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Trending on Billboard Yungblud’s 2026 Australian tour dates will move ahead as scheduled, even as the U.K. singer halts all remaining performances for the rest of 2025 due to medical advice. Explore See latest videos, charts and news The Doncaster-born artist revealed over the weekend that recent vocal and blood test results prompted doctors to […]
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Being part of HYBE’s conglomerate naturally puts artists in a position of visibility from day one. The company’s financial and structural size is undeniable, but in K-pop, where competition is fierce, money doesn’t buy talent or guarantee a lasting impact. With only two months in their career, CORTIS is attracting attention on its own merit.
With a sharp stage presence and charisma that breaks the rigid molds of the industry, the quintet formed by James, Juhoon, Keonho, Martin and Seonghyeon secured a prominent position among the year’s rookies with a lot of personality. Aged between 16 and 20, the young men form the first group launched by BIGHIT MUSIC in six years – after TXT in 2019 and BTS in 2013 – with the motto of being a creative team and self-producing.
The group’s first EP, Color Outside the Lines, was released on Sept. 8 and debuted at No. 15 on the Billboard 200 – the weekly ranking of the most popular albums in the United States. The project has been on the World Albums chart for 10 weeks. “It still seems surreal to think that we’re actually on the charts. We hadn’t even noticed. One day, our manager told us, ‘You’re on the Billboard chart!’ I was like… ‘Wait, really?’ And when I checked, we were at No. 15,” Martin tells Billboard Brasil in a video call for the new digital cover story. “It’s a matter of gratitude to our fans and listeners. I’m very grateful for all of this, and we want to continue growing and be remembered for a long time.”
For James, entering the charts has a positive impact on the group. “It represents a great milestone. And it’s just the beginning. We can only improve from here on out, and we’re working hard, as always, to make even better music.”
The success of their first EP raises expectations for CORTIS’ next steps. And they themselves acknowledge this. Martin describes the pressure as a responsibility that guides what they will do next. Seonghyeon admits that the pressure exists (“Without a doubt!” he says).
“The goal of the first project was to express our emotions, and that resonated with many people. Over these months, we’ve changed. With the second album, we’re thinking: ‘What do we have to say now?’ What story will we tell the fans, and how will we remain as authentic as possible? That’s the goal,” says James.
Even though they’ve only recently debuted, they already have thousands of fans in Brazil. On social media, they went viral for their passion for açaí and for reading the Brazilian nickname of their fandom, “Cortinas” (curtains in Portuguese), during a recent livestream. When asked about their interactions with the Brazilian audience, the question generates a slight commotion, and they speak at the same time.
“It’s incredible [to receive messages from Brazil],” says Keonho. “I can’t wait to visit Brazil,” says Juhoon. “We are big fans of Brazilian culture, especially the festivals [like Carnival]. We want to go to Brazil to do a show,” adds Martin. “We know you guys are fun,” adds James. “We know about açaí, we need to try it [in Brazil],” completes Seonghyeon.
The contrast between who CORTIS was before their debut and who they are today is discussed during the chat. For Martin, the biggest change is emotional. “It’s difficult because we’ve changed a lot since last year,” says the rapper. “When we were working on the album, nobody knew us. Now, we have fans and when we go out, people recognize us at the convenience store and everywhere. I’m enjoying the moment and very happy to see the reactions to my music.” For Keonho, the main difference is part of maturing. His biggest change? “My voice [laughs], the range of my voice.”
They seem to handle the group’s rapid rise well. James explains that, as cliché as it may sound, what keeps them grounded is remembering why they started. “I think we’ll never forget that. Although we have many different things happening along the way, ultimately, the reason we do this work is that we love music, and we love expressing ourselves in our unique way.”
Daily rituals like riding bikes, strolling in a park, listening to music, and playing basketball help the members deal with personal doubts and growing up in the public eye. They often talk about “embracing their awkward sides,” laughing at their own embarrassment to evolve, and using creativity as a way to discover who they are. “Over time, I’m starting to understand who I am. Now I know what I really love to do, what my musical taste is, what my taste is. This is making my personality more vivid and distinct,” says Juhoon.
“I think that accepting yourself in every way is also an important point, even your weird sides,” James says. “There’s a saying that goes ‘to be cringe is to be free’. It’s a great phrase. If you want to improve at something, you need to feel uncomfortable. You need to be ashamed of yourself to gain confidence. And I think that’s the mentality we bring to the music.”
“We’re still teenagers, and we’re growing up,” Martin adds. “Finding our style in music or visuals is like finding ourselves, investigating ourselves.”
