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Dom Dolla has once again proven why he’s one of the hottest names in EDM, wrapping up a record-breaking Australian tour that saw over 170,000 tickets sold across four cities.

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The achievement makes it the largest-ever tour by an Australian electronic artist, with every show selling out almost instantly—a feat that proves his place as a trailblazer in the live music scene.

The tour spanned iconic venues and greenfield sites, with performances at Melbourne’s Flemington Racecourse, Sydney’s Domain, Brisbane’s Riverstage, and Perth’s Wellington Square, and fans witnessed a four-hour back-to-back set with Solomun as part of Untitled Group’s 10-year anniversary celebration.

“Today was the last show on this tour,” Dom told the 9,000 strong audience towards the end of his set in Queensland, as per The Music Network. “This tour has changed my life.”

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“It’s been an incredible journey working with Dom over the past 10+ years, and this tour is the culmination of all the hard work, passion, and dedication we’ve put into building something special together,” Nicholas Greco, Co-Founder and Managing Partner of Untitled Group, shared. “Watching Dom connect with fans on such a massive scale, and seeing his music resonate with so many people across the country, is an experience I’ll never forget. This tour was a record-breaking moment not just for Dom, but for the entire Australian electronic scene.”

This monumental tour follows a remarkable year for Dom, who recently added an ARIA Award for Best Dance/Electronic Release for his infectious track, “Saving Up,” which peaked at No. 25 on Billboard’s Hot Dance/Electronic Songs.

The Melbourne star’s success isn’t confined to Australia. His momentum shows no signs of slowing down as he gears up for a packed 2025 schedule, starting with a headlining slot at the Palm Tree Music Festival in Aspen, CO, on Feb. 21, followed by the official afterparty later that night.

The Aussie DJ will then take the stage at Madison Square Garden in New York for two highly anticipated shows on March 7 and 8. These performances sees him join the ranks of John Summit, Black Coffee, and the trio of Skrillex, Four Tet, and Fred Again.., who have all transformed the iconic venue into major rave experiences.

It’s the season of giving, and the ARIA Charts are delivering plenty of musical cheer. Taylor Swift and Rosé are unwrapping some major milestones just in time for the holidays.

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Swift continues her record-breaking year at the top of the ARIA Albums Chart, while Rosé holds strong at No. 1 on the ARIA Singles Chart, with Christmas classics also shaking up the scene. Swift’s The Tortured Poets Department is unstoppable, spending its eighth consecutive week at No. 1 on the Albums Chart. It marks 18 weeks in 2024 that Taylor has ruled the ARIA charts across multiple albums, including 1989 (Taylor’s Version), Midnights, and Lover.

That’s right—she’s managed to outdo even herself, beating her 17-week streak from 2023.

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Adding to the excitement, Stray Kids storm in at No. 4 with their mixtape Hop. With Aussies Felix and Bang Chan leading the charge, the K-pop superstars prove they’re a force to be reckoned with, following the success of last year’s 5-Star.

Meanwhile, Michael Bublé’s Christmas makes its festive return, climbing back into the top 10 at No. 9, because let’s face it—Christmas isn’t complete without Bublé crooning in the background.

On the Singles Chart, Rosé and Bruno Mars’ smash hit “APT.” is showing no signs of slowing down, claiming its seventh non-consecutive week at No. 1. With just one more week, it could tie Sabrina Carpenter’s “Taste” as 2024’s longest-running No. 1 single. And speaking of holiday magic, Mariah Carey’s “All I Want For Christmas Is You” rockets from No. 8 to No. 3. The Queen of Christmas does it again, with her timeless anthem on track for another festive chart takeover.

Holiday cheer continues to sprinkle across the charts. Wham!’s “Last Christmas” jingles its way up to No. 7, while Brenda Lee’s “Rockin’ Around the Christmas Tree” cracks the top 10 at No. 10.

Not to be left out, Bobby Helms’ “Jingle Bell Rock” rises to No. 14, and Ariana Grande’s “Santa Tell Me” climbs to No. 18, proving that the season of giving is also the season of charting. Lola Young shakes things up with her breakout hit “Messy,” which leaps from No. 18 to No. 6, marking the U.K. singer’s first top 10 in Australia.

