Global
Page: 28
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.
On April 27 and 28, Ado performed two shows at the National Stadium, entitled [Ado SPECIAL LIVE 2024 “Heart”].
She had just finished [Wish], her first world tour, which took her to Asia, Europe, and the U.S. She carried that momentum with her into the “Heart” shows. This was the first time a female solo artist had ever performed at the National Stadium, whose extensive renovation project ended in November 2019. Tickets for the two day event sold out immediately, and 140,000 people were there to see this historic moment. On the first day of the shows, Ado made a vow.
The show began with the sound of a guitar — the bridge part of the song “KokoroToIuNaNoFukakai.” The volume gradually rose, accompanied by the audience clapping in rhythm, creating a sense of unity. The sound of a heartbeat pulsed through the stadium, followed by a dynamic opening movie, raising expectations. And then Ado herself appeared on stage, above the band, in a box-shaped cage. Her intimidating voice boomed out “What is just? What is folly? I’ll show you.” The first song, unleashing a tidal wave of excitement, was her major label debut, “Usseewa.” The heavy, almost metal-sounding instrumentation and the powerful, shouted lyrics blended to produce a new song that went far beyond the original. It was the kind of sonic world that only Ado could create. A song needs to touch your heart. That’s far more important than how intelligible its lyrics are. This was brought home by the song “Tot Musica.” Ado’s awe-inspiring voice was an embodiment of the movement of the smoke shown on the enormous center screen. The impact of her voice commanded the stadium, like venom, a work of art in itself. Although her singing frequently dipped into growling vocals, it maintained an exquisite balance, never sounding coarse. Her aesthetic sensibilities never faltered.
In contrast to the energy of these two songs, she set a more mature mood with “Lucky Bruto,” which she sang laying on her back, one leg raised high, and “Domestic De Violence,” which she performed laying down, putting on a sensuous dance. In “Aishite Aishite Aishite,” her natural expressiveness shined to its fullest. As if possessed by the song’s protagonist, she held nothing back, expressing the true tragedy of the piece. Every time her vocals seamlessly shifted from a keen voice, sharp as a blade, to a beautiful singing voice, the audience broke out in goose bumps, breath bated. The song climaxed with her shouting out the lyrics “I am so happy! AAAAHHHH!” The crowd broke out in loud exclamations of admiration as her screams paired with the frenzied, flashing lights and the visuals, which faithfully reproduced the feel of the song’s music video. It was an unforgettable moment.
Trending on Billboard
Her cage rose into the air as she sang “Kagakushu,” followed by “Motherland,” which featured expert vocalization, supported by the crowd clapping to the rhythm. In “Gira Gira,” her rhythmic steps evoked the image of tap-dancing. The cage came down to its original position and a new arrangement of “Eien No Akuruhi” began. Ado’s voice was a genuine expression of a young girl’s mind, like a princess dancing with a prince at a ball. Then the audience looked up at the night sky as one in a moment of reflection on the memories of their youth. As the ballad drew to an end with a majestic outro that was far longer than anyone had been expecting, drones took to the open sky above the National Stadium, depicting a heart, the line of a heartbeat monitor, and then Ado’s symbol, a blue rose, accompanied by fireworks. The crowd broke out in cheers.
A euphoric Ado then performed “I’m invincible,” wearing a large, billowy dress. Her performance made it evident how deep her understanding of the song was, and showed the richness of her expressive abilities. She reproduced every ounce of feeling that went into the song, down to the finest details. In “Readymade” and “Kura Kura,” the crowd sang along. This was followed by the bittersweet “Chocolat Cadabra,” where a wild spirit and dynamism intertwined. On “Value” and “Hello Signals”, her voice was relaxed and smooth, heightening expectations of what was to come. There were many moments in the show in which one felt oneself drawn in by Ado’s humanity and rich expressiveness, demonstrated not only in her almost scream-like vocals, but also in each and every movement of her vivid dancing. Sometimes powerful, sometimes delicate, her steps were always elegant.
Once freed from her cage, she sang “Ibara,” followed by “Show” and “Odo,” the frenzied peak of the night. Stepping one level lower on the stage, she swaggered from one edge of the stage to the other. Flames shot into the air, the crowd clapping in rhythm along with Ado’s flexible voice. Ado’s vitality was truly moving.
Speaking to the audience, Ado reflected on [Wish], her first world tour, how she used that experience in her “Heart” performance, and how the tour made her come to love Japan even more.
“I came to really feel how important it was for the people of the world to learn about what a wonderful country Japan is, and to learn of our culture. I want to become an even bigger global presence, and I hope people can learn about what a great country this is through me.” “I swore to myself that if I could achieve this, I’d bring joy to the people of Japan, whether it be through music or something else.”
The title of these shows, “Heart,” represents all of the feelings people have: anger, pain, temptation, transience, sorrow, joy, reminiscence. At the same time, Ado explained, it represented the Vocaloid and utaite culture that led Ado to become a musician. “The next song is the final song. You’re ready for more? You haven’t had enough?? You want more???” With that, as silver confetti fluttered through the air, she sang “New Genesis.” The words to the song, “Let’s go to the New World,” “I’ll show you my dreams,” filled the stadium, inviting listeners to a wonderful future.
