State Champ Radio Global
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There lies an immense honor in the title “The Nation’s Girl Group.” In South Korea, fans have bestowed the distinguished designation on K-pop juggernauts like Girls’ Generation and TWICE over the years. Yet only one group throughout the Philippines’ rich musical history has received the honorific: Star Music’s eight-member girl group BINI.
With a name inspired by the Filipino word binibini (which means “young lady”), the all-Filipino “Pinoy pop” (P-pop) group — comprising leader Jhoanna and members Aiah, Stacey, Colet, Sheena, Maloi, Gwen and Mikha — was brought together by ABS-CBN’s Star Hunt Academy program and has spent the past four years since its debut making a name for itself. In 2024, after releasing two full-length albums and performing at scores of mall shows and events, BINI finally broke through into the mainstream. The group now has four viral chart-topping singles (“Karera,” “Pantropiko,” “Salamin, Salamin” and “Cherry on Top”) and has received numerous prestigious awards both locally and internationally.
In conversation with Billboard Philippines, Aiah calls 2024 “really BINI’s year. We couldn’t believe that all of this happened in one year alone.” The members of BINI, who in Aiah’s words “started out as a bunch of girls from different parts of the Philippines,” feel substantial pride — and disbelief — about being the No. 1 act in the Philippines. Other top artists in the country, such as renowned folk-pop band Ben&Ben, alternative group Cup of Joe, beloved singer-songwriter TJ Monterde and the soulful Arthur Nery, established themselves as celebrated hit-makers in recent years — yet it was BINI’s dominance that reigned supreme over the past 12 months. And as the group’s popularity grows in and out of the Philippines, BINI’s members take their prominence seriously.
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“We feel honored to be representing the Philippines on the global stage because this has always been our dream to begin with,” Jhoanna says. “Because we [Filipinos] can do it. All you need is the support of our fellow Filipinos. Because with Filipinos, their level of support is different. And I want this to show that we’re capable of this — especially as we bring ourselves onto the global stage.”
Aiah wearing CHED STUDIO Top and Skirt, KATARI Necklace.
Shaira Luna
Colet wearing VIÑA ROMERO Tube top, CHED STUDIO Barong top and Skirt, KATARI Earrings.
Shaira Luna
Such global visibility comes with pressure. “I think [the pressure] is what pushes us to become better,” Maloi says, “and I think it’s OK to be nervous every time that [others] say that we are The Nation’s Girl Group. Because maybe when we’re nervous, it shows that we’re still grounded.”
“[The title] didn’t come from us,” Sheena explains, “it came from the people themselves. It means that they see something in us –– they see potential. So it’s on us to give back and prove to them that we do deserve this title.” Maloi calls the honorific “a responsibility that we should live up to.”
But while “we’re grateful and extremely humbled that there are titles like that given to us,” Sheena says, “the most important thing for us is our connections with our BLOOMs [fans] and the Filipino people.”
On social media today, BINI’s rapidly expanding and fervent fan base of BLOOMs is reminiscent of Taylor Swift’s Swifties, Beyoncé’s Beyhive and BTS’ ARMY.
But because BINI debuted amid the COVID-19 pandemic, its fan base has different — and perhaps more significant — origins. Connecting with audiences proved difficult for the group, so it made an effort to develop its own online community where the members could genuinely relate with fans despite their idol status. “We didn’t have ABS-CBN as a network anymore and we didn’t see many idols who felt authentic to their audiences, which is why we had to [really] find ways in which we could promote ourselves,” Gwen says.
“The pandemic was the time when we tried our very best to be seen online — especially since that was a great opportunity for us to introduce ourselves at that time,” Aiah says. “We did a lot of solo and group content, and we would have assignments so we could also get to tap different markets, age groups and all that. I think it helped us a lot.”
Colet puts it even more directly: “We would do livestreams, vlogs and other gimmicks online, and sometimes we’d just film ourselves doing random things inside the house we were cooped in together — because that was really the only way in which we could let people know that BINI existed at the time,” she says.
Today, BINI has nearly 18 million followers across Facebook, X, Instagram, TikTok, YouTube and Spotify. It has harnessed the power of those platforms to inspire several dance challenges (especially with 2024’s summer anthem “Pantropiko”) and other interactive content that encouraged their BLOOMs to participate and strengthened the artist-audience bond.
“People want people who are relatable,” Aiah says. “There are so many people who have told me that with all the attention we’ve made online, it turns out that we’re relatable. And that’s great!”
Gwen wearing VIÑA ROMERO Top and Skirt, KATARI Earrings.
Shaira Luna
Jhoanna wearing R.A.F. Dress.
Shaira Luna
Those connections have gone from social media to concert venues. “Whenever we perform, I feel it’s important to not just focus on the cameras but also to look at them in their faces and eyes to make sure they feel as if they’re also with us in this performance,” Mikha says.
“Whenever we see the support of our BLOOMs, it’s what keeps us motivated,” Sheena adds. “They really want us to hit the global stage, which is why we really want to aim for it –– just to tell them that we’ve got you, you know? Like, you can trust us, we can do this, and all we need is your support to keep us pushing.”
But BIN’s rapid ascent hasn’t come without challenges. Its members have faced hateful comments, unfair criticism and privacy breaches that have threatened their mental health. The members of BINI, like Chappell Roan or girl group NewJeans, have been forced to adjust to fame within a very short period. “At first it was really hard,” Sheena says. “It’s true that we’ve waited for this big break –– but it’s so different when you have so many people looking at you. Even if you only mean good things or positivity, they can still take it as a bad thing by twisting your words.”
But the group realizes that, to an extent, this is a reality of the modern digital world. “You really can’t avoid these things,” Colet says. “Before, I was actually the most affected by what I’d read online. But eventually, you learn how to filter what is a genuine comment and what isn’t, or whether its intentions are pure or not.”
Gwen has become mindful of her time online. “You shouldn’t waste your time [on such comments],” she says. “I’ve been dealing with it since my [Pinoy Big Brother] days. It’s really just something you learn.”
