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As documented from BTS‘ industry-shifting trilogy albums to the multidimensional universes created by the likes of ATEEZ and aespa, storytelling has become a crucial point to help power K-pop acts to top the charts and connect closely with their ever-growing global fanbases. With 20 years in the industry, Jaden Jeong remains so committed to his musical lores that he refuses to abandon them — even years after its original group has effectively dissolved.

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The founder and CEO of Korean-pop label and creative house Modhaus, Jeong’s work touched generations of K-pop fans with various involvement in superstar acts ranging from Lee Hyori and Wonder Girls to INFINITE, NCT, and OnlyOneOf, but most famously found his name associated alongside his work with girl group LOONA. Jeong acted as creative director for the 12-member outfit since its start in 2016, overseeing music and a larger narrative where the outfit introduced each girl through her own solo album. Despite drawing in fans like Grimes, Kim Petras and multiple queens from the RuPaul’s Drag Race franchise, he parted ways with LOONA’s label BlockBerry Creative in 2019 over a vague difference in creative direction. His exit not only marked a shift in LOONA’s sound (from forward-thinking synth and hyper-pop confections) but also abandoned the larger musical lore the 12 were developing (which included officially teased songs, a ballad project, international expansion, and more).

Trending on Billboard

But on Jan. 17, 2025, LOONA members HeeJin, HaSeul, Kim Lip, JinSoul, and Choerry — who recently reformed as ARTMS under Modhaus — dropped their “X1” teaser trailer featuring what fans thought sounded awfully similar to a sound previously teased from LOONA in 2019, the presumably lost track titled “BURN.”

Speaking openly about the behind-the-scenes dealings from the past as well as his future creative directions for the first time with Billboard, Jeong says that he and ARTMS will continue LOONA’s legacy through future music releases and touring beginning with the upcoming digital release of ARTMS’ “BURN.”

All 12 of LOONA’s members have successfully returned to the K-pop scene either as soloists (like members Chuu and Yves) or in a new group (as HyunJin, YeoJin, ViVi, Go Won and HyeJu did for two years as Loossemble), Jeong says he watches over all of their creative moves and is cognizant to be sensitive about the amount work that everyone has put into the group.

While shooting new content for ARTMS’ upcoming music as well as a new album for Modhaus’ experimental 24-member girl group tripleS, Jeong says he’s under the weather but still speaks a fiery passion about his past, current and future work that speaks to detail-oriented-yet-grandiose creative vision.

Why are you and ARTMS releasing “BURN” now when LOONA could not? How did you come to this decision?

I am well aware that many fans were looking forward to “BURN,” and for me as well, as it was the very last project I worked on right before leaving BlockBerry Creative. So, when Modhaus signed ARTMS, we wanted to release this song, it was just that we knew the timing would be important. We didn’t release “BURN” as the first song because if we released “BURN” with the reveal of ARTMS, it could have made it look like LOONA Version 2 and weakened ARTMS’ identity. So, we wanted to start ARTMS’ own story and work to where the story can lead up to its release.

Before we look forward to ARTMS, I’d like to reflect on how we got here. I remember learning your name for being closely associated with LOONA, but you left for somewhat vague reasons. The LOONA members left the label as well. Is there more you can share today?

So, this overall situation is quite tricky to express with words…I feel like my departure, or the reason for it, can sound like a criticism against someone, some organization, or a situation; that’s why I’ve avoided answering. But after all this time, if I were to give a little more insight into this…as you know, the members have left after going through a legal proceeding. You can say my whole situation is similar to what the members went through.

That gives some insight because you’ve explained your system with tripleS and the necessary amount of albums to sell for a unit to release more. It paints a picture of the financial realities facing K-pop acts. LOONA had 12 members, so I’ve heard theories wondering if it was difficult to financially justify the large-scale project you envisioned.

Answering about the financial side might sound like I’m criticizing one party over another, so I will only answer from my own side of things…so, like any other team, you start off the group through investments. Then you go through steps where you’re able to recoup [the investments] and make a profit. In the case of LOONA, I actually marketed it as a very expensive project, a group that would require a lot of money to be invested. However, in actuality, there was very compact spending and budgeting. In mentioning that, you can say, for example, that three billion Korean won [about $2.1 million] is a lot of money, while some can say that is a tight budget — it can change according to perspective. But when I’ve worked on groups, it’s not as if I was only working as the producer, but I had to calculate budget and expenses. There were many members for LOONA and we marketed it as an expensive project despite the consolidated spending, so we believe there could have been some illusions or misconceptions. However, especially considering the 12 members, there was a good turnaround, even financially.

