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BTS officially kicked off its offline event 2025 BTS FESTA on Friday (June 13) at Halls 9 and 10 of KINTEX Exhibition Center 2 in Goyang, Gyeonggi Province, in celebration of the group’s 12th debut anniversary. Running for two days from June 13 to 14, this year’s FESTA features a variety of hands-on experiences designed especially for their fandom, ARMY.The theme for this year’s FESTA is Twelve O’Clock, symbolizing the beginning of a new chapter and hinting at the group’s imminent full-group return. BTS members Jin and j-hope introduced the concept in the YouTube segment BTS News released in early June, marking their first official appearance in a while.
The event is open from 10 a.m. to 7 p.m KST, with last entry allowed until 6 p.m. Admission is available for fans age 9 and above; children under 9 are not permitted to enter, regardless of parental accompaniment.
From early in the morning, countless fans holding ARMY Bomb light sticks gathered at the venue, filling the KINTEX exhibition halls. Long lines quickly formed in front of the most popular interactive zones.
The venue includes more than 20 interactive zones. Below, we have a closer look at a few of the zones.
1. ARMY BOMB PHOTO SPOT & WHALE PHOTO SPOT
Two large-scale installations greet fans as they enter: the ARMY BOMB PHOTO SPOT and the WHALE PHOTO SPOT, both inspired by BTS’ signature motifs.
2. LIGHT SHOW
Beginning at noon, a five-minute light show takes place every hour on the hour, utilizing the synchronized ARMY Bomb light sticks to create a breathtaking visual spectacle. Widely praised by fans and media alike, the light show transformed the venue into an emotionally charged atmosphere and was hailed as one of the major highlights of the event.
3. VOICE ZONE
The Voice Zone offers an emotional connection as fans listen to voice messages recorded by BTS members specifically for the 2025 FESTA. These messages carry deeper meaning as the members participated directly in scripting them.
4. BTS LOCKER
BTS Locker presents personalized displays curated by each member, offering a look into their tastes, personalities, and memories.
5. TROPHY ZONE
The Trophy Zone commemorates BTS’s historic milestones. The display includes 50 trophies, from their first rookie award at the 5th Melon Music Awards in 2013 to their first music show win on KBS2’s Music Bank in 2015, and their first international honor at the Billboard Music Awards in 2017. Awards received by ARMY, such as the iHeartRadio Music Awards’ “Best Fan Army,” are also on display, reflecting the shared journey of the group and its fans.
6. COLORING WALL
The Coloring Wall, where fans filled in a large white artwork outline, was a participatory art zone at the 2025 BTS FESTA. Fans added their own colors and personal touches to the mural, contributing to its creation while covering the wall with heartfelt messages of support for BTS.
With an array of immersive experiences and engaging attractions tailored for fans, the 2025 BTS FESTA proved to be more than just a celebration — it was a heartfelt tribute to BTS’s legacy and their long-awaited return as a full group.
BIGHIT MUSIC stated, “We are sincerely grateful to ARMY for the unwavering love and support for BTS,” adding, “To better accommodate visitors, we have significantly expanded the event in terms of venue, content, and operations compared to previous years. We are doing our utmost to ensure that all attendees can enjoy a safe and meaningful experience.”
See photos of all the interactive zones below:
All seven members of BTS reunited in person at j-hope’s solo concert, marking the group’s long-awaited return as a complete unit.The emotional highlight of the evening came when Jin and Jung Kook surprised fans by joining j-hope onstage, creating unforgettable moments for those in attendance.
Held Friday (June 13) at the Goyang Sports Complex Main Stadium in Gyeonggi Province, South Korea, the final show of j-hope’s “HOPE ON THE STAGE” world tour encore coincided with the 12th anniversary of BTS’ debut — making the night even more meaningful for both the group and its global fandom, ARMY.
Jung Kook made a surprise appearance during j-hope’s solo track “i wonder…,” instantly sending the crowd into a frenzy. His unexpected entrance electrified the atmosphere, and fans responded with roaring cheers. “I really missed you,” he told the audience with a bright smile, before launching into a powerful performance of his solo hit “Seven,” drawing an explosive response.
