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With the single “Quagmire,” Mandarin singer Zi Yu claimed the top spot in the Vol.01 September Selection of “Star Power Monthly Selection” (held by Billboard China, Tencent Music’s QQ Music and JOOX platforms).
From constant experimentation to commanding the stage, from wearing the “newcomer” label to earning “champion” recognition, Zi Yu has achieved a striking breakthrough with “Quagmire,” emerging as one of the most promising new voices in Chinese music.
The sound of “Quagmire” now lingers as the defining memory of this past September. We look forward to seeing the boy who once rose from the mud continue to dig, through his music, toward a vaster world.
Below, Li Shi Jue, the songwriter of “Quagmire,” speaks with Billboard China to decode the creative force behind the very first “Star Power Monthly Selection” champion song.
Zi Yu
Billboard China
The song Quagmire has resonated widely with listeners. Were you surprised? What do you think made it so moving?
Li Shi Jue: I was a bit surprised, yet not entirely, because our team actually wrote this song a few years ago. Its theme and melodic line have a retro, catchy quality, the kind that naturally evokes emotional resonance. Songs from that same creative period included Dislocated Space-Time, which later became a big hit. I think what really touches people is the combination of a simple, memorable melody and straightforward, relatable lyrics, brought to life by Zi Yu’s heartfelt performance. The overall listening experience just flows smoothly. When we wrote it, we only wanted to capture honestly the feeling of being stuck in a certain emotion or situation. We never imagined it would be embraced by so many people. Looking back now, perhaps what moved listeners was its authenticity — that tangled obsession of “wanting to break free yet sinking deeper,” a struggle everyone encounters at some point in life. The song doesn’t preach any grand truths; it simply passes on the feeling of “breathing inside the Quagmire,” and somehow, someone out there heard their own echo in it.
When writing “Quagmire,” what core emotion or idea did you most want to express? Where did the original inspiration come from?
What I wanted most to convey was a state of emotion—it could be my own feelings, or projections of many different kinds of emotions. It’s about recalling past experiences, being overwhelmed by sadness, crying awake in the middle of the night, falling asleep only to wake up crying again. That cycle of repeating pain mirrors the song’s looping melody. The inspiration naturally came from life: once you’ve lived through something like that, you can’t help but write it down. I believe everyone has their own “Quagmire moment”—a low point in life. It’s not about the inspiration of “getting out of the Quagmire,” but about the courage to “stand firm within it”. The earliest ideas came in fragments: seeing friends torment themselves over a goal that fell through; watching someone repeatedly edit and delete late-night social media moments out of confusion; or even my own frustration when I get stuck—when the harder I try to write, the less I can. These scattered moments came together like scenes of many people circling in their own “Quagmires,” and suddenly I wanted to write a song to tell listeners: It’s okay to be stuck. You don’t have to force yourself to climb out right away. Take a look at the soil beneath your feet—maybe something can grow from it.
When creating music, what do you value most? Does “Quagmire” reflect this philosophy?
When I write songs, I care most about the completeness and directness of the story, and about how catchy the melody is. I used to pursue more avant-garde arrangements or melodies to create relatively niche works, but as I’ve grown older, I’ve realized that what sounds truly good is often simple. “Quagmire” embodies exactly that belief. What I value most is accuracy—not technical precision, but emotional accuracy, staying true to the feeling. For example, the line “tears reach my lips, a little salty” wasn’t written just to rhyme; it’s meant to capture that physical detail of “trying to hold back your tears halfway through crying”. That kind of specific pain carries more weight than simply shouting “I’m so sad”. Quagmire achieves that—it doesn’t rely on ornate language. It sings of tangible emotions: “the darkness when you turn away,” and “the sweetness in dreams and the tears upon waking”. It’s like laying bare the creases of your heart for others to see, without hiding, without pretense.
What special charm do you think Zi Yu’s performance brings to this song?
