Global
Page: 27
Under the embrace of the afternoon sun in Diriyah, a city known as the birthplace of the first Saudi state and a symbol of the Kingdom’s rich history, Billboard Arabia meets August cover star Ghareeb Al Mokhles for a photoshoot and an interview. In this captivating setting, Ghareeb’s enthusiasm and radiant smile reflect his deep connection to his roots. From the outset, it was clear that Ghareeb was fully at ease in this atmosphere, ready to share his insights into Shelat – a music genre known for its rhythms and vibrant melodies, with lyrics built upon colloquial Bedouin poetry.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
After the photo session, the artist moves to the interview location with a calm and composed demeanor. Ghareeb is calm albeit passionate about his work and the genre of music he performs. He proudly identifies as a son of “Najran” and a devoted Shelat enthusiast, passionately discussing his lifelong love for music. He credits his inspiration to his older brother Talal and iconic artists like Mohammed Abdu and Khalid bin Abdulrahman, fondly recalling his early artistic experiences, including performing national anthems and songs during his school years.
Trending on Billboard
As he shares these memories, it is clear that his deep-rooted connection to his heritage and his unwavering passion for Shelat continue to shape his artistic journey. Delving into the origins and essence of Shelat, Ghareeb explains that it is “an ancient folk heritage that has evolved into an artistic form distinct from conventional songs, marked by its Bedouin influences.” Traditionally, Shelat consists of poetic verses sung to specific melodies, often performed a cappella with echoes, originally by camel herders and during special occasions like weddings. Over time, this tradition expanded with the addition of music and instrumental arrangements, evolving into the Shelat genre we recognize today. “We’ve added rhythms and beats to it, we’ve added instrumentation.”
Ghareeb’s foray into producing Shelat began as an experimental project shared on social media in the mid-2010s. To his surprise, the overwhelmingly positive response and high demand for his work in this genre ignited a deeper passion within him. Reflecting on this, Ghareeb notes, “The audience’s enthusiasm fueled my passion for Shelat, turning it into a genuine talent. I fully embraced this art and continued to pursue it.”
Nearly a decade later, Ghareeb has established himself as a leading figure in the genre, amassing millions of views across various platforms. His 2021 release of the Shelat “Kheeba” (Disappointment) exemplifies this success, garnering nearly 240 million views on YouTube alone. He describes it as a defining moment in his career: “It marked a significant turning point for me. I was able to truly showcase my talents, and I’m deeply grateful for the success it brought. This Shelat song holds a special place in my heart, and each of my works has built upon the foundation laid by the previous ones.”
This success culminated in a record-breaking milestone, with his YouTube channel surpassing one billion views. Ghareeb credits this achievement to the widespread popularity of his Shelat, stating, “This figure reflects the audience’s appreciation of what I offer.”
Capitalizing on this record-breaking moment in the world of Shelat, we ask Ghareeb about his reaction to reaching his first million views, “It was an incredible joy,” he says. “I was in the south (of Saudi Arabia), eagerly waiting for that million. I stayed up all night.” This milestone has solidified Ghareeb’s status in the Shelat industry. Not only has he advanced the genre, infusing it with new musical and artistic dimensions, but he is also frequently cited on social media as a trailblazer in the field. His lyrics, known for their simplicity, are a key part of his appeal. During our conversation, Ghareeb emphasizes his commitment to choosing clear and straightforward lyrics to connect with a wider audience.
Ghareeb Al Mokhles
Hayat Osama/Billboard Arabia
Each artist is distinguished by their unique use of color and thematic elements in their music and lyrics, and this is particularly evident in Ghareeb’s work. His standout tracks, such as “Kheeba” (Disappointment) and “al-Boad Motei” (Distance Is My Demise), vividly capture the themes of separation and sorrow that often follow farewells. In the interview, Ghareeb talks about his preference for “melodies and tranquility in melancholic compositions” and shares his deep-seated admiration for Khalid bin Abdulrahman’s work since childhood. When asked if his life was marked by sorrow, Ghareeb responds, “No, thank God. May God keep sadness away from us and you. I just have a deep affinity for melancholic moods.”