Later in the show, Jin took the stage during the encore segment. After performing BTS’ beloved hit “Spring Day” alongside j-hope, Jin continued with a moving performance of his second solo EP’s title track, “Don’t Say You Love Me.” The emotional momentum continued as Jung Kook returned to the stage, joining Jin and j-hope for a special unit performance of “Jamais Vu,” closing the evening on a high note.
While Jin and Jung Kook took the stage, RM, Jimin, V and SUGA were spotted in the audience, watching the show and cheering their bandmate on. “I was singing while looking at my members,” j-hope told the crowd, expressing his deep affection for the group.
Jung Kook later added, “I was so nervous backstage. I’m here today because of my members. It felt overwhelming to stand in front of our fans again.”
This show also marked the first live performance of j-hope’s new post-military track “Killin’ It Girl” featuring GloRilla, signaling the start of a new chapter in his solo journey.
The stadium was filled with fans from both Korea and around the world, who came together to witness the long-awaited full group reunion. As all seven members reunited at j-hope’s concert, the moment served as a powerful reminder of BTS’ enduring unity and connection with their fans.
See photos of the night below:
In 2023, Believe CEO Denis Ladegaillerie told Billboard he was eying the U.S. Two years later, the Paris-based company is ready to expand its artist and label services business to the world’s largest music market.
“We’re building teams in 50 countries, and we’re going to build more in other countries, starting with the U.S. this year,” says Romain Vivien, global head of music/president for Europe. In fact, Believe is currently hiring a Los Angeles-based vp of labels and artist solutions for the U.S. who can “grow, scale and motivate high output teams,” according to the job posting.
Founded in 2005 by Ladegaillerie, a former Vivendi executive, Believe has done brisk business by focusing on large European markets and developing markets globally. From 2020 to 2024, Believe’s revenue rose 124% to 988.8 million euros ($1.05 billion) through organic growth and a mix of acquisitions and investments. Its portfolio includes German record labels Nuclear Blast and Groove Attack; French label PlayTwo; and Doğan Music Company, Turkey’s largest independent record label. In 2023, the company moved into publishing by acquiring U.K.-based Sentric Music Group for $51 million.
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The opportunity in the U.S. is immense — but the market is crowded. The U.S. accounted for 38% of global recorded music revenues in 2024, according to the IFPI. That’s 2.8 times more than Believe’s top two markets, France and Germany, combined. Competition in the artist and label services realm already exists from Universal Music Group-owned Virgin Music Group, Downtown Music Group (acquired by UMG but not yet approved by the European Commission), Sony Music’s The Orchard, and AWAL and smaller independents.
The Americas accounted for only 15% of Believe’s revenue in 2024, well behind Asia/Oceania/Africa’s 24% and Europe’s 61%, according to the company’s earnings report. Much of that Americas revenue came from U.S.-based digital distributor TuneCore, acquired by Believe in 2015, which had revenue of 64.6 million euros ($69.9 million) but was dwarfed by the 924 million euros ($1 billion) generated from Believe’s “premium solutions” business that spans record labels and services for artists, labels and songwriters.
But the current U.S. market is more amenable to an independent like Believe that has a digital-first mindset. Over the years, legacy gatekeepers such as TV, radio and brick-and-mortar retail — which are impediments or costly promotional vehicles for an indie artist — have waned in influence. The rise of TikTok, Spotify and YouTube presents “more opportunity to develop artists [there] digitally,” Ladegaillerie told Billboard in 2023.
In focusing on mid-sized and developing markets, Believe foresaw a global music business where streaming and social media create vibrant local music scenes. As an independent, Believe didn’t suffer from “the innovator’s dilemma” that might inhibit larger companies from pursuing small opportunities that could contribute significant revenue over time. Those mid-sized and developing markets produced music but organized themselves independently because major music companies were investing in larger markets in North America and Western Europe. When digital services like YouTube and Spotify took off, artists and labels needed digital distribution services and marketing expertise.
