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The Chemical Brothers’ music has been loved by the cinema and video games since the beginning, when in 1995 “Chemical Beats” ended up in the soundtrack of the PlayStation game Wipeout. The latest such appearance is in the film Sonic the Hedgehog 3, where “Galvanize” sounds perfect in a scene with Jim Carrey dancing among laser beams. Tom Rowlands has already worked on commission for some directors such as Darren Aronofsky for Black Swan and Joe Wright for a theatrical production and for the film Hanna, in the latter case paired with Ed Simons (the other half of the Chemical Brothers).
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But this new adventure was really a challenge. With the usual English irony Tom defined “an act of intimidation” the request of director Joe Wright to score the new Sky Original series Mussolini: Son of the Century, based on the novel M. Son of the Century by Antonio Scurati, which was recently released in Italy. The series tells the story of the birth of fascism in Italy and the rise to power of Benito Mussolini. The challenge was won, because the Chemical Brothers-style tracks perfectly amplify the emotional and sometimes tragic scenes.
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Working with Joe Wright seems to have become a regular occurrence.
True! Ed and I worked together on his film Hanna and then I composed the background music for Joe’s adaptation of Bertolt Brecht’s famous play Life of Galileo, an experience I really enjoyed. I like working with Joe: I still remember him when he followed us on our first important tours, all three of us were kids… Suddenly one day he sent me M., Antonio Scurati’s book. I was hooked from the first pages, it’s a fantastic book! I studied history at university and I immediately realized that Joe’s gesture of offering me this reading was a real challenge, because M. is not only a long book but above all dense and profound. Plus, I’ve always been attracted by the history of that period.
So was it easier for you to feel involved in the project?
Yes, but I could also say that making me read M. was also a sort of intimidating act. First of all because I have never worked on a text that deals with a specific historical event, then because the rise of fascism and the figure of Mussolini are certainly not easy historical topics to deal with. Composing this soundtrack was a serious task. I was very excited at the idea of taking on a challenge so different from my previous ones, and for a project that started from such a powerful book.
The compositions you created for the series are very precise in commenting on the scenes in which they are inserted. Did you start working on the sound even before shooting?
That’s right: Joe Wright and I started talking about ideas and musical themes with just the script in hand. It was a long process of ideas, plus I was interacting with a person who is also a true friend in addition to being a great talent. I tried to give shape to his ideas, because this series is the fruit of his vision.
The soundtrack has very rhythmic sound comments – Chemical Brothers style – and not many melodies.
There are melodies! But they are a bit convoluted, they are never obvious. The main theme is all based on a precise and constant rhythm.
The theme is close to the sound of fascist marches but also takes up the ideas of futurism.
Of course, Joe and I discussed the difference and the relationship between noise and music, which was a theme dear to the futurists. I certainly would never have associated a “floral” sound movement with the advent of fascism!
You stated that part of the soundtrack was made by making old acoustic instruments interact with modern electronics.
Right. I developed a system in my studio where I can have total control of all the information I receive by making my technology interact with traditional instruments such as strings and piano. What we were describing musically was a certain past that really happened. When I met Antonio Scurati he was absolutely in agreement with this creative process, as well as the fact that for (this series) all modern electronics were used to tell not an imaginary world but historical facts, the songs often comment on words taken from real speeches by Mussolini.
The tracks are sometimes very short sound comments. Was it difficult to work on them?
Yes, that was also a real challenge. But that’s why I like working on soundtracks: it’s a very different process. I’m also intrigued by being able to comment on the change of emotions during a scene: you can easily go from a sense of calm to one of terror in a few moments, whereas in a song you often try to create only one type of emotion or feeling.
The impression is that in the second part of the series the music becomes increasingly dramatic, as the historical events do.
I tried to musically describe a very complex historical period where a leader conquers the people – part of the population also found Mussolini a funny man – and then comes to total control of the Italian state after the killing of the MP Giacomo Matteotti. I also tried to convey the director’s and writer’s vision: I hope I did it coherently with that.
