Global No. 1s
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From making music to acting on screen, IU can seemingly do it all — 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, “Love Wins All,” climbed to the No. 1 spot on Melon’s TOP100 chart just an hour after its Jan. 24 release, becoming the second song to achieve this feat since the platform’s chart reform. The massively successful track led the weekly chart for four consecutive weeks, topped February’s monthly chart and on iChart achieved 339 perfect all-kills (the term describes when a song simultaneously tops iChart’s real-time, daily and weekly components).
The achievements helped propel IU to becoming Korea’s representative for Billboard’s Global No. 1 artist series. “It’s a bit humbling, a bit surreal, and honestly, it feels really special,” she says of the recognition.
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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 — and was attended by some half a million fans, a record for a Korean female solo artist. She followed four sold-out shows at Seoul’s KSPO Dome with a performance at Manila’s Philippine Arena, the world’s 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 Korea’s music industry?
If I had to pick one challenge, it’s that there’s no one to share energy with onstage. Groups have distinct roles, which create a synergy that’s 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 group’s 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, it’s 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 don’t feel the same way anymore. Now, I’m much more open to the idea of working with global artists.
You’re known for having a strong bond with your fans. What do they mean to you?
Initially, most of my fans were older than me — 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 [IU’s 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 I’ve received reflects appreciation for my consistent hard work. Still, it’s fascinating that even teens connect with me these days.
You’ve encountered fans all over the world. Are there any memorable moments from your performances abroad?
It’s 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.
You’re often credited for both your meticulousness and flexibility. How do you balance these seemingly contrasting traits?
I feel like I’m constantly at a crossroads. You could say I’m flexible, or, less flatteringly, that I’m good at justifying things. (Laughs.) I’m naturally stubborn and like to plan everything thoroughly, but I’ve learned that things rarely go perfectly. Over time, I’ve practiced being more adaptable, and in doing so, I’ve figured out how to protect my mental well-being.
Beyond music, you’ve made your mark as an actor. What’s in store for 2025?
The drama I filmed throughout 2023, When Life Gives You Tangerines, will premiere on Netflix in 2025. It’s a project filled with the cast and crew’s hard work, and I’m excited to promote it. I’ll also be filming a new drama with a completely different vibe — glamorous and fun. Although I’ll be focused on acting for most of 2025, I’ve already started working on new music, so fans won’t have to wait too long for something fresh.
IU is named Billboard Korea’s No. 1 artist of the year for Billboard’s 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 Goiás. 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 — just over a year had passed since her name first appeared in the media thanks to her song “Pipoco,” 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 world’s biggest music festivals — Rock in Rio — to join duo Chitãozinho and Xororó for the “Brazil Day” celebration, the first in the event’s 40-year history. “For me, it was an honor. I consider them my grandparents,” 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 (“Nosso Quadro,” “Solteiro Forçado” and “Sinônimos”), including children of all ages wearing headbands with her nickname, “Boiadeira.”
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Born in Amambai, Mato Grosso do Sul, Ana Castela certainly couldn’t have imagined the success she would achieve by embracing the “boiadeira” style. Dressed in a cowboy hat, boots and a wide belt (much as an American cowgirl might), her so-called “agronejo” 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 — a title she’s consistently held throughout 2024 — 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. “It was a drastic change, to be honest,” she says. “Before, I had a completely anonymous life. Now, people want to know everything about me, follow me around. It’s changed a lot.” 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: “I’m enjoying the fruits that fame and the world are giving me, but always with caution.”
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
João Victor Moura dos Anjos
She’s followed by over 27 million people on social media, where she offers fun looks at her personal life — a Disney vacation, cute videos with her boyfriend, the singer Gustavo Mioto — and she’s starred in various commercials and advertising campaigns. “Ô loco [Wow],” she marvels. “Doors just keep opening for me. I never thought my face would be on a shoebox. It doesn’t just help my career; it makes dreams come true that I never even imagined. It’s awesome.”
But her feelings around her wildly increased presence are also conflicted. “My life is no longer mine. I don’t have a private life anymore; everyone knows everything I do,” she laments, though she adds that she’s getting used to it. When I ask if she’s receiving any professional support, Castela says that she started therapy about a month ago: “I think no mind is strong enough to go without a professional for so long.”
