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From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.
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Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.
In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.
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He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.
Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.
Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”
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Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.
Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.
Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”
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In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.
The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.
Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars
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On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.
The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.
The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.
Stage 4: London, England – A New Stage and Fresh Horizons
This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.
On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.
David Gilmour is back at the top of the U.K. Official Albums Chart, celebrating his third solo No. 1 album with Luck and Strange.
The Pink Floyd guitarist’s latest release marks his ninth overall chart-topping record when combined with his work as a solo artist and a member of the iconic band. Luck and Strange, Gilmour’s fifth studio album, joins the ranks of his previous solo No. 1 albums, On An Island (2006) and Rattle That Lock (2015).
The new collection also tops the U.K. Official Vinyl Albums Chart, solidifying its popularity among vinyl collectors and audiophiles alike.
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In a statement to Official Charts, Gilmour expressed his gratitude to fans: “I’d like to thank everyone who’s bought my new album, Luck And Strange, and helped to make it Number 1 in the Official Albums Chart.”
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This latest achievement adds to Gilmour’s illustrious career, which includes six U.K. No. 1 albums with Pink Floyd, such as Wish You Were Here (1975) and The Division Bell (1994).
However, according to the rocker’s press release, his latest project Luck and Strange, is “the best album I’ve made since Dark Side of the Moon, since 1973.”
“The album feels like a solid body of cohesive work,” Gilmour previously told Billboard of the new album. “It’s the cohesiveness of the whole thing — the writing, the work, the thrill it still gives me to listen to it all the way through as an album. There’s a consistency of thought and of feeling that runs through it that excites me in a way that makes me make those comparisons.”
Also making moves this week, once again, is Sabrina Carpenter’s Short n’ Sweet, which holds strong at No. 2 after three weeks in the Top 5.
Meanwhile, Oasis continues to dominate the chart, with Time Flies… (No. 3), Definitely Maybe (No. 4), and What’s The Story (No. 5) all securing Top 5 positions.
Other notable entries on the tally, published Friday, Sept. 13, include Link Park’s 2024 hits collection Papercuts, which rebounds to No. 8 following the announcement of their new vocalist, Emily Armstrong, while Fred Again…’s ten days comes in at No. 7, marking his second Top 10 album.
Further down the chart, Rex Orange County earns his third Top 40 LP with The Alexander Technique, debuting at No. 15, following previous successes with Pony (No. 5 in 2019) and WHO CARES? (No. 1 in 2022).
South London group Fat Dog makes their Official Albums Chart debut with WOOF., landing at No. 16 and topping the Official Record Store Chart.
Meanwhile, Ensoulment, the first new album in 25 years from The The, enters at No. 19, marking their sixth Top 40 record. Ultravox’s 1984 album Lament returns at No. 35 after a 40th-anniversary edition, and Leeds four-piece English Teacher re-enters at No. 40 with This Could Be Texas, following their 2024 Mercury Prize win.
Following K-Pops making its world premiere at the 2024 Toronto International Film Festival last weekend (Sept. 7), fans across movies and music were buzzing about the all-star cameos joining stars like Anderson .Paak, actor-rapper Jonnie “Dumbfoundead” Park, former U-KISS member Kevin Woo, Community star Yvette Nicole Brown, and .Paak’s son Soul Rasheed.
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With rumors about an upcoming acting opportunity for Vernon of SEVENTEEN since the singer-rapper was spotted filming in Seoul in May, Billboard can confirm the 26-year-old’s participation in K-Pops and share a first look.
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Described by Anderson .Paak as “a fun, lighthearted film born from my love for music and inspired by my family while we were quarantined during the pandemic,” K-Pops is the comedy-musical telling the story of struggling musician BJ (.Paak), who attempts to revive his career by joining the house band of a K-pop competition program in South Korea, only to discovers that his long-lost son Tae Young (Rasheed) is a contestant vying for global superstardom. The nearly two-hour flick marks .Paak’s directorial debut for a tale of uniting people and cultures through entertainment while enlisting several major collaborators.
“Vernon brings an undeniable energy and talent to anything he does so I was thrilled to have him join our cast,” Anderson.Paak shares exclusively with Billboard. “He’s got a unique vibe that brings so much value to the dynamic world of K-pop that we explored in the film. On set, he was a natural. His ability to adapt and take direction while bringing his creativity and dedication really elevated the project. One of his jokes got a huge laugh from the audience during our world premiere, demonstrating just how effortless his talent is.”
