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Mrs. GREEN APPLE’s “Lilac” holds at No. 1 on the Billboard Japan Hot 100, dated Jan. 15, extending its reign atop the chart to four weeks.
The Oblivion Battery opener saw an increase in streams, video views and karaoke plays this week. Streaming and video both gained by around 20% compared to last week, and the song dominated downloads, streaming, video and karaoke, while coming in at No. 19 for radio. 19 songs by the three-man band are charting on the Japan Hot 100 this week, including three more in the top 10 — “Que Sera Sera” at No. 3, “Bitter Vacances” at No. 5, and “Soranji” at No. 10.
Rosé & Bruno Mars’ “APT” also holds at No. 2. Streams for the long-running hit, which topped the Billboard Global 200 for the 11th week, increased 30% from the week before, and charts in the top 5 for the seventh week. The track comes in at No. 7 for downloads, No. 2 for streaming, No. 15 for radio airplay, No. 2 for video, and No. 27 for karaoke.
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Kis-My-Ft2’s “Curtain call’ debuts at No. 4. The boy band’s 32nd single launched with 121,351 copies to rule sales, while coming in at No. 45 for radio. Lienel’s fifth single “Go Around The World” also bows at No. 6, selling 73,952 copies to hit No.2 for sales and also coming in at No. 26 for radio.
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The song that ruled the radio metric this week was “Sakura, Hirari” by veteran band Southern All Stars, which held the top spot for a second week. The lead single off their upcoming new album THANK YOU SO MUCH, due in March, gained about 70% in radio airplay from the week before. Streams and video views also increased and the song rises 28-25 on the Japan Hot 100.
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. 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Nora Fatehi and Jason Derulo have kicked off 2025 with a single designed to combine cultures. On Thursday (Jan. 16), the Bollywood superstar and veteran hitmaker unveiled “Snake,” a thumping dance collaboration that joins East Asian melodies with American dance-pop production, creating a sensual duet with global aspirations.
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Fatehi tells Billboard that the track came courtesy of a discussion with producer Tommy Brown (Ariana Grande, Victoria Monét) about finding a sound that could unite audiences in different regions of the world. “My main word was ‘exotic,’ and I wanted to make sure that it was dance-oriented — that whoever heard the song would want to move,” she recalls. “And after finishing the song, we were thinking about which artist would really be a good collaborator, and Jason’s name came up. And I’ve been a fan, and someone who’s really appreciated his journey, for a very long time.”
“I’m always looking for music that speaks to me on a different level, and that’s a little left-of-center,” Derulo adds. “When I heard this for the first time, I was like, ‘Oh, s–t. What’s this? This sounds really different, and really cool.’”
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Fatehi signed a label deal with Warner Music Group in February 2024 after the Toronto native of Moroccan descent moved to India and became a Bollywood staple, with over a dozen film credits and 47 million Instagram followers. After performing in Hindi, Telugu, Tamil and Malayalam films, watching her Bollywood songs explode on YouTube and sharing English-language solo tracks as an independent artist, Fatehi says that the Warner deal last year helped kick-start plans for a global music career.
“I’m hoping for bigger tracks and bigger projects, and this [single] essentially introduces me to the international market in a very unique way,” Fatehi explains. “It allows people to know what I bring to the table as a performer, as a dancer, as a singer. … Bollywood made me the artist I am today, and I love to bring those elements into my artistry.”
Meanwhile, Derulo — who released Nu King, his first album in nine years, in 2024 — says that the opportunity to hop on “Snake” resulted in a greater knowledge of Bollywood, and made him appreciate Fatehi’s performance chops, particularly as a fellow dancer. “I dove into Nora’s world, and got a chance to watch her music videos and watch her in Bollywood [films] and see who she was as an artist, and was blown away,” he says. “I don’t think people are ‘performers’ anymore — it’s a really sad fact. But to find a performer like Nora? Good luck trying to find another performer who can sing and dance at that level.”