She knows the truth of that firsthand. At a performance at the Festa do Peão de Barretos in 2023, one of the most important sertanejo festivals in the country, she broke down while preparing to sing “Solteiro Forçado,” one of her breakthrough hits. “Sorry I can’t sing,” she sobbed in front of a massive crowd. “I swear I’m studying and working with a vocal coach to improve. It’s exhausting as hell, but I’m giving it my all.” Backstage, it was equally tough. “I was in a bad headspace,” she recalls.
Excessive work, plus the overwhelming experience of her fame, had taken a toll on her emotionally. “I couldn’t hit the note that day — I was so insecure,” she says. Criticism from both the public and within herself fueled her drive to improve. “You need to evolve. I was born with the gift of singing, but I need to perfect it.”
Therapy, her Christian faith and her family — an unconditional support system — now help her cope. She also strives to balance the needs of Ana Flávia (her real first name) and Ana Castela. In her free time, she enjoys hanging out with friends at her farm in Londrina, Paraná, and visiting São Paulo for shopping. “Those are the days I can just be young,” 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.
João 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. “I wanted it to be mine — not Ana Castela’s, but Ana Flávia’s. A tribute to my roots, my upbringing on the farm. My grandfather loved these artists, and so did I,” she explains. In fact, one standout track features her paternal grandparents: “Minha Herança,” 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 Peão 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 Castela’s evolution represents the future of sertanejo music: “It’s a renewal of the rodeo audience. Having someone young represent such a historic event is fitting.”
Her appeal to younger fans is certainly evident in the kids who wear her signature hats (“They’re adorable; I love them,” Castela says), and she’s launching Turma da Boiadeirinha, a YouTube channel featuring kids songs. But her future, she realizes, very much revolves around an adult audience. She’s collaborated with big names like Gusttavo Lima and Luan Santana and dreams of pairing up with Luísa 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.
“If it works, I’ll go for it,” she says. In 2025, she plans to incorporate pop into her shows but stay true to her roots: “I’ll always bring my hat wherever I go,” she insists. “It’s important to show the strength of our music on the global stage.”
Ana Castela brightens up Brazil as she partakes in Billboard’s ‘Global No. 1s’ series. The Sertanejo singer goes into detail about “Nosso Quadro” stealing the hearts of Brazil, possibly experimenting with other genres and more! Billboard is launching its inaugural ‘Global No. 1s’ series, an initiative to spotlight top-charting artists from around the world. Billboard […]
KUN claims China with “Afterglow” for the ‘Global No. 1s’ series. He duo shares how “Afterglow” came to life, shares his view on performances, 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 its ten-plus global editions to showcase […]
When Cai Xukun — the 26-year-old Chinese singer-songwriter better known as KUN — began working on his smash single “Afterglow,” he wanted to capture fleeting moments of change by connecting time and space with art and fashion. “I pondered for a long time about what kind of word could represent this imagery and mood,” he says. “Finally, the word ‘afterglow’ came to mind. We often see this scenery during various travel moments — 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.”
“Afterglow” 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 China’s representative for Billboard’s Global No. 1s, as chosen jointly by Tencent Music Chart and Billboard China.
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KUN created “Afterglow” with soul and rock sounds, and his integration of modern and classic production influences helped to give the song a timeless feel. And the song’s success marks the beginning of a new musical phase for KUN. “In my upcoming works, I will include some classic or modern elements,” he says. “I hope everyone can gradually sense a recognizable style in my music.”
In fact, several new singles KUN released in 2024 represent his fresh musical explorations. For instance, “Remedy” features clean piano sounds paired with a vintage vocal style, revealing his more minimalist side. It also reflects his listening habits: “I often enjoy classic songs, especially in quiet moments alone, listening to music and savoring that dialogue with myself,” he says.
While his previous works were warmer, KUN’s 2024 release “RIDE OR DIE” introduces a sound that’s new for him. “This song serves as a signal I’m conveying, heralding a transformation in my future musical style,” he says. “I believe it is essential to present something distinct to my audience, which has always been my aspiration. Consequently, the production process for ‘RIDE OR DIE’ extended over a considerable period and traversed numerous iterations, aiming to express the ‘stormy night’ concept that has long resided in my heart.”
