Global
Page: 29
“I realized that music alone is not a good enough reason; you must have cultural incentives to improve your sound.” Ntitled may have been the one to utter this take during his interview with Billboard Arabia, but the four other young Saudi stars gracing the cover of the May 2024 issue might as well share the sentiment. Looking at their collective huddle on the cover, one might think the five artists are close peers, but in reality, their journeys in the music industry have little in common. Each of them has taken a unique path and shaped a unique experience. From genres and musical taste to breakthroughs, plans and projects, each of the five Saudi talents has gone his or her own way.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Perhaps the only common factor in their journey is their identity as young individuals who grew up in the same culture and witnessed the recent historical shift in Saudi Arabia. Just as the five artists launched into their careers, new horizons for arts, media and society as a whole were opening up in Saudi Arabia at an unprecedented scale. Though this change impacted the lives and experiences of the entire Saudi society, we could trace in our conversations with these young artists the specificity of this impact on the path that each one of them chose to make music that influences and is influenced by Saudi culture.
Trending on Billboard
While the spark for Abdulaziz Mane and Jori Kattan’s music careers were talent shows, their determination to prove their strong sound and unique talent is what got them to stardom. Now they stand before a different kind of challenge: using their sound and talent to deliver delightful pop music experiences. As they launched their first releases, new horizons opened up to them. Soon after Jori composed her first track a few years back, she found herself yearning to pour herself into the melodies again and compose her own music. For his part, the young Abdulaziz Mane’s experience in theater quickly made him realize the versatility of his artistic identity.
The same goes for Hams Fekri, who won the first season of Saudi Idol, where she dazzled the giants of Arabic pop music with every performance. When we delve into Hams’ journey, we understand that her path to stardom was inevitable, what with the incredible talent of her mother, Amani Al-Shafei, running in her veins. And, like her mother, Hams is a master of the Shaabi pop genre. Today, whichever genre Hams chooses to embrace, she imbues with her original voice and that refined sound of artists rooted in the melodies of their environment.
For Ntitled and Tamtam, the challenge lay not in singing tarab or following the rules of Arabic composition to reach the masses. Instead, they went for a more diverse experience, delivering local sounds wrapped in international genres. They are not afraid to pepper their tracks with a dash of English, or other languages, even, says Tamtam, who plans on mixing in some Spanish in one of her upcoming tracks, before carrying on with what she describes as her year of Arabic releases.
Besides music, Tamtam finds joy in writing. As in her debut, Gender Game, many of the singer-songwriter’s tracks revolve around similar themes (empowering women to raise their voices and conveying her own experiences), her writing style a testament to her bold and rebellious personality. Tamtam cares more about her growth as an artist than the size of her discography or the long stretches of time between her releases.
Ntitled, for his part, has successfully etched his name on the Saudi hip-hop scene, despite his young age. In a short period of time, he has established strong partnerships in the regional music scene, including “Ween Yabu” with Dafencii, “Adan” with Moayad & Kali-B, and “LkLk” with the producer Khayyat, as well as several experiments of his own as a producer. His talent caught the attention of Swizz Beatz during one of his first visits to Saudi Arabia, who discussed his collaboration with Ntitled in an interview with Billboard Arabia, which Ntitled confirmed in his interview will be released soon.
Creepy Nuts, SixTONES and Mrs. GREEN APPLE lead in their respective categories on Billboard Japan’s 2024 mid-year charts, tallying the weeks from Nov. 27, 2023, through May 26, 2024.
Explore
See latest videos, charts and news
See latest videos, charts and news
Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Japan Hot 100 on the mid-year roundup. The MASHLE season 2 opener was released digitally on Jan. 7, and has been streamed 348,998,877 times during the tallying period. Total streams for the hip-hop hit sailed past 300 million at the second fastest pace in Japan chart history, second only to YOASOBI’s “Idol,” the No. 1 song of the year for 2023. “BBBB” also holds the No. 1 spot on Billboard Japan’s Global Japan Songs Excl. Japan list for the first half of the year. This chart ranks songs from Japan being heard in more than 200 countries and regions worldwide.
