most common misconception about the role of a Spotify curator? 

There are two. There’s that we are in service to labels and we curate what we’re told; that can’t be further from the truth. There’s an editorial independence that the editorial team has. The second misconception is that you can pay to get on an editorial playlist. I still see people claiming that they can get you on one for a price. It’s a scam. We have a code of ethics for our editors. 

What are some things that are part of your code of ethics, and has your code of ethics evolved over time? 

We have strict rules to protect our editorial independence, like if we get invited to a gig or a festival, and there’s an offer to cover our flights or travel, we’re not allowed to accept. If there is a reason, a business reason, for us to be there, Spotify will cover our travel. We don’t want to be beholden to anyone. And we are constantly reviewing [our code of ethics]. It’s a yearly process of, like, “Do we have the right guidelines and guardrails in place?”

There are reports that there is a super-premium tier on the way for Spotify users willing to pay an extra subscription cost. In return, they will receive new features. Are there any extra editorial offerings in the upcoming new tier? 

I don’t have any info to share with you other than what you already know. We are obviously always thinking about what superfans want and what would entice them to go onto that super premium tier, but I’ve got no details to share. 

Dating back to a Music Business Worldwide story in 2016, there have been reports that Spotify has used company-owned music or so-called “fake artists” or “ghost artists” in its playlists, like Peaceful Piano or Ambient Chill. Those allegations resurfaced this year in the book Mood Machine. Can you provide any comment or clarification on those allegations? 

My team curates purely editorial lists. We curate playlist music from artists. Our team doesn’t touch that.

How much creative freedom do editors actually have? How often do they get the ability to go with their gut? 

They’ve got a lot of freedom to do that, but you do need to critically explain why you believe in something. There’s a balance between our personal tastes and what we think will resonate with a listener. You need to understand the shift between the two. As an editor, it’s important to understand what your biases are and make sure you are not curating with bias. What I mean by that is overdoing it because I really love this artist, or [underdoing it] because I don’t. That’s why we also curate in groups, so we challenge each other. “Why is that there? Why is that not there?” It’s actually part of our training.

It sounds like the playlists operate in a tier structure. Like, an artist can get on Fresh Finds, and if it does well, then maybe the artists get onto All New Indie next. Is that right? 

Yes, we have a playlist pyramid. It’s like working an artist up through the ecosystem. You can’t slam an artist into a big flagship. There needs to be a strategic approach as to how you introduce someone to a new audience.

When Spotify’s social media accounts started posting about the editorial team’s song of the summer predictions in 2024, global head of editorial Sulinna Ong noticed a lot of commenters asking the same question: Is this artificial intelligence? “I actually went in and said, ‘I can assure you we’re not AI,’ ” she says, adding that she then found herself wondering, “Do people care whether it is [AI]?” The answer was a resounding yes. Ong recalls commenters were overjoyed to be able to identify her as a warm-blooded source of the faceless predictions. The reaction amounted to a collective “This is great. You’re human!”
Having focused on high-tech improvements to playlisting over the last few years, such as the AI DJ that subscribers can utilize and improved personalized Daily Mixes, Daylist and other features, Ong says she realized listeners value human input and connection more than ever and decided to recalibrate the “equilibrium” between AI and Spotify’s flesh-and-blood tastemakers.

Trending on Billboard

“A big tenet of editorial is this idea of reflecting culture and also being able to propel culture forward,” says J.J. Italiano, head of global music curation and discovery.

As a result, Spotify’s editorial team is leaning further into its top playlists with new “Watchfeeds” — written and video content that contextualizes its choices. There’s also more freestyling involved, such as the throwback songs that Spotify head of urban music, editorial Carl Chery slips into RapCaviar on Thursdays, or the newsletter that head of indie/alternative Lizzy Szabo writes for Lorem. Ong says interactive elements such as likes and comments may be added in the future.

To further individualize their work, Spotify’s editorial team came together for a photo and spoke to Billboard about their backgrounds, their work and their favorite music. “We know that cultural knowledge is really important. AI and machine learning excel in passing large data sets and scaling, but when it comes to cultural understanding, that’s where human editors really excel,” Ong says. “But we are still focused on the strengths of both [tech and human features] and combining the two.”

