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When Lola Young is on stage, all eyes in the room drift toward her like iron filings to a magnet. Look closely at online footage from the south Londoner’s recent North American tour, and you’ll notice hundreds of people crying, headbanging, screaming – enjoying moments of release, letting go of inhibitions with abandon. Young matches their energy, growling and belting her lyrics as though she’s feeling the pain of her songs for the very first time.
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Each time the 23-year-old performs live – she’s completed two stateside treks this year, and has dates in the U.K., Europe and Australia booked through early 2025 – she shares an emotional exchange with the crowd. After coming off the road last month, having played dozens of headline shows plus festivals such as Austin City Limits and Lollapalooza Chicago, the first thing Young did was “cry a lot,” as she told her 620,000 TikTok followers in a recent post.
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“I know you’re not my therapist,” she jokes to Billboard over a video call, “but it’s important to be honest and say that I’ve felt quite low. Leaving tour is like a big comedown. After being so active by performing my heart out every night and receiving so much love, it’s quite hard to adjust to reality again. It’s been difficult, but I am getting there – I’m on my way up.”
Young’s smoky voice and catalog of witty, elastic pop songs speak to something deep within her fanbase. There are the devotees who mimic her blush-heavy makeup, as well as the more casual listeners who have created so many clips featuring the glorious single “Messy” that her Spotify streams have increased tenfold in recent weeks, which, at the time of writing, currently stands at 12.7 million monthly listeners. Her debut LP This Wasn’t Meant for You Anyway, released in June via Island Records, was characterized by its brutal honesty: “I can dance in the mirror and feel seen without being watched by someone / Especially not no ugly man, or woman,” so goes its spoken-word outro.
Even with her camera off, Young stays true to form throughout our conversation. She laughs a lot. She swears a lot. She says “f–k” in nearly every sentence, eager to emphasize that she’s still coming to terms with how dizzying the past few months have been. Having chased her dreams since she started writing songs at 11, she’s now moved beyond ravenous early career ambition and is eyeing a new level of global superstardom.
“What I’m realizing about myself as an artist is that I’m not about the glitz and the glam — I don’t scream ‘Hollywood’,” she says. “For a long time, I wanted to represent this ideal of Westernized beauty – but then I realized I’m not that. I now choose to give realness and truth. I’ve got a bit of a belly out, I f–cking swear a bunch and I have fun. And that’s what people are resonating with.”
Young is dialing in from Paris, where she is in the studio already working on her next project. She has leveraged a tireless, laser-focused work ethic into an ascendant career: Beginning with 2023’s My Mind Wanders and Sometimes Leaves project, in the past 18 months she has drip-fed a slew of extended releases and one-off singles (from “Flicker of Light” to recent Lil Yachty team-up “Charlie”). This Wasn’t Meant for You Anyway comprised entirely new material, while her unique, wildly popular live performance clips have introduced her to a global audience via social media. With a vintage mic to hand, she has done everything from getting kicked out of a London Underground station to dancing gleefully in front of the Golden Gate bridge.
It’s this industrious spirit that has caught the attention of some of contemporary music’s most revered names. In the summer, Young briefly hit the studio and shared egg rolls with SZA, who regularly leaves flame emojis on her Instagram posts. “This is insane and I live for it,” commented the “Kill Bill” singer when Young shared the news of “Like Him,” her stunning feature on Tyler, the Creator’s recent Billboard 200-topping LP Chromakopia.
The rapper had previously praised Young via DM, and when he messaged asking if she would contribute vocals to his song, her response was an immediate, resounding yes. “When I first heard [Tyler’s] ‘Yonkers’, it totally changed the way I viewed music,” she adds.
Young’s gorgeously subtle, stirring delivery during the chorus heightens the song’s poignant mood, a meditation on complex familial bonds. “Like Him” peaked at No. 29 on the Billboard 100, further cementing Young’s fast-growing stature in the U.S: in October, she performed at L.A.’s 1,600-capacity Bellwether concert hall, twice the size of her April gig at the city’s Echoplex venue.
Young’s journey is a lesson in how, for newer artists, being given the space and time to find their footing can result in truly fresh, singular music. Yet her transatlantic success hasn’t come without its qualms. To an extent, she remains unfairly associated in some listeners’ minds with the commercial balladry of her early days, as well as the cover of Philip Oakley and Giorgio Moroder’s “Together in Electric Dreams” she recorded for the British retailer John Lewis’ 2021 Christmas advert. At age 16, she was a shy but ambitious finalist on the now-defunct reality television competition Got What It Takes.