CORTIS
Courtesy Billboard Brasil
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Their individual stories reinforce the discourse of self-worth. Keonho uses the competitive mind-set from swimming to evolve as an artist, always focusing on surpassing himself. Seonghyeon moved to Seoul at a young age to be a trainee, and the process never intimidated him – it only motivated him more. Juhoon, on the other hand, sees his diverse background in sports, studies and fashion as a foundation that helped him better understand his abilities.
The quintet’s leader Martin is Korean-Canadian and spent six years working toward their debut in September. In addition to producing CORTIS’ music, he composed singles for other HYBE groups – such as “Magnetic” (ILLIT), “Deja Vu” (TXT), “Pierrot” (LE SSERAFIM) and “Outside” (ENHYPEN).
“To be honest, when I start to lose confidence or doubt myself, I try to focus on small things. I play basketball, ride my bike, do something fun, go for a walk, and listen to music,” says Martin. “It’s a goal I want to have. To remember that [music] is something I really want to do for the rest of my life, that I really love, and that I do it for fun. That’s why I chose this path. I never doubted myself, I never wanted to be anything else. So, trusting myself and finding small hobbies helps me distance myself from those insecure thoughts.”
James is Thai-Chinese. He was born in Hong Kong but grew up in Taiwan. He was a trainee for about five years before debuting with CORTIS. Besides choreographing and composing for his group, he was a backup dancer for Jung Kook (BTS) and also wrote for other groups like ILLIT and TXT.
“In general, my tastes and preferences are quite broad… To be honest, even food. Growing up in different countries, going back and forth between them, always encouraged me to try new things. It opened me up to new experiences and I think that really helped me discover new music, movies, and see things I had never seen before,” says James. “Was it difficult moving around so much?” I ask the singer. “No, but it’s difficult when part of the family speaks one language and the other half speaks another… You’re in the middle and become the link that speaks all the languages and has to adapt every second.”
Juhoon was born in South Korea. A sports prodigy, he excelled in basketball and soccer. He was a child model and learned English at an international school. As a trainee preparing to debut with CORTIS, he underwent got classes and training for less than two years.
“Every moment influenced me in some way, and all these experiences made me who I am,” says the singer. “Playing sports taught me to be competitive, and at school I learned to communicate. Fortunately, I had the opportunity to explore various things and always focused on how much I enjoyed each one. I tried to discover what interested me, and that’s how I got into music.”
South Korean Seonghyeon was recruited on his birthday in 2018 while strolling through an amusement park. He is credited as a composer on all tracks of CORTIS’ EP: “What You Want,” “GO!”, “Joyride,” “Fashion” and “Lullaby.”
“When I moved to Seoul to be a trainee, it wasn’t very difficult. I really enjoyed the process, and my mother encouraged me by telling me to try,” recalls Seonghyeon. “The more I trained, the more interested I became. I want to be someone cool. Someone who is laid-back inside and out, and good at what they do, with confidence. I’m still figuring out what ‘cool’ means, but I hope to keep learning as I grow.”
Keonho spent three years as a trainee. The South Korean singer was a swimmer and participated in championships in the country before deciding to pursue a career in music. He also composed tracks for CORTIS’ first release.
“I learned that the real competition isn’t with others, but with yourself. And I think I always want to maintain that mindset and keep striving,” says Keonho, who smiles a lot. “I thought about it a lot because I wanted to be a swimmer and be part of the group. But my parents advised me: ‘It’s good to try new things, so why don’t you give it a try?’ I followed their advice and fulfilled my dream of becoming an artist. I’m really enjoying it.”
CORTIS’ members share the stage and also the dorm. They live together in Seoul and receive support from a dedicated team. The backstage routine also becomes content on their YouTube channel. “We grew closer naturally while preparing for our debut and also composing music. We live together 24/7,” says Seonghyeon. “Is it difficult living together?” I ask. “Yes, sometimes, but it’s fun. We usually resolve things by talking. For example, when it comes to washing dishes, we have a rule that each person washes their own after using them. This keeps things simple and fair.”
The advice they received from other artists also helps shape the group’s work. James keeps the phrase “one step at a time” as a mantra, a phrase he got from Teezo Touchdown’s autograph on a pair of sneakers.
“That’s my phone’s background. It always reminds me not to rush, and that sometimes you really don’t know what to do and end up rushing everything. You need to go slowly, one step at a time, and focus on what’s coming next,” says James.
“The most important thing for me is the passion and intensity I have on stage. I want every performance to have the same passion and intensity as the first time. It’s on stage where I feel most free. I want to remember that in the future, even if some days I’m not feeling well.”
Martin cites his meeting with the BTS members: remaining humble, caring for the team, keeping the passion alive even in the face of difficulties.