The SEVENTEEN star isn’t the only big K-pop name joining the project. In his director’s statement shared with press at TIFF 2024, Anderson.Paak explains how he infused his style with several top artists representing the South Korean music industry.
“I also had the opportunity to work with iconic K-pop artists that I’ve been looking to collaborate with for years like Suga from BTS, Vernon from SEVENTEEN, Crush, The Rose, Jessi and G-Dragon,” he shared. “The fact that I get to do these collaborations in my directorial debut and bring these idols and artists into the world of K-Pops just brings a whole new level of excitement to the project.”
Billboard Hot 100 hit producer DemJointz also collaborated with .Paak to create original music for the film. The Silk Sonic star explained how the California beatmaker brought his experiences working with artists like Rihanna and Kanye West as well as K-pop chart-toppers like BTS and IVE — and even recently bringing both worlds together like on the “Dirty Dancing (Dem Jointz Remix)” where New Kids on the Block is joined by SEVENTEEN — as a perfect partner.
“I worked alongside the incredible DemJointz to create some original music based around the fictional competition show you see in the film,” .Paak added. “He was vital to the creation of these songs because he works heavily in the K-pop world and has churned out a lot of hits in that genre — he’s brilliant. We had a great time digging into my archive of music and building off of original ideas to utilize for the soundtrack.”
K-Pops is being sold by WME Independent, with Stampede Ventures, Live Nation Productions, Apeshit Films, EST Studios, and Big Dummie all working as production company partners. Get your first official look at Vernon in the film below:
Seventeen’s Vernon in the movie ‘K-POPS.’
Israel Ramos
‘K-POPS’
Israel Ramos
On Billboard JAPAN’s “Niconico VOCALOID SONGS” 2024 mid-year ranking, announced on June 7, Yoshida Yasei’s “Override” took the top spot. This chart tracks the popularity of Vocaloid songs on Niconico, ranking the top 20 based on data such as the total number of plays, the total number of videos, the number of comments, the number of likes, and other figures, multiplied by coefficients developed by Billboard JAPAN. Chart results have been published on a weekly basis since December 7, 2022.
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Sasuke Haraguchi’s “HITO Mania” took the No. 1 spot on the “Niconico VOCALOID SONGS TOP20” for the first time on September 20, 2023, keeping its position for 18 consecutive weeks, a new record for the chart. This had a huge impact on the Vocaloid scene. However, on the January 24, 2024 chart, “HITO Mania” was dethroned by Yoshida Yasei’s “Override,” failing to reach the 19 week mark. What’s important to note is that while jon-YAKITORY’s “Konton Boogie,” Sasuke Haraguchi’s “Medicine,” and nbaji’s “Sukina Souzai Happyou Dragon” then took the number one positions, “Override” made a comeback, claiming the number one position once more. This is a testament to the song’s tremendous momentum. It combines a catchy, distinctively Vocaloid, unforgettable melody with lyrics that can be taken as lampooning society itself, taking the position that there’s no way to know what lies beneath the things people say. The music video, featuring Kasane Teto, makes quite the impression, packed with net memes. The popularity of “Override” also got a boost from derivative works.
◎Yoshida Yasei’s “Override”
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Not only have there been changes in the sound of Vocaloid songs, but also in the voice synthesis software used to make them. For example, KAFU, which was released as CeVIO AI voice synthesis software in July 2021, was based on the voice of KAMITSUBAKI STUDIO’s virtual singer KAF, and its use became a major trend starting in 2021. The Niconico VOCALOID SONGS chart has included Tsumiki’s “Phony” (2021), Hiiragi Magnetite’s “Marshall Maximizer” (2021), and Iyowa’s “Kyu-kurarin” (2021), all of which feature KAFU. In addition to Yamaha’s VOCALOID, there is now a growing range of voice synthesis software, including VOICEROID, CeVIO AI, and Synthesizer V. This wide selection has led to more diverse music.