Sulinna OngGlobal head of editorial

Sulinna Ong

Yuri Hasegawa

Raised in the United Kingdom, Iran and Australia, Ong caught the music bug when she heard Kim Gordon singing Sonic Youth’s “Kool Thing” as a 13-year-old. She worked in a wide array of roles for Live Nation, Sony BMG Music and French streaming service Deezer before joining Spotify in 2019. Prior to assuming her current position in 2021, Ong served as the streaming platform’s U.K. head of music and U.K. head of artist and label services.

Favorite Spotify playlists?

Misfits 2.0, Liminal.

What are your 2025 goals for the editorial team?

We’re thinking about how to make the playlists more engaging, and we think it’s a combination of short-form video and editorial. We refer to our roles as editorial, but they also involve curation. Editorial is the storytelling, the context: “Why is this important? Why is it culturally relevant?” The curation is, “What song? What artist?” There’s an art to combining both. As we look to the future, the editorial side is becoming even more critical. We are doubling down as human music editors in music discovery and trend forecasting in 2025.

Until now, Spotify’s curators have largely worked anonymously. Why change that?

AI doesn’t have a point of view. We found that people actually are interested about the people behind the playlists.

Read Ong’s full interview here.

Carl CheryHead of urban music, editorial

Carl Chery

Rebecca Sapp

After working at hip-hop magazine XXL, Chery joined Beats Music in 2012, which was folded into Apple Music in 2014. He oversaw hip-hop and R&B at both streaming services before moving to Spotify in 2018, where he leads curation for its urban music playlists, including RapCaviar.

Favorite Spotify playlists?

Locked In, Gold School.

What trends are you spotting?

I’m interested in seeing what happens with sexy drill. Drill’s been around for a long time, and it keeps morphing. If you go back five years, that’s when it really broke through with Pop Smoke and Fivio [Foreign] and the Brooklyn drill scene. Part of the conversation around drill is that its subject matter is so hardcore it’s potentially [limiting the style]. But sexy drill has a lot of appeal. I’m keeping an eye on whether this is going to finally break through as the sound du jour in hip-hop.

What are some common misconceptions about Spotify editors?

Some people think playlisting is based on favors. They don’t pitch songs based on their merits or performance. They think building a relationship with editors enhances their chance of getting playlisted. That’s never been the case. [Others] think that playlisting is based on personal taste. Technically, it doesn’t matter if we like it. One of the most important qualities for editors is to be objective, [though] this doesn’t mean that personal taste doesn’t come into play. The sweet spot is when you get to support something that is at the intersection of your taste and what the audience likes.

Ronny HoHead of dance & electronic, editorial

Ronny Ho

Yuri Hasegawa

Though Ho booked concerts and hosted radio shows in college, she first worked in investment banking, and her initial job at Spotify was in business development. During her first years at the company, she got to know the members of the editorial team because she sat next to them. After moving to Spotify’s music team as a business manager, a role opened up in editorial, and she was given a tryout despite her unorthodox résumé.

Favorite Spotify playlists?

Tech House Operator, Marrow.

Given the global popularity of dance, how do you coordinate with curators around the world to make the best playlists?

We have global curation groups. Dance was one of the first ones that started. It happened naturally with us just reaching out to curators in other markets to see what they’re seeing. We talk now on a weekly basis about new music coming out, trends that are popping off, local subgenres or communities we find interesting.

How are you discovering music for your playlists?

It’s a mix. We get inbound pitches from the Spotify for Artists pitch tool, but I am also going to shows all the time. A lot of DJs are rinsing tracks that aren’t released yet live. I’ll watch and see what the reaction is. If there’s something that really hits with a fan base, I’ll make note of it. Also, I look on the internet.

J.J. ItalianoHead of global music curation and discovery

JJ Italiano

Yuri Hasegawa

Italiano entered the music industry as an artist manager, then shifted his focus when he took a job as head of streaming at talent agency YMU in 2016. He joined Spotify’s editorial team the following year.

Favorite Spotify playlist?

Lorem.

How do you curate New Music Friday?

New Music Friday is a bit like the newspaper. We’re trying to create opportunities for people to discover new stuff that we think they will like so, yes, there’s going to be a handful of high-profile releases that you would expect. Then everyone from their respective genres comes together and brings the tracks they think are most relevant, as well as their favorite songs. Through a process of democracy and a little bit of chaos, we get it out the door.

How do you compile Spotify’s biggest playlist, Today’s Top Hits?