“They said, ‘Always be grateful and humble.’ And they also told us to take good care of the people around us, especially the team and those we will be working with for a long time. ‘Take good care of them, treat them with kindness, and keep the passion and energy alive. Even if big challenges arise, just keep persevering and enjoy the process.’ That’s what they said, and that’s how we’re living, day after day,” says Martin. CORTIS hasn’t gone on tour yet, but the “cortinas” in Brazil are already waiting for them with plenty of açaí.
—This article was written by Isabela Pacilio for Billboard Brasil
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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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This edition features Kanata Okajima, a songwriter and music producer whose extensive body of work spans numerous artists and genres. Balancing motherhood and a thriving career, she’s arrived at a place where she can truly “create music with joy.” Writer Rio Hirai spoke with the 41-year-old creative about what it means to be a woman working in Japan’s music industry today — and the hopes she carries for the next generation.
Looking back on your career so far, what has changed, and what remains most important to you?
In the beginning, I was creating music with this fierce determination, driven by the dream of becoming a musician, of making it as a successful songwriter. I pushed myself relentlessly, determined to achieve results no matter what. These days, though, I feel so much more joy simply getting to collaborate with wonderful people and incredibly talented artists. That sense of happiness has become much stronger.
What hasn’t changed is my commitment to giving 200 percent to every project I take on. For the artists, each song becomes a lasting part of their legacy and being trusted to contribute to that is something I take very seriously. Once I agree to do a project, I want to approach it with everything I have — no regrets, no holding back. That back-and-forth exchange of energy is something I always want to give my all to.
Was there a particular moment that made creating music start to feel more enjoyable or freeing for you?
A major turning point was the first songwriting camp I attended in Sweden. It’s like a creative retreat where songwriters, composers, and artists from around the world gather in one studio, form groups, and create songs together.
Up until then, I’d been making music in a very solitary, almost ascetic way — constantly questioning myself and driving forward on my own. I’d worked with band members in the studio before, but I’d never experienced the kind of collaborative writing where multiple songwriters sit in the same room, bounce ideas off one another, and challenge each other creatively.
That experience was electrifying, like being struck by lightning. Until then, I’d been balancing both performing as an artist and writing songs for others, but that camp made me realize, “If I can do something this fun every day, I’d be completely happy focusing on songwriting and production.” The whole process of connecting with people from different countries and cultures, writing songs together for the first time, and bonding through the shared language of music was truly eye-opening.
In Japan, there seem to be far fewer female music producers compared to men. What was the gender balance like at those international writing camps?
Even on a global scale, there are still relatively few women in those spaces. I’ve gotten so used to that imbalance that when there are a lot of women, it actually surprises me. There tend to be more female artists and topliners, but when it comes to producers, the numbers are still quite low.
Why do you think there are so few female music producers?
I think there are a few reasons. One is that being a music producer actually requires a lot of physical stamina. You’re often racing against the clock — producing backing tracks, editing vocals, mixing. There’s constant deadline pressure, and long hours in the studio are just part of the job. It definitely requires a certain level of endurance.
Another factor might be the level of interest in the technical side of production. There are quite a few female topliners, but when it comes to producing, there’s this image that you have to be hands-on with all the equipment, and that can feel like a barrier for some.
I’m often called a music producer myself, but in many cases my role is closer to that of an executive producer — overseeing the bigger picture of a project or song, deciding who to work with and how to bring everything together. Even so, women in that kind of position are still rare, so I’d love to see that number grow from now on.
That makes sense. Limited opportunities to handle equipment might also lead to fewer chances to take on production roles. What’s something you’ve consistently valued throughout your work?
What I value most is listening — understanding where the artist’s mind is at, what kind of world they want to convey through this song, and what the label or management hopes to express as well. I try to approach that process as carefully as possible, because that’s where individuality and artistry truly come through. If that understanding is off, even if we make something great, we can’t genuinely share in the joy of it.
Is there anything you’re mindful of when it comes to self-care in sustaining such a long career?
When I get home and see my family and kids, it’s like I snap back to reality and it grounds me. In the studio, I almost feel like I’m inside a bubble. I lose track of time, forget to eat, and get completely absorbed in listening and creating. That kind of deep immersion is exhilarating, but it can also be draining. By the time I’m done, I often realize how much energy I’ve spent.
But when I come home and see my family’s faces, it’s like something inside me suddenly releases. I try to let go of whatever I’ve been holding onto and unwind before going to sleep.
It sounds like having a family has had a really positive impact on the way you work.
I’ve been able to keep going thanks to my family. Before I had one, I worked nonstop, with no real distinction between weekdays and weekends or even holidays. Now that my kids’ daycare is closed on weekends, I make sure to take those days off too. Having that limit forces me to pause, which has been good for me. It’s helped me create a healthy rhythm, knowing when to focus completely and when to step away from work.