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 — while strengthening his connections with audiences. “I can feel their enthusiasm, and they can feel my energy,” he says of his live performances. As time progresses, KUN is learning to “enjoy the process,” he adds. “Whether you genuinely enjoy the experience or merely fulfill a task can yield entirely different results. I believe that embracing this journey is paramount.”
Now, KUN is relishing a journey of “accumulation.” He’s preparing for a long journey ahead and accumulating new musical energy that he plans to direct toward producing more great songs. “This 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,” he says. “Next year is likely to be a year where I unveil the fruits of my introspection.”
As Chinese artists increasingly gain international acclaim, KUN believes that the intersection of music across diverse cultures transcends language and geography, fostering cultural exchange. “I aspire for more individuals globally to experience music that is authentically ours as Chinese,” he says. “This has consistently been my ambition.”
As Billboard Japan unveiled its 2024 year-end charts, the hip-hop duo Creepy Nuts — rapper R-Shitei (also known as R-rated) and DJ Matsunaga — land the No. 1 song of the year for the country, with their mega-hit “Bling-Bang-Bang-Born” 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, “Bling-Bang-Bang-Born” has dominated 12 year-end Billboard Japan roundups.
Amid the song’s 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.
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How do you feel about the success of “Bling-Bang-Bang-Born” on the year-end charts?
DJ Matsunaga: It kind of hasn’t really sunk in yet.
R-Shitei: Yeah, it’s like my brain hasn’t been able to keep up at this stage. I’m like, “Oh… Awesome…” (Laughs.) … Compared to the first half of the year, the reaction to our shows [helps bring it into perspective]… But I think we’re a lot more confused about it all than people might think.
DJ Matsunaga: It’s still hard to believe we’re at the top of any kind of ranking. (Looks at R-Shitei.) Right?
Still, after “Bling-Bang-Bang-Born” became a global hit, your follow-up track, “Otonoke,” continues to do well: On Billboard’s 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). You’ve been on a roll in 2024.
DJ Matsunaga: Wow…
R-Shitei: That’s amazing. Both “Otonoke” and “Bling-Bang-Bang-Born” 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. “Bling-Bang-Bang-Born” is a work we’re really proud of, but when we were making those songs, “Otonoke” was the one we felt the most confidence in. So when the year started and “Bling-Bang-Bang-Born” became pretty popular, I was like, “So people seem to like this a lot,” and “Well, we’re really proud of ‘Otonoke,’ too” when we released it. So I’m genuinely happy to see that people seem to accept “Otonoke” as well.
DJ Matsunaga: [The chart results are] too much of a blessing, so I don’t think it’s right to use it as a precedent…
R-Shitei: That’s true. It’s hard, isn’t it? Rankings can be both a source of encouragement and poison for artists.
DJ Matsunaga: For real.
R-Shitei: We’re happy and grateful, but don’t want to focus too much on that… Our goal isn’t to do well on the charts. It’s to keep updating our own definition of “good.” We’re making new songs with that in mind, too.
“How do you interpret chart rankings?” is a question we often ask various artists. In a recent interview, Ayase from YOASOBI said he’s now working with “a really fresh feeling” after becoming the No. 1 Artist of the Year on Billboard Japan’s Artist 100 ranking in 2023 with “Idol,” 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 don’t have to be chasing my dream while working part-time in my 30s, you know?
R-Shitei: That’s normal, and I’d still like it regardless, so I was vaguely thinking that I’d 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. It’s really just about expressing what we want to get out and releasing the pent-up [feelings] we’ve been holding in, basically.
Tell us a bit more about “Otonoke.” 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 “Bling-Bang-Bang-Born,” I was like, “I’ll go to a completely different place by extension of the same mindset.” 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 “Bling-Bang-Bang-Born” would be good. It was going to be the theme song for [the anime series] Dandadan, so I thought I’d try making it by using “Dandadan” as the starting rhythm, and decided to use the same rhyme as “Dandadan Dandadan” [in the intro] for the verse. I recorded something like scat that wasn’t 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 “Dandadan Dandadan” 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. I’d 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 “Haireta Haireta,” and it’s because he really opened it up there during the scat stage, adding that completely different development. And the lyrics changed to “Haireta” (“I’m in”) at that point. I thought, “This feels like I’ve ‘gone in.’ ” Like, if I were a “specter of sound (oto no ke),” a music monster, I’d probably enter people’s 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 doesn’t fall apart at all. He’d given me that kind of guarantee first, so I was able to make bold developments that wouldn’t ordinarily have been possible. I mean, it’s possible to make [tracks like that] at any time, but it’s not easy to make something that works beautifully after it’s 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 we’re only starting to understand how people really feel about us.
