Global No. 1s
Page: 2

The most listened-to artist in Italy in 2024 (according to Luminate) does not, exactly, rap in Italian. Naplesâ own Geolier raps in his native dialect â the very musical language spoken on the streets of his neighborhood, Rione Gescal, and now spoken by kids in every corner of Italy who, through Geolier, have learned it.
For the 24-year-old artist born Emanuele Palumbo, that devotion has added up, in the past year alone, to three consecutive sold-out shows at Naplesâ Maradona Stadium; a historic appearance bringing the Neapolitan dialect for the first time to the Sanremo Festival, the most important music event in Italy; and triple-platinum certification for his song âDio Lo Sa,â released in June. Five years after his debut album, Emanuele, Geolier is clearly still taking in this success â as is evident in the way he pauses to reflect on his words in conversation, in his broad smiles in response to compliments and in his lyrics portraying a young man who takes everything (except himself) seriously. He spoke to Billboard Italia about how he arrived here.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
Did you always know you would be a rapper?
Trending on Billboard
I didnât always know this because as kids you canât predict the future. Obviously I hoped so and imagining myself onstage was the only thing possible, because I didnât know how to do anything else and I did poorly at school. But I would never have bet on myself. I started working in a factory at a very young age, I continued to rap in my free time, but I saw that [acceptance for the genre was] really far away in Italy. Only pop songs were on the radio back then. I loved rap because I looked up to America, but the maximum that was played in Italy was âIn Da Clubâ on MTV. I admired 50 Cent; I felt close to him.
What did you think you had in common with him?
I saw the film about his life [the semi-autobiographical Get Rich or Die Tryinâ], where it is clear that he had taken all the responsibility of the family on his shoulders. He sold crack on the streets of Queens; I never did it, but I started working very young. I found an extraordinary maturity in him and this fascinated me.
When did your own personal turning point come, realizing this could potentially be your career?
I realized I could do this job when they paid me for my first live show. It was about 250 euros but for me it was a lot of money â I was 18 years old. However, I couldnât say when I reached what can be defined as a milestone.
Geolier
Vittorio Cioffi
Why is this incredible boom in Neapolitan rap happening today?
I come from the ghetto of the ghetto. I think there is a unique realness here; perhaps itâs only possible to find it [elsewhere] in the United States. I think rappers in this city put what they see into their lyrics. The culture of Southern Italy is more known internationally than that of Italy as a whole, also, thanks to TV series such as The Sopranos.
2024 was an incredible year for you, but you experienced some tougher moments as well. At the Sanremo Festival you won the covers night, but the live audience booed you and your guests.
We were there and just tried to defend ourselves. That same night they immediately told me to be careful of potential criticism. I believe that the Sanremo Festival was not ready for rap music; we brought an iconic song for Italy, âBrividoâ by Guè featuring Marracash, and the audience booed. Incredible.
Your mother was also in the audience. Did this make it especially painful?
It made me smile, actually. She was furious because she couldnât do anything, and she wouldnât even talk to me about it. Even today, when we talk about Sanremo, she has bad memories â but my mother is a normal person and absolutely doesnât want to be part of the star system.
Were those three sold-out concerts at Maradona Stadium the peak of 2024 for you, or was it something else?
Sure, but Iâd say a moment in particular [was] when before the first [of those shows], in the afternoon, I looked through a crack and saw the stadium full. At that moment I thought: âWhat am I doing?â It was neither a positive nor negative emotion, I had simply never felt it. And I canât explain it.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
How do you still stay connected to your roots in your old neighborhood?
I think I do simply because I tell what I see in Naples. Iâll continue to do so even if I have to move away from the city, which is very unlikely. I donât live that differently now: I continue to see my friends and talk to people. I feel the need also because I want to [be true] with my lyrics. Do you know what normal people tell me the most? Not to take selfies but to remain myself.
If you could choose an American artist to collaborate with, who would they be?
50 Cent. I started making music because of him. But right now Iâm also listening to Kendrick Lamarâs new album and I like it a lot.
What do you have coming in 2025?
I just want to do the arena tour, which will start in March, and the two dates at Ippodromo di Agnano in Naples. I donât think Iâll release new music, apart from some collaborations. I would like to slow down a bit. I think Iâve done a lot, [and] I want to experience this as a game. Because with all the numbers and deadlines, sometimes it seems to have become a routine job. And I surely donât want that.
From making music to acting on screen, IU can seemingly do it all â and she commands unparalleled love and support from K-pop fans and the broader Korean music community. Her generation-spanning popularity was on display in 2024, when she dominated the charts. Her single, âLove Wins All,â climbed to the No. 1 spot on Melonâs TOP100 chart just an hour after its Jan. 24 release, becoming the second song to achieve this feat since the platformâs chart reform. The massively successful track led the weekly chart for four consecutive weeks, topped Februaryâs monthly chart and on iChart achieved 339 perfect all-kills (the term describes when a song simultaneously tops iChartâs real-time, daily and weekly components).
The achievements helped propel IU to becoming Koreaâs representative for Billboardâs Global No. 1 artist series. âItâs a bit humbling, a bit surreal, and honestly, it feels really special,â she says of the recognition.