Contrary to the belief that Shelat is reserved for specific occasions or exclusive to Gulf listeners, Ghareeb explains that Shelat is versatile, performed across various settings, and resonates with audiences beyond the Gulf and the Arab world. Ghareeb elaborates on the multifaceted nature of Shelat encompassing a range of themes such as expressions of reproach and sorrow, tributes to distinguished camels, celebratory pieces for weddings, and renowned tribal Shelat that convey praise and pride at family events. He also makes note of his fan base spanning South Asia, including India and Southeast Asia, including Indonesia, underscoring the genre’s broad appeal.
The rising success of young Shelat artists like Ghareeb Al Mokhles signifies that this art form is far from a transient fad; it is a dynamic and evolving genre. Its increasing popularity is reflected in the growing streaming numbers and a steadily expanding audience, and the launch of Billboard Arabia’s Shelat chart.
[embedded content]
The trailer for the six-part Apple TV+ documentary series K-Pop Idols has arrived, and it’s premiering exclusively on Billboard below.
Set for its global unveiling at the end of the month, the first-of-its-kind series offers an unprecedented and refreshing glimpse into the high-stakes, high-pressure world of K-pop while following the lives of Korean-American rapper-singer Jessi, chart-topping boy band CRAVITY, and global girl group BLACKSWAN navigating the intense realities of the industry.
With raw storytelling reminiscent of the honesty felt in 2012’s illuminating K-pop doc 9 Muses of Star Empire, the upcoming series follows the idols as they confront their careers’ euphoric highs and harsh lows. The K-Pop Idols trailer shows Jessi tearfully recounting her experience of being stranded outside during her European tour, while Allen of CRAVITY discusses the grueling schedules that leave K-pop idols sleep-deprived. BLACKSWAN’s Fatou shares the difficulty of not seeing her family for years and her bandmate Gabi tearfully questions her place in her girl group.
Filming took place across multiple countries, including the United States, South Korea, France, Belgium, Germany and Cambodia, capturing the global scope of the K-pop phenomenon and helping to resonate with both dedicated fans and a broader audience for a narrative that reveals the too rarely seen vulnerable sides of the stars that remain at the heart of the rapidly rising music scene.
Trending on Billboard
“With K-Pop Idols, our goal was to pull back the curtain on the highly competitive world of K-pop and reveal the human stories behind the stars,” said executive producer Elise Chung, who executive produced Bling Empire. “This series is a tribute to the relentless passion and perseverance of artists like Jessi, CRAVITY and BLACKSWAN who are shaping the future of music on a global scale. We’re excited for viewers to experience the challenges, victories and everything in between that comes with chasing a dream as big as becoming a K-pop idol.”
K-Pop Idols was produced for Apple TV+ by Matador Content, a subsidiary of Boat Rocker whose work includes shows like ABC’s Boy Band, Paramount’s Lip Sync Battle (Paramount Network) and Vice’s What Would Diplo Do? An Emmy Award-winning team contributed to the project including Billie Eilish: The World’s a Little Blurry executive producers Todd Lubin and Jay Peterson, as well as Chung, Jack Turner (Pretty Baby: Brooke Shields producer), Sue Kim (The Speed Cubers director), Bradley Cramp (Lord of War) and Eric Yujin Kim (Undoing). Fans can also look forward to famous friends of the different artists making cameos in the series too.
Apple TV+ will exclusively stream K-Pop Idols, set to premiere globally on Aug. 30. Take a look at the trailer and new photos until then.
[embedded content]
BLACKSWAN in rehearsal in “K-Pop Idols”
Courtesy of AppleTV+
Jessi with her family in “K-Pop Idols”
Courtesy of AppleTV+
BLACKSWAN in “K-Pop Idols”
Courtesy of AppleTV+
The Weeknd is set to return to Australia in October 2024, bringing his After Hours Til Dawn stadium tour Down Under after initially postponing and then cancelling his 2023 dates.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The Australian and New Zealand leg was originally planned as one of the final stretches of his world tour before those dates were shelved.