One of the core tenets is that it is not a chart. Yes, we want them to be 50 of the biggest songs that week, but we’re also looking at user behavior. We look at all other playlists — how songs perform with different audiences. It’s more of a science than an art, but it is still both.

Does anyone listen to songs submitted through the pitch tool?

We get pretty decent coverage by humans. There’s over 100 people at Spotify whose job it is to listen to music. We use a combination of the tools we’ve built to sort through it and hiring the right people. Also, we pay attention to songs over time and can identify things that are trending upward or being saved a lot post-release.

Alaysia SierraHead of R&B, editorial

Alaysia Sierra

Yuri Hasegawa

After cutting their teeth as a playlist curator for Apple Music, Sierra was recruited by former Apple Music colleague Carl Chery to spearhead R&B curation.

Favorite Spotify playlist?

Riffs and Runs.

What’s the process of making a playlist?

A few years ago, I noticed there was a sound that emerged out of trap-soul, like Bryson Tiller, PartyNextDoor, Brent Faiyaz. Mostly, when people think of R&B they think of women, but this subgenre of R&B caters to men. I thought, “How do I create a space for them to lean into their R&B-loving?” So we created DND, or Do Not Disturb, to feature that laid-back, masculine feel. I wrote up my ideas, what artists would make sense in the space, what it would look like and presented it.

What changes have you brought to R&B playlists?

When I came in here, I felt like there could be a fresher perspective to R&B that can cater to the TikTok era. There’s a romanticization of ’90s and pre-’90s R&B, but there are all these kids coming up who love and are inspired by the genre. I wanted to evolve R&B at Spotify to showcase that the genre can be so many things today.

Any emerging trends you are particularly excited about?

I’m really excited about U.K. R&B right now. Streaming has globalized music, and I think it’s given a lot of opportunity to that scene. We show that scene on Riffs and Runs.

John SteinHead of North America, editorial

John Stein

Yuri Hasegawa

With almost 12 years at Spotify under his belt, Stein has been involved with playlisting from the beginning. He joined Spotify when the streaming platform acquired his previous employer, the now-defunct curation app Tunigo. Stein and his team became the curators of Spotify’s Browse page, and he worked his way up to his current position.

Favorite Spotify playlist?

Fresh Finds.

How has Spotify’s editorial playlisting evolved?

Back in those early days, we were very broad — much more moods- and moments-focused. There was a real emphasis on being an alternative to terrestrial radio. We wanted to introduce some new options: “Let’s think about activities and curate for those in addition to genres.” Over time, we created strong flagship genre playlists to be anchors, but we’ve also wanted to build out spaces that hit other moments in people’s lives — hopefully pushing forward the idea of blending genres.

What’s the balance of data and human curation in playlists today?

We’re coming to a point where the algorithmic side and the human side are coming together in a really balanced, beautiful way. As a company, we’re trying to embrace the fact that AI is really good at scale and serving you what we know you already like. But [identifying] moments of surprise and serendipity and cultural awareness is really difficult for it. You need a human editor to contextualize it in a way that brings emotion to it.

Lizzy SzaboEditorial lead, indie/alternative

Lizzy Szabo

Yuri Hasegawa

Szabo got her start in music as an agent’s assistant before becoming the executive assistant for former Spotify global head of creator services Troy Carter. She wrote an essay asking to move to the editorial team and detailing what she could do to expand the company’s playlists. It worked: Szabo became an editorial coordinator and worked her way up to helm the service’s indie and alternative coverage.

Favorite Spotify playlists?

All New Indie, Wine Bar.

How do you define the term “indie”?

More and more the question is, “What even is genre?” So we try to think in terms of audiences. With All New Indie, Lorem and those playlists, we are really fluid. Some weeks we question, “Is Caroline Polachek pop or indie?” You can make the case for either, but [we conclude] she would likely work best in indie.

With smaller artists, how do you balance human curation and metrics?

It is a challenge because it feels like there’s a new breakthrough every week in indie. It’s hard to predict. When we’re looking at priority releases for the year, the truth is you might not know. Someone could come along in two months that’s going to change the game. What’s incredible about something like the Fresh Finds program is that it encourages us to go with our guts on the really tiny stuff and have somewhere to put it [for] an audience craving music discovery.

Antonio VasquezHead of U.S. Latin, editorial

Antonio Vazquez

Courtesy of Spotify

A 15-year music business vet, Vasquez began his career doing digital marketing for legacy musicians in Mexico City as social media and Facebook advertisements began to take off. Spotify then hired him as its first editor on the Mexico team. After a year, he moved to New York to start a U.S. Latin team. He’s now based in Miami.