Trending on Billboard
Her success extended to the road. Starting March 2, IU embarked on a 31-performance world tour that played shows in Japan, Europe and North America â and was attended by some half a million fans, a record for a Korean female solo artist. She followed four sold-out shows at Seoulâs KSPO Dome with a performance at Manilaâs Philippine Arena, the worldâs largest indoor venue, where she became the first Korean solo artist to headline.
On Sept. 21 and 22, IU held encore concerts at Seoul World Cup Stadium, becoming the first female artist to perform at the venue and drawing 107,000 attendees across two nights, which set the record for the largest concert engagement by a Korean solo artist and female artist in Korea.
What are the advantages and challenges of being a solo act in Koreaâs music industry?
If I had to pick one challenge, itâs that thereâs no one to share energy with onstage. Groups have distinct roles, which create a synergy thatâs hard to replicate as a soloist. But on the flip side, I get to enjoy all the love and attention by myself. (Laughs.)
Many Korean artists are making waves on Billboard charts. In your opinion, what sets them apart?
There are countless strengths, but what stands out is how K-pop groups maintain their individuality while being deeply respected by their fans. As a K-pop listener myself, I see how each groupâs unique identity is cherished and upheld, which makes them so special. Of course, the music is top-notch, but the visual elements and storytelling also define K-pop culture. For instance, the distinct characters and worlds that exist only onstage for groups are something I, as a soloist, sometimes envy. These unique traits captivate fans, offering an experience that engages the ears, eyes and heart. Ultimately, itâs this blend of individuality and fan support that makes Korean artists shine.
IU photographed for the Billboard Korea Global No. 1s Issue.
EDAM Entertainment
Do you have any plans to collaborate with global artists?
In the past, I received many amazing offers, but the idea of collaborating with artists who spoke different languages felt daunting. I turned down those opportunities then, but I donât feel the same way anymore. Now, Iâm much more open to the idea of working with global artists.
Youâre known for having a strong bond with your fans. What do they mean to you?
Initially, most of my fans were older than me â big sisters, older brothers and even uncle fans. At the time, I was a young solo artist without a solid footing, so I often felt cared for and protected by them. As I entered my mid-20s, fans my age became the majority. They resonated with my lyrics and music as peers, and we built a mutual understanding and grew together. Now, I have many younger fans, and I find myself wanting to support, encourage and nurture them. I see UAENA [IUâs fandom] and myself as having a steady, balanced relationship where we constantly exchange the best of what we can offer each other.
Why do you think you have such cross-generational appeal?
Without meaning to downplay myself, I think I appear relatively ordinary and less distinctive in my looks and personality compared to other remarkable stars in Korea. This might make me seem more approachable and relatable. Plus, Korea is a country with a lot of warmth, and I believe the support Iâve received reflects appreciation for my consistent hard work. Still, itâs fascinating that even teens connect with me these days.
Youâve encountered fans all over the world. Are there any memorable moments from your performances abroad?
Itâs hard to pick just one, but Auckland [New Zealand] comes to mind. Their unique way of cheering made the entire experience unforgettable. Another standout was Jakarta [Indonesia], where the audience sang along to every song from start to finish. That level of enthusiasm left a lasting impression on me.
Youâre often credited for both your meticulousness and flexibility. How do you balance these seemingly contrasting traits?
I feel like Iâm constantly at a crossroads. You could say Iâm flexible, or, less flatteringly, that Iâm good at justifying things. (Laughs.) Iâm naturally stubborn and like to plan everything thoroughly, but Iâve learned that things rarely go perfectly. Over time, Iâve practiced being more adaptable, and in doing so, Iâve figured out how to protect my mental well-being.
Beyond music, youâve made your mark as an actor. Whatâs in store for 2025?
The drama I filmed throughout 2023, When Life Gives You Tangerines, will premiere on Netflix in 2025. Itâs a project filled with the cast and crewâs hard work, and Iâm excited to promote it. Iâll also be filming a new drama with a completely different vibe â glamorous and fun. Although Iâll be focused on acting for most of 2025, Iâve already started working on new music, so fans wonât have to wait too long for something fresh.
IU is named Billboard Koreaâs No. 1 artist of the year for Billboardâs Global No. 1s series. IU shares the pros and cons of being a solo artist, her openness to collaborating with international artists and more! Billboard is launching its inaugural Global No. 1s series, an initiative to spotlight top-charting artists from around the […]

It was November 2023 when I first met Ana Castela. She was backstage at Caldas Country, the festival in Caldas Novas in the Brazilian state of GoiĂĄs. At the time, she avoided speaking to the press before her show and seemed serious and shy as she prepared to take the stage. It was only her second time at the festival â just over a year had passed since her name first appeared in the media thanks to her song âPipoco,â a collaboration with Melody and DJ Chris no Beat. Yet she was one of the main attractions of the night.