Those skills are on display in the “Snake” music video, which was filmed in Morocco over the course of two days and blends shape-shifting visual effects with a mix of bellydancing, hip-hop and Bollywood choreography. “I learned a lot from him on set,” Fatehi says of Derulo. “He’s been doing this for over 15 years, and still has the work ethic and seriousness on set to perfect every detail. I was very inspired.”
While Fatehi is planning for “Snake” to kick off a year with more English-language music as part of her Warner deal, Derulo is also prepping new music, this time with an old friend: J.R. Rotem, who helped deliver Derulo’s 2009 Hot 100 chart-topper “Whatcha Say” to the masses and helmed his 2010 self-titled debut album before they went their separate ways.
“It’s the first time I’ve worked with him in 15 years,” Derulo says. “We put aside our differences, and it’s been incredible to work with him again. We just did a week in Miami, and [worked on] some of the most amazing songs that I’ve done in a long time. I’m really excited about the new music, and the new album that’s coming in ’25.”
Day 2 of MUSIC AWARDS JAPAN, the largest international music awards in the country set for May 21 and 22 at Rohm Theater Kyoto, will be broadcast live on NHK, and both days will be streamed worldwide on YouTube (excluding some regions), it was announced Thursday (Jan. 16) Japan time.
In addition to the previously announced awards recognizing a wide variety of works in eight categories and 50 divisions, prizes have been added in new categories including the “Co-creation categories” linked to companies involved in music.
Toyota Group has been confirmed as a top partner, Kinoshita Group and NTT DOCOMO, Inc. as gold partners, and Kyoto University of the Arts (Uryuzan Gakuen) as a silver partner. Prize partners set to establish their own divisions in the co-creation categories include XING Inc., DAIICHIKOSHO Co., Ltd., JASRAC (Japanese Society for Rights of Authors, Composers and Publishers), Spotify Japan, and USEN Corporation. In addition, TimeTree, Inc., IRIS Inc. (TOKYO PRIME), LIVE BOARD, Inc., and LY Corporation will be media partners, JTB Corp., Space Shower Networks, Inc., and RecoChoku, Co., Ltd. will be project partners, and companies related to the music industry will support the awards as music industry partners.
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In the newly established co-creation categories awarded in collaboration with prize partner companies involved in the music industry, the best song will be chosen from among those enjoyed by general listeners on karaoke and cable broadcasting. Furthermore, the award for “Best Viral Song” celebrating songs that became popular after going viral on TikTok, and the “Radio Special Award” chosen by radio directors and radio DJs in collaboration with radio stations nationwide, have also been announced.
Details of the general voting (Listeners’ Choice) categories, where general listeners can participate in the selection process through Spotify’s voting function, have been revealed as well. Along with the two previously announced awards decided by general vote from Spotify users from both within and outside Japan — Best of Listeners’ Choice: Domestic Song powered by Spotify and Best of Listeners’ Choice: Global Song powered by Spotify — the nominees for the Top Global Hit From Japan category, one of the six main categories that celebrates domestic songs that have become hits around the world, will be selected through votes from Spotify users outside of Japan.
Co-creation categories
Karaoke Special Award: Karaoke of the Year powered by DAM & JOYSOUND: An award honoring songs sung the most at karaoke. The top 30 songs sung the most on DAM and JOYSOUND during the target period will be eligible, and the song sung the most on DAM and JOYSOUND during the Karaoke Special Award tallying period after the nominees have been announced will be chosen as the best work. (Two divisions, J-Pop and Enka / Kayōkyoku, are planned.)
Request Special Award: Oshikatsu Request of the Year powered by USEN: An award honoring the song that received the most requests on the USEN Oshikatsu Request Ranking. The song that received the most requests on the year-end USEN Oshikatsu Request Ranking will be awarded as best work.
Creators Special Award: Song of the Year for Creators presented by JASRAC: An award honoring the creator of the song that received the largest distribution of royalties from JASRAC. This award will be given to the creator of the song from among those entrusted to JASRAC for copyright management which received the largest distribution of royalties for 2024.