The mid-year chart for 2024 has been taken by storm by songs featuring Kasane Teto in particular. There’s Yoshida Yasei’s “Override” (No. 1), Sasuke Haraguchi’s “HITO Mania” (No. 2), Sasuke Haraguchi’s “Medicine” (No. 3), 32ki’s “Mesmerizer” (No. 6), nbaji’s “Sukina Souzai Happyou Dragon” (No. 7)… The chart is top-heavy with songs that use Kasane Teto. A major reason for this boom is the commercial release of Synthesizer V AI Kasane Teto on April 27, 2023. This voice synthesizer, which can produce more human, realistic vocals, began as an April Fool’s hoax: in March 2008, users on the 2channel message board announced the creation of new Vocaloid software named “Kasane Teto.” Coincidentally, the free UTAU voice synthesis software had been released in March of the same year. With UTAU, it was possible to use the voice of Mayo Oyamano, who provided the fake vocals for the prank, as a voicebank. With this, Kasane Teto was launched as an “official” voice synthesizer. As if to celebrate the 15th anniversary of this serendipitous beginning, the chart for the first half of 2024 is packed with Kasane Teto songs, whether made using the Synthesizer V version or the UTAU version.
Listening again to the songs in the chart, a few other interesting commonalities spring up. The first that stands out is the way that net memes and common phrases are sprinkled throughout. For example, these include “Override,” whose video appears to be a homage to Surii’s “Telecaster B-Boy,” “HITO Mania,” which takes a poke at modern society using familiar, cut-and-pasted expressions, and “Konton Boogie,” which includes the nostalgic 2000’s meme “What is that? Does it taste good?” From the early days of the Vocaloid scene until around 2015, lyrics were often direct, telling a story, as can be heard in ryo’s “Melt” or Scop’s “Irony.” However, in recent years, Vocaloid songs have had a growing tendency to use metaphors, symbolism, and difficult lyrics. We live in an age in which the things that people say are often taken in isolation, divorced from their context, shared and spread, and interpreted in unintended ways. Perhaps this is what is behind the new trend of Vocaloid lyrics becoming strings of abstract expressions. In the comments, people provide various interpretations, attempting to unravel the messages lurking within these abstractions. The massive hit “HITO Mania” typifies this, with deep lyrics that can be seen as skewering society, carried by a clipped audio backing. Its lyrics bear wide room for interpretation.
◎Sasuke Haraguchi’s “HITO Mania”
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The Vocaloid scene, which sprang from Niconico, is very welcoming to all kinds of derivative works, such as dance and vocal covers. “Sukina Souzai Happyou Dragon” took the No. 4 spot in the Neta Kyoku Tokosai (“Joke Song Festival”) category in VocaColle 2023 Summer. Parody comics and art by artists like the manga creator Sakamegane caused it to trend on X (Twitter), and its popularity exploded. User-generated content now holds the key to becoming a hit, and in some cases creators themselves actively encourage the creation of derivative works. For example, in the comments of his video “Override,” Yoshida Yasei provided tips for creating derivative works. nbaji wrote in the description box of his own videos that derivative works and parody songs were welcome. Moves such as these have accelerated the sharing of the songs. The killer tunes of the Vocaloid scene aren’t just the product of high musical quality, but involve various interwoven factors, including derivative works.
The chart for the first half of 2024 features many unique songs with the unique passion and individuality so typical of Niconico. It will be one to remember and it’ll be interesting to see what kinds of new killer tunes will one day dethrone them.
—This article by Mio Komachi was planned for publication in June 2024, but Niconico service was suspended due to a cyberattack, and is instead being published in September 2024
Milan confirms itself as the Italian capital of music by hosting Billboard Italia Women in Music next week. Billboard’s iconic awards ceremony will be held Monday (Sept. 16) at Teatro Manzoni, one of the cultural symbols of the city. The event is the first local edition of the Billboard format in Europe. The Woman of […]
With a breakout hit across international charts this summer, KISS OF LIFE is ready to take an explosive year to the next level with their first-ever world tour.
The girl group’s forthcoming Kiss Road World Tour continues the momentum Julie, Natty, Belle and Haneul gained on the global stage with the infectious single “Sticky,” helping the K-pop act debut onto multiple Billboard charts: The Afrobeat-inspired summer single peaked at No. 7 on the South Korean Songs chart so far, entered the U.S.-based World Digital Song Sales chart at No. 10 in July, while also spending a solid six weeks on the Billboard Global 200 after hitting No. 87, and 10 weeks on the Billboard Glocal Excl. U.S. chart after a No. 47 peak.