“A lot of strings were being pulled when I was starting out. It all felt fake. It felt forced,” she says. Notably, in her live sets, she doesn’t perform any material from her 2019 EP Intro or its follow-up, Renaissance. “This isn’t about blaming anybody, but nothing was really clicking at the time. Now, I have creative control alongside an understanding of who I am and where I want to go.”
Young has survived her own trials in selfhood. Her anxieties, frustrations and pride now fuel her music. She says the light-bulb moment arrived when she started rocking a mullet two years ago, a look that has boosted her confidence “massively”. She has since explored themes of identity and self-destruction in her work, recovered from an operation on her vocal cords and spoken about her schizoaffective disorder diagnosis on Instagram.
When she talks about these experiences, Young affirms that she abides by the old adage that small actions can lead to big changes in one’s life. “I kept holding faith in the fact that if I cut my hair, the music would follow” she says, evidently thrilled that her own prophecy came true.
As K-pop continues its meteoric rise on the global stage, the industry’s biggest award show sets a new milestone with its first-ever U.S. date for its 25th anniversary.
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This week, on Nov. 21, 2024, the MAMA Awards will be held at Hollywood’s iconic Dolby Theater, marking the first time the event has crossed over to the States since its introduction in 1999. Widely regarded as one of the premiere K-pop events of the year, the MAMAs have spent the last 25 years growing from a music video awards ceremony in a Seoul theater to a multi-day, international affair across Asia. This year, the 2024 MAMA Awards will kick off with one night in Los Angeles before jumping to two days at the massive Kyocera Dome stadium in Osaka, Japan.
“Taking a first step is challenging, but at the same time, it’s meaningful,” MAMA’s chief producer Yoon Shin Hye shares with Billboard. “We strive to present various stages with an unmatched scale and provide unique experiences to global fans.”
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This year’s theme, “Big Blur: What is Real?,” encapsulates MAMA’s commitment to pushing boundaries and exploring ways to reshape and rethink the music industry. Meanwhile, legendary K-pop producer and music executive J.Y. Park will link with Anderson. Paak for a meeting of the musical minds, as HYBE and Universal Music’s LA-based girl group KATSEYE will team up with another local troupe in the Los Angeles Rams Cheerleaders.
In this exclusive preview of this year’s show MAMA’s chief producer Yoon Shin Hye, delves into the vision and execution behind this year’s event. From overcoming the logistical challenges of hosting in two countries to crafting unique collabs that embody the MAMA spirit, the CJ ENM executive offers an inside look at the dedication and innovation driving the award show to evolve at its 25th anniversary.
Congratulations on what’s sure to be the biggest MAMA Awards. While I know having a ceremony in the U.S. was spoken about in the past, what happened to make it officially occur this year?
Yoon Shin Hye: Looking back on our 25-year MAMA heritage, MAMA has been held across Asia including Macao, Singapore, Hong Kong, Vietnam and Japan and evolved to become the world’s No. 1 K-Pop awards, which started as the “Mnet Asian Music Awards.” Over the course of our 25-year journey, MAMA Awards has realized the value of “MUSIC MAKES ONE” with the growth of K-pop, and has established our own unmatched system and know-hows through facing and overcoming countless challenges. This has paved the way to host MAMA Awards in the U.S.
How long did it take to confirm MAMA in LA?
Every year as we hold KCON LA, I could feel the strong passion of fans in the U.S. and thought 2024 would be the right time to take a first step in the U.S. with the growth of K-pop. In the planning phase, we came up with the concept of “BIG BLUR,” as it’s about blurred boundaries between time and space, online and offline, imaginary and reality, language and culture, I thought it would be fun to run the MAMA Awards in relays from U.S. to Japan, and this perfectly fits to this year’s story.
How did the Los Angeles lineup come together?
As MAMA Awards is taking a significant first step in the U.S., we thought it would be meaningful to have rookies. So, we made a lineup for the first MAMA Awards in the U.S. with rookie artists. Plus, we have J.Y. Park, who marks the 30th anniversary of his debut, and RIIZE, who have special memories in the U.S. The group debuted in LA, and this year marks the first year of their debut and they are set to show something about their debut stories at MAMA Awards.
