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Following the recent release of their debut EP’s lead single “MORE AND MORE,” PROME Band — formed and fronted by Timmy Xu (许魏洲) — has officially dropped their first EP, Prometheus.
The band’s name draws inspiration from the Greek titan Prometheus, with “PRO+ME” symbolizing “transcending oneself.” The lineup includes lead vocalist Timmy Xu, guitarist X Yi (易鑫), bassist Major (马际朝), and drummer Yuanyu Xie (谢渊宇). Titled Prometheus, the EP embodies the theme of “guarding the inner spark”: Everyone can become their own Prometheus, igniting their fire.
The lead single “MORE AND MORE” showcased the band’s boldness and fearless spirit, reflecting the raw passion of a rock band. However, Prometheus is not merely a rock album defined by genre conventions. Instead, it emphasizes authentic band chemistry, infused with improvisational energy, creating a cohesive and dynamic listening experience.
The EP is produced by Howe Chen (陈君豪), a Golden Melody Award-winning producer known for his work on albums like Jolin Tsai’s Ugly Beauty, Wu Qingfeng’s Mallarmé’s Tuesday and Faith Yang’s Flow. Blending pop sensibilities with indie authenticity, Chen ensures the EP’s premium quality. Timmy Xu contributed to the lyrics, while all band members collaborated on arrangements, resulting in a powerful synergy of creativity.
PROME
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Prometheus features three songs: the title track, “Pandora” and “X.” Rooted in rock, the EP fuses classical, funk and electronic elements, crafting a mythic yet modern sonic universe. The songs intricately narrate the struggles of overcoming adversity, seeking hope in uncertainty, and marching collectively toward the future.
The title track serves as the band’s introspective anthem, declaring that “everyone can be a Prometheus.” With maximalist instrumentals, the band reignites the spark within listeners. “Pandora” empowers audiences to cling to hope amid despair, blending genre-defying innovation. Meanwhile, “X” juxtaposes retro and contemporary vibes, evoking a time-traveling journey that celebrates humanity’s boundless potential when guided by original aspirations.
PROME Band’s mission — to warm dream-chasers with their fiery spirit — came to life during the Prometheus EP launch concert in Shanghai, held one day after the EP’s release. Dressed in sleek black suits, the band delivered a high-energy performance of “MORE AND MORE” and all three EP tracks. Timmy Xu’s explosive vocals, brimming with raw power and emotion, intertwined with guitarist X Yi’s riffs, bassist Major’s grooves, and drummer Yuanyu Xie’s thunderous beats, creating an electrifying synergy. Each crescendo and emotional shift ignited the crowd, culminating in a profound connection between the band and audience as the final notes faded.
PROME
Courtesy of Billboard China
The EP’s narrative resonates beyond music: “Allowing oneself to be authentic” and “letting others be themselves” transform life’s fractures into channels for light. Through their rich musical language, PROME mirrors our battles against the unknown. Even when trauma fragments memory or reality dims our inner fire, time heals, and hope’s flame returns — unapologetically bright.
Kylie Minogue will be honored with the prestigious Ted Albert Award for Outstanding Services to Australian Music at this year’s APRA Music Awards, set to take place at Melbourne Town Hall on April 30.
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The honor, awarded annually by APRA AMCOS, recognizes outstanding contributions to the Australian music industry. Minogue joins a distinguished list of previous recipients, including Paul Kelly, Midnight Oil, and The Seekers.
To celebrate Minogue’s latest accolade, several leading artists and industry peers shared tributes to her career and influence. Longtime collaborator, Neighbours co-star Jason Donovan, praised her “dedication and focus to her craft,” describing her as “a hardworking and authentic Melbourne girl who is proud of her Australian heritage.”
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Fellow Australian songwriter Kylie Sackley declared, “Kylie Minogue walked so the rest of us Australian music makers could run,” hailing her as “an innovator and an inspiration.”
Ben Lee reflected on Minogue’s lasting cultural impact, calling her a “mirror” through which audiences see themselves, and Gretta Ray credited Minogue with making the path toward pop stardom less daunting for emerging Australian artists. “She has inspired me to be courageous in my creativity,” Ray said.
Missy Higgins noted Minogue’s remarkable longevity: “She continues to tour consistently and remain exciting and relevant,” while The Wiggles, who once collaborated with Minogue when she portrayed the honorary “Pink Wiggle,” applauded her “unstoppable artistry” and “special Kylie-magic.”
Minogue’s career, spanning over four decades, has earned her international acclaim. She has amassed 10 ARIA No. 1 albums, including her most recent project Tension, which debuted atop the Australian Albums Chart in September 2023. Minogue made history on the Billboard charts when “Padam Padam,” the lead single from Tension, became her first solo track to reach the top 10 on Billboard’s Hot Dance/Electronic Songs chart in 2023.