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With promising results early just over a year into their career alongside the quartet’s international makeup and range of industry experiences, KISS OF LIFE is proving they’re more than just a rising K-pop rookie—they’re becoming a global-pop force all their own.
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“We love the song ‘Sticky,’ so it was really an honor for it to get into the charts,” says Julie, the group’s dynamic leader who was born in Hawaii, speaking to Billboard for their first-ever interview with an international outlet. “We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news.”
Seattle-raised Belle, who previously worked as a songwriter for other top K-pop groups, believes their authenticity plays a massive role in why global fans connect to them: “We honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform.”
Youngest member Haneul, born and raised in Korea, adds that the KIOF members’ diverse backgrounds fuel their artistry. “We just respect each other,” the 19-year-old says. “We acknowledge our differences and the path we went through to get here, so that makes us learn from each other and grow.”
The upcoming Kiss Road tour kicks off in Seoul with two concerts on Oct. 26 and 27 before coming to North America for an extensive, 18-date trek beginning in Minneapolis, Minn. on Nov. 10. “We are pretty confident in our performing ability,” teases Thailand-born Natty, whom K-pop fans have watched grow up on K-pop competition shows like Sixteen and Idol School before officially debuting onto the K-pop scene as an artist. “Fans can expect a show with high energy and we’re excited to bring our best to the stage.”
Get to know KISS OF LIFE’s Julie, Natty, Belle, and Haneul as the members share more about their process, viewpoint, world tour plans and messages to their fans affectionately known as Kissys, alongside exclusive photos below.
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I want to begin by congratulating you on earning your first Billboard chart entries with “Sticky.” What were your reactions?!
Julie: We couldn’t believe it! We love the song “Sticky” so it was really an honor for it to get into the charts. We were so happy that people were liking it as much as us and we felt so grateful! We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news; as hard as we worked, we also know that we really couldn’t have done it without the support of our fans—love you, Kissys!
KISS OF LIFE
Courtesy of S2 Entertainment
KISS OF LIFE has been rising since your debut last July, but “Sticky” has been a real breakout: Top 10 in Korea, charting in the U.S., your biggest hits on Billboard‘s Global charts. What do you think are some factors that made this such a hit?
Belle: I think we honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform as well. I feel like this song, in particular, really suited all the members, and you could feel that all the members were just having fun and enjoying themselves while recording and performing the song. Also, in regards to the visuals and performance, we focused on just feeling ourselves and being confident which fits well with summer. I mean, it is summer, why not have a little fun with it?!
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I also love your latest B-side, “Te Quiero,” co-written by Belle. What did you want to show with “Sticky” and “Te Quiero” that you hadn’t shown previously in KISS OF LIFE?
Natty: We wanted to show everyone our translation of summer! The cool and refreshing side as well as the hot! We just wanted to send good vibes and make sure everyone could enjoy the summer with us. Both “Sticky” and “Te Quiero” are actually our interpretations of summer: “Sticky” would be the exciting, fun aspect of summer where you enjoy yourself to the fullest; “Te Quiero” would be the cooler, more chill and relaxing version of summer that is equally enjoyable. I don’t think we had some mastermind plan of what we wanted to show with these tracks. We just genuinely wanted everyone to enjoy the music while enjoying their summer. You work hard, you play harder!
KISS OF LIFE
Courtesy of S2 Entertainment
“Te Quiero” is also significant as another English B-side track, just like “Nobody” with “Midas Touch.” Is there a more prominent reason to include these tracks, and even the English version of “Bad News,” in your larger plans as a group?
Julie: Of course! We always want to keep our international fans a big part of our music. For the Kissys all around the world, we want to continue to make music that everyone can enjoy and listen to. We are adamant in making sure our international fans know that they play a big role in our music. Again, we don’t have a master plan on how or a larger picture that we are strategizing for. We really just want everyone to feel included with our music, wherever they are and whoever they are. We just want to make music that everyone can enjoy and listen to without overcomplicating things.
Have you begun preparations and rehearsals for your Kiss Road World Tour? What are you looking forward to the most?
Haneul: We are super excited for the tour. Absolutely, can’t wait to meet our Kissys, who have been supporting us throughout our journey. We’ve been working hard with our team in designing the show so that we are able to give all of our fans an amazing experience. There’s a little bit of pressure to show our fans the best version of ourselves but we promise we won’t let you down. I think the most exciting part about touring is really feeling everyone’s positive energy!