Nine months passed before I met Castela for the second time. This time, though still a bit shy, she was at one of the worldâs biggest music festivals â Rock in Rio â to join duo ChitĂŁozinho and XororĂł for the âBrazil Dayâ celebration, the first in the eventâs 40-year history. âFor me, it was an honor. I consider them my grandparents,â she joked in her dressing room at Cidade do Rock, embraced by the sertanejo duo. Castela still seemed nervous about her upcoming performance, but she projected a new confidence, amplified once she took the stage. She faced a crowd singing along to her hits (âNosso Quadro,â âSolteiro Forçadoâ and âSinĂ´nimosâ), including children of all ages wearing headbands with her nickname, âBoiadeira.â
Trending on Billboard
Born in Amambai, Mato Grosso do Sul, Ana Castela certainly couldnât have imagined the success she would achieve by embracing the âboiadeiraâ style. Dressed in a cowboy hat, boots and a wide belt (much as an American cowgirl might), her so-called âagronejoâ music blends sertanejo (Brazilian country music) and Brazilian funk, with lyrics about the agribusiness lifestyle. She is now one of the most listened-to artists in Brazil â a title sheâs consistently held throughout 2024 â who as of this writing had two songs on the Billboard Brasil Hot 100 and spent 31 consecutive weeks at No. 1 on the Artists 25 Brazilian chart.
She entered the music scene at 17 but is still, at 21, trying to absorb the whirlwind of her life. âIt was a drastic change, to be honest,â she says. âBefore, I had a completely anonymous life. Now, people want to know everything about me, follow me around. Itâs changed a lot.â Speaking to Billboard Brasil, she is still very much the girl from a countryside farm, pausing occasionally as if she is still trying to reconcile who she was and who she is today: âIâm enjoying the fruits that fame and the world are giving me, but always with caution.â
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
JoĂŁo Victor Moura dos Anjos
Sheâs followed by over 27 million people on social media, where she offers fun looks at her personal life â a Disney vacation, cute videos with her boyfriend, the singer Gustavo Mioto â and sheâs starred in various commercials and advertising campaigns. âĂ loco [Wow],â she marvels. âDoors just keep opening for me. I never thought my face would be on a shoebox. It doesnât just help my career; it makes dreams come true that I never even imagined. Itâs awesome.â
But her feelings around her wildly increased presence are also conflicted. âMy life is no longer mine. I donât have a private life anymore; everyone knows everything I do,â she laments, though she adds that sheâs getting used to it. When I ask if sheâs receiving any professional support, Castela says that she started therapy about a month ago: âI think no mind is strong enough to go without a professional for so long.â
She knows the truth of that firsthand. At a performance at the Festa do PeĂŁo de Barretos in 2023, one of the most important sertanejo festivals in the country, she broke down while preparing to sing âSolteiro Forçado,â one of her breakthrough hits. âSorry I canât sing,â she sobbed in front of a massive crowd. âI swear Iâm studying and working with a vocal coach to improve. Itâs exhausting as hell, but Iâm giving it my all.â Backstage, it was equally tough. âI was in a bad headspace,â she recalls.
Excessive work, plus the overwhelming experience of her fame, had taken a toll on her emotionally. âI couldnât hit the note that day â I was so insecure,â she says. Criticism from both the public and within herself fueled her drive to improve. âYou need to evolve. I was born with the gift of singing, but I need to perfect it.â
Therapy, her Christian faith and her family â an unconditional support system â now help her cope. She also strives to balance the needs of Ana FlĂĄvia (her real first name) and Ana Castela. In her free time, she enjoys hanging out with friends at her farm in Londrina, ParanĂĄ, and visiting SĂŁo Paulo for shopping. âThose are the days I can just be young,â she jokes, as if on others she must be a more mature version of herself.
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
JoĂŁo Victor Moura dos Anjos
Her latest project, Herança Boiadeira, released in September 2024, embodies this balance. Recorded at her farm, it features collaborations with iconic sertanejo artists like Matogrosso & Mathias, Eduardo Costa, Paula Fernandes and Gino & Geno. âI wanted it to be mine â not Ana Castelaâs, but Ana FlĂĄviaâs. A tribute to my roots, my upbringing on the farm. My grandfather loved these artists, and so did I,â she explains. In fact, one standout track features her paternal grandparents: âMinha Herança,â with its heartfelt lyrics reflecting a longing for lost time.
Next year, Castela will step into the shoes of iconic artists before her when she becomes the ambassador of the 70th Festa do PeĂŁo de Barretos, where she quickly has risen from playing a secondary stage in 2022 to the main stage in 2023 and again in 2024. Pedro Muzeti, artistic director of the festival, says Castelaâs evolution represents the future of sertanejo music: âItâs a renewal of the rodeo audience. Having someone young represent such a historic event is fitting.â
Her appeal to younger fans is certainly evident in the kids who wear her signature hats (âTheyâre adorable; I love them,â Castela says), and sheâs launching Turma da Boiadeirinha, a YouTube channel featuring kids songs. But her future, she realizes, very much revolves around an adult audience. Sheâs collaborated with big names like Gusttavo Lima and Luan Santana and dreams of pairing up with LuĂsa Sonza and Anitta. And after winning best sertanejo album at the 2024 Latin Grammy Awards, Castela has her sights set on an international audience next.