Minogue’s influence on generations of artists remains unmatched. Julian Hamilton of The Presets, who curated a special performance for the APRA Awards night, said, “With so many hits to her name, it hasn’t been the easiest of tasks.”
Tim Nelson of Cub Sport summed it up best, calling Kylie “a true global icon who has filled countless lives with joy, expression and a sense of belonging for decades.”
CENTRAL MUSIC & ENTERTAINMENT FESTIVAL 2025, a music festival event held in the heart of Yokohama, took place April 4-6, 2025.
Led by the concept of “Bringing the sounds of Japan to the world,” this new music festival in Yokohama presented a wide range of entertainment, from artists that have drawn the attention of the world to anime, technology, and more. The whole city of Yokohama became an enormous festival space, with performances at venues such as K-Arena Yokohama, Yokohama Red Brick Warehouse’s Red Brick Park Special Venue, KT Zepp Yokohama, and Rinko Park. This article covers Echoes Baa, which was held at the Red Brick Park Special Venue of Yokohama Red Brick Warehouse on April 5 and 6.
The event was curated by Echoes, a new label established in September 2024. The main stage lineup featured Echoes artists like YOASOBI, MAISONdes, and Aooo, as well as major artists from other labels invited as special guests. Echoes also runs the MECRE collaboration platform, which brings together people who love music and creation, so in addition to live shows, Echoes Baa also had DJ sets, workshops, and other new forms of entertainment experiences covering a wide range of creative expression.
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Looking around the site before the first performance, the first thing that catches the visitor’s eye would be the massive art wall at the rear of the field. Created by up-and-coming artists such as COIN PARKING DELIVERY and SIMON, it became a photo spot for the event’s many visitors. YOASOBI and the mobile bookstore BOOK TRUCK also collaborated in “The Traveling Bookstore YOASOBI.” The store carried YOASOBI-related books, books selected by Ayase and ikura, and books related to other artists performing at Echoes Baa. On both days of the event, there were also workshops with the theme of “Fun DIY for everyone, regardless of skill level.” In the silkscreen workshop, people could print their own t-shirts and apparel with unique Echoes graphics. Those taking part in the tufting workshop were able to make their own Echoes-exclusive rugs. These workshops were so popular that they were fully booked before the live performances even began. There was also Echoes’ first-ever pop-up shop, “Echoes Maaket,” which sold limited-edition Echoes merchandise. In front of the shop were large capsule prize machines with a variety of metal badges adorned with Echoes logos. These were also popular, selling out early in the event.
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The first live performance began with an energetic rendition of “Idol” by YOASOBI. ikura declared, “Our show’s going to set the standard for the whole festival’s energy levels!” The band went on to play hit after hit, such as “Into The Night” and their newest song, “PLAYERS.” Between songs, they also talked to the crowd, getting everyone to join in in celebrating Ayase’s birthday, which had been the day before, on April 4. Between performances on the main stage, Gaku, Aiobahn, Aiobahn +81, DJ Kazu, and tomad kept the excitement up from the second stage.
KAFUNÉ kicked off their set with “Otonagokko.” During ”Nounaihanseikai,” they were joined in by the audience, and in their last song, “Melty Love,” they filled the air with beautiful falsetto vocals. During NOMELON NOLEMON’s set, tsumiki declared “We came to win today!” from up on stage and then brought the audience to a fever pitch with their catchy “Midnight Reflection,” a song featured in Mobile Suit Gundam GQuuuuuuX.
asmi, dressed in a colorful costume, started her set with the pop tune “Dokimeki Diary.” She delivered lyric-packed songs like “Face This Way” and “PAKU” in her ennui-tinged yet resonant voice, accompanied by pop melodies. syudou began his first song, “In the Back Room,” with an a cappella intro in a performance that was so confident that you’d scarcely believe that it was his first ever outdoor performance. With a set list that just kept them coming, you could feel the power coming off the stage.
The headliner on the first day was MAISONdes. The show featured a constant tide of “residents” like asmi & THREEE, noa and Kayayu, Pii & meiyo, riria., suisoh, MIKIMARIA, Ren, Yuika & KAFUNÉ and AYUNi D, each creating their own chemical reactions. Rei, from the new project NICHIMEZO, also sang. There was even a surprise appearance by virtual singer KAF, who performed via a monitor and passionately performed “Tokyo Shandy Rendez-vous” alongslide tsumiki’s drums. Then asmi took to the stage again, finishing off the first day’s performances with “Yowanehaki.”
The second day started at a full gallop with FRUITS ZIPPER’s “NEW KAWAII.” In “Watashino Ichiban Kawaiitokoro,” the audience copied the group’s choreography, and the stage positively overflowed with cuteness. Next was Luov, a three-piece band that was just formed in February of this year. They entertained the crowd with their buoyant vocals and sound on songs like “Dai Dassou Keikaku” and “Toumei shabon,” perfect fits for the concert venue, surrounded by the sea and the clear blue sky.