Zi Yu truly infused this song with a special kind of magic. He’s a young, energetic singer of the new generation, while I wrote the song with a deliberately retro sensibility in mind. That collision between the “new” and the “old” gave “Quagmire” a fresh soul. There’s a kind of restrained resilience in Zi Yu’s voice that fits the song’s temperament perfectly. He doesn’t use explosive power to express the pain of being trapped in the Quagmire; instead, he shapes the details with soft, airy tones. In the line “repeating the sorrow again and again,” you can catch a faint, almost imperceptible tremor. That choice to hold back instead of crying out actually makes the struggle within the “Quagmire” feel more real. It’s like how, in real life, people in distress don’t always scream; more often, they wrestle silently with themselves. And Zi Yu managed to sing out the weight of that silence.
For listeners who found resonance in “Quagmire” and those who might be going through their own “Quagmire moment,” what would you most like to say to them?
If you happen to be living through your own “Quagmire” right now, tell yourself: let the storm rage on. Only time can heal, and there’s no other cure. If you’ve parted ways with someone, don’t disturb their life again. This experience might one day become one of the most beautiful memories on your journey. And when you emerge from the storm, safe and whole, you’ll no longer be the same person you once were. Stay strong!
At the same time, I want everyone to know: you’re not the only one sinking. Every life has stretches of road where people just can’t seem to move forward. Don’t rush to deny yourself, wondering “why haven’t I climbed out yet,” and don’t envy others who seem to have it easier. First, acknowledge “I’m here, right now,” and then take a look beneath your feet—those things that hurt you or twist and hold you down may quietly be helping you put down roots. And perhaps one day, when courage returns, you’ll be ready to step out of the mire—slowly, but surely.
In your songwriting process, are there any particular habits or principles you always stick to, and how do you deal with doubts or criticism?
In my songwriting process, I don’t worry about whether the lyrics or the melody come first. Sometimes I start with the words, sometimes with the tune, but most of the time they emerge together. What I care most about is the first feeling. When a melody suddenly comes to mind, I usually decide on it right away, because the more you revise, the further you drift from your original intention. That’s why I tend to write songs quickly.
With “Quagmire,” for example, the image of the Quagmire came first, and from there the melody and lyrics gradually grew. For me, letting emotions flow naturally is far more important than following a rigid process.
In fact, every song carries its own unique expression and emotion—each differs in theme, harmony design, and arrangement style. There are plenty of works out there that sound similar in mood or atmosphere, but art ultimately comes from life—and respecting originality matters most.
Zi Yu
Billboard China
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For Riot Games’ goal to elevate women and marginalized genders in esports with its Game Changers initiative, few music-gaming collaborations would make a more natural fit than KATSEYE and Valorant.
The newly Grammy-nominated act’s song “M.I.A,” off their Billboard 200 top 10 EP Beautiful Chaos, is reimagined in a new “Valorant Game Changers Version,” out Tuesday (Nov. 11) ahead of the 2025 Valorant Game Changers Championship finals, taking place this month in Seoul. However, this collaboration carries extra resonance because one of KATSEYE’s six members is an avid gamer who appears to have manifested the team-up.
“I used to just say it on livestream before I even knew anything was gonna happen with KATSEYE and Valorant,” Megan shares, speaking to Billboard exclusively about the new partnership. “So when they presented this collaboration, I was literally so stoked. I’ve been playing this game since I was like 14 years old on my brother’s computer in COVID times; this is so nostalgic to me, honestly.”
Now 19, Megan’s enthusiasm — as well as KATSEYE’s larger message of inclusivity and empowerment — is threaded throughout the reworked anthem, with new lyrics drawing on themes of perseverance and community that stem from the connections in gaming when uplifting one another.
“We all stand behind that anyone can play any game and there shouldn’t be any weirdness,” the Honolulu native adds. “We really, really do think this aligns so much with KATSEYE and our brand. We’re so, so excited to do this collab.”