When you became pregnant, did you have any fears or anxieties about how your life might change?
Yes, very much so. At first, I actually kept my pregnancy a secret. I was worried that people might start to treat me differently or stop offering me work out of concern, so I decided not to tell anyone until I was about eight months along.
When it finally became impossible to hide, someone said to me, “So you’re finally going to slow down, huh?” That really hit me hard. I remember thinking, Do I have to slow down? At the time, I was even more driven than I am now, so I took it as a kind of mission, to prove that I could keep going without slowing down.
In a way, I was lucky that I gave birth during the pandemic, because everything shifted online. I could nurse off-camera, or rock the cradle with my foot during meetings. With so much moving to virtual work, I was able to come back after only about a week and a half.
That’s incredible! Has becoming a mother influenced your creative work or artistic expression in any way?
After having my children, I’ve felt a much stronger sense of love and affection for all living things. Before, I think my focus was mostly on myself and the people close to me or those I cared about deeply. Now, my curiosity and concern extend more broadly. Even other people’s children feel adorable to me, and I find myself thinking, “I hope they grow up healthy.” Small things move me emotionally in ways they didn’t before, and I think that sense of being emotionally stirred has naturally flowed into my expression and creative work.
As a songwriter and composer, do you have any personal guiding principles or things you hold dear when creating music?
Music has saved me many times in my life. When I was a child, there were periods when I felt very strongly that I didn’t want to live anymore. In those moments, listening to music somehow gave me the strength to think, “Maybe I’ll try living tomorrow, too.”
So when I make music, I want it to be something that helps someone think, “Maybe I can keep going tomorrow,” or “Maybe the future isn’t so bad.” Sometimes that takes the form of an obvious, uplifting song, and sometimes it might be something much darker — but I don’t want to write anything that shuts down the idea of a future. I hope my songs can offer a bit of comfort, or support someone in their moment of need.
Have you ever felt the effects of gender discrepancies, or experienced moments of discomfort related to gender in your work and creative life?
I think I’ve been relatively free to work in my own way, but there are still times when I feel left out, like not being invited to late-night gatherings that are mostly male-led. And when I hear stories like, “I landed this project because I got close to the director at one of those events,” I just kind of have to take it in. I used to think, “What would my life have been like if I were a man?” a lot when I was younger.
I also hear a lot from younger colleagues about their struggles. Many talk about the pressures and burdens they feel because they’re women, and how tough that can be. I hope we can gradually work toward making the industry a better space.
What message would you like to share with young people aiming to become musicians or simply wanting to live life on their own terms?
You only live once, so I hope everyone can live true to themselves. Of course, daily life comes with all sorts of responsibilities, so the time you have to be fully yourself may be limited, but even that struggle has its own beauty.
There will be times when you have to fight, clash, or speak up for what you believe. Those moments may feel difficult, but beyond them lies a world that’s easier to live in. Step by step, you’re shaping a life and a world that works better for you.
Self-expression is a right we all share, and the more each person expresses themselves, the more colorful the world becomes. I hope everyone keeps expressing themselves boldly and freely.
–This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Billboard Japan‘s Women in Music initiative launched in 2022 to celebrate artists, producers, and executives who have made significant contributions to music and entertainment, and who inspire other women through their work — following in the footsteps of Billboard’s annual Women in Music honors. This interview series spotlighting female players across the Japanese entertainment industry is one of the key pillars of Japan’s WIM project.
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This installment features Maki Goto, who marks the 25th anniversary of her debut this year. The singer joined Morning Musume at just 13 and has continued to chart her own course as a solo artist after graduating from the wildly popular J-pop girl group. Now, looking back on the past 25 years of her career — guided by the belief that she didn’t need to play the “good girl” — the 40-year-old performer shares the unexpected message she would offer her younger self today. She also reflects on the mindset that has sustained her throughout her life in the spotlight.
Congratulations on your 25th anniversary. How are you feeling as you reach this milestone?
It really feels like the time flew by. Through performing live and all the different kinds of work I’ve done, I’ve gained so many tools and experiences to draw from. When I look back on my younger self now, I think I’d be able to give her some pretty good advice, like, “There might be a better way to approach this.”
Your new album COLLECTION includes solo versions of songs from your Morning Musume days. When you compare who you were then to who you are now, what do you feel has changed?
I think a lot has changed. I mean, I was only 13 — a second-year middle schooler. I might have looked the part with the bleached hair, but inside I was still very much a kid. I’m more conscious now of the shift from being a child to being an adult, and my approach to work has really evolved over these 25 years. Back in the Morning Musume days, Tsunku-san was producing us, and I was just doing my best to take on the tasks I was given and figure out how to carry them out. Now, I’m more in a place where I think for myself and shape who I am as an artist from within.