But such hateful behavior is tougher to ignore when it makes its way into the physical world. Members of BINI have been followed to their homes — or even to the bathroom — by fans. “Some people, by choice, do not understand nor do they choose to respect our privacy,” Aiah says. “At first it was really overwhelming, and it gave me so much anxiety. Now, it’s become a test of boundaries for us and a test of patience. It’s a learning process to this day.”
On some of her rest days, Jhoanna recalls, fans would pass her home and call her name from outside the window. “It can get really scary because here they are — coming up to my personal space,” she says. “It’s really important to set boundaries because while I do understand why some people would react like that, we’re still people at the end of the day.”
Maloi wearing HAROLD AND HARRY Top, VIÑA ROMERO Skirt, KATARI Earrings.
Shaira Luna
Mikha wearing SHOP YOYA Top, VIÑA ROMERO Skirt, KATARI Necklace.
Shaira Luna
As these cases increased and intensified over the past year, Aiah eventually spoke up on social media, asking fans to respect her privacy. While her comments received a mixed response from fans, Aiah and the rest of BINI were surprised when several other artists expressed gratitude for how she brought attention to the issue.
“Apparently, there are a lot of people who have been afraid about this,” Aiah says. “Ever since we spoke about it, I received a lot of thank-you messages because it was like I was also speaking on behalf of them. It made me realize that with our platform, we really get to represent the local music scene in a lot of different ways that we never expected.”
BINI now represents Filipino music and P-pop on the international stage — and the members want to increase recognition of Filipino music as they expand globally.
“It’s such a great responsibility [to have],” Aiah says. “We’re not just doing this for ourselves, because there are also so many artists out there who believe in this for us, old ones and new ones alike. It’s so cool to see how much trust they’ve put into us, because what happens is not just our success, but it will also come up as everyone’s success.”
But Colet dispels the characterization of BINI’s members as trailblazers. “We’re just following the path of those who came before us in order to sustain what Filipino music is known for so that it can become recognized even more,” she says. “We have so much to offer the international scene, and what comes from the Philippines is truly beautiful.”
To Jhoanna, lifting up other Filipino artists is only fair, since major artists in the country have championed BINI since it debuted, whether posting covers of BINI hits (TJ Monterde’s viral version of “Salamin, Salamin”), inviting BINI’s members to collaborate (Cup of Joe featured Jhoanna in a music video) or celebrating BINI’s milestones.
Promoting their peers is, she says, “our means of giving back to the scene who have given us so much. The [Filipino] scene is so rich, and it deserves recognition of its own merit –– because we started out like so many others from there. We just need the push for them to get bigger and more recognized worldwide.”
“Our goal isn’t just to bring BINI into the international scene — our goal is to have all Filipino artists be appreciated and known internationally as well,” Mikha says. “Since we are representing the country, we want to bring the Philippines with us — incorporating our culture, language, humor, talent and everything else as we move forward in our career.”
Sheena wearing R.A.F. Top and Skirt, PAXON Bolero.
Shaira Luna
Stacey wearing R.A.F. Top and Skirt, KATARI Earrings.
Shaira Luna
In 2025, BINI will have a bigger platform than ever to do just that. After a busy 2024, the group is preparing for more of the same in the new year — at least, when it comes to its calendar. As for new music, Maloi teases something “very unexpected” from what BINI has done thus far. “It’s taking a step up from what we’ve done in the past,” she says. “It’s like a different chapter of BINI –– almost as if we’re evolving into BINI 2.0.”
In 2024, BINI brough its Biniverse tour to Filipino and Canadian markets, wrapping its touring for the year with three November concerts — dubbed Grand Biniverse — at Araneta Coliseum in Quezon City, the Philippines, where it announced the forthcoming single “Blink Twice.” The act has also announced a colossal, mid-February show at Bocaue’s 55,000-capacity Philippine Arena. “We still don’t know how it’s going to go,” Colet says, “but whatever happens, we’re just so excited for the day to come because our dreams are finally happening.”
Sticking to what Maloi calls “BINI-core” has helped the group maintain the authenticity its fans have appreciated since its early days — and to gain new ones. “Our core remains the same, which is comprised of our love for our craft, the fans and what we do,” she says. “It’s all still there, and it will only change as we mature and the world we’re working in continues growing with our fandom.” Aiah adds: “With all the success and the music that we have, I want everyone to remember us as people and how we are the same BINI girls after all this time.”
And they’re in it for the long haul — even if, when words like “legacy” get thrown around, it makes Aiah “feel like I’m 50 years old.” Stacey predicts BINI singles like “Pantropiko” and “Da Coconut Nut” will “stick around with anyone, no matter who you ask.”
For now, though, something else transcends all the accolades and recognition BINI has received. “It’s obviously an honor to be recognized as The Nation’s Girl Group,” Maloi says, “but with all those people that we were able to reach, the most important thing is that we realized that we have the power to make people dance.”
Rising J-pop singer Hibiki dropped a digital EP called “Desire (Latin Mix)” that includes a Latin-flavored mix of her first original number that was featured as the festival song of the 37th Tokyo International Film Festival this year.
Listen to it below.
The lyrics are all in English, and the budding star notes that the song expresses her will to be heard by music listeners not only in her home country but also around the world, and to expand her work as an artist on a global scale.
The most listened-to artist in Italy in 2024 (according to Luminate) does not, exactly, rap in Italian. Naples’ own Geolier raps in his native dialect — the very musical language spoken on the streets of his neighborhood, Rione Gescal, and now spoken by kids in every corner of Italy who, through Geolier, have learned it.
For the 24-year-old artist born Emanuele Palumbo, that devotion has added up, in the past year alone, to three consecutive sold-out shows at Naples’ Maradona Stadium; a historic appearance bringing the Neapolitan dialect for the first time to the Sanremo Festival, the most important music event in Italy; and triple-platinum certification for his song “Dio Lo Sa,” released in June. Five years after his debut album, Emanuele, Geolier is clearly still taking in this success — as is evident in the way he pauses to reflect on his words in conversation, in his broad smiles in response to compliments and in his lyrics portraying a young man who takes everything (except himself) seriously. He spoke to Billboard Italia about how he arrived here.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
Did you always know you would be a rapper?