With several No. 1 Billboard chart hits to its name, Riot Games has leaned into music as a storytelling mechanism for gaming before. However, Valorant Game Changers shines the spotlight on new players in its first-person shooter game, with its global championship in Asia for the first time. The event will run Nov. 20-30 in Seoul, with finals scheduled from Nov. 28-30 at Riot’s LoL Park esports stadium in Seoul. Bringing in Korea-based HYBE and its global girl group KATSEYE positions the collaboration as a cultural handshake between two rapidly growing cultural communities.
“KATSEYE already had a ton of fans across Riot [Games] and in the Valorant community,” Jonny Altepeter, Riot Games’ senior manager of music supervision and A&R, tells Billboard. “When we found out Megan was a VAL player and they were excited to collab, it just made sense.”
For Altepeter, the appeal of reworking “M.I.A” resonated both musically and to the culture within the gaming community: “Sonically, it has that high-energy, bold confidence that works so well in our world. And thematically, it lined up perfectly with the moment we were trying to capture…our artist collaborations are everything. We’re always looking for voices that feel exactly right for a specific moment in our universe. We’re really intentional — and honestly, pretty precious — about VAL music, because we know how much it means to our community. Every artist we bring in is chosen for a reason. They bring something unique that helps elevate the story we’re telling, both in-game and beyond. That level of care and specificity is what sets us apart. We’re not just trying to find good songs… we’re building meaningful creative partnerships that help shape the emotional core of our world. And we’re so grateful to the artists who trust us and bring their full selves to that process.”
Anna Donlon, head of Valorant Studios and the architect behind Game Changers, frames the partnership as precisely the kind of crossover Riot Games built the program to foster.
“When we started Game Changers, the goal was always bigger than just competition,” Donlon shares. “It was about creating a space for players who hadn’t always seen themselves represented in esports. This year’s anthem and music video captures that same spirit, bringing people together, no matter where they come from. Across all our global events, music has been a powerful way to connect players, celebrate them and deepen their bond with Valorant. At the Game Changers Championship finals, you’ll see all of that come to life: the energy, the pride, the love for the game. And having South Korea’s own Ninetails, the first all-Korean team to qualify for the championship, take the stage on home turf? That’s going to make it even more special.”
Altepeter calls collaborations with actual players “hands down our favorite types of collaborations” because players-turned-artists speed up creative chemistry. “When someone already understands our world, everything just flows better…you can always feel that real connection in the final result.”
Check out the results for yourself with KATSEYE’s new video for “M.I.A. (Game Changers Version)” here and read on for more with Megan below.
KATSEYE X VALORANT Game Changers – “M.I.A. (Game Changers Version)”
Riot Games Music
How does it feel remixing “M.I.A” for the Valorant Game Changers initiative?
Megan: “M.I.A” is such a hard-hitting, strong, confident song. Especially with Valorant, since it’s such a cool, fun, very fierce game, I feel like going with “M.I.A” was just the perfect song. Especially [how] it tells a story with determination and perseverance, so I think going with this new reimagined version of “M.I.A” for Valorant was just like a no-brainer decision for all of us.
How did KATSEYE get involved in the program and what did it mean to you also to be here as a player?
Megan: Especially with me being a player myself, I used to just say on livestream before I even knew anything was gonna happen with KATSEYE and Valorant. I was like, “Oh yeah, I play Valorant.” It was just something that I said because it’s something I used to do in my free time. When they presented this collaboration, I was literally so stoked. I’ve been playing this game since I was, like, 14 years old on my brother’s computer in COVID times; this is so nostalgic to me, honestly. So, when we were presented this, I was literally jumping for joy. This is literally my game; I love this game. So it really does mean a lot to me and especially with the Game Changers, with what it represents — it’s just so cool. We’re just all so excited for this collaboration and we’re just so grateful that we’re able to do it.”