Favorite Spotify playlists?

Fuego, Hanging Out and Relaxing.

How does the Latin editorial team work?

On the U.S. Latin team, we have a small but mighty team of three people. We have balanced our skill sets and music expertise to make sure we are covering the most Latin genres as possible. Antonella [Bocaranda] handles pop and tropical music. DC [Daniel Calderon] has his ear to the ground in Los Angeles with all things música mexicana. We always make sure that everyone has a bit of say in editorial decisions so we don’t fall [victim to] bias. Almost all priority markets in [Latin America] have their own editors locally. We work closely with them almost every day to exchange music and create a strategy.

What’s a Latin trend you’re tracking?

We’re starting to see stronger local scenes. So we need to be communicating even more across countries to make sure we are aware of what’s happening.

What’s a common misconception about Spotify editors?

That everything is data-driven. That really takes away from the heart and soul we put into our playlists every day.

Cecelia WinterEditorial lead, pop

Cecelia Winter

Yuri Hasegawa

Winter got her start in the music curation business with Spring, an app founded by elite runners that gave music fans song recommendations based on how fast they wanted to work out. After working as YouTube’s pop editor, she joined Spotify’s editorial team in 2023.

Favorite Spotify playlist?

Pop Sauce.

How do you define “pop” music?

Pop, by its traditional definition, wouldn’t allow space for smaller artists, so we are really working to create spaces where artists who are making music that sounds pop — hook-driven and following a certain structure — can grow and find their audience. It’s hard to define, but you know it when you hear it. Pop music is not as tied to commercial success as it once was either. There’s top 40, which skews pop, but those metrics of success are not accessible to the vast majority of pop musicians. [With playlists] there is now an emerging mid-tier.

What is a market that tends to lead to pop trends that later emerge in the United States?

There’s a lot of interesting music coming out of the Nordics, and there are a lot of interesting stories where American or British artists who have trouble [breaking through] in their home market really explode in the Nordics first. We saw that with Benson Boone. Our editor in the Nordics flagged him really early on.

This story appears in the April 19, 2025, issue of Billboard.

Ben Affleck has nothing but nice things to say about his ex Jennifer Lopez. More than a year after Lopez filed for divorce following the couple’s whirlwind second shot at romance, the actor told Entertainment Tonight that the “Dear Ben, Pt. II” singer remains a vital, loving part of his family’s life.
“For the record, Jennifer Lopez is spectacular, great to my kids, great ongoing relationship with them,” he said on Wednesday night’s (April 17) red carpet for his action-packed sequel to his 2016 drama about an autistic CPA who does forensic accounting for criminal gangs. The praise appeared to be in reference to Lopez’s ties to Affleck’s three children with ex-wife, actress Jennifer Garner, Violet, 17, Seraphina, 16 and Samuel, 13.

Trending on Billboard

Affleck intimated that he also has affection for Lopez’s children, 17-year-old twins Max and Emme, whom she shares with her ex-husband singer Marc Anthony. “I love her kids. They are wonderful,” he said. “She is enormously important, [a] tremendous person of a lot of integrity who I adore and am grateful to.” The Oscar-winning actor and producer also noted that he was “thrilled” to have his kids and Lopez’s children with him at the movie’s premiere in Los Angeles.

“That’s the kind of thing where the relationship that you have with children like that is a joy in my life,” he said, noting that he was “very excited” to have the whole blended family out with him. “Those kids are amazing and I’m glad that this is a movie they want to come to… I love when all the kids come out.”

Despite the tabloid-magnet allure of the couple’s relationship over the past few years, Affleck noted that he doesn’t, “read the stuff online much and sometimes I get the sense that people perpetuate this idea of like, I don’t know, they want to find something negative to talk about.” Affleck and Lopez, both 55, first began dating in 2002 and got engaged before calling things off in 2004.

They reunited in 2021 and got married the following year. Lopez filed for divorce in February 2024, just months after the release of This Is Me Now: A Love Story, a movie co-written by the couple that was loosely based on their real-life love story. A candid behind-the-scenes doc, The Greatest Love Story Never Told, was also released at the time, opening up a window into their private lives. The couple’s divorce was finalized in January.

In March of this year, Affleck opened up for the first time about their second split, saying he had “nothing but respect” for Lopez, adding that there was “no scandal, no soap opera, no intrigue” about their divorce.