When he was about 12, Giorgi Gigashvili discovered the Argentine pianist Martha Argerich. A young pianist himself, Gigashvili had recently realized he wanted classical music “to be a part of my life,” and when he came across a YouTube video of Argerich performing Prokofiev’s Piano Concerto No. 3, “I fell in love with both the piece and Martha Argerich,” he says.
Argerich became an idol for the aspiring Georgian musician — and, just a few years later, they crossed paths under auspicious circumstances. In 2019, the then-18-year-old Gigashvili won a piano competition in Spain, and he got to meet the head of the jury: Argerich. “That was the moment I truly believed that what I was doing was the right choice,” he says.

Such is the life of one of the global classical music community’s most lauded emerging talents. Now 24, Gigashvili has already amassed a long list of achievements: performing to a sold-out Carnegie Hall in New York, being among the 2023 winners of the world-famous Arthur Rubinstein International Piano Master Competition in Israel, earning the distinction of resident artist at the 2024 Beethovenfest in Germany and much more.

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But notably, Gigashvili hasn’t limited himself to the genre where he first made his name. Instead, he’s incorporated pop, electronic and experimental music, because he believes that each musical genre has a unique charm — and that none of them should be underestimated.

Ninutsa Kakabadze

Gigashvili’s eclectic taste dates back to his childhood. Long before he was playing to sold-out concert halls and amassing accolades, Gigashvili’s mother and aunt nurtured his love of classical music. “Classical music was always playing in our home, on vinyl or the radio,” he recalls. “The sound of this genre and the works of great composers became part of my memory. We had an old piano at home, and since childhood, I was drawn to touch its keys. I loved its sound.” At age 6, he started taking lessons. “For many children, learning classical music can feel like a stressful process,” he says, “but for me, it was a source of great joy.”

But, concurrently, he was developing an interest in other types of music — and the 2006 musical film Dreamgirls was a major catalyst. An older friend gave him a copy of the film, which he says he watched “several times a day.”

“The music in it was very different from classical music, but it made a huge impression on me,” he says. “This is where the period begins when my love for music and my interest in it were no longer defined by genre. The idea that classical music is isolated and its love excludes the love for other genres is a snobbish approach and has nothing to do with understanding the phenomenon of music. I think it’s wrong to believe that there is no serious genre other than classical music. I don’t divide music into serious and nonserious genres. Every genre, for me, is serious and unique.”

Ninutsa Kakabadze

In turn, despite his recognition in the classical world, Gigashvili has ventured into other genres. He’s drawn on pop, electronic and other modern styles in his repeated collaborations with the young Georgian artist Nini Nutsubidze, which have included modern interpretations of Georgian retro songs — nostalgic for older generations and an engaging way to introduce younger audiences to their culture’s musical heritage. Listeners of all ages have gravitated to the recordings.

At Beethovenfest, Gigashvili performed with Nutsubidze, where they delivered a unique amalgam of classical, folk, electronic, pop, hip-hop and Georgian retro music. “The fact that I, as a classical music performer and pianist, am involved in creative, modern experimental projects makes it even more interesting to Western audiences,” he says. “The global audience today is more curious and interested in experimental approaches.”

Gigashvili says that the creative process differs with each genre — but that these differences are what make his work interesting and diverse. “When you play classical music, the opportunities for interpretation are more limited,” he says, explaining that because classical performers “can’t subtract or add notes,” the genre relies on more subtle differences in aspects like technique and emotion. “I enjoy this limitation because it makes me think more about what I can break and where I can push boundaries. When it comes to performing contemporary music and I am at the keyboard, I am completely free. There’s no need to add my personal signature to specific pieces because I am already the author. These two experiences together create Giorgi Gigashvili.”

Ninutsa Kakabadze

Meanwhile, as Gigashvili’s platform has grown, he has used it to advance causes beyond music. Gigashvili is one of those artists who stands out for his active civic position. With Georgia’s relationship with the European Union at a crossroad, Gigashvili has spoken out supporting the country’s European future and protesting injustice.

“When I express an opinion on social issues, first and foremost, I am a citizen, not an artist,” he says. “This is my primary status. Even on the day I stop performing, I will still speak up and I will still express my position. Today, when Georgia’s European future is at risk, I believe it is every citizen’s duty to clearly express their civic position. This is especially their responsibility if they have a large audience and the right platform. If someone doesn’t have a correct civic position, for me, their art, including music, loses value.”

As Gigashvili anticipates a busy 2025 — he embarks on a tour of America, Asia and Europe in January, and he’ll soon begin recording his second album, which will feature Prokofiev’s Piano Sonatas Nos. 6, 7 and 8 — it is music’s utility as an inspirational tool that continues to motivate him.