[embedded content]
On “BBBB” ruling the mid-year charts, Creepy Nuts’ rapper R-shitei shares, “I wasn’t expecting it at all, so I’m surprised, or rather… It still hasn’t really hit me yet. But I’m thankful. It’s gratifying,” while DJ Matsunaga says with a laugh, “The song became a hit when I was working at my own pace, in a kind of ‘I’ll just take it slow and have fun making music’ mindset, which highlighted the unexpectedness of it all. I’m at a place where it’s all too much of a blessing and I haven’t been able to take it in.”
Trending on Billboard
Fifteen-year-old singer-songwriter tuki.’s “Bansanka” follows at No. 2 on the mid-year Japan Hot 100, and YOASOBI’s “Idol” is still going strong at No. 3.
SixTONES
Billboard Japan
On the Japan Hot Albums list, SixTONES’ fourth project THE VIBES takes the top spot, selling a total of 571,187 copies during the tallying period after being released Jan. 10, hitting No. 1 for the sales metric.
[embedded content]
“We’re thankful for being ranked No. 1 for the first half of this year,” says SixTONES member Jesse. “We’re very happy and full of gratitude because this is the result of our music reaching so many people. Each of our albums has its own concept, and this time we aimed to create a work that ‘boosts your vibes’ by including a wide range of songs with a focus on rock. We’re sure anyone can find a song in this set that ‘boosts their vibes,’ and that this album will make people go, ‘Such idols exist?!’ with surprise. If you haven’t listened to it yet, please give it a try! Our group will continue to take on various musical challenges, so please look forward to it!”
At No. 2 on the mid-year albums chart is SEVENTEEN’s best-of collection 17 IS RIGHT HERE, and Hikaru Utada’s all-time greatest hits album SCIENCE FICTION, celebrating the 25th anniversary of the J-pop superstar’s debut, is at No. 3.
Mrs. GREEN APPLE
Billboard Japan
Mrs. GREEN APPLE is the top artist on the mid-year Japan Artist 100 chart, compiled from the results of the Japan Hot 100 and Hot Albums charts. The three-man band has been a constant on the Japan Hot 100, with 14 tracks including “Que Sera Sera” and “Dance Hall” charting on the list.
[embedded content]
“We’re very honored to be ranked No. 1 on the artist chart,” says Mrs. GREEN APPLE frontman Motoki Ohmori. “We’d like to thank our JAM’S (fandom) and the many people who always support us from the bottom of our hearts. We hope to keep making the ship that is Mrs. GREEN APPLE bigger through various activities to deliver works that we ourselves can be excited about and think are good! Once again, thank you very much for this honor.”
YOASOBI follows at No. 2 on the Artist 100 tally, now one of Japan’s biggest acts whose performances at this year’s Coachella and visit to the White House made headlines in the duo’s home country. Veteran band back number comes in at No. 3, with nine songs charting in the top 100, including hits “Suiheisen” and “Takaneno Hanakosan.”
Billboard Japan Hot 100 Mid-Year Chart 2024
1. “Bling-Bang-Bang-Born” / Creepy Nuts2. “Bansanka” / tuki.3. “Idol” / YOASOBI4. “Show” / Ado5. “Que Sera Sera” / Mrs. GREEN APPLE6. “Kaiju No Hanauta” / Vaundy7. “IKUOKUKONEN” / Omoinotake8. “SPECIALZ” / King Gnu9. “The Brave” / YOASOBI10. “Be a flower” / Ryokuoushoku Shakai
Billboard Japan Hot Albums Mid-Year Chart 2024
1. THE VIBES / SixTONES2. 17 IS RIGHT HERE / SEVENTEEN3. SCIENCE FICTION / Hikaru Utada4. THE GREATEST UNKNOWN / King Gnu5. SEVENTEENTH HEAVEN / SEVENTEEN6. MATCH UP / INI7. AWARD / WEST.8. Road to A / Travis Japan9. PULL UP! / Hey! Say! JUMP10. Reboot / TREASURE
Billboard Japan Artist 100 Mid-Year Chart 2024
1. Mrs. GREEN APPLE2. YOASOBI3. back number4. Ado5. Vaundy6. Official HIGE DANdism7. King Gnu8. Creepy Nuts9. Yuuri10. Aimyon
JO1’s “Love seeker” soars to No. 1 on the Billboard Japan Hot 100, rising from No. 59 on the chart released June 5.