04/17/2025

The non-singles worth remembering from our favorite albums of 20 years ago.

04/17/2025

Mewow! Billboard is launching Power Pets, a new feature focusing on musicians’ best friends — no, not the humans — but the furry (and some scaly and feathery!) ones who bring extra joy and companionship to artists. Celebrities will be sharing sweet details about their beloved pets and how their furbabies enrich their lives, and to kick off the first profile is Billboard-charting country star and animal lover Miranda Lambert.
Miranda Lambert may have a Billboard 200-topping album in Platinum, three Grammys, 14 CMAs, 33 ACM Awards and many more accolades to boast about so far in her storied career, but to the country star’s four-legged pals, she’s just Mom.

“All of my animals help keep me grounded,” the singer tells Billboard about her furry family members. “They don’t care what I do for a living. They just love me.”

Trending on Billboard

Not only that, Lambert — who in 2009 founded her non-profit MuttNation, which works to promote pet adoption and the spaying and neutering of pets — has also learned an important lesson from her now 12-year-old dog Bellamy, whom she adopted in 2013 from Big Dog Ranch in Florida. “Patience,” the singer-songwriter reveals. “Bellamy was very shy in the beginning, but he’s opened up.”

Now, her beloved pooch not only travels and tours with her, but also helps Lambert with promoting MuttNation. “He has done a lot of photo shoots with me for my MuttNation line of pet products at Tractor Supply, and all of my proceeds from the line benefit the MuttNation Foundation,” shares the animal advocate. “He’s really patient and listens well, so he’s great at photo shoots.”

Tractor Supply Company, Lambert explains, is partnered with MuttNation’s Relief for Rescues Fund, a donations-at-checkout initiative which was started in 2023 to support shelters and organizations in recovery efforts after natural disasters. “So far, Relief for Rescues has donated close to $1 million to help animal shelters across the country recover from hurricanes, floods, tornadoes, fires and other disasters,” she shares.

That includes the devastating Los Angeles area wildfires that the Los Angeles Times reports destroyed more than 9,500 single-family homes at the beginning of the year. To help displaced animals, MuttNation partnered with Norman’s Rare Guitars to auction off guitars in an effort to raise money for area animal shelters. “To date, we’ve helped nearly 25 organizations, and we know there will be more to do because the recovery process has really only just begun,” says Lambert.

After all, she points out, pet adoption is at the heart of her organization’s mission. “By adopting a shelter pet, you make a meaningful difference — not only in the life of the pet you adopt, but in helping overcrowded shelters and in lowering pet homelessness,” explains Lambert, who over the years has welcomed not only dogs, but also cats, goats and horses into her family. “And it’s no secret that shelter pets make the best pets. We’re working on a lofty project that we’ll announce later this year to encourage people to adopt, so stay tuned for more on that!”

Until then, learn more about Bellamy from the country superstar below.

Bellamy in 2013.

Miranda Lambert

Name: BellamyAge: 12Hometown: Loxahatchee Groves, Fla.Breed: Comfort retriever muttFavorite food: chickenFavorite toy: He doesn’t really like toys, but he loves cuddling up on his MuttNation throw blanket from Tractor Supply.Favorite nap spot: Wherever I am. He likes to stay close to me!

How did Bellamy come into your life?I adopted Bellamy from a dog rescue, Big Dog Ranch, while I was on tour in 2013. One of my fans, who was super little at the time, made a video asking me to come visit. They gave me a tour of the rescue, and I saw Bellamy and fell in love! He was only about 6 weeks old. 

Who is Bellamy’s best friend, aside from you?He only has one fur sibling left, Cher, so they stick together. 

How does Bellamy get along with your other animals? Does he have any favorite and/or least favorites?The last few years have been hard on the pack, because I’ve had quite a few dogs pass over the Rainbow Bridge. They really were a unit, so we all felt each loss deeply. Cher and Bellamy are my only two dogs left, so they stick together now. Cher’s more of a diva, but Bellamy goes with the flow, so it works out. 

Cher, Bellamy and Miranda Lambert.

Jamie Wright

Does Bellamy join you on tour? If so, what are some of your best adventures together on the road?Yes! Bellamy travels with me a lot. He recently drove out with me to Arizona, where I spent time this winter riding horses. We filmed the music video for “Run” while we were out there, and he had the greatest time. He napped in between takes in the trailer and got to run around the desert and hang out with my horse named Cool while we were filming.