“Once, after a concert, an audience member came up to me and said, ‘It seemed like I had forgotten I had emotions, but today, this music made me remember that I am human,’ ” he recalls. “I will never forget this comment. If a performance can make you cry, laugh, feel sad, make you happy or even angry, it means it is real. For me, that is the purpose of music.”

Argentina and Uruguay are two nations with deep-rooted connections to cumbia. Throughout history, artists of the genre have emerged from both sides of the Río de la Plata, becoming the soundtrack of daily life for millions of families in both countries. This past year, that cultural legacy was further strengthened by Valentino Merlo and The […]

K-pop tracks continues to dominate playlists and charts worldwide with 2024 being no exception. This year, top artists delivered an incredible array of songs that define the genre’s innovative spirit, emotional depth and increasing international appeal. As the year winds down, Billboard wants to know which track resonated with you the most. 2024 saw major […]

Nogizaka46’s “Hodoukyo” tops the Billboard Japan Hot 100 chart released Dec. 18 tallying the week from Dec. 9 to 15.

The popular girl group’s 37th single dropped on Dec. 11 and launched with 609,776 CDs to hit No. 1 for sales, while also coming in at No. 11 for downloads and No. 6 for radio airplay.

Rosé & Bruno Mars’ “APT.” holds at No. 2. The pop-punk hit continues to rule streaming and video views with slight gains in both metrics, while radio is up to 114% compared to last week (moving 6-4) and karaoke to 125% (67-60). Rosé’s first solo album rosie, which includes this track, debuted at No. 3 on the Billboard 200 this week.

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LE SSERAFIM’s “CRAZY” follows at No. 3. The title track off the group’s fourth mini-album was released in August and debuted at No. 67 on the chart released Sept. 4 and shot to No. 8 the following week. The CD version sold 142,223 copies to power the single to No. 3 this week.

Mrs. GREEN APPLE’s “Bitter Vacances” drops to No. 5 after topping the tally last week. The track is down in downloads (64% week-over-week), streaming (82%), radio (42%), and video (66%).

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back number’s “Christmas Song” (released Nov. 18, 2015) climbs eight notches to hit No. 7 this week. The seasonal favorite by the three-man band has returned to the top 10 every year since 2021 near Christmas, but the only time it’s been in the top 10 outside of the week including Dec. 24th was in Jan. 2016. Looking at the number of streams for the track from Dec. 1 to 14 since 2021, using Luminate’s analysis tool CONNECT, streams have been increasing every year, indicating that this yearning love song has taken hold as a holiday season staple in Japan. Streams for the track during the Christmas period have also increased in other Asian countries, with South Korea at 103% compared to last year and Taiwan at 108%.

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. 9 to 15, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

There’s been no shortage of excellent K-pop albums this year, and now that 2024 is winding down, Billboard wants to know which record has defined your year the most. Three K-pop artists earned career milestones on the Billboard 200 with projects this year: TWICE earned their first chart-topper in March with the girl group’s personalized […]

In North Miami’s Electric Air Studios, surrounded by a collection of Gibson guitars, a grand piano and various percussion instruments, Edgar Barrera earlier in December found himself in an unusual position: in the spotlight.
“I’m not used to this,” Barrera admits, dressed in Prada shoes and a Chanel jacket. His voice carries a hint of vulnerability as he debates whether to smile or maintain a serious demeanor for the camera. This rare moment of hesitation from a man who is usually so sure-footed in the recording studio underscores the paradox of Edgar Barrera: a towering figure in Latin music who is most often behind the scenes.

This year, the 34-year-old further cemented his formidable impact in the music industry. He ends 2024 with 23 song credits as a songwriter and 19 as a producer on the Billboard Hot 100, with tracks ranging from pop stars like Maluma, Shakira and Karol G to música mexicana mavericks like Peso Pluma, Grupo Frontera and Carín León. He just secured his second consecutive nomination for the Grammy Awards’ songwriter of the year, standing out as the only Latino and only producer to achieve this distinction for two straight years. He also garnered three Latin Grammys, which included consecutive wins for songwriter of the year and producer of the year. Barrera, who topped Billboard’s Hot Latin Songs Producers year-end chart in 2023 and finishes 2024 at No. 2, is a key player designing the sound of modern-day Latin music.