DJ Matsunaga: The main reason is that we haven’t done any tours. We’ve only appeared in events so far. Each country is completely different, and the audience in each country is also completely different, so it’s not like we can compare them…
R-Shitei: We don’t have enough data yet inside ourselves, right?
DJ Matsunaga: It feels like we’re still at the entry level. Even if we were talking about Japan, festivals that you’re 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… I’m in the middle of making an album, so my mind’s still on that. Rather than any kind of vision, I’m thinking about what I should do with the next bar or the next line, you know? I mean, just now…
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 that’s the biggest thing occupying my mind right now. That’s 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 we’ve grown from around 2013 to 2014 when Creepy Nuts began, it’s like… I can’t find the right words to describe it. But if you listen to the album, you might understand.
DJ Matsunaga: It’s like we’ve gone back a decade. We’ll 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 we’ve 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 we’d 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: That’s true. Express bad stuff like it is.
R-Shitei: As a listener you go, “Dude shouldn’t be saying that!” but the way it’s so bad and crazy makes it exciting as hip-hop. And then there’s “Dude says some good stuff once in a while, doesn’t he?” (Laughs.) So it’s a balance. It’s hard to express succinctly, but we’ve evolved in certain ways while still being like, “No way, we’re no good at all to begin with as human beings.” It’s about being able to go, “So what?” and expressing that as well next time.
DJ Matsunaga: It feels like we’ve regained the courage to do that.
R-Shitei: Feels like we got it back, doesn’t it?
DJ Matsunaga: That’s so true! We got it back and somehow… I’ve found a balance. It’s 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 “Bling-Bang-Bang-Born” 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 Lipa’s list of 2024 musical accomplishments is comically long. In this year alone she’s done — deep breath — 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 London’s Royal Albert Hall; performed onstage with Cher, Elton John and Chris Stapleton; and made a playful cameo on Charli xcx’s remixed version of brat.
“It’s honestly been the best year of my life. I’ve done things that I’ve wanted to do for so long,” Lipa tells Billboard U.K. with a laugh on a video call. She’s in Kuala Lumpur, Malaysia, when we speak, where she’s playing two nights at the city’s 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 “loud and fun,” she says, and she’s been “blown away” by their enthusiasm.
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“There came a point in the year where I was thinking, ‘I’ve got to sit down and write some new dreams and new plans and other things I wanted to do,’ ” she says. “I feel like I ticked so many of my boxes this year. It’s amazing.”
In May, the British Albanian artist released Radical Optimism (Warner), which peaked at No. 1 on the United Kingdom’s Official Albums Chart upon release and had the biggest opening week by a British female artist since Adele’s 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 “Houdini,” meanwhile, enjoyed a 17-week reign on Billboard’s Hot Dance/Electronic Songs chart.
The 29-year-old is a fitting entry for Billboard U.K. in Billboard’s inaugural Global No. 1s series celebrating the biggest and most successful artists internationally over the past year.
Seven months after the album’s release, Lipa looks back fondly on recording it with the stellar house band that included Tame Impala’s 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 Parker’s Tame Impala work and, speaking to Rolling Stone in February, dubbed it a “psychedelic-pop-infused tribute to U.K. rave culture.” A noticeable shimmy away from her disco-infused single “Dance the Night,” which appeared in the 2023 blockbuster Barbie film, Radical Optimism showed flashes of the turn-of-the-millennium French touch scene (“End of an Era”) and Parker’s signature psych-pop (“Training Season”).
Lipa sketched the blueprint for Radical Optimism following the success of her monster second album, 2020’s Future Nostalgia, which later spawned several hits, including “Levitating,” which was named the biggest song of 2021 on Billboard’s 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.