Natty: Well, we are actually pretty confident in our performing ability so fans can expect a show with high energy. We love what we do and we are blessed with so many people supporting us while we do what we love. In return, we want to give them the best version of us, so I hope they will all look forward to it.
Something I always respected about KISS OF LIFE is that you shared yourselves via solo songs from your debut album. Will we get to see more solo stages on tour?
Belle: Don’t want to give too many spoilers so…I think we can say, “maybe?!” We’ve prepared some new stages so make sure you stay tuned for it.
KISS OF LIFE
Courtesy of S2 Entertainment
With that, KISS OF LIFE has also become known for your covers. Your Brown Eyed Girls “Sixth Sense” cover was even officially released, and you’ve done songs by 2NE1, Ciara, Ariana Grande, Nicki Minaj, BLACKPINK, Doja Cat, the list goes on…any special or new covers for tour?
Julie: We always sing, rap, and dance to so many different artists on a daily [basis], so hopefully, we get the opportunity to showcase it to everyone on tour. We just love all different styles and categories of music. For us right now it’s being versatile enough to explore many different types of music and to experiment with sounds so we [can] create our own specific style. There are days we focus on singing, other days we rap, and days we only dance, but we are always working to improve ourselves, so I hope we have the opportunity to showcase it for the world to see!
The four of you came from very different backgrounds and debuted as adults. Sometimes, it can be difficult for adults to pursue their dreams or even make new friends. How did you all connect and learn from each other to make KISS OF LIFE work as cohesively as it is?
Haneul: We just respect each other. We acknowledge our differences and the path we went through to get here so that makes us learn from each other and grow! A key point in any relationship is trust and respect. The respect comes from acknowledging each other’s past experiences that led them on the path for us to be here. I believe that because we are able to share our respective experiences with each other, we are able to learn from each other and grow as a group, not just individually. We all have something to learn from each other and we respect where that knowledge came from.
KISS OF LIFE
Courtesy of S2 Entertainment
Do you have any other messages for international fans waiting to meet you?
Julie: We always want to say thank you so much for sending your love and support. Although we may be far distances, our hearts are always near! We can’t wait to meet everyone in person and I hope the time comes fast. Love you guys so much and see you soon!!!
Courtesy of S2 Entertainment
It’s Valentino Merlo and The La Planta’s winning week on the Billboard Argentina Hot 100 chart as the Argentianians first team-up “Hoy” dominates for an 11th consecutive week (list dated Sept. 14).
With the new week at No. 1, “Hoy” breaks away from a tie with “Una Foto (Remix)” by the all-star team comprising Mesita, Nicki Nicole, Tiago PZK, and Emilia, for the longest-leading song in 2024. Plus, it becomes the seventh-longest run at No. 1 on the almost six-year chart.
Here’s the recap of those longest-leading songs on Billboard Argentina Hot 100 dating back to its 2018 launch:
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Peak Date, Song, Artist, Weeks at No. 1Jan. 11, 2020, “Tusa,” Karol G & Nicki Minaj, 25July 31, 2021, “Entre Nosotros,” Tiago PZK, LIT killa, Nicki Nicole & Maria Becerra, 16Sept. 10, 2022, “La Bachata,” Manuel Turizo, 15May 25, 2019, “Otro Trago,” Sech, Darell, Nicky Jam, Ozuna & Anuel AA, 13Aug. 29, 2020, “Hawai,” Maluma & The Weeknd, 12Jan. 12, 2019, “Calma (Alicia Remix),” Pedro Capo & Farruko, 12July 6, “Hoy,” Valentino Merlo & The La Planta, 10
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Luck Ra and Nicki Nicole add a new top 10 to their chart career with “Doctor,” which arrives at No. 8 as the week’s Hot Shot Debut. While Luck Ra scores his seventh top 10, Nicki Nicole banks her 11th, tying with Karol G for the fourth-most among women. With 11 top 10s each, both trail Maria Becerra, who continues to lead with 28 top 10s, and Emilia and Tini, both with 18 top 10s.
Luck Ra also crosses off a new achievement, as “Hola Perdida (Remix)” with Khea, takes home the Greatest Gainer award, as the song flies from No. 92 to No.19.