What’s your history with gaming and Valorant?
Megan: I grew up with a brother, so a lot of the games that I would play, my brother would introduce them to me. When I was little, I would always want to play dolls with him, but obviously he wasn’t going to play with dolls. So then he would introduce me to computer games like Valorant, Minecraft and those kind of games. And then he was really into Valorant and I was like, “OK, like let me get into this.” And I did. It was just so addictive. Especially during COVID and everything, like that was my sh–. That’s all, really, I could do because no one was going outside and it was a fun way to play with your friends. I feel like it was just a cool thing to do on my free time and it felt so much fun. There’s nothing really more to it than just saying that it was really, really fun and I really am such a competitive person that loves games like these — I thrive in it. [Laughs]
Do you have a go-to agent you play with in Valorant?
Megan: I usually play as Sage, the healer. There’s like this little term for Valorant players that you say they’re the “pocket Sage,” so I would usually be a pocket Sage when I would play with my friends. I would be their support to heal them when they’re dying.
Do you ever play Valorant with any of your KATSEYE members?
Megan: No, I actually haven’t got the chance to yet. I feel like right now we’re like so busy with our schedule, but I really specifically want to see how Yoonchae will play with me. [Laughs] I have to teach her how to be a pocket Sage — I feel like she’d be a really good pocket Sage. Yeah, we really do need one sit-down gaming session, all six of us, to play Valorant and see who’s naturally gifted. I think that Lara would be Jett. I feel like Sophia could maybe be Neon since Neon is Filipino…
This Game Changers program is meant to empower people from different backgrounds and marginalized genders. Have you ever experienced pushback as a girl gamer? Are things changing?
Megan: Honestly, I think it’s better now, but there were times in games where you would turn your microphone on and play with random people who were online, trying to find a group member. It was such a big thing for a second where if a girl turned their mic on, they would start bullying the girl — it happened to me a few times. It was pretty crazy, but then the funniest thing is when you’re really good, as a girl, and they get so mad. [Laughs] But I just don’t understand that, it was a big thing but I don’t think it’s as big of a thing now. It’s just them thinking that I was going to drag them behind and I ended up being the last one standing, pulling through and carrying the team. It’s the funniest thing ever, honestly, I just laugh.
Do you notice any direct link between music and gaming? Does music enhance the experience?
Megan: Music and games are such a big thing and I feel like people don’t really realize how much music is incorporated and how much it like really affects the gameplay. I mean, when you’re in combat mode, you want some good hype-up music and when you’re in more of a chill vibe, you would want like some [chill music], you know what I mean? It really does affect the whole overall vibe. I think Fortnite would play concerts in their games, which was so insane and so, so cool. I love how like they incorporated that in such a fun way. I would honestly love to do a virtual concert one day. I’d love to see how that works — it’s so intriguing.
Trending on Billboard Metallica surprised Melbourne fans on Saturday night (Nov. 8) by covering Aussie punk rock legends The Living End during their M72 World Tour stop at the city’s Belluna Arena — and frontman Chris Cheney has officially responded, with a delightfully cheeky tale from his high school days. Explore See latest videos, charts […]
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A wave of international Bluesfest 2026 artists have confirmed headline dates across Australia for March and April next year, in addition to their festival sets at Byron Bay’s Tyagarah Tea Tree Farm.
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Among them are The Black Crowes, Sublime, Buddy Guy, The Pogues, Marcus King Band, Kenny Wayne Shepherd Band, and Talking Heads’ Jerry Harrison and King Crimson’s Adrian Belew, who will perform their Remain In Light show with special guest Robert Randolph.
The announcement arrives days after Bluesfest confirmed its first artist lineup for 2026. While Split Enz and Counting Crows have already rolled out separate tour itineraries, the new additions round out a larger national offering, giving fans beyond Byron Bay a chance to catch exclusive one-night-only shows in capital cities and select regional centres.