Song category
Best Viral Song: This award celebrates songs that went on to attract general attention after having gone viral through their use in videos and posts on TikTok. The best song will be selected from the top 50 songs chosen based on an original chart that combines the number of times they were used on TikTok and the total number of views on videos using the songs.
Alliance category
Radio Special Award: An award honoring songs that radio directors and radio DJs think are musically creative and artistic. The directors and DJs of music programs on 53 FM radio stations will each recommend up to three songs, and the top ten with the most nominations will be eligible. All the directors and DJs of the radio stations that recommended the songs will vote to decide the best work.
General voting categories
Best of Listeners’ Choice: Domestic Song powered by Spotify: An award given to the best song decided by general vote from Spotify users from both within and outside Japan.
Best of Listeners’ Choice: Global Song powered by Spotify: An award given to the best global song decided by general vote from Spotify users from both within and outside Japan.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
The event on May 22 will be broadcast live on NHK.
Events on both days will be streamed globally on YouTube (some regions excluded).
Tamer Ashour’s journey to becoming a celebrated singer was marked by twists of fate far beyond his expectations or plans. In the early stages of his career, Tamer was deeply focused on his goals as a composer. He poured determination and professionalism into crafting melodies for other artists and strived to deliver his best with each composition. Before the public even knew his name, his voice began to resonate through the streets of Cairo, his hometown, capturing hearts and attention.
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Two decades ago, as a composer, Tamer Ashour recorded demo versions of songs he had written for other artists. During a time when the Internet was gaining traction in the region, forums enabled users to download audio clips directly, and Bluetooth technology allowed songs to be shared across mobile phones. Amid this technological shift, Tamer was stunned to discover that some of his demos, featuring his own voice, had been leaked on forums and websites. Songs like “Zekrayat Kadaba” (“False Memories”),” Thania Wahda” (“One Second”), “Senin El Shoq” (“Years of Longing”) and “Albak Ya Hawl Allah” (“Your Heart, Oh God”) began circulating widely, gaining popularity even though the identity of the singer behind them remained a mystery.
This unexpected turn of events left Tamer, who had never intended to step into the spotlight as a singer, feeling conflicted. He recalls a time when he closely monitored the spread of his voice, allowing it to resonate with audiences before officially stepping into the spotlight to launch his career as a singer. Eventually, he connected his face to the voice that had already resonated with the public and released his debut album, Sa’b. Success followed with albums and hits like “Leya Nazra” (“I Have Insight”), “Esht Maak” (“I Lived with You”) and “Ayam” (“Days”). Alongside his singing career, Tamer thrived as a composer, collaborating with some of Arabic music’s most prominent artists to create melodies that became unforgettable. His compositions include “Ya Reatak Fahimny” (“I Wish you Understand Me”) and “Lawha Bahetah” (“Faded Canvas”) by Angham, “Min El Aasham” (“Out of Hope”) by Amr Diab and “Hikayti Maak” (“My Life with You”) and “Ana Sekketen” (“I Have Two Sides”) by Elissa.
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In our in-depth, half-hour conversation with Tamer Ashour, the star featured on the December cover of Billboard Arabia, he consistently speaks of his career as being shaped either by destiny or a series of fortunate coincidences. Yet, if you pay close attention to his words and perspective, you will quickly see that they reflect both humility and realism. This humility shines through as he speaks with great appreciation about his fellow stars, the artists he has worked with, and the young talents he hopes to support or collaborate with in the future. Even when discussing his own successes, such as his recent hit “Haygely Mawgow” (“You’ll Come to me Broken”), Tamer remains grounded.