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I didn’t always know this because as kids you can’t predict the future. Obviously I hoped so and imagining myself onstage was the only thing possible, because I didn’t know how to do anything else and I did poorly at school. But I would never have bet on myself. I started working in a factory at a very young age, I continued to rap in my free time, but I saw that [acceptance for the genre was] really far away in Italy. Only pop songs were on the radio back then. I loved rap because I looked up to America, but the maximum that was played in Italy was “In Da Club” on MTV. I admired 50 Cent; I felt close to him.
What did you think you had in common with him?
I saw the film about his life [the semi-autobiographical Get Rich or Die Tryin’], where it is clear that he had taken all the responsibility of the family on his shoulders. He sold crack on the streets of Queens; I never did it, but I started working very young. I found an extraordinary maturity in him and this fascinated me.
When did your own personal turning point come, realizing this could potentially be your career?
I realized I could do this job when they paid me for my first live show. It was about 250 euros but for me it was a lot of money — I was 18 years old. However, I couldn’t say when I reached what can be defined as a milestone.
Geolier
Vittorio Cioffi
Why is this incredible boom in Neapolitan rap happening today?
I come from the ghetto of the ghetto. I think there is a unique realness here; perhaps it’s only possible to find it [elsewhere] in the United States. I think rappers in this city put what they see into their lyrics. The culture of Southern Italy is more known internationally than that of Italy as a whole, also, thanks to TV series such as The Sopranos.
2024 was an incredible year for you, but you experienced some tougher moments as well. At the Sanremo Festival you won the covers night, but the live audience booed you and your guests.
We were there and just tried to defend ourselves. That same night they immediately told me to be careful of potential criticism. I believe that the Sanremo Festival was not ready for rap music; we brought an iconic song for Italy, “Brivido” by Guè featuring Marracash, and the audience booed. Incredible.
Your mother was also in the audience. Did this make it especially painful?
It made me smile, actually. She was furious because she couldn’t do anything, and she wouldn’t even talk to me about it. Even today, when we talk about Sanremo, she has bad memories — but my mother is a normal person and absolutely doesn’t want to be part of the star system.
Were those three sold-out concerts at Maradona Stadium the peak of 2024 for you, or was it something else?
Sure, but I’d say a moment in particular [was] when before the first [of those shows], in the afternoon, I looked through a crack and saw the stadium full. At that moment I thought: “What am I doing?” It was neither a positive nor negative emotion, I had simply never felt it. And I can’t explain it.
Geolier
Vittorio Cioffi
Geolier
Vittorio Cioffi
How do you still stay connected to your roots in your old neighborhood?
I think I do simply because I tell what I see in Naples. I’ll continue to do so even if I have to move away from the city, which is very unlikely. I don’t live that differently now: I continue to see my friends and talk to people. I feel the need also because I want to [be true] with my lyrics. Do you know what normal people tell me the most? Not to take selfies but to remain myself.
If you could choose an American artist to collaborate with, who would they be?
50 Cent. I started making music because of him. But right now I’m also listening to Kendrick Lamar’s new album and I like it a lot.
What do you have coming in 2025?
I just want to do the arena tour, which will start in March, and the two dates at Ippodromo di Agnano in Naples. I don’t think I’ll release new music, apart from some collaborations. I would like to slow down a bit. I think I’ve done a lot, [and] I want to experience this as a game. Because with all the numbers and deadlines, sometimes it seems to have become a routine job. And I surely don’t want that.
As reported earlier, MUSIC AWARDS JAPAN is a brand-new award established by the five major organizations in the Japanese music industry — Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference. The specifics of the more than 60 categories slated to be recognized in this new music award, the voting method, and the selection and voting method for the more than 5,000 voting members have been revealed.
The inaugural event is set for May 21 and 22, 2025, at the Rohm Theatre Kyoto. Day 2 will be broadcast live via a domestic terrestrial TV channel and delay-streamed on YouTube for a global audience. Nominees will be awarded in over 60 categories including the six major ones such as Song of the Year and New Artist of the Year. Details of the 23 divisions in the song category, seven in the international song category, five in the album category, twelve in the artist category, and three in the “Alliance Category” have been announced.
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The song category will celebrate a wide variety of music genres and cultures, with genre divisions honoring J-pop, rock, hip-hop, idol culture, anime and more, as well as special divisions for revival (resurgent hits), Vocaloid culture, and music videos, among others. There will also be two awards decided by inviting votes from general music listeners via Spotify. In the album category, leading with Album of the Year, projects from genres that add color to music culture awards will be recognized including jazz, classical music, movie music/original soundtracks albums, and video game soundtracks. In the artist category, there will also be a prize for artists who have been active in the Japanese music industry for a long time and contributed to its enrichment called MAJ Timeless Echo.
“We are very honored that our data is being used as one of the core data sets for the songs entered in MUSIC AWARDS JAPAN,” says Billboard Japan chart director Seiji Isozaki. “We will continue to improve the accuracy of our data so that we can convey how people enjoy music and the joy of music itself.”
Tallying period will be from Monday, Feb. 5, 2024 to Sunday, Jan. 26, 2025, excluding some categories.
Six major categories:
Song of the Year: Celebrates songs considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the weekly points of the top 100 tracks on the six metrics (radio airplay, CD sales, downloads, streaming, video views, and karaoke) comprising Billboard Japan’s Hot 100 song chart, and on the Top User Generated Songs chart. Two months will be considered a single period, and songs charting in each period will be nominated for Song of the Year. Domestic and international songs are eligible for this category.
Album of the Year: Celebrates albums considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the CD and downloads data comprising Billboard Japan’s Hot Albums chart, and GfK’s streaming data. Two months will be considered a single period, and albums charting in each period will be nominated for Album of the Year. Domestic and international albums are eligible for this category.
Artist of the Year: Celebrates artists considered to be musically creative and artistic.
Method of selection: The Artist of the Year will be decided from artists with either songs or albums nominated for Song of the Year or Album of the Year. Domestic and international artists are eligible for this category.