“It’s first and foremost about being here for the local community of artists in each local market,” says Vivien, “helping the rise of local artists to develop in their own country and then, of course, outside of their own market.”
India, where Believe has operated for more than a decade, is the company’s third-largest market after France and Germany, according to Vivien, while ranking No. 15 globally in 2024, according to the IFPI. Indian music is hyper-regional but takes advantage of global streaming platforms to reach Indian communities in Canada, the U.S. and Australia. A third of Believe’s Punjabi streams come from outside of India, Vivien says.
In the U.S. market, Believe will find a growing number of artists who want help building a career while retaining ownership of their rights. Independent distributors accounted for 91.8% of the 99,000 tracks uploaded to streaming platforms daily in 2024, according to Luminate, and independents’ recent share of current recorded music consumption has ranged from 15.6% in 2024 to 16.5% in 2022 by distribution. Within the major labels’ share is an increasing number of licensing deals and joint ventures that give the artist greater ownership control.
The exact terms of Believe’s client deals vary, but the company takes a share of the revenue generated by artists’ music. Vivien says the deals can vary from co-production deals to distribution-and-services deals. Believe can cover marketing, promotion, content creation, neighboring rights, synch, merchandising, branding and, in France, touring. Believe sometimes funds advances, too — as of Dec. 31, 2024, the company had 293 million euros ($305 million) of artist advances on its books.
The key, Vivien tells his team, is not to enter into a deal without “perfectly understanding” what the artist needs. “Some of them [have] very strong management. Some of them can produce,” he says. “Some of them are well funded, so they don’t need advances to produce their master. Some of them actually need funding. Some of them need marketing. Some of them are very local. Some of them need services outside of their market.”
Larger competitors have followed Believe’s emphasis on label services and emerging markets. In the last year, UMG acquired the remaining majority interest in [PIAS] and, through its Virgin Music Group, purchased Downtown Music Group. Sony Music bought artist services provider AWAL in 2021. Warner Music Group expanded its presence in India in 2024 through a partnership with Global Music Junction and an investment in live entertainment and ticketing platform SkillBox.
Believe went public in 2021 and was taken private in 2024 by a consortium led by Ladegaillerie and two investors, EQT and TCV. (In April, the company launched a bid to acquire the small number of remaining 3.3% of share capital, valuing the company at $1.75 billion.) The consortium survived an interested Warner Music Group, leaving Believe outside the control of the three major music groups. Not only did the move allow Believe to retain its independence, it left the company well funded to pursue its mission. As Vivien puts it, “We are entrepreneurs who are helping and serving other entrepreneurs.”
From June 6-8, G-DRAGON performed three dates of his 2025 WORLD TOUR [Übermensch] IN MACAU. Streaming platform QQ Music logged over 7 million users online simultaneously while promoting the show, demonstrating the overwhelming anticipation for the Macau stop. G-DRAGON delivered three consecutive, sold-out performances at Galaxy Arena, bringing the Macau stop to a spectacular close. […]
SixTONES’ “BOYZ” blasts in at No. 1 on the Billboard Japan Hot 100, on the chart released June 11.
The six-member group’s latest release is being featured as the opener for the anime series WIND BREAKER Season 2. The single launches with 358,770 CDs and becomes the group’s 15th consecutive single to bow atop the physical sales metric since its debut. “BOYZ” also comes in at No. 5 for downloads, No. 93 for streaming, No. 17 for radio airplay, and No. 48 for video views to give the boy band its eighth No. 1 hit. The other singles by SixTONES that hit No. 1 are “Imitation Rain,” “NAVIGATOR,” “NEW ERA,” “Boku ga boku janai mitaida,” “Mascara,” “Kyomei,” and “Watashi.”
Mrs. GREEN APPLE’s “breakfast” debuts at No. 2. The track is being featured as the theme song for the new Fuji TV news program Sun! Shine that began airing Mar. 31. After being released June 4, the track launched with 13,093 units to rule the metric, while coming in at No. 2 for streaming, and No. 18 for radio. The accompanying music video, which features the three members performing choreography for the first time in three years since the visuals for “Dance Hall,” also hits No. 1 this week.