Spanish artist Ana Mena earns her first entry with the Emilia collab, “Carita Triste” at No. 26. Meanwhile, Maisak’s “Se Me Olvida,” featuring Feid, debuts at No.45.
Below the top 50, seven other songs make its first chart appearance, starting with Salastkbron and Omar Varela’s “Dímelo Mami” at No. 56.
Elsewhere, Vilma Palma makes its maiden debut thanks to “Auto Rojo,” with Marama, at No. 75. Omar Courtz, De La Rose and Haze follow with “Kyoto” at No. 77, Q’ Lokura and La K’onga’s “La Última Granada” at No. 85, Lisas’ “New Woman,” featuring Rosalia, at No. 88, Ciro’s “Me Gusta” at No. 89, FloyyMenor’s “Tu Ta Rika” at No. 90, while Lira Música and Kingto’s “El Pronóstico” at No. 94.
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Grammy-nominated music producer TOMOKO IDA spoke with Billboard Japan for its Women in Music interview series, featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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One of the few female music producers in Japan and abroad, TOMOKO IDA co-produced the first track “obstáculo” on Puerto Rican music producer Tainy’s debut album DATA in 2023, which was nominated for Best Música Urbana Album at the 66th Annual Grammy Awards. As the first Japanese woman to be nominated for a Grammy as a music producer, TOMOKO IDA shared her thoughts on why female producers are in the minority in the music industry.
How did you become a music producer?
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My mother was a music teacher and I took piano and dance lessons since I was six years old. When I was in the second or third grade, the (J-pop) dance and vocal group ZOO was popular, and I became interested in 90’s hip-hop and new jack swing. I also longed to go to New York after watching music videos and dreamed of working in the U.S. someday. Time passed and I began DJing, then a few years later, I started performing as a beat maker using a MPC in a two-woman duo. It was rare to see women performing with a sampler at the time, and people were excited to see our shows when we performed overseas. When it was time to find a job after college, I considered working for an ordinary company, but my mother said, “Why not do music?” and encouraged me, so I chose to work part-time and focus on making beats.
Why did you decide to become a music producer rather than an artist that performs in front of an audience, even though you debuted in a duo as a MPC player?
Performing live with a sampler and DJing requires flexibility and instant response on the scene, but I have always loved making things and am better at taking my time to create something. Plus, I hadn’t heard of too many female music producers, so I wanted to spearhead it. By 2016, I started to focus more on producing.
You’ve produced music for famous J-pop artists such as AI, Daichi Miura, SixTONES, and EXILE TRIBE, as well as music for fashion advertisements. Could you tell us what you do as a music producer?
I sense that the definition of a music producer has been changing with the times, and it’s also different from country to country. In Japan, the definition seems to refer to people who produce everything from the concept and selection of members [of an idol group], like Yasushi Akimoto and Tetsuya Komuro, but in the U.S., if someone makes a track, then that person is often called a music producer. In my case, I’m often asked to produce music by artists who’ve already established their careers, so as a music producer I try to produce music that will make those artists shine brighter.
A lot of the songs you produce for Japanese artists are powerful. Do you think there’s a difference in the ideal image of women in Japan and America?
It does feel different depending on the country. For example, I have a feeling Japanese men find fragile women attractive. Maybe that’s why there are lots of songs and lyrics that lean towards that direction. But in the U.S., powerful women are more popular.
You accomplished an extraordinary feat in becoming the first Japanese female producer to work on a Grammy-nominated album. From your position, do you have any thoughts on how things could be improved to make it easier for women to work in the industry?
I still think it’s necessary for forerunners [like us] to pave the way. For example, in Japan’s hip-hop scene, Awich is currently leading the way and doing well as a female rapper. I think opportunities for women will expand if there are more people like her, so I’d also like to do my best as a music producer to make it easier for more women to follow suit. I’d like to see more Japanese people go out into the world because in the community of producers and songwriters in L.A. where I currently live, there are very few of us compared to other Asians.
The skills required for both performing with a sampler and being a music producer don’t seem to be too demanding in a physical sense, so why do you think there aren’t too many women in these fields?
It’s said that female producers make up less than 3% of the total even now. We use machines and computers, so maybe people think it’s mechanical and science-oriented. I don’t think it’s a hard job for women to do, but there are so few women that people seem taken aback to see me in the studio. I also seem to surprise people in a good way for my skill, because apparently Asian women look young for their age.
