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At Travis Scott’s Circus Maximus show in Sydney, Australia, on Oct. 18, fans were treated to a massive surprise when The Weeknd, who also happened to be in the country, joined him on stage for four of their collaborative tracks.
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Scott had teased the surprise during his first Sydney show on Oct. 17, telling the crowd, “I’m gonna see my friend tomorrow morning and see if he can get on the stage. I was trying to get him today.”
He then performed “CIRCUS MAXIMUS,” a track featuring The Weeknd, fueling the excitement for night two.
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Both artists also dropped cryptic videos from Sydney’s iconic Luna Park before the performance. The park’s enormous, illuminated face at its entrance bears an uncanny resemblance to the imagery from Scott’s ASTROWORLD—a carnival vibe that’s been a major part of his branding. Fans quickly caught on, adding to the buzz that something big was brewing.
True to his word, The Weeknd made his appearance on stage the following night (Oct. 18), performing alongside the rapper for an assortment of their numerous collaborations together, including, “CIRCUS MAXIMUS,” “Pray 4 Love,” “SKELETONS,” and “WAKE UP.”
The pair’s long-standing collaboration and chemistry were evident as they lit up the stage, much to the crowd’s delight. Scott introduced The Weeknd to the audience as “the greatest of all time.”
“This man right here gave me my first arena tour ever,” Scott told the audience of the Weeknd. “If it wasn’t for him, I probably wouldn’t be on this stage right now.”
Scott’s Circus Maximus Australian and New Zealand tour continues through Oct. 31, with a final show in Auckland, New Zealand. After wrapping up his tour Down Under, Scott and his Cactus Jack crew are set to take over Complexcon in Las Vegas on Nov. 17.
The rapper’s Circus Maximus tour continues to break records, following the global success of Utopia, which debuted at No. 1 on Billboard 200 chart, earning 496,000 album-equivalent units (including 252,000 in pure album sales) in its first week.
Meanwhile, The Weeknd is in Australia for his After Hours Til Dawn tour, with upcoming shows at Sydney’s Accor Stadium on Oct. 22 and 23. This marks his first return to Australia since 2017, with fans eagerly awaiting his next album, Hurry Up Tomorrow, which has already teased singles like “Dancing in the Flames” and “Timeless.”
“I feel a strong pull to perform in Australia before moving on to the next chapter and want to make sure you all know I hadn’t forgotten about you,” The Weeknd said in a statement announcing his new Australian tour dates back in August. “When I return now, it will be the right time, and I promise it will be such a special experience. I can’t wait to see you all!”
Mike Dean, Chxrry22 and Sydney’s own Anna Lunoe are currently supporting The Weeknd on the four Australia dates.
Check out The Weeknd’s surprise performance with Travis Scott below.
RADWIMPS frontman Yojiro Noda took the stage at Tokyo Garden Theater for his first concert as a solo artist under his real name on Sept. 27. This show, aptly entitled “Yojiro Noda welcomes you to WONDER BOY’S AKUMU CLUB,” marked the release of the album by the same name — WONDER BOY’S AKUMU CLUB — and treated fans to a glorious evening with guest acts kZm, Awich and iri.
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The 39-year-old hitmaker had previously teamed up with each of his guests, with rapper kZm — pronounced Kazuma — collaborating on “EVERGREEN” off Noda’s solo album, and rapper Awich and singer-songwriter iri collaborating on “SHIWAKUCHA” and “Tokyo,” respectively, off RADWIMP’s album FOREVER DAZE from 2021.
Noda’s solo project had dropped two days before the show, meaning the people who came that evening were die-hard fans who bought tickets before they knew the full scope of his album. His followers probably also knew that he had recently been leaning into hip-hop. So while not too concerned about the potential difference in level of interest in the audience, it was interesting to see how Noda’s fans, who knew him as the face of a veteran J-pop band, would react to the rappers opening the event. But the crowd clapped eagerly along to the first track kZm performed on stage, “Aquarius Heaven,” and the excitement was even greater than expected.
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“Most of you probably don’t know me, but I’m kZm, a rapper from YENTOWN,” the MC introduced himself after finishing his performance of “Aquarius Heaven.” The 30-year-old rapper went on to explain that he’d only listened to hip-hop before discovering RADWIMPS when he was in junior high, and that he’d been a fan of the band ever since. He told the audience that Noda had been a kind senior artist and friend ever since they’d gotten to know each other, and was met with a cheer from the crowd when he noted, “I heard Yo-chan would be going on stage by himself today, so I came to support him.” kZm’s respectful monologue showed a sign of respect for Noda and his effort to make this a special evening. From there, the rapper gave a solid performance, with the audience cheering from the intro to “DOSHABURI” and the excitement continuing throughout the set, right up to the last song, “Sakebi,” which he said was one of his favorites.
Next up was Awich, who got the crowd jumping from her first track, “Remember (Solo ver.).” After finishing “Are you serious?,” the theme song for the Netflix series The Queen of Villains, she introduced herself, also saying, “I imagine a lot of people here are seeing me for the first time.” The 37-year-old rapper went on to explain that she is also a member of the hip-hop collective YENTOWN, like kZm, who introduced her to Noda. She said she wrote a song with the RADWIMPS singer and asked to take part in the band’s arena tour in 2021, and the experience of touring the country helped her mentally prepare for her own headlining concert at the prestigious Nippon Budokan in 2022. “(Noda) leads us and I’m truly grateful for his generosity,” said Awich. The “Bad B**** Bigaku” MC, who has since broken out of the rap scene and is now active in a genre-bending way, had full control over the room as she ran through a fierce set from “Kakurembo” (Hide and Seek), performed after mentioning that RADWIMPS have a song of the same name, up to the last song, “LONGINESS REMIX (Soo ver.).”