The Canadian R&B superstar, born Abel Tesfaye, will kick off the 2024 leg on Oct. 5 at Melbourne’s Marvel Stadium, with a second show on Oct. 6, before heading to Sydney for back-to-back performances at Accor Stadium on Oct. 22 and 23.
Trending on Billboard
These will be The Weeknd’s first stadium shows in Australia and his first visit since 2017. Special guests Mike Dean and Chxrry22, along with Australian DJ and vocalist, Anna Lunoe, will join him on all 2024 Australian dates.
However, fans in Brisbane and New Zealand, who were included in the cancelled 2023 tour, will be disappointed to learn that these locations are not part of the 2024 itinerary.
According to a statement from the tour’s press release: “Due to schedule and logistical constraints, the ‘After Hours ‘Til Dawn’ tour will not be making its way to New Zealand or Brisbane in 2024 and there will be no further cities added.”
This decision has sparked backlash on social media, with fans expressing frustration over their shows being dropped from the 2024 run.
One commenter noted on Reddit, “Not sure what logistical circumstances they’re trying to blame for not coming to Brisbane or even NZ. Suncorp Stadium literally has no event booked in October other than the Travis Scott show at the end of the month.” Another added, “Apparently it’s more logical to fly to Australia, fly back to the USA, fly back to Australia and then fly back again.”
Before announcing the 2024 Australian dates, The Weeknd performed numerous sold-out shows across the United States as part of the After Hours Til Dawn tour.
The U.S. leg included notable performances at SoFi Stadium in Los Angeles and MetLife Stadium in New Jersey, where he fans with a setlist featuring hits from After Hours and Dawn FM.
In a statement about the upcoming shows in Australia this October, The Weeknd said, “I feel a strong pull to perform in Australia before moving on to the next chapter and want to make sure you all know I hadn’t forgotten about you. When I return now, it will be the right time, and I promise it will be such a special experience. I can’t wait to see you all!”
For 2023 ticket holders, a special ‘Past Purchaser Presale‘ will be available, offering the first opportunity to secure tickets for the upcoming Australian tour dates.
The Weeknd’s After Hours Til Dawn tour has been a global success, with over 60 sold-out stadium dates and more than 3 million attendees across North America, Europe, the U.K., and Latin America. The tour has also broken attendance records, including a two-night run at London Stadium that drew 160,000 fans.
In other recent news, earlier this month it was revealed The Weeknd will return to Halloween Horror Nights at Universal Studios Hollywood on Sept. 5 with The Weeknd: Nightmare Trilogy, an immersive haunted house experience featuring music by The Weeknd and Mike Dean.
It follows the success of his 2022 After Hours Nightmare attraction, inspired by his Billboard 200-topping album After Hours.
The Weeknd After Hours Til Dawn 2024 Australia Tour Dates:
Oct. 5 – Marvel Stadium, MelbourneOct. 6 – Marvel Stadium, MelbourneOct. 22 – Accor Stadium, SydneyOct. 23 – Accor Stadium, Sydney
Beabadoobee has reached a dizzying new high in her career after securing her first-ever U.K. Official No. 1 album with This Is How Tomorrow Moves. The Filipino-British artist, known offstage as Beatrice Laus, saw her third studio album debut at the top of the U.K. Official Albums Chart, published Friday, Aug. 16, marking a major […]
Chase & Status have claimed their first-ever U.K. No. 1 single on the Official U.K. Charts with “BACKBONE,” a DnB-heavy collaboration featuring Stormzy.
For Stormzy, this track marks his fourth time topping the charts, following his previous hits “Vossi Bop” (2019), “Take Me Back to London” with Ed Sheeran (2019), and “Own It” with Ed Sheeran and Burna Boy (2020).