âIf it works, Iâll go for it,â she says. In 2025, she plans to incorporate pop into her shows but stay true to her roots: âIâll always bring my hat wherever I go,â she insists. âItâs important to show the strength of our music on the global stage.â

Ana Castela brightens up Brazil as she partakes in Billboardâs âGlobal No. 1sâ series. The Sertanejo singer goes into detail about âNosso Quadroâ stealing the hearts of Brazil, possibly experimenting with other genres and more! Billboard is launching its inaugural âGlobal No. 1sâ series, an initiative to spotlight top-charting artists from around the world. Billboard […]

KUN claims China with âAfterglowâ for the âGlobal No. 1sâ series. He duo shares how âAfterglowâ came to life, shares his view on performances, and more! Billboard is launching its inaugural âGlobal No. 1sâ series, an initiative to spotlight top-charting artists from around the world. Billboard has partnered with its ten-plus global editions to showcase […]
When Cai Xukun â the 26-year-old Chinese singer-songwriter better known as KUN â began working on his smash single âAfterglow,â he wanted to capture fleeting moments of change by connecting time and space with art and fashion. âI pondered for a long time about what kind of word could represent this imagery and mood,â he says. âFinally, the word âafterglowâ came to mind. We often see this scenery during various travel moments â including while driving; it represents our feelings in that instant. I chose this theme and combined it with some of the images in my mind: models on the runway, flashing lights, shifting time and space and changing people.â
âAfterglowâ immediately connected with audiences. On its release day in early June, the song achieved a score of over 95 on the Tencent Music Uni Chart, which aggregates data from nine major platforms and over 100 radio stations. The song remained on the chart for 10 weeks and became the fastest song to receive gold certification on the Tencent chart; it also made the June edition of the Tencent Music Wave Chart, which is voted on by over 200 Chinese music industry professionals. That success has informed his selection as Chinaâs representative for Billboardâs Global No. 1s, as chosen jointly by Tencent Music Chart and Billboard China.
Trending on Billboard
KUN created âAfterglowâ with soul and rock sounds, and his integration of modern and classic production influences helped to give the song a timeless feel. And the songâs success marks the beginning of a new musical phase for KUN. âIn my upcoming works, I will include some classic or modern elements,â he says. âI hope everyone can gradually sense a recognizable style in my music.â
In fact, several new singles KUN released in 2024 represent his fresh musical explorations. For instance, âRemedyâ features clean piano sounds paired with a vintage vocal style, revealing his more minimalist side. It also reflects his listening habits: âI often enjoy classic songs, especially in quiet moments alone, listening to music and savoring that dialogue with myself,â he says.
While his previous works were warmer, KUNâs 2024 release âRIDE OR DIEâ introduces a sound thatâs new for him. âThis song serves as a signal Iâm conveying, heralding a transformation in my future musical style,â he says. âI believe it is essential to present something distinct to my audience, which has always been my aspiration. Consequently, the production process for âRIDE OR DIEâ extended over a considerable period and traversed numerous iterations, aiming to express the âstormy nightâ concept that has long resided in my heart.â
KUN photographed for the Billboard China Global No. 1s Issue.
Tianyao Wang/Billboard China
Looking ahead, KUN plans to continue to expand his online live concept Art Lab, chronicling his growth and reflecting his changes from year to year â while strengthening his connections with audiences. âI can feel their enthusiasm, and they can feel my energy,â he says of his live performances. As time progresses, KUN is learning to âenjoy the process,â he adds. âWhether you genuinely enjoy the experience or merely fulfill a task can yield entirely different results. I believe that embracing this journey is paramount.â
Now, KUN is relishing a journey of âaccumulation.â Heâs preparing for a long journey ahead and accumulating new musical energy that he plans to direct toward producing more great songs. âThis year, through the process of production and performance, I have engaged in numerous discussions and collaborations with various artists, which have profoundly influenced my personal perspectives and aesthetics,â he says. âNext year is likely to be a year where I unveil the fruits of my introspection.â
As Chinese artists increasingly gain international acclaim, KUN believes that the intersection of music across diverse cultures transcends language and geography, fostering cultural exchange. âI aspire for more individuals globally to experience music that is authentically ours as Chinese,â he says. âThis has consistently been my ambition.â

As Billboard Japan unveiled its 2024 year-end charts, the hip-hop duo Creepy Nuts â rapper R-Shitei (also known as R-rated) and DJ Matsunaga â land the No. 1 song of the year for the country, with their mega-hit âBling-Bang-Bang-Bornâ taking the top spot on the all-genre Japan Hot 100 chart (which applies six metrics to songs: physical sales, downloads, streaming, airplay, video views and karaoke). The high-octane track also tops the year-end Global Japan Songs Excl. Japan ranking by a huge margin after holding the No. 1 position for 24 weeks, the longest ever in the history of the chart that ranks songs from Japan that are listened to internationally. In total, âBling-Bang-Bang-Bornâ has dominated 12 year-end Billboard Japan roundups.
Amid the songâs success, Creepy Nuts have stayed extremely busy, traveling the world for festival performance dates while working on their new album. Billboard Japan caught up with the two artists as they wrapped their whirlwind year.