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The three-man band’s “KUSUSHIKI” holds at No. 3, topping streaming and coming in at No. 6 for downloads and No. 4 for video.
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Tsubaki Factory’s “My Days for You” bows at No. 4. The Hello! Project girl group’s 13th single sold 91,145 copies in its first week to hit No. 2 for sales, and was downloaded 1,397 times to hit No. 23 for the metric. HANA’s “ROSE” stays at No. 5, with downloads gaining 116% and downloads 103% from the week before.
Outside the top 10, NGT48’s “Kibo Ressha” sold 47,195 CDs in its first week to debut at No. 13 on the Japan Hot 100. timelesz released FAM, its first original studio album with the current new members, on June 11 and enters the charts for the first time in three weeks.
Recurrent rules have been implemented on the Japan Hot 100 and Hot Albums tallies from the charts released June 4. The Streaming Songs chart is exempt from the recurrent criteria, and will be calculated in the same way as it has been up to the 2025 mid-year tally.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from June 2 to June 8, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
2025 has marked a pivotal year for Japan‘s music culture, with signs of transformation echoing both at home and abroad. But what does the future look like from a global vantage point? To find out, Billboard JAPAN sat down with Joe Hadley – Spotify‘s Global Head of Music Partnerships & Audience – during his visit to Japan in May for the inaugural MUSIC AWARDS JAPAN 2025, the country’s first-ever global music awards.
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In recent years, a growing number of Japanese artists, like Kenshi Yonezu, Fujii Kaze, YOASOBI, and Ado, have gone on successful world tours. People are saying that J-pop is starting to make sweeping advances overseas. How do you see the current situation?
It’s amazing to see these artists touring globally and resonating with fans around the world. And it’s not just about live shows – the streaming numbers tell a compelling story of growing global interest as well. In 2024, about 50% of the royalties paid out to Japanese artists were from outside of Japan, and nearly three-quarters of that was for tracks in Japanese. In other words, the music doesn’t have to be in English to travel. It does really well in Japanese, which is a very telling sign about the world’s reception and readiness for Japanese music.
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Here’s another really fun stat: in 2024 alone, Japanese artists saw about 2.6 billion first-time streams from listeners outside of Japan. This is a pretty incredible number. Japanese music is really expanding its global reach.
So does this mean that Japanese music is drawing a lot of attention, or that the widespread use of music streaming services like Spotify is transforming the structure of the global music business, or both?
It’s a bit of both. We have a really strong product and we also have an incredible editorial team. When you talk about the globalization of music, you also have to talk about global curation groups within Spotify. These are teams of editors specializing in each genre and region who come together from around the world to share music and support one another in getting music playlisted in the right places. Creating playlists like Gacha Pop, which is popular outside of Japan, is really important, and our role is to use curated playlists like this to stream music to global audiences. Personalization features like AI DJ also help share the world discover this music on Spotify.
Could you talk to us a bit about the current state of music culture? What trends and movements are you keeping an eye on?
Music is really travelling around the world. All kinds of artists are being listened to in countries and regions outside the ones they’re from. This is tremendously exciting. Spotify has almost 700 million monthly listeners, and its ability to export music globally just keeps growing and growing.
One recent trend I’m keeping my eye on is the global growth of country music. We’re starting to see it spreading outside of the U.S. to places like the U.K. and Europe, but really in Australia and New Zealand. You’d also be hard-pressed to miss the growth of African music outside Africa.
Of course, Japanese music is important, too. For example, I saw in the news the other day that ONE OR EIGHT’s “DSTM” had become the first song by a Japanese boy band in America’s Media Base Top 40 radio chart. That’s a great starting point. Even beyond the collaboration between Megan Thee Stallion and Yuki Chiba, we’re seeing the potential for a lot of growth around the world. This ties back to what we were talking about earlier, regarding global artists that are touring.
Until now, some have been saying that Japan’s music industry is lagging behind the rest of the world. What do you see as Japan’s current position within the global music scene?