What went into the collaborations between J.Y. Park and Anderson .Paak, and KATSEYES with the LA Rams Cheerleaders? Take us through the process.
We wanted to show and present collaborations that have never been seen anywhere else only at MAMA Awards, and what only MAMA can make it happen. This year marks the 30th anniversary of J.Y. Park’s debut — he’s a renowned K-pop producer and K-pop artist — and Anderson .Paak is a Grammy Award winner. Anderson .Paak also has a strong interest in K-pop and recently directed a film about K-pop titled K-Pops! and, as it happens, the two artists are of the same Miryang Park clan [a Korean clan originating from the southeastern city of Miryang in South Korea].
On top of that, we have another special collaboration between the global girl group KATSEYE and the Los Angeles Rams Cheerleaders. We brought ideas about what we can only do in LA, what can be seen only at MAMA and to present performances with a diverse group of artists and become one through music at MAMA.
Actor Park Bo Gum will be the host for the U.S. date. How are you and he preparing?
Park Bo Gum has been with MAMA as a host since 2017 and he hosts the show with sincerity and delivers what MAMA wants to tell about its value and story. We’re confident that we can deliver our message and story well with our host, Park Bo Gum, at the MAMA Awards US. Park is also looking forward to hosting.
What challenges have you faced or do you anticipate facing to successfully hold the MAMA Awards in LA for the first time?
MAMA tries a new thing every year. We strive to present various stages with an unmatched scale and provide unique experiences to global fans. This year, the MAMA Awards will take place in the U.S. and Japan in relays and be broadcast live around the world. This reflects our commitment to bringing people together around the world. This year’s concept especially means opening and creating a new world of MAMA that transcends dimensions of time and space. We decided to host MAMA Awards in two different regions, starting in LA on the 21st and then moving over to Osaka for two days. Taking a first step is challenging, but at the same time, it’s meaningful. Given the time difference and distance, it wasn’t easy to arrange a meeting to prepare and discuss, but the whole process was meaningful and fun to work toward the same goal with artists and staff to create a great show.
The Dolby Theater in Hollywood is a very different venue than the Kyocera Dome. How do you create a seamless experience between a theater and a stadium?
LA Dolby Theatre is a symbolic place to many and home of the Oscars, where the Academy Awards is held every year; it’s like the heart of Hollywood. For the past few years, MAMA Awards has been held at a dome-style venue, and Dolby Theatre has its own mood as a venue and different characteristics. We are going to show something different from our previous MAMA stages and artists will take the stage in a different way at the distinctive venue.
With Los Angeles opening the MAMA Awards this year, can you share the ways you’ll establish the “Big Blur: What is Real?” theme? It’s very interesting but somewhat abstract.
MAMA has always wondered what kind of a new thing will be created when new technology meets art, and has visualized and created stages with that idea. MAMA’s concepts have been comprehensive ones, reflecting trends and environmental changes like the world shifting from analog to digital age, and globally being connected online in this digital era. At this year’s MAMA, we wanted to talk about chaos caused by rapid technological change in our time, which is happening faster than ever and how technological advancement and convergence across industries are affecting the music industry. We also reflected our willingness to create MAMA’s own “NEW THING” that crosses boundaries between imaginary and reality, time and space and online and offline. And we wanted to ask a question of “What is Real?” and make people think about what kind of music they really like.
Historically, MAMA has been a place for new TV projects or teasers to be announced, like Produce 48 or Boys Planet. Are there any surprises for audiences this time?
As we have been taking an uncharted path, MAMA will be full of ever-evolving performances. We are working hard to meet high expectations. MAMA is one “big live show,” and will have many surprising moments. Although watching performances in clips is becoming more common these days, I’m sure it will be much more fun to watch it live.
Philosophy no Dance’s Mariri Okutsu chatted 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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Okutsu made the transition from being a singer-songwriter to an idol group member nine years ago. On the podcast “B-side Talk – Are you taking care of your mental health?” she advocates the importance of mental well-being. Okutsu, who says she was able to find “what’s most important” after going through mental health problems, shares her thoughts on the value of being herself as an idol singer and in her private life.
Tell us how you became an idol group member.
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Before I became an idol performer, I was a singer-songwriter and also played in a band. I was asked if I’d be interested in doing idol work, and although it was a world I knew nothing about, you only live once so I figured I’d give it a try. I’d never even danced before, but took the plunge.