What advice would you give to yourself in the first year of your career?
I’d say, “Keep making music.” It’s not always easy to get your songs chosen when working as a music producer. Even when you’re personally offered an opportunity, only a few of the songs you write will make the cut. It might seem like a glamorous world, but it takes quite a bit of quiet dedication and you just have to keep at it.
What are your next goals?
I was able to become a Grammy-nominated producer, so I want to become a Grammy-winning producer someday. I don’t know when that will be, but I’ll continue to make music toward that goal.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Sept. 11, logging its second week atop the chart.
The track debuted at No. 11 on the chart dated Apr. 17, and after rising to No. 3 the following week, it coasted along in the top five and reached No. 1 for the first time on the July 17 list. Streaming and downloads for the Oblivion Battery opener increased this week, leading to rise in overall points. Downloads are up 117% and streaming up 102% from the previous week.
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RIIZE’s “Lucky” debuts at No. 2. The seven-member group’s first Japan single topped sales with 250,470 copies sold in its first week and entered the chart fueled only by this metric.
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GEMN’s “Fatal” rises to 15-3. The Oshi no Ko Season 2 opener debuted at No. 21 on the chart dated July 10 and peaked at No. 8 the following week. The release of the CD version powers the track by the duo consisting of Kento Nakajima and Tatsuya Kitani to its highest position yet. Downloads for the song are up 142%, streaming up 101%, radio airplay up 428%, and karaoke up 108% week-over-week.
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Mrs. GREEN APPLE has another song in the top five this week, with “familie” rising two notches to No. 4. The three-man pop band appeared on the music program With MUSIC on Sept. 7, which probably helped boost all metrics except radio.
Kocchi no Kento’s “Hai Yorokonde” climbs five rungs hit No. 5 to enter the chart. The multi-talented creator recently appeared on the popular YouTube channel THE FIRST TAKE, which led to a rise in streams (109%).
LE SSERAFIM’s “CRAZY” soars 67-8. Streams for the track is up 393% this week because it was released on Aug. 30, giving it only three days to count towards its debut week.
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 Sept. 2 to 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Billboard‘s International Power Players list recognizes leaders who are driving the success of the music business in countries outside the United States. Among the leaders selected from various countries in the music industry, Amazon Music’s Keisuke Oishi was chosen for the first time in 2024. To commemorate this, Billboard Japan interviewed Oishi about his focus since being appointed to his current position in January 2023.
First off, could you tell us a little about your career?
Keisuke Oishi: The two key words in my career have been “IT” and “media.” Through the synergy of these two areas, I’ve been taking on the challenges of providing various innovations to customers.
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I joined Sony Corporation after graduating from university. At Sony, I worked in areas like supply chain management, finance, business administration, and business strategy for the PC/IT businesses. Then in 2014, I moved to Amazon, where I’ve been involved in the media business ever since. At Amazon, first I was responsible for the launching of digital video games in the retail division. In 2017, I was appointed head of the software business unit on top of video games. And two years later, I went on to be concurrently responsible for the packaged music business unit, so I’ve been involved in music since around 2019. Then, in January 2023, I was appointed Director and General Manager of Amazon Music Japan.
So you haven’t been in the music industry for your whole career.
Oishi: That’s right. But music has always been a very important part of my life, so it was a role I wanted to challenge one day. Amazon, on the other hand, is a company that places importance on what innovations can be made using technology while always keeping the customer first. That approach was the same before I got involved in music, and it remains the same today.
What have you been working on since January 2023?
Oishi: In my current position, I have three key tasks that I hope to contribute to the music industry, the artists, and our customers. The first is to expand the base of music listeners in Japan, and the second is to help customers enjoy music in new ways. Streaming services are for listening to music, but Amazon Music and Amazon have many points of contact that connect customers and artists. The third, and I think this is a challenge the entire Japanese music industry is facing, is to provide support for Japanese and other Asian artists as they expand their reach around the world.
There are various types of Amazon Music memberships, and you’ve made multiple improvements for those.