The final guest, iri, performed a short-but-sweet set consisting of “friends,” the four-to-the-floor number ideal for large venues, the similarly danceable “Corner,” and “Wonderland,” which got the crowd raising their hands in unison. The compact set showcased iri’s smoky voice and her breezy performance captivated the audience. “Yojiro-san’s album is so cool and I was talking with DJ TAAR about how amazing it is,” the 30-year-old singer said, her words brimming with respect for Noda. “So cool that I’ve been really looking forward to his show, and I’m really grateful to be able to sing like this at such a fabulous time.”
The current Japanese rap scene has gained wide popularity as a new youth culture, and since both Awich and kZm are stars of the genre, it feels somewhat uncomfortable highlighting “the band scene” and “the rap scene” as if they are incompatible. But to be honest, the impression is that while it does happen underground, in the mainstream, bands and hip-hop artists in Japan still have a long way to go in coming together in a notable way, as can be seen from the fact that the number of street-born rap acts appearing in mainstream rock festivals not being that high. So from that standpoint, it might be fair to say that the enthusiastic way the audience welcomed the three guest acts at Noda’s show without making them feel out of place was something special.
The “Grand Escape” artist made this possible because he had approached the rap scene early on in his career. WATTER, the DJ who supported Noda during his headlining solo set, is an artist close to 5lack, a rapper featured on Noda’s “Hilight” released under the name illion in 2016. The “Zenzenzense” hitmaker’s strong curiosity and love for music and people, evident from such works as “TIE TONGUE (feat. MIYACHI & Tab Zombie)” from 2018 and “DAI-DAN-EN (feat. ZORN)” from last year, were an important backdrop to this precious night.
Yojiro Noda
Takeshi Yao/Billboard Japan
After the fine opening performances by his three guests, Noda appeared onstage for the main set. As this was his first concert as solo artist Yojiro Noda, the audience didn’t know if he’d be performing with a live band or DJ until that day, but as mentioned above, he took the stage with WATTER for a DJ set, which at that point promised something novel. From the time the venue opened, there was a space surrounded by a gauze curtain in the center of the stage, and Noda kicked off his set with “SHEETA” from within that space. A team of dancers performed theatrical choreography inside and outside the gauze curtain, creating a mysterious atmosphere. These dancers were members of choreographer Seishiro’s team, and they also appear in the music video accompanying RADWIMPS’ “NINGEN GOKKO” from 2022. The concert was clearly being supported by the creatives that Noda had built relationships with over the past few years, just like Awich and iri.
At the end of the vintage soul-tinged performance of “PIPE DREAM,” Noda emerged from behind the curtain and finished the song by playing the piano. “Please give a big round of applause to the three guest artists, kZm, Awich and iri,” said the singer-songwriter, and elicited huge cheers from the crowd by asking, “I want to make this a party where we can all savor this brand spanking new album together. What do you say?” The five-stroke-roll dance beat of “PAIN KILLER” showcased the compatibility with kZm’s raps, and Noda showed off his own clever flow in “PEACE YES,” not to be outdone by the rappers. Hip-hop-like elements were incorporated in the staging as well, with the screen behind the singer highlighting a section of the lyrics of the track by visually sampling the cover art for the album RADWIMPS 4 that has the song with the same word (”Iindesuka?”) as the title. The breadth of his melodies is also worth noting, as evident from the way he built up a celebratory mood by putting a gospel chorus together with breakbeats on “HOLY DAY HOLY” and created a melancholic ambience on piano for “KATATOKI,” his collaborative track with Atlanta rapper J.I.D.
Yojiro Noda
Takeshi Yao/Billboard Japan
“Before, I thought that if I were to do a show as Yojiro Noda, I’d be doing something completely different, like playing by myself, or with a band, or with an orchestra. But I made songs mainly using beats this time and was really worried,” Noda opened up to the crowd. “Right now I’m so incredibly happy that everyone’s listened to the album and my favorite musicians are supporting me. Thank you for coming.” After expressing his gratitude, he mused, “Since kZm is here, we have to do this one,” and the rapper came back onstage to perform the remix version of their collaborative number “EVERGREEN” together. The two artists’ well-coordinated performance set to the anthemic track was one of the biggest highlights of the day. Noda then performed “STRESS ME” featuring rap verses over a post-trap beat, and sat on a sofa to sing “BITTER BLUES,” which vividly conveys his current, genuine sentiments. The team of dancers appeared again for “WALTZ OF KARMA,” followed by the introspective “HAZY SIGH,” and the memoir-like mood of the solo work was faithfully recreated in the show.
During the second half of his set, he expressed his gratitude to HOLLY, the producer/beat maker from Portugal who had been DMing beats to Noda for several years and had motivated him to make his solo album. He then thanked the audience again, saying, “Standing here today, I felt like I can continue my musical journey from now on. Thank you, I owe it to you.” The stage then floated up into the air to the intro of “HYPER TOY,” and Noda sang the lyrics “We’re Wonder Boys on a runner’s high” over an exuberant hyper-pop track featuring the most electric guitar in the album, like the Wonder Boy he clearly was. Before the last song of the main set, he said, “I’m a little embarrassed, but can I sing this song for the finale?” and went on to sing “LAST LOVE LETTER,” which is also the last track on the album, and closed his first solo concert by communicating his love through the lyrics: “If we were to meet, could it be now? Cause I don’t think can wait any longer.”