“Love seeker” is the lead track from the 11-member boy band’s eighth single “HITCHHIKER.” The song dropped digitally May 12 and debuted on the Japan Hot 100 at No. 48 (May 22), then dropped to No. 59 the following week before hitting the top spot this week powered by sales. The group marked its biggest first-week CD sales with 738,776 copies to rule the metric, while coming in at No. 3 for downloads (15,613 units, up approximately 2,800% from last week), No. 25 for streaming (up 157%), No. 31 for video views (up 117%), and No. 5 for radio airplay (up 688%).
[embedded content]
Debuting at No. 2 is Number_i’s “BON,” a track off the trio’s mini-album No.O -ring-, released May 27. The song debuts at No. 1 for downloads with 49,896 units and also rules radio and video, while coming in at No. 13 for streaming to hit No. 2 by a narrow margin on the Japan Hot 100 with no points for physical sales. The group’s former No. 1 song “GOAT” moved 64-54 due to the new release, and six of the mini-album’s tracks, including “BON,” entered the Japan Hot 100.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
[embedded content]
Incidentally, King & Prince’s former No. 1 hits ”Tsukiyomi” and “Cinderella Girl” — made available for streaming at the end of last month — also return to the Japan Hot 100. Both songs are from the group’s five-member era — Number_i consists of three former members of King & Prince — and saw an increase in weekly streaming and video views. “Tsukiyomi” returns for the first time in about a year and three months, while “Cinderella Girl” returns for the first time in about a year.
Trending on Billboard
comdot’s “Haikei Oretachihe” bows at No. 3 on the Japan Hot 100. The first single by the five-member YouTubers sold 136,964 copies to hit No. 2 for sales, while coming in at No. 27 for downloads, No. 16 for streaming, No. 6 for radio, and No. 23 for video.
[embedded content]
Kenshi Yonezu’s “Mainichi” (Every Day) launches at No. 6 this week. The release of this new commercial song for Coca-Cola Japan’s “Georgia” brand has powered the hitmaker’s other songs up the charts, with “Sayonara, Mata Itsuka!” seeing an increase in downloads and “Lemon” in both streaming and downloads.
[embedded content]
BEYOOOOONDS’ first single in about a year and a month called “Hai to Diamond” bows at No. 7, selling 99,222 copies to hit No. 3 for sales, while coming in at No. 10 for downloads and No. 16 for radio.
[embedded content]
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from May 27 to June 2, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
After being named a global brand ambassador for Versace in May, KUN is taking the partnership to the next level with a collaborative single with the Italian luxury brand that highlights the Chinese pop star’s inspiration from the intersection of music and fashion.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Set to debut in an upcoming campaign for Versace Mercury sneakers, “Afterglow” will be released globally in full this coming Friday, June 9. Like his previous hits on Billboard‘s China TME UNI Chart including 2022’s “Hug Me” and “TITLE” from last year, KUN immersed himself in the creative process for “Afterglow” by utilizing inspirations like patterns and cuts to deliver a blend of dark synthesizers and rock-inspired vocals.
Working as a singer and actor since his teens, KUN has spent the last 10 years showcasing an evolution from a reality TV breakout and boy band member to a full-fledged solo superstar with several albums, overseas tours, and high-profile brand endorsements to his name. Currently, the C-pop star is collaborating with writers and producers in the U.S. to craft a globally focused music project with the upcoming “Afterglow” single release representing what he calls “a brand-new KUN sound.”
Trending on Billboard
Read on for more from KUN on “Afterglow” and its importance in setting up what should be a major 2024 and 2025 with more music, live performances, tours and other treats for fans worldwide.