Trending on Billboard
How do you feel about the success of âBling-Bang-Bang-Bornâ on the year-end charts?
DJ Matsunaga: It kind of hasnât really sunk in yet.
R-Shitei: Yeah, itâs like my brain hasnât been able to keep up at this stage. Iâm like, âOh⌠AwesomeâŚâ (Laughs.) âŚâŻCompared to the first half of the year, the reaction to our shows [helps bring it into perspective]⌠But I think weâre a lot more confused about it all than people might think.
DJ Matsunaga: Itâs still hard to believe weâre at the top of any kind of ranking. (Looks at R-Shitei.) Right?
Still, after âBling-Bang-Bang-Bornâ became a global hit, your follow-up track, âOtonoke,â continues to do well: On Billboardâs World Digital Song Sales chart, it reached No. 1 five times (on the charts dated Oct. 19, Nov. 2, Nov. 16, Nov. 23 and Dec. 14). Youâve been on a roll in 2024.
DJ Matsunaga: WowâŚ
R-Shitei: Thatâs amazing. Both âOtonokeâ and âBling-Bang-Bang-Bornâ were written around the same time. We were working on the former when we had no idea that the latter would become such a hit. âBling-Bang-Bang-Bornâ is a work weâre really proud of, but when we were making those songs, âOtonokeâ was the one we felt the most confidence in. So when the year started and âBling-Bang-Bang-Bornâ became pretty popular, I was like, âSo people seem to like this a lot,â and âWell, weâre really proud of âOtonoke,â tooâ when we released it. So Iâm genuinely happy to see that people seem to accept âOtonokeâ as well.
DJ Matsunaga: [The chart results are] too much of a blessing, so I donât think itâs right to use it as a precedentâŚ
R-Shitei: Thatâs true. Itâs hard, isnât it? Rankings can be both a source of encouragement and poison for artists.
DJ Matsunaga: For real.
R-Shitei: Weâre happy and grateful, but donât want to focus too much on that⌠Our goal isnât to do well on the charts. Itâs to keep updating our own definition of âgood.â Weâre making new songs with that in mind, too.
âHow do you interpret chart rankings?â is a question we often ask various artists. In a recent interview, Ayase from YOASOBI said heâs now working with âa really fresh feelingâ after becoming the No. 1 Artist of the Year on Billboard Japanâs Artist 100 ranking in 2023 with âIdol,â because a weight has been lifted from his shoulders.
R-Shitei and DJ Matsunaga: What?!
DJ Matsunaga: The way he approaches music is completely different. When I first started out, it felt like the notion of making enough money to get by by doing hip-hop was just a pipe dream, so being able to make a living from hip-hop and quitting my part-time job was a huge weight off my shoulders. (Laughs.) Like, I donât have to be chasing my dream while working part-time in my 30s, you know?
R-Shitei: Thatâs normal, and Iâd still like it regardless, so I was vaguely thinking that Iâd be doing hip-hop [like that in my 30s] when I first got started.
DJ Matsunaga: Yeah, we have proper respect for those who keep at it while working part-time jobs in their 30s.
R-Shitei: When I was able to make a living doing music, I thought I was really lucky⌠Now when you look around, [many hip-hop artists in Japan] are making a living and there are even hit songs⌠all of this, including the fact that hip-hop is so popular in Japan, makes me really happy.
DJ Matsunaga: I really agree.
R-Shitei: We never planned to make songs that would be listened to around the world. Itâs really just about expressing what we want to get out and releasing the pent-up [feelings] weâve been holding in, basically.
Tell us a bit more about âOtonoke.â How did you go about making it?
R-Shitei: Usually, I get the beat from Matsunaga and add my rap to it, but this time, because we made it around the same time as âBling-Bang-Bang-Born,â I was like, âIâll go to a completely different place by extension of the same mindset.â I was in a period where I wanted to make songs using a fundamental rhythm as the key, rather than language. And I thought that a non-verbal rhythm like âBling-Bang-Bang-Bornâ would be good. It was going to be the theme song for [the anime series] Dandadan, so I thought Iâd try making it by using âDandadanâ as the starting rhythm, and decided to use the same rhyme as âDandadan Dandadanâ [in the intro] for the verse. I recorded something like scat that wasnât really a language, sent it to Matsunaga and had him flesh out the track.
I see! So the rhyme came first.
R-Shitei: Right. So the sound that was going âDandadan Dandadanâ a cappella became more and more like language, and then it became a slightly slower melody, and then a more bouncy melody, and so on. The rhythm stays the same, but the flavor changes. Iâd only imagined it as a straight line climbing up, but Matsunaga expanded it horizontally with the track. The scenery changes suddenly when you get to the bridge that goes âHaireta Haireta,â and itâs because he really opened it up there during the scat stage, adding that completely different development. And the lyrics changed to âHairetaâ (âIâm inâ) at that point. I thought, âThis feels like Iâve âgone in.â â Like, if I were a âspecter of sound (oto no ke),â a music monster, Iâd probably enter peopleâs brains through their ears at the moment when the scenery changes suddenly. So, words also appear during our back-and-forth.