There were three special guests on the 27th. Opening DJ TeddyLoid, who worked on “Show” and “Odo,” played remixed versions of Ado songs. In the encore, “DIGNITY,” a giant blue balloon appeared on stage. Inside it were Ado and Tak Matsumoto of B’z, who helped write the song. In “missing,” Ado boarded a birdcage cart that took her around the arena, and then Ado, electrifying the audience with “Backlight” and “FREEDOM,” returned to the stage.
“Vocaloid and utaite are at the center of my heart. I hope these two wonderful cultures will grow around the world. If I can, I want to be a bridge between the two. And now is the moment when I do just that.”
Next to Ado, who had changed into elegant, flared pants, appeared the night’s final guest, Hatsune Miku. Dancing symmetrically, the two sang “Sakura Biyori to Time Machine,” a new song written by mafumafu debuting for the first time. Ado’s singing voice was tearful, like she remembering the past as she sang. It was a voice of genuine warmth.
Ado began to reflect on her own past. She used to hate herself, and couldn’t allow herself to rely on others. The only place for her in this world was social media. She wasn’t smart, she said, or skilled. She was gloomy. And yet, she had a desire for recognition and approval, stronger than anyone. She was saved from this tumult of emotion by music and singing, her great loves, so she chose to keep singing…
“Nobody knows that the future holds. That’s why I felt, so strongly, that maybe things would work out. My beloved Vocaloid and utaite cultures gave me faith in the future. Now, here I am, standing in that future I so longed for.” “I hope the song (“Sakura Biyori to Time Machine”) I sang with her (Miku), and this show this evening, can give back to the Vocaloid and utaite cultures, and help lead the way to the future. Please, don’t forget these cultures I love so much.”
The encore ended with a passionate performance of “KokoroToIuNaNoFukakai,” a song with a special significance for Ado. The lyrics “How can I decide my emotions?” had a rawness to them that made the audience’s hearts go out to her. Ado bowed deeply and left the stage and, as if in celebration of her birthday, the sky was lit ablaze with gorgeous fireworks. The magic lingered on, even after Ado’s departure.
This was a night that embodied Ado’s past, present, and future. The most captivating part was her sincere, humble personality. Her character may be why she keeps evolving while never forgetting where she came from, as her performance made so clear. On July 10, she released her second album, Zanmu, and from July 14th she launched her first nationwide arena tour, [Ado JAPAN TOUR 2024 “Mona Lisa’s Profile”]. The passion she exudes never wanes. Her desires have grown to a global scale, as she wants to share the wonders of Japan through the cultures of Vocaloid and utaite. With Ado, we are truly seeing the new genesis of a pop icon.
This article by Mio Komachi first appeared on Billboard Japan.
Full setlist:
1. Usseewa2. Tot Musica3. Lucky Bruto4. Domestic De Violence5. Aishite Aishite Aishite6. Kagakushu7. Motherland8. Gira Gira9. Eien No Akuruhi10. I’m invincible11. Readymade12. Kura Kura13. Chocolat Cadabra14. Value15. Hello Signals16. Ibara17. Show18. Odo19. New Genesis
Encore20. DIGNITY21. missing22. Backlight23. FREEDOM24. Sakura Biyori to Time Machine25. KokoroToIuNaNoFukakai
Snow Man’s “BREAKOUT” blasts in at No. 1 on the Billboard Japan Hot 100, dated Aug. 7.
[embedded content]
The new single is being featured as the theme song for Honeko Akabane’s Bodyguards, a new movie starring Snow Man member Raul. The track launched with 1,088,373 CDs to rule sales and also hit No. 1 for radio. This is the nine-member boy band’s ninth single to top the Japan Hot 100 and the first since “Dangerholic” released last September.
Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2. This track is still going strong after 17 weeks on the chart, with video views up 135% from the previous week and the consistently climbing karaoke metric up 10% this week. The popular three-man band has 14 songs charting this week including “Lilac.” In particular, “Blue Ambiance (feat. asmi),” released in July 2022, has returned to the top 100 for the first time in three weeks, powered by karaoke.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
[embedded content]
At No. 3 is =LOVE’s “Zettai aidoru yamenaide” (meaning “don’t ever quit being an idol”). The single was fueled by physical sales alone; it sold 260,304 copies in its first week — a career-high for the ten-member girl group — to hit No. 2 for the metric, while not ranking in any of the others that count towards the chart’s measurement.
Trending on Billboard
[embedded content]
LIL LEAGUE from EXILE TRIBE’s “Youth Spark” bows at No. 5, selling 62,680 copies to hit No. 3 for sales, while also coming in at No. 7 for radio.
[embedded content]
Notable chart moves outside the top 10 include YOASOBI’s “Butai ni tatte” (“standing on stage”), which jumps 43-16 on the Japan Hot 100 this week. After dropping July 26, streams for the track have increased by about 3 times and radio by about 2.5 times compared to the song’s debut week (though the track only had three days to count towards the chart week then).
[embedded content]
Meanwhile, J-pop summer favorites have returned to the chart this week. aiko’s “Hanabi” charted for the first time in 11 months since Sept. 6 of last year after streams went up 111% and karaoke 115% from the week before, and DAOKO x Kenshi Yonezu’s “Uchiage Hanabi” also charted for the first time in a year since Aug. 16, 2023.
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 July 29 to Aug. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
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?
Trending on Billboard
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.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
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.
Trending on Billboard
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.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
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.”
Trending on Billboard
“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.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
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?
Trending on Billboard
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).
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
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.
Trending on Billboard
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.