[embedded content]
Congratulations on launching “Afterglow” alongside your global ambassadorship with Versace! Tell us more about it and how you started creating the track?
“Afterglow” is a brand-new single I produced in collaboration with Versace. I approached this song from what I learned in fashion culture — this piece truly reflects my journey as a musician and performing artist. Over the last two years, I have explored and experimented with many different genres, blending old-school with new-school elements, and incorporating my personal taste into modern music. “Afterglow” is born from all this process.
You’re known for being involved in composing your songs. In what ways did you get creatively involved with “Afterglow”?
I draw inspiration from how designers curate their clothing patterns, the sleek cut details and the attention to quality, and translate that into the song. I wanted the synth design to be unique, edgy, and dark while having vocals retaining that rock element. While writing, I imagined scenes of fashion runway — flashing strobe lights — with a more mysterious feel. The runway would be a perfect setting for this sound.
What does “Afterglow” represent for your music career?
Starting from “Afterglow,” we will hear a brand-new KUN sound. We’re starting a new chapter in music, and looking to release more songs in both Chinese and English.
Will “Afterglow” have its own music video too?
Many fans might remember our previous Art Lab live concert. Here’s some exclusive news for my Billboard friends: Art Lab 2.0 is coming soon, including a live performance of “Afterglow.”
[embedded content]
How does fashion influence your life day to day?
Fashion always inspires me in the creative process of songwriting. I love vintage clothing just like how I love listening to classic songs, as well as cowboy hats and rough jeans when writing rock songs. Fashion design is a tedious process that involves constant fine-tuning until the final product is developed. That process provokes or intrigues; it has no creative boundary. Very much like when making music, there are endless possibilities.
I read that your Versace news went viral in China with 400 million views on Weibo in under a week and a No. 1 search topic for hours. Were you expecting such an exciting response?
I was in a song camp at that [time]. It was around 3 a.m. so I was actually in bed when my team woke me up and told me the good news. I appreciate everything my fans do for me and we support each other all the way.
You visited the U.S., Canada, and the U.K. on your KUN ONE Tour in 2019. Are there any plans for more overseas shows?
We are planning many surprises this year; more news is coming. I have been in the studio nonstop for an upcoming new project. I am also designing a new music show production that can bring sound to life on a live stage with some talented writers and producers from all over the world.
What else can we expect from you in 2024?
2024 has been my first step into building a label and company that represents the art I love so much. I’ve been aiming at creating and releasing a few global music projects from my label this year and thinking about a global tour, so I’m pushing myself to hit these deadlines. I’ve never released an official global album, and I’m putting in the work to make that a reality. The music is the focus though, so if I don’t feel it’s ready, I may wait until early 2025. I’m enjoying the process of it all.
Any other goals for this year?
Goals… meet my deadlines. [Laughs] And if I meet those deadlines, the next goal is a real one: to make sure the people who listen to the music and experience it live can feel the same way I did when I was creating it. If they tell me that they felt something, I hit my goals for 2024.
Anything else to share with readers or international fans at this time?
I’d love to work with artists from around the world. Collaboration with artists of different cultures is what I love about art, music, and fashion, so for international listeners, message me with ideas, and also message me with cities that you think would want to experience my new projects.
Yu Cong
Yu Cong
Yu Cong
Driven by a desire to put a smile on everyone’s face, the three-piece band BRADIO just released a new, funky party album PARTY BOOSTER.
Billboard Japan recently got to interview the three-piece band, which is generating excitement worldwide, having recently put on a wildly successful show in Chile as part of SUPER JAPAN EXPO 2024. They talked to us about their new album, the musical journeys of each band member, and their band’s story.
What kind of band do you feel like BRADIO has become?
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Takaaki Shingyoji (vocals): We’re often called a “funky band,” but it’s not like we set out at the start to form a funk band. As the band’s front man, I wanted to stand out, which is the only reason I grew out this afro. It wasn’t our intention to be a leader of funk culture in Japan. But I feel like over the past few years, our own sensibilities have aligned with the public perception of us as a funky, danceable band.