Japan is in the middle of that same movement. That’s why we’re all here in Japan, and I’m really looking forward to going to the MUSIC AWARDS JAPAN (MAJ) award ceremony in Kyoto.
What do you think about the launch of the MUSIC AWARDS JAPAN?
I think it’s an incredible opportunity and a super exciting one. Spotify is really proud to partner with CEIPA (the Japan Culture and Entertainment Industry Promotion Society, which is made up of five major music industry groups) on MAJ. It’s CEIPA’s role to empower artists and creators, and we want to be side-by-side with them on their journey of developing Japan’s music industry both at home and abroad. That’s why we’re here taking part in this inaugural event.
The five nominees for Top Global Hit From Japan were selected using Spotify’s voting feature, and they were voted on by general overseas Spotify listeners. How do you see this award?
There are a lot of award shows out there, but I think having one that involves ordinary music fans is very meaningful. I can’t divulge any specific voting numbers, but the number of voters was far more than I’d expected, which really impressed on me how interested people are in the award.
I was a part of the voting process, and that was very much a learning experience for me. It made me feel even more involved with Japan and created a stronger sense of responsibility. The selection of nominees was quite diverse, which I think is representative of Japanese music as a whole. I think it’s easy if you’re not familiar with Japanese music to pigeonhole or stereotype it, but there are many different genres. That definitely came across in the nomination process.
What kind of future do you think the MUSIC AWARDS JAPAN will help create for Japan’s music culture?
In my opinion, the biggest contribution right away is the very fact that the event is happening. It’s like a wedding, where you gather together people who’ve probably never all been in the same room – in this case, artists, executives, writers, and the like. So this will be the first time, but it’s going to continue and grow to have a massive impact. It won’t just be Japanese artists, but it will get artists from other countries to come to Japan, which is going to have ripple effects. But for me, the most exciting part and the biggest impact will be having those people in the room, feeling the energy and the connections that come from it.
What do you see for the future of Japan’s music scene?
It’s already been going in a pretty incredible direction these last five or ten years. I think if Spotify continues to grow, we continue to work with more local partners like CEIPA, and we continue to think globally, Japanese music will keep growing at the same rate. I do think it’s on the artists, the labels, and their teams to make sure that they’re hitting the markets, going out and continuing to tour, and being intentional about collaborations, but the sky’s the limit. I’m very, very optimistic and excited about the future of Japanese music and music as a whole.
—This interview by Tomonori Shiba first appeared on Billboard Japan
Gen Hoshino sat down with Billboard Japan for its Monthly Feature series focusing on currently notable artists and works, to chat about his first new album in six years simply entitled Gen.
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The new project, released May 14, is the Japanese superstar’s first full-length studio set since his previous smash hit album POP VIRUS. It contains 16 tracks including singles “Fushigi,” which topped the Billboard Japan Hot 100, “Create” (Japanese title: “Souzou”), the 35th anniversary theme song for Super Mario Brothers, and “Comedy” (“Kigeki”), the ending theme song for the anime SPYxFAMILY. Gen also includes a variety of other songs such as “Mad Hope (feat. Louis Cole, Sam Gendel, Sam Wilkes),” “2 (feat. Lee Youngji),” “Memories (feat. UMI, Camilo),” and “Eden (feat. Cordae, DJ Jazzy Jeff),” with guest artists from various countries.
The album is clearly different from Hoshino’s previous works in terms of sound design and songwriting. It reflects the changes in his production style that began during the pandemic, and his attempts to “sing about himself,” something he had previously tried to avoid doing. The 44-year-old singer-songwriter is set to break new ground in pop music with his latest project.
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Gen debuted at No. 2 on Billboard Japan’s Hot Albums chart and No. 1 on the Download Albums chart on the tallies released May 21. Hoshino broke down the production of his latest project and shared his current mindset after his six-and-a-half-year journey in this new interview.
Gen shows the various changes that you’ve gone through since your last album POP VIRUS, and at the same time, it’s a work that opens up a new phase in pop music. I imagine the starting point was “Create.” What’s your take on the process from your previous album to this one?