DJ Matsunaga: What was good about this time was that I had the a cappella version, where R had already gone the distance with the same rhymes and prosody, so I was able to add crazy development to the track. No matter how much I changed it, the rap maintains the same groove as it develops, so the song doesnât fall apart at all. Heâd given me that kind of guarantee first, so I was able to make bold developments that wouldnât ordinarily have been possible. I mean, itâs possible to make [tracks like that] at any time, but itâs not easy to make something that works beautifully after itâs done, even if you intend to make it that way.
You appeared at festivals in the United States, South Korea and Taiwan this year. What was the response like?
R-Shitei: There were moments when I could tell people knew our songs and were responding to them, and that made me really happy. And of course I feel it when people are really grooving and partying. But I think weâre only starting to understand how people really feel about us.
DJ Matsunaga: The main reason is that we havenât done any tours. Weâve only appeared in events so far. Each country is completely different, and the audience in each country is also completely different, so itâs not like we can compare themâŚ
R-Shitei: We donât have enough data yet inside ourselves, right?
DJ Matsunaga: It feels like weâre still at the entry level. Even if we were talking about Japan, festivals that youâre invited to perform in are irregular spaces.
R-Shitei: Yeah.
DJ Matsunaga: So we can only get a real feel for it by doing our own tours while performing in those invited events, then adding up and dividing them.
What is your vision for the future?
R-Shitei: To make things feel good to me from the end of this year and on to the next, I need to focus on the things that are right in front of me⌠Iâm in the middle of making an album, so my mindâs still on that. Rather than any kind of vision, Iâm thinking about what I should do with the next bar or the next line, you know? I mean, just nowâŚ
DJ Matsunaga: Yeah, we were talking about it for a long time just now [before the interview].
R-Shitei: Yeah! We were coming up with themes and ideas nonstop, so I guess thatâs the biggest thing occupying my mind right now. Thatâs exactly my vision for the future.
DJ Matsunaga: Me too. Ninety percent of my private life is like that. (Laughs.)
R-Shitei: Also, my way of thinking might have reverted to the way it was before. While the content of our songs has evolved a lot and weâve grown from around 2013 to 2014 when Creepy Nuts began, itâs like⌠I canât find the right words to describe it. But if you listen to the album, you might understand.
DJ Matsunaga: Itâs like weâve gone back a decade. Weâll lose our social position.
Lose your what?
R-Shitei: (Laughs.)
DJ Matsunaga: Our social position will go down. (Laughs.) I mean, when you do work and stand in front of people and appear in the media and advertising⌠When you branch out from just making music and become involved with people in companies, you inevitably have to take on social responsibilities. Now that weâve returned to a lifestyle focusing on music, it feels like the irresponsibleness that I had before is back.
R-Shitei: If the stages in our career had continued to visibly rise in an easy-to-understand way like from 2020 to 2022, and weâd kept busy, constantly appearing in the media and so on, I probably would have felt that I should only say proper things. I might have just ended up trying to say good things in my songs. But we stopped doing that and just focused on the music and our expression and the things we like. As a result, I figured I might be able to express the bad and ugly parts of myself in an irresponsible way, which is something I used to think about when I first started rapping. Because the thing that makes hip-hop interesting to me is how it allows you to express the dirty stuff in its raw form.
DJ Matsunaga: Thatâs true. Express bad stuff like it is.
R-Shitei: As a listener you go, âDude shouldnât be saying that!â but the way itâs so bad and crazy makes it exciting as hip-hop. And then thereâs âDude says some good stuff once in a while, doesnât he?â (Laughs.) So itâs a balance. Itâs hard to express succinctly, but weâve evolved in certain ways while still being like, âNo way, weâre no good at all to begin with as human beings.â Itâs about being able to go, âSo what?â and expressing that as well next time.
DJ Matsunaga: It feels like weâve regained the courage to do that.
R-Shitei: Feels like we got it back, doesnât it?
DJ Matsunaga: Thatâs so true! We got it back and somehow⌠Iâve found a balance. Itâs more natural and I actually feel more level-headed now.

Up next for the Global No. 1s series, Creepy Nuts joins Japan as their No. 1. The duo shares how âBling-Bang-Bang-Bornâ took over the charts, what 2025 has in store and more! Billboard is launching its inaugural Global No. 1s series, an initiative to spotlight top-charting artists from around the world. Billboard has partnered with […]

Dua Lipaâs list of 2024 musical accomplishments is comically long. In this year alone sheâs done â deep breath â the following: released her third studio album, Radical Optimism; kicked off her biggest global tour yet; played a coveted Glastonbury Festival headline slot, the first British woman to do so since 2016; filmed a TV special at Londonâs Royal Albert Hall; performed onstage with Cher, Elton John and Chris Stapleton; and made a playful cameo on Charli xcxâs remixed version of brat.