There was a long line at the vending machine selling original Central drinks with designs featuring the show’s performers. While the stage was being prepared for the next act, Gaku, Aruku Hito, DJ To-i (from DISH//), dshino (Toshitaka Shinoda from Ijigen TOKYO) and yuigot put on their own performances, keeping the vibe going.
The main stage thronged with people awaiting Chevon’s set, which they launched into with “Knock Boots.” The audience pumped their hands in the air to Mayuu Yaginu’s vocals, which dripped with charisma and seemed to pierce the sky. Then Mayuu shouted “The second chapter of Chevon starts here and now, at Echoes Baa, with the arrival of the ‘KAIJU! (Japanese title: Daikoushin)‘” and the band charged into the next song, never letting up on their momentum. TOMOO began her set with a rhythmical vocal performance of “Ginger.” Her clear singing voice harmonized beautifully with the ocean-side vista, gently enveloping the audience with songs like “Itterasshai” and “Contrast.” The last song of her set, “Super Ball,” was like a warm spring breeze. The band Aooo, made up of Riko Ishino, THREEE, Hikaru Yamamoto, and tsumiki — each an accomplished artist in their own right — melded the unique sounds of the three instrumentalists with Ishino’s voice. Her voice ranged from wistful, like on “Casablanca,” to powerful and commanding, like on “Fragile Night.”
The headliner on the second day was the opening act on the first day: YOASOBI. They performed hit after hit, such as “Idol,” “UNDEAD,” and “Seventeen,” with Ayase shouting out, “Here, today, I know without question that this is the heart of it all, where we bring music to the world!” During “The Blessing,” the night sky over the Port of Yokohama was lit up with fireworks. Then, with the giant chorus of “Blue,” the second day of the event came to a resplendent close.
—This article by Takayuki Okamoto first appeared on Billboard Japan
A rare, celebratory moment of LGBTQ+ representation in the K-pop scene took place in Los Angeles on Tuesday night during the final stop of JUST B’s JUST ODD World Tour, when member Bain took a moment to speak to the crowd while performing a section of the concert solo.
“Before I start the next song, tonight I want to share something with you guys,” he told the audience at the Vermont Hollywood, pausing for a moment before declaring, “I’m f—ing proud to be part of the LGBT community,” with the announcement drawing massive cheers from concertgoers, according to on-the-ground footage.
“Shout-out to my queen Lady Gaga for showing me that being yourself is beautiful,” Bain continued through the supportive shouting. “To everyone out there who’s part of the LGBTQ+ or still figuring it out, this is for you guys. And also, this is for everyone. You’re seen, you’re loved, and you are born this way.” The 24-year-old then broke out into a remixed performance of Gaga’s Billboard Hot 100 No. 1 hit and LGBTQ+ anthem “Born This Way.” The star later posted those words on his personal Instagram account with footage from the night.
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Bain and his bandmates Geonu, Lim Jimin, Siwoo, DY and Sangwoo launched the U.S. leg of JUST B’s world tour earlier this month after kicking off in Tokyo in March. Over 10 American dates, the group performed singles like “Medusa,” “TICK TOCK” and “Damage,” with each member also performing solo stages in different cities. Bain’s sets paid homage to 2000s pop divas with covers of Britney Spears’ “Toxic,” Destiny’s Child’s “Survivor,” the Pussycat Dolls’ “Buttons” and Lady Gaga’s “Bad Romance” and “Judas.”
In a final address to the crowd, Bain swam in even more supporting cheers from the audience and his group members.
“L.A., thank you so much,” he shared, per fan footage. “Today, it means a lot to me — I’m so happy that I can be myself,” before one of his bandmates followed up, saying, “We are happy too,” with another confirming with a supportive “Yeah!” Bain closed out by saying, “Until next time: stay bold, stay fierce, and lastly, always, always be your true self,” as his bandmates pushed him to take in the center-stage spotlight.
JUST B debuted on June 30, 2021, under the agency BLUEDOT Entertainment with their first EP, Just Burn, featuring Bang Yongguk of pioneering K-pop boy band B.A.P producing the lead single “Damage.” The sextet has released five EPs and multiple singles to date, including last year’s English pop-punk crossover cut “Daddy’s Girl,” with 2024 proving to be a major year of opportunities for JUST B.
In January 2024, Bain competed in the Korean singing competition Build Up : Vocal Boy Group Survivor, which saw top male vocalists battling for a spot in a new quartet. In September, JUST B formed a supergroup with fellow rising boy band ATBO called The CrewOne to compete on the popular boy-group series Road to Kingdom: Ace of Ace alongside other next-gen K-pop acts like CRAVITY, ONEUS and 8TURN. The CrewOne placed fifth in the finale, but not before Bain got to show off his vocal chops once again in a special performance of the “Vocal Aces,” where he sang alongside fellow powerhouses.