New Artist of the Year: Celebrates new artists considered to be musically creative and artistic.
Method of selection: The New Artist of the Year will be decided from artists of songs extracted from those nominated for Song of the Year, according to Billboard Japan’s Heatseekers Songs rules.
1. Excludes artists who have entered the top 20 on the Japan Hot 100 or top 10 of the Japan Hot Albums tallies in the last six months (26 weeks).
2. Excludes artists who have logged at least four months (17 weeks) in the last six months (26 weeks) on the Heatseekers Songs top 20.
Groups and projects that include the above excluded artists are also excluded. However, artists who perform under completely different names are not excluded.
Top Global Hit From Japan: Celebrates domestic songs that have become hits around the world.
Method of selection: The Top Global Hit From Japan award will be decided by selecting the top 5 songs from the global chart created by extracting Japan-based songs from the global viewing data (streaming, downloads, music videos) compiled by Luminate, excluding the number of views in Japan.
Only the highest-ranking song will be considered for acts with multiple songs on the list. Five songs by five acts will be nominated for this award.
Tallying period: From Friday, Feb. 2, 2024 to Thursday, Jan. 30, 2025
Best Song Asia: Celebrates Asian songs that have become hits in Asia.
Method of selection: The Best Song Asia award will be decided from the top 3 songs from the 2024 year-end charts of Asian countries/regions excluding Japan.
For the inaugural MAJ, songs from the following East and Southeast Asian countries and regions will be considered: South Korea, China, Indonesia, the Philippines, Vietnam, Thailand, Malaysia, Singapore, Hong Kong, Taiwan.
General voting categories: One best work will be decided from 30 works chosen as nominees through Spotify’s voting function.
Listeners’ Choice: Best Global Song of the Year powered by Spotify: An award given to the Best Global Song decided by general vote from Spotify users from both within and outside Japan, from among domestic songs that have become global hits.
Listeners’ Choice: Best Song of the Year powered by Spotify: An award given to the Best Song decided by general vote from Spotify users from both within and outside Japan.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Live broadcast on domestic terrestrial TV and global stream on YouTube scheduled (some regions excluded)
*Tickets to attend the ceremony will not be open to the public. Details of the awards ceremony and related events will be announced later.
From making music to acting on screen, IU can seemingly do it all — and she commands unparalleled love and support from K-pop fans and the broader Korean music community. Her generation-spanning popularity was on display in 2024, when she dominated the charts. Her single, “Love Wins All,” climbed to the No. 1 spot on Melon’s TOP100 chart just an hour after its Jan. 24 release, becoming the second song to achieve this feat since the platform’s chart reform. The massively successful track led the weekly chart for four consecutive weeks, topped February’s monthly chart and on iChart achieved 339 perfect all-kills (the term describes when a song simultaneously tops iChart’s real-time, daily and weekly components).
The achievements helped propel IU to becoming Korea’s representative for Billboard’s Global No. 1 artist series. “It’s a bit humbling, a bit surreal, and honestly, it feels really special,” she says of the recognition.
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Her success extended to the road. Starting March 2, IU embarked on a 31-performance world tour that played shows in Japan, Europe and North America — and was attended by some half a million fans, a record for a Korean female solo artist. She followed four sold-out shows at Seoul’s KSPO Dome with a performance at Manila’s Philippine Arena, the world’s largest indoor venue, where she became the first Korean solo artist to headline.
On Sept. 21 and 22, IU held encore concerts at Seoul World Cup Stadium, becoming the first female artist to perform at the venue and drawing 107,000 attendees across two nights, which set the record for the largest concert engagement by a Korean solo artist and female artist in Korea.
What are the advantages and challenges of being a solo act in Korea’s music industry?
If I had to pick one challenge, it’s that there’s no one to share energy with onstage. Groups have distinct roles, which create a synergy that’s hard to replicate as a soloist. But on the flip side, I get to enjoy all the love and attention by myself. (Laughs.)
Many Korean artists are making waves on Billboard charts. In your opinion, what sets them apart?
There are countless strengths, but what stands out is how K-pop groups maintain their individuality while being deeply respected by their fans. As a K-pop listener myself, I see how each group’s unique identity is cherished and upheld, which makes them so special. Of course, the music is top-notch, but the visual elements and storytelling also define K-pop culture. For instance, the distinct characters and worlds that exist only onstage for groups are something I, as a soloist, sometimes envy. These unique traits captivate fans, offering an experience that engages the ears, eyes and heart. Ultimately, it’s this blend of individuality and fan support that makes Korean artists shine.
IU photographed for the Billboard Korea Global No. 1s Issue.
EDAM Entertainment
Do you have any plans to collaborate with global artists?
In the past, I received many amazing offers, but the idea of collaborating with artists who spoke different languages felt daunting. I turned down those opportunities then, but I don’t feel the same way anymore. Now, I’m much more open to the idea of working with global artists.
You’re known for having a strong bond with your fans. What do they mean to you?
Initially, most of my fans were older than me — big sisters, older brothers and even uncle fans. At the time, I was a young solo artist without a solid footing, so I often felt cared for and protected by them. As I entered my mid-20s, fans my age became the majority. They resonated with my lyrics and music as peers, and we built a mutual understanding and grew together. Now, I have many younger fans, and I find myself wanting to support, encourage and nurture them. I see UAENA [IU’s fandom] and myself as having a steady, balanced relationship where we constantly exchange the best of what we can offer each other.
Why do you think you have such cross-generational appeal?
Without meaning to downplay myself, I think I appear relatively ordinary and less distinctive in my looks and personality compared to other remarkable stars in Korea. This might make me seem more approachable and relatable. Plus, Korea is a country with a lot of warmth, and I believe the support I’ve received reflects appreciation for my consistent hard work. Still, it’s fascinating that even teens connect with me these days.
You’ve encountered fans all over the world. Are there any memorable moments from your performances abroad?