And what about the things that haven’t changed?
I think my personality is pretty much the same as it’s always been. I’ve lived in my hometown, where I was born and raised, for most of my life. While people might assume that celebrities all live in the city, I’ve deliberately chosen not to move, and maybe because of that, my values, my temperament, and the things that bring me peace have stayed pretty much unchanged. Being in the town where I grew up also makes it easier to switch clearly between my “on” and “off” modes when it comes to work.
Your work shifted from being part of a group to performing solo. How did you motivate yourself through that transition?
When I first went solo, I was really anxious. I realized just how much I had relied on my fellow members and the people around me. But once I became a solo artist, thinking about the people who support me and how I want to show up for them became something that encouraged me. It’s an awareness of wanting to show everyone the best version of myself.
Looking back at past interviews, there’s a strong sense of pride in your identity as an “idol” performer. When and how did that take shape for you?
When we were in Morning Musume, being an idol had a very spirited, almost athletic culture to it. It wasn’t about conforming to something, but rather about showing who you were and letting your individuality shine. We communicated directly with fans, balanced what we personally wanted to do with what was being asked of us, and were given the chance to try new approaches that still felt true to who we were. I think that environment is what shaped my own sense of what it means to be an idol.
Were your individuality and uniqueness recognized and supported mainly by fans and the staff around you?
It wasn’t quite that simple. Back then, social media didn’t exist like it does now, and the only place people could see us was on TV. It was actually pretty hard to get people to understand our individualities. We could show a bit of who we were through talk segments on music shows, but it wasn’t just about TV. I think the fact that we had so many opportunities to meet people directly through concerts and events, where they could really get to know us, is what allowed each of our strong personalities to become a strength.
As the one and only new member added at the time, you made a striking debut when you joined Morning Musume at 13. Looking back, is there anything you’d like to say to your younger self?
One thing I think now, after everything I’ve experienced, is: “You don’t have to be the good girl.” Being the model student or the “good kid” can feel like a safe position within a group or an organization. But if you get too used to that, taking on something new makes you stand out more — sometimes in a good way, sometimes in a not-so-good way. By not settling into that “good girl” role, you’re able to speak clearly about what you want to do, and actually pursue it. I think I’d tell my younger self to keep going with that kind of attitude.
I’m sure many young women feel afraid to stand out or think it’s safer to be obedient. That’s why your message of “you’re fine the way you are” is so empowering. What kind of woman do you admire?
Someone who can genuinely shine with a bright, sparkling smile — the kind that makes your heart feel light and happy. Our expressions show our feelings right away, and that can make the people around us worry or think too much. I really admire people who can take a moment to reset their feelings on their own and still show a warm, bright expression.
What helps you maintain your smile in daily life, and how do you encourage yourself when you feel worn down emotionally?
I’ve always had this habit of stepping back and looking at things from a distance. When something unpleasant or sad happens, seeing it from that wider perspective usually makes me realize it’s actually not as overwhelming as it felt in the moment. And when I’m feeling down, if I just take a moment to breathe and think things through, I end up telling myself that this isn’t worth dwelling over. I think giving yourself that small pause to let your emotions settle is really important.
When did you develop that mindset?
Honestly, I’ve had that habit since I was very young.
You were able to get through that whirlwind era with that wider perspective. Joining the group at 13 — without that viewpoint, it would’ve been easy to be overwhelmed.
Exactly. If I’d tried to take everything head-on all the time, I wouldn’t have been able to keep up, and my feelings wouldn’t have lasted. After my debut, that habit of stepping back, taking a breath, and looking at things calmly became even stronger.
What do you think is important for women to really shine?
I think people are the most alive when they’re doing something they genuinely want to do. When you want to try something new, instead of thinking, “I probably can’t,” it’s better to just go for it first. If it doesn’t work out, you can rethink it then. By continuing to pick up the things you want to do like that, I think your own potential naturally expands. That kind of attitude matters.
So you’re someone who actively dives into things you’re curious about.
I am. When something interests me, I look into it right away and really throw myself into it.
What are some things you’d like to take on moving forward?
I’ve always been interested in beauty, and it’s something I really enjoy, so I’d love to do something in that area that could be helpful to people. I also held a live show and events this September to mark my 25th anniversary, and the response from everyone meant so much to me. It became something I can lean on as I look toward my next steps. I want to think about new stages and try things people wouldn’t expect.
To be honest, I’m still surprised that after 25 years in this industry, I’m able to keep performing like this. Continuing something for that long is really not easy. But once you have a dream, the important thing is to keep going. If it’s something you truly love, then no matter what happens, you’ll find a way to continue. I want to hold onto that feeling and keep doing my best every day.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
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Reneé Rapp is bringing her Bite Me era to Australia, locking in her first headline shows down under to bookend her AO Live debut at the Australian Open 2026.