After nearly two decades in the music industry, marked by steady and quiet successes, “Haygely Mawgow” emerged as a turning point in Tamer’s career. The song became his biggest hit to date, as demonstrated by its impressive streaming numbers across various platforms and the enthusiastic interaction at live performances. By the end of the year, just two weeks before our interview, the song had won the Song of the Year award at the 2024 Billboard Arabic Music Awards. It also claimed the Top Egyptian Song award, with Tamer leaving the ceremony with two prestigious trophies, a testament to the song’s immense success.
In addition to these awards, the creators behind the work were also recognized for their contributions. Aleem received the Best Lyricist award, while Amr El Shazly was named Best Composer. Tamer took pride in acknowledging their contributions during our conversation, also confirming that he would continue collaborating with these talented names, as well as other diverse collaborators, for his upcoming album, Yaah, slated for release in early 2025.
As his new album is set to be released independently, Tamer Ashour shared his recent experience with independent production, a trend we have seen grow over the years and discussed with many Arabic artists, including Angham, Elissa, Nassif Zeytoun and others. Ashour expressed a unique satisfaction in working outside of major production houses, as it gave him full control over his creative direction. This autonomy allowed him to take responsibility for his decisions and vision, and with that, the credit for his successes, which he feels are sometimes stifled by larger production houses. When talking about releasing independently, he says, “The production experience has been the best of my life in the last ten years. It means you are responsible for yourself, without anyone telling you that you failed or undermining your success. Production houses have always done that, and that was the assurance they offered.”
When discussing his songs and his most notable hits, Tamer Ashour refrained from labeling his songs as “sad” and instead preferred the term “drama,” a description he used frequently, as if it were an artistic genre in its own right. “The Arab audience generally gravitates toward songs with a sense of sadness. They do not necessarily have to be sad, but the songs that endure and make singers successful have always been dramatic – not cheerful or upbeat hits. What lingers in the listener’s mind is the emotion of sadness and drama, across all genres, even with popular singers,” he said. He goes on to explain: “Even popular artists during their peak success, like Mr. Hassan Al Asmar, for instance, had the world dancing to songs like ‘Kitab Hayati Ya Ain,’ a dramatic song. There are many examples from that era. The songs that helped them rise to fame and establish their names in the industry were all dramatic in nature, but they were crafted in ways that suited the style they were presenting.”
Tamer Ashour
Mazen Abusrour/Billboard Arabia
Tamer speaks extensively about the concept of the dramatic song and how it has become deeply intertwined with his artistic identity, shaping the path he follows. While he releases emotional and romantic songs, he understands the expectations his audience has of him. He also emphasizes that crafting a dramatic song is not something that happens effortlessly; it requires a solid foundation, with careful attention to the lyrics, melodies and performance style. When we jokingly ask if his success in this genre means he has discovered the secret to the perfect formula, he responds: “It is not the secret to the mix. This is from Allah. There are no specific things I do to make the song come out the way you hear it. People just love my voice in dramatic songs.”
Tamer Ashour
Mazen Abusrour/Billboard Arabia
Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work, in the same spirit as Billboard’s annual Women in Music celebration that has continued since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project, with the first 30 sessions published as a “Billboard Japan Presents” collection by writer Rio Hirai.
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J-pop singer-songwriter miwa spoke with Hirai for the latest installment of the WIM interview series. The 34-year-old musician has taken the stage at Billboard Live every November for the past few years for her “miwa CLASSIC” concert series. The singer and actress celebrating the 15th anniversary of her career this year recently moved to Canada. She shares her views on the driving force behind her 15 years of changes and challenges.
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This interview, in Japanese, is also available in podcast form on the Billboard JAPAN Spotify and YouTube channels.
You made your debut while you were a university student, and performed at the historic Nippon Budokan for the first time in March of the year you graduated. You’ve established yourself as an artist in your twenties and thirties, which is a period when the stages of women’s lives change greatly in general.
When my friends were looking for jobs (before graduating), I was thinking, “I’m going to make a career out of music,” but still felt like a student in some ways. I became more and more professional as I focused on music as my sole career. As the years went by, I felt a stronger sense of responsibility towards my fans. What hasn’t changed is my desire to keep taking on challenges. I started going to graduate school a decade after getting my undergraduate degree, and moved to Canada last fall. I also try my hand at new genres of music. I don’t want to be fixated on just one thing, and want to keep moving forward.