It’s hard to pick just one, but Auckland [New Zealand] comes to mind. Their unique way of cheering made the entire experience unforgettable. Another standout was Jakarta [Indonesia], where the audience sang along to every song from start to finish. That level of enthusiasm left a lasting impression on me.
You’re often credited for both your meticulousness and flexibility. How do you balance these seemingly contrasting traits?
I feel like I’m constantly at a crossroads. You could say I’m flexible, or, less flatteringly, that I’m good at justifying things. (Laughs.) I’m naturally stubborn and like to plan everything thoroughly, but I’ve learned that things rarely go perfectly. Over time, I’ve practiced being more adaptable, and in doing so, I’ve figured out how to protect my mental well-being.
Beyond music, you’ve made your mark as an actor. What’s in store for 2025?
The drama I filmed throughout 2023, When Life Gives You Tangerines, will premiere on Netflix in 2025. It’s a project filled with the cast and crew’s hard work, and I’m excited to promote it. I’ll also be filming a new drama with a completely different vibe — glamorous and fun. Although I’ll be focused on acting for most of 2025, I’ve already started working on new music, so fans won’t have to wait too long for something fresh.
It was November 2023 when I first met Ana Castela. She was backstage at Caldas Country, the festival in Caldas Novas in the Brazilian state of Goiás. At the time, she avoided speaking to the press before her show and seemed serious and shy as she prepared to take the stage. It was only her second time at the festival — just over a year had passed since her name first appeared in the media thanks to her song “Pipoco,” a collaboration with Melody and DJ Chris no Beat. Yet she was one of the main attractions of the night.
Nine months passed before I met Castela for the second time. This time, though still a bit shy, she was at one of the world’s biggest music festivals — Rock in Rio — to join duo Chitãozinho and Xororó for the “Brazil Day” celebration, the first in the event’s 40-year history. “For me, it was an honor. I consider them my grandparents,” she joked in her dressing room at Cidade do Rock, embraced by the sertanejo duo. Castela still seemed nervous about her upcoming performance, but she projected a new confidence, amplified once she took the stage. She faced a crowd singing along to her hits (“Nosso Quadro,” “Solteiro Forçado” and “Sinônimos”), including children of all ages wearing headbands with her nickname, “Boiadeira.”
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Born in Amambai, Mato Grosso do Sul, Ana Castela certainly couldn’t have imagined the success she would achieve by embracing the “boiadeira” style. Dressed in a cowboy hat, boots and a wide belt (much as an American cowgirl might), her so-called “agronejo” music blends sertanejo (Brazilian country music) and Brazilian funk, with lyrics about the agribusiness lifestyle. She is now one of the most listened-to artists in Brazil — a title she’s consistently held throughout 2024 — who as of this writing had two songs on the Billboard Brasil Hot 100 and spent 31 consecutive weeks at No. 1 on the Artists 25 Brazilian chart.
She entered the music scene at 17 but is still, at 21, trying to absorb the whirlwind of her life. “It was a drastic change, to be honest,” she says. “Before, I had a completely anonymous life. Now, people want to know everything about me, follow me around. It’s changed a lot.” Speaking to Billboard Brasil, she is still very much the girl from a countryside farm, pausing occasionally as if she is still trying to reconcile who she was and who she is today: “I’m enjoying the fruits that fame and the world are giving me, but always with caution.”
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
João Victor Moura dos Anjos
She’s followed by over 27 million people on social media, where she offers fun looks at her personal life — a Disney vacation, cute videos with her boyfriend, the singer Gustavo Mioto — and she’s starred in various commercials and advertising campaigns. “Ô loco [Wow],” she marvels. “Doors just keep opening for me. I never thought my face would be on a shoebox. It doesn’t just help my career; it makes dreams come true that I never even imagined. It’s awesome.”
But her feelings around her wildly increased presence are also conflicted. “My life is no longer mine. I don’t have a private life anymore; everyone knows everything I do,” she laments, though she adds that she’s getting used to it. When I ask if she’s receiving any professional support, Castela says that she started therapy about a month ago: “I think no mind is strong enough to go without a professional for so long.”
She knows the truth of that firsthand. At a performance at the Festa do Peão de Barretos in 2023, one of the most important sertanejo festivals in the country, she broke down while preparing to sing “Solteiro Forçado,” one of her breakthrough hits. “Sorry I can’t sing,” she sobbed in front of a massive crowd. “I swear I’m studying and working with a vocal coach to improve. It’s exhausting as hell, but I’m giving it my all.” Backstage, it was equally tough. “I was in a bad headspace,” she recalls.
Excessive work, plus the overwhelming experience of her fame, had taken a toll on her emotionally. “I couldn’t hit the note that day — I was so insecure,” she says. Criticism from both the public and within herself fueled her drive to improve. “You need to evolve. I was born with the gift of singing, but I need to perfect it.”
Therapy, her Christian faith and her family — an unconditional support system — now help her cope. She also strives to balance the needs of Ana Flávia (her real first name) and Ana Castela. In her free time, she enjoys hanging out with friends at her farm in Londrina, Paraná, and visiting São Paulo for shopping. “Those are the days I can just be young,” she jokes, as if on others she must be a more mature version of herself.
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
João Victor Moura dos Anjos
Her latest project, Herança Boiadeira, released in September 2024, embodies this balance. Recorded at her farm, it features collaborations with iconic sertanejo artists like Matogrosso & Mathias, Eduardo Costa, Paula Fernandes and Gino & Geno. “I wanted it to be mine — not Ana Castela’s, but Ana Flávia’s. A tribute to my roots, my upbringing on the farm. My grandfather loved these artists, and so did I,” she explains. In fact, one standout track features her paternal grandparents: “Minha Herança,” with its heartfelt lyrics reflecting a longing for lost time.
Next year, Castela will step into the shoes of iconic artists before her when she becomes the ambassador of the 70th Festa do Peão de Barretos, where she quickly has risen from playing a secondary stage in 2022 to the main stage in 2023 and again in 2024. Pedro Muzeti, artistic director of the festival, says Castela’s evolution represents the future of sertanejo music: “It’s a renewal of the rodeo audience. Having someone young represent such a historic event is fitting.”