Gen Hoshino: The EP Same Thing that I released after POP VIRUS was a project that was like a “journey to find out about the outside of myself.” Until then, I’d basically been creating music on my own, but I wanted to know how other people were doing it and also to update my world. After going through that, I started writing “Create” and the pandemic struck. During the time I couldn’t leave the house, I taught myself how to produce music on a digital audio workstation (DAW) from scratch, and made a song called “Oriai” to try it out. I thought, “I can handle this” (DAW production), so I produced “Create” again from scratch. Looking back, I think that was the starting point for this album.
I used to start out (writing songs) on my guitar, but with a DAW, I can use various sound sources and punch in the drums, bass, keyboards and stuff to create my own world by myself. When I first started using it, I was like, “OK, this is my thing” and was immediately hooked. From the very beginning, it felt like, “This is totally different from the way I used to make music.” My skills improved from there and the things I could do kept increasing.
It’s great that you were having so much fun during the production.
It was like that in terms of creativity, and there was also that innocence towards music at the center. It kind of felt like how it was when I started playing the guitar in junior high. I’ve been in the business for 25 years now, and in the 20th year of my career, I got a new toy. I can maintain objectivity while doing the actual work feeling like a junior high school student. That was an experience I’d never had before.
The album includes tracks featuring Louis Cole, Sam Gendel, Sam Wilkes, Lee Youngji, UMI, Camilo, Cordae, and DJ Jazzy Jeff.
Before, I used to write a song on my guitar, write the score, have the band members get together, discuss it and record it, and that was it. This time it was different in that I started by creating the basic track on my own on a DAW, and if I thought that a part would work better recorded live, I had a musician come in and record it, then put that back on my computer and edited it again.
For example, for “Mad Hope,” I handed the beat that I’d made to Louis and said to him, “You can play it this way, or you can arrange it,” and he sent me the data of him playing it the same and the version where he’d arranged it. I then decided where and how I could use those various takes and edited them. After that, I changed the structure of the song to make it longer, so I visited Louis at his home and recorded some more. It was like I was making everything from beginning to end always at my fingertips.
So the flow was like, as I worked on the songs, the faces of the people I wanted to collaborate with would come to mind and I’d make an offer. “2” was like that, too. After I started writing the song, I thought, “It’d be great if Youngji rapped on this,” so I asked her to do it.
She covered your song “Koi” at her Japan show last year. Did you have any previous contact with her?
I liked her music and listened to it a lot, and have also seen the variety shows she appeared on. She debuted as a rapper while in high school and is definitely “current” in terms of sound and skill, but I sometimes detect a whiff of female rappers from the ’90s in her and she has various sides to her which fascinated me. Then a fan of hers sent an email to my radio show telling me that Youngji had covered “Koi” at a concert in Japan and said she was a fan of mine. We followed each other on Instagram after that.
You both wrote the lyrics for “2 (feat. Lee Youngji).” What kind of themes did you share?
It was about two people being invincible when they get together, and also about making it a song of empowerment for each of us. I already had my lyrics, and when I told her the theme, she came back with some great bars. She also offered to rap in Japanese, and her Japanese verses were really great, too. UMI and Camilo, who worked with me on “Memories,” as well as Cordae and Jazzy Jeff, who took part in “Eden,” really understood what I was trying to do, and they each interpreted it through their own filters and reflected that into their music. I was thinking how fortunate I was while working on the project that I could interact with them in such an organic way.
So you didn’t know which direction the sounds would end up?
Right. But there was one thing I wanted to do sound-wise. Each song contains a variety of sounds. There are unadjusted sounds recorded with very cheap microphones, clean sounds recorded in a good studio, synth sounds from computers and those from real synthesizers. The theme of the sound production is that all of these sounds, clean and messy, old and new, are all equivalent and they can all exist at the same time. You can hear the sound of a guitar with noise mixed in that I played at home and the clear sound of a guitar that Ryo-chan (Ryosuke Nagaoka) played in the studio in a single track, or sounds from 2025 and sounds made in 2021 existing at the same time. Past and present, clean and messy are next to each other. It’s an album where I assembled various sounds according to my senses.