Sublime will appear at Melbourne’s Festival Hall on April 1, followed by Bluesfest on April 2 and a final stop at Sydney’s Hordern Pavilion on April 4. The Black Crowes will tour extensively, performing at The Forum in Melbourne, Fortitude Music Hall in Brisbane, Newcastle Entertainment Centre, and Sydney’s Enmore Theatre, either side of their Byron Bay date.
Buddy Guy, who turns 90 in July 2026, will play the Sydney Opera House and Melbourne’s Palais Theatre. His appearances at Bluesfest mark what could be his final Australian performances. The Pogues, commemorating the 40th anniversary of their 1985 album Rum, Sodomy & the Lash, will headline shows in Fremantle, Adelaide, Melbourne and Sydney, with multiple performances also scheduled at the festival.
Additional sideshows include Marcus King Band touring Sydney, Melbourne and Adelaide; Kenny Wayne Shepherd Band marking 30 years of Ledbetter Heights; and Jerry Harrison & Adrian Belew performing their Remain in Light collaboration in Melbourne, Sydney and Brisbane.
Presale access opens Tuesday, Nov. 11 at 11 a.m. AEDT via the Bluesfest Touring website, with general public tickets available from Thursday, Nov. 13. Tickets and full information are available via bluesfesttouring.com.au.
The Bluesfest sideshow rollout underscores the event’s growing national footprint as it continues to rebound from the pandemic era. Bluesfest 2025 welcomed more than 109,000 attendees — its biggest turnout since 2019 — and was described by festival director Peter Noble as “the third-biggest event we’ve done in the history of the festival.”
“We’ve worked hard to get here,” Noble said in April. “We’ve had the highest attendance of any Australian festival since pre-COVID… Festivals are back.”
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Peach PRC is set to headline her biggest shows yet, announcing a string of arena and theatre dates across Australia and New Zealand for March 2026.
The Australian pop star will launch her Wandering Spirit tour in Melbourne on March 12 at the Palace Foreshore, followed by stops in Adelaide, Sydney, Brisbane and Perth. She’ll then make her New Zealand headlining debut with performances at Shed 6 in Wellington on March 28 and Powerstation in Auckland on March 29.
The tour follows a blockbuster two years for Peach, who released her debut EP Manic Dream Pixie in 2023. That project debuted at No. 1 on the ARIA Albums Chart and featured the breakout single “Perfect for You,” which went on to win Best Single at the 2024 Rolling Stone Australia Awards.
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Earlier this month, Peach returned with her latest single “Miss Erotica” — a provocative, high-fantasy ode to strip clubs and the showgirls who shaped her early adulthood. Co-written in Los Angeles with Ryan Linvill and Maya Kurchner (Olivia Rodrigo, Chappell Roan), the track marks a bold creative turn for the singer, ushering in what she has described as her most empowered era to date.
Across her catalogue, Peach PRC has racked up over 230 million global streams, alongside more than 2 billion social views and 27 million video views. Her early hits — including “Josh,” “God Is a Freak” and “Forever Drunk” — earned her a loyal online following, but her live presence has grown in tandem. The 2026 tour marks her most extensive run to date, following support slots for Yungblud and previous sold-out headline dates in Sydney and Melbourne.
Joining her on all Australian dates are New York pop singer Maude Latour — who released her debut album Sugar Water in 2024 and has appeared at major festivals including Lollapalooza and Governors Ball — and rising Sydney artist Salty, whose viral 2024 single “See U in 3” kicked off a new era of theatrical, emotionally rich pop.
Frontier Touring will host a members-only presale beginning 1 p.m. local time on Thursday, Nov. 13. General sale begins Friday, Nov. 14 at 3 p.m. local time.