Her appeal to younger fans is certainly evident in the kids who wear her signature hats (“They’re adorable; I love them,” Castela says), and she’s launching Turma da Boiadeirinha, a YouTube channel featuring kids songs. But her future, she realizes, very much revolves around an adult audience. She’s collaborated with big names like Gusttavo Lima and Luan Santana and dreams of pairing up with Luísa Sonza and Anitta. And after winning best sertanejo album at the 2024 Latin Grammy Awards, Castela has her sights set on an international audience next.
“If it works, I’ll go for it,” she says. In 2025, she plans to incorporate pop into her shows but stay true to her roots: “I’ll always bring my hat wherever I go,” she insists. “It’s important to show the strength of our music on the global stage.”
K-pop powerhouse Rosé has stormed the ARIA Albums Chart with her debut solo album, Rosie, landing at No. 2 and equaling her highest-charting success in Australia as part of BLACKPINK with The Album and Born Pink.
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Rosé’s lead single, “APT.” featuring Bruno Mars, isn’t letting go of its grip either. The track continues its impressive run at No. 1 on the ARIA Singles Chart for a sixth non-consecutive week, well and truly marking its place as one of 2024’s biggest hits. Her newest offering, “Toxic Till the End,” debuts at No. 31, boosted by a cinematic music video starring Gossip Girl’s Evan Mock.
Taylor Swift’s chart reign Down Under shows no signs of slowing down, with The Tortured Poets Department holding strong at No. 1 for a seventh non-consecutive week. That’s a record-breaking run for 2024, nudging past Sabrina Carpenter’s Short n’ Sweet, which spent six weeks on top earlier this year.
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It’s yet another triumph for Swift in Australia, where she continues to shatter records. The Tortured Poets Department is now her 11th No. 1 album down under, more than any other female artist.
The album also pulled in the biggest opening week of the year, moving over 100,000 units, and set a new high for the most first-day Spotify streams in Australia.
Sabrina Carpenter keeps her streak alive as well, with Short n’ Sweet holding at No. 3. But she’s also bringing the holiday spirit, as her festive EP Fruitcake debuts at No. 59. The release features a playful Christmas version of her hit “Nonsense,” which hit No. 23 last year.
In a surprise comeback, Aussie hip-hop legends Bliss N Eso cracked the charts with their 2004 debut album, Flowers In The Pavement, appearing for the very first time at No. 46. Nearly two decades since its release, the record’s resurgence proves the trio’s lasting legacy, furthered by their three No. 1 albums over the years.
Meanwhile, the Christmas classics are creeping back into the mix as the holidays approach. Mariah Carey’s “All I Want for Christmas Is You” climbs to No. 8, Wham!’s “Last Christmas” jumps to No. 10, and Brenda Lee’s “Rockin’ Around the Christmas Tree” shakes up the chart at No. 16.
The ARIA charts are a melting pot of heavyweights and holiday hits, with Taylor Swift still calling the shots, Rosé carving her solo path, and timeless anthems ringing in the festive season. The question now? Can anyone knock Swift off her throne, or will The Tortured Poets Department keep rewriting the record books?
When Cai Xukun — the 26-year-old Chinese singer-songwriter better known as KUN — began working on his smash single “Afterglow,” he wanted to capture fleeting moments of change by connecting time and space with art and fashion. “I pondered for a long time about what kind of word could represent this imagery and mood,” he says. “Finally, the word ‘afterglow’ came to mind. We often see this scenery during various travel moments — including while driving; it represents our feelings in that instant. I chose this theme and combined it with some of the images in my mind: models on the runway, flashing lights, shifting time and space and changing people.”
“Afterglow” immediately connected with audiences. On its release day in early June, the song achieved a score of over 95 on the Tencent Music Uni Chart, which aggregates data from nine major platforms and over 100 radio stations. The song remained on the chart for 10 weeks and became the fastest song to receive gold certification on the Tencent chart; it also made the June edition of the Tencent Music Wave Chart, which is voted on by over 200 Chinese music industry professionals. That success has informed his selection as China’s representative for Billboard’s Global No. 1s, as chosen jointly by Tencent Music Chart and Billboard China.
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KUN created “Afterglow” with soul and rock sounds, and his integration of modern and classic production influences helped to give the song a timeless feel. And the song’s success marks the beginning of a new musical phase for KUN. “In my upcoming works, I will include some classic or modern elements,” he says. “I hope everyone can gradually sense a recognizable style in my music.”
In fact, several new singles KUN released in 2024 represent his fresh musical explorations. For instance, “Remedy” features clean piano sounds paired with a vintage vocal style, revealing his more minimalist side. It also reflects his listening habits: “I often enjoy classic songs, especially in quiet moments alone, listening to music and savoring that dialogue with myself,” he says.
While his previous works were warmer, KUN’s 2024 release “RIDE OR DIE” introduces a sound that’s new for him. “This song serves as a signal I’m conveying, heralding a transformation in my future musical style,” he says. “I believe it is essential to present something distinct to my audience, which has always been my aspiration. Consequently, the production process for ‘RIDE OR DIE’ extended over a considerable period and traversed numerous iterations, aiming to express the ‘stormy night’ concept that has long resided in my heart.”
KUN photographed for the Billboard China Global No. 1s Issue.
Tianyao Wang/Billboard China
Looking ahead, KUN plans to continue to expand his online live concept Art Lab, chronicling his growth and reflecting his changes from year to year — while strengthening his connections with audiences. “I can feel their enthusiasm, and they can feel my energy,” he says of his live performances. As time progresses, KUN is learning to “enjoy the process,” he adds. “Whether you genuinely enjoy the experience or merely fulfill a task can yield entirely different results. I believe that embracing this journey is paramount.”
Now, KUN is relishing a journey of “accumulation.” He’s preparing for a long journey ahead and accumulating new musical energy that he plans to direct toward producing more great songs. “This year, through the process of production and performance, I have engaged in numerous discussions and collaborations with various artists, which have profoundly influenced my personal perspectives and aesthetics,” he says. “Next year is likely to be a year where I unveil the fruits of my introspection.”