Why are you able to keep taking on new challenges?
It occurred to me that ramen restaurants that always have queues are constantly updating their flavor and continually improving. When you think, “This taste’s great, as always,” it actually means the flavor has improved from last time. I realized this when I was talking to a hair and makeup artist, and began to think I wanted to be an artist like that. Someone who can always improve and shine more and more. I want to be an artist who can grow little by little in that way.
I’d like to talk a little about the Billboard Japan charts. On the 2023 year-end Japan Hot 100 song chart, there were 64 entries by male artists, 19 by female artists, 16 by mixed groups, and one by an artist whose gender wasn’t disclosed. This ratio hasn’t changed significantly for many years. This Women in Music interview series was inspired by the question of why this is the case, when there are so many wonderful female artists like yourself in the Japanese music industry. Were you aware of this gender imbalance on the charts?
I’ve never been aware of it. Regarding gender inequality, I’ve felt that opportunities are limited for female artists at rock festivals. There’s a big hurdle there. I’ve used adversity as an impetus, believing that if I have the ability, I’ll be able to overcome it.
How do you think being a woman has affected your life?
I think there are so many changes. My values are so different from when I was 19 and just getting started, and the things I want to I cherish now and the way I use my time are completely different. I’ve changed so much more than I could have imagined when I was 19 — even the country I live in isn’t the same now. That’s why it’s probably important not to be stubborn or be fixated on things. There will times when things don’t go the way you want them to, but if you can accept that, I think it will give you strength.
If you were to give advice to yourself when you were first starting out, what would you say?
Well, in my first year, I was so busy with so many things that I didn’t know what to do and just threw myself into the work in front of me. There were lots of things I couldn’t do well, and there were times when I was so frustrated that I’d cry as soon as I got off the stage. I just had to gain experience. I’m the kind of person who practices a lot, so I tried to be fully prepared at all times and kept practicing hard.
So 15 years of doing that has led to who you are today. What do you think is necessary for women to thrive in this country’s music and entertainment industry?
In the course of a woman’s career, there will inevitably be periods when she has to take some time off, and I think it’s going to be very important to think about how to support them during those periods of absence. Looking at women’s careers in the long term, support from the people around them is key to ensuring they can continue to work without interruption.
You studied at the graduate level at Keio University’s Neurosciences and Music Laboratory and graduated in March 2023. How did your experience at graduate school affect your current activities?
I had the opportunity to talk with younger classmates, and it was such a good experience to relearn things. I was very happy to learn that efforts are being made to seriously consider music from various perspectives and try to prove it scientifically. It’s been scientifically proven that music can be effective in helping people lead happy lives, and I was able to feel the potential of music all over again. I chose to research live performances, and studied why people are moved by them. I was able to realize once again that the things I’m trying to convey are reaching the audience, and that their feelings of support and being moved by the performance also reach the artists onstage.
What would you like to try next?
The challenge is whether I can make going back and forth between Canada and Japan work. Living abroad has always been a dream of mine. This year is the 15th anniversary of my career, so I want to meet my fans in person and share some time with them.
Lastly, please give a message to women everywhere.
There are so many changes and choices in the way women live their lives, and I think it’s up to each individual to choose the path they want to take, but there may be times when people say things to you based on your age or what’s considered the norm. But I believe that the moment you can truly feel happy about having come into this world is when you believe in your own choices and live your life as you are. So let’s live together, confident about what we choose, not comparing ourselves to others and not bound by age or what’s considered the norm, believing in our own choices.
That was a really lovely message. Have you always had faith in your own choices in life?