What was your personality like before you became an idol?
Before I became an idol, I think I was more particular about things. I liked rock music and thought I was badass when performing, so when people said stuff like, “You have a good figure” [mentioning the size of her breasts] and “You should sing cuter songs,” I resented that people didn’t see the things I wanted them to see. I was more heavily into the rock mentality back then than I am now, so when people said things like that, I turned up the volume on my guitar even more and distorted the sound, just to be rebellious. [Laughs] In terms of clothes, too, I want to wear my favorite gear for “battle” on stage, and to be the way I need to be in order to shine the most.
Did you ever feel bewildered by the idol scene, since it’s so different from your career up until then?
I’m now in my ninth year of being an idol performer, and feel that it’s a very warm world with passionate fans. At first, I searched for ways to live up to the expectations of what an “idol” should be like. I tried wearing big bows and frilly clothes, and even chose “cute” drinks and food. [Laughs] I tried really hard to figure out what my character should be like, but couldn’t keep trying to be someone I’m not. So I went, “Nope! Not gonna work!” and just showed who I really am, and things became so much easier. After I realized that it’s important to be myself, both in my idol career and in life itself, I try not to put on a front and make sure my true self is as lovely as it can be.
I think it takes courage to show your true self. What advice would you give to someone who can’t muster up the courage to do that?
Being able to create your own character by wearing “armor” is also a wonderful thing. It means you have the physical and mental strength to keep wearing that armor. It’s not about which is better or worse. Whichever you choose is fine.
Those are very convincing words coming from someone like you, since you chose to take off your armor and experienced the relief that comes along with that. What kind of person is the real you?
Well… Another thing that confused me when I became an idol was that it became harder to sing songs about romantic relationships. Until then, I thought it was good to sing about things I felt based on my own experiences. But our fans support us with such enthusiasm and romance is considered taboo for idol singers, and I don’t want to make my fans sad. It’s about establishing a relationship of trust with them. So I overcame this barrier by being up-front and declaring loudly that “I want to get married someday!” [Laughs] Because it’s true that I want to marry and have kids someday. Rather than suddenly announcing it and shocking people, my plan is to get my fans used to the idea that “she wants to get married.” At this point, my fans seem to worry about me and ask, “Aren’t you marrying yet?” [Laughs]
You’ve been an idol for nine years, keeping at it while resolving the things you feel confused about in your own way. Is there anything you take care to do to continue working for a long time?
I think I was always worried about the shelf life of an idol, thinking that if I didn’t achieve results after making my major label debut, I’d be replaced by the younger next generation. But somehow I’ve been able to continue for nine years. The key to that has been not to overwork myself. Even if the other person has no bad intentions, you should be ready to say “No” and take care of yourself when you feel mentally tired or when you feel like you’re not heading the way you want to go.
It’s true that being young is still considered important in today’s idol scene.
Youth is a really powerful thing with its boundless energy and enthusiasm, but I think Philosophy no Dance right now is also in really good condition. We might not have that drive of being young, but we’re calmer grownup women, you know? We’d really like people to check us out.
Why are you able to continue doing what you do with such sincerity?
I went through some mental health problems once. When that happened, I stopped and thought about what I really wanted to do, and decided that the biggest goal in my life was to keep doing music. I figured out what’s most important to me, so I quit all my part-time jobs and the priorities of my various choices from that point on became clear.
You advocate mental well-being in the podcast “B-side Talk” which you host. Are there any episodes you remember in particular?
They’re always interesting, but during the episode on “Sports and Mental Health,” I learned that placing winning above all else can be one of the factors that causes mental distress for athletes, and thought that the concept also has a lot in common with the world of idols and entertainment. The desire to “make it big” can be an effective stimulant, but it can also wear you down mentally. So it’s important to enjoy what you do without being too obsessed with achieving results. I was surprised to find that many of the things I thought were far removed from my own genre were actually connected in terms of mental well-being.
Sony Music Entertainment Japan has been expanding a project called “B-side” that provides support for artists and creators in the entertainment industry, both mentally and physically. I understand that they offer a variety of programs, including counseling. What did you think when you first heard about this system?