But while K-pop acts are increasingly courting global audiences, with JUST B earning 6 million on-demand official streams for their songs in the U.S. and 22.6 million for their songs globally to date, according to Luminate, Bain’s announcement has the chance to accelerate conversations about representation and acceptance in the industry — particularly given South Korean society’s traditionally conservative stance on LGBTQ issues.
The moment marks one of the very few times an active artist in the Korean pop scene has come out, with it being all the more rare to come from a boy band arguably at the peak of its career. While individual Korean artists like Holland and Mrshll have been open about their LGBTQ identities from the start of their careers — with former idols like Magolpy and Jiae of girl group WA$$UP opening up soon after their careers began — Bain’s disclosure on a major world-tour stage marks a new moment for queer visibility in K-pop.
Holland, Jiae and K-pop’s first LGBTQ boy band LIONESSES have spoken about facing discrimination and homophobia working in Korean entertainment due to their sexual identities, with the scene boasting a history of celebrities’ careers derailed for publicly coming out. One of the most notable examples came via actor Hong Seokcheon, who came out in an interview in 2000, just six years into his award-winning career, leading him to be fired from his television gigs and forced out of the entertainment business. Despite Korea’s still-conservative culture and society, Hong managed to return to entertainment in TV, hosting, and, eventually, acting with significant support from the younger generation. Today, Hong regularly appears on top Korean programming and features top artists on his own programs — most recently having Tomorrow X Together’s Yeonjun on his Treasure Box series.
While BLUEDOT Entertainment did not reply to Billboard‘s request for comment after Tuesday night’s show, the group’s official Instagram did share Bain’s post with a hashtag #ProudOfBain, proving how these few moments in East Hollywood have the potential to resonate and make change far further than the concert hall.
On April 4, BAND-MAID released their new song, “Ready to Rock,” the opening theme for the TV anime Rock Is a Lady’s Modesty. The raging, breakneck instrumentals and emotional vocals that are the quintessence of the band resonate perfectly with the anime’s story and the feelings of its main characters. The collaboration is a match made in heaven.
Billboard JAPAN talked to the five members of the band at length about everything from the process of creating the new song to the band’s nationwide tour, the second anniversary of the new chapter opened by band, which is now in its 12th year, and their aggressive pursuit of their own musical direction.
Your new song, “Ready to Rock,” is the opening theme for the TV anime Rock Is a Lady’s Modesty (referred to from here on as Rock Is…). It tells the story of an all-woman band, so it has a lot in common with BAND-MAID. What led to you work on the song?
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KANAMI (Guitar): We were approached about performing the opening theme, so we started out by all reading the original comic, and then I started writing the music. But there wasn’t much along the lines of “Make it like this,” was there?
SAIKI (Vocals): Not really. They extended the offer to us because they knew what we were like. They said “BAND-MAID is perfect for Rock Is…,” which was great to hear. So the final song ended up being very true to BAND-MAID.
KANAMI: When I read the original manga, my mental image was one of drums and guitars crashing against each other and climbing to new heights. I wanted our song to express that, so I started the song out with this frenzied drumming and guitar playing.
So in terms of the anime, that would be Lilisa Suzunomiya (Guitar) and Otoha Kurogane (Drums).
AKANE (Drums): Right. I was totally influenced by Otoha (laughs). She’s an unparalleled drummer, and I wasn’t about to let her beat me, so I drew on all my drumming technique. It was the technically hardest song we’ve ever done. I just can’t emphasize that enough.
SAIKI: Initially, the drums came in even earlier right?
KANAMI: Yeah. In the first demo, the vocals also started at the same time, but SAIKI and Kobato said that if we wanted to bring out the true qualities of Rock Is… we shouldn’t have vocals right out of the gate but instead should highlight the guitar and drums. So I cut the vocals.
MISA, what approach did you use given what was going on with the guitar and drums?
MISA (Bass): The guitar and drums go wild, so I realized that if the bass went wild, too, then the whole thing would just fall apart. Instead of doing a really intricate bass line, I chose to only have the bass come out in front once the guitar and drums had settled down a bit.
Did you all talk together as a band about the relationship between BAND-MAID and the world of the anime?
SAIKI: Not at all. When I read the manga, I thought the drummer, Otoha, was a lot like AKANE, and the bassist, Tamaki, was a lot like MISA. But above all, the guitarist, Lilisa, was just like KANAMI (laughs). Partly because of that, I was really sucked into the manga. The gap between the way the characters looked and the way they acted was also like BAND-MAID. There were all these elements that resonated with me, so I think I naturally found myself drawn to it.
Miku Kobato (Guitar/Vocals): Having that gap is really important for us, too, so there were a lot of parts which matched up with us, and that’s how it all turned out, po.
SAIKI, what did you have in mind when you were writing the lyrics?