Well, I think that when you’re in doubt, you have to trust yourself. Even if you make a mistake, if you can go, “This is the path I chose, so I’ll just correct my course,” then you can try again from there. There are many different paths in life, so if the door you open happens to not be the one, you can just look for a completely different door and go down that path.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
The Chemical Brothers’ music has been loved by the cinema and video games since the beginning, when in 1995 “Chemical Beats” ended up in the soundtrack of the PlayStation game Wipeout. The latest such appearance is in the film Sonic the Hedgehog 3, where “Galvanize” sounds perfect in a scene with Jim Carrey dancing among laser beams. Tom Rowlands has already worked on commission for some directors such as Darren Aronofsky for Black Swan and Joe Wright for a theatrical production and for the film Hanna, in the latter case paired with Ed Simons (the other half of the Chemical Brothers).
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But this new adventure was really a challenge. With the usual English irony Tom defined “an act of intimidation” the request of director Joe Wright to score the new Sky Original series Mussolini: Son of the Century, based on the novel M. Son of the Century by Antonio Scurati, which was recently released in Italy. The series tells the story of the birth of fascism in Italy and the rise to power of Benito Mussolini. The challenge was won, because the Chemical Brothers-style tracks perfectly amplify the emotional and sometimes tragic scenes.
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Working with Joe Wright seems to have become a regular occurrence.
True! Ed and I worked together on his film Hanna and then I composed the background music for Joe’s adaptation of Bertolt Brecht’s famous play Life of Galileo, an experience I really enjoyed. I like working with Joe: I still remember him when he followed us on our first important tours, all three of us were kids… Suddenly one day he sent me M., Antonio Scurati’s book. I was hooked from the first pages, it’s a fantastic book! I studied history at university and I immediately realized that Joe’s gesture of offering me this reading was a real challenge, because M. is not only a long book but above all dense and profound. Plus, I’ve always been attracted by the history of that period.
So was it easier for you to feel involved in the project?
Yes, but I could also say that making me read M. was also a sort of intimidating act. First of all because I have never worked on a text that deals with a specific historical event, then because the rise of fascism and the figure of Mussolini are certainly not easy historical topics to deal with. Composing this soundtrack was a serious task. I was very excited at the idea of taking on a challenge so different from my previous ones, and for a project that started from such a powerful book.
The compositions you created for the series are very precise in commenting on the scenes in which they are inserted. Did you start working on the sound even before shooting?
That’s right: Joe Wright and I started talking about ideas and musical themes with just the script in hand. It was a long process of ideas, plus I was interacting with a person who is also a true friend in addition to being a great talent. I tried to give shape to his ideas, because this series is the fruit of his vision.
The soundtrack has very rhythmic sound comments – Chemical Brothers style – and not many melodies.
There are melodies! But they are a bit convoluted, they are never obvious. The main theme is all based on a precise and constant rhythm.
The theme is close to the sound of fascist marches but also takes up the ideas of futurism.
Of course, Joe and I discussed the difference and the relationship between noise and music, which was a theme dear to the futurists. I certainly would never have associated a “floral” sound movement with the advent of fascism!
You stated that part of the soundtrack was made by making old acoustic instruments interact with modern electronics.
Right. I developed a system in my studio where I can have total control of all the information I receive by making my technology interact with traditional instruments such as strings and piano. What we were describing musically was a certain past that really happened. When I met Antonio Scurati he was absolutely in agreement with this creative process, as well as the fact that for (this series) all modern electronics were used to tell not an imaginary world but historical facts, the songs often comment on words taken from real speeches by Mussolini.
The tracks are sometimes very short sound comments. Was it difficult to work on them?
Yes, that was also a real challenge. But that’s why I like working on soundtracks: it’s a very different process. I’m also intrigued by being able to comment on the change of emotions during a scene: you can easily go from a sense of calm to one of terror in a few moments, whereas in a song you often try to create only one type of emotion or feeling.
The impression is that in the second part of the series the music becomes increasingly dramatic, as the historical events do.