Trending on Billboard Mark Hoppus is heading to Australia in 2026 — but this time, he’s not coming with Blink-182 or a bass guitar in hand. Instead, the beloved frontman will take fans behind the scenes of his life and career for An Evening of Storytelling with Mark Hoppus, a spoken-word live tour that promises […]
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Billboard honors leaders driving the success of the music business outside the U.S. through its Billboard Global Power Players list. Among the industry figures recognized this year is Taeko Saito, Senior VP of business development and strategies, Asia Pacific at EMPIRE, marking her first appearance on the list. To commemorate the achievement, Billboard Japan spoke with Saito about EMPIRE’s business strategy, the growth of streaming markets across different countries, and the challenges facing Japan’s music industry today.
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Could you tell us a bit about your background?
Taeko Saito: I spent most of my childhood in the U.S., and after graduating from university, I began my career as an assistant at AAM, a music producer management company. I later joined the publishing company SONGS Music Publishing as an A&R, where I handled deals with artists like Diplo, Lorde, and The Weeknd. After that, I moved to Downtown Music Publishing, where I helped establish its Japan office, and since 2023, I’ve been working at EMPIRE.
Tell us about EMPIRE’s business operations.
EMPIRE was founded in 2010 as a music distribution company. At the time, there were very few distributors specializing in specific genres, but we focused on hip-hop from the start. From there, the company expanded into label and publishing operations, leading to where we are today.
What led EMPIRE to focus on hip-hop?
It comes from a desire to share music from underrepresented communities with the world. Our CEO, Ghazi (Shami), comes from an immigrant background, which may have influenced that vision. He grew up in San Francisco surrounded by street culture, so in many ways, the focus on hip-hop was a natural extension of that. These days, though, we’re not limited to hip-hop — we’ve expanded into regions like Africa and Asia. One of the fastest-rising artists on our roster right now is Shaboozey, a Black country artist.
With streaming now the dominant form of music consumption, artists no longer need to be signed to a record label to release their work. They can do everything independently, though many still don’t fully understand the options available to them or the finer details of how to navigate that process. That’s where we come in: we offer independent artists a range of contract structures and opportunities tailored to their needs. Our goal is to show that there’s more than one way to succeed, and that artists can take flight in ways beyond the traditional system.
Your work focuses on the Asia-Pacific region, is that right?
Yes, mainly Asia. Aside from myself, we have staff based in Singapore and Indonesia, and we work closely together. Also, EMPIRE’s workforce is culturally diverse, with people from many different countries. This mix of cultures makes it reassuring to have headquarters collaborating with us as part of the same team.
The streaming market is slowing but still growing, with particular attention on Asia, Africa, and South America. How does EMPIRE view this situation?
Expectations for growth in Asia are very high. For example, a recent deal I handled was with a label in Cambodia. Spotify only became available there four years ago, in 2021.
That’s quite recent.
Yes. The music business there is still very young. Among the labels we’ve signed, the most successful artist is VannDa, whose videos have racked up hundreds of millions of views on YouTube and who’s seen remarkable growth just over the past year. Countries like Myanmar and Laos also have predominantly young populations, which makes them especially eager to embrace new services.
That said, there are still challenges on the business side in that royalty rates remain low. Japan has the highest rates in Asia, but in other countries, they’re significantly lower compared to regions outside Asia. It’s a complex issue that involves negotiations between nations, but I believe continued dialogue will help drive further growth.
Japan is often seen as a rare example of a country where CD sales and streaming coexist in its music market. What are your thoughts on this situation?
I think it’s wonderful how Japanese artists place such great importance on quality and on treating each fan with genuine care. However, I’m not sure the same approach would necessarily be accepted in the U.S. in exactly the same way. There are cultural differences and what people embrace or don’t, what they find easy or difficult to digest. That’s why I feel the way music is presented varies greatly from country to country.
I also think that what “success” means can differ from artist to artist. For example, say an artist wants to go global and win a Grammy. But is the goal simply to win a Grammy, or to earn the recognition of the Recording Academy members and to have them feel that this artist deserves a Grammy? Those may sound similar, but the narratives are very different.