So, what was “BURN” going to be with LOONA and what will it be ARTMS?

For the sake of comparison, tripleS is a group where fans’ decisions and interactions are very involved in creating the journey and next project. However, we planned out LOONA from the start. We had [the singles] “Hi High” and “Butterfly,” which are actually very different in concept and style, but I believe the fans could see how those two songs ultimately emerge and connect. The track after “Butterfly” was meant to be none other than “BURN,” so that’s why the “Butterfly” activities ended with a teaser trailer for “BURN;” this was all planned out.

I never told this to anyone in the world, but after “BURN,” we planned to work on [singles titled] “RUN” and then “ONE.” The three are a trilogy, just like how “Hi High” and “Butterfly” connect. “BURN” is about burning oneself, burning one’s identity away…you know, during puberty, you leave behind and “shed” your younger self? It’s like leaving that part of you behind as you grow in your identity. So, the trilogy is about “BURN” and burning oneself, “RUN” where the 12 members run their individual paths, and “ONE” is when the 12 members come together as “one.” For ARTMS, the story I have is that they came out with “Birth” and “Virtual Angel.” Angels can be interpreted in many different ways — for us, the wingbeat, or the act of flapping the wings, can be viewed as a butterfly. Now, “BURN” is meant to burn these very wings so it’s the perfect follow-up. Or that’s how we view it. [Laughs]

Where does ARTMS go from here?

I don’t want to spoil everything, but snippet videos for “BURN” were filmed in Europe and will be released soon. ARTMS is working on a lot of music that will be intertwined with “BURN.” I don’t want to outright share the spoiler, but you can think of it as something after the burn, something from the ashes, almost like a new self and identity. You’ll just have to see how it goes.

But I also have “RUN” and “ONE” in store, but can’t share everything so you’ll just have to look forward.

Sounds like a phoenix is rising soon. But this is all so fascinating; where do you pull your inspiration from?

I don’t think there is anything special, I am like anyone else: the books from my youth, Hollywood movies these days, advertisements, I get inspiration from many different things. It’s not like I have a special talent related to this. However, I do like new things quite a lot. I gain this sense of enjoyment in showcasing something that has yet to be achieved or never before seen.

Back to the music, ARTMS visited the U.S. last year as part of their Moonshot World Tour. Do you have future concert plans?

ARTMS’ next tour will consist of mostly of all LOONA songs. Fans may be confused as to why there are so many LOONA songs, and why ARTMS is performing it, but as someone who really participated in producing these songs, LOONA has a huge catalog of very good songs and we wanted to keep that legacy going. I wanted to have two concepts within ARTMS, where they can tour with ARTMS but also with LOONA’s music.

ARTMS consists of five of LOONA’s original 12. Is there a way you see the remaining members connecting into this future story?

This might be a sensitive topic because I’m planning new things with ARTMS, but I still have a pretty good relationship with all the members including the soloists. And they’re all doing well in their own personal activities. Yves and Chuu are doing well as soloists, Loossemble may be going through a rocky time now and we’re still maintaining that good relationship, but it’s hard to bring all that together as everyone is doing well in their respective areas.

That being said, we’re getting “BURN,” but you teased other LOONA projects during your time — LOONA the Ballad or La Maison LOONA, music aimed at the Japanese market. Do you keep them in mind for future projects?

Like I mentioned, I do a lot of planning — maybe two to three years in advance. I do have lots of songs in store and some are previously recorded. From the fans’ perspective, it makes me really sad that so many of these songs have not been released to this day. The same goes for me as I was participating in these projects and also put a lot of effort into them — the fact that they haven’t been released yet is still saddening to me as well. I do want to showcase those songs with ARTMS but as mentioned, I don’t want to share straight them from the beginning as we’re still developing the identity of ARTMS. Also, with the unsure situation with Loossemble, we didn’t want to jump into it out of respect, but in the future I do want to integrate those songs into ARTMS’ catalog.