What do you think of the Oasis reunion?
I’ll be honest: it’s crazy! My kids and their friends are really desperate to get a ticket because that’s a generation that has never seen the Gallagher brothers on stage together. I’ve known Liam and Noel for years, I’ve been to their concerts many times and it’s always been great to be there, but this time the level of hysteria reached to get a ticket here in Great Britain is truly incredible. Speaking of people from Manchester, my kids would love to see The Smiths reunite too!
Which Oasis albums do you like the most?
Whatever age you are, even just 17, Definitely Maybe is still an incredible album: listening to it is as if the songs were speaking directly to you. I’m sure that this effect is triggered also in the new generations. But the second album is not bad either. They are their two masterpieces.
Will we hear new Chemical Brothers music anytime soon?
It’s too early. Ed and I have to take our time, as always. When we release music, we want to make sure it’s music we really love! We’ve never limited ourselves to putting out productions just for the sake of it. And that’s still true today.
Rosé and Bruno Mars’ are making chart history with their duet “APT.,” which continues its reign at No. 1 on the ARIA Singles Charts for its ninth non-consecutive week. The track now holds the title of the longest-running No. 1 duet since Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” dominated for 10 weeks back in 2020-21.
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The milestone cements “APT.” as one of the most iconic duets of the decade, holding its own amidst fierce competition from Gracie Abrams’ emotional anthem “That’s So True” and Mariah Carey’s holiday staple “All I Want For Christmas Is You,” which had a brief resurgence during the festive season.
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Sabrina Carpenter is also celebrating a landmark moment with her album Short n’ Sweet. The record has now notched nine non-consecutive weeks at the top of the ARIA Albums Chart, making it the longest-running No. 1 album by a female artist since Taylor Swift’s 1989 (Taylor’s Version) held the spot for 14 weeks in 2023-24. Excluding Taylor’s catalog, Carpenter’s achievement is unmatched by a solo female artist since Adele’s 21, which spent an incredible 32 weeks at No. 1 in 2010-11. The only longer recent run by a female artist was Lady Gaga’s A Star Is Born soundtrack, credited alongside Bradley Cooper, which logged 11 weeks at No. 1 in 2018-19. Carpenter’s success with Short n’ Sweet is a testament to her growing dominance in the global pop scene.
The ARIA Singles Chart is also spotlighting emerging talent this week. British DJ Chrystal has broken into the top 10 for the first time with her remix of “The Days (Notion Remix),” which leaps from No. 18 to No. 7. Meanwhile, SZA continues to thrive with “BMF,” a fresh track from the new Lana edition of her 2022 album SOS. The song rises from No. 27 to No. 17 as the SOS album itself holds strong at No. 2 on the Albums Chart.
Morgan Wallen makes waves on the Singles Chart with his newest release “Smile,” which debuts at No. 36. The track, his third single from his upcoming fourth album, marks Wallen’s seventh top 50 hit in Australia and adds to his growing country-pop repertoire, which includes chart-toppers like “Last Night” and “I Had Some Help” featuring Post Malone.
Over on the Albums Chart, Lil Baby’s Wham debuts at No. 42, becoming his third solo album to chart in Australia. Previous entries include My Turn (No. 20 in 2020) and It’s Only Me (No. 7 in 2022), along with his collaborative effort with Lil Durk, The Voice Of The Heroes (No. 20 in 2021).
The top albums of the week are led by Sabrina Carpenter’s Short n’ Sweet in first place, followed by SZA’s SOS, Billie Eilish’s Hit Me Hard And Soft, the Wicked movie soundtrack featuring Cynthia Erivo and Ariana Grande, and Taylor Swift’s The Tortured Poets Department.
Just like Beyoncé and Post Malone before them, Australian children’s music group The Wiggles is going country.
The upcoming album Wiggle Up, Giddy Up! is slated to release March 7 and will feature music and collaborations between The Wiggles and country artists including Dasha, Dolly Parton, Lainey Wilson, Jackson Dean, Orville Peck, MacKenzie Porter and Lucky Oceans.