You’re currently in the midst of your Gen Hoshino presents MAD HOPE domestic tour, and will be embarking on your Asia trek from August.
It’s been a while, six years, since I’ve been on tour. It’s called MAD HOPE, so I guess it’s like a concept tour, and since I haven’t toured in a while, I want to include both my latest songs and the old ones. Live shows belong to the audience is how I basically see it, so I hope everyone enjoys it the way they like. Heading home afterwards saying, “That was fun,” “That was good” is great, isn’t it? I prefer making the music, so when it comes to performing live, I always just feel so grateful. I’ve always felt that the best thing is for everyone to enjoy the show, and that feeling has never changed.
–This interview by Tomoyuki Mori first appeared on Billboard Japan
HANA dropped a new song called “Burning Flower” on Monday (June 9), and shared the accompanying music video on YouTube the same day. “Burning Flower” is a fiery, danceable number with an addictive “acchi” (it’s hot) interjection repeated in the chorus. The choreography is by the members themselves, and their dynamic dance performance set to […]
Rolling Loud is headed to India. The hip-hop festival – which already has editions in California, Florida and Thailand – will debut its first festival in Mumbai after bringing the signature event to eight other countries. The two-day festival will be exclusively ticketed and produced in partnership with District by Zomato, a discovery and booking app.
“We never imagined Rolling Loud would take us all the way to India — it’s incredible,” Rolling Loud co-founders and co-CEOs Matt Zingler and Tariq Cherif said in a joint statement. “The hip-hop scene in India has been booming, and bringing the festival to Mumbai felt like the right decision. We’re excited to create a space where Indian fans can celebrate the artists they love, while also introducing international acts to a new audience. For us, it’s always been about building community through hip-hop — and we can’t wait to experience how India shows up.”
The two-day festival in India — which will announce dates and venue at a later time — will feature two distinct stages with elaborate production, plus fans can enjoy a series of local food and drink options, art installations and experiential activations that all tie back to the celebration of global and Indian hip-hop culture. Rolling Loud India promises a spotlight on an array of global superstars and international talent and top and rising Indian hip-hop artists.
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“India’s hip-hop scene is on fire right now, it’s raw, it’s real, and it’s ready. Rolling Loud coming to India isn’t just another festival drop; it’s a cultural shift,” District by Zomato CEO Rahul Ganjoo said in a release. “For years, we’ve felt the need to bridge India’s sound with the global stage, and this is that moment. It’s bigger than music, it’s a loud, undeniable signal that Indian hip-hop is here, it’s global, and it’s got something to say. We’re proud to bring this home.”
Since the event was founded in 2015, Rolling Loud has held festivals in New York, Miami, Toronto and Los Angeles, as well as in Australia, Germany, Portugal, The Netherlands, Thailand and Austria. Rolling Loud lineups throughout the last decade have included Kendrick Lamar, Nicki Minaj, Future, Travis Scott, A$AP Rocky, Cardi B, Playboi Carti and more.
Rolling Loud India tickets will go live exclusively on the District app. For more information on talent lineup, ticket details, festival details and more, check the District app and @districtupdates page on Instagram.
Billboard Japan unveiled its mid-year charts for 2025 early Friday morning (June 6), and Mrs. GREEN APPLE dominated the three major domestic rankings for the first time in the platform’s history: the all-genre Japan Hot 100 song chart, the Hot Albums tally, and the Artist 100 list compiled from the sum of the former two charts.
The three-man band’s songs old and new are loved by a wide audience, including the long-running hit “Lilac,” streamed approximately 270 million times during the mid-year tallying period. As they forge ahead with projects marking the tenth anniversary of their major-label debut, members Motoki Omori, Hiloto Wakai, and Ryoka Fujisawa shared their thoughts on the band’s monumental achievement during a packed schedule, repeatedly expressing their gratitude to everyone who listens to their music.