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“Edgar is someone who knows what he wants, and that, to me, is something that sets him apart from all other songwriters,” says Peso Pluma, who is with Barrera in the studio the day of this photo shoot. Barrera has collaborated with the música mexicana hit-maker on several tracks, including “14-14” and “Santal 33,” from Peso’s groundbreaking album Éxodo (2024), which debuted at No. 5 on the Billboard 200. “He is someone very dedicated with a lot of values, a very educated person who respects you musically as an artist,” adds the “Vino Tinto” hit-maker.

Peso is one of the many artists who have praised Barrera’s steadfast work ethic and humility. “He is one of the most important producers of our time and yet he is one of the most humble human beings,” Maluma says. “He is the same person as the day he started and that’s an amazing quality to have.” The Colombian superstar attributed many of his hits to his collaboration with Barrera, including “Según Quién” with Carín León, “Por Qué Será” with Grupo Frontera and most recently “Cosas Pendientes.”

Over a decade into his career, Barrera’s adeptness in straddling diverse musical genres has rendered him one of the most coveted songwriters and producers in Latin music. His portfolio boasts extensive work with household names like Shakira (“Soltera”), Christian Nodal (“No Te Contaron Mal”), Grupo Firme (“Ya Supérame”), Camilo (“Vida de Rico”), Becky G (“Chanel”) and Marc Anthony (“De Vuelta Pa’ la Vuelta”), in addition to non-Latin stars such as Ariana Grande (“Boyfriend” with Social House), Madonna (“Medellín” with Maluma), XXXTentacion and Lil Pump (“Arms Around You” with Maluma and Swae Lee) and Shawn Mendes (his “KESI” remix with Camilo). In January 2021, he made history by topping four Billboard genre charts — pop, rhythm, tropical and regional Mexican airplay — with four different tracks, an unprecedented feat for a Latin songwriter.

But how did this “border kid” raised between Roma, Texas, and Miguel Allende, Tamaulipas, Mexico, harness his unique cross-cultural experiences to rise as one of the most in-demand songwriters and producers in Latin music?

Barrera grew up in a home filled with music. His father, a member of the 1970s grupera band Mister Chivo from San Miguel Allende, instilled in him a deep passion for music; and discovering his uncle’s songwriting credits on an Elvis Crespo album further fueled Barrera’s musical ambitions.

“In my house, there was always music playing all the time. All those nights I would see my dad listening and listening to vinyl because his band recorded a lot of covers,” Barrera says. “One time, my uncle bought an Elvis Crespo record that had one of his songs in the credits, and I realized that there is a part in music where you don’t have to be the artist but part of the artist’s career.”

Mary Beth Koeth

While he was raised in Mexico, he regularly crossed back into the United States for schooling — a common occurrence in border towns. However, Barrera’s passion for Latin music often put him at odds with the school’s more rigid musical curriculum. “I remember that in school I was scolded all the time. It was forbidden to play grupera songs or any other type of music other than the classical music they taught us, or jazz,” he recalls. Yet, this didn’t deter him, and together with like-minded classmates, they indulged in the joys of playing songs like the Mexican ska-punk track “Pachuco” from Maldita Vecindad y Los Hijos del 5to Patio, “Carnavalito” or the Mexican cumbia of “Juana La Cubana” by Fito Olivares y Su Grupo. During these school years, he played the saxophone. (As a preteen, he had already learned both bass and guitar.)

“All these young musicians from across the Rio Grande Valley would gather to compete and form a unified band made up of the most talented musicians from each school,” recalls Marco Roel Rangel, a fellow bandmate from McAllen, Texas, who remembers Barrera as a standout musician nearly 20 years ago. “Once a year you’d get to play in a band comprised of all the other top musicians from other schools for one weekend. The Roma [Edgar’s school] kids, who were formidable competitors, would walk into the rehearsal space playing a synchronized song they had prepared called ‘Carnavalito.’ Almost like [saying], ‘Hey, we’re from Roma and we’ve entered the building,’ ” Roel Rangel says. “It was unusual to hear this Latin tribal sound. But Roma brought that Latin flavor; going from Tchaikovsky and Pavel to ‘El Humahuaqueño’ is a vibe.”

“I remember we were the rebels at school when we played those,” Barrera says. “We felt like we were playing the forbidden, and at the end of the day it was what I liked to play.”

When it came to college, Barrera initially enrolled as an electronic engineering student and took a classical guitar class. “That’s when I started studying music more seriously.” His guitar teacher urged him to audition for the Berklee College of Music. Instead, he took a detour to the Miami music studio of Colombian songwriter-producer Andrés Castro, a revered figure in Latin music known for penning some of Carlos Vives’ greatest hits.