The album will also feature music from Australian and New Zealand-native country artists including Morgan Evans, Troy Cassar-Daley, Travis Collins, Kaylee Bell, The Wolfe Brothers and the late Australian country music icon Slim Dusty.
The album’s title track features “Austin (Boots Stop Workin’)” hitmaker Dasha, who released the project What Happens Now? in February 2024.
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“This is one of the most exciting projects we’ve ever been a part of, in fact, I’ve never spent so much time on an album before,” Anthony Field, who portrays the Blue Wiggle and is a co-founder of the group, said in a statement. “Country music is all about storytelling and connection. Combining that with The Wiggles’ fun and imagination and collaborations with these legendary country music artists felt like the perfect match. We can’t wait for families everywhere to hear these songs!”
Lachy Gillespie, who portrays the Purple Wiggle, added, “We’re so excited to share ‘Wiggle Up, Giddy Up!’ with families everywhere. It’s a song that’s packed with energy, fun, and plenty of country flair. Collaborating with the incredible Dasha, whose music has already brought country music to a whole new audience, was an absolute joy. Whether you’re three, thirty-three, or ninety-three, this song is all about bringing people together to sing, dance, and even try a bit of line dancing!”
The Wiggles have released music projects since 1999, and previously issued the country-themed album Cold Spaghetti Western in 2004.
The Wiggles will also tour in the United States this summer, when their Bouncing Balls Tour runs from June 1 to July 6.
Hear Dasha’s title collaboration with The Wiggles below:
Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 8.
The Oblivion Battery opener gained in most metrics of the chart’s methodology from the week before: streams are up to 126%, radio airplay 172%, video views 126%, and karaoke 119%. The notable increase is most likely due to the group winning the Grand Prix at the 66th Japan Record Awards 2024 on Dec. 30 with this track (the threesome received this coveted award last year as well, with “Que Sera Sera”) and appearing on the prestigious live music show NHK’s Kohaku Uta Gassen on New Year’s Eve, and downloads have more than tripled from 4,794 units 15,585 units week-over-week. Also, the tracks the band performed on CDTV Live! Live! 2024→2025 — “I’m Invincible,” “Columbus,” and ”StaRt”— also climbed the chart, with “StaRt” reaching a new peak at No. 45.
Rosé & Bruno Mars’ “APT” slips a notch to No. 2. The global hit decreased in streaming, video and karaoke, but increased slightly in downloads and radio this week.
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6 of the tracks listed on the top 10 this week were performed on Kohaku. Creepy Nuts’ massive rap smash “Bling-Bang-Bang-Born” rose 6-3 and Kocchinokento’s breakout hit “Hai Yorokonde” more than doubled in downloads, rising 10-5. Omoinotake’s “IKUOKUKONEN” also gained in downloads more than twofold, rising a notch to No. 7, while tuki.’s “Bansanka” quadrupled in downloads, rising 17-9. Da-iCE’s “I wonder” tripled in downloads and returned to the top 10 for the first time in about 5 months.
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Other Kohaku performers who graced this week’s chart include Kenshi Yonezu, whose “Sayonara Mata Itsuka!” saw a six-fold increase in downloads to shoot to No. 17 from No. 40, and Fujii Kaze, whose “Michi Teyu Ku” returned to the Japan Hot 100 for the first time in about three months, hitting No. 27. Veteran rock duo B’z also return with two classic J-rock anthems, “ultra soul” and “LOVE PHANTOM.” The former re-enters the chart for the first time in about 7 years and 4 months at No. 49, fueled by radio and download points, while the latter comes in at No. 57, powered by gains in downloads and streams.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Dec. 30, 2024 to Jan. 5, 2025, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Jennie’s to-do list is growing by the minute. For the last year, the pop star has been so consumed with the launch of her own label and arrival of her highly anticipated solo debut album — plus, now, the impending reunion of Blackpink, the globally renowned K-pop quartet she is part of — that she […]
Since its 2022 debut at Barclays Center, MetaMoon Music Festival has built itself up as a New York City stalwart for Asian entertainment and talent worldwide with concerts, industry panels, block parties, and more. At the top of 2025, MetaMoon is officially going global with its first overseas iteration.