âItâs honestly been the best year of my life. Iâve done things that Iâve wanted to do for so long,â Lipa tells Billboard U.K. with a laugh on a video call. Sheâs in Kuala Lumpur, Malaysia, when we speak, where sheâs playing two nights at the cityâs Axiata Arena. The run of dates in Asia, which has included stops in Tokyo, Singapore, Seoul and Bangkok, is her first in the region in six years. The crowds have been so âloud and fun,â she says, and sheâs been âblown awayâ by their enthusiasm.
Trending on Billboard
âThere came a point in the year where I was thinking, âIâve got to sit down and write some new dreams and new plans and other things I wanted to do,â â she says. âI feel like I ticked so many of my boxes this year. Itâs amazing.â
In May, the British Albanian artist released Radical Optimism (Warner), which peaked at No. 1 on the United Kingdomâs Official Albums Chart upon release and had the biggest opening week by a British female artist since Adeleâs 30 in 2021. The record went to No. 1 throughout mainland Europe in Spain, France, The Netherlands and more, and hit No. 2 on the Billboard 200, her highest debut on the U.S. charts to date. Lead single âHoudini,â meanwhile, enjoyed a 17-week reign on Billboardâs Hot Dance/Electronic Songs chart.
The 29-year-old is a fitting entry for Billboard U.K. in Billboardâs inaugural Global No. 1s series celebrating the biggest and most successful artists internationally over the past year.
Seven months after the albumâs release, Lipa looks back fondly on recording it with the stellar house band that included Tame Impalaâs Kevin Parker, hyperpop hero Danny L Harle, superproducer Andrew Wyatt and star songwriter Tobias Jesso Jr., along with her accomplished previous collaborators Caroline Ailin and Ian Kirkpatrick. Lipa has said it was inspired by Parkerâs Tame Impala work and, speaking to Rolling Stone in February, dubbed it a âpsychedelic-pop-infused tribute to U.K. rave culture.â A noticeable shimmy away from her disco-infused single âDance the Night,â which appeared in the 2023 blockbuster Barbie film, Radical Optimism showed flashes of the turn-of-the-Âmillennium French touch scene (âEnd of an Eraâ) and Parkerâs signature psych-pop (âTraining Seasonâ).
Lipa sketched the blueprint for Radical Optimism following the success of her monster second album, 2020âs Future Nostalgia, which later spawned several hits, including âLevitating,â which was named the biggest song of 2021 on Billboardâs year-end Hot 100 chart. The set, which found an enthusiastic worldwide audience with its playful disco sheen during the COVID-19 lockdown, won best pop vocal album at the Grammys in 2021.
âFuture Nostalgia doing what it did allowed me to grow as an artist, to push boundaries and change. It allowed me to have the confidence to make Radical Optimism,â Lipa tells Billboard U.K. âIt gave me the freedom and confidence to be like, âYou know who I really want to make an album with? Kevin Parker. And I want to do something a bit different; I want to work with Danny L Harle and experiment with my sound, do a different vocal performance and make pop music but allow that to live in another sonic world.â Itâs been fun to shape-shift.â
Dua Lipa backstage at the Axiata Arena in Kuala Lumpur, Malaysia, on Nov. 24.
Elizabeth Miranda
In October, the songs received the ultimate stress test with a performance at Londonâs Royal Albert Hall, where she enlisted the 53-piece Heritage Orchestra, conducted by Ben Foster; 14 choristers; and her regular touring band for a bombastic, glitzy night at the capitalâs most iconic music venue. She performed Radical Optimism in full, utilizing the brass section to give new heft to songs like âHoudini,â while elegant strings added another dimension to âFrench Exitâ and âThese Walls.â The in-the-round performance was captured for a TV special, An Evening With Dua Lipa (which aired Dec. 8 on ITV in the United Kingdom and will air Dec. 15 on CBS in the United States), and a live album, Dua Lipa Live at the Royal Albert Hall (out now).
âWhen we were in rehearsals, there was nothing quite like it: Those orchestral instrumentations just shook me to the core,â Lipa recalls. âFeeling my music in such a way that was so moving, it made me fall in love with music all over again.â
During the concertâs encore, John joined Lipa â the first time they performed live together â to sing their collaboration, âCold Heart,â which topped charts globally upon release in 2021 (in its PNAU remix) and interpolates multiple John songs.
âObviously Elton is no stranger to the Albert Hall himself and it felt like such a chic and elegant night, so I needed my most chic and fabulous friend to come and join me. He immediately said yes,â she says. âOne thing about Elton is that he always shows up for his friends. Heâs super loyal⌠heâs just always been there, lending his ear and being so supportive.â
Dua Lipa backstage at the Philippine Arena in Santa Maria, Philippines, on Nov. 13.
Elizabeth Miranda
The defining Dua Lipa performance of 2024, however, was not in the austere, lavish Albert Hall but in a Somerset field in southwest England. Worthy Farm, where Glastonbury Festival is held, is usually full of dairy cows gently grazing in the lush greenery, but on June 28, they were replaced with a sea of sequined spectators for Lipaâs headlining slot on the festivalâs Pyramid Stage. The impassioned, fun, formidable set (during which Parker joined Lipa onstage) aired live on BBC One and globally on the broadcasterâs website.