Could each of you tell us a little about your own personal musical journeys?
Trending on Billboard
Ryosuke Sakai (bass): I got into music because of B’z. I started out by playing the guitar, and after about a year I picked up the bass. This was back when bands like X JAPAN and LUNA SEA were popular, and I was listening to music like that. As for Western music, I was listening to hard rock. Bands like MR. BIG or Bon Jovi. But when I started going to music school, one of my assignments was to perform Marvin Gaye’s “What’s Going On,” and that experience opened up to me this whole other world of music, and I started listening to Motown.
Soichi Ohyama (guitar): I was really influenced by hard rock and legendary guitarists. Then for a while I was got deep into pop-punk and hardcore bands. That led to me starting my own band. I got into disco and funk after becoming an adult. The biggest influence on my guitar sound in BRADIO is probably Nile Rodgers. He’s my musical idol, and always will be.
Takaaki Shingyoji: When I was in seventh grade, my English teacher loved the Beatles. That got me into the Beatles, too, which got me thinking, “Hey, I like music, why not try playing it?” After that, I started listening to a lot of Japanese bands like Hi-STANDARD and L’Arc-en-Ciel. I gained an appreciation for funk and soul in around 2010, when BRADIO formed.
How did BRADIO arrive at its current musical style?
Takaaki Shingyoji: We started out as a five-piece band, but then one of our guitarists left, so we went from having two guitars to one. We had to change our sound as a result. Through some trial-and-error, we shifted to a sound with a groovy bass and strummed guitar. People started calling us funky with our 2013 album Diamond Pops. But that’s how we arrived at our current style, and it’s why we’re not funk through-and-through. I think that’s one of BRADIO’s best features. It’s a critical part of our very identity.
Your new album, PARTY BOOSTER, is packed with everything that makes BRADIO so wonderful. What kinds of themes are you exploring with this album?
Takaaki Shingyoji: On our last album, DANCEHALL MAGIC, we were exploring just what it meant to be funky. Now, a year later, we’ve created PARTY BOOSTER, which is, in a way, like DANCEHALL MAGIC 2. But this time, the first word is “Party.” I think that really suits us. We explored this theme like only BRADIO can.
Did you have a feeling like “what we need to do now is focus on this direction”?
Takaaki Shingyoji: Yes. We felt like we needed to get to know ourselves better. We came to feel that BRADIO was a greater band than any of us had realized before. We thought about what set us apart, and found that the key words that conveyed what we were about were “party,” “funky,” and “exciting.” In the past, we’d been overthinking things. We were thinking “we have to be like this or that” or “we have to be inspiring.” But the conclusion we eventually arrived at was, “as long as in the end we’re putting smiles on people’s faces, then it’s all good, right?”
Soichi Ohyama: I think the first song, “PARTY HEAD,” really epitomizes BRADIO. With this song, it’s like we could really put anything out there, so it feels like the song set the tone for the album. For example, “EIGO DISCO” has a 32-measure guitar solo. That’s just not something bands do nowadays (laughs). We have that kind of unfettered freedom, a spirit of “if it’s fun, then go for it!” I think that’s one of BRADIO’s distinctive qualities.
Ryosuke Sakai: We have this fascinatingly steep gradation that goes from really simple to really complex, and there are a lot of places where I can show off my chops as a bassist, which is wonderful. There are bassists that make you think “wow, a new bass hero has arrived,” like America’s Joe Dart. They play bass lines that listeners can sing along to. That’s the kind of bass line that I want to play, and I think that desire is reflected in the new album.
Takaaki Shingyoji: We named the new album PARTY BOOSTER, so we want to go around putting on shows that live up to that name. Of course they’ll be parties, but the people coming to hear us have their own lives, and they’re out there in the trenches every day, so we also want our shows to be boosters, giving them a lift in their day-to-day lives. I hope we can put smiles on all their faces.
—This interview by Tetsuo Hiraga first appeared on Billboard Japan
On May 16, Chinese singer Tia Ray announced her 2024 concert tour, featuring an innovative blend of creative projections and large-scale set installations, promising an immersive experience for the audience.