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Billboard can exclusively reveal that MetaMoon in Dubai will take place this February in the United Arab Emirates’ Al Wasl Plaza – Expo City Dubai. Singer-songwriter-actor Henry Lau and Korea’s viral singer-rapper Lee Young Ji will headline the inaugural UAE fest. The festival rounds out its lineup with rising Japanese-American singer-songwriter mikah, 2024’s Red Bull Dance Your Style champion MT Pop of Vietnam, and DJ and radio veteran Poon from New York. Rapper and comedian MC Jin, who participated in the 2022 and 2023 MetaMoon events, will host the event.
Lau was last year’s MetaMoon headliner, where the former Super Junior member not only delivered his mix of pop and classical music but sat down for a career-focused fireside chat with SiriusXM’s Michael Tam as part of The Summit, which MetaMoon launched in partnership with the Roc Nation School of Music, Sports and Entertainment. “I’m just excited to share what I’ve learned,” the Berklee College of Music graduate told Billboard ahead of the fest. “I’ve gotten to an age where there are a lot of aspiring musicians, and I hope that my experiences can help give them a good idea of what to expect and what they need to work on in certain aspects.”
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Live Nation Middle East is promoting and producing MetaMoon in Dubai.
“Live Nation Middle East is proud to partner with MetaMoon to bring this unique celebration of Asian pop culture to Dubai,” said James Craven, President of Live Nation Middle East. “The UAE is a vibrant and diverse region and this event is a perfect reflection of the incredible cultural exchange we aim to foster through music and entertainment. We are thrilled to debut such an exceptional lineup of talent, and we look forward to creating unforgettable memories for fans in the Middle East.”
After showcasing nearly two dozen different API stars, MetaMoon founder Grace Chen sees the overseas expansion as a considerable way to help spread Asian pop culture at large.
“Our partnership with Live Nation Middle East to bring MetaMoon to Dubai signifies our commitment to introducing Asian artists and pop culture to new fans while giving existing fans a chance to see their favorite artists live,” Chen said in a statement. “We are excited to be debuting an incredible lineup of Asian talent for their first appearances ever in the region and for what will be an entertaining evening for fans.”
Citing a growing Asian diaspora in the Middle East as well as increased interest in Asian pop culture in the region, MetaMoon in Dubai says it hopes to “bring a full fan experience to audiences in the Middle East in the coming years” in a press release.
Tickets for MetaMoon in Dubai go on sale Jan. 8, 2025, at 10:00 a.m. Dubai time exclusively through LiveNation’s Middle East site and United Arab Emirates’ Ticketmaster site.
After BABYMONSTER spent 2024 solidifying their position as one the year’s standout K-pop rookie acts, the girl group is looking to extend their reach with fans worldwide during their first-ever world tour that the septet is preparing with a dynamic production to distinguish itself from other K-pop acts and showcase what truly makes them unique.
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Hot off the group’s Billboard 200 debut with their first full-length [Drip] splashed onto the charts in November, the stars tease a “vibrant setlist” featuring never-before-performed tracks from the LP alongside individual solo stages by members RUKA, PHARITA, ASA, AHYEON, RAMI, RORA, and CHIQUITA. Accompanied by a live band, the tour will rock major arenas like Los Angeles’ Kia Forum and the Prudential Center in Newark, NJ, to help cement their reputation as rising live-performance powerhouses. So far, BABYMONSTER has already wowed live audiences with standout appearances at K-pop award shows (a highlight of the year for RORA) and as special guests during dates of 2NE1‘s highly anticipated reunion tour across Asia (which “felt like a dream,” according to youngest member CHIQUITA).