Trending on Billboard
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Reacting to the major achievement, the British electronic duo told Official U.K Charts: “We knew that connecting with Stormzy was going to create something special, but we didn’t expect a KO reaction like this. To see him running out at our show at The Milton Keynes Bowl, in his best man’s suit—straight from a wedding and in front of 45,000 people—was insane! One of the greatest British MCs to ever do it, spitting over DnB & for it to go straight into No. 1? It couldn’t get any better for us.”
“BACKBONE” dominated the charts this week, racking up 6.4 million streams to secure the top spot.
Billie Eilish’s “BIRDS OF A FEATHER” also made waves, returning to its previous peak at No. 2. Her recent collaboration with Charli XCX, “Guess,” held strong in the Top 5 at No. 4, while another track, “WILDFLOWER,” continued its steady climb, now sitting at No. 36.
In the dance music scene, “Kisses” by Bl3ss, CamrinWatsin, and bbyclose moved up to No. 6, securing its place as a standout hit of the summer.
JADE re-entered the U.K. Top 10 with “Angel Of My Dreams,” which soared eight spots to No. 10, thanks to the release of its “S.A.D (sad. angelic. dramatic.) Version”‘. The achievement makes her the first Little Mix alum to have a solo single spend two weeks in the Top 10.
Just outside the Top 10, “Move” by Adam Port, Stryv, and KeineMusik climbed to a new peak at No. 11, while Chappell Roan’s “HOT TO GO” rose to No. 12, with another track, “Red Wine Supernova,” reaching No. 31.
In the U.K. Top 20, Sonny Fodera, Jazzy, and D.O.D’s “Somedays” made a significant jump to No. 19, and Indian rapper Hanumankind, along with producer Kalmi, saw their track “Big Dawgs” rise to No. 21.
Madonna’s classic hit “Like A Prayer” made a return to the U.K. Top 40 at No. 27, thanks to its feature in the new blockbuster Deadpool & Wolverine. Originally released in 1989, the song spent three weeks at No. 1 and now enjoys its 10th week inside the Top 40, just in time for Madonna’s 66th birthday.
Other notable movements include Calvin Harris & Ellie Goulding’s “Free,” which reached No. 35, and Gracie Abrams securing her third Top 40 single with “I love you, I’m sorry” at No. 38.
[embedded content]
Fujii Kaze will livestream the first of his back-to-back shows at Kanagawa’s Nissan Stadium set for Aug. 24 and 25, entitled Fujii Kaze Stadium Live “Feelin’ Good,” on his official YouTube channel. These stadium performances are expected to draw 140,000 fans over the two days. To commemorate the YouTube livestream, the “Kirari” star will also […]
There’s a new boy band in town. Friday (Aug. 16) marks the official debut of the newly formed Japanese act ONE OR EIGHT. The eight-member group — composed of Mizuki, Neo, Reia, Ryota, Souma, Takeru, Tsubasa and Yuga – is sharing its second single with the energetic “Don’t Tell Nobody” and its accompanying music video. […]
&TEAM’s “Aoarashi” debuts atop the Billboard Japan Hot 100, dated Aug. 14, giving the nine-member boy band its first No. 1 on the tally.
The title track from the HYBE LABELS JAPAN group’s second single dropped Aug. 7 and sold 461,863 CDs during its first week, more than its first single, to hit No. 1 for sales. The track also comes in at No. 16 for downloads, No. 45 for video views, No. 71 for radio airplay, and No. 78 for streaming.
[embedded content]
Staying at No. 2 for the fourth straight week is Mrs. GREEN APPLE’s “Lilac,” with downloads down slightly at 90% week-over-week, streaming at 99%, and video at 94%, while radio is up 198% and karaoke up 102%.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Creepy Nuts’ “Bling-Bang-Bang-Born” is back at No. 3, seeing increases in downloads, radio, and karaoke, while slowing down in streaming and video.
Trending on Billboard
Boku ga Mitakatta Aozora’s “Supea no nai koi” bows at No.4. The title track off the girl group’s third single launched with 68,355 copies after dropping Aug. 7, surpassing both its first and second singles and debuting at the highest position on the Japan Hot 100 for the group.
[embedded content]
Kocchinokento’s “Hai Yorokonde” continues to edge up the chart, this week moving 9-5 to break into the top 5. Debuting at No. 97 on the list released June 26, the viral hit has reached its current position after seven week on the tally. While views for the talked-about video is slowing down, downloads and streaming have increased 144% and 112%, respectively, from the previous week.
Perhaps due to the scorching summer heat in Japan, points for karaoke have increased across the board this week. The top 24 songs, including Vaundy’s long-running hit “Kaiju no Hanauta” at No. 1, held their respective positions while points increased for all.
[embedded content]
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
With the newly released version of ATEEZ’s No. 1 single “Work” poised to make crossover impact for the K-pop group via the all-English remix featuring G-Eazy, the rapper’s verses have also sparked speculation among fans online that he used the track to take a jab at his ex-girlfriend, Halsey.
Explore
See latest videos, charts and news
See latest videos, charts and news
Released Friday, Aug. 9, the “Part 4” remix of “Work,” which topped World Digital Song Sales in June for ATEEZ’s first chart-topper on the ranking, features G-Eazy delivering a verse that has fans talking: “Actin’ innocent, no, it’s not your first time/We’re far away if Libra is her sign/ Oof, danger, danger (Danger, danger)/Don’t be a stranger (Don’t be a stranger)/ She said no one can save her.”
This particular line has drawn attention due to Halsey’s Sept. 29 birthday, making her a Libra and leading to widespread speculation that the lyrics could be a thinly veiled reference to his experiences and their past relationship. The stars were in a highly publicized relationship from 2017 to 2018 before an abrupt breakup in July 2018. While neither has spoken up directly about what ended their time together, both artists have released music that fans believe alludes to their breakup. Halsey has also previously mentioned being in an “abusive relationship,” though she has never explicitly confirmed if G-Eazy was involved.
Trending on Billboard
After the collaboration’s release, one user on X (formerly known as Twitter) wrote that they “got weirded out when he sings that [because] I immediately remember Halsey…this is ATEEZ’s song why tf did u make it about u.” One X user added, “A collab of all things to make a little diss at your ex,” with another saying, “G-Eazy shading Halsey in a K-pop collab…this was not on my bingo list AT ALL.”
As some fans have noted, the particular lyrics in G-Eazy’s verse stand out against the backdrop of ATEEZ’s original message in “Work,” which is about focusing in on pushing toward your goals and achieving success. One fan on X wrote, “We’re talking about clocking in and he’s over here harassing his ex.”
Indeed, the K-pop group sings about the hustle in lines like, “I like to party when it’s a party/That’s payin’ me to pull up” and the addictive chorus of “Gotta work, gotta work / Gotta make that money, make purse.” G-Eazy later adds, “Work, flex, work, flex, always in the lab/ How I earn checks/ Hundred thousand dollars for a verse, yes/Wouldn’t lift a finger if it were less.”
The collaboration comes after ATEEZ’s established admiration for Halsey. The K-pop group’s fans, known as ANTINY, know the members frequently share music recommendations: Both Wooyoung and Jongho have shared their fondness for “Boy With Luv,” her hit collaboration with BTS, Yeosang has recommended Halsey’s chart-topping Billboard Hot 100 hit “Closer” with The Chainsmokers to fans. Mingi has also praised G-Eazy’s work, notably his Hot 100 hit “Me, Myself & I” featuring Bebe Rexha, and previously recommended Calvin Harris’ Funk Wav Bounces Vol. 2 album, where Halsey features on two tracks.
Representatives for G-Eazy nor ATEEZ did not return Billboard‘s request for comment at press time.
Even if the potential diss has dominated most of the conversation, it’s important to recognize the latest steps in ATEEZ’s barrier-breaking 2024 that includes multiple “Work” remixes, being named an “Up Next” star in Variety’s Young Hollywood Impact Report, and the ongoing [Towards the Light : Will to Power] in North America arena and stadium tour that just took over New York’s CitiField on Saturday, Aug. 2. This year has also been momentous for G-Eazy with the June 21 release of his seventh studio album, Freak Show, marking his first full-length project in nearly three years, which precedes a world tour hitting North America, Europe, Australia and New Zealand through this and next year.
Listen to Part 4 of ATEEZ’s “Work” with G-Eazy below:
[embedded content]
The highest new entry – the Hot Shot Debut – on the Aug. 10-dated Billboard Global Excl. U.S. chart and Billboard Global 200 is *NSYNC’s “Bye Bye Bye,” new at Nos. 16 and 18, respectively. The song with the biggest weekly increase in overall consumption – the Greatest Gainer – is the Goo Goo Dolls’ “Iris,” up more than 30 spots on each list, hitting new peaks of Nos. 55 and 58.
Explore
See latest videos, charts and news
See latest videos, charts and news
Why are these songs, both chart-toppers upon their original releases a quarter-century ago, surging worldwide? Both tracks are featured in Disney’s Deadpool & Wolverine, the biggest movie in the world. The superhero flick has brought in $852.1 million since its July 26 release, according to Box Office Mojo, becoming the year’s second highest-grossing film in a matter of 11 days. The film and its soundtrack are drenched in catalog songs, employing classic hits from the 80s, 90s and 2000s to juice its nostalgic appeal.
Trending on Billboard
“Bye Bye Bye” debuts on the back of 35.8 million streams and 5,000 downloads sold worldwide in the week ending Aug. 1, according to Luminate. From the previous week, before the release of Deadpool & Wolverine, those numbers mark an 879% increase in global streams, and a more than 1,000% increase in sales.
While consumption is up across the board, “Bye Bye Bye” sees bigger gains internationally, up 1,083% in non-U.S. streams compared to its still-massive 494% bump stateside. The song pops up on four of Billboard’s Hits of the World charts. It’s particularly strong in Asia, at No. 7 on Malaysia Songs with appearances on rankings for Hong Kong and Singapore. Additionally, it debuts at No. 16 on Peru Songs.
This is *NSYNC’s third appearance on the Global 200, following their perennial holiday-season run for “Merry Christmas, Happy Holidays,” and last year’s reunion track, “Better Place.” Those have reached as high as Nos. 97 and 128, respectively, immediately outpaced by the group’s Total Request Live-era classic. “Bye Bye Bye” topped the Pop Airplay tally for 10 weeks in the spring of 2000. (Billboard’s global charts launched in 2020).
The Goo Goo Dolls’ “Iris” crowned the same list for four weeks in July and August of 1998. Originally written for the City of Angels soundtrack, it’s fitting that another summer blockbuster has sent the song surging 26 years later.
“Iris” has been a constant on the global charts, logging its 48th week on the Global 200 since debuting in May 2022. But while the track has enjoyed a consistent on-and-off-the-chart presence, its Deadpool & Wolverine sync sparks its highest rank yet. It’s up by 23% to 21.3 million streams worldwide in the latest tracking week.
One more song featured in the film debuts on this week’s global charts. Madonna arrives with “Like A Prayer,” starting at No. 181 on the Global 200 and No. 189 on Global Excl. U.S. Back in 1989, the track topped the U.S.-based Billboard Hot 100 for two weeks.
This isn’t Madonna’s first Deadpool-inspired bump. “Like A Prayer” was featured in the film’s official trailer, yielding a 49% blast in global streams (to 4.3 million) in the week of April 19-25. So while the song’s usage in the film may not have been a surprise to moviegoers, it still led to a 175% increase, nearly tripling its post-trailer count at 12.3 million.
“Like A Prayer” is Madonna’s second entry on the global charts. “Popular,” her collaboration with The Weekend and Playboi Carti for HBO’s The Idol, debuted last June, before reaching No. 13 on both lists in February of this year. That makes “Like A Prayer” the first of Madonna’s solo catalog to crack the lists. She has charted 58 songs on the Hot 100, including 38 top 10s and 12 No. 1s, but her storied career mostly pre-dates the 2020 launch of the global charts.