“Lilac” is the No. 1 song on Billboard Japan’s mid-year Japan Hot 100. Mrs. GREEN APPLE also remains atop the Artist 100 chart following your reign over the year-end list for 2024, and your album ANTENNA tops the Hot Albums tally for the first time. Congratulations! How do you feel about this unprecedented accomplishment?
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Motoki Omori (vocals, guitar): I’m thrilled. I also feel humbled, but the fact that so many people are listening to our music just makes me so happy. I’d like to continue making music sincerely from now on as well. Thank you.
Hiloto Wakai (guitar): It makes me really happy to know that our music is reaching so many people in this way. “Lilac” is a song from last year, and since we aim to make songs that will be loved for a long time, it’s very gratifying. Thank you.
Ryoka Fujisawa (keyboards): Mrs. GREEN APPLE is celebrating its tenth anniversary since its debut this year. From the time we formed the band, we’ve continued to place importance on putting out the music that Omori writes, so I feel very happy and grateful that it’s being listened to by many and appreciated like this. Thank you.
And Mr. Omori, you’re on your way to becoming the Top Lyricist and Top Composer for the third year straight, after topping the mid-year results for 2025. In addition to “Lilac,” “Bitter Vacances,” “Que Sera Sera,” “Darling,” and “Soranji” are also charting in the top 10, proving that many listeners are inspired by your words, and the melodies that create the world of your songs.
Omori: You know what, I’m just really pleased to hear such kind words from each person and also about the fact that our songs are blending into everyday life and adding color to it. Like, “I danced to your song on our school’s sports day,” or “It was playing at such-and-such a place,” for example. I still find it hard to believe that my music has become a part of people’s everyday lives, but it really gives me joy. Writing music is a necessity in my life, not just something I enjoy doing. It’s something very important for me to be able to live my life as who I am, so I feel really fortunate that the recognition meshes properly with that and am grateful for it.
You’ve had many opportunities to do solo work in addition to working as a band. Do you feel that you’ve grown from those experiences?
Wakai: I’ve done solo work before, but used to always be like, “What if I mess up?” and sometimes things didn’t go well. But now that I’m being tapped to work as an individual on more occasions, I’m starting to gradually enjoy myself more, so that feels like proof that I’m growing as a person.
Omori: I’ve had more opportunities to do acting, and it’s the first time in four years that I’ve done any solo work. I feel very reassured by the magnitude of our band and the fact that Wakai and Fujisawa are protecting it as my allies. I’m able to lean on them now, and that feels like personal growth, or that time has passed. I’m truly grateful to both of them.
Fujisawa: I’ve been watching Omori and Wakai working hard on their solo endeavors and like them, I’m determined to do my best representing our band, but I don’t think I’m in a position to speak of such ambitions yet. When I’m working on my own, it really hits home how important Omori and Wakai are to me. Like the things they say, or words of encouragement they give me when we’re working together. I really appreciate that kind of casual, everyday communication. Every day I realize how grateful I am that they’re there.
The tenth anniversary of your debut, as well as your anniversary concerts and dome tour are coming up. What do you think are the highlights and things to look out for in these events for fans looking forward to them?
Omori: I think the best way to experience the latest Mrs. GREEN APPLE is at one of our live shows, so I hope everyone will enjoy our energy to the fullest. I’m just looking forward to meeting many people. I want to express my gratitude directly to the people who support us so much, so I hope we’ll have more opportunities to do so. Everything is going to be fun, so I really hope people will enjoy it from the bottom of their hearts without hesitation. That’s all I can say.
Wakai: There are some songs we haven’t performed live yet, so I hope people have fun waiting to see if they’ll be played or not. We’re all excited getting prepared, so let’s go full-out and create some fun memories together! Looking forward to seeing everyone there!
Fujisawa: This year is our MGA MAGICAL 10 YEARS celebration, and we intend to unleash lots of things that everyone will enjoy. As the other two said, we’re really looking forward to meeting everyone, and more than anything, we’re grateful to be able to celebrate the tenth anniversary of our major-label debut in this way. All we feel is gratitude, and I hope everyone is really, really looking forward to it!
–This interview by Mariko Ikitake first appeared on Billboard Japan