Billboard caught up with the monster rookies to learn about the creative process behind their tour, the group’s favorite moments and tracks from last year, and New Year’s greetings and messages for their loyal fans — adorably known as MONSTIEZ.
Congratulations on announcing your first-ever world tour! What does it mean to you as a group that your first U.S. shows will be at iconic arenas like the Kia Forum and Prudential Center?
RUKA: We are honored and thrilled to be able to hold our first U.S. shows at such iconic arenas. We promise to deliver amazing, unforgettable performances that you’ll cherish for a lifetime, so please look forward to them!
The name is really fun, how did you decide on the name for your world tour? Is there a message you wanted to convey?
RAMI: was chosen with the idea of our first meeting with our fans in mind and the very first greeting we will share when we meet in person. We would like to extend a heartfelt first greeting through our music and performances. First meetings are always so exciting, which is why we are especially looking forward to the upcoming shows! This tour will be a chance for us to share our story with all of you and create special, unforgettable moments that will be cherished for years to come.
CHIQUITA: For the first time ever, we’re unveiling performances from our first full-length album, [DRIP], including solo stages and a vibrant setlist. We can’t wait to showcase not only the unique charms of our seven members but also the incredible synergy we share together.
The tour begins in Seoul in late January. What songs are you looking forward to performing for the most? And what should U.S. fans expect from your shows?
PHARITA: I’m so excited to perform songs we’ve never shared with our fans before! However, the song I always enjoy performing the most on stage is “BATTER UP (Remix)!”
ASA: Our U.S. fans will get to experience our vibrant performances and high-energy stages. We hope to create special moments with music and performances that showcase our unique style. Additionally, we look forward to connecting more closely with MONSTIEZ and sharing unforgettable moments together!
BABYMONSTER gained a lot of attention for the live “band” performances of your songs like “SHEESH” and “FOREVER.” I hope that means you’ll be touring with a live band in the U.S.?
AHYEON: We believe that a live band is the best way to capture the energy and atmosphere of the moment, so we’ve decided to perform every song with one! The rearrangements in each track will bring a fresh, new vibe while adding elements we hope you’ll find exciting and enjoyable.
Beyond the concerts, what are you looking forward to doing or experiencing in the LA or NY areas?
RAMI: I want to stroll, shop, and enjoy delicious food at my leisure while soaking up the sun on the streets of LA. In NY, I definitely want to visit Times Square!
Taking a step back, 2024 has been a monumental year for the group; what stands out as most memorable?
RORA: It’s definitely hard to choose just one, as there have been so many memorable moments! However, the most unforgettable moment for me was performing at the year-end annual music festival. It is both the most recent and the most memorable. It was my first time performing on such a big stage, and everything — from the newly arranged songs and choreography, to the stage and outfits — was perfect, making it such a fun performance.
One of my personal highlights was seeing BABYMONSTER perform as guests on 2NE1’s comeback concerts. What was your experience alongside such icons?
CHIQUITA: It was such an honor and felt like a dream to perform on stage at the 2NE1 concerts — seniors I’ve admired since I was young! Watching their amazing performances inspired me to improve and strive to do even better on our own stages in the future.
BABYMONSTER won several new-artist awards this year and was named K-Pop Rookie of the Month at Billboard. What do these titles mean to you and what more would you like to show moving forward?
RUKA: As we’ve been given the “Monster Rookie” title, we’ll continue to work hard, strive to show our growth, and always present new and different sides of ourselves.
The start of the year is often a time for goal setting. What dreams do you have for 2025, whether as a group or as individuals?
PHARITA: 2024 was filled with amazing opportunities and achievements. I’m so proud of all our members and I hope we continue to grow and stay healthy throughout our 2025 tour.
ASA: As a group, we hope to connect with more fans and share our music and performances with a wider audience on stages around the world. We also aim to continue challenging ourselves with new music styles and to showcase our growth. In 2025, we’ll work even harder to ensure we can share amazing moments together.
Billboard always shares its staff picks for the best songs of the year. What were each of your favorite songs from 2024?