SAIKI: Reading the original manga, there were so many things that resonated with BAND-MAID, like the gap between how they looked and the music and they played, or the pressure that people around them placed because they were expected to be refined ladies. It reminded me of how we were when we started out. Back then, our costumes weren’t as distinctive as they they are now, and there were people who just couldn’t accept the gap between how we looked and the music we played. Sometimes, it was hard, so while I was reading the manga, I was thinking “Don’t let them get you down!” (laughs) When I wrote the lyrics, it was with this idea of “Don’t give up, just believe in yourself.”
Lilisa’s way of thinking also shares a lot in common with BAND-MAID’s direction. That passion burning inside, that hidden fighting spirit, is the same as ours, so it really resonated with me. The lyrics reflect how you might not show it on the outside, but you’re fired up inside.
Did BAND-MAID show that inner fighting spirit from the first time you performed on stage, or was there something that changed and brought it out of you?
SAIKI: Our songs themselves changed a lot, we decided on our direction, and we built up our musical repertoire. And through that process, we finally discovered our own style. That process was also similar, in many ways, to Rock Is….
Kobato: When we started, there were a lot of people who were like, “They’re a band of women dressed as maids, so their music’s not going to be very cool, right?” We wanted them to hear our music and go “Oh, wow!” I think we had that kind of fighting spirit from the very start, and we still do, po.
I’m sure watching Rock Is… while thinking about how it matches up with BAND-MAID would make the viewing experience an even more emotional one.
AKANE: There’s this scene where Otoha says, “Why would you play music for any other reason than your love for it?” That way of thinking about music is the same as how I felt about music when I started, long ago. Seeing that scene made me think again about what kind of drummer I want to be and what kind of music I want to make. One of my skills as a drummer is double kick drumming, so I used double kick pedals on the song. This song brought out my own distinctive style. I’m always taking on new challenges, and with this song, I knew exactly what I wanted to do, which felt great. The song really brims with drive and energy.
MISA: At some point, without me even realizing it, I’d solidified my own style and rules as a bassist—my position in the group, the position of the bass line within a song. The bassists I like don’t play bass lines with a lot of movement, and the music I listen to is really simple, but since joining BAND-MAID I’ve grown a lot with the band, and my bass lines have also grown.
SAIKI: The first song we wrote on our own that got a good reception, “alone” (released in 2016), gave us all confidence in our style. It showed that we were on the right track, and it defined the direction of our band. For the first two or three years, it was all very flexible and dynamic.
Kobato: It’s not like we started out wanting to copy some other artist. From the start, we wanted to establish our own style, and I think it took about two years for us to do that, po.
Your next tour will start with a show at Tokyo’s LINE CUBE SHIBUYA on May 10. What is the theme of the 2025 tour going to be?
SAIKI: Last year, BAND-MAID opened a new chapter in its history. This is the second year of that new chapter, and last September we released our first new album in three years, Epic Narratives, so I want to develop that album further through the tour. We keep talking about our new chapter, and we’re going to be playing across the country, so I want everyone to realize that this isn’t going to be like our past tours.
Do you have a message for your overseas Masters and Princesses?
Kobato: We’ve announced our tour schedule for May to August, which is going to overlap with the summer, so how about coming to Japan and traveling with BAND-MAID, po? (laughs)
KANAMI: We always have a lot of overseas fans in the audience, and I just want to express my deep thanks.
—This interview by Takayuki Okamoto first appeared on Billboard Japan
Mrs. GREEN APPLE’s “KUSUSHIKI” holds at No. 1 for the second week on the Billboard Japan Hot 100, dated April 23.
The The Apothecary Diaries Season 2 Part 2 opener debuted at No. 6 on the tally revealed April 9 and hit No. 1 last week. Compared to the week before, downloads for the track are down to 61%, streams to 90%, and video views to 63%, while karaoke points are up to 142% and radio airplay to 292%. The latest hit by the three-man band rules streaming and radio while coming in at No. 3 for downloads, No. 2 for video, and No. 59 for karaoke.
ME:I’s “MUSE” jumps 73-2. The track began streaming March 17 and debuted at No. 59 on the chart released March 26. After falling off the list, it re-entered at No. 85 on April 9, rose to No. 73 the following week, and hits No. 2 this week after selling 234,404 CDs during the chart week.
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HANA’s “ROSE” slips a notch to No. 3. The track continues to rule video for the third consecutive week, while coming in at No. 13 for downloads, No. 2 for streaming, and No. 7 for radio.
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Following at No. 4, also down a spot from last week, is Mrs. GREEN APPLE’s “Lilac.” The song has been particularly popular in karaoke, topping the metric for 15 consecutive weeks since its release on Jan. 15.
Sakanaction’s “Kaiju” stays at No. 5. Points for the track are down in downloads, streaming, radio, and video, while gaining slightly in karaoke (101%) compared to the previous week.