“I met Edgar through a friend of mine, Luigi, who worked with A.B. Quintanilla. He was 18, 19 years old and was studying electronic engineering. He wanted to do an internship because it was going to be worth it for his career. They were deciding whether he should study that or music,” Castro recalls.

Castro, almost offhand, told Barrera he was welcome to come work in his studio. Barrera took him at his word and drove from Texas to Miami. “Obviously, it was a life change to come to live here. He was committed to his career to the fullest. And the first thing I can highlight about him was his attitude of service.

“He arrived and instead of thinking, ‘Well, it’s an internship, I’m not getting paid, I’m going to stay put,’ he was looking to see who he could make a coffee for. If he had to take an artist and pick them up at the airport, he would pick them up,” Castro continues. This eagerness to serve, learn and genuinely connect with others in the industry rapidly transformed Barrera from a hopeful intern to a respected collaborator.

“I started from the bottom, being the one who went and brought everyone’s food, the one who served the coffee,” Barrera says. “But thanks to that I also learned to never look down on anyone’s work, much less the one who serves me coffee, because maybe tomorrow he could be the next producer of the year, or songwriter of the year, as it happened to me. I had the opportunity to meet many artists and industry executives.”

Mary Beth Koeth

Castro remembers the bonds that were nurtured in the studio. “When an artist like Carlos Vives came to the studio, we would do more than just make music. We discussed life, what he desired, what he was searching for, his thoughts, the moment he was living, the music he was listening to and things that had caught his attention. That’s where the creative process began. Edgar saw a lot of that in the studio.”

The Colombian producer also vividly recalls a defining moment early in Barrera’s career. During a session with the renowned Panamanian singer-songwriter Omar Alfanno, the young Barrera, who was typically expected to just observe, proposed an idea for a song that Castro and Alfanno were struggling with. Initially surprised, Alfanno cautioned him, “Young man, that’s not how things are done,” Castro remembers, highlighting the respect required during songwriting sessions. However, impressed by Barrera’s insight, Alfanno gave him a chance, marking Barrera’s official entry into the world of professional songwriting.

As Barrera’s career flourished, Latin music also underwent dynamic shifts. In the late 2010s, while música urbana’s popularity soared — with reggaetón’s commercial growth eclipsing other Latin genres — regional Mexican music began to carve out a new and thrilling identity. While the south-of-the-U.S.-Mexico border genre had remained an enduring force within Spanish-speaking communities in the United States and Mexico for decades, a regional Mexican-urbano hybrid began to ascend Billboard’s U.S. Latin charts, led by Natanael Cano, Junior H and Fuerza Regida, followed by Peso Pluma.

Parallel to this movement was the music of Christian Nodal, a Sonoran superstar who innovates within the confines of música mexicana with his unique blend known as “mariacheño,” a fusion of mariachi and norteño music. His groundbreaking approach reached a new height in 2021, when “Botella Tras Botella,” a collaboration with Mexican rapper Gera MX — co-written and co-produced by Barrera — became the first regional Mexican music track to enter the all-genre Hot 100 chart.

Nodal praises the creativity and connection present in his work with Barrera: “Working with Edgar was always a lot of fun. There was always an instant connection on the songs. He came from the urbano school, and bringing him into my world was always a challenge,” Nodal explains. “I think that’s why we were able to reach a middle ground between urbano and regional. We always had very good chemistry, and we found the lyrics and melodies that could touch the heart so that people could enjoy it and feel it. It was always genuine.”

Among Barrera’s major bets was the 2022 signing of Grupo Frontera, a popular six-piece band from Edinburg, Texas, to BorderKid Records — an imprint the songwriter had launched earlier that year. Grupo Frontera was fresh off its first major hit, “No Se Va,” which peaked at No. 3 on the Hot Latin Songs chart.

“He took a chance on us when we were just starting out,” Grupo Frontera says in a statement. “We didn’t even know what we were doing and he has been with us every step of the way. Our bond with Edgar is extra special because we are from the same town. We have similar values and traditions, and he really understands us. That’s reflected in the music we make together.” Barrera adds: “They share with me a very similar growth because we grew up on the border, we have many friends in common, they are from my town. We have the same values, and we understand each other very well when we work.”