Yojiro Noda
Takeshi Yao/Billboard Japan
The excited crowd wanted more, of course, but the singer had performed all 13 tracks off the album, and there was no mention of an encore in the set list that had been distributed to the press. However, Noda appeared on stage after a brief break. He sat down at the piano and touched on the news from that day that Sayuri, a singer-songwriter that he had written and produced a song for in the past, had passed away. He chose the song he had written for her, “Furaregaigirl,” for the encore, and sang through to the end while tearing up during parts of his performance. He finished his concert with the words “Thank you, Sayuri,” and the venue resonated with heartfelt applause.
—This article by Atsutake Kaneko first appeared on Billboard Japan
Meet RIWOO
Image Credit: JoongSan Yang
“When we learn the choreography for the first time, we usually learn choreography that is almost complete, but I feel like we have to include our own style,” RIWOO says of his creative specialty in the group. “If our members want to show something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR.”
BOYNEXTDOOR‘s latest single, “Nice Guy,” begins with the K-pop group crooning, “Don’t be such a wuss, Seoul is mine tonight/ Let’s rizz up all night” for a synth-pop anthem of declarative self-confidence. While it seems like a stark contrast from “Dangerous,” the rebellious pre-released buzz single about teens pushing curfew which kicked off the group’s 19.99 album, it all connects into BOYNEXTDOOR’s multifaceted world of limitless freedom and friendliness.
With less than a year and a half since their debut, Billboard’s K-Pop Rookie of the Month for October 2024 is seeing its message reaching audiences worldwide. 19.99 scored BOYNEXTDOOR’s first No. 1 on Billboard’s World Albums chart and top 40 entry on the Billboard 200, while the group has performed on festival stages in South Korea, Spain, Japan, Hong Kong, and the United States. The sextet has modeled for Korea’s most prominent brand, Samsung, but is also the face of Japan’s popular casual clothing brand, WEGO, and has competed for best new artist recognitions at the MAMA Awards, iHeartRadio Music Awards, Asian Pop Music Awards and beyond.
During a weekend morning interview and photoshoot with Billboard in Seoul, any understandable tiredness from BND takes a back seat as members Jaehyun, Sungho, Taesan, Riwoo, Leehan, and Woonhak excitedly emphasize their desire to connect with audiences through authenticity rather than just chart placements and awards. “Rankings aren’t everything,” Taesan says in the Zoom call. “Our priority is really talking about what we want to and conveying that to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud.”
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Those themes are present in the narrative structure of 19.99, which is grounded in the guys’ real-life experiences. Without fixed roles within the group, BOYNEXTDOOR pride themselves on a collective creativity, where members can contribute across different areas like music, storytelling, choreography, stage direction and more. While half the group is credited as lyricists, and Riwoo added personal touches to their new choreographies, 19.99 has the DNA of all six stars divided throughout the EP.
That philosophy of artistic expression and prioritizing personal experiences and creativity over external pressures feels like a founding block of BOYNEXTDOOR’s label KOZ Entertainment, founded by boy band member-turned-chart-topping soloist-producer ZICO, that’s housed in the HYBE LABELS system. While ZICO has been a presence on the Billboard charts for over a decade (earning his first No. 1 on a U.S. sales chart earlier this year), BOYNEXTDOOR says his mentorship and tips have been crucial to the group’s impressive and quick takeoff.
“He always told us that you have to have a really good attitude and be cautious of how people would see you,” eldest member Sungho says of their mentor. “He always cared so much for us and gave us a lot of advice even before we debuted.”
With BOYNEXTDOOR’s first tour on the horizon and a growing global fanbase awaiting the group’s next steps, the “Nice Guy” singers remain ambitious to make Seoul — and every other city — their own by doing it their way. Read more on BOYNEXTDOOR’s story as the next group to watch as Billboard’s K-Pop Rookie of the Month for October 2024.
Congratulations on the latest chart success with 19.99, BOYNEXTDOOR! Do you feel the impact and that you’re growing your audience overseas?
TAESAN: Yes, we feel like more and more people are starting to like and enjoy our music, which we are very happy about. But you know, grades and rankings aren’t everything; grades aren’t our priority. Our priority is really talking about what we want to convey to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud and gives us the confidence to stride forward.
19.99 starts a very different musical chapter from your previous trilogy of EPs. What are some of the differences between your past releases and this project?
SUNGHO: So, I think the “First Love” trilogy [the Who!, Why.., and How? EPs] was a big narrative that we had and tried to follow. When we were recording, creating and on stage, we tried to follow the overall kind of narrative and scenario that we had for the trilogy. But after that, with 19.99, rather than going with a narrative, this was an album where we really infused our experiences and the members’ stories. What we experience in our daily lives and what we go through is really infused in the tracks.
So, when we were recording or on stage, we felt like we were speaking our own language and just talking about what we experienced as boys. Even when we were performing, I think we focus more on our individual style and vibes… it’s more grounded and more heartfelt this time around. We paid more attention this time.
How do you express your stories? Is it sharing your experiences with each other? Writing lyrics? The concepts? Performing on stage?