King Gnu’s “TWILIGHT!!!” debuts at No. 7. The track was released on April 18 as the theme song for the animated movie Detective Conan: One-Eyed Flashback. Despite only being counted for three days, the song racked up 14,679 downloads to top the metric, and comes in at No. 25 for streaming, No. 8 for video, and No. 12 for radio. King Gnu surprised fans with a free live performance in Kabukicho, Tokyo on the song’s release day, drawing an estimated 6,000 people to the plaza in Shinjuku, the largest crowd ever for the location.
Outside the top 10, “GBAD (Number_i Remix),” the collaboration between Jackson Wang and Number_i, bows at No. 13. The track comes in at No. 2 for downloads, No. 56 for streaming, and No. 37 for videos.
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 April 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
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“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
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“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
Billboard France
Hailing from both Japan and Chicago, Issei Uno Fifth is more than just another name in hip-hop and R&B—he’s a force of raw talent and authenticity. Bursting onto the scene in 2021, he quickly grabbed attention by winning a TikTok Spotlight music competition. But it was his breakout moment with Outta Time (feat. JP THE WAVY), a collaboration with Rodeo that landed in a commercial, that truly turned heads.
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Despite his growing success, Issei’s journey wasn’t always smooth. He spent his formative years in Chicago before moving back to Japan, where he faced resistance from his own family about pursuing music. But with sheer determination, he transformed his passion into reality. On February 19, he dropped his first full-length album, Dear Mama, a deeply personal project that serves as both a love letter to his mother and a bold declaration of his place in the industry.
Billboard Japan sat down with him to talk about his inspiration, the struggles behind his artistry, and why he’s all about staying true to himself.
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Congrats on your debut album! I heard that it’s an oath to your mom. What inspired you to make something so personal?
I spent my teenage years in Chicago, but when I moved back to Japan at the end of 2023, that’s when I really committed to music. At first, my parents were completely against it. My entire family, extended relatives included, all work in healthcare. It was like an unspoken rule that I’d follow the same path.
So when you told them about your dream, how did they react?
I was 17, sitting at the dinner table, and just blurted out, “I’m quitting school. I’m gonna make a living off music.” (laughs) My parents froze. The room went completely silent—like they couldn’t even process what I had just said.
For three years, they fought me on it. They couldn’t understand why I would throw away stability to chase something so uncertain. But over time, they saw how serious I was—I wasn’t just dreaming, I was putting in the work. And eventually, they came around. Now, they’re fully on board.
So when it came time to create my first album, I wanted it to be a statement—not just to my mom, but to the world. This is my way of saying, “My journey as an artist starts here.”
So nobody in your family expected you to become an artist.
Not at all. The first time I ever even mentioned making music was when I wrote my first song, “Could do better,” at 17. That was the moment I first challenged the unspoken rule in my family—everyone was expected to follow a “normal” path, especially in healthcare.
At that dinner table, when I told them my decision, they were stunned. For the next three years, they refused to accept it. But I was relentless—I kept making music, kept proving that this wasn’t just a phase. Eventually, they saw that I wasn’t giving up, and now they fully support me.
So when I was making this album, I asked myself: “What do I want to say with my first full-length project?” And the answer was clear—I wanted to make an oath to my mother, a declaration that this is the beginning of my career.
I see. So that’s what led to the oath. What was life like for you as a small child?
As a kid, I was always searching for the right answer—like everything had to be perfect. My parents never said it outright, but there was this pressure to live up to a certain standard.
This album is the embodiment of my resolve to be myself. Music gave me the freedom I never had growing up, and that’s why this message is so important to me. Seeing how listeners connect with my music—that reassures me that I made the right choice.
And that’s exactly what this album represents.
Looking at the different songs on the album, you’re not just singing about different kinds of love, but also about your growth, struggles, and resolve as an artist. Did your values or way of thinking change at all through the creation process?
Yeah, definitely. Before, I used to think that love only exists when it’s acknowledged by someone else—like, if nobody sees it, then it’s not real. But through the process of making this album, I realized love isn’t something that needs validation. Even if no one’s there to receive it, you can still put love into the world. That shift in perspective was a huge step forward for me, both as a person and as an artist.
One of the songs on the album, “CHA CHA AI feat. LEX, JP THE WAVY (Prod. A.G.O)” is already streaming. When did you come up with the phrase “CHA CHA AI”?
When I was working on this song, I started noticing that a lot of people were suddenly trying to get close to me—and not all of them had good intentions. It made me think about the difference between real love and fake love. At first, I considered calling the song something like “Fake Love” or “Plastic Love,” but those phrases felt too predictable, too expected. They didn’t really match my creative instincts. While I was listening to the melody over and over, the phrase “cha cha” popped into my head. In Japanese, “cha cha” is a playful term that means teasing or joking. Pairing it with “ai” (love) gave it a unique twist—it kept the song’s message about questioning love, but in a way that felt lighthearted and fun instead of overly serious. It was the perfect balance.
It’s perfectly balanced. I heard you did the art for “CHA CHA AI” yourself?