Before her AO Live debut in Melbourne, Rapp will headline two exclusive Australian dates on her Bite Me Tour. She’ll play Brisbane’s Riverstage on Jan. 27, 2026, then Sydney’s Hordern Pavilion on Jan. 29, marking her first standalone shows in the country, ahead of her AO Live Presents: Reneé Rapp at Melbourne Park’s John Cain Arena on Jan. 31, prior to the Australian Open women’s final.
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The set is part of the AO Live concert series, where she joins a 2026 bill that also features The Kid LAROI, Spacey Jane, The Veronicas, SOFI TUKKER and Peggy Gou.
According to Ticketmaster, Mastercard cardholders and fans with access to the artist presale can jump in from Wednesday, Nov. 19, at 9 a.m. local time, followed by a Live Nation presale on Thursday, Nov. 20, at 10 a.m. General on-sale begins Friday, Nov. 21, at 10 a.m. All shows are mobile-ticket only, with a limit of 10 tickets per customer per show.
The Australian run extends Rapp’s busy Bite Me campaign. The album, released Aug. 1, 2025, became her first top 10 entry on the Billboard 200, where it debuted in the top three, and earned her first U.K. No. 1 album on the Official Albums Chart.
The project followed her 2023 debut Snow Angel, which reached No. 44 on the Billboard 200 and scored the biggest first week for a debut album by a female artist that year, helping establish Rapp as a rising pop force beyond her theater and TV fanbase.
Rapp has been touring heavily behind Bite Me across North America in 2025, with the trek scheduled to continue through Europe in March 2026 following her rescheduled U.S. dates this November after a short illness-related postponement.
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Dom Dolla has made history as the inaugural recipient of ARIA’s new Global Impact Award presented by Spotify, recognising his breakout success on the global dance circuit and his role in flying the flag for Australian electronic music abroad.
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The Australian Recording Industry Association announced the new category on Nov. 17, ahead of the 2025 ARIA Awards, where the Melbourne-raised DJ, producer and songwriter will receive the honor.
Announced Monday (Nov. 17), the new prize will debut at the 2025 ARIA Awards in partnership with Spotify, where the Australian DJ, producer and songwriter will be formally celebrated for a breakout period that’s pushed Australian dance music to new heights. The award is designed to sit alongside the ARIA Hall of Fame and is decided at the discretion of the ARIA board, spotlighting artists whose international achievements and cultural influence extend far beyond home soil. Aria
Over the past 12 months, Dom has stacked milestones across touring, charts and streaming. He earned his first Grammy nomination for best remixed recording at the 66th annual Grammy Awards for his rework of Gorillaz’s “New Gold,” featuring Tame Impala and Bootie Brown.
His 2024 national homecoming tour sold more than 170,000 tickets across four cities, marking the largest-ever run by an Australian electronic artist.
On the festival circuit, Dom has moved from late-night club slots to top lines at major global events, including Austin City Limits, Lollapalooza Chicago, Bonnaroo, Reading & Leeds and Creamfields, alongside a 10-week residency at Hï Ibiza, which has been billed as the world’s No. 1 club. He’s also set to take another leap at home with a headline show at Sydney’s Allianz Stadium on Dec. 20 — his first Australian stadium date and another first for a local electronic artist.
Streaming metrics tell a similar story. According to ARIA, Dom has amassed more than 1.5 billion streams globally, including over 450 million Spotify streams this year alone, and regularly pulls in eight-figure monthly listeners on the platform. On Billboard’s dance charts, his recent collaboration with Kid Cudi, “Forever,” debuted in the top 10 of Hot Dance/Electronic Songs in April, underlining his growing footprint in the U.S. market.
The ARIA Global Impact Award presented by Spotify will be handed out during the 2025 ARIA Awards ceremony, which streams live from 5 p.m. AEDT on Nov. 19 via Paramount+, with additional coverage across ARIA’s official social channels.
Trending on Billboard Live Nation Australia and the Australian Open are expanding the Grand Slam’s entertainment footprint with AO Live Opening Week, a new four-night concert series launching Jan. 13–16, 2026. Explore See latest videos, charts and news The announcement arrives under a growing trend of major sporting events integrating large-scale live music programming, aligning […]
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Amyl and The Sniffers turned a last-minute cancellation into an unforgettable night for Melbourne’s live-music community on Friday, after their free all-ages show at Federation Square was shut down minutes before they were due to take the stage.