Mary Beth Koeth

“Aside from being technically one of the best and very detail-oriented — everyone who works with me knows I am, and he is always up to the task — the amazing thing about Edgar is his ability to bring together artists, composers and producers and always make sure that things get done with the right team to achieve the best result,” says Shakira, who collaborated with Barrera on her latest hits such as “Soltera,” “El Jefe” with Fuerza Regida and “(Entre Paréntesis)” with Grupo Frontera. “Many songwriters do not combine all the elements and ensure the ideas are carried out, but he has as much of a business mind as he does an artistic one.”

“I’m a creative before I’m an executive, and I give a lot of freedom to artists,” Barrera adds, emphasizing his commitment to his relationships with them. “When it comes to business, I try to educate the songwriter,” he says. “I help them make their own publishing company, and then we make a business together — your publisher with my publisher. I try not to be their owner but partner. We [at BorderKid Records] are a tool for them, to help them make more money, and that they own their music always.”

Within this framework of mutual growth, Barrera continues to push musical boundaries. “A lot of new experiments with artists are coming; we’re experimenting with new things,” he says about upcoming music.

Barrera’s role fluctuates between mentor and musical collaborator and innovator. Recently, for example, he spent time with Shakira as she prepares for her 2025 Las Mujeres Ya No Lloran stadium tour, making new arrangements for her live band. He’s been working on new music with Peso Pluma, and, also, with Karol G. “The day after [working with Peso], I worked with Karol another three days in a row, and it’s always a breath of fresh air making corridos with Peso one day to then doing another kind of music with Karol,” Barrera says. “I like it because I don’t get to do the same thing with one artist and then the other.”

However, despite the exhilarating pace of his professional life, Barrera is embracing a new personal development: fatherhood. “I just became a dad,” he says proudly. “I’m in another stage for the first time in life looking for that balance.”

I asked Barrera if his songwriting process has changed since. “Yes, a lot,” he says. “Now I’m thinking, like when I write a lyric, ‘When my daughter hears it, she’s going to think this was her dad.’ You think twice. But I’ve always tried to give a good message in the songs.”

There lies an immense honor in the title “The Nation’s Girl Group.” In South Korea, fans have bestowed the distinguished designation on K-pop juggernauts like Girls’ Generation and TWICE over the years. Yet only one group throughout the Philippines’ rich musical history has received the honorific: Star Music’s eight-member girl group BINI.
With a name inspired by the Filipino word binibini (which means “young lady”), the all-Filipino “Pinoy pop” (P-pop) group — comprising leader Jhoanna and members Aiah, Stacey, Colet, Sheena, Maloi, Gwen and Mikha — was brought together by ABS-CBN’s Star Hunt Academy program and has spent the past four years since its debut making a name for itself. In 2024, after releasing two full-length albums and performing at scores of mall shows and events, BINI finally broke through into the mainstream. The group now has four viral chart-topping singles (“Karera,” “Pantropiko,” “Salamin, Salamin” and “Cherry on Top”) and has received numerous prestigious awards both locally and internationally.

In conversation with Billboard Philippines, Aiah calls 2024 “really BINI’s year. We couldn’t believe that all of this happened in one year alone.” The members of BINI, who in Aiah’s words “started out as a bunch of girls from different parts of the Philippines,” feel substantial pride — and disbelief — about being the No. 1 act in the Philippines. Other top artists in the country, such as renowned folk-pop band Ben&Ben, alternative group Cup of Joe, beloved singer-songwriter TJ Monterde and the soulful Arthur Nery, established themselves as celebrated hit-makers in recent years — yet it was BINI’s dominance that reigned supreme over the past 12 months. And as the group’s popularity grows in and out of the Philippines, BINI’s members take their prominence seriously.

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“We feel honored to be representing the Philippines on the global stage because this has always been our dream to begin with,” Jhoanna says. “Because we [Filipinos] can do it. All you need is the support of our fellow Filipinos. Because with Filipinos, their level of support is different. And I want this to show that we’re capable of this — especially as we bring ourselves onto the global stage.”

Aiah wearing CHED STUDIO Top and Skirt, KATARI Necklace.

Shaira Luna

Colet wearing VIÑA ROMERO Tube top, CHED STUDIO Barong top and Skirt, KATARI Earrings.

Shaira Luna

Such global visibility comes with pressure. “I think [the pressure] is what pushes us to become better,” Maloi says, “and I think it’s OK to be nervous every time that [others] say that we are The Nation’s Girl Group. Because maybe when we’re nervous, it shows that we’re still grounded.”