The first concert will take place on July 6 at the Universiade Center in Shenzhen. Additional dates and locations for the tour will be released gradually.
Also on May 16, Tia was nominated for best Mandarin female singer at the 35th Golden Melody Awards for her latest solo album ALLURE, released last year. This is Tia’s second time being nominated for this award. The album also earned her nominations in five categories at the 2nd Wave Music Awards, including best female singer and best pop album, as well as a nomination for best female singer at the 17th Fresh Music Awards in Singapore.
In March, Tia Ray was honored with the Global Force Award at the 2024 Billboard Women in Music event, solidifying her status as a prominent figure in the music industry. She is also set to release a full English album this year, collaborating with international musicians.
Trending on Billboard
The talented Chinese singer/songwriter, renowned for her captivating vocals and heartfelt lyrics, has released six albums since her debut in 2012, including T.I.A., Once upon a Moon and ALLURE, in addition to contributing to numerous film and TV soundtracks.
In 2017, Ray’s “Be Apart,” the theme song for the popular movie The Ex-file: The Return of the Exes, sold 10.9 million copies and ranked seventh in the IFPI global top 10 singles chart, and has more than 1.8 billion views online to date. In 2018, she won the most popular female singer award at the 26th Chinese Top 10 Music Awards for her album TIARA and was entitled honorary Berklee ambassador to China. In 2019, she released her third album 1212 and won the most popular female singer award again at the 27th Chinese Top 10 Music Awards.
In 2021, Tia participated in the performance of the theme song “Together for a Shared Future” for the Beijing Winter Olympics with other singers. In the same year, she released her fourth album Once Upon a Moon. For the album, she was nominated for the best Mandarin female singer award and won best vocal album recording at the 33rd Golden Melody Awards in Taiwan.
In 2022, Tia Ray won best female singer at the 15th Singapore Fresh Music Awards and Weibo annual outstanding singer.
Tia Ray participated in the KBS Asia Song Festival in South Korea in 2023 as the only singer from the Chinese mainland, stunning the audience overseas with her distinctive vocal. Tia Ray also won several awards that year, including year’s quality singer at the Tencent Music Entertainment Awards, thirty-year quality singer at the Chinese Top 10 Music Awards, and Weibo annual outstanding singer organized by weibo.com.
Tia Ray’s upcoming concert tour is set to redefine the concert experience, setting new standards in terms of visual and auditory delight. Her passion for music shines through her performances, creating an enchanting atmosphere that mesmerizes all who attend her concerts. With this new concert tour, Tia Ray continues to push boundaries and showcase her artistry on a grand scale, leaving a lasting impression on all who have the pleasure of experiencing her live performances.
Ready to captivate our present-day world and across dimensions, Armeggedon marks an artistic evolution in aespa‘s musical journey by taking their narrative into an expansive multiverse to blur the boundaries between reality and virtual realms. While the K-pop girl group is known for blending their real and virtual personas, their first full-length album explores parallel […]
Every week, the Korean music scene delivers outstanding songs across various genres and styles, and the past week was no exception, with a heavy-hitting selection of hits with global and crossover potential, satisfyingly nostalgic duets and some of 2024’s most promising new artists. Recently, beloved groups like NewJeans, ONEUS, MCND and JUST B dropped new songs to satisfy […]
In RM‘s latest introspective turn, the BTS leader unveils his new solo endeavor Right Place, Wrong Person, an album that shifts the focus from genre experimentation to a raw exploration of his identity and emotions. RM’s previous solo project Indigo, which was released in 2022 and peaked at No. 3 on the Billboard200, marked an initial venture beyond the confines of his […]
King & Prince reign over the Billboard Japan Hot 100 with “halfmoon,” blasting in at No. 1 on the chart released May 29. The Takeshi Kobayashi-produced title track off the duo’s 15th single “halfmoon/moooove!” is being featured as the theme of the drama series Tokyo Tower starring member Ren Nagase. To celebrate the sixth anniversary […]