RUKA: “Die With a Smile” by Lady Gaga and Bruno Mars
PHARITA: “Good Graces” by Sabrina Carpenter
ASA: “POWER” by G-DRAGON
AHYEON: “Soft Spot” by keshi
RAMI: It would have to be “toxic till the end” by ROSÉ! It’s one of the songs I listen to every single day because I love the melody and style so much!
RORA: “BIRDS OF A FEATHER” by Billie Eilish
CHIQUITA: “BILLIONAIRE” by BABYMONSTER
Any other messages you’d like to share with international fans and Billboard readers?
AHYEON: I hope everyone stays healthy and happy in the new year. We’ll work hard to make sure 2025 is a year where we can take another step forward and show even better versions of ourselves. Thank you, and wishing you all a happy new year.
RORA: First of all, kudos to everyone for all the hard work and dedication you’ve shown throughout 2024 — you’ve all been amazing! 2024 has been especially meaningful for BABYMONSTER, as it marked the beginning of our journey. We’ve worked incredibly hard, given it our all, and gained so many valuable experiences. I’m truly grateful to everyone who has supported us, and as the years go by, we promise to become stronger and even more incredible artists. Last but not least, we’d like to express our deepest gratitude to all the Billboard readers who love and support BABYMONSTER. Thank you so much!
The holiday season may be over, but the hits are just heating up on the ARIA Singles Chart.
As Christmas tracks retreat from their seasonal dominance, Rosé and Bruno Mars have reclaimed the crown with their smash hit “APT.,” catapulting from No. 8 back to No. 1 for an impressive eighth non-consecutive week on top. With holiday tunes swept off the charts, it’s time for pop’s biggest stars to shine again.
Gracie Abrams’ “That’s So True,” a former No. 1, leaps from No. 9 to No. 2, while Lady Gaga and Bruno Mars’ duet “Die With A Smile” ascends to No. 3 from No. 16. The track previously peaked at No. 2.
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Other notable singles include Billie Eilish’s “Birds of a Feather,” which jumps from No. 19 to No. 4 after topping the chart for two weeks in August, and Shaboozey’s “A Bar Song (Tipsy),” climbing from No. 18 to No. 5. The latter spent five weeks at No. 1 during July and August.
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Sydney indie-pop duo Royel Otis debut at No. 47 with “Linger (SiriusXM Session),” a fresh take on The Cranberries’ 1994 hit “Linger.”
The Cranberries’ original version became the band’s breakthrough single in the U.S., peaking at No. 8 on the Billboard Hot 100 in May 1994 and stayed on the charts for 24 weeks. It remains one of their most iconic tracks, blending alternative rock with orchestral elements and highlighting Dolores O’Riordan’s ethereal vocals. Royel Otis’ 2024 album Pratts & Pain earned two ARIA Awards last November.
On the ARIA Albums Chart, Sabrina Carpenter’s Short n’ Sweet continues to dominate, securing its eighth non-consecutive week at No. 1. The album’s standout tracks “Espresso” and “Taste” return to the top 10, climbing to No. 8 and No. 10 respectively.
Ed Sheeran’s greatest hits compilation +–=÷× (Tour Collection) rises from No. 12 to No. 6, spurred by the release of a limited-edition vinyl. The album, which peaked at No. 4 in October, showcases six of Ed’s Australian No. 1 singles, including “Shape of You” and “Bad Habits.”
In July 2024, Ado kicked off her roughly three-month-long Profile of Mona Lisa tour with a performance at Osaka’s Osaka-jo Hall. On October 13, she ended the tour with a grand finale at Kanagawa’s K-Arena Yokohama.
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Opening for her at each show on the tour was Phantom Siita, an Ado-produced idol group whose concept is “retro horror.” Their unique performances made a tremendous impact on audiences.
2024 was an exceptionally busy year for Ado. She embarked on Wish, her first world tour, with 14 performances attended by a combined audience of over 70,000 people. Then there was Heart, two days of shows at Tokyo’s National Stadium attended by over 140,000 people. These were followed by the Profile of Mona Lisa tour.