“[The title] didn’t come from us,” Sheena explains, “it came from the people themselves. It means that they see something in us –– they see potential. So it’s on us to give back and prove to them that we do deserve this title.” Maloi calls the honorific “a responsibility that we should live up to.”

But while “we’re grateful and extremely humbled that there are titles like that given to us,” Sheena says, “the most important thing for us is our connections with our BLOOMs [fans] and the Filipino people.”

On social media today, BINI’s rapidly expanding and fervent fan base of BLOOMs is reminiscent of Taylor Swift’s Swifties, Beyoncé’s Beyhive and BTS’ ARMY.

But because BINI debuted amid the COVID-19 pandemic, its fan base has different — and perhaps more significant — origins. Connecting with audiences proved difficult for the group, so it made an effort to develop its own online community where the members could genuinely relate with fans despite their idol status. “We didn’t have ABS-CBN as a network anymore and we didn’t see many idols who felt authentic to their audiences, which is why we had to [really] find ways in which we could promote ourselves,” Gwen says.

“The pandemic was the time when we tried our very best to be seen online — especially since that was a great opportunity for us to introduce ourselves at that time,” Aiah says. “We did a lot of solo and group content, and we would have assignments so we could also get to tap different markets, age groups and all that. I think it helped us a lot.”

Colet puts it even more directly: “We would do livestreams, vlogs and other gimmicks online, and sometimes we’d just film ourselves doing random things inside the house we were cooped in together — because that was really the only way in which we could let people know that BINI existed at the time,” she says.

Today, BINI has nearly 18 million followers across Facebook, X, Instagram, TikTok, YouTube and Spotify. It has harnessed the power of those platforms to inspire several dance challenges (especially with 2024’s summer anthem “Pantropiko”) and other interactive content that encouraged their BLOOMs to participate and strengthened the artist-audience bond.

“People want people who are relatable,” Aiah says. “There are so many people who have told me that with all the attention we’ve made online, it turns out that we’re relatable. And that’s great!”

Gwen wearing VIÑA ROMERO Top and Skirt, KATARI Earrings.

Shaira Luna

Jhoanna wearing R.A.F. Dress.

Shaira Luna

Those connections have gone from social media to concert venues. “Whenever we perform, I feel it’s important to not just focus on the cameras but also to look at them in their faces and eyes to make sure they feel as if they’re also with us in this performance,” Mikha says.

“Whenever we see the support of our BLOOMs, it’s what keeps us motivated,” Sheena adds. “They really want us to hit the global stage, which is why we really want to aim for it –– just to tell them that we’ve got you, you know? Like, you can trust us, we can do this, and all we need is your support to keep us pushing.”

But BIN’s rapid ascent hasn’t come without challenges. Its members have faced hateful comments, unfair criticism and privacy breaches that have threatened their mental health. The members of BINI, like Chappell Roan or girl group NewJeans, have been forced to adjust to fame within a very short period. “At first it was really hard,” Sheena says. “It’s true that we’ve waited for this big break –– but it’s so different when you have so many people looking at you. Even if you only mean good things or positivity, they can still take it as a bad thing by twisting your words.”

But the group realizes that, to an extent, this is a reality of the modern digital world. “You really can’t avoid these things,” Colet says. “Before, I was actually the most affected by what I’d read online. But eventually, you learn how to filter what is a genuine comment and what isn’t, or whether its intentions are pure or not.”

Gwen has become mindful of her time online. “You shouldn’t waste your time [on such comments],” she says. “I’ve been dealing with it since my [Pinoy Big Brother] days. It’s really just something you learn.”

But such hateful behavior is tougher to ignore when it makes its way into the physical world. Members of BINI have been followed to their homes — or even to the bathroom — by fans. “Some people, by choice, do not understand nor do they choose to respect our privacy,” Aiah says. “At first it was really overwhelming, and it gave me so much anxiety. Now, it’s become a test of boundaries for us and a test of patience. It’s a learning process to this day.”

On some of her rest days, Jhoanna recalls, fans would pass her home and call her name from outside the window. “It can get really scary because here they are — coming up to my personal space,” she says. “It’s really important to set boundaries because while I do understand why some people would react like that, we’re still people at the end of the day.”

Maloi wearing HAROLD AND HARRY Top, VIÑA ROMERO Skirt, KATARI Earrings.

Shaira Luna

Mikha wearing SHOP YOYA Top, VIÑA ROMERO Skirt, KATARI Necklace.