I was genuinely happy. As an artist, it’s something to be grateful about, and it’s reassuring to know that we’re being cared for as people, rather than being consumed as products. I actually went in for counseling. I’d never really heard of counseling before, and didn’t have any particular problems, so I was wondering if it was OK to go ahead with it. I thought counseling was something you went to receive advice on whether or not your concerns were right or wrong, and what you should do about them. But when I actually experienced it, counseling felt more like a conversation with myself. Talking to myself helped me to organize my thoughts, and it was like the counselor paved the way for me to find answers like the things that were bothering me or that I was worried about. If anyone has vague, unsettled feelings, I think counseling can help you untangle the knots in your mind.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
SXSW London has shared details about the ticket sale for 2025’s upcoming inaugural event in the U.K. Taking place in east London’s Shoreditch neighborhood from Jun. 2-7, the upcoming event will be the first time that SXSW has taken place in Europe, in addition to its home in Austin, Texas, and expansion into Sydney, Australia.
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Passes for the entire event across the Conferences, Music and Screen Festivals will be available to purchase, as well as for individual separate programming strands. Tickets will go on sale on Nov. 21 and a 25% discount will be applied to those who purchase a pass from the general sale before Dec. 19. With the exclusive price offer, prices range from £488 for the individual programme strand passes, to £975 for platinum passes. For further ticket information, head to the SXSW London website.
SXSW London has also announced additional details about the venue partners throughout Shoreditch. These include Truman Brewery, Village Underground, Rich Mix, Shoreditch Town Hall, Shoreditch Church, Christ Church Spitalfields, Dream Factory (Chance St & Rivington St), Kachette, Bike Shed Moto Co, Shoreditch Studios / Over the Road, and Protein Studios.
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Billboard has been confirmed as the event’s first official partner, and will host a night of music during the festival with a globally-renowned artist performing at the event. The show will also be ticketed to the general public.
Mike Van, president of Billboard said, “We’re thrilled to partner with SXSW London for the inaugural 2025 event. This collaboration underscores our shared commitment to supporting and celebrating the global music community. Billboard will bring a night of live music celebrating world class artists, both established and on the rise, and will offer fans a truly unique experience within the festival.”
The festival will partner with local charities and community groups to provide 500 complimentary passes to ensure “the rich diversity” of the city is represented throughout the events and programming.
“We’re thrilled to share how many incredible venues are working with us already for SXSW London’s Shoreditch takeover next June,” said Katy Arnander, director of programming for SXSW London. “Shoreditch is renowned as a vibrant centre for creativity and technological innovation, as well as for its diversity, energetic youth culture, global cuisine and nightlife. We’re excited to be working closely with local stakeholders to ensure the festival creates a positive impact for the community it will take place in.”
In October, SXSW London announced that it would begin the process of accepting session proposals from the public across the various programming strands. The festival says that “thousands of session proposals have already been submitted from over 50 countries across the world.” The submission portal will remain open until Nov. 29 at the festival’s website.
Back in April 2021, it was announced that SXSW had signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.
11/15/2024
See how we broke down every song from the BTS superstar’s long-awaited solo album.
11/15/2024
With a simple but hearty title, Happy is not just Jin‘s debut album — the seventh and final member of BTS to release a full-fledged solo project — but a statement on his creative journey and his fans’ significance throughout it.
While the 31-year-old is known to keep BTS’ ARMY at the forefront of his work, mind and in interviews, making his first public appearance after completing his mandatory military service at an event to hug 1,000 fans this past summer, Jin shares his love of rock music in hopes to inspire joy within listeners further. Described as an “organic and seamless” process, Jin tapped a range of international collaborators to complete his musical vision on Happy: New York City singer-songwriter and past BTS collaborator Max co-wrote the buzzy single “I’ll Be There,” Gary Barlow of British boy band Take That worked on the focus track “Running Wild,” Taka and Toru of Japan’s ONE OK ROCK co-produced and played instruments on “Falling,” while “Heart on the Window” is a duet with K-pop girl group member Wendy of Red Velvet, who grew up in South Korea, Canada and the States.
“Putting the album together has allowed me to pause and reflect on just how much ARMY means to me,” Jin tells Billboard. “As I worked on each track, I thought about what I wanted to convey to them, how I want to bring joy and happiness to them, while also expressing how much I missed them during our time apart.”