JAEHYUN: I think my answer to that is really all of the above. It really starts at the very beginning of the creative process: we discuss a lot about what we want to talk about in the songs and in the album, so I think that naturally infuses into the songs — both in the songwriting and performance. So, we would talk a lot with the performance director and the music producers so that we could add our input into the lyrics and the overall concept of the performance as well. So, yeah, I think it’s all parts of what you brought up.
I see BOYNEXTDOOR as having a lot of freedom. There are no fixed positions within the team. Does that freedom allow you to be more creative, or is it difficult to balance that in a group dynamic?
TAESAN: As JAEHUYN said earlier, we are very heavily involved in the creative process; we have a big say. And as you said, we have a lot of freedom. Instead of thinking of that as a stress factor, we enjoy it because it gives us the freedom to be more creative and I think we’re even more eager to participate more in the creative process. So, rather than finding it difficult, I think it’s our fate to make these stages.
Even from your teaser videos, “friendliness” feels like a keyword for BOYNEXTDOOR. On one hand, artists who are so friendly can come off as less mysterious and intriguing. Do you have ideas or methods for bridging that gap?
JAEHYUN: I guess the secret lies in our music. So while we are friendly as people, our music can be mysterious; people can always wonder what’s coming next. You said that the name BOYNEXTDOOR is a very “friendly” name, but you never know who’s living next door. That boy might be a hip-hop lover, that boy might be a rock lover or love ballads. So, I think there is an air of mystery to that name as well. So, we kind of have both.
You deserve a lot of credit because not many rookies can say that and it feels like you’re sharing even more on 19.99. Can you share more about the title and what the EP represents?
WOONHAK: The six of us talked about what kind of album we wanted to make and what kind of music we wanted to do…
TAESAN: The producer asked us to talk about how we felt about our 20s one by one — [asking] “What was it like for you?” or “What do you expect from turning 20?” — and we gradually came up with the theme. After we came up with the theme of the number “20,” we discussed what kind of stories each of us wanted to incorporate into the album. JAEHYUN, WOONHAK and I actually wrote the lyrics based on that. We tried to capture 20 as much as possible in our own way.
When it comes to 20, the youngest member of BOYNEXTDOOR, WOONHAK, will soon be turning 20. Have your members shared any advice for you?
WOONHAK: So, instead of giving me advice directly in words, I think I just learned from them vicariously and naturally. Seeing them, I can understand that there are certain things that people don’t see or understand because I’m underage, you know? They recognize when I tell them I’m facing certain challenges and say, “That’s okay.” But when I do turn 20, there will be more responsibilities as an adult — and I see that through our leader JAEHUYN, our oldest SUNGHO, RIWOO, as well as TAESAN and LEEHAN. So, I think I kind of learn by looking at how they behave and take on different tasks. They continue to teach me a lot.
Along with JAEHYUN, TAESAN, and WOONHAK’s songwriting, how do you all collaborate creatively?
JAEHYUN: Although there are just three of us in the album credits, I think it really should be the six of us together because we talk a lot amongst ourselves and are sources of inspiration to each other. So, we would talk to other members and gain insight from their experiences and stories. So, all six of us are actually involved in the creative process.
SUNGHO: While JAEHYUN, TAESAN and WOONHAK are involved in the songwriting, in terms of the stage, RIWOO is really involved a lot in terms of the stage; when we actually go perform, he can lead the crowd. When we need to rehearse, we practice together under RIWOO’s guidance. He even creates and organizes the setlist and has a lot of input and ideas about the setlist. RIWOO is the one who has the most to say about our performances; each of us has such different personalities and individual styles, but RIWOO is the one who kind of becomes the anchor to help us combine and blend together as a group.
RIWOO: When we learn the choreography for the first time from choreographers, we usually learn choreography that is almost complete, but I feel like we have to include our own style into it and tweak it a little bit to make sure that it really fits our own style and not the choreographer’s style. From facial expressions to gestures and movements, I personally think about it a lot. If our members want to express something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR and our style.
Talking about stage performances, you recently announced your KNOCK ON Vol.1 tour. What are you preparing for your first tour? Do you think you’ll have more “volumes” or dates beyond Asia?
JAEHYUN: Our first concert is in the planning process, but there are a lot of stages and performances that we’ve saved for the concert. The stages that you’ve wanted to see and the performances that you wanted us to do, we’ve been saving them all to show you at our first concert so I think there will be a lot of stages that our fans, ONEDOOR, will really like.
LEEHAN: We’ll go anywhere. We’re willing to fly to anywhere where ONEDOOR exists. And we hope there are many more opportunities going forward to share these great times with ONEDOOR.
Do you have any worries ahead of the tour?
TAESAN: There will inevitably be some challenges because it’s our first concert and first tour, but I think we need to focus on how to overcome those difficulties. But I think what’s always on our mind is our next step forward — what we’re going to talk about in our next album.
I recently met with ZICO, and he spoke so affectionately about you. Do you notice that affection or is this his everyday self? Any fun stories you can share about your time with him?
SUNGHO: We actually noticed his affection ever since when we were trainees. He was always very worried about us. He always cared so much for us and gave us a lot of advice. Even before we debuted and after our debut, when we became “professionals,” he always told us that you always have to have a really good attitude and be cautious of how people see you. But the difference between the days when we just debuted and now is that in the early rookie days, he would try to really help and assist us in all kinds of ways. But now I think he really respects us as professionals and that we have our own way of communication and style. And then when he thinks we need help or if there are parts where he can help us, he will kind of jump in. I don’t really remember any specific anecdotes to share…
WOONHAK: I actually do remember one! He said, “I regret taking really bad selfies.” [All laugh.] So, we should really make sure that we take nice selfies.
JAEHYUN: My father! There are so many funny moments. Recently, ZICO has been telling me to show him some aegyo, like doing something cute or adorable, because he said that JAEHYUN as a trainee and JAEHYUN as a member of an idol group is really different. So, he wants me to show him those aegyo moments like I do with ONEDOOR, but for him. So, he’ll kind of tease me, telling me, “Can you show me some aegyo?!?” [Laughs.]
Any other messages you want to share with international fans or Billboard readers at this time?
JAEHYUN: Thank you for loving our tracks. I’m happy to see our songs on the Billboard charts and I hope you all keep loving them.
TAESAN: Please stay tuned for our tour and our concert. I hope that we’ll have more opportunities to go to other continents and other countries as well!
WOONHAK: Love you!!!
As the last rays of sunlight illuminated the facade of CasaSur Palermo Hotel on Wednesday night, the first fans began to arrive. News spread like wildfire on social media: Liam Payne, former member of the boy band One Direction, had died after falling from a third-floor hotel room. The shock was immediate, and within hours, dozens of followers gathered at the makeshift shrine in front of the place where the 31-year-old British singer met his tragic end. Buenos Aires, the city that embraced him in life, was now bidding him farewell in death.
Payne, one of the voices that defined a generation of pop music, had arrived in Argentina to attend former bandmate Niall Horan‘s concert at the Movistar Arena, amid a resurgence of fame following his recent solo musical projects. However, no one could have imagined that this trip would become his final goodbye. The fateful fall from his hotel room left his followers engulfed in collective grief, which most are trying to process from the sidewalk on Costa Rica Street, where candles, flowers and letters have filled the scene.
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A vigil that never ends
“I can’t process it; I’m still in shock. He was a fundamental part of my childhood, he meant everything to me,” says 22-year-old Martina, one of the first fans to arrive at the makeshift shrine. With a trembling voice, she recalls the moment she first heard the British band: “I was in the car with my dad when I heard ‘What Makes You Beautiful’ for the first time, and from that day, I never let them go. From that moment on, their music became an essential part of my life. Every song accompanied me through different stages, from happy moments to the hardest times. It was as if they always had the exact words for what I was experiencing,” she continued. “One Direction was much more than a band for me; they were my refuge.”
The area in front of the hotel transformed into a space of catharsis for Payne’s followers. The pain is palpable, but so is the sense of camaraderie. Twenty-five-year-old Felicitas, wearing a Harry Styles shirt, arrived with flowers to pay tribute: “When I found out, I couldn’t process it. I felt like the world stopped for a moment. Everything he had meant to me crumbled in seconds. The idea that someone so present in my life was no longer here was devastating,” she says, tears streaming down her face. Like her, dozens of young fans gathered to remember the singer’s life, singing his songs and sharing anecdotes that connect them to the British artist.
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The Impact of His Death
Payne’s sudden death shook the entertainment world, especially among One Direction fans who had grown up listening to their songs. The group, formed on The X Factor in the U.K. in 2010, quickly became a global phenomenon. Their music became the soundtrack to the adolescence of millions of young people worldwide. According to Spotify, One Direction has more than 40 million monthly listeners on the platform, even years after their breakup. Songs like “What Makes You Beautiful” and “Story of My Life” continue to be anthems defining a generation.
Twenty-three-year-old Ludmilla explains it succinctly: “Every song was part of our story, a reflection of what we were living. They helped us feel understood, find comfort, and above all, connect with each other. They were not just a band; they were the thread that united us and accompanied us as we grew and discovered the world.”
The latest police report revealed disturbing details about the state of the room where Payne died. According to sources, pills, a nearly empty whiskey bottle, and other substances suggesting possible drug abuse were found. Investigations are ongoing, but these details have added another layer of tragedy to an already painful loss. The exact circumstances of his fall remain a subject of debate, but for the fans gathered at the shrine, the details matter less than the void he left behind.
The vigil on Costa Rica Street continues. Television channels broadcast live, but for the young women who remain there, the focus is on remembering the good times and bidding farewell to their idol with the music that united them. “I don’t know how I’m going to get through this,” says 25-year-old Candela, a Chilean fan living in Buenos Aires. With a notebook in hand, she wrote a letter now resting at the makeshift altar alongside flowers and photos. As the candles burn low and the noise of the city begins to envelop the scene once again, the words of one fan resonate in the air: “With his absence, he took a part of our existence.”
Billboard Argentina
On Thursday (Oct. 17), Tencent Music Entertainment Group announced a strategic partnership with Galaxy Corporation, the agency representing the influential global musician G-Dragon, for his upcoming regional tour.
The collaboration marks a significant step forward in TME’s ambitions to expand its global presence and further solidify its position in the international music scene. As part of this agreement, TME will act as the proprietary tour partner for G-Dragon’s concerts across various markets, including most of Southeast Asia, the Middle East, Hong Kong, Macao, Taiwan, Australia and New Zealand.
Speaking at the signing ceremony, TC Pan, group vice president of Tencent Music Entertainment, highlighted the importance of this partnership. “Collaborating with a renowned global musician like G-Dragon aligns perfectly with TME’s vision of connecting international audiences with exceptional music experiences. This partnership not only strengthens our presence in the global market, but also underscores our commitment to empowering music partners and artists to reach their full potential on the world stage.”
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Yongho Choi, CEO of Galaxy Corporation, also shared his enthusiasm. “We are delighted to partner with Tencent Music Entertainment, a global entertainment-tech company listed on NYSE and the Hong Kong Stock Exchange. Building on this strategic partnership, we plan to integrate AI, AR, mixed reality, and robotics into entertainment to create a new kind of concert experience for global audiences.”
TME has been making efforts to broaden its international footprint through a range of initiatives like its Global Music Outreach program, which seeks to showcase Chinese music artists on international platforms and facilitate cross-border collaborations. It also operates the JOOX streaming service in Southeast Asia.
With this strategic partnership, TME aims to elevate G-Dragon’s overseas tour experience by expanding its reach and providing fans with new opportunities to connect with his music and brand, while reinforcing TME’s growing influence in the global music industry.
VivaOla, an R&B artist born in Korea and raised in Tokyo, released his second full album, APORIE VIVANT, in March. His progressive style, inspired by Bryson Tiller’s album Trapsoul, has generated a great deal of buzz, and he recently released a new song, “RIGHT/WRONG,” which features Jimmy Brown, a globally active R&B artist based in Korea. This is the second collaboration between the two, following Jimmy’s 2022 song “bag on you,” on which VivaOla appeared. The borderless style of “RIGHT/WRONG,” with lyrics switching between English, Japanese, and Korean, embodies today’s music environment, where music has global reach.
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Billboard Japan had the opportunity to talk to these two artists, whose roots lie in R&B but whose creativity crosses genre lines and national borders.
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To start off with, VivaOla, could you introduce Jimmy Brown?
VivaOla: Jimmy’s an artist based in Korea who releases songs in English, with an eye toward fan bases in North America and Europe. He’s been a part of the global R&B scene for a while now, so I’d known about him for a while, but a shared Korean acquaintance of ours put me in touch with him. In 2022, I was a featured vocalist on his song “bag on you,” which I recorded remotely, without ever meeting him in person. We finally met for the first time at Shibuya in August 2023, when he came to Japan on vacation. I grew up listening to R&B from the 2000s and the 2010s, and I could feel that same musical influence in his vocals and songs. His music really resonated with me, and when I found out later that the “Brown” in Jimmy Brown came from Chris Brown, one of his favorite R&B singers, it made perfect sense.
Jimmy Brown: Thank you. I think VivaOla’s appeal lies in his beautiful singing voice. When I was working on “bag on you,” I knew that it would be a great song if I could get his voice on it, so I asked him to be a featured artist. The song was positive to begin with, but his addition increased those vibes, and I love how the song came out.
VivaOla: I work a lot with Kenya Fujita from Bleecker Chrome, who appears as a featured artist on my new album, APORIE VIVANT, and he was also talking about how he had to “catch the vibes.” It made me realize, again, that it’s more important to catch that vibe rather than the sound or style of the song. In “bag on you,” money represents love. Money’s a sensitive topic that I handle in my own works, too. I used a lot of trial and error in writing “bag on you,” and I was able to tie it all together with the message of loving someone so much you want to give them everything, even if you don’t have any money. I’m glad that Jimmy and I were able to arrive at that same message.
Tell us how you went from collaborating on “bag on you” to, two years later, featuring Jimmy on your own song with your second collab, “RIGHT/WRONG.”
VivaOla: For me, 2022 was a year of collaborations, but out of the many I did that year, “bag on you” was my favorite, in terms of the mix, the lyrics, and the vibe. Following the release of APORIE VIVANT, I’ve written a lot of songs with producer Kota Matsukawa (founder of creative collective and label w.a.u). I knew one of the songs would be even better if we had a featuring artist, so I consulted with Kota about who we should go with, and we were like “Jimmy Brown would be great, wouldn’t he?” After releasing “bag on you,” I’d met Jimmy in person and gotten a feel for what a wonderful person he was, so I wanted him to collaborate with me on one of my own songs. My songs are about all kinds of topics, like our internal struggles, but the theme of this new song with Jimmy was straightforward: love. Kenya and I worked on the songwriting together, and we both talked about how we wanted to write a song that would excite Jimmy.
In “bag on you,” Jimmy depicts love in a positive way, but “RIGHT/WRONG” feels more in line with your style, VivaOla, not necessarily depicting love as always positive.
VivaOla: Right, it’s a little bit dark. But even though there’s this dark part, as you point out, the verse section is ultra-positive. I was hoping Jimmy would use a Chris Brown-like vocal approach, and I was really happy to feel that Chris Brown feeling in his verse section, where the groove is in double-time.
On your latest album, APORIE VIVANT, which came out in March, you embodied the spirit of trap soul, inspired by Bryson Tiller. What sound approach did you use on your new song?
VivaOla: Stylistically, I carried on the feel of APORIE VIVANT, but while the actual sounds are trap, I wasn’t fixated on the music itself being trap. That’s why I didn’t use the rapid-fire rapping of trap, but instead tried for a more alternative rap feel, like Frank Ocean.
Jimmy, what do you think of VivaOla’s music?
Jimmy Brown: It’s got a very modern sound. If you listen to our verses, you’ll be able to hear the things we have in common and also our differences. For both of us, our roots lie in American R&B, but there are some major differences in how we stretch out our voices, the parts we stretch out, and how we use our vocal cords. Before I was exposed to R&B, I grew up in the Korean countryside, listening to [traditional] Korean ballads, which I think influenced me. Likewise, I think VivaOla was influenced by his experience with rock and jazz, before he got into R&B. But I don’t think these are things we’re consciously trying to bring out, they’re part of our respective characters, the products of our backgrounds.
VivaOla: In my case, I often overthink my singing approach, so I end up circling around to singing without thinking about it, but Jimmy doesn’t overthink things, he’s a very genuine artist. The two of us are alike in that neither of us is really all up in our own heads when we’re singing, but my approach is the exact opposite of Jimmy’s. I think that’s what draws us to each other, and our approaches harmonize within the same song.
So you’re more of a producer-style singer-songwriter, VivaOla, while you, Jimmy, are more of a natural-born singer-songwriter. And your contrasting styles resonate in “RIGHT/WRONG.”
Jimmy Brown: I’m a very simple man (laughs).
Can we look forward to hearing more collaborations between you two in the future?
VivaOla: “bag on you” and “RIGHT/WRONG” were positioned as one-offs, with each of us appearing as featured artists on each other’s songs. If we work together again, I think it would be fun for us to go into the studio together, creating music from the ground up and releasing it under both of our names.
—This interview by Yu Onoda first appeared on Billboard Japan. It was conducted in Japanese then translated into English
Ae! Group’s “Gotta Be” blasts in at No. 1 on the Billboard Japan Hot 100, dated Oct. 16.
The title track of the quintet’s second single launched with 411,052 CDs in its first week to rule sales and also came in at No. 4 for radio airplay. Though the figure didn’t match the previous release, “A-Beginning” (782,835 copies in its first week), “Gotta Be” gives Ae! Group its first No. 1 on the tally.
NMB48’s “Ganbaranuwai” debuts at No. 2. The girl group’s 30th single sold 251,651 copies in its first week to hit No. 2 for sales.
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Mrs. GREEN APPLE’s “Lilac” follows at No. 3. The Oblivion Battery opener is still going strong in three metrics of the chart’s measurement: streaming (up 101%), downloads (up 112%), and karaoke (slight gain). The former No. 1 hit has coasted along in the top 3 for seven consecutive weeks and in the top 5 for 26 consecutive weeks. The three-man pop band recently launched its eight-day residency at K-Arena Yokohama, slated to run through Nov. 20.
Creepy Nuts’ “Otonoke” jumps 32-4. The opener for the anime series Dandadan dropped digitally on Oct. 4 and debuted at No. 32 last week. Streaming for the track increased by 337% compared to last week, downloads by 135%, and radio by 437%. The number of downloads has remained higher than that of the duo’s smash hit “Bling-Bang-Bang-Born” in both the first and second weeks, so whether the pair’s latest release can also become a long-term hit is something to keep an eye on.
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Comparing the number of streams by country during the first week for each track, “BBBB” logged 33% of its plays from Japan and 16% from the U.S., while “Otonoke” accumulated 41% from Japan and 18% from the U.S., showing a slight increase in the U.S., according to Luminate. In other countries, “BBBB” was played more in Europe, such as in Germany and Spain, while “Otonoke” was played more in Southeast Asia and Latin America, including Mexico and Indonesia.
Official HIGE DANdism’s “Same Blue” rises 7-5. Streaming for the Blue Box opener gained 188% compared to the week before.
KID PHENOMENON’s “Unstoppable” debuts at No. 6, selling 66,499 copies and coming in at No. 3 for sales.
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 Oct. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Fresh off releasing new album Spill the Feels led by the DJ Khaled-featuring single “LOVE, MONEY, FAME,” SEVENTEEN’s ongoing global takeover steps into the Big Apple as the K-pop powerhouses partner with Spotify for an exclusive pop-up experience made for their most loyal fans, affectionately known as Carats.
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Billboard can exclusively reveal details for Spotify x SEVENTEEN Present: Carat Station NYC, for Oct. 26 in Manhattan’s Soho neighborhood offering fans an in-person experience through their own whimsical, SEVENTEEN-themed world.
Like the band’s recent pop-up with Spotify in Seoul, the immersive experience will let local Carats explore a fantastical train station in the clouds with special, fan-centric details inside. Attendees can explore interactive kiosks and photo ops, including personalizing your light stick at the Charms Customization Station, indulging in Korean delicacies at the Dining Concourse, and exploring the Carat Street Flower Market that will be exclusive to the NY location.
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“K-pop is now a major global and growing genre on Spotify and our Carat Station pop-ups represent that,” Lucy Davidson, Lead Label Partnerships at Spotify, tells Billboard. “By bringing the activation to New York City, we’re showing SEVENTEEN’s fans around the world that we see them too…Spotify’s Music teams in Korea, the U.S. and Japan worked in lockstep to create unique events in each city that feel both authentic to that particular place and connected to the larger Carat fandom. That’s why you’ll see common threads throughout each experience, but unique elements as well — like the Flower Market kiosk in New York City.”
Spotify will send personal invitations to SEVENTEEN’s top listeners in the NYC area starting today (Oct. 16), and the event will be open to the public at a soon-to-be announced location. Fans can also make reservations which will be honored on a first-come, first-served basis. RSVP at this link here.
SEVENTEEN also shared an exclusive message with their fans reading on Billboard, saying, “Hi Carats! Thanks for stopping by Carat Station in Seoul this past week. We hope you had so much fun! New York, don’t worry! We have a surprise coming your way too. October 26. See you soon!”
“The Carat Station concept was inspired by the idea that the fan journey starts long before the concert begins,” Davidson adds. “Fandoms are built in the hours leading up to the ‘big moment,’ whether through streaming the music, exploring the artist’s stories, watching videos, or connecting with other fans. Every genre has a unique fandom and K-pop is no different. We know New York’s Carats will be looking for insider details in every corner and so we’ve done our best to deliver SEVENTEEN-specific references for them to discover throughout the experience.”
Carat Station NYC runs parallel to the upcoming U.S. leg of SEVENTEEN’s RIGHT HERE world tour that kicks off its U.S. leg with two shows at Chicago’s Allstate Arena on Oct. 22 before two dates at the UBS Arena in New York.
Get ready for Spotify x SEVENTEEN Present: Carat Station NYC with images from the recent Seoul experience below and check out Spotify’s SEVENTEEN WORLD TOUR [RIGHT HERE] playlist.
SEVENTEEN x Spotify Seoul
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SEVENTEEN x Spotify Seoul
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SEVENTEEN x Spotify Seoul
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SEVENTEEN x Spotify Seoul
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SEVENTEEN x Spotify NYC
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In a rare moment of emotional candidness for the K-pop industry, NewJeans member Hanni took to the floor of South Korea’s National Assembly on Tuesday (Oct. 15) to address the issue of workplace harassment and bullying. Testifying before the Labour Committee of South Korea’s National Assembly, the 20-year-old spoke about her and NewJeans’ experiences working under ADOR, the group’s sub-label that’s part of HYBE that also houses the labels supporting BTS, SEVENTEEN, LE SSERAFIM and more.
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Arriving at the Seoul court midday on Tuesday to a media frenzy of eager reporters and photographers, Hanni, who is Vietnamese-Australian, shared in her testimony that she felt undermined and ignored by her company’s management. Recalling the incident she had previously shared during NewJeans’ guerrilla livestream last month, Hanni described how a manager overseeing another K-pop act had instructed the artists to “ignore” the NewJeans singer.
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“We have a floor in our building where we do hair and makeup and, at that time, I was waiting in the hallway because my hair and makeup was done first,” Hanni shared, per the BBC, during the televised parliamentary audit. “I said hello to all of them, and then they came back about five or 10 minutes later. On her way out, [the manager] made eye contact with me, turned to the rest of the group, and said, ‘Ignore her like you didn’t see her.’ I don’t understand why she would say something like that in the work environment.”
Hanni says these incidents were not isolated but part of a broader pattern that left her and her bandmates feeling disrespected. She detailed additional instances where senior HYBE executives failed to acknowledge her.
“Since my debut, we ran into a person in a high-up position many times, but they never greeted me when I greeted them,” she said, sometimes through tears, in her testimony. “I understood from living in Korea that I have to be polite to older people and that’s part of the culture — but I think it’s just disrespectful as a human being to not greet us, regardless of our professional status. There was a certain vibe [of disrespect] that I felt within the company.” Adding that the incidents had her come “to the realization that this wasn’t just a feeling. I was honestly convinced that the company hated us.”
Representing HYBE during the hour-long hearing, current ADOR CEO Ju Young Kim (who replaced NewJeans creator Min Hee-jin as CEO after HYBE’s multiple requests to step down) said she would “listen more closely” to the artists. “I believe I did everything I could,” Kim responded. “But seeing that Hanni felt this way and that the situation escalated to this point, I wonder if there was more I could have done.”
“I was told that because there wasn’t any evidence, there was nothing that could be done,” Hanni explained, per The New York Times. The outlet added that Kim cited her decision based on differing accounts of what happened.
With the K-pop industry infamous for tightly controlled and high-pressure narratives between artists, companies and the media, Hanni’s direct testimony is a unique insight into an artist’s daily experiences beyond the spotlight that can signal hope toward more open conversations about accountability. South Korea’s Environment and Labor Committee of the National Assembly is currently investigating working conditions in the entertainment sector, where labor laws do not cover many performers. During the hearing, An Ho-young, the head of the panel, emphasized the need for lawmakers to safeguard the rights of entertainers.
According to the Korea JooAng Daily, Ju Young Kim, previously in a leadership position in HYBE’s human resources department, expanded on the complexity of handling artists and employees.
“My understanding is that artists are not defined as employees by the law,” she said when asked about anti-harassment regulations for company employees and artists, per Korea JooAng Daily. “We have an internal guidance policy where we explain how constituents, regardless of whether they are employees or not, should respect each other. We are holding regular training programs and using a lot of effort to form our corporate culture.” Kim added that artists cannot use HYBE’s company hotline to report workplace harassment but instead adhere to “an internal guidance policy where we explain how constituents, regardless of whether they are employees or not, should respect each other.”
While NewJeans have actively sided with Min Hee-jin in the executive’s ongoing power struggle with HYBE, Hanni expressed a more universal hope regarding the future of working in K-pop.
“I hope trainees don’t suffer these incidents and that’s why I decided to appear,” Hanni said, according to Reuters. “I know it’s not going to solve all the problems in the world, but if we just respect each other, at least there will be no problems with bullying and harassment in the workplace.”