Oishi: We are always focused on creating the best experience for all Amazon Music customers. The level of streaming music penetration is still very low in Japan compared to the US and EU countries. But, looking at it another way that means it still has a lot of potential. According to LUMINATE’s data, music streaming has the highest levels of usage among Gen Z and Millennials. That means there’s room for growth among older generations. This is a challenge that the entire industry is facing. These are people who were once really into music, but due to work and lifestyle changes, they’ve disengaged. That’s true for my own generation, so I’ve been thinking about how we can make music a part of these people’s lives again. Our services aren’t limited to music streaming, but also CD and DVD purchasing and video streaming. We have a lot of different touch points like those, so we’re in an ideal position to deal with the challenge.
Secondly, I want to help customers enjoy music in new ways. Amazon is a collection of many different services, and since last year, we’ve been actively working to support artists when they come out with new releases. For instance, when a physical release is decided on, we set up a special sub-site and bolster our promotional efforts. When the interest of listeners shifts to streaming, we reinforce our promotion and marketing efforts in ways that are only possible with digital technology, like creating playlists that include interviews. We use that approach for roughly two or three months, building up connections between artists and customers. That’s something I think we’re uniquely positioned to do. This is one of the areas we’ve really enhanced over the past year.
Japan is one of the countries where both streaming and physical sales are growing, so it’s a great fit for Amazon.
Oishi: Exactly. Another example of that are our promotional campaigns which visualize the support fans provide to artists as they listen and share music and follow artists using our app. Users collect stamps using a stamp card-like feature, and when they collect all stamps, they can receive rewards. This feature was designed and developed by a team in Japan, but now it’s also being applied in other countries, in a few different ways.
And the live streaming of Fuji Rock Festival ’24, in July, was a combination of all three of the tasks I mentioned earlier.
It was streamed on Prime Video and Twitch, which generated a lot of buzz.
Oishi: I think the best way to enjoy a music festival is in person. However, there are a lot of people who can’t go, for one reason or another. I’d imagine there are also people who went in the past but can’t go now. To reach out to people like that, we streamed Fuji Rock Festival ’24 live on Prime Video and Twitch.
In addition to the live streaming of the event, we also created all kinds of touch points with customers, using every kind of approach—offline, online, digital, physical. For example, we ran an advertising campaign using Amazon Lockers and we sold original t-shirts. We tried to connect customers to music and artists through the Fuji Rock Festival in all kinds of ways.
Also, this year, we streamed Fuji Rock Festival ’24 worldwide. Every day, we think about how we can share wonderful Japanese artists with the rest of the world. One way we came up with for doing that is to stream the festival live, so that it could be viewed by music fans around the globe.
In addition to Japanese attendees, there were many people from other Asian countries at Fuji Rock. Which countries were people streaming it from?
Oishi: People viewed it in the US, Europe, and Latin America. Amazon Music has been streaming music festivals around the world, like Vive Latino in Mexico and Primavera Sound in Spain. Of those, Fuji Rock Festival ’24, which was live streamed on Prime Video and Twitch, was the most watched three-day music festival ever streamed live by Amazon Music.
That’s wonderful to hear. Are there plans to stream any other Japanese festivals?
Oishi: We also live streamed DEAD POP FESTiVAL 2024, YON FES, and Kyoto Daisakusen in August.
Last year, we enhanced our support for artist-led festivals and began streaming watch party-like events where viewers watch shows along with artists from Amazon Music Studio in Tokyo. Twitch supports comment sharing functionality, so artists can communicate and interact with fans. It’s very exciting. I believe that, over time, these connections between artists and fans will foster greater awareness of Amazon Music.
Speaking of sharing Japanese music with the rest of the world, Billboard Japan launched the “Global Japan Songs Excl. Japan” chart, which ranks Japanese songs being listened to worldwide excluding Japan. Being able to visualize what music is listened to is, I think, extremely important for Japanese artists making inroads overseas.
Oishi: I think the hit charts are really important for exposing people to new music. When I was a kid, I grew up checking the U.S. Billboard charts. I’d watch Billboard TOP40 on TV, and I even sent in postcards when I was little (laughs). When I was in junior high, I memorized around twenty years of annual charts. I’ve forgotten a lot since then, but I was a Billboard superfan, and Billboard charts were my window into foreign music. Now, overseas audiences may be discovering Japanese music through the charts, or through on-demand streaming, or through live streaming. I’m confident that if all of us in the music industry create these opportunities, we can provide greater opportunities for people to discover Japanese music.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan