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Two all-women rock bands hailing from different countries — Japan’s BAND-MAID and Mexico’s The Warning — got together to record a collaborative single called “SHOW THEM,” due Wednesday (Aug. 7). The members of the two groups hit it off after first meeting at a U.S. music festival where both bands performed in 2022.
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In this rare chat with all the members of both bands — five from BAND-MAID and the three sisters from The Warning — in attendance, the women who continue to blast out hard rock for fans around the world spoke about their respect for each other’s music and the process of recording their new single together.
Your bands first met when you performed at the Aftershock Festival in California in 2022, right?
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Miku Kobato (Guitar/Vocals): Yes. We performed on the same day, and the members of The Warning found us and said hi while we were doing an interview there. They said, “Let’s do something together” and we were like, “We’d love to!” We hit it off and had a great time.
Daniela Villarreal Vélez (Guitar/Vocals/Piano): I’d wanted to meet BAND-MAID all day that day.
Paulina Villarreal Vélez (Drums/Vocals/Piano): BAND-MAID are great musicians and I’ve loved them for a long time.
AKANE (Drums/Percussion): That makes me so happy!
Kobato: We also became really curious about The Warning after our bands joined the lineup at the Aftershock Festival, po. I thought it was so cool how three sisters are in a band together, po.
MISA (Bass/Vocals): There’s a groove that can only come from sisters, isn’t there?
KANAMI (Guitar/Vocals): They’re so synchronized, on the same wavelength. It’s something we can’t imitate.
Daniela: We’re very close and share a sisterly bond.
Paulina: We try to be aware of clearly separating our time as sisters from our time as band members, so I think there’s a good balance there. But we did just have a fight this morning. [Laughs]
Alejandra Villarreal Vélez (Bass/Vocals/Piano): We often clash when we’re composing. We each come up with a lot of different ideas, so sometimes we get into big arguments. [Laughs] But we fundamentally have a good relationship and make up quickly.
What do the members of The Warning find compelling about BAND-MAID?
Daniela: Japanese rock and the rock you hear in the U.S. and Mexico are the same genre but they sound completely different. That’s the main reason why I was drawn to BAND-MAID’s music. I also like the fact that they put a very high level of technique into their music.
Paulina: AKANE and I have totally different playing styles, so there were some phrases that were hard for me but I really enjoyed practicing them. BAND-MAID helped us grow and I appreciated that.
AKANE: Wow… I want to return those exact same words to you! [Laughs]
Alejandra: MISA also has a different style from mine, and I think her performance is awesome. I find it really amazing how she can combine parts where she plays with a pick and parts where she slaps in a song, and it’s so fascinating. Tell me how you can play like that. [Laughs]
Daniela: And of course, I think SAIKI and Kobato’s voices are really great, too. It must be the difference in language, but Japanese is unique in that the melody changes one letter at a time, and it’s really amazing how they can sing that so well. I got a lot of inspiration from the vocal side as well.
By the way, do you know why Kobato ends her sentences with “po”? [Translator’s note: Kobato has a signature way of speaking in Japanese, ending sentences with “po,” an onomatopoeia expressing the call of a pigeon. The kanji for Kobato is “little pigeon.”]
SAIKI (Lead vocals): Tell them why you say “po.” Tell them who you really are.
Kobato: I’m Kobato, meaning I have a little bit of pigeon in me, po. That’s why I end sentences with “po,” which is the sound a pigeon makes, po.
Daniela: So it’s pigeonese. [Everyone laughs] I caught that just now. “Narimashita, po.”
Kobato: [Laughs] It feels like we’ve become a little closer again, po.
Let’s talk about your collaborative single, “SHOW THEM.” How did the production process go?
Kobato: KANAMI first came up with the foundation of the song. We started off by having the members of The Warning listen to it.
KANAMI: We wanted to venture out and make a song that would bring out new aspects of each band for this single, and that’s how “SHOW THEM” came about. Everyone in The Warning made changes to the demo I made. Then we made new suggestions in response to that, and repeated the process over and over again until the song was finished.
Daniela: When we heard the demo that KANAMI made, we were very surprised because it was completely different from the direction of our usual music. But we soon began to enjoy figuring out how to mix our own colors into it.
The lyrics are credited to Miku Kobato and The Warning.
Kobato: Yes, po. Since this was a collaboration between two all-women bands, we first discussed making the song about rising to the top together by depicting a strong female figure who can fight in the world.
Paulina: While we started off by sharing that lyrical concept, there were times we interpreted things differently because of the cultural differences between our countries. But when we came to Japan and worked on the lyrics together, it felt like we were on the same page. The nuances that Kobato was looking for became clear.
Kobato: By talking face to face, we were able to understand each other down to the smallest details, po.
Did you record the music together in Japan?
KANAMI: Yes. But we didn’t have much time, so BAND-MAID recorded beforehand and The Warning recorded later. I basically directed the performances, and the three of them were really great. We were done in no time.
Paulina: We didn’t actually play until after we arrived in Japan, but did a lot of mental rehearsals on the plane.
Alejandra: Yeah. We listened to the song over and over.
AKANE: My passion towards performing has really intensified through our collaboration with The Warning. I feel so pumped now and don’t know how to handle it. [Laughs]
Paulina: It was a great experience for us, too, and gave us tremendous motivation.
How did the vocal recording go?
SAIKI: It was my first time recording with another person, so everything was inspiring. I also discovered a lot of things by singing while listening to someone pronounce English really well up close.
Daniela: The melody and prosody are different from our usual songs, so everything was a challenge. But it was really fun to try something new!
SAIKI: The key was really high, too. We both did well!
KANAMI: I really like vocals that make an effort in a higher key, so I might have given them both a hard time. [Laughs] But the result was really satisfying so I’m happy about that.
Your bands became closer through this collaboration, so it’d be great if you could do something together again.
Kobato: Since The Warning came to Japan this time, we’d love to go to Mexico and do a show together next time, po!
Alejandra: Maybe next time we can work together on a song that we wrote the base for.
Daniela: I’ll lower the key a little bit then. [Laughs]
—This interview by Hideyuki Mori first appeared on Billboard Japan
Rammstein frontman Till Lindemann is taking legal action against a German news outlet for their coverage of the sexual misconduct allegations that have followed him since last year.
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The controversy began in May 2023 when a female fan publicly accused Lindemann of misconduct, alleging she had been drugged at a pre-concert party in Lithuania.
Shelby Lynn, from Northern Ireland, told the BBC she was recruited and “groomed” for sex with the singer after a concert. Lynn claimed her drink was spiked at the show, but said she was not sexually assaulted.
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Lindemann denied the allegations, with lawyers calling the accusations “without exception untrue”.
Despite Lindemann and Rammstein’s firm denials of wrongdoing, the allegations led to serious consequences. Lindemann was dropped by his publisher, and the Berlin public prosecutor’s office launched an investigation.
The investigation was concluded and dropped in Aug. 2023.
The prosecutor’s office stated at the time, “The statements made by witnesses in the press reports have not been confirmed by the investigations.” Following this announcement, Lindemann briefly commented on social media: “I thank all those who have waited impartially for the end of the investigation.”
In Aug. 2024, Rammstein released a statement addressing the past allegations:
“Since last summer, we have been actively dealing with the accusations made against the band. We take this dispute very seriously, even if much of it is unfounded and excessively exaggerated. It is an inner process that will accompany us for a long time to come. Each of us does this in our own way and deals with it differently,” the statement read.
The band also expressed gratitude, saying, “At this point, we would particularly like to thank our families and loved ones for their unrestricted support and love; they too were hit hard by the allegations made and the media’s handling of them.”
“We thank our crew, our management, all our employees and everyone who has supported us and remained loyal along this journey. This massive stadium tour with this great show and this extraordinary stage has now come to an end after 135 concerts in 5 years with 6 million fans.”
“It’s not Rammstein. It’s not us. It’s not you. The path continues.”
Lindemann has now filed a criminal complaint against executives at the German publication Der Spiegel, with an Aug. 2 press release from Lindemann’s legal team revealing that he has filed a criminal complaint with the Hamburg Public Prosecutor’s Office against Der Spiegel’s executives, as per LoudWire.
The complaint alleges that the publication’s reporting included falsified documents and an attempt to commit trial fraud.
Garbage frontwoman Shirley Manson has provided fans with an update on the injury that led to the cancellation of the band’s 2024 tour dates.
On Aug. 7, Manson took to Garbage‘s Instagram to share more about her condition, following the band’s Aug. 1 announcement that all remaining 2024 performances would be scrapped due to an injury requiring surgery and rehabilitation.
In her post, Manson described her state upon returning home: “I returned home from tour an absolute hot mess. So broken that my poor husband had to push me through Heathrow and LAX airports in a wheelchair. I also had a dose of laryngitis and a massive cold sore on my lip.”
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Addressing concerns about her vocal health, Manson shared an image of her vocal cords, stating, “I was freaking out that I had somehow managed to damage my vocal cords on top of everything else but yesterday I was scoped and everything is as it should be.”
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“These are my vocal cords. My doctor said they were beautiful,” she added.
Manson did not initially reveal the nature of her injury when the band announced the cancellation of their shows.
In a statement posted to Instagram on Aug. 1, they said: “It is with great regret that we announce the cancellation of all our remaining dates for the rest of the year due to an injury that [frontwoman] Shirley [Manson] sustained on our recent tour in Europe that will require surgery and rehabilitation to correct.”
“This is not a decision that we have taken lightly, and we apologize to our amazing fans and supportive promoters,” they wrote. “We look forward to playing for you all again in 2025.”
Manson also took to her personal social media account to share her disappointment in having to cancel shows.
“No one is more crushed about this than I am. You know I would push through if I could,” she wrote in the caption accompanying the band’s announcement.
Among the impact dates were several high-profile festival appearances, including Ohana Fest in Dana Point, CA, and HFStival in Washington, DC. Liz Phair will now step in for the band at HFStival, while DEVO will be added to the bill for Ohana Fest.
Indian bassist Mohini Dey, who just performed at Billboard Live Tokyo and Osaka, spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.
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Dey, known for her technical brilliance, has worked with veteran artists such as Quincy Jones, Steve Vai, Mike Stern and Simon Phillips, as well as toured with Willow and Japanese rock legends B’z. Described as the “Most Successful Musician Under 30” by Forbes India, the bass virtuoso shared (via an email interview) her experience working in the male-dominated industry in her home county and her hopes to bring positive change.
Growing up, who were some women you looked up to? Who were some of your female role models?
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My mother was my first role model as she is a singer and worked professionally in my early years. There are several women I looked up to such as Carole King, Carole Kaye, Joni Mitchell and Sheila E., as they all made a huge difference in the music industry.
My original dream was to become a fashion designer. It was actually my dad who forced me in a way to practice after he released that music was my true talent. Music has always been the only option in my family. What’s amazing about life is that now, I design most of my stage outfits and so I have been able to live my childhood dream as a fashion designer as well as my father’s dream for me as a professional bassist.
According to the Global Gender Gap Report 2024 by the World Economic Forum, India ranked 129th, Japan ranked 118th out of 146 countries. Since Indian culture is much more conservative than Western culture, were there any cultural differences regarding gender you were surprised by as you started to play outside of your home country?
Yes, playing outside of India exposed me to various cultural differences regarding gender. In many Western countries, I noticed a more progressive attitude towards women in music. There was a greater acceptance and support for female musicians, which was refreshing. However, this also highlighted the conservatism in Indian culture, where women are often expected to conform to traditional roles. It was surprising but also motivating to see the potential for change and how different cultures are tackling gender issues in music. That being said I always like to reinforce the truth that there was an army of progressive and forward-thinking men who have helped me achieve the heights that I am at today: most of them being Indian men. There are forward thinking people in every culture, it just is a challenge to find them. I am proud to say men like Ranjit Barot and my father, Sujay Dey, were more progressive in their thinking than the average person in my country
Through talking to female Japanese artists for this interview series, an issue that often arose was how they were hesitant to speak out on social issues including gender, because of backlash or this thinking that art and politics shouldn’t mingle. Is this the case in India too?
This is quite prevalent in India as well. Many artists, including women, are hesitant to speak out on social issues due to fear of backlash. There is a strong belief that art and politics should remain separate, which can stifle important conversations. However, I believe that art is a powerful medium for change, and we should use our platforms to address and challenge societal issues, including gender. My hope is to create and maintain respect with political leaders so that we can affect positive change in our cultures. We should aspire to bring back the best of other cultures into our home.
How has being a woman affected your career?
Being a woman in the music industry comes with its unique challenges and advantages. On one hand, I’ve faced skepticism and bias simply because of my gender. On the other hand, being a woman has also set me apart and brought a unique perspective to my music. It has made me more resilient and determined to break barriers. Ultimately, I believe my gender has enriched my journey, making me a stronger and more empathetic musician.
Have you personally encountered gender bias or sexism in your career? What are some of the biggest challenges Indian female artists or creatives face?
Indian female artists face numerous challenges, including societal expectations, lack of representation, and limited opportunities. There is a significant gender disparity in various genres, with women often being underrepresented in Indian classical, rock, and even mainstream music. Additionally, societal pressures to conform to traditional roles and the lack of support for women pursuing creative careers add to the difficulties. Breaking these barriers requires continuous effort, support from the community, and systemic changes in the industry.
I have largely broken out of that gender bias by making myself as different from everyone else in the Indian music industry as possible. No one else sounds like I do on the bass and that was a very intentional thing. I tell students when I do masterclasses that regardless of male or female, old or young, a person needs to make themselves undeniable. That is to say that someone has practiced their craft so much and accepted exactly who they are and what they are trying to do. Once your confidence and skill are at a high level, opportunities will create themselves.
I would also argue that India didn’t fully embrace me until I started achieving success outside of the country. Growing my audiences in the USA, Japan and Europe inevitably showed my Indian audience the caliber at which I am able to operate. Since then, I have been given far more opportunities in my home country with a much greater degree of respect.
The touring scene, in which you’ve spent quite a lot of time during your career, has been predominantly male dominated. Although there has been some progress, it can still be hard for women to get their voices heard. What still needs to be done to make it even more inclusive and diverse?
I think that it starts in the home. Families need to encourage their daughters to pursue music. This will increase the number of female music students of which a percentage will enter the music industry. This is a numbers problem as more boys in India study music than girls. I think we also need more prominent female musicians to encourage young students to be competitive with the boys and not fear being better than them. Some girls in school want the boys to like them and so they don’t want to show off or upstage the boys. This mentality needs to be eradicated completely. Girls are powerful and should be treated as such.
On the industry side, I have been seeing a lot of improvement regarding women having opportunities especially on stage. One massive area where I would like to see improvement is the presence of female producers, film composers and mix/master engineers. These fields are predominantly male occupied.
Another challenge women in music face is restarting their career after prolonged leave of absence, whether it’s maternity leave or for personal reasons. Are there any support systems or safeguards you wish were in place so that female artists can enjoy lengthy careers?
While I can’t personally speak to this point as I don’t have children, I understand why it is important. I first would reach out to women globally and implore them to become a leader of a band, write your own music, own your brand, or own your company. If you spend your time as a side musician only, eventually your gig will go away because your name isn’t on the bill. So there is an accountability aspect that while everyone should play gigs for other artists, every other waking moment should be spent making your profile as big as possible. When the moment comes to transition to a solo career, go all in.
Regarding maternity leave, yes, this is a tough situation. I think it probably needs to be a political decision and that subsidies would need to be provided for the government in a social program.
On Billboard Japan’s 2023 Hot 100 year-end charts, 64 songs were by men, 19 were by women, 16 were by mixed-gender duos or groups and one song was by an artist who hasn’t disclosed their gender. What are your thoughts on these results, and would you say the situation is similar in India?
I would say that the percentage is similar if not more male and less female in India. There are many female artists but most of those artists do not write their own music and most of the songwriters, composers, producers and arrangers are male.
In India, the music industry is dominated by Bollywood cinema. Most of the directors are male and as a result most of the directors have historically hired male music directors who hire male arrangers, engineers and on and on. The only one who is female is possibly the singer and maybe a fraction of the instrumentalists who may work on the project.
To change the industry, we need more female representation in the entire entertainment world from cinema, art, music, graphic design, animation and more.
In the last 20 years in Europe and the U.S., more opportunities have been given to women, LBGBTQ+ persons, as well as other races besides the majority race in film and music. This was because there was an audience that demanded something different, and the companies had to invest in products that would give the audience what they wanted.
If audiences in Japan and India speak up and say that they want more female representation in film and music, the companies will deliver. So, I see this happening at a grassroots, political level.
As a role model yourself, is there any advice you’d like to have given yourself at the start of your career?
If I could give advice to my younger self, it would be to trust your instincts and stay true to your passion. The journey won’t be easy, and there will be challenges, but perseverance and dedication will lead you to your goals. Surround yourself with supportive people who believe in you and your talent. Don’t be afraid to take risks and embrace your uniqueness. Your voice and your music matter, and they can inspire others.
Eminem proves that Slim Shady is well and truly back as he clinches the U.K. No. 1 spot for the third week in a row with his latest album, The Death of Slim Shady (Coup de Grâce).
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The Detroit rap icon has once again proven his staying power with this 12th studio album, which marks his 11th No. 1 in the U.K.
Slim is still king of the hill, holding off a strong push from Taylor Swift, whose album The Tortured Poets Department leaps two spots to No. 2 on the Official U.K. Albums Chart.
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Meanwhile, Charli XCX is riding the wave of her BRAT summer. Her album BRAT, a 2024 Mercury Prize nominee, climbs three spots to land at No. 3. With a newly-released remix of “Guess” featuring Billie Eilish, Charli is making sure her summer anthem is on everyone’s playlist.
Chappell Roan is also having a moment with her debut album The Rise and Fall of a Midwest Princess. Rising three spots to No. 4, Chappell’s poised to make even bigger moves.
Billie Eilish, not one to be left in the dust, sees her album HIT ME HARD AND SOFT bounce back into the Top 5 at No. 5.
Meanwhile, Blur have delivered a nostalgic punch with Live at Wembley Stadium. Recorded over two nights in July 2023, this live album debuts at No. 6, becoming the week’s highest new entry and topping the Official Vinyl Albums Chart. It also marks Blur’s 14th Top 10 album. Live at Wembley Stadium was the leader at the midweek stage.
Sam Tompkins is making waves with his album hi, my name is insecure.—a fresh entry at No. 8 that also conquers the Official Record Store Chart and is the best-selling album of the week in independent U.K. record shops.
Over in the world of heavy metal, Swedish band Ghost hits a high note with their latest release, Rite Here Rite Now. Entering at No. 10, the album is the soundtrack to their concert film and adds another Top 10 achievement to their growing list of successes.
And there’s a blast from the past as The Police storm back into the Top 40 with their classic, final studio album Synchronicity. Thanks to a super deluxe reissue, it reclaims its spot at No. 30, a 40 years after its original release.
Benson Boone is also enjoying a resurgence, with his debut Fireworks & Rollerblades jumping 13 places to No. 31 after hitting the shelves on vinyl.
Rounding out this week’s chart action is Céline Dion, whose My Love – The Essential Collection vaults an impressive 32 spots to No. 36. Her performance of Édith Piaf’s “Hymne A L’Amour” at the 2024 Olympic Games in Paris marked her first in four years due to her battle with Stiff-Person Syndrome.
From the members who constantly stole the spotlight to SKZ stepping into full rock star mode, these are the unforgettable moments.
While KCON has long been heralded as the Mecca for K-pop fans, a new party that launched amid the 2024 Los Angeles date could also make it a must-attend for those in the industry as well.
What was meant to be a night to celebrate K-pop ended up being a cross-industry collaboration event hosted by Day 13, a new joint venture merger between K-pop and marketing expert Jenny Zha with Keith Kawamura, the anime and gaming marketing veteran who is also CEO of 3i Productions. Following KCON LA’s second day of concerts on Saturday, July 27, artists, execs, and influencers were on their way to downtown LA hot spot Hatch.
Notable attendees included KCON performers like K-pop star and American Song Contest winner AleXa, as well as Mikha of the Filipino girl group BINI — both of whom enjoyed bites and drinks in the roped-off back section of Hatch with friends like The Kelly Clarkson Show producer Jasmine Stephen, songwriter Vanessa Jefferson whose love of K-pop has been long documented by her sister Lizzo, and Henry Jiang of OfflineTV who talked to AleXa about their interest and collaborating in the game space.
“With the inaugural Day 13 industry party, we wanted to bring everyone together to create more avenues for ideation, and establish a longstanding tradition that can give way to even more exciting cross-collaboration projects,” Zha reflects to Billboard. “Subcultures like K-pop and anime are so pervasive it’s now part of mainstream conversation — especially at the forefront for key stakeholders behind-the-scenes.”
A host of journalists, publicists and other media figures that long worked in the K-pop space were also in attendance. Lively discussions included the extra effort being put into ILLIT’s comeback single, ATEEZ’s recent move to United Talent Agency, excitement and inquiries about TITAN CONTENTS’ first girl group AtHeart (originally revealed on Billboard), a K-pop act’s upcoming song collaboration in partnership with Netflix, a new K-pop artist’s signing with a U.S. PR, gripes about working with and guesses about the future of one major Korean agency, as well as tons more juicy tidbits to compete with Hatch’s wagyu and wasabi skewer.
Also in attendance was award-winning actress and dancer Krystal Ellsworth (who blew up in India after starring in the 2017 flick Heartbeats that was shot in the country). Brian Chau of CAA was in the house, linking up Konami and Bandai Games over drinks to explore how talents could be further integrated in a convo about video gaming industry.
Influencers like “The Transition Guy” Jonny Tran (930,000 TikTok followers) and Twitch streamer iGumdrop (with nearly 300,000 Twitch followers and 450,000 Instagram followers) were seen connecting with members of Sony’s Santa Monica Studios — producers behind the God of War franchise – for collaboration opportunities.
Newspeak, a three-piece band made up of vocalist Rei, drummer Steven, and bassist Yohey, have released their third full album, Newspeak. Newspeak has been praised for its bold, borderless sound, influenced by UK and US rock. It’s drawing attention from all corners, having been selected as an opening act by artists such as The Fratellis and Mando Diao. Billboard Japan talked to the trio about what went into their new album.
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Since you named the new album Newspeak, I get the strong feeling that you see it as a crystallization of what you are as a band.
Rei: After we finished our last album, Turn, we decided to work with Warner Music Japan. We were thinking about what kind of album to make next, and our minds kept turning to why we started Newspeak in the first place and why we were making music. We kept thinking about how we started this band because we wanted to make this kind of music and to share this kind of message, so what else could we do besides making it a self-titled album?
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Starting with this album, I get a feeling of hopefulness and expectation for the future from you for the first time. The songs are powerful, positive, and energetic. It’s like they have the power to just blow away any uncertainty or worry. I think that you can especially feel that strength in what is, effectively, the album’s first song, “White Lies.”
Rei: We wrote “White Lies” after “Be Nothing,” and the director of the music video asked us to send pictures of times when we found ourselves at crossroads or critical moments in our lives, along with pictures of people who are important to us. Looking back on my own photo albums, I remembered how I felt back when I was 20 years old, in America, looking down at the scenery below me from the top of the Empire State Building. I think everyone feels that way, when you go up somewhere high: “I’m going to make it big!”
That hallmark of youth!
Rei: Yeah, exactly. Like, I had no particular foundation for that belief, just this vague desire to make my mark on the world. I was like, “I’m going to achieve something!” [Laughs] But even now, looking back on it, I feel like that’s the way it had to be. Now, I want to express that unfounded confidence.
The songs are so powerful, it’s like they could rekindle that motivation slumbering inside — tap that well of energy deep within.
Rei: That’s why the album starts with the question “What would you do if you weren’t afraid at all?” That concept is at the root of everything I do, and I feel like I’ve finally been able to express it really well.
Having a powerful will is important for anything you do.
Steven: I like powerful songs with that confidence of “I am the best!” “Nobody stop me!” with no deeper thought, but the songs that speak to me even more are the ones that demonstrate an understanding of the darker aspects of reality. In that sense, Newspeak’s songs, like “White Lies,” are well-balanced, showing that we see the negative parts of reality, too.
Most of Newspeak’s lyrics are in English, and your sound is heavily influenced by the UK and US rock scenes. There’s a strong sense of focus on the foreign music scene, but you’ve also established a unique position in the Japanese music scene. How much attention do you pay to trends or fashions?
Rei: Just trying to revive old music all the time would be fruitless. As a musician, I think it’s important to enjoy music, to convey a message, and to create a new sound, so I listen to new music, and when I hear new or interesting sounds, I try to incorporate them.
Yohey: I don’t just listen to rock. Lately, I’ve even been thinking about going to see Dua Lipa (Editor: She is scheduled to perform in Japan in November). Trying to incorporate every kind of different sound in our own style of music would be impossible, but there are some sounds where I think “this might be interesting to work into our music.”
Rei: We like sounds that are really striking. Not things we’ve heard before, but more sounds like “booooiiiing.” [Laughs]
Steven: Sometimes we use modern synth sounds, but sometimes we go the other way, using old-school drums or old bass sounds. It’s a mixture of classic and modern. I think there’s some originality in that approach.
“Alcatraz” is a danceable song with a catchy melody. The phrase “So many faces and faces to please” stands out.
Rei: No matter where you go, there are always faces to please, whether they’re other band-mates or even in situations like this interview. In “Alcatraz,” we’re singing about how you can’t let yourself always get caught up worrying about that. You have to make yourself happy, or what’s the point?
We’re in an era in which there are a lot of “faces to please” online.
Rei: That’s true, of course. But the message of this song is more about “let’s enjoy the music.” The main message is to have fun and set yourself free.
The song “Tokyo” has a line that stands out: “This city can hurt you or ignite you.” What’s your image of Tokyo?
Steven: It’s huge — I think it’s the world’s biggest city. It’s always busy, and so many people come to Tokyo from the countryside to make money. I think that’s why even for people who love Tokyo, there are times when it’s hard. The song “Tokyo” sends the message to those people that “We understand. We think the same way. I know it’s hard, but you’re not alone.”
Rei: There are a lot of songs about how hard it can be to live in Tokyo, but what I wanted to convey through this song is that no matter what city or community you’re part of, it’s the same. I mention it in the lyrics, too, but we’re using Tokyo as a symbol to represent being a member of a community, so instead of Tokyo it could just as well be London or New York or Kuala Lumpur. No matter where you go, there’s stress. How you respond to that is up to you. You may find your school or your company tedious, but then when you go outside, you realize that you were agonizing over something inconsequential. So what I wanted to say is that all you have to do is just go out. Why are you clinging on so tenaciously? Why do you look at the world like it’s your enemy? I think the same about myself. Just because I’m in Tokyo, or just because I’m in Japan, doesn’t mean I can’t go overseas.
The last song on the album, “Nokoribi,” closes with the line, “A wingless believer on the night before the revolution.” It feels like here you’re singing about Newspeak itself.
Yohey: The lyrics to this song are an answer to the question posed in the intro to “White Lies.” It’s the kind of song you’d expect from Newspeak, but surprisingly, we’d actually never written a song like this. We have a lot of songs that are like “just be yourself” or “don’t give up,” but we hadn’t written any songs that praised the beauty of striding forward. It’s a song with the power of self-affirmation, like saying “we shine because we act.”
Rei: It’s a song about how there’s a beautiful world out there, so why don’t you go set out into that world? You’ve got “Tokyo,” about being stuck within a community, unwilling to step out, and then that’s followed with this song, the final one on the album, about the moment when you finally take that step forward. We thought it would bring the album to a nice close. We actually wrote the song a long time ago, but it just happened to fit here really well, so we were like “Now’s the time to use it.”
In closing, what kind of future do you want to see for the band?
Yohey: I want to play at Coachella.
Rei: I used to perform as a musician in Liverpool, so I’d like to make a triumphant return by playing at the Glastonbury Festival.
Yohey & Steven: Yeah!
—This interview by Azusa Ogiwara first appeared on Billboard Japan
The 2024 Tencent Music Entertainment Awards (TMEA) were staged at the Galaxy Arena in Macau, China, from July 19 to 21.
Themed “High Five. Music Drive” and organized by Tencent Music Entertainment Group, the TMEA showcased a three-day music extravaganza, featuring a stellar lineup of international top artists and more than 100 performances, alongside a two-day indoor music festival and music ceremony.
The titles of Best Male Singer of the Year and Best Female Singer of the Year were awarded to Zhou Shen and Zhang Liangying, respectively, while Xue Zhiqian received recognition for Best Concert of the Year.
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Zhou Shen
Courtesy of TME
Wang Yuan was honored as the Most Influential Male Singer in the Chinese Mainland, while Yuan Yawei (TIA RAY) was awarded the title of Most Influential Female Singer in the Chinese Mainland. Additionally, the Most Influential Male and Female Singers from Hong Kong and Taiwan were awarded to Eason Chan and G.E.M., while the honors for Most Influential Singer-Songwriter and Most Influential Mandarin Group went to Jay Chou and Mayday, respectively.
The evening also featured the announcement of the Best of the Year awards: the titles of Best Male and Female Singers in the Chinese Mainland were awarded to Xue Zhiqian and Shan Yichun, while the Best Male and Female Singers from Hong Kong and Taiwan were given to Wilber Pan and Angela Zhang.
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Shan Yichun
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International artists were also in the spotlight, with Ed Sheeran and Taylor Swift awarded Best International Male Artist and Most Influential International Artist of the Year, respectively.
The TMEA Music Ceremony brought together a lineup of iconic Chinese-language singers. Wang Yuan, Wilber Pan, Zhang Liangying, Tia Ray and Zhou Shen all performed, showcasing their hit songs and diverse musical styles.
Tia Ray
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In addition to established artists, the TMEA also highlighted many emerging stars in the Chinese music scene.
As a world-class choreographer, RIKIMARU served as the dance director for the 2024 TMEA and debuted his new song “Can’t Get Enough.” A representative of Chinese electronic music, who was the only Mandarin artist to perform on prestigious international electronic music festival stages such as Tomorrowland, Ultra, ADE and EDC, CORSAK delivered an electrifying DJ SHOW at the gala.
Established in 2019, the Tencent Music Entertainment Awards is an annual music awards ceremony that has captivated millions of music enthusiasts.
TMEA
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On June 29 and 30, Revo put on a series of concerts, “Revo’s Orchestra Concerts,” at Hitomi Memorial Hall, in Tokyo’s Showa Women’s University. Revo leads two groups of artists: Sound Horizon, which tells original stories through the use of musical suites and is celebrating the 20th anniversary of its debut this year, and Linked Horizon, which he created for collaborations and tie-ups with other works, such as the Attack on Titan anime. In this concert series, Revo performed pieces from both groups along with a full orchestra. There were four shows over a two day period—two during the day and two at night. In this article, we’ll be looking at the June 30 performances.
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The “Revo’s Orchestra Concert” series presented not only works by Sound Horizon, but also Linked Horizon’s “Guren no Yumiya” and “Akatsuki no Requiem,” from the TV anime Attack on Titan, “Onward Into the Light: An Overture,” used in Square Enix’s fantasy RPG BRAVELY DEFAULT, “MOON PRIDE,” a Momoiro Clover Z song for which Revo wrote the lyrics and wrote and arranged the music, and more. It was almost like a retrospective of the best pieces Revo had created over his long career. Conductor Hirofumi Kurita led the 70 members of the Tokyo Philharmonic Orchestra in a powerful performance that conveyed Revo’s sweeping worldview.
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In the first part of the show, all the pieces were performed entirely by the orchestra, except when Revo took the stage to speak. Toward the middle was a discussion between Revo and a music critic. For the daytime performance, he spoke with Akihiro Tomita, and at night he spoke with Akimasa Munekata. In part 2, guest singers performed “Guren no Yumiya,” which Revo himself sang in 2013 on NHK’s 64th Kohaku Uta Gassen. The guest singer for the daytime show was SAK., while for the nighttime show it was voice actor Yui Ishikawa. The show came to a close with Revo inviting guest performers and guest speakers to join in a performance of “Sunawachi…Hikari wo mo Nigasanu Ankoku no Chou-juu-ryoku” and “Eikou no Idou Oukoku – The Glory Kingdom.”
Revo makes use of his classical music background in both his Sound Horizon and Linked Horizon pieces, but with this concert series performed entirely by an orchestra, these sensibilities have finally come into full bloom, elevating expectations for Revo’s future as a musician. The great cheers of “Bravo!” from the audience of fans were a testament to this.
—This article by Akimasa Munekata first appeared on Billboard Japan