Shaira Luna

As these cases increased and intensified over the past year, Aiah eventually spoke up on social media, asking fans to respect her privacy. While her comments received a mixed response from fans, Aiah and the rest of BINI were surprised when several other artists expressed gratitude for how she brought attention to the issue.

“Apparently, there are a lot of people who have been afraid about this,” Aiah says. “Ever since we spoke about it, I received a lot of thank-you messages because it was like I was also speaking on behalf of them. It made me realize that with our platform, we really get to represent the local music scene in a lot of different ways that we never expected.”

BINI now represents Filipino music and P-pop on the international stage — and the members want to increase recognition of Filipino music as they expand globally.

“It’s such a great responsibility [to have],” Aiah says. “We’re not just doing this for ourselves, because there are also so many artists out there who believe in this for us, old ones and new ones alike. It’s so cool to see how much trust they’ve put into us, because what happens is not just our success, but it will also come up as everyone’s success.”

But Colet dispels the characterization of BINI’s members as trailblazers. “We’re just following the path of those who came before us in order to sustain what Filipino music is known for so that it can become recognized even more,” she says. “We have so much to offer the international scene, and what comes from the Philippines is truly beautiful.”

To Jhoanna, lifting up other Filipino artists is only fair, since major artists in the country have championed BINI since it debuted, whether posting covers of BINI hits (TJ Monterde’s viral version of “Salamin, Salamin”), inviting BINI’s members to collaborate (Cup of Joe featured Jhoanna in a music video) or celebrating BINI’s milestones.

Promoting their peers is, she says, “our means of giving back to the scene who have given us so much. The [Filipino] scene is so rich, and it deserves recognition of its own merit –– because we started out like so many others from there. We just need the push for them to get bigger and more recognized worldwide.”

“Our goal isn’t just to bring BINI into the international scene — our goal is to have all Filipino artists be appreciated and known internationally as well,” Mikha says. “Since we are representing the country, we want to bring the Philippines with us — incorporating our culture, language, humor, talent and everything else as we move forward in our career.”

Sheena wearing R.A.F. Top and Skirt, PAXON Bolero.

Shaira Luna

Stacey wearing R.A.F. Top and Skirt, KATARI Earrings.

Shaira Luna

In 2025, BINI will have a bigger platform than ever to do just that. After a busy 2024, the group is preparing for more of the same in the new year — at least, when it comes to its calendar. As for new music, Maloi teases something “very unexpected” from what BINI has done thus far. “It’s taking a step up from what we’ve done in the past,” she says. “It’s like a different chapter of BINI –– almost as if we’re evolving into BINI 2.0.”

In 2024, BINI brough its Biniverse tour to Filipino and Canadian markets, wrapping its touring for the year with three November concerts — dubbed Grand Biniverse — at Araneta Coliseum in Quezon City, the Philippines, where it announced the forthcoming single “Blink Twice.” The act has also announced a colossal, mid-February show at Bocaue’s 55,000-capacity Philippine Arena. “We still don’t know how it’s going to go,” Colet says, “but whatever happens, we’re just so excited for the day to come because our dreams are finally happening.”

Sticking to what Maloi calls “BINI-core” has helped the group maintain the authenticity its fans have appreciated since its early days — and to gain new ones. “Our core remains the same, which is comprised of our love for our craft, the fans and what we do,” she says. “It’s all still there, and it will only change as we mature and the world we’re working in continues growing with our fandom.” Aiah adds: “With all the success and the music that we have, I want everyone to remember us as people and how we are the same BINI girls after all this time.”

And they’re in it for the long haul — even if, when words like “legacy” get thrown around, it makes Aiah “feel like I’m 50 years old.” Stacey predicts BINI singles like “Pantropiko” and “Da Coconut Nut” will “stick around with anyone, no matter who you ask.”

For now, though, something else transcends all the accolades and recognition BINI has received. “It’s obviously an honor to be recognized as The Nation’s Girl Group,” Maloi says, “but with all those people that we were able to reach, the most important thing is that we realized that we have the power to make people dance.”

Rising J-pop singer Hibiki dropped a digital EP called “Desire (Latin Mix)” that includes a Latin-flavored mix of her first original number that was featured as the festival song of the 37th Tokyo International Film Festival this year.
Listen to it below.

The lyrics are all in English, and the budding star notes that the song expresses her will to be heard by music listeners not only in her home country but also around the world, and to expand her work as an artist on a global scale.