Yeah! Since the theme was “love,” I wanted to create something personal and hands-on, something that felt truly mine. But at the same time, I didn’t want to go the typical route—I wanted to do something that other artists wouldn’t think of doing. One day, I was at a team member’s house, and out of nowhere, they handed me a box with twelve different colors of clay and said, “Make something.” So I just went for it—no sketches, no overthinking—just pure creativity in the moment. That’s how the artwork came to life, completely spontaneous and unfiltered.
The love really comes through in “CHA CHA AI.” You collaborated on this song with LEX and JP THE WAVY. What led to that collaboration?
JP THE WAVY had gotten involved in on an event by Takashi Murakami by making the theme song. He reached out to LEX and I and we put on a show. It all started when the three of us came together. Then right after that, JP THE WAVY invited us to a writing camp, and the three of us were all together again. That’s when I felt, intuitively, that the three of us should work on my next song. I thought, “If all three of us work on a song together, we’ll create something wonderful.”
You worked with an illustrious group of producers on the album. How did you feel when you found out they would be producing it?
Honestly, I was just grateful to have the opportunity to work with such incredible producers. Before we even started working on Dear Mama, I flew to South Korea to meet with all of them in person. We didn’t just talk about music—we hung out, got to know each other, and made sure we really vibed on a personal level. They’re all amazing people, and from the moment we connected, I knew I wanted to start creating with them right away. When I shared my vision for the album and the kind of songs I wanted to make, they sent back tracks that were beyond perfect—they captured exactly what I had in mind, sometimes even before I put it into words. The whole production process was surprisingly smooth, and it felt like each of us brought something unique to the table. In the end, all these different talents and influences came together to create something even deeper than I had imagined.
Now, I’d like to ask you a little bit about yourself. I gather that you’ve listened to all kinds of music since you were very young, and music has always been close to you. What led you to start making music yourself?
During the pandemic, I got stuck in Japan and couldn’t go back to the U.S. For about three months, I was completely cooped up at home, unable to do much of anything. I had so much time on my hands, and at some point, I just thought, “Okay, I’ll write a song.” That moment led to me writing my first track ever—”Could do better.” Looking back, that was the turning point.
Since “Could do better,” you’ve written a lot of hip-hop tracks. What do you see as hip-hop’s appeal?
For me, hip-hop is all about freedom—there’s no single right answer, no strict formula. You can say anything, be completely raw and honest, and that’s what makes it so powerful. Before I got into hip-hop, I mostly listened to highly polished pop music—everything was clean, structured, and carefully crafted. But when I moved to Chicago and really experienced hip-hop for the first time, it shook me. I remember thinking, “Wait… you can actually say stuff like that in a song?” It left a huge impact on me—seeing how artists could expose their emotions, struggles, and thoughts without holding back. That kind of realness was something I had never experienced before in music, and it made me want to create hip-hop myself.
You’ve experienced both Japan and the U.S. What differences do you find in the Japanese and overseas hip-hop scenes?
In Chicago, hip-hop is more than just music—it’s survival. People are hustling like their lives depend on it, doing whatever it takes to make a living. Sometimes, that even means turning to the streets. There’s this intense, unshakable mindset of “I have to do this. This is my way to survive.” Being around that energy made me respect the grind, but it also made me reflect. I thought, “I’m influenced by this world, but I don’t need to take it to that extreme.”
As for Japan’s hip-hop scene, I’ve only been back for about a year, so I’m still discovering things. But one major difference I’ve noticed is the fine line between imitation and inspiration. Some artists here are still figuring out how to make hip-hop their own, rather than just replicating what’s happening overseas.
For me, it’s about inspiration—taking the essence of hip-hop and making something that’s truly mine. I think it’s crucial to find that balance between respecting the culture and staying true to your own vision.
Be yourself, and don’t be afraid to take action. I used to overthink everything before making a move. I’d get caught up in doubts, second-guessing myself, and that fear would slow me down. But looking back, I realize—I should’ve just trusted myself from the start.
The world is massive, and somewhere out there, there’s a place where you’ll be accepted exactly as you are. You don’t need to fit into someone else’s expectations—just focus on being the real you.
I want to create music that feels like a safe space for people who are struggling to find where they belong. If you’ve ever felt lost, just know—I see you, I hear you, and I’m right here with you.
So let’s move forward together. I got you. Let’s do this together.
–This interview by Azusa Takahashi first appeared on Billboard Japan
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
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This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Feb. 5, 2024 to Jan. 26, 2025. The entries for each category were announced in March and the nominees for each category last week.
The fourth installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the Best Vocaloid Culture Song entries that recognizes the Vocaloid song with the most outstanding musical creativity and artistry. Music created using Vocaloid software has developed in a unique way in Japan and we’ll assess how it’s currently being listened to around the world by breaking down various data of the category’s entries. In this article, songs using voice synthesizer software other than Yamaha’s Vocaloid products, such as CeVIO and Synthesizer V, will also be collectively referred to as “Vocaloid.”