As Chinese artists increasingly gain international acclaim, KUN believes that the intersection of music across diverse cultures transcends language and geography, fostering cultural exchange. “I aspire for more individuals globally to experience music that is authentically ours as Chinese,” he says. “This has consistently been my ambition.”
In the world of electronic dance music, the West has long led the way with its frequent collaborations, driving technical advancements and making electronic music culture popular worldwide. Inspired by Western electronic music culture, ZHANGYE, in collaboration with Cyanhill Music, has created the CHINA EDM Vol.1 compilation, marking a new chapter in Chinese electronic dance music.
This compilation features not only exclusive tracks from top producers such as BEAUZ, CORSAK, Panta.Q, and WILLIM, but also selects other tracks from hundreds of contributors, showcasing the diversity and vitality of Chinese electronic music.
The release of the CHINA EDM Vol.1 compilation is not only a summary of the development of Chinese electronic dance music, but also a new beginning. Crafted to international standards, it aims to promote the works of outstanding Chinese producers on the world stage. On Nov. 29, this musical feast was spectacularly staged at the Escape deLux nightclub in Amsterdam, Netherlands, under the theme of “CHINA EDM NIGHT,” marking a significant step in the global journey of Chinese electronic music.
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“CHINA EDM NIGHT” was an unprecedented performance featuring “Beats from the East,” bringing the rhythm of the Orient to the Western stage. This event was a live rendition of the CHINA EDM Vol.1 compilation and a significant showcase of Chinese electronic music culture to the world. The performance took place at the renowned Amsterdam nightclub Escape deLux, known for its unique atmosphere and high-quality music events.
To ensure that the “CHINA EDM NIGHT” performance garnered more attention in the Netherlands, the organizers put significant effort into promotion. Offline advertising reached close to 4,000 advertising spaces, including large billboards, metro stations, hotels and public notice boards, promoting the compilation, artists and the event activities comprehensively to ensure that the performance information reached every potential audience member.
The release of the CHINA EDM Vol.1 compilation and the staging of the “CHINA EDM NIGHT” performance mark a significant step for Chinese electronic dance music on the global stage. This is a collective showcase of Chinese electronic music producers, as well as an international dissemination of Chinese electronic music culture.
CORSAK
Courtesy of CORSAK
As Billboard Japan unveiled its 2024 year-end charts, the hip-hop duo Creepy Nuts — rapper R-Shitei (also known as R-rated) and DJ Matsunaga — land the No. 1 song of the year for the country, with their mega-hit “Bling-Bang-Bang-Born” taking the top spot on the all-genre Japan Hot 100 chart (which applies six metrics to songs: physical sales, downloads, streaming, airplay, video views and karaoke). The high-octane track also tops the year-end Global Japan Songs Excl. Japan ranking by a huge margin after holding the No. 1 position for 24 weeks, the longest ever in the history of the chart that ranks songs from Japan that are listened to internationally. In total, “Bling-Bang-Bang-Born” has dominated 12 year-end Billboard Japan roundups.
Amid the song’s success, Creepy Nuts have stayed extremely busy, traveling the world for festival performance dates while working on their new album. Billboard Japan caught up with the two artists as they wrapped their whirlwind year.
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How do you feel about the success of “Bling-Bang-Bang-Born” on the year-end charts?
DJ Matsunaga: It kind of hasn’t really sunk in yet.
R-Shitei: Yeah, it’s like my brain hasn’t been able to keep up at this stage. I’m like, “Oh… Awesome…” (Laughs.) … Compared to the first half of the year, the reaction to our shows [helps bring it into perspective]… But I think we’re a lot more confused about it all than people might think.
DJ Matsunaga: It’s still hard to believe we’re at the top of any kind of ranking. (Looks at R-Shitei.) Right?
Still, after “Bling-Bang-Bang-Born” became a global hit, your follow-up track, “Otonoke,” continues to do well: On Billboard’s World Digital Song Sales chart, it reached No. 1 five times (on the charts dated Oct. 19, Nov. 2, Nov. 16, Nov. 23 and Dec. 14). You’ve been on a roll in 2024.
DJ Matsunaga: Wow…
R-Shitei: That’s amazing. Both “Otonoke” and “Bling-Bang-Bang-Born” were written around the same time. We were working on the former when we had no idea that the latter would become such a hit. “Bling-Bang-Bang-Born” is a work we’re really proud of, but when we were making those songs, “Otonoke” was the one we felt the most confidence in. So when the year started and “Bling-Bang-Bang-Born” became pretty popular, I was like, “So people seem to like this a lot,” and “Well, we’re really proud of ‘Otonoke,’ too” when we released it. So I’m genuinely happy to see that people seem to accept “Otonoke” as well.
DJ Matsunaga: [The chart results are] too much of a blessing, so I don’t think it’s right to use it as a precedent…
R-Shitei: That’s true. It’s hard, isn’t it? Rankings can be both a source of encouragement and poison for artists.
DJ Matsunaga: For real.
R-Shitei: We’re happy and grateful, but don’t want to focus too much on that… Our goal isn’t to do well on the charts. It’s to keep updating our own definition of “good.” We’re making new songs with that in mind, too.
“How do you interpret chart rankings?” is a question we often ask various artists. In a recent interview, Ayase from YOASOBI said he’s now working with “a really fresh feeling” after becoming the No. 1 Artist of the Year on Billboard Japan’s Artist 100 ranking in 2023 with “Idol,” because a weight has been lifted from his shoulders.
R-Shitei and DJ Matsunaga: What?!
DJ Matsunaga: The way he approaches music is completely different. When I first started out, it felt like the notion of making enough money to get by by doing hip-hop was just a pipe dream, so being able to make a living from hip-hop and quitting my part-time job was a huge weight off my shoulders. (Laughs.) Like, I don’t have to be chasing my dream while working part-time in my 30s, you know?
R-Shitei: That’s normal, and I’d still like it regardless, so I was vaguely thinking that I’d be doing hip-hop [like that in my 30s] when I first got started.