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With Happy, Jin proves his capacity to creatively grow and explore fresh musical landscapes while still staying deeply connected to the roots of his BTS journey. With warmth, optimism and universal messages, Happy has the qualities to not only enchant loyal fans, but entertain entirely new audiences — and does so while conveying his most authentic self.
Read on to see what the “Worldwide Handsome” superstar tells Billboard about Happy‘s sounds, timing and meaning, and much more.
How are you doing at this exciting time? Was making your comeback to music after a break difficult, or was it a natural return?
JIN: I’m happy to be back with my first solo album, Happy. Making this comeback, my first thought was to reconnect with ARMY. Creating the album was a way for me to share something with them, and the whole process just felt like a return to something natural.
With the release of Happy, all of BTS’ members will have officially released a full solo project! While we’ve got a lot of great solo singles from you, can you share insight as to why we are getting your first solo album now?
Before enlisting, I was focused mainly on our group activities, so a solo album didn’t feel right at the time. But with all the members now taking turns serving, it felt like the right time to share something personal with ARMY who have supported us all along. I hope everyone enjoys it as much as I’ve enjoyed making it.
I know you’re a big fan of and emotionally connected to BTS’ 2016 single “Spring Day.” Was finding music that resonated with you like “Spring Day,” whether emotionally or with rock influences, an inspiration?
“Spring Day” has always had a special place in my heart, but for this album, I wanted to explore something a little different. I set out to create a more vibrant, upbeat atmosphere, so the overall feel of the album is more lively and energetic. I’d probably consider exploring the emotional tone of “Spring Day” in the future.
Happy is described as “Jin’s journey to true happiness” and “an authentic portrayal of Jin as a solo artist.” What did that journey entail?
The journey behind revolved heavily around my connection with ARMY. As I worked on each track, I thought about what I wanted to convey to them, how I want to bring joy and happiness to them, while also expressing how much I missed them during our time apart. Putting the album together has allowed me to pause and reflect on just how much ARMY means to me.
You introduced the LP with “I’ll Be There,” which has a rockabilly and rock n’ roll sound. Why was this the song to reintroduce yourself?
I just really connected to the track and felt it was the right one to share with ARMY first. The fun, catchy vibe of the track felt like a good way to start things off. I wanted to bring joy and comfort to those who might be feeling down, and it’s my way of offering a little cheer before the full album comes out — sharing a song I like.
“Running Wild” has a lot of energy and universal themes that will appeal to so many people. What are your goals or hopes for Happy‘s main single?
With “Running Wild,” I wanted to create a track full of energy. I hope it inspires people to keep moving forward — whether that means running, working out or just pushing themselves to overcome a challenge.
You brought a range of international collaborators on Happy. What were you looking for in your collaborators?
That’s a tough question since I simply wanted to work with people whose music and talents I admired. Each collaborator brought something unique to the table, and I’m so grateful for the opportunity to have worked together with such talented artists to bring Happy to life.
As I listened, I wondered if you had ever considered creating your own band in the past or teaming up with a rock act as a side project.
The only band I, now and forever, will be part of is BTS. Band music is a genre I’m personally interested in, and I enjoy exploring different styles as a solo artist. But at the end of the day, my roots and connection to music will always be with BTS.
Thinking about your solo songs — including four No. 1s on Billboard‘s World Digital Song Sales chart with “Astronaut,” “Super Tuna,” “Yours” and, last week’s chart-topper “I’ll Be There” — are you able to pick a favorite?
All of my solo projects are meaningful, but if I had to choose a favorite, it would be “The Astronaut.” It is especially close to my heart, thanks to the incredible opportunity I had to collaborate with Coldplay, whom I deeply admire. I’ll never forget the moment when I first heard the song, the things I felt when Chris [Martin] first played the song.
Anything else to share with international ARMY at this time?
I’ll keep giving my all so that I can connect with all of you in person soon!
Gracie Abrams has landed a second week at No. 1 on the U.K. Singles Chart with “That’s So True,” the breakout song from the deluxe edition of her sophomore album, The Secret of Us. Last week “That’s So True” gave Abrams her maiden chart-topper in the U.K., and follows The Secret of Us debuting at […]
Musical theater stars Michael Ball and Alfie Boe have landed their fourth No.1 album as a duo on the U.K.’s Official Albums Chart.