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Ado’s stage performances are well-known for her performance from within a box, but her shows go beyond just her extraordinary voice. In her dance performances, she expresses a flurry of emotions—refined, manic, joyous. This dance is a defining part of Ado as an artist. The same was true for the October 13 show. Following the opening movie that played on the screen behind her, the box seamlessly rose from below the stage. Of course, Ado made her appearance in the box.
In her performances, Ado’s shouts and screams richly express the full range of negative emotions, such as anger, sadness, fear, disgust, pity, frustration, and jealousy. She began this show with “KokoroToIuNaNoFukakai,” a song written by her emotional rudder, utaite mafumafu. She poured out her emotions in the song’s shouts. The audience clapped along through “Backlight” and “Show,” a testament to the audience’s high expectations for Ado. Her voice, bigger than ever, and the lush backing band rose to meet and surpass those expectations. She effortlessly rapped the dense lyrics of “Fleeting Lullaby.” If anything, it seemed like Ado was seeking out new challenges to take on. In “Rebellion,” she turned the band mic towards the audience, and vocal effects adorned her voice on “Kagakushu.”
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The love ballad which began streaming in August 2021, “Aitakute” was featured in the film Kaguya-sama Final: Love Is War. At the time, Ado had yet to perform a solo show. Just as life experiences provide people with greater depth and impart a greater sense of persuasiveness to their words, the variety of emotions Ado has experienced since then gave her voice a more layered and solid feel—a reality that spoke straight to the heart. She playfully danced as she performed “Faking of Comedy” and then continued with the rhythmical “Hungry Nicole,” which she accented with cheerleader dancing and twists. Just like her unpredictable life, Ado always delivers fresh discoveries through her songs, presenting the audience with pure and unvarnished truth.
The focal point of the show was “RuLe,” which got the whole floor moving to the music. The moment the intro began, the audience erupted in cheers. It was immediately apparent that this was one of the moments the crowd had been waiting for. Although it was impossible to make out her facial expression from her silhouette, Ado sat on a chair in the box, suddenly breaking out in laughter, the very embodiment of someone who has achieved the mental state of transcendence. It was her most frenzied performance, as she swung her hair around and unleashed a sense of pent-up rage, almost palpable in every fiber of her being. Her voice, coming from deep within, was overwhelming, expressing various personalities. As the song ended, she stood atop the chair and then fell to the floor. This was no longer just a song, it was an overpowering theatrical performance that left the viewer so rapt that they dared not blink. Ado spoke to the audience, saying “I believe that if, by serving as a sidekick, my existence can help others, then I can come to love myself.” As she sang, her vocalizations were so powerful it was like she had transformed into a wild beast. She easily accomplished what no ordinary person could do. And, seeing that, the audience could not help but feel their own pent-up frustrations naturally dissolve, without singing a single note. As she had hoped, her voice shined a light for the audience, and one could not help but take off one’s hat to her exceptional skills, even when singing songs written by other artists.
In the second half of the show, the box grew larger, presenting Ado with a wider area in which to perform. In “I’m a Controversy,” “Kura Kura,” and “Chocolat Cadabra,” the audience sang along and clapped their hands, but what stood out in particular was the excitement with which the audience reacted to each of her challenging vocal performances. Ado proceeded to perform song after song that showed off her talents and elevated songs in a wide range of genres, such as the club music-inspired “Nukegara” and “Yoru No Pierrot (TeddyLoid Remix)” and the city pop “All Night Radio,” making them her own. “0” was the last song on Ado’s second album, Zanmu, which she released in July 2024, and it was clear from the audience’s reaction to the intro that “0” joined “RuLe” as another highlight of the show. These two songs have an underground feel, as if the songs don’t want to be discovered by the masses. They also feel like especially strong expressions of Ado’s emotions.