Your career spans 20 years at this point. Is there any moment or release you look at with pride? You collaborated on INFINITE’s INFINITIZE album, which is a high point in K-pop, in my opinion.

I really put everything into that album. The memories of those days live with me so vividly — there is a car in the music video for [lead single] “The Chaser,” where it flipped around a full 360 degrees and that memory is still fresh in my mind.

But one of the things that I liked about INFINITE is that they didn’t use [American] pop as a reference. Even now, you can say it’s a trend for many K-pop groups to mix American pop and hip-hop styles into their music. However, for INFINITE, maybe it was our youthful spirit, but I wanted to make them the standard and identity for K-pop — as in, making Korean K-pop with Korean attributes and without U.S. references. Although doing music 100 percent without U.S. reference would be difficult, admittedly. But we really had such bravado and determination.

Your work has spanned from creative direction, A&R, concept planning and, now, a CEO of your own company with Modhaus. Is there a particular role or aspect you enjoy most?

As many know, I was a freelancer when producing LOONA. Same for the other artists I’ve worked with, I was always contracted with them. I came to realize there is a certain limit to working with, as well as the funds of, other companies. Obviously, I do a lot of step-by-step planning and it was sad that it had to come to an ending. But through all the experiences I’ve gained, I thought I had to create my own company to really get that creative process going, but also support other creatives in their fields to express more of themselves freely in their work. I thought timing for that was right.

Looking ahead, what would you like to share about the future of Modhaus, tripleS, or beyond?

Firstly, when it comes to tripleS, last year we released their full, 24-member album [ASSEMBLE24] and tripleS did their activities as 24 members. Since tripleS has many members, I want to do more activities and more various, different contents with tripleS. All the members have their own brand of charm and characteristics, so there is much more content in store that we want to show to the world.

Regarding Modhaus, I truly want to make it the entertainment company that proposes and showcases new content, concepts and visions. What this means is that — well, there are many entertainment companies and several hundred or dozens of new [K-pop] teams each year. I am sorry to say this, but they are all pretty similar. That’s not necessarily a bad thing, but for tripleS, people can say “Modhaus debuted a 24-member group.” Whether the people like it or dislike it, whatever their reaction is, it is a new concept in Korea or around the world. So, we want to try and pursue a different vision and try different content — the very content that people will say, “I never saw that before” or “I’ve never seen that in K-pop.” We want to pursue and showcase that and succeed with that mindset.

Mrs. GREEN APPLE’s “Lilac” continues to rule the Billboard Japan Hot 100 for the fifth week, on the chart dated Jan. 22.
Downloads, streams and video views for the Oblivion Battery opener are down to 67%, 89%, and 95%, respectively, compared to the week before, but karaoke is up to 104%.  The track holds at the top spot for the third consecutive week and for fifth time in total, with a huge lead over the track at No. 2 and below.

At No. 2 is Rosé & Bruno Mars’ “APT,.” also holding for the third week. While the track is slowing down in downloads, streams and video, it gained slightly in radio and karaoke.

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STU48’s “Chiheisen wo miteiruka?” debuts at No. 3. The title track of the girl group’s 11th single sold 165,727 copies in its first week to hit No. 1 for sales.

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Mrs. GREEN APPLE’s “Que Sera Sera” slips a notch to No. 4. Streams are down to 93% and downloads to 50% week-over-week, but radio and karaoke are up to 170% and 105%, respectively.

“CBZ (Prime time)” by BSS, a group consisting of members SEUNGKWAN, DK, and HOSHI of SEVENTEEN, bows at No. 5. The lead track of the trio’s second single “TELEPARTY” sold 63,797 copies to come in at No. 2 for sales, while also hitting No. 94 for downloads, No. 86 for radio and No. 41 for video. “’Shohikigen,” by SEVENTEEN released last year, also came in at No. 3 for sales, and the track rises to No. 20 on the Japan Hot 100 after six weeks.

In other chart moves, a number of rapper Chanmina’s tracks have climbed the Japan Hot 100 again, due to the final judging of the audition project she’s producing, No No Girls, airing on Jan. 11. “Harenchi” came in at No. 51 and “Never Grow Up” at No. 79. Also, after the movie 366 Days hit domestic theaters on Jan. 10, the song the story was inspired by, HY’s “366 Days,” has returned at No. 84. The last time this classic ballad charted was about six months ago, in July 2024.

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 Jan. 13 to 19, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Argentinians La T y La M and Malandro de America continue its domination on the Billboard Argentina Hot 100 chart, as “Amor De Vago” adds a third week at No. 1 (chart dated Jan. 25).
The song, released Aug. 23 through Zelaya Producciones/Grace Music, earned both artists their first champ when it jumped 2-1 on the tally (dated Jan. 11), three weeks ago. It also earned Malandro de America his first appearance to date.

Bad Bunny’s new album Debí Tirar Más Fotos, which debuted at No. 1 on the Top Latin Albums chart, yields new career records. In addition to activity stemming from 12 songs already on the chart, five others debut. “DtMF,” which leads this week’s multi-metric Hot Latin Songs chart, also leads the recruits, as it flies 62-3 with the Greats Gainer weekly honors.

Trending on Billboard

In sum, Benito places 18 songs on the chart, 17 from the Debí Tirar Más Fotos plus a collab with Rauw Alejandro, ““Qué Pasaría…,” at No. 23. With 18 simultaneous titles, he outdoes himself, and sets a new record for the most concurrent songs since the chart launched in 2018.

Here’s Bad Bunny’s collection of songs on the current chart:

No. 3, “DtMF”No. 6, “BAILE INoLVIDABLE”No. 9, “NUEVAYoL”No. 10, VOY A LLeVARTE PA PR”No. 12, “WELTiTA,” with ChuwiNo. 13, “VELDá,” with Omar Courtz & Dei VNo. 21, “EL CLúb”No. 22, “Qué Pasaría…,” with Rauw AlejandroNo. 25, KLOuFRENSNo. 29, PERFuMITO NUEVO,” with RaiNaoNo. 33, “EoO” (debuts)No. 39, “KETU TeCRÉ”No. 50, “TURISTA” (debuts)No. 52, “BOKeTe”No. 59, “PIToRRO DE COCO”No. 61, “CAFé CON RON,” with Los Pleneros De La Cresta (debuts)No. 65, “La MuDANZA” (debuts)No. 80, “LO QUE LE PASÓ a HAWAii” (debuts)

Two other songs bow this week, starting with Danny Ocean and Kapo’s “Imagínate” at No. 89, and Sebastián Yatra and Bad Gyal’s “2AM” at No. 95.

The lineup for Tomorrowland 2025 is here. The organizers of the Belgian mega-festival released a bill with more than 600 dance acts spanning the genre’s sound spectrum on Thursday (Jan. 23).
The bill includes a load of Tomorrowland regulars including Martin Garrix, Steve Aoki, Armin van Buuren, Charlotte de Witte, David Guetta, Hardwell, Nervo, Nicky Romero and many others. The bill also includes John Summit, Fisher, Amelie Lens, Alok, Agents of Time, Miss Monique, The Blessed Madonna and other artists making mainstage, house, techno, trance, bass and more.

The gentlemen of Swedish House Mafia will perform twice, once as Swedish House Mafia and once as a b2b2b featuring the trio’s members — Axwell, Steve Angello and Sebastian Ingrosso — doing a house set on one of the event’s more intimate stages. Solomun will perform not once but thrice with a weekend one set on the mainstage, a weekend two b2b with Anyma and a third set on the festival’s Freedom Stage.

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Tomorrowland will also offer a flurry of b2b sets from Dimitri Vegas b2b Fantasm, DJ Boring b2b Haai, Kevin de Vries b2b Cassian, Kölsch b2b Artbat and many more.

The festival’s 19th edition happens across two weekends — July 18-20 and July 25-27 in Boom, Belgium. The event typically draws more than 400,000 people over its back-to-back weekends. Tickets for Tomorrowland 2025 go on sale Feb. 1.

Before the festival’s flagship summer edition, Tomorrowland Winter happens March 15-22 at Alpe d’Huez, a ski resort in the French Alps roughly two and a half hours southeast of Lyon. 2025 marks the fifth edition of the event, which will host a crowd of roughly 22,000. 

See the full lineup for Tomorrowland Belgium below:

Tomorrowland

Courtesy of Tomorrowland

Jennie, a founding member of K-pop quartet BLACKPINK, has officially announced her debut solo album, Ruby.
Slated for release on March 7, the highly anticipated project boasts an impressive lineup of collaborators, including Childish Gambino, Dua Lipa, Doechii, Dominic Fike, FKJ, and Kali Uchis.

The album and its star-studded roster of guest artists were revealed on the singer’s social media on Jan. 21 via a teaser video and pre-order launch through her independent label, Odd Atelier.

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Ruby will feature 15 tracks, including her October 2024 single “Mantra,” which reached No. 2 on the Billboard Global Excl. U.S. chart and No. 3 on the Billboard Global 200.

Trending on Billboard

The single marked a turning point in her solo career, setting the stage for what Jennie previously described as her “album journey.”

In a recent interview with Billboard, Jennie reflected on the deeply personal process of creating Ruby. “It’s not nice to be someone who’s always like, ‘I’m sorry, I can’t say anything,’ ” she said of the project she began in early 2024. “I want to say I’m almost there.” Acknowledging the challenges she faced along the way, she added, “I’m just going to say, ‘I don’t do well with time.’”

Since debuting with BLACKPINK in 2016, Jennie has been part of their stratospheric rise to global fame. BLACKPINK’s groundbreaking achievements include becoming the first K-pop girl group to perform at Coachella in 2019 and the first South Korean girl group to top the Billboard 200 with their second album, Born Pink, in 2022.

In late 2023, Jennie launched Odd Atelier and partnered with Columbia Records, giving her the creative freedom to pursue her solo aspirations.

“While I was on my last BLACKPINK tour, I couldn’t stop myself from starting to plan ahead,” Jennie said. “I listed out the things that I want in my life and started pinpointing, or prioritizing, what’s my very next step. And instantly, I was like, ‘I still haven’t accomplished the dream of releasing a solo album.’ I wanted to satisfy myself by achieving that goal.”

In addition to releasing long-awaited solo music, Jennie also made her acting debut back n 2023 in the HBO drama series The Idol and was named an honorary Member of the Order of the British Empire. In March 2024, she also teamed up with Brockhampton’s Matt Champion to release a collaboration, titled “Slow Motion.”

ONE OK ROCK surprise-dropped a new song called “Puppets Can’t Control You” on Sunday (Jan. 19). The four-man band’s latest release is the second lead single from its upcoming new album DETOX, due Feb. 21. The track is being featured as the theme song for the TBS drama series Mikami Sensei, which started airing on […]

Coldplay’s Chris Martin thanked his Indian audience on Saturday (Jan. 18) for “forgiving” British colonialism, as the band’s Music Of The Spheres dates kicked off in Mumbai.  The band performed at DY Patil stadium in Mumbai to 75,000 fans, where Martin expressed his gratitude for a warm welcome, despite Britain’s past colonial rule in India. […]

Benson Boone’s Australian tour reached a memorable peak on Jan. 20 when the 22-year-old pop sensation embraced one of the country’s most infamous traditions: the shoey.

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During his sold-out performance at Sydney’s Hordern Pavilion, Boone paused the show to drink water out of a cowboy boot, sending the crowd into a frenzy. For the unfamiliar, the shoey—a ritual involving drinking from a shoe—has become a hallmark of Australian concerts.

While typically involving beer and a fan’s shoe, Boone opted for a sanitized twist, using bottled water and a clean cowboy boot. In widely shared TikTok footage, Boone was seen pouring bottled water into a cowboy boot, pausing to ask the owner, “How much water do I put in it? Do you want me to put water in your shoe?”

Trending on Billboard

With the crowd cheering him on, he quipped, “Okay—when in Australia,” before raising the boot to his lips. After downing the water, Boone returned the boot, adding, “Not bad, not bad. You have very good hygiene, miss, thank you.”

Boone’s shoey also places him among a growing list of international stars who have embraced the peculiar tradition. Harry Styles kicked off his 2023 Australian tour by sipping from a sneaker, calling it “one of the most disgusting traditions” he’d encountered. Post Malone and Stormzy have also participated, much to the delight of their fans, while Kylie Minogue famously performed a shoey out of a high heel at the Brit Awards.

The moment came as part of Boone’s Fireworks and Rollerblades World Tour, which includes performances in Melbourne, Brisbane, and Auckland throughout January. The tour comes amid a remarkable year for Boone, whose single “Beautiful Things” dominated Billboard’s charts in 2024, spending seven weeks at No. 1 on the Billboard Global 200 and eight weeks atop the Global Excl. U.S. chart.

The single earned Boone the Top Billboard Global 200 Song and Top Billboard Global Excl. U.S. Song accolades at the 2024 Billboard Music Awards.

“What’s up? Billboard, it’s Benson Boone. Thank you so much for this award. The most streamed song of 2024 is pretty ridiculous. This is the award right here. I cannot believe you guys,” Boone said in a virtual acceptance speech for his awards last month. “Thank you. Thank you. Thank you. I’m sorry I could not be there in person. You caught me right in the middle of tour, but I love you guys more than you know, and I hope that you love the music that continues to come this year. So thank you so much. Enjoy the rest of the show. Peace.”

Chart-topping Japanese pop group BE:FIRST is finally expanding onto the global stage with their first-ever world tour.
Following the boy band’s eight No. 1 hits on the Billboard Japan Hot 100 chart, Billboard can exclusively reveal that BE:FIRST is embarking on a world tour this year titled -Who Is BE:FIRST?-. Launching on April 22 in Los Angeles, the trek will span 15 cities across North America, Europe and Asia to mark a major move in the J-pop stars’ international ascent.

Managed by Tokyo-based agency BMSG, the septet consisting of Sota, Shunto, Manato, Ryuhei, Junon, Ryoki and Leo debuted in 2021 after winning fans through the reality singing competition The First. BE:FIRST’s first-ever single, “Gifted.,” topped the Billboard Japan Hot 100, leading the band to millions of views on YouTube, and collaborations with fellow chart-toppers like English DJ and producer Jonas Blue and two singles with K-pop boy band ATEEZ. Through their three years together, and with a mix of feel-good pop, intense EDM, futuristic hip-hop and classic R&B, the seven-member group has carved a multifaceted musical identity that’s garnered millions of social-media followers and fans — or BESTY, as their fans are affectionately known.

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“We are excited to announce that BE:FIRST will be embarking on a world tour,” the guys tell Billboard exclusively. “As BE:FIRST, we’ve had very few opportunities to perform outside Japan so we’ve been eagerly looking forward to holding our first-ever world tour! We’re truly excited to see how international BESTY will react to our music and performances. In addition to sharing our music, we’re especially looking forward to the stage talk during our shows — talking about the local culture, sharing memories in the cities we visit and creating unforgettable moments together!”

Trending on Billboard

“BE:FIRST was founded with the goal of delivering world-class dance and vocals — a vision they have pursued since their audition process,” says legendary rapper-producer SKY-HI, the CEO of BMSG who also acts as BE:FIRST’s main producer.

“With the support we’ve received through their activities in Japan and the success achieved so far, BE:FIRST is now ready to embark on their first-ever world tour. As the producer of BE:FIRST, I am confident that their music, performance quality, and attitude align with global entertainment standards, and I deeply appreciate the high praise they have received so far. At the same time, we remain aware that we are still a young and emerging presence in the industry. Having sparked a sensation in Japan in 2021 and 2022, BE:FIRST is determined to recreate that excitement on the global stage, embarking on this journey as fresh newcomers. We deeply appreciate your continued support. At BMSG, we proudly represent Tokyo, Japan, and we see this as an opportunity to make the world a more exciting place. By showcasing the power of creativity, we will continue to uphold our ‘creative first’ philosophy. We hope you look forward to what’s to come.”

In addition to live concerts in new countries and continents, BE:FIRST has also lined up representation outside of Japan with Steel Wool Entertainment, the management and media agency whose clients have included Anderson .Paak, Hayley Kiyoko, Amber Liu and more.

“I flew into Osaka to see BE:FIRST and was blown away by their stage presence and knew that we had to work with them,” says Steelwool CEO and founder Kevin Morrow. “I can’t wait for the world to see what I saw on their upcoming tour.”

In the meantime, the BE:FIRST members want their fans to stay healthy and send BESTY-approved recommendations for their cities.