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Trends Differ in Japan and Other Countries
Billboard Japan
We first calculated the share of each virtual singer software (voicebank) used for each song entered in the Best Vocaloid Culture Song category, based on the number of global streams excluding Japan. The graph shows Hatsune Miku is featured in more than half the Vocaloid songs being listened to overseas. The share of songs using Miku’s voice in Japan is 34%, so she’s more popular outside the country.
During the tallying period, the top 3 Vocaloid tracks being listened to outside of Japan all featured Hatsune Miku. Furthermore, six of the top 10 songs use her virtual voice. On the other hand, only three tracks featuring Miku made it into the top 10 in Japan, falling short of the five featuring Kasane Teto.
Billboard Japan
The above shows the percentage of the kinds of voicebank being used for each song entered in the category (when multiple kinds were used, such as in a duet, both were counted). The voicebank used the most was Hatsune Miku, accounting for 37% of all songs. Additionally, since the release of Kasane Teto for Synthesizer V AI in April 2023, the number of songs using her virtual voice has increased, making it the second most used after Miku’s. The top 5 were followed by Kagamine Len, Megurine Luka, IA, Kaai Yuki, and KAFU all tied at No. 6, and Zundamon and Adachi Rei tied at No. 11.
Vocaloid Music is Being Listened to Globally
Billboard Japan
59% of the streaming shares of the entries in the Best Vocaloid Culture Song category came from outside Japan. 25% of the streams of the entries in the Song of the Year (SOTY) category, which honors outstanding songs from both Japan and abroad, came from overseas, so this indicates Vocaloid is a genre that is particularly popular in other countries among Japanese songs.
Billboard Japan
The graph above shows the streaming shares for all entries in the Best Vocaloid Culture Song category during the tallying period, broken down by country/region excluding Japan. The top four countries—the United States, South Korea, Indonesia, and Taiwan— are the same as the Top Global Hits from Japan category that recognizes domestic songs that have become global hits. Compared to that award, the ratio of Southeast Asian countries is slightly lower, and that of South American countries is slightly higher. Also, while the share of entries ranked No. 11 and below in Top Global Hits from Japan was 32%, the same share for Best Vocaloid Culture Song was 42%, suggesting that Vocaloid music is being listened to in more countries/regions than the predominant Japanese songs being listened to outside of the country.
South America Leads Miku’s Popularity while East Asia Shows Diversity
Billboard Japan
From here, we’ll explore trends by country/region. The chart above shows the shares of voicebanks by country for the entries in the category. Because DECO*27’s “Rabbit Hole” (Hatsune Miku) and Satsuki’s “Mesmerizer” (Hatsune Miku & Kasane Teto) dominate the top 2 spots in many countries/regions, Miku accounts for over half the total streams in almost all countries/regions, and in particular, the shares in Latin American countries such as Mexico, Chile, and Brazil exceed 60%. Songs emphasizing rhythm and feel of the lyrics are more likely to gain popularity in these countries, such as MARETU’s “Binomi” (Hatsune Miku) and Nunununununununu’s “Mimukauwa Nice Try” (Hatsune Miku).
Meanwhile, Asian countries such as South Korea, Taiwan, and Indonesia have relatively lower percentage of Miku tracks. Songs using other voicebanks, such as Kanaria’s “KING” (GUMI), Sasuke Haraguchi’s “Hito Mania” (Kasane Teto), and Iyowa’s “Kyukurarin” (KAFU) are popular in these countries as well. In particular, South Korea has over 20% of songs using voicebanks other than Miku, GUMI, and Teto. Due to its cultural proximity to Japan, other East Asian countries have relatively mature markets for Vocaloid music, which is probably why the preferences for songs using different virtual voices diversified faster than in other regions.
But countries in North and Central/South America aren’t simply following in the footsteps of Asia’s Vocaloid music scene. The popularity of Hatsune Miku’s character and differences in national characteristics, such as “melody-oriented” or “rhythm-oriented” preferences, are contributing to the differences in how Vocaloid music is being received.
Vocaloid music is steadily spreading across countries and languages. Because the genre isn’t bound by a specific musical style, MAJ’s Best Vocaloid Culture Song category serves as a significant metric. The nominees for this award this year are Sasuke Haraguchi’s “Igaku,” Yoshida Yasei’s “Override,” Kurousa P’s “Senbonzakura,” Hiiragi Magnetite’s “Tetoris,” and Satsuki’s “Mesmerizer.” The winner will be announced at the award ceremony in May, and we look forward to seeing how the award develops in the coming years.
Anjula Acharia remembers when the one person who had set her up for success told her she was going to fail. And Jay-Z was there, too. In 2008, Acharia and Interscope Geffen A&M’s then chairman, Jimmy Iovine, were sharing breakfast at a New York hotel. Iovine — who had partnered with Acharia’s South Asian music/news […]