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The Aussie rockers, who had been set for a triumphant hometown performance, redirected their entire AU$5,000 performance fee to seven local venues — a gesture that quickly grew into a AU$35,000 bar tab shared across some of the city’s most beloved rooms.
According to ABC Australia, the gig was halted after multiple breaches of the security barrier raised concerns about crowd safety. The Melbourne Arts Precinct Corporation said the decision “wasn’t made lightly,” citing risks to the audience, staff, and the band. Fans watching the livestream were stunned as the plug was pulled just eight minutes before showtime.
Rather than let the night end there, frontwoman Amy Taylor posted a video explaining the cancellation before announcing the band would give the money back to local venues that helped launch their career.
“Have a drink on us,” Taylor said in the video posted to social media over the weekend, which has since clocked more than 1 million views. “Just have some fun tonight.”
Tabs were immediately placed at local haunts The Tote, The Curtin, The Old Bar, Labour in Vain, Hell’s Kitchen, Last Chance Rock & Roll Bar, and Cherry Bar, where fans flocked from across the city after the news spread on social media. Several venues reported packed rooms, lines down the street, and tabs running dry within hours.
The moment arrives during one of the biggest years of the band’s career. Their 2024 album Cartoon Darkness debuted at No. 2 on the ARIA Albums Chart and later landed in the U.K. top 10. It also collected major honors at the 2025 AIR Awards, including Independent Album of the Year and Best Independent Punk Album or EP. The band is up for multiple ARIA Awards this year — including Album of the Year and Best Group — marking a new peak in their national profile.
Their international momentum has accelerated, too. Amyl and The Sniffers earned a Grammy nomination earlier in 2025 and are nominated at the Brit Awards for International Group of the Year. They also joined AC/DC for a run of Australian stadium dates in November, cementing a milestone for a band that cut its teeth in the same small rooms they helped support on Friday night.
Friday’s bar-tab blowout underscored the deep roots Amyl and The Sniffers maintain in Melbourne’s grassroots scene, even as their profile accelerates worldwide. For many fans who raced between venues to claim a drink, the night became an instant chapter in the city’s music mythology — a chaotic, communal celebration born from a disappointment that could have easily overshadowed a landmark homecoming.
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Earlier this July, Mrs. GREEN APPLE surpassed 10 billion cumulative domestic streams across their entire catalog, becoming the first artist in J-pop history to reach the milestone. To commemorate the achievement, Billboard Japan presented the band with a special plaque, and the trio shared words of appreciation to everyone who has listened to their music.
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The band has released a long list of hits that have accumulated 100 million domestic streams each, including “Ao to Natsu” (their most-streamed track with over 900 million streams), “Tenbyo no Uta (feat. Sonoko Inoue),” “Dancehall,” “Que Sera Sera,” and “Lilac.” As of November 2025, they hold a record-setting 31 songs that have surpassed this milestone — the most of any artist on record (according to Billboard Japan). This year alone, new releases such as “Darling,” “KUSUSHIKI,” “Heaven,” and “breakfast” have all passed the 100-million mark.
2025 marks the group’s 10th anniversary, and under the banner of “MGA MAGICAL 10 YEARS,” they’ve been celebrating alongside their fanbase (JAM’S) and listeners nationwide. They’ve made a strong impact this year, with their anniversary concert, MGA MAGICAL 10 YEARS ANNIVERSARY LIVE ～FJORD～, drawing a total of 100,000 attendees in two days, and a range of initiatives launched nationwide to highlight their anniversary best-of album 10. Meanwhile, each member has also expanded into individual activities such as acting and hosting work, earning wide support that extends from music to variety entertainment.
Now in the midst of the largest tour of their career, the five-dome run entitled DOME TOUR 2025 “BABEL no TOH,” the three members — Motoki Omori (vocals and guitar), Hiloto Wakai (guitar), and Ryoka Fujisawa (keyboards) — made time between an exceptionally packed schedule to chat with Billboard Japan, to express their gratitude to reach 10 billion streams.
You’ve become the first act to surpass 10 billion domestic streams in Japan. Congratulations!
Motoki Omori: The number is so massive that it still doesn’t quite feel real, but knowing that so many people are listening truly motivates us in what we do. We’re genuinely grateful.
Ryoka Fujisawa: None of us have ever even seen a number like 10 billion. There’s still a part of me that can’t fully grasp it, but we’ve been hearing from so many listeners across different generations who are enjoying Mrs. GREEN APPLE right now. That means everything. Thank you so much.
Hiloto Wakai: I feel the same as the other two — the number 10 billion is overwhelming. But more than anything, the fact that our music is truly reaching each and every person who listens makes me incredibly happy.
This year, you celebrated your 10th anniversary with events across Japan and a series of six consecutive monthly releases. There was so much excitement on the charts and across social media. What kinds of messages have you heard from listeners?