“Please take care of your health, and let’s enjoy the show to the fullest!” BE:FIRST adds. “And if you have recommendations for delicious local food or great places to visit in your area, let us know — we’d love to explore during our stay! We’re all so thrilled to meet you soon!”

Fans can look forward to different VIP packages available for the tour, as well as BE:FIRST’s upcoming single “Spacecraft,” set for release in February. The track follows the group’s recent Top 5 Billboard Japan Hot 100 hit “Sailing,” a collaboration with the popular animated manga series One Piece.

Read on for the full tour dates and on-sale ticket information across regions, as well as more tour information on BE:FIRST’s official site here.

-Who is BE:FIRST?- 2025 World Tour dates:

4/22/25 – Los Angeles, CA, USA – The NOVO4/23/25 – San Francisco, CA, USA – The Regency Ballroom5/15/25 – Taipei – Zepp New Taipei5/24/25 – Bangkok – Samyan Mitrtown Hall6/1/25 – London, United Kingdom – O2 Forum Kentish Town6/3/25 – Paris, France – Bataclan Theatre6/4/25 – Amsterdam, Netherlands – Melkweg6/6/25 – Frankfurt, Germany – Batschkapp6/9/25 – New York, NY, USA – Webster Hall6/10/25 – Philadelphia, PA, USA – Keswick Theatre6/14/25 – Chicago, IL, USA – Copernicus Center6/17/25 – Honolulu, HI, USA – Hawaii Theatre6/28/25 – Hong Kong – TBD7/5/25 – Singapore – Capitol Theatre

Ticket On Sale Information:

North America:Artist Fan Club Presale: Tuesday, Jan. 21 at 1:00 a.m. PST – Thursday, Jan. 24 at 5 p.m. PSTGeneral Onsale: Friday, Jan. 24 at 10 AM local

Europe:Artist Fan Club Presale: Tuesday, Jan. 21 at 1 a.m. PST to Thursday, Jan. 24 at 5 p.m. PSTMastercard / LiveNation Presale: Wednesday, Jan. 22 at 10 a.m. local to Friday, Jan. 24 at10 a.m. localGeneral Onsale: Friday, Jan. 24th at 10 a.m. local

This week’s ARIA Charts are brimming with milestones, with Sabrina Carpenter and Rosé breaking records while global superstar Bad Bunny makes a splash on the Albums Chart.

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Sabrina Carpenter’s Short N’ Sweet is proving to be a sugar rush for fans, holding strong at No. 1 on the ARIA Albums Chart for 10 non-consecutive weeks. The pop star’s addictive blend of catchy tracks has turned the album into a chart staple since its release in late August.

With 11 of its 12 songs cracking the top 40—including No. 1 hits like “Espresso,” “Please Please Please,” and “Taste”—Sabrina’s got the secret ingredient for success. Even “Bed Chem,” the album’s fourth single, hit No. 10, proving she can keep the hits coming. Short N’ Sweet is truly the gift that keeps on giving.

Trending on Billboard

Over on the Singles Chart, Rosé and Bruno Mars are holding court with their duet, “APT.” The infectious track secured its 10th non-consecutive week at No. 1, firmly establishing itself as the song of the summer Down Under.

The success of “APT.” extends beyond just the Australian charts. Globally, the track has been a powerhouse, topping the Billboard Global 200 and Billboard Global Excl. U.S. charts for an 11th week each. In November, the song debuted as the stars’ second leader on each list.

For Rosé, it’s her first solo chart-topper, adding to her success with BLACKPINK’s 2022 No. 1, “Pink Venom.” Bruno Mars, meanwhile, continues to rack up accolades, with “APT.” marking his fourth No. 1 single in Australia and his longest-running yet.

Puerto Rican superstar Bad Bunny is also making noise on the ARIA Albums Chart with his seventh studio album, Debi Tirar Más Fotos.

The record skyrocketed from No. 99 to No. 16, marking Bunny’s first appearance in the ARIA Top 50. A three-time GRAMMY winner and Spotify’s most-streamed artist from 2020 to 2022, Bad Bunny’s influence knows no bounds. His latest album has already made a mark on the Billboard Charts, debuting at No. 2 on the US Billboard 200, marking Bad Bunny’s seventh top-ten entry.