The British pair – who have both performed extensively in West End show Les Misérables among others over the years – released their fourth studio album Together At Home via Tag8 Music. It follows their previous releases Together (2016), Together Again (2017) and festive collection Together at Christmas (2020), all of which landed at the summit of the chart. Ball also has two No. 1 records to his name as a soloist.
Sabrina Carpenter’s Short n’ Sweet finishes at No. 2 following the news that the LP was nominated in three categories at the 2025 Grammys: album of the year, best pop vocal album and best engineered album (non-classical). Carpenter nabbed seven nods in total, including best new artist.
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The Cure’s Songs of a Lost World holds steady at No. 3, having previously been at the top spot last week, which gave them their first chart-topping album in 32 years. The band also saw success on multiple Billboard charts over the last week, including topping the Total Album Sales chart and landing at No. 4 on the Billboard 200.
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There’s also an entry in the top 10 for Lancaster rockers Massive Wagons, as their seventh studio LP, Earth to Grace, finishes at No. 4. It’s their first to land in the top five and their third to place inside the top 10.
As new documentary film Elton John: Never Too Late lands on Disney+, the Rocket Man’s enduring Diamonds greatest hits collection returns to the top 10 this week, rising four spots to No. 8.
Elsewhere, rising U.K. rappers Fimiguerrero, Len and Lancey Foux score their first collaborative top 40 album with Conglomerate at No. 23.
Scottish icons Primal Scream, led by vocalist Bobby Gillespie, return to the top 40 with their 12th studio album, Come Ahead. It’s their first new material in eight years, and their 13th top 40 record across a 37 year career.
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Following Billboard’s exclusive announcement of TITAN CONTENT’s “next-generation” K-pop act this summer, three new members of the highly anticipated girl group AtHeart have arrived for fans to get to know.
Meet Seohyeon, 16, from Korea, Katelyn, 17, from the Philippines, and Aurora, 15, from Japan, who join the previously introduced members Sorin and Michi, helping create a diverse ensemble poised for global appeal. The five future stars join AtHeart, which TITAN says will reveal their full lineup soon before debuting in early 2025.
With talent handpicked from global auditions this past January, TITAN emphasizes members’ personalities and musical abilities while allowing fans to familiarize themselves with each member via individual social media accounts — a rarity for K-pop artists in training. @seohyeonatheart, @katelynatheart, and @auroraatheart all launched today on Instagram and TikTok.
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“Over the past year, the TITAN team has seen remarkable growth, assembling an all-star group of experts across various fields,” Dom Rodriguez, CBO at TITAN CONTENT, tells Billboard. “Our commitment to delivering exceptional music, creating a new paradigm for K-pop on the global stage, and pushing the boundaries of innovation remains stronger than ever. We’re thrilled about the incredible talent of the AtHeart members and are excited to show the world what they have been working on, so stay tuned!”
In a press statement, TITAN CONTENT CEO Katie Kang highlighted the new group members’ skills and teased AtHeart’s upcoming full lineup announcement.
“We are confident that AtHeart will lead the way into a new era of K-pop,” the former SM Entertainment manager and casting recruiter said. “Seohyun stands out with her captivating vocal tone and diverse range of exceptional talents. Katelyn was cast at the Manila global audition and has vibrant energy and a bright smile that brings joy to those around her, along with her singing and rapping abilities. Aurora, with her enchanting brown eyes, is full of bright, positive, and loving energy, just as her name suggests, and incredible vocal and dance skills…the full lineup is now complete, and we’ve been gradually unveiling the members since July with the remaining members to be announced very soon.”
TITAN’s Chief Visual Officer, Guiom Lee, says the newly revealed “Second Heart of AtHeart” concept video hints at the group’s style, sound, and potential number of members, noting the “visual and playful elements that are distinct from the first concept video. And speculating about how many members will be in the group adds another layer of excitement.”
Backed by former SM Entertainment CEO Nikki Semin Han alongside a creative team of international K-pop movers and shakers, TITAN CONTENT has positioned itself as the first major U.S.-based K-pop agency, aiming to introduce multiple groups and several solo acts by 2028. AtHeart’s 2025 launch kicks off a powerful new chapter for both TITAN and the global K-pop industry.
Check out the newly revealed photos of AtHeart’s Seohyeon, Katelyn and Aurora below:
Seohyeon
COURTESY OF TITAN CONTENT
Katelyn
COURTESY OF TITAN CONTENT
Aurora
COURTESY OF TITAN CONTENT