I tried to musically describe a very complex historical period where a leader conquers the people – part of the population also found Mussolini a funny man – and then comes to total control of the Italian state after the killing of the MP Giacomo Matteotti. I also tried to convey the director’s and writer’s vision: I hope I did it coherently with that.
What do you think of the Oasis reunion?
I’ll be honest: it’s crazy! My kids and their friends are really desperate to get a ticket because that’s a generation that has never seen the Gallagher brothers on stage together. I’ve known Liam and Noel for years, I’ve been to their concerts many times and it’s always been great to be there, but this time the level of hysteria reached to get a ticket here in Great Britain is truly incredible. Speaking of people from Manchester, my kids would love to see The Smiths reunite too!
Which Oasis albums do you like the most?
Whatever age you are, even just 17, Definitely Maybe is still an incredible album: listening to it is as if the songs were speaking directly to you. I’m sure that this effect is triggered also in the new generations. But the second album is not bad either. They are their two masterpieces.
Will we hear new Chemical Brothers music anytime soon?
It’s too early. Ed and I have to take our time, as always. When we release music, we want to make sure it’s music we really love! We’ve never limited ourselves to putting out productions just for the sake of it. And that’s still true today.
Rosé and Bruno Mars’ are making chart history with their duet “APT.,” which continues its reign at No. 1 on the ARIA Singles Charts for its ninth non-consecutive week. The track now holds the title of the longest-running No. 1 duet since Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” dominated for 10 weeks back in 2020-21.
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The milestone cements “APT.” as one of the most iconic duets of the decade, holding its own amidst fierce competition from Gracie Abrams’ emotional anthem “That’s So True” and Mariah Carey’s holiday staple “All I Want For Christmas Is You,” which had a brief resurgence during the festive season.
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Sabrina Carpenter is also celebrating a landmark moment with her album Short n’ Sweet. The record has now notched nine non-consecutive weeks at the top of the ARIA Albums Chart, making it the longest-running No. 1 album by a female artist since Taylor Swift’s 1989 (Taylor’s Version) held the spot for 14 weeks in 2023-24. Excluding Taylor’s catalog, Carpenter’s achievement is unmatched by a solo female artist since Adele’s 21, which spent an incredible 32 weeks at No. 1 in 2010-11. The only longer recent run by a female artist was Lady Gaga’s A Star Is Born soundtrack, credited alongside Bradley Cooper, which logged 11 weeks at No. 1 in 2018-19. Carpenter’s success with Short n’ Sweet is a testament to her growing dominance in the global pop scene.
The ARIA Singles Chart is also spotlighting emerging talent this week. British DJ Chrystal has broken into the top 10 for the first time with her remix of “The Days (Notion Remix),” which leaps from No. 18 to No. 7. Meanwhile, SZA continues to thrive with “BMF,” a fresh track from the new Lana edition of her 2022 album SOS. The song rises from No. 27 to No. 17 as the SOS album itself holds strong at No. 2 on the Albums Chart.
Morgan Wallen makes waves on the Singles Chart with his newest release “Smile,” which debuts at No. 36. The track, his third single from his upcoming fourth album, marks Wallen’s seventh top 50 hit in Australia and adds to his growing country-pop repertoire, which includes chart-toppers like “Last Night” and “I Had Some Help” featuring Post Malone.
Over on the Albums Chart, Lil Baby’s Wham debuts at No. 42, becoming his third solo album to chart in Australia. Previous entries include My Turn (No. 20 in 2020) and It’s Only Me (No. 7 in 2022), along with his collaborative effort with Lil Durk, The Voice Of The Heroes (No. 20 in 2021).
The top albums of the week are led by Sabrina Carpenter’s Short n’ Sweet in first place, followed by SZA’s SOS, Billie Eilish’s Hit Me Hard And Soft, the Wicked movie soundtrack featuring Cynthia Erivo and Ariana Grande, and Taylor Swift’s The Tortured Poets Department.
Just like Beyoncé and Post Malone before them, Australian children’s music group The Wiggles is going country.