What’s his favorite song?“Old Hippie” by The Bellamy Brothers.

How does Bellamy react when you’re playing your music? He’s so used to it, he doesn’t react at all. He just falls asleep.

What’s your favorite memory of Bellamy so far?I’ve loved getting to see him come out of his shell over the years. Even though I got him when he was a puppy, he was so shy around new people when he was younger. He’s settled into himself now, and is much more confident. 

Share a fun fact about Bellamy!He was named after The Bellamy Brothers.

GoldState Music has raised $500 million in financing, the private investment firm announced on Thursday. Although specific details of the funding breakdown were not disclosed, the capital infusion consists of both equity and debt, and is described in a press release as a “structured capital facility… as well as separately raised leverage,” with Northleaf Capital Partners and Ares Management leading the deal. 
“Our new relationship with Northleaf and Ares marks the next step in the evolution of our music investing strategy,” GoldState founder and managing partner Charles Goldstuck, said in a statement. “This additional capital will enable us to further accelerate our ability to capitalize on increasing demand for music and build a diversified portfolio of music assets across artists and genres. As leading institutional investors, Northleaf and Ares bring critical experience that will support GoldState’s continued growth and differentiation to the benefit of our artists, investors and other stakeholders.”

Northleaf is a well-known investor in the music industry, having previously financed $500 million through Lyric Capital Group for Spirit Music Group in 2021 and $75 million for Duetti last year.

Trending on Billboard

“Led by Charles, GoldState is well-positioned to execute on a disciplined music acquisition strategy, and Northleaf is pleased to support the Company and its exceptional team,” said CJ Wei, managing director, Private Credit at Northleaf. “Northleaf’s investment in GoldState directly aligns with our asset-based specialty finance strategy, which is designed to provide our investors with diversified and low correlation exposure while delivering strong cash yield.”

On the other hand, this appears to be the first music asset investment for Ares, or at least the first one they’ve publicly disclosed. 

“Charles and GoldState Music bring a bold, visionary approach to music rights investment that seeks to empower artists,” Ares Management managing director Jeevan Sagoo said in a statement. “We are excited to collaborate with them and provide Ares’ deep sector and investment experience as they advance their long-term growth and value creation strategy.”

GoldState Music has acquired catalogs from two boutique music asset investors, Catchpoint Partners and AMR Songs. These catalogs feature notable tracks such as Kanye West’s “Flashing Lights,” Sheryl Crow’s “If It Makes You Happy” and Panic! At The Disco’s “I Write Sins Not Tragedies.” Additionally, they include portions of songs and recordings by artists like Brantley Gilbert, Smash Mouth, and Avril Lavigne. The acquisition also encompasses John Sebastian’s writer share of all his compositions with the Lovin’ Spoonful, including “Summer In The City,” “Daydream” and “Do You Believe In Magic,” as well as rights from his solo career, including “Welcome Back.”

The GoldState website also lists other financial backers, including Flexpoint Ford, Pinnacle Financial Partners and Regions. Prior to founding GoldState, Goldstuck has had a long career in the music industry, having held senior executive positions at various major labels before becoming president and COO of the Bertelsmann Music Group.

When fans finally get to hear Lil Wayne‘s Tha Carter VI — an album he’s been working on for six years at this point — they’ll be treated to a mixed bag of collaborators, including two major pop stars.
In a Rolling Stone cover story published Thursday (April 17), the “Lollipop” rapper revealed that both Billie Eilish and Miley Cyrus are featured on the June-slated sixth installment of his Tha Carter album series, which has been ongoing since 2004. He didn’t share any further details about what the “Bad Guy” singer and “Flowers” artist’s contributions will sound like, though, simply telling the publication that he’s extra focused on his collaborations this time around.

“If there’s one thing about this album that’s different, it’s me approaching it like, ‘Man, what would I sound like on something with such and such?’” Wayne explained.

Trending on Billboard

Tunechi did, however, reveal that U2’s Bono will costar on a track titled “These Are the Days,” which also features Wayne’s son, Kameron. Plus, one song on Carter VI will include opera titan Andrea Bocelli singing “Ave Maria.” Wyclef Jean, Weezy’s main collaborator on the album, apparently flew all the way to Italy to ask the tenor for permission, winning him over with the famous story of how Wayne survived a self-inflicted gunshot at the age of 12.