And if the goal is to top the Billboard charts, that’s another story altogether. Grammy-nominated artists or works aren’t always those with the greatest commercial success — cultural impact, musicality, and message often carry more weight. So sometimes, winning a Grammy and achieving commercial success don’t necessarily go hand in hand.
So in terms of differences between Japan and other countries, I think the definition of success itself is different. In Japan, there’s a strong focus on nurturing lifelong bonds with each fan — the kind of fan who will buy CDs and cherish that artist for years. The approach is completely different overseas, and I think that gap is part of why the two worlds haven’t always connected. Still, many have continued to take on new challenges, and with the precedent set by K-pop, there’s now a growing sense of optimism across Japan’s music industry. I think what’s most important going forward is to stay adaptable and keep pushing forward with that spirit of challenge.
Have you noticed any major changes in the U.S. music scene over the past ten to twenty years?
The biggest shift has been in the independent music scene. Twenty years ago, “independent label” mostly brought to mind alternative bands, but now artists of all kinds own their rights and release their music on their own. Seeing that change makes me think Japan can move in the same direction. For idol groups and similar acts, where producers lead the projects, it’s natural for those producers to claim ownership of the rights. But for singer-songwriters, bands, or rappers who write their own material, I’m not sure that same structure always fits. Some artists may thrive under that traditional setup, while others might prefer to manage their own work and release independently. I believe that the latter market will only continue to grow, and when that happens, it’ll be crucial for major labels and agencies to adapt accordingly.
When you look at organic reactions online, you often see artists who go viral once but fade quickly afterward. In those moments, what really matters is an artist’s ability to build their brand and develop a lasting fan base. Today’s younger audiences move fast and shift to the next trend almost instantly. In that kind of environment, understanding what makes an artist someone you want to keep following is where labels and management teams can really make a difference.
And because artists now have the right to choose their own path, I want them to think carefully about what approach best suits them. When I sign an artist, I always make it clear that EMPIRE isn’t a one-size-fits-all label. The artists we work with are business owners in their own right — people who can think about how to evolve and expand their own ventures. Only a small number of artists are truly the right fit for EMPIRE, but for those who are, we’re confident we can help them grow more than anywhere else.
Are there any Japanese artists currently signed to EMPIRE?
Yes, we recently signed an artist named Litty. She only began releasing music last year, so she’s been active for about a year now. She also took part in a songwriting camp we hosted recently, where she collaborated with overseas artists for the first time. She absorbed everything like a sponge, and it was inspiring to see.
Billboard recently launched in Africa, signaling growing global attention on music scenes outside the West. What are your thoughts on that trend?
It’s hard to say definitively why African music has become so deeply rooted in the U.S., but I think part of it comes from a desire within the Black community to reconnect with their roots. Looking at trending charts, there are moments when I sense a similar response among Asian listeners in America — almost as if they’re reacting to how Asian artists haven’t always been fully recognized in the past. Seeing the global success of artists who weren’t traditionally part of the mainstream, especially in K-pop, feels like a reflection of more people embracing their own roots and identities.
The U.S. is the world’s largest music market and a multicultural nation. Do you think it’s because of that diversity that music from so many different countries is being heard there and spreading globally through social media and streaming?
Exactly. The music industry is undergoing a fascinating transformation right now. Music is being heard across borders more than ever, and listeners have become increasingly open to that diversity. For us, Asia still has so much untapped potential. Going forward, we want to build on EMPIRE’s strengths while exploring how best to adapt them to each country’s unique landscape.
—This interview by Naoko Takashima first appeared on Billboard Japan
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Oasis have officially wrapped their 2025 Australian tour, marking a triumphant return down under with over 320,000 fans attending across five stadium shows in Melbourne and Sydney.