The upcoming album Wiggle Up, Giddy Up! is slated to release March 7 and will feature music and collaborations between The Wiggles and country artists including Dasha, Dolly Parton, Lainey Wilson, Jackson Dean, Orville Peck, MacKenzie Porter and Lucky Oceans.
The album will also feature music from Australian and New Zealand-native country artists including Morgan Evans, Troy Cassar-Daley, Travis Collins, Kaylee Bell, The Wolfe Brothers and the late Australian country music icon Slim Dusty.
The album’s title track features “Austin (Boots Stop Workin’)” hitmaker Dasha, who released the project What Happens Now? in February 2024.
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“This is one of the most exciting projects we’ve ever been a part of, in fact, I’ve never spent so much time on an album before,” Anthony Field, who portrays the Blue Wiggle and is a co-founder of the group, said in a statement. “Country music is all about storytelling and connection. Combining that with The Wiggles’ fun and imagination and collaborations with these legendary country music artists felt like the perfect match. We can’t wait for families everywhere to hear these songs!”
Lachy Gillespie, who portrays the Purple Wiggle, added, “We’re so excited to share ‘Wiggle Up, Giddy Up!’ with families everywhere. It’s a song that’s packed with energy, fun, and plenty of country flair. Collaborating with the incredible Dasha, whose music has already brought country music to a whole new audience, was an absolute joy. Whether you’re three, thirty-three, or ninety-three, this song is all about bringing people together to sing, dance, and even try a bit of line dancing!”
The Wiggles have released music projects since 1999, and previously issued the country-themed album Cold Spaghetti Western in 2004.
The Wiggles will also tour in the United States this summer, when their Bouncing Balls Tour runs from June 1 to July 6.
Hear Dasha’s title collaboration with The Wiggles below:
Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 8.
The Oblivion Battery opener gained in most metrics of the chart’s methodology from the week before: streams are up to 126%, radio airplay 172%, video views 126%, and karaoke 119%. The notable increase is most likely due to the group winning the Grand Prix at the 66th Japan Record Awards 2024 on Dec. 30 with this track (the threesome received this coveted award last year as well, with “Que Sera Sera”) and appearing on the prestigious live music show NHK’s Kohaku Uta Gassen on New Year’s Eve, and downloads have more than tripled from 4,794 units 15,585 units week-over-week. Also, the tracks the band performed on CDTV Live! Live! 2024→2025 — “I’m Invincible,” “Columbus,” and ”StaRt”— also climbed the chart, with “StaRt” reaching a new peak at No. 45.
Rosé & Bruno Mars’ “APT” slips a notch to No. 2. The global hit decreased in streaming, video and karaoke, but increased slightly in downloads and radio this week.
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6 of the tracks listed on the top 10 this week were performed on Kohaku. Creepy Nuts’ massive rap smash “Bling-Bang-Bang-Born” rose 6-3 and Kocchinokento’s breakout hit “Hai Yorokonde” more than doubled in downloads, rising 10-5. Omoinotake’s “IKUOKUKONEN” also gained in downloads more than twofold, rising a notch to No. 7, while tuki.’s “Bansanka” quadrupled in downloads, rising 17-9. Da-iCE’s “I wonder” tripled in downloads and returned to the top 10 for the first time in about 5 months.
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Other Kohaku performers who graced this week’s chart include Kenshi Yonezu, whose “Sayonara Mata Itsuka!” saw a six-fold increase in downloads to shoot to No. 17 from No. 40, and Fujii Kaze, whose “Michi Teyu Ku” returned to the Japan Hot 100 for the first time in about three months, hitting No. 27. Veteran rock duo B’z also return with two classic J-rock anthems, “ultra soul” and “LOVE PHANTOM.” The former re-enters the chart for the first time in about 7 years and 4 months at No. 49, fueled by radio and download points, while the latter comes in at No. 57, powered by gains in downloads and streams.
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 Dec. 30, 2024 to Jan. 5, 2025, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
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