“Future 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,” Lipa tells Billboard U.K. “It gave me the freedom and confidence to be like, ‘You 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.’ It’s been fun to shape-shift.”
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 London’s 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 capital’s most iconic music venue. She performed Radical Optimism in full, utilizing the brass section to give new heft to songs like “Houdini,” while elegant strings added another dimension to “French Exit” and “These Walls.” 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).
“When we were in rehearsals, there was nothing quite like it: Those orchestral instrumentations just shook me to the core,” Lipa recalls. “Feeling my music in such a way that was so moving, it made me fall in love with music all over again.”
During the concert’s encore, John joined Lipa — the first time they performed live together — to sing their collaboration, “Cold Heart,” which topped charts globally upon release in 2021 (in its PNAU remix) and interpolates multiple John songs.
“Obviously 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,” she says. “One thing about Elton is that he always shows up for his friends. He’s super loyal… he’s just always been there, lending his ear and being so supportive.”
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 Lipa’s headlining slot on the festival’s Pyramid Stage. The impassioned, fun, formidable set (during which Parker joined Lipa onstage) aired live on BBC One and globally on the broadcaster’s website.
The show marked her second Glastonbury appearance, following a 2017 mid-afternoon performance that attracted one of that weekend’s biggest crowds — and, following on the heels of her self-titled debut album’s 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. “I 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,” 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.
“It was so beautiful. I had so many messages from previous headliners,” she says. “You sort of earn this badge of honor in that moment, and it felt like I joined the coolest club in the world.” One came from Adele, the last female British act before Lipa to top the bill in 2016. “She said, ‘I’ve been thinking about you all day and just wanted to wish you luck for tonight. Don’t forget to soak it all in.’ Looking back at that Pyramid was me trying to do that.”
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 — which compiles recommendations for food, literature and more — grew in stature. No surprise, then, that The Sunday Times featured her on its annual Rich List, estimating a $113 million (90 million pounds) net worth.
“This is really me stepping into my role not just as a creator but as a businesswoman,” she says. “It 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.
“I think for every artist that’s really important — 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 — it just can’t be that way,” she continues. “Every artist should be educated on that. It’s really important for us to be in control or at least know what’s happening with our careers and not turn a blind eye.”
Elsewhere, she’s 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. “Anything I can do as a supporter to help out in any way with the platform that I have, I’m fully willing and open to all of that,” 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.
“I’m so proud of Radical Optimism and where it’s brought me. I love that album and I’m having the time of my life performing it live, and I’ve been able to do things that I thought I could only dream of this year, so I’m really grateful,” she confidently says of the record’s impact on her career. “Although it would have been nice to be recognized by your industry, especially as a woman, I’m so proud seeing so many incredible female artists nominated at the Grammys this year.”
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 Charli’s “Talk talk” alongside Troye Sivan, with Lipa speaking in French and Spanish on the track.
“I love her so much and she’s always been a really good friend of mine and been so supportive from day one. She deserves all the flowers,” Lipa says of Charli. “She’s worked her arse off, and it’s so beautiful to see her get the recognition she deserves. She’s really stuck to her guns and allowed herself to be creative in her own way, and it’s paid off. That’s the best thing that can ever happen to an artist. She’s so deserving of every moment.”
As for where her own career is, “Overall I’m really happy with where I am,” Lipa says. “I don’t think it really matters in the grand scheme of things where I am, where I want to be and where I’m going. It doesn’t change the way I feel about the record at all.”
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 London’s 90,000-capacity Wembley Stadium and Liverpool’s historic Anfield Stadium. Then in September, she’s off to North America with 24 arena dates including a whopping four nights at New York’s Madison Square Garden and another four at L.A.’s 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, Lipa’s use of the word contributed to the Cambridge Dictionary naming “manifest” its word of the year. She remains coy, however, of what’s next on the agenda. “I can’t really tell you, as they have to be a secret to come true…” she says. If her past year is anything to go by, we’ll know it when we see it.
To kick off Billboard’s inaugural ‘Global No. 1s’ series, Dua Lipa reps the UK as No. 1. She shares everything about her big year in 2024. From headlining Glastonbury to ‘Radical Optimism’ reaching No. 1 on the charts, she gives a rundown on her exciting year. Keep watching for all the details! Billboard is launching […]