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The Britpop icons played three sold-out nights at Melbourne’s Marvel Stadium, followed by two shows at Accor Stadium in Sydney, concluding on Saturday (Nov. 8). It’s one of the highest-attended rock tours in Australia this year — and one with lasting impact.
“Thanks for putting up with us. We know we were d–kheads sometimes,” Liam Gallagher told the Sydney crowd. “Your support has put us back on the map. Respect! You’ve got a lovely f–king country. See you again.”
The reunion tour has drawn headlines for more than just nostalgia. In Melbourne, seismic sensors at the Seismology Research Centre reportedly picked up tremors during the band’s performances — a rare but real phenomenon caused by thousands of fans stomping and singing in unison.
One of the city’s most iconic live music venues, Cherry Bar, credited the band with sparking a major nightlife revival. “The darkest hour is before the dawn, Melbourne and Cherry Bar needed a hero and who knew that it would come in the shape of a couple of ‘no f#cks given’ Mancunian larrikins?!” wrote owner James Young on social media, calling it the bar’s “biggest weekend and biggest week on record.”
While the first show had some minor issues, including a fan launching flares into the crowd, the tour’s reception has been overwhelmingly positive.
Billboard said of the rockers’ first Melbourne gig, “Kicking off with ‘Hello,’ into which Liam inserted the lyrics ‘it’s good to be back,’ then ‘Acquiesce,’ and ‘Morning Glory,’ provided an opening combination that hit hard and fast. ‘G’day,’ Liam told the 58,000 gathered fans, Tina Arena and Jelly Roll among them. ‘Did you miss us? Because we missed you.’”
“This tour is off to a blinder, a result for anyone in the place who wanted, waited for this band, and used the opportunity to go let it all out, and sing at the top of their lungs.”
Oasis now heads to South America for shows in Argentina, Chile and Brazil, before continuing their global tour into 2026.
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Australia’s iconic Bluesfest has announced the first round of artists set to perform at its 2026 edition, unveiling a cross-generational lineup led by Split Enz, Earth, Wind & Fire, and The Pogues.
Returning to Byron Bay’s Bluesfest site — the Byron Events Farm — from April 2 to 5 next year, the long-running festival will host a full reunion set from Split Enz. The legendary New Zealand group, featuring brothers Neil and Tim Finn of Crowded House fame, also announced a separate national tour this week. It will mark the band’s first full-scale Australian tour in nearly two decades.
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Joining them are funk and soul trailblazers Earth, Wind & Fire, who last played the event in 2012, and Irish punk-folk icons The Pogues, returning for the first time in 14 years to mark 40 years since the release of their seminal album Rum, Sodomy & the Lash — a tribute to the late Shane MacGowan.
Other international acts on the 2026 bill include Sublime, The Black Crowes, Counting Crows, blues veteran Buddy Guy (on his farewell tour), and Marcus King Band. Local talent includes Xavier Rudd, The Living End, South Summit, Mental As Anything, Skegss, The Dreggs, Pierce Brothers, and Mark Seymour.
The announcement follows a high-water mark for the festival earlier this year. In April, Bluesfest officially confirmed its return for 2026 following one of its strongest post-pandemic editions. Held across the Easter long weekend, Bluesfest 2025 drew more than 109,000 attendees over five days — the festival’s highest attendance since 2019, and the third-biggest turnout in its 35-year history.
“We’re the top-selling festival in the country, and we’ve worked hard to get here,” festival director Peter Noble said in a statement at the time. “We’ve had the highest attendance of any Australian festival since pre-COVID at 109,000 attendances – the third-biggest event we’ve done in the history of the festival… Festivals are back.”
The festival’s second lineup drop for its 2026 event is expected in the coming weeks. Several of the artists announced — including The Pogues, Sublime, and Buddy Guy — will also play exclusive headline shows around the country as part of the Bluesfest touring program.
Bluesfest 2026 takes place from Thursday, April 2, to Sunday, April 5. Tickets and artist information are available at bluesfest.com.au.
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