All in all, Rolling Stone reports that Wyclef and Wayne have recorded around 30 songs together for Carter VI, though the final tracklist is still very much up in the air. Ye, formerly known as Kanye West, produced a song for the project that may or may not make the cut, while Wayne teased that Elephant Man and MGK could also have guest credits.

Once it finally drops on June 6, Carter VI will mark Weezy’s first album since 2020’s Funeral, which debuted at No. 1 on the Billboard 200. Wayne has been anything but inactive in the five years since his last LP, though, collaborating constantly with artists such as Jack Harlow, DJ Khaled, Drake, DaBaby, Tyler, the Creator, Tyga, Ye and numerous others.

See Wayne on the cover of Rolling Stone below.

Attorneys for Megan Thee Stallion say Tory Lanez must be held in contempt of court over “disruptive” and “inflammatory” behavior during a recent deposition in a civil lawsuit that they say “made a mockery of the proceedings.”
In a motion filed Wednesday, lawyers for the rapper (Megan Pete) say Lanez (Daystar Peterson) – currently serving a 10-year prison sentence for shooting Megan in 2020 – behaved so poorly during the jail-house deposition that it had to be cancelled shortly after it started.

They claim he “feigned ignorance regarding the definition of basic words” and repeatedly harassed Megan’s lawyer about her appearance. They also say he “pretended that the video equipment was not working despite prison staff confirming it was functioning properly.”

Trending on Billboard

“Mr. Peterson made a mockery of the proceedings,” Megan’s attorneys write. “Nothing short of a contempt finding and meaningful sanctions will deter Mr. Peterson from continuing to abuse the process.”

On Thursday, Judge Cecilia Altonaga gave Lanez until April 30 to explain why he shouldn’t face such punishment: “Daystar Peterson is ordered to show cause why he should not be held in contempt of court for violating the court’s order authorizing his deposition.”

Lanez was convicted in December 2022 on three felony counts for shooting Megan in July 2020 during an argument following a pool party at Kylie Jenner’s house in the Hollywood Hills. In August 2023, he was sentenced to 10 years in prison. He has filed an appeal, which remains pending.

This week’s dispute comes in a civil lawsuit Megan filed last year against social media personality Milagro Gramz (Milagro Cooper), who the star claims waged a “coordinated campaign” with Lanez to “defame and delegitimize” her in the wake of the shooting and trial. A judge ruled in February that the case could move ahead, saying Megan’s allegations, if later proven, “paint a picture of an intentional campaign to destroy her reputation.”

As part of that lawsuit, Megan’s lawyers asked to depose Lanez from prison, saying it was necessary to investigate the extent of Gramz’ alleged coordination with him. But in Wednesday’s filing, Megan’s attorneys say the sit-down “proved to be a waste of time” due to Lanez’s “egregious” conduct.

Among other alleged disruptions, they say Lanez repeatedly demanded dictionary definitions of basic terms before he would answer simple questions, such as the word “meet” when they asked him if he had met with his attorneys ahead of the deposition.

“It could mean a lot of things. I mean meat could be a hot dog; meat could be a steak; meat could be red meat. It could be a lot of things,” Lanez allegedly said, according to a transcript cited by Megan’s lawyers. “You know what I’m saying? You could watch porno. Meat – meat is a whole different thing over there. Meet can be anything. I’m asking you what is your definition of ‘meet.’”

Megan’s lawyers say that Lanez behavior was so bad that even his own lawyers have “disavowed it.” In emails quoted in the filing, Gramz’ attorney Michael Pancier allegedly said the incident had “wasted our time as well” and that he would not oppose “any action you wish to take” against Lanez. Pancier’s co-counsel Michael Hayden, who also represents Lanez in his California criminal appeal, was allegedly copied on the email and did not object.

Reached for comment on the filing via email on Thursday, Pancier told Billboard: “Nothing much to say as Mr. Peterson is not my client and he is not a party to this litigation, and we have nothing to do with him.” Hayden did not immediately return a request for comment.

BTS‘ Jin announced the dates for his first-ever solo tour on Thursday (April 17), the #RUNSEOKJIN_EP.TOUR. The outing that incorporates the singer’s full given name (Kim Seok-jin) will hit nine cities around the globe for two nights each, kicking off with a double-down at the Goyang Auxiliary Stadium in Goyang, South Korea on June 28 […]