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Viola Kam/Billboard Japan
In the encore, Ado showed the audience two faces that she had never revealed before. She performed “Hello Signals” and then “That Band” and “Himawari,” original songs by Kessoku Band, the rock band from the anime Bocchi the Rock! She followed this up with an updated arrangement of “Shoka,” the first song that she ever wrote and penned the lyrics for, back when she was 17 or 18, and she played her own guitar, which she got when she was just 13 years old.
“I keep moving forward and surpassing what I’ve done in the past so that one day I can come to love myself,” she said. During this voyage of coming to love herself, she has struggled with being judged based on surface-level interpretations, and she has found it hard to truly communicate her thoughts. Through her voyage, Ado shared, she has found the courage to discover her own will, her own essence, and what she truly wants to communicate. She compared this to Mona Lisa, a personage known by people around the world, but whose profile nobody knows. While she had once considered giving up playing the guitar, writing music, and crafting lyrics, she later came to want to express herself through her own music and words, showing people sides of herself that none had seen before. Even now, Ado takes on the challenges of her music while asking herself if this voyage, which she had believed in so deeply, was truly the right choice. Despite the tremendous changes around her, Ado’s roots remain unchanged. We can only hope that she will continue on her voyage.
On December 27 and 28, Ado played rescheduled shows in Nagoya International Exhibition Hall (Portmesse Nagoya), where she performed “Take Me to the Beach,” a collaboration with Imagine Dragons that began streaming worldwide on December 16.
Ado JAPAN TOUR 2024 Profile of Mona Lisa
Sunday, October 13, 2024
Kanagawa K-Arena Yokohama
1. KokoroToIuNaNoFukakai
2. Backlight
3. Show
4. Fleeting Lullaby
5. Rebellion
6. Kagakushu
7. Aitakute
8. Faking of Comedy
9. Hungry Nicole
10. MIRROR
11. RuLe
12. I’m a Controversy
13. Kura Kura
14. Chocolat Cadabra
15. Nukegara
16. Yoru No Pierrot (TeddyLoid Remix)
17. All Night Radio
18. Value
19. Tachiire Kinshi
20. 0
21. FREEDOM
ENCORE:
22. Hello Signals
23. That Band
24. Himawari
25. Shoka
—This article by Mio Komachi first appeared on Billboard Japan
Drake has shared his love for Australia ahead of his long-awaited return to the country for the Anita Max Win Tour, which will mark his first visit Down Under in eight years.
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During a recent Drizzmas Giveaway stream with Kick streamer Adin Ross, the rapper expressed his excitement for the tour while reflecting on his affection for the country. He then surprised fans with extravagant gifts, including two all-expenses-paid trips to see him live Down Under.
“It’s Australia—it’s a beautiful place. I hope everybody gets a chance to see it. It is stunning, the people are incredible. I remember one of my first experiences having a white wine at Bondi Beach, and I was just like, wow. It reminded me how big the world is,” Drake said.
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“Australia is one of the most incredible places on planet Earth. I’m so excited to be forward after eight years. I have a very, very special show for you.”
Later in the stream, the rapper also gave fans a sneak peek of his Australian accent, saying, “I can’t wait to see all my Australias. I’m keen, mate, easy as. I can’t wait to touch down, mate.”
The Anita Max Win Tour begins at Perth’s RAC Arena on Feb. 4, 2025, and runs through major cities including Melbourne, Sydney, and Brisbane before wrapping up in Auckland on March 1. Originally announced with just seven dates, the tour expanded to 13 shows due to overwhelming demand.
The tour title stems from a viral December 2023 livestream in which Drake debuted the alter ego Anita Max Win, a playful nod to gambling slang. Since his last Australian visit in 2017, Drake has released major projects, including Scorpion (2018), Certified Lover Boy (2021), Her Loss (2022), and For All The Dogs (2023).
During his Drizzmas Giveaway, Drake also surprised fans with gifts ranging from a G Wagon and three family cars to $250,000 for a struggling fan in debt and a year’s rent for two others.