Fujisawa: We approached everything with the hope that people could enjoy our 10th anniversary in many different ways, so we put out a lot of things and organized various projects. We heard from families, from friends who went together, and from people who came alone — so many different kinds of listeners were able to enjoy it. Receiving those messages made us really happy.
Your dome tour “BABEL no TOH” has only just begun, but how does it feel so far?
Wakai: For us, this tour is a real challenge, so we were honestly a bit nervous (before it started). But seeing how much everyone is enjoying it has put us at ease, and it feels like we’re on a tour that’s incredibly rewarding.
In November, you’ll become the first Japanese act to release two films simultaneously along with an IMAX® screening of your concert film. And in December, the 10th-anniversary exhibition MGA MAGICAL 10 YEARS EXHIBITION Wonder Museum is coming up as well. What would you like visitors to take away from these projects?
Omori: In the past few years, a lot of people have discovered us for the first time. So both for those who have supported us from the beginning and those who just recently started listening, this is a chance to share the essential part of what Mrs. GREEN APPLE values. Whether it’s the concert film, the documentary, or the exhibition, each one is entertainment — but they’re also things made from who we are at our core, something genuinely alive. So more than anything, we just want as many people as possible to see them.
The announcement that Phase 2 will conclude within the year came as a big surprise to many. With the time remaining, what do you hope to continue expressing through the end of this phase?
Fujisawa: Phase 2 has really been driven by the desire to meet as many people as possible and to bring Mrs. GREEN APPLE to many listeners. So through the end of the year, we want to continue delivering a bright, energetic Mrs. GREEN APPLE — both in who we are and in our music.
Wakai: We still have the tour ahead, so I hope everyone continues to enjoy Mrs. GREEN APPLE’s Phase 2 in different forms.
Omori: In the new year, we’ll shift into Phase 3 — but that doesn’t mean some drastic change is coming. It’s simply one of our own markers, a way of organizing our direction. So just like always, we’ll keep making music in a way that people can enjoy. And we hope to spend the rest of our 10th anniversary expressing our gratitude to as many people as possible.
–This interview by Mariko Ikitake first appeared on Billboard Japan
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Kenshi Yonezu’s “IRIS OUT” stays atop the Billboard JAPAN Hot 100 for the eighth straight week, on the chart released Nov. 12.
Across individual metrics, the Chainsaw Man – The Movie: Reze Arc theme continues to dominate streaming, video views, and karaoke, while coming in at No. 3 for both radio airplay and downloads, and No. 15 for CD sales. Radio impressions saw a 168% increase from the previous week.
Until now, Yonezu’s longest-running No. 1 was “Lemon,” which led for a total of seven weeks. “IRIS OUT” has now surpassed this record with eight weeks at the summit. Among all artists, the track now ties for the sixth-most total weeks at No. 1 in Japan Hot 100 chart history.
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List of All-Time Total Weeks at No. 1 on the Billboard Japan Hot 100
YOASOBI “Idol” 22 weeks
Creepy Nuts “Bling-Bang-Bang-Born” 19 weeks
Ado “Show” 13 weeks
Official Hige Dandism “Subtitle” 13 weeks
Aimer “Zankyosanka” 9 weeks
LiSA “Homura” 8 weeks
Kenshi Yonezu “IRIS OUT” 8 weeks
Official Hige Dandism “Pretender” 7 weeks
Mrs. GREEN APPLE “Lilac” 7 weeks
Official Hige Dandism “I LOVE…” 7 weeks
Kenshi Yonezu “Lemon” 7 weeks
Yonezu and Hikaru Utada’s “JANE DOE” returns to No. 2. Though overall points for the ending theme of the same movie declined, the track rises from No. 5 last week. Yonezu also scores multiple entries this week: “1991” climbs from No. 9 to No. 5, while “Plazma” comes in at No. 50, “KICK BACK” at No. 70, and “BOW AND ARROW” at No. 89.
HANA’s “Blue Jeans” rises 11-3 this week, while the group’s “My Body” lands at No. 6 — one of seven songs the girls have on the chart this week. AiNA THE END’s “On the Way” rebounds from No. 12 to No. 4, marking her first return to the top five in about two months.
MAZZEL’s “Only You” debuts at No. 8. The lead track from their upcoming single of the same name, due out Nov. 26, leads downloads and hits No. 3 for video views and No. 27 for streaming with its advance digital release. Outside the top 10, Tatsuro Yamashita’s “MOVE ON” bows at No. 12. Featured in Daihatsu’s TV commercial for its kei-type vehicle MOVE, the song from the veteran singer-songwriter’s first single in two years earns the week’s No. 1 in radio.
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 Nov. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