DJ Matsunaga: Yeah, we have proper respect for those who keep at it while working part-time jobs in their 30s.
R-Shitei: When I was able to make a living doing music, I thought I was really lucky… Now when you look around, [many hip-hop artists in Japan] are making a living and there are even hit songs… all of this, including the fact that hip-hop is so popular in Japan, makes me really happy.
DJ Matsunaga: I really agree.
R-Shitei: We never planned to make songs that would be listened to around the world. It’s really just about expressing what we want to get out and releasing the pent-up [feelings] we’ve been holding in, basically.
Tell us a bit more about “Otonoke.” How did you go about making it?
R-Shitei: Usually, I get the beat from Matsunaga and add my rap to it, but this time, because we made it around the same time as “Bling-Bang-Bang-Born,” I was like, “I’ll go to a completely different place by extension of the same mindset.” I was in a period where I wanted to make songs using a fundamental rhythm as the key, rather than language. And I thought that a non-verbal rhythm like “Bling-Bang-Bang-Born” would be good. It was going to be the theme song for [the anime series] Dandadan, so I thought I’d try making it by using “Dandadan” as the starting rhythm, and decided to use the same rhyme as “Dandadan Dandadan” [in the intro] for the verse. I recorded something like scat that wasn’t really a language, sent it to Matsunaga and had him flesh out the track.
I see! So the rhyme came first.
R-Shitei: Right. So the sound that was going “Dandadan Dandadan” a cappella became more and more like language, and then it became a slightly slower melody, and then a more bouncy melody, and so on. The rhythm stays the same, but the flavor changes. I’d only imagined it as a straight line climbing up, but Matsunaga expanded it horizontally with the track. The scenery changes suddenly when you get to the bridge that goes “Haireta Haireta,” and it’s because he really opened it up there during the scat stage, adding that completely different development. And the lyrics changed to “Haireta” (“I’m in”) at that point. I thought, “This feels like I’ve ‘gone in.’ ” Like, if I were a “specter of sound (oto no ke),” a music monster, I’d probably enter people’s brains through their ears at the moment when the scenery changes suddenly. So, words also appear during our back-and-forth.
DJ Matsunaga: What was good about this time was that I had the a cappella version, where R had already gone the distance with the same rhymes and prosody, so I was able to add crazy development to the track. No matter how much I changed it, the rap maintains the same groove as it develops, so the song doesn’t fall apart at all. He’d given me that kind of guarantee first, so I was able to make bold developments that wouldn’t ordinarily have been possible. I mean, it’s possible to make [tracks like that] at any time, but it’s not easy to make something that works beautifully after it’s done, even if you intend to make it that way.
You appeared at festivals in the United States, South Korea and Taiwan this year. What was the response like?
R-Shitei: There were moments when I could tell people knew our songs and were responding to them, and that made me really happy. And of course I feel it when people are really grooving and partying. But I think we’re only starting to understand how people really feel about us.
DJ Matsunaga: The main reason is that we haven’t done any tours. We’ve only appeared in events so far. Each country is completely different, and the audience in each country is also completely different, so it’s not like we can compare them…
R-Shitei: We don’t have enough data yet inside ourselves, right?
DJ Matsunaga: It feels like we’re still at the entry level. Even if we were talking about Japan, festivals that you’re invited to perform in are irregular spaces.
R-Shitei: Yeah.
DJ Matsunaga: So we can only get a real feel for it by doing our own tours while performing in those invited events, then adding up and dividing them.
What is your vision for the future?
R-Shitei: To make things feel good to me from the end of this year and on to the next, I need to focus on the things that are right in front of me… I’m in the middle of making an album, so my mind’s still on that. Rather than any kind of vision, I’m thinking about what I should do with the next bar or the next line, you know? I mean, just now…
DJ Matsunaga: Yeah, we were talking about it for a long time just now [before the interview].
R-Shitei: Yeah! We were coming up with themes and ideas nonstop, so I guess that’s the biggest thing occupying my mind right now. That’s exactly my vision for the future.
DJ Matsunaga: Me too. Ninety percent of my private life is like that. (Laughs.)
R-Shitei: Also, my way of thinking might have reverted to the way it was before. While the content of our songs has evolved a lot and we’ve grown from around 2013 to 2014 when Creepy Nuts began, it’s like… I can’t find the right words to describe it. But if you listen to the album, you might understand.
DJ Matsunaga: It’s like we’ve gone back a decade. We’ll lose our social position.
Lose your what?
R-Shitei: (Laughs.)
DJ Matsunaga: Our social position will go down. (Laughs.) I mean, when you do work and stand in front of people and appear in the media and advertising… When you branch out from just making music and become involved with people in companies, you inevitably have to take on social responsibilities. Now that we’ve returned to a lifestyle focusing on music, it feels like the irresponsibleness that I had before is back.
R-Shitei: If the stages in our career had continued to visibly rise in an easy-to-understand way like from 2020 to 2022, and we’d kept busy, constantly appearing in the media and so on, I probably would have felt that I should only say proper things. I might have just ended up trying to say good things in my songs. But we stopped doing that and just focused on the music and our expression and the things we like. As a result, I figured I might be able to express the bad and ugly parts of myself in an irresponsible way, which is something I used to think about when I first started rapping. Because the thing that makes hip-hop interesting to me is how it allows you to express the dirty stuff in its raw form.
DJ Matsunaga: That’s true. Express bad stuff like it is.
R-Shitei: As a listener you go, “Dude shouldn’t be saying that!” but the way it’s so bad and crazy makes it exciting as hip-hop. And then there’s “Dude says some good stuff once in a while, doesn’t he?” (Laughs.) So it’s a balance. It’s hard to express succinctly, but we’ve evolved in certain ways while still being like, “No way, we’re no good at all to begin with as human beings.” It’s about being able to go, “So what?” and expressing that as well next time.
DJ Matsunaga: It feels like we’ve regained the courage to do that.
R-Shitei: Feels like we got it back, doesn’t it?
DJ Matsunaga: That’s so true! We got it back and somehow… I’ve found a balance. It’s more natural and I actually feel more level-headed now.