The show marked her second Glastonbury appearance, following a 2017 mid-afternoon performance that attracted one of that weekendâs biggest crowds â and, following on the heels of her self-titled debut albumâs release, helped catalyze her star turn.
Returning as a Pyramid Stage headliner (on Friday, so she could party the rest of the weekend at the festival with her partner, actor Callum Turner, and some pals) had been on her agenda ever since. âI try not to let these moments pass me by so I made sure that when I was standing up there I took as many mental pictures as I could,â she says. At one point, she headed out toward the crowd and turned to face the stage, focusing on its apex: a shining white tip sending a beam of light into the starry night sky.
Prior to the performance, Lipa had switched off her phone to get in the zone. When she got back to her dressing room afterward, she had a deluge of texts.
âIt was so beautiful. I had so many messages from previous headliners,â she says. âYou sort of earn this badge of honor in that moment, and it felt like I joined the coolest club in the world.â One came from Adele, the last female British act before Lipa to top the bill in 2016. âShe said, âIâve been thinking about you all day and just wanted to wish you luck for tonight. Donât forget to soak it all in.â Looking back at that Pyramid was me trying to do that.â
Dua Lipa backstage at MMRDA Grounds in Mumbai, India, on Nov. 30.
Elizabeth Miranda
Radical Optimism is the first album Lipa has released since striking a deal with TaP Music, her former management and publishing group, to acquire ownership of her songs, music, masters and publishing rights. The move dovetailed with news that Lipa would now be managed by her father, Dukagjin Lipa, and in 2024, she expanded her nonmusic offerings: Her company Radical22 produced the Disney+ documentary Camden, about the north London borough and its music scene; she starred in the action-comedy Argylle; and her Service95 newsletter â which compiles recommendations for food, literature and more â grew in stature. No surprise, then, that The Sunday Times featured her on its annual Rich List, estimating a $113Â million (90Â million pounds) net worth.
âThis is really me stepping into my role not just as a creator but as a businesswoman,â she says. âIt comes with the understanding that as much as I want to stay on the creative side, I have to be knowledgeable about all aspects of my career if I want to have longevity.
âI think for every artist thatâs really important â and as much as we might not want to, as the easiest thing is to go into the studio and write the songs and whatever happens, happens â it just canât be that way,â she continues. âEvery artist should be educated on that. Itâs really important for us to be in control or at least know whatâs happening with our careers and not turn a blind eye.â
Elsewhere, sheâs consistently voiced support of Gaza during the ongoing Israel-Hamas war, and she was also named a champion for the Trevor Project, the suicide prevention charity that supports LGBTQ+ youth. âAnything I can do as a supporter to help out in any way with the platform that I have, Iâm fully willing and open to all of that,â she says.
But, despite her many achievements, something noteworthy eluded Lipa on this cycle: Radical Optimism did not receive any nominations for the upcoming Grammys, a surprise given her 10 career nominations in years past (including a win for best new artist in 2019) and the fact that her performance kicked off the 2024 ceremony.
âIâm so proud of Radical Optimism and where itâs brought me. I love that album and Iâm having the time of my life performing it live, and Iâve been able to do things that I thought I could only dream of this year, so Iâm really grateful,â she confidently says of the recordâs impact on her career. âAlthough it would have been nice to be recognized by your industry, especially as a woman, Iâm so proud seeing so many incredible female artists nominated at the Grammys this year.â
Dua Lipa backstage at the Singapore Indoor Stadium on Nov. 6.
Elizabeth Miranda
Lipa has particular love for Charli xcx, a longtime pal who received several Grammy nods for brat. She had a cameo on the remix of Charliâs âTalk talkâ alongside Troye Sivan, with Lipa speaking in French and Spanish on the track.
âI love her so much and sheâs always been a really good friend of mine and been so supportive from day one. She deserves all the flowers,â Lipa says of Charli. âSheâs worked her arse off, and itâs so beautiful to see her get the recognition she deserves. Sheâs really stuck to her guns and allowed herself to be creative in her own way, and itâs paid off. Thatâs the best thing that can ever happen to an artist. Sheâs so deserving of every moment.â
As for where her own career is, âOverall Iâm really happy with where I am,â Lipa says. âI donât think it really matters in the grand scheme of things where I am, where I want to be and where Iâm going. It doesnât change the way I feel about the record at all.â
Now, as 2024 comes to a close, Lipa is enjoying some well-earned rest before her biggest tour yet. In March 2025, her Radical Optimism tour kicks off its next leg in Australia and New Zealand before heading to Europe and the United Kingdom, which includes two sold-out nights at Londonâs 90,000-capacity Wembley Stadium and Liverpoolâs historic Anfield Stadium. Then in September, sheâs off to North America with 24 arena dates including a whopping four nights at New Yorkâs Madison Square Garden and another four at L.A.âs Kia Forum.
She speaks about manifestation, the idea that she must imagine her biggest goals and achievements for them to become a reality. In fact, Lipaâs use of the word contributed to the Cambridge Dictionary naming âmanifestâ its word of the year. She remains coy, however, of whatâs next on the agenda. âI canât really tell you, as they have to be a secret to come trueâŚâ she says. If her past year is anything to go by, weâll know it when we see it.